Now Showing: Kani on the Loom
Kani weaving began in Kashmir during 15th century, under the rule of Zain-ul-Abidin, who is widely credited for nurturing the region’s art. Inspired by Persian tapestry techniques, this intricate craft soon became a royal favorite, with Kani shawls once adorning Mughal courts and European elites alike.
From raw fibre to the finished product, making of a Kani shawl requires multiple processes along with the expertise of many people. It begins with a hand-drawn sketch (Fig. 1) of the design, produced by the designer, traditionally known as naqash, which is then converted to a meticulously calculative graph (Fig. 2). In this, indicative colours are provided and a digital graph/iteration is created.
Once the actual colours of the pashmina thread are finalised by the designer and a color card for the shawl is made (Fig. 3), the iteration is converted to a talim (Fig. 4). This is a traditional code used by the weavers to follow the rhythm of inserting the tujis or kanis to create the desired pattern. Traditionally, the talim is recited orally by the master weaver to his apprentices. However, some weavers prefer to keep a written version in front of them, allowing them to follow the pattern at their own pace.
The weaving technique employed for Kani shawls is unlike any other, requiring immense patience and skill. Kani shawls are woven on a 2/2 twill ground using a tapestry weave, or more accurately, a double interlock twill tapestry weave. Tapestry weaving uses warp as the foundation which is stretched out on the loom, and the weft insertions create the actual pattern on the shawl.
To prepare the fibre for weaving, the yarn is dyed in the desired colors and folded into doubled and twisted hank yarns (Fig. 5). The hanks are then starched using rice water and then placed on the pritz, where the yarn is spun again and prepared for the loom (Fig. 6). The yarn for the warp is transferred to the loom directly while the yarn for the weft is wound over the kanis or tujis. These are small eyeless wooden bobbins that work on building the pattern on the weft (Fig. 7).
The number of tujis used in a Kani design depends entirely on the complexity and intricacy of the pattern. A weaver’s expertise is often measured by how many tujis they can manage at once — a number that can range from 80 to over 350. These bobbins are crafted from poshkan (‘flower-like’, posh = flower) wood, sourced from a locally grown tree known for its softness. The wood is soft enough that if a tuji accidentally pricks the weaver’s skin, it doesn’t cause any infection.
Once the warp is laid out on the loom and the kanis or tujis (small eyeless bobbins) are set in place for the weft, the weaver begins the slow, meditative rhythm of bringing the pattern to life. To protect the finished portion and maintain focus, artisans often lay a black cloth over the already-woven section (Fig. 10). This not only shields the delicate fabric from dust and wear, especially important when a piece is on the loom for years, but also prevents the weaver from getting visually distracted, allowing them to concentrate solely on the talim (the coded design guide) and the section in progress.
Depending on the intricacy of the design, the size of the shawl, the number of tujis in use, and even external factors like weather, a single Kani shawl can take anywhere between three months and three years to complete. Thus, one of the most notable qualities of a Kani weaver is their patience, perseverance and sharp focus towards their craft. With something so meticulous and time consuming, where every knot requires perfection, there is very little room for mistakes.
The finished Kani shawl is more than just a textile; it’s the weaver’s quiet masterpiece, crafted over countless hours and changing seasons. Every thread holds intention, every motif a memory. What emerges from the loom isn’t just something to be worn, but something to be cherished and passed on.
