This shawl has extensive Zari embroidery, a
term used for the general gold work
embroidery. This work results in giving the
shawl a particular sheen and is generally used during special occasions. The embroidery has various paisley motifs intermingled with palm leaf motifs, woven on a rich red ground. This lot is a single complete shawl as originally designed, though perhaps woven in several pieces joined with invisible seams. Intertwined butas.
This Palledar styled Pashmina shawl is the epitome of simplistic glory. Executed in Kani style, the dual facet of the shawl are design wise identical and are only distinguished due to their varying embroidery colour composition. The primary facet of the shawl has embroidery work executed in yellow thread, while the reverse has blue
This shawl is an embroidered Doranga and Dorukha work. The Dorukha term indicates the shawl’s dual facet design, the term Doranga states its multicolour composition proposition. The dual colour palette consist of blue and purple on a yellow ground. Furthermore it has an unique Khatraaz border with alternating stripes of yellow and green. The entire shawl is covered with buta motif. All-over patterned field, side- and end-borders, with striped pallav borders.
This exquisite shawl has extensive embroidery work throughout its surface field and has been assembled from 3 different shawls. With an impeccable colour - match palette
the design of large butas on abstracted floral background enhances the presence of this shawl. Plain maroon pallavs
This shawl has Dorukha embroidery which allows the wearer to drape it either way. It is a prime example of an Aksi shawl which is an essentially plain woven shawl with intricate and detailed embroidery
constituting the borders, furthermore the term Aksi means reflected or reversed type of embroidery in which the embroidery thread does not penetrate the fabric but only picks up one of the ground fabric’s threads, making it almost invisible on the reverse.This Dorukha shawl has 4 corner butas as primary motif iconography.
This is a single piece Kani weaved Jamawar shawl. It has detailed and complex floral and paisley motifs used throughout the shawl
on a cream colour ground. Depending on the complexity of the design used it would take anywhere from a year to a decade to
complete a shawl.
A teardrop shaped black motif is embroidered as the central motif in this shawl.
Surmounting the teardrop motif is a thin border which is black on one half and
white on the other. This shawl had been executed in the Jacquard style with
added harlequin borders.
This shawl has Kani embroidery done all over the field with dominant paisley motif. The embroidery is so detailed and complex that almost none of the cream ground of the shawl
can be seen. The red and green threads used for the embroidery, dominate the field. The lot also has deep butidar pallavs.
This particular shawl has Sozni embroidery done all over on a red ground which
creates a ripple of energy and vibrancy. The intricate embroidery work is
overwhelming to the degree that none of the ground cloth is visible. This particular
type of Sozni embroidery is known as Jaaldar because the embroidery sprawls and
permeates the entire surface field.With added fringed borders.
This Pashmina shawl was created with a heavy flow of peripherical embroidery work. The side borders are added pallavs whereas the fringed ends appear to have minimal seaming. The vacant tan field dispels iridescence of the fibre’s sheen, while the craftsmanship gets defined through the depicted clustered array of motifs.
This piece had been cut down from a larger shawl, the end-borders of this shawl was a later addition. With a plain maroon
pallav added. The border dissecting the pallav with the field section comprises of multicolour square panels with embroidery thread work. The technique of application is Kani while the design ergonomics are crafted with butas on abstracted floral background coupled with a subdued palette.
This is an unique piece considering the shawl has been created in the shape of a
square. The adjacent vantage point leveraged by such creations enabled the maker
to instill a higher degree of geometric relief and movement. The quintessential
aspect of such shawls is embroidered centre point, in the case of this lot the same
had been envisioned in the motif of a star.
This lot got structured after the amalgamation of at least 2 different shawls and with considerable seaming. The shawl’s
primary design is Kani embroidery that features large paired butas symmetrically on an abstracted floral background. Plain
red pallavs incorporated seamlessly accentuates the colour composition of this vibrant garment.
The fine silk work observed in this lot is executed in accordance with the Badamdar Kani embroidery technique. Cut from a single larger shawl or Jamawar piece. Furthermore plain Khudrang pallavs have also been incorporated in this piece. The seam
work is another highlight feature of this shawl. The sprawling design of large butas displayed in staggered rows amplify the floral mosaic background. The motif and base design embodies the ergonomics of Kashmiri textile methodology.
This is a Dorukha single cut shawl, with a golden ground and vibrant red embroidered border. The red buta motif embroidery along the border is uniform on all sides. There is a palm leaf motif incorporated on the four corners of the shawl. A Palledar Shawl is essentially defined by their vast and void
centrefield, the decorative element in such shawls is attributed to their borders / pallavs.
A star-shaped black embroidered medallion at the center, flanked by detailed butah embroidery on all sides. A harlequin border
added to the shawl further enhances the vibrant colours used in the embroidery. The technique is Kani, whereas the design type is
that of Jacquard, vertically and horizontally symmetrical. Variation of colour on the 2 horizontal halves. Long scroll-like
butas. Patterned fringe-tabs.
This is an unique shawl and comprises of a single complete shawl. This lot is
special considering it retains its original design and doesn’t feature any
alteration. The shawl’s borders are dual patterned and displays round
patterned field needle work all over. Considering that this shawl has been
untouched since its creation this shroud embodies the quintessential qualities
of the design and execution techniques of the past.
Cut from a single shawl this lot features exceptional embroidery work considering the number of featured butas. This Jamawar piece has a plain gold Khudrang pallav which
fades the transition of vibrancy owing to its multiple butas. While the technique is Kani, the small paired butas boast of symmetry and technical prowess of the maker.
This plain woven shawl has an extensive cream field at the centre, while the borders consist of floral palmettes set
against an abstract floral design. Four marque butas are observed as placed on the four corners of the shawl inclining
towards the centre. Palledar, plain field, corner butas. Abstract floral design.
An elegant woman size moon shawl (no centre moon) cut down from a Chand-Dar shawl with its seam in the middle. The shawl has been executed according to the canons of Kani embroidery technique. The Lunar
inspired theme adopted by the maker depicts,
quarter-moons in the corners of this exclusive mantle. Furthermore the Moons are block-print-type floral mosaic; while field has medium-size butas on floral
mosaic background. The shawl culminates with plain maroon pallavs with fringes.