This shawl had been cut down from a Jamawar piece and displays no obvious seaming. The Khudrang pallavs with minimalistic embroidery work were incorporated during a later stage. The design pattern observed is that of abstracted butas formed with a
soothing shade of verdant. The background colour palette is luminous yet subtle. The base colour adopted by the craftsman for this shawl accentuates the regality of this revered accoutrement. The formation of the butas is unique and indefinitely
propels the visual element of this shawl.
This Pashmina shawl is got a brown ground flied, the stoic colour composition reflects reverence. The deft and intricate needle work of the embroider along the border strips speak volumes of the craftsmanship of the
maker. There are four leaf motif propelling inward from all corners into the centre filed are. The pallavs are slightly fringed.
This is a very rare Pashmina saree and is worked upon a green ground field, with extensive Kani embroidery work. The sporadic and continuos movement of the motifs are captured within diamond shaped boxes throughout the field. The border strips are elongated and compartmented in square with small sized paisley motifs while the highlight of the pallav is the numerous large scale paisley motifs applied.
A black embroidery at the center is flanked by various swirling abstract designs on all sides. What makes this even more
exquisite is the medium used. Completing this complex design with the various colours is a time consuming and painstaking process. The popularity of these Kani shawls is on
the rise yet again, especially after it got Geographical Indication status in 2008.
This is a fine example of a single cut Jamawar Pashmina with Kani embroidery. The technique of the Kani shawl weaving
has also been termed as the ‘twill tapestry weave’. As is common in shawls with Kani embroidery, this shawl has the
ground of a light cream colour with black paisley motif embroidered all over. Another characteristic is its narrow end-borders.