Welcome to the world of Indian antique Kashmir shawls, known to the Kashmiris as kani shawls. “Kani” refers to the intricate weaving technique used in their production. This process, technically termed double-interlocked twill tapestry, is exceptionally labor-intensive. Combined with their fine pashmina wool and vibrant dyes, it is this craftsmanship that makes the Kashmir shawl so highly coveted.

 

Although popularity of these warm, floral-patterned pashmina shawls dates back at least to the reign of Emperor Akbar (1556–1605), plain ones precede the Christian era. Though millions of shawls have been commercially produced and exported worldwide, only a small fraction of kani shawls meet the stringent quality standards recognized by connoisseurs and collectors. Over the past few decades, India’s growing economy has given rise to a new group of collectors who, aware of their cultural heritage, are eager to acquire rare and exceptional pieces.

 

For the last 40 years, my work and research have focused on rare and historic textiles, including those from the Middle East, Islamic traditions, Europe, and especially rare Kashmir shawls. My most recent book, *Woven Masterpieces of Sikh Heritage* (2010), represents the culmination of my research in this field. However, as new and exciting shawls occasionally appear on the market, probing questions about their iconography continue to arise.

Indeed, my forthcoming publication in Fall 2024 will address some unresolved issues in this area. Titled *Woven Gardens, Pashmina Jewels*, this new book discusses and demonstrates that the aesthetics of shawls from the Sikh period were products of the Khalsa movement and the Sikh cultural environment during Maharaja Ranjit Singh’s rule of Punjab. European archival documents make it clear that Europe, particularly France, was not only slow to catch up with the high demand for shawls, but went to great lengths to clandestinely copy the designs of the latest Indian shawls smuggled into the country.

 

How can one determine if a textile holds historical significance? Experience is essential. The most direct answer is that a textile is historic if it is accompanied by thorough documentation, such as evidence that it once belonged to a notable figure or head of state. However, if the textile lacks aesthetic quality or beauty, its value is correspondingly diminished. Throughout history, a portion of textiles has always been made or commissioned for affluent clients, rulers, maharajas, or religious leaders. These garments, distinguished by their beauty, fineness, and vivid colors, stand out for being produced under unique circumstances of artistic development.

 

In general, antique square shawls (rumals) are typically 5 to 6 feet square, while long shawls measure about 5 feet wide and 10 to 11 feet in length, assuming they haven’t been altered in size. Other size variations include kani prayer mats. Long shawls were frequently made in pairs, an ancient tradition that gave rise to the designation “dochalla” (meaning two shawls). Since the publication of my first book, *The Kashmir Shawl and Its Indo-French Influence* (1986, revised 1997), which showcased hundreds of rare examples, I have personally come across many “sister” dochalla shawls that match pieces in private and institutional collections.

 

My passion for textiles began during my years in Paris. I returned to the United States in 1986, where my business is now conducted by appointment only. Consulting, appraising, researching, and curating rare textiles are all integral aspects of my work.

 

Please feel free to call or email me with any inquiries or feedback you may have. Thank you for your visit.

 

Frank Ames