Weiner Mihályné szerk.: Az Iparművészeti Múzeum Évkönyvei 9. (Budapest, 1966)

IPARMŰVÉSZETI MÚZEUM — MUSÉE DES ARTS DECORATIFS - Horváth, Vera: Kashmir Shawls in the Museum of Applied Arts

VERA HORVÁTH KASHMIR SHAWLS IN THE MUSEUM OF APPLIED ARTS A hundred years ago the Kashmir shawl was a fashionable piece in the wardrobe of European ladies. In the 1870-s it fell out of use, but began to be collected and was known as a special textile curiosity. It was analyzed from different aspects by a number of publications, without any integrated method of examination. The work of systematization and comprehensive elaboration was accomplished in J. Irwin's monography published in 1955.

1 The treatment of the subject is set up around the multisecular development in the manufacturing of Kashmir shawls. Having become known in recent years, the following findings are generally based upon Irwin's results. Although no material proof earlier than the XVIIth century have remained of Kashmir shawl weaving, it is obvious that shawl manufacturing was matter of common knowledge as early as the Mogul era of Akbar the Great, since the first written documents are dating from that time.

2 In order to encourage the trade of shawl weaving, Akbar the Great has founded in Kashmir some royal weaving mills and introduced a new type of shawl wearable on both sides. The origin of Kashmir shawl weaving cannot be traced to any local Kashmir invention. The Indian conception underlines the role of Persian designers invited by Akbar the Great to work in the royal weaving manufactures, explaining thereby the emphasized appearance of floral ornamentation and the prominence of self-contained decoration on Kashmir and later on Indian woven fabrics.

3 The legendary origin of Kashmir shawl weaving, going back as far as the age of Zain-ul-Abadin, guards also the memory of Persian craftsmanship.

4 Despite the foreign initiative, an outstanding importance must be attached to the Persian-Indian and Persian-Kashmir collective work done in the royal manufactures, as well as to its artistic result. The different stations in the art of the period — Persian beginning, Indo-Persian phase, Mogul art — indicate the emergence of a self-contained Mogul art presenting new features dissimilar to Persian art that has developed in the process of bilateral mutual influences. 1 Irwin, J

. : Shawls, A Study of Indo-European Influences. London, 1955. 2 Abul FazV Allami : Ain-iAkbari. I — II. H. Blochmann and Col., translated by M. S. Jarret. Calcutta, 1891 — 1894. 3 Yajakar, P. : Kashmir Arts and Crafts. Encyclopedia of World Arts, Vol. VII. New York, 1963. 4 Hügel, C. : Travels in Kashmir and the Punjab. Lahore, 1895, p. 118.