Majid Ahmad Mir is no ordinary weaver. He hails from a family that has evolved and innovated calligraphy weaving in Pashmina and works at the Craft Village in New Delhi. Proud to be associated with the craft that has been with his clan for over 700 years, Mir says many craftsmen are unable to generate the value of their creations and are thus moving to alternative income generation methods.
Excerpts from a tete-a-tete with one of the youngest Kashmiri Pashmina weavers in the country.
Tell us about the evolution and innovation of calligraphy weaving in Pashmina.
My brother and I initiated calligraphy weaving in Pashmina. It all started when we visited the National Museum in New Delhi where we were exposed to the references. We liked it and that got us to experiment with calligraphy which was built across as an innovative technique. Our forefathers taught us basic weaving techniques as they used to only do plain weaving and dress materials. Developing calligraphy was considered one of the toughest techniques in the world but over a period of time, we gained great insight doing ‘hands on’ and developed many complex variations of calligraphy weaving, especially Urdu calligraphy. We can now weave any font using this technique. We have also revived many old techniques of Pashmina.
Did you take up weaving by choice?
At times, life doesn’t give choices. When we were studying in school, Kashmir, for the most part, would be under curfew. Schools would remain closed for days, stretching up to several months. Initially, it was boring to be home with nothing to do. To get productive, we found interest in what our father used to do, the craft. Over time, passion became profession and vacation became vocation. We haven’t looked back since and continue to achieve new milestones.
How do you choose what needs to be created?
We think of new ideas, draw it on a graph paper and see whether it would be innovative and interesting. Post this, we take a call to weave. All our designs are inspired by the natural beauty of Kashmir Valley. We constantly make new designs.
Do you customise products?
We do, but ensure there is a fine balance between tradition and modernity. Such balance in contemporary design and traditional techniques helps in continuing the 700-year-old heritage of our family.
How much time does it take for a design to take final shape?
It depends on the design. One full Kani shawl (one that originates from the Kanihama area of Kashmir) can take anywhere between two months to two years, depending on the intricacy in weaving, pattern and design. Plain woven shawls in a single colour can take about seven to 10 days.
Have there been any technological innovations in the art of weaving?
The process has become easier due to innovations. Earlier, breakage in yarn and faults due to inconsistency in hand spinning slowed down the process. With machine-spun yarns coming in, the time has reduced significantly as the speed of weaving has increased tremendously and yarns don’t break in between due to evenness.
How supportive has the government been towards this craft?
The government provides us opportunities to showcase our products at national and international exhibitions. Then there are social ventures working with artisans to promote heritage crafts and to bring them on the global map. They have also ensured that our craft gets promoted on the international stage by providing us the chance to showcase our products at India Craft Week Preview in London. If other organisations come forward to support us, we can save Pashmina from dying.