071. Kashmir Hand Knotted Carpet

Kashmiri Hand-knotted carpets are made by hand, by following the master design graph along with the colour code called the Taleem. These carpets are made either entirely with Silk on Silk (100% Silk), Silk and Cotton, Wool and Cotton and Silk, wool and Cotton. The Taleem is unique to each carpet and the colour combination of carpets and their details differentiate these from any other carpet.

Kashmiri Hand-knotted Carpets are woven in all districts of Kashmir. They are always hand-knotted. The knot is tied around one or two pair of warp threads, leading to a higher density of knots to the square inch, and consequently there is a great depth and clarity of design.

Carpets in the history of Kashmir date back to the period of the famous Sufi Saint and scholar, Hazrat Mir Syed Ali Hamdani in (1341-1385 AD) of Persia. The skill of weaving Kashmiri Hand-knotted carpets, over centuries, has been handed down by fathers to their sons over generations.

The uniqueness of the Kashmiri Hand knotted Carpet is that it is made with the help of Taleem. The Taleem is a coded pattern which represents the number of knots of pile yarn (yarn used for knotting) and their colour to be put around the warp yarn as per the designs and knotting of the carpet. 

This script for carpet weaving is distinct from all other languages prevailing in the world. This script has retained its existence in carpet weaving throughout Kashmir and is the only way by which the designs are interpreted / executed till date

Kashmiri Hand-knotted carpets are available in wide-ranging colours, designs and sizes. The colour combination of carpets and their details differentiate these from any other carpet. Kashmiri Hand-knotted carpets are more subtle and muted than any other carpet produced elsewhere in the world.

Kashmiri Hand-knotted Carpets are traditionally made in oriental, floral designs that typically involve the significant and culturally important motifs such as the paisley, Chinar tree, (the oriental plane) and the tree-of-life. Most of these designs are rooted in the Kashmiri way of living and are a symbolic representation of the age-old Kashmir tradition of hospitality, warmth and genuine love

GI Tag Registration Date         : 13 June 2016

GI Tag Number                         : 527

Certificate Number                  : 272

Geographical Area                  : Jammu and Kashmir

Special Cover Release Date   : 17 August 2021

Cancellation                             : Srinagar 190 001

Type                                          : GI Tag Cover

Cover Identification Number  : J&K/08/2021

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Logo of Kashmir Hand Knotted Carpet depicted on top right corner

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Logo of Kashmir Hand Knotted Carpet

070. Khatamband

Khatambad is one of the oldest known wood craft of Kashmir which involve unique indigenous process and practices. This traditional wood crafts uses wood that is carefully prepared, cut, intricately carved and then fitted together to form intricate geometrical designs with a definite mathematical foundation. 

Wood used is locally available materials including pine, walnut, Burma Teak and Himalayan Silver Fir (Budloo). The basic technique consists of treating raw material, etching design, cutting the wood into flat pieces and battens. 

The battens are the structural part of the Khatamband, intersecting each other by a halved lap and bridle joints and mitter joints. Grooves are carved in the batten. Thereafter the flat pieces of wood are inserted into grooved battens. 

The battens and the pieces are alternatively fitted to each other  without using nails or glue to transform the jigsaw puzzle into a beautifully intricate geometric patterns that echo the geometrical tessellating patterns of Islamic tradition. The last piece is fitted tightly so that no gaps are left. 

The battens are adjusted to form even lines all along the room. While the assembled structure is very strong and durable, it can be dismantled down to the last component for reassembling at another location thus saving precious wood.

The kannat or master scale is used to produce all the components of one design. It contains all coded information and calculation of that particular design, represented in the form of markings on a wooden batten and passed from one generation of artisans to another. An artisan has to undergo several years of training under a ‘usta’ or master craftsman and learn all the stages of production.

Khatamband is used as false ceiling and paneling surface on products as well as interiors such as table tops, speaker’s dias, doors and various other furniture items. Although there are more than 120 designs and infinite variations, one of the most intricate and time-consuming design is the Barah Murabba, which has around 3750 pieces in a ceiling of 10ft x 10ft size. 

The word Khattam is an Arabic word, meaning ‘patch’ and band is a Persian word meaning ‘lock’. This combination of words provides the literal meaning of Khatamband as ‘locking the patches’.  Band or Bandi is common term in Kashmir, wherever the reference is ‘to fit’. The other local definition of the term is of Persian origin where ‘Khat’ is drawing of lines and ‘band’ is a scale, pronounced as ‘khat m band’

Khatamband may also have value addition of hand carving or hand painting. The Khatamband found in old monuments are richly decorated with fine naquashi work, where the wooden pieces are coated with paper machie layer and painted in traditional Kashmiri motifs and gold embellishments. The shrines of Dastagir Sahib or Naqshbandi and Khanqah’e moulla are the finest examples of such work.

GI Tag Registration Date         : 06 January 2012

GI Tag Number                         : 204

Certificate Number                  : 164

Geographical Area                  : Jammu and Kashmir

Special Cover Release Date   : 17 August 2021

Cancellation                             : Srinagar 190 001

Type                                          : GI Tag Cover

Cover Identification Number  : J&K/07/2021

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Logo of Khatamband is depicted at the top right corner

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Logo of Khatamband is depicted in the cancellation

069. Kashmir Walnut Wood Carving

Kashmir Walnut Wood Carving are generally products made of walnut wood from Kashmir further embellished with hand carving of traditional designs and motifs by traditional carvers (naqash) from Kashmir.

The wood used in the products is derived from the walnut tree, a member of the Jugladuceae family known by the botanical name Juglans regia. The tree is locally known as dhoon kul (Kashmiri) or akhrot ka peth (urdu). Kashmir Walnut Wood carving is made from cultivated variety of wood like wantu, dun and khakazi and not from wild trees.

The process of walnut wood carving is known as dhun hath kaem (walnut wood work) or simply as dhoon kaeam (walnut work). It is representative of local tradition of carving evolved over centuries and transmitted through usage of both wood as well as stone in architectural as sculptural medium.

For carving, the wood is taken from the base and the trunk and not the branches. The colour, grain and sheen of the walnut wood are unique. The wood is hard and durable, its close grain and even texture facilitates fine and detailed carving work. It also presents visually interesting effect with mere polished surfaces.

The wood is seasoned naturally and sent to the carpenter who makes the required object from it. The wood is then carved according to the selected design. The designs and motifs carved on walnut wood objects are reflections of flora and fauna of Kashmir. Finally the product is polished.

Walnut carving is practiced in five main styles

• Undercut (khokedar) 

• Open Lattice (Jalidhar, Shabokdar) 

• Raised carving (Vaboraveth) 

• Engraved carving (Padri) 

• Plain Carving (Sadikaam) 

• Texture with nails (Dagakil)

Some of the traditional designs of the wood carving are 

• Gul Tarah – a design which used various flowers in stylised version

• Mavi Dahar – design employing depicting fruit bearing trees

• Dach Tarah – most popular design depicting grapes along with leaves and vine

• Badam Tarah – the famous almond motif of Kashmir region 

• Janavar ti Jandhar Tarah – depicts various birds, animals and aquatic animal species found in Kashmir

• Jungle Tarah – refinement of janvar tarah which also includes the physical surrounding landscape and environment

• Scenery Dhar – based on general landscape with stylised depictions of famous gardens of Kashmir

• Harfi Dhar – design based on carving of Arabic, Persian or Kashmiri verses

• Taveez Dhar – similar to Harfi Dhar but Quranic verses are depicted

• Hashiyi Dhar – used along the borders and based on floral motifs

• Raiz Kari – intricate floral work

Range of products include large sized items of furniture like cabinets, beds, dining tables, folding screens, book racks to smaller pieces of furniture like trays, lamps, candle stands, jewellery cases, mirror cases, cigarette cases etc. 

 

GI Tag Registration Date         : 06 January 2012

GI Tag Number                         : 182

Certificate Number                  : 162

Geographical Area                  : Jammu and Kashmir

Special Cover Release Date   : 17 August 2021

Cancellation                             : Srinagar 190 001

Type                                          : GI Tag Cover

Cover Identification Number  : J&K/06/2021

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068. Kashmir Paper Machie

Kashmir Paper Machie is resultant of various traditional painting techniques characterised by the highly colourful and miniature like intricate designs with motifs of Kashmir. They are rendered with very fine shades of colour and textures by fine brushes.

The technique of Paper Machie was introduced in Kashmir by the 15th Century Sultan, Zain-Ul-Abadin after his return from Samarkand in Central Asia. This art further flourished under the Mughal Period.

Traditional Paper Machie in Kashmir is a highly specialised craft industry and with involves three stages of production, each performed by specialised artisans. 

• The basic object is made of light weight material like paper pulp, paper board or light wood by a different community called saktasazi. 

• It is subsequently coated with several layers of traditional primer (sareesh) and smoothened each time 

• Then it is given to the naqash or painter for fine hand painting of the intricated designs and gold and silver work. 

• It is again rubbed with jade stone for final luster and varnished with local varnish called copal or industrial lacquer.

Some of the traditional designs are 

Figurative depictions – based on themes of court scenes (durbar), jungle scene (shikargah), Polo field (Chogun), rubiyat, epics, battles etc

Floral depictions – dominant motifs are based on various floral arrangements like rose, iris, carnation, tsunth post (apple blossom), gulal(poppy), pamposh(lotus), yambirzal (narcissus), nargis (daffodil), grape and chinar leaves

Geometrical depictions – based on the motifs used in the traditional shawl industry

Ladakhi or Chinese depictions – themes employing dragon as the dominant motif

Hazara – prevelant and traditional pattern with thousand flowers

Gul-I-wilayat – means foreign flowers and it includes foliage and stem and also birds in its especially bulbul and kingfisher

Gulandargul – another pattern of displaying flowers where flowers will be displayed in bunches one behind the other

Badam tarah – mango shaped almond motifs also known as paisley or shawl tarah.

Chinar – the five pointed leaf from the tree predominant in Kashmiri landscape

Sarav (cypress) – like a shrub which gradually drawn out into a long delicate form of an independent tree with details of leaf, bud, flower and fruit.

The uniqueness of this craft lies in the smoothness of the surface of the product, the choice of the colours of the motifs, the manner in which the motifs are sketched and painted, and the choice of flora and fauna of Kashmir region as subject of these motifs. 

The characteristics products with these designs are boxes, bowls, vases, lamps, trays, soorais, candleholders and photo frames, Christmas decorations, screens, tables and large jewellery boxes.

GI Tag Registration Date         : 06 January 2012

GI Tag Number                         : 181

Certificate Number                  : 161

Geographical Area                  : Jammu and Kashmir

Special Cover Release Date   : 17 August 2021

Cancellation                             : Srinagar 190 001

Type                                          : GI Tag Cover

Cover Identification Number  : J&K/05/2021

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067. Kani Shawl

Kani Shawl are clothing accessory, made by the craftsmen of the State of Jammu and Kashmir, by the twill tapestry weaving process using numerous Kanis or Tujlis (which are eyeless wooden spokes). Contemporary Kani Shawl continues to be produced out of fine hand spun fibres of Pashmina wool, however silk and other fine wools are also used for its production. The Kani shawls are light in weight and have a fine and luxurious texture, being the product of a compact weave. 

The weft yarn are woven in a localized manner in contrast to traditional through and through weaving, based on a written script called ‘Talim’. The Talim is a written script consisting of precise instructions to be strictly followed by the weaver during the entire weaving process so as to weave the visualized and preconceived design plotted on graph paper into the shawl. 

Interlocking of weft yarn is done with preceding and subsequent yarn at the location of colour change. Researchers are of the opinion that this interlocking technique is not practiced by any other contemporary weaving tradition and also that it cannot be performed by the present technology and machines available in weaving. 

The characteristic Kani Shawl designs are: 

• Hashiadaar Shawl - with narrow running borders on all four sides. 

• Jamawar or purmattan shawl - in which the entire field is covered with intricate all over pattern and motifs.

• Chand-daar Shawl or moon shawl - a square or rectangular shawl with a central medallion and four quarter medallions on four corners. 

• Du-Shaalli - two shawls are stitched together back to back to form a single Palladaar Shawl- with intricate pattern only on the two ends of the shawl along with narrow borders. 

• Butidaar Shawl - which has small or large ‘butis’ (individual motif), used repetitively. 

• Khat-e-raas shawl - with various striped patterns rendered with almond, leaf and flower motifs. Longedaar and Thahridaar are variations in a striped shawl. 

• reversible shawl. 

The above mentioned patterns comprise of a range of floral, Almond, Cypress tree, Chinar leaf and fruit motifs inspired by the floral and fauna of Kashmir Valley. The predominant motif that is seen in the Kani Shawl is the elongated Almond ‘buti’ with a bent tip, also known as the ‘Teardrop’ motif, ‘Kairi’ or mango motif and the ‘elongated cone’ or ‘Paisley’ motif

The colours commonly used in olden days were white for males and red for females. Later, gold and yellow colours were also included and indigo was also used as a common colour. 

GI Tag Registration Date         : 27 November 2008

GI Tag Number                         : 51

Certificate Number                  : 83

Geographical Area                  : Jammu and Kashmir

Special Cover Release Date   : 17 August 2021

Cancellation                             : Srinagar 190 001

Type                                          : GI Tag Cover

Cover Identification Number  : J&K/02/2021

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Top right corner depicts the logo of Kani Shawl

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Logo of Kani Shawl

066. Kashmir Sozani Craft

Kashmir Sozani Craft is a fine needle-based embroidery done with silk and viscose yarn using primarily Sozani stitch, depicting motifs based on flora and fauna of Kashmir Valley and done on various textiles.

Basically the word Sozani is a Persian derivative. The word Sozani means needle and sozankari the needlework. The person who performs this craft is called the sozankar. Sozan in ancient Kashmiri language meant a wise man. if we consider the Kashmiri word Sozan as the origin of the Sozani then it means a craft performed by the wise men.

Fine Needlework on fabrics are done by a Sozankar employing predominantly the Sozani Stitch, Darn Stitch and Stem Stitch using silk and viscose yarns. Buttonhole stitch, Herring bone stitch, Chain stitch, Satin Stitch and Knot stitches are also used, though in limited proportions.

The process involves selection of the pattern and tracing of it subsequently on to the fabric surface to be embroidered. The traced pattern is first filled in with embroidery starting with individual motifs of flowers, then finished with defining the outlines and finally the continuous lines that connect these motifs. A single patch is done first and then repeated after it is approved. Typically the pattern is bound on all sides with a ‘Hashia’ border and a Kingri- a smaller running ornament.

The Embroidery is applied in the following ways:

• Borders of various widths, applied on the edges of the fabric.

• "Butis”, mostly small sized individual motifs that are repeated in several ways.

• “Jaali”, a kind of net like pattern embroidered all over the fabric in straight lines, or criss-crossed or in wave like patterns inter-spersed with floral butis. 

• “Jama”, a highly intraicate Sozani Embroidery style that is so closely filled-in with fine stitches that it barely allows any ground fabric to be visible. 

• “Kunj”, a large sized Almond motif that is placed on the corner of the fabric facing towards the centre

Sozani Embroidery has a rich colour spectrum and exquisite motifs depicting natural flora and fauna of the Kashmir Valley. Popular motifs include the Chinar leaf and Cypress tree, Almond, Grapes, Pomegranates and Cotton seeds, and flowers like the Iris, Narcissus, Lotus, Daffodil, Pansy, Lily and Rose; Geometrical themes like octagonal phanus, Dontavot and Agraphool.

Very fine Sozani work uses the Sozani stitch for outlining of the motif with a darker shade of thread while the filling up is done with the same fine Sozani stitches but in a different colour. There is no visible gap between the outline and the filling. It appears very compact and is also most expensive and therefore used on high value products like silks, pure Pashmina wool and crepes.

GI Tag Registration Date         : 27 November 2008

GI Tag Number                         : 48

Certificate Number                  : 98

Geographical Area                  : Jammu and Kashmir

Special Cover Release Date   : 17 August 2021

Cancellation                             : Srinagar 190 001

Type                                          : GI Tag Cover

Cover Identification Number  : J&K/04/2021

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Top right corner depicts the logo of Kashmir Sozani Craft

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Logo of Kashmir Sozani Craft

065. Kashmir Pashmina

Kashmir Pashmina is a fine woollen fabric obtained from the fleece of Himalayan Mountain Goat ‘Capra hiracus’ or Pashmina Goat. It is spun out of the fleece by hand spinning process using warp & weft yarns by craftsmen from Jammu & Kashmir. It could be rendered with find hand embroidery in different proportions.

The quest for making a fine warm fabric that can protect them from the atrocious weather in severe winters created Pashmina. Himalayan farmers climb the high altitude pastures of Western Himalayas to comb fine woollen undercoat from the neck and belly of the Pashmina goat. The fleece obtained is very fine in the inside and gradually becomes coarse in the outside. 

Pashm has a special luster due to its long, fine fibres, which are as thin as 12-16 microns, the fibres from premium sheep’s wool, such as Merino extra fine are 23 micro thick, while a human hair ranges up to 200 Microns thickness. Thus Pashmina is exceptionally light, soft and warm and feels luxurious against the skin. 

The traditional method of production has evolved for more than 600 years and has helped in retaining the unique soft character of Pashm wool. The natural colour of the fleece range from white to grey, red, brown and black. Pashmina is the woven form of Pashm. 

The fabric is dyed according to the requirements of the end product. A separate class of workers called the Kashmiri Rangrez who are proficient in dyeing yarn, capture the softness of the natural colours of the past with industrially produced dyes. Finally the fabric is carefully washed by the traditional washers in the running waters of the tributaries of river Jhelum

It is made in 3 qualities which are largely assessed on the fineness of the yarn and the tension of the weave. During the weaving process the fabric is woven in three basic weaves, which are; 

1. Twill or Sade Bunai 

2. Diamond or Cheshm-e-Bulbul Bunai 

3. Herringbone or Gada Kond Bunai 

Among the three, Diamond weave is produced in large quantities and considered special to Kashmir while, Herring bone is made on specific orders only.

GI Tag Registration Date         : 12 September 2008

GI Tag Number                         : 46

Certificate Number                  : 97

Geographical Area                  : Jammu and Kashmir

Special Cover Release Date   : 17 August 2021

Cancellation                             : Srinagar 190 001

Type                                          : GI Tag Cover

Cover Identification Number  : J&K/03/2021

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Top right corner depicts the Logo for Kashmir Pashmina

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Cancellation depicts Logo of Kashmir Pashmina

India Post has issued few postage stamps on Kashmir Pashmina details of the same are furnished below

Extracted from Happy New Year - "Splendours of India" Sheetlet
Issued on 01 January 2017

Handlooms of India - Geographical Indication Registered Handloom Products 

Issued on 07 August 2018

Miniature Sheet with Single Stamp 
Issued in the form of Calendar on 01 January 2017

064. Tezpur Litchi

Tezpur Litchi cultivated in Assam is the most popular and excellent variety of litchi with attractive colour, mouth-watering flavour and delicious taste. In Assam, litchi is grown in all districts, however the highest is in the district of Sonitpur. 

Tezpur Litchi is characterized by its pleasant flavour, juicy pulp (aril) and small seed with tight pulp. The shape of the fruits is ovoid /round. The colour of the fruits varies from dull brick red to pinkish brown or attractive red. The pulp is white to greyish white in colour. A single piece fruit of Tezpur Litchi weighs around 70 – 80 g which is the largest in size among all the varieties of litchi grown in Assam. 

Family   : Sapindaceae 

Genus   : Litchi 

Species : Litchichinensis

The tree is propagated by seed and by air-layering. The trees come into production at three to five years of age. This handsome tree develops a compact crown of foliage, which remains bright green the year round. Flowering of the trees starts from February, and is harvested in the month of June –July. Bearing habit of the trees varies according to the varieties. 

Ilachi, Bilaiti, Bombaya, Piyaji, Haldia are some varieties of the Tezpur litchi. Due to the unique and complex combination of soil- climatic conditions prevailing in this region, litchi produced are having distinctive and naturally occurring characteristics. As there is no pest and disease incidence Tezpur litchi is grown completely under organic condition without using any chemicals

The flavour of the fresh pulp in musky, when dried, it is acidic and very sweet. Not only sweet, juicy and tasty, litchi has many nutritive values. The juice sugar content is highly energy-giving and highest among the varieties of litchi. 

Tezpur Litchi is a rich source of vitamin C and contains fair amount of potassium, phosphorus, calcium, magnesium, iron and small amount of Vitamin B. Its principal chemical constituents are carbohydrates, organic acids, vitamins, pigments and a bit of fat

The fruit is eaten fresh and canned in syrup. Jelly can also be prepared out of the fruit. A highly-flavoured squash prepared from it is quite popular during the summer months. Apart from squash, various kinds of beverages, such as sherbet, nectar, etc. can be prepared from the preserved litchi juice

GI Tag Registration Date         : 27 March 2015

GI Tag Number                         : 438

Certificate Number                  : 230

Geographical Area                  : Assam

Special Cover Release Date   : 26 August 2021

Cancellation                             : Tezpur 784 001

Type                                          : GI Tag Cover

Cover Identification Number  : ASM/01/2021

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