The plain superfine pashmina shawl is an extraordinary example of shades created with a single colour. It reminds one of Moorcroft's account about the Indian dyer's skill in dyeing woolen shawls during the Mughal period in more than 300 colours and shades. Although this statement appears exaggerated, this shawl shows that high quality dyeing skills were in evidence during the late seventeenth century also. On the brilliant olive green plain shawl, the end panel background in a lighter shade creates a superb demonstration of the dyer's skill. On the light coloured end panel fifteen delicately crafted floral boteh having maroon flowers with slightly darker green leaves increase attractiveness. The boteh becomes narrow as it grows upwards, and the stylised roots from where the boteh starts are based on Chinese ideograms - a common motif of seventeenth century textiles. Both the hashias depicts floral creepers on a blue background. Depiction of floral botehs at equal distances makes the end panle impressive. Such botehs can be noticed in early Deccani miniature paintings of the seventeenth-eighteenth century rulers of the Deccan.
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