This Motif from Kashmiri art form was once banned in France

Origin and Development

How strange is it that the symbols and patterns that we see in our daily lives just go unnoticed! Everything has a back story and so does the pattern that we are discussing today in this article.

The pattern is most commonly used one in Kashmiri art form and is called “Boteh” or “Buta” or as Europeans called it “Paisley”. It is around two thousand years old, saw craze in Europe so much that an entire town in Scotland was known for it, was associated with psychedelics at the time of Beatles (the music band) [source], and even made the French authorities ban printing it.

If you happen to visit Kashmir and enter a random shop selling carpets or shawls, you will get to see this pattern. In Kashmir, it is literary everywhere. From caps to shirts, this pattern is the most used one and as such this sort of represents the Kashmiri art now.

This all started in Persia during Sassanid era (224–651 CE). Cypress trees held a holy significance for the Zoroastrians of that era. They believed Cypress tree symbolizes life and eternity.

That period was mainly known for its rich artistic traditions and intricate designs. Many scholars believe that the artists of that time created the “buta” symbol taking an inspiration from the shape of the cypress tree.

As time moved forward, the floral motif continued to evolve under the Safavid dynasty (1501–1736). During this era, the pattern was embraced with renewed vigor and became a prominent feature in Persian textile design. It was used to embellish a variety of items, from the opulent robes of royalty to the more everyday fabrics of the common people.

The pattern’s prominence didn’t wane with the passing dynasties. In the Qajar (1789–1925) and Pahlavi (1925–1979) periods, it remained a major design element in Iran. Royal regalia, crowns, and court garments were lavishly adorned with these intricate floral designs, reflecting both their grandeur and the sophistication of Persian art.

Persian and Central Asian artisans perfected the art of arranging these floral motifs. They often placed them in orderly rows against plain backgrounds, allowing the motifs to stand out in their full glory. This method of presentation highlighted the beauty of the design while maintaining a sense of balance and harmony.

Introduction of Buta to Kashmiri art

In 1400s, Sultan Zain-ul-Abadin invited artists from middle eastern countries like Khurasan, Persia, etc. to Kashmir to introduce new art forms in the valley. That is how the motif got transported to Kashmir where it flourished and saw different variants of it in different Kashmiri art forms.

In 1500s during the rule of Mughal Emperor Akbar, the motif was highly popularized as the emperor was very fond of Kashmiri Shawls and used to wear two shawls at the same time. t is believed that by the 1700s, Kashmir shawls were produced in the image that someone today would associate with modern paisley [source].

Introduction as “Paisley” to Europe

During 18th and 19th century, the East India Company introduced Kashmiri Shawls to England and Scotland. In Europe these shawls saw instant liking and demand and hence were very soon duplicated.

The first place in Europe that imitated the pattern was town of Paisley in Scotland and that is how this pattern got its name in Europe.

The production and import of such designs in printed form was forbidden in France by royal decree from 1686 to 1759 as they had their reasons.

[to be continued…]