Zaman Niaz (1993). The Art of KANTHA Embroidery (Second Reviseded.). Dhaka, Bangladesh: The University Press Limited. p.82. ISBN 978-984-05-1228-7. Boteh (Botteh, Paisley). Aryan Silk & Trade". www.heritageinstitute.com. Archived from the original on 24 May 2019 . Retrieved 4 June 2019. Fender Paisley Telecaster and Telecaster Bass". 14 June 2011. Archived from the original on 27 October 2019 . Retrieved 10 June 2018. In Asia the paisley shawls were primarily worn by males often in formal or ceremonial contexts, but in Europe the shawls were primarily worn by women instead of men. While still holding an accurate resemblance to its original influence, the paisley design would begin to change once it began to be produced in western culture, with different towns in the United Kingdom applying their own spin to the design. [16] The peak period of paisley as a fashionable design ended in the 1870s, [17] perhaps as so many cheap versions were on the market.

Reilly, Valerie (1987), The Paisley Pattern: The Official Illustrated History, Glasgow: Richard Drew, ISBN 978-0-87905-317-8 . a b Novin, Guity. "A History of Graphic Design: Chapter 92 - A history of Paisley or Boteh Jegheh Design". A History of Graphic Design. Archived from the original on 27 February 2020 . Retrieved 19 December 2019. Vancouver 2010: The Olympics of the Silly Pants", Tonic, archived from the original on 23 February 2010 , retrieved 21 May 2010 . The modern French words for paisley are boteh, cachemire (" cashmere"; not capitalized, which would mean " Kashmir, the region") and palme (" palm", which – along with the pine and the cypress – is one of the traditional botanical motifs thought to have influenced the shape of the paisley element as it is now known). [6] [29] [ failed verification] From roughly 1800 to 1850, the weavers of the town of Paisley in Renfrewshire, Scotland, became the foremost producers of Paisley shawls. Unique additions to their hand-looms and Jacquard looms allowed them to work in five colours when most weavers were producing paisley using only two. [19] The design became known as the Paisley pattern. By 1860, Paisley could produce shawls with 15 colours, which was still only a quarter of the colors in the multicolour paisleys then still being imported from Kashmir. [19]The next surge in paisley’s fashionability came in the 1960s, helped along by The Beatles – in their Eastern-influenced phase the band were paisley mad, and John Lennon even painted his Rolls-Royce with the pattern. It became emblematic of the ‘summer of love’ and the often eye-watering aesthetic of the psychedelic era, its vertiginous acid-trip patterns and mind-melting colours chiming with the hippy zeitgeist.

There is significant speculation as to the origins and symbolism of Boteh Jegheh, or "ancient motif", known in English as paisley. [7] With experts contesting different time periods for its emergence, to understand the proliferation in the popularity of Boteh Jegheh design and eventually Paisley, it is important to understand South Asian history. The early Indo-Iranian people flourished in South Asia, where they eventually exchanged linguistic, cultural, and even religious similarities. [8] The ancient Indo-Iranian people shared a religion called Zoroastrianism. [9] Zoroastrianism, some experts [ who?] argue, served as one of the earliest influences for Boteh Jegheh's design with the shape representing the cypress tree, an ancient zoroastrian religious symbol. [9] Others [ who?] contest that the earliest representation of the patterns shape comes from the later Sassanid Dynasty. [10] The design was representative of a tear drop. [10] Some [ who?] will argue that Boteh Jegheh's origins stem from old religious beliefs and its meaning could symbolize the sun, a phoenix, or even an ancient Iranian religious sign for an eagle. [7] Around the same time, a pattern called Boteh was gaining popularity in Iran; the pattern was a floral design, and was used as a high class decoration, mostly serving to decorate royal items that belonged to those of high status. [10] It was said [ weaselwords] to have been a pattern worn to represent elite social status, such as that of nobility. The pattern was traditionally woven onto silk clothing using silver and gold material. [10] The earliest evidence of the design being traded with other cultures was found at the Red Sea, with both Egyptian and Greek peoples trading from the 1400s. [ citation needed] Introduction of Boteh Jegheh to Western culture [ edit ]Green bandanas have become a symbol of the abortion rights movement. [28] In other languages [ edit ] Dusenbury, Mary M. and Bier, Carol, Flowers, Dragons & Pine Trees: Asian Textiles in the Spencer Museum of Art, 2004, Hudson Hills, ISBN 1555952380, 9781555952389, p. 48 a b Masoumeh, Bagheri Hasankiadeh (January 2016). "SID.ir | A GLANCE AT THE FIGURE OF BOTEH JEGHEH (ANCIENT MOTIF)". www.sid.ir (1). Archived from the original on 10 September 2020 . Retrieved 5 December 2019. Baker, Lindsay. "Paisley: The story of a classic bohemian print". www.bbc.com. Archived from the original on 3 December 2019 . Retrieved 5 December 2019. a b Ringer, Monica (13 December 2011). Pious Citizens: Reforming Zoroastrianism in India and Iran. Syracuse University Press. ISBN 978-0-8156-5060-7. Archived from the original on 10 September 2020 . Retrieved 24 December 2019.

Welters, Linda; Beasley, Elizabeth; Dee-Collins, Nicole; Gilcrease, Sallie; Lukens, Catherine (1 January 2017). "Second Chances for Paisley Shawls". International Textile and Apparel Association (ITAA) Annual Conference Proceedings. Archived from the original on 5 December 2019 . Retrieved 19 December 2019. a b c d McGuire, Brian (24 January 2013). "Roots of the Paisley Pattern". Paisley Scotland. Archived from the original on 5 December 2019 . Retrieved 4 December 2019.

Popularization of the Bandana

INDULEKHA» GREEN | colours: MANGO MANIA by Laurie Baker» 1". Archived from the original on 2 October 2008 . Retrieved 9 January 2016. The rich symbolism and rebellious aura that surround paisley have kept it alive, it seems. But perhaps the real secret to the print’s immortality is how it combines conformity with unruliness, how it blends its rich historicism with a powerful adaptability, and how it is open to endless and unexpected re-invigoration and re-interpretation. Veronica Etro is keen to break new ground with the pattern, she says. “To develop further its boundaries without really breaking with the past – but looking to the future.” Classics scholar, forward thinker and snappy dresser Oscar Wilde would no doubt have approved. a b c d e f "Buta to Paisley An ongoing Journey - Laureate Legal Terms and...Paisley A motif- * Intensively used in ... palm tree leaf Pearl Academy, ... In Kashmir the name used to describe this motif is buta or buti". pdfslide.net. Archived from the original on 5 December 2019 . Retrieved 5 December 2019.

a b c Karpinski, Caroline (November 1963). "Kashmir to Paisley". The Metropolitan Museum of Art Bulletin. 22 (3): 116–123. doi: 10.2307/3258212. JSTOR 3258212. Dani, Ahmad Hasan; Masson, Vadim Mikhaĭlovich (1999). History of Civilizations of Central Asia. Motilal Banarsidass Publ. ISBN 978-81-208-1407-3. Archived from the original on 10 September 2020 . Retrieved 24 December 2019. Paisley was a favorite design element of British-Indian architect Laurie Baker. He has made numerous drawings and collages of what he called "mango designs". [26] He used to include the shape in the buildings he designed also. [27]The pattern is still commonly seen in Britain and other English-speaking countries on men's ties, waistcoats, and scarfs, and remains popular in other items of clothing and textiles in Iran and South and Central Asian countries.