Thirubhuvanam silk saris are woven by the Pattunool community of Saurashtra, whose ancestors migrated to Tamil Nadu from South Gujarat.
Thirubhuvanam saris mostly had a single side border and double side borders were made on custom orders. It was also a way to keep the cost in check as most saris are woven using only pure zari as the community historically traded in silk, silver and gold ornaments. No thread work is ever seen on Thirubhuvanam saris.
The saris are lighter in weight than Kanchis ...use filated two-ply yarn for the warp, and three or four-ply for the weft, to ensure a  light and easy drapes with a great fall and feel.
Thirubhuvanam saris are woven continuously on the loom and the pallu is simply made to run on from the body of the saree. This technique is called the ‘poraiilapu’ and it ensures that there is no unevenness or splitting of the yarns. So the Korvai technique is not used traditionally.
The designs are a mix of the traditional and contemporary but the saris usually came without blouse yardage.So all pointers to keep it a pure silk pocket friendly sari than a Kanchi.
Speciality of Thirubhuvanam saris is the way they are folded. They are pleated, and folded so that when unfolded, the pleats fan out, giving it the name Visiri Madippu. This would make it easier to drape the sari, because the fold is such that the lines of the pleats are clear. All one needs to do is to pleat it along the lines of the fold. The other fabled hearsay is that they were folded as such for the royalty to keep the design elements a secret till they were adorned by royalty and that tradition continued. 
Kanchipuram's proximity to Chennai has made it more popular but people in and around Thanjavur and Kumbakonam still prefer the Thirubhuvanam saris, even for weddings.
However recently there is unexpected sprout in the power looms in this cluster with a lack of skilled workers and decreasing interest of the new generation in silk saree weaving... so chances of finding a power assisted or a powerloom Thirubhuvanam sari is a higher probability these days.

Persia is where the word originated. Zari (or Jari) is an even thread traditionally made of fine gold or silver, used especially as brocade in textiles. This thread is woven into fabrics, primarily made of silk to create intricate patterns. It is believed that this tradition started during the Mughal era and the Surat port being linked to the Haj pilgrims and Indians was a major factor for introducing this craft in India. During the Vedic ages, zari was associated with the grand attire of gods, kings and literary figures. Today, in most fabrics, zari is not made of real gold and silver, but has cotton or polyester yarn at its core, wrapped by golden/silver metallic yarn. Zari is basically a brocade of tinsel thread meant for weaving and embroidery. It is manufactured by winding or wrapping (covering) a flattened metallic strip made from pure gold, silver or slitted metallised polyester film, on a core yarn, usually of pure silk, viscose, cotton, nylon, polyester, P.P., mono/multi filament, wire, etc.

Nowadays, it can broadly be divided into three types. Real zari, imitation zari, and metallic zari.

Real Zari is made from fine silver or gold thread drawn from silver or gold alloys, which is flattened by passing it through equal pressure rotating rollers. The flattened silver threads are wound on the base yarn that is usually made of silk. These spools with silk and silver threads are further flattened for electroplating. The threads are then plated with gold by the process of electroplating. The lustre of the gilded threads is further increased by passing them through a brightener. These threads are then wound on a reel. In ancient times, when precious metals were cheaply and easily available, only real zari threads were produced. Due to industrial revolution and invention of electroplating process, imitation techniques came into existence to cut the cost of precious metals. As copper is the most malleable and ductile metal after gold and silver, silver electroplated copper wire replaced pure silver. Various modern colours and chemicals are used to create/impart a golden hue instead of pure gold. Precious metals and copper too became dearer due to huge demand in various modern industries.

Thus, a cheap and durable alternative was invented with non-tarnishing properties. Metallic zari came into vogue replacing traditional metals like gold, silver and copper. This non-genuine modern zari is light in weight and more durable than earlier editions. Also, it has the sought after properties of resistance to tarnishing and knotting.

Imitation zari is made when copper wires are drawn from copper alloys. It then undergoes a similar process, except in this case, they are electroplated with silver and then wound around the base yarn, and reeled. This type of zari is less expensive than pure zari, as silver electroplated copper is more economical.

Metallic zari is a modernized version of zari and it replaces traditional metals like gold, silver and copper. It is resistant, durable and light in weight. It is non-tarnishing and maintains its lustre for a considerable period of time. Pure zari is when there is only gold and silver content in the zari and no other metal (like white metal, copper etc). To qualify as pure, the gold Content has to be a minimum of 3gms. Zari with no copper but with less than 3gm gold is often referred to as “fine” zari. Zari with copper and silver and no gold is called Tested zari. There are alloys with gold but not pure gold which are called “touch” zaris. Kanchipuram has a Tamilnadu government approved certification process for zari. Even the best zaris are silver dipped in gold. Nowhere these days will you find 100% gold. 3gm gold mixed with balance silver is when it is called pure zari. This is how the government authorised agencies certify the zari quality and content.

Tested zari is not plastic. It is an alloy of silver with copper and silver used with silver comprising 67% of filament. Tested is the next best zari after the pure variety and is only made by few firms.

Plastic zari is a whole different category. This is used largely in power loom and Surat goods. It has a yellowish or whitish tinge and you can be assured of shrinkage on ironing. This type of zari is purely artificial in which fused plastic is coated with metal like aluminium. This metallized sheet is dyed in various colours according to the requirements and converted into thin tapes, which are finally wound on a core of polyester, viscose or nylon to make the final product.

Banaras uses a lot more variants. Nimzari, Cotton zari, Reshmi zari amongst others. Zari is used in various forms of embroidery such as Zardozi (zar = gold, dozi = work), Danka, Dabka, Karchobi, Kataoki Bel, Kalabatan, Mukaish, Tilla, Gota and Kinari Work. In Lucknow, the raw material to make original Zardozi threads is an alloy of gold and silver. This delicate alloy wire is made by melting ingots that are pressed through perforated steel sheets. They are further flattened by
hammering and then converted into wires. Once out of the furnace, these wires are twisted around silk threads to form the thicker, spring-like Zardozi thread. This springy quality of thread called “Dabka” is credited as a Lucknow specialty. It is often combined with sequins, glass and plastic beads. Lucknow Zardozi in itself is a variety of Zardozi that differs from the other forms of embroidery that bear the same name, done in other cities. Its opulent Mughal influences, for instance, differ from the Tamil influences of Zardozi done in Chennai.

Test to identify a pure zari sari: Look for the loose end of zari in the sari. Pure zari is made of red silk thread that is twisted with a silver thread and then dipped in 22K pure gold. If upon pulling the zari, you find that the silk thread is not red but white or any other colour, you can be pretty certain that the sari that you are buying is not a pure zari sari.

Paat or Pat silk is produced by silkworms which feed on mulberry leaves. It is usually brilliant white or off-white in colour. There is an unmistakeable sheen in Pat silk. A product of pat silkworm, this variety of silk is also called mulberry silk as the larvae prefers white mulberry leaves for food. The silk comes in natural white or off-white, has excellent durability and is known for its glossy quality.

Pat in Eastern India, Pattu in Southern India, and Resham in Hindi and Urdu, Silk has a variety of names across the Indian subcontinent.

ERI silk is made by “Philosamia ricini” which feed on castor leaves. It is also known as Endi or Erandi silk. The manufacturing process of Eri allows the pupae to develop into adults and only the open-ended cocoons are used for turning into silk, also popularly known as non-violent silk. This silk is soft and warm and is popular as shawls and quilts.

The texture of the fabric is coarse, fine, and dense. It is very strong, durable, and elastic. Eri silk is darker and heavier than other silks and blends well with wools and cottons. Due to its thermal properties, it is warm in winter and cool in summer. It is a very long process which takes around 45 days in total. The growth of the worm itself takes 30 days during which it continuously eats the castor leaves from the trees in the villages.

Once the final size is attained the worms start to spin their cocoons. This takes another 15 days. Eri silk, also called Ahimsa silk, or Peace silk is a non-violent silk which does not require to kill the moth to extract the fibre. The moth leaves the cocoon after spinning and flies off. For this reason, Eri silk is the preferred material of Buddhists and Vegans.

However, the shorter fibres of Eri silk make it less durable. It is indeed one of the softest and purest forms of Silk which is fancied by almost all the Silk lovers and is a staple in every fashionista’s wardrobe. The silkworms give the Eri Silk a dull yellow, gold like sheen. Eri silk has excellent qualities: it is very strong, combining the elegance of silk with the comfort of cotton and the warmth of wool. The more it is worn, the softer it gets and it is a great textile to be worn all year round.

The Ashavali saris of Ahmedabad known for their beautiful Brocade borders and pallus, were original creations from the ancient town of Ashavali which is known for such fabrics. Ashavali Brocades have a rich gold or silver metallic background on which the patterns are woven, with coloured threads, giving the fabric an enamelled appearance. The Ashavali designs are noted for their rich colour schemes, in contrast to simple brocaded borders.

The technique was also known as Zarbaft (zar meaning gold and baft meaning woven in Persian, or woven in gold). The background of the pallus and border is woven in a rich gold thread in twill weave to reveal the maximum amount of gold thread on the surface. This style of weaving was also locally called as ‘deshi vanat’. Ashavali brocades or the 'fabric of dreams' is an old tradition, which comes alive on the borders and in the inlay technique with figures of stylised parrots,
peacocks and lions. These figures are frequently interwoven with trees and floral motifs in the pallus and konyas (corners of saris). They have ornamental repeats of larger motifs, besides the paisley (kairi) motifs. The stylized lion motifs are rarely seen in the konyas, but are often used in areas woven with mixed cotton and silk yarns. As silk was not produced in Gujarat, it was either imported through Khambhat from Persia, or procured from Assam or Bengal.

Applique is a craft technique of adorning the base fabric by patching small and patterned fabric pieces on top of it. It is similar to patchwork and is a highly laborious craft.

The Applique Craft is a unique sewing technique where the fabric patches are layered upon a foundation fabric to finally stitch in the same place with the help of a machine or by hand where the raw edges are turned or covered by decorative stitching. Something that stayed skiing with the kings of India irrespective of the situations, was the luxury that can be observed in the fine craftsmanship. Patchwork and Appliqué Patchwork and appliqué traditions exist among most communities. For many embroidery styles, master craftwork depends on keen eyesight. By middle age, women can no longer see as well and they naturally turn their skills and repertoire of patterns to patchwork, a tradition that was originally devised to make use of old fabrics.

The history of Applique Craft in India can be traced back to the earlier times in the northern regions of Gujarat, which can be identified with the help of their style of fabrication, composition, patterns, and similar others. The Kathis, Mahajans, the Nomad camel herders, were the prominent producers of applique crafts in the region.

Like patchwork, applique craftwork is the method of constructing or embroidering quilts. This craft is used around the globe to design banners, display items, or on clothes.

The traditional applique craftwork is made particularly on the fabrics of red, black, yellow, green, or white fabric. The base of the material is prepared in the shape of an oval, circle, square, or rectangle that will form the background. Over this stitched material, with varied colours of threads and tiny mirrors are added to the cloth after the embroidery is done.
The elegance of the applique craft depends on the intricacy of the work and the stitches, which are chikan, guntha, turpa, and similar other techniques. The beauty of the craft is enhanced with the correct choice and usage of small mirrors and metal pieces used in the cloth.

To start with the crafting, a colouring cloth will be cut with the required shape that is drawn with a stencil and stitched together to make the applique cloth. With the help of simple stitching techniques, the mirrors or metal pieces are attached to the cloth. Some artisans even stitch the borders along with other embroidery designs to give an attractive look.

 

Forms of Applique Works:

The concept of applique work generally revolves around stitching different clothes together in a specific design. With the usage of varied colours of threads, and the mirrors or metal pieces, the beauty of the work is enhanced. It can be a great way to adorn cushions, homewares, and similar others. The varied types of applique works are:

Raw-edge Applique:
This can be done by machine or through hand stitches, and some exquisite designs can be done without any hard work. This type of applique work is effective for smaller projects that do not require the proper finishing of the edges.

Smooth Edge Applique:
This type can be executed by machines to give the raw edges a smooth finish that makes the whole work look tidy and smooth.

Reverse or cut-work Applique:
It is quite an interesting type of applique work as instead of sewing the fabric on top, a layering is done and a motif is stitched at the top. The parts that reveal the shape are cut properly from the fabric.

Multiple-Hoop Needle Applique:
If more advanced designs are required and larger hoops, then this technique can be utilized. The stitches are created on the designs after which the fabric in the background is repositioned to get each section stitched equally. The Multiple-Hoop Needle Applique gives a more detailed design and complete look.

Decorative Stitch Applique:
While sewing with a machine, the decorative stitch applique work can be tried to make the fabric look more vibrant than all. The artisans with high sewing skills try this type of applique work that gives an exquisite look to the fabric.

 

Methods Of Applique Application:

The application method depends on the expertise in the craft, the type of design required, preferences, and similar other aspects. The prominent methods of applique application are:

Machine Applique:
There are two primary procedures for completing applique utilizing the sewing machine. The traditional procedure, which is more advanced, involves sewing an arrangement line, positioning your portion of fabric more massive than the line over the stitches, and then finishing the second row of stitches to affix the fabric to the base material. Once this is finalized, the extra fabric is trimmed away to disclose decorative applique patterns. This category of applique can be time-consuming but is rewarding.

Hand Applique:
Largely several variations of applique are done using a machine, but hand-applying applique is often utilized for quilting and is perfect for developing dimensional layouts on your fabric. Hand sewn applique is nearly just sewing a structure to a piece of fabric using a needle and thread, but there are various ways to do it.

Fused Applique:
Sewing applique by conventional means can be very time-consuming, so today a lot of people use fusible web which is normally an iron-on glue, to develop elegant designs. If you’re after a quick way to create a helpful design, the fusing procedure is your best bet. The fabric shapes are fused to the base fabric using the web, and then machine sewing on top holds the pieces together and provides an embroidered close.

 

Main Centres Of Applique Crafts

Applique craft is a major work of experimentation with varieties of fabrics and designs to bring out the best of the designs. Though the craft derives its origin from France, this ornamental craftwork has its roots spread in several parts of India where it has been present there from the early decades and the artisans produced famous applique crafts such as display pieces, banners, tents, and similar others. The prominent centres of applique work in India are the Saurashtra, Kutch, Patan, and Banaskantha regions of Gujarat. The specific colour palettes used by the artists in these regions are warm to cool, bright shades, and natural to neutral tones.

This craftwork is also prominently practiced in Orissa, particularly for the banners designed during the Rath Yatra of Lord Jagannath. Pipli is a renowned name in the creation and survival of this unique craft.

Applique artisans belong to a community that migrated from Pakistan during the war of 1971 and settled in parts of Rajasthan and Gujarat. Presently most of the applique work is done in Barmer District of Western Rajasthan.

Phool Patti ka Kaam (Patti work, Patti ka kaam, Floral and leaf motifs) is a dying traditional craft of appliqué style embroidery practiced at Aligarh and Rampur, Uttar Pradesh. Phool Patti ka Kaam was the combination of patchwork and embroidery in which floral designs were created on clothes. The fabric cut pieces formed into motifs and hemmed onto the ground fabric and stems were embroidered along with stem stitches. The craft was famous during the Mughal period. The appliqué was done on fine muslins, white cotton fabric or organdy.

Khatwa is the local term for applique in Bihar and refers to intricately embroidered textiles that are ornamental or narrative, depending on the artisans' choice. It is a craft practised by both men and women, although typically more women artisans are engaged in the craft. Commonly used in shamianas and tents.

Patchwork is also a tradition of Punjab. Lambani embroidery and Kaudi, a blanket or bedspread are examples applique embroidery from Karnataka. Old Fabrics are cut into pieces and stitched with simple running stitch and Gubbi Kaalu stitch.

Gota from Rajasthan is a form of appliqué in gold thread, used for women's formal attire. This metallic lace is made up of metal-coated weft yarn, while the warp yarn includes ribbons of fibres like cotton and polyester. Small pieces of zari are stitched onto the fabric, with edges sewn down to create patterns. Small pieces of zari ribbon are applied onto the fabric with the edges sewn down to create elaborate patterns. Lengths of wider golden ribbons are stitched on the edges of the fabric to create an effect of gold zari work. Colloquially known as ‘lappe ka kaam’, (appliqué work), it comprises a series of motifs running through the fabric; this is further accentuated by the use of kinari, which means border decoration. The lace used for gota embroidery is believed to have its roots in Lucknow. It is also said that the craft was earlier practised by the Bisayati denomination of the Muslim community, subsequently spreading to other communities.

Amru, also known as Silk Brocade, is one of the main craft forms of Benaras or Varanasi in Uttar Pradesh. It is a form of brocade embroidery that uses silk threads in the making as opposed to threads of gold or silver zari. Because of the motifs woven in this type of brocade, the saris on which these are made are known as Buttidar.

The patterns that are woven in the Amru brocade are inspired by flora, featuring buds and mango motifs more commonly, Amru silk brocade is characteristically identified by these patterns. Another common motif that can be seen on Banarasi saris with Amru brocade are flowering bushes, again inspired by nature.

It is also said that the Amru brocade came about in the first place for those who could not afford the Kimkhwab, which can either be interpreted as a fabric that is made of gold and silver yarns or a fabric that features gold and thread work predominantly.

Amru brocade is often confused with Tanchoi, another brocade from the Banaras region. They are however, completely different.

The highly stylized motif representing a mythical bird often confused with peacock, is actually a form of divine swan believed to have descended from the heavens. Interestingly swans are migratory winter visitors to the Indian subcontinent and Indian mythology and poets talk of them spending summers in Manasarovar. The graceful creature symbolizes the free spirit of Brahman, the Vahana or vehicle for Saraswati, Goddess of Knowledge. In Rigvedic times, the wise bird could discriminate and separate 'Somaras' from water and in the later years chose to separate the healthier milk from water and enjoyed a high calcium diet of pearls. The underlying concept is about the knowledge and wisdom to choose truth over falsehood, virtue over sin, real over make believe. Symbol of purity, and sheer elegance is the gracious swan that has decked the Kanjivaram and handpainted Kalamkari saris for centuries to modern days.

The bird believed to be Goddess Saraswathi’s Vaahanam (vehicle), the mythical creature is also referred to as Annapakshi. The Annam finds its presence on Temple stupas, religious articles and literature texts. Often accompanied with the Thalaivi (The Lady), the Annam often appears in beautiful and dainty scenes throughout literature. The birds were portrayed in a lifelike manner or turned into mystical beings with celestial features. Particularly, the swan was chosen for stylising as the divine Annapakshi who can separate milk from water and has spiritual qualities of discerning between good and evil. The splendid-feathered Annapakshi often found pride of place on gorgeous pallus and borders of priceless Saris.

The Adai technique is an ancient and traditional method used to embellish the Kanjivaram sari. This meticulous and time-consuming process involves weaving motifs entirely by hand, without the aid of a jacquard machine, resulting in exquisite detail and pronounced texture. Many heirloom Kanjivaram saris feature patterns woven in Adai on the pallu. This highly skilled technique allows for the execution of intricate patterns on a larger scale, often taking the form of motifs within motifs or beautifully complex and elaborate designs that come to life on the drape. In a jacquard loom, the silk threads of the sari are connected to jacquard cards within a box-like machine. During weaving, this machine lifts the threads in specific patterns to create motifs on the drape. In contrast, the Adai loom requires an entirely manual process - the threads to be lifted by hand, often needing two pairs of hands while weaving. Although the Adai technique is more time-consuming and laborious, its loom setup is simpler than that of the jacquard loom, which is tedious to set up and change. The beauty of the Adai technique lies in its flexibility, as it is not restricted by shape or size like jacquard weaving. According to many master weavers of Kanchipuram, Adai weaving is akin to free-hand drawing and other art forms that cannot be confined within a frame or a box. Even the smallest and simplest patterns and motifs require intricate handweaving methods.

Aari work embroidery, also known as hooked needle work, is a beautiful form of traditional Indian embroidery that is often said to have originated in Barabanki, Uttar Pradesh, and later found its way to Kutch, Gujarat. This exquisite craft owes its origins to the shoemaker or cobbler community, who introduced the chain stitch and applied intricate designs to fabric using the aari needle. However, historical records show Aari to have originated in 12th century or earlier in Kashmir due to Persian influence. The style then travelled and different regions transform the embroidery with their unique flavour.

Aari work embroidery is renowned for its intricate detailing and the use of the aari needle. The aari needle, also known as the hooked needle, is the primary tool used in this technique. It is a long, slender needle with a hook at one end, resembling a crochet hook. The hook allows the artisan to easily catch and manipulate the thread, creating intricate and precise stitches. The aari needle is used to create various types of stitches, including the chain stitch, the satin stitch, and the bead stitch. Each stitch adds a unique texture and dimension to the embroidery, enhancing the overall beauty of the design. The aari needle allows for precise control over the thread, making it possible to create intricate patterns and motifs with ease. One of the distinguishing features of aari work embroidery, outside Kashmir, is the use of beads. Bead work is an integral part of this craft, adding shimmer and sparkle to the designs. The beads are carefully stitched onto the fabric using the aari needle, creating a stunning embellishment that catches the light and adds a touch of glamour to the embroidery. Sequins and stones are also used as a form of embellishment.

The process of creating aari work embroidery involves several steps. First, the design is drawn onto the fabric using a pencil or a washable marker. Then, the fabric is stretched tightly on a wooden frame called a “khaka.” The artisan then uses the aari needle to carefully stitch the design onto the fabric, following the marked lines.

Each stitch is meticulously executed, ensuring that the thread is pulled tightly to create neat and even stitches. The artisan may use different colours of thread to bring the design to life, adding depth and dimension to the embroidery. Once the stitching is complete, the beads are added, meticulously sewn onto the fabric to enhance the design further.

The Pasapalli sari with its distinctive black-and-white squares is a replica of the chessboard. Equally fascinating are the names—Bichitrapuri, Chandrika, Nabagunja, Asman Tara and Krishnapriya. The earlier yarns of coarse cotton have been replaced with fine cotton, silks, tussar and a cotton-silk mix called ‘batts’. Gold thread and tissues are also used to enhance the patterns.

Made from exclusive handloom fabric called pata, Bichitrapuri saris are an essential part of wedding trousseaus in Odisha and mostly appear in traditional black and grey, reflecting the bandhakala or the tie-and-dye craftmanship of Sambalpuri weavers. Pasapalli saris enjoy a traditional craftmanship dating back to 200 years. The saris are brilliantly crafted by the weavers of Sonpur in the Suvarnapur district of Odisha and are locally popular as ‘Bichitrapuri’

A town in Aurangabad district, Paithan is a quiet religious place on the northern banks of the river Godavari in Maharashtra, the splendid capital of Satvahana Dynasty in 200 BC. In ancient times, Paithan was a prosperous trade centre called ‘Pratisthan’ and exported rich fabrics and precious stones to far off lands. Today the glorious past has stayed behind in the form of ‘Paithani’, a Poem in Silk and Gold.

Paithani derives its name from Paithan where it has been produced for 2000 years. It is essentially a silk sari with an ornamented zari pallu and border and traditional motifs. The sari is often known by the motif that dominates its border or pallu.

A special feature of Paithani is that no mechanical means are used to produce the designs. Skilled weavers count the threads of the warp for each part of the design and using tiny cloth pins or ’tillies’, interlock the silk or gold yarn on the weft with them. The progress is slow. Sometimes only half an inch can be woven in 12 hours.

Material: Normally Paithani is woven using silk yarn and the zari is drawn from pure gold. But today an economically viable sari may be woven substituting silver for gold.

Motifs: The oldest traditional Paithani motifs are Ashavali (vine and flowers) and Akruti (squarish flower forms). Some other traditional motifs are Narali (coconut form), Pankha (fan), Rui Phul (a kind of flower) and Kalas Pakli (a petal form). Storks and Swans were popular motifs during the Shalivahan era, while the golden Lotus in Yadav times. The Mughal period inspired new motifs derived from flowers, plants, trees and birds, e.g. Peacock in Bangdi Mor design. The Ajanta influence is seen in motifs like Ajanta lotus, the triple bird and the seated Buddha. Some other motifs are Kuyri Vel(mango), Anaar Vel (grapes), Gokarna Vel (Gokarna flower), Tota – Maina (parrot), Humaparinda (pheasant) and Behestiparinda (bird of paradise). The Muniya or Tota-Maina motif symbolizes the parrot. Parrot is the sign of love and passion. Its red beak represents the red earth before the rain or the unfulfilled desire and the green feathers representing the green earth after rains or fulfilled desire, full of joy that forms an indispensable part of human life. The Lotus or Kamal Pushpa is a motif that bears a close resemblance to the murals of Ajanta Caves located in Aurangabad, Maharashtra. It is the sign of rebirth. The Lotus closes in the evening and falls into water. But in the morning, it opens up lifting itself above the surface of water. It also represents essence of life in addition to representing royalty, beauty and purity. Though a traditional Paithani has a plain body, it is not unusual to have tiny motifs or ‘butties’ of various shapes, such as Paise (coin), Tara (star), Phool (flower), Paan (leaf), etc.

The Paithani comes in various colours, some pure and some resulting from the blending of yarns of different colours in the weave. Usually, the dominant colour in the border and the pallu is different from the body. The local names for the colours are Kaali Chandrakala (black), Uddani (faint black), Pophali (yellow), Neeligungi (blue), Pasila (red-pink-green blend), Pheroze (white-red-pale green), Samprus (green-red), Kusumbi (purple-red), Motiya (pale pink) and Kshirodak (white).
Kadiyal border Sari: The word ‘kadiyal’ means interlocking. The warp and the weft of the border are of the same colour while the body has different colours for warp and weft.

Kad/Ekdhoti: A single shuttle is used for weaving of the weft. The colour of the warp yarn is different from that of the weft yarn. It has a Narali border and simple buttis like paisa, watana, etc.

The ‘silk czar’ of Nalli, Kuppuswami Chetti was known to come up with a new collection every festive season. He introduced the classic Palum -Pazhamum - Kattam saris, inspired by the Sivaji Ganesan and Saroja Devi super-hit by the same name, which was a festival release too.

One of the most sought after Kattam (Checked) saris, Paalum Pazhamum means ‘milk and fruit” in Tamil and celebrates the harmony of life. 1960s style “Clan Wallace plaid” good old Madras Checks.

Bagru is located 30 kms southwest of Jaipur along Ajmer Highway. The Chhippa community has been hand block printing in Bagru for about 350 years, developing a unique process with natural vegetable dyes. The Bagru Chhipa community migrated from Jaipur and settled in the Bagru area near the Sanjaria River because it provided the necessary water for printing and chikni mitti, an important ingredient in Dabu mud. Even though the river dried up 20 years ago, many printing families still reside in the area called Chhippa Mohalla (the printers’ quarters). There are two main types of hand block printing in Bagru … Bagru printing and Dabu. Prints of Bagru are acclaimed all over India and are particularly known as Bagru prints. The prints of Bagru, unlike other prints, involve a different kind of printing. The unique method for printing employs wooden block in it. In the process, the desired design is engraved on the wooden block first and then the carved block is used for replicating the design in the preferred colour on the fabric. Bagru prints are more famous for their exceptional quality of being eco-friendly. Even today, artisans use traditional vegetable dyes for printing the cloth. Like, the colour blue is made from indigo, greens out of indigo mixed with pomegranate, red from madder root and yellow from turmeric. Usually, Bagru prints have ethnic floral patterns in natural colours. Bagru prints form the essential part of the block printing industry of Rajasthan.

Bagru Printing Process:

1. The fabric is pre-washed and soaked for 24 hours to remove all starch, oil, dust, or any other contaminants.

2. The fabric is “yellow” dyed in a harda solution, which allows the natural dyes to adhere to the fabric and become colourfast. Harda is extracted from fruits of the myrobalan plant (terminlia chebula). The yellow dyed fabric is dried in open fields under the bright Indian sun. The fabric is now a yellowish cream colour (unique to the Bagru printing process) and is ready for printing.

3. The yellow dyed fabric is spread and smoothed on long padded printing tables. The printing always moves from left to right. The printer gently taps the wooden block in a tray of the proper coloured dye. He then applies the block to the fabric carefully lining up the corners correctly and gives one hard swift hit to the centre of the block to ensure even distribution of the dye. This is repeated over and over again, first with the gadh block (background), and again with the rehk (fine outlines) and daata (inside filling) blocks in different colours.

4. After all the printing is complete, the fabric is left to dry for 2-3 days before it is washed. Once the fabric is thoroughly dried, it is boiled in a large copper pot with a mixture of natural ingredients, including alum and various flowers. The fabric is constantly stirred as it is boiled to keep the fabric from burning on the bottom of the pot. After boiling the fabric is once again washed to remove any excess dyes or dirt, and again dried in the sun. The block printed fabric is finally ready to be packaged and sold.

Barmer in Rajasthan, is known for its prints of red chillies and trees featuring a blue-black outline, while Shikar and Shekhawat prints feature motifs of horses, camels, peacocks and lions.

Bold geometric prints are what set Barmer’s prints apart from the rest of Rajasthani textiles.

Additionally, unlike the light floral colours, Barmer fabrics show darker shades as it takes inspiration from Barmer’s location in the Thar Desert, where locals believe dark shades are cooler.

Woven in the Sambalpur district of Odisha, Bapta saris are named after the handloom fabric from which they are made. The body of the saris is woven with tussar or kosa silk, while the borders and the pallu are made of cotton. These saris are typically worn only on special occasions and are not meant for daily wear.

These saris, woven on a three-shuttle loom, are also often embellished with gold threads in the weave and patterned using the ikat or bandha tie-dyeing technique and is woven on a three-shuttle loom that is worked by two weavers. Intricate motifs are woven on the body of the sari and along its border and throw. The Phoda Kumbha, or temple motif is usually woven along the borders, giving it the appearance of a jagged edge. The entire production process can take upto two weeks.

The laborious weaving process, coupled with low demand in the market, has dissuaded many weavers from making traditional Bapta saris, leading to a steady decline in their production in recent years.

Phoda Kumbha border, is unique to Odisha handlooms, where kumbha means temple. The temples are very clear and with sharp edges. Phoda Kumbha is weaved using a 3-shuttle technique ... In this technique 2 weavers weave from the two ends to meet at the centre. This is done using a 'cut shuttle technique', in which shuttles interlock with one another to form Phoda Kumbha in the weft direction. The paddling technique for weaving these textures is quite challenging. The sari pallus usually have bandha or ikat woven in it.

It is a type of tie-dye textile decorated by plucking the cloth with the fingernails into many tiny bindings that form a figurative design. The term Bandhani is derived from the Sanskrit word Bandha ("to tie"). The earliest example of the most pervasive type of Bandhani dots can be seen in the 6th century paintings depicting the life of Buddha found on the wall of Cave1 at Ajanta.

The main dyes used in Bandhani are organic and natural. As Bandhani is a tie and dye process, dying is done by hand and hence best colours and combinations are possible in Bandhanis.

The Bandhani work has been exclusively carried out by the Khatri community of Kutchh and Saurashtra. A metre length of cloth can have thousands of tiny knots known as 'Bheendi' in the local language ('Gujarati'). These knots form a design once opened after dyeing in bright colours. A variety of patterns like Chandrakala, Bavan Baug, Shikari etc emerge depending on the manner in which the cloth is tied. Traditionally, the final products can be classified into 'Khombhi', 'Ghar Chola', 'Chandrakhani', 'Shikari', 'Chowkidaar', 'Ambadaal' and other categories. The main colours used in Bandhani are Yellow, Red, Blue, Green and Black.

Kadhua or Kadwa and Phekua or Phekwa or Fekua or Fekwa

In Kadwa (Kadhua) weaving, each motif is woven separately as opposed to other Banarasi handloom saris (also known as "Phekwa" or “Phekua” or cutwork saris). In Kadwa saris, there are no loose threads at the back of the fabric and hence, no cutting is required. The elaborate and laborious Kadhua technique is used to incorporate motifs. Using this technique, many different motifs of different sizes, colours and textures can be woven on the same sari, which is quite difficult to do otherwise. While this takes longer on the handloom, it makes a more robust pattern, which stands out on the fabric.

 

Kadiyal

Kadiyal technique helps achieve a border in a sharply contrasting colour to the rest of the body of the garment, a feat in itself in handloom weaving. This requires careful dyeing and setting of the warp in different colours and multiple changes in the weft shuttle while weaving.

Meenakari

Meenakari involves the painstaking addition of supplementary coloured resham threads during the hand-weaving process. This adds different colours to the pattern apart from the zari. Meenakari can be done both in the Kadhua or the Phekua (cutwork style).

Tanchoi

Tanchoi is a weaving technique that involves a single or double warp and multiple (usually two to five) coloured wefts, often of the same or very close shades. It produces a self-design, which covers the fabric and ensures that there is no float on the back. It is famed for the intricate and small weaving patterns all over the fabric. Narrow borders, in the same palette as the sari, is another distinct feature of the traditional Tanchois. Resham threads are used in Tanchois whereas the Tanchoi Brocades comes Interwoven with zari

Jangla

One of the oldest weaving techniques practised in Banaras. All over jaals, flowers and creepers cover the body of the fabric to create a rich and dense design. Only when an all over jaal has been woven in a full Kadhua weaving technique, is the pattern referred to as a Jangla.

Jamawar

The intricate paisley motifs and designs on a Jamawar fabric give it a distinctive appearance. The design in a Jamawar is completely woven into the fabric with no loose threads on the back.

Katan silk is a plain-woven fabric with PURE SILK THREADS or RESHAM. It consists of two threads twisted together and is mostly used for the warp of light fabrics and to create a sturdier and more durable fabric. The varieties of Katan silk include:

•  Katan Brocade: Figures or patterns on this garment are made with gold thread and both, the warp and weft are made of katan.
• Katan Butidar: This fabric has resham or gold butis (patterns or design) on it.
• Katan Butidar Mina: The design work on this fabric is made out of zari threads.
• Katan Butidar Paga: This type has a weft made of resham and contains buti work that is spaced 4 inches apart all over the body of the garment. When used for saris, this fabric has a 12-to-22-inch-wide pallu (or drape) which is wider than most saris along with a 2-inch-wide border.

After the decline of Baluchari weaving in West Bengal, Kamaladevi Chattopadhyay, the doyen of Indian handicrafts, made attempts to revive it, determined to bring the weave back to life. Along with Jasleen Dhamija, the textile expert, Chattopadhyay took a sample of Baluchari designs to Kallu Hafiz (Ustad Ali Hassan), the designer and master nakabandi in Varanasi. Their efforts bore fruit and the near-extinct tradition of Baluchari weaving got a new lease of life. When the Baluchari was being revived, the jala could be made only at Banaras, where there were still Nakshabands practising the craft.
Kallu Hafiz came up with a production of the original Baluchari. Today, the fourth generation of Kallu Hafiz’s family, his great grandson and master weaver Naseem Ahmad, continues to work on the old nakshas on Baluchars, weaves the Baluchars now using Malda silk yarns, using the traditional technique, but on an intricate jala or naksha loom.

Therefore, we can safely say that while Golani/Chalani Baluchari saris are made in Bishnupur, even today, the Nakshaband Baluchars are made in Banaras

Balucharis did not even originate in Bishnupur. Its actual place of origin was Baluchar, Murshidabad. The fabrics derive its name from the same. The Baluchari history of Bishnupur is impossible to cover without covering the original ones from Murshidabad in details. The term Bishnupuri (of Bishnupur) Baluchari and Murshidabadi (of Murshidabad) Baluchari is how they are often addressed. The Murshidabadi Balucharis are also known as Baluchar Butidar. In 1704 A.D. when the Nawab of Bengal, Murshid Quli Khan shifted his office from Dacca (present day Dhaka) to Mukhsudabad (present day Murshidabad, named after Murshid Quli himself), the textile sector of the area received glorious patronage as the Nawab was a great connoisseur of the same. Among the wide range of Murshidabad’s beautiful textiles, the most artistic was the Baluchari. It has been eulogized as the “loveliest and most charming of all silks in India”. Apart from Nawabs like Murshid Quli, Aliwardi Khan, Sirajuddulah, Mir Jafar, family of Jagat Seth, this weave - embroidery also initially received the patronage from the British employees of the Cossimbazar Kuthi. It soon flourished all over Murshidabad, Azimganj, Cossimbazar, Mahimpur and Baranagar

Baluchari and its name originates from a peripheral area of the town of Jiaganj in Murshidabad known as Baluchar, 23 kms north of Baharampur on the river Bhagirathi. The term ‘balu’ means sand/soil and ‘char’ means a delta created due to silt deposit from a river. The village of Baluchar was created due to silt deposits from the Bhagirathi. This distinctive art named after the epicentre extended to the neighbouring villages of Amaipara, Ramanapara, Ramdhar, Baligram, Bagdhar, Beliapukur, Amdahar, Ransagar and Bahadurpur and by the end of the 19th century there were practically no weavers in Baluchar proper. These adjacent areas came to be known as the Baluchar circle that pursued this unique art. The main distinction of Baluchari saris lies in its attractive and highly prized aanchal or pallu, or the end piece which bore heavily brocaded human figured motifs of the contemporary era eg. Nawabs, Europeans etc. The most prominent name in Baluchari weaving is that of master weaver Sri Dubraj Das of Bahadurpur. He was a legend in the traditional gharana (mode) of Baluchari art. The two monographs on silk fabrics written in 1892 and 1903 offer some clue to the period when Dubraj dominated the scene.

Dubraj belonged to the Chamar caste (leather workers) and he actually began his life as a leather drum maker. But as we would later see Dubraj was an immensely gifted man and he soon left leather work and joined a group of Kaviyals (impromptu singers). His life took a sudden turn when he chose to apprentice under a weaver-artist of Baluchar. From him, Dubraj acquired the technique of setting looms for turning out exquisite patterns and ultimately, he became the most interesting figure in the sericultural history of the district. His expansive artistic vision enabled him to keep pace with changes in contemporary taste and style. He is said to be the only weaver of his time who “can set the loom to any pattern he sees” and he kept experimenting with new patterns according to demands and trends of the time. Although it is said that he was illiterate, several saris have been found with his signature woven on it along with his location. The aspect of signing his name is probably one of the rare instances of an Indian craftsman branding his product. He has also woven religious texts on fabric in place of ornamentation. In spite of his extraordinary mastery over the craft, Dubraj was poor and he thus did not part with his exclusive knowledge and trade secret to protect his source of livelihood. In fact, during his time, his saris were the best pieces of fabrics, both heavy ornamentals and plain elegants, comparable only to the best products of Kashmir and Varanasi looms, but unlike the others, the Baluchar products could withstand any amounts of washing. Apart from saris he was known for weaving rumals (big handkerchiefs), shawls with ornamental borders and corners, table covers, scarves and sashes, woven to order for the nobility. There were six looms in Bahadurpur and Dubraj owned all of them, thus monopolizing the craft. There were several weavers working on his old designs and assisting him but only he knew how to set the loom. The figured Balucharis which once dominated the Indian textile scene began to see a downward trend towards the last quarter of the 19th century. In 1888, it was recorded that these fabrics “have now very nearly been ousted from the market”. Some of the best pieces of Dubraj were devoid of figures in the aanchal and the craftsmanship was confined to the kalka (paisley) panel, intricate borders and floral ornamentation. Some were devoid of butis.

This marked the beginning of decline of the traditional Baluchar style. The first and foremost reason for this was the change of taste of the patrons due to the contact with Europeans. The modern elites were attracted to European elegance and considered these figured fabrics clumsy. Dubraj attempted to cater to the altered taste buds but there were none to keep the flame alight after his death. Moreover, competition with European mill made products as well as the active hostility of the English towards the Indian textile Industry contributed greatly to this decline. The English wanted raw silk rather than finished goods.

Further gold brocaded Banarasi saris set new trends in taste as they proved to be more attractive and comparatively cheaper. Tales of massive floods at Baluchar forcing weavers to migrate is also often heard. Dubraj Das passed away in 1903 and took with him the knowledge and skill to create these magnificent art pieces. Since he was not from a weaver family, the craft was not carried on by his heirs. His son did attempt to weave a fabric in a loom set and left by him but did not succeed to achieve the fineness of his father’s patterns. Mrityunjay Sarkar, who was the finest plain silk weaver of Murshidabad was asked to set his looms for weaving ornamental fabrics like Dubraj. After much effort and by special arrangement of his loom he accidently succeeded in reproducing the ornamental borders of Dubraj’s patterns on saris, shawls and table covers as he was familiar with the Naksha looms of Baluchar. But the whole process was so complicated that he failed to grasp the technique of readjustment of his loom and to reproduce those patterns. In subsequent times, the name of Hem Bhattachariya was also famous. He was active probably during the end of the 19th or the beginning of the 20th century A.D. With the death of these few people, along with the previously mentioned causes, the craft completely died out. The weaving of a Baluchari fabric was an elaborate and complicated process involving as many as a dozen weavers manipulating the loom. For richer patterns, even fourteen Nakshas were employed at a time and the whole process to complete a sari took as long as six months or more. So once the loom was set, the weaver turned out 5-10 or sometimes even 30 pieces of saris before resetting the loom which demanded high level of technical skills

From its birth, Baluchari was the adornment of the elite class. During the period of Delhi-Bengal political intimacy, it was the product of high demand in the Mughal court and other royal families of the country. In the middle of the 19th century, elite Bengali housewives were known to wear Balucharis. In one of his writings, Abanindranath Tagore (Nobel Laureate Rabindranath Tagore’s brother) mentions that his mother (wife of Maharshi Debendranath Tagore) wore a Baluchari sari on the occasion of ‘Maghotsava’. Post independence, the Government of India’s Design Centre tried to revive the Baluchari weaving art with the help of weavers in Bengal and in South India but did not achieve any success in this initiative. Then around 1956 AD, Sri Akshay Kumar Das, a native of Bishnupur and a designer at Government of India Textile Design Centre, retired from his post and went back to Bishnupur. There he met Sri Hanuman Das Sarda, the chief organizer of Silk Khadi Seva Mandal, who having acquired a piece of a Baluchari sari from Shubho Tagore (nephew of Rabindranath Tagore), was toying with the idea of reviving the craft. Shubho Tagore, himself being a famous artist, felt the need of recultivating this rich tradition as well. He invited Sri Akshay Kumar Das to learn the technique of jacquard weaving. Sri Das then went back to Bishnupur and along with the financial assistance of Hanuman Das Sarda started working on the same. It is said that the organization spent Rs. 5,000/- initially and the cost of initial designing and raw material was provided as a subsidy by the Design Centre of the Government of India. Thus, with hard work and planning, the first piece of Bishnupuri Baluchari was produced in 1957 A.D. after a lapse of several years. It was woven by Gora Chand and Khudu Bala, a weaver couple from Bishnupur following Akshay Kumar’s design.

Since then, Silk Khadi Seva Mandal continued its effort to fully revive the Baluchari art of weaving. (This organization is still functioning in today’s date but has lost its glory). Following suit, another voluntary organization Abhay Ashram started production centres for Balucharis at Bishnupur and Sonamukhi. Since the ancient drawboy (what is commonly referred to as the Dobby loom) jala loom system of weaving was extremely time consuming and labour intensive and automatically hiked the price of the sari, these organizations were finding it rather difficult to market the same. During this time jacquard looms with punched designs were introduced to Bengal, which ensured higher productivity and a lower cost of production. But with this the quality began to deteriorate with the loom’s constraints and fast production. The motifs became far less intricate and more spaced out. The designs were not reversible and the extra wefts form floats at the back. The Silk Khadi Seva Mandal had to pass several ups and downs to sustain the organization. One of them was the dearth of customer base and good marketing. But this problem was overtaken with the assistance of Khadi & Village Industries Commission and publicity by the Ananda Bazar Group of newspapers and periodicals.

Another problem was that the organization did not have their own design centre due to financial constraints which led to a high price being paid for the design development.

The third crisis happened when the weavers working for the organization were lured away by various traders. These traders aimed for faster production and more profits and seldom cared about quality and intricacy of motifs. This led to a rise of a cheaper, substandard quality of Baluchari, which flooded the market.

Someone who has seen both the old and contemporary Balucharis of Bishnupur, it is easy to realize that the intricacy and craftsmanship have truly declined over the ages. People often write off the Bishnupuri Balucharis in comparison to their Murshidabadi ones, but the old Bishnupuri Balucharis were quite as exquisite in their design and craftsmanship as those of Murshidabad. Also, the Silk Khadi Seva Mandal face problems due to fund constraints. The market too is quite seasonal … where fabrics of such high costs are usually bought either during festive seasons or marriage seasons, which causes uneven cash flow.

The motifs seen on the Balucharis were also vastly changed with the Bishnupur variety. Stories of Ramayana and Mahabharata, Shakuntala – King Dushyant, Lord Madan Mohan, kings and courtesans etc. became popular subjects for motifs. Neither the ones from Baluchar nor the early ones from Bishnupur involved any zari/metallic thread (as in the present Swarnacharis and Tamracharis) for weaving motifs. It is a present-day variation created due to user preference. Presently there are several traders involved in Baluchari manufacturing in Bishnupur. Not only are they store owners, they have their own production units as well. Although the current Balucharis are not as densely brocaded and intricate as those from the past, they are still one of the finest and most exquisite textiles being produced in India today. As it is a rare textile art with mythological stories woven all over it, some authors have referred to it as “an epic sonnet”.

Balkal or Balkhal is a thick coarse yarn spun from Tussar peduncles (stem) of the cocoon. Hence this is also a variety of Ahimsa silk. It has the coarsest texture of all raw silks. The peduncles prior to spinning are subjected to cooking/boiling in an alkaline solution and opening up operations. Peduncles are boiled in soap and soda solution followed by steaming. After washing and drying, they are beaten-up for opening and subsequently carded and finally spun into thick yarn up to about 10s count, by either a spinning wheel or Ambara charkha. The degumming loss of the peduncles of different races of Tussar cocoons shown in Balkal yarn is normally used as weft in combination with reeled silk for the production of union fabrics.

This technique is a brilliant example of the zero-waste philosophy in textile manufacturing. Balkal silk is spun to create beautiful natural dark brown yarn which is then used to weave highly versatile, breathable fabric. Though rustic and raw in its appearance, Balkal silk is soft and warm when you feel it. It’s a very rare silk produced only on a small scale in India. The silk is produced from the stem, not the cocoon.

Historically, the great Bodos were known as the Mech. Even today, the Bodos living in West Bengal, Nagaland and Nepal are called Mech. The Bodo-Kacharis have settled in most areas of North-East India, and parts of Nepal.

Weaving is an integral part of Bodo culture. Many families rear their own silkworms, the cocoons of which are then spun into silk. Bodo girls learn to weave from a young age, and no Bodo courtyard is complete without a loom. Most women weave their own Dokhonas (the traditional dress of the Bodo women) and shawls.

Since ancient times, the indigenous people like Bodos were accustomed with the production of clothes from the thread of Eri and Muga. The Eri cloth is of dub colour and is durable. It is light but warm … in ordinary cold season, the wrap of the Assamese (referring to the people of ancient Assam including all tribes) is generally made of this cloth. Bodo women are expert in rearing the “Endi Emphou ” ( Eri worm ) and “ Muga latha ” ( Muga worm ) and pulling out threads from them. They weave different kind of clothes like “ Dokhona “ (women’s dress for covering the whole body ), “ Jumgra “ ( chadar or orna or scarves), Gamusa (cloth for covering the lower part of the body and also a s a substitute for a towel), “ Phali “ or “ Rumal ” (handkerchief ), “ Shima “ (big and wide cloth used as rugs during the winter season ) etc. out of the threads of Eri and Muga. Traditionally Bodo menfolk used to wear “Gamsha “ (Gamusaa in Assamese ) to cover the body from waist down
to the knee. There was no use of shirt in the past. They only used a type of cloth known as “Jumgra “made of Eri thread and a small cloth on the shoulder during the winter and summer season respectively.

A Bodo woman wears her “Dokhona “covering the body from the chest down to the ankle. Its length and breadth are made in such a way that it can be tied one round at a time at the waist. Dokhona is made of varied colours and “Agor” or (phul in Assamese) . The Dokhona without agor or phul is called “salamatha “ or “ matha ”. “Dokhona Thaosi “ (pure Dokhona) is generally used as bridal attire, “boirathi” and “doudini”

Bodo women wear various colours of scarf full of Agor (handworked design) to beautify themselves. The favourite colours of the Bodos are generally Gamo (Yellow), Gothang (Green) and Bathogang (the colour of parrot’s feathers).

The folk paintings of Odisha have flourished around the great religious centres of Puri, Konarak and Bhubaneshwar.
Traditionally the painters were known as Chitrakars. Their painting the 'Pattachitra' resemble the old murals of that region, dating back to the 5th century BC. The best work is found in and around Puri, especially in the village of Raghurajpur.
Pattachitra is a traditional craft, delicately painted on primed cloth or patta in the finest detail. The themes usually depict the Jagannath temple with its three deities - Lord Jagannath, his brother Balabhadra and sister Subhadra and the famous Rath Yatra festival. These paintings were originally substitutes for worship on days when the temple doors were shut for the 'ritual bath' of the deity. Many Pattachitra paintings are from the ancient Indian texts of Vishnu and Krishna. The paintings are of various shapes and sizes. A recent modification in Pattachitra paintings is the division of the Patta into a row full of squares with the high-point of the story in the larger centre square and various events portrayed in the other squares, not unlike the Kalamkari paintings. The Chitrakars prepare, what looks like a hard card paper using layers of old Dhoti cloth and sticking them together with a mixture of chalk and tamarind seed gum, which gives the surface a smooth leathery finish especially after it is rubbed with a conch shell. The theme is sketched with a pencil, then outlined with a fine brush using vivid earth and stone colours obtained from natural sources, like the white pigment prepared from conch shells, yellow from orpiment, red from cinnabar and black from lamp soot. After completion, the painting is held over red hot charcoals, and lac mixed with resin powder iis sprinkled over the surface; when this melts, it is rubbed over the entire surface to give a coating of lac.

Some of the popular themes represented through this art form are Thia Badhia - depiction of the temple of Jagannath; Krishna Lila - enactment of Jagannath as Lord Krishna displaying his powers as a child; Dasabatara Patti - the ten incarnations of Lord Vishnu; Panchamukhi - depiction of Lord Ganesh as a five-headed deity.

Bhujodi gets its name from its place of origin. The Bhujodi sari is made in the traditional extra weft technique in manually operated looms. Bhujodi is a small town in the Kutch region of Gujarat, India. Originally, the Rabari community of the Kutch region used to weave shawls that have now been converted into saris.

It takes around 10 to 12 days to weave a single shawl and around 5 to 6 shawls of the same model are woven each time. The craftsmen work by hand on patterns and intricate designs, which can take months to complete. There are many awards and accolades to their credit. Vishram Valji, a seasoned weaver in Bhujodi won the President’s award in 1974, for an elaborately patterned shawl created by him. This beautiful piece of art took him an entire year to complete. The ‘Kutchhi’ shawls have also received the ‘GI (Geographical Indication) tag’. Men sit at the looms, while the women do the yarn making and ready the looms. The intricate patterns are worked by hand, as they go between the threads of warp and weft. This unique technique of weaving motifs, by lifting the warp with fingers without a ‘Dobby’ or ‘Jacquard’ and the ‘Athh tako’ technique (with four peddles in the loom) is unique.

Bhujodi weaving is a craft practiced by almost 200 weavers of the village. The nomadic tribes that were on the move needed warm clothing to bear the harsh winters. Traditionally, weavers would use hand spun yarn provided by the ‘Rabaris’, a nomadic community of sheep and goat herders. Among them ‘Meghwals’ and ‘Marwadas’ developed a unique style of weaving, that provided the Kutchhi community with blankets, cloth and traditional dress fabric. They came to be known as the ‘Vankars‘ or the weaver community. The ‘Vankars’ slowly developed designs that suited the requirements of the ‘Rabari’ community, and so the designs became characteristic of this clan.

Traditionally, the shawls were made from wool but the craftsmen now explore other materials like silk and cotton. The shawls are usually adorned with several borders on the shorter length side. They are made in natural colours of wool or dyed to suit requirements. Some of the popular colours are indigo blue, red, green, off white, black etc. The most popular embellishing styles from Kutch are ‘Batik’ work, ‘Bandhani’ (Tie Dye) patterns, ‘Ahir’, ‘Rabari’, ‘Mutwa’, ‘Abla’ embroideries (mirror), ‘Aari’ or ‘Mochi’ embroideries (chain stitch) and ‘Sindhi’ embroideries (Kutch work). Many designs have linear patterns interspersed with motifs running throughout the body. Sometimes even tie-and-dye technique is incorporated to add value to it.

The border sizes differ from shawl to shawl. The common sizes are 3, 9 or 18 inches. The borders of 18 inches are mostly used in shawls for males. The finishing of the shawls or stoles is done using colourful tassels, which is a characteristic feature of the Kutchhi weaving.

Motifs found commonly:

 

• Jhar – This motif is said to resemble a tree.
• Chaumukh – This is a four-sided motif made by lifting warp threads. This is a distinct feature of the Kutchhi weaving style. It has a religious connotation and represents the Mandala.
• Sachchi kor – This is a warp-based design having a pointed temple-like figure with a thick base. This is done on a black and white weave.
• Sathkhani – This is a pattern that requires seven steps in its making.
• Dholki – This is a drum shaped motif.
• Khungri –This motif resembles a crooked or ‘zig-zag’ line. The inspiration for this is said to be the pattern created by a cow as it walks on soil.
• In addition, there are motifs such as Lath, Macchhar, Hathi, Vakiyo, which are inspired by village scenery.

Bela Print is that it is Mordant printing type Hand Block Printing Technique, similar to Bagru Print. In Mordant printing technique, printer applied dyes directly on the piece of cloth with Hand Wooden Block, Red and black colours are iconic to Bela printing, colours which are used the most for their colour fastness. The colours used in Bela printing are all natural and vegetable colours. In Bela printing, the prints are bold and graphic. They grab attention with a vibrant palette when printed on a plain cloth of fabric. Bela Print draws its name from the village Bela near Rapar Taluka in Kutch.

Bela Printing is a vanishing art and only one artisan, Mansukhbhai Khatri is now practicing this art as on today. Yet, Kachchh has been a producer district of Bela-style cloth for as long as people can remember.

Materials: Cloth, Natural dyes made from natural resource, Hand carved wooden block.

Process: First the cloth is washed in river and there’s a “kundi”-small pit in which the cloth is pressed to drain out the water and cloth is allowed to become semi dry. While the process of washing is going on; the wooden carved blocks are kept in dye. Then the cloth is dried on the ground under the sun. After the cloth and wooden blocks are dried, the printing starts. The Wooden carved blocks are dipped in the natural colours and pressed inside the outline of the cloth.

An amazing piece of handembroidered running stitch and patch work clothing.

Bauls are the Wandering Minstrels of Bengal. Bauls constitute both a syncretic religious sect and a musical tradition. Bauls are a very heterogeneous group, with many sects, but their membership mainly consists of Vaishnava Hindus and Sufi Muslims. They can often be identified by their distinctive clothes and musical instruments. Bauls are found mostly in the Birbhum district of West Bengal. They perform in local trains and village fairs.

GUDURI, resembles the ‘Alkhalla’ (denotes something like a loose robe) ... this style of clothing was patronised by the Tagore family. This patchwork dress that the Bauls wear today was created by Babukishan in the 1970's, as an attractive dress for his father, the renowned Purna Das Baul. This costume was on record covers, magazines covers and festival performances all over the world. He created this multi coloured dress for a symbol of oneness, unity and peace for the world. "A symbol of no caste, no creed, all colours in one, multi-cultural, peace and unity all getting along...love love one love..." Most Baul performers wear this dress today without even knowing who the master mind behind it is.

Babukishan would go around to all the tailors and collect bright coloured cloths and his mother Manju Das would sew them together by hand creating this bright Baul costume.

Shantiniketan in West Bengal is the art hub for Batik. The ancient craft of Batik is preserved at Visva-Bharati University in West Bengal, an institution founded by the Nobel Laureate Rabindranath Tagore.

Few might be aware that Nobel Laureate Rabindranath Tagore went to Java, Indonesia, in 1927, and returned with an exquisite dyeing technique called Batik. He introduced it in Shantiniketan and it spread across India.Batik has influenced West Bengal, especially in the quintessential Alpona motifs and other typically traditional Bengali art motifs.

The creation of Batik saris is a three-stage process of waxing, dyeing and de-waxing (removing the wax). There are also several sub-processes like preparing the cloth, tracing the designs, stretching the cloth on the frame, waxing the area of the cloth that does not need dyeing, preparing the dye, dipping the cloth in dye, boiling the cloth to remove wax and washing the cloth in soap.

The word Batik actually means 'wax writing' and that is basically what Batik is all about. It is a way of decorating cloth by covering a part of it with a coat of wax and then dyeing the cloth. The waxed areas keep its original colour and when the wax is removed the contrast between the dyed and undyed areas makes the pattern.

The art of making a Batik Sari has come a long way from a mere handicraft. Batik was considered in the past as a fitting occupation for aristocratic ladies whose delicately painted designs based on bird and flower motifs were a sign of cultivation and refinement just as fine needlework.

Attributes of Batik:

• The key revealing factor of ‘Batik’ is the attractive splinters that you can see through the design, which make the design more appealing, commonly known as "CRACKS"
• Remember, the ‘Batik’ on either side of the sari will be palpable; if the design on one side is more intense than the other, probably that piece may be a duplicate one!
• Fabrics that are tagged as ‘natural fibres’ such as linen, cotton, and silk are commonly used to design ‘Batik’ motifs; this is due to the entailed boiling process.
• Duplicate or 'Printed' Batik may look elaborate and fine; authentic ones are those that are hand done and so there will be little bit of daubs in the design.

Evidence of early examples of batik have been found in the Far East, Middle East, Central Asia and India from over 2,000 years ago. It is possible that these areas developed independently, without the influence of trade or cultural exchanges. However, it is more likely that the craft spread from Asia to the islands of the Malay Archipelago and west to the Middle East along the caravan trading route. In China, batik was practised as early as the Sui Dynasty (AD 581-618). Silk batiks in the form of screens have also been discovered in Nara, Japan ascribed to the Nara period (AD 710-794). These were probably made by Chinese artists, and are decorated with trees, animals, flute players, hunting scenes and stylised mountains. Evidence of very old cotton batiks have been found but frescoes in the Ajanta caves in Maharashtra State, India depict head wraps and garments which could well have been batiks. Likewise, temples such as at Borobodur and Prambanan in Java contain figures dressed in garments patterned in a manner suggestive of batik. In Egypt, linen grave cloths from the 4th century BC have been excavated which show white patterns on an indigo blue background, possibly made by scratching designs into wax. In Africa resist dyeing using cassava and rice paste has existed for centuries in the Yoruba tribes of Southern Nigeria and Senegal. Indonesia, most particularly the island of Java, is where batik has reached its peak. Here, Chinese, Arab, Indian and European traders bought and sold textiles and batik is first specifically mentioned on a cargo bill in the mid-17th century. From around 1835, textile manufacturers in Holland started attempts to mechanise the production of batik using copper rollers and a resin resist. When the Javanese proved unwilling to buy this cloth, it made its way to West Africa, where it began a life and a tradition of its own, one which continues to this day as “waxprint”. In Java, textile merchants responded to the threat by finding a way to speed up the time-consuming method of hand drawing the design. Wooden block printing was adapted to batik with the invention of copper stamps (or tjaps as they are known) to apply hot wax. Imitation batik cloth was produced in numerous European textile printing companies throughout the 20th century, most notably in the UK and Holland, and to this day is still made in just one - Vlisco in Helmond, the Netherlands – a reminder of a colonial past. In Europe, these exotic cloths sparked a wave of creativity. In the 1890s in Amsterdam, a group of young artists introduced the batik technique to interior decoration, furnishings and later to fashion. This proved very successful, and from the beginning of the 20th century, batik was practised by thousands of European and American artists and craftspeople. The peak of its popularity was between 1918 and 1925 when it was popular in Holland, Germany, France, Poland and the UK. The art of batik waned in the West until the 1960s when it was once more taken up, explored, and adapted by artists, including Noel Dyrenforth in London who was the founder of The Batik Guild.

The word batik is Javanese in origin. The word bathikan also means "drawing" or "writing" in Javanese. Another root of the word “batik” is the Javanese word “ambatik” which means “to write” or “to dot”. When the word is absorbed to Indonesian, the "th-" sound is reduced to a "t-" sound more pronounceable to non-Javanese speakers. The existence of the oldest Batik activities came from Ponorogo which was still called Wengker before the 7th century, the Kingdom in Central Java learned batik from Ponorogo. In 2009, UNESCO has officially recognised the Batik as a ‘Masterpiece of Oral and Intangible Heritage of Humanity’.

Indians have used resist dyeing technique since the first century. Initially, wax and even rice starch were used for printing on fabrics. The history of Indian batik can be traced as far back as 2000 years. Indians knew resist method of printing designs on cotton fabrics long before any other country had even tried it. Indian cotton and dyes were very popular. The indigo blue was one of the earliest dyes to be used. Batik is created in several ways like splash method, screen-printing method, wood-blocking and hand painting. It is believed that the finest Batik designs in India came from the artisans of Cholamandalam near Chennai, Tamil Nadu. Batik printing is also done in Gujarat, Rajasthan, Andhra Pradesh, Telengana, Maharashtra and Madhya Pradesh. Batik's journey to India can be attributed to the extensive trade routes and cultural exchanges that have characterized the country's history. As Indian traders engaged with various cultures, including those in Southeast Asia, they encountered the captivating art of Batik. The intricate patterns and vibrant colours of Batik left an indelible mark on Indian artisans, inspiring them to experiment and integrate these techniques into their own textile traditions.

Nagas are versatile artisans and they leave an impression of ethnicity on most of their objects of everyday usage. The sheer impulse of the Nagas to decorate even their deadly weapons is evident from their daos and spears. Their bamboo drinking pots are embossed beautifully with various cultural motifs. The wood carving on massive doorways and the village gates as well as on log drums are still on display.

The dress materials for everyday use produced on the primitive looms by the female folks are a visual delight. The process of weaving is a very slow and tedious and therefore, the end products are usually a trifle expensive.

In some tribal communities each member has the right to put on decorative attire and jewellery signifying his or her belonging to a certain ethnic group, there are others where only those who distinguished themselves by virtue of their deeds or those who desire to indicate their high social status are privileged to wear special attire and put on personal ornaments.

Among the Nagas, 2 categories of clansman until the recent past had the right to adorn themselves in a particular way- the head takers and the givers of ceremonial feasts. In many cases not only, they but their wives and even members of their families were entitled to distinct items of dress.
The insignia and achievements fall into two categories:
1) Those concerned with head hunting
2) those concerned with feast of merit that were a demonstration of an individual’s level of prosperity and some gift of it to the community.

The type of body cloth worn by men and women differs from one Naga group to another. The design and colour, which varies not only between the tribes but also sometimes between clans of the same tribe and between different villages, records the wearer’s position in society. There are around 16 tribes in Nagaland and each may have its own distinctive design and colour combination. Each may have a different design for some special occasion. The tribes are: Ao, Konyak, Sema, Chakesang, Angami, Lotha, Sangtam, Phom, Chang, Kheimungan, Yimchunger, Zeilang, Rengma, Tikhir, Mokware, Chirr.

Spinning, like dyeing and weaving is performed by women and every Naga woman is supposed to weave the cloths of her family. Until recently, it was essential that every marriageable girl should know how to spin and weave, and tiny girls can often be seen with little toy looms experimenting with weaving. The usual process of spinning is rather primitive and a few simple tools are used in the whole process. The cotton is cleaned off its seeds by being rolled on a lat stone with a short stick used like a rolling pin. The cotton having being cleaned off its seeds is carded by being flicked with a small sized bow. The clean cotton is gently rolled by hand with the help of a round stick over a flat stone or plank into sausages like silvers. The Naga spindle is a very primitive affair. The spindle is made of along spike of hard wood frequently of the sago palm with a point at the bottom, greatest thickness being just above this point. Above this again is a round flat stone spindle-whorl, cut, trimmed, and bored in the middle, through which the wooden stem is passed from the other end. This stone weights the spindle and for a long time, the point being potsherd covered with a cloth to keep it from wandering. The thread is gradually wound round the wooden stem as it is spun. From the spindle, the thread is wound on to a sort of double T- shaped stick. From this it is unwound and steeped in hot rice-water hardening as it dries, and when it is dry, it is wound on to a light bamboo frame. From this frame, it is wound into a ball.

In case the yarn is to be dyed, the dyeing process takes place after the yarn is transferred into skeins. The indigenous colours are, in recent years, fading away and are replaced by chemical dyes. Further the easy availability of coloured thread in the bazaar does not encourage the necessity of producing the old indigenous colours. The Nagas use dark, blue, red and rarely yellow dye. The whole process is carried out by women who are also taboo among some tribes to handle any dye during pregnancy less the foetus be effected by the colour. Blue dye is obtained from the leaves of the Strobilanthes flaccidifolius. This is a universal Naga dye and the plant is grown on the outskirts of the villages or in patches cleared in heavy jungle. There is a slight difference in the method of preparation and use of the blue dye among the different tribes. One of the commonest Naga methods of preparation of blue dye is to boil the leaves in water in a big pot. Then the cloth or thread to be dyed is dipped in it and boiled for nearly an hour. It is then taken out and dried in the sun. If the colour does not take properly, the same process is repeated twice or even three times.

The indigenous red dye is less used than the dark blue. The red colour being of blood, a young woman using this colour in dye operation is superstitiously believed to die a violent death or lose her head in a raid. Therefore, only old women dye yarn in the red colour. Some other tribes like the Lothas consider this a risky occupation likely to bring on dysentery, and therefore, only suitable for old woman who are of less value to the community.
Only a few tribes make yellow dye. Angamis prepare it from the wood of a plant locally called ‘athuo’. The wood portion of the plant is light yellow in natural colour. The bark of the plant is first removed with a dao; the wood is then sliced into chips, which are boiled in water with the thread. The thread is then taken out and dried in the sun. Rengmas make yellow dye from the flowers of a tree. Use of the dye of any colour is restricted before harvest, there being a strong feeling that the process is in some way detrimental to crops.

Unlike other parts of India, where much of the spinning and weaving is in the hands of man, spinning and weaving in Nagaland is the exclusive monopoly of women. Weaving can begin as soon as the first fruit of the new rice have been eaten. The Naga loom, though of the type known as Indonesian tension loom, but is interesting to see working. The loom is simple back strap one with a continuous horizontal warp consisting of six sticks serving the function of warp beam, lease rod, heald stick, beating sword and extra warp beam. For setting the loom, first the warp beam is securely fastened to the wall of the house or any other suitable form supporting in a horizontal position. On this are slipped two loops of bark string. The loops length of which is adjusted from an already woven piece of cloth, are set at a distance apart equal to a little more than the breadth of the piece of the cloth to be woven. The lower bar or cloth beam is notched at either end so that the weaving belt can be attached to it. This belt is worn by the operator in the small of her back. By it, as she sits on a low bench in front of the loom with her feet pressing on a firm support, she can keep the necessary tension on the warp. The women keeps the necessary strain by sitting with the belt (Aphi) in the small of her back, attached to a bar from which the warp (kotong) runs to the beam, itself firmly attached either to the well of the house or to stakes fixed in the ground. The heddle, lease rod, and bar above the lease rod, round which the warp is twisted once. The shuttle is shot enough through by hand, and the woof beaten up with wax or with a very fine white powder, found on the underside of the leaves of a species of wild plantation. The patterns in cloth are obtained by the necessary combination of different coloured threads in the warp and weft. Weaving specimens from the various districts of Nagaland comprise a wide range and number which themselves as pieces of the precious treasures showing in respect of designing and processing, an accomplishment of great measure. The distinctive costumes and apparels comprise wrappers and shawls, waistcloths and bodice, girdles, scarfs, skirts, aprons and lungis resplendent with skilful colour combination in their own fashion and style.

It nearly takes 10 hours for an expert weaver to complete the plain strip or in other words, 30 hours are required to weave a complete cloth. One of the common features of Naga shawl is that three pieces are woven separately and stitched together. In fact, the central stripe is more decorated than the two others, which generally have more or less the same pattern. In case of shawls for children and skirts for women, the stripes are reduced to two only.

Painting on a few clothes are practiced only by the Lothas, Aos and Rengmas. The Ao art of painting resembles that of the Rengmas although the conventional pattern is different. Aos paint the white band of their famous warrior shawl, which can be worn only by one who had taken heads in war or who has performed feasts of merit. The figure of elephant, tiger,
mithun, cock, dao spear and human heads are painted with black on the white median band. The colour is prepared from the sap of a tree, which is mixed with very strong rice beer and the ash of its own leaves. Sometimes, the ash of bamboo leaves is used in place of Tangko leaves resulting into a grey fluid, which is applied with a pointed end of the bamboo stick. Painting is done by old men only. He works free hand on the lines of the thread. The same medium is used by the Rengmas.
The Nagas set great value on their costume worn on ceremonies or festive occasions, though some pieces were for everyday use. That of his wife and daughter. The insignia were highly desirable because of the achievements necessary to gain the right to wear them. The design and colour, which varies not only between tribes but also sometimes between different villages, records the wearers position in society. The designs vary from a formal arrangement of lines to elaborate patterns of diamonds and lozenge shape. Simple straight lines, stripes, squares and bands, varying in width, colour and arrangement are the most traditional design and motifs. Naga women are great experts in the choice and combination of colours. Each tribe has its own patterns with simple, clean lines, stripes, squares and bands being the most traditional design motifs.

Dhonekhali Sari is a cotton sari made in Dhonekhali, Hooghly district, West Bengal. It is a sari with 80 x 80 cotton thread count normally, borders between 1.5 and 2 inches or even more and 5.5-metre-long drape. No Blousepieces come with these saris. GI Status: Registered. Application No: 176

The Fish design seems to have become representative of Dhonekhalis but make no mistake, this existed even so many scores of years ago, like just other patterns. These are gradually on the wane and are becoming extinct, probably only the Fish design has helped to keep the market afloat, because it was endorsed by a Bollywood celebrity in a movie.

To the layman, these are also familiar as The Mamata sari. Maybe this is what the world now knows it as, but Dhonekhalis have always reigned supreme in Bengal. They are chic, sophisticated with an elegant charm.

Dhonekhali is a traditional Bengal sari that is woven from cotton threads and distinguished by its lightness and transparency. Its light and airy texture makes it suitable for the warm and humid summers of coastal Bengal, and thus these are loved by women during the hot weather. Dhonekhali ‘taant’ was famous mainly for men’s dhotis and plain bordered saris. The saris were woven in near opaque offwhite or Kora grounds with contrasting borders in red, black, purple, and orange, emphasized by a serrated edge motif. In time, the border was broadened to six or even eight inches, and adorned with a variety of stripes in muga or zari. These broad borders known as ‘Maatha Paar’ or 'Beluaari Paar' were often woven in two colours – such as black and red. Having a tighter and coarser weave than the “Tangail” or “Shantipuri”, it is more hardy. Its bold body colours and contrasting borders and absurdly low prices make them extremely affordable on the one hand and the simple, smart designs or rather lack of designs, make them extremely chic and stylised. The jacquard weaving technique is used to make these saris. The textile being coarser, these saris are also more durable.

Weaving of Dhonekhali sari is an age-old crafting of West Bengal. The craftsmen skillfully weave cotton to thread, using two shuttles in weaving a Dhonekhali sari. In the weaving process, bundles of cotton threads are washed, sun-dried, bleached, dried again, and then dipped in different colours to dye them. Once the thread gets coloured, it is starched and processed to make it finer and stronger. When this entire process gets completed, then artisans use hand looms and weave the Dhonekhali sari. The Dhonekhali is distinguishable as a square-fold sari with a thick border, most of them embellished with decorative woven motifs.

Typically, a Dhonekhali is known for its typical patterns. These refer to fine horizontal stripes which are found all over the body, sometimes they can also be broad bands. Some common terms are:

Mathapaar - Very Broad Borders in a Solid colour, sometimes going up to almost 12” or more. They were often woven in either of the two colours – Red or Black

Jol Durey - Fine stripes. Jol = Water. Durey = Striped

Churipaar - Fine Striped Border. Churi = Thin Bangles. Paar = Border

Jharna design – Inspired by waterfall patterns

Kora Rong - Natural shade, Off-white / Broken White. Rong = Colour

Khorki Durey - Extremely fine stripes, especially found on the body of Dhonekhali saris. Durey = Stripes

Gaye Durey - Stripes on the Body

Dhalapaar - Single coloured Solid Border.

Resham paar - Border woven with Satin thread / Resham

Durey paar - Durey = Stripe. Paar = Border

Nakshi - as in Carvings, or Naksha, referring to intricate Patterns and Motifs

Khejur Chhori - Typical of old Dhonekhali saris, an arrangement of special weft threads of twisted cotton yarns in two colours woven in the Pallu; a kind of intertwined V, plaited, woven motif, in the basic colours of the sari ... however, a lot of the saris found these days do not come with these ones.

Dhoop Chhaon - Shot Colours, a fabric woven from warp and weft yarns of two or more colours, producing an irridescent appearance. A "shot" is a single throw of the bobbin that carries the weft thread through the warp.

Missing Lines’ weave - Weft yarn missing regularly or at intervals while weaving a fabric

Another unique feature of Dhonekhali saris is their finishing. Weaver Balaram Basak, while rolling a ball of popped rice paste on the sari points out, “Once the sari is woven, before taking it off from the frame, the weaver for one last time has to apply size paste (made from sago or popped rice) meticulously with his hands to give additional lustre and shine to the freshly woven tant. This helps the saris from becoming limp with successive displays.” Once the saris are washed, this starch disappears and the saris become really soft and comfortable to wear.

But it is very unfortunate that despite various Governmental schemes these saris are already on their way out, they are gradually becoming few and far between. The soft Dhonekhalis that are available today are far from the authentic, traditional ones and a contradiction in terms.

The uniqueness of Ponduru khadi lies in the fibre – produced mainly from short staple hill variety cotton that is so pest resistant, it allows for chemical free farming!

Ponduru is famed for its complete hand spinning process. Normally most cotton in India is machine carded, that means the fibres are combed and mechanically separated from the seeds and rendered into fluffy bats for the hand spinners. In Ponduru, every step is still done by hand. Between carding, spinning and weaving it takes 3 weeks for one sari. 1,000,000 yards of hand spun yarn is required for a 6-yard sari. The finest examples are 120 x 120 counts per inch. That means the wide 52" saris have 6240 ends to tie up on the loom, and 26,000 weft threads to weave. The weaving itself of a simpler sari takes a week. The Khadi spun in Ponduru is locally known as ‘Patnulu’.

As far as the machine-made ones are concerned, they can make 15 or so per day. The yarn is not as fine as what can be made by hand and lacks the texture and absorbency of pure handspun but it can also produce beautiful 70 - 80 counts cloth.
The production of fine Ponduru Khadi is no less than an art involving a long sequence of meticulous processes, all performed by human hands, to fashion cotton into cloth. Khadi cloth or Khaddar is fabric which is both hand spun and hand woven. The uniqueness about this fabric is the fibre. It is produced from a special variety of cotton called Punas cotton, hill white cotton and red cotton. The cotton is of very short staple length produced in Srikakulum area.

The second uniqueness about this fabric is the method of spinning.

The raw seeded cotton is ginned with the help of Valuga fish jawbone. This fish is only found in that area. Then it is fluffed and smoothed with the help of fine sticks which also remove the waste. The upper and lower jaws of the Valugu sea fish is removed and the resulting bone is thoroughly cleaned. Then it is dried in the sun. It is broken into four pieces, before being used as the tool to clean the cotton. To hold it conveniently it is tied to a stick and placed in such a manner so that it does not move. Then it is used to remove the cotton from the seed and cleaned. With this, cotton is not only cleaned thoroughly it also gets a shine that does not fade. Slivering is done with a bow and carding is done with the help of a wooden machine. The slivers are handmade and kept in a dried banana stem.

This is one of the only places where single spindle charkha is still used for spinning. Yarn upto 120s count can be spun in white cotton while upto 60s can be spun with red cotton.

Originally, special varieties of indigenous organic cotton, namely Punasa cotton and Hill cotton (both white and red) were used. These varieties, supplied to them by local farmers, were of a short staple length. It is reported that two indigenous cotton varieties, kondapatti and errapatti, have been sustained because of the hand-spinning of cotton in Ponduru and the surrounding regions. These two varieties are ideal for the Gandhi charkha. The rest of the types of indigenous cotton died out under duress from the hybrid cotton varieties now grown in Andhra Pradesh. The hybrid BT Cotton is suited for the Amber charka, which is a mechanised version of the charkha.

So famed was the quality of this fabric that Mahatma Gandhi himself visited the village and preferred to wear this specific Khadi. Tragically, despite the existence of a good market for Ponduru Khadi, this ancient craft form, which survived the colonial onslaught, now faces an uncertain future. Without a transformative approach to the very policies that are at the heart of the matter, it might very well be that the Charkha will no longer ply in Ponduru in the years to come.

Dinesh Vishramji Vankar’s father won the President’s National Award for Craftsmanship in 1974 for an innovation on the Dhablo, a traditional Kutch wool blanket. These are made out of Raw Wool, in traditional colours. The thick weaved fabrics are first adorned by the trademark tie and dye craft of the region practised by the Khatri community. After which it is decorated with mirror work and embroidery by Rabari women. Thus, the weavers are at the crossroads of linking various communities of the region. Another interesting concept is the stitched joint that appears in the traditional Kutchhi Dhablo, using multi-coloured tie dye threads and buttons, which creates a point of focus. The Dhablo is made up of two parts stitched together, using a traditional hand-stitch known as ‘Khelavni’.

Hiraghiryu is an example of a traditional Dhablo

Dabu is a mud-resist hand-block printing process practised primarily in Rajasthan. The end result is a print with a sublime quality and unique appearance. In the making of these printed fabrics, there are a string of manual processes and hard work involved to achieve the end result. The process uses lots of natural dyes and vegetable pastes, making it environmentally non-toxic.

The process begins with the mixing of a special type of clay paste called “dhabu”. A design is then sketched onto the background cloth and this design is covered with the special clay with the help of wooden blocks, after which saw dust is sprinkled. The saw dust sticks to the cloth as the clay dries. The cloth is then ready to be dyed in the chosen colours. The designs covered by the dhabu remain colourless and once the dyeing process is complete, the cloth is dried and then washed to remove the clay mixture. This cloth can now be dyed in a lighter colour to give the patterns some colour as well. It is such a lengthy and labour-intensive process, but the end result is more than worth it! What you get is a piece of Indian heritage which can’t be replicated by machine and a beautiful garment to wear as well!

Chikankari dates back two centuries. The word Chikan is thought to be derived from a Persian word; one theory is that the form travelled to India when its artisans migrated from Persia in search of better patronage. It is believed that these artisans found a patroness in Mughal Empress Noor Jahan, wife of Emperor Jehangir, and that she did a lot to promote and popularize this craft form.

Chikankari, was traditionally done only on pure, un-dyed white shazaada cotton or Dhaka ka mulmul, both sourced from Dhaka, Bangladesh. The katcha daagha, the thread used for the embroidery, was also white and procured from Calcutta or Dhaka. Chikankari is defined as ‘white on white’ embroidery.

A majority of Chikankari embroidery motifs take inspiration from Mughal architecture. The delicate marble jaali (trellis) pattern of Mughal-style windows and parapet walls is transposed onto the fabric as a fine gossamer trellis of thread work. Sometimes they also replicate the inlay patterns from Mughal monuments on the fabric.

Chikankari has six basic stitches and over thirty-five other traditional stitches used in various combinations based on what the pattern to be embroidered requires. The names of some of these stitches are phanda, chana patti, ghaas patti, bijli, jaali, tepchi, bakhiya, hool, zanzeera, rahet, banaarsi, kharau, keel kangan, bubul and hath kadi. Depending on the type of garment and the pattern to be embroidered the entire process happens in a series of stages over a period of months or even years. Also, the embroidery itself is divided among the artisans, with pairs or groups of three or more specializing in one particular stitch. When one group completes their particular stitch for a garment, it is passed on to the next group to add their speciality stitch. One group may also have mastery of two or more stitches.

The pattern to be embroidered is stamped onto the fabric by hand with a wooden pattern block that has been coated with neel (indigo). The fabric now has the outlines of the designs that will be embroidered into the delicate ‘shadow’ embroidery motifs that are the defining feature of Chikankari.

Phulkari, a rural tradition of handmade embroidery, literally meaning “flower work” is an auspicious, head cover embroidered by the versatile fingers of Punjabi women. Phulkari was never fabricated for sale; it was embroidered by a family for its own use, for every important moment in their local life like wedding, birth, and religious functions; therefore, the birth of this handicraft was for mere domestic necessity and not for any artistic motive. With time, Phulkari became increasingly elaborate and decorative which led to the evolution of a special ceremonial, Bagh Phulkari. Bagh literally means “garden of flowers”, and the term distinguishes the flowered Phulkari … the embroidery is so profuse that the ground colour is no longer visible. Thus, the embroidery becomes the fabric itself. Unlike Phulkari, Bagh demands more time and patience and more material, thereby increasing the expense. Thus, Bagh set out to be a status symbol.

Chope is another type of Phulkari, usually embroidered on the borders. It is gifted to the bride by her grandmother during some ceremony before the wedding. The “Chope” is embroidered straight with two-sided line stitch which appears same on both the sides. Unlike Phulkari and Bagh where a variety of colours are used, Chope is generally embroidered with one colour (golden or yellowish golden mostly).

The origin of Phulkari has not been traced. Phulkari has been mentioned in the famous Punjabi folklore of Heer Ranjha (a love tale) by Waris Shah … “Its present form and popularity go back to 15th century, during Maharaja Ranjit Singh's reign”. Phulkari plays a very important role in a girl’s life. The birth of a girl marks the beginning of the child’s grandmother’s task in creating the future bride’s trousseau, which is worn by the bride when she walks around the sacred fire during her wedding ceremony. When a woman gives birth to a boy she is given a Phulkari, which is worn by her, when she goes out for the first time after delivery, and during any religious festivals. Likewise, when a lady dies her body is covered with Phulkari.
Finishing a “Phulkari” signifies an important step from a girl to becoming a woman, as is mentioned even in the Holy Book of the Sikhs … “Only then will you be considered an accomplished lady when you will self - embroider your own blouse.”

The embroidery work was made on a plain cotton fabric (KHADDAR) whose thread was manually spun, loomed and dyed with natural pigments, which would be joined either before or after the embroidery to form desired designs. Khaddar could be of various colours, but the most popular was dark brownish red (red being auspicious), and it was considered as the colour for youth whereas white was used by mature women or widows.

The embroideries were a mere reflection of their life. Things that they would see, observe, vegetables that they ate, animals that they owned, were embroidered. Every woman had her way of embroidery, her way of representation. Just like any other daily chores she would teach this art to her daughter, thus there are no techniques or patterns that have been documented. For the same reason each family had their own styles, patterns and designs.

Embroidering on the rough coarse material “khaddar” reflects the tough, hard nature of the Punjabi women. Use of bright colours portrayed the colourful life and the use of different motifs reflected their observation, their imagination. Wearing a “Phulkari” adds delicacy, grace, simplicity to their heavy build and personality.

Phulkari derives its richness from the use of Darning stitch in different directions (horizontal, vertical, and diagonal). Unlike others, embroidery on Phulkari was done from the wrong side of the Khaddar with a floss silk thread called Pat. Darning stitch was the most commonly used technique to make Phulkari and the quality of a piece could be measured according to size of the stitch. The smaller the stitch, the finer was the piece.

Only a single strand was used at a time, where each part was worked in one colour. What was more interesting was that the shading and variation were not done by using various colours; rather one colour thread was used in a horizontal, vertical or diagonal stitch which resulted in giving an illusion of more than one shade when light fell on it or when viewed from different angles. Earlier the patterns to be embroidered were not drawn on the fabric beforehand; the embroiderer with utter care would count each thread of the Khaddar to build her designs. This was because even a shift of one thread in the counting would have a visible impact on the final result.

As it was easier to count the threads of a light-coloured khaddar than of a dark one, it happened that sometimes the fabric was dyed only after the embroidery work was achieved.

In order to create an unusual design or to border the khaddar, some other stitches like the herringbone stitch, running stitch, Holbein stitch or buttonhole stitch were occasionally used.

Using their fertile imagination the women of Punjab developed various motifs. Inspiration was drawn from the vegetables, flowers, animals that they had. Some of them are karela bagh (bitter gourd), gobhi bagh (cauliflower), dhaniya bagh (coriander) and mirchi bagh (chilli). Some as lehriya bagh (wave) some as satrangas meaning seven-coloured and panchrangas meaning five-coloured motifs while the most common and beautiful motifs are based on the wheat and barley stalks that grow all over Punjab. Amongst animals the most common were the mor (Peacock) designs.

Many Baghs have one single motif that appears to be jarringly out-of-place that appears to be a mistake or the result of an error in planning the layout. A motif in a colour that is beyond the colour palette of the piece or a motif that has been left blank without embroidery or an error in the proportions of a single motif may be seen. It leads one to wonder how it is possible for the woman whose precision and rigour is unquestionably superior as evidenced in the rest of the Bagh, could suddenly slip and make such a glaring error. The curious discrepancy leads us to investigate the culture and that reveals the following endearing reason for this slip. The errors or flaws that we see in Baghs have been created intentionally and deliberately. There is even a word for this in the Punjabi vocabulary: ‘Nazarbutti’. It is the ‘butti’ or motif that is intended to absorb all the ‘nazar’ or the evil-eye and protect the wearer from it. (This is to be seen within the larger context of ‘nazar’ which is prevalent in the senior Indian psychology even today for which countless remedies have been devised that may also be seen as folk art by outsiders).

When a daughter is born, her grandmother begins working on a new Phulkari Bagh textile. And by the time the daughter is ready to be married the Bagh Chadar is complete.

Over the years, while the daughter is being prepared for the most important event in her life i.e. her wedding one loving instruction at a time, the bridal canopy is also being prepared, one perfect stitch at a time. And on her wedding day, the bride walks to the wedding altar at the centre of a convoy of brothers, who hold the Bagh textile above her head as a canopy of love and shelter.

A traditional wedding song sung by the women of the family as she walks with her brothers:
Maa de haathan di ae phulkari nishaani eh | This Phulkari is a sign of your mother’s hands Isse Naseebaawaala ne Ronde Hansde Payii eh | Fortunate are those who wear it through times of smiles and tears

The magnificent dowry canopy takes the crown in ‘precision’, a cold characteristic that is usually associated with machinery. But this association is not true of Bagh artworks – in which the warmth of a mother’s love shines through. And while the base cloth is rendered invisible, the souls of the mothers is clearly visible!

A salute to all the mothers from rural Punjab who made these wonderful works of Timeless Art!

The influence of Phulkari and Bagh are seen heavily on Banni or Sindhi embroideries of Kutchh. Today we are left with but a few antiques and vintages, as the artistic handmade Bagh has become extinct and is now being revived artificially.

The town of Chanderi in Ashok Nagar District of Madhya Pradesh is known for its historical importance as well as the world- famous hand woven Chanderi saris. While ancient texts speak of Madhya Pradesh as a famous centre for weaving between the 7th century and the 2nd century BC, it rose to prominence in the 11th century, when it became one of the most important trade routes in India because of its proximity to the arterial routes to the ancient ports of Gujarat, Malwa, Mewar, Central India and Deccan regions. Records show that hand looms wove Chanderi saris for royalty between the 12th and the 13th centuries.

While some references to the Vedic period in Indian mythology suggest that Chanderi fabric was introduced by Lord Krishna’s cousin Shishupal, one can find its mention in Maasir-i-Alamgir (1658-1707), wherein it is stated that Aurangzeb ordered the use of a cloth embroidered with gold and silver for making Khilat (a ceremonial robe or other gift given to someone by a superior as a mark of honour). The material was very expensive. The beauty of this fabric was its softness, transparency, and fringes embellished with heavy gold thread embroidery. According to the records of a Jesuit priest, who visited Marwar between 1740 and 1761, Chanderi fabric enjoyed royal patronage and was also exported overseas. A British visitor, RC Sterndal noted that Chanderi was the favoured fabric of Indian royal women because of its soft, light texture and transparency.

Though these various accounts make it hard to put a date on the birth of Chanderi saris, it is clear that the fabric has always had the patronage of the ruling class of the country because of its unique sheer texture and intricate embroidery with gold and silver.

Originally, Chanderi fabric was woven with handspun cotton yarn which was as fine as 300 counts, making the fabric as famous as the Muslins of Dhaka. The fine count cotton for Chanderi was extracted from a special root called the Kolikanda. Light yet strong, it gave the fabric a glossy finish. Fine cotton from Chanderi had long been patronized by Mughals and Rajputs.

Chamba Rumal, as Chamba embroidery is popularly called, is brought to life by an arduous process where miniature painting meets weaving, opening up a world of stories carried through generations and traditions that speak of nature, faith and life, thus forming not just an embroidered masterpiece but a piece of literature itself. Usually embroidered on khaddar or muslin, its repertoire includes the daily life of Chamba, folk stories of the region as well as prominent stories from religious myths.
Chamba Rumal originated in the Chamba region of Himachal Pradesh, and was widely practised until the nineteenth century. It can be broadly categorised into the folk style of embroidery present in Chamba and several other states of northern India in various forms like coverings, patwars (belts), cholis (blouses), caps, scarves, pillow covers, household accessories, chaupad (a game of dice) cloths, bedstead, wall hangings, chandwas (ceiling covers), and pankhas (fans) and the miniature style rumals that came to be in the late sixteenth to seventeenth centuries. The miniature form of Chamba rumal was based on Pahari paintings and Rang Mahal wall paintings and came up in the eighteenth century when the royal women took an interest in the art. Painters at their courts drew the outlines on fabric and then they were embroidered upon using pat (naturally dyed untwisted pure silk floss) or badla (silver gilt) on unbleached muslin. The miniature-style rumals also saw changes in the colour palette as instructed by the painters in most cases. Unlike bright shades used in the folk style Chamba rumals, miniature-style Chamba rumals used softer and muted shades.

Chamba lies at a crossroads with several centres of art in the Western Himalayas directly connected to Basohli, Kangra and Nurpur, which interacted over time as rulers encouraged the development of Pahari arts. Pahari art and culture flourished in Chamba during the seventeenth to eighteenth centuries. The reception of Pahari paintings in Chamba rumal, which created the miniature style of embroidery beyond the pre-existing folk embroidery, especially Basohli, Chamba and Kangra kalams (schools of painting), can be traced back to constant political interactions these regions had with Chamba since the mid-seventeenth century.

Both Chamba and Kangra arts flourished under the patronage of Raja Umed Singh and Ghamand Chand, respectively, and was continued by their successors, Raja Jit Singh of Chamba and Raja Sansar Chand of Kangra. A space for free exchange of artistic ideas between Mughal court painters and local Pahari artists was created during Raja Umed Singh’s reoccupation of Rihlu and Palam from the Mughals. Under Raja Umed Singh’s expanding state of Chamba, highly skilled Mughal painters along with Pahari painters together formed the various Pahari kalams of painting that we know today. The Pahari arts, as well as the Chamba rumal, thus developed through an interaction and exchange of ideas and techniques. For example, the Lakshmi-Narayana temple inscription of King Sri Simha of Chamba (1858–1860 CE) mentions an artist scribe, Upadhyaya Mirachu, settled there from Basohli; further, the annexation of Rihlu by Maharaja Ranjit Singh, 1821 CE, opened up the possibility of the reception of colourful Punjabi style of painting with the predominance of yellow, among other colours, on the art of Chamba. Miniatures and embroideries were offered as gifts to maintain political alliances, and artists were sent to other regions so that the arts could mutually develop their skills.

Because of its name, Chamba rumal is often confused for a literal handkerchief, but it refers to the art form of Chamba embroidery, which involves various stitching styles, techniques, images and most importantly, stories. Chamba rumal extends across various artworks like double-sided frames, handkerchiefs, covers, belts, sheets, shawls, dupattas, fans, and more. The embroidery is intertextual as literature and paintings are reinterpreted and one cannot distinguish paintings, stories and embroidery from one other when woven as one in the final creation.

Chamba rumal is made by using the dorukha tanka technique which has remained consistent over time. In this technique, a double satin stitch is done simultaneously on the back and front so that there is no wrong side. It starts from one end, after the outlines are filled using long and short satin stitches in various directions to produce the desired effect. The double satin stitch also brings out the sheen of the embroidery. Bandi tanka (stem stitch) is used to outline figures and floral borders.
The threads manufactured now are different from those in the past when threads were dyed with majith (madder) for red colour, indigo for blue, molasses for brown, naspal (bark of the tree) for light brown, kusumba for orange, kesoophool for yellow, kai (moss) for green and iron scrap for black colour; alum was used on them as mordant to make the colours permanent. Today, embroiderers often use untwisted silk and synthetic silk threads, apart from newer natural processes taught at training centres in Chamba. As the right kinds of thread for the delicate art of Chamba rumal making is scarce these days, artists stock them up from places such as Delhi and Chamba whenever they chance upon threads of their preference.

Local flora and fauna are recurring motifs in Chamba Rumal. There are different kinds of floral patterns where one sees. The drooping cypress trees are inspired by the Pahari-Mughal art banana trees; the barrenness and blossoming of trees reflect the moods and emotions of characters, especially when a rumal illustrates a story. Various birds and animal motifs are made to depict moods while weaving the tales of Radha-Krishna, Rama-Sita, Raagmala or Ashtanayika. Elements like peacock, chakor, duck, parrot and swan help bring out various moods of the lover, and elephants and horses mean courtly grandiose; motifs can also be symbolic such as in the Ashtanayika motif (Female figure 8-panelled) where the snake at the nayika’s feet symbolises danger, wilting flowers show her viraha (sorrow) and the blooming flora interacts with the hope of union she feels. Motifs of musical instruments form important symbols in the depiction of Raagmala, Raasmandala, Rukmini Haran, and festivals like the Minjar Mela Jalus. Be it a rumal set in a story from the court or a local story based on the life of the common people, we see an abundance of dholak, dholakia (dholak player), tanpura, veena, khartala (percussion instrument), sitar, and more such musical instruments in embroidery.

After Independence when the princely states were integrated with the state of India, the Chamba rumal craft tradition went through a major crisis due to loss of patronage. The art faced a decline in the last century and the rumals became inferior in design and artistic skill; many practitioners also started finding it difficult to continue as rumal makers. The efforts of Kamala Devi Chattopadhyay, the driving force behind the revival of Indian handicrafts and theatre post-Independence, facilitated the revival of the Chamba Rumal, and the first centre dedicated to Chamba rumal making was set up in Chamba, with Maheshi Devi as its head. The centre trained women and even provided them with a stipend; famous Chamba Rumal artists like Rajinder Nayyar, Lalita Vakil, Suraj Begum were all associated with it. However, in the 1980s–90s, the art of rumal making in Chamba faced another stumbling block as Chattopadhyay’s government-run centre closed. There were next to no similar avenues, and with the last of them a centre set up by artist Kamala Nayyar, which lasted just a year.[8] This time, the revival was ushered in by Delhi Crafts Council in 1996 through initiatives for conservation of Chamba rumals, and studies on the art form from available artefacts at museums and private collections. With the help of the surviving artists from Chamba, the initiative brought a new generation of artists together. A training centre, CHARU (abbreviation of Chamba rumal) was opened on April 3, 2002, at Chamba, coinciding with Kamaladeviji’s birthday. The centre also carried out new experiments with regard to fabrics and new ways to naturally dye threads. Award-winning senior artists like Masto Devi train students today at the CHARU centre. This initiative encouraged the art further and, today, several young artists in Chamba are starting to pursue Chamba embroidery professionally. In 2009 Lalita Vakil was given the Shilp Guru award for her ability and skill in Chamba embroidery.

Brocade is a class of richly decorative shuttle-woven fabrics, often made in coloured silks and with gold and silver threads. The name comes from Italian Broccato meaning "embossed cloth". Brocade is typically woven on a draw loom. During the Mughal period, around 14th century, weaving of brocades with intricate designs using gold and silver threads became the speciality of Banaras.

Throughout history, Brocade was a fabric of luxury worn by nobility in various cultures, from India to Korea. Brocade is a heavy fabric similar to Jacquard with a raised pattern or floral design. Traditionally, the pattern was produced with gold or silver thread said to be of such superb quality that they could be woven into fabric of pure gold and silver. There is evidence of different textured Brocades since the Rig Vedic period c. 1750-500 BCE, including fabric of gold known as Hiranya Vastra.

In regular weaving, the weft thread passes over the warp thread. The weft is the transverse thread, and the warp thread extends through the length of the fabric. In Brocade weaving, extra weft threads of different coloured silk or metallic threads, better known as Zari, are woven into the base fabric to form a pattern. The use of Zari is not only traditional in Banarasi brocade, but also in the embroidery art of Zardozi.

The Geographic Indication (GI) status given to Banarasi brocade means that Brocade saris made only in the districts of Varanasi, Chandauli, Mirzapur, Jaunpur, Bhadohi and Azamgarh in Uttar Pradesh can be authentically identified as Banarasi sari or Brocade.

The village of Bomkai in the Chikiti tehsil in Ganjam District, near the Andhra border lends its name to the Bomkai sari. The Vaishnava Chikiti ruler patronized, along with theatrical dance and stilt opera, the Bomkai sari. Bomkai represents one of the weaving traditions of Odisha that combine different techniques.

Created with the three-shuttle weaving technique and the extra healed shaft design on primitive pit looms, it is a labour- intensive product, and hence expensive. Bomkai saris combine Bandha and supplementary threadwork. This is called ‘Kapta Jala’ which refers to the dobby mechanism (jala). The Bomkai sari was traditionally worn by high-caste Brahmins during rituals and ceremonies. Certain saris have specific religious purposes: The white Badasaara sari is used by the Saura and Kandha tribes to wrap the statues of their deities whereas the kala Badasaara is draped behind the image of the goddess Thakurani.

Field: The Bomkai saris are always brightly dyed (often black, red, or white/offwhite bases). The body of the sari is ‘accented with a single butta or motif of a bird on a tree’.

Border: For the border, popular motifs are dalimba or pomegranate corns and saara or seeds topped with a row of Kumbha or temple spires. Both the dalimba and the saara are diamond shaped beads where the former has a dot within and the saara is halved vertically.

A broad band of supplementary warp patterning, creating a latticework of small diamond shapes is the usual design.

This is known as Muha-Johra or ‘end-piece with joined threads’ (muha = face; johra = join). To achieve a solid colour effect in the pallu, two different coloured warp threads are twisted with starch and joined at the junction where the pallu and body meet. (A muha-johra bada-saara is a sari that is ‘blood red in colour and has dotted diamonds [saara] in the border.)

In the Bomkai sari, on a bright background, the weavers create panels of contrasting motifs in the anchal or pallu. The motifs are many: karela or bitter gourd, atasi flower, kanthi phul or small flower, macchi or fly, rui macchi or carp-fish, koincha or tortoise, padma or lotus, mayura or peacock, and charai or bird, being some of the more common ones. Motifs are freely composed. Like other traditional saris, the pallu is very intricate and ornamental. As only the rich Brahmins wore this sari, each piece was different, thus making each creation an exclusive one.

Traditionally, vegetable dyes were used: myrobalan for black, turmeric for yellow, lac for dark red/ maroon, girmati or ochre treated with ghee for light red, and acacia skin for chrome orange.

Dolabedi: Woven as a Bomkai on a Jala loom, it takes its inspiration from the Dol / Vasantotsav / Holi festival of Spring. The Deities are dressed inside the Sanctum Santorum on the Ratnavedi, in “Suna vesha” or cloth of gold - the “Rajavesha”.

Outside swings or Dola are set up, beautifully decorated in different colours. The sawari or chalanti murti of the deities are set up in these swings and the round-eyed Lord is worshipped as Dhol Gobindo and smeared with colours and flowers by devotees.

In ancient times Dola Utsav was celebrated on a pavilion situated in the Agni kona (South East corner) of the Jagannath Temple. The pavilion is called the Dola Mandap and the street is called Dolamandap Sahi. Once in a celebration, Shribhuja (hand) of Lord Jagannath broke due to an accidental breakage of the swing. After that incident, the representative deity (Chalanti Pratima – Bije Pratima) of Lord Jagannath has always joined the function (Dola Utsav).

The Dolabedi sari is woven in Tussar with a plain body and a pure zari border. It’s the pallu that is woven with the dolas that is breathtakingly beautiful. The body has small bootis and the border is woven with the rudraksha dobby and phoda kumbha or temple border. You can get it without the zari border too.

The Dolabedi is thus a modern sari woven with ancient images and techniques.

What is Yarn Count?
Count is a numerical value, which expresses the coarseness or fineness (diameter) of the yarn and also indicates the relationship between length and weight. Therefore, the concept of yarn count has been introduced which specifies a certain ratio of “length to weight”

There are two different types of counts
1. Direct count system - weight of a fixed length of yarn is measured (dtex, tex) 2. Indirect count system - length of a fixed weight of yarn is measured (Ne, Nm)

Sanganer is situated about 8 kilometers south-east of Jaipur city. Prior to the 17th century, there is no mention of Sanganer as a centre of printing. At that time Sanganer was known as a centre of plain and dyed clothes. It was probably towards the end of the 17th century that this art form developed here. Probably due to war with Emperor Aurangzeb and the repeated invasions of the Marathas, many craftsmen (Printers) from the neighbouring state Gujarat came and settled in Rajasthan. By the end of the 18th century this industry was fully developed in Sanganer. There are at present, about 125 hand block printing units in Sanganer. Sanganer was renowned for its small decorative and delicate floral patterns, called, ‘boota-booties’ which was printed on fine cotton and silk. The dyers and block makers came from Sindh and Punjab and settled here. The printers belong to Chhippa community. They are all Hindus and are followers of the renowned Marathi Saint Namdev. Almost every member of the ‘Chhippa’ family is involved in the washing, dyeing and printing of clothes. While, the printers are predominantly Hindus, majority of dyers and block makers are Muslims. Water of the Saraswati River that used to flow graciously through Sanganer, was known for its special quality that used to bring out radiance from the natural dyed fabric. This was major source of inspiration for the printing community.

In olden days, the fabric was printed mainly for use of royal families and rich traders but now it is used as part of clothing for urban families and also exported. At present,’ mulmul’ (cotton voile), ‘latha’ (sheeting fabrics) and cambric etc. are sourced from Jaipur.

On Sanganeri ‘chintz’ (printed cloth) usually, yellow, green blue (with different tones) are used as the background. These days one rarely comes across the variety of shades that were found in the old Sanganeri ‘chintz’, but still the ‘Chhippas’ of Sanganer have the incomparable know-how of matching the back ground on base colour with colours of the prints.
Motifs of Sanganeri Printing

Sanganeri is generally done on white background. Sanganer is famous for its Calico prints (recognised by their dual colour prints done repeatedly in diagonal rows) and Do-Rookhi prints (that come on both side of the fabric). Finesse in flowers-petal designs, curves and delicacy are the prime specialities of Sanganer prints. The curvature of flowers in the ’bootas’ is generally shown on the right side. Different types of flowers and plants are displayed in the form of ‘bel’ (a border) and ‘boota’ very naturally and in a really attractive manner.

Some of the flowers used in the prints are roses, rosettes, lotuses, lotus bud, sunflower, lily, ‘champa’ ‘canna’ ‘nergis’, marigold etc. Various other flower creations are also found in old Sanganeri prints. Other flowers used are locally known as ‘sosan’, ‘gainda’, ‘gulmehendi’, ‘javakusum’, ‘guldaudi’, ‘kachnar’, ‘jatadari lily’, ‘kaner’, ‘kanna’, ‘gullalla’, etc. ‘Sosan’ and ‘gullala’ prints are probably very suitable to sanganeri prints, therefore they are used in various forms.

In ‘booties’, generally, only one type of flower-petal and bud creations in the following forms: ‘badam, (almond)’, ‘paan’ (beetle leaf), ‘mukut of ‘kalanga’, While printing a saree, if the ‘booti’ is of ‘sosan’ flower or plant the ‘bel’ will also be of ‘sosan’ flower and the big’boota’ to be done on the ‘pallu’ (the end part of a saree) will also be of ‘sosan’ flower decoration. Hence, for printing one sari, a large number of blocks need to be made. In some ‘booties’ one finds a collection of more than one flower in the same product. Sometimes two different blocks of two different ‘booties’ are printed together to form a third type of ‘booti’ e.g. ‘Singhbal booti’. By printing different booties together, the Sanganeri ‘Chhippas’ have portrayed excellent know how. Sometimes more than three flowers are fitted beautifully in a single ‘booti’ e.g. in ‘Latkan booti’ banana tree, sosan tree and saro tree collection in assembled beautifully in one pattern. Apart from flowers, fruit trees of banana, dates, grapes pomegranate etc. have also been recreated in a very attractive manner. In some old prints figures of parrots and fish are also seen.

TRIVIA: Indira Gandhi, a woman of impeccable taste and style, was the most iconic figure as far as our Indian textile heritage goes. She gave a huge fillip to the pure cotton Kota and Mulmul saris, printed in monochrome with Sanganeri bootis. Indira Gandhi used her dressing as a powerful medium to send across a certain message. Indira Gandhi was also a style icon; no one else really connected fashion and politics like her.

Sambalpuri saris are known for their incorporation of traditional motifs like shankha (shell), chakra (wheel), phula (flower), all of which have deep symbolism, but the highpoint of these saris is the traditional craftsmanship of the 'Bandhakala', the Tie-Dye art reflected in their intricate weaves, also known as Sambalpuri "Ikkat". In this technique, the threads are first tie-dyed and later woven into a fabric, with the entire process taking many weeks. It is produced in the Bargarh, Sonepur, Sambalpur, Balangir, Boudh District of Odisha.

Earlier these textiles were mainly offered to the local gods, or Ishtadevata, to seek blessings for professional prosperity and, therefore, included primarily floral and temple ritual-oriented patterns. The Dusphuliya design seen in sari borders, for instance, represents the 10 avatars of the supreme god, i.e. Vishnu. The fish and tortoise motifs, believed to be the first avatars before the God incarnated into human forms, according to Hindu mythology, is also recurrently used in the designs. Other auspicious omens such as the conch shell (sankha), holy seed (rudraksh), etc., are used to generate positive energy for the wearer. It is said that from this religious origin, later on the Sambalpuri textile moved to more secular practices of making saris for everyday wear. However, while in these the iconographic configuration changed to various animal motifs comparing nature to feminine beauty—such as the fish’s round eyes, the lion’s small waist, the deer’s agility and the elephant’s graceful walk—even so a larger philosophical and religious basis informed the designs to bestow sanctity and prominence to the woman’s role in family and society. Until this day, the Sambalpuri textile art remains distinct and prized for its traditional moorings and newer contemporary designs are also strictly adapted to adhere to this larger history and rationale of the art.

The yarns are tied according to the desired patterns to prevent absorption of dyes, and then dyed. The yarns or set of yarns so produced is called 'Baandha'. The unique feature of this form of designing is that the designs are reflected almost identically on both side of the fabric. This versatile technique enables a craftsman to weave colourful designs, patterns and images into a fabric capable of inspiring a thought or conveying a message. Thus, Baandha can be defined as "a length of systematically arranged yarn, dyed according to a preconceived design in such a manner so as to enable a weaver to portray the design when the yarn is converted to a fabric through the process of weaving".

In olden times, natural colours were produced from various flowers, roots and barks of trees and plants and were therefore limited in range. Amongst these, yellow, red, maroon, black and white were more prevalent and categorised as traditional vegetable dyes. Yellow was derived from turmeric, maroon from aachi tree’s bark, and red from jhampada flower seeds. But in recent times new chemical colours are being used. The chemical colour’s resilience, durability and wide variety has led to its demand. There are two components required to make chemical colours—one, hydrosulphate and, two, caustic soda. These two are mixed with the colours to make them permanent. In this process various shades of green, blue, purple, yellow and pink can be prepared. Other types of colours are produced with the chemical napthal, such as maroon, black, red and yellow.

The colouring process, although seemingly simpler, also requires skill and adequate knowledge. Otherwise, if not treated properly, there are high chances of the colours getting washed away and fading quickly. For different colours different procedures are followed with varying ranges of water temperature for dipping the threads and different proportions of other mixes such as chemicals and dyes. Each colour also has a light and deep shade and several aspects have to be carefully thought through, for instance, which colour to apply over which according to their intensities. Yellow, pink and sky blue are considered to be the lighter colours and in these the mixes of hydrosulphate and caustic soda are relatively lesser. Navy blue, violet and green are the deeper colours and override other colours, therefore, hydrosulphate and caustic soda is added in greater measures for these to increase the temperature of water.

When making a colour using napthal chemical, a mixture of napthal and caustic soda is added to boiling water, and the yarn is dipped in this liquid and then dried. Again, the colours are added to cold water and the dried yarn is dipped once more in the cold water. The fabrics prepared in this process tend to run water for a few days, but after subsequent washes the hues start to look even brighter.

Before dying, the loose threads are first soaked in hot water for two hours with soda and prematex and then dried. In a half-dried state, the threads are dipped again in hot water. Due to this procedure, when the threads are finally dyed, colours are absorbed easily and evenly. After all the colours have been properly applied, the final knots are opened for the concluding stage-weaving.

Dongria Kondhs are tribes that inhabit the Niyamgiri hills of Rayagada district and Kalahandi district in Odisha.

The Niyamgiri hill range in Odisha, is home to the Dongria Kondh tribe. Niyamgiri is an area of densely forested hills, deep gorges and cascading streams. To be a Dongria Kondh, is to farm the hills’ fertile slopes, harvest their produce, and worship the mountain god Niyam Raja and the hills he presides over, including the 4,000 mtr Mountain of the Law, Niyam Dongar.
Yet for a decade, the 8,000-plus Dongria Kondh population lived under the threat of mining by Vedanta Resources, which hoped to extract the estimated $2bn-worth of bauxite that lies under the surface of the hills.

The company planned to create an open-cast mine that would have violated Niyam Dongar, disrupted its rivers and spelt the end of the Dongria Kondh as a distinct people.

The deep reverence that the Dongria have for their gods, hills and streams pervades every aspect of their lives. Even their art reflects the mountains, in the triangular designs found on village shrines to the many gods of the village, farm and forests and their leader, Niyam Raja. They derive their name from Dongar, meaning ‘hill’ and the name for themselves is Jharnia: Protector of Streams.

Vedanta Resources wanted to mine the Bauxite from the top of the same mountain. The Dongria Kondh would lose their livelihood, their identity and the sanctity of their most religious site.

The bauxite-capped Niyamgiri hills soak up the monsoon’s rain, giving rise to more than a hundred perennial streams and rivers, including the Vamshadhara River. These streams provide the water that is vital for the communities who live in the hills, and provide critical drinking and irrigation water for those in the plains, where drought and starvation have made national news. The Vamshadhara provides drinking and irrigation water to millions of people in the states of Odisha and Andhra Pradesh. Over centuries, the Dongria have helped to maintain the rich biodiversity of their forests, where tigers, leopards, giant squirrels and sloth-bears roam.

The Dongria Kondh of India’s Niyamgiri Hills have won a heroic victory against mining giant Vedanta Resources to save their sacred hills. The Supreme Court told Vedanta in 2013 that the Dongria must decide whether to allow mining on the Mountain of the Law. The Dongria answered with an unequivocal NO.

"Niyam Raja is our God and we worship him"

"We are born of this earth, and this earth is ours. Niyamgiri belongs to us" — Laksa Majhi

"We’ll lose our soul. Niyamgiri is our soul"

"Where will our children go? How will we survive? No, we won’t give up our mountain!’

Strangely, mining company Vedanta says that this is ‘virgin land; no human interference has taken place’.

Resistance:

The Dongria protested against Vedanta locally, nationally and internationally. They held roadblocks, formed a human chain around the Mountain of Law and even set a Vedanta jeep alight when it was driven onto the mountain’s sacred plateau. But as long as the refinery sits at the foot of their hills, they do not feel their mountain is safe and will not give up their fight. Their determination, tenacity and success has won them international acclaim and inspired tribal peoples across the country and around the world.

Saris / Shawls woven by Dongria Kondhs have a unique emphasis on geometric dimensions. Kapadaganda (locally) is an ethnic embroidered shawl used by Dongria Kondh youth. This design has been incorporated into the Dongria Kondh tribal Saris.

Kapadaganda in their own Kuvi language means "Chief's Cloth".

Embroidery is mostly done by unmarried girls but any woman can do it. The girls embroider this shawl for their own use and for their brothers. This shawl is sometimes given as a token of love to her most intimate lover. In embroidery work, yarn of three colours is used - green, yellow and red. Each colour carries some implications manifested with socio-cultural values.

GREEN symbolizes hills and mountains, green crop fields, trees, plant species, etc., it is also the reflection of germination of seeds, its growth and spread of branches, prosperity and development of community.

YELLOW stands for peace, smile, togetherness, health and happiness, family, lineage, village, Mutha an administrative cum territorial boundary) and community as a whole. It is also regarded as a sign of auspiciousness (in relation to Haldi or Turmeric)

RED is the symbol of blood, energy, power, revenge, aggression. It also signifies appeasing of deities, gods, goddesses, spirits and ancestors by offering blood sacrifice of buffaloes, pigs, goats, fowls, pigeons etc.

The painstaking efforts and creativity of Chicheguda weavers make every Habashpuri or Habaspuri sari produced here a special piece. Mostly done in cotton, traditional designs of Kandha tribes like kumbha (temple), fish, turtles and flowers are woven into the saris. Home to 30 weaver families, Chicheguda village has been instrumental in reviving the Habashpuri handloom which was originally woven in Habashpur village of Kalahandi district during the 19th century. With the decline of dynastic rule, the pattern of weave too passed into oblivion. However, it was revived by master weaver Ugrasen Meher in Chicheguda. Subsequently, the government formed the Chicheguda Handloom Cooperative Society to look into training of weavers and marketing of the final products. However, weavers of the village said even as steps have been taken to revive the Habashpuri weave, a lot more needs to be done for skill upgradation at regular intervals and providing marketing opportunities to them. They also demanded speeding up of the process for geographical indication (GI), copyrights and design patent of the Habashpuri design. Authorities have confirmed that all formalities have been completed to grant the Geographical Index registration to the Chicheguda Handloom Cooperative Society. The department is contemplating to provide crash courses to weavers in producing products in Habashpuri design like bed spreads, table mats apart from saris. There are also plans to improve weaving methods.

Gorod or Garod or Garad or Gorod Korial is the traditional Sari worn all over Bengal during Pujas. Yes, it was worn by Vidya Balan in the movie ‘Kahaani” but, it has been there all along, the archetypal traditional Bengali Puja Sari.

These saris were reverentially brought out during the family pujas but they made many interesting social statements in upper caste Bengali society. Owning a Gorod Korial was a status symbol to be flaunted in style. Women would proudly show them off at family gatherings, especially if it was gifted by a son or the in-laws. Interestingly, these 'puja saris' were woven by weavers from both the Hindu (tanti) and Muslim (julaha) communities in Murshidabad, Shantipur, and Tangail.
Gorod silk is one of the popular styles of sari that has its origin in West Bengal. The Murshidabad district of West Bengal specializes in weaving these saris wherein the silk yarns are woven close together which imparts the fine texture to the saris.

The word “Gorod” means ‘White’. Gorod silk saris are distinguished by its red border and small paisley motifs. Silk fabric used to weave Gorod saris is not dyed which keeps the purity factor of the fabric intact and therefore these saris have a sacred importance to the women in Bengal. It is for this reason that Bengali women consider it to be ‘Shuddhhavastra’ and they wear it during morning and evening prayers and for the Lighting of the Lamps’ ceremony. The Gorod Silk is manufactured from Tussar or Mulberry Silk and is not dyed to retain the natural colour of silk. The colour white is regarded as a symbol of purity; hence women prefer to wear a Gorod sari for special occasions and religious ceremonies. Bengali women prefer not to stitch a fall on these saris to preserve its sacred quality and wear it in its purest form.

The Korial sari is a close alternative to the Gorod Silk sari. Every Bengali woman, no matter in which corner of the world she resides, prefers to own at least one Gorod Korial sari in her closet.

The border of Gorod saris is distinctive in colour, mostly red and maroon which gives it a rich look. On the other hand, Korial sari (also known as Laal (Red) Paar (Border) sari) is also identical to Gorod sari except the border which is more intense in design and rich red in colour and the texture of the border resembles that of extremely fine corduroy. What distinguishes Gorod sari from Korial sari is that the latter, Korial, contains small floral and paisley motifs across the length of the sari while the former, Gorod, is plain white in colour with plain satin red border and the problem with them is that they are almost like Paper Silk, in feel. Korial sari is mostly worn during Sindoor Khela during Durga Puja. Korial is a technique akin to Korvai or Kuppadam, in which the red border is attached to undyed spotless natural colour silk body using a triple shuttle loom. The Korial sari is similar to the Gorod sari; however, the difference between the two, though fine, is rather important. Firstly, Gorod Korial saris have a richer fabric, giving them a heavier and more gorgeous look over the simpler Gorod saris. Additionally, the border and pallu of these saris are more intricately woven and/or with gold/silver or coloured motifs in elaborate designs; the border is more intense in design and rich red in colour. Both the quality of the fabric and the complexity of the weaving add to the grandeur of Gorod Korial saris. Gorod Korial is considered as a coveted item and the natural colour of the silk makes it an expensive outfit. Tracing back to the history, one would find that the kings and zamindars in ancient times used to drape themselves in this sari to perform religious ceremonies and rituals. Maintenance: Gorod Korial / Gorod silk saris should preferably be dry cleaned or hand washed with mild detergent, shampoo or Ritha (Soap nut)

The Sikalnayakanpet hand painted sari stands apart from the Kodalikaruppur sari hand painted by descendants of Naidu families who migrated to Karuppur in the 16th century. Later, a small group migrated to Sikalnayakanpet. Today Sikalnayakanpet Kalamkari is practised by the Karuppur Kalamkari Foundation started by late Shilpa Guru Emburumal as well as by Krishnamurthy and his son Rajagopal.

What sets the Sikalnayakanpet sari apart is the method of producing and applying the dyes. The artist draws and hand paints the designs. Therefore, each piece is a one-of-a-kind piece of art. It was heritage expert, Martand Singh, who created the brand of Sikalnayakanpet saris. Later, a distinctive logo of a two headed Yaali was added to the brand. Today, the craft of Kalamkari painting on Sikalnayakanpet saris rests in the expert hands of Rajmohan. He produces painted saris which are unique, one-of-a-kind saris, in the traditional colours of red, yellow and black as well as in the larger design repertoire of Sikalnayakanpet artists.

Tracing its origins back to the Nayaka dynasty in the 16th Century, 20 families, who were engaged in the craft, moved from Hubli to Kodalikaruppur now in present day Tamil Nadu. “These artisans were initially involved in creating temple art that resembled the Kalamkari from Kodalikaruppur, which was patronised by the Nayaka Kings. After the fall of the dynasty, they further split and the two families settled in Sikalnayakanpet.”

Rajmohan comes from a family of temple decorators who went on to make what are called Sikalnayakanpet saris, the fabric that has made the Sikalnayakanpet town near Kumbakonam famous. Hand-painted in a combination of vermilion, chrome yellow and black, it is often referred to as the `Kalamkari of Tamil Nadu'. “Even though the saris are in a 3-tone combination in colour, Raj Mohan goes on to explain why it is so difficult to paint these saris ... “It's not as easy as we think ... since the saris are 6 metres. They have to be finished in a single stroke and the uniformity of colour has to be maintained.” Rajmohan's is the only family that has mastered the art and covets it like a prized secret. And yet, what Rajmohan likes doing is paint. After passing out of Kumbakonam School of Arts and Crafts, the young man decided to head where the money was - Contemporary Art. "My family makes Sikalnayakanpet saris too," says Rajmohan, "but we're not making too many of them." His father, M. Permual, who recently passed away, was a National Award winner.

Dyes used : Organic, Vegetable colours like Turmeric, Iron rust and Jabal seeds. Black: Jaggery, Iron rust, Coal fermented for 48 days. Manjishtha or Madder dye for Vermillion Red and Turmeric for yellow

Tools used: A hard brush made of coconut stem. At least 3 to 4 coatings of colour are applied, to maintain the uniformity.

Process: The sari is first soaked for about 3-4 days in Boondi Kottai (Reetha or Soapnut), Milk and Nutmeg to obtain the softness.”

A much controversial Sari!!!

Hear it from Martand Singh, the undisputed Textile Revivalist and Crafts Master, fondly known as Mapu and Rta Kapur Chishti, Author, Researcher, Design Developer and a Textile specialist.

"This textile reflects an attempt to transfer the refined artistry of the Kotpad tribal saris to Tussar silk. Since the weavers of the Kotpad weave were unwilling to experiment with finer count cotton textures or to increase their narrow fabric width, the intervention was shifted to Gopalpur, a Tussar weaving area in the Jajpur district of Orissa. The weavers of Gopalpur, had used, until recent times, hand - reeled Tussar yarns to produce plain saris and fabrics of substantial weight and texture. For this sari, hand-reeled Tussar yarns were procured once again from Nuapatna and dyed at the Weavers' Service Centre in Bhubaneshwar. Despite the heavy grains of the Tussar yarns, an extremely reduced scale and range of geometric elements, borrowed from Kotpad, format and pattern the sari."

Ghichha is produced from raptured cocoon.

Raw Silk is the most natural form of delicate fibre of silk with no twist and is an unprocessed form of silk that can be easily woven into different fabrics. Tussar Ghichha Silk yarn is wild silk and is handmade from Tussar Polly cocoons. Ghichha or Khewa are the names given to yarns that are not dyed when Tussar silk is reeled. The texture of the woven fabrics is further enhanced using silk by-products like dupion, matka, filature, spun, noile, ghicchha, balkhal, ketiya, fesuwa, and jhuri among others. Fabrics made up of Ghichha silk (by-product of Tussar silk) are exquisite, classy and exhibit a touch of royalty.

Saris from different regions reflect the cultural identity of the region with unique features that have evolved over a period of time suitable to the climatic conditions, topography, cultural heritage with an aesthetic sense and skill of the master weavers. Gharchola saris of Khambhat cluster is one such product which is immensely popular in Gujarat and its surrounding states.

Both Gharchola and Panetar form an intrinsic part of a Gujarati wedding. During the wedding rites, the bride wears a Panetar which is considered to be the last garment she receives from her parents and during the ceremony her mother-in-law gifts her with a Gharchola. This signifies that the bridegroom’s family is ready to take all her responsibility from that day onwards. In certain families the custom is considered so acutely that the bride is expected to change her Panetar and immediately wear her Gharchola. Nowadays, after the bride receives her Gharchola she puts it on her head and shoulder for the wedding rituals. During the seven pheras around the auspicious fire, one end of her Gharchola is tied to the shawl being carried by the groom confirming the auspicious knot.

Traditionally there used to be challenges faced by the bride’s family in the selection of Panetar. Conventionally Panetar is always woven in Silk whereas Gharchola used to be authentically and traditionally woven in cotton. Considering the rich appearance of silk, it used to appear more opulent than the cotton Gharchola. And as the groom’s family is considered the more dominant in the society, it was not a very accepted situation. The bride’s family used to always select the simplest and plainest design patterns in Panetar and hence used to keep away from the aspect of social variance.

The unique speciality of a Panetar sari is its white body with rich red border and pallu. Panetar, the wedding sari which is gifted to Hindu and Jain brides by her maternal uncle is one of the simplest yet most aesthetically and meticulously designed wedding sari. The plain white body is woven in Gajji silk with linear stripes or checks in gold zari, nowadays they are also being made in plain bodies with Bandhani motifs. The border and pallu which are dyed red are minimally adorned by tie and dye embellishment. The motifs are simple abstract motifs highlighted with white or yellow dots.

The Gharchola saris are the most symbolic element of a Hindu or Jain wedding in Gujarat. The weaving technique of the Gharchola silk saris first came from the region around Cambay. These saris are first woven by using silk and zari thread and are later embellished by tie and dye or bandhani work. The golden grid pattern of a Gharchola sari, dyed in rich red and pecked white dots illustrating varied themes, make the ceremony of wedding or any other ritual a picturesque and glorified occasion.

A typical Gharchola sari is marked by the large zari checks, 12 section patterns is known by the name of 'Bar bagh' and the 52 square saris are known by the name of 'Baavan bagh'. These checks carry small golden motifs, the most common motifs used in the Gharchola saris are those of peacocks, lotus, human figures, floral patterns and the like. Where more than two colours are used, the design is known as ‘Phulwari’ or garden and where animal motifs predominate it is known as ’Shikari’ which means hunting scene. The main colour used is red, with white and yellow dots, though green Gharcholas are also fabricated based on personal request of the client.

Gharchola weaving also is a special technique which was traditionally hand woven in Porbandar and then sent to Jamnagar for Bandhani.

Let me demystify the shot colour technique or what we in India call the Dhoop Chhaon effect, which is unique and special to the craft of silk weaving. Having said that, the shot colour weaving technique can also be applied to cotton, linen and synthetics

Simply stated, a colour shot is created when the yarns in the weft are a different colour than the yarns in the warp. For instance, a fabric woven with a yellow warp and a pink weft.

The technique of shot colours helps achieve new colour possibilities in textiles. For instance, you will be surprised to know that very often when you see a grey fabric, it may not have any grey yarns. Instead, it is often woven by marrying black weft with white warp or vice versa. Similarly, completely new colours can be created by using and combining yarns of two different colours. Theoretically, the technique can be used with yarns of any kind. But it is only in silk that the colours integrate so seamlessly that viewing from even a hand’s distance, you cannot tell the individual yarn colours. It is a common practice of coupling a coloured weft with a black warp to achieve a darker colour tone. For instance, using a red weft with black warp to create a maroon. Similarly, by using a white warp with coloured weft helps achieve a more pastel colour tone.

Another reason to use the shot colour technique is to achieve a beautiful iridescent colour effect. For instance, when you look at a fabric or sari woven with a blue warp and green weft, you see a beautiful variation in colour from green to blue and vice versa as you rotate the fabric or as the sari drapes in folds.

It is important to note that the iridescent effect can only be achieved on a yarn-dyed woven textile, and is most effective in silk. The unique colour effect cannot be achieved on printed textiles, or on any textile which is overdyed or piece dyed. For example, while a Banarasi Khaddi Georgette sari can be dyed into beautiful shaded colours, the shaded effect so obtained is not the same as shot colour effect.

A shot colour is also not to be confused with a multi-colour weave. The effect can only be achieved by using different colours in the warp and the weft. If we use two colours in just the warp, or only the weft, we achieve a multi-colour fabric, but not the iridescence of shot colour.

Though a very useful technique, shot colours needs to be chosen with caution. In attempting to create a shot colour textile, it is important to choose colour pairs that blend well to be able to create an attractive colour effect. The colour effect is subtle when the two colours used to create the shot are from the same colour family or are close to each other, for e.g., yellow and orange. And the best way to achieve this is by using the Colour Wheel that maps the colour spectrum onto a circle. The Colour Wheel was invented in 1666 by Isaac Newton and is the basis of Colour Theory, because it shows the relationship between the colours.

A pure Georgette fabric is a textile made from Silk. It has the light crepe texture, which feels slightly rough, but makes the fabric a bit bouncy giving it a flowing look. The threads used in Georgette fabric are highly twisted, which gives a rubbery texture when rubbed, making the fabric almost appear to move on its own. Georgette is woven in highly twisted yarns of S & Z, in both warp and weft. Georgette is woven in two forms: Pure and Faux. Pure Georgette is woven out of Silk yarns, while the Faux Georgette is woven from Rayon and Polyester. Pure Georgette fabric is thin in nature and most expensive when compared to other fabrics. Traditionally these fabrics were worn by royal families as they were expensive, elegant and classy but with the passage of time, introduction of new machines and cost effectiveness; this fabric has become one of the widely used textile with many variations.

Types of Georgette:

1. 80grms Georgette: This is the most pure and expensive one; generally used in heavy saris and suits where heavy work and embroidery is done on them. Since it is a bit heavy, it can easily hold heavy work on it. Generally wedding saris and lehengas are made in this fabric.
2. 60grms Georgette: Though it is Pure Georgette the cloth is lighter than 8ogrms. This is ideal for embroidery work, digital and normal prints. It is suitable for heavy work in salwar suits and light work in saris.
3. 40grms Georgette: This is the most extensively used fabric for printed tunics and dresses having light work and printed saris. This is again a pure form of Georgette and slightly cheaper than the above-mentioned Georgettes.
4. Faux Georgette or Artificial Georgette: Since Pure Georgette is expensive; a new kind of Georgette was introduced which has polyester weaving done in the fabric and is called Faux Georgette. It is much cheaper than Pure Georgette and the cloth looks quite heavy and stiffer compared to the pure variety. This Georgette, when rubbed gives a crackling kind of feel. The difference in Pure and Faux Georgette can be identified with the roughness of the fabric. While Faux Georgette has hard roughness in fabric, Pure Georgette has soft roughness in the fabric. Faux Georgette is 5 times cheaper than the Pure one as the texture of the fabric gives more of a synthetic look and feel and also the fact that dyed Faux Georgette loses its colour easily making it look faded after a few washes or dry cleans, whereas Pure Georgette attains a self-shine and looks brighter after few dry cleans.

A Japanese Tie-Dye technique, using a variety of techniques in different shapes to make different patterns. The main dye was Indigo and, to a lesser extent, Madder, Catechu and Purple Root. There are an infinite number of ways one can bind, stitch, fold, twist, or compress cloth for Shibori, and each way results in very different patterns. Also, different techniques can be used in conjunction with one another to achieve even more elaborate results.

• Nui Shibori includes Stitched Shibori. A simple running stitch is used on the cloth then pulled tight to gather the cloth. The thread must be pulled very tight to work, and a wooden dowel must often be used to pull it tight enough. Each thread is secured by knotting before being dyed. This technique allows for greater control of the pattern and greater variety of pattern, but it is much more time consuming.
• Arashi Shibori is also known as pole-wrapping shibori. The cloth is wrapped on a diagonal around a pole. Then the cloth is very tightly bound by wrapping thread up and down the pole. Next, the cloth is scrunched on the pole. The result is a pleated cloth with a design on a diagonal. "Arashi" is the Japanese word for storm. The patterns are always on a diagonal in Arashi shibori which suggest the driving rain of a heavy storm.
• Clamp Shibori where the fabric is folded in a particular pattern and then clamped down with patterned wooden blocks before dyeing. The result is a pattern (in the shape of the wooden block) repeated all over the fabric, which shows up because the rest of the fabric retains the colour of the dye.

The Gamchha is a traditional towel made up of thin coarse cotton fabric, often with a checked design, used mainly in Bengal and Bangladesh. Literally translated, it means 'something to wipe the body with, “ga” which means "body" and “mochha” which means "wipe"

With handloom fabrics and a ‘back to the roots’ approach picking up pace as we look out for sustainable alternatives in a fast fashion market, there’s much to be said about the ‘gamchha’ fabric that has undergone a sartorial revolution of its own.

Bangladeshi fashion designer Bibi Russell is the fashion queen of Gamchha and the original champion of sustainable fashion. She launched Fashion for Development in 1996. It was built on the idea that fashion could facilitate social, economic and sustainable development. Today it’s the biggest thing across the world, the cause of ethical fashion.

The Gamusa of Assam is an article of significance for the indigenous people of Assam. It is generally a white rectangular piece of cloth with primarily a red border on three sides and red woven motifs on the fourth. Although cotton yarn is the most common material for making/weaving gamusas, there are special occasion ones made from Pat silk.

Literally translated, it means 'something to wipe the body with' (Ga = body, musa = to wipe)

The word gamusa is derived from the Kamrupi word gamsaw, the cloth used to cover the Bhagavad Purana at the altar.

The gamusa symbolizes the indigenous life and culture of Assam and is used in different ways :

It is used to cover the altar at the prayer hall or cover the scriptures. An object of reverence is never placed on the bare ground, but always on a gamusa.

It is used by the farmer, fishermen or hunter as a waistcloth (tongali) or a loincloth (suriya).

A Bihu dancer wraps it around the head with a fluffy knot

It is hung around the neck at the prayer hall (naamghar) and was thrown over the shoulder in the past to signify social status.

Guests are welcomed with the offering of a gamusa and tamul (betel nut) and elders are offered gamusas (referred to as bihuwaan in this case) during Bihu

It may be used as a towel to wipe the body after a bath (an act of purification).

Gamusa of Assam received the Geographical Indication tag in 2022

Everyone seems to know and agree that Taant is precious art, craft and pride of Bengal, but a swelling demand has pitted man against machine. The drape of dreams - the forte of weavers of Nadia, Burdwan, Hooghly, 24-Parganas, Howrah and many other districts of the state - is shrinking, even as the reach of the powerloom is expanding. Tragedy struck these weavers with Demonetisation and then GST, followed by the invisible bug which remains an enigma after almost half a year, compounded by the powerful and deadly tropical super cyclone Amphan, that caused widespread damage in Eastern India, and devastated whatever remained of these poor artists.

In the annals of Indian handloom sari history, Shantipur and Fulia are a name to reckon with. Their fascinating story is also in a nutshell the story of Bengal handloom saris. The geographical twins could not be more different. The first, a handloom weaving centre over 500 years old. The second came to flourish only after Partition. Yet, their destinies are linked together – the Shantipur and Fulia sari swim or sink with the success or otherwise of Bengal handloom. There are records of handloom sari weaving activity in Shantipur, a centre of Vaishnavite culture and Bhakti movement, as early as the 15th century. Weaving flourished throughout the medieval era, and the famed indigo-dyed Neelambari made the Shantipur sari a household name.

There was a strong sense of identity among Shantipur weavers. They united to agitate against the stranglehold of the Dadni system of the British East India Company and even took their grievances to colonial courts during the19th century. In the decades leading up to independence, Shantipur saw gradual inflow of techniques like the Barrel Dobby facilitating the conversion from Throw Shuttle to Fly Shuttle (1920s), the Jacquard Machine (1930s), and sectional warping and sizing that allowed production of warp yarns 350 yards long (1930s).

The demographics of Shantipur region went through a sea-change after Partition. Hindu weavers fleeing the erstwhile East Pakistan (now Bangladesh) settled down in large numbers in a concentrated area on either side of the Ganga in Nadia and Burdwan districts of South Bengal. A considerable number among them settled in Fulia, neighbouring Shantipur.

Fulia is now uttered in the same breath as Shantipur. Weavers there trace their lineage to the great Bengal handloom sari weaving centre of Tangail near Dhaka (Bangladesh). They have evolved their own weaving style called Fulia Tangail.

The Shantipur saris in the past were very popular for their fine and uniform texture. The saris were termed as per the design used in the extra warp meant for side border. Registered as ‘Santipore Saree’ with the Geographical Indications (GI) registry. To weave the double-sided design, they use Do-Rookha technique, because of which the front and the reverse side of the sari looks extractly the same.

Fine cotton yarn ranging from 60s to 100s is used both in warp and weft. Shantipur has been famous for its elegant designs inspired from nature. The eye-catching variety includes Ganga-Jamuna, Benkipaar, Bhomra, Rajmahal, Anshpaar, Do-Rookha, Visva-Bharati, Brindamani Mour-Par, Neelambari. The pallu of the saris have buti. Sometimes, tie and dye designs are also used for the anchal/pallu. The ‘Neelambari’ sari (not to be confused with the Jamdanis of Bangladesh) meaning blue skywas the first product that made Shantipur famous. It had a special deep navy-blue colour like the sky on a new moon night. In some special neelambaris, the borders were fringed with silver zari stars like the night sky. The indigo dyed, midnight blue cotton handloom sari was so alluring that it was called “an enemy of modesty!” The USP of the Neelambari lay in the fineness of the yarn and dyeing quality. Very fine hand spun yarn of 250 – 300s was used for weaving, resulting in a powder fine texture. A heady mix of fine weaving and subtlety of design, the Neelambari was the last word in sophistication.

Traditional Shantipur sari borders, or paars as they are called, have picturesque names like bhomra (bumble bee); tabij (amulet); rajmahal (royal palace); ardha-chandra (half-moon); chandmala (garland of moons); aansh (fish scale); hathi (elephant); ratan chokh (gem eyed); benki(spiral); tara (star); phool (flower) etc. In traditional Saris, the pallus were decorated with stripes of different thicknesses, called sajanshoi, in colours complementary to those of the border.
Saris in the past used to be smoother and softer than those made today. The special technique used for sizing the yarn was the reason for this. Also, both warp and weft used to be sized, which is seldom done today. Another unique feature of Shantipur saris is the finishing. The weavers here apply size paste (made from sago or popped rice) once while sizing the warp yarn and again, either by hand when the sari is still being woven or by fixing the sari to a frame after weaving is complete.

Printing and dyeing techniques flourished in Rajasthan in the medieval ages and the influences brimmed over to Gujarat. The craftsmen in Gujarat developed an expertise in printing with wooden blocks. Printed fabric was a frequent element in royal processions with which they made tents for when the battalion rested. Until the establishment of fabric trade routes Europeans used wool, silk or leather as dress materials and cotton was not an extensively explored material. Eventually, plain cotton started being heavily imported by European ports. Absence of knowledge about colours and fabric printing also gave way to the European demand for printed fabrics. The climatic conditions in Europe didn’t allow the colours to mature as brightly as they did in India. The traditional weaver clan ‘Chaliyans’ used to weave the plain fabric and printing on fabric was done in western and northern India. These printed fabrics became popular in Europe as Calico prints, also termed as ‘Chintz’. John Ovington came to India in 1689. The interest of Europeans in cotton printing and dyeing were clear enough and those cases of ‘borrowing’ from India were written by Frenchmen in the 70 years between 1678 and 1747, a period that coincided with initial phase of European expansion for the new textile printing industry. Between 1678 and 1680, Georges Roques wrote a 333-page manuscript containing a detailed analysis of the production of textiles in Ahmedabad, Burhanpur and Sironj. The French East India Company’s Lieutenant Antoine Georges Nicolas de Beaulieu was the author of a second manuscript, probably compiled around 1734. Finally, the third document was produced as a series of letters by Father Coeurdoux, a missionary from the Society of Jesus who lived in India between 1742 and 1747.The principal cotton textile described by Roques was the less expensive wood block printed Chintz as opposed to the more expensive painted Chintz from the same region and elsewhere in India. The less expensive wood block printed Chintz was produced at Ahmedabad, Sironji, Bhuranpur (Khandesh). Ahmedabad was one of the lowest cost production centres for the textile in western. The use of one or more carved block was practiced; Ahmedabad producers used three types of blocks, one for outline of the design, one for the ground and third types of detail, worker first print outline then ground and then details. Ahmedabad was also famous for its intricate traditional designs that were chipped on the blocks by the artisan families. These prints came to be called ‘Saudagiri’ prints as ‘Saudagars’ or traders would gather at fairs, markets or ‘haats’ to sell their printed fabric to common folk as well as royalty. The ‘Gujarat State Handicraft Development Corporation’ and its retail wing ‘Gurjari’ were established in the early 1970s. The aim was to uphold the craft and create a sustainable market. At around the same time, the ‘National Institute of Design’ was established in Ahmedabad. Designers were recruited from NID to work with the Handicraft Development Corporation staff and the craftsmen from rural areas of Gujarat.

Gajji silk is a veg-based Viscose fabric. Satin weaves with rayon warp and cotton weft create a highly glossy surface. Gajji silk is a satin weave done on silk fabric.

To care for your Gajji silk fabric, gently hand wash in cool water with a mild detergent. Do not wring or twist the fabric. Hang to dry in a shaded area. Iron on the reverse side on low heat if necessary.

Gachhi tussar is another name for Desi tussar. It is tussar yarn that has been manually reeled from a healthy cocoon; derived from the cocoons of the Antheraea or Eri silk moth. Cocoons are collected by the tribal communities especially ladies. This opulent silky yarn is renowned for its vivid hues, delicate texture, and subtle sheen. In terms of beauty and elegance, plain Gachhi tussar saris are unique. The speciality of these saris is the very soft dense texture as the cocoons are collected from the forests of Chhattisgarh and Jharkhand states.

Rich Magenta, Electric Blue, Emerald Green, Bubblegum Pink are among the many shades one gets to see in the saris being woven on looms in the Gadwal district. The weavers are now gradually on the decline, their silhouettes blurred by the sheer lack of numbers involved in making one long winding cloth with consummate skill.

Nurtured in a small town called Gadwal, formerly part of Mahbubnagar district in Telengana, Gadwal saris are known for its beautiful mix of fabric and designs. It was registered as one of the Geographical Indication from Telangana by Geographical Indications of Goods (Registration and Protection) Act, 1999.

The entire sari is made of cotton while its borders and pallus are designed in silk. The silk border and pallu is made of Mulberry and the body is made using unbleached cotton. Attributing its designs to the temples and their architecture; one can see beautiful and exotic shapes adorning the borders and body of the sari. The Gadwal saris were hand woven varieties, which were the main source of livelihood for the weavers of Andhra Pradesh. Gadwal saris were a big hit, right from the beginning. Hence, some weavers from Gadwal were sent to Benaras by the king to learn the art of weaving this particular style. The outcome was the hand-woven variety of Gadwal saris that became immensely popular.

Popular since 1930s, it is the silk borders of these cotton saris which make them stand out. Simple in their look, but with a sophisticated elegance, they have a certain nostalgia to them, often reminding one of ladies of class and grace who would sport these beauties, even at weddings.

The striking feature of this sari is that, while the body is made from cotton, the borders and the pallu are made from mulberry silk. There is complicated joinery involved and this gives the silk/cotton mix sari its charm. For weaving each sari, 4-8 days of effort by two weavers is required.

Most Gadwal saris are woven with interlocked - weft borders of contrasting colours. Attaching the silk border and pallu to the cotton body is called doing the 'Kechchu'. Gadwal Saris are woven traditionally according to the interlocked-weft technique (Kuppadam or Tippadam) or Kotakomma (also known as Kumbam) with respect to the design of the borders. Hence, these are also known as Kotakomma or Kumbam saris. This is most difficult to do and is also what sets the Gadwal sari apart from other saris. The body of the sari is woven from unbleached cotton yarn and contains patterns made using coloured cotton or silk thread. The weaving of the patterns is done using threads coated with gold or copper. Traditional motifs are used in the sari. The motifs of the Murrugan (peacock) and the Rudraksh rule as the favourite along with the temple motif (Kutabham or Kotakomma). Other variations include Mango or Paisley design buttis all over the body, enriched by a dark contrast colour pallu having intricate geometric pattern zari design or self-striped or tiny checked design in body with zari buttis all over the sari field.

These saris might have different types of borders - narrow border, medium border, heavy border (weight of the sari doesn’t vary). Also, Kuttu border, Turning border, One side border are some other terms in use.

A Gadwal Sari is normally of 80 counts cotton for warp and weft in the body, and 20/22 D filature silk is used in the border and pallu. 'Kuttu' (a joining) at the border for any GADWAL sari, is one feature that helps recognize it. Also, any GADWAL sari, whether Cotton or Silk, always has a Silk border.

When shopping for a Gadwal Sari, the most important fact to be remembered is, that in an authentic Gadwal Sari, the part/length of the Upper Border, which is meant to be tucked in, is always woven in the same motif as the rest of the Zari border, but in cotton thread. Just goes to show the importance that was paid to even the minutest details … tucking in the Zari border not only bruises the skin but also causes wear and tear. Most of the Gadwal saris available these days do not have this feature; instead, what you get is just a plain light silk border without any woven motifs. Guess this also helps in cost-cutting.

Hingula Tussar, is named after the Goddess and worshipped by the Weaver community from Gopalpur in Odisha. It is specially reeled and spun by women. Women engage themselves in spinning the Charkha in motion and reeling the Tussar carefully on their thighs, from the cocoon. The reeled tussar is further twisted and spun by hand and the entire process of creating thread to fabric is a decentralised local tradition on the basis of which weavers sustain themselves.

These Gopalpur Tussars are unusually thick and textured and hence have a great fall and drape. Fish motifs woven all over, adorn the Pallu, the Body and the Borders. Eastern India, as you all know, is obssessed with Fish. Anything auspicious always has to include the Fish motif, as it is symbolic of : Fertility, Eternity, Creativity, Femininity, Good luck, Happiness, Knowledge, Transformation

Vegetable dyes and Mineral colours are used for Dyeing. White colour is made from the conch-shells by powdering, boiling and filtering ... it is a very hazardous process. It requires a lot of patience. But this process gives brilliance and permanence to the hue. 'Hingula', a mineral colour, is used for red. 'Haritala', for yellow, 'Ramaraja' a sort of indigo for blue is being used. Pure lamp-black for black, prepared from the burning of coconut shells are used.

Sujani (also known as Sujini) is a form of embroidery originating from the Bhusura village of Bihar in India. In ancient times, it was considered as a form of quilting wherein old sarees and dhotis were used as the creative canvas, the cloth was folded twice or thrice and then simple stitches were done on these used clothing to add newness to them. Today, Sujani embroidery is also practiced in the southern part of Rajasthan for making patterns on Sarees, dupattas and other clothing and home furnishing.

Sujani is said to have originated around the 1920s and was only practiced by the Rajput women. The word “Sujani” is derived from the words ‘su’ which means facilitating and ‘jani’ meaning birth. Quilts for new-born babies were made by stitching together colourful patches of old clothes and then Sujani embroidery was done with colourful threads to create motifs and designs. The reason behind this was that, due to the infant mortality rates of the time, it was considered to be unholy to dress a child in newly bought attire. These quilts were quite vibrant especially since the motifs were made using coloured threads, especially in a darker shade. Every colour used had a purpose and depicted something, like red symbolized blood and vitality while yellow for the sun, the life-force of nature. The Sujani embroidery form, which involves layered bits of old cloth material being stitched together, has its origins coming from ancient practices. For instance, these old cloth pieces stitched together were considered most suitable for the newborns to be draped in, serving the purpose of a cover, or quilt. Besides, another ritual was supposed to invoke a goddess named “Chitiriya Maa, who was hailed as the ‘Lady of the Tatters’. The motifs depict various pictures for men and women, dressed in traditional attire and scenes from joyous events, such as festivals and celebrations. Other common depictions include those of deities, animals, birds such as peacocks, plants, and flowers as well as the life-forces in nature like the Sun, Moon, mythological characters and fertility symbols which were supposed to evoke blessings from gods.

The most important requirement is to use easily available raw material as the base fabric. The process begins with tracing down the designs on the base fabric using tracing wheel and tracing sheet. Then artisans start drawing background by fine running stitch. And finally black or brown threads are used for outlining the motifs and colourful threads are used to fill in colours in the motifs. Materials required for Sujani kantha stitch include a needle, frame, scissors, threads of various colours, inch tape, tracing sheet, tracing wheel, pencil, rubber, blue chalk and kerosene.

This style of embroidery is similar to the Kantha stitch of West Bengal. Difference in use of colours, themes and motifs differentiate these two embroideries from each other. One of the prime differences is that in Kantha embroidery, artisans can stitch in any direction of the fabric, while in Sujani embroidery should always be done in straight lines. Going deep into the intricacies of Sujani style stitch, one will find that this embroidery is done only on cream coloured fabric with stitched motifs outlined by black coloured thread while multicoloured threads are used to fill in colours.

Himroo or Himru is a special cotton brocade made on a throw-shuttle loom using cotton in warp and silk in weft. Here, at the very beginning of the weaving process, the designs are decided by the Nakshabands and worked on multiple looms. The weaving is done by interlacing of weft yarns with the warp. This art originated in Persia. The weaves incorporate plain lines woven in different geometrical designs and patterns with motif taken primarily from nature. Other popular designs include local fruits, creepers, animals, flowers and birds. The actual ornamental design is formed on the principle of extra weft figuring. The word Himroo originated from the Persian word “hum-ruh” which means “similar”. It was developed as a cheaper alternative to kimkhwab, the more lavish brocade of silk and gold thread woven for royalty in the 14th century. When Delhi was being governed by emperors from the Tuglak dynasty, a noticeable amount of trade was taking place between the Indian and Persian weavers. During this time, when emperor Mohammed Bin Tuglak tried to relocate to Daulatabad in Maharashtra, some precious trade secrets of Persian shawl weaving techniques clandestinely found their way into Aurangabad. In the Mughal period, weavers who enjoyed imperial patronage began challenging the supremacy of the Persian weavers. This weave was originally used as yardage for Sherwanis and shawls.

‘Jama’ means a robe or a shawl and ‘war’ means yard (a measuring unit).

The handwoven Jamawar shawls are considered to be “rare pieces of art”. It is a classic piece of attire that oozes elegance and exquisite taste of the wearer. Pure Jamawar Shawls can sometimes take years to make. Every patch of embroidery is meticulously done by hand. There are families of skilled craftsmen and artisans who have been associated with this art for generations.

The history of Jamawar fabric is very intriguing. This fabric was widely produced under the Mughal emperorship. They were the ones who laid the foundation of the Kashmir Shawl industry. Jamawar consists of a special technique that travelled from Persia to Kashmir five hundred years ago. It was introduced under the reign of Zain-Ul-Abdin in the 15th century. He was the ruler of Kashmir at that time and brought craftsmen from Turkestan to the valley. Jamawar was especially popularized by the great King Akbar which helped in flourishing this industry further and the economy as a whole. He was an admirer of the art of hand embroidery and brought several artisans together from different parts of the country to expand its production. In that period, a single Jamawar shawl used to take years or even a whole decade to be completed.

Years ago, Jamawar shawls were crafted from pure silk threads and were worn by the rich families and royalties. These shawls are characterized by the colours of flora and fauna that are expressed skillfully on the piece of the rich fabric. The main focus is the exceptional embroidery and weaving done on the cloth.

Weaving entails the production of fabric by interlacing two sets of yarns so that they cross each other, normally at right angles, usually accomplished with a hand- or power-operated loom. The three basic weaves are plain, twill, and satin. Fancy weaves—such as pile, Jacquard, dobby, and leno—require more complicated looms or special loom attachments for their construction. In the plain weave each filling yarn passes over and under the warp yarns, with the order reversed in alternating rows. Fabrics made in the plain weave include percale, muslin, and taffeta. Ribbed effects in such fabrics as faille and bengaline are produced by employing heavier yarns for either the warp or the filling. In the basket weave one or more filling yarns are passed alternately over and under two or more warp yarns, as seen in monk’s cloth.

Twill weaves are made by interlacing the yarns in a manner producing diagonal ribs, ridges, or wales across the fabric. Wales may run from the upper right to the lower left of the fabric, or the reverse. The herringbone weave has wales running both ways. Twill fabrics include denim, gabardine, and flannel. A ‘wale’ is a column of loops running lengthwise, corresponding to the warp of woven fabric while a ‘course’ is a crosswise row of loops, corresponding to the filling.

Satin weaves have a sheen produced by exposing more warps than fillings on the right side of the fabric. The exposed warps are called floats. In the sateen weave the process is reversed, and the exposed fillings form the floats. The amount of twist in
the yarns and the length of the floats produce variations. Fabrics made in these weaves include slipper satin, satin crepe, and various sateen types.

Pile weaves produce fabrics with raised, dense surfaces. They can be made by weaving extra warp yarns over wires, producing loops that are cut as the wires are withdrawn; by adjusting loom tension to produce loops that are frequently left uncut; by using extra filling yarns to produce floats that are cut after weaving; or by weaving two cloths face to face, binding them together with an extra set of warps that form the pile when the fabrics are cut apart. Examples of woven pile fabrics include velvet, plush, terry cloth, and many of the synthetic furs.

Jacquard weaves, produced on a special loom, are characterized by complex woven-in designs, often with large design repeats or tapestry effects. Fabrics made by this method include brocade, damask, and brocatelle. Dobby weaves, requiring a special loom attachment, have small, geometric, textured, frequently repeated woven-in designs, as seen in bird’s-eye piqué. Leno weaves, also made with a special attachment, are usually lightweight and open, giving a lacelike appearance, and are made by twisting adjacent warp yarns around each other, then passing the filling yarn through the twisted warps. Marquisette, casement cloth, and mosquito netting are produced by this method.

The base of the Jamawar is mostly Resham silk thread. Most of the designs seen today are floral, with the kairi (paisley) as the predominant motif. Traders introduced this Chinese silk cloth to India, mainly from Samarkand and Bukhara and it gained immense popularity among the royalty and the aristocracy. Due to its rich and fine raw materials, the rich and powerful merchants used Jamawar. Emperor Akbar was one of its greatest patrons. One of the main reasons for the diversity in the designs of the Jamawar cloth was the migratory nature of its weavers. Ideas from almost all parts of the world influenced these designs. Efforts to revive this art have also been made by bringing in innovations like the creation of Jamawar saris by craftsmen in Varanasi. Each sari is a shimmering tapestry of intricate design, in colours that range from the traditionally deep, rich shades to delicate pastels. A minimum of four months of patient effort goes into the creation of each Jamawar sari. The saris are made of finely woven silk and are decorated with intricate design, and, because of these engravings, are relatively heavy.

Their special characteristics are Mughal inspired designs such as intricate intertwining floral and foliate motifs, Kalga and Bel, a string of upright leaves called Jhallar at the outer edge of border is a characteristic of these saris. Other features are gold work, compact weaving, figures with small details, metallic visual effects, pallus, jal (a net like pattern), and mina work. The saris are often part of an Indian bride's trousseau

The design in Jamawar is completely woven into the fabric, kind of like a tapestry weave Banarasi; designs are worked into silk cloth, they aren’t completely incorporated into the fabric, so if u look at the back of the fabric, u will see some loose threads and threads jumping from one design motif to the next.

In weaving, lengthwise yarns are called warp; crosswise yarns are called weft, or filling. Most woven fabrics are made with their outer edges finished in a manner that avoids ravelling; these are called selvages. They run lengthwise, parallel to the warp yarns. The manner in which the yarns are interlaced determines the type of weave. The yarn count and number of warp and filling yarns to the square inch determine the closeness or looseness of a weave. Woven fabrics may also be varied by the proportion of warp yarns to filling yarns. Some effects are achieved by the selection of yarns or of combinations of yarns.

Utkala - old name of Odisha ; Laxmi - Goddess of fortune and also the wife of Jagannath and since Jagannath is an avatar of Vishnu and Krishna, hence the authentic Cotton Utkalalakshmi saris always had blue on the pallu as Krishna is blue bodied The authentic ones were always woven on Cotton though lately they are also being woven on Silk, to attract more customers An Utkala Laxmi sari has bud motifs and 8 petals. The Puchuki flower motif is used in the border. In the body 4, 6, 8 and 16 petals’ Puchuki flower motifs are woven in between the chamber and empty space. The interplay of colours on the body is mesmerizing and it is extremely tough to weave.

An Utkalalakshmi sari is always a part of the trousseau when a daughter in a weaver's family gets married. It is a loving blessing, in the form of a sari that a father weaves for his daughter. It is well known that Double Ikats are some of the most time and labour-intensive weaves out there. It takes months of intent to weave one. The very name of the sari is synonymous with Odisha.

Ilkal, today a rare weave of Karnataka, has few weavers. It takes its name from the word ‘Illekallu’ or the ‘slope down the hill', because of the location where the artisans have originated from. Ilkal saris enjoyed a pride of place in festivities and weddings in north Karnataka. Today pitted against power loom, which produces some powerloom Ilkals to the market, hand woven Ilkal saris spell a class apart. The signature feature of the Ilkal sari is the Pallu (serigu) or end piece made of red silk with patterns in white. The monotony is relieved by different style spokes at the extremities of the white band of the pallu. These spokes are named after their shapes like ‘Hanige' or comb tooth, 'Koti Kammli' or fort ramparts, 'Tope Tenne' or jowar shape and 'Rampa' or mountain range shape.

Ikat or Ikkat literally means ‘tie, bind or wrap around’, derived from Malay Mengikat. The technique results in intricate patterns, which are achieved by resist-tying and immersion dyeing of the exposed sections of bundles or ‘chains’ of warp and/or weft yarns prior to weaving. Multiple colours applied in sequence of re-tying and dyeing from light to dark result in more colourful and detailed patterns. Skilled Ikat weavers plan the positioning and registration of the pattern in the cloth in advance. The more knots tied, the smaller and tighter the bound area of bundles of weft or warp threads, the finer the pattern created. Most Ikat yarns are warp threads, but in Laos, the Ikats are typically weft threads. In the case where more detailed patterns are created, both warp and weft Ikat chains are designed, known as double or compound Ikat.

Patola of Gujarat:

Of India’s legendary textile heritage few are as highly prized as the Patola, the double Ikat silk fabric in which both warp and weft yarns are separately tied and dyed before weaving to create patterns of unmatched richness and subtlety. An extremely complicated process developed over the centuries. Patan (ancient capital of Gujarat) has been the centre for production of Patola sari lengths for centuries and still continues to be the main centre. From the 11th century onwards references in praise of Patola appears in the writings of many eminent poets and authors of Gujarati literature. The hereditary weavers of Patola in Patan are the Salvis, who are primarily Jains, but may also belong to the Hindu community. According to them they were brought to Gujarat from the South of India in the 10th century. These double Ikat silk textiles are mainly woven as saris and are worn at social and religious ceremonies by the Hindu and Vohra Muslim women. Bold grid-based patterns combined with intricate geometrical, floral, and figurative motifs characterise Patola. Some common motifs seen in these textiles are the elephant, parrot, dancing doll, floral baskets, leaves and stars. Different communities had specific preferences of design, usually following the dictates of their religion. Colours used are mainly red, yellow, green, white, and maroon. Apart from the double Ikat silk Patolas from Patan, in the last few decades single Ikat saris are being produced in Rajkot and its neighbouring villages in Gujarat. They employ similar designs as of the Patan Patola but are produced in single Ikat, thereby cutting the costs and time of production. These are locally called ‘Rajkot Patola’.

Bandhas of Orissa:

The Ikat technique of Orissa is known as Bandhas and they have a distinctive curvilinear appearance. The weavers are of Salvi, Bhulia Meher and Gandia-Patra castes. The characteristic trait of these textiles is that the Ikat technique is combined with bands along the lengths of the sari borders and in the end pieces, anchal/pallu, and also occasionally in the field. In these textiles, forms are deliberately feathered so that their edges appear hazy and fragile. This is achieved by the use of very fine count yarn, tied and dyed in very small sets. The design vocabulary of these fabrics is wide and varied: fish, bird, elephant, deer, lion, duck, tortoise, shell, lamp, stars, trellis, dice motifs, architectural forms, waves etc. The Meher weaver community from Baragarh and Sonepur weave in cotton and tussar (wild silk), whereas weavers from Nuapatna use only silk. The dice motif is done in double Ikat known as Saktapar sari, whereas in the other patterns the borders are normally in warp Ikat and the pallus or anchals are in weft Ikat. They use a wide range of colours like reds, yellows, greens, blues, purples, and so on. The most striking feature of the Bandha sari is the end piece or anchal, the oldest design being the Bichitrapuri anchal. However, there are numerous variations composed of rows of floral, geometric and figurative forms, which are separated by extra weft woven bands, at times. Apart from saris, Odisha Ikat weavers also produce yardages, dupattas and bed and table linen.

Ikats of Andhra Pradesh:

In Andhra Pradesh Ikats are known as Pagdu bandhu, Buddavaasi, Telia Rumals and Chitki. Ikat weaving was introduced in this region about two to three generations ago in the early nineteen hundreds. Since the Ikat technique is relatively new to the weavers of Andhra Pradesh they are more experimental in their work. They claimed to have migrated from Saurashtra, Gujarat in the early 20th century and settled in Chirala where they produced double Ikat cotton rumals (square pieces of cloth 44” x 44”) in simple geometric patterns. These were called Telia Rumals of Chirala.

The Telia Rumal, chowka, square, Asia rumaal, indicate the cloth with patterns created by an exacting process of tying and dyeing the threads prior to weaving. Telia is derived from the use of tel, oil that is used to soften the yarn in preparation for dyeing, and rumal means a handkerchief. Originally, they were cotton cloths measuring 44 X 44 inches and were exported to Myanmar, West Asia and East Africa. The fishermen in Mumbai and Andhra used them as lungi (loincloth), turban or shoulder cloths. The Telia Rumal has a square format framed by a reddish maroon border usually 8” wide. Within this concentric structure, are featured geometric and figurative designs in single and double Ikat techniques in black, red and white. The yarns for warp and weft were dyed in natural madder that was later replaced with alizarin dye. After dyeing, the yarns were treated in oil to give them a deeper shade of red thus imparting an oily texture and smell. Telia rumal are/were woven in pairs. The rectangular Telia dupatta was used as a veil by Muslim women and as a multipurpose cloth by men, especially as a Scarf when they went for their namaaz. Telia Rumal has been the mainstay of Ikat in Andhra. Having originated in Chirala, the skills spread to Nalgonda district where Ikat weaving is more vibrant than in Chirala. The festival of India exhibitions and design interventions restored the artisty of Telia Rumal and enlarged the vocabulary of Ikat weaving in the region.

Most Ikat designs produced in Pochampalli have a strong influence of Patola design motifs. Modification in colour and form have resulted in design variations commonly identified as ‘Pochampalli Patola’. The Ikat weavers of Andhra Pradesh have diversified their product line from saris and rumals to yardages with completely contemporary design vocabulary. They are producing single, double and combined Ikats in cotton and silk for domestic urban and international markets. Pochampalli saris received Intellectual Property Rights Protection or Geographical Indication (GI) status in 2005

The distinct feature of Uppada silk saris is their light weight and intricate designs, which are often achieved through the Jamdani method, a traditional weaving technique that allows for the inclusion of detailed motifs and patterns in the weave itself. In Uppada the count used is 100 (length) – 120 (breadth). The count makes the quality of the fabric. The weavers in Uppada use a technique without any mechanical aids to weave the traditional Jamdani weaving to create rich patterns using gold and silver zari for which Uppada sari weavers received Geographical Indication (GI) registration in the year 2009.

Dyeing: - First the yarn is washed and then dipped in the required colour which is in a boiler and the worker goes on turning the yarn so that the colour is evenly mixed in the yarn. The most important aspect in this process is the mixing of colours which will give unique and durable colour to the fabric. Then it is again washed and dried. These yarns are then starched. Starching of the yarn is where the colour in the yarn will get more permanent in nature and give the yarn a polished look. The starched yarn is brought from the merchants by master weavers and is distributed to weavers. Then it is turned in a charka. The turning in charka is where the yarn will become thread, which is used for the weft.

The loading of yarn in warp is the next process. Then yarn is loaded into the looms. The length of yarn which is loaded as warp is known as Pacham. A weaver can make four saris from one pacham. It will take a week to weave one Pacham of four saris. The cost of Uppada saris vary from Rs 5,000 to 80,000 and some intricate ones might also go upto over 3 Lakh in case of specially ordered wedding saris. The name of Ghanshyam Sarode is intrinsically linked to Uppada saris. During the year 1988 he re-introduced an age-old weaving technique called Jamdani in a tiny village named Uppada in Andhra Pradesh. In traditional Jamdani weaving, no mechanical aids are used to create the pattern. Reproducing a Jamdani proves exceptionally difficult because of the great distance of time that separates the weavers from the skill and intricacy of the purely hand-manipulated process.

Tangaliya is a handwoven process in which a weaver painstakingly goes through the 20day process with the same amount of love and enthusiasm. As this product is hand woven it might have slight irregularities that are a natural outcome of the human involvement in the process.

Tangaliya is a 700 years old traditional hand weaving technique. Legend tells us that centuries ago, in the stark landscape of Saurashtra, a Bharwad man married a woman from the weaver community amidst great opposition from both sides. Nevertheless, it was a marriage that would forever influence the rich tapestry of Indian craft. The children born to them were known as Dangasia, and they created the art of Tangaliya weaving.

Tangaliya weaving, also known as Daana weaving is practised in Surendranagar district of Gujarat. This form of weaving not only requires high skill but also an eye for accuracy. The Tangaliya shawl — which uses a unique weaving technique and was almost on the verge of extinction— has been given GI (Geographical Indications) recognition by the Central government.

Tangaliya is a labour-intensive and painstaking process. Contrast coloured threads are twisted onto a group of four to five threads of warp, creating Daana, or beadwork. The fabric is constructed in plain weave. The geometric patterns give the impression of delicate embroidery but are actually weaving. The weavers’ fingers sense exactly the right number of warp threads and twist extra weft around them. The result is a glorious geometric pattern, tiny, white dots lighting up rich, dark fabrics. The motif vocabulary of Daana weaving mainly constitutes the elements present in the community’s environment. Some examples are peacock (mor), plant (jhaad), naughara (nine pots), ‘laadwa’ (laddoo) aambo nu jaad (mango trees), pag (footprints of peacock), chaklo (a diamond shaped arrangement), tower, and karoliya (a peacock on a diamond shaped pattern)

Of a smooth and unique texture, the Tangail sari from West Bengal is famous all over the world for its elegance and extravagant look. A trademark textile, from the villages of Samudragarh, Dhatrigram, Phulia and Sainthia from the state of West Bengal, Tangail saris are hugely popular.

Taant (as in Hand Loom) sari is traditionally Bengali and usually loved by women from all over India. Taant saris are woven from cotton threads and distinguished by its lightness and transparency. It is considered to be the most comfortable sari for the hot and humid Indian climate. The Taant saris are woven all over West Bengal but places such as Hooghly, Nadia and Murshidabad can be regarded as the hubs of these saris. The weaving methods used for making these saris are traditional and the outcome is a light and colourful sari that is popular all over.

With the division of the Bengal province of British India and departure of the British from India, many skilled weavers had settled in Hoogly, Nadia and Burdwan district of West Bengal with Government aid and incentive. These weavers made this art famous for West Bengal

The craftsmen deftly weave the cotton to thread which is woven to tant sari. Two shuttles are used for this purpose. Traditionally, hand looms were used by the weavers,
The typical Tangail / Taant sari is characterised by a thick border and a decorative pallu, woven using a variety of floral, paisley and other artistic motifs. Some of the popular traditional motifs are: Bhomra (bumble bee), Tabij (amulet), Rajmahal (royal palace), Ardha-Chandra (half-moon), Chandmala (garland of moons), Aansh (fish scale), Hathi (elephant), Nilambari (blue sky), Ratan Chokh (gem-eyed), Benki (spiral), Tara (star), Kolka (paisley) and Phool (flower).

Maintenance and Care: It is recommended that before the first wash, Tangail saris should be soaked briefly in lukewarm water mixed with rock salt, to prevent the sari from bleeding colour during subsequent washes, if at all there is any chance of bleeding. Prevention is better than Cure. Washing with a mild liquid soap, followed by starching (for those who like their saris starched) and then hanging them to dry in a shaded area will ensure the longevity of these cotton saris.

In ancient times, groups of singers, musicians and painters, called Chitrakattis, moved from one village to another to tell the village dwellers, the great stories of Hindu mythology. Progressively, during the course of history, they illustrated their accounts using large bolts of canvas painted on the spot with rudimentary means and dyes extracted from plants. Thus, the first Kalamkari had been born.

Is it the designs, the dyeing process, or the natural dyes? I personally think it’s a combination of all these factors that makes handpainted Sri Kalahasti Kalamkari so special.

Kalamkari is completely handmade and painted using a pen, involving as many as 17 steps; traditional pen Kalamkari uses dyes made from natural materials. A slow, involved and vigorous process, making one Kalamkari sari can take about 20 days. Each step in the process prepares the cloth for the next step, hand painted and then treated for the next step. Experienced artisans are able to change the treatment depending on the colours and quality needed.

All tools and raw materials used in the production of Kalamkari are handmade and use natural materials.

• The Kalam used to paint is a pen made of bamboo reed, with a cloth rolled over it and secured with cotton thread. Typically, there are 2 types of Kalams: one for drawing the outlines and the other for filling colours.
• The cotton cloth used for the fabric printing is locally called as Gaada. This cloth is washed and treated to avoid the natural colour from spreading.
• Vegetable dyes like Myrobalan (Terminalia Chebula) / Karakapuvvu and Myrobalan bud / Karakapinde are used to make the black dye permanent.
• All shades involved in the Kalamkari process are renewable plant materials/ minerals/kasim
• Alum is the mordant used in the dyeing process.

 Natural Colours:

• Tamarind stems are burned and made into charcoal used for black, especially in the initial sketching
• Kasim Kaaram – purified scrap iron, cane jaggery and palm jaggery are used to get black colour
• Chavala Kodi and Surudu Chekka help to obtain red and green shades
• Pomegranate skin is used to obtain light yellow colour
• Katechu is boiled to obtain lighter brown colour
• Blue is obtained from the Indigo plant- Indigo Tinctoria
• Manjishtha is used to obtain pink and red colours

Technique:

• Plain gaada cloth is prepared by soaking it in myrobalan and milk solution, called ‘kadka’. This helps the fabric to absorb the required metallic mordant and prevents natural dyes from spreading.
• Once dry, outlines are hand painted using the Kalam and charcoal made from burnt tamarind twigs. The patterns vary from flora and fauna, god figures and animal forms.
• The cloth is washed and dried after the complete outline has been drawn. The cloth is boiled in a mixture of Jaggery leaves and Anar to fix and brighten the colours.
• To fill colours and details, natural colours are applied to the designs, one colour at a time. After each step, the cloth is treated in alum solution, washed and dried.
• This process is repeated for all the colours in the design. The re-painting steps depend on the complexity of the design and the colour palette.
• A final colour-fixing treatment is done in a mixture of water and alum salt.

All colourants /mordants used in Kalamkari are used in ayurvedic medicines and are antiviral and antimicrobial While the craft is known as Kalamkari today, this was not its original name. it was called Vrathapani.

Legend asserts LOTUS as a celestial flower for the Hindus and Buddhists. Fibres extracted from this divine flower are used for making fabrics with amazing virtues.

The lotus flower is adored for its characteristic of rising above the muddy water, indicating how one can rise above defilements of life. Apart from motivation for life, the plant also provides fibres which are used for making a rare kind of cloth matching with the flawless virtues of the silk. Fibres extracted from the lotus flowers of the Myanmar lakes are spun by hand and woven within 24 hours making a fabric similar to silk.

History of the fibre: Extracting fibres from lotus stems have been in practice since 1910. Later during the 90's designers of Japan setup workshops to create a foreign market for their fabric. But due to low demand in Japan, lotus fibre fabric remained a rare and handmade textile.

Lotus plant is believed to have healing abilities and wearing a fabric made from lotus fibres is also believed to have the same effects. Lotus plants are pure by virtue, and they radiate this purity through their fibres. By wearing lotus fibre fabrics, it is believed that, one feels calm, peaceful and meditative. It also cures the wearer from headaches, heart ailments, asthma, and lung issues. The fabrics are 100 percent organic, and hence are environmentally friendly.

The Process: The entire process of fibre extraction, spinning it into yarn and making the fabric is completely handmade making the process time consuming. This also limits the quantity of the fabric produced. Stems of the lotus plants are collected, cut, snapped, and twisted to expose its fibres. These are thin and white filaments around 20 to 30 in number. These thin filaments are rolled into a single thread. Around 20-25 women are needed to extract fibres this way for one weaver to work with.

Fibres extracted from the stem are spun into yarn. Extracted fibres are placed in the skeins on a bamboo spinning frame preparing them for warping. Yarns are made by placing the fibres on a bamboo spinning frame and transferring the thread into winders for warping. With much care, not to get tangled, threads are made; up to 40 metres long. The threads are then taken from the warping posts, and are coiled into huge plastic bags. Yarns for the weft are wound into bamboo bobbins.

Fabrics are woven in the traditional Cambodian loom. Excess warp is stored and later released during the course of weaving. The woven fabric has a width of approximately 24 inches. During the process of weaving, threads are frequently moistened with water, as lotus fibres need to be kept cool. Around 1,20,000 lotus stems are required to make fabrics adequate for making a costume. The fibres are very delicate and should be woven within 24 hours of being extracted so as to prevent its deterioration.

The fabric looks like a blend of linen and silk, and possesses wrinkle resistant and breathable qualities given by the molecular makeup of the lotus plant. It has a milky yellow hue. Lotus fibres have an age-old tradition of being made into robes for Buddhist monks of highest ranks, and to decorate Buddha idols. Traditional fabric weaving is difficult to be translated into mass production. Involving exclusive craftsmanship, and time consuming in its making, lotus fibre fabrics remain as a true luxury only for the privileged ones.

Technically Linen is a vegetable! Linen fabric is made from the cellulose fibres that grow inside the stalks of the flax plant, or Linum Usitatissimum--one of the oldest cultivated plants in human history.

Flax is an annual plant, which means it only lives for one growing season. From seed-planting, it is ready to be harvested in about a hundred days. Unless the weather is particularly warm and dry, flax requires little watering or attention during this time. It grows to about three or four feet tall, with glossy bluish-green leaves and pale blue flowers--though on rare occasions, the flowers bloom red. Flax is cultivated around the world not only for its fine, strong fibres, but also for its seeds, which are rich in nutrients such as dietary fibre and omega-3 fatty acids. Flax oil is also a popular drying oil amongst oil painters.

Weaving: Linen yarn is generally woven into sheets--a process wherein multiple threads are interlaced both horizontally and vertically on a loom. Occasionally, linen yarn is also knit, or formed into fabric by creating consecutive rows of loops that intertwine with one another. By virtue of these loops, knit fabrics have a degree of stretch inherent in them, and because linen yarn has no elasticity, it is quite difficult to knit and so more frequently woven.

The linen fibre is derived from the middle of the flax plant, so it will be naturally thicker than the cotton bolls from the cotton plant. An average linen fabric used for sheeting has a thread count of between 80 and 150, which would be considered low for a cotton sheet. Now because of the laborious time it takes to produce linen yarn, and the manual processes that have to be undertaken, linen has become a higher priced commodity, and considered among many to be a ‘luxury’ fabric. 40 count linen has thicker and flatter fibres. It has a much softer touch but also has more slubs. They can go down to 28 in a few cases; as the count of the linen gets lower, the fibres can get thicker. The thread count is not an indication of quality, as linen fabric has a much lower thread count but is considered by many to be a far superior fabric quality.

However, what we must understand here is that when we talk of Linen in general, the world mainly understands it as Linen used for Sheeting. Saris are of course, a very recent phenomenon ... hence we have to see and understand the specifics applicable to them, in a different light.

It is naturally off-white in colour, but Linen absorbs dyes well and retains its colour. Linen typically, has a crisp and textural feel but it can range from stiff and rough to soft and smooth. The natural fibres of the flax make the woven textile slightly bumpy with a smooth finish. The better the quality of the Linen the smoother the surface will be. In some cases, you will find knots or slubs running across the fabric. This is a characteristic of a particular quality of Linen and in many cases is the look the weaver was trying to achieve. The finest and the most expensive Linens have a very consistent diameter and will not have slubs.

Linen has that subtle elegance that helps to achieve a clean tailored look. It is, what can be called, a timeless fabric. The fact that when King Tutankhamen’s tomb was opened, they found he had curtains made of Linen hanging and they were still intact, says a lot of the durability and history of Linen.

‘Kalakshetra Weaving Centre’ was inaugurated in 1937, by Rukmini Devi Arundale and the weavers were brought from Kanchipuram, the yarn from Bangalore which was twisted to the three-ply murukku pattu.

At Kalakshetra the skill was harnessed to the recovery of forgotten traditional motifs along with some experimentation in keeping with the norms of tradition. The broad borders returned, memories were tapped for old designs, old available material was collected, and a record book maintained.

Soon a special kind of handwoven sari, both cotton and silk, came to be called "Kalakshetra Sari" - its distinctive feature being deep colours, broad borders with traditional designs. Its quality, durability and beauty made the sari a cherished and coveted possession. Though the centre in its heyday wove dhotis, handkerchiefs, shawls and a few bookcovers, the sari remained its chief and highly acclaimed product.

Some of the designs revived by Kalakshetra are the "Mubbhagam" in which the width of the sari is divided into 3 equal parts running along the whole length. Rettai Pettu borders are characteristic of this design and usually these saris have two pallus, one grand and one simple, one in each of the border colours. So, they can be worn with either way interchanging the colours at the top and bottom. The Tazambu design, Puliankottai, Rudraksham, Vazhaippu, Mallimokku, Aatumuzhi, Panneershombu and Nelivanki were among revived embellishments.

Tazambu - saw tooth
Puliankottai - tamarind seed
Rudraksham - rudraksh
Vazhaipu - banana flower
Mallimokku - jasmine bud
Aatumuzhi - elephant eye
Panneerchombu - rose water sprinkler
Nelivanki - ardh chandra

A complex weaving technique known as 'Korvai' is used to interlace the borders with the body of the sari. The contrasting colours of the borders in the weaving of the weft are interlinked with the body of the weft with each throw of the shuttle. Two weavers are required, one to operate the threads for the central portion and another to operate the border colours.

Since borders often appear on both sides of the saris, each Kanjivaram sari requires three shuttles. The elaborate pallus are also linked to the main body of the sari using a special interlinking weave known as 'Petni.' In the hands of the skilled craftsman, this joint looks like one continuous weave. This tradition of saris is also distinguished by its motifs, often inspired by the beautiful carvings found in the temples of Kanchipuram.

Kala Cotton of Kutch is the original pure old-world cotton of India. Khamir's Kala Cotton Initiative encourages sustainable cotton textile production, and the preservation of agricultural and artisan livelihoods in Kutch. There was a clear need to develop a local value chain in order to insulate the weavers from external market fluctuations. To do this, a raw material was required that was locally grown, environmentally friendly, that had the potential to create social value.

Kala Cotton is indigenous to Kutch and by default organic, as the farmers do not use any pesticides and synthetic fertilizers. It is a purely rain fed crop that has a high tolerance for both disease and pests, and requires minimal investment. It is both resilient and resurgent in the face of stressful land conditions.

Kala Cotton is one of the few genetically pure cotton species remaining in India, and one of the only species of pure, old- world cottons to be cultivated today on a large scale. It forms a strong, coarse, stretchable fibre that is often used in denim.

‘Khamir’ began this initiative in 2007, by partnering with ‘Satvik’, an association of organic farmers in Kutch, to explore the production possibilities for Kala Cotton.

As the cotton’s short staple length makes it difficult to spin and weave, Khamir and Satvik first consulted with many experts to develop a process for converting it into yarn. Additionally, local weavers had to be convinced of the value of Kala Cotton – a particular challenge since weaving it requires changes in the loom set-up, as well as differing yields and shafts. After years of experimentation and perfecting both spinning and weaving techniques, Khamir began producing its first Kala Cotton goods in 2010.

Today, the Kala Cotton Initiative encourages sustainable cotton textile production in harmony with local ecology. The project aims to create a value chain at multiple levels by working with marginalized communities and promoting locally grown species. To implement this initiative, Khamir and Satvik have created a supply chain between the Kala Cotton farmers, ginners, spinners and weavers to convert the raw cotton into hand woven products. It is hoped that eventually, “the Kala Cotton Initiative will serve as an example for other communities to replicate."

If you walk around any village in Odisha, you are bound to come across beautiful alpana (rangoli) made by women on mud walls with rice paste, using their hands as paint brush. This is one of the many called ‘Jhoti’ woven in colours of the morning sunrise. Jhoti or Chita is the traditional Odiya art on the floor and walls, very popular in the rural areas. Jhoti is quite different from Rangoli. While Rangolis are made using coloured powders, Jhoti involves line art using the traditional white coloured, semi liquid paste of rice or pithau. The fingers are used as brushes in this art form.

The “Lakshmipada” is a very popular theme for a Jhoti or Alpona (in Bengal) and represents goddess Lakshmi entering a home and being revered. This can be drawn in the verandah, the courtyard, or at the puja place of a home. The symbol of the Lotus is frequently used in this Jhoti to associate it with the goddess of prosperity who is usually adorned by them and is also seated in one. No colour other than the white of the semi liquid rice paste is used here as this is a sacred Jhoti. Goddess Lakshmi, who symbolizes wisdom, wealth and fertility sits on the Lotus flower, holding the same in two of her four hands. The Lotus seat and pedestal have an almost universal appreciation with the figures of Hindu mythology. The rosary made of
seeds of Lotus is used for prayer. Intricate and beautiful floral designs, the lotus, elephants, symbols used in Patta chitra find place in this form of free hand drawing. Small footmarks of Goddess Lakshmi are a must in any Jhoti.

The Jhoti or Chita are drawn not merely with the intention of decorating the house, but also to establish a relationship between the mystical and the material; thus, they are highly symbolic and meaningful. Jhoti is considered as a means to attract Goddess Lakshmi, hence prosperity into homes. It is believed that Goddess Lakshmi never visits a house if it is untidy and dirty.

Leheriya is a traditional style of tie dye practised in Rajasthan that results in brightly coloured cloth with distinctive patterns. The technique gets its name from the Rajasthani word for wave because the dyeing technique is often used to produce complex wave patterns. The fabric is "rolled diagonally from one corner to the opposite selvedge, and then tied at the required intervals and dyed". Wave patterns result from fanlike folds made before being dyed. Traditional Leheriya employs natural dyes and multiple washes and uses indigo or alizarin during the final stage of preparation.

Myriad hues rarely come alive the way they do on a LEHERIYA fabric, where vibrant palettes shine through and celebrate the uniqueness of each shade blended together.

The unrivalled quality of Dhaka’s Muslin was attributable to three important factors – its special cotton, the fineness of its handspun yarn and the extraordinary skill of its weavers. Writers have identified the unique quality of the cotton grown only along the banks of the Brahmaputra and branches of the Meghna as the best for Muslins. They attributed this superiority to the close proximity of the land to the sea, which mixed with the waters of the Meghna during the monsoons, deposited rich layers of silt on the land every year. Indeed, it was believed that the freshness of the sea air nourished the Kapas cultivations. There may well have been a great deal of truth in these assertions as the British efforts to grow this cotton elsewhere in 1790 and 1791 failed completely. The matchless qualities of the Dhaka cotton known as photee (gossypium herbaceum) differed from the common herbaceous cotton in that it had fewer branches which supported the flowers longer and more importantly, had longer staples which were much finer and softer than any other cotton. Annually, two crops of this cotton were cultivated, of which the first one in April and May was the finest and grown extensively; of this only a third of the cotton which adhered most to the seed yielded the finest yarn for muslin.

Hand spinning of cotton yarn for high quality muslin required extraordinary skill and application. However, prior to spinning, preparation of the yarn involved a laborious process. The cotton was first carded with the jawbone of a Boalee fish to remove the smallest particles of leaf and dirt, then rolled on a lacquered board without breaking the seeds and teased with a small bow-like instrument. Finally, the downy fleece was wrapped with the soft skin of the Cuchia fish to keep it from getting soiled during the spinning process. Very specialised skill was required to spin the yarn for muslin. It was done by a small number of young Hindu women working with a takma (spindle) instead of the usual charkha (wheel).

Spinning required a certain degree of moisture in the air, with a temperature of 82 degrees Fahrenheit or so. The women, therefore, spun from early morning, a half-hour before sunrise, till nine or ten in the morning and late afternoon to just before sunset. On dry days, the women would spin yarn over shallow vessels of water to ensure the right absorption of moisture in the yarn. They kept their fingers smooth by rubbing them with chalk from a hollow stone. Since the women had other family commitments they were not, on an average, able to spin more than three hours a day thereby requiring months, sometimes a whole year

Muslin, the translucent fabric referred to variously as `woven air’, `morning dew’, `crystal spring’ and other such poetic names to describe its excellence, was woven on a simple pit-loom. Having dug a hole in the ground to enable him to operate his foot treadle, the weaver set up his loom by fixing four wooden posts and attaching the heddles to the roof or branches of a widespread tree in his yard. Much of the weaving at the time was done in the open air. “In such looms as this are made those admirable muslins whose delicate texture the Europeans can never equal with all their machinery”. The value of muslin was determined by its length, warp and relative weight. The greater the length and number of threads in the warp and lower the weight, the higher would be the value of the material.

While Muslins were woven by Hindu weavers (tanti), Jamdanis were primarily the forte of Muslim weavers (julahas). Various writers have reiterated this point in their accounts, without specifying possible reasons for it. Muslins, plain and embroidered, were indigenous to Bengal from time immemorial; the loom patterned Jamdani could have been a later development, influenced by the interaction of Persian and indigenous weavers of the area. The substantial presence of Muslims in the Jamdani producing locations of Bengal like Sonargaon and patronage of the Mughals may well have encouraged closer interaction between them and the Persian weavers. This curious phenomenon has persisted to present times, with Jamdanis being the exclusive domain of Muslim weavers, clustered around villages, not far from Dhaka. However, the secular beliefs of the Jamdani weavers are reflected in their folk lore and practices.

According to Haji Kafiluddin Bhuiyan, unquestionably one of the finest weavers of our times, his initiation at the loom as a young lad was preceded by a dua (prayer) to Bishwakarma as an Ostad (guru), not as a deity.

Neither the superior cotton nor the legendary spinners exist any longer. It has therefore not been possible to weave the same fine quality fabric nor reproduce the delicate designs of earlier times. Nonetheless, the Jamdani weaver is still revered as amongst the best of the region and enjoys great celebrityhood for his skill and workmanship. Interestingly weaving techniques, as also the pre-weaving processes, continue to be similar to the ones practised centuries ago. Natural or pre-dyed yarn is washed, starched and wound on a cylindrical bamboo frame natai and allowed to dry; this process is said to improve the weaving quality of the yarn greatly. Design yarn is rolled on small bobbins, weft yarn wound on larger bobbins moura and warp yarn on slightly larger ones known as noli. Yarn is inserted individually and painstakingly into comb like dents of the bamboo reed called a Shana. In earlier times the finest cotton muslin had up to 2,800 threads for 40-inch width fabric; today the best cotton saris of 46-inch width have a maximum of 1,900 or less. Warp preparation, as before, has two persons feeding the yarn into some 26 bamboo posts hor or khuti set in the ground in pairs and at regular intervals. Threads for the warp are drawn from 40 to 50 bobbins set in a bamboo or wooden frame. Each warp is prepared for four Jamdani saris of 6 yards each. The final step prior to weaving is its application to the end roll. The warp is prepared by the Howzainna, a specialist in charge of this process and not the weaver.

The range and variety of Jamdani designs are far too extensive and numerous to be included here. However, as in the past there are three basic layouts. Jaal, the most intricate, is an all over design covering the entire ground, Terchi denotes floral or geometric diagonal and Buti is a combination of individual floral motifs and sprigs scattered across the fabric. Over the years Jamdani designs have taken on indigenous names drawn from images surrounding the weaver’s world. The motifs reflect his personal interpretation of everyday objects, birds and animals and may differ from weaver to weaver. Some of the more elaborate Jaal designs are pati (petal), angti (ring), baghnoli or bagher paa (tiger claws or paws), shankha (shell), dubla (grass), phool (flower), shapla (lotus), sabudana (barley), kori (bud) and chandrahaar (moon necklace); the favourite Terchis are karat (saw), jungly (wild), adarpana (ginger), phool (flower), kolapana (banana bunch), paan (betel leaf), sabudana (barley) and neempata (margosa leaf). Some of the more popular Buti designs are ashrafi (gold coin), juiphool (flower), tara (star), sandesh (sweet), dalim (pomegranate), amriti (sweet), shapla (lotus), chira (pressed rice), singara (snack), korola (vegetable) and patabahar (croton). The repertoire of border designs is equally rich, with some of the more favoured ones being inchi (inch), angurlata (grape creeper), shaal (sal tree), mayurpench (peacock), goolapchar (rose), dubla (grass), kachi (scissor), kakoi (comb), belpata (leaf), doringphool (flower), patabahar (croton) and kuilata (flower). Like borders the Anchal sari end section is often matched with ground patterns; as the Anchal is the most elaborate part of the sari it may be decorated with pankhi (paisley or cone) or an intricate web of floral motifs like goolapchar, angurlata and singara. As in earlier times the finest designs are woven in the same quality of yarn as the warp and weft, merging them beautifully into the fabric.

As in the past, the Jamdani loom is a marvel of simplicity, made primarily of wood and bamboo, the tools used to create these outstanding textiles are equally simple and continue to fascinate people, now as then. Once the wooden beam with the warp yarn or bairer narad is installed on the loom the weavers attach the threads on to the wooden pole in front, known as the koler narad. A set of coloured yarn for churi or kandi (border edging) are fed into the dents of a tiny Shana (reed), draped over the loom and weighted down with half a brick to maintain the tension. Borders are demarcated with a continuous pattern called madli. Pattern threads measuring 9 to 18 inches are inserted into the warp with a kandur (wooden horn or spindle) to create the design. On completion of each line, the weft yarn is passed across the warp from one weaver to another using a makku (metal spindle). Weft and design yarn are set by pulling the dopti (lay) tightly against the previous line. The tolpawa (foot pedal) of the loom is manipulated by the master weaver to lower or raise the double jhap (bamboo reeds) which are drawn by a stroke of the lay to set the yarn firmly in place. New lengths of coloured or gold thread are added into the design so deftly that the joins are neither visible nor discernible to the touch. High value Jamdanis are embellished with a touch of gold and tiny, delicate surface motifs known as chalchita, sheborka, gotphool, motorchita, etc. Jamdanis for weddings and other festive events are often patterned entirely in gold yarn.

Jamdani saris have always been an integral part of a Bengali woman’s wardrobe and have been greatly valued and appreciated for their unique beauty. As refined expensive textiles, Jamdanis, have catered primarily to sophisticated urban markets. Partition of India in 1947 led to the loss of an affluent Hindu clientele, large numbers of whom migrated from East Bengal; this was exacerbated by the termination of trade with India, specifically West Bengal, which was a critical market for Jamdanis. However, the greatest setback for the handloom sector in general and Jamdani in particular was caused by the turmoil of the Liberation War in 1971 and the subsequent years of economic crises. Perennial shortages of yarn and dyes and absence of credit almost crippled its manufacture and forced many weavers to abandon their craft as several had also lost their looms in the war.

Traditionally Jamdanis from Bangladesh, have always been an integral part of a Bengali lady’s wardrobe. Anything to do with cultural, social or auspicious programmes, out will come those authentic crisp pure Cotton Jamdanis, heavily embellished with thread weave; the more elaborate ones are also interspersed with real Zari. It has and it always will, symbolize aristocracy and class. The Jamdani sari from Dhaka is a favourite among Bangali women for the cultural status it holds as an important wedding and socio-cultural piece of clothing.

With the right admixture of Shankha Pola (The Red White Bangles worn by married Bangali women), Sindur (Vermillion), Boro Laal Teep (Big round Red Bindi) and Juin phooler Mala (Jasmine/ Mogra garland) in your hair, alongwith a Crisp Cotton “Dhakai Jamdani” ... one is always set to welcome Ma Durga into her Baaper Bari (Ancestral Home) during Durga Puja or on April 14th i.e. Poila Boishakh or Bengali New Year, during those days of festivities.

These authentic Cotton by Cotton Jamdanis from Dhaka are gradually becoming very rare, as they work out to be very expensive and very few weavers are willing to weave them nowadays. Some of these beauties can take months to be woven. The Jamdanis from Dhaka are woven painstakingly by hand on the old-fashioned Jala loom, and may take even up to one year to weave a single sari. It feels supple to the touch and drapes gently to reveal the contours of the wearer. "The hard part of weaving a Jamdani is the motifs are neither embroidered nor printed but are painstakingly sewn by hand when the fabric is still on the loom. This makes the work time consuming and labour intensive. Sometimes it takes months to weave a single sari"

"Few people are aware that Jamdani products are incredibly intricate works and take days or months to create. Each product requires minute attention to detail, all through the weaving process. To the people who weave this Jamdani though, it is a way of life. They are also artists in their own right, spending years to hone their skills, often from one generation to another in the same family."

Please note: Jamdanis from Bangladesh, the authentic ones, come only in Cotton Warp by Cotton Weft. They are, no doubt, expensive.

If you have bought your Jamdanis from amongst those which are called “Silk Dhakais” in the market, let me clarify that no such variety ever existed in its traditional form. What is used there is either Polycot or cheap Chinese Silk. The Zari used is of the same material. So, it is only obvious, that these give way and the sari starts splitting.

Original, Real, Pure Cotton Jamdanis from Bangladesh do not split or snap.

Jamdani is one of the finest muslin textiles of Bengal (undivided Bengal), produced in Dhaka District, Bangladesh for centuries. The traditional art of weaving Jamdani has been declared by UNESCO as "Intangible Cultural Heritage of Humanity".

The word Jamdani is of Persian origin, deriving from 'Jam', meaning flower, and 'Dani', a vase or a container. The Jamdani weaving tradition is of Bengal (undivided Bengal) origin. It is one of the most time and labour-intensive forms of hand loom weaving. Whether figured or flowered, Jamdani is a woven fabric in cotton, and it is undoubtedly one of the varieties of the finest muslin. It has been spoken of as the most artistic textile of the Bangladeshi weaver. They are traditionally woven around Dhaka, Bangladesh, and on the brocade loom. Jamdani patterns are mostly of geometric, plant, and floral designs and are said to have originated thousands of years ago.

Care and Maintenance: Jamdani saris were originally woven on very thick coarse material on what were called “mota kapor”. The weave was therefore loose and there were spaces between the weave. To embellish the sari, the Jamdani work was adopted. The Jamdani work/weave also helped to keep this loose weave together beside adding colourful motifs to the sari to help it look beautiful. Original, authentic Jamdani saris only came in 4.5-5 mtrs, unlike the present day 5.5 mtrs.
Once these saris were woven, then came the question of how these had to be washed. Normal washing would result in the threads moving away to 2 sides and leaving gaping holes at the centre. That is when and how these indigenous laundries, namely the Shantipur Shawl Repairing kinds, adopted the “Kanta diye Kacha” method, or washing with nails.

They took this biggish wooden plank, about 2’ x 2’ and hammered very fine nails, at close proximity to each other, all over the surface. The sari was folded and placed very carefully over this plank full of nails. Soap water was poured over this contraption and the sari was washed. This helped the weave to remain intact and the sari was then taken out of this plank and dried and ironed

The Lambanis lead a gypsy life and mainly inhabit the Western Indian states including Maharashtra, Madhya Pradesh and Andhra Pradesh. A part of this tribal community is also found in the Northern region of Karnataka. The Lambani tribe of India speaks a language which is believed to have originated in the state of Rajasthan.

A unique facet of the costume of the Lambadi woman is its elaborate embroidery. This is usually combined with mirror work to produce the glitter and colour that are integral parts of the Lambani costume. The clothes of the Lambanis reflect their love for life and has evolved over the centuries to suit local climatic and social conditions.

This style of embroidery has been handed down from mother to daughter through many generations, thus making every daughter of the house a Lambani artist. The Lambani embroidery is an amalgam of pattern darning, mirror work, cross stitch, and overlaid and quilting stitches with borders of “Kangura” patchwork appliqué, done on loosely woven dark blue or red handloom base fabric. Exquisite needle work which is done on different kinds of fabric to create interesting patterns, done by nomadic women of the Banjara tribe only. Banjara embroidery is a unique combination of intricate appliqué, patchwork and fine embroidery. This embroidery is done with a mix of different kinds of raw material like mirrors, shells, aluminium buttons and jewellery pieces. Lambani embroidery, also to a large extent, comprises of the quilting technique which is done on the edge of the garment and is called "Katta". The colours on their garments signify their lifestyle. The most commonly used colours are red and yellow. Red signifies marriage and fertility while yellow signifies vitality and strength. The distinctiveness of the Lambani embroidery is the random designs and bright colours that is so traditional to this tribe.

Manipur is famous for its special fabrics like Moirang phee, Leirum, Lasingphee and Phanek. Tribal textiles are woven on a loin-loom, a type of back-strap loom commonly used by hill people. The warp of manageable length and breadth is prepared and fastened at one end generally to the wall of a house or to two fixed poles while the other is tied to the waist of the weaver with a cotton or leather belt. Sometimes the belt is woven out of cane or bamboo. Weaving is universal and every girl knows how to weave. The loom forms part of her dowry. Weaving is done purely for personal use, by the women, while highly organised commercial weaving is done by men.

There is an aura of religion and romance around cotton-weaving. Each process and design are highlighted by a legend and connected with special functions, dances, and ceremonies. Ningthou phee and Akoibi are based on snake motifs and the design is worn by royalty. These designs are mostly found on the Phaneks. Tradition has it that when a weaver used to sit down to weave the Ningthou phee, the royal design, a gun salute would be fired in honour. A black shawl with thick, bold embroidered animal motifs is called the Angami naga (Sami Lami Phee). It was given to brave and distinguished warriors by the royalty, in recognition of their prowess and ability. Shaphee Lanphee is a traditional textile fabric woven and embroidered, usually as a shawl, with embroidered motifs with cotton threads generally by Meitei women of Manipur. The fabric was, in the past, presented as a gift of honour (Mana Phee) to the soldiers for their bravery in a successful war, and to the praise-worthy chiefs of the Nagas of Manipur by the king of Manipur. It is a product which is protected under the GI registration and is now made throughout the Indian state of Manipur. The literal meaning of the fabric 'Shaphee' is "the fabric of animal and war". It is exclusivity a product of Khoisnam lineage. It is said that the king saw a man of Khoisnam clan wearing this Shaphee Lanphee and riding a horse. The king then adopted it as a form of honouring brave Naga Chiefs of Manipur. According to manuscript titled Loiyumba Silyen, King Loiyumba (1074–1122 AD) authorised this product to be woven by the Khoisnam family.The product was revived in the 20th century with the efforts of Maisnam Nalini Devi, a weaver from Wangkhei Yonglan, her sister Maisnam Anita and their mother Keinahanbi who had both won the state award in 1992 for promoting this product. Nalini also won the Master Crafts Person award in 2009 for promoting this craft.

Shaphee Lamphee embroidery is done over a black coloured cloth with red border. The motifs embroidered on the fabric consists of several designs, and some of the common designs adopted are: of animals such as "shamu" (elephant), "shagol" (horse), "iroichi" (buffalo horn), "wahong" (peacock), and "Nga" (fish); planets such as "numit" (sun), tha (moon); Thawanmichak (star) ; and phantup (magical seat, ta (spear) – these designs are done in a set pattern and sequence of operation. The embroidery is done by hand using needle and yarns of cotton. Wangkhei Phee is a textile fabric made of white cotton and is popularly worn by Manipuri ladies as a special clothing item for marriage ceremonies and other festive occasions. The fabric is transparent and has many designs on its body. The fine cotton fabric is known as “Wangkhei Phee” since the fabric was first developed in the Wangkhei area by skilled weavers, who were then stationed near the palace, for the Royal family, . The fabric is extremely delicate prepared in fine cotton yarn. The interlacement of two threads, i.e. weft and warp in the series, are woven far apart from each other, and as such, the cloth is almost transparent. The Manipuri weavers had been weaving this kind of cloth by using the extra weft technique designs of Kheiroithek, Thangjing Tangkhai, Kabok Chaiba, and many others with Moirang Phee Designs on both of its longitudinal borders. Extra weft designs are woven in nature, like, floral, fruits, motifs, etc. It is one of the most luxurious items for ladies among the local clothes used on different occasions. Phaneks are woman's lungies and the Innaphi is the cloth that’s draped over the blouse. Likli or bottle designs resembling a loom-accessory and Lasing phee (a quilted design to keep warm in winter as Manipur has no wool) are popular. Sami Lami is a combination of weaving and embroidery once considered a status symbol. The Maibung is said to be a copy of a natural design, resembling the grains of wood as revealed when it is chopped clean. Hijamayak, which is a boat form, has a restricted use as it is associated with death ceremonies. Horses, swords, and spears for use in rituals form motifs of typical borders in saris. The patterns in use here are typical of the region. Bold colours and geometrical patterns are in evidence in most of their textiles. Lai phi is a Phanek with a specific design element while Chin phi is an Innaphi with intricate yellow borers on white base worn during special festivities.

The Lasingphee (quilted cotton material) is produced in Manipur and used as a covering in winter. Colours are obtained from natural sources and the juice of wild indigo is used as a black or dark blue dye. A bark from the plains is used for a red shade, and green, yellow, and orange are obtained from the barks of jungle trees. Phi means cloth in Meithei. The “Moirang- Phee” is a textile fabric that has a specific design called ‘Moirangpheejin’ which is woven sequentially on both longitudinal edges of the fabric and oriented towards the centre of the cloth with cotton or silk threads. Originally, it was first developed in the Moirang village of Bishnupur district. The name of this particular cloth also carries significant meaning and beliefs. It is believed that the Moirangphee was first made by the local people as a token of tribute to the then royal family of Manipur. A characteristic feature of the Moirang phee chaddar is the triangular form along the border.

The “Moirang Pheejin” design which is woven in the Moirang Phee is derived from the pronged teeth of the “Pakhangba”, the Pythonic God of Manipur mythology. The name of this Moirang Phee fabric with Moirang Pheejin design along the border was also known as’ Yarongphi’ in the local name (ya = tooth and rong = long = longba = pronged). The popular Moirang phee saris woven in white or soft colours carry the mandir shikhara (temple top) on the border with dotted patterns on the body. Moirang is the name of a place in Manipur. Moirang is about 45 kms. from Imphal and is a very sacred place for the Manipuri people. It holds an ancient temple of the pre-Hindu deity, Lord Thangjing There is a belief that this pattern was created by the Goddess Morangfi herself. Moilang or Moirang (modern term) is one of the seven clans of the Meitei people. Moirang consists of many several Yumnaks which are native peoples of ancient Kangleipak (now Manipur), one of the states of India. Moirang clan is considered most rich clan in terms of culture as reflected in Khamba and Thoibi.

Potloi or Polloi (literally, "final product" or "end product") is a cylindrical skirt made up of thick fabric (often velvet) that is ornamented with sequins and mirrors. It is usually used by the Meitei Hindu brides in Meitei wedding and the dancers in the Manipuri Rasa Leela dance. Notably, it is not used by the brides in traditional (Sanamahist) Meitei wedding. Interestingly, Radha and Chandrabali wear green Potloi and red blouse whereas the Gopis wear red Potloi and green blouse in the Manipuri dance. Kajenglei (Old Manipuri: Kachenglei), also known as Leitreng (Old Manipuri: Leitaleng), is a traditional Meitei headdress crown, worn by women. It is worn by brides during marriage ceremonies as well as by artists during the dance performances. It consists of eighty to hundred brass strips. These are attached to red flannel strips one centimeter in width and tied around a circular metal ring. Both Potloi and Kajenglei are testaments to the exquisite handwork of Manipuri people.

The Art of Nakshi Kantha from Bangladesh.

In the rural areas of Bangladesh, as it has been for centuries, the communities are much poorer with fewer opportunities than those living in the cities. And it is through the struggles and hardships that the women of these communities have learnt and passed down through the generations the art of Nakshi Kantha. It is a form of quilting that has taken various shapes, and has not only helped to recycle old cloth and saris but has become a popular traditional commodity found in every home across Bangladesh. Nakshi Kanthas are made throughout Bangladesh, but the greater Mymensingh, Rajshahi, Faridpur and Jessore areas are most famous for this craft.

The most common Nakshi Kantha products are quilts. Its thickness depends on whether a summer or winter wrap is required, and old discarded saris and cloth are layered accordingly. The women then use various forms of a running stitch to embroider the borders and to decorate the quilt with different designs. Oftentimes, the women reuse the cotton pulled from the saris and are able to create colourful and vibrant quilts.

Each Nakshi Kantha item is unique in design and colour. By manipulating the stitches, the women are able to create various ripple effects, creating different textures and looks. Most Nakshi Kantha makers follow a basic pattern for embroidery, using a Lotus as a centre piece with vines, representing the Tree of Life, running from each corner towards the Lotus motif. In between the spaces of the vines, decorative motifs are embroidered and can range in various forms. Some of the most popular motifs are elephants, peacocks, horses, kitchen items, boats and tigers. Sometimes the quilts tell the stories of myths and legends through their pictures, with dancing, hunting and other everyday tasks being depicted.

It is also said that the Nakshi Kantha items are blessed with protective powers, able to keep harmful spirits at bay. They can also ensure happiness, happy marriages, fertility and fulfillment, as the creator is believed to be able to stitch her wishes into the fabric. Over the years, as the need for various items has evolved, the Nakshi Kantha art has expanded, offering a variety of specialized items such as ceremonial and ritual items, cloths for wrapping toiletry items, mats, pillowcases, bedspreads, placemats, wall hangings, spreads for seating, prayer rugs, mirror covers and handkerchiefs.

The art of Nakshi Kantha has survived from ancient times into the modern day, still inspiring needle workers to create new designs and remaining a sought-after item in every home. Visitors often purchase these items as souvenirs and gifts for loved ones back home. It is a part of the tradition and culture in Bangladesh that has helped many communities to survive, and brings joy and colour to those who own them.

'Sanaih kantha Sanaih pantha Sanaih parvata langhanam'

Slowly one stitches rags, Slowly one traverses the path And slowly one climbs to the top of the mountain

-Traditional Bengali Shloka

The tradition of Kantha begins with the thrift of the Bengali women.

In Sanskrit, the word Kantha simply means rags. For centuries, poor Bengali women have taken their discarded cloth and sewn them together with a simple running stitch to create something new. It is no easy task to create a functional quilt out of old, worn rags! The functional kantha dorokha ("two-sided quilt") was not a work of art, but simply what the poorest families used to keep warm. Kantha also had an aspect of intimacy. Old cloth in Bangladesh is said to keep the user safe from harm. Women stitched kantha for their loved ones--for their children, their husbands, their parents. The earliest known mention of the Bengali Kantha is five hundred years old --- in Krishnadas Kaviraj’s Sri Sri Chaitanya Charitamrita, he refers to a Kantha sent to him by his mother. For generations of Bengali women, Kantha has been a form of quiet expression. Even the most practical kantha is creative and spontaneous in nature. Over time, a more elaborate nakshi kantha tradition developed. Most Kantha was made by illiterate women who would stitch stories into their quilts--which often would take years to complete. The same Kantha is known to have been worked on by a grandmother, mother, and daughter. Many of the Kantha motifs reflect the needlewoman’s desire for happiness, marriage, and fertility. These women would then "autograph" their pieces either with their name or by indicating their relationship with the person for whom the kantha is intended.

Nakshi Kantha embroidered quilt is said to be indigenous to Bangladesh. The term Nakshi Kantha, popularly used in Bangladesh, is found even in medieval literature. The name nakshi kantha became particularly popular among literate people after the publication of Jasimuddin's poem, Naksi Kanthar Maath (1929).

Depending on the thickness required, three to seven saris are layered and quilted with the simple running stitch, which typically produces a rippled effect. Traditionally, thread drawn from coloured sari borders would be used to embroider motifs or border patterns imitative of sari borders. At present, embroidery skeins are used for motifs and border patterns. Yarn used for weaving is also used for Kantha embroidery, particularly in the Rajshahi - Chapai - Nawabganj area where the quilting is heavy. The colourful patterns and designs that are embroidered resulted in the name “Nakshi Kantha”- derived from the word “naksha” which refers to artistic patterns. Each of these kanthas represents the contents of a woman’s mind and is filled with romance, sentiment and philosophy.

Different forms of the running Kantha stitch are named according to the pattern each creates. While each kantha has designs that are unique to its maker’s imagination, usually there is a basic traditional pattern.

Barfi Paar: diamond border
Beki Paar: slanted or bent
Nolok Taga: nose ring border
Maach Paar: fish border
Chok Taga: eye motif border
Dheu Paar: wavy border
Gaach Paar: tree border

The revival of Nakshi Kantha has not only generated an interest and appreciation for this indigenous folk art of Bengal, but has also helped to provide a livelihood for thousands of rural women who would otherwise be unemployed or underemployed. A few organisations have played an instrumental role in reviving the Kantha art since the late ‘70s by training and supporting thousands of rural women in its various centres, which focus specifically on the making of Nakshi Kantha and other products, made from this art. It has helped to make this invaluable art be integrated in Bangladesh’s cultural life and also promoted its value and recognition on an international level.

Some of these artists have successfully tried to incorporate this traditional style of Nakshi Kantha onto saris, with the authentic borders and motifs. Done mainly on Silks and sometimes on Cottons, these are a delight to the eyes and aesthetics. Connoisseurs of Art and for those of us who value our Heritage, these are definitely a must have in our collection. Kantha from West Bengal

Kantha as stitch art remains priceless, as much in its ethnicity and traditional appeal as in its contemporary allure. Kantha is a type of embroidery popular in West Bengal; unique and luxurious products are created by the nimble fingers of female artisans. More than profitable employment, the embroidery sessions become their socializing time and a welcome break from the drudgery of monotonous chores as they work on their individual panels, or a big one with more hands crafting a single piece. The entire cloth is covered with running stitches, employing beautiful motifs of flowers, animals, birds and geometrical shapes, as well as themes from everyday activities. The stitching on the cloth gives the final product a slightly wrinkled, wavy effect. Kantha is an indigenous household craft, made by the rural women in West Bengal; it is a speciality of Bolpur-Santiniketan and remains also the most creative of all embroidery styles in this part of India.

It was the Bengali housewife who helped the art of embroidery to evolve. From embroidering her husband’s initials on his handkerchief to sewing pieces of discarded cloth with colourful threads to make Kantha, the lady of the house busied herself with needle and thread as soon as her domestic chores were over. The earliest mention of Bengal Kantha is found in the book, “Sri Chaitanya Charitamrita”, by Krishnadas Kaviraj which was written some five hundred years back. There the poet says, Sachi, the mother of Chaitanya, sent a homemade Kantha to her son at Puri through some pilgrims. The same Kantha still can be viewed in Gambhira, at Puri, displayed in a glass case. The second earliest reference is in Zaman’s book about the famous artist A. Tagore, who seemed to have encountered a woman in a village in the district of Srihatta of Bangladesh, who recorded her life story in her Kantha spanning a period starting from her marriage to old age.

The exact age of Kantha design cannot be ascertained with accuracy. The tradition of Kantha embroidery is quite old. It is mentioned in the Sanskrit grammar written by Panini around the sixth century B.C and in the epic Ramayana written by Valmiki some two centuries later. The Ramayana mentions Chandrabati’s Kantha stitching as one of the skills that Sita excelled. The first mention of Kantha Embroidery in Bengali literature is in the Charyapadas – oldest known verses in Bengali that prevailed from the 8th to 11th century AD.

Art reached great heights during the reins of Mughal Emperors in India, who were great lover of needlework and embroidery. Since a very long time, Bengal cotton and silk have been known in the world market for its finesse and quality. Bengal “Muslin” was an item of export even at Perecles’s time. Kantha work is essentially a folk art of women. Women give expression to their wishes through the needlework and thread designs of Kantha work. It is an art that is passed from one generation to another. The Kanthas design offered enough room to display the contents of the mind of a woman.

The commonly used Kantha Stitches are

• Running stitch
• Herring bone stitch
• Double running stitch
• Leak stitch
• Darning stitch
• Dorokha or Dorukha stitch

Bengal Kantha making is a little different from other quilting artistry. The material is different as well as the stitching method. When such beautiful creations were worn out and old, Bengal women did not see any reason to throw them away. Beautiful sari borders were preserved, the soft dhotis were placed layer upon layer and stitched in sari borders. Thus started the first Recycling/Reuse art of the world.

The stitching patterns of Bengal Kanthas are simple, but it can be very intricate depending on the inclination of the Kantha maker. Bengal Kantha makers reflect their traditions in choosing their designs. The real value of Kantha embroidery lies in its fine craftsmanship and vignette of daily folk life motifs being a favourite of the embroiderers. In Bengal, Kanthas were originally used as baby’s diapers, or wrappers for laying newborn babies in the courtyard while they were massaged with mustard oil. The idea of using this embroidery commercially, originated more in urban groups. The number of layers used to vary according to the use for which the Kantha was meant. Normally the top and bottom layers of a Kantha were white or of a very light colour, so that the embroidery done with faded threads drawn from the sari borders were not lost. At present, due to the high cost of handcrafted materials, Kantha making for the baby’s diaper is not cost effective at all. However, in the early seventies, there had been a revival in Kantha art in both the Bengals. Sreelata Sirkar derived inspiration from Pratima Devi of Santiniketan and started designing Kanthas for teamwork. Thus, she not only revived a dying art, but also made room for a great economic activity for West Bengal women. Kantha is characterized by the pattered running stitches.

History: Kantha is like a personal diary, a letter one writes to a particular person, and is not meant to be read by all. In East Bengal, the Kantha was a personal expression, an art-craft that was made spontaneously, even whimsically. It was never commissioned by rulers, nor ordered by the landed gentry. No two pieces were the same. It was craft that was practised by women of all rural classes, the rich landlord’s wife making her own elaborate embroidered quilt in her leisure time, and the tenant farmer’s wife making her own thrifty, coverlet, equal in beauty and skill.

The Kantha is an invocation to the gods and spirits for the prosperity and protection of the family. A real Kantha is able to narrate a story, and is much more compact in design and it is made out of used materials. It has been passed on for generations, from mothers to daughters and is largely a “dowry” tradition. It shows signs of decline today, beginning with the urban area, where career women have no time for such “pedestrian” skills. The pastoral tribes, whose mainstay for the women has been embroidery, did not have the impetus to market their goods to generate a comfortable income. Traditional embroidery is so interlinked with every dimension of living, and often an esoteric idiom, that it is nearly impossible to slot them into categories. Very often, the embroidery traditions in each region and community reveal caste identities, status and the village of its origin.

The Hindu Kantha makers tend to choose from religious motifs, like gods and goddesses, the “alpanas” representing lotus flower, conch shells, various birds and beast like peacock, parrots, elephants, lion, tiger, whereas the Muslim women are usually restricted to geometrical designs and plants and flowers. Within that restriction, they are able to create wonderful artifacts in “Jainamaz Kantha”, “Dastarkhan”, or “Gilaf embroidery”.

Today, Nakshi Kantha refers to very intricately embroidered kantha patterns, done with various colourful threads in running stitch.

The reverse Kantha stitch is so intricate that it will catch your eyes from a very far place. These have the typical characteristics that the farther is your sight from the product, more prominent becomes the embroidery work.
The craft is being practised today by millions of women mainly in the districts of Birbhum, Burdwan, Hooghly, 24 Parganas North and South and Murshidabad. Even as it has evolved from being a subsistence activity done for personal satisfaction and metamorphosed itself to a viable economic activity, Kantha still maintains a strong cultural and social significance in the Bengali society. It has become a means of livelihood today and yet maintains itself as a household craft in many senses. Many of the women engaged in this craft continue to practise it from within their homes.

If ever there was a true Sorority in the world of ideas, it must have been in the field of Kantha or quilt making. Women, all over the world, took up the responsibility of providing everybody with the warmth against the cold. Kantha making is truly a brilliant example of “Women’s Art”.

A form of Kalamkari from southern India, where designs are printed, instead of being drawn using a kalam (pen) are known as Machilipatnam block prints. These prints are presently limited to the town of Pedana, near Machilipatnam, Andhra Pradesh. Pedana Kalamkari has also the Geographical Indications (GI) tag. It was included in the Geographical Indications Registry (GIR) in 2012 under the GI of Goods (Registration and Protection) Act of 1999.

The blocks are traditionally carved out of teakwood. The dyes are procured from minerals, leaves, flowers and barks of local trees. The colour red, a distinct presence in Kalamkari, is made from a solution of alum and tamarind seed powder; the colour black comes from iron ore; violet is derived from indigo; and shades of yellow, such as mustard and lemon, are derived from varying mixes of turmeric and harad (myrobalan). The fabric is soaked in water for three days to remove starch from it. It is treated with buffalo’s milk and harad, then rinsed and dried for the first stage of printing. The edges of the carved block are pressed onto the cloth, beginning first with outlines and then filling in colour.

During British rule, Machilipatnam block printing was used to produce textiles for garments as well as for furnishing. While locally it was used for prayer mats, tents and canopies, the European market used it for clothing and bedspreads that were known as palampores.

Reaffirming that appearances are deceptive, the spectacular Mashru has the appearance of glistening silk that conceals the soothing feel of cotton. While the silk on the outer surface has a beautiful, glossy appearance, the cotton yarns in the back soak up sweat and keep the wearer cool in the hot climate of the deserts.

Mashru weaving is an old tradition in India and this textile was traded to Arabian countries. Mashru means “permitted” in Arabic and it is believed that this textile got this name when Muslim men, who were not allowed to wear silk, started wearing this fabric. Since the body is in contact with cotton and silk is only on the exterior, they got approval to wear this luxurious fabric.

Mashru fabric is made by interlacing silk and cotton yarns. Cotton makes the weft, or the horizontal yarns while silk is used for the warp, or the vertical yarns. In this weave, each silk yarn goes under one cotton yarn and above five or eight or more cotton yarns, giving an appearance of a shiny surface that looks like it is made up of only silk, while the underside of the fabric is cotton. Since the structure of the fabric allows for more yarns in a given area, it also makes the fabric stronger.
Another weave, besides Himroo, that Suriaya Hasan Bose Apa is closely identified with is Mashru. The weave, which is also woven on eight pedals, was woven for Muslim communities, who believed that silk should not touch a person’s skin. In Mashru, the warp is in cotton and the weft, where the design is visible, is in silk. The upper silk layer has the design and the lower layer is plain cotton. Sometimes the silk yarn used was tie-and-dyed together, giving it the appearance of Ikat.

Suminagashi is the ancient Japanese technique of decorating paper with inks. It is believed that the oldest form of marbling was practised in Japan by Shinto priests as early as the 12th century. Suminagashi literally means “ink floating”.

The marbling unit in the Sri Aurobindo Ashram, Pondicherry started as a hobby in 1965. Some sadhaks experimented with this art form and offered marbled handmade paper to the Mother. Later they extended the marbling process to silk. As it was widely appreciated, the Mother permitted the sale of these products. From 1970 onwards, the unit took up work on a big scale with the production of saris, scarves, stoles, ties, kerchiefs, dress material and dupattas on pure silk and pure silk chiffon, for sale locally and abroad. Today marbling has developed into a fine art form to which the Marbling Group has undoubtedly the credit of having added certain refinements, apart from having been among the first to adopt the process successfully to silk fabrics.

A Mangalagiri sari is usually made of superfine, sturdy, thick-yarn cotton, though now they are also available in silk. The body of the sari usually has self-checks or at best it is a plain solid colour. A good Mangalagiri sari falls well and stays well long after it is worn. The zari border, is also simple, with simple line patterns or chevrons at best without any elaborate motifs. The most distinct part of the zari border is its peculiar width – quite unlike the wide Kanjivaram or the Gadwal border. Surprisingly enough, the thickness of the Mangalagiri border is very similar to the thickness of the Maheshwari border – except that the Maheshwari border may or may not be in gold. The Mangalagiri border is always in zari. The Mangalagiri border is also called the ‘Nizam’ border, very typical of the Mangalagiri region. The pallu of the sari is always a continuation of the body with slightly greater density of gold lines running across. This sari is available in exciting shades of all colours and is a classy treat for the eyes and it is difficult to choose a single colour.

And once again, like a template – the name of this sari is after the town Mangalagiri, in Guntur – now the administrative capital of Telangana. Mangalagiri was and still continues to be an important religious centre and weaving centre. Way back in early 16th century, weaving prospered because the sari was offered to the deity as ‘prasadam’. The compulsory buying of saris for religious purposes led to the growth of weaving of cotton and cotton saris. Adding zari was an obvious choice because the saris with gold were considered more auspicious than the plain ones. It is an interesting phenomenon; all over India, silk is considered as the fabric for worship. I suppose the rich cotton harvests in this region made cotton a more accessible choice. The Mangalagiri sari, like other cotton saris, can be a little maintenance heavy if you want to retain the lustre of the zari border – which is not real. Without adequate care the sari can start to fade. So, if you love your Mangalagiri, take good care of it and protect it from harsh chemical washes.

The Maheshwari sari started out as a pure cotton sari in pale colours with slightly contrasted colourful stripes along its borders and in the pallu. Another distinct Maheshwari style is the pure cotton body with a pale gold border which is distinct for its distinctive pattern of chevrons. Chevrons look like this: <<<<<<<<. The other pattern that is found on a Maheshwari, but not so commonly is the brick patter or the ‘chatai’ / cane pattern. The pallu is a continuation of the body, intersected by thicker gold lines, and sometimes the entire pallu is made of gold in heavier saris.

Now for the story of the origin of Maheshwari – as laced with gold as the sari. The acclaim of ‘inventing’ the Maheshwari sari belongs to Maharani Ahilyabai Holkar (1725 – 1795) of the Holkar dynasty of the Marathas that ruled over the Malwa region. She was a tough queen who ruled and protected her kingdom after the death of her husband and her father-in-law. She was also a great patron of the arts. In 1960, she commissioned the famed weavers of Surat to weave something worthy of her royal family. It is said that Ahilyabai herself attended to and contributed to the design of the first Maheshwari. They created the sari, with designs inspired by the patterns and motifs of the forts of Maheshwar. Thus, was born the Maheshwari sari, which started out as a cotton sari. Now it has a cotton warp and a weft made of Banaras silk – a stately cotton silk, with the customary gold border.

This sari, like many other traditional saris of that time, had to endure a trying journey of its own as it faced near extinction due to industrialization. Many weavers of the Maheshwari lost patronage in the 1970s and had to leave the weaving town in search for other, more lucrative professions. It was around that time, in the late seventies, where a direct descendant of the Holkar family decided to do something about this rich legacy and founded the Rehwa Society – a name synonymous with the Maheshwari sari --- it was established in 1978, by Richard and Sally Holkar as a weaver's society. The Society works towards the revival of the art and also the weavers of this art. The Maheshwari, since then, represents the elegant, the simple, the tasteful, and classy. Buy and wear a royal heritage …

Deriving its name from the town of its birth, a Kanchipuram weave has long been a treasure of the southern Indian state of Tamil Nadu. Located about 72km from Chennai, Kanchipuram gained eminence during the reign of Krishnadeveraya, a 16th century emperor of the Vijayanagara Kingdom. It is during this period that two weaving communities, the Devangas and Saligars are believed to have migrated here from Andhra Pradesh.

They were experts at weaving silk saris and legend has it that they were descendants of Sage Markanda, a master weaver who is believed to have woven tissue from lotus fibre. The pattu-nool (thread) came from Karnataka while the zari travelled here from Surat. Families often wove together, as several hands were needed to wind the thread in the beam. Saris were bought by temples to drape goddesses and kings purchased them for the boudoir. Tourists visiting the temple also bought them as blessed mementos. From Kanchipuram, the saris often made their way to Chennai (erstwhile Madras), the wealthy trading centre of the times.

The weaving of a Kanchipuram sari requires the use of three shuttles and the weaver and his aide work on the two sides. The colour and design of the border is usually quite different from the body. In its most traditional form, the pallu is woven separately in a different shade before being delicately joined to the sari. The part where they meet is often denoted by a zig-zag pattern.

Motifs in the Kanjivaram sari vary between those borrowed from nature such as sun, moon, chariots, peacocks, parrots, etc. or those based on temples, palaces and paintings. Other common motifs include the mallimoggu, a jasmine bud within a round or square frame. Another is Thandavalam where parallel lines run across the body of the sari. One can even see scenes from the epics Ramayana and Mahabharata represented on the sari. In addition to the motifs, the sari is ornamented with pure zari.

The rich weaving traditions of Kanjivaram silk saris and the unique motifs that decorate them are a testament to the ageless allure and grandeur of this silken weave, which belongs in a bridal trousseau as much as it does in a connoisseur’s treasure trove.

Madhubani, or Mithila, painting is a folk painting of northern India. It is mostly practised by women in the villages who have passed this art to their daughters through multiple generations. Madhubani, literally means, "Forests of Honey". They paint pictures of nature and mythology to depict different events like birth, marriage, and cycles of life. Though this folk art has been practised for centuries, it started to gain national recognition only in the last few decades. Now, art patrons can find Madhubani artists in several cities of northern India, many of whom are experimenting and adapting the traditional styles to modern ethos and medium.

The area of Mithila lies near the border of India and Nepal and carries a rich palette of cultural legacy in art and literature. Its heritage goes back at least 2,500 years and its celebrated figures include the Buddha and Mahavira. It is also the birthplace of Sita, the central character in Ramayana. Hence, her life stories are frequently depicted in the local art.
The paintings are traditionally based on mythological, folk themes and pastoral symbols. The central themes of most paintings are love, valour, devotion and fertility, though the approach may vary. So, it is common to find scenes of courtship and marriages and symbols of fertility and prosperity like fish, peacock, parrot, elephant, turtle, sun, moon, bamboo tree, and lotus. The divine beings are positioned centrally in the frame while their consorts and floral motifs form the background. The human figures are mostly abstract and linear in form.

Even though this art is centuries old, it has preserved its original style and content in its native land of Mithila. Nowadays synthetic colours are used but traditional artists still make their own colours by extracting them from plants. The colouring is of two styles – Kachni (hatching) and Bharni (shading.) Kachni uses delicate fine lines to fill the painting and not much colour
is used. Bharni (shading) uses solid colours to shade and fill the pictures. It uses black outlines filled with vibrant colours. A variety of inventive patterns are made with hatching and stippling.

Even now, during birth and marriage ceremonies, paintings are made on walls with different symbols like bamboo (symbolising lineage) lotus and fish. The designs announce the occasion of the celebration and solicit good fortune and divine blessings.

Madhubani painting received official recognition in 1975, when the President of India gave Padma Shri award to Jagdamba Devi, of Jitwarpur village near Madhubani. In 1981, Sita Devi was awarded the Padma Shri. In 1990, Ganga Devi of Mithila, was awarded Padma Shri. Other painters, Mahasundari Devi (2008), Godavari Dutt, Bharti Dayal and Bua Devi were also bestowed with the National award.

Kandangi saris are woven in Karaikudi which is in the Chettinad region of Sivagangai district, Tamilnadu. Bright hues such as red orange and yellow are predominantly used and the "gopura-karai" (temple/tower motifs on the borders) saris with checks and stripes as the base are amongst the most popular ones. The saris are woven in 60, 80 and 100 counts in cotton and are traditionally washed on granite stones in Karaikudi. One must feel proud of all the women weavers at work. 16 hours of labour over a period of two days goes into creating these marvellous six yards. This does not include the time spent on spinning, dyeing, warping etc. With power looms and factory jobs ready to take their place, these women still continue to do what they have been doing with passion, commitment and a big smile always. These are also known as Kornads The Kandangi Sari has been awarded a GI tag

Kamal Kadai (embroidery) is a famous artwork of Andhra Pradesh. From the name, some of you think that you embroider only Kamal (lotus) in this embroidery. But this is not true. The name does suggest a flower-shaped lotus but it is not necessarily a lotus. It is called Kamal Kadai because it resembles the leaves of the lotus flower. In this style of embroidery, leaves of the flower are longest in the middle and shorter from the sides.

First, a pattern is made on cloth using charcoal or pencil. The pattern is a geometrical one. The main stitch used in Kamal Kadai is the Woven Trellis Stitch for the flowers and leaves, in combination with other stitches to complete the pattern. A similar kind of thread work can be found in the western embroidery world, like the Teneriffe Lace Work. It is not sure if these two embroideries have inspired each other at some point in time, but my assumption is that they have originated findependently. Teneriffe Lace Work uses the Woven Trellis Stitch in elaborate patterns, unlike Kamal Kadai which stays humble and simple in its use and form. Kamal Kadai uses floral patterns with flowers of four or five petals. Often leaves are also stitched using the Woven Trellis Stitch. It has an overall step-like 3D effect, traditionally used on quilts and covers.

Muga, Assam’s very own Golden Yarn, known for its extreme durability and natural yellowish-golden tint, was once reserved only for royalty. In fact, it is often compared, especially nowadays, to being as expensive as buying gold.

In ‘Arthasashtra’ by Kautilya, there is mention of Kamrupa or modern-day Assam, as land of cocoon rearers and Muga silk as Dakula. The traditional silk industry is said to have been at its peak in the regime of Ahom rulers during 13th to early 19th century AD. The golden age can be traced to the period between 1228-1828 during the reign of the Ahom rulers. The Ahom rulers patronized the growth of Muga Silk as an industry. They had decreed that all the higher officials of the kingdom were to adorn only clothes made from Muga Silk. Many of the looms of Muga Silk were under the royal supervision and were known as Rajaghoria looms. However, it suffered a huge setback during British colonial regime due to predatory trade policy and introduction of machine woven synthetic imitation fabrics. Strange, but so similar to what is happening in the present … MUGA was reserved only for use by the royal families. Muga Silk is a protected Geographical Indication (GI) to Assam. In 2007, Muga Silk from Assam was given the registration as the Geographical Indication (GI) of Assam, under the rules of Intellectual Property Rights.

Known for its durability and lustre, Muga silk owns the top position where demand is concerned. After every wash (yes, it can be hand-washed) the lustre increases, because of which it is mostly used in products like saris and traditional Assamese mekhala-chador.

Traditional motifs that are used on the fabric includes Jappi (the typical Assami topi), Miri Gos Butta (a pattern of miniature tree motifs) and Kabutar (pigeons). These motifs are always geometrical in shape and have not changed over the years. Pure zari work, called Guna zari, is also found on the fabric, giving it a very royal, classy feel.

Primarily, the bulk of the Muga Silk cultivation takes place in the West Garo hills of Assam and a little bit is also done in the West Khasi hills of Assam which are the only homes to the silkworms – Som and Soalu, which generate the Muga Silk thread.

Typically, in the Garo hill region, a Muga silk farmer needs to have access to at least 1 acre of land through which he can cultivate about 400 grams of Muga silk at a go.

An interesting equation to note is that it takes about 1000 cocoons to generate 125 grams of Silk and around 1000 grams of Silk is needed for a sari. This roughly translates to … it takes 6000-8000 cocoons to make 1kg of Yarn by hand. A professional reeler can take out 120gm to 140gms of hand spun yarn in a day. It takes 8 to 9 working days to get 1 kg of finest Muga hand spun yarn. Over and above, the time taken to make one single sari is about two months; right from rearing the silkworm to the finished product. The weaving process of the Muga silk sari alone takes up one week to ten days to complete. For your information … One Kg of (RAW, unfinished) Muga silk (Muga on Warp and Muga on Weft) costs Rs.24000 – Rs 27000/- today (May 2024) … this is as per the SERICULTURAL STATISTICS REPORT of INDIA, Source: Central Silk Board, Bengaluru This is where the TOS MUGA variety comes in ... the Muga is mixed with Tussar, to bring down the price of the Saris ... these are definitely far cheaper than the Real Muga saris.

Maintenance: Muga Silk fabrics can be washed at home, in cold water, gently, with a mild detergent, preferably a liquid detergent. As I have always maintained, the best way to wash your Natural Yarns is at home, either with Ritha (Soap Nut) or any soft/sensitive liquid detergent … it is a misnomer that giving these to a laundry is a better idea. Think logically… no business can be more bothered/ interested in your precious possessions than you … all those tall promises are just an eyewash and they probably use far more inferior quality detergents or maybe even chemicals, for which they present you with exorbitant bills.

Moonga Tussar is spun silk yarn (broken or smaller silk fibre are sent to the mills to be spun into yarns), hence cheaper.

Since it is mill spun there could be a blending of other fibres to it also. This also explains the lint or fibre shedding from the fabric.

Moonga/Moga/Monga is being used by vendors over quite some time, to sell what a lot of consumers might interpret as MUGA, Assam’s very own Golden Yarn

Molakalmuru is a town that is situated in Chitradurga district in the Indian state of Karnataka. One of the villages in the panchayat town of Molakalmuru is Hangal, where the maximum number of Molkalmuru saris is woven to date. The Molkalmuru saris have been accorded a GI tag # 53 for its unique designs and patterns.

Molkalmuru saris are predominantly woven by a community called Swakulasalis who speak the Marathi language. Their chief god is Jhiveshwara. Adimaya, the supreme mother created Vishnu from her Satvaguna, Bramha from Rajoguna and Maheshwar from Tamoguna thereby giving responsibility of creation to Bramha, ruling to Vishnu and destruction to Shiva. All the Devas and Manavas were initially unclothed, so the extreme weather conditions drove them to cover themselves with leaves, animal skin and wooden bark. With the discovery of the wheel and advancement in their knowledge, they started weaving cloth from the yarn of the tree and barks.

At this juncture, Adimaya requested Shiva to create a supreme human who could weave exquisite cloth. Shiva created a child from his tongue and called him Jhiveshwara who was bestowed with all the powers of the Gods and was dedicated to weaving. One of the sons of Jhiveshwara, Kailasabhuvana settled at Sathyavati, a town under King Subhanu of Malava and started weaving. It is he, who started the Ahersali community. Another son, Sanathana joined King Chitravrutti of Bhaglana and also followed the footsteps of this father and his brother. The community he started was called the Swakulasali. The Molkalmuru weavers belong to Swakulasali community. One of the deities in the Kalabhairav temple in Kashi is Bhagwan Jhiveshwara.

Molkalmuru saris are available in both traditional and modern styles. Molkalmuru – Simhasana, is one of the most beautiful saris woven here, have minimum zari if at all any. They have a 1cm X 1cm rhombus design all across the sari. This design is highly labour intensive and takes days to complete. Molkalmuru - Honey comb border is another variation that has exquisite pallus and has minimum buttas across the body. The original design of this sari was supposed to have originated from the ‘Mysore Silk’. Yet another type is the ‘Pooja Checks’, which comes in various colours and has a chequered pattern all across the sari. Pooja saris were made famous by Indira Gandhi; they happened to be one of her favourites among the genre. Photographs reveal that she had quite a few of these in both Silk and Cotton. The traditional saris, rarely woven these days, comes in woven bi coloured checks on the body; white being the constant colour teamed with another. The authentic woven checks with dots inside are called Mutthu Kattam. Ganga - Jamuna is the one that has large borders on both sides of the sari, in two different colours. The Baba butta sari is minimalistic in design and very elegant. These saris draw a lot of inspiration from nature with motifs like flowers, birds and leaves as motifs. Molkalmuru - Gandaberunda sari named after the mythical bird, the official insignia of Karnataka state. Gandaberunda is a two-headed bird and a form of the Hindu god Vishnu as Narasimha and has enormous powers in Hindu mythology. Gandaberunda is the emblem of the Kingdom of Mysuru of Wodeyar rulers, and after India was united, it was kept by Mysuru State as its emblem.

Molkalmuru saris, particularly the Simhasana sari derives its design from the Mysore throne. It is said that Sri Krishnaraja Wodeyar and Sri Jayachamarajendra Wodeyar promoted these saris and have a collection of 140 Molkalmuru saris in their private collection. The clothes that are adorned by the Gods in the Mysore palace also are made out of this silk variety and hence these saris came to be called as Simhasana Saris

Mundum Neriyathum or Settu-Mundu or mundu-set is the traditional clothing of women in Kerala. It is the oldest remnant of the ancient form of the sari which covered only the lower part of the body. In the Mundum Neriyathum, the most basic traditional piece is the mundu or lower garment which is the ancient form of the sari denoted in Malayalam as 'Thuni' (meaning cloth), while the Neriyathu forms the upper garment.

The Mundum Neryathum is traditionally white or cream in colour and consists of two pieces of cloth, which have a coloured strip at the border known as Kara; the zari in the border is known as Kasavu.

The Kasavu or the golden border is either pure golden layer, copper coated or artificial. The fabric of mundu-sari is cotton and is always woven by hand. Kara or simple line designs adorn the bottom of these saris, while at times small peacock or temple designs embellish the pallu.

Both the traditional and modern styles of the Mundum Neryathum are depicted in the paintings of Raja Ravi Verma. The Mundum-Neryathum is the extant form of the ancient sari, referred to as "Sattika" in Buddhist and Jain literature. It is one of the remains of the pre-Hindu Buddhist-Jain culture that once flourished in Kerala and other parts of South India.

Was developed in Japan in 1951. Starting with the farming of Beechwood trees, the purpose behind this is the extraction of its natural cellulose that serves as the raw material for modal fibre production. As the trees reach the ripe age to be fit enough to extract cellulose, workers break them down into pieces for the wood pulp. The pulp is then turned into the form of sheets to further break them down into crumbs. The crumbs are turned into a liquid to give them a real fibre-like look. Once the fibre takes the shape of yarn, it is woven into saris and other clothing objects.

Since Modal is a semi-synthetic textile made from cellulose from beech wood, this makes Modal an improved version of Viscose. Modal is not inherently sustainable or environmentally-friendly, but it can be a lower-impact fibre under certain circumstances. It is also technically biodegradable and can be recycled. However, there is no way that Modal can be compared to Gajji.

In earlier days, handloom weavers of village Andhalgaon, Mohadi and Palandur District Bhandara, the part of Vidarbha region in Maharashtra used to produce cotton gamchha with 20s cotton yarn in warp and weft having two side Karvati border (Solid border). “Karvat” in Marathi is the saw and since the designs look like saw tooth, the fabric is known as Karvati or Karvatkati. District Bhandara is a Tussar cocoon producing area. Having plenty of raw material the weavers introduced Tussar material in weaving of Tussar Karvati saris.

Material Used: The Tussar is wild natural silk obtained from a wide wing moth that is yellowish brown in colour. The Tussar produced in the Vidarbha region of Maharashtra is supposed to be best in quality and colour due to unique environmental conditions of this region. Mostly the tribals traditionally do the job of protecting cocoons on trees in forests. The Tussar yarn so obtained is used for production of saris.

Technique applied: The Tussar Karvati sari is woven with three shuttle weaving (tapestry type of weaving technique) to have solid colour border and body. The border is woven with mercerized cotton yarn and body is woven with pure Tussar hand reeled yarn. The borders are narrow and feature diamonds, rudraksha and the outstandingly beautiful chevron like tapestry design which is a combination of leheri, jaali and karvat. The sari is woven on a pit loom mounted with Nagpuri wooden lattice dobby on the top of the loom above the weaver’s seat. The uniqueness of the Tussar Karvati sari is that, the border of the sari is woven with various temple designs in different sizes. Ganga Jamuna borders are also woven and bright borders in Pink, Red, Maroon, Olive green, Yellow Ochre and Black are readily available, which provide a delightful contrast to the sombre mien of the Vidharba Tussar. The traditional motifs are woven with extra warp threads controlled by lattice dobby.

How to distinguish:

 

• Hand reeled Tussar is used. Fabric appearance is not flat and uniform. There are uneven picks in irregular fashion.
• Feel is harsh and the colour is darker beige
• Saw tooth designs of various sizes are woven in the border of the sari in tapestry technique.

Mishing= Mi + Anshing. "Mi" means man while Anshing/Toshing means worthiness or cool. So Mishing means man of worthiness. The word mi is familiar to every tribe of Southeast Asia. Mizo and Mishmi are one such example. To depict non tribal outsiders the word Mipak is used intensively which means man of unworthiness. So mipak is the opposite meaning of Mishing. The Mishing or Misíng also called Miri, are an ethnic tribal group inhabiting the districts of Dhemaji, North Lakhimpur, Sonitpur, Tinsukia, Dibrugarh, Sibsagar, Jorhat and Golaghat of the Assam state in India. They are the second largest tribal group in North-East India, first being the Bodos in Assam. They were earlier called Miris in historical days and the Constitution of India still refers to them as Miris.

The traditional craft of weaving is a very bright aspect of Mishing culture. It is an exclusive preserve of the Mishing woman, who starts her training in the craft even before she reaches her teens. For the male, she weaves cotton jackets, light cotton towels, endi shawls, thick loin cloths, and, occasionally, even shirting. For women she weaves a variety of clothes, such as ege ‘the lower garment of Mishing women’, rihbi (a sheet with narrow stripes, wrapped to cover the lower garment and the blouse), gaséng (used for the same purpose as that of a rihbi, but having, unlike a rihbi, broad stripes of contrastive colours), gero (a sheet, usually off-white, wrapped round the waist to cover the lower part of the body, or round the chest to cover the body down to the knees or so), seleng gasor (a light cotton sheet, worn occasionally instead of a rihbi or a gaseng), riya (a long, comparatively narrow, sheet, wrapped, a bit tightly, round the chest), segrek (a loose piece of cloth, wrapped round the waist by married women to cover the ege down to the knees), a pohtub (a scarf used to protect the head from the sun, dirt, etc.), and nisek ( a piece of cloth to carry a baby with). Before yarn, produced by modern textile factories, was available in the market, Mishings used to grow cotton and obtain cotton yarn by spinning. The use of endi/eri yarn, obtained from worms fed on leaves of castor-oil plants, was probably common amongst them. However, they learnt the use of muga (silk obtained from silkworms fed on a kind of tall tree, called som in Assamese) and of paat (silk obtained from silkworms fed mulberry leaves) from their neighbours in the valley. Even now Mishing women weave cloth, using muga and paat silk, very sparingly. Thus, weaving cotton clothes is the principal domain of the Mishing weaver. She has good traditional knowledge of natural dyes.

A special mention has to be made here of the Mishing textile piece, called gadu. It is the traditional Mishing blanket, fluffy on one side, and it is woven on a traditional loin loom. The warp consists of cotton spun into thick and strong yarn, and the weft of cotton, turned into soft yarn and cut into small pieces for insertion, piece by piece, to form the fluff. It is obvious that weaving a gadu is a very laborious affair like weaving expensive carpets, requiring the weaver to spend a lot of time on her loin loom, and, as the younger women in a family would, generally, not have enough time for such a work, it is the ageing ones staying at home that do it. There has been a drastic decline of the gadu craft during the years after independence because of the availability of inexpensive blankets in the market.

Matka Silk is obtained from waste Mulberry silk by hand spinning without removing the gum (sericin). Cocoons required to produce Matka are mainly obtained from Karnataka and Kashmir but spinning is mostly done in the villages of Malda and Murshidabad districts in West Bengal by women by hand spinning.

Filaments of the cocoons of this silk from Bihar were originally unwound and plied together on a mud pot or Matka (Today, they are likely to be reeled on a woman's thigh)

Matka is a heavy weight silk fabric made from very thick yarns. The yarns are obtained from short ends of silk from Mulberry silkworms and spun by hand without removing the gum (sericin). As such there are slubs and irregularities that give the fabric a unique character. It looks something like a tweed, but the fibres are all the same colour

For the last 300 years, a wandering tribe, called the Vaghris have been keeping a tradition of sacred painting alive. This tradition of painting narratives of the Goddess Durga, in her various incarnations is called Mata ni Pachedi, which in English translates as ‘behind the idol of the Goddess’. The painting originated as a temporary altar for the community that was constantly on the move. Ironically, it seems that soon after the Vaghris settled in Ahmedabad, the tradition of painting has struggled to stay afloat and may soon find itself lost in its contemporary adaptations.

Mata Ni Pachedi or Mata na Chandarvo is now restricted to the state of Gujarat and most of the practising artists live in Ahmedabad. The ‘Mata’ signifies the Goddess Durga in her various avatars (incarnations), sometimes as the boon giving peaceful Goddess and sometimes as her violent and popular form as Kali, where she overcomes evil. Whatever her avatar maybe, Goddess Durga finds an important place in the Gujarati society, as the locals believe that she is their primary protector. Their love and worship can be seen during the 9-day Navratri festival that is organized every year, where thousands of devotees come and dance around her idol.

According to Hindu mythology, Goddess Durga has 64 known avatars, which is termed as Chausath Yogini’s (64 Yoginis), though it is very rare to find all sixty-four incarnations painted today. As the traditional use of the Pachedi declines and it adapts itself to various contemporary designs, the chance that one will ever see all the incarnations together is quite less. Many of the artists may not even know all the incarnations and would need to do some homework as well.

The painting is a usually a rectangular narrative scroll, which is divided into 7 or 9 parts, each part containing a stand- alone story of the deity or a local narrative from that society. You may even see a narrative, which contains the life of its commissioner. Some narratives also show the local priest, called the Bhuva, leading a goat for a sacrifice, which is a tradition of the Vaghri tribe. The image of the Goddess, which sits on top of its vahana (vehicle) takes the central position, usually much larger than surrounding imageries. The border of the paintings is a very bold one.

The material undergoes a few ‘facelifts’ before it can be painted upon. The material is first freed of starch, soaked in water and then dried in the sun. It is then soaked in a mixture of cow dung and salt and boiled, following which it is immersed in a mixture of castor oil and caustic soda. After this process dries up, it is again soaked in a mixture of castor oil and Harda (myrobalan) and left to dry, before it can be used.

The artists usually use wooden blocks to first outline the main drawing on the cloth. These blocks are made of rusted iron, which are soaked for a week in a sugar solution and a paste of tamarind seeds. This, when mixed with Harda (myrobalan) produces black. After the outline is done, the colours are applied with a ‘Kalam’, a bamboo stick with a cotton swab at one end. Thus, it is no surprise that this style is also called Kalamkari of Gujarat.

A traditional Mata Ni Pachedi would only use three colours- maroon/ red, which represents the colour of the earth, black, which wards off the evil eye and white, which stands for purity. The white is usually the background of the material while the other colours are vegetable dyes. After each colour is applied, the material is boiled in alizarin solution, which brings out the colours and then washed in running water. Due to environmental changes, the tradition of washing the cloth in the Sabarmati River has died out and the artists now use other pigments, which are cheaper than vegetable dyes.

Mata ni Pachedi has adapted itself to changing times, but this traditional is slowly dying out. The artists have moved beyond the three colours to broaden the palette to suit demands. A few themes have also changed and mostly a selected number of Matas are depicted.

The earliest known reference to the muslin fabric is in Chanakya’s Arthashastra from the 4th century BC. Over the centuries many travellers from the Roman Empire, Greece, Egypt and England have referred to this superior cotton from Bengal in their memoirs. During the Mughal rule in India, the muslins from Dhaka received royal patronage and clothes made of this fabric were a sign of royalty and nobility. The Portuguese, Dutch and English traders imported these textiles from India into much of Europe. The fabrics were prized for their quality and were used to make fashionable gowns and dresses. Trade with the Middle-East, China, Japan and other regions in Asia also flourished. However, during the 18th century, the British monopolised the textile trade with Bengal and squeezed other European and Asian traders out of the region. In turn, they forcibly lowered the prices paid to weavers to purchase their textiles. This led to a gradual decline in the textile manufacturing industry in Bengal. The final blow to the Muslin trade was caused by the industrial revolution in Britain when cheaper, machine-made goods from Britain flooded the market, and resulted in the eventual death of the legendary fine Muslin textiles of Bengal.

"The Muslin fabric is produced from a superior variety of cotton that was native to a region around Dhaka along the Brahmaputra River. The quality of the soil, level of moisture and other environmental factors also contribute to the development of the legendary muslin cotton plant. The threads produced from this cotton plant are both soft and strong and are woven by hand into the amazingly fine and beautiful muslin fabrics. Special skills evolved over the ages and passed down through the generations are used in the spinning and weaving of the exotic muslin fabric. Muslins are categorized based on the degree of fineness of the fabric: Mulmul Khas (or king’s muslin) is the finest variety, of which an entire dress or sari can pass through a ring. Abrawan (or running water) is the second-best variety of muslin, the one which led Emperor Aurangzeb to chastise his daughter for being immodestly clad even when she was draped in seven layers of muslin! Shabnam (or evening dew), Circar Ali (or supreme ruler) and Tunzeb (or ornament of the body) are the names given to the third, fourth and fifth best varieties of Muslin."

After a long period of decline, today some of the muslin weaving industry is being revived in West Bengal and Bangladesh by governments, non-governmental organizations and research groups. Efforts are on to revive and promote many of the lost techniques and traditional methods of weaving and textile production. Through these efforts, the rich history of Bengal Muslin is once again finding its way back to the wider consciousness of people around the world.

West Bengal produces nearly 55% of the Muslin produced in India. Though big efforts were made to revive the fine Muslin that was known worldwide, it has so far been possible to create only the 500 Count Muslin, compared to the 1400-1800 Count of yore. The entire process of spinning and weaving needs immense skill and patience and only a very small quantity of the 500 Count is produced in some areas of West Bengal, namely Nabadwip in Nadia, Kalna in Burdwan and in Murshidabad, Birbhum and Bankura. Cotton khadi yarn beyond 100 threads is considered to be Muslin Khadi. And Muslin Khadi can be produced upto 500 Count or more.

Katan Silk is a plain-woven fabric with PURE SILK THREADS or RESHAM. It consists of two threads twisted together and is mostly used for the warp of light fabrics and to create a sturdier and more durable fabric.

The varieties of Katan silk include:

• Katan Brocade: Figures or patterns on this garment are made with gold thread and both, the warp and weft are made of katan.
• Katan Butidar: This fabric has resham or gold butis (patterns or design( on it.
• Katan Butidar Mina: The design work on this fabric is made out of zari threads.
• Katan Butidar Paga: This type has a weft made of resham and contains buti work that is spaced 4 inches apart all over the body of the garment. When used for saris, this fabric has a 12-to-22-inch-wide pallu (or drape) which is wider than most saris along with a 2-inch-wide border.

Kasuti embroidery, from northern Karnataka, is one of the region’s most popular artforms and is linked entirely to the villages in the area. A geographical indicator from the government of India is used to safeguard the craftsmen here, ensuring any profit from the sale of this sticker returns to them. Kasuti embroidery is one of the oldest Indian practices. It has its roots since the 7th century A.D. Although it was first only done in the Dharwad region, over time, it has expanded into other parts of Karnataka and is now used throughout South India. Initially, this job was done only by women, and to date, women form a vital element of the cottage industry of Kasuti.

The term Kasuti is composed of ‘Kai’ which implies hand and ‘Suti’ that is a cotton thread. In the districts of Bijapur, Dharwar, Belgaum, Miraj, Sangli and Jamkhandi, Kasuti embroidery is extremely famous. Kasuti has not become a cottage industry but it is just handiwork and recreation for women. This form traditionally has been made with lightly coloured cotton threads solely in handwoven textiles with deeper colours. The Ilkal sarees are the classic Kasuti embroidery sarees. It was a custom in the past that the bride must have a black silk sari, known as Chandrakali sari with Kasuti’s work on it. Kunchi (bonnet and cape), lenga (skirt), seragu (Pallav of a sari), kusuba (bodice) and kulai are the five types of clothing items on which kasuti embroidery is used.

Kasuti embroidery patterns demand a long time, and typically require more than one artist to manoeuvre properly. The only thing about this type of artform is that each thread is to be counted on the cloth. This approach ensures a very complex and gorgeous look of the finished artwork. Kasuti has four types of stitches: the gavanti stitch or double stitch, the muragi- or zig-zag stitch, the neygi or darning stitch and the stitch hent or cross-stitch.

Kasuti Embroidery Stitch Styles:

Gavanti: This is a double running line and back stitch. The name comes from Gaonti, which in the Kannada language means a knot. Most of the designs are geometrical since they are produced vertically, horizontally and diagonally. It is the most prevalent stitch and on both sides of the fabric the designs seem the same. On the way back while stitching, the lines or motifs should be finished by filling out the white areas in the loop.

Neygi: The Negi stitch is a common running or darning stitch. It has the impact of a woven design in general. Negi is in fact an offshoot of the word Ney, which means to weave in the language of Kannada. For larger designs, this stitch is employed by altering the stitch depending on the surface to be covered. The finished design looks like woven patterns and so the right and incorrect sides are not the same.

Muragi: Murgi resembles a ladder step, as the stitches are zigzag running stitches. It is alike Gavanti since they’re both neat with the design on both sides of the garment looking similar. The length of the stitches is consistent and the space between the stitches is identical.

Menthe: It is the standard cross stitch. The name seems to have come from the same word in the Kannada language meaning fenugreek seed. Menthi usually looks heavy and needs a great deal of thread. This stitch was therefore not used extensively. Many of the Kasuti labourers employ cross-stitch nowadays, which is not worked closely as was done formerly. The background sections of the designs are often covered using this menthi stich.

Kasuti Embroidery Motifs & Patterns :

The several sorts of patterns employed are another significant distinctive feature of this embroidery style. The themes in Kasuti that are commonly utilised are temple architecture, south India’s gopurams, lotus flowers, rath and palanquins, bird patterns like parrots, peacocks, swan and squirrels. The sacred bull, the elephant and the deer are the animal motifs used. Kasuti’s other designs include cow, cradle, flower pots and tulsi katte (katte means the space for the holy Tulsi plant). Horses, lions or tigers are rarely observed, but cats and dogs are never seen. Lotus is mainly used among the flower motifs. The motives may be light and scattered but that is highly unusual. Often, they are interconnected in incredibly gorgeous, three-dimensional designs with exquisite and creative appearances. Inspired rural styles are also very popular among various female embroiderers who like to create household sceneries.

Embroidery has been a source of income in Lucknow for centuries. Mukaish work also known as Mokaish, Marori, Mukeish, Mukesh or Badla is a type of embroidery which involves twisting thin metallic threads to create patterns all over the fabric.

Although the most common pattern is dots, other patterns are also created in Mukeish work. This form of embroidery was first developed for the royalty that resided in the city as part of their finery since Mukeish work initially used precious metals like gold and silver to make threads. While pure Mukeish work saris were highly exclusive, Mukeish work in itself was seen as an accompaniment to Chikankari. As the metallic threads used in Mukeish work were initially precious metals such as gold and silver, this craft was capital intensive. Mukeish work takes on two avatars i.e. Fardi ka Kaam that women do within their homes and Kamdani which is done by elderly men. Mukeish work is a time-taking procedure.

The process follows three basic steps:

Step 1: Chapaayi The motif is first printed on the fabric using a mixture of gum and neel (indigo powder). This print can be transferred onto the fabric using either a block or a perforated paper stencil.

Step 2: Takaayi The metal that is being used is usually in the form of a wire. These are first stretched into strips and are then passed through the fire so that the metal takes on different hues. This is then cut into wires of finer breadths. Next, they are beaten using a smaller hammer so that the density of the wire is almost paper thin. Only when such density is achieved can the wire be weaved in and out of something as delicate as a fabric. Moreover, this density adds finesse to the overall look as opposed to such delicate embroidery made of thick chunks.

Step 3: Ghutaayi Once the embroidery has been done, the fabric is spread out flat on the ground over a blanket (so as to avoid accumulation of dirt and stains). The embroidery is then rubbed thoroughly over with a glass bottle or cowrie shells.

This is done to work out any lumps in the embroidery. It also burnishes the metal and leaves it brighter and shinier. Mukeish embroidery can be manifested in two patterns or ways known as Fardi Ka Kaam and Kamdani. These patterns are created during the process of Takaayi and have vastly different end results in terms of their design.

Fardi ka Kaam : Fardi, literally translated, means dots. It is basic yet one of the most widely recognized and loved forms of Mukeish work. There are many sizes and patterns in which these dots are stitched and each has a different name.
•Hazaar Batti: Characteristic of Lucknow, it is the thousand dots design.
•Tikki: These manifest as flattened sequins
•Challa: Translates and manifests into ‘rings’.

The Tikki and Challa are extensively used and their primary purpose is to enhance the overall design. The width of the wire determines the size of the dots; finer the dots the more expensive they are. The widths of the wires are referred to in decimals i.e. 0.4 being the largest, 0.2 which is slightly smaller and finally 0.1 being the smallest.

Kamdani: In Kamdani, to make the process of threading a needle easier, the wire is attached to a small length of thread. These wires can be worked into any number of patterns and motifs, thereby becoming popular as ‘fancy kaam’. The whole process is more indicative of applique, than embroidery. Thus, it may be called metal applique.

Among numerous rich and fine artworks of Mithila, the Needle-craft (embroidery) also known as 'Kasida' holds a prominent position. It is widely practised by women in the houses of Mithilanchal. Needlework is an age-old art whose wide prevalence in Mithila has been attested by Vidyapati in his famous book, ' Kirtilata'. Unlike the Aripana, the Kasida embroidery is popular among various sects and communities, and not just a particular religion. Sadly, the recent works on different Indian embroideries leave the Mithila Kasida embroidery unmentioned.

The art of embroidery has been defined as 'the painting with a needle' and has a distinguished place in the hedonistic civilization of our country. Embroidery, like painting in Mithila, has been liberally a prerogative of women and thus believed to be a feminine craft. Like Aripana, it is created afresh every time, meanwhile, some patterns have to be fixed and can be repeated, for the reason of maintaining the standards of perfection.

The Kasida of Bihar and Mithilanchal closely resemble 'Kasuti' embroidery of Mysore in appearance, having a large variety of geometrical patterns which is quite abundant in folk figures and designs. It is mainly practised by the women of North- Bihar(Mithila) in order to embroider their regular as well as occasional garments for which the household linen is generally embellished. It is however not commercialized and still confined to the personal household use such as; blouses, caps for babies, Gerua or Takia(pillow-covers), bed-covers and Gautakia(bolsters). According to an old custom, prevalent in Mithila- the bride carries different varieties of embroidered clothes called Bhara(along with her other artworks) to her husband's house at the time of her 'Dwiragaman'. This pursuit of art is usually done in leisure, satisfying the womenfolk's inner urge for artistic expression.

In Kasida, there are many varieties that can be categorised on the basis of various stitching patterns, leading to the formation of different styles such as Gachua, Bharita(Bharata) and Taganua.

Gachua has many sub-varieties such as Jhigali, Jhikhu and Techu. This is a chain-stitch design(pattern), where the needle is pulled through the cloth. The blouse worn by village women is generally worked with chain-stitch.

The Bharita or Bharata work is the second variety, which is embroidered on the entire surface. the methodology of this work is complicated and tiresome. The work takes time; thus, the art is acquired with great difficulty. This is similar to Bagh and Phulkari embroidery of Punjab (Bagh form of embroidery where the floral motifs cover the whole surface of bright coloured clothes).

The third variety is known as Taganua, which literally means counting threads. In this form, the village women first sketch designs on clothes with the help of a pencil and then fill them up by counting the stitches.

A study of different variations of Kasida reveals the real character of the embroidery work done in Mithila and elsewhere in Bihar. It is secular in form and decorative in nature, having a geometrical pattern of various shapes and sizes, which probably points towards its early existence during the evolution of embroidery. The Tulsi plant, Jhava plant, Banana plant, Groves, Lotus(Kamala) flower and Sarso flower are some of the prominent floral designs along with many faunal motives like elephant, peacock, fish and humans. Sometimes we come across the designs depicting the combined figure of the man and the beast, i.e., hybrid form(probably representing the Nar-Simha; the incarnation of Lord-Vishnu)and figure of dancing girls, Doli and Kahara and many more. Figures of other Gods and Goddesses and Aripana designs are seen as motifs for Kasida embroidery. Several Maithili folk songs abound in reference to the embroidery art of Mithila. In some of them, women express their desire to wear embroidered clothes as their wedding outfits, along with 'Chunari', which their respective husbands to be would bring for them.

‘Kashida’ is derived from Persian for free-flowing cursive writing. Kashidakari or Kashmiri embroidery is used for phirans (woollen kurtas) and namdahs (woollen rugs) as well as stoles.

In the words of famous Art enthusiast and Indian social reformer Kamaladevi Chattopadhyay - “It is essentially a child of landscape and bountiful nature and is, therefore, as varied in its richness, as superb in its beauty”. The floral motifs with their inexhaustible display of colours, variegated birds, luscious fruits, majestic mountains, shimmering lakes – all find a place in Kashmir embroidery”

An interesting and peculiar fact about Kashmiri craftsmen is that – almost all craftsmen embroider using their right hand. There are very few or no left-handed craftsmen. The craftsmen use a thimble called Nyatth, on the fourth finger of the right hand. This is used to push the needle into thick cloth. When the thimble is not used, the finger is dipped in mustard oil to enable the smooth movement of the stem.

‘Zangvaitth’ is the posture in which the embroiderers sit while working. They sit with their knees up, with their back against a wall. A thick hard cushion or a wooden plank at an angle, act as backrests. Men are said to be mostly working on Kashmiri embroidery while women prepare the yarn.

Sozni work on Pashmina – by men
Less fine sozni – by women
Rezkar, Petit-point – by both men and women
Papier mache embroidery – by men mainly
Watchikan – by women

The Kashmiri embroidery is known to draw inspiration from the gentle colours of its landscape. The elaborate designs from the days of the Kani Shawls, that flourished under Mughal empire, are still seen. A single sided embroidery pattern is called Aksi, meaning reflection in a mirror. The thread is split into half by a fine needle. Then only that portion of weft thread is picked up which is visible on one side. When the same technique is done on both sides, it is called Dorukha. This style was introduced during the Dogra rule.

Types of embroidery

• Sozni or Sozankar – Fine and delicate embroidery, mostly done on Pashmina shawls.
• Chikandozi – Medium fine needlework
• Rezkar – Embroidery in multi-coloured threads and broad stitches
• Watchikan – Raised flower and floral designs in golden thread on Raffal shawls
• Aari or Zalakdozi – Introduced by Persians, chain stitch embroidery is done with a hook called ‘Aari’. Crewel embroidery done with thin wool thread on fabric.
• Jamewar Patterns – the pattern, which covers the entire shawl.
• Jalidar designs – Arabesques or net-like designs.
• Khatraash – Lines, either diagonal or vertical
• Dordar Khurd – Broad border of embroidery on 2 ends of the shawl, with a minimum width of 3 inches.
• Bootidar – shawls with small motifs or bootees
• Chaarbadam – four paisley forms

Sozni: Sozni, like many other arts of Kashmir was brought in to Kashmir by the revered saint and scholar Mir Syed Ali Hamdani, popularly known in Kashmir as Shah Hamdan. Among the 700 Persian craftsmen that came with him to Kashmir, were a number of Sozinkaars (needle workers). When Shah Hamdan came to Ladakh and discovered Pashmina, he introduced shawl making in Kashmir and taught the locals how to embellish the craft using Sozni Work. Thus began the precious art of 'Sozni Kaem', also known as 'Setchzini Kaem', in local lingo.

Sozni is done by hand, with a small needle that at the hands of the artisan works magic on a Shawl or Sari. Sozni is also done on other apparel in the fabrics of cotton, silk and wool. Though the embroidery is extremely fine on the Pashmina Shawls as compared to the silk, cotton or woollen fabric, the charm it inspires is nonetheless the same.

Motifs: Sozni kaam is popular in many traditional motifs like badum (almond) that is commonly known as paisley, iris, tulip, lotus and saffron flower. Bird motifs as in parrot, canary, woodpecker, butterfly and kingfisher are embroidered in beautiful colours. Cherries and grapes, the nature inspired daffodils and marigolds, the beautiful green grass all find a place in the Sozni craft. And last but not the least, the Chinar leaf in abstract colour art is among the most sort after motif after the classic paisleys.

After a piece is chosen for Sozni embroidery, it undergoes a number of processes to come up as a masterpiece. A particular design is chosen, as per the requirements and taken to a Naqash (block printer). The Naqash block prints the design which is then forwarded to the Sozinkaar to start the work on.

Depending upon the nature of embroidery and type of work, Sozni embroidery are of the following types

1. Jamawar: An intricately worked on Pashmina; the embroidery spreads across the entirety of the material with almost nothing of the base showing.
2. Jaaldar: This is a loosely embroidered sozni pattern which again spreads out on the entire material just in a much looser and spread-out manner than the Jamawar.
3. Bootidar: This beautiful type of Sozni Pashmina has small floral, paisley or bird motifs spread across the length and breadth of the material and may or may not have embroidered corner motifs.
4. Palldar: In Palldar Sozni, the embroidery is on the two border lengths only.
5. Dorredar: This type is the one that has embroidery on all sides of the border.

Aari: Even though its origin is unknown, it can be traced back to as early as the medieval period. This kind of embroidery is locally known as Zalakdozi. It is a very old technique but also very popular. The crewel embroidery makes use of a pointed crochet or an ‘aari’ as the needle. This form of embroidery can be done on cotton, wool, silk, velvet as well as other fabrics. This embroidery can be commonly seen on curtains, drapes and other upholstery, bedding, dress materials etc. Woollen or art silk thread is used for this particular embroidery. Mostly, the chain stitch is used for the crewel embroidery.

Popular designs for this embroidery include flowers, blossoms, leaves, creepers etc. It has two types:

1-ply embroidery: It makes use of 1-ply woollen thread. It is cheaper but less durable.

2-ply embroidery: It makes use of 2-ply woollen thread. This is more expensive than 1-ply but is more durable.
The 2-ply woollen thread is more commonly used.

First, the design is drawn on a perforated sheet by an expert tracer. Then, this sheet is laid on the fabric and either chalk or charcoal powder is applied to it to trace the design. After that, in order to make the tracing more visible, some oil is added to it. After the design gets traced onto the fabric, the outlines of the design are drawn with the use of a wooden pen.

The skilled embroiderer, also known as zalakdoz in Kashmir then proceeds to embroider the fabric. The time taken to finish the product depends upon the fabric and the size of embroidery to be done. It usually takes a few days. This is how the crewel or Aari Kashmiri embroidery is done.

Tilla: Embroidery with gold / silver threads. Traditionally used for adorning pherans, it can now be commonly seen on shawls and sarees. This classic type of embroidery is a true epitome of grace and class. Initially, real gold and silver were used for the embroidery. Only the rich could afford this luxury back in the day; making it super popular among the royals. However, now, just gold and silver-coloured threads are used.

Amli: It is the latest from among the embroideries of Kashmir. Seen mainly on Kani and Jamevar shawls, this embroidery has made a special place in the market with its vibrant look. The artist works on the irreversible patterns on the front side of the cloth. The designs of Amli embroidery include far more variety than the other types. It expands its expertise to include motif designs depicting scenes, animals, human figures, flowers, etc. This embroidery is relatively new, mostly seen on the kani and jamevar shawls. First, the design is drawn on a paper. Before the design is transferred, the shawl is first nicely smoothened out. Then it is transferred onto the shawl with the help of charcoal or other coloured powder. The design is then embroidered using multicoloured threads.

Papier-mache: Essentially the bolder variant of the Sozni embroidery using multicolour satin threads beautifully embroidered to form intrinsic designs and motifs are the speciality of this form of embroidery. To give the design a protruding embossed look, the artists outline the designs in dark, contrasting or black colour that mimics the original papier mache handicrafts’ motifs.

Kalamkari. Another practised style where the artisans tend to follow a strict 20 step methodology to reach the desired outcome. They use bamboo pens and natural dyes to paint over the shawls, before embroidering.

Types of Motifs

The craftsmen have modified the traditional motifs of Islamic and Persian influence to something with a distinct Kashmiri characteristic. The most popular of those are the Gulab pattern and the Badam or almond pattern. It is also known as Shawl-tarah. Another commonly seen motif is that of the Sarav or Cypress. This is similar to the Badam shape but is long and tapering. Stylised versions of the Sarav are also created which has floral, intertwining and curvilinear additions. The craftsmen also use motifs of the Chinar leaf. This is the five-pointed leaf of the Chinar tree which has come to be the symbol of growth in Kashmir. Calligraphic forms are also used in the embroideries. Some of the other motifs which are commonly used are :

• Pamposh or lotus
• Sosan or Iris
• Dachh or vine
• Sumbal / Yambarzal or hyacinth and narcissus
• Dainposh or pomegranate

Abstracted forms of birds and animals are also seen in the recent designs. Lions, rabbits, wild cats, deer, horses, bulbuls, partridges, herons, ducks etc are most represented. Human figures appear in the patterns whenever requested by the clients and when there is an increasing demand. Especially in themes like the Shikargah (hunting ground) or the Jangal-tarah (jungle scenes) that originated and flourished under Sikh rulers. The Pherans traditionally have embroidery around the neck, front opening, hem and at the end of the sleeves. To understand Kashmiri embroidery, one needs to understand the history of the valley. With changes in invasion and patronage, the styles changed to keep up with the demand. The Afghans modified the traditional shawl and introduced the square or moon shawls, with distinct colours and patterns that differed vastly from the Mughal era.

Types of stitches

The stitches used were simple, the chief being satin stitch, stem stitch and chain stitch. Occasionally, the darning and herringbone are used. Kashida is general term for Kashmir embroidery, which includes other stitches as Vatachik (Buttonhole stitch), Talibar (work of gold). One outstanding feature of the embroidery is the fact that it is made with a single thread giving a flat, formalized appearance to the design. The satin stitch has been adopted to cover larger surface without pulling the cloth. It has become the variation of long and short stitch. Chain stitch is used only in inferior places and never on expensive piece of work. A completed Kashidakari looks exactly the same on both the sides of the cloth, and can be worn from either side. The colours used are safed (white), zingari (green), uda (purple), ferozi (blue) and gulnar (crimson).

The origin of Kutch embroidery can be traced back to the sixteenth century when people were still migrating from all over the world to India. These places included places like Greece, Afghanistan, and Iran. The centre of the immigration was Gujarat where all these people from different cultures met. Kutch embroidery was practised from the sixteenth and seventeenth century in Patan, a little town in the state of Gujarat. (Gujarat lies on the west coast of India) It is believed that this art was taught to the Mochis by a Muslim who came from Sindh. The embroideries of Sindh, Kutch and Kathiawar are very similar and almost identical. The embroidery is very pictorial and original, the mirrorwork and interlacing stitch set it apart from any other kind of embroidery.

More than 40 styles of embroideries colour the region, representing Kutch’s diverse cultures, communities, and landscapes. The stitches used in the embroidery of Sindh, Kutch and Kathiawar are chain stitch, herringbone, interlacing stitch, darning stitch and buttonhole stitch. Chain stitch is usually done in white or any other colour, interlacing stitch is done with indigo, blue, crimson, red, green, yellow. Mirror work is done with red, green, blue yellow predominantly, but other colours could also be used. Herringbone is typically done in indigo, blue, crimson, yellow, but not limited to those, other colours could also be used.

Ahir, nomads by origin, is one of the many communities practicing characteristic Hand Embroidery Work in Kutch. Other Communities being Rabari, Sodha, Mochi, Meghwar, Garasia Jat, Marwada Harijan, Rajput etc; each having their signature sews and style of Embroidery that distinguish the stitches from the rest.

Pakko embroidery is practised by the Sodha and Jadeja communities. Pakko embroidery gets its name from an essential characteristic that defines it. Minute chain stitch adorns the outlines and is used for filling, tiny interlacing stitch is used to fill the motifs and tiny mirrors are placed in the centre of the motifs, with buttonhole stitches holding them there. Pakko – is what the amalgamation of stitches is called. Pakko, literally meaning sturdy, dense, solid, is a tight square chain and double buttonhole stitch embroidery, often with black slanted satin stitch outlining. The motifs of Pakko, sketched with needles, are primarily floral and generally arranged in symmetrical patterns. Pakko has curvilinear, geometric, floral, bird, animal and figurative motifs.

The solid compactness is achieved mainly through an abundant use of the tight, open and elongated chain stitch known as the cheereli saankdi. This stitch is used, along with a few other stitches, to create floral, animal and bird motifs. Craftswomen use mirrors or ‘abla’ or ‘abhla’ or ‘abhala’ and the khann — a single unit of the chain stitch — to lighten the density of Pakko embroidery. The use of these decorative embellishments was inherited from Iran during the Mughal reign. However, surprisingly, the Mughal rulers did not wear clothes embellished with mirrors. The khann also works as an effective highlighter. Mirror or Shisha embroidery as we find it today actually originated in the 17th century and was originally done by using Mica. It which was later replaced by glass.

Neran embroidery gets its name from the Kutchhi word for the ‘eye’ — neran.

A tiny, eye-shaped unit serves as the building block. Each unit is outlined in a dark colour, filled in with a bright colour and highlighted in white. Small-sized mirrors are used in creative ways to enhance the appeal of this embroidery.

Traditionally, Neran embroidery used to be a small component of Pakko embroidery. In recent times, craftswomen have recognized the enormous potential of Neran. They now acknowledge it as an individual embroidery style that has a distinct identity and its own language of stitches, colours, motifs and designs. Neran embroidery is practised by the Sodha and Jadeja communities.

Ahir embroidery is practised by the Ahir and Meghwaad Gurjar communities.

Ahir craftswomen use the word thassa to define their embroidery. The word suggests a confidence, a boldness that celebrates abundance and opulence. Indeed, Ahir motifs are large and colourful, the embroidery lush, dense and chock-a-block with mirrors. The combination of these elements creates a vibrant embroidered universe full of flowers, birds and animals – a reflection of the predominantly agricultural lifestyle of these two communities.

Ahir embroidery is open to innovation. Non-traditional elements such as abstract motifs, muted colours and minimalist designs have also been seamlessly integrated. But always the core Ahir values are respected, as evident in the use of specific stitches for specific functions: the small, round saankdi or chain stitch to outline the motifs; the vaano, the herringbone stitch, to fill in; and the daano, a single chain, or the bakhiyo, the backstitch, to highlight and provide the final flourish. The Raau Node community practises six different embroidery styles.

The small, isolated Raau Node community is spread over just a handful of villages in the remote areas of Banni and Pachcham that fringe the salt desert. Despite the isolation, or perhaps because of it, Node craftswomen have created a distinctive style characterized by big, bold, colourful designs, large mirrors and floral-inspired, predominantly circular motifs. All the elements are densely embroidered and create an embossed effect that is easy to identify as Node.
The Banni or Heer Bharat embroidery, a traditional craft of the Kutch region in Gujarat, has a rich history dating back centuries. It is believed that the nomadic pastoral communities of the Banni grasslands, such as the Jats, Harijans, and Rabaris, developed this art form. These communities brought with them diverse cultural influences from their migratory routes, which are reflected in the eclectic designs of Banni embroidery. A variation of Kutch work, this geometric embroidery starts with a foundation framework of Herringbone stitch or Cretan stitch, and then this framework is completely filled with interlacing. It is said that this technique originated in faraway Armenia and found its way to Gujarat by travelling nomads. The Maltese cross design used in these works have a strong resemblance to designs found elsewhere in the Gulf, but the innovation of the Kutchhi women has taken it beyond the traditional designs. Practiced mainly by the Lohana community, this embroidery is done with silk floss (Heer means "silk floss") and it is famous for its vibrancy and richness in colour pallets & design patterns, which include shisha (mirror) work. Similar to Kamal Kadai of Andhra Pradesh, this also involves weaving of threads, without punching the fabric. A base of squares / diamonds is first stitched and then another layer of interlacing or weaving is done on this base. Heer bharat embroidery incorporates elements from various cultures into its design making it truly unique as an artistic medium. These include Persian motifs, Arabic calligraphy styles, Hindu deities & symbols, and even Western pop culture icons.

The Rabari community has several subgroups, each with its own style of embroidery.

Irrespective of subgroup, Rabari men and women lead a nomadic life in search of pasture with their sheep and their camels. Often it is the women who lead camel caravans through scrubland full of thorny shrubs.

Rabari embroidery styles are bold and vigorous. They use the elongated chain as the main stitch to create large, stylized motifs of birds and animals. Thus, vibrantly coloured, abstract renditions of camels, peacocks, scorpions and even elephants are found in Rabari embroidery. The natural world also finds expression in the form of thorn-like highlights that are ever-present around the motifs. Rabari community uses a stitch called ‘bakhiyo’ that almost looks like a drawing. It progresses in a uniform single thickness, much like a freehand line drawing with dots and dashes. The abundant use of mirrors of different shapes is yet another distinctive feature of Rabari embroidery.

While the embroidery stitches of different groups of Rabaris are more or less similar, the Dhebaria Rabaris have a unique style of applique coupled with embroidery freehand designs that have bold and colourful motifs. These are done by each artisan as per her imagination without any graph or stencil print design to follow, making each piece unique. Their motifs are inspired by their culture and what they find around them – such as Kavadiyo (a man who carries heavy weight balanced on two sides of his shoulders with a bamboo) – referred in traditional applique, embroideries to a legendary person called Shravan, who is said to have carried his parents on a kavad for pilgrimage, butta suda (a pair of parrots), vichchhu (scorpion), kukda (hens), morlo (peacocks), hathido (elephant), chakli (sparrow), kubo (shrine), ambo (mango), fuldo (flower) etc.

The Meghwaad Maaru community is best known for its two counted thread embroidery styles called Soof and Khaarak. In counted thread embroidery, there is no outline or drawing done on the fabric to guide the craftswomen. Instead, the design is conceptualized by counting the threads of the fabric and mentally working out the composition. Sodha and Rajput communities also practise this style. Soof embroidery uses a single stitch to create complex geometric designs. It is one of the most challenging styles to render. The recent innovation of using circular mirrors adds yet another dimension of complexity. Soof embroidery is worked on the reverse side of the fabric. When turned over, the front displays embroidery that is so fine that many mistake it for machine embroidery and have a hard time believing that such precision and perfection is the work of the hand. Using the Satin stitch, geometric patterns are embroidered onto the reverse side of the fabric. The complexity of the embroidery increases with diagonal patterns. Commonly, designs are done on the horizontal and vertical grid. This was generally used to embellish a bride’s collection of apparels and included as part of her family’s gifts to the bridegroom’s family. Suf embroidery was additionally known to be done in parts of Sindh, in present day Pakistan. In 1972, as an immediate consequence of the India-Pakistan War (1971), numerous Hindu groups, including embroiderers, moved from Sindh in Pakistan to the neighbouring Kutch region, thereby introducing novel components within the tradition of Suf embroidery in Kutch.

Khaarak embroidery style gets its name from khaarek, the Kutchhi word for the date fruit. It features simple as well as complex geometric forms. Craftswomen begin by plotting the squares and rectangles that constitute the grid of the geometric forms. A dark colour is used to outline the grid. Spaces within the grid are filled in using the satin stitch in different colours. Mirrors provide the final flourish.

The Mochi community practises Aari embroidery. Renowned for its subtle, painting-like effect, this style dates back to Mughal times and beyond, when male artisans were commissioned by royalty to create this embroidery exclusively for them. Aari continued to enjoy popularity during the British Raj, when the European elite took the place of maharajas and princes as its patrons. Today Aari embroidery is practiced in many parts of India, including Kutch. It is done with a hooked needle called the awl, on lightweight fabrics that are stretched over a wooden frame. The painting-like effect is achieved through the exclusive use of a very fine chain stitch, moving gently from darker to lighter shades or from lighter to darker of the same colour. The Mughal influence still lingers in the floral motifs and the occasional use of gold and silver threads.

Four distinct styles of embroidery — Jat-Garaasiya, Jat-Fakiraani, Jat-Haajiyaani and Jat-Daaneta — are practised by craftswomen of the Jat community. The styles take their name from the community subgroup to which the craftswomen belong. Jat-Garaasiya embroidery is geometric and resembles the mosaics found in Islamic tile work. It uses only the cross stitch and is densely rendered on thick, coarse cotton fabric. It is a counted thread embroidery style — there is no outline or drawing done on the fabric to guide the craftswomen. Instead, the design is conceptualized by counting the threads of the fabric and mentally working out the composition. This style has a fixed number of geometric designs that are grid-based. Bold colours are used in a very specific manner in these designs. Small-sized mirrors are an integral part of this embroidery. The embroideries of the Jat Fakiraani, Jat Haajiyaani and Jat Daaneta communities are also grid-based. They feature geometric and abstract motifs that have two unmistakable features. There is a mirror at the centre of the motifs, and there are radiating lines within the motifs and all over the composition as well.

The stitches are rendered dense and tight on thick, coarse cotton fabric. This manner of rendering the stitches gives these embroideries a solid and sturdy appearance. Mirrors lighten the denseness

The Haalepotra and Meghwaad Maarwaada communities practise eight styles of embroidery. They are best known for their Khudi-Tebha and Kambiro embroideries. The origin of these two styles can be traced to the traditional practice of recycling old garments, wherein the simple running stitch was used to join pieces of fabric that still had some life left in them. So neatly and uniformly did the women embroider the functional running stitch, that over years and generations, it emerged as a decorative element with the potential to create elaborate motifs and designs. Over time, another design detail, created by using the satin stitch in silken floss, also became an integral part of these styles.

Craftswomen embroider these styles on household items; however, it is in their quilts that they showcase the most innovative expressions of the transformed running stitch. Haalepotra craftswomen have gone a step further with their innovations. Their signature quilts combine distinctive patchwork with Kambiro and Khudi-Theba embroideries. Meghwaad Maarwaada and Haalepotra craftswomen also embroider a variety of Pakko and Kachcho styles on their personal clothing.

The Pakko styles, such as Pakko Mukko, use a pakko stitch as the primary stitch to create the entire style or to create its main distinctive features. The Kachcho styles use a kachcho stitch as the primary stitch to create the entire style or to create its main distinctive features. Craftswomen use the term pakko, meaning strong, durable, to denote stitches that lock. The opposite of pakko is kachcho, meaning fragile. Kachcho stitches do not follow the locking principle

The Mutva community that lives in the remote area of Banni, at the edge of the salt desert, practises eighteen different styles of embroidery. Craftswomen refer to these individual styles as bharat. Each bharat uses only one primary stitch to create either the entire bharat or to create its main distinctive features.

For Mutva craftswomen a stitch is either a pakko stitch or a kachcho stitch. They use the term pakko, meaning strong, durable, to denote stitches that lock. The opposite of pakko is kachcho, meaning fragile. Kachcho stitches do not follow the locking principle. Nine styles use a pakko stitch as the primary stitch. These styles are referred to as Pakko bharat. The remaining nine styles use a kachcho stitch as the primary stitch and are known as Kachcho bharat.

Mutva embroidery is lush, ornamental and full of arresting details. It is known for its very tiny stitches and equally tiny mirrors. The craftswomen’s skill in working in the realm of the miniature makes the embroidery look as if it is studded with diamonds. It is a celebration of abundance. There are thirty-four stitches, many of which have variations. There are three sizes of mirrors and nine different ways of ornamenting them. Each style is distinct and is created by using a specific stitch or stitches in a particular manner.

The Jats of Banni make use of mirrors of varying sizes and shapes to embellish their fabric. The Garari Jat community on the other hand, make use of tiny mirrors embroidered on to the yoke of the dress with multicoloured threads. The Kathi embroidery of Gujarat makes use of mirrors for by stitching mirrors on to the portion of the eyes in print of animal faces or the centre of a flower. Hence, each state and each community has evolved their own specific style of mirror work. Kutchi textiles have been influenced by their journey through trade routes across Western Asia; namely Sindh, Baluchistan, Persia and Palestine. All these regions use coins, beads, cowrie shells, mirrors and other small trinkets as forms of embellishment on their garments. This variety of materials appliquéd onto fabric gave its wearer status and were a part of the rites of passage within the community.

A weaving technique using three shuttles is practised by weavers to create solid body and borders. Generally, one shuttle is used in weaving and this is thrown across the fabric width to create lengths of fabric. Two extra shuttles are used to create three distinct parts in one width of the fabric. Today, this technique is used mostly by weavers in Srikakulam in Andhra Pradesh and Mehboobnagar district of Telengana

Goa under the Portuguese rule used to be a hub for handloom weaving and many weavers had flourishing workshops that produced Kunbi sarees and kashtis. When Goa became a part of India power looms came into being and later handlooms were sold for fire wood and weavers had to choose other occupations due to decline in the market demand.

Catering to various stages in life and occasions, they made Kunbi saris in their trademark checkered patterns in Yellow (Kesara), Red (Tamodh), Green (Hirva), darker shades of Maroon, Purple and Black signifying Youth, Marriage, Old age and Death. Men wore a red and white loin cloth called Kastti around their waist and climbed tall coconut trees and women these saris typically draped and held with a knot in front of their shoulder, with or without a blouse. They were also made to signify different sects within the community. While their colour pallet was small and standard, the lengths and their widths were made as per the person. The popular Maharashtrian Nauvari being a nine-yard sari, usually optimum for most of the population, one could also see Dahvaaris and Chavaaris. Variants in smaller widths for shorter people were also made. Traditionally, the Kunbi is a cotton chequered sari in red and white with a sturdy weave good enough to be worn for farming. A dobby border, which is essentially a silken flat inset in the original Kunbi can be found. It is worn short above ankles with a knot on the shoulder. These were similar to the Gauda Adivasi saris of Goa.

One of the most endangered and ancient knowledge in the world textile skills is the making of the colour Red from the ‘Aal tree’. There are only 30 families in village Kotpad, District Koraput, who hold the knowledge of this ancient technique and they are situated in the extreme interiors of a tribal region in Central India, completely unscathed by urban influence. Locally known as ‘Pata’, Kotpad was traditionally created by the Mirgan tribe for the Koraput Raja and subsequently for different tribes in the area – like the Muria, Gonda and the Bhatra among others, highlighting their respective motifs, making the fabric a visual code for that community.

The Dye: In the Indian forests, several variant species of “Morinda Citrifolia” are found such as “Achu Pindre” and Togran Maddi”, the root, bark and also the woody portions of which yield a “Red Dye” of different intensity.

These trees are identified by the keen eye of a certain Indian tribe. The trees are usually found at high altitudes in the mountains, and have to be 15 - 20 years old before the roots are ready to be harvested. The roots are cut, keeping 3 to 4 feet distance from the tree, so that the growth of the tree does not get affected. The roots are dried and they crack open on their own, making it easy for the harvester to separate the valuable core of the root, which is known as ‘Aal’ from the hard exterior coat. The Aal is extracted in a flake form and sold to a dyeing and weaving tribe, which pounds the ‘Aal’ flakes in to fine powder and the dye stuff is then ready for dyeing and further processing.

Preparation of Dye bath and Dyeing

Pounded Aal powder is mixed in boiling water in an earthen pot and kept on a fire wood stove. After it reaches its boiling point, the yarn is dipped in, squeezed and mixed thoroughly a number of times. It is then removed from the stove and left standing over night in the same pot. Next day the excess dye is squeezed out of the yarn and hung dry under a shed. The yarn is dusted and the colour is checked to see if it needs to be darkened, in which case the process is repeated by adding more dye in the existing dye bath. When desired dye shade is achieved, the yarn is kept exposed to air under a shed for 2-3 days and then washed thoroughly in clean water. In order to obtain a burgundy or a brown, iron mordant is added to the dye bath. Note: Clay pots are used in hot dying processes so as to avoid burning and damaging the yarn.

The Yarn

In India, spinning of yarn is traditionally done by hand, and this yarn is locally called “Khadi”. In and around the “Kotpad” region, one can find women artisans spinning wild cotton and silk into yarn. Cotton yarn, which is locally available, is not only handspun but also unprocessed. This yarn is known as uncooked “Katcha Suta” yarn. It is not heavily twisted naturally and so is very absorbing and after mordanting with some natural ingredients, it takes up ‘Aal’ Red colour evenly and brilliantly. This yarn is used as warp and weft while weaving fully coloured textiles. Handspun “Wild Silk”, locally called “KOSA”, is used as a weft which comes from non-cultivated silk cocoons collected from the surrounding forest region. Uneven texture and
shades combined with uncooked cotton wrap yarn creates a distinct hard feel. However, this silk yarn does not take up ‘Aal’ dye intensively even after mordanting, and is always used without dyeing, in its natural colour.

Mordant and Sun Bleaching

Hand spun cotton yarn is soaked in a pasty mixture of castor oil, cow dung, and alkali (made of wood ash, water and slaked lime), oil is expensive and a small quantity of oil cannot be applied evenly on the fine yarn, and therefore it is mixed with the cow dung which is abundantly available in the village. The alkali helps in the bleaching process. After keeping the yarn overnight in a big clay / cement pot, the yarn is squeezed and hung dry in open air on a rope tied across the court yard of the weaver’s house. Twice a day the yarn is removed and water is sprinkled on it. The women of the house then knead the yarn using their feet. This is a routine activity for them, as mundane as any other day to day household chore. One often finds woman singing songs or brushing their hair while kneading the yarn. After repeating this process of cow dung nearly 7 times, the yarn is ready for dyeing in ‘Aal’ dye.

Loom

These weavers have traditional basic pit looms of standard width (44”) on which maximum 40” wide and 10 meters long fabric can be woven. It is a two treadle, leg operated loom made of country wood, available in the local forest. Due to the small size of the weavers’ huts, each can house only a maximum of two such looms.

Weaving on the treadle loom, as it is usually known, only a plain weave can be woven. Exceptionally though, these weavers possess such skill that they have incorporated into their weaving “extra weft motifs and interlock/ cut shuttle techniques to create charming contrasting borders with the “temple” design on either side along the “selvedge” of saris, dupattas, stoles and shawls. Authentically, they only have two colours: Deep Red/Maroon and Brown/Coca Cola colour, which are juxtaposed with Ecru “KORA” shade of cotton, making their textiles vividly unique from product to product.

Design and end products

The weavers derive their inspiration straight from their immediate surroundings, and their weaves depict certain socio-religious concerns, folk culture, and also peasant motives such as fish, crabs, scorpions, birds, animals, trees, pots, umbrellas, huts, daggers, etc. Their saris were initially as short as 4.5 metres but since the last two decades they are making what the markets demand, thick shawls known as “Odhani” are 2.5 meters long and they also weave plain fabric/yardage. These are their traditional textiles which they have been making for centuries.

They have an unusual if not unique tradition wherein a range of textiles are created to celebrate a specific life event or festival. The celebrations relate to either life events such as marriage and birth, or to seasonal events that impact their interactions with the earth. Below are certain weaves that are woven for specific traditions.

The Dus Gajee Bridal Sari

Dus Gajee translates to ten hands. Yards or ‘hands’ is the metric used to measure the dimensions of fabric. The custom associated with this textile, generates fun and good cheer between the families of the bride and the groom. (Marriages in India – create deep connections not just between two individuals but between two families and clans). The custom is that the groom’s family gifts a Dus Gajee sari to the bride with the assurance that it is indeed ten yards’ long. This assurance becomes the crux of traditional custom. The bride’s family now, measures it for accuracy. If the sari is longer or shorter – demands of compensatory fines ensue. And the groom’s family must pay the fine. Negotiations for the fine are conducted in good cheer and in the worst case the groom’s family pays for an additional feast!

The Baccha-ka Tuval

The imminent birth of a baby invokes another textile ritual – that of weaving a solaah haath (16 hands) sari. This textile has a pallu on one side, small motifs across the body at intervals of 4 hands but unusually, no border. This extremely long weaving, at the time of birth, is split into two weavings – one that is twelve hands long for the mother and one that is 4 yards long for the baby. The baby’s textile is first used at the naming ceremony, in which the four corners are held by four people to create a hammock-like swing in which the baby is placed. Amidst singing and swinging, the baby is given its name.

The Aath Haath Naach Sari and the Hunting Shawl

The full moon of the Paush lunar month – sometime in January – marks the start of the Hunting season and is associated with the weaving of unique dance saris and hunting shawls. On the full moon night the festivities begin, expressed in the form of food, music and dance. For the dance, women wear a ‘pant-ki-dhoti’ – an Aath Haath (8 hands long) sari in which the draping of the lower half resembles the draping of man’s ‘dhoti’ and reaches the knees. This sari has the unique format of a pallu on both ends – so that when it is draped as pants, the panel that forms the pleats between the legs is decorated. The next morning, the hunting troop sets out for the jungle. Women accompany the men up to the edge of the jungle. Before they set out, the men are presented with symbol of good omen – the coconut, and of course, a textile – the Hunting Shawl. This shawl is embellished with motifs of fish, peacocks, crabs and other creatures.

Kota Doria is a unique and an almost transparent weave whose production process by Rajasthani villages tells its distinct textile story. Soft to the touch, yet with a serried feel at the edges, it is woven on a traditional pit loom in such a fashion that it produces square checks patterning on the fabric. The delicately wrought checks are known locally as ‘Khats’ that gives Kota Doria a transparent look and ethereal feel. The Masuria Malmal or Kota Doria is recognized by its graph like geometric pattern called “Khats”. Woven in pure cotton and silk in different densities, the sari is much loved and treasured for its lightness that retains a very versatile grandeur.

Its origin as a craft is shrouded in mystery and there are several myths all handed down from generation to generation. One theory is that the word “Masuria”, part of the local lexicon of the Kota sari attributes its name to its origin – the erstwhile Kingdom state of Mysore, while others believe that it is a tribute to the use of silk from Mysore. The Saris of India by Rta Kapur Chishti and Amba Sanyal refers to the finesse of the weave resembling “Masoor” lentils, a more plausible theory that has no reference to the state of Mysore. In earnest, the finest Kota saris that are handmade, of the 300 to 400 khat variety do indeed bear resemblance to the Masoor lentil.

The unique method of peg warping and brush sizing is special to the Kota Doria process. Onion juice and rice paste is brushed with a lot of care into the yarn. It makes the yarn so strong that no additional finishing process is required once the fabric is woven.

Locals in Kota attribute their weaving patronage to Rao Kishore Singh (1684 – 1695), a general in Shah Jahan’s army and also a Prince of Kota who facilitated the settling of weavers from Mysore in Kaithun. Kaitheen, used to be the biggest Kota Doria producing village in Kota district… a village of 15,000 people and 2,500 looms. Weaving is done in pit looms with the shuttle technique which has a great potential for improvisation. The designs are transferred on to the fabric using dobby, jacquard or the jaala techniques. While the yarn is procured from Bangalore, the real zari is from Surat. Both vegetable and azo free chemical dyes are used.

Kota Dorias started out as headgear or “pagris” for the royal court (8 to 9 inches) and then moved into dhotis of 36-inch width. Only when the width was raised to 46 inches did the versatility of the fabric as a sari come into vogue.

Korvai is the illusive term that means to loop or interlock. In Tamil, Korvai is a short form of Kothu Vangirathu (interlock).

This is a technique used in handloom weaving (saris and dhotis) and is used widely in different parts of the country in different ways. It is called by different terms like Kuttu, Kondi, Kumbha, Korial etc.

It is still widely used in Orissa, Vidharbha, Chattisgarh and other areas where mechanical devices have still not made a headway - probably because of the labour situation.

This technique is used to interlock the border to the body of the sari especially where they are two separate colours to produce a stark contrast between the two.

In some regions they use the interlocking to create a pattern like the temple, kumbha etc.

So why is this technique so difficult, why did it dilute as a technique? It requires two people to throw the weft shuttle from end to end and nimble fingers to interlock the two yarns. In Tamil Nadu where the Korvai was synonymous with the Kanjivaram, the technique was almost lost . More so because in this region the 2nd person assisting was more often a child, and with the Child Labour Act, one was not allowed to have children working on the loom. And the costs of having two adults on the loom was prohibitive. Tamil Nadu, also being a highly industrialised and literate state, labour is hard to come by as migration to better vocations is very high, unlike some areas of Odisha / Chattisgarh.

This is what killed the Korvai in Tamil Nadu until a device was invented to simplify the same.

Tamil Nadu Weaver Service Centre then devised a machine called The SPS KORVAI after the genius of a weaver Mr SP Subrahmanyam who invented this machine. This is a slider with a mechanical lift device which helps the weft shuttle move from end to end. The weft shuttle of the body is passed between the two borders. Then the weaver interlocks it with the weft of the border on each side as it goes across back and forth. In SPS KORVAI, the lift is fixed to the fly shuttle. First the weft of the body is passed by lifting the fly. Then the box is pressed down and the slider moved. Then the weft of the border is passed. Then again, the fly moves left to right and then the other side again. There is one shuttle for one border on one side and so also for the other. So, when they do this up down motion along with the slider, the weft of the body goes right to left and the weft of the border moves in accordance with the slider interlocking at the joint. Hence the work becomes easier and faster and can be managed by one man alone.

But what the SPS Korvai cannot do is create that signature of irregular temples. If one observes closely there is an imaginary line where the shuttle ends and all the temples will end at that line.

One of the beautiful examples of the Indian tradition of weaving gold with fabrics is Kimkhab. Meaning the fabric of dreams, Kimkhab is a heavy brocade woven with silk and gold threads mostly in the city of Banaras.

The Making: The pattern in Kimkhab looks as though embroidered on top of an already rich silk. The silk fabrics have coloured silk or gold threads interwoven to form the most attractive designs. The gold thread is called Kalabattu. It is a specially prepared thread of silk with a metallic mounting of gilded silver. A thin bar of silver is beaten and drawn through a succession of holes in an iron plate. Each hole is smaller than the preceding one. This process is followed until a very fine wire is obtained. This wire is slightly flattened and twisted spirally around the silk thread.

Kimkhabs were earlier made entirely from fine gold or silver threads. During the 17th, 18th and 19th centuries, some were set with precious stones, and were used in making canopies and trappings as seen in the late Mughal paintings

Even before reduce, reuse and recycle became the environmental watchwords, Birbhum, the district that Santiniketan falls under, had a tradition of recycled textiles. While Birbhum shares with many other areas of both West Bengal and Bangladesh the tradition of the “kantha” or the quilt made by layering old saris, the tradition of “Khesh” is quite unique to Birbhum and adjoining areas.

The Khesh technique is weaving with old saris by tearing them into thin strips. The warp uses new thread and the weft uses these strips of saris. Since the weavers first tear the saris and keep them in a heap next to the loom, the weaving is with whatever strip the weaver happens to pick up from the pile while weaving.

The Khesh weaving process is simple. The warp is with new yarn and the weft is with strips of thin cloth obtained by tearing old saris length wise.

Because of the tradition of Khesh weaving in Birbhum in the last many years, a market for old saris has come up in Amodpur, where old saris can be bought in bulk by weavers. Many weavers also have their suppliers who gather them from villages, wash them and sell them ready for tearing. Many other weavers depend on householders to give them saris which get woven into bedcovers for a fee.

The old saris have to be of cotton in order that they tear easily. Experiments using synthetic saris have also been undertaken, since the propensity to wear synthetic saris is on the rise even in villages. But the problem with synthetic saris is that they cannot be torn by hand and have to be cut by scissors. This increases the time for this process and therefore the cost.
The tearing process which is as labour intensive as weaving, is typically done by female members of the weaver’s household. Some shortcuts have been found to make the process less tedious and time consuming. The sari is first torn into five or six parts lengthwise. One end of each part, say about five inches is then torn into strips. The tearer then picks out alternate strips and holds them together in one hand, and the remaining in the other hand. He then pulls in two opposite directions giving him many strips at one go. Typically, a sari yields about seventy-five to eighty strips.

Once the old saris are torn into thin strips, the weaver hangs these strips beside him for easy access and weaves with whichever he picks up randomly. And therein lies the beauty of the Khesh fabric, the design person or the weaver can only specify the colour of the warp. The colour of the weft is completely a matter of chance. Only when the fabric is woven can one appreciate how the colours in the old saris have blended into the new fabric.

The weaving can of course be done either intensely with the old saris or with gaps in between depending on the effect desired.

Many of the traditional weavers in Birbhum who have learnt the craft from their fathers agree on the fact that the technique of weaving with shreds of old saris, called “Khesh”, was started in Shilpa Sadan in the early 1920s. This was the vocational training centre that Rabindranath Tagore had set up in Sriniketan, adjacent to Santiniketan which was where his academic institute, Visva Bharati was set up.

Since Khesh was traditionally woven with thick or “pakano” thread, weavers completely ruled out any possibility of success of weaving with fine yarn. But perseverance paid off and one weaver, agreed to try a sari. White fine yarn is always on the loom for weaving fine yardage, so it was decided to try a white sari with khesh pallu.

When it got off the loom, however, it was felt the pallu had become too heavy compared to the rest of the sari. The experiment was repeated with spacing out the old sari lines in the pallu instead of intense weaving for the full one metre of the pallu. And a few stripes of Khesh were also added in the body of the sari and the balance was just so.

It was then repeated in many colours and the Khesh sari became a fashion statement. Now many weavers sell the sari to mainstream retail outlets both in Birbhum and outside. The Khesh weaving cluster around Labhpur in Birbhum has truly benefited from this new usage of an old tradition.

Khandua (Maniabandi or Kataki) is a traditional “bandha” or Ikat sari produced in Odisha and worn by women during weddings; there is also a special type of Khandua which is worn by Lord Jagannath of Puri. The clothes contain texts of Gita Govinda on them. Kenduli Khandua, a special form of Khandua of 12 ft and 2 kani (each kani measures the length of a hand) is offered to Lord Jagannath to wear as khandua with stanzas and illustrations from Gita Govinda. Weaver communities of Maniabandha of Cuttack traditionally weave this kind of pata.

The word Khandua in Odia translates to the cloth worn in the lower half of the body. Traditionally Kentuli Khandua is offered to Lord Jagannath as lower cloth. Since the place of origin was Cuttack and Maniabandha, the other two names which originated were Kataki and Maniabandhi

Khandua is traditionally red or orange in colour. The red colour is prepared naturally from the shorea robusta (sal tree).

The design motif has an auspicious elephant that represents Lord Buddha surrounded by trailing vine with peacocks in it, a large many - petalled flower, a unique Odisha animal called Navagunjara, a Deula Kumbha.

The elephant in Khandua ikat from Maniabandha usually varies from elephant motives in Ikat from Sambalpuri sari as well as Ikat from other parts of Orissa.

Khandua has plain borders contrary to borders with motifs in case of the other Ikats of Odisha.

Santhals or Adivasis and their costumes:

In earlier days, Santhals cultivated cotton along with rice and some other grains. They were aware of spinning yarns in Takli. They used to spin yarns and give it to the local weavers to weave loin cloths. For a long time, the women wore the white sari with no coloured borders until they learnt how to colour the yarn. When they learnt about dyeing the yarn they either spun it themselves or bought it from the local market, then dyed it and gave the coloured yarn to the weavers. They used AAL as the main ingredient for dyeing with Harida and Danguapaan. The Aal tree is found in almost all forests of Tamilnadu, Andhra Pradesh, Karnataka, Odisha, Jharkhand and West Bengal. The bark and root of the tree is used as textile dye. In Jharkhand and Odisha, it is mostly used by the tribal Santhals and Mundas.

The clothing of the Santhals came with a distinct checked pattern and wide borders. Based on these patterns, there are some saris and dhotis especially used in marriages. The saris and dhotis vary in sizes, they are described below in detail:

1. Khanda Lugli: This sari is offered to the mother of the bride. Dyed yarn pattern- 2 ½ inch border on both sides of the sari, in warp direction and in pallu 3 wider stripes of 2 ½ inch.
2. Sindur Lugli: These are plain dhotis and saris. They are dyed with turmeric and dried in the sun just one day before use. Worn by the bride and the bride groom during the main ritual of the marriage.
3. Phuta Kacha: For the males, It has the typical Santhali checks on the body. This is offered to the match maker of the marriage and rest of the family members of the bride's family, if any. Other than marriage offerings, it is worn during many festivals and social gatherings like Guru Mahit, Bejha Tunj during Sankrant and Punei parab. In earlier days, the Kachas were available only in white base and dark maroonish checked pattern but nowadays coloured yarns like red, blue and green are used, both in warp and weft.
4. Jhalah: For the females. This also has the Santhali checks on the body with some striped weave on the pallu. This sari is offered to the wife of the match maker and the female members of the bride's side. On special occasions, males and females wear Phuta Kacha and Jhalah respectively.

Let’s take a look at the cloth synonymous with the Mahatma, which has moved on from the Fabric of Freedom to the Fabric of Fashion.

When Mahatma Gandhi brought Khadi into the lives of Indians, little did he realise that his humble handspun yarn and fabric would turn into a fashion statement in the 21st century. To highlight the spirit of non-violence, Gandhiji chose the Charkha and the fabric woven from Khadi yarn as the symbol of patriotism, sustenance, hardwork and self-reliance.

The cloth is usually woven from cotton and may also include silk, or wool, which are all spun into yarn on a spinning wheel called a Charkha. It is a versatile fabric, cool in summer and warm in winter. In order to improve the look, khādī/khaddar is sometimes starched to give it a stiffer feel.

Handspinning on the traditional Desi Charkha unfortunately, has become the most neglected and forgotten strength of Khadi whereas, the faster semi-mechanized Ambara Charkha has been in favour over the last 50 years.

The word Khadi is derived from ‘Khaddar’ which essentially means a fabric developed through weaving of handspun yarns on a handloom. The entire process i.e. separation of cotton from the cotton seed, cleaning, combing, carding, spinning of yarn and weaving of fabric is all carried out by hand.

Khadi was widely produced and used for clothing and home linen all over India until the influx of mill yarns imported by the British at first and later substituted by Indian mills. As a result, handlooms began to use mill yarns as they were smoother, stronger and easier to handle on the loom though that essentially meant compromising on the texture of the handspun fabrics.

Difference between Desi Charkha and Ambar Khadi.

The hand spun yarns of the traditional spinning wheel have a much lower twist than the mechanized Ambar spinning wheel which is a manual counterpart to the mill spinning mechanism. Thus, the fabric developed through weaving of hand spun yarn is more soft, supple and absorbent.

Why Desi Charkha Khadi?

• Uses indigenous rain fed organic cottons
• Makes for an ecologically viable and sustainable activity
• Employs fine hand skills especially of women
• Cotton seeds are extracted by hand thus they can be reused for sowing back into the fields and is also used in animal feed.
• Drawing and twisting by hand renders an uneven texture and low twist to create greater absorbency for summer and these yarns provide warmth in winter
• Ideal for wearing and home use. Healthy, supple, soft and soothing to touch for any skin type

The handloom experience (soft, comfortable and durable) is due to the human handling of the yarn in the weaving process. As a result, yarn and the fabric are much less stressed and damaged. Hand woven cotton is known for its breathability as compared to mill made cotton. This implies that it allows more air penetration making it cooler, softer and more absorbent. It keeps you cool in summers and warm in winters.

A prized fabric revered for its lustrous appearance and graceful drape. Ketia or Ketiya or Kethiya or Kethia is renowned for its luxurious feel and timeless appeal. It has a subtle sheen and fine weave.

Ketia yarn is obtained from the Tussar silk waste left over after reeling, including floss. It is normally spun on charkhas or spinning wheels with a count of 15s to 30s. The yarn is given sufficient twist and is strong enough to be suitably used for warp. Ketia yarn is mainly used for the production of wrappers and other thicker varieties of dress material.

Katna’s Kantha is a story of triumph that the world gets to witness only when there is an intersection of faith, beliefs, goals, mission, vision and zeal.

These are special Kantha embroidered pieces from Murshidabad, in geometrics. This special technique is unique to the Muslim women of the region. It entails running stitches covered on the surface with the bakhiya' or back stitch. The designs only feature flowing patterns, unlike Nakshi Kantha ones, hence they do not need to be drawn.

The "Phaansh kantha" work of the Muslim women of the Murshidabad region is done by counting the threads of the woven fabric and creating geometric patterns along with the running stitches that bind the fabric, unlike the nakshi (pictorial) Kantha's embroidered by the Hindu women.

"Katna's Kantha, a Street Survivors India project, is a livelihood generation programme that has taken this traditional and evolved skill of village women to economically empower them. Street Survivors India strives to work with communities in Murshidabad through a holistic approach that recognizes the inseparable linkage between empowerment and livelihood."

Katna’s Kantha, a Street Survivors Project in Murshidabad, West Bengal, was founded by Shabnam Ramaswamy, a social activist, in 2004. Today it employs and empowers 1500 women in 50 villages.

Until today, this combination of thrift and aesthetics is not mass produced as it is very time consuming.

Kathiyawad means land ruled or protected by Kathi Rajput. Kathi is one of the types of Rajput who ruled present day Saurashtra region of Gujarat. so, anyone who comes from this region are called Kathiyawadi. Kathiawar embroidery has a great influence of neighbouring states and places like Sindh, Punjab and Kutch. Kathiawar and Sindh embroideries are almost identical and have much in common. Kathiawar embroidery is one of the marked techniques of surface embellishment of Kathiawar district of Gujarat state. Here the embroideries of different techniques and styles are noticeable. The embroidery is colorful, elaborate and lavishly done on the choli and ghagharas which is the traditional costume of Kathiawar. Sparking mirrors enhance the stunning beauty of the floral and figurative designs in vibrant colour contrasts. Kathiawar women not only beautified their traditional costume by embroidering in vivid colours but also prepared household articles like Toran and Chakla. The main feature of Kathiawar embroidery is the lavish application of mirrors along with chain stitch, darning stitch, herringbone stitch and interlacing stitch or Sindhi tropa.

Unlike Kutch, where the primary application of embroidery is the bridal trousseau, the Saurashtra embroidery is generally used for household and decorative items. The Toran, which is a decoration for doorways, has tapering pennants hanging from its horizontal edge; these represent mango leaves which are considered auspicious and welcoming. Another object, the Chakla is a square piece of fabric that the bride uses to wrap her dowry articles and later decorates her new home with it. Other such decorative pieces used on the walls and furniture are all heavily embroidered with cotton and silk threads and embellished with mirrors and shells in this part of Gujarat.

Intensely vivid coloured threads are used to create beautiful patterns of Kathi embroidery. Most popularly used thread colours used to create embroidery pattern include scarlet, purple and yellow among others. Not only on fabrics and attires, the Kathi embroidery is also extensively done in ornate wall hangings and door frames. The Kathi embroidery can be classified into two major types - Aditya Fatiya and Patch Work. Multiple colour threads are skillfully stitched to create elegant patterns on a variety of fabrics. One can easily notice lots of appliqué work which is used in Kathi embroidery.
Though the state of Gujarat is famous for a number of other embroideries, the Kathi embroidery can be easily distinguished from other forms and types of embroideries. Most common patterns in Kathi embroidery include animal motifs, flower motifs, peacock motifs and geometrical shapes among others. To make these embroidery patterns look even more beautiful, mirror work is done to fill the central part of the flowers and the eyes of the birds. Kathi embroidery looks best on base cloth like silk and satin. The thread for this embroidery is made from either cotton or silk floss. The floral and animal patterns created through Kathi embroidery mostly related to the Hindu mythology and therefore has a special significance. The base fabric for Kathi embroidery is of dark colour while the thread used can be crimson, violet, golden yellow or white with green in colour. The embroidery uses a special kind of stich pattern termed as herringbone. This special kind of stitch has the capacity to easily fill other stitches used on the fabric. The outline of the designs is done with elongated darn, chain and chain cum interlacing. Blue colour threads are scarcely used in the Kathi embroidery. Thread colours like green and blue are only meant to provide a balance effect to the overall embroidery pattern. Kathi embroidery further has many forms. Most popular forms of the Kathi embroidery are Heer and Gureri. The women also practice appliqué, the art of layering small pieces of fabric cut in various shapes on to a base fabric. Appliqué and reverse appliqué both are also sometimes combined with chain stitch and herringbone stitch embroidery. Ganesha is very often represented through this method on appliquéd friezes to be placed on top of doorways. From episodes in the epics like Ramayana, to animals like elephants, peacocks, parrots, flowers to even modern day to day objects like watches and music players, all feature in the colourful pieces of appliqué. Beaded needlework is also heavily practised in Saurashtra.

There is a legend to explain this phenomenon. Krishna once liked a demon in forest who had enslaved a thousand women hailing from all parts of India, and freed them. They became his gopis playmates and devotees and followed him Dwarka. Each of them brought along her own style of embroidery, all of which took root in this land of Saurashtra, making it a resplendent garden in which all types of needlework flourished. Probably the oldest and certainly the most important is the Kathi embroidery. The story goes that Karna, son of Kunti, brought some cattle breeders known as “Kathi”. Saurashtra is the centre of Kathi embroidery done by the Kathi community.

Khandua saris are also known as Maniabandi or Kataki. These are a traditional "bandha" or Ikat saris. Auspicious drapes, they are known to be worn by the Lord Jagannath, and are thus, worn by women for weddings and special occasions. The traditional Khandua material contains texts and illustrations from Gita Govinda. One of these extremely special Khandua sari types is the famed Naba Kothi – The sari has nine squares (kothi) with all auspicious symbols, thus the name NABA KOTHI. The Nabakothi is one of the most beautiful of the Odisha weaves. The nine symbols woven in the nine house or kothis are Shankha, Chakra, Gada, Padma, Hamsa, Mangal Ghot, Betel Leaves, Animals and Lingaraja Temple from Odisha. The design motif has an auspicious elephant that represents Buddha surrounded by trailing vine with peacocks in it, a large many petalled flower, a unique Odishan animal called Nabagunjara, a Deula Kumbha. The elephant in Khandua Ikat from Nuapatana usually varies from elephant motifIs in Ikat from Sambalpuri saris as well as Ikat from other parts of Odisha. The Pallu in this one comes in big Jhoti or Chita motifs. The nine symbols are woven in the nine houses or kothis … a mixture of chinhas or symbols sacred to Devi Lakshmi and Lord Jagannath Mahaprabhu. It is said that the Nabakothi is worn by Her during the Ratha Yatra worshipKhandua is traditionally red or orange in colour, especially on the border. The red colour is prepared naturally from the shorea robusta (Sal tree). The Nabakothi sari body has always been traditionally Blue (from Indigo dye) in colour … Krishna’s colours are Blue and Lord Jagannath is believed to be an avatar of Lord Krishna.

Bagh Print is traditional Hand Block Print with natural colours and vegetable dyes. Bagh, which lends its name to the Bagh prints is a small tribal town in Dhar district of Madhya Pradesh. The Khatri community, who comprise the 'chhippas' or printers came here about 400 years ago from Larkana in Sindh which is famous for its Ajrakh prints. Bagh's proximity to the river was an important reason for its choice as flowing river water is vital to the process of printing. The design repertoire of Bagh prints covers geometrical and floral compositions and the blocks used for stamping are intricately and deeply carved by block-makers in Pethapur in Gujarat.

Bagh Print in its current form started in 1962 when a group of Muslim Khatri artisans migrated from the nearby Manawar to Bagh. They were originally from Sindh (now in Pakistan), and had since migrated to Marwad in Rajasthan and then to Manawar. With them, they brought the block printing technique, which is now the unique Bagh printing style. Cotton and Silk cloth is treated in a traditional mixture of a combination of Iron, Alum and Alizarin. Traditional designs are filled by hand by highly skilled craftsmen. The finished cloth is washed in flowing river water and sun dried for a perfect finish. The design repertoires of Bagh Print cover geometrical and floral compositions in predominant red and black colour. Bagh Prints is registered under Geographical Indication Act. 98

The famous craftsman, Ismail Khatri, moved to Bagh village in the 1960s and began practising and giving new dimensions to the block printing technique. The art was already being practised by 80% of the Tribal Adivasi population. In the 1960s, due to the lure of synthetics, many artisans left the craft but he stuck to his vocation and began to redefine its concept, process and look. He got 200 and 300-year-old blocks based on traditional motifs inspired by the 1,500-years-old paintings found in caves in the region. These motifs included Nariyal Zaal, Ghevar Zaal (Taj Mahal Paintings Designs), Saj, Dakmandwa, Chameli or Jasmine, Maithir or Mushroom, Leheriya and Jurvaria or small dots on the field. He also got blocks made which were based on the jaali work found in the Taj Mahal and local forts. He streamlined the processing of the two important colours - Red from Alum and Black from Corrosion of Iron. He also discovered new vegetable dyes such as yellow and green. But his single biggest contribution was imprinting the Bagh Print on fabrics. In 1984 he won the National Award for a bed cover in which he used 1,230 different blocks, many of them depicting his own reinvented designs. Also, his saris were much appreciated all over India. Bagh layouts are dramatic in the use of black and red alternately on a white background. The black colour is prepared with ferrous sulphate mixed with tamarind seed powder and glue which is cooked in water and stored for use. Each sari takes a minimum of three weeks to complete after the design is printed. During this period, it is washed at last three times and sent to the bhatti or oven at least twice. Two persons stand knee deep in water to wash the fabric so that superfluous colour is removed. The fabric / sari is boiled in a cauldron of water on a bhatti with regulated heat for the colour to emerge. This is extremely painstaking.