Threads Of Gold

Threads Of Gold 

One of the most ancient and traditional sari of the Indian subcontinent is the kanjeevaram saris found in south India. Also known as Kanchipuram silks as they were initially produced in Kanchi which is located in Tamil Nadu. The silks used in the creation of such saris is extremely fine and durable and is one of the most popular forms of silks found in Tamil Nadu , the mulberry silks. The usual length of these saris which was produced in earlier days was nine meters and even today there are weavers who still weave saris of nine meters as the demand still persists. 

A traditional kanjeevaram sari

These kinds of saris are made from colorful silk yarns and pure gold and silver yarns which gives the silks its ornamentation. The use of pure gold and silver yarns makes it look very rich in nature and hence it was worn as a wedding attire by women in south India or on festivities and occasions. It was passed on from mother to daughter and further down generations. The gift of a kanjeevaram is a gift that transcends time is what they say in the town of Kanchi. 

The weavers in Kanchi were inspired highly by nature which made them produce motifs like that of a flower, peacock, sun , moon and parrots to name a few. The other thing they also took inspiration from was the temple architecture in Kanchi. The temples in Kanchi were built by the  pallavas dynasty. One can also see references to the great epics like the Ramayana and the Mahabharata in their pattern making along with the Bhagwad Gita. 

Today one can also find tribal and contemporary designs and patterns in the modern time kanjeevarams. 

Kirron Kher adorning a kanjeevaram

Kanjeevram saris are woven in two styles namely : the 'petni' style and the 'korvai' style. The word 'korvai' in tamil means sync and in this style of weaving the body along with the pallu and the border is woven in one go and in the same color, while in the 'petni' style the border and the pallu is woven first in the same color and manner and then the body is woven in a different color and then the both are joined or attached. The procedure of making an Indian Kanchipuram sari commences with the task of preparing the thread, which is used at the weaver's loom. This involves, first, twisting the thread and then, dying and drying it in the sun. The border, the body and the pallu of the sari are created separately by the weaver. Then, he interlocks them together in an extremely tight joint.

The border and the pallu is made in jacquard. Computerized design papers known as punch cards are used to make the work of the weaver a little easier. In the earlier days the kanjeevarams were woven on a one shuttle loom but nowadays they weave it on the 3 shuttle loom as the one you can see in the above picture. The mulberry silk which is used in making these saris comes from Bangalore and the zari which is used comes the Tamil Nadu government zari factory. The cost of the sari depends on the amount of zari intertwined with the silk, the more use of zari will make the sari more expensive. More than 500 families still indulge in weaving in the town of Kanchi.

   

Pashmina : History and modernity

An introduction :

The name comes from Pashmineh, made from Indian pashm ( pershian term for wool).The wool comes from changthangi or Pashmina goat, which is a special breed of goat indigenous to high altitudes of the Himalayas in Nepal, Pakistan and Northern India.

Through my research on this fabric, and the lectures previously attemded through this course, it was interesting to note that due to the value and exclusivity of the fabric, we make certain assumptions about the one’s wearing it – their taste, class , resources and so on. This relates back to what we have discussed earlier, about drawing observations through reading cloth.

We have spoken about ornamentation, how it relates to intellect and refined taste- is it fair to say then, that even adorning this fine fabric is a form of ornamentation- thereby causing some to think of it as unnecessary?

Some technical know- how :

The pashmina goat (capra hircus) lives in -40 degree Celsius temperature most of the year and grows a dense coat of very fine hair to protect itself from the elements. The soft pashm, or inner coat, is six times finer than human hair, between 14 and 19 microns in diameter, and one of the rarest wools in the world. The cashmere hair must be separated from the dense outer coat and hand woven because the wool is too thin and delicate for machines.

                                     

How did it come into being?

The first pashmina shawls were constructed and worn out of necessity by the Tibetan people who lived in the harsh conditions of the Himalayas. Worn for centuries, these pashmina shawls and other items made from cashmere wool were perfected by the Tibetan people in the Kathmandu Valley and were popular trade items with villages in the surrounding areas. Originally a necessity, the beauty and softness of the pashmina shawls attracted buyers from across the East and eventually even from Europe.

                                      

Small scale to well established :

What really pushed the pashmina trade from village crafts to prosperous industry was the sole right of the Kashmir kings to purchase all pashminas from Nepal, Tibet and the Himalayas. This steady market allowed those involved in making pashminas to perfect their craft, worrying about quality rather than quantity, because the demand was constant and the price good. The Kashmir kings, however, profited the most from this deal with the craftsmen, when they learned how much their fashionable product appealed to European markets.  The founder of the cashmere wool industry is traditionally held to be the 15th century ruler of Kashmir, Zayn-ul–Abidin, who introduced weavers from Central Asia.

Although the reasons for this introduction are not stated explicitly, researching into the textiles that have been produced in those regions (ikat, islamic patterns , persian rugs and carpets etc) , provide reasonable reason to believe that these weavers had a far deeper sense of detail , color, intricacy and dyeing techniques than the existing weavers. Since the weavers were bought in by royalty, it is easy to understand that they wanted elaborate patterns to match the sublime feel of the fabric , as a mark of luxury externally.

                                      

Famous collectors and european versions :

While some Europeans had been interested in the shawls in the 1600s, they became extremely popular in France and Britain in the late 18th century and early 19th century. Napoleon's Josephine was a famous collector. Scottish merchants attracted to the wool imported cashmere goats and bred their own strain of cashmere. Fashionable women all over Europe began wearing the warm yet chic pashmina shawls and eventually, in the 19th century, Jacquard power looms allowed textile producers in France to produce their own version of pashmina shawls. The pure pashmina, however, has always been far too delicate to weave on a machine, and those shawls produced in Europe were generally blended with silk or another stronger fiber.

                                                     

The distinction from Shahtoosh :

Cashmere fibers are removed from live goats÷the animals are not harmed nor are they slaughtered. The herders live in communion with their goats; although it is a difficult life for the herders and goats living in the frigid Mongolian winter months, the lives of the herders and animals are respected. 

"Shatoosh" is not cashmere or pashmina.

The term, "Shatoosh" describes the fine hair from the Tibetan antelope or chiru, which is being slaughtered for this hair and is traded illegally under Chinese and international law.

It is illegal to import or trade Shatoosh in the United States , now followed my most countries of the world.

                                   

Is the modern pashmina authentic?

Today the term "pashmina" can mean many different things in the Western world. Often "pashmina" simply describes the style of a soft wool shawl. Almost all pashminas found today are made with wool blends, silk being the most popular. 

   patola - Gujarat


Bhandhas - orissa

Telia Rumal - Andhra Pradesh

IKAT

The word 'ikat'comes from a Malay word " Mengnikat" which means,  "tied or bound" and it's a type of weaving that uses tie and dye on either the warp or weft threads before weaving. 
The technique of' ikat' is to bind or clamp bunches of yarn before it is dyed to prevent the dye from seeping into the bound areas. There are three types of' ikats': 
Warp 'ikat', in which the warp threads are bound to form a resist pattern.
 Weft 'ikat' in which the horizontal threads are bound. 
Double 'ikat'  in which both the warp and weft threads are bound. 
Producing' ikat' textiles is a highly skilled work and requires a great deal of patience as the threads are re-tied many times to get the color sequences required to achieve the patterns. The 'ikats' are then woven on looms using a weft thread passed across the warp. The resulting patterns are sometimes characterized by their feathery edges. 
'Ikat' weaving technique:
After the threads have been dyed they are set up on the loom-usually in this stage the warp threads are carefully adjusted to line up with each other. 
Double' ikats' are woven on a frame less loom where the warp is stretched across the room under tension with the heddles suspended from above. These' ikats' demand a great deal of precision in the weaving and the resist tying is done finely in two - thread units to create fine detail and fine curves. There are many decorative elements in the traditional designs of' ikat'. Nature is the main inspiration : mountains, rivers, flowers, plants and birds are often feathered .
There are three main types of' ikats' produced in India!
1.  Patola Ikat - Gujarat
Is a double' ikat' textile.
Consists of geometrical patterns.
Resembles the mosaic art.
2. The Bandhas of Orissa
Is a single' ikat'.
These forms are deliberately " feathered" so that their edges appear hazy and fragile .
This effect is achieved by the use of very fine yarn, which is tied and dyed in very small sets.
The types of patterns used in this style are floral, figurative or geometrical patterns.
Forms are separated by fine stripes or brocade bands.
3. Telia Rumals - Andhara Pradesh
These rumals are square shaped.
size- 55cn x 75cm
They are dyed in a square grid forms with floral or figurative motifs.
They use mostly red and pinks along with black and white patterns.
A lot of double' ikat' textiles have been influenced by the Patola textiles of Gujarat.
Today these are particularly identified as Pochampali Patola .These in earlier types were used as fishing nets.

NEPALI DHAKA

Production

Nepali Dhaka is an exquisite cotton fabric hand woven in numerous colours with infinite and unlimited number of patterns. ‘Its manufacturing is concentrated mainly in Kahtmanduvalley, Pokhara and Palpa and in recent years in the hills of eastern NepalTherathum etc.’ [1]

This traditional weaving is done on wood and bamboo treadle looms. Woven in hilly areas of Eastern Nepal.

Every change of shed produces a different kind of weave.

The weaver decides the print pattern without a chart or counting threads into which section of the warp she lays down the colours, which forms the patterns.

Importance

The Dhaka Topi got this name as the fabric used to make it, was manufactured in the Bangladesh capital of Dhaka in the past.
‘The Dhaka topi is so called because the design of the print can be traced to a traditional weaving and design style originating in Dhaka, Bangladesh.’[2]
It is truly an indigenous form of expression reflecting Nepali mastery of craftsmanship.
It is an intricate art in the traditional hand weaving technique that has been practiced in Nepal for many generations.
The Nepali Dhaka is considered as a symbol of pride as it is interlinked with their culture to a very large extent and hence it is a representation and symbol of the Nepali culture.
Despite of the fact that the history of the Dhaka Topi and its origin is still debated, it is said that people of Nepal have been wearing it since the two hundred years and is the replica of Bhadgaunle topi ( a black round hat, used in nepal) made from dhaka fabric.

Usage
The Neplai Topi or the Dhaka Topi is made from the fabric Dhaka which is also used to make a type blouse called ‘dhaka-ko-chulo’.
‘Men wear a long kurta dawra suruyal and patuka instead of a belt. Patuka, is a piece of cloth or linen that is made like a rope and
worn around the waist, sometimes to act as a belt and sometimes as a place to hold utensils/knife.’ [3]
The Dhaka Topi is mostly worn by men and very unusually are they worn by women. they are worn by government officials as a part of their national uniforms.

Dhaka Topi is available is many colours, patterns and forms, worn on the basis of the function and the person wearing the hat.

Availability
Despite of the fact that Dhaka was originally produced in Bangladesh, Nepal has adopted the dhaka topi as an itegral part of their culture such that Dhaka is produced all around Nepal now.
The Dhaka Topi is available in almost all the fabric stores in Nepal and souviner shops or handicraft stores. ‘Western town of Palpa is known for its quality dhaka topis’.
Perseverance

Quite a few communities are dedicated to preserving the Nepalese weaving art and hence the encourage

women to involve themselves in this art by helping them teach this technique.

Dhaka products are woven in eastern rural villages of Nepal by women, who are abused, disabled, and or economically

under-privileged. They use their skill and earn a living and adapt a better standard of living.

BIBLIOGRAPHY
[1] http://tujournal.edu.np/index.php/TUJ/article/view/268
[2][3] http://www.nepalabout.com/nepali-dhaka-topi/

silk

Block Printing From Balotra

Balotra is a small market town in the Barmer District of Rajasthan state in India. It is about 100 km from Jodhpur. It’s close to the river Luni, which had dried up 50 years ago. Balotra is known for its traditional hand block printed textiles done with wooden blocks and dyed with soft shades of Indigo, yellow and red onto hard weaving cotton.

As early as the 11^th century AD, Indian women used to dress in what we see today as the traditional Rajasthani style. The typical garments worn by the women from Balotra comprises of a ghaggra skirt, choli bodice, and Odhani head cloth. This simple and comfortable attire allows for easy movement during the working day. The colour and motifs on the ghaggra differ for each community. The agricultural women wear a skirt that is dark green to conceal the dirt from their daily work on the field. Their Odhani is however contrastingly bright and patterned.

Married women wear printed ghaggras that have a red border with yellow piping. The minute the women becomes a widow, the Red border is removed from the skirt. In addition, patterns and colours also change with the age of the women. As you grow older, the colours of the attire become duller and the patterns become simpler. The thickness of the cloth worn also determines economic status. The women belonging to communities from a lower status wear coarser cotton cloth, while those belonging to elite classes wear finer and lighter cotton. 

Married women have red border at the hem which  is removed when the women becomes a widow.

Rabari family dress traditions-  widow in cotton kuttaar print ghaggra and wax odhani (left), her daughter and grand daughter in identical synthetic kuttaar prints (2nd and 4th from left) and the unmarried youngest daughter in synthetic non traditional print.

Textiles play a major role in the culture of the Balotra communities. A woman would receive from her husband a new set of clothes for every life changing event she goes through.Her marriages, pregnancy, birth of her first child, marriage of her oldest son are some examples of the major events and the patterns on each garment symbolizes are different for each occasion.

These textiles worn by the local community groups contribute to the construction of identity and visually differentiate each group from one another.The textiles are often loaded with social meaning and can reveal the wearers position in society, status, occupation, ethnic and religious relations, gender and marital status. Different tribes and castes such as the Rabari’s, Chaudhury’s etc. living in Balotra have their own dialects and social codes. In addition they also have their own symbols and visual images, which are reflected through their textiles.

The designs on the textiles encompass nearly 20 plant and animal, and object motifs, which are drawn from everyday surroundings and objects. Some of the motifs include:

Phooli: This motif shows intertwining flowers and is worn by the Maali community known to be the legendary makers of temple flower garlands. The Maali community of gardeners dominates a large proportion of the Balotra prints. Since their occupation involves the growing of fruit, flowers and vegetables, the textiles worn by them usually have prints of vegetation.

Gainda: Worn by the middle aged Maali women depicts the marigold flowers (the most widely cultivated flower crop in India used for medicinal, dyeing, religious, flavoring and ornamental purposes).

Chameli: This print depicts the sweet smelling Jasmine flowers. As they are sacred to Lord Vishnu and used in garlands offered to temples, the Chameli motif is only worn by Maali widows (women who have spent their lives hand cultivating these delicate blossoms).

Mato Ro Fatiya: A simple and subdued design only worn by widows and construction workers who prepare foundations for village huts. The name is derived from the Sanskrit word Mato, which means sand.

Goonda: Is a striped design with intertwining plant motifs with small cherry like fruit, that is worn by married women from the Chaudhury and Jhaat communities. Women from these communities don’t work on the field. Instead Goonda a popular berry used for making chutneys reflects their home-making skills.

Laung: Traditional for all tribes and yet not to be worn by widows, this design depicts the dried, unopened flower buds of cloves. Cloves are said to be auspicious at the time of weddings and also have many medicinal uses.

Trifuli: Is a three-flower motif. It’s the only design worn by young girls prior to marriage. The flower on the print is stated to be daffodils- the delicate, sweetly scented, yet short-lived spring flower. The daffodil is said to express bright, yet fleeting beauty of youth. 

The Process:

Dyeing:

1.   Washing- The heavy cotton cloth is soaked for a week in a tank of plain water.
   It is then beaten and rinsed and ensured that all the impurities have been removed. 
2.  Harda- The washed cloth is treated with Harda (a thick, yellow paste made from the fruit of the Myrobalan tree). The cloth is plunged into the Harda paste, trampled, rung out and spread out to dry.

Printing:

1. Coloured pastes are applied using carved wooden blocks. First Syahi is applied (a fermented mixture of horse shoe and molasses) Next, black outlines of Rekh is applied, followed by Begar (another paste).
2. The cloth is dried in the sun and thoroughly washed and beaten.

Red Dyeing:
 

1.  A copper pot containing the red dye is heated over the fire.
2.  The cloth is added while the dye is heated in the pot and stirred.
3.  On removal from the dye bath, the Begar becomes red and the Syahi becomes black.
4.  The cloth is again washed and beaten.

Dabu:
Returning to the Printing table, the design is printed with Dabu resist (a smooth paste of soaked black earth, tree gum and wheat grains). This paste is applied as a mask to the dyed areas.

Indigo:

1.     The Dabu printed cloth is immersed in a vat of indigo dye.
2.     The mixture is made from indigo, water and Lime powder.
3.     Earlier, natural indigo was produced from the indigo plant. Now a synthetic one is used.

Yellow and Greens:

For designs that require yellow and green colour-

Dark yellow is made from turmeric root and boiled Pomegranate rind. This yellow dye can be used to over dye the indigo blue, to give a green shade.

Finishing:

Once the printing and dyeing is finished, the cloth is again washed and beaten. This strengthens the colours of the cloth.

Originally, over 150 years ago, the Balotra designs were only printed in Shades of reds and yellows. The red dye plants native to India- Majeeta and Al were used to create a range of oranges, reds, purples and browns. The absence of blues and greens in the local print may have been due to irregular supply of raw dye materials. The travelling merchants and the movement of tribes such as Banjara and Rabari brought supplies from out of state. The supply of Indigo was brought from the south and west, where it was cultivated.

Changing Traditions:

Until recent Decades, Balotra hosted a thriving small-scale textile industry. A number of family run print and dye businesses existed on the border of the market town, working to provide cloth for the local community needs. The printers would provide cloth to the local traders as well a community specific stock, which they would carry from village to village during festival seasons. Until the 20^th century, the craftsmen would exchange their stock for local produce and pay taxes to the local head in the form of their finest work.

Over the past 30 years, this thriving textile activity has diminished, with local printing families turning to other forms of income. Presently only a hand full of hand block printers remain who contribute to produce the authentic ghaggra prints by traditional methods for local use.

Source: Balotra-The Complex Language of Print, Anokhi Museum of Hand printing, Emma Ronald &David Dunning, AMHP Publications, 2007