Handloom weaving - aiaca

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The Baluchar style woven in silk is only confined to saris. It hails originally from a place of the same name in Murshidabad district, West Bengal, and had its heyday under the patronage of the royalty and nobility. It later flourished in Vishnupur but is now successfully produced in Varanasi. Very colorful, a real traditional Baluchar is said to have 17 colors in it, with butis sprinkled all over. It is a plain-woven fabric brocaded with untwisted silk thread in unique designs. The saris are always in dark rich shades, particularly red, purpose, and chocolate. The simpler Baluchari has small dots or flowers all over with a flowery border and paisleys in the pallu. In Tanchoi saris the designs are always floral interspersed with bird motifs. The usual ground is bright blue, purple, green or red with areas patterned in tabby weave. Patola is a most colorful and ostentatious weave with its figured body, and the subtle merging of one shade into another. This technique is practiced in a few parts of India with some variations, mostly producing saris, a few shawls, lungis, kerchiefs, etc. The most renowned among patolas is the one made in Pattan, Gujarat. The yarn used is always silk. Ikat is the equivalent of the Indian bandhana. When only one side of the warp or the weft is tied, it is a single ikat. But as described above when both are tied it is double ikat. This is now done on a very small scale in Pattan, which is said to be its home, and in Rajkot. The Pattan patola is the most picturesque particularly the wedding sari with dark green, white and yellow, against a ruby red background, and leaf and flower patterns; while the pallu features dancing girls and parrots or swans. Orissa has a patola style of its own. The <strong>weaving</strong> is done in tussar silk and in single ikat. The designs usually are in floral patterns, with animals and certain traditional motifs like the fish and conch. The single ikat makes the designs suggestive rather than clearly delineated. The cotton ikats in Orissa are striking, with a firm accent on geometrical patterns in heavy weaves. Patolas are also woven in Pochampalli and Chirala in Andhra Pradesh, which originally did only large cotton kerchiefs called telia rumals. Pochampalli makes patola sarees in a large variety of geometrical designs. Chirala has bigger and more pronounced patterns in the same technique. Andhra Pradesh also weaves a great variety of cotton lungis with some ikat designs in the body or in the border. Named after the village Paithan in Maharashtra, is the Paithani sari. On a zari warp the weft is interlocked with different colors. In this technique complicated patterns are woven in bright colors: highly stylized flowers, swans, parrots, peacocks. The pallu is a
fascinating piece of gold tissue on which are woven brightly colored rosettes and sometimes birds. Assam leads in non-mulberry silk. Sericulture is an ancient vocation practiced by a large number of cultivators in non-agricultural seasons.. Assam has several varieties of silks: eri, which derives its name from the castor leaves on which the worm feeds. This silk has a yellowish tinge, is in rough as well as smooth varieties, and is used in winter for its warmth. Sualkuchi is the most famous center in Assam for silk weaves of delicate texture, dainty designs and delightful natural colors. Its specialty is the Assamese women’s dress like the mekhela. This is a woman’s lungi, mostly with plain body, but sometimes having motifs strewn over the fabric, with a heavy design at the ends. The chaddar and riha are in smaller lengths: the former going over the shoulder to provide a pallu, the other wrapped round the waist, both decorative. Kashmir too lays equal claim to antiquity in silk industry. Kashmir was amongst the earliest to export silk to West and Central Asia. Over the last thirty years, there has been introduction of modern silk fabrics here like crepe de chine, georgette, chiffon, etc. This area has become an important center for silks. South India is famous for its heavy quality silks. At one time silk fabrics were sold here by the weight, so heavy were the weaves. Tamil Nadu and Karnataka are notable areas for this type of silk. A village of Karnataka called Mokalmoru has a richly designed sari with all over motifs, each enclosed in a check. The border is done in ikat weave. The pallu is daintily decorated with birds, fishes, etc. In Tamil Nadu the pride of place goes to Kanchipuram, though Kollegal in Coimbatore district and Kumbakonam in Tanjore district, Salem and Arni, also have very fine <strong>weaving</strong> with their own distinct motifs. Weaving is done in Kanchipuram by Salgars, a name derived from the Sanskrit salika for weaver. They claim descent from sage Markanda, the weaver of the gods. The throw-shuttle loom in which the shuttle is thrown by hand is used. For complicated designs a local type of jacquard is used, fashioned out of round lamp wicks as are used in room lamps, and plaited twins, and attached to the loom. Mechanical hooks and jacquard boxes are now being introduced. Kanchipuram has a special name for each of its many designs and colors. Very intricate designs are woven into the body in gold thread. These are of human and animal figures, geometrical patterns, with temple towers along the borders. A distinctive characteristic of the Kanchipuram sari is the wide contrast borders. For this three shuttles are needed
Page 1 and 2: 1. INTRODUCTION 2. REGIONS 3. PRODU
Page 3 and 4: Weaving is practiced in many differ
Page 5: The best-known Varanasi product is
Page 9 and 10: [Photograph 2: Natural Dyes] 4. Too
Page 11 and 12: [Photograph 4: Frame Loom] [Photogr
Page 13 and 14: [Photograph 6: Charkha] A charkha i
Page 15 and 16: [Photograph 9: Yarn Dyeing] Dyeing
Page 17 and 18: 5.5 Warping: [Photograph 11: Warpin
Page 19: Hand weaving is therefore character

Handloom weaving - aiaca

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