Woven Wind: Swathed in Tradition
The first thing that struck him was the gold. The border was engulfed in trailing vines, flowers and some sort of over-decorated mango. Vijay bent his head to get a closer look to see fine gold thread looping into elaborate patterns on deep red. From afar, he thought the saree looked like a cloying pastry, but up close it was regal. It was evident that it was the product of painstaking work and months of toil. The most stupendous part was that it was made entirely by hand.
All around him, there were tables piled with bolts of cloth that looked similar. The sheer abundance made his head spin. Each of these had been crafted with such detail and on cloth that flowed like a gust of air. He passed from stall to stall, asking questions, mesmerised. Coming here had been worth it. Clothing speaks volumes, after all.
Garments are a culture’s most prominent form of expression. Traditional wear tells us about the history of a particular ethnic group and what they value. Clothes also convey whether a person conforms to prevailing conventions, or charts their own sartorial path. With India’s history going several centuries back, small wonder that there have been several styles of fabric, each with its own patronage and technique. Through various travellers’ records, we see that Indian textiles were much sought after. Evidence from the Indus Valley civilization shows a thriving cotton trade as early as 3000 B.C . Indian goods traded to Greece often consisted of bolts of brocade, cotton and muslin so fine it was likened to a spider’s web.
Further on, the city of Banaras gained prominence for its fine weaves, a reputation which has persisted till today. Weaving became more than a means of livelihood there. It became as much a part of the city’s ethos as the Ganga did. Tana (ताना) and Bana (बाना), translated to warp and weft, became more to weavers than the frames on which they plied their trade.
In the world of the Banarasi silk industry, the term “tanabana” is also a well-worn metaphor, representing centuries of cooperation between Muslim weavers and Hindu traders of the gorgeous Banarasi sari.
Of course, Banaras was also the home of famed poet Kabir, who was a weaver according to popular legends. Kabir sang several couplets that were simple yet moving, and to spread his ideas to laypeople, inserted several analogies pertaining to weaving, that the people around him could easily relate to. For instance,
झीनी-झीनी बीनी चदरिया,
काहे कै ताना, काहै कै भरनी, कौन तार से बीनी चदरिया।
But how did God, the Master Weaver, make this finely woven fabric we call skin that we wear all our lives? What is the warp? What is the weft? What fine thread does he use?”
- an excerpt from Kabir- The Weaver-Poet, by Jaya Madhavan.
(Jhini jhini bini chadariya,
Kaahe ka tana, kaahe ki bharani,
Kaun taar se bini chadariya?)
During India’s days as a colony, weaving acquired a political flavour with the Swadeshi movement. Mahatma Gandhi and other leaders encouraged the production of homespun cotton and made Khadi the cloth of choice for many. This was an attempt to break the monopoly of British textile mills in India. For years, England had used the Indian cotton crop to feed the mills in Manchester and sold the resultant cloth in India at a much higher price. This led to the breakdown of the indigenous textile industry, a decline which came to a halt as Khadi production in India picked up.
For a country as large as India, homogeneity is not something we can expect. We can see this in the difference in clothing traditions as we move from border to border . Most traditional weaves use printed or plain cotton, while luxurious ones favour silk. Almost all works pay a wealth of attention to detail, and are embellished in many ways. Detailing may take the form of motifs with symbolic value, pertaining to religion. They can also be purely aesthetic, such as floral or paisley work. Across various states, mirrors, sequins and gold/silver thread(zari) is used for embroidery. Following are some well-known weaves from different states:
Bandhani, Gujarat:
Derived from the word “bandh” (tying), this tie-and-dye work is native to both Gujarat and Rajasthan. The fabric is tied using thread according to the desired pattern. It is then immersed in a vat of dye, after which the threads are unwound and set out to dry. The designs typical to this style are usually patterns of light dots set on a darker border. They may depict waves, pearls, single and multiple knots, and many more. The colour of the fabric is symbolic, with red being auspicious, black signifying mourning, etc.
Kalamkari, Andhra Pradesh:
A style that has gained great popularity among designers these days, Kalamkari splits into two different methods. The first uses blocks on which motifs carved by hand to print on fabric. In contrast, the other is drawn on the cloth and depicts scenes from various myths. It was originally a medium for storytelling, and later evolved into clothing. The fabric acquires a unique shine, as it is treated with a mix of milk and resin to keep the dyes from bleeding. The colours used originate from natural sources and the art bears a typical black border.
Kanjeevaram silk, Tamil Nadu:
Considered the South Indian answer to Banarasi silk, these are renowned for using pure gold thread. They bear a stiff, sturdy feel which is imparted by dipping the silk threads in rice water and drying it in the sun. It bears the distinction of being woven in three parts — border, pallu and body. Owing to this, the three parts may bear completely different designs. When they are woven together, the weave at the joining is stronger than the rest of the saree. Weavers profess that the join will not tear even if the saree does. These sarees are usually chased with temple scenes and bear figures from myths.
Muga silk, Assam:
This is conspicuous by its natural golden sheen and lustre than does not fade on washing. Harvested from a silkworm indigenous to Assam( Antheraea assamensis ), its use was once exclusive to royalty. It has been on the receiving end of abundant praise since ancient times, forming part of Assam’s trade with other nations on the Silk Road. When Mahatma Gandhi visited Assam in 1946, he was so awed by the prowess of the weavers and their focus on detail that he claimed they “could spin dreams”. In more recent times, Muga silk was granted a Geographical Identification tag and permitted to use a GI logo (2007).
Mysore silk, Karnataka:
Production of these began in the early 20th century, in India’s first silk factory. A defining trait of these is the use of pure gold thread for embroidering, and the use of simple, vibrant colours. Red, orange and green are traditional choices, while other tones have crept in of late. They are also characterised by fewer motifs and a wide border. The pure silk used, gives them a unique texture and ensures their longevity. Mysore silk products also come with a code embroidered on them, ensuring authenticity. The code also bears details of its manufacturing, including how long it took to produce.
Paithani, Maharashtra:
Passed down as treasured heirlooms, these sarees have earned the moniker, “Queen of sarees”. The way they are woven is comparable to a tapestry, as they are formed in a reversible manner. To elaborate, the system of interlocking weaves makes the saree look the same from both sides. Another trait would be the oblique square design in the borders, and the peacock motifs on the pallu. Moreover, most sarees use a maximum of two colours, one each for the border and pallu. Yeola and Paithan in Maharashtra are a hub for these textiles. Owing to their proximity to the Ajanta caves, the designs used are considerably inspired by Buddhist paintings.
These are by no means the only prominent schools of clothing. Chikankari embroidery from Uttar Pradesh, Chanderi silk from Madhya Pradesh (which spawned the name of this article), Sambalpuri silk from Odisha all indicate the breathtaking effort put in by craftspeople.
With a rising interest in Indian traditional handloom, the patchwork quilt that is Indian culture seems to have a brighter sheen than ever before.
