From the ghats of the Ganga in Varanasi to the temple town of Kanchipuram in Tamil Nadu and the silver sand desserts of Gujarat’s Kutch, India is home to a number of weaving traditions that reflect the diversity of the country and the exceptional skills of artisans.
To mark National Handloom Day, here’s an A-Z guide of the many weaves of India, and the history behind them.
A for Ajrakh: An ancient block-printing method, Ajrakh originated in the present-day province of Sindh in Pakistan and Kutch in Gujarat. It is practised in villages of Ajrakhpur and Dhamadka, and utilises a resist dyeing technique with nine to 12 processes to reveal a vivid pattern in hues of deep red and blue freckled with white. Ajrakh can be single-sided (ekpuri) or double sided (bopari).
B for Baluchari: Replete with tales of ancient epics, mythological figurines and folklore, Baluchari sarees are handmade in the small village of Bishnupur in West Bengal’s Murshidabad district. It is characterized by vibrant colours and elaborate craftsmanship.
C for Chanderi: Patronised by the Mughals, Chanderi is an intricate interplay of handwoven extra weft motifs with gold zari on cotton and silk, making it both, distinct and distinguished. Popularly called woven air, its lightness makes it easy to drape while the shimmer exudes a sense of luxury.
D for Dabu: Born in a village just outside the city of Bagru and Sanganer in Rajasthan, Dabu comes from the word “dabana” or “to press”. It showcases the age-old art of handblock printing using a special mud-resist paste usually in natural pigments to bring alive an array of sophisticated patterns.
E for Eri: Derived from the Assamese word “era” meaning castor, eri silk comes from protein fibre of cocoons made by the Samia Cynthia Ricini moth, which feed on castor plants. Also known as “ahimsa” or “peace silk” for being made without killing any silkworms, eri is a versatile and thermoregulating weave, making it suitable to wear throughout the year.
F for Fulkari: Ful means flower and akari, the shape or direction of the flowers. Practised in Punjab, fulkari features intricate count thread embroidery on the reverse side on a piece of textile, utilising silk floss to produce vibrant traditional “baghs” or gardens in the front. Typically rendered in earthy tones, these weaves are a cherished part of the bridal trousseau.
G for Gadwal: Handcrafted by weavers of the Gadwal district in Telangana, the sari features a kuttu border in silk interlocked by three-shuttle technique with cotton body and zari pallu. The saris are typically nine yards in length and have a unique double-sided weave. These weaves are celebrated for their extraordinary lightness.
H for Himroo: A traditional weave of Aurangabad, the spectacular Himroo comes from the Persian word “him-ruh” , which means “similar”. Traditionally made with cotton and silk, the weave is known for its unique texture and design.
I for Ilkal: Traditionally produced on pit looms in the Bagalkot district of north Karnataka, the weave is crafted using the “topi tene” technique for the pallu, and then attached to the main fabric through an interlocking series. The sari features intricate geometric patterns and are perfect for formal and festive occasions.
J for Jamawar: A design pattern epitomised by elaborate paisley patterns, jamawar is traditional to Kashmir. The highest quality of jamawar can be woven or embroidered with brocaded sections. Handmade jamawar shawls can take a decades to be completed, contributing to the high value of authentic pieces.
K for Kanjeevaram: Woven in the city of Kanchipuram, Kanjeevaram is known as the queen of saris. An heirloom piece, the motifs draw from intricate carvings of gopurams (a monumental entrance tower, usually ornate, at the entrance of a Hindu temple), nature, bronze sculptures and paintings and are woven in lustrous mulberry silk, and pure gold zari.
L for Leheriya: Leheriya comes from the word “leher”, meaning waves. Handcrafted in Jaipur, Rajasthan, leheriya is a tie-dye technique resulting in diagonal stripes like waves on fabric. Leheriya comes in varied forms, including Rajashahi (diagonal stripes), Mothra (criss-crossing diagonals), Nageena Mothra (gem-like squares) and Katwa Patta Lehariya (small bands created by the stripes).
M for Moirangphee: A glorious, gossamer fabric woven in Moirang, a town in Manipur, Moirangphee saris carry the temple top or shikara on the border using the three-shuttle technique. While the pallu and border are handcrafted using the skilled jamdani technique, the body of the sari is decorated with dots and floral patterns.
N for Narayanpet: Narayanpet district of Telangana is known for its unique cotton handloom and silk saris. The sari features surface design with embroidery while the border or the pallu features intricate ethnic designs. The creation of the saris involves a distinctive process, where up to eight saris are woven simultaneously on the loom. Narayanpet handloom saris are lightweight, allowing for comfortable wear throughout the year.
P for Patan Patola: This double-ikat textile handcrafted in Patan, Gujarat, is created using natural and chemical dyes with each sari requiring almost nine to 10 months to complete. Motifs include manik chawk, navratan bhat, akhrot bhat and nari kunjar in a spectrum of hues. This sari is considered an essential part of a Gujarati gride’s trousseau.
R for Rangkat: As one of the most elaborate and time-intensive Banarasi weaves, this technique is on the verge of going extinct. The Banarsai rangkat is epitomised by intricate weaving patterns and striking variation in the base hue of the fabric created by interlocking to create a stunning surface. It entails frequent alterations in warp and weft, culminating in a riot of colours.
S for Saura Hand: Originating from the Saura tribe in Odisha, these exquisite hand-painted saris are inspired by the native tribal art form, Saura art. Saura paintings are of religious significance, hallmarked by intricate patterns and vibrant hues.
T for Telia Rumal: Originating in Andhra Pradesh, the dyed patterned cotton weave of Telia Rumal had nearly disappeared. Revitalised by artisans in Telangana, Telia Rumal refers to “oily kerchief” for its oily appearance and scent. Rooted in the double Ikat tradition, it utilises natural vegetable dyes. Historically restricted to simple geometrical shapes, it has expanded to include contemporary motifs such as clocks, airplanes and gramophones.
U for Uppada: One of the finest jamdani weaves of south India, uppada is handcrafted in Kothapalli district of Andhra Pradesh. Uppadas are woven in fine count silk with the intricate extra weft jamdani technique in gold zari. The use of elaborate jaals and motifs featuring the parrot, peacock and lotus on the pallu, lends to the regality of weave.
V for Venkatagiri: Originating from Venkatagiri in the state of Andhra Pradesh, these are handwoven, high-count cotton saris. Made of fine cotton, these saris may or may not come with zari. The pallu features motifs inspired by nature or mythology, while the body is adorned with intricate buttis.
W for Warli Art: Though primarily an art form, Warli was created by the tribes of Maharashtra’s Sahayadri region. Characterised by handpainting with line drawing of human figurines, Warli designs utilise geometrical patterns to reflect natural life and celebratory life moments.
Z for Zardozi: Believed to have come to India in the 12th century from central Asia, zardozi means “gold sewing”. A renowned artform practised in Lucknow, zardozi is a type of metal embroidery on silk, satin and velvet that intertwines metallic threads with pearls and precious stones to bring alive flora and fauna for festive occasions and grand celebrations.
Anandita Sardar is the design head at Taniera Sarees.
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