The Persian pattern in Indian weaving: An exploration of Himroo’s cultural integration

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It is a fabric renowned for the meshing of silk and cotton in fine threads. It finds its origins in the Maharashtra region, mainly the area around Aurangabad. The name “Himroo” itself finds its roots in the Persian term “hum-ruh,” which is similar or prototype-like, that is, similar in its appearance to the precious Kimkhab fabric made of silk and golden threads. The Himroo tale is deeply associated with the rise and fall of empires, cultural exchange, and the age-old tradition of handloom weaving that existed in medieval India.

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The History of Himroo Weaving

The Himroo weavers have a history that goes as far back as the period of Sultan Mohammad bin Tughlaq. In 1326, he transferred his capital from Delhi to Daulatabad known then as Devagiri. Along with him came a vast contingent of artisans and craftsmen, along with the administrative structure he introduced. Among them were experts in weaving who established the Himroo industry in Daulatabad. Therefore, even though the attempt to shift his capital back to Delhi in 1335 had failed him, Himroo weavers continued to live at Daulatabad and carried on their craft practices. Perhaps the most important chapter in the history of Himroo was at the time of Malik Ambar, Prime Minister of the Nizam Shah of Ahmadnagar, who raised the city of Fatehnagar in 1610. Fatehnagar became known as Aurangabad when Prince Aurangzeb became viceroy of the Deccan in 1653. Under the patronage of the Mughals, the art of fabric flourished and took various forms. The Nizams of Hyderabad made it fashionable to wear elaborate garments like sherwanis, coats, and gowns, and these became a part and parcel of the Nizamis’ folk dressing.

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The Kimkhab Connection

The origin of Himroo is often linked to Kimkhab, Sometimes known as “the fabric of dreams”, Kimkhab was a treasure with an elaborate brocade pattern in bright colour, where floral patterns pop up. It was preferred by the royal courts, to be used as clothing and drapes, and its very creation demands marvellous skill and artistry. While the Mughal and Maratha empires were crumbling, a decline in the demand for such pricey fabrics demanded a shift on the consumer side.

With this change in social scenario, weavers began producing a cheap variant of Kimkhab that was made of cotton and silk. And so Himroo was born. All the intricate designs and patterns that its counterpart possessed were carried by this new fabric, but the selling price was much lower, making it accessible to common folk at large. The term “Hum-roop” referring to resemblance was soon changed to “Himroo,” signifying the fact that it is a replica of the former illustrious Kimkhab.

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Motifs and Weaving Patterns: A Blend of Cultures

The motifs and patterns immanent in Himroo weaving are nicely woven into the synthesis of the Persian and Indian art traditions. Incorporating Persian designs that make for riveting visual splendour characteristic of Indian art, classic Himroo designs contain broad motif arrangement schemes, like “Sia-Jangla” that symbolizes creepers and flowers, the “Ajanta” pattern, which is an adaptation from the Ajanta Caves, and the “Ambi” or paisley. Other details which often adorned these designs were roses, jasmine, lotuses, and even diamonds and hexagons. These apart, other animal life forms: avian and terrestrial, the peacock and the elephant, for example, often featured in the weave.

Ambi /Paisley :

The Ambi (Punjabi meaning “mango”) motif is rooted in India, specifically in Kashmir, where it adorned shawls and various textiles. The motif appears as a curved teardrop or mango shape with the symbolism of fertility, the tree of life, and abundance. The motif also has a history as Boteh (meaning “bush” or “shrub”) in Persian ornamentation, symbolizing fire or a cypress tree associated with life and eternity in the Zoroastrian viewpoint. The design gained unprecedented popularity in Europe during the late 18th and early 19th centuries, particularly in the town of Paisley in Scotland, famous for its manufacture of shawls in this design.

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Sia Jangla:

The Sia Jangla pattern is derived from the Persian weaving tradition exported to India during the Mughal period. The term “Jangla” conveys the overlay of intricate flowers and vines, which resembles a dense jungle (the source of the name Jangla). Sia Jangla became particularly prominent in a fabric called Himroo combining silk and cotton Himroo was developed in and around Aurangabad, blending the audacious and beautiful traditions of India and Persia in textiles, and thus made Sia Jangla an alias for an expensive and luxurious fabric emblematic of this region.

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Ajanta Pattern:

The Ajanta pattern is stimulated through the complicated art and work of art of the Ajanta Caves, located in Maharashtra, India. The styles derived from Ajanta artwork are regularly utilized in textiles, architecture, and other crafts, reflecting a blend of spiritual and aesthetic beliefs.Ajanta styles replicate the cultural synthesis of India all through this era. The influence of Greco-Roman, Persian, and Indian patterns is clear inside the motifs, ornamentation, and typical aesthetics of the work of art.

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Decline and Struggles of Himroo Weaving Community

The Himroo weaving tradition has a rich history, but by the 20th century, it had encountered considerable struggle. There was a change in the economic conditions at large in the country in the early 1940s when the demand for Himroo fell drastically. This decline in demand led to the decline of the royal patronages. In 1949, there were only 30 families involved in Himroo weaving. Three years ago, there were as many as 150 families. Its labor-intensiveness, an attribute handed down through the ages, made it economically unsustainable.

Nevertheless, it was thanks to the considerable influence of master craftsman Abdul Hameed Qureshi who worked extensively on the revival of Himroo weaving that the craft was revived. The Jacquard system was introduced which combined all processes and made one weaver work with a loom instead of two. It was cost-effective and proved sustainable, although the numberable operational looms considerably reduced during this period.

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Current Situation and Future Prospects of Himroo

Himroo fabric embodies a high aesthetic value and requires a love for India’s rich heritage. However, it faces the challenge of sustainability in a market driven by mass production and cost-effectiveness. To address this, there is an urgent need to boost demand through heritage tourism, as well as to garner government support and create awareness about the fabric’s historical and cultural significance. Despite changes in the cultural and economic landscape, Himroo remains an iconic symbol of Indian textile heritage. Its intricate patterns, historical significance, and enduring appeal call for appreciation, showcasing a quality of craftsmanship that has stood the test of time for centuries.