Traditional Patterns and Symbols in Punjabi Durries.

Traditional Patterns and Symbols in Punjabi Durries

The origin of durries lies in their role as an essential part of handmade dowries for girls in northern India. In the past, particularly in Punjab, Haryana, Himachal Pradesh, and Rajasthan, women wove durries as part of their daily routines. Durri weaving was a common activity, deeply ingrained in their everyday lives. Bridal durries remain one of the few household crafts that have survived the rapid transformations of modernity. In the 20th century, durries became increasingly popular in villages, reflecting an ancient approach in both technique and design.

Origin of Durri Weaving

weaving on a movable durrie loom on Addah.

Durri weaving is traditionally a seasonal occupation. The horizontal, immovable loom used for weaving occupies significant space in small mud houses. As a result, weaving was often restricted to months when people slept outdoors, leaving indoor space free for the charpai (cot). The weaving season typically began in March, when nights were no longer too cold.

In traditional dowries, a bride’s belongings often included four durries in two distinct designs. These durries were reserved for guests, while families generally relied on Khind—a quilted mattress made at home by layering shredded old clothes between two sheets. These were warmer, softer, and more suited for everyday use.

Designs and Names of Durries

In the tradition of durri weaving, many common designs have been forgotten over time by weavers in Punjab. The names of durries often reflect rural concerns and a deep connection to the soil. The symbols and patterns in durri weaving are typically inspired by daily life, animals, birds, and geometric forms.

Serrated Bands: Lehria

Drawing of lehria also known as Zigzag Pattern.

One of the most popular and commonly used designs is composed of zigzag bands with serrated edges, known as Lehria. This design is crafted using two colors, often in combinations such as black and white, red and yellow, or blue and green. Sometimes, the Lehria design is arranged diagonally across the surface, adding a dynamic visual effect.

Floral Patterns: Aath Kalliyan (Eight Petals)

Aath Kalliyan, meaning “eight petals,” is a geometrically composed floral design. In this style, an eight-petaled flower motif is repeated across the entire surface of the durri.

The primary colors used in this pattern include yellow, orange, blue, and white. The composition typically involves two pairs of rhomboids placed at right angles to two other pairs of differing sizes, creating a harmonious and symmetrical arrangement.

Durrie with Pair of flower pot depicted in Red colour on Brown background with supporting elements in orange and white colour.

Rows and Triangles

Rows and triangles are another common design in durri weaving, often referred to as Sarak (road). This pattern is particularly popular in the Malwa region of Punjab, such as in Bathinda.

These designs consist of basic geometric forms arranged systematically, with rows of triangles creating a visually appealing composition. Similar motifs have been found in ancient pottery from Mesopotamia and Iran, dating back to the fourth and third millennia BCE, and in the pottery of Balochistan, highlighting the timeless appeal of these patterns.

Durrie with flat rows in Yellow,Green and white colours.

Geometrical Pattern of Durrie in Yellow and Crimson colours.

Female Figures: Guddian (Dolls)

Depictions of stylized female figures frequently appear in durries. A popular example is a woman carrying a lunch box (chhiku) or a water pot. These motifs celebrate the daily lives of women and their cultural significance.

While such depictions are more commonly found in Gujarat and Rajasthan, they are also present in Punjabi textiles. Notable examples can be seen in 19th- and 20th-century collections at the Calico Museum of Textiles.

Animals

In traditional Punjabi culture, the relationship between humans and nature is depicted with remarkable equality. Animals often appear in durries, symbolizing their deep connection to rural life and mythology.

Common motifs include peacocks, parrots, hares, lions, and cats, reflecting grace, playfulness, strength, and protection. The color palette for these designs is vibrant, with frequent use of yellow, red, green, blue, white, and black.

Nagini (Snakes)

Snakes are often represented in abstract forms in durries. Unlike other animals, they are not depicted naturalistically and are referred to as Nagini (female cobras) or Sanp (snakes).

Some durries feature an all-over pattern of zigzag lines symbolizing snakes. In certain cases, the weavers added flowers at the junctions of the zigzags, blending symbolic and decorative elements.

The snake cult, like that of the mother goddess, is ancient. Cobras are frequently seen on Harappan seals, with one notable example showing a cobra partly resting on a dais, a sign of divinity.

Battakan: Ducks

Birds which resemble either ducks or geese are always known as ducks by the weavers. Both ducks and geese live on many village tanks or ponds, and geese in particular have an important place in Hindu and Buddhist mythology. However, the weavers attach no stories or signiticance to any of these birds and are content to weave them because of their familiarity from nature as well as from older durries and other traditional household crafts.

Chirian: Sparrows

Sparrows succeed in foraging a good living around the buffaloes and the kitchens of the village compounds, whereas visits from large or more timid birds, found in plenty in the mango groves and trees around the tanks and fields, are rare due to the lack of tree cover.

With the men out at work and the children in school, the chirp and bustle of flocks of sparrows are frequently all that intrude upon the quiet of the village morning. Fittingly, they are by far the most popular birds on the durries, either alone, with other birds, or in a row at the end of quite a different design. Wherever it may be, the weavers very often manage to find a little space for them.

Durrie with pairs of peakcock,hare,Hut on the linear background of Blue,white,Red and Green.

Conclusion

Durri weaving exemplifies the survival and growth of a living cultural tradition. The weavers, often earthy and hardworking women, have unconsciously preserved techniques and patterns rooted in the earliest history of human civilization.

Every thread and color in a durri tells a story of the land and its people. Preserving this art form is not just about celebrating cultural richness but also about honoring an intangible cultural heritage. Moreover, durri weaving fosters socialization, sharing of thoughts, and the transmission of knowledge as women sit together to create. This craft stands as a testament to the resilience and timeless beauty of Punjab’s artistic traditions.