Banarasi Brocades: Weaving Timeless Elegance into Threads of Gold
India has a rich and diverse textile tradition. The textiles of each state in India represent their history and cultural heritage. Traditional silk textiles are ultimately the most sought-after textiles in India. Prominent examples include Brocade, Baluchari, Chanderi, Patola, Paithani, Makhel, Kanjivaram, etc. They’re all collectively famous as the Banarasi Brocades. These Banarasi brocades are the most elegant and luxurious textiles made at Varanasi in Uttar Pradesh. The brocade weaving of the Banaras is cluster-based and scattered all over the Banaras district and some adjacent districts. Banaras City is the main center of brocade weaving. The term ‘Brocade’ comes from the Latin word brocare (to prick), which means needlework or is often defined as embroidery weaving or loom embroidery. Banaras brocade is also known as ‘kinkhab’ [kin (golden), khab (dream)] or ‘kamkhwab’ [kam (scarcely), khwab (dream)]; a fabric seldom or rarely seen in a dream. It is heavy, woven with all-over gold thread.
Brocade Sari. Courtesy: Wikimedia Commons
Banaras presents a classical art heritage of India in the form of gorgeous and fascinating brocades assimilating the spirit and traditions of several ages since the Vedic period. Ethnic Banarasi brocades are the finest example of the superb craftsmanship of Indian artisans. Rich in colours and patterns interwoven with gold and silver threads are the living embodiment of the skills of our craftsmen, developed, nurtured, and perfected over the centuries. Weavers of Banaras generally use a handloom (pit loom) to weave brocade. After industrialisation, in a few decades, there has been a change from handloom to power loom.
History
We find many references to brocades in the Vedic texts, Rig Veda, dating as far back as 1500 BC to 500 BC, which have referred to the ‘Tantuvayas’ or weavers who used to make cloths of various kinds, such as cotton, silk, and brocades. During these times, brocades were known as ‘Hirayana’. In the Ramayana, it is mentioned that Ravana wore brocade cloths. Kasika-vastra, Kari, and Kasikamru fabrics come to light in the Gupta period. Zari brocades, cotton prints, and a variety of textile patterns of the Gupta period are revealed by the Ajanta wall paintings. A number of motifs appear on the Dhamekh Stupa at Sarnath, which were used by Varanasi weavers in the Gupta period. Zari and brocades became a big part of western, central, and upper-class attire in the fifteenth century.
Further, historians and foreign travellers referred to the brocades of Banaras as the pride of places. Ralph Fitch, an English traveller who visited Varanasi in 1583, described the fabric as “fine as the filmy webs and spider weavers”. Peter Mundy visited Varanasi in 1632 AD and noticed a brocade canopy hanging over the Shivalingam in the Viswanath temple. Tavernier, the French traveller during the time of Aurangzeb in 1665 AD, wrote about the prosperity of the Banaras brocade industry. Francois Bernier, a French physician, visited India during the region of Shah Jahan, figured Banaras as an outstanding centre of textile manufacture in the very early stage of Indian culture, and said, ‘Banaras is the Athens of India’. Majjhimanikaya and Varanaseyyaka were popular for their superb texture. We find zari work and brocade vividly used in Mughal and Rajasthan paintings. When Lord Buddha attained Nirvana, his body was wrapped in brocade. We find several techniques about brocade in Jataka tales also.
Brocade, western India, floral scrolls and lion at the corner, Courtesy: Academy of fine arts, Calcutta
Motifs
The study of designs on Banarasi brocades reveals that, like other decorative arts of India, the textile industry too was influenced by the Mughals. The eclectic patterns produced with an amalgamation of Persian, Arabic, European, and Indian designs served as a prototype in every form of art, including textiles. The floral forms and the hunting scene pattern, shikargah, adapted from Persian prototypes, are the best examples. Shikargah, which was a popular Mughal motif, of which examples can be seen in miniature paintings of the Jahangir period, became the speciality of Banaras woven designs. These elaborate designs interweave the flora and fauna of a forest with scattered animal and bird forms. Commonly seen forms are deer, elephants, tigers, lions, horses, peacocks, and parrots. The brocade saree has allover phulwar, jhardar, and patridar patterns in the body, with animal motifs and floral bels embedded in the border. Continuous intricate floral and animal motifs with jhardar and patidar patterns are woven to adorn the pallu. Bold, half-blooming flowers are shown in Akbar’s paintings. Poppy with delicate stem is found in Jahangir’s period. In Shahjahan’s period, detailed study of leaves and lively foliage radiating on both sides can be found.
Brocade saree with Bel Booti Ka Kaam. Courtesy: Sana Faisal
Traditional weavers frequently derive inspiration from nature and their immediate environment. Animals and birds, creepers and leaves, flowers and foliage, fruits and seeds, and even insects have been sources of inspiration for them. Developing the motifs and patterns that are feasible for the weaving process requires much expertise. Nature also served as the primary source of design-making with the floral forms called butis or butas. Butis are smaller in size and often made of a single flower, bird, animal, or leaf. They take their names from the forms from which they are adapted, such as tara buti or star, ashrafi buti, taj buti or crown, tota buti or parrot, hathi or elephant, mor or peacock, hansa or swan, gulab or rose, kamal or lotus, etc. Innovations were made with these butis too. Geeses, peacocks, and parrots were very popular motifs. The introduction of zoomorphic art forms, that is, animals or birds blending flowers or leaves, became the new style, like hathi zal (elephant), mor zal (peacock), popat zal (parrot), dhanush zal (bow), badrum (ogival), etc.
To enhance the beauty of a garment, decorative borders or bels are woven corresponding to the ground or to the pallu. The local name used for the border is daur or run. In this daur, a single motif is repeated continuously or in a row. The hathi daur, elephant border, and tota daur, parrot border, are some of the motifs that have attracted weavers all the time. Some weaves are all gold without the use of silk, with floral, mango, or creeper designs, or on larger pieces, scenes of human and animal figures, sometimes in bands and lozenges. The ornamental end has gold weft and is brocaded with green parrots. These brocades are distinguished with apt poetic names like chand tara (moon and stars), morgala (peacock’s neck), and bulbul chasm (nightingale’s eyes).
Weaving process on a handloom. Coutesy: Sana Faisal
Materials for Brocade Weaving
- Handlooms and power looms—wearing machines.
- Silk thread—used in weaving fabric.
- Kalabattum—(golden or silver wire) used with silk for weaving brocade.
- Naksha Patta—(punched cards) used for making patterns.
- Phekua–(boat-shaped shuttle) used for weaving.
- Charkha–used for preparing silk thread.
- Soap water—used for washing silk thread
Current Status
Naksha Patta (punch cards). Courtesy: Sana Faisal
Unfortunately, the brocade weaving artform is currently. Mostly, the reason can be attributed to the coming of various machines and powerlooms, which can replicate the production process almost identically and faster. Due to this, traditional handloom production has begun to decline. A handloom takes two to six months for making a sari, but a machine makes it within a few days. This then gives rise to other problems, such as the increasing price of raw silk and shifts in market demand. Due to the growing competition from machines and Chinese exports, these handmade saris end up becoming imitations at a much lower price. Artisans are almost always taken advantage of, not being in direct touch with exporters. Other than that, the use of handloom poses several problems, such as electricity problems, lack of proper workplaces, lack of storage space, health hazards, and many more.
Banarasi Sari has now been recreated on a new platform. Exhibitions are held in various countries. Banarasi saris are mostly worn in festive seasons and especially for weddings. Globalisation has affected the whole economy and traditional cottage industries. The handloom trade, which was booming, slumped due to a decrease in demand.
