Threads of Bengal: The Story of Tant Sarees

Textiles are a significant turning point in the evolution of civilisation and culture, and they are one of the essential necessities of humankind. In every culture and civilisation on the planet, it plays a unique function. Four primary natural resources have been utilised to create fibre materials from ancient times. Every single one of the four ideas is linked to a significant civilisation. Evidence reveals that cotton has originated in the Indian and Peruvian civilisations, leather from Mesopotamia, hemp from the Egyptians and silk from the Chinese civilisation.

The expansion of the weaving industry using the natural theory or fibre of the specific location allowed it to achieve the pinnacle of brilliance. People have discovered and chosen natural fibres and materials by means of their surroundings, and they have developed the weaving business by twisting yams. It is impossible to pinpoint the actual history of Bengal’s weaving sector. However, it has a long history. In his work, Khagej Kirantalukdar also stated that “Bengal is the birthplace of weaving art, like the rose of Basra; like the cedar of the Himalayas, the art of textile weaving is also Bengal’s own.” Banga signifies kapas (cotton), as explained by Prof. Sukumar Sen. According to Sukumar Sen, “The fourteenth-century silk and cotton fabrics Ibn Battuta, a Muslim explorer who visited Morocco in the course of the fourteenth century, gave Sonargaon’s cotton garments high marks. Bengali cotton textiles and Chinese authors were highly regarded in the fifteenth century. Bengal has a thriving textile industry and a large number of highly qualified weavers. Additionally, the production cost was quite low. Additionally, the cost of food products and raw materials was low, and the ability to transport commodities by water was inexpensive.

The name “Tant” comes from the Sanskrit term “Tantu”, which means “thread”. Bengali ladies typically wear the traditional Bengali sari, known as the tant sari, which comes from the eastern Bengal area. Lightness and transparency are characteristics of cotton-thread-woven tant saris. This sari is mostly made for hot and humid climates, especially in the region of the Indian subcontinent. The making of a Tant saree is a time-consuming procedure that requires a great deal of patience and talent. The first step involves carefully choosing the best cotton, which is frequently obtained from nearby farms. Following a sequence of processes that include carding, spinning, and dyeing, the cotton is turned into yarn. On traditional handlooms, the saree is then woven using the coloured yarn. By using their feet to control the loom, the weaver, who is usually sitting on the floor, expertly manipulates the threads to produce the required designs. Each saree is made using a labour-intensive, laborious technique that takes several hours to complete. In addition to being aesthetically beautiful, the finished cloth is incredibly resilient and long-lasting.

ORIGIN

The rich cultural fabric of Bengal is intricately woven into the story of the Tant saree. Although the precise beginnings are still unknown, historical evidence points to the 15th century as the start of Bengali weaving. A flourishing textile industry was made possible by the area’s rich cotton supply and fertile land.

• The Mughal Influence Bengal thrived as a textile industry hub during the Mughal Empire. The Mughals had a big impact on the development of Bengali textiles because of their love of exquisite materials and elaborate patterns. Throughout the Mughal era, the tant and muslin gained fame in and around Dhaka, Bangladesh, and Murshidabad, West Bengal, India, under the imperial direction.

  

• The Emergence of Tant Weaving: The Tant saree became a more affordable and useful option for the general public, even if muslin continued to be associated with luxury. Tant sarees, which were made from easily accessible cotton, were comfortable and long-lasting, making them appropriate for daily wear in Bengal’s hot and muggy environment.

  

• Regional Variations: Different regional types of Tant weaving have developed throughout time, reflecting local tastes and a range of cultural influences. Among the well-known areas recognised for their distinctive Tant sarees are Hooghly, Murshidabad, and Shantipur.
• The Effect of Partition: British government tried to destroy this art to protect the textile industry of Manchester, but the tant culture managed to survive. Some weavers moved to the state of West Bengal and carried on their trade there when the Bengal province was split apart in 1947. As a result, one may today find tant weavers in both Bengali regions. The Tant weaving business was significantly impacted by India’s 1947 split.

MATERIAL

In order to begin the weaving process for tant sarees, the artisans must skillfully weave delicate threads from cotton. The main material used is the cotton strands. The Bengal cotton used to make the yarn is widely available locally and is used not only to weave Tant sarees but also to make a range of handloom items that need delicate, feathery muslin in order to be marketed all over the world. The quality of the tant saree is determined by the yarn’s quality. Fine sarees are produced when the cotton is combed on the other, and coarser sarees are produced when regular cotton is used.

WEAVING METHOD

A Tant Saree’s journey from unprocessed cotton strands to the finished item is evidence of the painstaking skill required. Cotton goes through spinning into delicate threads before being sent to the loom, where it is treated to give it the appropriate texture. To guarantee that every thread adds to the overall design and calibre of the saree, the loom-setting procedure is similarly intricate and demands accuracy. Once the cotton thread bundles are produced at the mills, they undergo a rigorous process of many washings, dryings, and bleachings to remove any remaining chemicals before being sent to the artisans. Following the dyeing process, they are loosened and polished before being put onto the loom. Around bamboo drums, these threads are manipulated and treated.

Naturally occurring patterns on the pallav, body, and borders are what set Tant sarees apart. Depending on the artist, this design may incorporate something completely different or adhere to the conventional themes and motifs. The loom receives the artist’s patterns after they have been hung and translated onto soft cardboard by penetration and perforation.

To complete the weaving method, the artists needed to use at least two shuttles. Depending on the intricate nature of the pattern, the complete weaving process might take somewhere from ten hours to 10 days. The weaving technique has changed in recent years, with power looms now playing a vital role, even though it was previously done on handlooms. The weaving process lost the distinctive characteristics of the artisan who made it, even while this enabled the weaver to satisfy the growing needs of the market and incorporate modern methods into their customary weaving style.

MOTIFS AND DESIGNS

When creating the cloth and creating the pattern, the weavers employed a variety of techniques. The material of the cloth determines the type of weaving. They learnt a few weaving techniques.

1. Plain Weaves: The simplest and least expensive fabric to create is a plain weave. Compared to other weaving techniques, this one is simpler to complete. Warp yarn and tight yarn are needed for white straight knitting. Just two harnesses are needed. It is customary to arrange the warp yarn lengthwise and run it below the warp yarn. Running up and down is sometimes referred to as “white straight knitting.” The cloth has a smooth feel as a result of this weaving. The yarn’s right angle seems rather square due to the fine weave. A lot of threads are utilised in basic knitting. Fabric with a plain weave is incredibly robust and long-lasting. Plain-woven materials such as lawn cloth, long cloth, and weseepoplin are typically found on the market.

   

2. Basket Weave: According to the name, basket weave, this weave resembles market baskets quite a bit. You may move the bamboo cane-woven basket up and down to raise it. We have seen that the warp fibre and the warp yarn are extracted one at a time in basic weaving. Note that the drew and weft threads in basket weaving should have the same length and breadth. The thread hook in basket weaving is loosely linked to the thread due to the fabric’s lack of strength. The majority of curtain fabrics are made of basket-weave material.
3. Rib-shaped Knitting: Rib-shaped knitting is another aspect of basic knitting. The drew thread in this weaving weighs more than the main thread. The use of highly drawn yam is the primary characteristic of this weave. Generally speaking, rib pattern weaving refers to the rib design that is produced in fabric weaving by employing heavy yarn from pulled yarn. The ribbed fabric weighs a lot. It is impossible to discern the thread on either side of the fabric with clarity. The fabric of this weave is poplin cloth. The weft yarn in this weave is often coarse, whereas the drew yarn is typically delicate. Therefore, in this kind of weaving, dealers of 10 blend excellent yarn with poor yarn.

   

4. Twill Weave: The weft yarns in this weaving form create an acute diagonal in the fabric by crossing over the drew yarns. A triangle weave is created if the diagonals go from the top right to the bottom left. The table diagram on the next page displays the number of pieces in the tercha weave. Tercha weaving, which is both left- and right-orientated, contains both left-facing and right-hand tercha weaving. The herringbone weave is identified when diagonals are made on the fabric’s left and right sides. The most resilient fabric is tercha weave.  The warp yarn is woven using many warp threads in tercha weaving. However, thread reading cannot be done with more than four thread strands. It is also known as warp knitting because of the usage of warp thread and tension. Fabric with a tercha weave is incredibly resilient. Cotton, drill fabric, denim fabric, and other materials are examples of terry cloth textiles.
5. Satin Weave: Multiple harnesses are needed for satin weaves. Over four harnesses are utilised here. Typically, looms with five harnesses are used to weave satin. More than five harnesses are occasionally utilised. Floating yarns are utilised in satin weaving in addition to warp and pulled yarns. Floats are referred to as Bhasha in the language of dress. It is referred to as tana mukhi bhasha suta when the thread is orientated towards the drew thread and read mukhi vasasuta when it is orientated towards the weft thread. In other words, the weave is referred to as a satin weave if there are more threads taken from the fabric’s straight side. Fabric with a satin or sateen weave is incredibly glossy and silky.
   Material made of satin is quite popular. Silk, linen, and cotton textiles all employ satin weave. Since it’s silky, it’s more often utilised as a dress for girls. Long float satin and short float satin are the two types of satin weave. These two types are woven by switching parts of the warp and weft threads. The three primary designs for weaving materials are as follows:. A few other weaving techniques have been developed by weavers with these three weaves. Weaving has become more innovative due to the range of textiles and the development of patterns. The four weave kinds are leno weave, gauze, pile weave, and double-width weave. Knitting rings. Jacquard, Lapt, Dobby, and other knitting techniques.

CURRENT STATUS

Tant sarees have been popular again in recent years, combining traditional themes with contemporary patterns to appeal to today’s women. Designers are trying to update the traditional tant saree with bright motifs, digital printing, and hybrid draping methods. The younger generation now prefers tant sarees more than ever before, and this change has given craftspeople new opportunities to express themselves creatively. The selection of motifs is another way that the tant sarees’ modern touch is evident. Abstract art, metropolitan landscapes, and even personal narratives are examples of contemporary themes that make every saree a focal point. The adaptability of tant sarees and their capacity to stay current while maintaining their core qualities are demonstrated by such improvements.

One notable example of environmentally responsible clothing is the tant saree. Tant sarees align with sustainability principles since they are manufactured from natural fibres and use less energy to create than synthetic textiles. Trendy designers are now emphasising natural colours and organic cotton, which strengthens tant sarees’ place in the ethical apparel market. Tant sarees appear to have a bright future as attempts are being made to maintain this skill via sustainable approaches and innovation. Tant sarees and other classic yet sustainable fashion options are expected to become more popular as customers grow more ecologically concerned. With its rich cultural importance and long history, this indigenous clothing is still evolving and thriving, ensuring that future generations will carry on the tradition.

CONCLUSION

There has been a stage in the progression of time. Although hand-operated devices are still in use today, power-operated equipment was developed alongside them. which, in a relatively short period of time, weaves hundreds of yards of cloth. Weft and pulled yarns are used in power-driven equipment. Hand-operated machinery will be used to make traditional Bengali jamdani and muslin sarees. The pride of Bengali villages is their weaving culture, which includes several cotton sarees. The purpose of loom art is to showcase the next generation. The National Museum is the venue for these exhibits. In this sense, the government ought to take a number of actions. In order to support the nation financially, Bengal’s historic textile sector would then sell its products overseas and fulfil domestic demands.

REFERENCE

• https://balaramsaha.com/blogs/news/the-evolution-of-tant-saree-designs-from-traditional-to-contemporary?srsltid=AfmBOor_i4EMCAvtTXbuawWxB9uRlnJCgDOdE8aQl72jHAsR26DzhK-L
• https://balaramsaha.com/blogs/news/the-art-of-weaving-a-tant-saree-from-loom-to-wardrobe?srsltid=AfmBOoo1aeuvYZjjzRXoYkclBxlnAJUrHCxFZMx1lLi6qklkTbzZYaqC
• https://www.researchgate.net/publication/371959514_TANT_SAREE_DESIGN_OF_WESTBENGAL
• https://www.indidha.com/blogs/news/bengali-tant-cotton-sarees-weaving-process?srsltid=AfmBOopJGZNuqP_ioQsAHQMknVZjK5TnhWSueRBSL8KQSR1Lbh97M7WT#toc-heading-3