Advantage of Shuttleless loom over shuttle loom

Salient feature of Shuttleless looms:
1. Shuttleless weave 2 to 4 times as much as conventional looms per unit time.
2. The cost of pirn winding is eliminated
3. Strain upon the warp threads is reduced due to smaller depth of shed
4. Heavy cost of repairs and replenishment of worn out parts is reduced They can produce simpler tubes of fabrics on a large scale and provide opportunities for profitable exploitation in the long run.
5. The physical and mental strain upon the weaver is reduced
6. There is no risk of shuttle fly out owing to the absence of conventional shuttle and packing being positive
7. Quality of the fabric gets enhanced because of a positive control over the weaving process
8. The looms are easier to work and manipulate
9. Efficiency of the shuttle weaving shed is comparatively higher
10. 5% reduction in value loss for a Rs. 60/- Metre fabric would ensure an additional profit of Rs. 3/- meter
11. Higher production per loom
12. Speed is not the only criterion for the selection of shuttleless looms. Efficiency is also an important criterion.Efficiency advantage of 10-15% due to shuttle changes, Un weaving of damages, reduced time for warp changes canbe obtained from shuttleless looms. 5% higher efficiency would provide an additional profit of Rs. 1/- per metre.
13. 14 minutes stoppage per 24 hours.
14. Ex works cost is less due to less mending and inspection charges and no pirn winding charges. 15. Projectile and Air-jet looms suitable for Mass fabrics Rapier for fashion fabrics

Weaving machines flowchart

Madhubani

Madhubani is an art of fabric painting practiced in the villages of Mahdhubani. As the literal meaning of the word conveys, 'Madhu' for honey and 'Bans' for woods or forests, 'Madhubani' depicts that sweet feeling of exaltation which these amiable folks experience in their hearts-while conceiving the image of their favourite god.

The process of ritualistic Madhubani painting was very straight and clear. The images are based on age-old scriptures and epics. The Vedas, The Puranas, The Upanishads, the Ramayana and the Mahabharata. Sun, moon, earth and stars are also depicted in these images. They are also seeped into the environment: the trees, the animals, the birds, the fish and plants. These also depict immediate surroundings: the family, the village life, the flora and fauna, the wild life, the music of the birds, the village fairs and the fastivals, and celebrity mood. An element of environment beauty is introduced by a refreshing deluge of floral and wildlife motifs. Sunflowes, lotuses, trees, leavees and creepers convey the mute glory of flora and fauna. Tigers, elephants, tortoises, peacocks, peahens and other wildlife present the alternate form of life.

In Madhubani, children learn from their parents, while helping them out, clearing, grinding or filling in the colors. Elders on the other hand, perform the ritualistic art setting right in the midst of children so that children can also learn from their elders

Chamba Rumal

Chamba Rumal

Chamba Rumal is the embroidery work on a square format. The size can be as small as a handkerchief to as large as bed sheets. 

Fabric chosen is either Khaddar or Malmal. 

The figures are filled with untwisted silk floss which is also know as pat. 

This is also called Chamba Kashidakari or "Do-Rukha" embroidery. 

Chamba Rumals are embroidered with the technique of double satin stitch known as "Do-Rukha Tanka". The stitch is carried forward and backward alternately and both sides of the cloth are stiched simultaneously so that the space on both sides look equally effective and identical in content.

The outline is marked in danditanka a stem stich or chain stitch with knot after each stitch. 

No chamba rumal is done in single color. 

From the early eighteenth century to the beginning of the twentieth, Chamba and its neighbouring hill states such as Kangra and Basohli, formed the nucleus of rumal production, which was embroidery work on thin unbleached muslin ( malmal) of great charm and simplicity. Rumal means cover or Kerchief, and these square shaped textiles were used mainly as a covering for gifts. When an offering was made to temple gods or gifts exchanged between the families of bride and grooms, an embroidered rumal was always used as wrappings. Chamba rumals were also used in temples as a backdrop to , or canopy for deity.

Motif generally comprises of a floral border whcih enclosed a finely drawn religious scene set against a clear, unembellished and unembroidered background. The designs are initially drawn out in Charcoal and featured scenes from Krishna's life and other mythological episodes, which are surrounded by clusters of willow and cypress trees and running animals such as tigers, horse and deer.

Chamba rumals are embroidered in silks of soft colours, using a double darning or double satin stitch stitch, so that an identical design appeared evenly on both sides of the cloth, and double running stitch  or danditanka is used for outlines and details.

An excellent article on the process is found here.