Difference between Sanganer and Bagru/Pipar/Balotra styles of Handblock Printing

 In Sanganer and Jaipur Style of printing, red and black motifs are printed on a yellowish cream ground- This is called the Syahi Begar Style.

In the printing paste Syahi ( Iron acetate) and Begar ( Alum) are the mordanting components. Traditionally Potash Alum is used which is a hydrated double sulphate of aluminium or potassium. These days aluminium sulphate is used.

This is how Syahi paste is made - Scrap iron horseshoes are removed from rust by scorching, then mixed with Gur or sheera ( Unrefined molasses) and covered with plane water, during which the sugar ferments and reacts with iron to make iron acetate solution.

To give deepar shades of red during dyeing, a little of syahi paste is sometimes blended to the begar mix.

Interestingly proportions are tested and judged by taste- large amount of alum (producing deeper shades) are described as producing a 'crackle' on the tongue. 

Before Syahi and Begar is applied, the cloth is first desized using local methods ( Hari Sarna), then it is prepared for mordanting using Myrobalan (Harda or Peela Karna).

Usually any areas where black is required are printed first, using syahi paste. Following this, where red is required will be filled in using the begar ( alum mordant) paste.

In Pipar/Sanganer/Balotra, apart from the above methods, they are also printed using indigo-dabu resist methods, which produces colored red and yellow motifs on blue, green and dark-browinsh backgrounds.

Source: https://core.ac.uk/download/pdf/29072510.pdf

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What is the difference between Khandua and Sambalpuri Sarees

This post can easily be labeled as how to Identify a Khandua Saree from Sambalpuri Saree. 

I am writing this post from a buyer's perspective. In general, Khandua sarees cost less than corresponding Sambalpuri sarees. 

The main difference between Khandua and Sambalpuri  sarees is that the sambalpuri sarees have more elaborate and dense Ikat patterns, thereby making them more costly. Also Sambalpuri Silk Sarees Use Mulberrry x Mulberry yarns ( 3 ply x 3 ply) and thus have a weight of 650 to 700 grams. Khandua Silk sarees use 2 Ply Bangalore x 3 ply Malda Silk with a weight of 380-450 grams.

In cotton Sambalpuri Sarees the count is about 2/120s x 2/140s or 2/120s x 2/120s with a reed and pick of 72 and 76. Whereas in Khandua it is 2/100s x 2/100s, 2/80s x 2/80s or 2/100s x 2/80s with reed and pick of 64 and 72. One warp for Sambalpuri is only 2-4 sarees; whereas for Khandua, it is upto 30 sarees. Also Sambalpuri sarees are Manufactured in the Sambalpuri and Bargarh regions of Orissa, whereas Khandua sarees are manufactured in Nuapatna.

To translate the above for a layman, Khandua sarees are less finer and has less weight ( silk) as compared to the Sambalpuri sarees.

This is not to say that Khandua sarees are in any ways inferior to Sambalpuri, the difference is more of the material used and the fineness desired.

Now if you are a buyer or a shopper, you might be led to believe by a seller that a saree is a Sambalpuri saree and he is giving you at a bargin, but in fact it is a Khandua saree from Nuapatna.

Conversely, you might find a seller is charging you more for Orissa Ikat, when in fact, he is showing you a Sambalpuri Ikat and you are comparing it with Khandua.

Sambalpuri Ikat

Nuapatna Ikat

An Amazing source on Sambalpuri Process is this

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Notes on Various Traditional Textile Clusters of Orissa

Orissa is rich with its textile heritage. As depicted by the picture above, a diversity of traditional textile products are obtained from the region. Saris in particular find a new language here. A variety of sarees from Ikat to traditional Jaala ( simplified jacquard) can be obtained from here. Here is a brief outlook of the various traditional clusters.

1. Pitala Cotton Sarees

These are simplest sarees from Orissa and are used in the daily work. These are characterized by a simple Ikat pattern at the border, pallu and butis in the body.

2. Berhampuri Silk ( Patta) Saree with Phoda Kumbha

Phoda Kumbha is a technique of producing temples at the border with the help of three shuttle technique.

These Sarees are produced by Bangalore Silk ( 2-4 ply organzine) in the warp and Malda Silks ( 4-8 ply Charkha Silks).

3. Dhalapathar Sarees

Please have a look at this link. 

4. Bomkai Sarees

Bomkai Cotton and Silk Sarees are known by the elaborate thread work. These can be compared to the Balucahris of Bengal.

5. Nuapatna Tie-Dye or Khandua Sarees vs. Sambalpuri Sarees

Nuapatna sarees are also known as Khandua Sarees.

These sarees are characterised by the characteristic ikat patterns. The main difference between Nuapatna and Sambalpuri  sarees is that the sambalpuri sarees have more elaborate and dense Ikat patterns, thereby making them more clostly. Also Sambalpuri Silk Sarees Use Mulberrry x Mulberry yarns ( 3 ply x 3 ply) and thus have a weight of 650 to 700 grams. Nuapatna Silk sarees use 2 Ply Bangalore x 3 ply Malda Silk with a weight of 380-450 grams.

In cotton Sambalpuri Sarees the count is about 2/120s x 2/140s or 2/120s x 2/120s with a reed and pick of 72 and 76. Whereas in Nuapatna it is 2/100s x 2/100s, 2/80s x 2/80s or 2/100s x 2/80s with reed and pick of 64 and 72. One warp for Sambalpuri is only 2-4 sarees; whereas for Nuaptna, it is upto 30 sarees.

Nuapatna Cotton

Sambalpuri Cotton

6. Pasapalli Sarees

Pasapalli Sarees are those woven in the town of Bargarh. They have patterns inspired from those of chess board. The weave is used as Double Ikat in the typical Sambalpuri Style

7. Habaspuri Sarees

The design of Hawaspuri sarees are inspired from the designs of Kalahandi.

8. Dongria and Siminoi Sarees

These sarees are produced in the Nuapatana cluster of Orissa. they have a characteristic woven pattern at the Pallu produced by local jacquard or Jaala. Click here to know more about them.

9. Tussar Ghicha Saree

Apart from this, Gopalpur village specializes in making Tussar Ghicha sarees, with temples at the border created by tye-dye techniques. The Pallu has usually Ikat horizontal patterns, either in Sambalpuri or in Nuapatana styles.

Is GI Working in Indian Traditional Textiles ?

In a thought provoking and I would say "disruptive" paper, author Aarti Kawlra, makes some important points citing Kanchipuram Sarees. I have experienced the same while buying sarees for my company.

GI has worked in both ways. On one hand, it has provided some standard under which the quality of a particular nomenclature of textile can be evaluated. On the other, it has given rise to a whole bunch of manufacturers, who have subverted the spirit of GI.

The author has argued that GI in Indian context is arguably useful as it is a highly segmented market and manufacturers have to make a balance between the quality and saleability and thus their sustainability.

The author says that it is the way in British Rule, where the "traditional" fabrics were fixed to a particular area.

The fact that material, processes and place are fixed means to disparage innovations and imitations as deviant and spurious.

She pointed out that even the material specifications as mentioned in the GI journals, specifically Kanchipuram Sarees are not adhered to. Eg. for Kanchipuram saree, the zari should have 78% silver, 21% silk, and 1% gold, which are impossible to comply with. The "Zari Mark" of cooperative society has stipulated as 40% silver, 35.5% copper, 24% silk and 0.5% gold.

Also the Korvai ( Three Shuttle Technique ) of weaving sarees is declining as the process is vary much combersome.

So because of fixing of attributes of sarees, there is a spawning of a whole genre of products knows as "Duplicate Sarees", which have all the features of the Kanchipuram sarees as mentioned in the GI, which have everything except compromise on three cost raising features- zari, silk and Korvai.

GI has transformed manufacturing hubs from "spaces of production" to "places of origin".

Source: http://125.22.40.134:8082/jspui/bitstream/123456789/888/1/29_Aarti_Kawlra.pdf 



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Photoblog- Visit to Textile Clusters of Indore, Dhar and Maheshwar

Route to Bagh is breathtaking. In the background are seen the windmills. The road is newly laid and extremely well built.

These are a common site in Bagh. The printing is done with natural colors and ingredients like myrobalan. The red is developed with Alum by boiling in Alizarin ( an ingredient of Alum). It is also known as alizarin printing. It is said that the minerals dissolved in the Bagh river provide that extremely rich red color to the fabric. The printing is done on cotton, chanderi, Maheshwari, Modal Tussar and Mulberry.

Printing is done with hand. All the three blocks gad, reikh and datta ( daat ) are used.

There are lots of words of wisdom you will find on the local shops, the above notice says "loan is a magic, we give you and you will get vanished....." so true sometimes !!!!

Visit to Maheshwar is inspiring. The township is reverberating with the sweet sounds of handlooms. A neat and clean place with an all pervasive presence of Ahilyabai Holkar dynasty, which is reflected in their philanthropic institutions.

Maheshwari is a fabric in silk and cotton. The difference from Chanderi, as we are told is in the count of weft and twist constructions of warp. In chanderi twisted yarn is used in the warp. Also in chanderi 100s count is used whereas in Maheshwari 80s count is used. But the real difference is in the woven border of chanderi, the inspiration from which is taken from the carvings of the Ahilyabai fort.

The picture above indicates the dobby used to create the famous Maheshwari Border.

So the iron frames are used to hold the handloom together. Look at the way the warp are arranged.

Look at the way the indigenous drop box motion is provided on the loom to change the shuttle.

Here we can see that gears are finding their way in to handlooms to make the process of weaving faster and painless.

It was enlightening to address a group of weavers. A great job is done there by the Handloom School. It was amazing to see how this next generation of weavers is evolved to take on this e-commerce revolution.

Watching Narmada at the sunset was a treat

It was great to see ambar Charkha spinning Khadi at Womens Weaves

Back in Indore, chance to see the Indigo Alizarin Process of Tarapur Cluster

Chance to Meet Sattar Bhai, doing Dabu with hand block printing

This is not all, in the next blog will write about my learning on the various borders in Maheshwar.

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Why Handlooms are Dying in India- An Economic Argument

This is an adaptation to the answer to the post submitted on facebook by a reader:

Some people say that handlooms in India are dying and the reason is the emergence of powerloom and MNREGA. I agree with them that there is an imminent death of the handloom sector, but the reasons are different than what they site. Powerlooms and MNREGA are just alternatives they have for the handloom. The reasons are purely economic. One, switching of weavers from handloom to powerloom is just analogous to our switching to smart phone from your old phone for the simple reason that it is more efficient and productive. So a weaver, when he finds that the product of a powerloom is not so much different or even better from the point of view of the returns for his family, he will switch to alternatives like any rational human being. Running a powerloom is not as as simple that one relegate the task to some less skilled person. A break in powerloom whether warp or weft can ruin a whole product for the simple reasons that by the time it is noticed and the machine is stopped, a lot of picks have already gone by resulting in a patta or chira as the case may be- of course I am talking about the primitive powerlooms prevalent in our country without the warp or weft stop motions.

They also say that to protect the handlooms they are offering weavers twice the usual wages. However, their offering of double or even triple wages help a little, as their baseline wages are so small in relation to the effort involved that doubling or tripling may not help much.

Khadi sector is already diluted as the “amber charka” is like a mini ring frame taking its inputs from the mill product- roving. Only difference is that it has more defects and it is S-twisted. Genuine Charkhas produce so little that it is only used on the national days.

I feel it is our greed- the high profile elite consumers- that we let the weavers stick to the handloom when they have much better alternatives including powerloom. Let us not bind them into their age old professions for our greed by throwing them with yarn subsidies and increments in wages which are abysmally low as compared to their efforts. And they are realising that which is the effect you are witnessing across all the clusters. We need to remember that while business is talking numbers, they are also understanding numbers and taking actions which are good for their survival. Lets not make them the slaves of the handloom in th name of protecting the handlooms. 

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Technology of Charkha Spinning

This document is for textile technologist. You can download it from   here  or from here.

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What is the difference between Khadi and Handloom

Khadi means a cloth woven on Handloom using Hand –Spun Yarn. Handloom means cloth woven on Handloom using Mill-spun yarn.

Khadi cloth is generally much more porous. This gives Khadi a soft and well ventilated feel. The twist of the hand woven yarn is generally less than that of mill yarn. This less twist helps improve its absorption properties.

Yarn spun on Charakhaa has a twist in the direction of letter 'S'. If we twist the yarn in the direction of normal tightening of the right handed screw, the yarn gets more twist. ( The mill yarn has an opposite twist in the direction of letter 'Z').

Interestingly the count of Khadi is measured in km/kg or N/m. The general relationship between Nm and English count is 0.59 x Nm. Thus khadi that is sold in the khadi store as 250s count khadi is actually 250 x 0.59= 147s count, which is also very good.

Generally 1 meter of roving is converted to 20 m of yarn for Amber charkha.

It would be curious to know that one tree yields 1-2 kg of raw cotton. 40% of it can be used for spinning. As a thumb rule, from 1 kg of yarn of 40s count we can weave 7 to 8 sq meter of cloth ( of course, it also depends upon the reed and pick).

As a trivia, it takes 5-6 hours on Amber charkha to make a yarn required from 1 sq meter of cloth. One weaver family can weave about 200-250 meters of cloth per month.


Source 

Watch this movie on Khadi

and this movie

This movie narrates self employment through Khadi:

http://www.kvic.org.in/kvicres/images/KHADI_Englilsh_Compress.mp4 

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What is Khana or Khunn Saree Blouse Fabric

Guledgudd Khana is the name of the fabric which has obtained the Geographical Indication ( GI) Registration.

The small design motifs are a speciality of these fabrics. These designs are produced using extra threads and make the motifs appear bolder and enhance the attractiveness of the fabrics.

The basic raw material is silk, viscose and cotton yarn. However, increasingly polyester is also used. Dyeing of cotton and silk yarn is done in open using firewood. Indigo dyeing using buried earthern pots is also practised.

Street sizing is practiced. Weaving of the Khana requires a dobby attachment in both handlooms and powerlooms. The handlooms are either pit looms or plain looms. These are narrow width looms of  32 to 36 inches width.



Guledgudd is a cluster of villages in the Badami area of Bagalkot district of Karnataka. This is a great compliment to Ilkal sarees and other sarees also woven in Karnataka. Most of the designs are replicas of Suranarayana Mukta ( Sun God), Siddeswar Mukta ( Siddeswara God), Theru ( Chariot), Ane Hejje ( Footsteps of elephants), Tulsi Pan or Sooji Mallige ( Frangrance Giving Flower).These are woven by Devanga and  Veerashaiva community.

The structure of a khunn Fabric is like this:

1. Extra Warp: It is usually in viscose with yarn count of about 75/2. Sometimes silk of 16/18 denier is also used.

2. Ground Warp: It is usually of silk of 16/18 denier or polyester 80s or 30s count.

3. Border Warp: It is usually of silk of 16/18 denier or polyester 80s or 30s count. Sometimes mercerised cotton of 120s count is also used.

4. Weft: Most of the time it is of cotton of 40s or 60s count.

A few of the designs:

Deepa

Kalawar Balli

Karamantikki

Kavalihuva Putani

Navalpari

Suryanarayana Sudarshna

Kolu Teru

Bairihuwu

Reference

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Jamnagri Bandhani

Jamnagri Bandhani Technique is an ancient tie-and-dye technique practised in the regions of Saurashtra and Kutchh in Gujarat of India.

In this process, the fabric is tied in various patterns using nails, beads or grain which prevent the color from coming in these tied areas during dyeing.

You can go through the complete process here. However, briefly the process is as follows:

a. The bleached cloth is printed with design using wooden blocks.

b. The cloth is then rolled and tied using thick threads, wound usually an interval of one inch. The process is done by women. The dots to be resist dyed are pushed up from the reverse side of the cloth by the nails of artisan's left small finger, then the heads of the pushed up parts are tightly tied in knots. Cotton threads are used for knots.

c. Then dyeing commences. The first shade before tying is yellow shade. Then it is dyed in other colors.

A few of the products using Jamnagri Bandhani Technique are mentioned here

1. Panetar

Panetar is a white saree with red tie-dye border. Traditionally in Gujarat region, the wife wears panetar saree gifted from her mother's brother. Later she wears the Gharchola sari gifted by her in-laws.

2. Gharchola

Gharchola is white and yellow tie-dyed on a red background with checked pattern of gold plated thread. It has auspicious patterns like elephant, flowers and mango.

3. Virbhol

4. Barbaug

Sources: 1 2 3 4 5 

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Basic Quality Parameters of Handloom Products including Sarees

India Handloom is an initiative by the Ministry of Textile to bring the best of the handloom products to the users. They have produced a table of the basic quality parameters of the handloom fabrics, specifically sarees. 

It is useful for buyers of traditional sarees who would like to know the quality parameters such as count, constructions, length, width and fabric for Indian traditional sarees. 

7 August is celebrated as the National Handloom Day. 

To download, you can go to this link or  this link.

They have also published a list of registered users which can be a treasure for any sourcing professional.

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Patteda Anchu and Gamcha Sarees

I had the privilege to attend the launch of Patteda Anchu and Gamcha Sarees in Bangalore. It is amazing to find that there are so many kinds of art and craft of this country that are still getting discovered. 

Patteda Anchu

I met Hemlatha Jain, who has done this commendable work of reviving the Patteda Anchu Sarees which are in records since the 10th century. As a part of her PhD project, and with a support from Dastkari Haat Samiti, she was able to get these sarees produced for the first time. She recalled how she learnt Kannada to communicate with weavers. 

Briefly speaking, the saree is named after the borders and check patterns. It is also known as dundina, devaru or laxmi sare. 

Speaking on the technical aspects of it, she told us it is woven in the count combinations of 20s x 40s cotton yarn. The typical length of one warp is six sarees and is woven on the traditional pit looms. She used cold reactive dyes to dye the yarns, which are then woven with three shuttle technique.

Gamcha Sarees

These have their own story of the revival. On a trip to Phulia, Jaya Jetly of Dastkari Haat Samiti found that there were beautiful Gamchas woven in the areas of Nabadweep. The weavers used to get a pittance while weaving these. She thought it would be great if these Gamchas are woven into sarees so as to ensure its wider reach as well as ensuring a better livelihood for weavers. At the same time she did not want to put these sarees out of reach of common masses. So she started discussion with Ankit, a NIFT graduate, who in his remarkable way, had to convince the weavers to set the sarees. He not only gave them designs but also technical inputs on how to weave the sarees. Finally the first set of sarees came and are sure to create waves among the consumer communities. 

The typical length of warp is 100 Sarees which are then distributed over four  looms with 25 sarees on ach loom. 

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Is every double Ikat a Telia Rumal

Ikat is a yarn resist technique wherein the yarns are tie-dyed, and on weaving a pattern is created on the surface of the fabric.

In single Ikat fabrics, either warp or weft is tie-dyed and woven with the other thread ( weft or warp) of solid color. In double Ikat, both warp and weft are tie-dyed according to a pre-determined pattern and then woven to create design on the fabric.

Double Ikat

Telia Rumal traditionally woven in Chirala, is originally a square constructed. However now the fabrics, or sarees are woven in this construction. A Telia -as it called today- is a double ikat construction with a typical color and design pattern.

The typical colors of Telias are Terracota red and black using natural dyes. The fabrics are mordanted with iron solution and alum so that on dyeing with alizarine, areas with iron become deep black and the ones with alum turned red.

As far as design is concerned, the layout of typical Telia comprise of a geometrical grid like patterning with borders all around, thereby creating small squares at the four corners.

There is also a confusion between Pochampally Ikat and Telia. Pochampally is a commercial application of Telia Rumal technique as well as patola technique of Gujarat. They use single, double or combined ikat techniques to produce sarees and fabric which are cost effective and popular.

Source

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Indian Traditional Embroidery- How to Recognise-2

West India

Continued from Part-1

1. Gujarat Kutchh

Abla Bharat

Mochi Bharat

Soof Bharat

2. Parasi

Central India

1. Chikankari- Uttar Pradesh

2. Phoolpatti- Uttar Pradesh

3. Zardozi- Uttar Pradesh

South India

1. Kasuti- Karnataka

2. Lambani

East India

1. Kantha- West Bengal

2. Sujani- Bihar

3. Pipli Applique- Orissa

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