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Weaving Traditions: The Cultural Tapestry of Indian Handlooms

Ms. Ananya Tiwari, Post-Graduate Academic Scholar in Fashion Management, National Institute of Fashion Technology, Ministry of Textiles, Daman campus Abstract Boasting a rich history and vibrant culture woven into its textile traditions, it is confirmed that India is indeed a land of handlooms. The handloom sector in India has a long tradition of outstanding artisanship that represents and preserves vibrant Indian culture. It is one of the largest cottage industries with over 2.8 million looms. This sector has the advantage of being eco-friendly and having less power consumption. In this article, we will go through a glimpse of two such handlooms from the states of Uttar Pradesh and Gujarat. Introduction First, we will go through Varanasi in Uttar Pradesh. Cross-pollinated by trade and commerce, its long history has been interwined with its textile roots it is one of the renowned centres for zari and brocade weaving. These fabrics have a long and continuous tradition in our cultural history. The weavers of Varanasi are masters of many complex weaving techniques. From the Kadwa and Fekua to Cutwork and Urtu, each technique is individual and distinct. In each category, there are variations and adaptations. All woven on indigenously made looms, a wide range of fibres is used, from the finest cotton yarns to the coarsest, from wide silks to the most refined. Brocade work can be traced back to the Middle Ages. Due to its complex and intricate design, it would usually be worn by royal families across countries like Japan, Korea, China, and Greece. Brocade refers to those textiles where patterns are created on the loom itself, which means it is the process of weaving by transfixing the pattern thread between the warp. This highly delicate work uses gold, silk, silver, or cotton threads with extra weft patterning. This gives the motif an embossed appearance over a regular fabric that increases its ornamentation. The Jangla is a literal jungle pattern, which is inspired by nature that spreads across the textile field like a jal/ net. It is represented with the imagery of the royal hunt. Tigers, deer, birds, and horses are all intermingling in a forest of floral motifs. This Jangla and Shikargah represent the mastery of Varanasi weavers who depicted the favoured pastime of ruling princes and aristocracy. Gyasar comes under the different types of Varanasi brocades. The design, pattern, colours, and theme are based on the auspicious Buddhist symbols and floral imagery. The Gyasar weave has been used for centuries for ceremonial dress as an offering. The clients for this weave include the Royal family of Bhutan and other followers of Buddhism across the world. This heavy brocade in silk with gold and silver zari is woven on the pitloom with a width of 23', and a weaver can produce just a few inches in a day. Coming to the western part of India, we will now be talking about the Patola of Gujarat, the double Ikat silk fabric made in Patan was a popular item of Indian export to Indonesia around the 13th century, where Indian, Portuguese, Dutch, and other merchants used them to barter for spices. The name Patola is derived from the Sanskrit word 'pattakulla', and is the plural form of the word patolu. Dynamic geometric grid patterns and intricate motifs combine to form the double ikat textiles of India. The precise placement of the closely woven motifs, combined with rich colours, provides the patolu (weaver) of Gujarat a mosaic-like appearance. Pattern drawn on a graph sheet Patolas are manufactured by the resist-dyeing technique. The essential block-like quality of these textiles comes from the reference to the double ikat technique. In this process, sets of identical marked threads are tied and dyed at regular intervals. When woven, it forms networks of stepped motifs or patterns. Precision is the main goal of a patolu weaver. This is a Panch Ful Bhat silk Patola sari using the techniques of Double Ikat, where five flowers are shown in full bloom as a motif. Cotton is rarely used, especially for ikat sections. With a few exceptions, the Patola is traditionally used as a rectangular cloth. In Jain and Hindu communities, double ikat saris with entire design of parrots, flowers, elephants, and dancing figures are generally used, whereas in Muslim communities, saris with geometric designs and flower patterns are used, being worn mostly for weddings and other special occasions. Conclusion Handloom is not just about weaving the fabric, but it also represents our human creativity and cultural continuity. It showcases the patience and skill of artisans who transform these regular-looking threads into textiles, which gives us the meaning and heritage of our country. As power looms are giving us speed in this industrial revolution, the handloom stands as a reminder that beautiful things can emerge from slowness, where traditions are preserved and coexist with progress.