Traditional Indian Textiles PDF

**3.2. TRADITIONAL INDIAN TEXTILES** **3 - 2** **RATIONALE** The students of fashion design should know about the traditional Indian embroidered, printed, dyed and woven textile materials, they should also acquire relevant skills in embroidery techniques of different types of traditional Indian e...

**3.2. TRADITIONAL INDIAN TEXTILES** **3 - 2** **RATIONALE** The students of fashion design should know about the traditional Indian embroidered, printed, dyed and woven textile materials, they should also acquire relevant skills in embroidery techniques of different types of traditional Indian embroideries and textiles. The subject aims at developing skills in various types of stitches, traditional embroidery. **LEARNING OUTCOMES** After undergoing the subject, students will be able to: - Classify the regional embroideries of India - Classify the regional dyed textiles of India - Classify the regional Painted and Printed textiles of India - Classify the regional Woven textiles of India - Understand the cultural heritage of India **DETAILED CONTENTS** **UNIT I** **Embroidered Textiles of India** Kashida, Phulkari, ChambaRumal, Chikankari, Kasuti, Zardozi, Kantha, Applique work, Kutch embroidery. **UNIT II** **Dyed Textiles of India** **Resist Dyed- Bandhani Of Gujrat, Bandhej and Leheria of Rajasthan, Batik.** **Ikat- Patola of Gujarat, Bandhas of Odisha, TeliaRumal and Pochampalli of Andhra Pradesh** **UNIT III** **Painted andPrinted Textiles of India** Bagru Prints of Rajasthan, Sanganer Prints of Rajasthan, Kalamkari of Andhra Pradesh, **UNIT IV** **Hand- Woven Textiles of India** **Banarsi, Baluchari, Jamdani, Paithani, Kanjeevaram, Chanderi, Maheshwari.** **UNIT V** **Hand- Woven Shawl & Floor Coverings** **Shawl- Kashmiri Shawls (Kani, Pashmina,ShahTush, Raffal), Kullu&Kinnaur Shawls, Wraps of North- East** **Floor Coverings- Carpets, Namdas, Durries and Rugs** **LIST OF PRACTICALS** 1. Preparation of sample of Kashida embroidery (6\`\`x6\`\`) 2. Preparation of sample of Phulkari embroidery(6\`\`x6\`\`) 3. Preparation of sample of ChambaRumal embroidery(6\`\`x6\`\`) 4. Preparation of sample of Chikankari embroidery(6\`\`x6\`\`) 5. Preparation of sample of Kasuti embroidery(6\`\`x6\`\`) 6. Preparation of sample of Zardozi embroidery(6\`\`x6\`\`) 7. Preparation of sample of Kantha embroidery(6\`\`x6\`\`) 8. Preparation of sample of Applique work embroidery(6\`\`x6\`\`) 9. Preparation of sample of Kutch embroidery(6\`\`x6\`\`) 10. Preparation of sample of Tie and Dye(6\`\`x6\`\`) 11. Preparation of sample of Block Printing(6\`\`x6\`\`) 12. Preparation of sample of Batik(6\`\`x6\`\`) 13. Present a project on Embroidered Textiles of India 14. Present a project on Dyed Textiles of India 15. Present a project on Painted and Printed Textiles of India 16. Present a project on Woven Sarees of India **UNIT I** **Embroidered Textiles of India** **Kashida** Region: Kashida is an embroidery style from Kashmir that is practiced by men folk of the region. The intricate needlework is inspired from the charming natural surroundings of Kashmir. Technique: The base material for Kashida is cotton, wool or silk in a variety of colours like white, blue, yellow, purple, red, green and black. The embroidery threads used to execute Kashida are wool, silk or cotton depending on the product to be embroidered. The main stitches employed for Kashida are darning stitch, stem stitch, satin stitch and chain stitch. Motifs: The motifs used in Kashida depict the natural elements which includes the rich flora and fauna of the region of Kashmir. Typical motifs are birds like magpie, kingfisher; flowers, butterflies, maple leaves, almonds, cherries, grapes and plums. A popular motif seen on embroidered shawls is derived from the cypress cone. Style of Embroidery: There are three styles of embroidery followed in Kashmir. ·Sozni is intricate embroidery that uses stitches like fly stitch, stem stitch and darning stitch. ·The Aari style, also called Zalakdozi employs hook or aari to fill-in motifs with chain stitch. ·In Kashmiri Couching, zari thread is laid on the fabric along a pattern and is held in place with another thread. End use: Kashmiri embroidery is primarily done on shawls and regional garments like Phiran. Chain stitch embroidery is done on woolen floor rugs called Gabbas and Namdas. Nowadays, Kashida is also used to decorate household items like bed covers, cushion covers, lampshades, bags and other accessories **Phulkari** Region: Phulkari is an embroidery style that originated in Punjab. It is used and embroidered in different parts of Punjab namely Jalandhar, amritsar, Kapurthala, Hoshiarpur, ludhiana, Ferozepur, Bhatinda and Patiala.The earliest available article of phulkari embroidery is a rumal embroidered during 15th century by Bibi Nanaki, sister of guru Nanak dev. The needlework is widely practiced by the women of Punjab and holds significance in a life of a woman, from her marriage till her final abode to heaven. Technique: The base material to execute Phulkari is handspun and hand woven Khaddar that is dyed in red, rust, brown, blue and darker shades. Soft untwisted silk thread 'Pat' is used for the embroidery. The colours of the thread are red, green, golden yellow, orange, blue etc. The basic stitch employed for Phulkari is darning stitch, which is done from the reverse side of the fabric. The stitches follow the weave and a beautiful effect is created on the fabric by changing the direction of the stitches. For outlining of motifs and borders, stem, chain and herringbone stitches are sometimes used. Motifs: The motifs used in Phulkari are inspired by objects of everyday use like rolling pin, sword, flowers, vegetables, birds, animals etc. They are generally geometrical and stylized. Usually one motif is left unembroidered or is embroidered in an offbeat colour. This motif is called 'nazarbuti' which is considered to ward off the evil eye. Style of embroidery: The two embroidery styles prevalent in Punjab are Bagh and Phulkari. Bagh is a fully embroidered wrap that is used for special occasions whereas Phulkari is simple and lightly embroidered for everyday use End use: Phulkari is an important part of the bridal trousseau and is worn as a veil or wrap by women on special occasions like Karva Chauth, a festival celebrated in North India for longevity of husbands. A specific pattern of Phulkari is also used as canopy on religious occasions. Presently, Phulkari is being done on bed linen and apparel like tops, tunics and skirts. **Chamba Rumal** Region: Chamba rumal is embroidery from Himachal Pradesh dates back to the 15th century. There is a mention of this embroidery being practiced in Pathankot, Chamba and other remote villages of Himachal Pradesh in Buddhist literature and the Jataka Tales. Chamba was known for the most picturesque needle work, which the Romans described as 'needle painting'. Technique: The embroidery is executed on two types of unbleached cotton cloth: lightweight, delicate muslin or handspun, hand-woven, coarser khaddar. untwisted, dyed silk threads 'Pat' in bright colours like red, yellow, green, blue, crimson and purple are used for the embroidery. The embroidery uses double satin stitch which simultaneously fills in the motif on both sides of the fabric, making it reversible. Motifs: The motifs used are inspired from Pahari paintings depicting lord Krishna and his playful antics. The embroidery also depicts the flora and fauna of the Himalayan region. Typical motifs include: tiger, goat, deer, horse, peacock, parrot; flowers, shrubs and plants, willow and cypress trees; and musical instruments like sitar, tabla, veena, tanpura etc. Style of embroidery: The embroidery is executed on a square piece of cloth. The motifs are arranged on the rumalin order to portray scenes from lord Krishna's life. Some of the popular themes include Raas mandala, Rukmini haran and Kaliya daman.There are floral borders on all four sides of the rumal. End use: Traditionally the rumalwas used as a cover for food prasad offered to gods and goddesses. It was also a custom to gift embroidered rumals at the time of weddings. Now days, the Chamba embroidery is done on fabrics like silk, polyester or terry cot and made into blouses, caps, slippers, cushions covers etc. embroidered silk wall hangings are also exported from Himachal Pradesh. **Chikankari** Region: Chikankari is white work embroidery practiced in Lucknow, uttar Pradesh. It is believed that Nur Jahan, wife of Mughal emperor Jahangir embroidered a cap for her husband, and hence popularized this craft of white on white embroidery. Technique: The embroidery is done on fine white cotton fabric with untwisted white cotton or silk thread. There are three types of stitches used in chikankari: flat stitches like stem stitch and herringbone stitch, raised stitches like bullion and French knots and pulled thread work or jali. Motifs: The motifs are inspired from nature's flora including flowers, creepers and lace-like patterns. Style of embroidery: A common style present in each piece of Chikankari is the shadow work. To create the light and shade effect, herringbone stitch is executed from the wrong side of the fabric which creates shadow of lighter colour on the right side and at the same imparts an outline to the motif. End use: Traditionally the embroidery was done mainly for male garments such as kurta, bandi, choga etc. for summer wear. Presently Chikankari is being explored for apparel as well as home products on different fabrics like crepe silks, chiffons, georgettes and cotton polyester blends. Besides the traditional white on white embroidery, the contemporary chikankari has a wider colour palette, from pastels to bright colours **Kasuti** Region: Kasuti embroidery is practiced in Karnataka. The embroidery considered as an auspicious craft, is executed by women. In ancient times, every bride would own a black silk sari, Chandrakali sari, with Kasuti embroidery done on it. Technique: The embroidery is done on hand-woven cloth of darker colour usually black with cotton threads in different colours like red, orange, purple, green, yellow and blue. Four basic Stitches are used: Gavanti- double running stitch that creates the same effect on both sides of fabric; Murgi- zig-zag running stitch that works in stepwise manner; Negi- simple running stitch that produces a weave-like effect. Menthi- cross stitch that gives a heavier appearance. The embroidery threads used are drawn from the old silk sari borders. Motifs: The motifs are inspired from religion, architecture, flora and fauna, and objects of daily use. Some examples are star shaped designs, chariot and palanquin for deity, tulsi pot holder, cradle, sacred bull, deer, elephant, peacock, horse and lotus Style of embroidery: The embroidery uses a combination of horizontal, vertical and diagonal stitches. The motifs are not traced on the fabric and the embroidery is executed by counting the yarns on the base material. End use: Traditionally the embroidery was done on Ilkal sari and other apparel items like women's blouse and children's bonnets.Presently Kasuti embroidery is also done on home products like cushion covers, bedcovers, curtains and accessories like handbags, mobile pouches, belts etc. **Zardozi** Region: Zardozi, the gold and silver embroidery is practiced in lucknow, agra, Varanasi, Bareilly, Bhopal, Delhi and Chennai. The craft flourished under the patronage of the Mughul courts. Technique: The embroidery is done on different fabrics like velvet, satin and silk with a variety of zari threads and materials like badla (the untwisted wire), salma (stiff finely twisted circular wire) gijai (twisted metallic wire), dabka (zig-zag coiled wire), sitara (small circular disc), pearls and coloured beads. The different stitches used in Zardozi are chain stitch, stem stitch and satin stitch. The fabric to be embroidered is first stretched on a rectangular wooden frame supported on two tripods called a karchob. a hook or an awl is used to execute the embroidery. Style of embroidery: There are two embroidery styles namely Karchobi and Kamdani under Zardozi. In Karchobi, the fabric is clamped on wooden frame and elaborately embroidered to create decorative home furnishings and ornate apparel. Kamdani is lighter embroidery done on apparel like dupattas and scarves without clamping the fabric on any frame. End use: Zardozi was traditionally done to ornament wall hangings, bedcovers, cushion covers, curtains, palanquin covers, trappings for elephants, bullocks and horses, canopies, shoes, jackets, purses, boxes etc. The embroidery continues to be one of the most favoured ornamentation for decoration of apparel such as lehenga choli, sari etc. Presently, Zardozi is also explored on different types of base material like jute to develop trendy products like bags and decorative fashion accessories **Kantha** Region: Kantha is an embroidery style that originated in West Bengal. In the past, it was used to transform old, used fabric into an embroidered textile. Technique: The embroidery is executed on layers of old white cotton saris that are stitched with simple running stitch in white thread. The motifs are traced and embroidered using different colored threads. The embroidery threads used are drawn from the old sari borders. The basic stitch used is running stitch along with satin stitch and chain stitch. Motifs: The motifs used in Kantha are lotus flowers, floral scrolls, tree of life, creepers; animal and bird forms; fish, sea-monsters, mermaids, ships, submarine scenes; domestic articles like mirrors, pitcher, nut cracker, umbrella, musical instruments and human figures like gods and goddesses, horse man, fisherwoman etc. Style of embroidery: Different embroidery layouts are followed in Kantha. Some examples are: a central motifand tree of life on all four corners, motifs arranged in panels or a big central panel and smaller motifs placed around. End use: Kanthas were mainly used as quilts and also offered to special guests to sit or sleep on it. It was presented to the bride and groom as well as used to wrap valuables and gifts. Other uses of Kantha include bags for keeping money and book cover. Nowadays, Kantha embroidery is done on single layer of white or coloured fabric base using contemporary motifs. The product range includes stoles, dupattas, saris and suit materials. **Applique work** Region: Pipli appliqué is a traditional craft from Orissa that gets its name from its place of origin. Pipli is a small town in Orissa, where the appliqué embroidery is practiced by artisans called Darjis. It is believed that the appliquéd textiles were initially made to decorate the idols in Lord Jagannath temple of Puri, orissa. Technique: The appliqué is done using pieces of fabric that are cut into specific shapes and stitched on a base fabric. The raw edges of the applied motif are finished with a row of chain stitch. The other stitches used for appliqué are stem stitch and blanket stitch. To impart a three dimensional appearance to the appliqué, fabric strips are either folded or gathered and applied to the base fabric. The appliqué is further decorated with rickrack laces and mirror work. Motifs: The motifs in Pipli work are mainly geometric, abstract and stylized inspired from flora, fauna and mythology. Typical motifs are flowers, birds, animals, fishes and deities of the Lord Jagannath temple. Style of embroidery: The Pipli appliqué is easily identified by its vibrant colours. Fabric pieces in bright colours are cut in a particular shape and applied on a contrasting coloured base material. End use: Traditionally Pipli products were used to decorate the royal kingdoms and the Jagannath Temple of Puri. Even today, big sized appliquéd canopies are used for deities during religious processions. Presently a range of contemporary pipli products are available including garden umbrellas, wall hangings, lampshades, home furnishings like cushion covers, bed covers and fashion accessories like bags and pouches **Kutch embroidery** Region: The embroidery of gujarat is colourful and vibrant practiced by different communities of the state. The most popular embroidery styles originate from Kutch and Kathiawar region of gujarat. Technique: The embroidery is done with multi-coloured threads, usually cotton or silk embroidery threads. different stitches are used depending on the style of embroidery, namely chain stitch, herringbone stitch, satin stitch, interlace stitch, buttonhole stitch and darning stitch. There is also use of mirrors that are fixed on the fabric with an embroidery stitch. Another technique used in Gujarat is appliqué where scraps of fabric are cut into a form and stitched onto the base fabric. Motifs: The motifs used in Gujarati embroidery are mostly taken from flora and fauna. Some typical motifs are flowers, creepers, trees, peacocks, parrots and elephants. Besides flowers and animals, human figures in different poses like dancing women and men are also seen in some styles of gujarati embroidery. Style of embroidery: There are different embroidery styles carried out by tribal communities of gujarat. Some of the styles are as follows: Mochi Bharat: The embroidery style from Kutch is practiced by the mochis of shoemakers. The arior the hook is used to embroider designs with chain stitch. Soof Bharat: The embroidery is executed with untwisted silk floss and geometric patterns are created using the darning stitch. Abhla Bharat: The embroidery style is defined by the use of mirror work along with other embroidery stitches to create designs on fabric. Moti Bharat: The craft is characterized by the use of white and coloured beads that are connected with thread to develop colourful motifs on a white background of beads. Kachcho Bharat: The embroidery uses interlace stitch called sindhi taropa. The motifs are mainly geometrical comprising of squares, hexagons and lozenges. End use: a range of embroidered articles are produced in various regions of gujarat. Some examples are quilts, doorway hangings, pouches, bags, ghagra, choli, wedding costumes, animal trappings etc **UNIT II** **Dyed Textiles of India** **Resist Dyed** **[Bandhani Of Gujrat]** The tie-dye from Gujarat called Bandhani is regarded for its fine resist dots and intricate designs. Traditionally the tie-dye is done on silk, cotton and wool. The motifs created by outlining with tiny dots are animal and human figures, flowers, plants and trees. The products range varies from odhanis, saris, shawls to stitched garments like kurta and skirts. The major centres of bandhani in gujarat are Jamnagar, Bhavnagar, rajkot and Porbandar. **Special Bandhani textiles from Gujarat** Gharcholu: a popular bandhani textile produced in gujarat is called gharcholaor it is a traditional odhani for Hindu brides, which is nowadays available as a sari worn on auspicious occasions. The tie-dyed textile in cotton or silk is red in colour and the layout is a checkerboard created with woven gold threads. Each square within the check contains a different tie-dyed motif like dancing lady, parrot, elephant, peacock, flowering shrub and geometric forms. Chandrokhani: The traditional odhani for a Muslim bride in red and black colour is called chandrokhani. It is a tie-dyed textile with a big medallion in the centre surrounded by four smaller medallions and wide borders. Motifs created with small tie dye dots are small paisleys, zig zag lines, sunflowers etc. Aba or Abo: The traditional upper garment for Muslim women is called aba or abo. The kurtahas an intricate tie-dye pattern shaped like a yoke on the bodice front, which is identical in the front as well as the back **[Bandhej and Leheria of Rajasthan],** The tie-dyed textiles produced in rajasthan are known as bandhej and are similar to the bandhani of Gujarat in terms of production process. Besides the fine resist dots, other types of shapes seen in bandhej are tiny boxes called dabbi, sweetmeats termed laddu and cowrie shells named kori. The tie-dye motifs range from very simple to complex forms including geometric and floral designs. The tie-dye done on fine cotton and silks are used as odhani for women, turban cloth for men and stitched into garments like skirt and bodice. The colourful textile that is considered auspicious is also offered to goddesses on special occasions. rajasthan is also known for its multi-coloured resist dot pattern that is produced by a process called 'lipai'. In this technique, the fabric is first dabbed with various colours according to the design, followed by tying the coloured areas to resist penetration of dye. The tied fabric is finally dyed in order to obtain multi-coloured dots in localized areas on a coloured background. Another category of tied-dyed fabrics which are very popular from rajasthan are lehariya.The patterns are diagonal or zigzag lines created by wrap-resist technique. Fine cotton or silk fabric is diagonally rolled into a tight rope and tied with thread at regular intervals to obtain stripes on dyeing. The fabric may be rolled again and re-tied to resist the existing colour and add another colour in the leheriya pattern. The fabric when opened fully shows diagonal white and varied light coloured lines on a darker background. lehariya fabrics are used as head cloth or safa by men, worn on special occasions like festivals and weddings. The finest bandhej is made in Sikar and Bikaner in Rajasthan. Other production centres for bandhej and leheriya are Jodhpur, udaipur, Barmer and Jaipur. **[Batik]** Batik is an ancient art which uses wax and dyes to create a visual magic on fabrics. It is believed that the term is a derivation from the word \`Ambatik' which when translated literally stands for a piece of cloth with small dots or writing with wax or drawing in broken lines. It is an art appreciated all over the world. A Batik creation involves 3 basic steps -- waxing, dyeing, and scraping ( removing). Overall the process is one where firstly the wax is used for creating designs on certain pre-defined areas on the fabric. Secondly the fabric is dyed and then the wax is removed by scraping or by boiling the cloth so that the wax peels off. The result is a beautiful piece of cloth with some very unconventional designs. **Origin and History** ---------------------- There are varied theories about the place and period of origin of Batik. In India, the roots of Batik can be traced to the 1st century AD. Traditionally, the Khatri community of Gujarat were the only set of artisans for this art. Over a period of time, Batik got relegated to the background in India. However in the 20th century, Batik was introduced as part of the syllabus in the University of Shanti Niketan -- Kolkata. Thereon, the resurgence of Batik began. ### **Present Day Scenario** While initially it was done only on Cotton and Silk, in recent times other fabrics like [**[Georgette]**](https://www.utsavfashion.com/georgette) also are being used. It is believed that the finest Batik designs in India come from the artisans of Cholamandalam near Chennai, Tamilnadu. Batik printing is also done in Gujarat, Rajasthan, Andhra Pradesh, Maharashtra, West Bengal and Madhya Pradesh. While the techniques used have evolved over time and screen printing method is used to create beautiful designs, some artisans also prefer to do the Batik printing by hand. Since the 1980s, it has also caught the fancy of housewives and small scale lady entrepreneurs wherein they have been working with handmade Batik designs. **[Ikat]** The term 'ikat' is derived from the Malay-Indonesian word 'mangikat' that means to bind or knot. It is a yarn resist technique wherein the yarns are tie-dyed, and on weaving a pattern is created on the surface of the fabric. An ikat textile can be identified from the typical hazy patterning on fabric due to the resist dyeing of the yarns prior to weaving. Ikat can be classified into three categories: Single ikat: There are two kinds of single ikat namely warp ikat and weft ikat. as the name suggests, in warp ikat, the warp yarns are tie-dyed and woven with plain solid coloured weft yarns and similarly and in weft ikat, the weft yarns are tie-dyed and woven with plain warp yarns. Double ikat: In double ikat, both warp and weft yarns are tie-dyed according to a pre-determined pattern and then woven to create clear designs on fabric Combined ikat: In combined ikat, both warp and weft yarns are tie dyed but they are present in selected areas of a textile, to create interesting patterns The earliest reference to ikat can be found in the ajanta cave paintings of the 6th century A.D. designs similar to ikat are seen on the dresses of the females portrayed in the murals of Ajanta. There is a mention of double ikat in the couplets of Rani Ranakdevi, Gujarati literature from 11th century ad as well as in the records of european travelers from 16th century A.D. The main production centres of ikat in India are Gujarat, Odisha and Andhra Pradesh. The ikat of each region known by different names can be identified from the motifs and the patterns achieved on weaving the tie-dyed yarns. The ikat textiles of India can be classified into three categories on the basis of region as follows: Patola of Gujarat Bandhas of Odisha Ikat textiles of Andhra Pradesh: Telia rumal and Pochampalli **Patola of Gujarat** The double ikat weaving tradition of gujarat is called 'Patola'. The textile is produced by the weavers of the Salvi community using expensive silk yarns. In the past, Patolas were manufactured in Patan, Khambat, Surat, Porbander, ahmedabad and Baroda in gujarat. However with the passage of time, there are only two families in Patan who continue to practice this craft.The earliest reference to Patola can be visually seen in the ajanta cave murals of 6th century ad. during the 16thand 17thcentury, Patolas were regarded as precious silks by South-east asia and europe, and thus became an important trade item at that time.In India, Patola saris are considered to be auspicious and are thus worn on very special occasions like weddings and festivals.In the past, the textile was also used as temple hangings and offered to the divinity. The process of producing the double ikat Patola fabrics is very time consuming and labour intensive. The design is planned very carefully since both warp and weft yarns are tie-dyed repeatedly in order to introduce more than one colour. after the yarns are tie-dyed, the warp and weft are woven in plain weave. a sari takes nearly one month to weave as the adjustments of the weft yarn to make precise pattern with warp yarns is done with a pointed metal rod after each weft insertion. due to the perfect alignment of the warp and weft, the motifs formed have defined outlines in comparison to the hazy outlines seen in single ikats. Patola textiles use intense colours like bright red, golden yellow, green, dark blue, reddish brown etc. The distinctive Patola motifs are flowers, jewels, elephants, birds and dancing women for the Hindu and Jain communities. The Muslim community restricts themselves to abstract designs. The Patola designs are named as Kunjar Popat Bhat (elephant -- Parrot), Nari Kunjar Popat Bhat (lady -- elephant -- Parrot), Navratan Bhat (Jewel Mosaic), Phool Wali Bhat (Floral), Chabri Bhat (Basket of Flowers) etc. The expensive Patola saris are prized possession of every Indian woman, reserved for ceremonial wear. due to the high cost, the patola sari attracts very limited clientele and also cheap imitations manufactured by ikat weavers of Pochampalli, has affected its sales. Thus the number of artisans practicing the craft has drastically declined over a period of time. **Bandhas of Odisha** The ikat textiles called 'bandhas' are produced in odisha. Mostly, bandhas are single ikats or combined ikats, woven by specific weaver groups like Mehars and Patras. Cotton and silk ikats are manufactured in Cuttack, Nuapatna, Sonepur, Bargarh and Sambalpur.The bandhas of odisha are characterized by curved forms with hazy outlines. The distinct hazy lines are created since only one set of yarns in the fabric are tie-dyed. Mainly weft ikat is done in odisha. Some popular motifs are shankhaor conch shell, swastika, creepers, flowers like lotus, intertwined snake, fish, tortoise and elephant. The bandha weavers of odisha are known for the usage of striking colour combinations and delicate intricate patterns. The ikat saris of odisha are the popular attire of the local women, and are also preferred by the modern women of India. Besides the cotton and silk ikat saris, the other products woven by the weavers are yardage, stoles, scarves and dupattas.a well-known example of the ikat sari from odisha is 'Saktapar' sari. This sari is traditionally the pride of the region, with the double ikat checker board pattern and extra weft brocaded border of rudraksha, bead and fish.The sari is characterized by its typical end piece, pallu comprising of bands of floral and figurative ikat motifs, divided by narrow woven patterned lines. **Telia Rumal** The traditional ikat textile known as Telia rumal is produced in Chirala, a coastal village in Andhra Pradesh. It is a square rumal or handkerchief measuring around one metre square. Since oil (tel) is an important ingredient used in the production of the rumal, the textile is known as telia rumal. Traditionally the telia rumal were produced by the weavers belonging to the Padmasali community. In the early 20thcentury, these double ikat rumals were exported to Middle east, africa and Burma. Within the country, the telia rumal became part of the fishermen's clothing, worn as a turban or as a lower garment called lungi. Traditionally, the commonly used colours for the telia rumal were terracotta red and black, using natural dyes. The fabrics were mordanted with iron solution and alum so that on dyeing with alizarine, areas with iron would become deep black and the ones with alum turned red. The layout of a typical telia rumal comprised of a geometrical grid-like patterning with borders all around, thereby creating small squares at the four corners. In the 19th century, simple geometric designs like crosses, dots and diamond shapes were used in the central field. In the 20th century, simple curvilinear forms like flowers, birds, animals, stars and moon were introduced in order to cater to the export market. Some contemporary pieces of telia rumal have used motifs like clock, gramophone and aeroplane.By the 1950s, the demand for telia rumals declined and the technique was adapted to produce commercially viable products like saris and yardage for apparel and home products. **Pochampalli of Andhra Pradesh** In the early 20th century, the telia rumal weavers introduced the ikat technique to the Devang and Padmasali weavers of Pochampalli, a village near Hyderabad. As the popularity for Pochampalli ikats grew over a period of time, ikat weaving spread to many other villages like Koyalagudam, Puttapakka, Chautupal and elanki. The Pochampalli weavers applied the technique of ikat weaving to saris, dupattas and yardage. Initially the ikat designs were copied from the Patolas of gujarat, but later on the weavers developed geometric motifs of their own, mainly inspired from the telia rumal. The weavers are also influenced by the Japanese and Indonesian ikats. The Pochampalli ikats can be found in a range of colours including magenta, brown, parrot green, bright golden yellow, orange, off-white, black etc. The Ikat weavers of Andhra Pradesh use mainly combined ikat technique to produce very modern and graphic designs mainly for exports. **UNIT III** **Painted and Printed Textiles of India** **Bagru Prints of Rajasthan** **Region**: Bagru is a small village in Rajasthan, which is known for its mud-resist block prints. **Technique**: In Bagru, the printer first processes the raw material which is mainly cotton. Other natural fabrics are silk, cotton and silk blends etc. The fabric is then printed with mordants in paste form. The printing is done by using outline and filling blocks. The prints are then covered with a resisting paste 'dabu' made of clay and gum. It is then dried and dyed in vegetable dye. The mud resist paste is used to resist the penetration of dyes, mainly vegetable dyes on cotton fabric as per the design. After dyeing the fabric is thoroughly washed at the river. The mud resist paste is washed off exposing printed motifs on white background surrounded by the base colour. Hence, the resulting effect of dark and deep background with light coloured prints is achieved by resisting and mordanting. **End use:** The brightly coloured block printed fabrics from Bagru are used for apparel as well as home furnishings such as quilts, bedspreads, cushions etc. **Sanganer Prints of Rajasthan** **Region:** Sanganer on the outskirts of Jaipur is a large centre for printing on fabrics. Many block printing and screen printing units are located here. **Technique:** The technique used by the printers in Sanganer is much simpler than Bagru. The bright vibrant colours are printed on white, off white or light colour background. Firstly the outlines are printed with fine blocks and then varied colours are filled in with a set of blocks. For each colour, a separate block is required. **Motifs:** The motifs seen in Sanganer prints are same as the ones used in Bagru. **End use:** The block printing is done mainly for products such as saris, dupattas, salwar kameezsets, bedcover, curtains, scarves, and yardage for apparel and home. **Kalamkari of Andhra Pradesh** Andhra Pradesh is famous for many of its textile crafts, one of which is Kalamkari, which means 'pen-craft'. This style of printing was practiced in coastal Deccan and many other places Kalamkari, the dye painted and printed exquisite textile symbolically named after the technique of its making, 'kalam/qualam'meaning pen and 'kari' meaning art, has been prevalent in several parts of southern India since ancient times. **Tools:** The main tool used in Kalamkari is an improvised brush known as \'kalam\'. It is made of bamboo stick which has a pointed edge like a pen. Near the tip, a ball of wool or felt is tied. Whenever the kalam is dipped in dye, the ball of wool absorbs the dye which is pressed while drawing. This maintains constant flow of the dye to the tip for continuous drawing. **Dyes:** Natural dyes used in Kalamkari are colours extracted from plants, roots, leaves and similar vegetable matter, combined with minerals like iron, and mordants like alum which help in fixing the colour on to the fabric. For e.g. Yellow colour is derived from myrobalan flowers and pomegranate rind, blue colour is derived from indigo and black from rusted iron fragments. **Technique:** The first step involves preparation of grey cloth which is achieved by soaking the cotton fabric in water for an hour and consequent washing so as to remove the starch which is followed by drying. Next, the fabric is treated with myrobolan solution which gives the cloth a light yellow tone. The outlining of the main theme and figures are then drawn by using ferrous acetate solution prepared by fermenting iron scrap with jaggery. This solution gives black colour. Alum solution is prepared by dissolving alum in water. This is applied wherever red is desired. Combination of blocks and hand painting using \'kalam\', makes Kalamkari fabrics desirable for consumers. The fabric is then dyed with alizarine. The areas painted with ferrous solution turn jet black and the ones painted with alum become bright rust red. Blue colour is applied by mixing indigo solution in an alkaline solution of lime and fuller's earth. To get green color, indigo or ultramarine blue is applied on portions which are already painted in yellow color. **Style and Motifs**: The art of Kalamkari prints characterized by intricate motifs and forms including the tree of life, 'mehrab' pattern, 'jaals', creeper and stylized peacocks. decorative borders were depicted in stylised natural forms with wooden blocks instead of pen. Sometimes pen work was combined with block printing to design elaborate wall hanging and panels with motifs such as Tree of life. Otherwise the blocks patterns were influenced by Persian/Mughal motifs of exotic fruits and flowers, birds and animals, creepers and stylized peacocks etc. Srikalahasti, ruled by Hindu rulers who gave patronage to the painters, was known for depicting scenes from ramayana and Mahabharata on large pieces of fabrics which were used as hangings and canopies in the temples. The scenes were narrative and were depicted in boxes. Underneath each one, a line in Telugu script was painted to describe it. The forms are folk and more imaginative with restricted usage of repeats. Characteristics of this style are usage of solid colors without any shading. Gods like Krishna, Shiva, Parvathi, Brahma, ganesha, durga, Lakshmi, Rama are depicted with rounded faces, long and big expressive eyes and stout figures Women are shown with heavy chins and men are depicted with long moustaches mostly in side profile. **Colours:** Blue, ochre yellow, red and black are the main colours used in Kalamkari. Blue is associated with lord Krishna and also other gods. yellow is used to show female bodies and also gold ornaments in deeper ochre shade. green colour is used to depict lord Hanuman red colour depicts demons and bad characters. **End use:** The fabrics printed at Masulipatnam are used as furnishings such as bedspreads, curtains, table cloths etc apart from apparel like kurtas, saris and dupattas. **Contemporary Scenario:** The craft gained huge popularity between 16thand 19thcenturies. Printed version of Kalamkari became more famous but painted form lost its demand due to changing market preferences, modern techniques, ready availability of chemical dyes and tedious nature of dyeing and painting. Efforts are made to orient the craftspeople to understand the market demands. Apart from cotton, base material like raw silks, chiffon and georgettes etc are also being used now. Motifs have also been contemporized with addition of new natural forms and stylised figures. New colour schemes of pastels, neutrals like brown, beige, maroon etc have been added to the traditional colour story. **UNIT IV** **Hand- Woven Textiles of India** **Banarsi** **Region:** Banarasi brocade saris are from Varanasi/Banaras, a small town in the state of uttar Pradesh. The holy city of Banaras, on the banks of river ganga, is considered to be the oldest city in the world. The brocaded fabrics from Banaras are considered to be one of the finest saris in India and are known for their gold and silver brocade or \'zari\'. These saris are made of finely woven silk, decorated with intricate design. **Technique**: The designs are produced by warp and weft threads of different colours and materials, suitably woven. extra warp/weft or both are woven into the fabric. Pattern is woven with or without attachments like jacquard or dobby attachment or by jala weaving. It can be silk on silk, cotton on cotton, silk on cotton, zari on silk. The brocade designs are made with extra yarns other than the ground threads. These extra or supplementary yarns are usually inserted in weft wise direction in Banaras brocades. When these extra yarns are picked from selvedge to the other end, the yarns appear on the face of the fabric in the design portion and as floats on the back of the fabric in the remaining portion. A very special technique often seen in Banaras is the 'Minakari'. In this technique a motif is woven with an additional colour which stands out and resembles the enamelling in jewellery. The additional coloured yarns are slightly untwisted and hence appear raised. **Motifs:** The most commonly used motifs are: Chrysanthemum buta Keri(paisley) buta Ganga jamuni style (half gold and half silver zari) Ari jhari(diagonal stripes) Latifa buta The designs are extremely fine and delicate. They have a strong Mughal influence. Motifs like intertwining floral and foliage (Jaal), paisley in a creeper (Kalka bel) and hunting scene (shikargahpattern) are often seen. **End use:** These textiles were popular items of export to european countries. Traditionally, banarasi brocades were used during Mughal period as fabrics for royal coats, achkans and jamas. Courts and palaces were adorned with brocade curtains, fabric fans, bolsters and foot stools, upholstered with brocades. Brocade saris, dupattasand dress fabric were worn by women on special occasions, mainly on weddings and festivities. **Baluchari** Baluchari saris are beautiful ornate saris mainly produced in Murshidabad district of West Bengal. Baluchari sari is distinctly different from other saris of India, as it commemorates the Nawab and his wife by depicting them on the palluof the sari. **Technique:** Making of the motifs for palluand other part of Baluchari sari is an intricate process. earlier, Baluchari saris were made on jalalooms which were gradually replaced by the modern jacquard technique. Traditionally the motifs were woven on handlooms, using softly twisted extra weft yarns which used to give a plump, embroidered effect. Zari is not used for extra weft ornamentation Now a days, jacquard attachment is used for weaving patterns on the sari. The design is drawn on a graph paper; it is coloured and punched on the jacquard cards. After punching, these cards are put in order and fixed in the jacquard machine on top of the loom. **Motifs:** The pallu of the Baluchari sari is special as it is divided into niches bordering a square or rectangular space in the center. In each of the niches, a human figure is depicted, normally a king smoking a hookah or a queen with a fan or smelling a flower. A row of three, five or seven ornate paisley (kalkas) are seen in the centre of the pallu, around which niches with human figures are woven The Baluchari saris are often reckoned with the patterning of sun, moon, stars, mythical scenes and motifs of natural objects. The field of the saris is embellished with small butis. Colours like maroon, blue, red and dull dark terracotta were used as the base colour. Ornamentation of butidar Baluchari saris is done with extra weft motifs in off-white, white, yellow and dull orange coloured yarn.These saris were mostly worn by women from upper class and zamindar households in Bengal during festive occasions and weddings. In recent times, scenes from ramayana and Mahabharata are depicted on Baluchari saris as motifs. Colours have become brighter and polychromatic. Zari yarns are also used for ornamentation. **Jamdani** **Region:** The Jamdani saris are from West Bengal. These are sheer, delicate saris woven in Phulia, Nadia and Shantipur villages. These are made in combination of cotton with cotton, cotton with silk and silk with silk. **Technique**: The technique of interlocking the extra weft yarns for creating motifs in the fabric is used in Jamdani saris. These are woven on traditional handlooms. **Motifs:** Floral geometric creepers, paisleys and leeves are the most common motifs in the Jamdani saris Paithani, Paithani Saris region: Paithani saris are woven in Paithan and yevla villages of aurangabad in Maharashtra. Paithani saris are heavy silk saris which are preferred for wedding trousseau and festive wear. technique: The intricate motifs are woven by interlock twill tapestry weaving technique on traditional handlooms. motifs: Bright jewel tones such as emerald green, ruby red and yellow coloured silk yarns were used, however midnight blue coloured saris were most preferred. The interlocking technique created geometric angular forms out of patterns which were floral, paisleys, parrots, peacocks and lotus flowers. The pallu used to have a broad band of zari. At present the pallu band is ornamented with lotuses and peacocks woven in very bright colours. Another motif seen on Paithani saris is the bird (munia) motif Paithani is coveted in India as a precious heirloom passing on from generation to generation. Exquisite silk from Paithani was exported to many countries and was traded in return for gold and precious stones. **Kanjeevaram Saris** **Region**: Kanjeevaram saris hail from the town of Kanchipuram in Tamil Nadu. It is considered to be one of the most expensive saris in the world and thus used for all special occasions. **Technique**: The sari is woven in pure mulberry silk and gold zari on hand operated pit-looms. The colours most commonly used are mustard, deep green, maroon, etc. **Motifs:** The motif imagery is drawn from the nature and forms of temple architecture. Some examples are peacock, parrot, rosary beads, bird's eye, kalash, mythical creatures, temple designs, scenes from ramayana, Mahabharata and Bhagwad gita etc. **Chanderi Saris** **Region:** Chanderi, near gwalior, in Madhya Pradesh is renowned for its woven saris appropriate for summer wear. The craft is practised by muslim ansari weavers. **Technique:** The sari is woven in a blend of cotton and degummed silk. It is diaphanous and is woven in pastel colours with small buties and a narrow gold border. The pallu generally has fine lines in zari yarn. The motifs are very simple. Some examples are gold coin (asharfi), mango, brick (eent) and rosary beads (rudraksha) in the form of small buties. **Maheshwari Saris** **Region:** Maheshwar is a small town near Indore, Madhya Pradesh famous for delicate summer wear woven saris. **Technique:** The sari is woven with cotton weft and silk warp which is dyed on loom. It can be plain, tone on tone with a striped or checked border. It has three decorative bands/ borders of zari on the pallu. The colours are very varied but the most popular are the native haldi kumkum combination (yellow and red) and sabz (vegetable) colours. **Motifs:** The motifs are inspired from the architectural carvings of the Maheshwar's ahilya Fort. The architectural carvings done on the fort walls such as Kangura (chevron) and Chatai (mat) have inspired the patterns for borders of Maheshwari Saris **UNIT V** **Hand- Woven Shawl & Floor Coverings** **Shawl-** **Kashmiri Shawls** Kashmir also known as the paradise on earth is famous across the world for not only its natural beauty but also for the handicrafts made by the artisans. Among the handicraft products, the kashmiri shawls have remained as one of the most cherished acquisitions in the world since centuries. The english word 'Shawl' is derived from Persian word 'Shal', meaning a woven woollen fabric, which is draped across the shoulder to provide protection against the cold. The basic fabric is of the three types - Shah Tush, Pashmina and Raffal. Shah Tush (King of wool) passes through a ring and is also known as Ring shawl. It comes from a rare Tibetan antelope living at a height of over 14000 ft in the wilds of the Himalayas. Pashmina is known world over as cashmere wool, it comes from a special goat (Capra hircus) living at an altitude of 12000 to 14000 ft reared by shephered nomads around famous pongkong lake in close vicinity of western Tibet. Raffal is spun out of marino wool tops and is a popular type of shawl. he shawls are embroidered in floral motifs, various designs available range from Neemdoor, Doordaar, Paladaar, Baildaar, Jaalis and Jammas, with the help of needle. Where as kani shawls are woven on looms with the help of kanis. Kanis are small eyeless bobbins used instead of the shuttle. **Kani Shawl** A **Kani shawl** is a type of [Kashmir shawl](https://en.wikipedia.org/wiki/Kashmir_shawl) originating from the Kanihama area of the [Kashmir valley](https://en.wikipedia.org/wiki/Kashmir_valley). It is one of the oldest handicraft of [Kashmir](https://en.wikipedia.org/wiki/Kashmir). This craft has been a part of the valley since the time of Mughals. The shawls are woven from pashmina yarn. The government of [Jammu and Kashmir](https://en.wikipedia.org/wiki/Jammu_and_Kashmir_(state)) has granted a [geographical indication](https://en.wikipedia.org/wiki/Geographical_indication) to the Kani shawl, making it illegal to sell shawls made outside of the Kanihama area as Kani shawls. **History** Kani weaving is believed to be an art indigenous to Kanihama and traced back to 3000 BC. This exquisite shawl was once coveted by Mughal Kings, Sikh Maharajas and British Aristocrats. The Ain-i-Akbari records that Emperor [Akbar](https://en.wikipedia.org/wiki/Akbar) was an avid collector of Kani shawls. While the name \'Kani\' comes from the area where this particular artisans come from, Kanihama, the word \'Kani\' - in Kashmiri - also means a small wooden oblong spool. **Preparation** Kani Shawls are made from pashmina on a handloom. Instead of a shuttle used in regular pashmina shawls, Kani Shawls use needles made from cane[^\[4\]^](https://en.wikipedia.org/wiki/Kani_Shawl#cite_note-4) or wood.[^\[5\]^](https://en.wikipedia.org/wiki/Kani_Shawl#cite_note-5) The kanis, or small wooden sticks, are used to create the intricate designs of the shawl. Each kani represents one knot in the weave, and the weaver must follow a graph paper design closely to ensure that the design is accurately replicated.[^\[6\]^](https://en.wikipedia.org/wiki/Kani_Shawl#cite_note-6) Only trained craftsmen are knowledgeable enough to weave Kani Shawls properly. The techniques and knowledge have been transferred from forefathers to next generations. It is estimated that of the 10,000-odd kani weavers, only 2,000 are left today.[^\[7\]^](https://en.wikipedia.org/wiki/Kani_Shawl#cite_note-7) An artisan skilled in carpet weaving can easily make a Kani shawl because both crafts involve using color coding, known as [\"Talim,\"](https://en.wikipedia.org/wiki/Talim_(textiles)) to guide the weaving process. While there are some differences in techniques and tools, the fundamental principle of following the color-coded Talim remains the same. However, Kani shawl making is a specialized art form with unique intricacies and challenges, and skilled artisans in this craft produce the most exquisite and authentic Kani shawls, preserving its traditional heritage.[^\[8\]^](https://en.wikipedia.org/wiki/Kani_Shawl#cite_note-8) **Pashmina** Pashmina Shawls are a fine variant of shawls spun from cashmere wools. A cashmere wool itself is obtained from the Changthangi goat (Capra aegagrus hircus) native to the high plateau of Ladakh. Known for its soft features, the Pashmina Shawls himself had been a status symbol not just for the wealthy in Indian but even across the world. In 2019, the Bureau of India Standards (BIS) published an Indian standard for identification, marking and labelling the Pashmina Shawls for its purity. History of Pashmina Shawls -------------------------- Pashmina shawls gained much prominence in the days of the [Mughal Empire](https://byjus.com/free-ias-prep/india-under-the-mughals/) as objects of rank and nobility. Babur first established the practice of giving *khilat -- *giving 'robes of honour' --to members of his court for their devoted service, high achievements or as a mark of royal favour. A *khilat *could be a set of clothes consisting of turban, coat, gown, trousers, shirts etc. A pair of pashmina shawls were an integral part of a *khilat* ceremony. Pahsmina shawls and blankets were indicators of wealth and part of a rich woman's dowry in India, Nepal and Pakistan. These shawls acquired the status of heirlooms that would be inherited instead of being purchased as it was considered too expensive to buy. Through extensive trade with Indian, the shawls made their way to Europe where they became an almost instant hit. ### How is the Pashmina Shawl produced? Every winter the goats from whom pashmina is acquired shed their coat. About 80-170 grams of wool is shed. In the spring the undercoat is shed, which is collected by combing the goat instead of shearing them as is the case with other wool collection activities. The pashmina wool is produced by the people known as the Changpa, a nomadic people who inhabit the Ladakh region. The Changpa rear sheep in a harsh climate where temperature drops to −40 °C. Raw pashmina is exported to Kashmir where the combing, spinning, weaving and finishing are traditionally carried out by hand by a specialised team of craftsmen and women. The major production centre of pashmina shawls is in the old district of Srinagar. It takes about 180 hours to produce a single piece of pashmina shawl. **ShahTush**  *Shahtush*---the "king of wools" in Persian---a very expensive, ultrasoft, ultrawarm wool that is almost always illegal to import, trade, or even own. Shahtoosh comes from the short, warm fleece of the rare Tibetan antelope, a species found almost exclusively in the Changtang area of Tibet. It takes four animals to provide enough wool for just one shahtush shawl or scarf. Because the antelope are wild animals that can't be domesticated and shorn, the only way to get the wool is to kill them and strip it from their carcasses. Smugglers then sneak the raw wool into India, where artisans in Kashmir weave it into neck-warming scarf. Global demand for shahtush wiped out 90 percent of the Tibetan antelope population during the previous century. Once a valued dowry item in India, shahtushes are now sought primarily by Westerners, who may pay as much as \$20,000 for a single shawl of the right size, color, and design. The origin of shahtush long was shrouded in rumor. One common myth was that it came from the down of a "Siberian goose." Another was that the Tibetan antelope naturally shed its wool, and those hair clumps were then gathered up by nomads. Yet researchers have learned a lot about what goes into the shahtush trade, and they've seen the carnage from poaching. **Raffal** The origin of Raffal shawls can be traced back thousands of years to the ancient times of Central Asia. It is said that the art of making these shawls was brought to Kashmir by Persian artisans during the reign of Emperor Akbar. Over the years, this art form evolved and became an integral part of the Kashmiri culture. Raffal shawls are made using the finest quality Pashmina wool, which is derived from the underbelly of a specific breed of goats found in the high-altitude regions of Ladakh and Tibet. The wool is known for its softness, warmth, and durability, making it ideal for creating these luxurious shawls. The Making of Raffal Shawls --------------------------- The process of making Raffal shawls is a labor-intensive and time-consuming one. It involves several stages, each requiring skill and precision. ### 1. Shearing of the Wool: The first step in the process is the shearing of the wool from the goats. This is done in the spring season when the goats naturally shed their winter coat. The wool is collected and carefully sorted according to its quality and color. ### 2. Cleaning and Washing: After the wool is collected, it is thoroughly cleaned and washed to remove any impurities or dirt. This is done using a combination of natural products and pure spring water, ensuring that the wool remains soft and free from any chemicals. ### 3. Spinning: Once the wool is clean and dry, it is hand-spun using a traditional spinning wheel. This process requires great skill and precision as the spun yarn needs to be of consistent thickness and quality. ### 4. Dyeing: The next step is dyeing the yarn to achieve the desired colors. Natural dyes are used, which are derived from plants, fruits, and minerals. The colors obtained are vibrant and long-lasting, adding to the beauty of the shawls. ### 5. Weaving: The most intricate and time-consuming part of the process is the weaving of the shawls. Skilled artisans use traditional handlooms to create exquisite patterns and designs. The weaving is done with great care and attention to detail, ensuring that the shawls are of the highest quality. ### 6. Embroidery and Finishing: Once the weaving is complete, the shawls may undergo further embellishment in the form of delicate embroidery. This is done using special needles and threads, and the designs range from intricate floral patterns to traditional motifs. After the embroidery, the shawls are carefully washed and finished, ready to be worn or displayed. The Significance of Raffal Shawls --------------------------------- Raffal shawls hold a special place in the hearts of Kashmiris and are considered a symbol of luxury and elegance. They are often passed down from one generation to another, becoming family heirlooms. These shawls not only provide warmth and comfort but also serve as a mark of cultural identity. Each Raffal shawl tells a story through its intricate designs and patterns. The motifs used often depict the flora and fauna of Kashmir, showcasing the region\'s natural beauty. These shawls are not just a fashion accessory but a work of art that represents the rich tapestry of Kashmiri culture. Preserving the Tradition ------------------------ Despite the challenges faced by the artisans, the tradition of making Raffal shawls continues to thrive in Kashmir. Efforts are being made to promote and preserve this ancient art form, as it not only supports the local economy but also helps in keeping the cultural heritage alive. Many organizations and cooperatives have been established to provide training and employment opportunities to the artisans. The government has also taken initiatives to protect the intellectual property rights of the artisans and ensure that the unique craftsmanship of Raffal shawls is not replicated elsewhere. **Kullu&Kinnaur Shawls** Kullu and Kinnaur in Himachal Pradesh are also known for good quality woollen shawls. The traditional colours used for the base of the shawls are red, maroon, black, brown and off-white. Bright colours are inserted in extra weft on borders of the shawl. geometric motifs inspired from nature are made into beautiful colourful borders. Kinnauri shawls are known for their labour intensive skilful weaving. These shawls are heavily embellished with motifs and are treasured by the women of Himachal Pradesh. These are draped by the women in two peculiar ways. Heavy silver jewellery is then worn along with it to give it a festive look **Wraps of North- East** North eastern India comprises of both tribal and non-tribal population. The seven North east Indian states are popularly known as seven sisters, comprising of Assam, Arunachal Pradesh, Nagaland, Mizoram, Manipur, Tripura and Meghalaya. Textile weaving is done by women in each of these states. There are more than 38 tribes in North east of India, and each of them have their own distinctive design, colour combination and a different design for special occasions. The design and colour, which varies not only between the tribes but also sometimes between clans of the same tribe and between different villages, records the wearer's position in society. Shawls and wraps were originally made of cotton and the use of wool came much later. The colors used were mainly black, dark blue, red and yellow. The textile weaving is exclusively a female occupation in this part of the country. For domestic consumption a back strap portable loom is used by the female weavers. Fabrics from Assam include the hand-woven fabrics of cotton, muga, pat (mulberry silk) and eri (wild silk). Muga has a natural golden texture, it is mildly warm and particularly suited for winters. Textiles include bedspreads, furnishing material, mekhala-chaddars, rihas (traditional garments used by the women), gamosas, shawls and saris. The patterns generally involve animals, human figures, flowers, birds and diamonds. The designs in Assam are symbolic of the different tribes and ethnic groups of the region. **Floor Coverings** **Carpets** Carpets(floor Coverings) A carpet is a textile floor covering which consists of an upper layer of \'pile\' which is attached to a backing. The pile is either made from wool or a manmade fibre such as nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. Carpets can be from wall to wall or smaller in size such as area rugs. The knotted pile carpet are said to have originated in the 3rd or 2nd millennium BC in West Asia, or the Armenian Highland. Carpet weaving in India can be traced to the beginning of the Mughal empire wherein under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Akbar, a Mughal emperor, introduced the art of carpet weaving to India, during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. The carpets woven in India showed the classic Persian style of fine knotting. The Indian carpets are known for their designs with attention to detail and presentation of realistic attributes. In India, carpet industry uses wool, silk, acrylic and Jute. Types of Carpet Woven Carpets Needle felt Carpets Knotted Carpets Hand tufted Carpets **Namdas** Namdas are felted rugs that are made by enmeshing wool fibers with water, soap and pressure and then embroidering the resultant fabric. These are extensively used in Kashmiri households as an effective and inexpensive floor covering and mattress. The woolen rugs, **namdas and gabbas are made of wool to provide warmth to the occupants**. Today it has become famous a handicraft of Kashmir and there are people from around the world who would love to just possess it as an item of home décor. Felting the wool rather than weaving it, makes the most striking characteristic of this craft. **Low quality wool mixed with a small quantity of cotton is used to manufacture namdas**. They are usually of two types, plain and embroidered.  **Durries and Rugs** A durrie is a thick flat-woven rug used traditionally as a floor-covering. They come in variety of colours and patterns and have low maintenance cost as they do not get infected by Silverfish or other insects responsible for destroying carpets. Woven durries are produced in Jodhpur, Hoshiarpur, Bhatinda and Warangal in India**.** durries can be used year round, as the cotton durrie is warm in winters and cool in summers. The use of a durrie depends on the size, pattern and material. durries are used in large political or social gatherings as well as in schools in rural areas as they are easily portable being light weight and foldable. generally the material used for durries are cotton, wool, silk and jute. A rug is a pile-less, woven textile floor covering that is made from various materials like linen, wool, cotton, jute etc. Cut shuttle and chenille rugs are made for the higher end of domestic or international market. In India these rugs are made with mainly recycled material which is used as weft. Panipat, Meerut and Bijnore are big production centers of rugs.