IMPORTANCE OF COLOR
Color plays a vital part in weaving a brocade. The charm and subtle beauty of the brocade depends upon color synchronization. Colors are surcharged with nuances of mood and poetic association in fabrics and weaving as much as in painting.
Red - the color of love. The three tones of red evoke the three states of love.
Yellow - is the color of vasant (spring), of young blossoms, southern winds and swarms of bees.
Nila (indigo) - the color of Lord Krishna who is likened to a rain-filled cloud.
Hari nila - the color of water in which the sky is reflected.
Gerwa (saffron) - the color of the earth and of the yogi the wandering minstrel, the seer, the poet who renounces the world.
Earlier, vegetable dyes were used during weaving. These produced fast colors, lasted for almost a generation, and remained as beautiful and vivid as ever. Nowadays aniline dyes have gained popularity as they are cheaper, less time-consuming and produce a larger variety of colors.
MAKING NAKSHAS (DESIGNS) ON BROCADES
Making of nakshas (designs) forms an important part of brocade weaving. Banaras is the main center where the nakshabandha (designer) tradition prevails. The skill and imagination of nakshabandha plays a prominent part in making of designs. Designs are associated with legends and symbolism. The most popular motifs are drawn from nature.
In Banaras, it is said that nakshabandha families were brought to this country during the reign of Muhammed Tughlak (1325-1350 A.D.). They were supreme masters of the art of tying designs into the loom. Local artisans and weavers learned this art from these great craftsmen.
Some of these craftsmen were also great poets-perhaps they wove their poetry into their designs. One such renowned poet was Ghias-I-Naqsband, mentioned in Abul Fazl's 'Ain-I-Akbari'.
The nakshas are first worked on paper. This part of the work is called likhai (writing). The nakshabandha then makes a little pattern of it in a framework of cotton threads like a graph. This pattern gives guidance to the working of that design into weaving.
CHANGES IN DESIGNS THROUGH THE CENTURIES
Designs and motifs have undergone changes gradually and imperceptibly. These changes can be traced through paintings made during different periods. Ajanta and Bagh murals show the existence of different techniques of designs and textiles. During the Gupta period (14th century A.D.). popular designs were formal floral motifs or scrolls entwined with hansas or sinhas -bird and animal depictions.
In the 16th century, the old designs were replaced by Persian floral motifs. Akbari paintings show half-blooming flowers, the Jehangir period, full-blown blossom and the Shahjehan period, tiny blossoms with emphasis on the leaves. In the 19th century, with the advent of British rule, there was a drastic change in designs. Some brocades started depicting English wallpaper designs to suit the tastes of the British rulers.
CURRENT SCENARIO
Today brocades are still used by some for curtains and upholstery. Brocaded zari saris and lehengas (long skirts) are still in demand for marriages, religious ceremonies and other auspicious and social occasions. Indian brocades are also in great demand abroad and foreign designers are fashioning garments of this material that lends itself so well to the creation of fantasies.
Looking back a hundred years, one is amazed to find that in spite of rapid industrialization, most of the age-old centers of handloom textiles still continue to produce beautifully woven fabrics. The main centers besides Banaras are Ahmedabad and Surat where saris of the finest silk, gauze and gold with lively color schemes are woven. Murshidabad in Bengal was a reputed center for kimkhab during the 19th century. Paithan and Aurangabad are other centers of brocade manufacture. In the south, Triuchirapalli and Tanjore produce a variety of kimkhabs known as gulbadan in which gold wire is used profusely.
Brocade weaving, a craft that was on the decline, is again showing a very promising trend. Most of the credit for this goes to the village handloom weavers, designers and dyers who, with their combined efforts, have kept alive our tradition of weaving.
SHOPPING FOR BROCADES
WHAT TO LOOK FOR
Besides the traditional Indian dresses like the sari, lehanga or ghagra (long skirts), cholis, (blouse) coats and jackets, one can buy brocade bags, purses, cushion covers, and wall hangings. Brocade borders are also available. They can be used imaginatively to design clothes, cushions, scarves etc. Brocade is also sold by the yard. The heavier variety can be used for drapes and upholstery.
WHERE TO BUY
The most dependable outlets are those listed and certified by CraftsInIndia. Government outlets are also fine in so far as dependability is concerned but the range , variety and service is usually indifferent to poor.
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