Diana l. ECK once goldenly spoke about the aura of Banaras and righteously said- “The city illuminates truth and reveals reality. It does not bring new wonders into the scope of vision but enables one to see what is already there. Where this eternal light intersects the earth, it is known as Kashi”.
The traditions and the alluring art of Kashi seems to bind the visitors with the extraordinary vision or idea of perfectionism.
while speaking of the ‘alluring art’, once cannot forget the incredible textile heritage of the subcontinent. Banaras makes sure to stand at its zenith. The slow, artisanal, luxurious handloom traditions of Banaras, with its gossamer muslin and rich silk fabrics, flourished even in the Vedic times. The Rig Veda mentions the 'hiranya', a woven gold cloth used as jewellery, and early Pali texts mention weavers and their guilds.
Historical evidences portray that weaving in Banaras reached its commendable heights during the Mughal period under the patronage of Akbar. Since then, the subcontinent saw an uninterrupted display of hand-woven splendour which included zari and brocades. It is observable that in the 16th century, the old Vedic influence on designs came to an abrupt end and paintings and documentation indicate that new Mughal motifs were introduced. There was emphasis on Persian motifs with floral and fruit designs. During this period, the making of brocades often involved an intimate relationship with the couturier, from thread to garment. The intensive weaving process and impeccable craftsmanship of warp and weft resulted in textiles that were precious and therefore worn only on important and ceremonial occasions. Zari, or real gold and silver thread, was often used to add lustre to the fabric, and the result was sheer decadence. It was a gorgeous portrayal of civilisational art.
However, the description about the silk industry of Banaras from the ancient and Mughal periods is not complete and therefore raises doubts about the silk industry of the city. With regard to the Banaras Zari and Brokate, the first well recorded description was made by several British travelers to Banaras during the British rule in India. George Viscount Valentia provided some interesting information about Banaras textiles in his travelouge in the early 19th century. Valentia held a durbar in Banaras; some textile merchants also attended the durbar and displayed some very good examples of zari and brocades. Valentia notes that the brocades showed tight patterns and were quite expensive, so they were worn only on important occasions. Valentia rightly noted that the prosperity of the people of Banaras was mainly based on the manufacture and trade of brocades and zari, as these textiles were popular exports to Europe. The description of Valentia not only provided the historical existence of the silk industry of Banaras but also explained how the socio-economic aspect of the people is affected by the textile industry during this period. The historical evidence of post-Mughal period clearly proves the existence and importance of Banaras silk industry in contemporary history.
Handwoven Textiles remain entrenched in the soul of the city even today and a trip to Banaras isn’t complete without an immersion into the multi outlets of weavers and saree stores. Whether it is a sophisticated ‘Rangkat’, a crossover of yarns with gilded colour blocking, an elegant diaphanous muslin Jamdani, a gold zari Brocade, a resplendent golden dream of a Khimkhwab or a rich depiction of hunting scenes on a Shikargah, the textiles simply enthral and tantalize with their artisanal magnificence and storytelling.
All 96 metres and inspired by the traditional shikargah or hunting motif often depicted in paintings, carpets and textiles from the Mughal period, the way the animals have been woven around the skirt is as if they are in dynamic motion.
Recurring motifs of elephants, tigers, lions, deer, parrots, horses, cows, camels and birds may be woven in the naksha look and bordered with foliage motifs. When made, the ghaghra was too heavy and had to be divided into two ghaghras, one for each of the Bharatpur princesses.
Today, although the craft is threatened by the introduction of the electric loom, a hand-woven Banarasi fabric’s magnificence remains unequalled and unparalleled like few other textiles.
Banarasi art and culture has embroidered itself unto the hearts of the people similar to how, a dhaaga is sewed into a loom.
The different hues of banaras mould itself into something which the mightiest poets fail to put into words, such is the artistry of Kashi, the land of culture.
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