Different Designs Of Jamdani Sarees

 

The dominant feature of the jamdani is its magnificent design which is said to be of Persian origin. The method of weaving is akin to tapestry work in which small shuttles of coloured, gold or silver threads, are passed through the weft. Of classic beauty, the jamdani effectively combines intricacy of design surface of a sari is scattered with floral sprays of great delicacy. When the ground is covered with superb diagonally striped floral sprays, the sari is called “Tercha”. The anchal is usually decorated with bold corner motifs, it is known as a jhalar. The most prized design is the panna hazaar (thousand emeralds) in which the floral pattern is highlighted with flowers interlaced like jewels in gold and silver thread. The kalka, whose evolution may be traced to the painted manuscripts of the Mughals, has become one of the most widely used motifs in the region. Artisans and designers have altered its shape in innumerable ways, keeping within the tectonic form of the kalka's linear and floral characteristics. The traditional nilambari, dyed with indigo, or designs such as “Toradar” preserved in weaving families over generations are now being reproduced. Other jamdani patterns are known as phulwar, usually worked on pure black, blue black, grey or off-white background colours, these and many other delicate motifs, denoted by the indigenous names of different flowers, reflect the versatile genius of the jamdani  weaver.


It is estimated that the production is carried out in over 200 villages in Demra, Rupganj, Sonargaon and Siddhirganj districts in Dhaka. An incredible continuity is visible in production techniques and use of equipment. The main visible change today is that yarn is no longer spun by women in their village homes, but is imported and sold at large yarn markets which are located near the weaving centres. A visit to any weaving village will find women, men and children involved in different stages of the process. Outside the village hut, women are to be seen rolling the yarn onto spindles and preparing shuttles, while nearby, men wind the yarn onto drums, and then prepare the warp across bamboo sticks, the length generally being equal to that of six saris. For jamdani weaving a very elementary pit loom is used and the work is carried on by the weaver, the ostad, and his apprentice, shagrid. The latter works under instruction for each pick, weaving his needle made from, buffalo horn or tamarind wood to embroider the floral sequence. With a remarkable deftness, the weft yarn is woven into the warp in the background colour from one weaver to the other. The motifs “Butis” across the warp, the borders par and end piece anchal are woven by using separate bobbins of yarn for each colour. The fine bobbins are made from tamarind wood or bamboo. After completion the cloth is washed and starched. It is then ready to be taken to the local hat or informal market, or reserved for the retail trader who has paid an advance.