Introduction
In a world full of trends, choose a classic!
A saree becomes special when it is handed down from one generation to another, weaving love & memories.
The vibrancy and admiration of Benarasi saree need no introduction. It has always found its unique admiration in the trousseau of a lady and has been as much a fashion statement as an obeisance to tradition. Its glory has rung the bells of all the couture of fashion aficionados—from big-ticket to celebrities in India to fashionistas in Europe.
The ‘city of temples’, the ‘holy city of India’, ‘the city of lights’, or ‘the cultural capital of India’—it has been bestowed numerous names. But, apart from it being the undeniable apex of the Indian religious cosmos, it’s lineage, and grandeur, the city of Banaras also is a remarkable source of premium sarees. Banaras is not merely a city that beholds multiple things at once, it is the emotion that brings people together.
As a child, I remember being utterly besotted by the richness of the silk saree. Since then, I have fallen in love a thousand times. Benarasi silk saree is known for its extremely finesse, softness, gleam, super easy to drape yet grandeur and luxurious look. The breathtaking Benarasi opulence never ceases to amaze.
I love katan silk sarees hand woven in the wondrous and timeless fashion that only Banaras knows! Although I am not a big fan of a lot of zari, I love the ornate borders and the enduring allure of these sumptuous heirlooms. It is the kind of luxurious masterpiece that in my opinion even the biggest couture houses can’t top.
Benarasi (or Banarasi) is a generic name for sarees from Varanasi. What we commonly refer to is actually called Benarasi Brocade saree. There are various distinct saree names, like Brocade, Jamdani, Tissue, Jamawar Tanchoi, Jangla, Shikargah for sarees made in Banaras. Each type is defined by the quality and weight of the silk yarn, the gold yarn and the overall design of the saree. Benarasi textile common vocabulary includes names like Katan, Kadhua, Jangla, Alfi, and many more …..
I found myself mesmerized by the grandiosity of it all. Galaxy of design patterns, quality and distinctive names make Benarasi stand out among all the other weaves in Indian textile. Besides the beauty and elegance of this unmatched work of weaving, these sarees also possess traditional importance in India.
As Benarasi sarees straddles tradition and innovation … pushing boundaries of their craft repertoire, this blog attempts to demystify the Benarasi sarees, based on its fabric, weaving techniques and various design patterns woven.
Traditional, rich heritage and timeless fashion that only Banaras knows.
History & Culture
Celebrate the beauty of oneness!!
Firmly rooted in Banaras, this ancient melting pot of culture, tradition and history is also an age-old center of philosophy, theosophy, medicine and learning. The name of this ancient city is also famous with some ofthe oldest temples, most exquisite pans (betel leaf), finest fabrics & various ghats situated on the river Ganga. Banaras is synonymous for its legendary delectable street food.
People usually visit Varanasi out of belief, out of doubt or out of curiosity and the city has always served to convert those beliefs into doubts, those doubts into beliefs and the curiosities into indifference. Situated by the banks of River Ganga, the city gets its name from the river’s two tributaries ‘Varuna’ flowing north of the city and ‘Asi’(or Assi) now barely a stream flowing in the south part of the city near Assi Ghat. Other well-known names of this city are ‘Benaras’ and ‘Kashi‘. The word Kashi is derived from the Sanskrit root word kaś- which means ‘to shine’, the reason why it is also referred as the City of Light.
One of the ancient names of the city is Kashi, from nearly 3000 years ago. Sanskrit word, Kash, translating to “to shine, to look brilliant or beautiful”. Carrying forward the basis of this foundation, the city is also called the ‘City of Light, which illuminates liberation’ – ‘moksha’ – Varanasi is another ancient name with its origin dating back to the Buddhist Jatakas tales and the Mahabharata. Varanasi was the name given to the sacred city as part of the independent India
Banaras in the first millennium BC, rose to the status of an important center of art, culture and education. But, apart from it being the undeniable apex of the Indian religious cosmos, it’s lineage, and grandeur, the city of Banaras also is a remarkable & important center of weaving. In 5th and 6th century BC exquisitely woven cotton fabrics from Kashi became the most sought after commodity all over the world. In the ancient time, Banaras was famous for the weaving of cotton saree, & fabrics but slowly switched over to silk weaving, during the Mughal period around 14th century weaving of brocades with intricate designs using gold & Silver threads was the specialty of Banaras. Silk weavers from Gujarat migrated to Kashi in the 17th century after a famine in 1603. Development of brocade and zari work in the city saw new heights during Mughal period, especially in the reign of emperors such as Akbar. What we see today is amalgamation of Mughal & Hindu – motifs, technique with Indian style of weaving was created confluence of Hindu and Mughal aesthetics.
The city has seen many changes in preferences of colors, patterns, motifs, borders and styles over the years. Between 350 AD to 500 AD floral patterns, animal and bird depictions gained popularity. By the 13th century ‘Bootidar’ designs were excessively in demand. Banaras was a thriving sector of cotton textile industries in the sixteenth century. Having witnessed centuries of handmade textile tradition, the city has seen many changes in preferences of colors, patterns, motifs, borders and styles over the years. Between 350 AD to 500 AD floral patterns, animal and bird depictions gained popularity. By the 13th century ‘Bootidar’ designs were excessively in demand. Banaras was a thriving sector of cotton textile industries in the sixteenth century. With the advent of Mughals & following cultural concoction in the 16th century, patterns like florals and ‘Jali’ or ‘Jaal’ came in vogue, giving a new flavor to Indian fashion trends. Soon in the 19th century, Indian designs started showing a close resemblance to Victorian style wall papers and Geometrical patterns (a carry forward off the Mughal Lattice work). The Benarasi silk saree gained prominence only during the 19th century CE. A single look at the motifs will give you an idea about how complex and varied the influences have been. In fact, weaves have developed a hierarchy within them that makes this specialization possible.
Like old wine in new bottles, the real Zari and Brocade Benarasi sarees that are a specialty of the city have reinvented themselves with every era without losing out on their original charm. Jacquard technique also went through a variety of changes during Italian Renaissance along with Chinese, Indian and Persian influences in motifs over time.
Benarasi silk sarees are produced in cottage industries known as karkhanas, scattered in districts around Varanasi. The artisans colloquially referred to as karigars, traditionally weaved the brocades on a drawloom known as ‘jalla’ and the entire supplementary design on the silk was done by hand, with heddles called ‘naksh’. During the 19th century, jalla drawlooms were replaced with a jacquard mechanism, which was simpler to operate.
Handloom silk industry of the region around Varanasi encompassing Gorakhpur, Mirzapur, Chandauli, Bhadohi, Jaunpur and Azamgarh districts. Only brocade made in the six identified districts of state of Uttar Pradesh namely Varanasi, Mirzapur, Chandauli, Bhadohi, Jaunpur and Azamgarh districts, can be legally sold as Banaras brocade.
Due to the distinct motifs of each karkhana, Benarasi silk sarees have been ordained with various forms within the form. Each cluster of karkhana has recognizable minute decorations, while other variations in weaving processes also occur and lead to variations with style and finesse. Despite the temptation of power looms and bringing in a lot of innovations into their weave these karigars are keeping the art of hand-woven Benarasi thriving.
“Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together.” – Mark Twain.
Fabrics
The fabric that straddles tradition and innovation.
In the city as old as time, with a weaving tradition that is equally historic, Benarasi sarees have kept abreast with changing tastes and embolden women with their ever elegant finesse. Embedded so deep in the culture and conscience that an occasion in her life may never feel complete without one. These are highly sought after varieties of sarees and historically known to be one of the finest sarees in India. These sarees are known for their gold and silver brocade work, fine silk and rich embroidery. These are decorated with elaborate engravings and thus very heavy.
The Benarasi saree is categorized into distinctive varieties based on fabrics, namely pure silk (Katan), Organza (Kora) with zari and silk, Khaddi Georgette & Shattir. Amongst these, the Katan silk is the most preferred one by the Indian brides.
Katan (Pure silk)
Katan silk is also mostly used for the warp of light fabrics.
Kora Organza with Zari and Silk
The designs may be regular or irregular based on which end appearance of fabrics varies.
Khaddi Georgette
Shattir (Shahteer)
Shattir fabrics are used in creating exclusive and modernized Benarasi sarees. Shattir is another fabric which is used in creating exclusive and contemporary designs of Benarasi saree. With a wonderful precision and geometry shahteer Leheriya in a chevron pattern looks chic.
With growing popularity and demand for Benarasi, now Tussar silk, Satin, crêpe, Muga Silk and Cotton-Silk (Sico) fabrics are also used in weaving Benarasi sarees. While some fabrics may visually appear to be the same, the feel, fall and drape of almost every fabric differs from one another. For instance – Katan Silk sarees have a more defined drape as compared to the figure hugging drape of Benarasi Georgette sarees.
Weaving Techniques
The best style statement is when you are being simply you.
The scope and spectrum of weaving techniques within the Benarasi school of weave create a plethora of styles …..derivatives of the classic and the interplay of conventional patterns. The names of the Benarasi sarees are kept as per the weaving techniques and design patterns woven in them.
The distinct weaving techniques in Benarasi sarees can be categorized into Brocade (Khinkhwab), Minakari (Alfi & Tilfi), Interlocking (Kadiyal) and Jamdani. On the basis of the design in the weaving process, Banarasi Brocades are further classified into categories like Kadhuan, Cutwork (Phekwa), Tanchoi, Tissue, & Vaskat.
Brocade is an elegant, heavy silk fabric with a floral or figured pattern woven with additional zari or silk weft yarn going back and forth across the motif only. This creates a satin effect over the motifs. Brocades are ornate, rich woven fabrics. The pattern is usually emphasized by contrasting yarns. In India, Banaras (Varanasi) has been known for its exquisite brocades. In Benarasi Brocade is an opulent work of art featuring heavy gold and silver zari twilled in silk threads with the underlying cloth almost invisible. Gold and silver brocades, referred to as kinkhab or kamkhwab. – ‘kin’ means gold and ‘khwab’ means dream – a ‘golden dream’. & ‘little’ (kam) ‘dream’ (khab) – a ‘little dream’.
BROCADE Technique
Brocade is the most visible specialty of Banaras fabric. It is a characteristic weave in which patterns are created by thrusting the Zari threads (pure form of Zari is a thread drawn out of real gold) between warps at calculated intervals so as to evolve the design/buti line by line. In Benarasi sarees the term generally refers to the richly patterned fabrics woven in silk, together with decorative gold or silver threads. A Benarasi brocade is made using Mulberry silk that gives it a characteristic satiny look and luster. Brocade is synonymous with lovely zari work, which gives it a metallic visual effect. Brocades are produced by layers of extra weft yarn, varying from three to seven layers.
Brocades are essentially of two kinds. The continuous Brocade, also known as Fekuan (फेकुआं), in weaving lingo or the discontinuous Brocade or the Kadhuan (कढुआं).
Kadwa (Kadua/Kadhuan) Weave
Kadwa (also pronounced as ‘Kadhua’ or ‘Kaduan’ or ‘Kadhawa’) is an exclusive technique of handloom weaving in Varanasi region, and it is almost impossible to be imitated on power looms. In the elaborate and laborious Kadwa weaving, each motif is woven separately as opposed to other Benarasi handloom sarees (also known as ‘Phekwa’ or cutwork saree). In Kadwa sarees, It is typically an embroidery-like technique of weaving, painstakingly done on a handloom, there are no loose threads at the back of the fabric and hence, no cutting is required. Using this technique, many different motifs of different sizes, colors and textures can be woven on the same saree, each motif is woven separately. Threads used to weave are turned manually at the edge of the motif to continue weaving. Hence Kadwa woven sarees cannot be mass produced. While this takes longer on the handloom, it makes a more robust pattern, which stands out on the fabric. The Intricacy of the gold and silver zari criss cross floral kadwa brocade adds exquisite luminance to the Benarasi Silk Saree.
The most sophisticated and intricate of handloom weaving, suave Kadwa weave is a hallmark of Benarasi weaving.
Phekwa (Cutwork/Fekuan) Weave
In the Phekwa brocade, the extra weft runs end-to-end weaving motifs across the width of the fabric. This can be done with silk yarn or zari or both wound around shuttles. This technique is used in satin or silk with almost reversible textures called hunar.
If the motifs cover only a small area on the fabric, there are often floating extra weft on the back which are then diligently and carefully clipped off. This is often referred to as Cutwork or Katruan (कतरुआं).
Cut work is the less labor intensive version of the Jamdani variety. Cut work sarees are made using warp threads with cotton and regular weft to create extravagant embossed designs (Naqsha). Fauna motifs are common in the form of leaves and flowers jasmine and marigold. Patterns are made to run by letting it hang loosely between two motifs and the extra-thread is then cut manually, giving the effect of a sublime style.
Ektara
Ektara or single Taar is an equivalent to needle point work and craftsmanship with an age-old, highly sophisticated multi warp heddle shaft or Gethua and five treadle or panache kadhi technique in the pit loom. The base fabric formed is an almost mesh like texture. The woven saree is the finest, sheerest and has gossamer-like decadence. An impeccable ektara woven finest Jamdani strikes the perfect note of elegance & refined luxury.
Tanchoi
Tanchoi is a subset of Brocades and it requires only silk yarn as raw material. Tanchoi is a weaving technique that involves a single or double warp and multiple (usually two to five) colored wefts, often of the same or very close shades. It produces a self-design, an all over brocade, which covers the fabric and ensures that there is no float on the back. It is famed for the intricate and small weaving patterns all over the fabric. The design on Tanchoi is engraved in the fabric as motifs are created using primary weft threads itself.
In Varanasi, Tanchoi is produced in zari decorated all over using different motifs and designs and not just Mogul motifs. An interpretation of the term here is ‘tan-chhai’, meaning evoking a pattern which covers the field or the body. Tanchoi sarees make use of the gold or silver thread, zari, to create more glorious designs and are commonly worn for wedding ceremonies. Colorful motifs and patterns are created using extra weft. This technique is used to create the famous jamevar and chevron patterns.
Amni brocades where all brocade work is only in silk — no zari. The pure silk weft yarn lends a richness and lustre to the fabric quite different to that of the zari (Amru, also referred to as Hemaru. ) brocades. These are amni brocades (silk thread brocades) with more colored weft yarns being added to create stunning effects. The pure silk Jamawar can be termed as Amni brocades. The characteristic feature of which was paisley motif, often elaborated into a maze which would look kaleidoscopic in character.
Tissue
The renowned Zari brocade weavers of Banaras have evolved a technique of weaving with silk as warp and gold or silver Zari running as weft with combination of Zari and silk in extra weft. By running Zari in weft, a combination of Zari and silk in extra-weft (pattern thread) and silk in warp, this pairing produces a fabric that is translucent and shimmering in its appearance; a popular choice for wedding veils.
Tarbana Tissue sarees are most popular as wedding sarees among the affluent. Tissue saree has a glazed, shining character due to the use of real gold Zari/Silver Zari in weft on silk warp ground are ornamented with the particulars traditional designs. Heavy patterns are featured, for instance, golden lotuses floating in a shimmering pond. The panels and borders consist of diamond shaped patterns enclosed within a running border which is generally woven in the Paisley motif.
Vasket (Or Vaskat)
An extravagant piece with a rich web of zari and traditional, time honored patterns woven with stunning zari work created using a supplemental zari weft throughout the body of the saree is a classic Vasket technique. A beautiful web of zari all over the base saree and a rich border and pallu, Vasket Benarasi Katan Silk Jaal sarees are soft as butter. With its rich floral web of zari, this regal saree is truly representative of the royal clothing traditions of India.
Classic handwoven Benarasi zari Vasket art passed down through generations.
MINAKARI
With the splendid inspiration from the pieta dura inlay work of Mughal monuments and enameling on ancient Indian jewelry, the fine enamel-like colored Resham design emerged as an art called Minakari. Minakari involves the painstaking addition of supplementary colored Resham (silk) threads during the hand-weaving process. This adds different colors to the pattern apart from the zari. Minakari can be done both in the Kadwa or the cutwork style.
This design technique is used to enhance the miniature motifs and minute figurines in textiles.
KADIYAL
The Kadiyal technique helps achieve a border in a sharply contrasting color to the rest of the body of the garment, a feat in itself in handloom weaving. The base fabric is with a technique of multi-wrapping, and allows the colors of warp to change in its entirety between the base and border of a Kadiyal saree. The border can also vary in fabric and not just color from the base of the saree. The beautiful quotient of the weave requires careful dyeing and setting of the warp in different colors and multiple changes in the weft shuttle while weaving.
The Benarasi sarees are known for their gold and silver brocade or zari, fine silk and opulent embroidery. The sarees are made of finely woven silk and decorated with intricate designs. Complemented with aesthetically crafted zari, hand woven Benarasi saree simply creates an aura around the wearer
Classic & Inspired Design Patterns
Yards of endearing Benarasi weaves to wrap you in old-world nostalgia!
Over centuries of its existence, Benarasi weaving has incorporated many classic patterns and design traditions from India’s vast and varied regions. The weavers drew inspirations from other weaving techniques, and have created their own interpretation of these classic patterns into versatile yet uniquely Benarasi sarees.
Classic Patterns
Jangla (Jungla)
Jangla (also spelled as Jungla) sarees are most easily distinguishable of all Benarasi sarees, with elegant vegetation motifs scrolling all along the saree’s length. It has intricate Jangla patterns in form of Jangala vegetation motif that scrolls and spreads across the length of the saree, where the word Jangla means Jungle. These nature inspired patterns give the style its name and is believed to be the one of the oldest weaving techniques practiced in Banaras among all Benarasi brocades.
Jangla is a pattern intertwined with colorful silk threads in both warp and weft and metallic Zari threads only in weft that creates the fauna of Kadiyal nakshi pattern, an embroidery like weave typically in designs that expanse with flower wines in Muga Silk and embellished gold or silver creepers, looks like an unending array of flowers, leaves and vines. The Leher or wave is juxtaposed with smaller motifs or buttis, a betel leaf or paisley twine that’s omnipresent in a dense interlaced pattern on the fabric. Another classic design in Jangla is Roopa/Sona Zari with woven Alfi design on the borders.
Only when an all over jaal has been woven in a full kadwa weave is the pattern referred to as a Jangla. The intricacy of the gold zari floral kadwa weave jaal is the first thing that captivates your heart, when you lay eyes on Jangla silk Saree! Very often etched with the fine outline of contrasting colors called Minakari to accentuate the presence of buttis or motifs of various forms that may range from flora to paisleys to polygonal and hence highlighting the regality of the detail in weave. This can be further enhanced with Jaipur’s Gotta Patti and Zardosi embroidery work on the border.
Kadhua saree with Jangla work all over the body looks magnificent. A stunning weave that combines traditional allure and opulence!
Jamawar Tanchoi
Jamawar (also known as “Jamevar”) is a fabric that has its roots in Kashmir. The word Jama means ‘a robe or shawl’ and War means ‘Yard (a measuring unit)’. Historically, Jamawar sarees were crafted out of pure Pashmina silk which renders an inimitable uniqueness to it. The intricate paisley motifs and designs on a Jamawar fabric give it a distinctive appearance. Tanchoi sarees are very fine weave Benarasi silk sarees that use an extra weft thread to create delicate patterns. These sarees are extremely light weight and soft to drape.
Benarasi Jamawar Tanchoi sarees are woven using pure silk or a combination of Pashmina silk with Benarasi Katan Silk. Gorgeous and intricate Indian designs were added to this art which made it more wonderful. Artisans from Banaras weave Jamawar patterns using Tanchoi weaving technique with colorful weft silk yarns. The design in a Jamawar is completely woven into the fabric with no loose threads on the back, giving it a more complete finish. The minute motifs are spread densely on the base saree. The pallu of this saree are often decorated with large motifs of paisleys while the border is beautified with criss-cross patterns.
Jamawars are characterized by the colors of flora and fauna that are expressed skillfully on the piece of the rich silk fabric. The weavers also use tone-on-tone colors as well as multiple color combinations in jacquard weaving. Each Jamawar Tanchoi saree is a shimmering weave of intricate designs, where the palette spans from traditional rich shades to contemporary delicate pastels. Keeping with the relevance of the Jamawar shawls, most of the saree creations now have matching silk shawls attached to them.
The splendid and vibrant designs and the rich look of the Jamawar Tanchoi sarees are a symbol of iconic fashion. This is a sumptuous piece that can never go out of style.
Shikargah
Amongst the specialty Benarasi brocades Shikargah is one of the finest and breathtakingly beautiful pieces of art on silk. It is not a weave, but a term indicating the design of a hunting scene adapted on a piece of 6 yards fabric. Identified by its hunting scenes, the ‘Shikargah’ is the epitome of weaves from Banaras with its dynamic woven depiction of animals, birds, atifa butti (an inverted or swaying floral pattern), and hunter motifs in scrolling jungle scenes. With strong Persian influence, the story of the animal figurines – the self-weave hunting design with jaal (a trellis), incorporating intricate patterns – revived in delicately spun textiles, speaks of profuse artistic excellence of Indian craftsmanship.
The hunting scene typically illustrates hunters on horseback or on elephants, and pursuing deer and tigers. While the traditional exuberant pattern covered the body spilling over to the borders and pallu of the saree, sparse variations illustrate the scene only on the borders and pallu in repeat patterns. Another version with woven animals and hunters in a floral lattice or a diagonal layout continues to be hugely admired.
A great level of artistry and expertise is required both in the designing and weaving a handloom Benarasi Shikargah saree. The exquisite woven design with very minute and intricate patterns, Benarasi Shikargah remains associated with the finest silks, luxurious tones of zari, soft resham and resplendent beauty.
Rangkat
Rangkat handloom pattern is a crossover of yarns with color blocking in stripes – highest order of Kadiyal weaving. This exquisite, time & labor intensive technique can be identified by the sharp changes in the base colors of the fabric. The warp and the weft intricately woven with multiple continuous changes in the colors, the produced multi-colored pattern is simply spectacular. The base is often embellished with floral or geometric buttas.
Incredibly difficult to weave and timeless in its appeal, a Benarasi Rangkat saree is a rare handloom masterpiece & an ultimate indulgence.
Valkalam
Valkalam sarees are one of the recent additions to the proud tradition of satin silk sarees of Benaras. These sarees are soft, regal and pure satin silk based resham work.
They are traditionally plain bodied with rich woven borders and a spectacular pallu to match the borders. These are woven with extra weft in the style of brocades, though many keep to the subtle patterning of similar group colors rather than too many startling combinations.
A beautifully handwoven plain satin body weave set against delicate, wonderful floral hues is the hallmark of a classic Benarsi Valkalam drape.
Bootidar
Bootidar sarees make use of gold, silver and silk threads in the creation of patterns giving it a mildly contrasting appeal. It is common to find the end panel consisting of a row of arches with a burst of silver. Traditional patterns and motifs feature such as Angoor Bail, Gojar Bail, Luttar Bail, Khulta bail, Baluchar bail, Mehrab bail, Ashraffi Butti, Latiffa Butti, Resham Butti, Jhummar Butti, Jhari Butta, Kalma Butti, Patti Butti, Lichhi Butti, Latiffa Butta, Kairy Kalanga Thakka Anchal, Mehrab Anchal, Baluchar Butta etc. with the use of real gold and silver Jari and Katan silk in the weft.
Inspired Interpretation Patterns
Benarasi Silk Jamdani
A technique that traces its roots to the region of Dhaka in Bangladesh, Jamdani is known for its extremely fine quality and ethereal appeal. In Jamdani weaving, the patterns are made using heavier threads on a lighter, translucent backdrop of fabric. Jamdani technique works around cotton only and is still executed on traditional pit looms.
The inspired interpretation is a silk Jamdani, a technical variety of brocade traditionally woven in Banaras. This saree may be considered to be one of the finest products to come out of the Benarasi loom. Here silk fabric is brocaded with cotton and rarely with zari threads. Jamdani is woven by transfixing the pattern thread between a varying number of warp threads in proportion to the size of the design then throwing the shuttle to pass the regular weft. By repeating this process, where in the size and placing of the cut- thread is in accordance with the character of the pattern, the Jamdani weaver produces an arrangement of intricate designs.
Some of the traditional motifs of Jamdani included Chameli (Jasmine), panna hazar (Thousand emeralds) genda butti (marigold flower) pan buti (Betel Nut leaf form) tircha (diagonally striped) etc. The most attractive design feature of the Jamdani saree is its floral, trellis or jaal designs with an ornamental pallu with konia paisley or floral motif woven in its both corners exactly where the pallu section of the saree begins.
Benarasi Jamdani is a classic piece of attire that oozes elegance and exquisite taste of the wearer.
Banarasi Shalu
History says that Shalu the famous version, originated in Banaras and even today Shalu is referred to as Banarasi silk saree. It is believed that Peshwa of Pune during his travel to Varanasi mainly for expansion of Maratha Rule under Chhatrapati Shahu of Satara brought this version of silk saree to Maharashtra. While bearing resemblance with the acclaimed Paithani, Silk Shalu stands out because of its very fine thin silk. Showcasing motifs on border and a designed pallu, Banarasi shalu has all base embellished with jari motifs making them a hallmark of Indian traditional weaving.
Through Peshwa period, Banarasi Shalu Silk sarees are ubiquitous in Maharashtrian weddings
Benarasi Patola
Sheer kaleidoscopic beauty with a fabulous sheen Benarasi Patola sarees are woven with great lucidity and perfection.
Motifs & Colors
Benarasi silk sarees is a name that conjures up diverse images of the rich Indian tradition. Benarasi saree remains one of the most sought and has been a subject of great inspiration and appreciation for saree connoisseurs across the globe. These sarees are well known for features such as brocade weaving with gold work, jaal pattern, motifs with small details, metallic visual effects, and mina work.
Motifs
The use of flowers in the Indian culture transcends pleasing attributes and is celebrated widely for its symbolism – a way to worship the divine, inseparable from occasions and deeply-rooted in auspicious beliefs. Each flower and each hue resonates with unique customs and traditions, evoking emotions of familiarity across cultures and communities. Paisleys and florals almost always form a part of the traditional teardrop shaped paisley, Benarasi Koniya, design. The versatility and adaptability of the Indian kairi (raw/green mango) can be seen through many design variants on different handwoven base fabrics. Traditionally the paisley is alternatively woven as a butti on kora silk by cotton, butta on soft satin silk and beautifully combined with a lattice Kadhua jangla pattern on pure katan silk.
Ashrafi (coin or Mohur or ginni) is a symbol of prosperity. While the ethereal refined gold or silver zari butis (tiny floral motifs) locally called as Chunri Butti create a hypnotic maze, a dramatically vibrant geometric pattern that evolved with squares and rectangles, beautiful Chouka, is a testimony of versatility.
Several of the motifs we see today on Benarasi textiles have a rich Persian lineage – for instance, the multi-hued Crocus and Iris known for their beauty and sweet fragrance. Another famed motif, Marigold (Genda), synonymous with auspicious, is woven onto Brocade textiles. Jasmine and Hibiscus, used to worship the divine, continues to be woven into yards of silk fabrics. The sacred Lotus, a symbol of purity and the cosmic union of earth, water and sky is seen across textiles and architecture resonating with the Mughal era. The glorious Rose (Gulaab), a symbol of love is used extensively in Benarasi textiles & the Tulip is frequently seen in borders with Roses and Lilies. The fragrant Champa and blooming chrysanthemum (Guldaudi) are all part of the celebrated vocabulary of floral motifs.
The buti/buta consisted of a bel in roopa & sona zari (silver & gold) combined with magnificent floral motifs is an ode to the seraphic symbolism and blissful hues. These signature flower patterns in a running vine are the soul of Banaras weaving artistry that simply tantalize and are pure joie de vivre.
Colors
The color names, once part of the vocabulary of the Indian weaver in Banaras, speaks volumes of the artistic sensibilities of our traditionally skilled artisans. The colloquial names essentially originate and resonate with elements of nature and food. The names used incorporate even the subtlest variations in hues – from Kapursafed (camphor white) to Motia (pearl white) , makkai (creamy corn) to subz kishmish (young raisins). Surkh (ruby red), Gulabi (rose pink) & Asmani (sky blue) are other such examples from the Banaras colloquial color schemes resonating with the elements from nature.
References
Pictures credited from:
- https://textilesofindia.in/glossary/kimkhab/
- https://wikipedia.org/banarasisari
- https://strandofsilk.com/journey-map/banarasi-brocade/history
- https://www.tilfi.com/pages/techniques
- https://www.holyweaves.com/blogs/the-textiles-blog
- https://www.innfinity.in/fashion/types-of-banarasi-sarees/
- https://www.banarasi.net/
- https://www.warpnweft.in/
- https://www.tilfi.com
My Grandma's Legacy 