Credit: Special Arrangement
The story of handwoven Baluchari, Shonachari, and printed Bishnupuri silk, from West Bengal’s Bishnupur is one of resilience. Considered pieces oart, these saris have undergone many transformations yet remain timeless.
A visit to the terracotta temple town a few months ago, helped me gain insights about how weavers there have preserved the weaving traditions, while adapting to trends. Mukul Khan, who hails from a family that has been weaving Baluchari silk saris, for more than 100 years said, “These are handloom saris and have motifs inspired by the ‘Mahabharata’ and ‘Ramayana’ on them. This is exclusive to Bishnupur.” If woven on power looms, the pieces will not have the same grace and effect, Mukul added.
At Tanti Para (the weaver’s colony), artisans like Khan sit at the loom, which is a part of most households in the neighbourhood. They weave exquisite motifs and designs with silk and zari threads that come from Malda and Murshidabad in West Bengal, as well as south India. Made from mulberry silk yarn, these saris have GI (Geographical Indications) tags.
Shyamapada Pal, another weaver, who showcased an exquisite plain salmon pink Baluchari sari with a border and ‘aanchal’ (portion of the sari worn over the shoulder) with intricate motifs of birds, dancing maidens, and trees, explained the differences between the saris: “Saris woven with silk threads are Baluchari, while those that have zari (golden threads) woven into them are called Shonachari.” The 200-year-old weaving tradition hails from a village called Baluchar in Murshidabad, which was washed away by floods, adds the weaver.
It takes four to five days to weave a Baluchari sari on the jacquard loom. “Two weavers take turns to work five-hour shifts daily to complete a sari,” says Buddhodev Mondol, a weaver. His home also functions as a store.
The mulberry silk used in these saris is dyed in rich and vibrant colours. Though mostly done on handlooms, jacquard looms fitted with a machine (an attachment with punch cards through which complex patterns can be woven) are also used. They simplify the process of weaving complex brocade patterns.
Looking back
Murshid Khuli Khan, the first Nawab of Bengal, brought the craft to Baluchar, from Dhaka, Bangladesh, in the 18th century. After the village was washed away by floods, only a few weavers remained. They were not able to keep the art alive. The tradition was revived by the Malla kings during the 19th century but didn’t receive much encouragement during the British Rule. The weavers say that it was only in the early 20th century that the Baluchari silk was revived. “Artist Subho Thakur from the Tagore family is said to have introduced the technique of jacquard weaving to Akshay Kumar Das, a weaver from Bishnupur. Today Baluchari saris are only woven in and around the town in Bankura district,” says Mukul.
The weavers in Baluchar incorporated motifs such as paisleys, passing trains, European ladies smoking hookah, and other elements inspired by daily lives. The weavers from the days before the flood wove on jala looms (a frame on which the design is first created using threads by pattern makers), which allowed them to create several design options. Today, weavers have moved to jacquard looms.
Darshan Shah, founder of the Weavers Studio, Kolkata, says that the history of the Baluchari sari has not been documented. Old master weavers responsible for the special motifs on the jala loom, such as Dubraj Das (who died in 1903) did not get a chance to share their methods of weaving. Weavers were much respected those days, and Das is said to have woven his own name into the saris created by him.
Reviving Baluchari
The Weavers Studio (a textile studio in Kolkata), social reformer and freedom activist Kamaladevi Chattopadhyay, and art historian and crafts expert Jasleen Dhamija, have tried to revive the older jala motifs and weaves of the Baluchari. They met some skilled weavers in Varanasi who were able to weave and replicate some of the older jala motifs. Kallu Hafiz, a talented weaver from the city, was able to weave the older motifs on his jala loom. These techniques are now being developed and distributed among weavers to weave ‘Revival Baluchari’ saris, which are woven on both the jala as well as the jacquard loom. They can be bought from websites like Tantuja, Bishwa Bangla, and Resham Shilpi, as well as showrooms in Kolkata and Bishnupur.
Religious influence on motifs
Bishnupur was a small kingdom and a weaving centre. Its 17th century temples are made from terracotta, with exquisitely carved walls and pillars. The Archaeological Survey of India-protected Shyamrai Temple was built by the Malla king Raghunath Simha, son and successor of Virahambira in 1643 AD. The temple’s walls and panels have ornamental decorations of scenes from social life, and episodes from the ‘Ramayana’ and ‘Mahabharata’ on them. They also have floral designs and stories of ‘Krishna Leela’ showing Radha and Krishna in various settings.
These stories have been turned into motifs on the Baluchari and Shonachari silk saris. The rich ‘aanchals’ and the borders have intricate designs inspired by folk and temple lore.
Motifs of Radha Krishna, dancing maidens, women fetching water, elephants, horses, carriages, Krishna explaining the ‘Bhagavad Gita’ and so on, have made their way into painted or block-printed silks and jewellery.
Wallet factor
Baluchari and Shonachari silk saris cost Rs 8,000 and above in Bishnupur. Printed Bishnupuri silk saris can cost up to Rs 4,000.