Historical Background

 

Tradition of Indian Handlooms dates back to prehistoric ages. Its early origin and development through ages can be traced through various Hindu literary sources like Veda, Upanishad, Ramayana, Mahabharata and Kautilya's Arthasastra etc. In Brihatsamhita, Varahamihir who lived in AD 405 describes a wide variety of textiles that were in existence in those days.


On the basis of the archaeological evidence i.e. fragment ofcotton cloth dyed with madder found in Mohenjodaro and Harappa (Indus ValleyCivilisation), it is known that the art of hand spinning, handloom weaving anddyeing/printing of cotton with natural dyes were practised by our people and itformed an established industry in the country, about 4500 years ago. Alltestifies to a glorious tradition that has remained for about fifty centurieswith changing and reshaping according to the creativity of the artisan and thedemands of the monarchs as well as market. It also has a lot of influence fromthe invasions, trade and cultural contacts with various sects like Mughals,Portuguese, Dutches, Britishers etc. Till 18th century, India was the largest exporter of textiles, obviously hand woven and hand processed withnatural dyes, in the world.


Beauty of Indian Textiles, through the centuries, wasexpressed in various poetic forms by many poets. Two thousand years ago theTamil poets of Sangam age compared them to the ethereal elusiveness of smokeand vapour. Sheer muslins were the prized possessions of the Romans. They usedto call them "Venti nebula", clouded winds echoing their airy andtransparent textures. Amir Khoosru, the poet described the muslin "Ahundred yard of it can pass the eye of a needle, so fine is its texture, andyet the point of the needle can pierce through it with difficulty. It is sotransparent and light that it looks as if one is in no dress at all but hasonly smeared the body with pure water". Zeb-un-nissa, the daughter of theMughal Emperor Aurangzeb was once chastised by her father for appearing in thecourt without clothes until she pointed out that she had put no less than eightrobes around her body. Sant Kabir, who is basically a Julah or weaver, hasexpressed many philosophical poetic versions of human life comparing with theprocess of weaving of cloth with the intersection of warp and weft threads onhandlooms.



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About the Author


The author is Director at Weavers' Service Centre in Officeof the Development Commissioner (Handlooms), Ministry ofTextiles, Govt. of India, Chennai.