Benaras is known for its famous muslin and Silk fabrics since centuries. A tradition of weaving fabrics, it is the very life for the inhabitants of this holy city.

The heavy gold work on the brocades, the compact weaving of the base fabric, the small detailing, metallic visual effects, the mesh pattern and the intricate embroidery work are all contributive towards making the Banarasi silk saree, a rich traditional offering and a national pride.

Despite a distance of four to five centuries being travelled over time, this tradition of fine weaving has neither dimmed nor lost lustre. In fact the Banarasi Silk Saree has continued to remain as exceptional and finely sought as before.

Over the years additions and introductions within the weave have never seemed out of place. Despite being woven in traditional style, the fusion elements have seamlessly merged to become a part of its rich and dazzling heritage.

It is this magnificent weave that we would like to take a closer look at and know more about.

Classifying the Banarasi weave

Banarasi sarees are named as per the weaving techniques and design patterns woven in them. The scope and spectrum of weaving techniques within the Banarasi school of weave have over time created a plethora of styles. Both the traditional classic way, as well as a fusion of the trendy with some of the classical elements.

In a more organized way one finds four distinct weaving techniques.

• • Brocade (Khinkhwab),
  • Minakari or Meenakari (Alfi & Tilfi),
  • Interlocking (Kadiyal), and
  • The Patterns

Banarasi Brocade (Kinkhwab)

A characteristic weave in which patterns are created by thrusting Zari threads (the purest form of Zari i.e. a thread drawn out of real gold) between warps at calculated intervals, to create the inimitable design / booti  line by line, the Banarasi brocade is a term generally referred to richly patterned fabrics woven in silk, together with decorative gold or silver threads.

Brocade is the most visible specialty of Banaras fabric. In a way it has been responsible for gaining the Banarasi saree its popularity. 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 it creates a satin effect over the motifs.

The heavy gold and silver zari twilled in silk threads make the underlying cloth almost invisible.

Gold and silver brocades, are referred to as kinkhab – where ‘kin’ means gold and ‘khwab’ means dream, in other words a ‘golden dream’. Kamkhwab has ‘kam’ that means little while ‘khwab’ means dream – in other words – a ‘little dream’.

Apt titles that go on to say, that just as the elusive ‘gold’ that is beyond the average man who can only dream about owning it , so too the Banarasi saree in its luster and shine is akin to gold and there was a time  when it was so costly that purchasing it cost the buyer a small fortune.

Of course the fabric fit for the royals, over time gave way to gold colored zari, instead of making the prohibitively costly and not easily available gold zari threads. Combined with the pure mulberry silk threads that are used, the Banarasi saree gets its extraordinary shine and metallic visual effect.

More on Brocades

Brocades are produced by layers of extra weft yarn, varying from three to seven layers. Brocades are essentially of two kinds. The continuous Brocade is known as Fekuan and the discontinuous Brocade, the Kadhuan, in ‘weaver lingo’.

Further to this on the basis of the design in the weaving process, Banarasi Brocades are further classified into categories like Kadhuan, Cutwork (Phekwa), Tanchoi, Tissue, & Vaskat.

Kadwa

Kadwa (also pronounced as ‘Kadhua’ or ‘Kaduan’ or ‘Kadhawa’) stands for “kadha hua” or “embroidered”. It is an exclusive technique of handloom weaving in the Benaras (Varanasi) region, and 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 such as ‘Phekwa’ or cutwork saree.

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.

Using this embroidery technique, many different motifs of different sizes, colours and textures can be woven on the same sari with each motif being woven separately, quite difficult to do otherwise. It is a painstaking effort, done on a handloom, with no loose threads at the back of the fabric. Hence no cutting is required. Therefore it results in a more vigorous pattern with clear and firm design.

The gold and silver criss cross floral Kadwa brocade enhances the luminous quality of the Banarasi Silk saree.

Often two weavers weave a kadhwa saree. One weaver is engaged in weaving the cloth or the body of the saree while the second helps in carving out or embroidering each motif using a wooden spool or Tilli (weaver lingo).

A kadhwa saree typically will take a minimum of 12-14 days to complete and could go up to 8-9 months also depending on the intricacy of the design.

Sophisticated and very intricate in its weave, Kadwa sarees epitomize the excellent weaving quality of Banarasi sarees.

Ektara

Ektara or Ek Taar is similar to sophisticated needle point work. An age-old weaving technique used to create a fine fabric mesh like structure, it does not crumple easily.

Ektara was known as the fabric of royalty. It is created by using a multi-warp heddle shaft or Gethua loom and the five treadle or Paanch Kaadhi technique in a traditional pit loom.

Ektara is one of the finest weaves from Banaras, often seen in real zari and rangkaat sarees in addition to others. A master craft and the result of many hours of intense weaving, the base fabric formed is akin to a mesh like texture

Typically three craftsmen and two master weavers work together on a saree. It could take six to nine months to create these heirlooms. If an ektara woven fine Jamdani were seen in light, it would be a picture of elegance and luxury.

Phekwa or Cutwork

Phekwa is weaving style from Banaras, where the weft yarn is interlaced in the warp from one end to the other, creating textures on the surface of the cloth called ‘zamin’. This can be done with single silk yarn, Resham or Zari, or both can be wound around shuttles.

One of the most widely used Banarasi handloom weaving technique where the motifs are woven together, as opposed to Kadhwa sarees, hence taking lesser time in completing a saree.

This weaving style leaves large proportion of the silk or zari thread at the back of the saree where there is no motif at the front. These threads at the back are then cut, once the saree is complete.

Mostly the ladies of the house help in cutting and cleaning this extra float.

In the Phekwa brocade, an extra weft runs end-to-end, weaving motifs across the width of the fabric. 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 were to cover only a small area on the fabric, there would be extra floating weft on the back which gets diligently and carefully clipped off. This is often referred to as Cutwork or Katruan.

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 them hang loosely between two motifs and the extra-thread is then cut manually, giving the effect a sublime style.

This widely used banarasi handloom weaving technique wherein motifs are woven together as opposed to kadhwa sarees, takes lesser time in completing a saree.

Upon completion  of the weaving, a large proportion of the silk thread is found at the back of the saree where there is no motif at the front. These threads at the back are then cut, once the saree is woven.

Cutwork sarees are made using all types of silk yarns and in almost all patterns.

Tanchoi

Tanchoi is also one of the most intricate weaving techniques using one or two warp threads and multiple colored wefts. This technique makes use of the extra weft and the famous motifs that are created using this technique are florals, geometrics or animal motifs. The famous motifs are of flowers, peacocks and parrots. It is also known for its self designs.

Tanchoi sarees are generally made in small and complex patterns resulting in a very soft fabric with no cutting work required at the back. Tanchoi sarees make use of the gold or silver colored zari, to create more glorious designs and are commonly worn for wedding ceremonies.

Story has it that this art originated in China and was brought to India by three Chinese brothers with the last name ‘choi.’  Thus, the technique came to be known as ‘Tanchoi’, which literally means ‘three chois’ (tan – three, Choi – brothers).

This technique is used to create the famous jamevar and chevron patterns and the making of 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. 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

In tissue fabric one or more warp or weft is of zari yarn. Thus it can be a silver tissue or can be a gold tissue.
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 the combination of Zari and silk in extra weft. The outcome is a sensational fabric, translucent and shimmering in its appearance; a popular choice for wedding veils.

The Tissue saree has a glazed, shining character due to the use of real gold Zari/Silver Zari in weft on silk warp. The ground is ornamented with traditional designs.

Heavy patterns are featured, e.g. golden lotuses floating in a shimmering pond. Panels and borders consist of diamond shaped patterns that are enclosed within a running border generally woven in the Paisley motif.

Vaskat or Vasket

An extravagant piece of work, it has a rich web of zari and traditional patterns that are popular, woven with stunning zari work. Created using a supplemental zari weft throughout the body of the saree is a classic Vasket technique. To top it it has a rich border and pallu.

Vasket Benarasi Katan Silk Jaal sarees are soft as butter.  The rich floral web of zari,  makes this regal saree truly representative of the royal clothing traditions of India. The Classic hand woven Benarasi Aari Vasket art has been passed down through generations.

Meenakari

Meenakari or Minakari is a fine design technique. Inspired by 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.

Banarasi Meenakari sarees are made using different colors of silk or zari threads in weft resulting in multiple colored motifs. Meenakari sarees can be made using both the cutwork and kadhwa technique of weaving. The Meenakari technique used in weaving is very similar to the enameling technique used in jewelry to create intricate patterns.

Meenakari 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.

The Banarasi weaver has the expertise to use up to 20 plus colors to create a saree. This ability to introduce multiple colors is only possible on a handloom and cannot be replicated on a power loom

Meenakari 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.

Before we continue this journey let us take in some terms associated with Banarasi weaves.

Katan – It  is the name of the degummed, very slightly twisted pure silk yarn. It is soft in feel.

Kadhuan or Jamdani – Kadhuan involves producing designs using extra weft technique, without producing any excess yarn floats at the back of the fabric. Considered the epitome of weaving, it is manual, painstaking and mimics the tapestry weaving technique at the smallest level.

Brocade – In brief it is a fabric where design dominates it could be a Resham brocade (where the extra warp figuring is done with viscose or silk yarn) or a Zari Brocade (where the figuring is done with gold or silver yarn). When 60% of the fabric is covered by zari, it is called Kinkhab or Kimkhab, where the silk portion at times is hardly visible.

Jamavar – Basically the paisley design found in shawls is combined beautifully in the pallu and hence they are called Jamavar Brocades. Jamawaar sarees are also referred to as Tanchoi having intricate small designs with no cutting work at the back. These sarees are known for their sophisticated paisley motifs.

Cutwork – Yarn floats at the back of the fabric are cut after the fabric is woven creating an embossed effect on the fabric. Cutwork fabrics are cheaper as they can be made on machine Jacquards.

Raw Silk – It is the filament silk obtained from mulberry cocoons from which it is not possible to obtain. Since these are non-degummed they have their characteristic slubby appearance.

Summer Silk – Woven with non-degummed yarn in the warp and twisted yarn in the weft, they keep the body cool in torrid weather.

Kora Silk – It is woven with non-degummed organza in the warp and weft.

Dupion Silk – Produced by fine threads in the warp and uneven weft reeled from two or more entangled cocoons in the weft, it produces very deep colors.

Kadhiyal ( the Interlocking technique)

Kadiyal is an ancient three shuttle weaving technique. The three shuttles are used for creating the upper and lower border of the saree and the body. This technique is used to create contrast borders in a saree, contrasting sharply to the body color.

The borders are joined with the body in an interlocking technique. This interlocking is called Kadhiyal in local Banarasi lingo.

Apart from Banaras this technique is also practiced in many handloom clusters of India like Kanchipuram (known as korvai), Paithani, Gadwal.

The base fabric is made from a technique of multi-wrapping, which 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 outcome of a beautiful Kadhiyal weave requires careful dyeing and setting of the warp in different colors and multiple changes in the weft shuttle while weaving.

The Patterns

Banarasi Weaves are divided into two classes based upon the Patterns

Classic Patterns

• Interpretational Patterns
• The Classic Patterns
• Jangla (jungla)

Jangla (also spelled as Jungla) sarees are the most distinguishable of all Banarasi sarees. True to its name you have creepers, foliage and other jungle vegetation elements as motifs. Sprawled in characteristic floral design, it is believed to be the one of the oldest weaving techniques practiced in Banaras among all Benarasi brocades.

Jangla is a pattern that has intertwined colorful silk threads in both warp and weft, whereas the metallic Zari threads figure only in the weft. Kadiyal Nakshi pattern is an embroidered weave in designs that have the expanse filled with flowery vines in Muga silk and decorative gold or silver creepers making it appear as a continuous array of floral extravaganza.

The Leher or wave design is juxtaposed with smaller motifs or bootis, a betel leaf or paisley twine that appears as a dense interlaced pattern on the fabric. Roopa/Sona Zari with woven Alfi design on the borders is another classical pattern generally found.

The intricacy of the gold zari floral kadwa weave jaal  or net is the first thing that captivates your heart. Only when the jaal has been woven all over in a full kadwa weave is the pattern referred to as a Jangla.

Most times, this royal weave with a fine outline of contrasting colors called Minakari, bootis or motifs of various forms from flora to paisleys to polygonal appear highlighted in fine detail. This could further be enhanced with Jaipur’s Gotta Patti and Zardosi embroidery work on the border.

When a Kadhua or Kadwa saree has Jangla work all over its body, it looks magnificent.  A stunning weave that combines traditional allure and opulence, it is one of the oldest and most complex weaving pattern of Banaras.

Spread out designs, include floral, meenakari jaals, and other patterns using resham threads and zari.

Jamawar Tanchoi

Jamawar or Jamevar , is a fabric that has its roots in Kashmir.  ‘Jama’ means a robe or shawl and ‘War’ (or vaar) means Yard ( the measuring unit). The Jamawar saree was once crafted out of the pure Pashmina silk of Kashmir. Typical to the Kashmiri tradition that makes use of the intricate Paisley leaf  and designs involving it, The Jamawar sarees also follow the same, giving it a unique appearance.

Tanchoi sarees are fine Banarasi weaves using that extra weft to craft delicate patterns that make them soft to touch and light in weight.

The Banarasi Jamawar Tanchoi sarees are woven using pure silk or a combination of Pashmina silk with Banarasi Katan Silk.  Using gorgeous and intricate Indian designs, artisans from Banaras weave Jamawar patterns using the 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 complete finish. One could view minute motifs spread densely on the base saree. The pallu of this saree is generally 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. In fact, weavers 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. Like a palette it spans from traditional rich shades to contemporary delicate pastels. In keeping with traditionmost saree creations are accompanied by matching silk shawls.

Jamawar Tanchoi sarees with their luscious designs and sumptuous outcomes have become iconic.

Shikargah

Considered to be one of the finest in breathtaking pieces of art on silk, the Shikargah ia one of the specialty Benarasi brocades. Its depictive designs featuring fauna and hunting scenes make it a haunting portrayal on a 6 yard fabric.

The ‘Shikargah’ is considered 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.

It has a strong Persian influence, the story narrated through animal figurines – with the self-weave hunting design with jaal (a trellis), incorporating intricate patterns. It has been revived in delicately spun textiles, speaking volumes about the artistic excellence seen in Indian craftsmanship.

The hunting scene is a typical illustration of hunters on horseback or on elephants, pursuing deer and tigers.  The traditional unrestrained exhibition of joy in a pattern would cover the body spilling over to the borders and pallu of the saree, where sparse variations would be illustrated as a 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 designing and weaving a handloom Benarasi Shikargah saree.  Exquisitely woven designs with very minute and intricate patterns, and luxurious use of zari and soft resham the Benarasi Shikargah remains associated with the finest of silks in resplendent beauty.

Rangkat

The Rangkat handloom pattern involves a crossover of yarns with color blocking in stripes. Considered the highest order of Kadiyal weaving,  it is an intricate art, both exquisite and time& labor intensive.

Identified by sudden changes in the base color of the fabric, the effect is achieved by the warp and the weft intricately woven in that manner. The multi-colored pattern is simply spectacular which has base often embellished with floral or geometric bootas.

Extremely difficult  to weave  yet worth the effort, the Benarasi Rangkat saree is a rare handloom masterpiece of ultimate indulgence.

Valkalam
Valkalam sarees are recent additions to the traditional family of satin silk sarees of Benaras. Soft, regal and pure satin silk based resham work, Valkalam sarees are traditionally plain with extraordinarily grand looking borders and sensational pallu to match.

These sarees are woven with extra weft in the style of brocades, though subtle patterning of similar group colors is preferred over startling combinations.

Typically recognized by a lovely handwoven plain satin body with delicate, floral hues the classic Benarsi Valkalam drape is a well-sought after weave.

Bootidar
Banarasi sarees having small separate motifs all over the saree are referred to as bootidar. These sarees make use of gold, silver and silk threads in the creation of patterns. The difference in colors  give it a mildly contrasting appeal.

Traditional patterns and motifs have names like 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.

Interpretational Patterns

 There are three Interpretational Patterns – the Banarasi silk Jamdani, Banarasi Shalu, Banarasi Patola.

Banarasi silk Jamdani

The Jamdani has its roots in current day Bangladesh. A technique known for its extremely fine ethereal quality, it has tremendous appeal. In Jamdani weaving, patterns are made using heavier threads on a lighter, translucent backdrop of fabric.

The Jamdani technique works around cotton only and is traditionally executed on pit looms till this day.

The silk Jamdani is a technical variety of brocade traditionally woven in Banaras. This saree is believed to be one of the finest products to be woven on the Benarasi loom. Silk fabric is brocaded with cotton and rarely with zari threads.

The 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.

Traditional motifs of Jamdani include Chameli (Jasmine),  the panna hazar (Thousand emeralds) genda booti (marigold flower) pan booti (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.  The paisley or floral motif is woven in both corners exactly where the pallu section of the saree begins.

Banarasi Shalu

It is believed that the Shalu has its origin in Benaras and hence known as the Banarasi Shalu. During the expansion of the Maratha empire under Chhatrapathi Shahu of Satara, the Pune Peshawa brought back this silk saree version from Benaras.

It bears a close resemblance to the well-known Paithani of Aurangabad. But Silk Shalu stands out for its fine & thin quality.

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.

During Peshwa rule the Banarasi Shalu Silk sarees were   very much a part of  Maharashtrian weddings.

Banarasi Patola

The traditional patola is woven in a place called Patan in Gujarat. Of the single ikat or double ikat variety, the Patola saree is a lush saree, replete with geometrical patterns and plenty of flora and fauna interspersed.

Banarasi weavers, have adopted many distinctive Patola patterns, incorporating them in their weaving designs to make Banarasi Patola sarees. The Banarasi Patola makes use of the intricate Minakari, Kadhua or Cutwork technique to weave these sarees.

Taking pains to achieve perfection, Benarasi Patola sarees are full of sheen and kaleidoscopic effects that are woven with dedicated effort.

The tradition of weaving in Benaras is through centuries and despite all the trials and tribulations that come their way, Benarasi weavers have to take them in their stride. Simply because they are not willing to do anything else! It is their skill, their craft – their Life.  

 

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