benaroshi new model

Origin and History

  

Banarasi silk is an unmatched example of excellent artistry. Mughals brought this fine craftsmanship in India. Mughals also tried their best to glorify the art of weaving and designing. During the course of that act, they inspired few craftsmen to work in intricate art of weaving. It was the beginning of Sari weaving art. In addition, at that particular time, Persian motifs were being mixed up with the Indian customary attire.

Today’s Banarasi Silks are the product of this particular mix up of two different cultures and exemplary enthusiasm of Mughals. In the earlier times, silk for Banarasi Sarees were being imported from China, now it has been provided by the southern part of India.

The art and culture of providing Banarasi sarees with silks is very ancient. The continuations of passing down the culture of artistry of the Banarasi saris from one generation to another have never been stopped. Persian motifs were being mixed up with the designs of Indian silk for creating this distinctive flowery pattern of Banarasi silk sarees, which are so typical in present days.

Sources of Inspiration

In the present days, Banarasi silk sarees are still considered to be one of finest traditional saris. It has actually been well known for its designing and gold as well as silver brocade or the ‘Zari‘. The special characteristics of these sarees are their designs, which are Mughal inspired. Very often, it has been decorated with intricate floral as well as foliate designs.

Moreover, you may also find a string of upright leaves, which are called as ‘Jhallar’. The idiosyncratic features of these Banarasi silk sarees include heavy working of gold, small detailed figures, metal visual effects and compact weaving as well.

Faces Behind the Banarasi Silk

Atleast three craftsmen work together to make up one sari by using the power-loom. One artisan has to weave the silk and one has to dye the silk, where the other one has to engage the bundle of silk, which creates the power ring.

The designs are drawn previously on a graph paper. It has been imprinted as a patter for the punch-cards. During the complete weaving procedure, this will be used as a guide for threads.

Banarasi sari

Stavaraka, in the Harshacharita, seems to be a clear reference to the brocade as pointed out by Dr. V.S. Agrawal- In the Harshacharita, it figures as woven with gold thread and beaded with pearls. As suggested by Dr. V.S. Agrawala, stavarakais a Sanskritised form of a Pahlvi and Persian term. It is also used in the Holy Koran in its Arabic form, as an expensive textile, used by the heavenly beings. Actually Surya images, also one terracotta from Ahichchhatra show similar textile-stuff, i.e., the stavaraka, beaded with pearls. They are sometimes exquisitely embroidered. Elsewhere in the Harshacharita, the princes appear donning the varabanas (coats) made of the stavarakamaterial. In the same work the stavaraka appears as the top of a canopy. It may be remarked here that the kimkhab had been widely used in the seventeenth, eighteenth and the nineteenth centuries for making such canopies as evidenced by late Mughal painting. Dr. V.S. Agrawal on the etymological grounds, remarks that the stavaraka was an imported textile.

History Of Banarasi Saree

Banaras (now Varanasi) has long been famous for its Brocades and Sarees. The exquisite fabric was produced by wearing with warp & weft threads of different colours and often of different material. It appears from ancient texts that in the early days, gold and silver threads used to be made to such a fine quality that they could be woven into fabric of pure gold or silver. We find evidence of several kinds of textures of cloth since Rig Vedic times and, one can easily figure out the cloth of gold (Hiranya Vastra) as a distinguished type belonging to the above mentioned metallic fabric. The use of Silkora mixture of silk and cotton, in the wearing of the brocade seems to have been a fairly recent innovation. Though it is difficult to say, when the art of brocading started in India, especially in Varanasi, we find mention of the use of this kind of fabric, right from the Vedic period upto the Buddhist period. It is said that when Lord Buddha attained Nirvana, his mortal remains were wrapped in a Banarasi material i.e. brocade which radiated dazzling lights of yellow, red and blue. Banaras Is the Athens of India. – – Francois Bernier Banaras figures as an outstanding centre of textile manufacture in the very. early stage of Indian Culture. In the neighbourhood there were great cotton growing regions and probably this spurred the textile industry in the city, which during the early period was the capital of an important province. Geographically commanding a situation on a national highway and situated on the Ganga, connecting all important Indian state capitals of the time in the Gangetic Valley, Banaras in the first millennium BC, rose to the status of an important centre of art, culture and education. Banaras cotton was famous for its fine and soft texture. A tradition goes that the Buddha’s dead body was wrapped in a Banaras manufactured textile. Banaras was similarly reputed for its silk and wool. We also hear that textiles formed one of the important cargo to west- bound ships of the time, an unbroken tradition which survived down to the late-.Mughal period. Banaras must have contributed to this famous export-trade, as is supported by the Jataka stories about

Banaras merchants crossing deserts and seas. We also come across the traditional Vedic term hiranya (brocade) surviving in this period; however, due to absence of any definite evidence we can only presume that Banaras, with its several types of silk manufacture, specialized in this branch as well. Testimony of Kautilya’s – Arthashastra is cited for other varieties of silk manufacture in the Maurya period, including the Kausheya (also known from Panini’s Ashtadhyai Sutra. Valmiki’s Ramayana). The Ramayana also offers an important reference to brocade as Ravana, the Lankan king, is described donning a golden fabric (i.e., brocade). Chinese silk also seems to have been popular in the period. Banaras is known in the Pali literature as a reputed centre of textile manufacture, famous for its Kasikuttama and Kasiya. The Majjhimanikaya refers to Varanaseyyaka, known for its fine texture. The Kasika Suchivastra was probably some kind of embroidery. Kashi continued to flourish as a regional capital under the Nandas, the Mauryas and the Shungs and we can safely ascribe to it its non-broken tradition of textile industry during those glorious epochs.Patanjali (second century B.C.) leaves no doubt about the Kashika textile in the Shung period; it was more expensive and probably of better quality than the similar material of Mathura manufacture.During the Gupta period (ca. 3.50 to 500 AD) Banaras seems to have once more risen to the status of a provincial capital under Kumaramatya Janardana, whose personal and official seals have been discovered in abundance from remains of ancient Banaras. As known from other seals from the same site, Banaras was a centre of trade, with its elaborate guild-systems of traders in the Gupta period, but no seals relating to its textile-manufacture or textile trade has come to light so far. However, its old glory in the realm of textile manufacture is re-affirmed by the Dilyalvadana, a Buddhist Sanskrit text of the same period, which makes references to such fabrics known as Kashikavastra, Kashi Kashikamsu and so on. Banaras fabrics gained India-wide fame, particularly in the quality of dhotis and dupatta, which were so exquisite that a pair could cost one hundred thousand karshapanas. However, it is curious to note that not a single reference to silk manufacture in Banaras is known from the text.