Craft Documentation On Baluchari Sarees

BALUCHARI SAREES OF BENGAL | NID
Baluchari Sarees
of Bengal
Makur tane kabbyo gaatha ,

Balucharir juri kotha.......
Translation: Weaving poetry and lore with a shuttle, the Baluchari is beyond compare
PICTURES
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A Baluchari saree from Bishnupur
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Terracotta work on the walls of Jor Bangla Temple, Bishnupur
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Raasmancha
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A village hut, Bishnupur
Copyright Shreyasi Sengupta, 2014
Digital publication of student document for private circulation only.
PGDPD Apparel Design & Merchandizing
National Institute of Design, India
Text, Photographs & Illustrations - Shreyasi Sengupta
Other Sources: Mentioned under the photograph unless otherwise stated.
All rights reserved under international copyright convention. No
part of this documentation may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means,
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without the prior permission in writing from the publishers.
Edited & Designed by: Shreyasi Sengupta.
4
Baluchari Sarees
of Bengal
-Weaving stories on cloth
A craft documentation of the Baluchari Sarees of West Bengal

by:
Shreyasi Sengupta
Student of Apparel Design- 2013
Guide:
Amit Sinha
Preface
Craft sector in India is a vast one with its own rich tradition,
values and culture, which is evident in the forms, color, texture
and techniques. But while some crafts have been promoted by
the government, exporters, designers, and get to evolve, some
are often lesser known and do not see a growth with time and
eventually die out. People are often unaware of their own cultural heritage and the different crafts that are indigenous to
their birthplace.
There is a need for people to know about the different crafts
of India, because they directly talk about India and its culture,
and also because they are a repository of our traditions and way
of life.
The pre-independent Bengal, with its muslins, brocades and jamdanis, was once one of the most prominent centers of handloom in
the world. Being interested in Bengal handloom for a long period
of time I took this opportunity to study one of the finest Bengal
weaves - the Baluchari. The intricacy of the weave patterns and the
stories that unfold with each saree, be it of mythology, history, or other contemporary events, have always intrigued me.
The early Balucharis can be considered as a documentation of
the times they belonged to.
I tried to study the reason for the craft to shift from its place of
origin i.e. Baluchar, Murshidabad to present day Bishnupur, the
state of the craft right now, and the social and cultural aspect
of it. Undertaking this journey enabled me to understand the
speciality of the craft and its existence and as to how and why
its importance is dwindling in the present day. Being a design
student at the National Institute of Design, I got a scope to understand and interpret it as a document in my own way. This
journey has helped me to decipher the craft as an interpretation
of culture, values, environment, and experiences along with how
also traditions & techniques are becoming modernized.
Acknowledgement
I would like to dedicate this to the weavers of Bishnupur, who

work day and night to create art and tell stories through their
weavings on cloth.
I am thankful to NID and the entire Apparel Design department; especially my guide Mr. Amit Sinha, for giving me such
a wonderful opportunity to work on this craft documentation &
guiding me throughout the process.
I would specially like to thank Mr. Tanmay Bhattachariya, treasury
officer of Bishnupur, for introducing me to several weavers workshops, stores etc and also acquainting me to the people, culture,
lifestyle of the town; Mr. Tusar Sarkar, the curator of Bishnupur
museum & Mr. Sayan Bhattachariya, the education officer of

Indian Museum, Kolkata, for granting me special permissions
for documenting the ancient textiles and artefacts; Mr. Baneswar
Das who introduced us to the villages of Tantipara and gave
us an insiders perspective to the craftsmens livelihood and also
helped with our commute; Mr. Tarun Chandra, owner of the
store Anubhav, for letting me take as much time with his artisans, understanding and observing the craft, and also explaining
me the business & marketing aspects of it; Mr. Dilip Kumar
Dalal for making me aware of the history of the craft; the villagers & weavers of Tantipara, especially Mr. Arun Dey and Mr.
Harisadhan Dey and his son, who opened their doors for me to
study their age old family looms and familiarised me with each
and every step involved in creating an exquisite Baluchari saree;
our tour guide Mr. Alok Adhikari who told me about the history
of the fort city Bishnupur and introduced me to the various other
crafts of the town. Also I would like to express my gratitude towards Mrs. Jonaki Dasgupta for helping me record draping styles.
I would also like to thank my parents for accompanying me to
Bishnupur and providing me as much support as possible and
also making it an educative yet enjoyable trip.
Table of Contents
1. PREFACE - 6
2. ACKNOWLEDGEMENT - 7
3. INTRODUCTION - 11
4. WEST BENGAL - 13

4.1. About West Bengal -15

4.2. Crafts of West Bengal -22

4.3. Sarees of Bengal -26
5. BISHNUPUR - 31
5.1. About Bishnupur - 33

5.2. The Journey - 35

5.3. Methodology - 36

5.4. History of Bishnupur - 39

5.5. Topography - 43

5.6. Climate & Geography - 44

5.7. Flora & Fauna - 45

5.8. People, Culture, & Occupations - 46

5.9. Religion & Festivals - 49

5.10. Local Attire - 56

5.11. Music - 58

5.12. Architecture - 61

5.13. Cuisine - 69

5.14. Crafts of Bishnupur - 71
6. BALUCHARI SAREES OF BISHNUPUR - 79

6.1. History & Origin - 80

6.2. Balucharis & Swarnacharis of Bishnupur - 86
7. TAANTIPARA AND ITS WEAVERS - 91
7.1. Visit to Taantipara - 93

7.2. Visit to Store Setups - 94

7.3. Interviews of the Weavers - 96
8. BALUCHARI WEAVING- TOOLS & TECHNIQUE - 101

8.1. Silk Used - 102

8.2. Loom Used - 103

8.3. Yarn Processing - 105

8.4. Preparation of Warp & Weft - 108

8.5. Graph & Punch - card Making - 110

8.6. Weaving Process - 112
8.7. Weave Structure - 120

8.8. Drying, Folding & Packing - 122
9. VISUAL LANGUAGE & AESTHETICS - 125

9.1. Size, Weight & Layout - 126
9.2. Colors: then & now - 132
9.3. Motifs: then & now -134
9.4. Baluchari: then & now, a comparative
study - 168
10. USERS AND DRAPING STYLES -171
10.1. End Users - 173
10.2. Draping styles: old & new - 174
10.3. Accompanying Jewellery - 182
11. PRESENT DAY SCENARIO - 185
11.1. Revival of Jala Looms - 186
11.2. Market & Distribution - 187
11.3. Product Diversification - 188
11.4. Designer Take on Balucharis - 192
11.5. Problems Faced - 194
11.6. Government Interventions - 195
12. CONCLUSION - 197
13. REFERENCES - 198
14. GLOSSARY -200
10
Introduction
West Bengal, the fourth most populous state in India, is rich in

its historical, political and cultural context. Its capital Kolkata was
the seat of governance for British India and is often cited as the
cultural capital of India till date. A major agricultural producer,
West Bengal is also known for its political activism and the states
cultural heritage, which, besides varied folk traditions, ranges from
stalwarts in literature including Nobel-laureate Rabindranath Tagore, film-maker Satyajit Ray to scores of other musicians, film-makers and artists. West Bengal is also distinct from most other Indian
states in its appreciation and practice of playing football.
Bishnupur, a town and a municipality in Bankura District in the
state of West Bengal, is famous for its contribution in Bengals
history, architecture, music and textiles. Named after the Hindu
God Vishnu, Bishnupur was ruled by the Vaishnavite Malla rulers, who built the famous terracotta temples during the 17th and
18th century, some of which are easily the best specimen of the
classical style of Bengal architecture. Royal patronage of the Malla
kings also gave rise to Bishnupur Gharana of Hindustani classical
music in late 18th-century and the Bishnupur school of painting
which are prevalent even today.
Bishnupurs major reason for popularity though can be attributed to the exquisite Baluchari sarees that are woven in this place,
which has been granted the status of Geographical Indication in
India recently. Bishnupurs tussar silk sarees are also well known
for its quality. Other crafts include terracotta artefacts, pottery &
jewellery, bellmetalware, dokra and conch shell crafts.
Left: A part of the pallu of an early 20th century Baluchari as seen at the Bishnupur
Acharjya Jogesh Chandra Purakriti Bhawan Museum.
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12
13
West Bengal
Left: A detailed map of the textile centers of West

Bengal
Image Courtsey: Saris Tradition and Beyond by Rita
Kapur Chishti & Martand Singh, Roli Books, published: 2010
Previous page: Paddy fields in West Bengal
Image Courtsey: Soumya Bandyopadhyay, https://
www.flickr.com/photos/soumya_b5/7992728434/in/
photostream/
Facing page: Women in paddy fields in Birbhum,
West Bengal
Image Courtsey: https://www.pinterest.com/
pin/257197828696307844/
14
A boutWest Bengal
The state of West Bengal is located in the eastern part of India.

It is bounded by the states of Sikkim, Orissa, Jharkhand, Bihar;
the countries of Bhutan & Bangladesh, & the Bay of Bengal. Although West Bengal ranks as one of the smaller states of India,
total area being 88,752 square kms, it homes one of the largest
populations (90.32 million as of 2012) of the country. The capital
of West Bengal is Kolkata (Calcutta), which is my hometown.
HISTORY
The name Bengal, or Bangla, is derived from the ancient kingdom of Vanga, or Banga. It formed a part of the extensive Mauryan empire, followed by the Gupta empire, and Later by the
Pala dynasty. From the beginning of the 13th century to the
mid-18th century Bengal was under Muslim rule. In the Battle
of Plassey in 1757 British forces under Robert Clive defeated
the nawab of Bengal, Siraj ud-Daulah. By the Regulating Act of
1773, Warren Hastings became the first British governor-general
of Bengal. The British-controlled government, centred at Calcutta (now Kolkata), was declared to be supreme: essentially, the
governor-general of Bengal was the chief executive of British
India. Thus, the Bengal Presidency, as the province was known,
had powers of superintendence over the other British presidencies, those of Madras (now Chennai) and Bombay (now Mumbai). Under the Government of India Act (1935), Bengal was
constituted an autonomous province in 1937. This remained the
situation until the Indian subcontinent was partitioned into the
two dominions of Pakistan and India after the British withdrawal
in 1947. The eastern sector of Bengal, largely Muslim, became
15
East Pakistan (later Bangladesh); the western sector became Indias West Bengal.
FLORA & FAUNA

More than one-tenth of the total land area of the state is occupied by forests, and the region as a whole has a rich and varied
plant life. In the sub-Himalayan plains the principal forest trees
include sal and shisham, the forests are interspersed with reeds
and tall grasses. On the Himalayan heights we can find coniferous belts occurring whereas the delta of the Hoogly constitutes
the western end of the dense coastal mangrove forest called the
LAND
Bengal may be broadly divided into two natural geographic divisionsthe Gangetic Plain in the south and the sub-Himalayan
and Himalayan area in the north. The state capital, Kolkata, is
situated on the Gangetic distributary Hoogly in the southern
portion of West Bengal. Another important river, the Damodar,
joins the Hugli southwest of Kolkata. The elevation of the plain
increases slowly toward the west. The sub-Himalayan tract, Western Duars, is a part of the Tarai lowland belt between the Himalayas and the plain. Some of the finest tea plantations of India
are situated there. North of the Duars, the Himalayan mountain
ranges rise abruptly along the northern boundary of the state.
Mount Kanchenjunga, located in adjacent Sikkim, dominates the
landscape of the area, particularly in Darjeeling.
Above: The Bengal tiger

Image courtsey: http://www.desktopwallpapers4.me/animals/bengal-tiger-3617/
CLIMATE
West Bengals climate is transitional between tropical wet-dry
in the southern portions and humid subtropical in the north.
Throughout West Bengal there is a pronounced seasonal disparity in rainfall. Kolkata averages about 1,625 mm precipitation
per year. The state also is subject to considerable variability from
year to year. In the sub-Himalayan region, rainfall is considerably greater. Average temperatures at Kolkata range from about
plesently cool winter of around 18 C in December and January
to a hot and humid summer of nearly 38 C in April and May.
Sundarbans. A large portion of this area has been set aside as a

national park. The forests of West Bengal are inhabited by the
Bengal tigers, panthers, elephants, gaurs (wild cattle), deer, salt
water crocodiles, and rhinoceroses, as well as by other animals
of the Indian plain.
PEOPLE
The majority of West Bengals people live in rural villages. Of
those living in urban areas, more than half reside in greater Kol16
kata. More than three-fourths of the population consists of Hindus & most of the remainder is Muslim. Buddhists, Christians,
Jains, and Sikhs constitute small minority communities. Bengali,
the main language of the state, is spoken by much of the population. Other languages spoken include Hindi, Santali & Urdu.
English, together with Bengali, is the language of administration.
AGRICULTURE
Agriculture dominates both the landscape and the economy of
West Bengal. Rice is the leading crop of Bengal contributing a
significant percentage of the countrys total produce. Jute, wheat,
mangoes, jackfruit, and bananas are also grown in abundance.
The tea from Darjeeling has worldwide demand.
Above: A Bengali thali offering from the restaurant 6 Ballygunge Place, Kolkata
Image courtsey: http://breakoutwear.co.uk/blog/?p=481
are several Bengali festivals celebrated here such as Nabo Borsho

(the Bengali new year), Dol purnima & Bashanta Utsav (Holi),
Ratha Yatra, Janmasthmami, Rakhi purnima (Raksha Bandhan),
CUISINE
West Bengal being a majorly agrerian state produces a lot of
rice, climate specific vegetables and wheat. Also situated near the
coastal region, fish is an integral part of daily diet for people of
Bengal. Some of the popular traditional dishes of West Bengal
are, Ilish Mach Bhapa, Shukto, Panch Mishali Chorchori, Alu
Posto, Mochar Ghonto & Luchi. Sweets made of cottage cheese
like sondesh, rashagolla, chamcham etc and sweetened curd
(mishti doi) are some of the other delicacies. Mutton, chicken
and prawn curries are also popular. Bengalis also love indulging
in Mughlai and Chinese preparations.
FESTIVALS
People of diverse culture live in West Bengal in harmony. There
Above: Sindoor Khela (playing with vermillion), a ritual of Durga Puja

Image courtsey: http://www.hindustantimes.com/Images/2014/10/41b29394-d95d-418
e-b44b-f3b936f6d88cWallpAutoWallpaper2.JPG
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gion are celebrated with equal fervour and people participate in

festivals of other religions and communities as well. Christmas,
Eid, Navratri, Diwali are all celebrated with great zeal.
CULTURE
Bengalis have long fostered art, literature, music, and drama. The
visual arts have, by tradition, been based largely on clay modeling, terracotta work, and decorative painting. Some of the well
known artists, sculptures and painters of the state are, Acharya
Abanindranath Tagore, Nandalal Bose, Asit Kumar Haldar, Kshitin Mazumdar, Samar Gupta, Benod Behari Mukherjee, Sarada
Ukil, Sudhir Khastagir and Ram Kinkar Beij. Bengali literature
dates to before the 12th century. The Chaitanya movement, an
intensely emotional form of Hinduism inspired by the medieval
saint Chaitanya, shaped the subsequent development of Bengali
poetry until the early 19th century, when contact with the West
sparked a vigorous creative synthesis. The modern period has
produced, among others, the Nobel Laureate poet Rabindranath
Tagore (18611941), whose contribution still dominates the Indian literary scene. The contributions of Raja Ram Mohan Roy,
Dinabandhu Mitra, Ishwar Chandra Vidyasagar, Michael Madhusudan Dutt, Kazi Nazrul Islam and their likes are immensely
significant to Bengali literature and society as a whole. The theatre is popular, and the performances are sophisticated. jatras,
traditional open-air performances that may treat mythological
and historical topics or contemporary themes, are popular both
in the countryside and in urban areas. The film industry is a
well-established modern form of popular entertainment. Bengali
Rabindranath Tagore at his painting desk, Government School of Art, Calcutta 1932
Image courtsey: http://oldindianphotos.our24x7i.com/history_based/HISTORY_
OLD_INDIAN_PHOTOS/172.jws
Shivratri etc. Durga puja takes place in the months of September

or October to celebrate the homecoming of Goddess Durga to
her fathers home on earth with her children. Pujas of Goddesses
Kali, Lakshmi, Saraswati and Jagatdhatri are also celebrated with
great grandeur. The state is very secular, and festivals of all reli-
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Modern dance forms originated with the start of Rabindra Nritya where performances are done to the songs of Rabindranath
Tagore. Besides these, dance forms like Jhumur, Santhali tribal
dance, Nepali folk dance etc. are also popular in West Bengal.
People also dance with a dhunuchi at Durga Puja.
films have earned national and international awards for their

delicate handling of Indian themes; the works of the directors
Tapan Sinha, Mrinal Sen, Aparna Sen, Rituporno Ghosh and
Academy Award winner Satyajit Ray are particularly notable.
MUSIC
Rabindra Sangeet, a form of music based on the songs written by
the great poet Rabindranath Tagore, is the most renowned form

of Bengali music which draw inspiration from the pure Indian
classical as well as traditional folk-music sources. There is also
the Bishnupur Gharana based on the ancient Hindustani classical
music which we will discuss in later chapters. Shyama Sangeet
is a genre of devotional music dedicated to Devi Kali or Shyama. Kirtan is another style of devotional Bengali music written
on the early life of Lord Krishna. Songs written by Kazi Nazrul
Islam, Dwijendralal Ray, Prabhat Ranjan Sarkar, Atul Prasad
Sen are also noteworthy. The kavigaan is an impromptu duel in
musical verse between village poets. The kathakata, a religious
recital, is another traditional form of rural entertainment, based
on folklore. Baul songs are also popular in the villages.
A baul troupe from Bolpur, Shantiniketan

Image courtsey: http://epaper.timesofindia.com/Repository/ml.asp?Ref=VENSTS8yMDEwLzAyLzA2I0FyMDMyMDA%3D
INDUSTRY
The corridor extending for a number of miles north and south of
Kolkata, along the Hoogly River is the most important industrial
belt of Bengal. Another significant industrial region is located
along the Damodar River. Durgapur and Burnpur have steel
plants and a theres a locomotive plant at Chittaranjan. Haldia
is the terminus of an oil pipeline from Assam, a site of a large
oil refinery and it also has a petrochemical industry. Other important manufactures include ships, automobiles, chemicals and
fertilizers, wagons, electronics, paper, and cotton textiles. The
state has a large number of small-scale and cottage industries
as well. Mineral resources of West Bengal which are nationally
DANCE
Gandiya Nritya was prevelant in Bengal in historic times from
which modern day Odissi, Manipuri and Kuchipuri is said to

have originated. The Raibense Dance is the ancient dance form
of the Burdwan and Birbhum district which is based on an martial art technique. Chhau dance is a form of costumed & masked
tribal dance which is popular in Purulia and Jhargram regions.
19
significant are coal and clay for brickmaking.

TRADITIONAL ATTIRE
During earlier times men in Bengal used to wear white coloured
cotton panjabis (kurtas) along with dhotis and women wore saris
with ghomta (draping a part of the sari on top of the head like a
veil) and the pallu/aanchal draped in front of the torso. Benarasi
saris are mostly worn by women for their weddings. Traditional
clothing is mostly worn during festivals and weddings now. Gold
ornaments are very popular among women of Bengal. Mordern
day clothing for men is mostly western with the ocassional exceptions of panjabis & pyajamas. Women too either opt for western attire or go for salwar kameez, kurtis, churidaars etc.
The Howrah Bridge

Image courtsey: Mahesh Balasubramanian, https://www.flickr.com/photos/maheshguild/9740103174
TRANSPORTATION
Local river transportation in India was first introduced in Kolkata but ongoing deterioration of river channels has disrupted it to
a certain extent. Two ports in Kolkata and Haldia handle international trade. Indian railways was inaugurated in West Bengal
in 1854. Kolkata was the first Indian city to start an underground
railway network. It is also the only Indian state to have a tram
network. National highways link West Bengal with the rest of
India while state highways link internal connection. The states
only international airport is Netaji Subhash Chandra Bose International Airport at Dum Dum. Other airports include Bagdogra
airport, Andal airport etc. Howrah Bridge, Hoogly Bridge, Bali
Bridge, Rabindra Setu, Vidyasagar Setu and Vivekananda Setu
connect Kolkata with the rest of the state. A well connected network of local trains link Kolkata to the subarbs of West Bengal.
Above: Dolls dressed in traditional Bengali attire

Image courtsey: http://www.dollsofindia.com/product/costume-dolls/bengali-couple-cloth-CX03.html
20
Above: The Victoria Memorial

Image courtsey: http://www.skyscrapercity.com/showthread.php?t=730554&page=2
ARCHITECTURE
Hazarduari Palace of Murshidabad, Palace of the Maharaja of
Cooch Behar, terracotta temples of Bishnupur, Dakshineshwar
Kali Temple etc. are some of the prominent examples of archi-
tectural excellence of West Bengal. The Bengal architecture had

chala style roof which converges to a pinnacle. Victoria Memorial, St. Pauls Cathedral, Indian Museum, Fort William are some
of the examples of architecture during the British rule.
21
Crafts of West Bengal
An artisan works on a clay statue of Hindu Goddess Durga in the idol-makers village Kumartuli
Image Courtsey: https://www.tumblr.com/search/hindu%20goddess%20durga
West Bengal is blessed with master artists from various districts,

small villages and Kolkata. The handicrafts here depict the richness of fine art present in the region which varies from terracotta, dokra work, wood and cane carvings, shola arts to beautiful
pottery making and handloom designs. Handmade potteries are
an important fine art found in West Bengal, especially in regions

like Murshidabad, Bishnupur, Bankura, Midnapore and Chaurigacha-Katalia. The potters are known as the Kumbhakars and
many of them are women. They produce handmade figurines,
utensils, dolls and toys made with perfection.
22
Clay modelling is also popular in the region. The clay idols of

various Gods and Goddesses are world renowned. Kumartuli is
a region dedicated to the making of idols of Gods and Goddesses like the Mahishasur-mardini Durga, Saraswati, Ganesha etc.
The conch shell carvers or the Sankhari families of Bishnupur
are famous for their intricate carvings. The Terracotta murals
and sculptures of Birbhum, Murshidabad, Digha, Bishnupur and
Hooghly are the finest of India. Various shapes of animals and
utensils are generally made. The clay dolls made at Krishnanagar
are also very popular. Some artisans of Murshidabad are engaged
in ivory crafts. The Dokra metal works of Bishnupur are one of
the oldest forms of metal casting. The Dokra models are made of
an unique process which involves wax. The artisans make small
wax models with intricate designs on the body and put them in
clay core. Then a typical metal casting is done on the models
by which the wax melts while giving the model a shiny brass
look. This artworks are popular in the Bankura, Budwan and
Midnapore districts, from where the goods are sent to Kolkata
and abroad stores. Small dancing Santhal dolls, animal figurines,
Paikons, Pancha Pradeep are some of the popular Dokra arts.
The Chhau masks and costumes of Charida village of Purulia are
world famous. These masks form a part of the costume for the
traditional danceform of Chhau. The art is limited to around
250 artisans of the village but it has an immense international
demand. These masks are huge in size, made of clay, dried and
covered with paper and cloth strips. After that they are painted
with bright colours and decorated with Zari and Peacock feathers
and big eyes and nose are painted on them.
Above: A Purulia Chhau performer dressed as Shiva wearing a traditional Chhau mask
Image courtsey: Paresh Kale, http://pareshkale.blogspot.in/2014/12/chhau-dance-i.html
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Top Left: A patachitra artist at Naya, in Pingla, West Bengal; Image courtsey: http://www.maamatimanush.tv/articles.php?aid=476
Top right: Kantha embroidery, needlework on cloth; Image Courtsey: Asis K. Chatterjee, https://www.flickr.com/photos/indiantraveller/2136222531
Bottom left: A wedding mukut (tiara) made out of Sholapith; Image courtsey: Anirban Brahma, https://thediaryofamadbride.files.wordpress.com/2013/05/ani_195.jpg
Bottom right: Ethnic wood carved character dolls handmade from Katwa, Bardhamaan District; Image courtsey: Pallab Seth, https://www.flickr.com/photos/23985194@
N06/6743677155/
24
A woman kumbhakar working on terracotta clay idols of the snake Goddess Manasha making a Manashar jhapan in Panchmura village in Bankura district
Image courtsey: Partha Saha, http://convozine.com/30-nov-challenge/7807
and generally portray the culture of Bengal. Wood carving is

popular in Katwa. West Bengal is rich in various handloom
products and the legacy is being carried on till today by the
master weavers and artisans, who put in their effort to produce
exquisite pieces everyday. The product range include saris, dhotis, stoles, kurtas and dress materials. Tangail and Jamdani are
the two forms of handloom sarees exclusively made in the state.
Silk in West Bengal has its own charm. The Baluchari Sarees
of Bishnupur and Murshidabad Silk Sarees are some of the most
intricately woven sarees produced in India. We will cover many
of these crafts in details under the chapter Crafts of Bishnupur.
Shola Pith is a form of natural thermocol like material which is

used in a form of artwork in Murshidabad district. It is a milky
white coloured sponge wood used by artisans to make amazing
complicated artefacts of Gods and Goddesses faces, wedding tiaras, elephant-howdahs, peacock-boats, palanquins etc. Shantiniketan is famous for Kantha embroidery work and leather batik.
Pat is an art form is done on schrolls made up of Jorapata or
Dighol Pat which s a form of leaf. It is found in Purulia, Pingla
and Kalighat and the craftsmen are called potuas. Stories are
drawn in the form of a series based on tribal lifestyles and other
mythological stories. The paintings are done with bright colours
25
1.
Saris of Bengal
2.
3.
26
Although the pre-independence Bengal was known worldwide

for its super fine muslin, the western part of Bengal (present day
West Bengal) mostly produced coarse count saris. Fine count
transparent cotton was a luxury only few could afford and was
thus a statement for the affluent. But shift of population between East and West Bengal during the first partition in Bengal
in 1905; during formation of East Pakistan and in 1947; and
during transformation of East Pakistan into Bangladesh; lead to
a massive influence of East Bengals fine count cotton saris in
West Bengal. Another reason for the shift to fine count cotton
from coarse count cotton was the great sweep of socio-economic change in India since independence and the greater upward
social mobility that came as a consequence. Coarse counts have
now all but disappeard or moved to becoming finer, from 16s
and 20s to 40s count. These shifts have transformed the face of
handloom production in present day West Bengal. Despite the
changes that have taken place due to shifts of population, modernization of loom technology and market trends, a certain aesthetic homogeneity is still decipherable between coarse cottons,
fine cottons and silks of Bengal. They seem to share a common
heritage of symbolic layouts and motifs capable of transiting
from one category to the other, yet retaining a distinct identity.
Though sari categories in Bengal are essentialy material based
(mainly cotton, tussar and mulberry), there are several varieties
where a cotton saree may use silk to uplift colour and texture in
the borders or the body and silk may introduce a cotton weft to
cut cost, thus defying categorization yet maintaining a continuity
in design language to a large extent.
4.
1. Jalchuri saree; 2.Dhonekhali saree; 3. Shantipuri saree; 4. Tangail saree; 5. Dhakai

saree; 6. Dhakai Jamdani saree
COARSE COTTON
The Jalchuri (pebble on water stripes) saris are characterized by
plain or receeding stripes in coarse cotton, or at times, munga
silk. Another example of coarse cotton sari is the Pachha-phere
which is characterized by its three borders, two on sides and
one encircling the hips. These saris are known for their simplicity in the use of color and texture as accents and limited warp
patterning.
FINE COUNT COTTON
Shantipuri saris (fine cotton saris from Shantipur) are characterized by its light, airy drape balanced with a well-woven body and
the subtle play of patterns in the finely etched borders. it often
featured jalchuri and the paata baanshano techniques as seen in
the kolash paar variety.
Dhonekhali saris were densely woven with receding stripes as its
main design feature. They were more opaque than Shantipuris,
yet subtle in their appeal.
Khadi from Navadweep and Fulia were spun on the Ambar semi
mechanized charkha which could weave upto 450s count of saris
which are the finest in India. Because of the fine transparent
nature of the cloth, the cotton was heavily starched, crinkled and
worn as a relatively opaque drape.
Dhakai Jamdani sarees are the ultimate fine cottons of Bengal,
with its loom embroidery in the weft at every pick woven in jala
looms. The indigo ground neelambari ornamented in gold/ silver
or madder red that glows out of the darkness of the ground and
was often worn for pujas or festivals.
5.
6.
27
7.
7. Dhakai bheeti saree; 8. Garad saree; 9. Korial saree
Tangail saris were born from the influence of the Dhakai Jam-
8.
9.
dani saris from the eastern part of undivided Bengal. The Tangail
saris imitates the extra weft loom embroidery of the Jamdani on
the alternate or the third, fourth or even fifth pick, greatly simplifying the technique.
The Dhakai bheeti is a unique fine count, densely woven, cotton
ground, East Bengal sari with jamdani weft-patterned elements
in the end piece and double sided warp patterning in cotton, silk
and zari in the body and borders. It often had extra warp, double
sided and double coloured stripes in silk in the body in satin
weave. This sari is no longer woven today, even in Bangladesh.
TUSSAR SILK
Tussar saris are best represented by the red bordered Lal-paar
sari and Garad sari. There is a range of tussar in plain and narrow, to broad border saris with jalchuri accent stripes worn for
auspicious occasions. Another range comprises of limited border
and patterend end piece but this sari is increasingly becoming
rare. The Bengal variety of tussar is a lustrous and heavy, 7 to
12 cucoon hand reeled silk which is unique among the tussar
varieties of eastern India.
MULBERRY SILK
The mulberry silk of West Bengal is diverse in nature. Malda
used to produce a heavier version of this whereas Bishnupur
had a softer and more lusturous version. Until the popularity of
Bangalore silk grew all over India, West Bengal used to be the
primary producer and exporter of mulberry silk.
28
10.
10. Baluchari saree; 11. Murshidabadi silk saree; 12. Tribal Saree
Image courtsey for 1,7,9,12: Saris Tradition and Beyond by Rita Kapur Chishti &
Martand Singh, Roli Books, 2010 publication.
Garad silk saris are distinguished by its red border and small
paisley motifs. Silk fabric used to weave Garad sarees is not dyed
which keeps the purity factor of the fabric intact and therefore
these sarees have a sacred importance to the women in Bengal.
Murshidabad specializes in weaving these Sarees wherein the silk
yarns are woven close together which imparts the fine texture to
the sarees. Garad in Bengali means white.
The Korial saris khooni lal (blood red), four inch borders were
traditionally woven with three shuttles; two for the borders and
one for the ground.
The Murshidabad silk saris are in general brocades with bright
colour combinations. These silk sarees are generally handcrafted
by a specific community of muslim artisans. The sarees have
Kalka designs and Cone motifs with flowers at the borders.
The intricate Bishnupuri Baluchari brocades also fall in this category which we will discuss in details in later chapters.
Mulberry silk sarees with Kantha embroidery from Shantiniketan
are also quite popular nationally and internationally.
TRIBAL DRAPES
In the northenmost end of West Bengal, there is a small amount
of coarse count cotton spinning and weaving of the two-piece
drapes dhokna-paanchhi for the Mechh community and the
paanchhi for the Santhals. These drapes are similar to the sari
in their layout. These Mechh drapes are mostly woven on backstrap looms by the women who wear them and sell the pieces
produced. The drapes therefore acquire a unique and personalised texture and pattern quality.
11.
12.
29
30
31
Bishnupur
32
About Bishnupur
Bishnupur is a town and a municipality in Bankura District in

the state of West Bengal. It is partly semi-urban and partly rural.
It is famous for its contribution in Bengals history, architecture, music and textiles. Named after the Hindu God Vishnu,
Bishnupur was ruled by the Vaishnavite Malla rulers, who built
the famous terracotta temples during the 17th and 18th century,
some of which are easily the best specimen of the classical style
of Bengal architecture. Royal patronage of the Malla kings also
gave rise to Bishnupur Gharana of Hindustani classical music in
late 18th-century and the Bishnupur school of painting which are
prevalent even today. Bishnupurs major reason for popularity
though can be attributed to the exquisite Baluchari sarees that
are woven in this place, which has been granted the status of
Geographical Indication in India recently. Bishnupurs tussar silk
sarees are also well known for its quality. Other crafts include
terracotta artefacts, pottery & jewellery; bellmetalware; commonly known as dokra and conch shell crafts. There are designated
Taantipara; a area within Bishnupur which homes most of its
weavers and Sankharipara; an area for the conch craft artists.
All the above factors have made Bishnupur one of the tourist hotspots of Bengal attracting both national and international
tourists and the West Bengal Tourism Board is also doing quite
a lot to promote this place like hosting the Bishnupur Fair, promoting the architecture and the Baluchari sarees, maintaining
etc. The Achariya Jogesh Chandra Museum also plays its part in
preserving several priceless artefacts which plays an integral part
in understanding Bishnupurs rich history.
33
Left: Terracotta horses and elephants being worshipped, Bishnupur

Previous Page: Terracotta work from the Jor Bangla Temple
34
The Journey
For my visit to the craft site, I first travelled to Kolkata, West

Bengal from Gandhinagar, Gujarat (where I was currently residing). My parents decided to accompany me as they too wanted to
visit the historical sites and see how the beautiful Balucharis are
created. We travelled to Bishnupur in the month of November,
2014 from Kolkata, and stayed there for two weeks. We took the
6 a.m. train to Bishnupur from the Shalimar railway station on
the outskirts of Kolkata. The day was clear, the weather, beautiful, and the journey, hassle free. The view of the rustic yet lush
green rural Bengal from my train window was breathtaking. In
Bishnupur we resided at the Kangshabati Project Guest house
which was a 10 minute auto ride from the train station.
Right (opposite page): The Big Gate of Bishnupur and the ex-weaver driven auto rickshaw which showed us around the entire Bishnupur; Above: Bishnupur railway station
35
Methodology
searched for publications, e-books & documentaries available on

this subject. I found the books Saris Tradition and Beyond by
Rita Kapur Chishti & Martand Singh, Fabric Art: Heritage of
India by Sukla Das, A Monograph on the Silk Fabrics of Bengal by N.G. Mukerji, and Pageant Of India Culture Volume 1
by A. K. Bhattacharya, quite helpful to understand the history
& origins of the textile, its socio -economic aspect etc. Also the
documentary Weaving Tales on Cloth: Baluchari Saree of West
Bengal and the journal Geographical Indications Journal No. 41,
Government of India was really helpful. All of the above helped
me build a literature review for this project for my future use.
Next I planned out my site visits at Bishnupur as part of my
primary research. I visited Bishnupur from Kolkata for 2 days
and studied the location. I met with the treasurey officer there
who gave me contact informations of the local store owners
who deal with local Baluchari production & sales. I visited one
of these stores, a local artisans house, the local museum & the
local library to get a better feel and understanding of the place,
culture, craft etc.
Then I came back to Kolkata and visited the Indian museum to
see their ancient Baluchari collection and get a better understanding. This gave me a comparison parameter between the original
Balucharis and the contemporary ones, and an understanding
of how the craft has evolved in respect to weaving techniques,
motifs, colors, materials, cultural context etc.
Next I prepared my journey, arranged my accomodation and
planned my day wise activity. The first two days I visited all the
historical monuments, revisited the museum and studied all the
A shop attendant explaining the motifs of a Baluchari at the store Kanishka, Bishnupur
Carrying out this project, as does any project, required a lot of

planning. Once I had selected the craft I wanted to work on, I
began with my initial secondary research by reading up material
available on Bishnupur and Bishnupuri Baluchari online. Also I
36
The Bishnupur Achariya Jogesh Chandra Purakriti Bhawan Museum
ancient & traditional textiles of Bishnupur with immense guidance of the curator, and also visited other places of significance
in the town. Next I dedicated my time solely on observing different steps involved in Baluchari weaving, in both the semi-urban
and rural sectors. I prepared questionairres for interviewing the
people involved but I realised the questions really had to be improvised as per the craftsmans area of expertise, their knowledge
of history etc. Some craftsmen explained me the workings of the
loom in the easiest way possible while some told me the rich his-
tory of the craft & how it has passed on in the family for generations. I documented all of the same, through notes, photographs,
video recording, sketches etc. I also spent a lot of time sitting in
the workshops & homes of the weavers observing them weave.
When I came back from the field visit, I also recorded the draping techniques of the Baluchari on the urban women of Kolkata, as they are the patrons of the craft. The pictures were then
sorted and a rough draft of text was compiled before starting
with this document.
37
Right: Tourism map of the

Temple town, Bishnupur
Image courtsey: South Eastern
Railway
Below: The Lalbandh Lake of Bishnupur
38
History of Bishnupur
Bishnupur was ruled under the Gupta period by local Hindu

kings who paid tribute to Samudra Gupta. Following a long
period of obscurity, where the land oscillated between being a
minor independent principality and a vassal state. The land is
also called Mallabhum after the Malla rulers of this place. It was
much later in 994 AD that the place was named Bishnupur.
Legend has it that during the 7th century AD a disposed king
often believed to be of Jaipur was making a pilgrimage to South
India. During their journey through Laugram, the present day
Bishnupur area, the Queen, delivered a male baby in the house
of a village brahamin, but did not survive to see her own baby.
Abandoning the child the disposed king went on with his pilgrimage. The child started growing up in the poor brahamins
house. One day the boy had fallen asleep tending the cows in
the field and a huge snake with his hood have guarded the sunlight, which was falling on the boys face. Seeing this miracle the
poor brahamin provided the boy with best education along with
along with physical and warfare training.

The boy not only excelled in education but also turned out to
be an outstanding wrestler. Soon on the request of the local
elders he ascended the throne of the local kingdom, which was
renamed as the Malla Kingdom (Malla meaning wrestling) and
he known as Adi Malla. He ruled for about sixteen years.
Thereafter Jay Malla became the king in 710 A.D. and he brought
his uncle and he settled in a village near present day Bishnupur,
which was named Jaypur. After Jay Malla several kings including
Benu, Indra Kanu, Dhamalla, Suramalla, Kanak, Kandarpa and
Sanatan Malla sat on the throne. The next king Kharagmalla
conquered a considerable area of land in the district of Midnapur in 841 A.D. The town of Kharagpur carries his name & his
memory even today. He was followed by Durjan Malla, Jadav,
Jagannath, Birat, Madhab, Durgadas Malla, and in 994 A.D. the
nineteenth king Jagat Malla ascended the throne. His name is
memorable in history since he was the founder of the Bishnupur
town and he also established the Mrinmoyee Devi temple which
was the renowned deity of the Malla dynasty and is worshipped
even today.
Below: Small Stone Gateway

built during the reign of
king Bir Singhadev
39
indigo, wax, honey, utensils made of brass and art objects made
of conch and horn were exported and in return imported spices
and salt. There are records that show that merchants of this place
made use of commercial ships to do business in distant Gujarat.
In 1185 A.D. Ram Malla ascended the throne of Bishnupur. He
was a contemporary of Muhammad Ghori & Prithviraj Chauhan.
He contributed to the improvement of forts, providing better
facilities to soldiers and establishment of new armories. He was
followed by Gobinda, Bhim, Katar, Prithy, Tapa, Dinabandhu,
Kanu II & Suramalla II. Prithy Malla founded two Shiva temples Saraswar & Saileswar and the Baruni fair accompanied by
Lord Shivas gajan is still held every year with much pomp and
pleasure. The fourty-second king Shiva Singha Malla who was
a contemporary of Firoz Shah and Muhammad bin Tughluq,
was an expert in music, and under his rule Bishnupur reached a
very high place in cultivation and in music and was often called
the second Delhi in music. Dhari Malla became the ruler of
Bishnupur in 1539 A.D. and was a contemporary to Humayun
and Akbar and it was during his rule that Bishnupur was taken
under the Mughal empire and had to start paying taxes to them.
One of the most remembered & influential rulers of Bishnupur
Hambir Malla popularly known as Maharaja Bir Hambir ascended the throne around 1565 A.D. He was a man of multiple
qualities such as heroism, strength, devotion, love and generosity. He is famous for defeating the Pathan invader Dayud Khan.
Besides fortifying Bishnupur, he also took steps for strengtening
his military power. He got the famous Dalmadal canon & several
other smaller canons built and set them up in several trenches
The famous Dalmadal Canon seen at Bishnupur
It is said that he got orders from Goddess Mrinmoyee herself to

transfer his capital from Pradyumnyapur to this place in Bishnupur inside a dense forest. The king established several guest
houses, auditoriums, broad roads, temples, schools, granaries,
pastures, armories, army barracks, horse & elephant sheds, and
well stuffed shops. He turned Bishnupur into a prosperous city
by inviting many artists, businessmen & intellectuals from all
over the country and during his reign Bishnupur prospered as a
city known for its bravery and heroism, trade and business, and
also its art and culture. After his demise he was succeeded by
Ananta Malla, Rup, Sundar, Kumad, Krishna II & Rup Malla II
respectively. In 1097 A.D. the twenty-sixth king Prakash Malla
founded Prakashgram by the side of river Darakeshwar which
in course of time became quite an important business center of
Bengal. The products of this place such as jaggery, cotton, rice,.
40
and moats, turning Bishnupur into an impenetrable and undefeatable place. He was also responsible for digging Jamunabandh,
Kalindibandh, Shyambandh, Radhakundu, Kalidaha etc. at a
huge cost. Birhambir was a devotee of the wise man Srinibas
and under his influence gave up Shakta religion and embraced
Vaishnava faith. From that time onwards the entire Mallabhuma inclined towards the Vaishnava religion. He was known for
his tremendous strength and riding skills. Raghunath Malladev
came to power in 1626 A.D. During his rule, Shahjahans son
Suja became the Governor of Bengal. It is said that Suja was so
impressed with Raghunaths display of strength that he freed
him from all taxes acknowledging him as a friend. He built for
the famous Shyamrai, Jor Bungalow and Kalachand temples. After the demise of Raghunath Singhadev, Bir Singhadev became
the king of Bishnupur in 1656 A.D. He was a contemporary of
Aurangzeb. He was notorious for his cruelty yet known for his
constructions. It was during his reign that the famous big and
small fortress doors, Radhalaljue temple, the foundation of Dengo Ramkrishnajue temple, Brindaban Chandrajue temple, Murli
Mohan temple etc were built. Maharaja Durjan Singha Dev, was
crowned in 1682 A.D. and he established the famous temple of
Modon Mohan Dev. After his demise, his son Raghunath Singhadev the second, was crowned in 1702 A.D. He was a contemporary of Bahadur Shah of Delhi. He introduced music on a large
scale in Bishnupur. After spending a lot of money he succeeded
in bringing Bahadur Sen from Delhi, who was a successor of the
legendary Tan Sen. He was also able to organize over one lakh
soldiers under his reign. He conquered Chetua Barda, a kingdom
of Shova Singh, and brough in princess Chandra Prava who

became his queen, along with a lot of treasures, cannons, guns,
and many idols of deities. Because of his growing association to
a muslim singer, Begum Lalbai; his wife Chandra Prava, unable
to bear this, arranged her husband to be murdered and sacrificed her self on the same pyre of her husband. After the death
of issueless Raghunath Singhadev, Gopal Singhadev sat on the
throne. He was a great devotee of lord Madan Mohan (incarnation of Lord Krishna) and a brilliant devotional singer. During
his rule the notorious Maratha Bargee attacks happened in the
kingdom, the stories of which are sung even today in childrens
lullabys. Legend has it that Lord Madan Mohan himself fired
the famous Dalmadal canon to save the kingdom. King Gopal
A terracotta panel from the Jor Bangla Temple depicting wars and hunting scenes of
the Malla rulers
41
Singha then ordered the construction of Jor Mandir and Radhagodindajue in Lord Madan Mohans honor. After the demise of
king Gopal Singhadev, his grandson Chaitanya Singhadev, sat
on the throne in 1748 A.D. He diverted all his attention towards
the development of kingdom left by his Grandfather. He was a
contemporary of Alamgir II. But his life saw no end of troubles
when Damudar Singha, the son of his unclecomplained repeatedly before Nawab Sirazudllya, Mirzafar Khan and the East India
Company about his ney deprival of his due ownership of a half
of the Bishnupur kingdom. Chaitanya Singhadev had to spend
large amounts of money to fight these complaints in Law suits.
Ultimately he became almost bankrupt fighting these cases and
was forced to mortgage everything including the Madan Mohan idol. His eldest son Modanmohan Singhadev died one year
before his death. So he placed his grandson Madhab Singhadev
on the throne in 1801 A.D., who in attempt to raise money tried
looting the Bankura Head Treasury, and was taken a prisoner
and he died in Calcutta Jail in 1809. After him Gopal Singhadev
II & Ram Krishna Singhadev sat on the throne. Ram Krishna
died childless in 1885. Thus Maharani Dhawjamanidevi ruled
Bishnupur with the help of her employees for three years, afterwhich she adopted Nilmoni Singhadev and made him sit on the
throne. After his death his only son Ram Chandra Singhadev sat
on the throne but he also died in 1918 leading to the kingdom
being leased outside the family for twelve years. Thereafter Kalipada Singha Thakur, grandson of Ramkishore Singhadev, sat on
the throne of Bishnupur in 1930. He was born in 1904 and he
died on 29th December 1983. He was the last king of Bishnupur.
A scene from a central panel of a early 20th century baluchari saree from Bishnupur depicting Lord madan Mohan firing the Dalmadal canon (discussed in detail on pg. 146)
42
Topography
Above: A lake and vegetation area in Bishnupur
Bishnupur lies in Bankura district of West Bengal. Although a plain land, the terrain is rough and dry which is caused due to scanty
rainfall in this area. Bishnupur lies beside the Joypur forest and a few miles south of the river Dhalkishor. 440 meters high, the Sushunia hill stand 13 kilometers from Bankura. It is even older than the Himalayas. There are various small and large rocks on the peak of
this hill and it is called Popins peak. The river Gandheshwari river flows in the foot of the hill. The river Dwarakeshwar also flows in
Bankura. But during the reign of Malla kings seven lakes were dug for the public of Bishnupur to prevent the scarcity of water. Even
today these lakes serve their purpose. Lalbandh, Krishnabandh, Jamunabandh, Kalindibandh, Shyambandh, Pokabandh, Choukhanbandh are noteworthy. Bishnipur is plain land surrounded by forest. The soil of Bishnupur is a mix of alluvial and laterite soil.
43
Climate and Geography
CLIMATE GRAPH
Bishnupur is located at 2305N 8719E. It has an average elevation of 59 metres (194 feet).
Bishnupur features a tropical dry subhumid type of climate. It
is hot in summers and moderately cool in the winters. There is
much less rainfall in Bishnupur in winter than in summer. This
location is classified as Aw by Kppen and Geiger. The temperature here averages 26.3 C. In a year, the average rainfall is 1552
mm. Precipitation is the lowest in December, with an average of
4 mm. With an average of 333 mm, the most precipitation falls
in July. Between the driest and wettest months, the difference in
precipitation is 329 mm. During the year, the average temperatures vary by 10.6 C. The variations in the number of rainy days
and soil moisture limitations are common resulting to severe
droughts periods lasting for weeks.
Summers of Bishnupur are extremely hot and exhausting. The
temperature ranges from 32C to 42C in the months of April to
July. May is the hottest month of the year.
August marks the beginning of Monsoon season in Bishnupur
and lasts till early October. The place looks beautifully fresh
having been washed by the rains.
Winters approach Bishnupur in November and lasts till February. The climate is pleasantly cool and the temperature ranges
from 12C to 23C. January has the lowest average temperature
of the year.
The average daily wind speed is around 3 km/h, thats the equivalent to about 2 mph, or 2 knots. In recent years the maximum
sustained wind speed has reached 48 km/h, thats the equivalent
of around 30 mph, or 26 knots.
TEMPERATURE GRAPH
CLIMATE TABLE
Table & graphs courtsey: http://en.climate-data.org/location/173816/

44
Flora and Fauna
Above: Bishnupur is a snake infested area, here a snake charmer is seen handling
a snake
Image courtsey: https://www.pinterest.com/pin/221169031674943577/
A very old Banyan tree in the compound of Mrinmoyee Devi temple, some devotees
of the goddess offer their prayers to this tree too, its shade also serves as a sitting area
West Bengal is a green state, known for its lush paddy fields,
mangrove forests and tea gardens. However Bishnupur is quite
the contrary in view of a poor annual rainfall which results in
it being a draught prone area. Vegetation consists of deciduous trees such as Banyan, peepal, mango, jackfruit, palash etc.
Bishnupur is a snake infested area. Besides that different types

of small birds are also found here. Domestic animals and birds
such as goats, cows, ducks, hen etc. are found in abundance. At
times wild elephants from nearby forest areas come in the town
and wreck havock in search of food.
45
People,Culture andOccupation
many practice the Bishnupur gharana of music. They are God

fearing and religious and the maximum amount of people here
practice Hinduism and celebrate several festivals some of which
are religious and some which are cultural. These include Raas
Utsav, Durga Puja, Gajan, Charak, Jhapan, Rath yatra, Dol (holi),
Bishnupur mela, Kali Puja etc. During winter, the above mentioned Bishnupur mela is organized by the West Bengal tourism
board to attract more tourists. Also a book fair and quite a few
other events take place here in winter. People here are also very
fond of jatras and nataks (open air and closed theatre plays
respectively). Their cuisine is essentially rice, fish, vegetables and
posto and they also love consuming Bengali sweets.
Bishnupur is a very small town, a part of which is rural, which is
why a majority of the people here are financially backward. The
lack of rainfall and irrigation facilities lead to water scarcity in
the area due to which single crops are raised by the Bishnupuri
people in the short lived rainy season. In the remaining months
most people turn to working in the craft sector as artisans to
earn their livelihood. They often involve their families including
their children in these crafts. The remaining population work as
weavers, artisans and craftsman all year round and their crafts
are their only source of income. In the town area people are
either engaged in running small businesses such as running hotels, lodges, restaurants, sweet shops, handloom and handicraft
stores etc. or employed in government offices, schools, colleges,
banks and the likes. As it is a tourist spot some people have also
taken up transport business chauffering tourists from one point
to another in auto and cycle rickshaws, buses etc. Also areas near
Above: A newly wed woman with a puja offering basket outside a temple in Bishnupur
Bishnupur has been carrying the glorious legends of the Mallabhum dynasty and its people are quintessentially Bengali in
their behaviour, language, attire, cuisine and culture. They uphold the rich cultural heritage of Bishnupur and are fully aware
and proud of their rich history. They are hard working, friendly,
humble, polite, and well known for their hospitality. This effectively has hellped Bishnupur become one of the most popular
tourist spots in Bengal. Several of them are music lovers and
46
the popular temples generate business with people working as

tour guides or running souvenir shops, tea stalls etc. Bishnupur
is losing more and more craftsmen every year as most of the
younger generation is shifting towards working in some other
field or shifting to cities because of the little revenues these crafts
generate. In Tantipara the poor weavers can be seen working in

their small workshops situated either side of the narrow road.
Most of the buildings are made of bricks and mortar but in the
interior village there are buildings made of mud and straw. There
is also a Sankharipara where artisans are engaged in conch craft.
Above: Local men engaging in after work socialising over games of cards, this image also gives us an idea of the variety in menswear in Bishnupur
47
48
Religion and Festivals
As discussed earlier, the town of Bishnupur had been named after Lord Vishnu by the Malla rulers and quite a large number of
temples built during the Malla Dynasty reside all over Bishnupur.
Temples such as the Madanmohan Temple, Shyamrai Temple,
Radhalaljiu Temples etc. are not just a portrayal of the immense
faith of the people of this town towards the higher power, but
also speaks volumes about Bishnupurs glorious history. Many
still fondly narrate the folklores of Lord Madanmohan firing the
cannon to save the kingdom from the Maratha invaders. Even
today devotees visit regularly to the temples of Chinnamasta (a
very unique headless deity), Madan Mohan, Mrinmoyee Devi,
Malleshwar etc. to offer their prayers. Several smaller temples of
Kali, Shiva, Manasha are seen throught Bishnupur.
The people of Bishnupur are mostly Hindu and are quite
religious. People practicing other faiths are very few in number
here. They also have pictures or small idols of deities and tulsi
manchas at their homes to worship. The quitessential Bengali
festivals such as Durga Puja, Kali Puja, Lakshmi Puja, Saraswati
Puja etc. are also celebrated here with much grandeur.
A lot of festivals in Bishnupur are also accompanied by big fairs.
Many tourist flock Bishnupur to attend the fairs during the Raas
Utsav, Bishnupur Mela, Gajan and Jhapan celebrations. The people of Bishnupur too participate in these fairs with full enthusiasm. The Bishnupur fair has now been declared as a national
Fair. The festivals and fairs of Bishnupur have been covered in
greater details in the following pages.
Right: The idol of Madan Mohan of the Madan Mohan temple
Left (facing page): Godess Kali being worshipped at a temple in Bishnupur
49
BISHNUPUR MELA
Left: The entrance of the Bishnupur fair made to

ressemble the Jor Bangla Temple
Image courtsey: http://flickrhivemind.net/User/sanjoy.bauri/Recent
A new attraction of Bishnupur is the Poush Mela also known as the Bishnupur Mela which is recognized as a national fair and is
organized by the West Bengal Government. It is held every year around the last week of December, near the Madanmohan Temple.
This fair stretches over four days and people from all the nearby villages and cities come together to celebrate the end of the agricultural season. Its a cultural culmination of art, literature, music, crafts etc. A recent addition is the Bishnupur Utsav, held immediately
following the Mela. It is a classical music and dance festival in recognition of the Bishnupur Gharana in music.
50
JHAPAN MELA
Right: A snake charmer showing off his skills during

Jhapan in Bishnupur
Image courtsey: http://www.gettyimages.fr/detail/
photo-dactualit%C3%A9/indian-snake-charmers-show-their-skills-during-a-photo-dactualit%C3%A9/150422610
During the reign of Malla dynesty, Jhapan festival was a very gorgeous & immensely popular event. Surprisingly this festival is a
huge event even in todays date in Bishnupur. It is celebrated in mid August, on the last day of the Bengali month of Shravan.
In this fair, several snake charmers and their groups visit with their baskets full of poisonous snakes and entertain people with
their fearless abilities. Several competitions are held between them. This fair is accompanied by the worship of Ma Manasha, the
Goddess of snakes.
51
RAAS UTSAV
Left: Dancers performing in front of the Raas Mancha at Raas Utsav

Image courtsey: http://www.holidayiq.com/destinations/bishnupur/bishnupur-utsav-2012-photos-p94058.html
In the month of October/November, i.e. the Bengali month of Karthik, during the Raas Purnima, which is a full moon, a hundred and
eight deities of Lord Krishna and Radha are presented in front of public and are worshipped. This festival is known as the Raas Utsav
or the dance festival of Krishna and Radha. During the Malla rule idols were brought into the Raas Mancha temple for the occasion.
At present this festival occurs in the Krishnaganj and Madhabganj region and performances take place in front of the Raasmancha at
evenings during this time. The Raasmancha is also nicely lit up for the occassion.
52
GAJAN
Right: People dressed up as Shangs for Gajan

Image courtsey: https://amitabhagupta.wordpress.
com/2014/04/11/folk-festival-of-bengal-gajancharak-and-neel-puja/
In Bishnupur, and in all of Bankura, the fair of Gajan to celebrate and worship lord Shiva, is a very popular one. They also worship
Lord Shareswar, or the lord of oxes, who is considered to be the vahan of Lord Shiva. Its celebrated on the last day of the Bengali
month of Chaitra, which falls sometime in April. Also it is different places of Bishnupur at different times throughout the month of
Baishakh, the first month in the Bengali calander. Gajan witnesses devotees dressing up as shongs (jesters), piercing ones tongue
with sharp needles, hanging oneself from sharp hooks or wooden structures, Charak festival etc.
53
RATH YATRA
Left: A rath which is to compete in the local charriot

competition in Bishnupur
In the month of June/July, i.e. the Bengali month of Ashar, Ratha Yatra is celebrated in Bishnupur, which is the festival of Lord
Jagannath. Its a fun filled and popular festival in Bishnupur. On this occasion the various localities compete with each other
as they engage in mock fight over their Jagannaths charriot. The festival is accompanied by a fair. The Ulta Rath journey is
also celebrated.
54
DURGA PUJA
Right: Idol of the godess Mrinmoyee in Bishnupur

Image courtsey: http://wikimapia.org/16675865/
MRINMOYEE-MANDIR#/photo/1417710
Durga Puja is celebrated with much pomp in the month of October in Bishnupur as it is in the rest of Bengal. But in Bishnupur in addition to this the goddess Mrinmoyee Devi (a version of Goddess Durga herself) is worshipped during Durga Puja, and it is a big event.
Her temple is a very old one built during the times of the Malla kings and is rich in heritage. The Durga Puja which is observed every
year in this temple is over 1000 years old. It is the oldest Durga Puja in Bengal and it still beholds its rich culture, in an undiluted way.
55
Local Attire
The attire for men in the villages mostly comprise of either lungi
in ckeck patterns or dhoti (called dhuti) worn in the style of
lungi for bottomwear. They wear either a knit vest (called gengi)
or a thin kurta (called fotua) on top. Sometimes they even work
bare backed due to the heat and carry a piece of cloth (mostly
the red checkered version called gamcha) to wipe off sweat.
Some men even wear a combination of a dhoti or lungi with a
shirt, or a fotua with a trouser, or simply a shirt and a trouser.
Old people mostly wear either dhotis or pyajamas. Men in the
town area mostly wear trousers and shirts. They wear pyajamas
or lungis at home.
Both in the urban and rural areas of Bishnupur, women wear
saris. These are mostly cotton and poly cotton saris and are often
printed (chapa sari) or simple handloom saris. They wear white
ground red bordered (lal paar) saris for pujas. Older women
wear light coloured or white saris. Married women wear red and
white bangles (sankha and pola) and also wear iron bangles
regularly. The families who weave the beautiful Bishnupuri
silks and Balucharis here sadly can hardly afford one,
however a few women in the town areas may own one or
two of these in their wardrobes to wear at festivals, weddings
etc.
Young boys wear denim jeans, shorts, tshirts and shirts. Very
young girls wear frock style dresses. Girls even have saris as
school uniforms. Nowadays however girls and young women
have started wearing salwar-kameez with dupattas.
For footwear they wear plastic or rubber sandals. Men in urban
areas wear shoes and women wear leather/faux leather sandals.
Above: Weavers seen wearing lungis and shirts, another man can be seen is trousers and an old lady is seen wearing a white saree, a scene from Jamunapara
56
Above: Young girls of Bishnupur dressed for school in quintessential Bengali red bordered (lal paar) saris & long sleeved blouses
57
Music
Bishnupur is not only known for its fine architecture and exquisite handlooms, it also boasts of having its own gharana of
classical music. Historians suggest that Mallabhum i.e. Bishnupur had once been the cultural centre of Eastern India. The
Bishnupur Gharana follows the Dhrupad tradition of Hindustani
music, one of the two forms of Indian classical music. Bishnupur
Gharana was established in 1370 A.D. by the court musicians
under the patronage of the Malla Kings. It also has the distinction of being the only Gharana in West Bengal.
that anyone having a melodious voice and an interest in music could learn from Bahadur Khan without any fees and he
also bore the financial liability for the poor students. In time, a
good number of students became the disciples of Bahadur Khan.
Among the disciples of Bahadur Khan, the name of Gadadhar
Chakravorty is noteworthy. Bahadur Khan was not only a vocalist but could also efficiently play on such instruments as the veena, the rabaab, the surashringaar. Gadadhar Chakravorty learnt
both vocal and instrumental music from the Ustad. Among his
worthy disciples were such talents as Ram Shankar Bhattacharya
and Jadu Bhatta, whose name spread throughout India. Most of
the exponents of Bishnupur learnt Dhrupad song and instrumental music simultaneously. Bishnupur was at that time the cultural
capital of India. Shree Anantalal Banerjee of Bishnupur was an illustrious musician who had his tranining from Shri Ramshankar
HISTORY
In the later part of the eighteenth century and towards the early
and mid-nineteenth century, when music of different Gharanas
were gradually having their assimilation in the centre of Calcutta, the Dhrupad style flourished among the musicians of Bishnupur. The Seni Gharana was then in full bloom. Its reputation
spread throghtout India. Its influence on the music of Bishnupur
was enormous. The Maharaja of Bishnupur was a contemporary
of Emperor Aurangzeb, and during his reign Islamic fanaticism
was at its peak in the Mughal empire, and thus many musicians
moved to the court of the Maharaja of Bishnupur who was a
known patron of the arts. The famous Dhrupad Singer Bahadur
Khan of the Senia Gharana, descendant of Tansen, fled to Bishnupur and made his Gharana popular and sought refuge in the
court. Maharaja Raghunath Singh Deo II, steered his attention
towards popularising Bahadur Khan. The Ustad settled down in
Bishnupur permanently and the Maharaja made all arrangements
to honour him as his court singer. The Maharaja also announced
Above: A contemporary singer of the Gharana enthralling the audience at the

Bishnupur Utsav
Image courtsey: Pushpak Banerjee, https://pushpakbanerjee.wordpress.com/into-bishnupur-the-roots-of-terracotta-art-and-malla-rajas/
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Bhattacharya in both vocal and instumental music.Anantalals

sons, Sri Ramprasanna Banerjee, Sri Gopeswar Banerjee, Sri
Surendranath Banerjee were prodigies of this gharana. Sri Radhika Prasad Goswami, disciple of Anantalal Banerjee, earned great
fame as a Dhrupad singer. Among the students of Sri Radhika
Prased were Sri Girijashankar Chakraborty, Jogendra Nath Banerjee and Bhirendra Nath Bhattacharya who won their acclamation
in the early conferences of Calcutta. Sangeetacharya Tarapada
Chakraborty, Jamini GanguIi, Salien Banerjee and many others
learned from Girijashankar Chakravorty. The great poet, Rabindra Nath Tagore had his tranings in the Dhrupad style from
Radhika Prasad Goswami and Jadu Bhatta of Bishnupur and its
influence can be found in many compositions by Tagore. Sri
Gopeswar Banerjee, a great pioneer of the music of Bishnupur,
was the court musician of the Maharaja of Burdwan Narajoi and
Mayurbhanj. He wrote a number of books on musicology such
as Sangeet Chandrika, Geet Darpn, Geetpraveshika Sangeet Lahari and others. Sri K. C. Dey, the uncle of Manna Dey, a popular singer of Bengal, also learned Dhrupad from Sri Gopeswar
Banerjee. Kshetramohan Goswami, another maestro in this
area, was a disciple of Ramshankar Bhattacharya and is known
for inventing the Dandamatrik System of notation in Bengal.
Even a few years ago the name of the Late Satyakinkar Banerjee,
a contemporary singer in this gharana, was well known among
the music lovers of Calcutta. Besides vocal music, he was adept
in surbahar and sitar. Sri Amiya Ranjan Banerjee, ex-professor of
Rabindra Bharati University, Sri Nihar Ranjan Banerjee Professor of Rabindra Bharati University and Sri Manoranjan Banerjee
Above: Manilal Nag bears a legacy of Bengali music that cuts across six generations of
musicians practicing Bishnupur Gharana
Image Courtsey: http://india.tilos.hu/english_gh_vishnupur.html
and Pandit Mani Lal Nag are now representing the Bishnupur
Gharana, almost in its twilight days, bearing just a few glimpses
from its age-old tradition.
STYLE OF SINGING
In this style, the artist excels in unfolding the beauty of the Raga
through the alap. It is simple, devoid of heavy, cumbersome ornamentation. It is free from intricate play with the rhythm. Layakari is however allowed in Dhamar, another form of vocalisation.
The Khayal of the Bishnupur School is noted for its sweet, lilting
melody. It is adorned with the usual ornaments, which add variety to the melodic presentation of the Raga.
Its origins and the development of this style have led to a great
openness in the teaching and evolution within this gharana.
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60
Architecture
Stone has always been in short supply in the vast flood plains of
Bengal. Hence the architects had to restore to other substitute.
As clay was easily available the burnt clay bricks soon became a
good substitute of stone. This gave rise to a new form of temple
architecture and lead to the construction of elaborately decorated
terracotta temples. Terracotta literally means baked earth in Italian but West Bengal has the distinction of housing some of the
finest terracotta art in the world. The terracotta art reached its
pinnacle under the patronage of the Malla Kings of Bishnupur
during the seventeenth century housing some of the best examples of the classical style of Bengal architecture. The temples are
still there turning Bishnupur, in Bankura District, into one of
the most favored tourist spot in not only in West Bengal but
in the whole of India. These Hindu temples of Bishnupur are
divided into three groups namely the northern group, the middle
group and the southern group of temples. Although known for
its terracotta temples Bishnupur contains an interesting mix of
terracotta and stone temples. Apart from temples it also contains
several other interesting religious and social structures. The architecture of the temples speaks volumes of the exquisite craftsmanship of the artisans of the region.
Among the northern group of temples the Murali Mohan temple
has a small, shikhara type tower called Eka Ratna which is quite
different from other temples, as walls surround the first floor
and it has a pillared corridor on all four sides. This type of open
pathway is rare in Bengali temples. The Madan Mohan temple is
dedicated to the patron God of the Malla dynasty, Madan Mohan
or Krishna. The walls of the brick temple are decorated with
61
Left: The Shyamrai Temple
62
Above: Raasmancha, Left (previous page): A pillared corridor from the Raasmancha
terracotta sculptures which are mostly legends of Lord Krishna.

The parapet on the roof and the arches reflect an architectural
influence of Islam. This single pinnacled temple has some of
the finest terracotta in the whole of Bishnupur. Built in 1694 by
Malla King Durjan Singh the star attraction of Madan Mohan is

its intricate terracotta. The temple is dedicated to Lord Madan
Mohan (an incarnation of Lord Vishnu) and is still an active
temple. The temple complex also contains a do chala (double
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sloped roofed) structure. The Raasmancha temple belongs to

the middle group of temples in Bishnupur. Consisting of arched
entrances separated by pillars, a cubic shrine, and corridors on
three sides, the Raasmancha stands on a raised laterite stone
platform and is crowned with a stepped pyramidal structure surrounded by smaller typical Bengal styled sloped roofed structures.
It is architecturally unique and one of its kind in the whole of
Bengal and shows the signs of Islamic and Egyptian architectural
influence. Apart from a few floral lotus motifs the Raasmancha
does not contain any terracotta art work. It is not a temple and
hence does not house any idol but during the festival of Ras all
the idols from different temples of Bishnupur are brought at the
Raasmancha for public display.
Built by Mallaraja Raghunath Singha in 1643, the Shyamrai
Temple, popularly known as the Pachchura temple because of
its five pinnacles, is terracotta at its best. Approached by triple
arched entrance on all the four sides the Shyamrai Temple contains terracotta on all its four sides including the inner walls
and the pinnacles. The Ras Chakra and love making scenes of
Radha Krishna are the most sort after terracotta panels of the
Shyamrai Temple.
A short distance away from the Shyamrai Temple is the Kestorai
temple. It follows the jora Bangla style of architecture and hence
is popularly known as the Jor-Bangla Temple. Jora Bangla type
of temple consisted of two Bengal styled thatched roof like structure joined together, in the case of Kestorai Temple the joined
structures are crowned with a turret. The 1655 built temple is
considered as one of the finest example of Bengal terracotta art.
64
There are numerous panels covering a wide range of topics.

Panels of ships, boats, and war, scenes depecting Ramayana and
Mahabharata etc. A panel depicting Bishma is sarasajya (bed of
arrows) stands out among all.
The Radhashyam temple was constructed in the later period of
the Malla dynasty. This Ek ratna (Single Pinnacled) temple is
built of laterite stone and contains lime stone stucco decoration.
The temple is enclosed with high walls and is entrance consists
of a triple domed Islamic style gateway. The temple dating back
to 1758 was constructed by the Malla King Chaitanya Singha.
A little away is the Radha Laljiu Temple, built 100 years earlier
than the Radhashyam Temple the temple follows a similar single
pinnacled structure. Built by the Malla King Bir Singha in 1658
it is considered as the finest laterite stone temple in Bishnupur.
Just opposite the Radhashyam Temple is the Mrinmoyee Temple, the oldest temple of Bishnupur. Sadly the old structure no
longer exists and the idol of Mrinmoyee is housed in a newly
constructed structure.
Short distances away from the Mrinmoyee Temple are the two
stone gateways. The larger of the two gateways is known as the
Pathar Darwaja (Stone Door) as it is built of laterite stone. This
gate once served as the northern entrance of the Royal residence
and was built in the second half of the 17th century by Maharaja
Bir Singha. The double storied gate accommodated troops and
narrow slits allowed the archers and the gunmen to fire their
shots.
A few yards away is a small stone gateway, which was built in
the same period. Although much smaller in magnitude it is quite
Above: The laterite stone chariot;

Left (opposite page): A piller from one of the terracotta temples
sturdy yet elegant.

A short distance from the two stone gateways is a small but intri
65
66
cately carved stone chariot. Built in the 17th century the laterite
chariot is built in the lines of the ek-ratna temples of Bishnupur.
The Chinnamasta Temple is an ancient temple modified into a
modern structure and in the process losing its beauty and grace.
Just ahead of the Chinamasta Temple are seven scattered laterite stone ek ratna temples decorated with beautiful lime
stone stucco art. Sadly the lime stone art have not survived
the test of time and only traces of it can be seen to this day.
On the southern outskirts are seven temples made of laterite
and not brick which includes the Nandalal Temple. The most
popular ek-ratna temples of Bishnupur are all made of
laterite. The Jor Mandir is a group of three temples in the front
and another temple at the back. All four temples have the same
facade, on all four sides. These temples were built by Malla King
Krishna Singh in 1726. Tales from the Ramayana are sculpted on
the laterite walls of these temples.
The Kalachand temple is an Eka Ratna temple of a very early
period. The eaves of the lower tier clearly show that wood has
been used for its construction. Built in 1656 by the Malla King
Raghunath Singh, the temple was once covered with stucco decoration. Only traces of it remains to this day.
The Radha Govinda temple, built by Krishna Singh in 1729, has
stone wheels that have been attached to the low platform. The
architectural style of the building is done in such a way that it
resembles the chariot in which Krishna took Arjuna to war in
Right above: The Jor-Bangla Temple; Right below: The five pinnacled Shyamrai temple; Left (opposite page): The Ras Chakra depicting Krishna and Radha from the
Shyamrai temple
67
The Radhashyam Temple is an example of single pinnacled laterite temple
the Mahabharata.
A short distance away is the 1737 built Radhamadhav Temple.
The ek ratna temple is accompanied by a do chala (double
sloped roofed) structure. The temple was built by Churamony

Devi, wife of Krishna Singh. The temple still contains some interesting stucco work featuring animals.
68
Cuisine
Bishnupur is a small town and its cuisine is Bengali cuisine

which is predominantly non-vegeterian. Rice, fish, and posto
(a dish made out of poppy seed paste) are the staples and are
included in almost every meal. Other items may include yellow
dal (lentils), alu bhaja (fried potatoes), or other fried vegetables
like eggplant, pumpkin etc. Vegetables like potatoes, cauliflowers, pumpkin, parwals, eggplants, bottle gourds, bitter gourds, etc
are often part of curries. People here are really fond of posto and
often indulge in several delicacies like postor-bora, alu-posto etc.
People occasionaly also eat chicken curry, mutton curry, prawn
curry etc prepared in the Bengali way. Different varieties of fish
are consumed here like rui, katla, ilish etc all prepared in different
ways (eg. maacher jhol, jhal, kalia etc). Food is mostly prepared
in mustard oil using various spices. There are some shops selling
luchi and potato curry for breakfast. Several small eateries can be
found nearby the temples as well as the bus stands for the locals
as well as tourists. Fast food like egg rolls, chicken rolls, chicken/
potato/ mix vegetable chops, onion pakodas, chowmein etc are
very popular among the youth in the town areas as well as the
tourists. Muri (puffed rice) is also eaten by many during snack
times. There are quite a lot of tea stalls throughout the place.
There are some sweet shops as well selling Bengali delicacies
such as various types of sondesh, rashagollas etc. and a few shops
sell sweets prepared using pure Ghee. Other desserts include
payesh and chutney which are prepared on special occasions.
1.
2.
3.
1. Bengali fish curry (Image courtsey: http://www.westbengalonline.in/About/Profile/

Culture/index.html); 2. Postor bora (Image courtsey: http://wikitravel.org/en/Bishnupur_(West_Bengal)); 3. A thali served at the Government Tourist Lodge
69
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Crafts of Bishnupur
Terracota elephants being sold in a souvenir shop near the Mrinmoyee temple;
Left (facing page): A Goddess Manashas Jhapan terracotta sculpture, Seen at Bishnupur Acharjya Jogesh Chandra Purakriti Bhawan Museum
Terracotta is characteristic of Bishnupur. Apart from the temples,

terracotta pottery, jewellery, and the famous terracotta horses,
elephants, Ganesha & Nataraj figurines, miniature Dalmadal
canons, masks etc have made this very traditional craft very famous. Dokra metalcraft is also famous in Bishnupur. Bishnupur
is also known for its tussar silk, particularly the Baluchari Sarees.
Conch shell carving, bellmetalware figurines, dashavatar taash, bamboo and cane works, lantern making, etc are some
of the crafts which are practiced here. Visits to the museum
at Bishnupur museum threw light on how these crafts have
evolved over the centuries in technique, motifs, purpose etc
and how in some cases the finesse has been lost with time.
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DOKHRA
Left: Dokhra figurines of gods, goddesses, villagers, animals

etc. seen at a souveniers shop at Bishnupur
The craft of Dokhra is named after its tribe Dokra Damar who are the traditional metal smiths of West Bengal. Dokra system of
metal casting is one of the oldest form of metal casting and is known as lost wax process. A replica of the desired product is made
with wax on a clay core with all its finer details of designs and decorations. A few coats of finely prepared clay paste is applied over
the model and dried in the shade. The technique of casting revolves round replacement of wax with molten metal by the traditional
hollow casting method. Brass scrap in generally used as raw material. Their major items of Dokhra manufactured in Bishnupur usually
include of home beautification accessories like lamp holders, lamps, chains, and a variety of symbols of ethnic folklore and religion,
and beautiful tribal jewellery of tribal Indian designs and patterns. Handcrafted goods of Dokra are in immense command in domestic
and foreign marketplace because of it primeval plainness and enthralling folk motifs.
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TERRACOTTA
Right: Terracotta figures of horses, elephants, musicians and

village belles, seen at a souveniers shop at Bishnupur
Stone not being available in abundance in Bengal, most of its ancient architechture was made of terracotta. Terracotta (Italian: baked
earth, from the Latin terra cotta), is a clay-based unglazed or glazed ceramic, where the fired body is porous. Bishnupur, and in fact
the whole of Bankura is known for its terracotta works. Nowadays this artform is seen in the place Panchmura Uliwara villages near
Bishnupur and is mostly used for making home decor pieces, utensils, wind chimes and other souvenirs. The special statues of the
Bankura horse, the elephant, Mansha goddess etc are often sold as home decor items and souvenirs in Bishnupur and throughout all
of Bengal. Terracotta, has also found inroads into mainstream lifestyle of the rural Bengal with many household using the suraii, a
clay pitcher used to keep water cool. Most rural households use terracotta feeding bins for cattle, tea mugs, clay pots for cooking rice,
plates, tumblers, yoghurt pots etc.
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LANTERN MAKING
Left: Lanterns from Bishnupur

Image courtsey: https://cocktailsandconversations.files.
wordpress.com/2014/03/lantern_making_2.jpg
Lantern making in Bishnupur is yet another interesting cottage industry. In the past in 1907, lantern making in Bishnupur was
initiated by Raycharan Gorai of Dhaladwar. These lanterns are made of tin sheets and are quite economic and consumes very
little fuel. These lanterns of Bishnupur were previously used as an household item and thus are famous for its cultural significance, style and quality. However, at present these lanterns are sold for decorative purposes and the prospect of such industry is
dwindling.
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DASHAVATAR TAASH
Right: Dashavatar Cards set as seen at Bishnupur

Acharjya Jogesh Chandra Purakriti Bhawan Museum
The ten avatars or incarnations of Lord Vishnu are meticulously painted on a set of cards which were previously used as playing cards
by the Malla kings of Bishnupur. Contrary to the usual fifty two cards, the Dash Avatar required a hundred and twenty cards in the
deck. In Bishnupur Mela, the demonstration of the playing Dash Avatar Tash is made to popularize the traditional game. Only one
living family, a Faujdar family is involved in this craft now and these decks are often exported as souvenirs and have a demand in
the foreign market. These cards are multicolored, round in shape, and are now sold as a deck of ten cards.
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CONCH CARVING
Left: An engraved conch as seen at Bishnupur Acharjya Jogesh

Chandra Purakriti Bhawan Museum
Many families of Bishnupur are engaged in the art of conch carving. Traditional artisans, mostly of Sankha Banik caste partake conch
shell curving at Sankhari Bazar, Malleswar and Kadakuli. Besides, making wedding bangles, the artisans beautifully carve various mythological character of Hindu pantheons on conch shell. Sri Gopal Nandi, one of the eminent artisan and President Medal Awardee still
displays beautiful and intricate fine art of conch shell carving. Generally, it requires more than a months hard labor to design and style
a conch shell and is thus a costly item. These engraved conch shells, bangles, rings, penstands and other artefacts are sold in Bishnupur
as souvenirs. Also with changing times, a few small machineries are also being involved in the craft for polishing and other purposes.
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HANDLOOMS
Right: An artisan weaving a striped silk stole using a handloom

machine in one of the workshops at Tantipara, Bishnupur
The handlooms of Bishnupur are the most acclaimed amongst all the other crafts in this area. Silk sarees of Bishnupur were famous
even when the town hadnt started weaving its Balucharis. They are known for the softness of the material, a great hand feel, availability in several colors and motifs. Also yardages of tussar and other silk types are woven here. The Baluchari saree however remains
the most well known handloom product of Bishnupur. It is a production of exclusive design and fabulous weaving technique. Other
products include handwoven stoles, dress materials, kurti panels and several other products. Also a few units have provisions of block
printing as well.
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Baluchari Sarees
of Bishnupur
79
History and Origin
An Indian sari has countless historic significance attached to

it than any other attire; therefore sari has been positioned as
the most traditional attire of the country. A nine yard sari fabric is beautified with different thread work, embellishments and
conventional zari work that enhances the beauty of the attire.
Different states in India specialize in a variety of sari fabric
design. Starting from Rajasthan, Andhra Pradesh, Maharashtra,
and Gujarat to West Bengal, each state offers something unique
in form of textiles and handicrafts. This has made Indian textile extremely popular on the international fashion and textile
circuit.
When I decided to do my craft documentation research on Balucharis of Bishnupur, little did I know that Balucharis did not
even originate in Bishnupur. While doing my secondary research
I read in several books that its actual place of origin was Baluchar,
Murshidabad and when I spoke to the weavers they confirmed
this fact. The fabrics derive its name from the same. I soon realized that the Baluchari history of Bishnupur was impossible to
cover without covering the original ones from Murshidabad in
details. Although some facts in different books contradict each
other I have tried to assimilate the history of the fabric to the
best of my understanding. The term Bishnupuri (of Bishnupur)
Baluchari and Murshidabadi (of Murshidabad) Baluchari is how
they are often addressed. The Murshidabadi Balucharis are also
known as Baluchar Butidar.
In 1704 A.D. when the nawab of Bengal Murshid Quli Khan
shifted his office from Dacca (present day Dhaka) to Mukhsudabad (present day Murshidabad, named after Murshid Quli him-
Above: Murshid Quli Khan, the earliest patron of Baluchari; Image Courtsey: https://
upload.wikimedia.org/wikipedia/commons/6/6a/Murshid_Quli_Jafar_Khan.jpg
self) the textile sector of the area received glorious patronage as

the nawab was a great connoisseur of the same. Among the wide
range of Murshidabads beautiful textiles, the most artistic was the
Baluchari. It has been eulogized as the loveliest and most charming of all silks in India. Apart from nawabs like Murshid Quli,
Aliwardi, Sirajuddulah, Mir Jafar, family of Jagat Seth, this weave
embroidery also initially received the patronage from the British
employees of the Kashimbazar Kuthi. It soon flourished all over
Murshidabad, Azimganj, Kasimbazar, Mahimpur and Baranagar.
80
Baluchari and its name originates from a peripheral area of the

town of Jiaganj in Murshidabad known as Baluchar, 23 kms.
north of Baharanpur on the river Bhagirathi. The term balu
means sand/soil and char means a delta created due to silt deposit from a river. The village of Baluchar was created due to silt
deposits from the Bhagirathi. This distinctive art named after the
epicentre extended to the neighbouring villages of Amaipara, Ramanapara, Ramdhar, Baligram, Bagdhar, Beliapukur, Amdahar,
Ransagar and Bahadurpur and by the end of the 19th century
there were practically no weavers in Baluchar proper. These adjacent areas came to be known as the Baluchar circle that pursued
this unique art. The main distinction of Baluchari sarees lied in
its attractive and highly prized achal or the end piece which bore
heavily brocaded human figured motifs of the contemporary era
eg. nawabs, Europeans etc.
The most prominant name in Baluchari weaving is that of master
weaver Sri Dubraj Das of Bahadurpur. He was a legend in the
traditional gharana (mode) of Baluchari art. The two monographs
on silk fabrics written in 1892 and 1903 offer some clue to the
period when Dubraj dominated the scene. Dubraj belonged to
the Chamar caste (leather workers) and he actually began his
life as a leather drum maker. But as we would later see Dubraj
was an immensely gifted man and he soon left leather work and
joined a group of Kaviyals (impromptu singers). His life took a
sudden turn when he chose to apprentice under a weaver-artist
of Baluchar. From him Dubraj acquired the technique of setting
looms for turning out exquisite patterns and ultimately he became
the most interesting figure in the sericultural history of the dis-
Above: A late 19th century Baluchar butidar from Bahadurpur, Murshidabad District;
woven by the famous Baluchari artist Dubraj Das with his signature woven at the edge
of the saree, Dimensions: 15 feet 47 1/2 inches (457.2 120.7 cm), Gifted to the
Philadelphia Museum of Art by Stella Kramrisch
Image courtsey: http://www.philamuseum.org/collections/permanent/57852.html
81
ornamentals and plain elegants, comparable only to the best

products of Kashmir and Varanasi looms, but unlike the others
the Baluchar products could withstand any amounts of washing.
Apart from sarees he was known for weaving rumals (big handkerchiefs), shawls with ornamental borders and corners, table
covers, scarves and sashes woven to order for the nobility. There
were six looms in Bahadurpur and Dubraj owned all of them
thus monopolizing the craft. From my understanding there were
several weavers working on his old designs and assisting him but
only he knew how to set the loom.
The figured Balucharis which once dominated the Indian textile
scene began to see a downward trend towards the last quarter
of the 19th century. In 1888, it was recorded that these fabrics
have now very nearly been ousted from the market. Some of
the best pieces of Dubraj were devoid of figures in the achal and
the craftsmanship was confined to the kalka panel, intricate borders and floral ornamentation. Some were devoid of butis. This
marked the beginning of decline of the traditional Baluchar style.
The first and foremost reason for this was the change of taste of
the patrons due to the contact of Europeans. The modern elites
were attracted to European elegance and considered these figured
fabrics clumsy. Dubraj attempted to cater to the altered taste
buds but there were none to keep the flame alight after his death.
Moreover, competition with European mill made products as
well as the active hostility of the English towards the Indian
textile Industry contributed greatly to this decline. The English
wanted raw silk rather than finished goods. Further gold brocaqded Banarasi sarees set new trends in taste as they proved to
Above: The name and location of Dubraj Das as woven on the edge of a saree by
him Image Courtsey: from a collection at a French museum
trict. His expansive artistic vision enabled him to keep pace with
changes in contemporary taste and style. He is said to be the
only weaver of his time who can set the loom to any pattern
he sees and he kept experimenting with new patterns according
to demands and trends of the time. Although it is said that he
was illiterate, several sarees have been found with his signature
woven on it along with his location. The aspect of signing his
name is probably one of the rare instances of an Indian craftsman branding his product. He has also woven religious texts on
fabric in place of ornamentation.
In spite of his extraordinary mastery over the craft, Dubraj was
poor and he thus did not part with his exclusive knowledge and
trade secret to protect his source of livelihood. In fact, during
his time, his sarees were the best pieces of fabrics, both heavy
82
be more attractive and comparitively cheaper. Tales of massive

floods at Baluchar forcing weavers to migrate is also often heard.
Dubraj Das passed away in 1903 and took with him the knowledge and skill to create these magnificient art pieces. Since he
was not from a weaver family the craft was not carried on by
his heirs. His son did attempt to weave a fabric in a loom set
and left by him but did not succeed to achive the fineness of his
fathers patterns. Mrityunjay Sarkar, who was the finest plain silk
weaver of Murshidabad was asked to set his looms for weaving
ornamental fabrics like Dubraj. After much effort and by special
arrangement of his loom he accidently succeeded in reproducing
the ornamental borders of Dubrajs patterns on saris, shwals
and table covers as he was familiar with the Naksha looms of
Baluchar. But the whole process was so complicated that he
failed to grasp the technique of readjustment of his loom and to
reproduce those patterns. In subsequent times, the name of Hem
Bhattachariya was also famous. He was active probably during
the end of the 19th or the beginning of the 20th century A.D.
With the death of these few people, along with the previously
mentioned causes, the craft completely died out.
The weaving of a Baluchari fabric was an elaborate and complicated process involving as many as a dozen weavers manipulating the loom. For richer patterns, even fourteen Nakshas were
employed at a time and the whole process to complete a saree
took as long as six months or more. So once the loom was set,
the weavver turned out 5-10 or sometimes even 30 pieces of saree
before resetting the loom which demanded high level of technical
skills.
Above: A 18th-19th century Baluchari saree devoid of butis, unlike contemporary Balucharis the top row motifs are upside-down, Dimensions: 14 feet 5 1/2 inches 43 1/2
inches (440.7 110.5 cm), Gifted to the Philadelphia Museum of Art by Stella Kramrisch
Image courtsey: http://www.philamuseum.org/collections/permanent/57852.html
83
From its birth period itself Baluchari was the adornment of the
elite class. During the period of Delhi-Bengal political intimacy,
it was the product of high demand in Mughal court and other
royal families of the country. In the middle of the 19th century,
elite Bengali housewives were known to wear Balucharis. In one
of his writings, Abanindranath Tagore (Nobel Laureate Rabindranath Tagores brother) mentions that his mother (wife of
Maharshi Debendranath Tagore) wore a Baluchari saree on the
occassion of Maghotsava.
Post independence, the Government of Indias Design Centre
tried to revive the Baluchari weaving art with the help of weavers in Bengal and in South India but did not achive any success
in this initiative. Then around 1956 AD, Sri Akshay Kumar
Das, a native of Bishnupur and a designer at Government of
India Textile Design Centre, retired from his post and went
back to Bishnupur. There he met Sri Hanuman Das Sarda, the
cheif organizer of Silk Khadi Seva Mandal, who having aquired
a piece of a Baluchari saree from Subho Tagore (nephew of
Rabindranath Tagore), was toying with the idea of reviving the
craft. Subho Tagore, himself being a famous artist, felt the need
of recultivating this rich tradition as well. He invited Sri Akshay
Kumar Das to learn the technique of jacquard weaving. Sri Das
then went back to Bishnupur and along with the financial assistance of Hanuman Das Sarda started working on the same. It is
said that the organization spent Rs. 5,000/- initially and the cost
of initial designing and raw material was provided as a subsidy
by the Design Centre of the Government of India. Thus with
hard work and planning the first piece of Bishnupuri Baluchari
Left: Sri Akshay Kumar

Dass photograph as seen at
Bishnupur Acharjya Jogesh
Chandra Purakriti Bhawan
Museum
Left: Sri Subho Tagore

Image Courtsey: http://
antiquarianofcalcutta.blogspot.sg/2005/12/kumar-wasvery-close-to-subho-tagore.
html
84
was produced in 1957 A.D. after a lapse of several years. It was

woven by Gora Chand and Khudu Bala, a weaver couple from
Bishnupur following Akshay Kumars design.
Since then, Silk Khadi Seva Mandal continued its effort to fully
revive the Baluchari art of weaving. (This organization is still
functioning in todays date in but has lost its glory). Following
suit another voluntary organization Abhay Ashram started production centres for Balucharis at Bishnupur and Sonamukhi.
Since the ancient drawboy jala loom system of weaving was extremely time consuming and labour intensive and automatically
hiked the price of the saree, these organizations were finding it
rather difficult to market the same. During this time jacquard
looms with punched designs were introduced to Bengal, which
ensured higer productivity and a lower cost of production. But
with this the quality began to deteriorate with the looms constraints and fast production. The motifs became far less intricate
and more spaced out. The designs were not reversible and the
extra wefts form floats at the back.
The Silk Khadi Seva Mandal had to pass several ups and downs
to sustain the organization. One of them was the dirth of customer base and good marketing. But this problem was overtaken
with the assistance of Khadi & Village Industries Commision
and publicity by the Ananda Bazar Group of newspapers and
periodicals. Another problem was that the organization did not
have their own design center due to financial constraints which
led to a high price being paid for the design development. The
third crisis happened when the weavers working for the organization were lured away by various traders. These traders aimed
for faster production and more profits and seldom cared about
quality and intricacy of motifs. This lead to a rise of a cheaper,
substandard quality of Baluchari, which flooded the market.
Having seen both the old and contemporary Balucharis of Bishnupur, I realised the intricacy and craftsmanship have truely
declined over the ages. People often write off the Bishnupuri
Balucharis in comparison to their Murshidabadi, but in my study
I felt that the old Bishnupuri Balucharis were quite as exquisite
in their design and craftsmanship as those of Murshidabad.
Also the Silk Khadi Seva Mandal face problems due to fund
constraints. The market too is quite seasonal where fabrics of
such high costs are usually bought either during festive seasons
or marriage seasons which causes uneven cash flow.
The motifs seen on the Balucharis were also vastly changed with
the Bishnupur variety. Stories of Ramayana and Mahabharata,
Lord Madan Mohan, kings and courtesans etc. became popular subjects for motifs. Neither the ones from Baluchar nor the
early ones from Bishnupur involved any zari/metallic thread for
weaving motifs. It is a present day variation created due to user
preference.
Presently there are several traders involved in Baluchari manufaction in Bishnupur. Not only are they store owners, they
have their own production units as well. Although the current
Balucharis are not as densely brocaded and intricate as those
from the past, they are still one of the finest and most exquisite
textiles being produced in India today. As it is a rare textile art
with mythological stories woven all over it, some authors have
referred to it as an epic sonnet.
85
Balucharis and Swarnacharis

of Bishnupur
BALUCHARIS
on the walls of the terracotta temples that the Malla rulers had
built in Bishnupur. Some popular themes of today are scenes
from Ramayana, Mahabharata, stories of Lord Krishnas childhood, Shakuntala, wedding scenes, flower bouquets, animals,
court scenes of an earlier era, boats, charriots etc.
If the motifs are bi-coloured with one colour being the predominant and the other being a highlight its called MEENA BALUCHARI as it gives the effect of meenakari work on the saree.
The production process of Baluchari or Baluchuri can be divided into several parts including cultivation of cocoons and silk
extraction, processing and dyeing of yarns, motif making on a
graph paper which are later punched on cards to be used on the
jacquard loom, weaving of the saree, cleaning, drying, quality
checking and packaging.
The Baluchari sari has won the Presidential award on two occasions for its weaving style and has been prominently displayed
in international trade fairs. The Baluchari Sari has also been
granted the status of Geographical indication in India. Baluchari
sarees are preferred for their soft and luxurious hand feel, the
richness of the silks used, their fine weave and stylish looks. The
Baluchari saree is apt for a variety of occasions; be it wedding
ceremonies, parties, grand functions, social gatherings etc.
A pride of Bengal, the Baluchari saree is known for its silk brocade designs, attractive motifs and colour harmony. A Baluchari
saree once worn only by women from the upper class during
festive occasions and weddings is today widely worn in all strata
of society. It is said that once a Bengali wedding would be incomplete without a gift of Baluchari.
Baluchari sarees are presently woven in Bishnupur district of
Bankura, West Bengal. Unlike the ancient Balucharis from Murshidabad which were woven on jala looms, these sarees are woven using jacquard looms which use punch cards. The weavers
reside in clusters in the villagers and town areas of Bishnupur
and the craft is passed on within the family. These sarees are
made from silk. The appeal of the Baluchari lies in its colour
harmony and not contrast, of the colour of the body fabric and
that of the motifs, the figured motifs and the pictorial narratives
that are woven on these sarees. These motifs adorn on the border, the pallav as well as the butis (small equidistant motifs that
are placed all over the body of the cloth) that adorn the ground
of the saree. Preferred colours are various shades of red, maroon,
green, yellow, blue, black, pink and cream. It is appreciated for
its magnificent weave, attractive motifs, brilliant colours and thematic pallus. One of the major themes that adorn the pallav or
pallu of the Baluchari Sarees from Bishnupur are mythological
stories from Hindu mythological epics and also scenes depicted
SWARNACHARIS
Swarnachari is a highly popular variation of the Bishnupuri Balu86
Right: A contemporary Bishnupuri Swarnachari saree being

sold in a premier online shopping portal
Image courtsey: http://daily.
indianroots.com/crafts-of-india-the-baluchari-saree/
87
88
chari. Swarna in Bengali means gold and thus Swarnacharis are

Balucharis where instead of resham silk yarns used for the motifs, gold zari yarns are used to develop all the ornamentational
artworks. The ground is silk same as regular Balucharis only the
extra weft used for the design building are metallic. Sometimes a
resham thread can also be used along with a metallic thread to
achive bi-coloured motifs. For some sarees copper or silver zaris
are used in liu of the golden ones. It is woven in the exact same
fashion as regular Balucharis using jacquard punch card looms.
These most often have dark ground colours on which the gold
looks more vibrant, although some light ground Swarnacharis
are also available and they are beautiful in their own rights.
Some common colours found in Swarnacharis are navy, red,
black, dark green etc. These are also often woven bearing striped
ground. Swarnacharis are relatively new, there is no trace of their
existance during the early 19th century. They have been popular over the last decade. Many believe they were brought in to
compete with the immense popularity of the zari woven Benarasi
sarees among the Bengali crowd. Swarnacharis actually became
very popular specially among the younger saree wearing crowds
and several brides now choose to get married in Swarnacharis
instead of Banarasi sarees which seems to be staples for Bengali
weddings. Many people choose to wear these sarees for festivals,
poojas, parties and other ceremonies as well. They however diminish the low contrast subtleness that Balucharis were initially
known for. The Swarnacharis too have a pan Indian as well as
international appeal.
left: Three contemporary Balucharis from the Baluchari store Anubhav at Bishnupur.
The black and the navy sarees are Swarnacharis, the red is a Meena Baluchari
89
90
91
Taantipara
and itsWeavers
92
Visit to Taantipara
Above: The Bishnupur Taantheen Taantshramik Shamabay Shamiti Limited i.e.

a cooperative society for the Bishnupurs weavers who dont own looms
Visiting Taantipara was a truely enriching experience. Fortunately our auto driver Sri Baneswar Das was a weaver himself and he
took charge of my visits to Tantipara. Entering the busy lanes of
Taantipara, the rhythymic sound of the looms in motion coming
from all directions filled me with joy. I experienced how the
looms here create beautiful Baluchari saris depicting stories from
Ramayana, Mahabharata etc. I also saw how women processed
silk yarns. In Taantipara I met Sri Harisadhan De, Sri Dilip Kit
and Sri Paresh Dutta. They explained the present scenario of
Baluchari industry. Sri Harisadhan De invited me to his house in
Jamunapara where I saw his son working on an old loom from
Manchester. The next morning I again visited Tantipara and
Jamunapara to see the dyeing and warping process. I also visited the Bishnupur Taantheen Taantshramik Shamabay Shamiti
Limited cooperative society which helps poor weavers who cant
afford their own looms, to earn a livelihood.
Above: A busy lane in Taantipara

Left (previous page): Weavers homes in Jamunapara
93
Visit to the Store Set-ups
Above: The window displays at Anubhav (left) and Kanishka (right) both featuring striped Baluchari sarees which seemes to be a latest trend in the market
94
On my visit to Bishnupur, I was suggested by many to visit the

store set-ups of the Baluchari shops there, especially Anubhav
and Kanishka. These two stores had their own workshops within their premises and allow their visitors and customers to take
a look at the weaving process of the sarees.
The owner of Anubhav, Mr. Tarun Chandra, was extremely
corteous and helpful. He allowed me to visit the store and workshop several times and let me talk to and interview many of his
staff members. He introduced me to Mr. Dilip Kumar Dalal
who came from a long line of weavers and explained to me a
lot of things regarding Baluchari weaving, origin of Baluchari,
design development, motifs, colours and several other factors. I
got to talk to several other members of his workforce explaining
me various aspects of weaving, preparation of yarn, design development, folding process etc. and also the aspects of market,
latest trends and sales of the products. I was also allowed to take
photographs of all the processes. At the workshop I observed the
jacquard punch card development, weaving process, winding of
spools for shuttles etc. There were 6 looms at the workshop so I
could observe different stages of weaving simultaneously.
I also visited the store Kanishka and they too had a wide range
of Balucharis and Swarnacharis. Some of the motifs were quite
different from what I had seen at Anubhav, and when told
about my project the owner gladly let me document them. I
visited Kanishkas workshop as well to observe the weaving
process.
The visit at these stores gave me a clear idea of price points, designs, motifs, colours etc. that are in the market currently.
Above: The workshop at Kanishka

95
Interviews of the Weavers
DILIP KUMAR DALAL

Mr. Dilip Kumar Dalal of Bishnupur comes from generations of
weavers. His grandfather Nagendra Nath Dalal and his father
Gobardhan Dalal were both Baluchari saree weavers. Once a
weaver of Baluchari sarees, now he is working in collaboration
with the owner of the Baluchari store Anubhav to create Baluchari brocade dress materials. He owns his own jacquard loom for
Baluchari weaving had has worked for the silk khadi commision.
When requested to elucidate on the history of Baluchari saree he
said that Baluchari sarees originated in the village of Baluchar
in Murshidabad during pre-independence times. He believes circumstances such as heavy floods etc. made weavers to migrate to
Bishnupur but the craft was lost. Quite sometime later Akshay
Das of Bishnupur along with the financial support of Hanuman
Das of Khadi Bhandar of Bishnupur tried to recreate the magic
of the Baluchari sarees. He worked tirelessly to work out the
calculations and finally succeeded is figuring out how to weave
the figured motifs using jacquard looms.
These looms used to weave these sarees were brought in from
Manchester, England during the British rule. There are a few
families in Bishnupur that still use these jacquard looms from
Manchester. The bigger the machine the more prominent and
larger is the design. These machines are now manufactured in
Baranagar, Kolkata and S. Mandal & K.C. Mandal are known
to be some renowned manufacturers. He himself purchased his
loom from Annapurna Engineering Works, Baranagar, 10 years
back for just Rs. 4000/-. At that time people did not anticipate
that this craft would sustain for such a long period of time.
Above: Dilip Kumar Dalal; Master weaver, Bishnupur
While in Tantipara and also while visiting Anubhav and Kanishka, I had the pleasure to meet quite a few weavers, loom owners,
punch card makers and people involved in other areas of this
craft. Interviewing them made me understand the aspects of
weaving, dyeing, motifs, market, current scenario etc. in greater
details. I have tried to cover two of the most informative interviews in detail here.
96
Previously in Baluchar the designs were woven using jala looms;

the mechanism of which were entirely manual. Two very skilled
artisans were required to operate the looms simultaneously, one
doing the lifting from the top of the loom and one doing the
weaving. With the advent of jacquard looms only one person at a
time is required to operate the loom. The jacquard looms utilizes
punch card system.
When asked about motifs and colours he said motifs have changed
a lot in comparison to the sarees woven in jala looms. It was the
time of Nawab rule and motifs surrounding their lives were often
woven on the sarees. Compared to earlier times a much wider
range of motifs are woven now. The motifs reflect Bengal style of
art. Current motifs include scenes from Ramayana, Mahabharata
e.g. Jatayu vadh (The slaying of Jatayu), Sitaharan (Abduction
of Sita) etc. and are called Story sarees. Scenes from the Nawab
periods are still woven on Balucharis, e.g. Nawab smoking hukkahs, Biwis, courtroom dancers etc. Another popular story for
motifs is that of Dushmanta & Shakuntala. When asked whether
the motifs of the temples of Bishnupur are recreated on the
sarees like I had read about, he said that motifs like Jor Bangla
temple, Raasmancha, Dalmadal cannon were previously woven
on sarees but because of their diminished demand, now they
are seldom woven, that too mostly on stoles. Also, he stated
that although there are weavers of Baluchari from the Muslim
communities as well, there are hardly any customers from their
community as their religion prohibits adorning figured motifs.
These sarees are essentially bought by Hindu women.
Regarding colours of the saree, he said that since colour mixing
Above: A graph bearing the artwork for the neckline and sleeve for the dress materials
has become computerized a wide variety of colours are now being used in making Baluchari, which was not the case in case of
earlier times when only a few basic dark colours like maroon,
red, black etc. were used. Also the dyes used now are chemical
in nature and are much more permanent. Also the recipes are
maintained perfectly now that the mixing is computerized. These
dyes are provided by suppliers and the bleaching and dyeing of
97
ri sarees have brocade work done with zari. However this zari is
much more finer compared to the zari used in Benarasis. It also
has more hooks and punch cards involved in weaving compared
to Benarasis as the work is more intricate with several different
motifs. Also he says that although a Benarasi saree (the wedding
saree for every Bengali bride) is more glamorous a Baluchari has
a much higher longivity. A Baluchari or a Swarnacharee saree
forms a part of a Bengali brides wedding trousseau and is also
preffered for parties and festivals.
A Baluchari takes 7-10 days to be woven when worked on for at
least 8 hours a day. Because of the physical strain and extreme
concentration required to weave Balucharis, two weavers now
work on one saree in shift basis, breaking the process into 2
hours shifts.
When asked about his work he said he currently weaves dress
material for kurtas with Baluchari brocaded necklines. Since
more and more women have started wearing salwar suits instead
of saree, he thinks this product diversification is quite necessary.
Also not many can do this weaving. He was happy to share that
his family has won quite a few state level awards for weaving.
Above: Sri Harisadhan Dey; Master weaver, Bishnupur
yarns are done at the weavers home with the help of his entire
family including the women and kids.
The silk yarns come mostly from Murshidabad and Maldah. Processing and preparing of the yarns for weaving is in itself a very
elaborate process. This silk is called resham and it is extremely
soft and lusturous.
Regarding Swarnacharis he said that its a new concept and is being woven for the last 5-6 years. Like Benarasi sarees Swarnacha-
HARISADHAN DEY
I met Sri Harisadhan Dey at one of the workshops at Tantipara. He is 67 years old now and has been weaving since he was
15. He resides in Jamunapara, a nearby village comprising of
craftspeople. He owns two looms one of which is a very old one
manufactured in Manchester. He himself weaves Baluchari sarees
but nowadays most of the weaving is done by his son 33 years
98
old son, Paresh Nath Dey. He too joined this trade at the age of
15 like his father did.
Sri Harisadhan Dey and his collegue Mr. Dilip Kit (a mechanic
of the jacquard looms) made me aware that in a Baluchari saree,
generally Bangalore silk is used for the tana (warp) is and in the
bhanna/poren (weft) Maldah silk is used. He also explained that
they purchase their dyes from Kolkata and dyeing of the yarns
take place at their homes.
He was kind enough to invite me to his home in Jamunapara
where he showed us the loom from Manchester, and I also had
the privilage of observing his son weave and talking to him as
well. I went back to his house a few times to sit with them and
observe the weaving process and see a saree in its different stages
of weaving. Both father and son patiently explained me the procedure of weaving in the jacquard looms. They explained to me
the function of the jhaap, baw, jaalipata, nawraj, punch cards etc.
When asked about motifs he said scenes from Ramayana, Mahabharata and the story of Shakuntala are the most common.
Other than that motifs of kings are also common. The most
popular motifs include Dushmanta & Shakuntala, Ram & Lakshman, Rams marriage to Sita, his Vanvaas (stay in forest), Sitaharan (Sitas abduction) etc. Some other motifs explained by him
included Santhali tribes dancing and playing madal (a drum
like musical instrument), horse pulled charriots, Krishna-sarathi
(Krishna driving Arjunas charriot), King Dasaratha hunting,
women blowing on conches, apsaras etc. He too said motifs of
Jor Bangla temple, Raasmancha and other terracotta motifs of
Bishnupurs temples were previously woven on Balucharis but
they are now quite out of vogue.
I also had the privilage to talk to Mr. Arun Dey at Jamunapara
who helped me understand the present day scenario and government interventions which I have covered in later chapters.
Sri Harisadhan Dey explaining me parts of the loom
Paresh Nath Dey weaving a Baluchari saree using their family loom
99
100
Baluchari Weaving:
Tools and Technique
101
Silk Used
The principal industry of Murshidabad has always been sericulture and the silk textile industry. There was a time when Bengal
silk drove out almost all competition from the European market.
The Bengal silk is soft and lustrous and has a great hand-feel.
The Murshidabadi Balucharis employed Bengal silk yarns in both
warp and weft. The yarns used were non-twisted leading to a
soft and heavy texture. These also lead the motifs to have a releif
like effect on the body of the saree. Also Murshidabad silk was
outstanding for its purity as there was not even a single percent
of cotton or jute mixed with it. This lead to a sort of sanctity
being attached to it and thus was used by a lot of Hindus for all
their religious and auspicious occassions.
In the present day Balucharis, the warp yarns used are generally
Mysore or Bangalore silk because it has better strength compared
to Bengal silk. Nowadays some weavers even use silk procured
from China because of its superior strength to Indian silks. This
avoids warp breakage and reduces delay caused due to the same.
For the weft, silk from Maldah in West Bengal is used. Maldah
silk has less strength but better lustre. The yarns used in present
day Balucharis are twisted. In case of Mysore silk two yarns are
twisted to produce one and in case of Maldah 3 yarns are twisted
to produce one. In case tussar is being used for weaving, first the
cucoons are softened by boiling them in plain water. Then 8 to
10 filaments are taken out and twisted to form one final yarn as
tussar yarn is very fine in nature.
Left: An elderly woman sitting outside a house cleaning out cucoons, as seen on the
streets of Taantipara
102
Loom Used
Baluchari weaving in Murshidabad in the 19th century was done

using draw looms which were called Jala or Naksha looms in
Bengal. Apart from the weaver this loom required a draw-boy to
sit at the top of the loom and operate the lifting of warps manually. This was an extremely time taking and labour intensive
process. Also not many could set the looms to weave Balucharis.
When Baluchari weaving was reintroduced in Bishnupur,
Jacquard looms had already been introduced in India, and the
weavers re-created the magic of Balucharis using the same.
The Jacquard loom is a mechanical loom, invented by Joseph
Marie Jacquard, first demonstrated in 1801, which simplifies the
process of manufacturing textiles with such complex patterns
as brocade, damask and matelasse. The loom is controlled by a
chain of cards, a number of punched cards, laced together into
a continuous sequence. Multiple rows of holes were punched on
each card, with one complete card corresponding to one row of
the design. Chains allow sequences of any length to be constructed, not limited by the size of a card.
Each position in the card corresponds to a Bolus hook, which
can either be raised or stopped dependent on whether the hole
is punched out of the card or the card is solid. The hook raises
or lowers the harness, which carries and guides the warp thread
so that the weft will either lie above or below it. The sequence
of raised and lowered threads is what creates the pattern. Each
hook can be connected to a number of threads, allowing more
Right: A jacquard loom on display seen at the Bishnupur Taantheen Taantshramik
Shamabay Shamiti Limited
103
than one repeat of a pattern. A loom with a 400 hook head

might have four threads connected to each hook, resulting in a
fabric that is 1600 warp ends wide with four repeats of the weave
going across.
A Baluchari brocade generally employ 150 to 400 hooks. The
looms used in Balucharis were initially brought in from Manchester. These machines had around 200 hooks. The current
machines are local made and consists of 300 hooks. Both types
of machines are being used in Bishnupur today. Machines with
400 hooks or more are very difficult for the weavers to handle
and are hence seldom used.
20,000 to 30,000 punched cards are required to created a Baluchari saree. Previously when the designs were more intricate,
even more number of cards were used.
The Jacquard head adapts to a great many dobby looms that
allow the weaving machine to then create the intricate patterns
often seen in Jacquard weaving.
Jacquard looms are capable of producing many different weaves
from one warp. Modern jacquard looms are controlled by computers in place of the original punched cards, and can have
thousands of hooks. But for Baluchari weaving still the manual
versions are being used. Work has also been going on to recreate
Balucharis using draw looms again; as well as using computerised jacquard looms.
The threading of a Jacquard loom is extremely labor-intensive
and is not done too often. The process of re-threading takes
days. At a go, warp of 10 to 30 sarees are loaded to the loom
for weaving.
Above: The chain of punched cards attached to the overhead jacquard head
104
Yarn Processing
Right top: An old lady is seen twisting yarns

Right bottom: The soaked undyed silk hanks and the
soap solution can be seen here
The silk yarns need to be soaked, dyed

and hanked before they can go for warp
and weft preparation. In the following
pages I have discussed the steps involved
in the initial processing of the yarns.
1. DEGUMMING
The processing starts with the winding
of the yarns (also known as re-hanking).
The hanks are then dipped in an alkaline solution of soda and soap for about
an hour for degumming and softening
and are thereafter washed, dried and
rewinded.
2. DYEING
Baluchari sarees are yarn dyed. Previously only natural colours were used to dye
the yarns and the colour palette was thus
limited. Now the yarns are dyed in acid
colours, according to the requirement of
the saree and the colour possibilities are
endless.
Colour mixing is often computerised,
although the weavers often mix different
105
dyes on their own to try out new colours. The weavers of Bishnupur dye the silk yarns at their own residences. Family members including children often help in the
process.
The dyeing is done manually using hank dyeing method. The
dye solution is brought to a boil in a large vessel using wood fire
outside the weavers house. The weaver then dips the hanks and
keep moving them around in the dye bath. The hanks are then
taken out and re-dippid so that the dyeing is uniform.
After dyeing is over two sticks are used to squeeze out the extra
dye. The yarn is then stretched from both the sides in opposite
direction putting equal force with both palms. This process is
needed to make the yarn crisper as well as squeeze out the extra
dye from the hanks. Then the yarn is dried in the sunlight for
few hours.
After boiling and dyeing one kg of yarn shrinks and reduces to
around 700 grams.
3. PLYING
Dried yarns are then fixed on a wooden roller called fandali and
one yarn is made by plying two yarns.
In case of Mysore silk yarn is made twisting two yarns because
the quality is better. But for the Maldah silk 3 yarns are twisted to make a single yarn. The final twisted yarns are rolled on
wooden frames called latai.
Above: Dyeing of silk yarns
106
Above: Drying the dyed yarns
Above: Stretching and rehanking of yarns

107
Preparation of Warp and Weft
Above: The process of purni kata
The wooden frame (latai) goes to a person, who fixes up all these frames on a bigger frame, which can consist of atleast 30 to 35
smaller frames. Then he transfers these yarns from latais to another frame according to length of the saree. Simultaneously he can
roll yarns for minimum 30 sarees. The whole process is called purni kata. After this process the yarns are rolled on a wooden rod
in a round shape.
108
Above: Transfering the yarp yarns to the warp beam or dhal (here the fuschia warps are for a Baluchari while the whites are for a dhoti)
These round shaped yarn balls come to another worker, who transfers these yarn balls on a wooden beam. These wooden warp
beams are called dhal. Now these beams are ready to be fixed in the loom for weaving. This followed by the prepatory process of
warping such as denting, drafting etc. Separately prin winding is done for the weft yarns to be used in the shuttle. This is done
using a charkha.
109
Graph and Punched-card Making
The making of the motifs for the aanchal, butis and the border
of a Baluchari saree itself is an intricate process. Each motif woven in the body are often called stories as the pictorial figured
motifs of Balucharis often tell stories from the epics of Ramayana, Mahabharata, wedding scenes, Santhal lifestyles etc. First a
person, the motif artist, draws the design on a large graph paper
based on calculations related to jacquard and frame of the loom.
Then he colours it based on the number of colours in the motif.
Then these graphs are handed over to a person who punches
the cards (also often called boards by the artisans) according to
the design. He puts a piece board card (6.2 X33 cm) inside the
punching box. He then uses a hammer like tool called tobna, a
mallet and 2 punches to punch holes on the card corresponding
to the graph paper. He punches the white squares and leave the
coloured squares flat. There is a metal matrix on a wooden base
of the punching box, on which the card is placed with a second
matrix fitting over the top. After these cards are punched and
numbered, they are arranged in order according to the design
and then hand stitched together. They are then fixed to the jacquard machine; each hole in a card represents a lift of a shaft
matching a marked square on the weave draft.
The number of boards required to create a design is dependent
on the size and the intricacy of the motif. The finer the grid
of the graph paper the more intricate is the design. In case of
multiple colours on a motif each color will have a separate set
of cards. So if a single coloured buti needs one set of boards,
a three coloured buti will require thrice the number of boards
says Sadananda Garai who has been working as a design punch
card maker for Baluchari sarees for the past 16 years. He is currently exercising his skills at Anubhavs workshop turning images drawn by the motif artists into workable punched cards for
the jacquard system so that the designs drawn out on the graph
sheets can be replicated exactly on the saree. He explained that a
single coloured 1 figured buti may require 100-150 boards while
a 1 bi-coloured buti will require around 300 boards. Also the
motis drawn on the graph paper are highly blown out versions
of the actual motifs. So a motif drawn in the size of a full scape
sheet might just be the graph for a 1 buti. A paar or border will
require 300-600 boards as it is a single story of a small design
length of about 2-2.5 which goes on in repeats throughout the
length of the saree. A pallu however has several stories woven on
it and are of a much greater length. The pallus are woven at one
go, some do have repeats whereas a few dont. This is why the
number of boards required for the pallu may start from 7000 and
go upto 12000. He also stated that this is a much smaller number compared to the number of cards required in earlier times
during the beginning of his career when the designs used to be
much more intricate. About 20,000 to 30,000 cards are used for
an entire saree and takes 5-6 months to create. A card set is then
used to weave several numbers of sarees from it.
110
Above: Sadananda Garai working on punch card making using the tobna, the punch box and a punch rod, in the workshop of the store Anubhav. The motif to be created is
drawn out on the graph paper in front of him. This design will actualize into a 1 bi-coloured buti, Left (previous page): Tools required for making punched cards
111
Weaving Process
Above: A weaver working on a jacquard loom weaving a Baluchari as seen in Anubhavs workshop
LOOM PREPARATION:
A month before it is put in the loom, the yarns are prepared
according to the number of Baluchari sarees to be woven in that
design and the number of times the motifs will be used all over
the saree. Selecting of coloured thread is done according to design and these threads are set up on the loom.
WEAVING:
Pit looms with jacquard heads are used for weaving Balucharis.
The warp is called tana and the weft is called a bhanna or poren
by the local artisans. Weaving is done using metallic shuttles as
weft carriers. A saree is woven by using 2 or more shuttles depending on the intricacy of the motifs. After jacquard loom has
112
Above: Diagram of a jacquard harness

Image courtsey: http://4.bp.blogspot.com/-gNmCNGVHffg/U2DrTMsXGUI/
AAAAAAAAAts/A7_qO5QyYWQ/s1600/Jacquard-harness.jpg
been introduced, a Baluchari takes five to six days to complete.

Two weavers work on it, in shift basis, a total of four people are
required including helpers who weave the butis. The motifs are
woven using supplimentary wefts in a jacquard punched card setting. The major components of the loom are the jacquard head,
warp beam, heddles, harnesses or shafts, shuttle, reed and takeup
roll. The weft yarn is wound onto a quill, which is mounted in the
shuttle which in turn moves across the loom creating the fabric.
Above: A modern day jacquard handloom for Balucharis as seen at Anubhav

113
Top Left: Yarns wound around structures called latais; Top Right: Weft yarns wound around wooden pipe-like quills called lolis or kharis; Bottom Left: Streamlined metallic
shuttles called makus which are used to carry the weft yarns across the body of the cloth; Bottom Right: An oval tin sheet called sipi which is used for polishing the saree
114
Above: The katani
Above: The Jak
To tighten the saree from both the sides while weaving a metal
and weaving clip is attached. The weavers call this clip a katani.
Jak are weights consisting of sand, yarn rolls etc. which are
hung to keep the yarn tight from the other side of the loom.
115
Above: Maku being passed through the warp shed
Above: A weaver working the reed
A weft filling yarn is passed through the warp shed with the help
of a metallic shuttle which the weavers call maku.
A weaver uses the reed which they call sana to press (or batten)
each filling yarn against the fell.
116
Above: A weaver polishing the saree
Above: A weaver rolling down the saree on the take-up beam
After some area is woven, water is sprinkled on the woven part

and polishing is done with a oval shaped tin sheet called sipi.
A metal handle called kheel is fixed on one end of the take-up

beam called loraj where the finished saree rolls down.
117
The harnesses that raise the heddles or

healds, which in turn raise the warp yarns
to cause the shedding is called jhaanp,
and the individual heddles are called
khachan which are made of nylon strings.
Left: Here the khachans can be seen passing through
the jaalipata
In a pit loom the lifting of the harnesses is done using pedals located inside a
pit dug out on the floor, the weaver sits
with his legs inside the pit controlling the
pedals.
Right: The pedals inside the pit can be seen here
118
The warp beam or the let-off beam is

called dhal and for the border on both
sides yarns pass through separate framed
nets also called jaalipata.
Left: The warp beam and the border warps passing
through their separate jaalipatas can be seen here
The warp yarns pass through eye holes of

heddles, a single rupture of which causes
fabric defects.
Right: Here a weaver is seen fixing a torn warp yarn
119
Weave Structure
The body of the fabric is constructed using

plain weave structure. The brocading is done
using supplimentary weft yarn.
Earlier when the Jala looms were used, the
warps were controlled manually and the
brocading was reversible.
Now with the usage of jacquard loom for
the weaving of the designs, the designs are
no longer reversible. We can see the supplimentary weft yarns forming floats at the back.
The supplimentary weft yarns may or may not
be continious i.e. stretching from selvage to
selvage in case of the aanchal. The butis are
done using discontinious technique where the
supplimentary weft is added only in selected
areas.
An extra person is needed to insert the suppliments while weaving the butis. The brocades are woven in such a way that a diagonal
patterning often forms on the motifs.
Above: A zooomed in view of the weave of the saree, the different coloured yarns used here for the warp and
weft is clearly visible in this picture
120
Above: On the right we can see the face side of a Baluchari saree, the left shows the reverse side with the continious and discontinious supplimentary weft floats being visible
121
Drying, Folding and Packing
A finished saree rollead up on a beam is left out in the sunlight for drying as water is used while polishing
and the finished sarees are damp
122
Unlike the design development and the weaving process, the drying, folding and packing process of a Baluchari saree are quite
simple.
While the saree is woven it is continiously
rolled up on a cylindrical beam at the weavers
end. Once the weaving process of a saree is
complete the beam is taken out of the loom
and brought to a open, clean, space with ample sunlight and left for drying. Since water is
put on the saree for polishing while weaving
this step is essential to prevent any moisture
or dampness in the saree before its packing.
After its made sure that the saree is completely dry, it is taken out of the beam and folded.
Two men are involved in the folding process.
Unlike other garments a saree is not ironed
before packing. The two men start folding the
saree while stretching it from both the sides
tightly. A thin metal rod is often used while
folding. It is kept on each fold temporarily to
give it a precise fold. A thin, starched, white
or brown paper is then put inside the fold to
give it a proper shape. This saree is then put
into a thick transparent polythene bag before
sending it out to different stores. The stores
maintain this fold pattern of the Baluchari
saree.
1.
2.
3.
4.
5.
6.
7.
8.
9.
Above: Two members of the staff of the store Anubhav demonstrated the process of folding a Baluchari saree on request; the above are the steps followed in folding a Baluchari
saree after which it is packed inside a transparent polythene packet
123
124
Visual Language
and Aesthetics
125
Size,Weight and Layout
The length of the Baluchari saree varies beetween 5 meters to 6.5

meters. The width varies from 116 cms to 122 cms. The weight
of the saree depends upon the quantity of silk yarns used, along
with the extent of zari work done (in case of Swarnacharis). The
minimum weight of a saree will be not less than 400 grams. No
upper limit can be fixed, as the same is a variable component
which vries in accordance with the quantity of the raw materials
used and the nature of the design work done. The layout of a
Baluchari saree consists of three parts, namely the body of the
saree, the border, and the endpiece.
The body or the ground of the saree (known as jomi) has tiny
1 - 3 inch sized motifs placed at certin intervals. These are called
butis. These butis may be placed at gaps of 1 inch or even 6-7
inches depending on the design. It maybe the same motif repeated all over or it maybe combination of 2 or 3 motifs in a certain
layout. The butis are denser towards the endpiece and disappear
towards the other end of the saree. The density of these butis
along with the intricacy of the endpiece often determine the expensiveness of the saree.
The border of the Baluchari is decorated by extra warp i.e. either mina (coloured thread) or zari or both simultaneously. It is
called paar. And the motif form is small and rectangular, taken
from one of the motifs of anchal. Sometimes the buti of the
ground is rectangular also. In Mina Baluchari saree, the extra
warp used for decorating border or paar is sized with khai to
withstand tension during weaving.
The most striking featue of the Baluchari saree is its aanchal.
In the middle of the aanchal the main motif is woven in large
rectangles and is repeated 3 to 4 times or even more. The other

motifs are woven around the main motif in small rectangular box
like forms. This system of motif placement is called talas and the
different scenes woven come together in this layout to create a
homogenous whole. This use of talas or levels/rows in placing
the motifs is not only seen in Balucharis but also in a few other
brocade sarees of India.
Another important character of the Baluchari motifs is that the
motifs are presented sidewise i.e. in a side profile view and not
a front view. And all the motifs do not change their vertical
allignment and all motifs in a particular row face the same direction. Also the figurative motifs face inwards from either of the
borders, integrating the layout and building up a certain pictorial
canvas on the endpiece.
The specifications of different contemporary Balucharis are as
follows:
CHOTO AANCHAL (SMALL PALLU) BALUCHARI SAREE:
Length: 5.50 mtrs + 90 cms blouse piece
Width: 116 to 122 cms (including border not less than 8
cms)
Warp: 18/ 20 D, 2 ply twisted silk yarn
Weft: 15/ 16 D, 3 ply filature silk yarn
Reed count: 100s
Picks per inch: 72 - 80 ppi
Jacquard capacity: Not less than 150 hooks
Size of aanchal: Not less than 36 inches (90 cms)
Weight of the saree: 410 - 415 gms
126

Border: 10 - 11 cms
Endpiece/ aanchal: 1 - 1.2 mtrs
SWARNACHARI SAREE (ZARI BALUCHARI):

cms)
Extra warp: 20/ 22 D, 2 ply twisted silk yarn + zari threads
Extra weft: 20/ 22 D, 2 ply twisted silk yarn + zari threads
Reed count: 100s
Jacquard capacity: 150-400 hooks
The layout of a Baluchari saree is illustrated on the right.
Total length: 5- 5.50 mtrs
MEENA BALUCHARI SAREE:

cms)
Extra warp: 20/ 22 D, 2 ply twisted silk yarn
Extra weft: 20/ 22 D, 2 ply twisted silk yarn
Reed count: 100s
Jacquard capacity: 150-400 hooks
127
Width: 116- 122 cms
128
Baluchari sarees from the 19th century Baluchar, seen at

Indian Museum, Kolkata. The variety of layouts, different
lengths of aanchals and various buti densities implimented on these sarees can be well observed here
It can be noted that the saree 1st from left (facing page)
have a narrow aanchal design and no human motif, the
saree 5th from left (above) has no separate aanchal at all
and bear dense diagonal stripes and butis
129
Common layout of the 19th century

Baluchari (Baluchar Butidaar) sarees
from Baluchar, Murshidabad
It can be noted here that the buti arrangement is very dense in these saree
Also the central panel motif is that of
the tree of life and the border is floral
The lenght of the saree is slightly shorter than the contemporary counterparts
whereas the width is almost the same

The brocade work is more intricate
The average height of the endpiece is
generally less than the contemporary
ones
The variations in motifs are less
Left: A 19th century Baluchari seen at the Indian

Museum, Kolkata
130
Common layout of the contemporary Baluchari sarees from Bishnupur,

Bankura
The butis are quite spread out and is a
combination layout of 2 different motifs
The central panel of the endpiece and
the border both bear human figured
motifs
The lenght of the saree is longer than
those from Murshidabad

The brocade work is comparatively less
intricate

The average heigh of the endpiece is
larger than the Murshidabad ones

A lot of motif variations can be seen
Right: A 19th century Baluchari seen at the Indian

Museum, Kolkata
Image courtsey: http://www.spurlock.illinois.edu/
search/details.php?a=2008.22.0023a
131
Colours: then and now
(meaning parrot-necked, red warp and green weft), mayurkanthi

(meaning peacock-necked, red warp and green weft), dhup-chaya (meaning light and shade achived using red warp and blue
weft, this connotation is often used in present day to address
any fabric with warp and weft of different colours) and asmani
(meaning sky coloured, blue warp and red weft). These pieces
are especially beautiful as the warp or weft colour gets accentuated depending on its fold and fall and light falling on it.
Baluchari sarees with white and off white grounds were also
common. White was a preferred colour among the Brahmins and was also a much worn colour at pujas and rituals.
It was not worn at weddings though as it is also considered
a colour for mourning among East India Hindus. There is
no knowledge of black dye being used in the traditional Balucharis most probably because of the non availability of the
same among vegetable dyes during those times. Also black was
considered inauspicious in the Bengali Hindu community. Instead of black, either deep indigo or deep chocolate was used.
Most sarees had dark base with pictorial designs woven with
lighter coloured silk threads like cream which had an antique
gold like sheen, white, yellow, light green, and mauve giving an
enamel effect. There were some exceptions like yellow ground
with motifs woven in red or green etc.
Modulation of colour was achived by dexterous mingling of different shades of the same colour with accents of different tints.
So the colour harmony used to be rather soft, subtle and reposeful with sensitive touches of gaiety and glamour. - Sukla Das.
Todays Balucharis are however quite different. Colour schemes
COLOURS
Balucharis are known for their extra judicious colour harmony. Several colors and sometimes zaris are woven together to
create a perfect balance of colours devoid of strong contrast.
The choice of colours also denote that the Baluchari craftsmen
were not just master weavers but highly skilled artists with a
strong sense of aesthetics. Earlier, weavers usually did their
own dyeing although sometimes professional bleachers and dyers were employed. Nowadays members of the family are generally involved in the dyeing of the silk hanks. This is done
mostly by male members while the kids provide help in the
process. During the times of Murshidabi Balucharis and the
earlier Bishnupuri Balucharis, the color palette was limited to
the ones popular in Bengal and achivable through natural dyes.
Some of the popular ground colours included red (which is considered one of the most auspicious colours by the people of Bengal because it is symbolic to several emotional, sexual, fertility
related qualities and thus the most preferred colour amongst
brides), light red, maroon, pink, mauve, mustard, yellow, orange,
green, purple, chocolate, pomegranate and grey. Blue was initially a colour relegated to the lower castes as the fermentation process of indigo dye was considered impure. But by the last phase
of nineteenth century indigo and other shades of blue came in
vogue and were widely used in balucharis.
Sometimes they used different coloured warp and weft to create a beautiful dual-tone shaded effect, some of the examples
being pitambari (red warp and orange weft), sonali (a golden
look achived using red warp and green weft), hiramankanthi
132
roon, ink blue, sky blue, navy blue, purple, turquoise etc. Also
unlike earlier times black Balucharis are quite common. Some
sarees with different coloured yarns in warp and weft were also
seen. Some of the contemporary Balucharis are not quite subtle
unlike their previous counterparts and are high in contrast with
bright ground colours. Also a major change in the look of the
saree is brought about by the widespread use of zari (metallic)
threads in gold, silver or copper colours used instead of or along
with light coloured silk threads. These sarees are developed in
such a way so that they can compete with the Benarasi brocades
in the market. Because of this although the colour combinations
are harmonious sometimes they are quite loud and contrasting
unlike the original ones.
DYES
During the earlier times natural dyes were used to colour the
silk yarns before weaving. Several colours were obtained using
lac, turmeric, safflower (Kusum-carthamus tinctorius), eakam
(Coesalpinia sappam), palash (Butea frondosa latean), ramala

(Malloi-nus philippinwaia) and indigo. The colours of these traditional pieces is said to have grown richer and mellower with
the passage of time.
The present day dyes which are used are chemical in nature.
Acid dyes are used to apply colour to the silk hanks. Due to advancement in computerized dye mixing manufacturers can provide the artisans with any shade or tint they desire. The weaver
families thus purchase ready powdered dyes and use them as per
requirement.
Above: Dyed yarns to be used for Baluchari weaving, seen at Tantipara
are not limited to few colours anymore as any colour is possible

to achive now using chemical dyes and the colours used are
dictated by market trends. Some of the colours I observed in the
stores and at the weavers places included red, pink, magenta,
peach, cream, dark green, golden, chrome yellow, mustard, ma133
Motifs: then and now
A remarkable feature of the Baluchari saris is the introduction

of human figures in their contemporary costumes and modes.
These motifs are placed in the body/ground, the border/ paar
and the endpiece/ aanchal. The aanchals are the most striking aspect of a Balucharis beauty. Below and in the subsequent pages,
the motifs placed in different parts of both ancient and modern
Balucharis are discussed.
AANCHAL MOTIFS OF MURSHIDABADI BALUCHAR

BUTIDAAR
A scrutiny reveals a transition from one period of history to
another whereby Hindu motifs yield place to the Muslim motifs
and they in turn are replaced by the European figures. Nevertheless, the pictorial element of these fabrics retain a continuity
and evidence of assimilation of diverse cultures giving rise to a
distinctive art form that was neither stagnant nor fanatic but accommodative and secular. The artists awareness of the political
changes is meticulously brought out in the natural tendency to
highlight the ruling authority.
India has a past tradition of floral and animal motifs including
hamsha (swan), mayur (peacocks either single or in pair), singha
(lion), deer, falcons, horses, elephants etc. are some of the motifs
that can be seen. Floral motifs, flowering shrubs, mango-motif
or kalka, the tree of life, or meandering creeper remind of traditional decorative designs of India and breathe a Hindu spirit.
Right: An aanchal of a 19th century Baluchari from Murshidabad with a very large
endpiece, it can be noted how the figured motifs are placed upside- down in this, as
seen at the Indian museum, Kolkata
134
The old designs gradually transformed into newer forms by the

introduction of human motifs with Muslim setting. The distribution of human motifs was usually confined to an oblong
panel intricately decorated with floral designs as a ground-work,
leaving bare a central rectangle which was ornamented by four
mango motifs in the corners and human figures were arranged
in rows along the sides of the rectangle. The figures we in architectural frameworks and resembled portraits and each motif had
its own frame. This layout is maintained even today.
Pictorial representation of subjects included a seated lady holding a flower, a lady riding on horseback (which proved the
strong imagination of the weavers as such customs were unheard of in those days), a lady smoking a traditional hookah,
a pair of ladies with birds in hands or in conversation. Male
figures represented nobility on horseback, a prince proceeding
to a battle holding an unsheathed dagger, nobleman smoking
hookah with falcon in hands, riding on an elephant with a
mahut holding a flag, a lion or tiger hunter and cannoners in
panels. The scrutiny of these panels reveal a marked projection of Muslim environment in respect of their dress, hair style,
posture and decor. Some authorities feel that these were so because the weavers wanted to please their Muslim patrons or they
had been commissioned by the contemporary Muslim nobility.
However, it may be noted that the transfer of capital to Murshidabad brought about profound changes in socio-cultural pattern.
The weavers did not fail to respond to the change and utilized
their talent to depict their experiences in exquisite perfection.
However, it needs to be noted that the fact that principal cus-
tomers of these sarees were the Hindu ladies, suggests that the
motifs represented the artists attempt to project contemporary
trends rather than being the product of commissioned labour.
Subsequent changes in motifs where European faces made their
appearance in their conventional lifestyle along with Indian figures are illuminating. European men and women holding flowers
or wine glasses, in their circular hats and bonnets with tight
fitting dresses and prominent side-burns are indicative of the artists sensitivity to the current political changes. The first locomotive that was introduced in India in the mid nineteenth century
did not escape the weavers notice and quite a few pieces of Baluchari have been found with motifs of locomotives carrying Europeans, sometimes with both European and Indian passengers
and attendants, double decker steam launches with passengers
and crew inside, European ladies and gentlemen riding coaches
drawn by horses, Europeans being driven in chariots, are some
of the motifs found in works of later period, that point to the dynamic changes replacing the stasis and decay of the early era and
speak volumes on the sensitive perceptivility of the artisans who
work these fabrics. Equally interesting is the motif of a double
decker carriage with a dog in the lower section which indicates
the induction of dog as a domestic pet by the Europeans.
The European figures however appear quaintly stiff and stylized.
It may be that the European carried themselves in a stiff air of
superiority or that the average people were mortally scared of the
Europeans and artists being no exception to it gave expression
to this feeling in his own way.
Against this lavishly ornamented aanchal or end piece,
135
the rest of the groung of a saree was designed with traditional butis or motifs of floral sprays, both large and
small judiciously distributed to emphasize the contrast.
Some art critics feel that the figured fabrics of Bengal (both
Jamdani and Baluchari) were Persian in feeling and conception
while others believe that it is not tenable because India had a
long tradition of figured fabrics. The designs appear to be indigenous and more akin to kantha which is essentially an East Bengal
folk art and had probably indirectly influenced pictorial Jamdanis
of Dhaka. The art was prevalent in Murshidabad zone and some
indirect link between kantha and Baluchari may not be unlikely.
Unlike today these Balucharis were more relaxed with the subject
matter and the layouts and some of the best works by master
weaver Dubraj Das were devoid of human or animal figures and
craftsmanship was confined to kalka panel, intricate borders and
floral ornamentation. The butis too never bore human figures
and some sarees have been found with no butis at all.
Information source: Fabric Art: Heritage of India by Sukla Das, Abhinav Publications,
published: 1992 & The Indian Museum, Kolkata
Above: A Baluchar Butidaar bearing motifs of Nawabs smoking hukkah and riding
elephants with the mahuts
Image Courtsey: https://s3-ap-southeast-1.amazonaws.com/scrollstorage/1418057301-1201_3A.jpg
136
19TH CENTURY MURSHIDABADI BALUCHARIS
Above: A person sitting on a chair holding a flower in one hand and a hand fan in
another; the detailings on the attire, shoes and headgear are quite interesting
Above: The introduction of trains and trams by the British inspired weavers to develop
this unique motif of Europeans dressed in their coats, trousers and dresses, wearing
hats, bonnets and shoes travelling in double decker coaches of a train holding flowers,
while another Britisher chauffeurs the train, a half man half lion like motif sits on top
of the engine
137
Above: An European lady with a child on her lap and gents seated across a table,
holding flowers and eating
Image courtsey: http://www.hali.com/news/baluchar-silks-bengal-mumbai/
Above: An European couple enjoying a train or a tram journey; they are seen smelling
flowers; a lamp can be seen hanging from the ceiling
138
Above: The kalka or the mango motif is one of the most featured central panel motif
of the Balucharis from Murshidabad; it is a blend of a paisley and the tree of life motif
with elegant floral decorations in it;
Image courtsey: from the Philadelphia Museum of Arts collectionhttp://www.philamuseum.org/collections/permanent/58468.html?mulR=1634057362|8#
Above: A motif similar to the tree of life motif which is popular in many cultures, it
is said to indicate a connection between the spiritual and the material worlds; it also
represents life and fertility; this motif is erect and bilaterally symmetrical
139
Above: A couple holding birds and flowers in a romantic boat journey, the boat is
being rowed by an oarsman
Image courtsey: from the Philadelphia Museum of Arts collection, http://www.philamuseum.org/collections/permanent/58468.html?mulR=1634057362|8#
Above: Motif with hookah-smoking Nawab and canonneers

Image courtsey: Tapi Collection, http://scroll.in/article/693894/remarkable-19th-century-saris-depict-europeans-on-trains-hookah-smoking-women
140
Above: A motif bearing traditional bird and animal motifs in a scene which seems like
a lion is hunting a deer in a jungle
Image Courtsey: Fabric Art: Heritage of India by Sukla Das, published in 1992 by
Abhinav Publications
Above: Europeans in double decker steam launches holding flowers, wine glasss and
birds, some people are seen on the deck, one of them is holding binoculars
141
Top Left: A nawab smoking hukkah; Top Right: Horse drawn carriages (Image courtsey: http://textilesocietyofamerica.org/5095/sahib-review/); Bottom Left: A noble man riding a
horse; Bottom Right: Dancing peacocks motif (Image courtsey for top left and both pictures at bottom: from the Philadelphia Museum of Arts collection, http://www.philamuseum.
org/collections/permanent/58468.html?mulR=1634057362|8#)
142
Top Left: Sahibs and mahouts on elephant backs (Image courtsey: Tapi collection, http://scroll.in/article/693894/remarkable-19th-century-saris-depict-europeans-on-trains-hookah-smoking-women); Top Right: A rider on horseback (Image courtsey: Fabric Art: Heritage of India by Sukla Das, published in 1992 by Abhinav Publications); Bottom Left:: Europeans in a carriage holding flowers, an Indian attendant can also be seen (Image courtsey: Tapi collection, http://scroll.in/article/693894/remarkable-19th-century-saris-depict-europeans-on-trains-hookah-smoking-women); Bottom Right: A bibi or a courtesan smoking hookah (Image courtsey: http://www.hali.com/news/baluchar-silks-bengal-mumbai/)
143
motif could be just 1 in number or even go upto 14-15 repeats.

But although a few specimens of contemporary Baluchari sarees
still bear kalkas on the center panel, it mostly bears 3-4 repeats of
human figured motifs. The figures now, though still stylized, are
much more realistic and proportionate than those of earlier times.
Also a lot of finesse and detailing is achieved in the clothing, hair
and jewellery of the figures. The faces look softer and rounder now
and the eyes are drawn out the way we identify with some Bengali style paintings. Also though the faces are still done in profile
view, I did get to see a few exceptions in the contemporary ones
where front view of faces are woven. The Bishnupuri Balucharis of
yesteryears although done in jacquard were almost as detailed and
intricate as those from Murshidabad. However with passage of
time, to make the weaving process faster and more cost efficient,
the motifs are now less intricate, bigger, and more spaced out
from each other. Also the 3 or 4 colours use which were seen on
the pallus of many Murshidabadi Balucharis are not found in the
Bishnupuri counterparts. It is limited to 1 or sometimes 2 colours.
Also the distinctive outlines with contrast colours that are often
seen around the figures of the earlier era are not present anymore avoiding the useage of another colour. Instead outlines are
achived by leaving gaps for the ground colours to be seen through.
Most of the contemporary designs used in Baluchari now are
stories from Hindu mythological epics. Sadly, although there
are a huge variety of motifs being used today, they are mostly
repetative and there is not much innovation in this field. The
aanchals do not reflect scenes from current society like they used
to in the sarees from Murshidabad. The Battle of Kurukshetra,
Above: A motif of Shakuntala with peacocks on a contemporary Bishnupuri Baluchari;

Image courtsey: https://in.pinterest.com/kshamad/motifs/
AANCHAL MOTIFS OF BISHNUPURI BALUCHARIS

Like the 19th century Balucharis, the pallav/ aanchal is the most
important part of the contemporary Baluchari saree as well. Just
like their older counterparts, the motifs of these Baluchari aanchals
are arranged in 1 or 2 rows and columns of small rectangles or
squares. These squares go around what is called the central panel
which previously always bore kalka or tree of life motifs. These
144
Above: Idols of Goddess Durga, Saraswati and Lakshmi draped in contemporary Baluchari sarees; the entire mandap bore different motifs
seen on Balucharis, the stories woven on Goddess Durgas saree are of Lord Krishna and Radha; (Durga Puja by Behala Club, 2008)
Image courtsey: www.durgaonline.com/2008/behalaclub
Draupadis cheerharan, Krishna and Arjuna on chariot etc. are

some of the common motifs from Mahabharata, whereas Rams
vanvaas, Sitaharan etc. are the popular ones from Ramayana. The
life of a young or adloscent Lord Krishna and stories of Radha
and Krishna and stories of Shakuntala and Dushmanta are also
the subjects of immensely popular motifs. Stories of Meerabai,
dancing apsaras (fairies/dancers), kings and courtesans, Santhal
tribes etc. also appear at times on Balucharis. Sarees depicting
Hindu wedding scenes and rituals are also very common with
Malabadal or the exchange of garlands between the bride and
groom being the central motif of the aanchal and scenes such
as palenquin bearers, paanigrahan ritual, lajanjali ritual, wedding
musicians etc. form the motifs on the peripheral panels. Also
motifs bearing figures inspired by Ajanta cave paintings and motifs bearing ressemblance to Persian art can be seen at times on
Balucharis. Motifs such as that of Lord Madan Mohan firing the
dalmadal cannon, the Raasmancha temple, the Jor-Bangla temple,
motifs from the terracotta murals on the temple walls, etc. though
once very popular are out of vogue now in the pan-Indian market.
Following pages bear some contemporary aanchal motifs.
145
146
EARLY 20TH CENTURY BISHNUPURI BALUCHARIS
Left: Aanchal of an early 20th century Baluchari, from Pata Para, Bishnupur, Bankura; design: Shankar Ansh, weaver: Mantu Khan. The center square shows Lord Madan Mohan
(Lord Krishna) firing the Dalmadal canon against the Maratha Borgi invaders (soldiers, seen on the outer square), the Big Gateway to the Bishnupur fort can been seen behind
him. The strip above & below the Borgis illustrate the famous Jor Bangla Temple from Bishnupur. The border of the saree has a villager feeding Madan Mohan from a pitcher.
Seen at the Bishnupur Acharjya Jogesh Chandra Purakriti Bhawan Museum.
Above: Another aanchal of an early 20th century Baluchari. The center panel shows the fight between Jatayu & Ravana after his abduction of Sita, followed by a floral border, the
two kalkas on either side illustrate Rams Vanvaas, & the scene with Ravana in disguise begging to Sita for Bhiksham (alms); the outer square shows Lord Ram breaking the curse
of Ahalya. The border of the saree shows Bharat with Ram, Lakshman & Sita. Seen at the Bishnupur Acharjya Jogesh Chandra Purakriti Bhawan Museum.
147
Left: B/W photograph of an aanchal of an early 20th century Bishnupuri

Baluchari by eminent master weaver Akshay Chandra Das from Patranga.
The center square bears six kalkas (paisley like mango motifs) which is
similar to the Murshidabad Baluchari layout, surrounded by a square of
floral motifs, the outer box illustrates a a man riding a horse, the border
of the saree again is floral. Seen at Bishnupur Acharjya Jogesh Chandra
Purakriti Bhawan Museum.
Left: B/W photograph of an aanchal of an early 20th century Bishnupuri

The center square bears eight kalkas surrounded by a square of peacock
motifs the outer box illustrates a Nawab sitting on a chair enjoying a drink
near a chandelier. The border of the saree bears floral motifs and the
butis too are floral. Seen at Bishnupur Acharjya Jogesh Chandra Purakriti
Bhawan Museum.
148
Right: B/W photograph of an aanchal of an early 20th century Bishnupuri

Here we see the Bishnupuri style of figured center panel taking over, the
center box illustrates a Nawab riding a decorated elephant chaperoned by
a mahut, followed by a royal guard on foot, the outer boxes bears peacocks
in their full glory, the border of the saree as usual is floral. Seen at Bishnupur Acharjya Jogesh Chandra Purakriti Bhawan Museum.
Right: B/W photograph of an aanchal of an early 20th century Bishnupuri

Baluchari by eminent master weaver Akshay Chandra Das from Patranga. The center square bears a king or a deity mounted on an elephant
accompanied by a mahut, several women can been in the central panel and
also in the box outside, dancing and playing various musical instruments,
the border is floral and the butis are leaf like. Seen at Bishnupur Acharjya
Jogesh Chandra Purakriti Bhawan Museum.
149
Above: Aanchal of an early 20th century Bishnupuri Baluchari. The center panel bears Kalkas like the Murshidabadi Balucharis, the outer boxes illustrate peacocks & parrots, the
box outside that show men & women sitting on chairs holding flowers and musical instruments. Seen at Bishnupur Acharjya Jogesh Chandra Purakriti Bhawan Museum.
Right (facing page): A modern day replica of the above saree as seen at the Baluchari store Kanishka, it can be noted how the aanchal now takes up a larger area of the saree
with more rows of the same motif repeated, also one can see that the border of the saree bears human figures instead of the floral motifs seen in the original saree. Also the color
combination of the saree is as per todays trends.
150
PRESENT DAY BALUCHARIS
151
Above: Center motif from an aanchal of a present day Bishnupuri Baluchari illustrating Lord Rama, Sita and Lakshman in the forest; a scene from the Hindu mythological
epic Ramayana
Above: Center motif from an aanchal of a present day Bishnupuri Baluchari illustrating a Bengali Hindu wedding scene of malabadal or the exchange of garlands encased
within a kalka - like conch motif
152
Above: A bi-colour center motif from an aanchal of a present day Bishnupuri Baluchari
illustrating a young Lord Krishna with Yashoda inspired from Hindu Mythologies;
Krishnas face is a rare example of non profile view of the face
Above: Center motif from an aanchal of a present day Bishnupuri Baluchari illustrating Shakuntala offering a drink of water to king Dushyanta from the Adi Parva of the
Hindu mythological epic Mahabharata
153
Above: Center motif from an aanchal of a Bishnupuri Baluchari from the early 1980s bearing intricate kalkas (paisley like mango motifs), the motifs are woven using brown silk
thread which ressemble an antique gold finish
154
Above: A part of the aanchal of a modern day Bishnupuri Baluchari, the theme of the artwork represents some kind of auspicious occasion or celebration with some women
blowing conches and horns while others dance holding flowers, some winged apsaras or fairies can also be seen in the central panel
155
Four scenes from the Hindu mythological epic Mahabharata illustrated in a present day Bishnupuri Baluchari saree:
Top Left: Center panel of the aanchal illustrating Lord Krishna saving Draupadi from Cheerharan (derobing); Top Right: Arjunas Lakshyabhed to win Draupadis hand in marriage;
Bottom Left: A gada (club) fight between Bheem and Duryodhana; Bottom Right: Arjuna kneeling in front of Lord Krishna
156
Top Left: A scene from Ramayana where Ravana in the guise of a hermit is begging for alms from Sita; Top Right: The Bengali Hindu marriage ritual of Laajanjali;
Bottom Left: Shakuntala and king Dushyanta embrace while her sakhis (friends) Priyambada and Anusua dance in celebration; Bottom Right: A scene from Mahabharata where
Arjuna is attacking Karna while he struggles to free his charriots wheel in the battle of Kurukshetra (Image courtsey: http://www.polutexni.com/?p=525)
157
Top Left: A scene inspired from Ajanta cave paintings; Top Right: A mother holding her child in her arms, Bottom Left: Courtroom singers and musicians (image courtsey: http://
www.craftsvilla.com/pure-silk-baluchari-saree.html); Bottom Right: A king riding a horse brandishing his sword (Image courtsey: http://inditerrain.indiaartndesign.com/2012/12/
the-baluchari-brouhaha.html)
158
Above: Scenes on an aanchal of a present day Bishnupuri Baluchari illustrating the

romance of Dushmanta and Shakuntala, and her sakhis (friends) Anushua and Priyambada dancing in the forest
Above: Scenes from Mahabharata where Krishna is fighting the Kauravas using his
Sudarshan Chakra (a mythological wepon), Image courtsey: http://www.dollsofindia.
com/product/sarees-in-cotton-and-silk/wine-red-baluachari-silk-saree-HP16.html
159
Above: Krishna and Radha are shown playing holi, on a swing, near a river etc, a present day Balucharis pallav as seen in the saree store Anubhav in Bishnupur
160
Bishnupurs Baluchari sarees have time and again drawn inspirations from the Malla architecture and terracotta work of Bishnupur.
I witnessed a few examples myself.
Top Left: A terracotta relief work on the walls of the Jor Bangla temple of Bishnupur illustrating Krishna defeating Bokasura; Top Right: The scene replicated on a saree border;
Bottom Left: The Jor Bangla temple; Bottom Right: The Jor Bangla temple woven as a motif on a modern day Swarnachari
161
162
BORDER/ PAAR :
The border or the paar is one of the most important parts of
the saree. It not only secures the selvages (edges) of the delicate
saree cloth it adds weight to the edges which results in the saree
to have a good fall. It also adds to the aesthetics of the saree.
The Baluchari sarees have rich and compact brocaded borders
of about 2-3 width. The motifs are woven sideways on the
cloth so that when worn the motifs are erect. The boder, like the
aanchal, has dense jacquard work done unlike the body. It has a
motif or story woven in repeats on both edges, throughout the
length of the saree.
The Baluchari sarees of Murshidabad always had floral motifs
on the border. They usually had big stylized flowers running
throughtout with comparatively smaller leaves, flowers or geometric shapes filling in the spaces between these bigger flowers.
The Bishnupuri Balucharis in spite of having floral borders
initially, quickly started using figured motifs on the border. These
motifs often had stories of Lord Madan Mohan, and scenes from
other mythologies from Bishnupur along with occassional stories
from Ramayana and Mahabharata. Nowadays the motifs mostly depict scenes from Ramayana, Mahabharata, Krishna Leela,
Shakuntala, Santhal dancers, wedding scenes, Apsaras etc.
In case of Murshidabadi or the early Bishnupuri Balucharis the
borders were woven using 2 or more colours apart from the
ground colour, now they mostly use 1 colour or sometimes 2
colours in case of a Meena Baluchari. The edge of the border can
be a smooth straight line or can be topped with tiny geometrical
shapes, leaves, paisleys etc.
BUTI:
Butis are tiny motifs which are placed at certain distances from
each other, in some form of repeat all over the body of saree.
They are often denser towards the aanchal, spaced out in the
middle and are generally not present on the other end of the
saree. The motifs varies from 1/2-3 in width and length.
Although they are a mandatory part of the Baluchari sarees of
Bishnupur, it was not the case for the 19th century Murshidabadi
Baluchari sarees. These Balucharis were more relaxed in their
layout and sometimes did not bear any butis on the ground.
There are also some with no distinguished aanchal and just diagonal lines and butis all over the body.
Both the early Bishnupuri and Murshidabadi Balucharis had
quite densely packed butis with motifs like florals, birds, kalkas,
conches, leaves etc. Nowadys however the butis are much more
spaced out bearing either figured motifs like women playing instruments, dancing etc, mythological characters, wedding scenes,
or motifs like florals, conches, peacocks etc. Sometimes the
ground can have an arrangement of 2 or more motifs.
The early Balucharis often had 4 or more colours used on the
butis. The contemporary ones have 1-2 coloured butis.
In case of the morder day Swarnacharis, both the paar and butis
are woven using zari threads instead of silk for the extra weft but
the motifs are same as other Balucharis.
Left (opposite page): A contemporary Baluchari saree with different coloured warp and
weft (dhup-chao effect) which results in the beautiful dual colour of the cloth. The
body has butis in the form of a woman playing a musical instrument, spaced out all
over the ground, the border has Arjuna and Lord Krishna on a charriot.
163
BALUCHARIS FROM MURSHIDABAD
1.
6.
2.
7.
3.
8.
4.
BORDERS: Whether the motifs of the aanchal were figured or

floral, the Balucharis of Murshidabad always bore floral motifs
on its borders. Bishnupur too started with the tradition but soon
introduced figured motifs on the borders.
1., 2., 3., 4. and 5. illustrates borders of Murshidabadi Balucharis which were essentially floral in nature, with combinations of leaves, kalkas and other motifs
6. A floral border similar to the Murshidabadi ones seen on an early Bishnupuri
Baluchari
7. The introduction of figured motifs on the border can be seen here; Bharat is seen in
the forest along with lord Rama, Sita and Lakshman (a scene from Ramayana)
8. Again a figured border depicting a scene from Bishnupurs history, where a villager
can be seen feeding lord Madan Mohan (Krishna) from a pitcher
5.
164
9.
12.
10.
13.
11.
14.
15.
BORDERS: Unlike the earlier times, borders of todays Balucharis almost always bear human figured motifs, the scenes depicted
being mythological in nature. The ones shown in this page are a
few examples of such borders of modern Balucharis.
9. Shakuntala in the forest playing with deer and peacocks
10. A wedding procession, with the couple being carried by palenquin bearers
11. Lord Rama with Sita in the forest (scene from Ramayana)
12. A young lord Krishna defeating Bokasura
13. Lord Krishna driving the charriot of Arjuna
14. Anusua and Priyambada playing musical instruments and dancing
15. Shakuntala rowing a Mayurpankhi (like a peacock) boat along a river
16. Lord Krishna giving advice to Arjuna (scene from Mahabharata)
16.
165
1.

2.
3.
4.
EARLY 20TH CENTURY

BISHNUPURI BALUCHARI
BUTIS: 1., 2. and 3. Three Murshidabadi Balucharis from the 19th century displaying three different types of buti arrangements; 4. A B/W image of a early 20th century Bishnupuri
Baluchari where we can see the buti arrangements; 5. A pair of peacocks buti, 6., 9., 11., Floral butis; 7. A mix of peacock, kalka and floral motifs; 10. A kalka buti; (images 5-7
& 9-11 are all motifs from Murshidabadi Baluchari); 8. A peacock buti; 12. B/W image of a conch like motif (8 & 12 are from Bishnupuri Balucharis)
5.
6.
7.
8.
9.
10.
11.
12.
166
13.
14.
15.
BUTIS: 13., 14. and 15. Three contemporary Bishnupuri Balucharis displaying three different types of buti arrangements; 16. A floral buti, 17. A queen holding a sceptre, 18.
Palenquin bearers carrying the bride and the groom; 19. A peacock buti; 20. A swan carrying a flower; 21. A women going to fetch water (image courtsey: http://www.kiransawhney.com/2012_09_01_archive.html); 22. A young Krishna eating sweets; 23. A woman blowing into a conch
16.
17.
18.
19.
20.
21.
22.
23.
167
Balucharis then and now:

A comparative study
Based on my observations, interviews, and research, I tried to draw up a comparative study

between the original Balucharis from Murshidabad and the contemporary ones from Bishnupur.
BALUCHARIS FROM BISHNUPUR
1. These sarees originated in Baluchar,

Murshidabad and were quite prominent for
some time before this craft completely erased
out of there.
1. These originated in the first half of 20th

century when Subho Thakur reintroduced
the craft in Bishnupur, Bankura and is still
in practice.
2. These sarees were woven using the traditional draw - looms (Jala/Naksha looms).
2. These sarees are woven using jacquard

looms with punched-cards system.
3. Motifs were a reflection of the society, lifestyle, rulers etc. and often featured
Nawabs, Bibis, princes, Mughals and the
Britishers doing several activities. Motifs such as flowers, kalkas, tree of life,
animals and birds featured quite often too.
3. Motifs are mostly mythological in

nature; depicting scenes from Ramayana and
Mahabharata, stories of Shakuntala, young
Lord Krishna, dancing girls, weddings etc.
Motifs are also sometimes inspired by the
Malla temples of Bishnupur.
4. Although many bore human figured motifs,

some of them were devoid of them, having
only floral or animal motifs. The border was
almost always floral and the central box panel
on the pallav bore a kalka or a tree of life motif.
4. All the mordern balucharis have human figured motifs. The center box panel
on the endpiece, and the border too always
bears human figured motifs. The butis vary
from figures to stylized flowers, birds etc.
168
5. The aanchals varied a lot in size from some

taking up almost half the saree to some sarees
which did not have separate aanchals at all.
5. The pallus are always broad; and in general

are broader than the old Balucharis.
6. Quite a few sarees were without butis

while most had very dense buti layouts.
6. All variants have spaced - out butis.
7. Dimension is 457.2 120.7 cm (approx).
7. Dimension is 550 122 cm (approx).
8. Natural dyes were used to dye the silk

yarns. The motifs used up 3-4 colours. Zari
was never used.
8. Chemical dyes are used to dye the silk

yarns. Motifs nowadays vary from 1-2 colours. Zari is used in the Swarnacharis.
9. Colours were limited to the ones achievable through natural dyes and were often
chosen based on their auspicious symbolisms. Black was never used.
9. All colours are possible and are dictated by

current trends. Black is also a popular colour
in the modern day Balucharis.
10. Brocading was reversible and had a raised

up releif like effect because of untwisted
thread usage.
10. The brocade motifs are only wisible on

the face side and the back side has floats, the
motifs are also flat on the ground of the saree.
11. It took a weaver 5 to 6 months to weave

a saree in the draw loom technique.
11. It takes 14-15 days to weave a Bishnupuri

Baluchari.
12. Table cloths, shawls /chadars, wall

hangings, gamchas etc were woven in large
scale along with the sarees.
12. Sarees are the pedominant product,

although some bags, stoles, cushion covers
etc. are now being produced as well.
169
170
Users and
Draping Styles
171
172
End Users
In the era of global fashion, Baluchari sarees are adorned as a

sign of aristocracy, a symbol of status, a taste of aesthetic fashion
and of course as a legend of Bengal handloom.
Since its inception Baluchari has always been a product for the
elite. Having Nawabs, Zamindaars and British employees of
Bengal as patrons the saree found its way into the wardrobes of
the wealthiest in Bengal. It had also been used as a gift among
the nobility and had found its way to several parts of India and
abroad. The women have adorned it for celebrations and festivities including marriage ceremonies, pujas, rituals and other
special occasions.
In present day Bengal too Baluchari is a coveted commodity
which can be afforded only by women belonging to the upper
and the upper middle class. Its quality, longivity and timelessness has made it a popular heirloom in Bengali households. It
also forms a part of the wedding trousseau for Bengali brides.
With its pan Indian sales, now it is slowly finding a place among
other Indian communities as well. Also the introduction of Swarnacharis have helped tap into the market of the Benarasi and
Kanjivaram lovers.
However the trend of quick fashion, the lack of variety in the
current designs of Baluchari, and the competition from other
Indian brocades have resulted in a fall of demand. Also the price
range of the saree makes it have a limited market. So to reach out
to a wider range of customers, weavers now are also producing
cheaper Balucharis with less brocade work and simpler motifs.
Cotton Balucharis are also being woven in Shantipur, West Bengal
which can be afforded by women belonging to the middle class.
Above: A Bengali woman wearing a Baluchari in traditional style

Image courtsey: http://blog.cbazaar.com/festive-regalia/
Left (facing page): Baluchari sarees (center sea-green one being a cotton Baluchari)
Page 171: A woman wearing a Baluchari
Image courtsey: https://www.pinterest.com/asiaweaves/asia-weaves/
Also since most of the customer base for Baluchari are middle aged
women, diversification of Baluchari brocading into kurtis, dupattas,
stoles etc. is being done to find new takers among younger women.
173
Draping Styles: old and new
sarees required wearing petticoats underneath. Upper class Bengali women started wearing petticoats on regular basis. Baluchari
was a luxury item for the upper class and was always worn with
expensive silk blouses and petticoats.
In todays date the sarees come with matching blouse pieces and
some of the popular styles currently are round necked, v-necked,
boat necked, haltered, with short sleeves. People have also
started wearing blouses in colours contrasting to the sarees. Since
these sarees are worn as occassion-wear by women of upper to
upper-middle classes, they are almost always accompanied by
heavy to light jewellery depending on the occassion. Many
women wear their hair in buns while wearing the saree and some
may adorn it with flowers while attending weddings or other
festivities. Most women wear tip (bindis) on their forehead to
complete the look and married women apply vermillion
(sindoor) at their hair parting in addition to that.
Right: The most traditional way of draping a saree

in Bengal (mannequin
draped in an antique Baluchari, displayed at the
Indian Museum, Kolkata)
Image courtsey: http://
www.indianmuseumkolkata.org/Decorative%20
Art%20and%20Textile%20Gallery%20info.
php
During the pre-independence era women in Bengal wore sarees

without blouses or petticoats. With the advent of the British,
more and more women picked up wearing blouses. These blouses copied the western style. They were much longer in length
compared to present day blouses, which covered the stomach
and waist. They also had higher necklines and minimum back
neck drop. Many blouses came with laces and ruffles, some were
in jacket style and some high collared. Many had long sleeves.
Sarees were pf fine count and before the advent of hot iron
non-transparency was achived by starching, pleating and twisting
them in a knotted position and storing them in such fashion.
With the growing popularity of hot iron the flat transparent
Above: A mordern day blouse to be worn with contemporary Balucharis

174
DRAPING STYLE 1:
This was the draping style of a saree in central Bengal during
the pre independence era. This draping style was followed by the
upper class. The steps are as follows:
1. The inner end piece is brought around the waist clockwise and
a knot is tied at the right waist.
2. The free end-piece is brought to the left waist and tucked in.
3. The free end-piece is then brought to the right waist and
tucked in.
4. The free end of the saree is thrown over the left shoulder.
5. The free end-piece is then adjusted over the head like a veil
and brought to front waist under the right arm.
6. It is then thrown over left shoulder again.
Image courtsey and steps from: Saris Tradition and Beyond by Rita Kapur Chishti &
Martand Singh, Roli Books, published: 2010
175

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
176
The steps 1-10 display the draping of Baluchari in the old traditional Bengali style.
This is a pleatless style of wearing the saree with the pallu falling on the front of
the body. It is similar to drapinng style 1 except this is worn over a petticoat and
the veil is no longer popular.
DRAPING STYLE 2:
This is the age old classical Bengali style of draping, still worn by a
few old and middle aged ladies. The
beauty of the aanchal is very prominent in this style as it is draped at
the front. This style bears ressemblance to the Gujarati style of draping. It is accompanied by traditional
Bengali gold jewellery.
177
DRAPING STYLE 3:
178
This is the style most identified

nowadays as the Bengali style of
draping the saree. It is similar to
style 2 in the sense it too doesnt
have pleats. This style is popular
among young and old as an occassion-wear draping style, especially
for festivals and as a wedding saree
draping style for young brides.

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
The steps 1-10 display the draping of Baluchari in the famous Bengali style of
draping. This too is a pleatless version of wearing the saree with the pallu thrown
over one shoulder, forming a cowl at the back, and then brought in front again and
thrown over the other shoulder. Quite often a bunch of keys or an ornament is tied
to the end corner to give the saree some weight so that it stays over the shoulder
(as shown in steps 8 and 9).
179

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
180
The steps 1-11 display the draping of Baluchari in the contemporary style. In this style around 5-6
pleats (called kuchis) are made and
tucked into the petticoat below the
naval falling straight and even to
the ground. The pallu/ aanchal is
thrown over the shoulder which
can be worn in a pleated or open
fashion.
DRAPING STYLE 4:
This is the most popular way of

draping any saree today, not only
in Bengal but all over India. It is
said to have been influenced by the
Parsi style of draping a saree. In this
picture (right) a lady is seen wearing
a Baluchari draped in contemporary
fashion teamed with a blouse having
matching brocade work and contemporary gold jewellery.
181
Accompanying Jewellery
Since Baluchari is an expensive occassion-wear saree, it is almost

always worn in accompaniment of traditional precious and semi
precious jewellery. Gold, precious stones, silver, brass and zinc
alloys are the main metals used in the making of jewellery in
West Bengal. Swarankars, the caste involved in jewellery making, make jewellery for the affluent higher class as well as the
traditional tribal ornament typical of the State of West Bengal.
Rose water sprinkler, pendans, brooches, armlets, hair pins etc.
are some of the examples of good and unique craftmenship of
Bengal. Gold is considered auspicious by the people of Bengal.
Earlier very heavy gold ornaments were worn. But the trend
these days is for light gold ornaments and small gold and
diamond ornaments with intricate work, which demands a lot
skill from the craftsmen. Tribal designs are still preferred as they
still retain the essentials of traditional jewellery.
Tikli, a traditional Bengali forehead ornament worn by Bengali
brides on the central parting of her hair, are laced with a string
of pearls or are studded with a precious stone or beautiful gold
or silver design incorporated with excellent craftsmanship. Tairaa
is anoter such head ornament.
Kaan which is a traditional ornament worn on the ear is made
up of thin sheets of gold or silver that cover the entire ear. It is
embedded with precious stones and is worn on special occasions.
Kaanbala, Kaanpasha, Jhumko etc. are some other examples of
traditional earrings.
Chik is a gold choker, almost an inch wide and studded with
diamonds or precious stones and is worn around the neck during
traditional gatherings and social occasions. A necklace having
five to seven strands of precious stones or beads is known as a

Pancha or Sapta lahiri. Other neckpieces include Biche Haar,
Paati Haar, Pushpa Haar, Sita Haar, Matar Mala etc. Hansuli,
traditionally worn by Muslim women, is being worn by several
women of West Bengal now. It is made in finely crafted silver
and is worn snugly around the neck.
Bajubandh, tabiz or tagaa are the traditional ornaments worn
around the arm which are delicate hollow bangles expertly
crafted in gold or silver. Choories and balas are bangles; the
ornaments worn around the wrists are of many designs and
are mainly crafted in gold or silver. Married Bengali women
wear bangles made of conch shell called sakhas followed by red
bangles made of coral called pola, which is then followed by iron
ones symbolizing married status which is followed by a kankan
or a thick gold or silver bangle which has filigreed decorations.
Kankan is considered auspicious because of the makara pair or
the mythical crocodile heads at the ending point of the circle.
Chur is heavy, broad, bangle like ornament which is in pure
gold and often worn at weddings and other celebrations. Mantasha is an elegant Bengali bangle embedded with precious stones
and pure pearls. Ratanchur is made of gold and silver and has
its origin from the Mughal culture. It begins from five fingers
followed in each hand and thumb and ratanchur has five chains
attached to each ring. Another such ornament is the Haath-Padda.
A Komor bandh or a Komor Biche is sometimes worn on the
waist. Ladies are also seen wearing toe rings accompanied by
plain or designed chains on their ankles having small bells hanging which are called nupurs. Nolok is worn in the nose piercing.
182
Haath-Padda
Bajubandh
Pathar Bala
Meena Bala
Plain Bala
Sita Haar
Nolok
Sakha
Plain Bala
Mayur-mukh Bala
Jhumko
Thorbuja Bala
Chitra Bala
Komor Bandh
Ruli
Chik
Tikli
Komor Chaabi
Pola
Some basic styles of jewellery of West Bengal

Image Courtsey: https://www.pinterest.com/pin/83387030577947217/
183
Sakha
184
185
Present Day
Scenario
Revival of Jala Looms
The last known weaver of Baluchari sarees using Jala technique

was Sri Dubraj Das who died in early 1900s. It is usually said
that with him this brilliant technique of weaving also perished.
The tradition of using Jala looms to weave the Baluchari was
revived in the bed of Jalas- Benaras and it was Sri Ali Hasan alias
Kalloo Hafiz, a famed naqshaband of Benaras who attempted
this revival and was successful in recreating the Murshidabadi
Baluchari, weaving it the traditional way. Today this proud tradition is being carried on by his great grandson Naseem Ahmad
of Benaras. A skilled naqshabandi he successfully learnt the craft
of tying and making the Jalas from his grandfather Jafar Ali, and
today weaves Baluchari panels and sarees with much elan. A
National Awardee, he was awarded the Sutrakar Samman by the
Delhi Crafts Council for 2011. The lady Prabha Shah and Pupul
Jayakar are known to play a big role in encouraging Sri Naseem
Ahmad to recreate the design technique in Jala loom.
In the Jala system one can use more colours and designs. Jala
once made lasts almost a hundred years. The Jala patterning can
be tweaked around with and has a greater degree of flexibility of
design compared to jacquard looms.
The making of Jala for a Baluchari panel and translating the
pattern takes about four months if worked continuously. The
weaving takes upto one and a half months. One panel requires
one weaver, one helper and two draw boys working on it. The
silk used for warp and weft is Bangalore mulberry and Maldah
for extra weft. The weaving to recreate the magic of Baluchari
sarees of yore has been well received in the market. But it is very
difficult to find weavers to work on old Jala looms these days.
Above: Designer Pranavi Kapurs heritage collection features an odhni (long stole)
with Baluchari brocading done using Jala looms by Indias award winning Jala maker
- Late Jafar Ali from Benaras, son of Late Kalloo Hafiz; it bears kalka and tambaku
seban motifs, the body of the odhni features hand done Bandhani (tie-dye) work by
award winning master craftsman Ali Mohammed Isha
Image courtsey: http://www.indianroots.in/pranavi-kapur-heritage
186
Market and Distribution

Bengal is the biggest market for Baluchari sarees. Producers of
Baluchari have fixed markets in Kolkata and some other big
cities such as Mumbai, Delhi, Bangalore etc. Weavers are always
busy meeting this demand. The Mahajans of Bishnupur are the
middlemen between the customers/retailers and the weavers, who
control the market for Balucharis. They supply raw materials to
weavers and get the weaving done by paying minimal wages, and
themselves earn major profits. Mahajans directly supply to retailers and at times occassional customers who come from nearby
cities like Durgapur, Kolkata, Burdwan, to buy sarees directly
form the Mahajans at a cheaper price. Weavers also participate
in different fairs and exhibitions through organizations like West
Bengal Handicrafts Development Corporation, Crafts Council
of West Bengal, Karu Udyan etc. State government organizes yearly handicrafts fair (Hastashilpa Mela) at the
state capital, where the craftsmen meet the buyers directly. The sarees are supplied to West Bengal Handicrafts Development Corporation and are sold
at the Government emporium Manjusha, and
the Government Handloom emporium Tantuja
nd Tantushree. Nowadays the sarees are being picked up by a few prestigious panIndian retailers for example Nalli and
several e-tailers who sell these sarees through online portals such as Flipkart,
Amazon, Holy Weaves, Gaatha etc.
which are exposing the products
to a much bigger market.
Right: A beautiful Bishnupuri Swarnachari being

sold at Holy Weaves
Image Courtsey: http://
www.holyweaves.com/collections/baluchari
187
Product Diversification
During the 19th century, the term Baluchar butidaar was not
just synonymous to Baluchari sarees. A lot of products were being
woven in those days having the Baluchari brocade motifs, such
as shwals, gamchas, table cloths etc. It is believed that during
the Nawab rule in Bengal, the sarees woven were not worn but
displayed as tapestries in their houses. However when the Baluchari was recreated in Bishnupur, the product range got restricted mainly to sarees and to a very small extent, shawls and stoles.
But now with more and more women, specially the younger
age groups, trading sarees for hassle free and cheaper options
available in the market such as salwar suits, kurtas, westernwear
etc., the saree markets not only in Bengal, but all over India, are
slowly but gradually diminishing. The Baluchari weavers and the
store owners too have realized this and are trying to find opportunity areas to diversify their product ranges. At Anubhav I saw
both cotton and silk stoles and dupattas with Baluchari brocade
work, kurtas and short kurtis, salwar suit pieces with Baluchari
brocaded necklines. I found several other products such as mens
kurtas, cushion covers, table runners, clutch bags, draw-stringed
potli bags etc. being sold online. The work on these products
may or may not be as intricate as those of the sarees, and in
some instances do not bear the trademark human motifs, but
the designs nevertheless resonate the art style that is essentially
Baluchari. Some motifs seen other than the figured ones were
inspired by the terracotta horses and elephants from Bankura,
birds and swans, floral arrangements, paisleys etc. Such products
are currently being produced in very small quantities to test
markets but hopefully will gain popularity as well.
Above: Baluchari bordered kurti from Anubhav, Bishnupur

Below: A Baluchari bordered table runner
Image courtsey: https://www.pinterest.com/pin/342273640401696387/
188
Right: Baluchari silk cushion

covers being sold at an online
store
Image courtsey: https://www.
jaypore.com/shop-collection/
silken-lore-by-miharu-baluchari-silk-cushion-covers-andmore-from-bengal-1423
189
1.
2.
3.
4.
1 & 2: Baluchari bordered cotton kurtas, 3: Baluchari silk cushion cover, 4: A Baluchari woven potli bag
Image courtsey: 1 & 2: http://www.dollsofindia.com/product/mens-kurta-pyjamas/light-blue-half-sleeve-short-kurta-with-baluchari-weave-design-cotton-EI65.html; 3: https://www.
pinterest.com/pin/342273640401807320/; 4: https://www.jaypore.com/multi-color-handloom-silk-potli-105in-x-7in-p62604
190
5.
6.
7.
8.
5 & 6: Baluchari bordered dupatta & stole; 7 & 8: Baluchari woven clutch bags
Image courtsey: 5 & 6: https://www.jaypore.com/pink-green-silk-zari-handwoven-baluchari-dupatta-p44719; 7 & 8: https://in.pinterest.com/MiharuCrafts/miharu/
191
Designer Take on Baluchari
Design is known to reinvent itself. Patterns, textures, colours,

forms, the overall look and feel whether fabric or interior,
at some time or other goes through a revisit process, where
contemporizing becomes imminent. Balucharis are no exception.
A few designers have started taking up the challange to do something new and creative using this age old craft while preserving
its beauty and originality at the same time. This is being done by
giving new colour palettes, trying out new motifs, new layouts,
etc. for the traditional saree.
Designer Nandita Palchoudhuri who works directly with
craftsmen of Bengal have been known to showcase some of such
sarees in the Kolkata Fashion Weeks.
Kolkata based designer Jaya Misra too has tried to rekindle
the heritage of Bengal. Through her collections, she works on
reviving old weaves like Baluchari, Dhonekhali, Nilamabari,
Shantipuri, jute silks and cotton weaves. Committed to the cause
of reviving old weaves of Bengal her work illustrates the vibrancy
and splendour of the traditional handlooms of the state.
Another Kolkata based designer Agnimitra Pauls name comes
up the most when we talk about reinventing the craft. She not
only experimented with the saree, adding extra borders, embroideries etc., she also experimented with the silhouettes and created
dresses, evening gowns and anarkali suits out of Baluchari fabric
which were targetted as occassion wear for a wide range of market.
Also the Baluchari weaves got a fresh lease of life when it was
picked up for the Vogue Indias Project Renaissance, 2012, and
was given a modern take by designer Donna Karan for DKNY
which was then showcased at an international level platform.
192
The graphic red is so DKNYvibrant, energised,
colourful. Its exciting to take something traditional

and do something completely unexpected with it
Donna Karan, chief creative director for DKNY
Left (previous page): A mehendi green gown made

of Baluchari fabric by Kolkata based fashion designer
Agnimitra Paul
Image courtsey: http://www.365oranges.com/fashion/mehendi-green-baluchari-gown/365-fsn-000070;
Right: A dress by DKNY using Baluchari brocade from Bishnupur for the Vogue Indias Project
Renaissance, 2012
Image courtsey: http://www.raktalk.
com/2013_02_01_archive.html
193
Problems Faced
The biggest problem faced by the weavers of Bishnupur is

their economic backwardness. They are often exploited by the
mahajans and the middlemen. Two artisans are required to work
on shift basis on a loom to weave a Baluchari, and it takes
approximately 5 to 6 days to complete 1 saree. They then earn
Rs. 600/- to Rs. 650/- per saree which accounts to a meager
amount of Rs. 300/- to Rs.325/- for 6 days of labour. There are
often young boys involved as apprentices who help the weaver in
making the butis among other things, but they are hardly ever
paid. Also the family members i.e. the wives, kids, elderly, who
help out in yarn twisting, dyeing etc. do not get paid separately.
Weavers who own their own looms earn slightly higher, about
Rs. 1,000/-1,250/- per saree. These sarees are then sold at a range
of Rs. 5,000/- to 20,000/-. As a result many weavers are slowly
giving up their family businesses and taking up other trades and
jobs and leading their future generations too to do the same. Low
payment also leads to low capital investment.
Also the raw materials used are not locally available. The silk
comes from Malda, Bangalore, China etc. and weavers are thus
dependent on them. Same goes for the dyes.
The weavers also face quite a few health issues practicing the craft
for a prolonged period of time. The rooms they work in are not
properly lit and they work with very strong bulbs dangling just
above the looms which hurt their eyes. Also their work requires a
lot of precision. Because of these facts many of them need to get
spectacles after joining this work. The workshops lack space and
they have to continiously sit in one spot and weave. They have
to lift the very heavy jacquard paddle and while they weave the
roll down beam strikes their stomach causing abdominal pain.

On top of this due to their poverty they do not receive proper
nutrition. Women who are involved in the process of rolling tussar thread, do the rolling process on their bare thighs. As a result
the skin gets tender and the yarn sometimes cuts through the
skin.
Very little research goes on into studying market and colour
trends. Barring a few, most of the colour combinations used in
Baluchari sarees have been going on for generations. The same
can be said about the motifs as many of these motifs are being
used for decades now and very little is being done to experiment
with newer artwork for motifs.
Also there is very little product diversification. Designers and
brands often use the skills of these artisans without giving them
the much required recognition for the same. In additionto this,
in todays date, many women wear sarees only as an occassion
wear and do not purchase too many of them.
Also unlike other Indian brocades like the Banarasis and
Kanjeevarams, Baluchari sarees face a lack of promotion and
advertising.
The State and Central Government, NGOs and co-operatives
have recently started helping these craftsmen to market their
products; but because of the lack of awareness, artisans often fail
to avail these schemes.
In addition to these the artisans face problems like lack of official
staffs for management of business transactions, lack of readily
available transports, lack of funds to purchase looms and lack of
funds to start a separate dying section in the village.
194
Government Interventions
Italian women in Baluchari sarees from Bishnupur in Naples

Image Courtsey: http://www.telegraphindia.com/1140825/jsp/calcutta/story_18722946.jsp#.VZ1DeV-qqko
To encourage the craft of Baluchari making, the West Bengal

government gives subsidy to the weavers. But only a few weavers
are fortunate enough to receive this subsidy. The Baluchuri saree
was one of the award winners for the main weaving styles for
the years 2009 & 2010 present by the President of India. It is
also showcased at the India International Trade Fair organised
at New Delhi. The pavilion of West Bengal has prominently displayed those products of handicrafts and handloom sector which
have been recognised for their unique nature keeping the theme
Skilling India in view. Also in collaboration with the Development Commissioner of Handicrafts, the National Institute of
Fashion Technology has provided Baluchari artisans necessary
training of basic pattern making, sewing and computer aided
design (CAD) with the intention of helping aid product diversification. However according to the weavers this project wasnt very
helpful to them. West Bengal Government is arranging Biswa

Banga Sammelan every year now; where it promotes the crafts of
West Bengal. Baluchari sarees have been given special attention
in this and delegates all over the world are invited to attend this.
The current Chief Minister Mamata Banerjee has also taken this
initiative forward by the states tie with Naples to promote this
craft. According to The Telegraph in 2014, Around 400 people
attended the programme and Italian women turned up in Balucharis. Fashion designers at the function said the ancient art of
weaving (Baluchari) could be used in western wear, said Somnath
Pyne of Freed, which has been helping artisans in the Bishnupur
belt. Other than this the Government of West Bengal organizes
different handicraft fairs such as Sabala Mela, Saras Mela etc. to
sell handicraft products including Balucharis. The Baluchari of
West Bengal has also received its Geographical Identification.
195
196
Conclusion
It is said that An artist is not paid for his labor but for his
vision (a popular quote by James McNeill Whistler).
Balucharis during the times of the visionary Dubraj Das
and even Akshay Kumar Das were amongst the most
coveted and indespensible items in an Indian womens
wardrobe. It is probably because no other Indian textile had
captured the socio - political scenario of India in such a rich and
poetic manner. The brocades were refreshingly original and
breathtakingly beautiful. That is why these Balucharis of yore
are exhibited all over India and in international museums
worldwide even today and are adored by art historians and
curators.
Once I was aware of this, I have to admit that it saddened me
a bit that this revolutionary artform which was once one of the
finest example of my states handlooms, coming just after the
Dacca muslin in popularity, has been reduced to just another
saree for the Indian women. I asked many Bengali women why
they dont prefer Balucharis anymore and was told that they
think that the designs looks dated and the motifs are repetative
and thus they dont care to own more than 1 or 2 such pieces.
The craft once known for reinventing itself with every social, cultural and political nuance seems to have hit a stagnation point.
Many of the same motifs from the early 20th century are still
being used and the intricacy has definitely faultered. The designs
and colour combos are also often dictated by businessmen and
shop owners rather than the weavers, and they try to play very
safe and keeps recreating what has been selling for years and are
afraid to take risks in an already small market. Also the market
now hosts a lot of cheap versions of the same; which reduces the
appeal of Balucharis as a whole.
The vision for which Balucharis were so celebrated now seems
dwindling if not lost. The craft seems to have become just a mere
occupation to earn livelihoods for the weavers. Although passionate about it themselves, the age old weaver families of Bengal
are not encouraging their heirs to continue this craft as it fails
to earn them a decent income. It shocked me to meet Baluchari
weavers who have now taken up jobs as chauffers or tour guides
in Bishnupur as these occupations seem to earn them a better
living than weaving.
I had started this project without any prior knowledge of the
origin of Baluchari; just in awe of the contemporary ones that I
had seen in the wardrobes of the women in my family. But once
I saw what it was like back in the times at Murshidabad or early
Bishnupur I realised it was, and could be, so much more.
Having said that I would like to state that the skill level of these
craftsmen is brilliant, and I wholeheartedly believe that given
the right push and incentive, planned design interventions, and
smart advertising and marketing, the Baluchari can be as glorious as it used to be in its haydays. It is with such measures and
financial security that maybe the craftsmen will once more be
able to weave for the sake of art and creation and not just as a
source of income, and the Balucharis will again regain its regal
appeal.
197
References
BOOKS & E-BOOKS:

1. Saris Tradition and Beyond by Rita Kapur Chishti & Martand
Singh, Roli Books, published: 2010
2. Fabric Art: Heritage of India by Sukla Das, Abhinav Publications, published: 1992
3. A Monograph on the Silk Fabrics of Bengal by N.G. Mukerji,
The Bengal Secretariat Press, published: 1903
4. A Pageant Of India Culture Volume 1 by A. K. Bhattacharya,
Abhinav Publications, published: 1994
5. Baluchari Journey by Dhananjoy Das, for National Institute of
Design, published: 2008
6. Mallabhum In the Light of Bishnupur by Hari Sadhan
Mahapatra, Mira Printers
7. Indian Textiles: Past and Present by G. K. Ghosh & Shukla
Ghosh, APH Publishing Corporation, published: 1995
8. The Sants: Studies in a Devotional Tradition of India, By Karine Schomer & W. H. McLeod, Motilal Banarsidass Publications,
published: 1987
1. http://scroll.in/article/693894/remarkable-19th-century-saris-depict-europeans-on-trains-hookah-smoking-women (2nd
June 2015, 10:30 a.m.)
2. http://www.dnaindia.com/lifestyle/report-invoking-the-magicof-a-lost-weave-a-baluchari-sari-exhibition-in-mumbai-2039502
(5th June 2015, 5:21 p.m.)
3. http://www.telegraphindia.com/1150524/jsp/opinion/story_21749.jsp (5th June 2015, 7:43 p.m.)
4. http://www.thehindu.com/todays-paper/tp-features/tp-sundaymagazine/recreating-the-ageold-baluchari-magic/article2802630.
ece (21st October 2014, 6:11 p.m.)
5. http://www.dnaindia.com/lifestyle/report-reviving-bengali-heritage-dhonekhali-nilamabari-shantipuri-baluchari-1894072 (1st
November 2014, 11:13 a.m.)
6. http://timesofindia.indiatimes.com/city/kolkata/Reviving-Bengals-textile-heritage/articleshow/22203791.cms (14th June 2015,
9:02 p.m.)
OTHER ONLINE RESOURCES:
1. http://www.westbengalonline.in/About/Profile/Culture/index.
html (27th May 2015, 7:25 p.m.)
2. http://www.utsavpedia.com/textiles/garad-silk-sarees/ (3rd
July 2015, 8:54 p.m.)
3. http://www.britannica.com/place/West-Bengal (16th November 2014, 12:24 p.m.)
4. http://en.climate-data.org/location/173816/ (25th June 2015,
6:58 p.m.)
5. https://en.wikipedia.org/wiki/Bishnupur_Gharana (2nd No-
DOCUMENTARY FILMS:
Weaving Tales on Cloth: Baluchari Saree of West Bengal, by
Center of Cultural Resources and Training
JOURNALS:
1. Geographical Indications Journal No. 41, Government of India, August 11, 2011
NEWSPAPER ARTICLES ON INTERNET:
198
vember 2014, 9:47 a.m.)

6. http://www.nadsadhna.com/pages/IndianMusic/SitarGharana.
asp?About=Bishnupur (2nd November 2014, 10:05 a.m.)
7. http://www.indianetzone.com/43/architecture_bishnupur.htm
(26th October 2014, 10:55 a.m.)
8. https://rangandatta.wordpress.com/2013/07/10/bishnupur-temple-town/ (26th October 2014, 11:19 a.m.)
9. http://bankura.gov.in/Tourism/Brochure.pdf (27th October
2014, 3:53 p.m.)
10. http://www.hand-craft.co.in/2015/01/arts-and-crafts-of-bishnupur.html (30th May 2015, 11:30 a.m.)
11. http://www.westbengaltourism.gov.in/web/guest/handicrafts
(31st May 2015, 4:41 p.m.)
12. http://madanneha.hubpages.com/hub/Magic-of-Baluchari-Sari (12th June 2015, 1:19 a.m.)
13. http://www.silkmarkindia.com/blog/?p=95 (12th June 2015,
2:10 a.m.)
14. http://gaatha.com/baluchari-saree-bangal/ (13th June 2015,
9:12 p.m.)
15. http://www.craftrevival.org/CraftArtDetails.asp?CountryCode=INDIA&CraftCode=003356 (8th October 2014, 6:04 p.m.)
16. http://www.unnatisilks.com/sarees-online/by-work-sarees/
baluchari-sarees.html (12th October 2014, 12:31 a.m.)
17. http://www.parinita.co.in/pages/baluchari (15th June 2015,
7:39 p.m.)
18. http://www.craftandartisans.com/jewellery-of-west-bengal.
html (1st July 2015, 10:54 p.m.)
19. http://www.wiseshe.com/2014/05/10-traditional-gold-benga-
li-jewellery.html# (1st July 2015, 10:59 p.m.)

20. http://www.indianroots.in/pranavi-kapur-heritage (2nd July
2015, 5:14 p.m.)
21. http://www.raktalk.com/2013_02_01_archive.html (5th
July 2015, 9:23 p.m.)
22. http://www.bangalinet.com/durga_temples_mrinmoyee.
html (23rd June 2015, 11:44 p.m.)
23. http://www.myweather2.com/City-Town/India/Bishnupur/
climate-profile.aspx (24th June 2015, 10:36 p.m.)
25. https://textontextiles.wordpress.com/tag/brocade/ (12th July
2015, 12:02 a.m.)
26. http://www.handmadesea.com/supplementary-weave-techniques/ (25th July 2015, 11:01 a.m.)
27. https://en.wikipedia.org/wiki/Jacquard_loom (26th July
2015, 12:45 p.m.)
28. https://en.wikipedia.org/wiki/Jacquard_weaving (26th July
2015, 12: 53 p.m.)
29. http://theswatchbook.offsetwarehouse.com/2014/10/14/whatare-looms/ (26th July 2015, 12:59 p.m.)
30. https://en.wikipedia.org/wiki/Loom (28th July 2015, 10:30
a.m.)
31. http://www.meritnation.com/ask-answer/question/what-is-apit-loom/social-science/3373103 (28th July 2015, 8:41 p.m.)
199
Glossary
Saree - A South Asian non - stitched draped garment of five to
Gamcha - A piece of cloth often used as a towel or a wipe and is
Tala - Storey or level
Kurta/ Kurti - Indian tunic styles with slitted sides
Buti - Small, mostly circular designs
Salwaar kameez/ Salwaar suit - An Indian attire comprising of a
nine yards of length used as a attire by South Asian women
sometimes worn over the shoulder
kurta, pyajama and a stote/dupatta
Jomi - Ground of the saree, also referres to the quality and ma-
Potli - Potlis mean small sacks, potli bags are bags that ressembles the shape of potlis
terial used in it
Thali - Literal meaning: Plate, here it means a meal made up of

selection of various dishes
Dhoti - A white drape worn by men as a bottomwear
Sidur/ Sindoor - Vermillion (red powered lead) applied on fore-
Puja - Offering prayer to deities (often involves several customs)
head or hair parting by married Hindu women
Baul - Mystic folk singers of Bengal
Mahabharata - A Sanskrit mythological epic about the 9th century B.C., principally concerning the dynastic struggle and civil
war between the families of two brothers, containing the text of
Bhagavad Gita (the holy book of the Hindus)
Sarathi - A chauffeur for charriots
Ramayana - A Sanskrit mythological epic about the banishment
Bibi - Wife of a nobleman
Sahib - Nobleman
Rama, an heir to the throne of Ayodha, and the abduction of his

wife Sita by Ravana
Nawab - A Muslim ruler or noble
Tambaku Seban - Smoking tobacco, in this case using a hukkah

Mahouts - A person in charge of riding an elephant
200

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BALUCHARI SAREES OF BENGAL | NID

BALUCHARI SAREES OF BENGAL | NID

BALUCHARI SAREES OF BENGAL | NID

Makur tane kabbyo gaatha ,

BALUCHARI SAREES OF BENGAL | NID

BALUCHARI SAREES OF BENGAL | NID

A craft documentation of the Baluchari Sarees of West Bengal

BALUCHARI SAREES OF BENGAL | NID

I would like to dedicate this to the weavers of Bishnupur, who

BALUCHARI SAREES OF BENGAL | NID

museum & Mr. Sayan Bhattachariya, the education officer of

BALUCHARI SAREES OF BENGAL | NID

BALUCHARI SAREES OF BENGAL | NID

8. BALUCHARI WEAVING- TOOLS & TECHNIQUE - 101

BALUCHARI SAREES OF BENGAL | NID

BALUCHARI SAREES OF BENGAL | NID

West Bengal, the fourth most populous state in India, is rich in

BALUCHARI SAREES OF BENGAL | NID

BALUCHARI SAREES OF BENGAL | NID

BALUCHARI SAREES OF BENGAL | NID

Left: A detailed map of the textile centers of West

BALUCHARI SAREES OF BENGAL | NID

The state of West Bengal is located in the eastern part of India.

BALUCHARI SAREES OF BENGAL | NID

FLORA & FAUNA

Above: The Bengal tiger

Sundarbans. A large portion of this area has been set aside as a

BALUCHARI SAREES OF BENGAL | NID

are several Bengali festivals celebrated here such as Nabo Borsho

Above: Sindoor Khela (playing with vermillion), a ritual of Durga Puja

BALUCHARI SAREES OF BENGAL | NID

gion are celebrated with equal fervour and people participate in

Shivratri etc. Durga puja takes place in the months of September

BALUCHARI SAREES OF BENGAL | NID

films have earned national and international awards for their

Rabindra Sangeet, a form of music based on the songs written by

the great poet Rabindranath Tagore, is the most renowned form

A baul troupe from Bolpur, Shantiniketan

Gandiya Nritya was prevelant in Bengal in historic times from

which modern day Odissi, Manipuri and Kuchipuri is said to

BALUCHARI SAREES OF BENGAL | NID

significant are coal and clay for brickmaking.

The Howrah Bridge

Above: Dolls dressed in traditional Bengali attire

BALUCHARI SAREES OF BENGAL | NID

Above: The Victoria Memorial

tectural excellence of West Bengal. The Bengal architecture had

Crafts of West Bengal

BALUCHARI SAREES OF BENGAL | NID

West Bengal is blessed with master artists from various districts,

an important fine art found in West Bengal, especially in regions

BALUCHARI SAREES OF BENGAL | NID

Clay modelling is also popular in the region. The clay idols of

BALUCHARI SAREES OF BENGAL | NID

BALUCHARI SAREES OF BENGAL | NID

and generally portray the culture of Bengal. Wood carving is

Shola Pith is a form of natural thermocol like material which is

BALUCHARI SAREES OF BENGAL | NID

Although the pre-independence Bengal was known worldwide

1. Jalchuri saree; 2.Dhonekhali saree; 3. Shantipuri saree; 4. Tangail saree; 5. Dhakai

7. Dhakai bheeti saree; 8. Garad saree; 9. Korial saree

BALUCHARI SAREES OF BENGAL | NID

BALUCHARI SAREES OF BENGAL | NID