Silk industry in the Indian subcontinent
In India, about 97% of the raw mulberry silk is produced in the Indian states of Karnataka, Andhra Pradesh, Tamil Nadu and West Bengal. Mysore and North Bangalore, the upcoming site of a US$20 million "Silk City", contribute to a majority of silk production. Another emerging silk producer is Tamil Nadu in the place in where mulberry cultivation is concentrated in Salem, Erode and Dharmapuri districts. Hyderabad, Andhra Pradesh and Gobichettipalayam, Tamil Nadu were the first locations to have automated silk reeling units.
History
Indus Valley Civilisation
Recent archaeological discoveries in Harappa and Chanhudaro suggest that sericulture, employing wild silk threads from native silkworm species, existed in South Asia during the time of the Indus Valley civilisation dating between 2450 BC and 2000 BC. The Indus silks were obtained from more than one species Antheraea and Philosamia. Antheraea assamensis and A. paphia were widely used. These findings were published in the journal Archaeometry by archaeologists from Harvard University who examined the silk fibre excavated from two Indus valley cities of Harappa and Chanhudaro. The fibres were dated to around 2450–2000 BCE and were processed using similar techniques of degumming and reeling as that of the Chinese. Scanning electron micrographs of the fibre revealed that some fibres were spun after the silk moth was allowed to escape from the cocoon, similar to the ahimsa silk promoted by Mahatma Gandhi. Nevasa in 1500 BC also provides evidence of silk weaving, Arthashastra written around 4th century BC mentions a guild of silk weavers. Gupta inscriptions also mention this guild. Most of the silk was exported using Indian ocean trade and India was a major silk exporter during the Gupta periods. Romans imported all of their silk from India but Persians created a monopoly of the Indian silk trade hence Byzantine empire sought Silk route to not only import silk but introduce silk weaving in Western Asia and Europe.Ancient India
The brocade weaving centres of India developed in and around the capitals of kingdoms or holy cities because of the demand for expensive fabrics by the royal families and temples. Rich merchants of the trading ports or centres also contributed to the development of these fabrics. Besides trading in the finished product, they advanced money to the weavers to buy the costly raw materials that is silk and zari. The ancient centres were situated mainly in Gujarat, Malwa and South India. In the north, Delhi, Lahore, Agra, Fatehpur Sikri, Varanasi, Mau, Azamgarh and Murshidabad were the main centres for brocade weaving. Northern weavers were greatly influenced by the brocade weaving regions of eastern and southern Persia, Turkey, Central Asia and Afghanistan.Gujrati builders and weavers were brought by Akbar to the royal workshops in 1572 AD. Akbar took an active role in overseeing the royal textile workshops, established at Lahore, Agra and Fatehpur Sikri where skilled weavers from different backgrounds worked. Expert weavers from those distant lands worked with the local weavers and imparted their skills to the locals. This intermingling of creative techniques brought about a great transformation in the textile weaving industry. The exquisite latifa buti was the outcome of the fusion of Persian and Indian designs. Brocades produced at the royal workshops of other well-known Muslim centres in Syria, Egypt, Turkey and Persia were also exported to India. Under the Mughals, sericulture and silk-weaving received special encouragement and silk cloth produced in the Punjab came to be prized throughout the world. Lahore and Multan developed into major centres of silk industry. The tradition continues.
Types of silk cloth
Silk brocades
Silk brocades, texturally, are divided mainly into two groups:- Kimkhwab
- ''Pot-thans''
Kimkhwab (brocade)
Kam means little or scarcely. Khwab means a dream and it is said that even with such a name ‘Its beauty, splendor and elegance can be hardly dreamt of’. Kinkhwabs are heavy fabrics or several layers of warp threads with an elaborate all-over pattern of extra weft, which may be of silk, gold and / or silver threads or combinations. There may be three to seven layers of warp threads.. Kin means golden in Chinese. Its specialty is in profusely using the gold and silver thread in a manner that sometimes leaves the silk background hardly visible.
When the figure work is in silver threads with a background of gold threads it is called ‘Tashi Kinkhwab’. This is a variety of kinkhwab which has a ground worked with an extra warp of gold and the pattern created with an extra weft of silver badla zari or vice versa. A satin weave is very often used, resulting in a smooth ground for the fabric. The heavy fabric appears to be in layers, as the warp ends are crammed drawing three, four and up to seven ends per dent for the Tipara, Chaupara up to Satpara respectively.
Zari is generally of two types Badla and Kala batto. Badla Zari was made of flattened gold or silver wire with the ancient method of making zari from pure metal without any core thread. This accounted for its peculiar stiffness. Sometimes cracks would develop in the metal during the process of weaving which resulted in the loss of its natural luster and smoothness. Therefore, weaving with Badla Zari was difficult and required great skill. Often a touch of Badla was given to floral motives to enhance the beauty. This type of zari has mostly gone out of favor amongst the contemporary weavers and they mostly depend on polyester or pure silk as a substitute.
Silk brocade of Banaras, Ahmedabad and Surat were well known in the 17th century. While Banaras continues to be a centre of production of silk brocades, Ahmedabad and Surat have practically nothing to show today. On the other hand, silk brocade weaving has gained ground in the south of India.
Pot-thans
These are called katan brocades. Pot-thans are lighter in textures than kinkhwabs but closely woven in silk and all or certain portions of the pattern are in gold or silver zaris. These fabrics are mostly used for making expensive garments and sarees. Very often the satin ground weave is particularly used for garments fabrics. These fabrics are characterized by their jals which are normally made out of silk and tilla.Mashru
The cloth was distinguished by its butis woven in circular shapes that gave an impression of ashrafis. The ashrafis were usually woven in gold zari.This is a mixed fabric with a woven stripe or zigzag pattern. The warp and weft used were of two different materials in different colours. It was used mostly for lower garments such as trousers, the lining of the heavy brocade garments or as furnishing.
Gul badan was a known variety of mushru popular in the late 19th century. Sangi, Ganta, Ilaycha were types of mashru too. These were popular since ancient times and were known to be woven at all leading silk centres. One reason for their popularity was Islam. Since Islam does not allow men to wear pure silk, mashru became very popular amongst Muslims.
Himru or Amru
A type of Indian brocade is the Himru, a specialty of Hyderabad and Aurangabad, which is woven from silk and zari on silk to produce variegated designs, woven on the principle of extra weft. Himru can be very pretty with a pseudo-rich effect in general. It continued to be in popular demand on the account of its low price as compared to the pure silk brocades. Another point in its favor is that it can be woven very fine so as to give it a soft feel, thus making it more suitable as a fabric for personal wear than the true brocade.The cloth is distinguished by its intricate char-khana jal. These are woven like kinkhwabs, but without the use of kala battu instead badla zari is used.
Kinkhwabs
Kinkhwabs fabrics of India have earned a great reputation for their craftsmanship and grandeur. By and large, still continue to do so, even in the face of fierce competition from other types of woven and printed fabrics.Kinkhwabs today are typically ornate, jacquard-woven fabrics. The pattern is usually emphasized by contrasting surfaces and colours and appears on the face of the fabric, which is distinguished easily from the back. Uses include apparel, draperies, upholstery and other decorative purposes.
Gyasar
Gyasar is a silk fabric of a kinkhwab structure with ground, in which the gold thread is profusely used with Tibetan designs. The fabric is especially popular with Tibetans and used extensively in their dresses as well as in decorative hangings, prayer mats, etc. It has a standard width of 24 to 28 inches. It is popular as a ritualistic textile in Buddhist religion. It is not possible to weave on power-looms. It is a complete hand-loom product.Gyanta
Gyanta is a silk fabric of kinkhwab structure of a satin body with or without the use of gold thread. These sometimes have a tantric design of human heads with three eyes woven in gold and silver threads on a black satin ground.Jamawar
"Jama" means robe and "war" is yard. The base of the jamawar is mostly silk, with perhaps an addition of a little polyester. The brocaded parts are woven in similar threads of silk and polyester. Most of the designs seen today are floral, with the kairy as the predominant motif.Today, the best jamawar is woven in Varanasi. This fabric is widely used in the country for bridal and special occasion outfits. The texture and weave of patterns is such that the fabric often gets caught when rubbed against rough surfaces it must therefore be handled delicately when worn.