Jamdani is one of the rarest and most sophisticated

products of the Indian Handloom Industry, which originate in the plains of Dhaka, Tanda and Banaras. The name Jamdani has been derived from a Persian word- Jam meaning flower and dani meaning vase or container. The weavers indulged in the making of some of the finest white muslin saris with white patterning in the form bird, animal and floral motifs.

This weaving tradition came down south

approximately two hundred years ago. There existed a small kingdom known as ChitradaSamasthana, whose capital was pitapuram. The weavers of Uppada, Kothapalli and Pitapuram used to weave jamdani saris exclusively for queens. They were not allowed to publicize the art among common people. The weavers with extreme perfection to their credit created exquisite pieces without the aid of graphs and adas. This meant that they were lift the desired set of warp yarns by hand while weaving.

 Initially, only fine cotton saris were made, with

patterning(i.e, the motif making) being done in pure zari. Regarding fineness of the cotton used it is said that one whole sari was folded in a matchbox and presented to one of the kings of ChitradaSamasthanam. Thin metal sheets were cut according to the size of the motif with which a turmeric coating was imparted on to the warp yarns. Hereafter the work was done, as the identification of the yarns to be lifted was easier with the turmeric coating.

There are two varieties of kora cotton yarn used for

manufacture of Jamdani saris. 1. combed yarn- This is the 80s to 100s count single cotton yarn. 2. Mercerised yarn- This is the doubles or two ply yarn which is usually 2120s count. The warp yarn is combed or mercerised which is strong and lustrous. Mercerised cotton is sometimes employed for the extra weft patterning , seiko yarn which is super combed, mercerised yarn is used for the buti. The varieties of silk yarns used are tussar, china charkha, mulbery and era silk. The weavers of Uppada use three ply yarns for the weft and two ply filature for the warp. The yarns employed are generally twenty to twenty two deniers. These yarns are locally dyed in acid dyes.

1. Jamdani weaving technique with pattern of the design drawn on paper: Woven on a fly shuttle pit loom. The pattern of the design drawn on paper is pinned beneath the warp threads and as the weaving proceeds; the designs are worked in like embroidery. When the weft thread approaches close to where a flower, other figure has to be inserted, the weaver takes up on of a set of bamboo needles round each of which is wrapped yarn of a different color as needed for the design. As every weft of woof thread passes through the warp. He sews down the intersected portion of the pattern with one or another of the needles as might be required, and so continues till the pattern is completed. Very often, two persons work together on a sari. Traditionally, jamdanis were white of fine cotton, with designs in bleached white.

Jamdani woven with the help of jala : Jamdani traditionally woven in Uppada refers to an extremely fine fabric cotton or zari brocading on cotton fabric. Here, two weavers work on a single loom where the design on paper, kept underneath the warp, is used as a guide in placing the cut threads, according to the design, over the warp. These are, then, interlaced into the warp with fine bamboo sticks in a zigzag manner to form the motif. This is followed by the weft thread, the process being repeated before the shuttle carrying the weft is thrown across again.

http://www.sundarisarees.com/cart/uppada.htm

Motifs Important characteristics of Jamdani include the motifs, mostly floral, are of geometric shape, normally spreading across the fabric in a diagonal format. The spread of motifs diagonally across the fabric is called Tercha. Present-day Jamdani saris have flower designs such as rose, Jasmine, lotus, bunches of bananans, bunches of ginger and palms. A Jamdani with small flowers dotted on the fabric is known as Butidar. If these flowers are arranged in reclined position it is called tersa Jamdani. The designs may not consist solely of flowers; they can include designs with peacocks, leaves and vines. If these designs cover the entire field of the sari it is called jalar naksha, jhalar, or jaal. Then there is phulwar and the one with large flowers is called the toradar. Most prized among all motifs is the panna bazar or the Thousand Emeralds. If the field is covered with rows of flowers it is known as fulwar Jamdani. Duria Jamdani has polka dot-like designs cover the body of the fabric. Belwari Jamdani has colourful golden borders and was made during the Mughal period, especially for the women of the inner court. Additional design motif names include corolla buti, dhaner sheesh, bansh phool, puna phool, bagher pa, ichadar and others. The artisans interpretations of nature and new design innovations have increased the number of designs used when weaving Jamdani fabric. The Jamdani originally woven by the Muslim weavers, and often worn by Muslim royalties did not depict any human or animal forms.

Mangalgiri , the domain of one of the most beautifully woven

cotton sarees. Padmasalis are usually practice this art. Majority of the weavers conclude that this art of weaving originated in mangalgiri itself and does not involve any foreign influences. Sarees made initially were of (20s -40s) count . The borders of original mangalgiri sarees are made from art silk Art silk- artificial silk made of wool pulp and polyester. The concept of art silk is meant for the lower classes and for muslim community because their religion did not allow them to wear pure silk and gold as muslim labour class who did not follow the purdah system, they were woven in a thicker weave and darker colours.

Basic design feature of these sarees is seen in the border and

pallau. It comprises of either stripes, checks or small motifs like mango, leaves, flowers and geometrical motifs. The animal motif is the latest innovation in which the body is plain, striped or checked. The latest development in the motifs are peacock, mango , flowers, leaves etc are seen in weavers service centre. Interesting names are given by the weavers to saris according to their border thickness. Sari of 2 border- mini durbar 3 border- durbar 4-5- super 6- 7- super deluxe.

For tested zari- copper wire is wrapped around

spun silk core thread and gild For imitation zari- art silk and copper is coate with silver in the ratio of 2:1 golden paint is applied on it For Pure zari- Yellow red silk yarn is used over which a coating of copper and silver mix is given (copper is added to reduce the brittleness of silver) Over this a gold coating is given.

The colours used are generally bright and the yarn

interlacings produce interesting light and shade effects. Older generations prefer plain sarees with striped borders and pallavs while the wounger age group settles for lighter shades and elegant checks. Local names of colours: Maroon- Kimpu Magenta- Chandrakantha Brown- Ganga jamun Pink- Rani Red- yerupu Turquiose green- smita Dull yellow ochre- sanpalli

Cluster in Andhra(mangalgiri saris)- 2003-2007 by aditisood,anuradha,rashmi bhatia http://www.uppada.com/pages/Ethnic-SareesHistory-for-Paithani-Sarees-Jamdani-Sarees--Uppada-Sarees/pgid-59443.aspx http://www.apcofabrics.com/mangalgiri.html Documentation of artistic handicrafts- jamdani sarees of uppada in andhra pradesh 1999