Sunday, 16 October 2016

All about 16 Shringar

16 Shringar or adornment is basically done for happiness and prosperity in home.  If done right with purity and divine essence, it becomes the carrier of Love and Non – violence and thus spreading  Love and Placidity in society. That is the reason why 16 shringar has been considered an important part of Indian culture.  Rig Vedas has description of good luck that comes from 16 shringar. Let us see what those 16 shringars are :



1.     Bindi



“Bindi” word is originated from Sanskrit language. Bindi is usually “Kumkum”  placed as a dot between the eyebrows on forehead, resembles the third eye of “Shiva”. Many married women consider important to wear bindi. It is believed to be reason or the prosperity in home.


2.     Sindoor


In the northern part of India, almost everywhere, “Sindoor” resembles “Suhag” or Husband. Sindoor ceremony is very famous and integral part of Indian marriages when a groom puts Sindoor in brides “Maang” or parting in hairs. From this day bride puts Sindoor in her Manng every day.

3.     Kajal


Known as Kohl or even eye - liner in English is a must for Shringar. Besides it adds up to the beauty, it also protects bride and her family from evil eye.

4.     Mehandi


Without “Mehandi” or Henna Shringar is never  said to be complete. Before a marriage in India all the females of both groom’s and bride’s family apply Henna on their hands and legs. It is also said that darker the color of henna is, more is bride loved by her groom.



5.     Shadi ka Joda


North Indian brides usually wear a “Joda” which contains “Ghagra” (Skirt), “Choli” (Midriff – baring blouse) and “Odhni” (Stole) which is generally decorated with Zari. Similarly in East India and Bihar, Bride wears Red and Yellow color Saree. In Maharashtra green color is considered auspicious during marriages.

6.     Gajra


“Gajra” are made by sweet scented flowers by knitting like garland and is worn on hair knot. It is prominently used in southern part of India. These women generally use Night Jasmine flowers for Gajra.

7.     Mangtika


“Mangtika” is made of gold is and placed on the parting of hair where Sindoor is applied. Besides adding up to the beauty it is said that it reminds bride to follow the right and straight path and to take decisions impartially.

8.     Nath


Nath” or Nose ring is worn by bride after “Saat Phere” in which both bride and groom take 7 rounds of fire. It is worn to respect “Devi Parvati”. It is also believed to enhance the Health and well – being of husband. North Indian woman wear nose ring on the left side of the nose though south Indian women also wear ring in the middle partition of the nose. 


Nath is usually large in size and thus uncomfortable to wear every day. That is why women usually wear it on special occasion only. Most women replace it with a smaller ring for everyday use or one can also use nose pin if not ring.

9.     Jhumka


“Jhumka”, also known as Ear – ring is of infinite styles though the basic idea behind many designs is to use a chain to hold a beautiful shaped ornament entirely made of gold. It is important for a married woman to wear Ear – rings after marriage. It is said that this Jhumka is to remind bride to avoid listening to ill – talks about husband and his family.

10.     Haar


Haar” or also known as Garland is made up of gold or pearl and it resembles the commitment of a women to her husband. It is also said that this garland helps to maintain health as there are some pressure points around neck. For this purpose garland is made of gold instead of flowers and thus given a beautiful shape to be an integral part of Shringar. 


“Mangalsutra” is also used as a replacement of Haar since it is thinner than and good for daily usage.

11.     Bajuband


“Bajuband” or Armlets is generally made up of gold or silver. Women wear it tightly on biceps. Earlier in Indian culture it was necessary for women to wear Bajuband and was believed that by doing so husband’s wealth is preserved. It also resembles the victory of good over evil.

12.     Churi and Kangan


“Kangan” or Gold bracelet or Bangles resembles the marriage of a woman since 18th century. In Hindu culture, in a ceremony called “Muh Dikhai” mother in law gives the same bracelet to bride, which was given to her by her mother in law and is carried as a family tradition. Even today many women still possess the bracelet given to them by their mother in law and are waiting to give it to their daughter in law with the blessings of happiness and good luck. Design and decorations on these gold bracelets varies from region to region in India. Some women wear open ended bracelets while many others wear closed ended bracelets.


A married Indian woman is never said to keep her wrists empty or without “Churi” which is again a bracelet usually made of glass or fiber. Churi are available in infinite colors and each color is said to have different meanings or to be worn on different occasions.  For example red color is dominating at the time of marriage (and months after that) and it shows that bride is happy and satisfied  with the new relation. For the celebration of holi women usually use yellow color and to celebrate “Teej”, green is preferred colour. Earlier many women wrapped the corner of saree on wrists while changing Churi so that their wrist is not empty for even a second while their husband is still alive.

13.     Anguthi


Anguthi” or ring is primarily exchanged between bride and groom before marriage at a function called “Sagai” or engagement. Ancient Ramayan has also an incident related to ring. When Ravna took Sita to Ashok Vatika after kidnapping her, she sent her ring to Ram with the help of Hanuman. She sent her ring to Ram as a memory of their relationship.

14.     Kamarband

“Kamarband” is a bracelet to be worn around waist after marriage. It adds up to the beauty of women. It has usually a ring attached to it for keys and is made of gold or silver. A woman wearing a Kamarband shows that she is the one who manages the whole family and home.

15.     Angutha and Bichua


It is basically a ring to be worn in the fingers of leg. “Angutha” is to worn on the thumb and “Bichua” is to be worn on fingers.Earlier these Angutha and Bichua were embedded with a very small mirror. When woman was blushing and could not see her husband eye to eye, she used to see her husband’s image in that mirror. Not just the husband but earlier when woman were not allowed to see elders directly, this mirror used to come handy in watching the person talking to.


Bichua is worn on 3 fingers of leg except the smallest one. During marriage bichua is gifted to a woman by her sister in law. This resembles that the bride will face all the forthcoming challenges with courage and honour.

16.     Payal


“Payal” or anklet has small bells attached to it which signals the coming newly wedded bride in home. Earlier elderly men used to give way to bride as soon as they heard the sound of bells in anklet.


Interesting fact of Payal is that earlier when child marriage was prominent, newly wedded woman was made to wear Payal with lot of bells. The reason was that whenever bride was nostalgic about her home, many bride used to run away to her home, thus the sound of bells will indicate the movement of bride in whole house.
Payal is made by silver because in hindu culture gold is considered auspicious since many god wear golden crown. It is also believed that by wearing gold in legs one disrespects their god.

Wednesday, 12 October 2016

TUSSAR SILK

Tussar Silk is also known by its Sanskrit name 'Kosa Silk' and produced mainly in Jharkhand state of India. Tussar is valued for its rich texture and natural deep gold colour.

It is obtained from silk worms that do not breed on mulberry trees but breed on local trees like Sal, Arjun and Saja, and that is why they are also called as 'Wild Silk'. Tussar Silk is less expensive and durable as compared to cultivated silk because of its short fibre length.

The precisely finished and designer garments produced from Tussar Silk are world famous and are exported to various countries worldwide including Europe, Gulf and the United States.




HOW IT IS MADE :

Tussar Silk is produced by the larvae of several species of silk worms like Antheraea Mylitta, Antheraca Proylei, Antherea Pernyi and Antheraca Yamamai. The insects of these species are found mostly in wild forest, eating off the trees they live on. Their cocoons are collected which are single-shelled and oval in shape and are then boiled to extract the silk yarn from it. Boiling is indeed very important part in the manufacturing of silk as it softens the cocoon and makes the extraction of silk easier. In conventional sericulture, the cocoons are boiled with the larvae still inside, however if the cocoons are boiled after the larvae have left them, the silk made is then called by 'Non-Violent Silk' or 'Ahimsa Silk'.



CHARACTERISTICS :
  1. It has rich coarse texture.
  2. It is light and airy.
  3. It gives a cool comfort feeling.
  4. It is delicate and stiff in nature.
  5. It has different natural shades.

MAINTAINENCE :
  1. Dry cleaning is the safest option for Tussar.
  2. Dry cleaned Tussar should not be wrapped in plastic. Silks need to breathe.
  3. In case you want to hand wash your Tussar fabric, use cold water and a mild liquid soap meant for delicate clothes.
  4. Do not wring excess water out. Dry fabric in shade as sun may cause the fabric to fade.
  5. Wash dark colors separately and never use chemical bleach.


INTERESTING FACTS :
  1. You can also identify pure silk. Take a few threads from the warp and the weft and set their ends alight. When they are fully burnt, smell the ash. If it smells like burnt hair, you have just burnt some pure silk. If it doesn�t, and in fact the residue is solid, it is not silk, but some synthetic material.
  2. Tussar silk production has become an economic lifeline for villagers in Maoist-affected areas in Jharkhand. It offers a means of livelihood in a state where the Maoists have a stronghold in 18 of the 22 districts.
  3. India has the unique distinction of being the only country in the world producing all the commercially known varieties of silk - mulberry, Tussar (both tropical and temperate), Eri, and Muga.

MANGALAGIRI COTTON

Mangalagiri in Guntur District of Andhra Pradesh is famous for its special variety of saree, called Mangalagiri Saree. This saree, featuring tribal designs, is very much in demand in the fashion market. Mangalagiri sarees, woven from cotton, feature borders with closely-knit patterns embroidered with ‘zari’ (gold-colored thread). Usually these patterns are minute checks or small simple frames. The ‘pallu’ (falling edge of saree) is embellished with stripes, a typical tribal style, created with gold-colored embroidery. These sarees come in a variety of rich colors.

  


HISTORY OF MANGALAGIRI SAREE
Mangalagiri was always known as a pilgrim centre. There is a famed and elegant temple on a hillock in the heart of Manglagiri town dedicated to Lord Panakala Narasimha Swamy. Here, jaggery water has been offered to the lord by the devotees for several centuries. It is said in the scriptures that, the lord is being worshipped since Satya Yuga (The first of the four yugas). Below at ground level there is another temple dedicated to Lakshmi Narasimha Swamy. It is said that, Yudhishtira (Dharmaraju, the eldest of the Pandavas) installed the main deity in this temple. The temple has a very tall tower with beautiful sculpture which has 11 stairs. It was constructed by Raja Vasireddi Venkatadri Naidu, during the years 1807-09.
Local legends speak of a millennium old tradition in this region. It is said that pilgrims were expected to offer their respects to Lord Panakala Narashimha on the hill top, and then buy a saree from a local weaver before leaving the place. This clearly emphasized the patronage and impetus given to the weaving industry even as part of the tradition.
Besides, as per incormation available in South Indian Inscriptions Volume IV (published by Archaelogical Survey of India) in pages 231 to 233, t here is a clear r e ference to a Pillar inscription in the Main Bazaar street of Mangalagiri Township called the shasana Sthambam. This pillar inscription is numbered as No.711 and 711-A.

According to the inscriptions on this pillar, the muslim rulers belong to the Kutub Shahi dynasty are said to have raised the taxes on Handloom textiles during the year 1593. As t he weavers were not in a position to meet such huge taxes they left this village and migrated to other Handloom centres of the State. Thus the weaving activity in this area suffered a severe blow. Subsequently the rulers of this region pursued a more sympathetic approach towards the weavers and thus reduced the Taxes. This pillar was supposed to represent the positive attitude towards the weavers after their period of sorrow. This historical information substantiates the claim that Mangalagiri indeed had a strong weaving tradition for over 500 years.
The main occupation in the town of Mangalagiri is Hand-loom weaving. Nearly 50% of the population dependent on this cottage industry only. Because of the Hand-loom dress material produced in the town, Mangalagiri is placed in the world map.

CHARACTERISTIC AND UNIQUENESS
  • pure durable cotton material
  • No weave designs on body of the fabric
  • Nizam border, which is peculiar only to Mangalagiri region
  • Material woven only on pit-loom
  • Only produced in Mangalagiri region
  • No gaps on the weave in the edge of the material which       is again peculiar to this kind of fabric

BOMKAI HANDLOOM

The starring feature of this gorgeous weave is the thread-work ornament borders that they use to make saris. The thread count is low, but the material is very popular because of the patterns created on it and the bright colors that it is dyed in. Often, patterns are woven in the material in contrasting colors, making the material stand out more than usual. Still wondering, whether the weave is for you? Well, it’s a weave that’s super popular among celebrities, so it’s probably time you give it a try


Woven on a pit loom, Bomkai, which is also known as Sonepuri, is an extraordinary fabric that results from the confluence of two extremely popular components of the Orissa textile industry. In its simplest, Bomkai can be explained as an extra weft technique on a pit loom.It is an outcome of Ikat and embroidery interwoven into each other. The borders are often in contrasting colors and the pallus marked by intricate threadwork. The motifs on the Bomkai are inspired from nature and tribal art, giving the saree a fascinating look that makes it perfect for aristocracy. Bomkai sarees are available in cotton and silk fabrics.
Locally known as ‘Bandha’ Bomkai concept of sarees is a part of the Orissan culture since 600 B.C. An outcome of Ikat and embroidery interwoven into each other, Bomkai is a magnificent innovation that has taken over the textile industry and gives it a global push. Traditionally worn as an auspicious attire by the Brahmins of the South during rituals, Bomkai or Sonepuri today is counted amongst one of the most highly thought of attires in the state of Orissa and an illustrious one in other parts of the country.




INSPIRATION :
Unlike most of the common forms of designs that are painted on the face of various fabrics, Bomkai dares to be different. The motifs and designs portray mythology and well kept secrets of the past. Inspired by folklore that spring from the roots of the Orissan culture, Bomkai is the heart of the textile industry of Southern India. However, Bomkai doesn’t ignore the inspirations that nature offers to everyone completely free of cost.
Designs composed in the most outlandish of concepts string together motifs from offerings of the environment including karela (bitter gourd), the atasi flower, the kanthi phul (small flower), macchi (fly), rui macchi (carp-fish), koincha (tortoise), padma (lotus), mayura (peacock), and charai (bird). A significant part of the finishing in Bomkai sarees can be attributed to the borders or pallavs. Some of the sarees feature border motifs that are inspired by tribal art. A few examples include, Mitkta Panjia, Kumbha, Rudraksha and Floral.
Colors on the other hand, are inspired by the effect of contrast. So with yellow you might see a nice bright green, and with an orange saree, an equally absorbing yet mesmerizing black border. Sometimes, the pallav might be double shaded, giving out a reflection of royal lustre. Lattice work, which creates small diamond like shapes, can also be commonly found on the border of a Bomkai saree.


VARIETIES :
It’s the creativity and the love of the people for Bomkai that sparks innumerable concepts within the domain of Bomkai industries. Innumerable varieties of Bomkai have been introduced till date by people belonging to the Southern parts of Orissa. Some of the most popular ones though include Sonepuri, Pasapali, Barpali, and Bapta saris.
INTERESTING FACTS :
  • A Bomkai saree is largely worn by Kathak dancers around the world
  • Bomkai is one of the major attractions in world fairs on fabrics, textiles and attires. The Bomkai or the Sonepuri Saree was a great attraction in the wedding of renowned Bollywood couple Abhishek Bachhan-Aishwarya Rai.