For centuries, tribal communities in Bhagalpur, Bihar, have reared tussar silk worms in the forests on leaves of Asan, Arjun or Sal trees providing raw material for the uniquely textured Bhagalpur silk saris and textiles. The saris were the mainstay of the region’s economy and a great favourite in European markets during the colonial era. However, decline had set in by the mid-20th century and the saris had all but disappeared.
When Kamala Devi Chattopadhyay visited the area in her ‘discovery of Indian crafts yatra’ in the 1950s, she found only a few badly woven Bhagalpur tussar saris. But the beauty within could be seen. She promptly set into motion a Government-sponsored revival programme. The successful training and research strategy put the weave back on the country’s textile map. Today, it is a favourite of both couturier and craft lover with 1,500 weavers at the loom to create the Bhagalpur magic. Many designers have also given it a contemporary relevance.
Saurabh, a weaver from Bhagalpur, enhanced his skills after training as a designer in NIFT Delhi to give the sari an edgy image. While retaining the beauty of the pristine weave, which is reminiscent of abstract art splashes, Saurabh plays around with traditional stripes and squares in different colours and band-widths on pallu, body and border to create a range of contemporary Bhagalpurs. Saurabh says, “At NIFT, they teach us to develop designs from our tradition and surrounding ecology, flora and fauna, architecture, etc. I learnt the craft from my father, also a weaver. In arriving at my design language I take help from the weaver”.
Saurabh’s designer Bhagalpur tussars, on view at the ‘Sangamam’ exhibition, create a stir with mauve and pink stripes on naturally-coloured tussar, deep green saris with shocking pink stripes on the pallu. Temple borders vie with modern stripes and there are Kantha-like embroidery weaves and much more.
It also showcases National and State awardee Rajendra Meher’s outstanding Sambhalpur ikats. “I have practised tie and dye ikats for almost 30 years now,” says Meher. His evocative animal and flower-filled saris have striking contrast borders and are done in the double ikat technique. “I first design on draft paper,” says Meher and adds, “Then I tie and dye the yarn based on the design for both warp and weft. It is a time-consuming process but it is my passion and livelihood”.
There are also a wealth of Banaras cut-work saris in all colours, with motifs ranging from giant amris to exquisite Mughal floral bouquets, Bengal cottons and silks, Bagru block prints, Maheshwaris in striking indigo block prints, chikankari saris and painted kalamkari cotton and silk festive saris.
Sangamam is on view at the Central Cottage Industries Emporium, 672, Temple Towers, Anna Salai, Nandanam till October 31.
