What is Jamdani? Where does it come from?

The distinctive texture seen against the airy backdrop of muslin fabric characterises the cherished Jamdani cloth, a beacon of history and heritage. This textile tradition is rooted in meticulous handloom weaving, utilising a unique technique where design threads are woven discontinuously, ensuring that the muslin’s transparency is maintained. Craftsmen employ a specialised horn tool called a “kandul” to skillfully raise individual warp threads and introduce supplementary ones. Beyond its weightlessness, a textile’s worth also hinges on the delicacy of its thread spinning, the precision in unwinding spindles for the warp, and the careful threading of thin warp fibres through the intricate hedges of the loom.

The opulent woven textile, known as Dhakai Jamdani or simply ‘Jamdani,’ has graced this region since the era of the Mughal Empire. Produced for centuries in Bangladesh, Jamdani has earned global acclaim for its exquisite texture and intricate embroidery, becoming a symbol of artistry and refinement. While Jamdani may not be a wholly novel fabric, it can be regarded as a ‘reimagined’ iteration of Muslin. Muslin, distinguished for its exceptional softness and purity, was the initial inspiration. Yet, Jamdani found its way to historic Bengal during the Mughal Empire and continued to thrive, retaining its splendour even during the British colonial era.

Origins of Jamdani Weaving

The term ‘jamdani’ traces its roots to Persian origins. In this etymology, ‘jam’ signifies ‘flower,’ and ‘Dani’ represents ‘vase,’ thus forming ‘Jamdani,’ meaning ‘flower vase.’ Remarkably, this term can be dated back to the 3rd century BC, as it finds mention in literary works of that era. It’s believed that ‘Jamdani’ appeared in Kautilya’s ‘Arthashastra,’ where it referred to a fine fabric crafted in the ‘Pundra’ and ‘Bangla’ regions. However, historical accounts also suggest that the term was introduced to Bengal during the Gupta period, spanning from the 4th to the 6th century AD.

Notably, the renowned book ‘Periplus of the Erythraean Sea’ also made reference to this exquisite textile. Beyond the confines of the subcontinent, merchants and travellers from regions as diverse as Arabia, China, and Italy were familiar with the allure of Jamdani.

As for the inception of Jamdani production, it was a journey spanning over 12 centuries before this craft began to take form. The artisans embarked on weaving this fabric during the illustrious Mughal Empire, but initially, it was exclusively reserved for the royal family. It wasn’t until the 16th century that weavers, under the patronage of the Mughals, brought forth the resplendent beauty of Jamdani for a wider audience to admire.

In the early 19th century, Jamdani ascended to new heights of recognition, notably through the writings of James Taylor, a Scottish minister and historical author. Taylor succinctly captured the essence of Jamdani as a textile adorned with intricate floral and figurative patterns. Towards the end of the 19th century, the esteemed Trailokyanath Mukhopadhyay, also known as T. N. Mukharji, advocated for naming this fabric ‘Jamdani muslin.’ During the era of British colonialism, Jamdani underwent a transformation, with the inclusion of extraordinary designs featuring figures and floral motifs. This period, often referred to as the ‘golden age of Dhakai muslin’ in history, witnessed an influx of creativity and innovation.

From its inception, this artful fabric garnered immense acclaim, not only in Bengal but across the world. However, as time passed, Jamdani faced numerous challenges during the British era. The British rulers began to import cheaper yarn from European countries, resulting in significant losses for Jamdani producers. The local cotton yarn gradually lost its market share, marking a significant downturn for Jamdani. During the Mughal Empire, places like Madhurapur and Jangalbadi were renowned for their prowess in Jamdani textile production. Regrettably, after several decades, these once-thriving villages and regions, including Madhupur and Jagalbadi, faded into obscurity due to the oppressive policies and actions of colonial rule.

Even after the Mughal era, British colonial rulers sought to diminish the uniqueness and lustre of this exquisite fabric. In 1947, post-partition, a significant number of weavers migrated from the heart of Jamdani, Dhaka, to West Bengal, ultimately fostering a new Jamdani market in India. This elegant textile consistently surmounted challenges during both the Mughal and British periods. Regardless of the adversities faced by its producers, trade and export endured. During the British colonial era, substantial quantities of Jamdani muslin were shipped to Europe from Bengal. records show that during the peak of the Jamdani era, a single Dhakai Jamdani saree fetched the price of 400 bucks, while eight ounces of rice cost merely 1 buck. James Wise, a civil surgeon and writer, emphasised the preciousness of Muslin and Dhakai in his writings, noting that in 1787, the export price of a single piece of muslin saree reached an astounding 5 million bucks.

Jamdani Over the Years

However, as time has passed, the material, texture, and finish of Dhakai Jamdani have evolved. Yet, this textile preserves its unique identity and enduring appeal even after five centuries. Thanks to its distinctive geographical origin, the Jamdani saree earned Geographical Indication (GI) status in 2016.

In recognition of its venerable heritage, UNESCO bestowed the prestigious honour of inscription on the Representative List of the Intangible Cultural Heritage of Humanity to the traditional art of Jamdani weaving in Dhaka in 2013.

Makings of a Jamdani

This woven masterpiece boasts intricate designs featuring floral motifs and geometric patterns. Jamdani is meticulously crafted using a complementary or supplementary weaving-weft technique. In this process, a non-structural weft thread is introduced to create ornamental motifs, complementing the standard weft. The conventional weft plays a crucial role in weaving by holding the warp threads together, resulting in a stunning, pure woven fabric.

In contrast, the supplementary weft introduces thicker threads, enabling the creation of intricate Jamdani patterns that set it apart from muslin. What sets Jamdani apart is its unique “handmade” design, where each supplementary weft thread is individually added by skilled artisans using their hands. Thin bamboo sticks are skillfully employed to interweave the weft threads into the warp, working in harmony with each spool of cotton thread. The outcome is a harmonious symphony of breathtaking geometric patterns that grace the fabric’s shimmering surface, testifying to its exquisite craftsmanship.

The captivating patterns adorning Jamdani fabric originate from a meticulous process. Initially, these patterns are drafted on translucent graph paper and placed beneath the warp. Rather than being pre-drawn on the warp, the identical motifs and floral designs are skillfully woven by hand.

Traditionally, this fine muslin cloth’s warp is woven with a combination of grey and white yarn. In contemporary production, a blend of cotton and gold threads is often used to enhance the fabric’s decorative allure.

The core fabric for Jamdani relies on unbleached cotton yarn, while the ‘deshi’ variant employs bleached cotton yarns, creating a subtle shadow effect. Crafting Jamdani is an exceptionally time-consuming art, involving an intricate handloom technique. It encompasses the supplementary weft technique in tandem with the standard woof technique. Initially, a base material is formed with thicker threads to lay the foundation for designs. Then, each supplementary weft motif is meticulously incorporated by manually interlacing the weft threads with bamboo sticks, employing individual spools. This laborious process results in vibrant, seemingly floating patterns on a shimmering surface, a hallmark unique to Jamdani sarees.

The yarn varies in texture, with smooth nylon and starched, uneven silk. Pure silk yarn tears when pulled and smells like burning hair. It resembles tapestry, using thick shuttles for coloured threads. Designs, like “butidar” floral patterns, vary widely. Jamdani weaving demands incredible skill, artistry, labour, and time, taking from a week to a year for a single saree.There are yarn variations within Jamdani. The first is Full-Cotton Jamdani, crafted entirely from pure cotton yarn. The second, known as Half-Silk Jamdani, features silk horizontal threads complemented by cotton vertical threads. Lastly, Full-Silk Jamdani employs silk yarn for both the horizontal and vertical threads, yielding a luxurious, silk-rich fabric. These distinctions in yarn composition give rise to diverse textures and characteristics within the captivating world of Jamdani textiles.

Motifs and Designs in Jamdani Weaving

Prominent Jamdani motifs encompass butidar (tiny flowers), Kalka (paisley), fulwar (linear floral patterns), Panna Hajar (a thousand emeralds), tersa (diagonal designs), charkona (rectangular motifs), jalar (all-over motifs), and duria (polka dots).

Regional Variations within Jamdani Weaving

Jamdani sarees, renowned for their intricate craftsmanship, boast diverse regional variations. Dhakai Jamdani, originating from Narayanganj and Dhaka in Bangladesh, stands as the original and most exquisite form of this art. Each saree requires a remarkable 9 months to a year to weave, a testament to the painstaking effort invested.Tangail Jamdani, hailing from the Tangail district of Bangladesh, showcases traditional broad borders adorned with lotus, light, leaf, and fish scale motifs. In India, Shantipur Jamdani, crafted in Shantipur, West Bengal, closely resembles Tangail jamdanis, characterized by a fine texture and often embellished with polished striped motifs. Dhaniakhali Jamdani, rooted in Dhaniakhali, West Bengal, distinguishes itself with tighter weaves compared to its counterparts. These sarees are notable for their bold colours and dark, contrasting borders, lending them a distinctive allure in the realm of Jamdani weaving.

Jamdani which is Handwoven and that is Machine Made

There is meticulous hand weaving, characterised by delicate, smooth, and flawless designs. Artisans intricately twist each yarn by hand, ensuring no loose ends. This technique blurs the line between the front and inner parts of the sari. The quality of Jamdani is often measured by yarn count, typically ranging from 32 to 250 counts. Thinner yarn, achieved with higher counts, results in finer work, a hallmark of top-notch Jamdani saree. The delicacy of the sari increases with thinner yarn, driving up its price due to the extended weaving time. The waist section of a Jamdani sari, up to five and a half hands, typically lacks a fringe. Handwoven Jamdani is prized for its lightweight and comfort. In contrast, machine-woven imitations closely mimic Jamdani patterns but come at a lower cost. These machine-woven saris use synthetic yarn, have thread counts of 24 to 40, and exhibit denser weaving with border patterns throughout. While they lack the finesse of handwoven Jamdani, they are heavier and coarse in texture.

Jamdani within the Modern Indian Diaspora 

While West Bengal Jamdani may not always enjoy the same spotlight as Chanderi and Banarasi textiles, it remains a cherished and integral part of contemporary design innovation in India. Designers like Shantanu Das of Maku Textiles, Paromita Banerjee, and Sayantan Sarkar from Kolkata, alongside others across the country, have embraced Jamdani beyond its traditional role as a sari. They have explored its fluidity, drape, motifs, colours, and suitability for stitched garments, elevating it to new heights. These creative minds have transformed Jamdani into a canvas for larger fashion narratives. From Rajesh Pratap Singh’s inventive use to Rina Singh’s modern interpretations for her label Eka, showcased at the Woolmark Prize in 2016, and Aneeth Arora of Péro, the Jamdani has found a place in memorable and diverse fashion expressions, solidifying its relevance in the fashion mainstream.

Mumbai’s Anavila Misra, renowned for linen saris, collaborates with 200 weavers in Phulia to create ethereal linen-Jamdanis for saris, dupattas, and tunics. Meanwhile, Kolkata’s Sayanti Ghosh infuses folklore motifs into Jamdani blouses, incorporating elements from Bengali weddings, like darpan, gachkouto, and malas (wedding garlands). In her latest wedding collection, these blouses complement handwoven cotton Jamdanis, featuring hand-painted depictions of Bengali marital rituals in vibrant leafy green, yellow, and red drapes.

Designer Sanjay Garg, the creative force behind Raw Mango, shares his perspective on Bengal Jamdanis in an article in the voice of fashion. He emphasises a minimalist approach, favouring simplicity and softness over excessive ornamentation. Garg’s ‘Sooti’ (cotton) sari line, introduced in 2015, spotlights the Bengali Jamdani technique. These saris, available in a spectrum of vibrant colours like red, fuchsia, yellow, green, deep blue, as well as elegant creams and whites, prioritise comfort and wearability, making them ideal for day-long use.

Jamdani Artisan’s Story

Biren Kumar Basak, a renowned master weaver of Jamdani and Tangail saree, showcases his artistry on various textiles, including natural cotton, muslin, khadi, muga, and more. His creations feature intricate designs, encompassing both traditional motifs like Ganesh, Durga, and Ramayana narratives, as well as non-traditional elements. These saris serve as narratives in themselves, earning Basak the prestigious Padma Shri award. Besides saris, he’s acclaimed for his meticulously woven Jamdani wall hangings. Hand-weaving a Jamdani can span from two days to several months, with prices reaching lakhs. Basak’s famous Ramayana sari, for instance, required approximately two-and-a-half years of painstaking effort. Jamdani work now extends to diverse materials like cotton, muslin, and matka, offering a range of motifs from simple to intricate. Basak learned this craft from his father, Banko Bihari Basak, and began weaving saris at the tender age of eight in Tangail district, formerly in East Pakistan (now Bangladesh).In the 1960s, Basak migrated to India and settled in Phulia, where a community of weavers had already established themselves. His weaving skills enabled him to swiftly commence crafting saris, earning Rs 5 for each pair he produced. Basak, alongside his brother Dhiren Kumar Basak, frequently journeyed from Phulia to Kolkata, transporting a stack of their meticulously woven saris. Their dedication eventually bore fruit as Biren Kumar Basak’s saris gained popularity and garnered a following among discerning buyers.

Issues with Jamdanis Now

Jamdani, like many Indian weaves, faces several threats, primarily from compromised quality versions available in markets. Weavers in Phulia-Shantipur have turned to mechanized looms using jacquard cards to replicate the signature 3D look of Jamdani weaves. To meet mass-market demands, some mix viscose with cotton or silk, compromising the authenticity of Jamdani. On closer inspection, the fabric may reveal cut threads, indicating it’s not the original Jamdani. This dilution of quality affects the integrity of the weave, resulting in cheap, cut-shadow imitations of the authentic versions.

Jamdani, at its zenith, embodies wearable luxury and art. Collaborations between India and Bangladesh hold potential for sustaining this craft and supporting weavers on both sides. Kolkata’s Weavers Studio, housing over 50 museum-quality Jamdani textiles, remains engaged with Bangladeshi weavers, preserving this art form. While mass-market renditions will persist, as commercial products follow market dynamics, authentic Jamdani, guided by fashion designers and curators like Darshan Shah, requires protection from common handloom industry challenges. These include plagiarised designs and subpar quality from smaller traders. This underscores the importance of customer awareness regarding Jamdani’s authenticity, encouraging appreciation and willingness to invest in this emblem of Bengal’s wearable identity and intangible cultural heritage.

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