BALUCHARI

BALUCHARI’S
Baluchari’s are from Bengal and are also known as “Figured silks of Bengal”. They
were originally produced in Murshidabad, which was a small place before it became
the capital of Bengal. It is said that it was founded by Akbar. The actual Baluchari
production began in Giaganj, which is in Baluchar. It is a sandy shore and it became
very popular in early 18th century. A diwan of Bengal, Murshid Quli Khan transferred
the capital of Bengal to the town, to which he lent his name and it became known as
Murshidabad. The area around this place was famous as silk growing district
especially in ancient times and it was called as ‘Karna –Subarna’ or modern
Murshidabad. When exactly this baluchar gharana began is unknown, but baluchari
sarees, handkerchiefs which were produced showed a highly technical excellence.
Baluchari saris took their name from the place i.e. Baluchar which is north of
Bhairanpur in Murshidabad district of West Bengal. It was the main centre for silk
industry during 17th-19th century. Weavers and designers lived in the surrounding
villages of Baluchar such as Mirpur, Bahadurpur, and Baligram etc. Out of these
Bahadurpur was the native place of Dubraj Das, who was the last of the master
weavers.
There is no evidence from where the weavers came, though it is certain that they
inherited the traditional expertise. Some people believe that with the shifting of the
political centre in Bengal from Dhaka to Murshidabad, a Dhaka weaver might have
settled near it and evolved a particular technique of bootidaars under the patronage of
the aristocracy that resided in that place. Another view is that weavers came from
Banaras and settled in Murshidabad and started this art. They could continue as they
were well conversant with the art of brocade making. Weavers got their inspiration
from local gatherings, paintings, portraits of the artists. During the end of 19 th century
the saris ranged between Rs.12-15.
Designs & Colours
Design in sari was inspired from the period of influence. Aanchal or Pallu was the
most important section of the sari that in a rectangle was fitted with large sized kalkas
or paisleys, which were arranged in rows. The outer quadrangle was divided into
figured designs from architecture and they were place din separate compartments and
repeated all around. The body of the sari comprised of bootis or sprigs and usually
floral but sometimes geometrical patterns were also used.
Designs were Persian in feeling and conception. There is a pictorial element in the
composition of these fabrics. The pictures of men and women built on horizontal and
vertical lines. The panels created are highly stylised and they represent subjects which
could be religious, courtly or from high society. Depiction of motif has changed
continuously with the change of time. Before the battle of Palasey, there was
prominence of Nawab and Begum motifs and Rani of Jhansi riding to battle field. But
after British came into Indian, saris depicted European ladies in hats and long skirts
with parrot in hand. From the concept of Nawab Begum, it became Sahib Memsahib.
Other motifs depicted Sahib with cannons, sahib sitting in chair or on elephant back
with a Mahoot (rider), fight of man with tiger, a railway engine pulling a double deck
compartment transporting sahib in suits. Another important motif was sailing ships or
steamers carrying precious silks to far off lands or the lady standing near the lantern. It
is said these motifs have inspired from Lord Canning travel on the steamer in 1858.
Colours
The uniqueness of Baluchar saris is not only in terms of design but also in terms of
colours. The saris are woven using silks without any gold. Booti designs are woven
with silk weft in white or gold, red, yellow or green. Ground colour is deep maroon,
madder red, purple, turmeric yellow or short effect with dark red and blue. They avoid
strong contrast of colours. The most popular colours are blue or purple which are used
in the base.

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BALUCHARI’S

Designs & Colours

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