Community hub
Recent from talks
Knowledge base stats:
Talk channels stats:
Members stats:
Bandhani
Bandhani is a type of tie-dye textile decorated by plucking the cloth with the fingernails into many tiny bindings that form a figurative design. Today, most Bandhani making centers are situated in Gujarat, Rajasthan, Sindh, Punjab region and in Tamil Nadu where it is known as Sungudi. It is known as chunri in Pakistan. Earliest evidence of Bandhani dates back to Indus Valley civilization where dyeing was done as early as 4000 B.C. The earliest example of the most pervasive type of Bandhani dots can be seen in the 6th century paintings depicting the life of Buddha found on the wall of Cave at Ajanta. Bandhani is also known as Bandhej Saree, Bandhni, Piliya, and Chungidi in Tamil and regional dialects. Other tying techniques include Mothra, Ekdali and Shikari depending on the manner in which the cloth is tied. The final products are known with various names including Khombi, Ghar Chola, Patori and Chandrokhani.
The term bandhani is derived from the Sanskrit verbal root bandh ("to bind, to tie").
The art of Bandhani is a highly skilled process. The technique involves dyeing a fabric which is tied tightly with a thread at several points, thus producing a variety of patterns like Chandrakala, Bavan Baug, Shikari etcetera; depending on the manner in which the cloth is tied. The main colour used in Bandhana are yellow, red, blue, green and black. Each colour is traditionally tied to specific cultural meaning. Red is a symbol of marriage and is connected to rituals of married women, yellow stands for spring and is connected to both the season and childbirth, saffron is the colour of renouncer of the world and connects with warriors ready to give up their life in war or to yogis who give up worldly life, black and maroon are used for mourning.
As Bandhani is a tie and dye process, dying is done by hand and hence best colours and combinations are possible in Bandhanis. There are two types of dyeing traditionally categorised according to durability of colours - pakka, in which the colours do not come off easily and Kaccha, in which the colours fade or wash off easily. Historically, Kaccha technique was the more preferred one as the colours could be refreshed again and again while pukka technique was considered to be suitable for old people. The finest and most complicated patterns, whether for men's turbans or women's drapes called odhnis, were always dyed in kachcha colours. The main colours used in Bandhana are natural.T H Hendley, writing in the 19th century, provided the organic sources of the colours used for Bandhani, Most of them like the red ( both pukka and kaccha), indigo were derived from flowers while yellow by mixing turmeric with buttermilk.
In Gujarat, the Bandhani work has been exclusively carried out by the Khatri community of Kutchh and Saurashtra. A meter length of cloth can have thousands of tiny knots known as 'Bheendi' in the local language ('Gujarati'). These knots form a design once opened after dyeing in bright colours. Traditionally, the final products can be classified into 'khombhi', 'Ghar Chola', 'Chandrakhani', 'Shikari', 'Chowkidaar', 'Ambadaal' and other categories.
Bandhani work is also done in Rajasthan, where different colours and designs are used than the Kutch and Saurashtra regions of Gujarat. Establishments of varying sizes in the entire Kutch belt in Gujarat produce many varieties of Bandhani. This Bandhani style is called as the Kutchi Bandhani. The bold patterns of Bandhani are very similar in design, motifs, and technique in the desert belt encompassing northern Kutch in Gujarat, Western Rajasthan, and Sindh even in Pakistan.
Bandhani tying is often a family trade, and the women of these families work at home to tie patterns. Pethapur, Mandavi, Bhuj, Anjar, Jetpur, Jamnagar, Rajkot, are some of the main towns in Gujarat, where Bandhani is created. The city of Bhuj in Gujarat is well known for its red Bandhani. Dyeing process of Bandhani is carried out extensively in this city, as the water of this area is known to give a particular brightness to colours, specifically reds and maroons. As with other Indian textiles, in Bandhani too different colours convey different meanings. People believe that red is an auspicious colour for brides.
Earliest evidence of Bandhani dates back to Indus Valley civilization suggest that dyeing was done as early as 4000 B.C. The ancient city of Mohenjo-daro have traces of Bandhani art. The earliest example of the most pervasive type of Bandhani dots can be seen in the 6th century paintings depicting the life of Buddha found on the wall of Cave at Ajanta. This art finds its mentions in the Alexander the great time texts about the beautiful printed cottons of India. As per evidences in Historical Texts, the first Bandhani saree was worn at the time of Bana Bhatt's Harshacharita in a royal marriage. It was believed that wearing a Bandhani saree can bring good future to a bride. Ajanta walls stand for the evidences of these Bandhani sarees. The dyers have experimented with the use of different elements both natural and man-made for ages. Also, there are experiments with different binding/tying techniques to create patterns on cloth immersed in containers of dye. Different types of tie and dyes have been practiced in India.
Hub AI
Bandhani AI simulator
(@Bandhani_simulator)
Bandhani
Bandhani is a type of tie-dye textile decorated by plucking the cloth with the fingernails into many tiny bindings that form a figurative design. Today, most Bandhani making centers are situated in Gujarat, Rajasthan, Sindh, Punjab region and in Tamil Nadu where it is known as Sungudi. It is known as chunri in Pakistan. Earliest evidence of Bandhani dates back to Indus Valley civilization where dyeing was done as early as 4000 B.C. The earliest example of the most pervasive type of Bandhani dots can be seen in the 6th century paintings depicting the life of Buddha found on the wall of Cave at Ajanta. Bandhani is also known as Bandhej Saree, Bandhni, Piliya, and Chungidi in Tamil and regional dialects. Other tying techniques include Mothra, Ekdali and Shikari depending on the manner in which the cloth is tied. The final products are known with various names including Khombi, Ghar Chola, Patori and Chandrokhani.
The term bandhani is derived from the Sanskrit verbal root bandh ("to bind, to tie").
The art of Bandhani is a highly skilled process. The technique involves dyeing a fabric which is tied tightly with a thread at several points, thus producing a variety of patterns like Chandrakala, Bavan Baug, Shikari etcetera; depending on the manner in which the cloth is tied. The main colour used in Bandhana are yellow, red, blue, green and black. Each colour is traditionally tied to specific cultural meaning. Red is a symbol of marriage and is connected to rituals of married women, yellow stands for spring and is connected to both the season and childbirth, saffron is the colour of renouncer of the world and connects with warriors ready to give up their life in war or to yogis who give up worldly life, black and maroon are used for mourning.
As Bandhani is a tie and dye process, dying is done by hand and hence best colours and combinations are possible in Bandhanis. There are two types of dyeing traditionally categorised according to durability of colours - pakka, in which the colours do not come off easily and Kaccha, in which the colours fade or wash off easily. Historically, Kaccha technique was the more preferred one as the colours could be refreshed again and again while pukka technique was considered to be suitable for old people. The finest and most complicated patterns, whether for men's turbans or women's drapes called odhnis, were always dyed in kachcha colours. The main colours used in Bandhana are natural.T H Hendley, writing in the 19th century, provided the organic sources of the colours used for Bandhani, Most of them like the red ( both pukka and kaccha), indigo were derived from flowers while yellow by mixing turmeric with buttermilk.
In Gujarat, the Bandhani work has been exclusively carried out by the Khatri community of Kutchh and Saurashtra. A meter length of cloth can have thousands of tiny knots known as 'Bheendi' in the local language ('Gujarati'). These knots form a design once opened after dyeing in bright colours. Traditionally, the final products can be classified into 'khombhi', 'Ghar Chola', 'Chandrakhani', 'Shikari', 'Chowkidaar', 'Ambadaal' and other categories.
Bandhani work is also done in Rajasthan, where different colours and designs are used than the Kutch and Saurashtra regions of Gujarat. Establishments of varying sizes in the entire Kutch belt in Gujarat produce many varieties of Bandhani. This Bandhani style is called as the Kutchi Bandhani. The bold patterns of Bandhani are very similar in design, motifs, and technique in the desert belt encompassing northern Kutch in Gujarat, Western Rajasthan, and Sindh even in Pakistan.
Bandhani tying is often a family trade, and the women of these families work at home to tie patterns. Pethapur, Mandavi, Bhuj, Anjar, Jetpur, Jamnagar, Rajkot, are some of the main towns in Gujarat, where Bandhani is created. The city of Bhuj in Gujarat is well known for its red Bandhani. Dyeing process of Bandhani is carried out extensively in this city, as the water of this area is known to give a particular brightness to colours, specifically reds and maroons. As with other Indian textiles, in Bandhani too different colours convey different meanings. People believe that red is an auspicious colour for brides.
Earliest evidence of Bandhani dates back to Indus Valley civilization suggest that dyeing was done as early as 4000 B.C. The ancient city of Mohenjo-daro have traces of Bandhani art. The earliest example of the most pervasive type of Bandhani dots can be seen in the 6th century paintings depicting the life of Buddha found on the wall of Cave at Ajanta. This art finds its mentions in the Alexander the great time texts about the beautiful printed cottons of India. As per evidences in Historical Texts, the first Bandhani saree was worn at the time of Bana Bhatt's Harshacharita in a royal marriage. It was believed that wearing a Bandhani saree can bring good future to a bride. Ajanta walls stand for the evidences of these Bandhani sarees. The dyers have experimented with the use of different elements both natural and man-made for ages. Also, there are experiments with different binding/tying techniques to create patterns on cloth immersed in containers of dye. Different types of tie and dyes have been practiced in India.