Looms used in Chanderi
The weavers use both Pit and Frame, Throw and Fly-shuttle looms with bamboo reeds. The count of a reed is measured in the number of panjas in one girah (5.7cm or 2 ¼ inch). For example, a reed of 36 panjas means 36x5 or 180 dents in a girah. The reeds used are usually of 36-40 panjas.
90% of weaving is done on pit looms and 10% on frame looms, in which Dobby and Jacquard attachments are used. Three-shuttle weaving is done on throw shuttle looms. The technique of interlacement of weft and warp in three-shuttle weaving is similar to that explained in the survey of the southern region where it is very common. There is no special finish given to the fabric except proper folding. Since the single silk warp yarn is not degummed, the threads tend to crack and break, if the fabric is kept in a folded condition for a long time. This is the greatest drawback of Chanderi fabrics, although in beauty and skill of weaving they are excellent. Previously the fabric, after being taken off the loom, was kept as it was, till a customer wanted to buy it. It was then folded and given. This practice is however not usually followed at present. The undegummed silk warp gives a crisp feel to the fabric which adds to its beauty.
Motifs
The usualmotifs are flowers, sprays, round buties (asrafis) and net patterns (jaal). Sometimes extra weft is used in the border, when it is called banewar. Solid border weaving by using three shuttles is a specialty. Saris with three shuttle weave, as mentioned before are called “nalferwan” saris. Sunrise and temple border are also a specialty. The extra weft buties in the body and pallav in the above mentioned fabrics are woven by the jaal system. For other varieties, woven on a fly shuttle loom, like dandiyas with a figured border, and with buties and a cross border, a dobby or jacquard machine is used for border weaving and a jaal for the buties and cross border. The average income of a weaver is about Rs.5 to Rs.10 per day.
Ginni, or coin, a traditional Chanderi motif and Aamna. Today, though modern fly shuttle looms like the tara looms are being
used, still the magic of the master weaver is not lost. The fame and elegance of the soft Chanderi colors lie in their constant reference to nature. Motifs are drawn from the Earth and sky, Hunting Scenes, the tree of life, Man-Woman, birds, fruits, flowers, heavenly bodies. All are exquisite detail for surpassing their role models. Chanderi is also famous for weaving an extremely fine zari band (patti) right up to the selvedge end known as piping kinari. Great attention is paid to the buti or motif in the body which enriches the design vocabulary. Meenakari or inlay in the motif and the addedar patela in which the band is woven to jewel cut-work effect are latest additions. Kalgi is another typical Chanderi motif that runs along the edge of the border. The use of the fine echoing lines called karam cheel zari baccha is also a Chanderi characteristic. A variety of motifs are used such as Ashrafi, Churi, Bundi, Keri, Phul- Patti, Phul-Buta (Sola,Aath,Cheyand Char Pankuri Ka Phul), Baddi Ka Phul, Akhrot, Paan, Eeth, Suraj Buti, Meena Buti, Kirkita, Rui Phul Kinar, Kalgi, Ghoongra, Khajura, Dunaliya, Iknaliya Buti, Iknaliya Buti and Geometric designs are also used. These motifs are used in borders, pallav and main field of the sari. Plain saris are also woven, sometimes zari is also used. Broad borders with contrasting and matching colors are woven. Tested zari is used which is purchased from Surat.
Colors
The Chanderi colors always show a preference for harmony between the borders and the body of the saris. However, there are some typical contrasting combinations like black against red and Ganga-Jamuna saris, with green on one border and red or Kumkum on the other with a natural off white body. The traditional colors are pastel shades of pink, green, peach and blue. Cream and off white is also used now. Saris in all dark and light shades are being produced. For example, maroon, dark blue, green, etc. As is normally the case with any long regional tradition, the language of the Chanderi sari evokes images of serene fruitful nature. The hues and shades of the fabric are referred to in the vernacular as;
1. Angoori (grapevine)
2. Dalimbi (deep pink)
3. Gul Bakshi (magenta)
4. Rani (deep mauve pink)
5. Kassni (light violet)
6. Jaamla (purple)
7. Chintamani (peacock blue)
8. Aamrak (golden)
9. Tapkeeree (deep brown)
10 Kesari (red)
11. Badami
12. Morgardini
13. Mehndi (olive green)
14. Phalsa (maroon)
15. Katthai, Pyaazi (mauve)
16. Anandi
17. Chutni, etc.
