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Vidya Sastry ThE Crafts COuncil Of India “...ensuring sustainability of artisans and their craft...” AUGUST 2011 VARANASI – A TAPESTRY IN BROCADE Kasturi Gupta Menon Kashi, Benaras, Varanasi _ “older than history, older than tradition, older even than legend, and looks twice as old as all of them put together”. This, according to the Eicher Guide is how Mark Twain described this holiest of cities. My own exposure to Varanasi had been limited only to the films of Satyajit Ray, to “Aparajito” and its magnificent black and white images of the ghats, to the boy Apu aimlessly wandering around the old haveli where his widowed mother worked, to “Joy Baba Felunath” _ which captured the atmosphere of its winding “gullies”, and of course the river Ganga, whose meandering presence permeated virtually every frame. “I’d like to visit Varanasi”, I had casually mentioned to Purnima towards the beginning of May, “to check out if a new range of cotton and silk saris can be sourced for “Kamala” Kolkata’s Puja exhibition. I’ll ask Gulshan to give me some names of master weavers and craftsmen.” “If you are travelling alone I can accompany you if you like”, Purnima had responded and that is how the two of us set out on our Varanasi pilgrimage in the last week of May, oblivious of how scorching the summer heat could be. Gulshan had armed us with a list containing the names of several master weavers whom we should contact. We had called most of them before we had set out, and so were able to meet each of them over the following three days. Rais Ahmad, of the Diamond Silk Co-operative Society Ltd. was the weaver we visited first. We entered his house in the Natimli Bunkar Colony and were led inside a room which contained his products. A rainbow of colours flashed before our eyes. From shaded silk scarves, to brocade stoles and shawls and clutch bags, _ he had them all. The scarves were in three sizes and dyed in a manner so that each colour merged effortlessly into the next. Very popular with NRI visitors and our younger customers, both Purnima and I picked up enough stocks for Kamala’s Diwali and Christmas expositions. What was most interesting however, was his new line of brocade clutch bags. Sleek, long, yet functional, they would be a perfect accessory with any evening ensemble. He also had matching cell-phone holders and card-cases which could be placed inside these clutch purses. One of the oldest suppliers to the “Cottage Industries” chain of retail outlets, he acknowledged that he owed much of his success to Gulshan’s life-long insistence on quality and excellence. Our first call the next morning was to Badruddin Ansari’s house at Pili Kothi. He handed me his card with a flourish and awaited my reaction. “Badruddin Ansari, B.com (Hons.) L.L.B” it read, followed by a host of other designations! Tucked away in a corner was the phrase _ “Winner, National Award, Year of Handloom, 1986.” “Kasim Silks” as his outfit is named, specialises in brocade. His saris were on silk and tussar, and he had a jamdani range on cotton as well. Each piece was a feast for the eyes. As shimmering bolts of colour unfolded before our eyes, it was hard to make a choice. His brocades were not cheap, nor also his tussars, _ but they were unquestionably among the finest, both quality and design-wise. The jamdani weaves in cotton had a beautiful pastel colour-palette, and this is what I picked up in larger numbers for Kamala’s pre-Puja exhibition. “Kasim Silks’ brocades are among the finest available. His motifs, designs and colours still adhere to the traditional gharana, yet are very wearable even today. A former Chairman of the U.P., Handloom Fabrics Marketing Co-operative Federation, and former member of the All India Handloom Board, he is today among the most respected master-weavers of his generation. Pilikothi was also the area where Maqbool Hasan had his residence. So this is where we went later that morning, after leaving Badruddin Bhai’s place. Maqbool specialised in Pashmina stoles and scarves which are his son Niaz showed us in a variety of colours and textures since Maqbool himself was away. There was a warmth and soft feel in each piece, and I ordered about a dozen in various shades for our November and December exhibitions since Calcutta has a limited winter season. After a quick lunch at Jnana-Pravaha (which is where we had halted), we set out for MADANPURA in the afternoon to visit Suhail Bhai and his son Ashraf Mujeeb’s product range sold under Ashraf’s grandfather’s name Mohd. Ayoob. Here old-world courtesy greeted us. Asraf’s father first unfolded an ancient cloth-covered packet. These contained the line drawings of traditional paisleys, butas, and borders. Sheet after sheet of brittle yellow parchment-like papers were lovingly displayed. “These belonged to my father and grandfather”, Suhail Bhai explained, “and till today serves as our basic design resource base”. He then proceeded to unfold yet another cloth wrapped bundle which contained the zari encrusted wedding outfit of his wife _ Ashraf’s mother. Preserved with pieces of camel bone _ “to keep away insects” _ it was tenderly laid out for us to admire. It was only after this preamble did the display of traditional silk saris begin. Most of the pieces shown were exquisite wedding wear. Many saris had elaborate zari work, while others had less. The collection was varied and of a very high order. Purnima placed some orders for Kamala (Delhi’s) Diwali exhibition while I picked up a couple of quieter pieces for Kamala (Kolkata’s) Puja display. Suhail Bhai’s prices were reasonable, and the quality of saris excellent. The next morning we left early, to catch Junaid, son of Abdul Mohasin of Haji Munna Haji Noor Mohd. of Madanpura. Situated amidst a surprising clearing in Varanasi’s cheek-by-jowl building clutter, Junaid’s house was airy and full of light even though several tall leafy trees surrounded it. Junaid showed us exquisite silk by cotton butidar saris in the lightest of shades ranging from off-white to, cream, ivory, and silver. Purnima felt they would be very popular as summer wear, and proposed to work on a project with him for Summer 2012. From here we went to Rasoolpura, the residence of Ali Hasan _”the master naqshaband of Banaras brocades.” Although Ali Hasan has passed away, his unseen presence lingered everywhere. Naseem Ahmed _ Ali Hasan’s great grandson _ is the last of the weavers from Benaras who can weave a “Baluchari” sari. Like his great grandfather Ali Hasan, and his grandfather Jafar Ali, he, too, “is engaged in naqsha making and re-interpreting the pristine ornamental nuances of his great ancestors.” Purnima and I were led into a tiny room where Azizul and Naseem began to speak of the past. Unlike our visit to the premises of the other master weavers, we did not discern any sense of prosperity. Naseem brought out a maroon Baluchari sari he had woven, and another muted grey-green brocade sari with a traditional “meenakari” border. Each one was a classic. But I felt he did not have adequate stocks. Possibly shortage of credit could be one cause. The Baluchari is a complex sari to weave, and takes time. Not more than 6 to 8 pieces can be woven in a year. The cost of each piece varies between Rs 10 – 12 thousand as the elaborate pallu is woven, as per tradition, on the “jaala”. In earlier times, it used to be an integral part of a Bengali girl’s trousseau. Today it is only Naseem who is the custodian of this priceless heritage and who is rightfully both angry and sad to see that no steps are being taken to nurture and revive it. Could the Crafts Council of India think of supporting a two-year revival project in 2012-13 with assistance from the office of the Development Commissioner (Handicrafts)? Conclusion - Our visit to Varanasi would not be complete if I failed to mention the affection and care with which we were looked after in Jnana-Pravaha. Located near Samney Ghat on the banks of the Ganga, it was impeccably laid out and well maintained. The food was excellent home-cooked vegetarian, topped with fresh juicy “langra” mangoes and lichees whose season had just started! Varanasi was a visit to the past, to a time-warp where legend and the everyday are permanently intermingled. To a city which stands on the quietly flowing Ganga, a mute witness to its life and heritage. Acknowledgement – (a) The Master Naqshaband Of Banaras Brocades – Ali Hasan Alias Kalloo Hafiz A Monograph By Anjan Chakraverty (sponsored by the Office of the Development Commissioner, Handicrafts) (b) Varanasi City Guide - Eicher Goodearth Limited, New Delhi. KNOw youR CRAfT Weaving the Yarn -- Search for a Fine Fabric Reinventing Khadi Ruby Palchoudhuri In a small town 85 kilometres from Kolkata, connected by road and the railway, a small community of weavers and spinners of Kalna, Bardhaman district in the state of West Bengal are collaborating in a project to reinvent khadi, a socially unique fabric with political overtones. The history of the homespun hand woven Khadi has historic and political connotations as the spinning of the yarn and the weaving of the fabric were transformed by Mahatma Gandhi into a symbol of protest against colonial exploitation as well as of pride and prestige.
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