DHAKAI JAMDANI SAREE B U S I N E S S

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+91-8048371753 S. M Sari Center https://www.indiamart.com/smsaricenter/ We are counted amongst the known manufacturer and Designer Sarees,Ladies Sarees etc. We offer these products at most affordable prices. About Us Established in the year 2008 we “S. M Sari Center.”. is a Manufacturer of the wide spectrum Designer Sarees,Ladies Sarees,Linen Jamdani Saree etc. We are manufacturing these products using premium grade raw material that is procured from the authentic vendors of the market. We offer these products at reasonable rates and deliver these within the promised time-frame. We have hired an adroit team of employees, which keeps themselves abreast with advanced manufacturing techniques and designs. Further, we also have a quality control unit, wherein, we check our entire range on defined parameters like design, quality and finish. All units and equipped with all the essential tools, machine, and technology in order to manufacture a high-quality range of products Under the valuable guidance of our mentor, Mr.Rafikul Sekh, we are growing with a notable rate in the market. He has spent long years in the industry to have rich industrial experience enabling us to understand the varied requirements of our clients. For more information, please visit https://www.indiamart.com/smsaricenter/profile.html DHAKAI JAMDANI SAREE B u s i n e s s S e g m e n t s Fancy Cotton Silk Dhakai Fancy Pink Dhakai Jamdani Jamdani saree Sarees Green Fancy Dhakai Jamdani Fancy Dhakai Jamdani Sarees Saree LADIES JAMDANI SAREE B u s i n e s s S e g m e n t s Red And Yellow Dhakai Dhakai jamdani saree Jamdani Saree Black Dot Printed Jamdani White Designer Jamdani Saree Saree JAMDANI SILK SAREE B u s i n e s s S e g m e n t s Designer Silk Jamdani Saree Dhakai jamdani saree Cotton Silk Printed Dhakai Dhakai jamdani saree jamdani saree LADIES MUSLIN SAREE B u s i n e s s S e g m e n t s Fancy Printed Muslin Dhakai Muslin Dhakai Jamdani Saree Jamdani Saree Floral Designed Muslin Dhakai Green Muslin Dhakai Jamdani Jamdani Saree Saree B u s i OTHER PRODUCTS: n e s s S e g m e n t s Fancy Dhakai Jamdani Sarees Spot Print Jamdani Saree Dhakai jamdani saree Designed Muslin Dhakai Jamdani Saree B u s i OTHER PRODUCTS: n e s s S e g m e n t s Dhakai jamdani saree Designer Cotton Dhakai jamdani saree Designer Cotton Saree Printed Cotton Saree F a c t s h e e t Year of Establishment : 2008 Nature of Business : Manufacturer Total Number of Employees : Upto 10 People CONTACT US S. M Sari Center Contact Person: Rafikul Sekh Village Kinu Pota, Po Tentul Beria Kinupota Madhya Para Krishnanagar - 741138, West Bengal, India +91-8048371753 https://www.indiamart.com/smsaricenter/.

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11. Contemporary Traditions a Chronicle of Exhibition Practice of the Jamdani by Abeer Gupta.Pdf
Projects / Processes Volume I Series Editor: Senjuti Mukherjee Constructing Traditions: The Jamdani within Exhibition Practice of Handicrafts Abeer Gupta Installation view of “Weftscapes: Jamdani Across New Horizons” at Serendipity Arts Festival 2019. Photograph by Philippe Calia and Sunil Thakkar. Weftscapes Jamdani Across New Horizons Curated by Pramod Kumar KG Venue Adil Shah Palace Installation view of “Weftscapes: Jamdani Across New Horizons” at Serendipity Arts Festival 2019. Photograph by Philippe Calia and Sunil Thakkar. PROJECTS / PROCESSES Curatorial Note Curatorial By Pramod Kumar KG Curatorial Assistant Ankita Chugh Artists Bappaditya Biswas, Rumi Biswas Exhibition Design Vertex Inc. Weftscapes examines a fresh approach to the creation and making of jamdani fabrics, both in its weaving, choice of raw materials, colour, patterns, designs and the end product – a finished garment. Multiple intertwined yet disparate stories coming together in this contemporary initiative. The versatility of the jamdani weaving technique involves the use of a supplementary weft technique. The idea here is to explore the various possibilities of introducing different yarns, materials, and constructions into the weave. The ingenuity of Indian handlooms and the dexterity of its weavers allows for a unique experiment where diverse materials and objects are strung and woven in by hand through the fabric. Bengal’s history is strewn with references to the Indigo trade and its impact on her people. An important aspect of jamdani was the use of the colour indigo which also lent its name to several lengths of fabric with the iconic Nilambari sari becoming popular across the subcontinent. This project has exclusively used the Indigo palette with its non-traditional yarns being dyed in organic Indigo vats; 10 Constructing Traditions namely in a banana vat, dates vat, and the henna vat.
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Jas Textile, Hooghly
We are counted as one of the most reliable manufacturer, exporter and supplier of premium quality designer sarees. These have massive demand in the market due to their optimal quality and attractive designs. - Profile - Incorporated in the year 2011, at Hooghly (West Bengal, India), we, Jas Textile are involved in manufacturing, exporting and supplying the finest quality range of Designer Sarees. The offered range comprises Classical Embroidery Sarees, Dhakai Jamdani Sarees, Cotton Tangail Sarees, Block with Kantha Stitch Dress Material, Block with Reverse Kantha Stitch, Tant Fabric Sarees, Tant Banarasi Sarees, etc. These are designed with high precision in order to meet the set global standards. Furthermore, the fabric we use in the fabrication purpose is procured from only certified and reliable vendors of the market. The offered range is available in variegated colors, styles and patterns. To meet the diverse requirements of customers, we offer our exclusive range of sarees in numerous customized options. We are offering these products to our esteemed clients at the most competitive prices. To fabricate the finest quality range of products, our organization has established a well-organized state-of-the-art infrastructure facility. This is equipped with all the most recent and essential technology to match the global quality parameters. In addition to this, we have segregated our infrastructure into various departments such as manufacturing, quality testing, warehousing and packaging. Handloom Sarees: The exclusive range of Handloom Sarees offered by us is widely appreciated across the globe due to its designer pallu and border. Our teams of creative designers beautifully design these sarees and suits using zari or kasavu (gold thread work).
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PUZZLE Study the Following Information Carefully and Answer D
PUZZLE Study the following information carefully and answer D. Q and the person who got 13 E. None of these the given questions. Study the following information carefully and answer M, N, O, P, Q, R, S and T are eight friends who are seated in the given questions. a straight line but not necessarily in the same order in a G, H, I, J, K, L, M and N are eight family members, who religious ceremony at the temple. Some of them are facing live on eight different floors of a building. The ground floor south while some are facing North. Three boys among them is numbered 1 and the one above that is numbered 2 and so M, O and P and three girls among them R, Q and S were on till the topmost floor is numbered 8. Each one of them participating in a game show which is organized at the goes different places of Delhi i.e. Red fort, Iskcon Temple, temple. In the game each of them picked a different card Rashtrapati Bhawan, Lotus Temple, Jama Masjid, Qutb from the six cards available. The number written on the card minar, India Gate and Jantar- Mantar, but not necessarily in indicates the number of rupees to be received by the the same order. Also all of them goes in different months of particular persons. In the game, the numbers printed on the the year viz, February, April, June, July, August, September, cards are 3, 4, 6, 8, 10 and 13. They are painted into three October, and December.
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A Review Report on Traditional Textile Wears in Bangladesh
769 International Journal of Progressive Sciences and Technologies (IJPSAT) ISSN: 2509-0119. © 2020 International Journals of Sciences and High Technologies http://ijpsat.ijsht-journals.org Vol. 22 No. 1 August 2020, pp. 215-224 A Review Report on Traditional Textile Wears in Bangladesh 1MD. Israk Hossain*2Monisha Biswas,3Sharmin Khan Akhi,4Maisha Bente Moshiur,5Nusrat Jahan,6Khadiza Afroz Toma 1(Lecturer, Department of Fashion Design, KCC Women's College affiliated by Khulna University, Khulna, Bangladesh),2,3(UG Scholar,Fashion Design Department,Bangladesh),4,5,6( B.sc in Fashion Design, khulna university, Bangladesh) Abstract – The goal of this study is to identify the traditional Bangladesh wears that are mainly used by the people of this country.To know about the traditional wears of Bangladesh the study is running, that what the fabric of traditional wears are, which wears are include in our tradition, the ethnic‘s traditional wears .I have visited so many locations and have survey on this topic. I have also visited the local markets and places to collect the information. I have found the information of our traditional wears and known how they became as tradition, which people make that statement, which kind of people are still carry this, what kind of fabric they are used etc. Keywords – Tradition wears,muslin,jamdani,rajshahi silk,khadi (key words) I. INTRODUCTION Bangladesh is a very small country, but in its little parts are gathered with hidden treasure what have surprised the A country or a nation or its people are rapidly changed whole world day by day, which maximum credit goes to our day by day through some effective elements like culture, fabric and clothing sectors like Tant,Muslin, Silketc.which language, tradition, region, environment etc.
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Haute Designers, Master Weavers
TREND WATCH LFW Summer Resort ‘16 HAUTE DESIGNERS, MASTER WEAVERS Lakme Fashion Week has set a benchmark for Indian designers. MEHER CASTELINO reports on the highlights. ASIF SHAIKH GAURANG MAKU INDIGENE BANERJEE PAROMITA FIBRE2FASHION he fabulous Walking Hand in Hand – The Craft + Design + TSociety show was one of the highlights of the first day at Lakmé Fashion Week Summer/Resort 2016. The innovative presentation featured India’s five top designers who teamed up with the best craftspersons and expert weavers. They displayed creations that combined designer and craft skills. Day Two was devoted to Sustainable and Indian Textiles. Designers presented interesting collections, showcasing textiles and crafts and also upcycling and recycling fabrics. The message was clear: fashion can be sustainable. Chikankari came Giving kinkhab The glory of the alive on the ramp under his amazing touches, leheriya was brought the creative guidance Rajesh Pratap Singh centre stage by of Aneeth Arora. worked with master Anupama Bose’s skills Master craftsman weaver Haseem and Islammuddin Jakir Hussain Mondol Muhammad for a Neelgar’s expertise. worked his magic on striking collection of The gorgeous leheriya the pretty summer formal westernwear. designs in rainbow dresses, cool blouses, Using rich, golden hues were turned into layered minis, softly brocade with floral stunning ensembles. embroidered long- weaves, Singh A ravishing red kaftan, sleeved covers, presented culottes with a feminine green/ delicately embellished cropped tops, bias cut blue gown, an electric midis, skirts and gowns jackets, dhoti pants, anarkali, a variety of in shades of white and capris, coat dresses, sarees in leheriya and pale blue/grey.
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Traditional Costume Heritage of Bangladesh and How It Is Connected to Our Culture
American Scientific Research Journal for Engineering, Technology, and Sciences (ASRJETS) ISSN (Print) 2313-4410, ISSN (Online) 2313-4402 © Global Society of Scientific Research and Researchers http://asrjetsjournal.org/ Traditional Costume Heritage of Bangladesh and How it is Connected to Our Culture Shakinaz Mahamud* Lecturer, Fashion Design & Technology Department, BGMEA University of Fashion & Technology (BUFT), Dhaka, Bangladesh Email: [email protected] Abstract Bangladesh has mixed culture and there is a diversified influence of culture on our costume. The main purposes of this survey are to find the connection between culture & costumes. Commonly Bangladeshi women like to wear saree, Salwar kameez , men wear Panjabi, Pajama, Fatua, Lungi ,Dhoti, & Gumcha and modern Bangladeshi like to wear formal shirt, pant, polo shirt, T- shirt & suit . Purposes of the research are to represent our traditional costumes and how it is connected to our culture and traditional heritage. Keywords: Culture; Traditional ; Costume; Saree; Lungi ; Dhoti ; Gamcha ; Panjabi. 1. Introduction The Civilization of Bangladesh is a hundred year old. Once upon a time in Bangla as the richest region of the Indian subcontinent, that time many countries, people came to the Bangla business purpose and some people were permanently staying in Bangla and marriage Bangle people. That time Bangle people influenced by different types of cultural day by day they absorb that culture after that, British east India Company start to come in the subcontinent near about seventy centuries 1947 East India company left the subcontinent but many European reaming in Bangla / subcontinent. Costumes represent cultures of a country. Due to mixed culture influence dress up of Bangladeshi has mixed flavors.
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Ancient Indian Texts of Knowledge and Wisdom
Newsletter Archives www.dollsofindia.com The Saree - The Very Essence of Indian Womanhood Copyright © 2013, DollsofIndia A saree or sari is a long strip of unstitched cloth, which is draped by Indian women – it practically typifies Indian women and showcases the vast diversity of Indian culture as a whole. The word "Sari" is derived from the Sanskrit and the Prakrit (pre-Sanskrit language) root, "Sati", which means, "strip of fabric". Interestingly, the Buddhist Jain works, the Jatakas, describe women’s apparel, called the "Sattika", which could well have been similar to the present-day saree. Another fact is that the end of the saree that hangs downward from the shoulder is called the Pallav. Experts believe that the name came to be during the reign of the Pallavas, the ruling dynasty of ancient Tamilnadu. A saree typically ranges from six to nine yards in length and can be worn in several ways, depending upon the native of the wearer and her outlook on current fashion. Usually, a saree is tucked in at the waist and is then wrapped around the body with pleats in the center, the other end draped loosely over the left shoulder, showing the midriff. This apparel is also popular in Pakistan, Bangladesh, Nepal, Bhutan, Myanmar, Sri Lanka, Singapore and Malaysia. This very feminine garment is worn over a petticoat, also referred to as a lehenga in the North, a paavaadai in the South, a parkar or ghaghra in the West and a shaya in the East. It is worn along with a bodice or blouse, called the choli (in North India) or ravikkai (in South India).
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I – Traditional Textiles of India – Sfda 1301
UNIT – I – TRADITIONAL TEXTILES OF INDIA – SFDA 1301 1 Introduction : The term 'Textile' is a Latin word originating from the word 'texere' which means 'to weave' Textile refers to a flexible material comprising of a network of natural or artificial fibers, known as yarn. Textiles are formed by weaving, knitting, crocheting, knotting and pressing fibers together. Textile Museum is that specialized category of museum which primarily preserves different types of textile and textile products. Indian textile enjoys a rich heritage and the origin of textiles in India traces back to the Indus valley Civilization where people used homespun cotton for weaving their clothes. Rigveda, the earliest of the Veda contains the literary information about textiles and it refers to weaving. Ramayana and Mahabharata, the eminent Indian epics depict the existence of wide variety of fabrics in ancient India. These epics refer both to rich and stylized garment worn by the aristocrats and ordinary simple clothes worn by the common people. The contemporary Indian textile not only reflects the splendid past but also cater to the requirements of the modern times. The rich tradition of textile in India has been favored by a number of factors. The favorable factors leading to the extensive growth of textile tradition in India follows. Easy availability of abundant raw materials like cotton, wool, silk, jute and many more Widely prevalent social customs Variety of distinct local culture Constructive geographic and climatic conditions Each and every region of India contributes in creating a myriad of textile tradition. The hilly region of the country produces a rich variety of woolen textiles.
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Rina Saree Centre
+91-8048994855 Rina Saree Centre https://www.indiamart.com/rina-saree-center/ Establishment in "2000" we, "Rina Saree Centre" is engaged in Manufacturer of a wide assortment of Ladies Saree. About Us Establishment in "2000" we, "Rina Saree Centre" is engaged in Manufacturer of a wide assortment of Ladies Saree. Our offered clothes are fabricated utilizing the optimum quality fabric, which is procured from reliable retailers of market. These presented clothes are fabricated as per current market demand. Our clothes are highly used by consumers owing to their long lasting nature, top quality, color fastness and low rates. We are backed by an adroit team of professionals, which enables us to fabricate a broad series of clothes. These experts are familiar with the current market demand. Our firm has adopted a total quality management policy, which enables us to keep best quality norms in our clothe range. Apart from, to keep the quality, we purchase fabric and other input from industry permitted vendors who have prosperous industry skill and knowledge. Owing to our high quality management strategy, we are capable to satisfy our client. For more information, please visit https://www.indiamart.com/rina-saree-center/profile.html HANDLOOM SAREE O u r P r o d u c t s Handloom Check Saree Handloom Jaree Temple Saree Handloom Sequence Saree Handloom Check Saree JAMDANI SAREE O u r P r o d u c t s Meena Jamdani Saree Jamdani Saree Dhakai Jamdani Saree Royal Booti Jamdani Saree OPARA SAREES O u r P r o d u c t s Opara Meena Par Sarees Opara Allover
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Inventive Employ of Jamdani: an Idiosyncratic Cram and Analysis
European Journal of Business and Management www.iiste.org ISSN 2222-1905 (Paper) ISSN 2222-2839 (Online) Vol.8, No.12, 2016 Inventive Employ of Jamdani: An Idiosyncratic Cram and Analysis Suborna Sarkar Lecturer, Department of Fashion Design & Technology Shanto-Mariam University of Creative Technology, Bangladesh Abstract Jamdani is one of the optimum muslin textiles of Bengal, produced in Dhaka District, Bangladesh for centuries. The momentous invention of jamdani was demeaned by imperial warrants of the Mughal emperors. Under British colonialism, the Bengali jamdani and muslin industries rapidly declined due to colonial import policies favoring industrially manufactured textiles. The study analyzes and estimates the progression of jamdani and its production phenomenon according to historical acceptance. The manuscript also accumulates the conditions, critics and the scenarios of jamdani which has witnessed a revival in Bangladesh. The write-up directs that jamdani whether figured or flowered, jamdani is a woven fabric in cotton, and it is undoubtedly one of the varieties of the finest muslin. Jamdani has been spoken of as the most artistic textile of the Bangladeshi weaver and exposed as the flagship of the fashion articulates in the world. Keywords: Jamdani, Weaving, Geographical Fashion, Idiosyncratic Evolution, Clothing Pattern and Design- Phase Introduction Jamdani, with its majestic designs said to be of Persian origin, has always been the most expensive product of the Dhaka looms. A legacy of the rich Mughal culture, there is something quite regal about the Jamdani. The diaphanous material in subtle shades adorned with elaborate, symmetrical patterns in tasteful color combinations hint at the sophistication and taste of the wearer.
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The Glory of Bangladeshi Saree and Its Various Aspects
© 2018 JETIR December 2018, Volume 5, Issue 12 www.jetir.org (ISSN-2349-5162) The Glory of Bangladeshi Saree and its Various Aspects Nadia Tasnim Piya BGMEA University of Fashion & Technology Abstract Bangladesh has diverse traditional aspects and a variety in the cultural influence on our costume. For Bangladesh; Costume is an impactful part which cannot be departed from our core culture as the connection between culture & costumes are always perceptible. While talking about costume; “Saree” is one of the focal points which got huge significance in overall Bangladeshi costume tradition. Being the national costume; Saree is a garment which is still in fashion since ancient time to now being unchanged. The purpose of this research is to signify our traditional costume; “Saree” and the way it’s connected to our own traditional and cultural heritage. Thus in this study; the main intention of author is to light up on various aspects of “Saree” which considered as the glory of Bangladeshi women since history to modern time. Author mainly put her focus on the historical background of Saree, its different parts, various draping styles, Saree in different culture, occasional uses and variety of Saree according to its quality etc. In short; through this research; one can, get the real gems and the over view concerning several different aspects of legendary Bangladeshi Saree. Key words: Bangladeshi Saree, Draping style, Jamdani, Muslin, Rajshai Silk, Tangail Saree. 1 Introduction Bangladesh is famous for its rich and diverse tradition that reflects through culture, clothing, music, art, dance, film, festivals, occasions, architecture, livelihood, literature and language and the behavior of individuals etc.
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Women's Political Labor and the Fabrication of East Bengal Book Author(S): POULOMI SAHA Published By: Columbia University Press
Columbia University Press Chapter Title: Introduction Book Title: An Empire of Touch Book Subtitle: Women's Political Labor and the Fabrication of East Bengal Book Author(s): POULOMI SAHA Published by: Columbia University Press. (2019) Stable URL: https://www.jstor.org/stable/10.7312/saha19208.4 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Columbia University Press is collaborating with JSTOR to digitize, preserve and extend access to An Empire of Touch This content downloaded from 136.152.209.70 on Wed, 05 Jun 2019 17:20:04 UTC All use subject to https://about.jstor.org/terms Introduction n 2013, Drik, a visual arts agency in Dhaka, Bangladesh, undertook the ambitious project of conjuring from centuries of extinction the storied I cotton muslin for which the city was once famed. While Pliny notes the exportation of Bengal muslin as early as 77 Ce in his Naturalis Historia, testify- ing to the long life of the commodity, it was in fact perfected for the Mughal court. That cloth, nearly pellucid in its fineness, became one of the most valued global objects as it circulated across Europe to fill trousseaus and garb an impe- rial elite in the eighteenth and nineteenth centuries.
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