Sambhalpuri Weave & Bomkai
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Natural Colourants with Ancient Concept and Probable Uses
JOURNAL OF ADVANCED BOTANY AND ZOOLOGY Journal homepage: http://scienceq.org/Journals/JABZ.php Review Open Access Natural Colourants With Ancient Concept and Probable Uses Tabassum Khair1, Sujoy Bhusan2, Koushik Choudhury2, Ratna Choudhury3, Manabendra Debnath4 and Biplab De2* 1 Department of Pharmaceutical Sciences, Assam University, Silchar, Assam, India. 2 Regional Institute of Pharmaceutical Science And Technology, Abhoynagar, Agartala, Tripura, India. 3 Rajnagar H. S. School, Agartala, Tripura, India. 4 Department of Human Physiology, Swami Vivekananda Mahavidyalaya, Mohanpur, Tripura, India. *Corresponding author: Biplab De, E-mail: [email protected] Received: February 20, 2017, Accepted: April 15, 2017, Published: April 15, 2017. ABSTRACT: The majority of natural colourants are of vegetable origin from plant sources –roots, berries, barks, leaves, wood and other organic sources such as fungi and lichens. In the medicinal and food products apart from active constituents there are several other ingredients present which are used for either ethical or technical reasons. Colouring agent is one of them, known as excipients. The discovery of man-made synthetic dye in the mid-19th century triggered a long decline in the large-scale market for natural dyes as practiced by the villagers and tribes. The continuous use of synthetic colours in textile and food industry has been found to be detrimental to human health, also leading to environmental degradation. Biocolours are extracted by the villagers and certain tribes from natural herbs, plants as leaves, fruits (rind or seeds), flowers (petals, stamens), bark or roots, minerals such as prussian blue, red ochre & ultramarine blue and are also of insect origin such as lac, cochineal and kermes. -
Tutorial: How to Dye Black with Natural
http://www.aurorasilk.com/ Tutorial: How To Dye Black with Natural Dyes by Cheryl Kolander. Excerpted from TrueFibers. Aurora Silk sells a full selection of natural dyes and mordants. For ideas on which dyes and which mordants to use, view our Natural Dye colour Chart. For more detailed dyeing recipes, read Brilliant Colours! by Cheryl Kolander. After recording the dry weight of your fiber, wet the fiber out in warm or hot water. STEP I: TANNIN 2 oz. tannic acid per pound of fiber (dry weight) OR: 4 oz. tara sawdust per pound of fiber, extracted twice OR: 3 oz Catechu (Cutch) extract per pound of fiber with optional 1/2 oz copper mordant 1. Dissolve tannic acid or catechu extract in hot water. 2. Heat the solution to approximately 200 F. 3. Remove from heat. 4. Enter the silk (or other fiber) that has been thoroughly wet out in warm to hot water. 5. Set to soak for at least 24 hrs, stirring occasionally. STEP II: IRON 1/2 to 1 oz Ferrous Sulphate per pound of fiber Use the lesser amount for fine silk yarn and soft wools. Use the greater amount for wild silk and other fibers. 1. Dissolve the iron in warm water. 2. Soak fiber in a mild soap solution about 15 minutes to neutralize the acid in the tannin (which couters the effect of the iron). This step is not necessary if you used Catechu for STEP I. 3. Add fiber to warm iron solution and soak for about 20 minutes. 4. Remove fiber from iron solution, wring excess solution from fiber, and hang to air 20 minutes to 1 hour. -
Khandua Sarees and Fabrics:Tradition and Pride of Orissa
Khandua Sarees & Fabrics : Tradition and Pride of Orissa A project of Ministry of Commerce & Industry UNCTAD and DFID Prepared by P Nayak T.K Rout P.K Samantray Pradip Dash Textiles Committee & Mumbai ORIFAB Government of India Bhubaneswar © Textiles Committee, June, 2008 This is an official document prepared by the Textiles Committee. All rights reserved. Unless otherwise specified, no part of this publication may be reproduced or utilized in any form or by means, electronic or mechanical, including photocopying and microfilm, without permission in writing from the Textiles Committee at the address given below: Director, Market Research Textiles Committee, Ministry of Textiles, Government of India, P. Balu Road, Prabhadevi Mumbai 400 025, India Telephone : 91+ 22 + 66527515/16 Telefax : 91+ 22 + 66527509/653 Email : [email protected] Website : www.textilescommittee.gov.in Preface The entrepreneurial history of handloom production in the country has been traced back to even as early as Rig Veda, when the hiranya (gold cloth) existed in the society. Village industries and handlooms were well integrated into the rural economy and the whole organisation was a part and parcel of socio-cultural fabric of the society. The social traditions, ethos and values were reflected in the handloom products. The handloom products, which have survived against the competition from machine made cloth, represent the rich artistic traditions of our country. Globalised economy has contributed to the ever-increasing competition among the developing nations. Due to this, the traditional crafts of the country are under threat from the neighboring countries by way of replication of the traditional items. -
Year of Admission: 2019-20
I. Student Details: Number of students course-wise; year-wise along with details: Year of Admission: 2019-20 Result Date & & Date student student SL. No. SL. of Year Others) Address admitted Amount) Category Category ST/OBC/ ST/OBC/ Admission Percentage No. Mobile Name of the the of Name (Receipt No., No., (Receipt Contact No. / Contact No. Admission fee fee Admission Father’s Name Father’s SC/ / (General At/Po: Jamatkula, Via: Baliapal 0066601/24.7.19 1 Anita Jena Hemanta Kumar Jena GENERAL 2019 9777727590 Dist: Balasore Rs. 40000/- At: Debario, Po: Gokan 0066602/24.7.19 2 Diptimayee Ojha Pitamber Ojha GENERAL 2019 6370338723 Via: Mahanga, Dist: Cuttack Rs. 40000/- At: Kochilapadi, Po: Naami 0066603/24.7.19 3 Prativa Sethy Amar Charan Sethy SC 2019 9348738583 Dist: Bhadrak Rs. 40000/- At: Durgapur, Po: Nimpal 0066604/24.7.19 4 Namita Mohanty Gayadhar Mohanty OBC 2019 8455869695 Dist: Bhadrak Rs. 40000/- At: Manikpur, Po: Totapada 0066605/24.7.19 5 Dipika Sahu Bhagabana Sahu SEBC 2019 6370451204 Via: Jugpura, Dist: Mayurbhanj Rs. 40000/- At: Naranpur, Po: Dagarpada, 0066606/24.7.19 6 Srimarani Sethi Kailash Sethi SC 2019 8908351229 Via: Khaira, Dist: Balasore Rs. 40000/- At/Po: Barhatipur, 0066607/24.7.19 7 Swagatika Rana Hemanta Kumar Rana SEBC 2019 6371145192 Via: Ghatagaon, Dist: Keonjhar Rs. 40000/- At: Dandisahi, Po: Malikapur 0066608/24.7.19 8 Sukanya Patra Sutesh Chandra Patra ESM 2019 9437439270 Via: Ahiyas, Dist: Jajpur Rs. 40000/- At/Po: Taharpur, Via: Jajpur Road 0066609/24.7.19 9 Tanmaya Kumar Sahoo Iswar Chandra Sahoo SEBC 2019 6370432623 Dist: Jajpur Rs. -
The Life and Death of Tamu Rambu Yuliana Princess of Sumba
The Life and Death of Tamu Rambu Yuliana Princess of Sumba 201 Georges Breguet Tamu Rambu Yuliana, Sumba Princess THE LIFE AND DEATH OF TAMU RAMBU YULIANA, 202 PRINCESS OF SUMBA AND CUSTODIAN OF THE ARTS AND TREASURES OF RINDI The Island of Sumba and the Domain of Rindi A fragment formerly detached from the Australian continental plate, the island of Sumba 1 (approximately 11,000 km 2) is situated south of the volcanic arc of the Lesser Sunda Islands, west of Flores. Made up mainly of limestone and sedimentary rocks, Sumba’s topography con - sists of numerous hills and a plateau covered with grassy savannah interspersed with valleys hollowed out by erosion where gallery forests grow. The climate is hot and arid, except during the rainy season that lasts from December to March. With fewer than 600,000 inhabitants, Sumba boasts one of the low - est population densities in Indonesia. The island is divided into two administrative districts, West and East Sumba; the east has greater ethnic, cultural, and linguistic unity than the western part. 2 The town of Waingapu is the administrative center of East Sumba; it is also its Fig. 1. Photo taken in the 1950s from the personal album of the old Raja Umbu Hapu economic center, with its port and airport, the Chinese, Arabic, and Hambandina. On the left is his daughter, Princess Tamu Rambu Yuliana. On the right is Bugis communities, and its many Indonesian civil servants. The villages Princess Tamu Rambu Mirinai Liaba, third wife of the old raja and mother of the present of the major traditional domains are in the countryside surrounding raja , Umbu Kanabundaung. -
What Use Government Awards ... Misery Continues
Rs. 15 January 15, 2011 Volume 3 Issue 1 What use Government I N S I D E Awards ... Misery continues This is a very complicated process and it is rather amazing to find and Dakhin Kosal regions of Western that the traditional weavers do not use any graphic designs on Orissa. Today the Baandha fabric is paper. popularly known by its geographical and cultural name Sambalpuri. Varieties of the Sambalpuri sari include Sonepuri, Saktapar, Pasapali, Women of hills: an Bomkai, Khandua, Bapta saris epitome of sufferings which have substantial demand. and strength Most of them have been named after the places of their origin, The socialisation process of and are popularly known as Pata. women is such that they are made The "Saktapar and Pasapalli” saree to believe .................................. 3 with their distinctive black-and-white squares is a replica of the chessboard. Equally fascinating are the names— The Magnificent Mary Vichitrapuri, Chandrika, Nabagunja, Kom: India’s Golden Asman Tara and Krishnapriya. The Sports Icon earlier yarns of coarse cotton have been replaced by cotton, silks, tussar Marriage, motherhood, and and a cotton-silk mix called ‘bapta’. many gold medals later, she now Sambalpuri fabrics have their has her eyes ............................. 4 original style of craft known as Baandha. The bandha or tie-and-dye technique used in Dakshin (South) Koshal is much different from that of Gujarat and Rajasthan. Here, the yarn is first tied in portions, and each section is dyed in a different colour according to the design. Traditionally, craftsmen created Baandhas with images of flora or fauna or with geometrical patterns. -
Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2015 Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 27:2 — Fall 2015" (2015). Textile Society of America Newsletters. 71. https://digitalcommons.unl.edu/tsanews/71 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 27. NUMBER 2. FALL, 2015 Cover Image: Collaborative work by Pat Hickman and David Bacharach, Luminaria, 2015, steel, animal membrane, 17” x 23” x 21”, photo by George Potanovic, Jr. page 27 Fall 2015 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Ellyane Hutchinson (Website Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) and Vita Plume (Vice President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives. -
Journal 45.Pdf
GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO. 45 September 11, 2012 / BHADRA 20, SAKA 1933 INDEX S.No. Particulars Page No. 1. Official Notices 4 2. New G.I Application Details 5 3. Public Notice 6 4. GI Applications Bhagalpur Silk Fabrics & Sarees – GI Application No. 180 7 Mangalagiri Sarees and Fabrics– GI Application No. 198 Madurai Malli – GI Application No. 238 Tequila – GI Application No. 243 5. General Information 6. Registration Process OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 45 of the Geographical Indications Journal dated 11th September 2012 / Bhadra 20th, Saka 1933 has been made available to the public from 11th September 2012. NEW G.I APPLICATION DETAILS 371 Shaphee Lanphee 25 Manufactured 372 Wangkhei Phee 25 Manufactured 373 Moirang Pheejin 25 Manufactured 374 Naga Tree Tomato 31 Agricultural 375 Arunachal Orange 31 Agricultural 376 Sikkim Large Cardamom 30 Agricultural 377 Mizo Chilli 30 Agricultural 378 Jhabua Kadaknath Black Chicken Meat 29 Manufactured 379 Devgad Alphonso Mango 31 Agricultural 380 RajKot Patola 24 Handicraft 381 Kangra Paintings 16 Handicraft 382 Joynagarer Moa 30 Food Stuff 383 Kullu Shawl (Logo) 24 Textile 23, 24, 384 Muga Silk of Assam (Logo) 25, 27 & Handicraft 31 385 Nagpur Orange 31 Agricultural PUBLIC NOTICE No.GIR/CG/JNL/2010 Dated 26th February, 2010 WHEREAS Rule 38(2) of Geographical Indications of Goods (Registration and Protection) Rules, 2002 provides as follows: “The Registrar may after notification in the Journal put the published Geographical Indications Journal on the internet, website or any other electronic media.” Now therefore, with effect from 1st April, 2010, The Geographical Indications Journal will be Published and hosted in the IPO official website www.ipindia.nic.in free of charge. -
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. -
An Analysis of Samabalpuri Textile in Odisha
Indian Journal of Research in Anthropology43 Review Article Volume 3 Number 1, January - June 2017 DOI: http://dx.doi.org/10.21088/ijra.2454.9118.3117.6 Anthropology of Arts: An Analysis of Samabalpuri Textile in Odisha Sabita Acharya*, Liza Swain** Author Affiliation: *Professor **Research Scholar, Department of Anthropology, Utkal University, Bhubaneswar, Odisha, India. Reprint Request: Sabita Acharya, Post Graduate Department of Anthropology, Director, School of Women’s Studies, Utkal University, Vani Vihar, Bhubaneshwar-751004 E-mail: [email protected] Received on 12.12.2016, Accepted on 28.12.2016 Abstract This paper specifies propositions to explain the occurrence of Anthropology of Arts specifically Sambalpuri Ikat Textile in Odisha. It focuses one specific category of antecedents- Sambalpuri Ikat textile - Technique, Motifs and Designs and method of production of Ikat in Odisha. It covers five broad aspects work-related to Sambalpuri Ikat Textile in Odisha. These are History of Ikat Technique in Odisha , Specific Motifs and designs, weavers and their Background, Ikat Technique used for weaving Sambalpuri Fabrics, Uniqueness of Sambalpuri Fabrics. It specifies an integrated model that provides a comprehensive representation of Sambalpuri Ikat Textile in Odisha. Keywords: Ikat Technique; Motifs and Designs; Methods of Production. Introduction Textile in Odisha. It specifies in Article from a print journal that the term ‘Ikat’ steams from the Malay Indonesian expression ‘mangikat’, meaning to bind, The anthropology of art studies and analyses the knot or wind around. Ikat, known as tie and dye wide range of material objects produced by people textile design. Some experts are of the opinion that around the world. -
EXPRESSION of INTEREST for TESTING of SAMPLES.Pdf
EXPRESSION OF INTEREST FOR TESTING OF SAMPLES UNDER INDIA HANDLOOM BRAND Government of India Ministry of Textiles Office of the Development Commissioner for Handlooms Udyog Bhawan, New Delhi-110 011 Tel : 91-11-2306-3684/2945 Fax: 91-11-2306-2429 1. Introduction 1.1 India Handloom Brand (IHB) has been launched by the Govt. of India to endorse the quality of the handloom products in terms of raw material, processing, embellishments, weaving, design and other parameters besides social and environmental compliances. The IHB is given only to high quality defect free product to cater to the needs of those customers who are looking for niche handmade products. 1.2 The list of products eligible for registration under the IHB is enclosed at Annexure – 1(A). However, as per recommendation of IHB Review Committee, new items can be included/ existing specifications can be changed/ new specifications may be added in the list from time to time. 1.3 For registration under IHB, the applicant has to submit on-line application in the website www.indiahandloombrand.gov.in. The applicant has to then submit the printout of the online application form and the sample of the product of atleast 0.25 mt. length in full width to the concerned Weavers’ Service Centre (WSC). The applicant also has to submit registration fee of Rs. 500 plus service taxes in the form of Demand Draft or through on-line payment. The WSCs will then send the sample to the testing laboratory for testing. 1.4 The sample received by the laboratory has to be tested as per standard testing procedure and testing result has to be submitted before Evaluation Committee in the Evaluation committee meeting which is generally held in Textiles Committee, Mumbai. -
Batik of Java: Global Inspiration Maria Wronska-Friend the Cairns Institute, James Cook University, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2018 Batik of Java: Global Inspiration Maria Wronska-Friend The Cairns Institute, James Cook University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Wronska-Friend, Maria, "Batik of Java: Global Inspiration" (2018). Textile Society of America Symposium Proceedings. 1080. https://digitalcommons.unl.edu/tsaconf/1080 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Textile Society of America Symposium Proceedings 2018 Presented at Vancouver, BC, Canada; September 19 – 23, 2018 https://digitalcommons.unl.edu/tsaconf/ Copyright © by the author(s). Batik of Java: Global Inspiration Maria Wronska-Friend [email protected] Batik, the resist-dyeing technique of patterning cloth through the application of wax, has been known since antiquity in several parts of the world, but it reached its highest level of complexity on the island of Java. While deeply embedded in local traditions and associated with the beliefs, philosophy, and social order of Java, during the last two centuries batik has become a powerful cultural intermediary connecting Indonesia with other parts of the world.