In My Hands Today…

A Feast of Vultures: The Hidden Business of Democracy in India – Josy Joseph

‘Every day, millions of people — the rich, the poor and the many foreign visitors — are hunting for ways to get their business done in modern India. If they search in the right places and offer the appropriate price, there is always a facilitator who can get the job done. This book is a sneak preview of those searches, the middlemen who do those jobs, and the many opportunities that the fast-growing economy offers.’

Josy Joseph draws upon two decades as an investigative journalist to expose a problem so pervasive that we do not have the words to speak of it. The story is big: that of treacherous business rivalries, of how some industrial houses practically own the country, of the shadowy men who run the nation’s politics. The story is small: a village needs a road and a hospital, a graveyard needs a wall, people need toilets.

A Feast of Vultures is an unprecedented, multiple-level inquiry into modern India, and the picture it reveals is both explosive and frightening. Within these covers is unimpeachable evidence against some of the country’s biggest business houses and political figures, and the reopening of major scandals that have shaped its political narratives. Through hard-nosed investigations and the meticulous gathering of documentary evidence, Joseph clinically examines and irrefutably documents the non-reportable.

It is a troubling narrative, but also a call to action and a cry for change. A tour de force through the wildly beating heart of post-socialist India, the book is a must-read for anyone interested in understanding the large, unwieldy truth about this nation.

Fabrics and Sarees of India Part 2

In this part, we continue to check out more fabrics and sarees across India.

Karnataka

Ilkal Sarees: Known because it is produced in the town of Ilkal, an ancient weaving centre since the 8th century, the uniqueness of the Ilkal saree is in the joining of the body warp with the pallu warp with a series of loops locally called the tope teni technique. The border colour is very dominating and is usually red or maroon. The distinctive feature of the Ilkal saree is the use of a form of embroidery called Kasuti. The designs used in Kasuti reflect traditional patterns like palanquins, elephants, and lotuses which are embroidered onto the saree. The main body design is usually made up of squares and rectangles. The Ilkal saris are woven using cotton warp on the body and art silk warp for the border and pallu portion. In some cases instead of art silk, pure silk is also used. The Tope Teni seragu has been regarded as a state symbol and was greatly respected during festival occasions. The sarees that are made for bridal wear are made of a particular colour called Giri Kumukum which is associated with the sindoor worn by the wives of the priests in this region. The weaving of the Ilkal saree is a household enterprise involving the participation of female members. One Ilkal saree takes about seven days to weave and are produced on pit looms.

Mysore Silk: One of Karnataka’s most famous exports, the Mysore silk is synonymous with the city of Mysuru and the silk factory was founded in 1912 by Sri Nalvadi Krishnaraja Wodeyar, the Maharaja of Mysore. Initially, the silk fabrics were manufactured & supplied to meet the requirements of the royal family and ornamental fabrics to their armed forces. After Indian independence, the Mysore State Sericulture Dept took control of the silk weaving factory. The saree zari contains 65% pure silver and 0.65% of gold, which is also the most distinct feature of the saree, along with the use of genuine silk that gives it a natural sheen and rich texture. Karnataka produces almost 45% of the country’s mulberry silk. Mysore silk has also received geographical identification. Mysore Silks are also one of the most expensive silk sarees in India and this has led to the production of duplicate Mysore silk saree production and sales. To avoid these issues, KSIC has implemented a unique ID, hologram-based design, and unique identification barcodes woven on each saree produced.

Kerala

Kasavu Saree: Symbolic of Kerala’s tradition and culture, the traditional Kasavu saree was made by hand from cotton yarn with borders made of golden threads. Believed to have originated in the Buddhist era, the white and gold sarees are unique due to their natural hues, texture and gold border which adds to their elegance. No occasion in Kerala feels complete without the Kasavu saree. The term kasavu refers to the zari or gold thread used in the border of the saree and the name comes from a material used in the weaving and production of these sarees. The origin of the kasavu saree can be traced back to when women would wear a two-piece cloth called settu mundu, more popularly known as the mundum neriyathum. The mundum neriyathum rose in popularity during the Buddhist era, and its design has been inspired by the Greco-Roman attire, Palmyrene, a long piece of unstitched cloth with a coloured border.

The identity of the saree comes from the geographical cluster they are associated with. The Indian government has identified three clusters in Kerala – Balaramapuram, Chendamangalam and Kuthampully – that have been given a Geographical Indication or GI tag and all three clusters produce kasavu sarees. A plain saree with a simple border takes roughly around three to five days. Ones with motifs and heavier work take longer than that. The sarees are priced depending on the time taken on their production, along with the gold used in the zari or kasavu.

Madhya Pradesh

Chanderi: Emerging between the 2nd and 7th centuries, Chanderi sarees are produced from three types of fabrics – pure silk, cotton and silk cotton and are synonymous with the town of Chanderi which is on the boundary of Malwa and Bundelkhand. In the 11th century, the trade locations between Malwa, Medwa, central India and south Gujarat increased the region’s importance. Around 1350, Koshti weavers from Jhansi migrated to Chanderi and settled there and the textile business of Chanderi reached its peak during the Mughal period. Traditional coin, floral art, peacocks and modern geometric designs are woven into different Chanderi patterns. The saris are among the finest in India and are known for their gold and silver brocade or zari, fine silk, and opulent embroidery.

Maheshwari: Originating from the town of Maheshwar, the Maheshwari saree is made of silk and cotton in a variety of designs woven using brocade and zari. Dating to the 18th century, the sarees were initially made of pure silk, but over time, cotton also came to be used. An interesting story behind the origin of these sarees is that a famous queen had once ordered a large number of artisans and craftsmen from Surat and Malwa to design a unique saree of 9 yards, later termed the Maheshwari saree. These cloth pieces were used as special gifts for the royal guests of the palace. A unique feature of the Maheshwari saree is that each has a specific name of its own, which indicates its distinctness. The sarees may be plain at the centre and have neatly designed borders, or they may have different variations of stripes and checks. The sarees fall under 5 broad categories namely Chandratara, Chandrakala, Beli, Baingani Chandrakala and Parbi. The Baingani Chandrakala and Chandrakala are plain ones, while the Beli, Chandratara, and Parbi come with stripes or checks.

Maharashtra

Karvati: Hailing from the Vidarbha region, Karvati silks are made from Tussar with a grainy, textural feel. What is unique about the silk used in Karvati saris is that it is exclusive to this specific region that is rich in high-quality silk cocoons, straight from the wild. The tribes hailing from this area assume the responsibility of protecting the silk cocoons until they are ready to be harvested. The Tussar is unlike any other silk; it has a unique shade of deep yellow-brown.

The word karvat is a Marathi term that refers to a saw-tooth pattern. Karvati is the name lent to the style of the border rather than the fabric itself. What is different about the saree is the technique and the mixed usage of yarn. The border is woven out of mercerized cotton yarns with traditional temple motifs of various sizes, using an extra warp while the rest of the sari is woven using pure, hand-reeled Tussar silk which provides a texture that has irregular stubs all over. The saree is woven using a three-shuttle, tapestry style of weaving with a pit loom mounted with a wooden lattice dobby in the Nagpur style on the top of the loom. This means that it uses three different styles of weaving at the same time.

Paithani: Dating to the Satvahana Dynasty that ruled between the second century BC and the second century AD, Paithani sarees are fine silk handloom sarees get their name from the town in which they originated, Paithan in Aurangabad. Available in both six and nine yards, the most interesting part about the Paithani handloom is that both sides of the saree look the same, including the border and the pallu. This feature is the telltale sign of a handloom Paithani. As Paithani sarees are woven from naturally dyed threads, they can usually be found only in basic colours. Each saree usually has two dominating colours, one on the saree and the other on the border and pallu. The Paithani is characterised by borders of an oblique square design, and a pallu with a peacock design. Among other varieties, single-coloured and kaleidoscope-coloured designs are also popular. The kaleidoscopic effect is achieved by using one colour for weaving lengthwise and another for weaving width-wise.

The Paithani is a sari made of silk and zari with a plain weave, with weft figuring designs according to the principles of the tapestry. Traditionally, Paithanis had coloured, cotton muslin fields that often contained considerable supplementary zari patterning. However, in the 19th century, silk fields were also woven. Due to its proximity to the Ajanta caves, the influence of Buddhist paintings can be seen in the woven Paithani motifs. These sarees are made of silk in which there is no extra weft forming figures. Weaving could take between 18 and 24 months, depending upon the complexity of the design. In the days of Peshwas, the borders and the pallu were made of pure gold mixed with copper to give it strength spun into a fine wire called the zari. In recent times, zari is made of silver, coated with gold plating. In the border woven with a zari, ground-coloured silk patterns are added as supplementary weft inlay against the zari usually in the form of a flower or a creeping vine.

Odisha

Bomkai: Also known as the Sonepuri Saree, the Bomkai Saree is a handloom saree from the Bomkai village and has a GI tag. Usually made of cotton, these sarees are also made of silk for special occasions. During the time of Ramai Dev the then ruler of Patna, it was introduced in Sonepur. The borders and pallus are usually designed with fishes as it is believed to be a sign of success and affluence. The sari is normally dyed in red, black and white.

Khandua: A traditional bandha or ikat saree, Khandua is also known as Maniabandi or Kataki and is worn during weddings with a special type of fabric worn by Lord Jagannath which contain texts of the Geeta Govinda on them. The word Khandua in Odia translates to the cloth worn in the lower half of the body. Traditionally Kentuli Khandua is offered to Jagannath as lower cloth. The weaver communities of Maniabandha and Nuapatana of Cuttack traditionally wove this kind of fabric and during the rule of the Gajapatis, the sarees were made and transported to the Jagannath Temple. Nilakantha Deva, the King of Badakhemundi was offered khandua sari made of one piece of khandua silk called caukandika. Khandua is traditionally red or orange in colour with the red colour prepared naturally from the sal tree. The design motif has an auspicious elephant that represents Buddha surrounded by a trailing vine with peacocks in it, a large many-petaled flower, an animal  unique to Orissa known as Nabagunjara. The elephant in Khandua ikat from Nuapatana usually varies from elephant motives in ikat from the Sambalpuri saree as well as the ikat from other parts of Orissa. The Khandua has plain borders contrary to borders with motifs in the case of the other ikats from the state.

Pasapali: Also known as the Saktapar, the Pasapali saree is a bandha or Ikat handloom sari woven mainly in the Bargarh district. The name Pasapali is derived from pasa or gambling games using a chess board and these sarees have intricate check patterns of contrasting colours resembling the chess boards which gives it its name.

Sambalpuri: A traditional handwoven ikat where the warp and the weft are tie-dyed before weaving, the Sambalpuri saree is known for its incorporation of traditional motifs, all of which have deep symbolism in red, black and white that represent Odia culture. The high point of these sarees is the traditional craftsmanship of the Bandhakala, or the tie-dye art reflected in their intricate weaves, also known as Sambalpuri Ikkat. In this technique, the threads are first tie-dyed and later woven into a fabric, with the entire process taking many weeks. These sarees also have a Geographical Indication or GI tag associated with them. Traditionally, craftsmen created the ikats with images of flora or fauna or with geometrical patterns, but recently the ikats depict portraits and landscapes are also being designed. The unique feature of this form of designing is that the designs are reflected almost identically on both sides of the fabric. Once the fabric is dyed it can never be bleached into another colour. It is believed that this art migrated to western Odisha along with the Bhulia community who fled north India in 1192 after the fall of the Chouhan empire at the hands of the Mughals.

Punjab

Phulkari: Punjab’s folk embroidery, Phulkari which means floral work also includes motifs and geometrical shapes. In Punjabi, Phul means flower and Akari means the shape and so Phulkari means the shape and the direction of flowers which symbolise life. The main characteristics of Phulkari embroidery are the use of darn stitch on the wrong side of coarse cotton cloth with coloured silken thread. The traditional varieties of Phulkaris are large items of cloth and include Chope, Tilpatr, Neelak and Bagh. Sometimes, the Bagh is given separate categorisation of its own as on other varieties of a Phulkari, parts of the cloth are visible, whereas, in a Bagh, the embroidery covers the entire garment so that the base cloth is not visible. Today, in contemporary designs, the simple and sparsely embroidered dupattas and shawls made for everyday use, are referred to as phulkari, while clothing items that cover the entire body, made for special and ceremonial occasions such as weddings are called baghs or large gardens. The Phulkari continues to be an integral part of Punjabi weddings to the present day.

In the past, as soon as a girl was born, mothers and grandmothers would start embroidering Baghs and Phulkaris, which were to be given away at the time of her marriage. Depending on the status of the family, the parents would give a dowry of 11 to 101 Baghs and Phulkaris which were also passed from one generation to the next as heirlooms. The hallmark of Phulkari is making innumerable patterns by using long and short darn stitches. There were no pattern books and embroidery was worked entirely from the reverse of the fabric and the designs were not traced. Techniques and patterns were not documented but transmitted from word of mouth and each regional group was identified with the style of embroidery or design. The most favoured colour was red and its shades. Animals and birds represented success, beauty, pride, and goodwill and different fruits symbolised wealth, prosperity, and fertility. Wheat and barley stalks with ears were also common motifs. Silk and mulmul or soft cotton muslin fabrics were used because of their purity and longevity and it was believed that the virtue and character of a woman gave shape to the Phulkari.

There are different theories about the origin of Phulkari. One such belief is that this embroidery was prevalent in different parts of the country as far back as the 7th century, but survived only in Punjab. Motifs similar to the ones found in Phulkari are also found in Kashida of Bihar and some of the embroideries of Rajasthan. Another thought is that this style of embroidery came from Iran where it was called Gulkari, also meaning floral work.

Rajasthan

Gota Patti: Gota patti or gota work is a type of Indian embroidery that originated in  Rajasthan. Small pieces of zari ribbon are applied onto the fabric with the edges sewn down to create elaborate patterns. Gota embroidery is used extensively in South Asian weddings and formal clothes. Originally real gold and silver metals were used to embroider, but these were eventually replaced by copper coated with silver as it would become very expensive and today, even more, inexpensive options are available.

Kota Doriya: A handloom fabric, Kota Doriya is woven on a traditional pit loom in such a way that it produces square checks pattern on the fabric. The delicately wrought checks are locally known as khats. Onion juice and rice paste are smeared onto the yarn making it so strong that no additional finishing is needed. Kota Doriya sarees are made of pure cotton and silk and have square-like patterns known as khats on them. The chequered weave of a Kota sari is very popular with a very fine weave and weighs very little.

It is said that Jhala Zalim Singh of Kotah brought weavers from Mysore, in the mid-17th century, as they wove a characteristic small squared lightweight cotton fabric that looked like graph paper and was suitable for turbans. Since the weavers had come from Mysore, the fabric produced was called Kota Masuriya and was woven on narrow 8-inch looms to make the traditional paags or turbans and later on, broader looms were used for gossamer-light saris. Silk was added to the cotton in a 20:80 ratio approximately to give the sari strength. Nowadays hand woven silk Kota Doriya saris have also become popular. At first, the design known as a buti was small and regular but larger designs are now made according to fashion and taste. A very ornate saree can take one month to make and is an heirloom piece to be treasured. A genuine Kota Doriya sari will contain the GI mark woven in one corner indicating that it has been hand woven using real silver and gold thread.

Leheriya: Leheriya is a traditional style of tie and dye practised in Rajasthan which is bright in colour, with a distinctive pattern. The word Leheriya comes from the word leher, meaning wave and the tie-dye technique results in diagonal stripes, which look like waves on the fabric. To create diagonal stripes, the craftsmen use a special method of resist-dyeing, where the material, is rolled up diagonally length-wise and then tied tightly at intervals before the actual dyeing process begins. Delicate, light fabrics such as thin cotton voile, fine silk and chiffon are preferred, as they allow the colour to penetrate through the rolled cloth. The fabric is wrapped around a wooden pole, usually while it is still wet or in a semi-dry state. The thread that ties up the fabric acts as a resist, yielding a pattern of diagonal stripes after dyeing. The thickness of the thread and the distance between the ties may be varied to obtain stripes of different widths.

An astounding variety of Leheriya fabrics are produced using this simple process. A panchranga or five-colour design is the most auspicious since the number five is considered special in Hindu scriptures. Another beautiful pattern is the satranga, flaunting the seven colours of the rainbow.

Tamil Nadu

Kanjeevaram: A silk saree which is worn on special occasions, the Kanjeevaram or Kanchipuram is made in the Kanchipuram region. This saree has also been recognised and given the Geographical Indication tag by the Indian government. The sarees are distinguished by their wide contrast borders with temple borders, checks, stripes and floral patterns as traditional designs. The patterns and designs in the Kancheepuram sarees are inspired by the images and scriptures in South Indian temples or natural features like leaves, birds and animals and have rich woven pallus showing the paintings of Raja Ravi Varma and the epics of Mahabharata and Ramayana. As of 2008, an estimated 5,000 families were involved in sari production with 25 silk and cotton yarn industries and 60 dyeing units in the region.

The saris are woven from pure mulberry silk thread, which along with the zari or gold thread comes from South India. To weave a Kanjeevaram saree. three shuttles are used. While the weaver works on the right side, his aide works on the left side shuttle. The border colour and design are usually quite different from the body. If the pallu has to be woven in a different shade, it is first separately woven and then delicately joined to the saree and the part where the body meets the pallu is often denoted by a zigzag line. In a genuine Kajeevaram silk saree, the body and the border are woven separately and then interlocked together. The joint is woven so strongly that even if the saree tears, the border will not detach and this differentiates the Kanjeevaram silk saree from the others. The sarees vary widely in price depending on the intricacy of work, colours, patterns, craftsmanship and materials used.

Koorainaadu: A traditional handloom weaving centre, Koorainadu sarees are by their checks and stripes pattern for which plain looms are used. It is made with pure silk and fine-twisted mercerized cotton yarn, in both warp and weft, in the ratio of 2:1, giving every Koorainadu saree a silk look. A peculiar characteristic of this saree is the formation of cotton checks by the interlacing of warp and weft during weaving which can be woven only by an experienced weaver. The sarees are hence stiffer and easier to hold the pleats which make them easier to wear. Koorainadu sarees are mostly worn by the womenfolk of the Hindu community green and yellow colours are used to make it auspicious and so it is often worn by married women wishing for long-lasting wedlock. The nine-yard Koorainadu saris are made with cotton or cotton and silk, in checks or striped patterns with a contrasting border in yellow. Saris with wide borders are called temple saris because they are offered to the deities in the temple.

Sungudi: Traditional cotton sarees from the Madurai area, Sungudi sarees are defined by the pattern of block prints and tie and dye designs. The origins of Sungudi can be traced back to the Sourashtrians who brought the art with them when they migrated to South India under the patronage of King Thirumalai Naicker in the 17th century. In Saurashtra, the word sungudi relates to the Sanskrit word sunnam meaning round, representing the circular dots that are printed on the fabric as a prominent and special motif.

The dots in the saris are said to be inspired by the cosmos which is why most Sungudi sarees remind one of a starry night. Tying the knots of the sari demands a great amount of precision from the craftsman. Ideally, a three-inch gap between the body and the zari border and also with the pallu lends a neat and symmetrical look to the crude dots. The designs are sometimes marked with a pencil on the fabric for ease in the process. The Sungudi art has seven basic designs that can be modified with different permutations and combinations to provide variety and highlight the creativity of the craftsman. The smaller the dot the better the expertise and this comes only with extensive practice and time. In the early days people used rudimentary methods like tying the knots with mustard or peppercorn seeds. Although this seems like a rural and unpolished method, its success lay in its simplicity. Authentic Sungudi is more than just tying knots. There is a lot of meticulousness that goes into producing a piece that looks effortless.  Once the knots are tied in the desired pattern, the sari is clamped which involves pleating, twisting, folding and wrapping it tightly before dyeing it for around two hours. Then the sari is subjected to two rounds of washing with cold water with an organic fixing agent followed by drying and ironing. The resultant fabric is a beautiful sheet like stars in the sky. In 2005 the art of Sungudi tie and dye got the GI recognition tag.

In the next part, the last one, we will do the last few states and also learn about some interesting saree drapes.

Fabrics and Sarees of India Part 1

A flowing six-yard drape of beauty and grace, the saree can be called India’s national dress for women. Every state and community has their fabrics and materials that are unique to the region and drapes that instantly brings a specific community to mind. The saree consists of an un-stitched stretch of woven fabric arranged over the body as a robe, with one end tied to the waist, while the other end rests over one shoulder as a stole or shawl, with a part of the midriff showing. It may vary from 4.1 to 8.2 metres or 4.5 to 9 yards in length, and 60 to 120 cm in breadth. The saree is part of the traditional wear of women of the Indian subcontinent in India, Pakistan, Bangladesh, Sri Lanka & Nepal. There are various names and styles of sari manufacture and draping, the most common being the Nivi style. The sari is worn with a fitted bodice commonly called a blouse and a petticoat.

This post started as my ode to the different fabrics and sarees available in the country and I soon realised this is much larger than just naming the various fabrics in the country. So this is now a three-part short series because I wanted to showcase as much as I can of the amazing fabrics available. And on a personal note, this is also a repository for me to refer to because one of my dreams is to have a saree from every Indian state.

Sadee is a Hindustani word that means a strip of cloth that evolved to sāṛī in modern Indian languages. The word śāṭika is mentioned as describing women’s dharmic attire in Sanskrit literature and Buddhist literature called Jatakas which could be equivalent to the modern-day saree. The term for female bodice, the choli evolved from ancient stanapaṭṭa. Rajatarangini, a tenth-century literary work by Kalhana, states that the choli from the Deccan was introduced under the royal order in Kashmir. The petticoat is called sāyā in Hindi and Urdu, parkar in Marathi, ulpavadai in Tamil, sāẏā in Bengali and eastern India, and sāya in Sinhalese. Apart from the standard petticoat, it may also be called an inner skirt or an inskirt.

The history of a sari-like drapery is traced back to the Indus Valley Civilisation, which flourished during 2800–1800 BC around the northwestern part of the Indian subcontinent. Cotton was first cultivated and woven in the Indian subcontinent around the 5th millennium BC and dyes used during this period are still in use, particularly indigo, lac, red madder, and turmeric. Silk was woven around 2450 BCE and 2000 BCE.

The word sari evolved from śāṭikā a Sanskrit word mentioned in earliest Hindu literature as women’s attire. The sari or śāṭikā evolved from a three-piece ensemble comprising the antarīya or the lower garment; the uttarīya which was a a veil worn over the shoulder or the head; and the stanapatta, a chestband. This ensemble is mentioned in Sanskrit literature and Buddhist Pali literature during the 6th century BCE. This complete three-piece dress was known as poshak, a generic term for a costume. The ancient antariya closely resembled the dhoti wrap in the fishtail” version which was passed through legs, covered the legs loosely and then flowed into a long, decorative pleats at front of the legs. It further evolved into the Bhairnivasani skirt, today known as ghagri and lehenga. The  Uttariya was a shawl-like veil worn over the shoulder or head, and evolved into what is known today known as dupatta and ghoonghat. Likewise, the stanapaṭṭa evolved into the choli by the 1st century CE.

It is generally accepted that wrapped sari-like garments for the lower body and sometimes shawls or scarf like garments called uttariya for the upper body, have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years. Based on sculptures and paintings, tight bodices or cholis are believed to have evolved between the 2nd century BCE and the 6th century CE in various regional styles.

After this short history about the saree, let’s take a trip around the country to see the various fabrics and sarees available in the different states of India. This is by no means an exhaustive list and I have probably missed many regional varieties, so apologies in advance if I have missed something I should not have.

Andhra Pradesh

Chirala: A coastal town also known as Kshiraputi, Chirala, which means saree in Telugu is renowned for its handlooms that are soft and durable. With more than 60% of the town’s population belonging to the weaving community, the looms used in the town are mostly pit or fly shuttle looms and the motifs in the fabrics and sarees are usually geometrical designs. The weavers of Chirala produce, cotton sarees, seico sarees that are a fine blend of cotton and silk fibres and kuppadam or the Gadwal type. The hand butta is another fascinating design feature of Chirala sarees, where colours are manually added in-between the zari design. Kalamkari printing is also a speciality of the Chirala saree.

Dharmavaram: Handloom silk sarees, Dharmavaram fabrics are textiles woven by hand with mulberry silk and zari which is fine thread traditionally made from gold or silver. The Dharmavaram fabric has a GI or Geographical Indications tag.  Kriya Shakthi Vodavaru Swamy named Dharmavaram after the name of his mother, Dharmambai around 1153–54 and by the 19th century, the silk handloom industry emerged as the main occupation. Paintings on the roof wall of Lepakshi temple and the Latha Mandapam depict the designs of Dharmavaram sarees. These saris are worn in the winter months or when it is cold and on special occasions and are mostly used by dancers of Bharatnatyam and Kuchipudi.

Kalamkari: A type of hand-painted or block-printed cotton textile, Kalamkari is produced in Isfahan in Iran and Andhra Pradesh. Only natural dyes are used in Kalamkari, which involves twenty-three steps. There are two distinctive styles of Kalamkari art in India, the Srikalahasti style and the Machilipatnam style. The Srikalahasti style of Kalamkari is where the kalam or pen is used for freehand drawing of the subject and filling in the colours and is entirely hand-worked. This style flourished in temples centred on creating unique religious identities, appearing on scrolls, temple hangings, chariot banners as well as depictions of deities and scenes taken from the Hindu epics like the Ramayana, the Mahabharata and the Puranas. The Machilipatnam style of Kalamkari involves vegetable-dyed block painting, where the dye is applied to the fabric with the help of wooden blocks. The natural dyes for the cloth are obtained by extracting colours from various roots, leaves, and mineral salts of iron, tin, copper, and alum and mixing them with cow dung, seeds, flowers, and milk.  Historically, Kalamkari used to be termed Pattachitra, an art form still found in neighbouring Odisha and other parts of India and Nepal. The term Pattachitra translates to patta, meaning a cloth, with picture or chitra. Paintings made on fabric and fabric scrolls are mentioned in ancient Hindu, Buddhist and Jain literature. Under medieval Islamic rule, the term Kalamkari is derived from the words kalam, which means pen in Telugu, and kari, which means craftmanship and this style became popular under the patronage of the Golconda sultanate.

Mangalagiri: Mangalagiri Sarees and fabrics are produced by handloom weaving in Mangalagiri, a town in Andhra Pradesh. Mangalagiri cotton silk sarees are a unique variety, woven from cotton, and feature characteristic features such as zari on the border and no woven pattern on the body. Borders in thick gold thread or zari, traditional patterns in Nizam, and simple mono or multicoloured striped pallus adorn the fabric. The sarees have various designs like leaves, mango, parrot, and gold coins. The soft and comfortable all-weather fabric generally has no pattern on the body and is known to have no gaps in its weaving with missing saree threads rarely found. As the town is also the abode of Lord Narasimha Temple, the saris are also used by the devotees for devotional purposes.

Uppada: The Uppada Jamdani Sari is a silk sari style woven in the town of Uppada in Andhra Pradesh and is known for its light weight. The saree was also accorded the Geographical Indication tag from Andhra Pradesh. The name Jamdani is a Persian terminology, in which Jam means flower and Dani means a vase. The Jamdani style of weaving originated in Bangladesh and was brought to the south and Uppada village in the 18th century and recreated with a local flavour. old The Jamdani style of weaving is about 300 years old and in 1972, Uppada weavers were recognised by the Indian government with the President’s award. The Uppada Jamdani saree is a beautiful textile with a silk-like texture and is lightweight. The weaving of the saree takes between 10 to 60 days for which least 2-3 weavers spend 10 hours a day. There are around 3000 looms producing Jamdani sarees in and around the Uppada and Kothapalli area. Around 40% of the local weavers are women. The saree consists of a cotton body with a silk pallu and is completely handwoven. The saree is woven in such a way that it can be folded and fit inside a matchbox. The speciality of the Jamdani saree is that the design is shown on both sides of the fabric.

Venkatagiri: Woven in Venkatagiri near Tirupati in Andhra Pradesh, this fabric has also been accorded the GI tag and is known for its fine weaving. The history of the saree dates back to the early 1700s in the Venkatagiri village and were encouraged by the Velugoti dynasty of Nellore and also by the Bobbili and Pithapuram dynasties. In those days, they were mostly woven fabrics for royalty and landowners.

Assam

Assam Silk: Assam silk refers to the three major types of indigenous wild silks produced in Assam —golden muga, white pat and warm eri silk. Assam was well known for the production of high-quality silk since ancient times. The knowledge of sericulture probably arrived with the Tibeto-Burman groups which arrived from China around 3000-2000 BC. Genetic research on silkworms shows that Assam silk originated in two specific regions of Assam, the Garo Hills in the ancient Kamrupa Kingdom and Dhakuakhana in the ancient Chutia kingdom.

Muga silk is the product of the silkworm Antheraea assamensis endemic to Assam. The silk produced is known for its glossy, fine texture and durability and has a natural yellowish-golden tint. It was previously reserved for the use of royalty. This silk can be hand washed with its lustre increasing after every wash. Very often the silk outlives its owner. The silk has been given the Geographical Indication (GI) status since 2007.

Pat silk is produced by the Bombyx textor silkworms which feed on mulberry leaves. It is usually brilliant white or off-white and must be dried in the shadows and not in direct sunlight. Eri silk is made by the Samia cynthia ricini which feed on leaves of castor oil plant. It is also known as endi or errandi silk. Because the manufacturing process of eri allows the pupae to develop into adults and only the open-ended cocoons are used for turning into silk, it is also popularly known as non-violent silk which is soft and warm and is popular used as shawls and quilts.

Bihar

The Bhagalpuri or Kosa or Tussar Saree is Tussar silk that is valued for its rich texture and natural deep gold colour. The tussar silk weaving industry in Bhagalpur is more than a century old and has about 30,000 handloom weavers working in producing the sarees. Bhagalpuri silk is made from cocoons of Antheraea paphia silkworms which are only found in India and is processed at Nathnagar at Bhagalpur. The unique dyeing technique of these Bhagalpuri silk sarees sets them apart from the art silk sarees. The saree was supposed to have been produced in ancient times and even Mughal rulers patronised the weavers. But the technique soon got extinct and was revived about 200 years back by the weavers. The silk fabric is extremely soft and lightweight and is known as the queen of fabrics.

Chhatisgarh

The Chattisgarh Kosa saree is Tussar silk similar to the Bhagalpuri Kosa. Kosa silk is mainly derived from Antheraea mylitta, an Indian silkworm and is special type of tussar silk that is drawn out of the cocoons grown on trees like Saja, Sal, and Arjun mostly grown in Chattisgarh. The silk is widely popular owing to its sturdiness, purity and soft texture. The dull golden brownish texture of the silk is its signature trait, but can also be found in natural shades of dark honey, fawn, orange, pale golden and cream. The actual colour of kosa is a dull gold, but the finished fabric is dyed with natural dyes extracted from natural dyes. The towns of Champa and Korba are known for their production of Kosa Silk, and the silk produced in Champa is considered to be the best silk.

Gujarat

Bandhini: A type of tie-dye textile decorated by plucking the cloth with the fingernails into many tiny bindings that form a figurative design, Bandini or Bandhani dates back to the Indus Valley Civilization where dyeing was done as early as 4000 BC. 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 1 at Ajanta. The main colours used in Bandhana are natural. As Bandhani is a tie and dye process, dying is done by hand and hence best colours and combinations are possible in Bandhanis. The fabric used for making Bandhani sarees and dupattas are loosely woven silk called Georgette, or cotton known as Malmal. The knots are tightly tied, and the rest of the fabric is dyed in multiple stages. This leaves the knots undyed and hence a beautiful flower-like pattern appears all over the cloth as a design.

The term bandhani is derived from the Sanskrit verbal root bandh which means to bind or to tie. Today, most Bandhani can be found in Gujarat, Rajasthan, Sindh, Punjab and Tamil Nadu where it is known as Sungudi and is known as chunri in Pakistan. The art of Bandhani is a highly skilled process with the technique involving dyeing a fabric which is tied tightly with a thread at several points, thus producing a variety of patterns, depending on how the cloth is tied. The main colours used in Bandhana are yellow, red, blue, green and black.

The Bandhani work has been exclusively carried out by the Khatri community of Kutchh and Saurashtra. Bandhani work is also done in Rajasthan, where different colours and designs are used than in 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 Kutchi Bandhani. Bandhani tying is often a family trade, and the women of these families work at home to tie patterns.

Patola: A double ikat woven sari, usually made from silk, the Patola saree comes from the town of Patan. Similar to Bandhani, Patola sarees are also a type of tie and dye process and are well known for not losing their colour at all. They are very expensive, once worn only by those belonging to royal and aristocratic families. Patola sarees are found in two different types – the Rajkot Patola and the Patan Patola. These two are differentiated with the Rajkot Patola having a single ikat weave that is dyed vertically, while the Patan Patola has a double ikat weave and is dyed horizontally. The word patola is the plural form; the singular is patolu.

To create a patola sari, both the warp and weft threads are wrapped to resist the dye according to the desired pattern of the final woven fabric. This tying is repeated for each colour that is to be included in the finished cloth. The technique of dyeing the warp and weft before weaving is called double ikat. The bundles of thread are strategically knotted before dyeing. Patola saris from Surat, Ahmedabad and Patan are renowned for their colourful diversity and geometrical style.

Silk weavers of the Salvi community from Maharashtra chose Gujarat as the home for their renowned patola fabric. It is believed that the Salvis went to Gujarat in the 12th century to acquire the patronage of the Chaulukyas Rajputs, who ruled Gujarat and parts of Malva and south Rajasthan, with Anahiwad Patan as their capital. Legend says that over 700 patola weavers came to the palace of Raja Kumarpal, at the personal request of the king. The Solanki or Chalukya rulers used to dress in patola silk on special occasions. The art of Patola weaving is an ancient one. According to some historians, the art of Patola weaving was known also in the 4th century as seen by the carvings at the Ajanta caves. After the decline of the Solanki empire, the Salvis founded a rich trade in Gujarat. Patola saris quickly became a sign of social status among Gujarati women and girls, especially as part of streedhan or the items that a woman can claim as her wealth.

There are four distinct patterns which are woven primarily in Gujarat by the Salvi community. In Jain and Hindu communities, double ikat saris with entire designs of parrots, flowers, elephants and dancing figures are generally used. In Muslim communities, saris with geometric designs and floral patterns are typical, being worn mostly for weddings and other special occasions. Maharashtrian Brahmins wear saris woven with plain, dark-coloured borders and body and a bird design called Nari Kunj.

Tanchoi: Tanchoi sarees are one of a kind, having spots all over the surface and woven with a dual colour warp. The stand-alone feature of the Tanchoi saree is that the fabric texture background has a satin finish. Extra threads are added to give these sarees the appearance of being embroidered. Famed for the intricate and small weaving patterns over the fabric, the commonly used motifs are those of flowers, small birds in flight, peacocks and parrots. Tanchoi silk is said to have been brought to India by Chinese traders in the 19th century and later adapted to suit the preferences of the Indian market. Three Parsi brothers are said to have travelled from India to China in the 19th century and were enamoured by the technique. After learning the skill, they came back to Surat, Gujarat and trained the weavers in the technique and then evolved the Tanchoi weaving technique into Indian versions.

Tangaliya: A handwoven, GI-protected textile, made by the Dangasia community, the 700-year-old indigenous Tangaliya is native to the Surendranagar district in the Saurashtra region. The textile was usually used as a shawl or wraparound skirt by women of the Bharwad shepherd community. Woven on pit looms at homes, the technique involves weaving knots in colours contrasting to the warp colour to create the effect of raised dots. The weaving is based on precise mathematical calculations. The weaver has to count the warp yarns each time, before hand-knotting the dot in acrylic yarn, to produce geometric patterns. A single mistake can lead to the final design looking faulty. The effect of the pattern also has a tactile feel, similar to braille, because of the raised surface of the dots. This has become the signature style of the textile. Another important aspect is the visual effect of dots, which is most striking and appealing on dark colour bases, especially black. The graphic quality of white dots mixed with other bright coloured dots gives the craft its special appeal. Moreover, due to the ease of knotting the white colour yarn compared to coloured yarns, white dots were common. Traditionally, most woollen shawls featured graphic patterns of white and maroon coloured dots on a black base. With every wash, the cotton textile tends to become denser and integrates the dots even more finely between the warp and weft. Today, there are only fifteen families in Surendranagar pursuing this craft.

Jammu & Kashmir

Jamawar: Jamawar is believed to have been derived from the word jam which means a shawl or robe and war, which implies the chest, in either Persian or Kashmiri. The fabric is believed to have found its way to Kashmir from Persia and reached its peak during the heyday of the Mughal dynasty in India. Owing to the elaborateness that goes into the making of the weave, it takes months on end to craft a finished Jamawar piece, and sometimes, even years, depending on the level of intricacy involved. Jamawar is traditionally woven with a rich blend of Pashmina wool, cotton and silk. Given the generous use of colours and motifs, the finished weave is highly iridescent. One of the many distinguishing factors of the Jamawar is that it is so intricately woven that its front and back, both look identical, with no stray thread sticking out of its surface. A dominating design element of the weave is the paisley, which derives inspiration from Persia; other motifs of flora and fauna, too, are seen. Jamawars also feature a wide use of hand embroidery and traditionally, a single jamawar piece was woven with up to 50 varying hues.

Kani: The Kani weave is said to have originated in Kanihama village of Jammu and Kashmir, and its exquisiteness earned it the Geographical Indication (GI) tag in 2008. The word Kani translates to bobbins in Kashmiri because the weave involves extensive use of wooden bobbins on which varicoloured threads are wound. Legend has it that the art of weaving Kani shawls was first brought to Kashmir in the 15th century by Persian and Turkish weavers, who introduced this art to Ghiyas-ud-Din Zain-ul-Abidin, the eighth sultan of Kashmir. One of the most defining characteristics of the Kani weave, colloquially known as Kaniwar, is its impeccably patterned motifs. These motifs, which include flowers, gardens, creepers and paisleys are brought to life through a technique called twill tapestry featuring double interlocking, wherein both the warp and weft yarns are mounted diagonally onto each other on the loom.

Traditionally, Kanis are crafted from the pashmina wool of the local Changthangi goat. At the time of weaving, the loom is packed with bobbins or kanis, through which the craftsmen carry out the fashioning of the weave; a total of nearly a thousand bobbins or more can be used for a single weave. Each colour is woven in individually, with the help of bobbins wound with threads of that particular colour. The designs are first drafted in the form of sketches, in a grid-like format called naksh, after which each step from the draft is dictated to the weaver. An elaborately woven Kani shawl can take anywhere from 9 months to a year to be made, with two artisans working on it.

Pashmina Silk: A fine variant of spun cashmere, the animal hair fibre forming the downy undercoat of the Changthangi goat, Pashmina today may refer either to the material or to the variant of the Kashmir shawl that is made from it. The word pashm means wool in Persian, but in Kashmir, pashm referred to the raw unspun wool of the domesticated Changthangi goats. Both generic cashmere and pashmina come from the same goat, but generic cashmere ranges from 12 to 21 microns in diameter, whereas pashmina refers only to those fibres that range from 12 to 16 microns.

Samples of wool fibres discovered from corroded copper artefacts from Harappa dating back to the Indus valley civilization are extremely fine and resemble Pashmina and Shatoosh. In Mughal times, this was used as an indicator of rank and nobility. Pashmina blankets were also vital additions to a wealthy woman’s dowry in India, Pakistan and Nepal. The wool for pashmina is collected by combing the undercoat of the goat, and not by shearing, as in other fine wools. The entire process is carried out by hand by specialised craftsmen. The approximate time put into producing a single traditional pashmina stole is about 180 hours. Kashmiri embroidery or Kashida as it is known, employs bright and colourful designs, with motifs of floral borders, paisley and chinar leaves and other inspirational settings of nature. The patterns and the colours of Pashmina silk saree harmonises with nature. A heavily adorned pashmina silk sari with zardozi aari embroidery is a must in any bride’s trousseau. China accounts for 70% of the world’s cashmere production.

In the next part, we’ll see more fabrics and sarees from other states.

Travel Bucket List: India – Tripura Part 4

Baramura Eco Park
Nestled in the verdant forest at the fringes of Baramura–Deotamura reserve forest where Baramura hill range meets the plains at a distance of about 37 km east of Agartala, the Baramura Eco Park located at the foothills of the Baramura hills is a manifestation of the conservation need of the ecological biodiversity of the Baramura hills. The Baramura hills are a breathtakingly beautiful expanse of rolling hills characterised by thickly forested hill ridges varying in altitude between 90 m to 136 m and valleys with dense bamboo patched, herbs & shrubs that is home to astoundingly diverse ecological biodiversity. The forest also supports the livelihood needs of nearly 2,500 tribal families.

Kalapania Nature Park
Located about 116 km south of Agartala in Sabroom in South Tripura, the Kalapania Nature Park was established in 2004 covering 21 hectares of deserted land into a nature’s paradise set amidst a charming ambience of natural beauty. A lake with serene blue water in midst of two hillocks in the park’s centre divides it into two halves. There is a boating service as well as beautiful cottages around the small hills surrounding the water body. The main attraction of the park is a nature interpretation centre located in the middle of the park.

Tepania Eco Park
Established in 1995 inside RadhaKishorepur Reserve Forest, the Tepania Eco-Park lies about 47 km south of Agartala and 5 km from Agartala Udaipur. Over the years the Eco Park set amidst a charming ambience of natural beauty has been upgraded and today has an area of 155 hectares and has turned out to be a huge tourist attraction. The Eco Park has a modern well maintained orchid house which houses 225 species of orchids. There is a cactus House which has 250 samples collected from various parts of the country. A treehouse inside the park offers a night stay facility in a sylvan environment. The other attractions include a unique wooden hanging bridge, a medicinal garden and a watch tower for viewing the wildlife.

Khumulwang Eco Park
Located on the outskirts of Agartala within the Tripura Tribal Areas Autonomous District Council, Head Quarter Khumulwng, the Khumulwng Eco Park has been raised in the lap of nature covering an area of 14.5 hectares of land. Khumulwang, which means the valley of flowers, the park is well organised in different sections such as the flower park, the children’s park and the science park. Boating facilities are also available. The Tribal Museum cum Heritage Centre is located at Khumulwng which has models of the 19 tribes of the state.

Jampui Hills
Located about 200 km east of Agartala, the Jampui Hills are the highest hill range in the state bordering Mizoram at an altitude of 3000 feet above sea level. Jampui is famous for its charming landscapes and bracing climate. The excellent climatic condition, green forests, beautiful orange gardens, views of the rising and setting sun are wonderful sights for tourists. The hill range has 11 villages inhabited by the Mizo or Lushai tribes and also by the Reang tribes. The main occupation of the villagers is orange cultivation.

The view of the rising and setting sun from the various viewpoints in Jampui Hills is a wonderful sight for visitors. The various viewpoints in the hill range provide excellent panoramic views of the valley and villages of Mizoram. From the watchtower at the highest peak, Betlingchip at 3200 feet above sea level, one can view the Chittagong Hill Tracts, the Kanchanpur – Dasda valley and other hill ranges of Tripura and Mizoram unfold. Every November, the unique Orange & Tourism festival is celebrated here which attracts a large number of tourists, both domestic and foreign. During the monsoon season, the hill is covered with floating clouds and it provides a rare experience for tourists. The formation of clouds at the bottom of the hill range and its gradual ascendance from the bottom to the top slowly engulfing the whole hill range in its mystic lap is an experience to treasure. The Tourist Department of the Government of Tripura has constructed a very modern tourist lodge, The Eden Tourist Lodge at the Vanghmun village in the Jampui hills which has a capacity of 20 persons and is well equipped with all modern amenities.

Dumboor Lake, Dhalai
A charming water body about 135 km southeast of Agartala, Dumboor Lake is located in Amarpur. The lake is shaped like a tabor-shaped small drum, or the Dumboor of Lord Shiva from which the name Dumboor originates. The lake is spread over an area of 41 sq km and there are 48 islets inside the lake. The surrounding hills and the islets are enchantingly emerald green and present a captivating scenic spectacle. The winter months attract hundreds of migratory birds which gives the lake the status of healthy wetland habitat. There is a hydel project near the lake where the River Gomati originates and the area is called Tirthamukh where a big fair is held every year on Pous Sankranti on 14th January. The Lake is on the confluence of the rivers Raima and Saima. Boating facilities are available in Dumboor Lake.

Rudrasagar Lake
Also known as Twijilikma, the Rudrasagar Lake is located in Melaghar and is a picturesque lake that has lately been recognised as one of the wetlands of national importance for the conservation of resources and their sustainable use. Also known as Rudijala, three rivers named Noacherra, Kemrali Cherra and Durlavnaraya form the lake. The highlight of the lake is the magnificent Neermahal Palace built in 1930 which is situated on the northeast bank of the lake. The lake occupies an area of 2.4 sq km and is situated about 52 km south of Agartala. Rudrasagar Lake is a natural sedimentation reservoir, which receives flow from three perennial streams. After settling the sediment from the received flow, clear water discharges into the river Gumati through a connective channel, Kachigang. Rudrasagar is a potential Important Bird Area and attracts a large number of waterfowl in winter. Among the rarer species recorded are the endangered Baer’s pochard and near-threatened ferruginous duck.

Sepahijala Wildlife Sanctuary & Clouded Leopard National Park
Home to a variety of wildlife especially birds and primates, the Sepahijala Wildlife Sanctuary & Clouded Leopard National Park is not just a wildlife sanctuary but also an academic and research centre. Spread over an area of 18.5 sq km about 27 km south of Agartala, the sanctuary came into existence in 1972 to conserve and propagate the biodiversity of the area. With the addition of a Botanical Garden, a deer park and a zoo, the bio complex was subsequently upgraded as the Sepahijala Wildlife Sanctuary in early 1987. More than 150 species of residential birds, migratory birds, orchid gardens, boating facilities, wildlife, botanical garden, zoo, elephant joy-rides, and rubber and coffee plantations beckon the tourists all through the year. The added incentive for animal lovers is the famous spectacled monkey which is now a rare species. The sanctuary has more than 456 plant species, many kinds of bamboo and a variety of grasses and medicinal plants as well as a rich population of birds and animals. The sanctuary also offers spectacular views of coffee and rubber plantations and has boating facilities in the lake and a joyride in the toy train. The Clouded Leopard National Park is a part of the Sipahijala Wildlife Sanctuary and was established in 2007 with an area of 5 sq km.

Trishna Wildlife Sanctuary
Located about 111 km south of Agartala, the Trishna Wildlife Sanctuary is a wildlife and biodiversity sanctuary spread over an area of 164 sq km. Founded in 1988, this sanctuary is famous for the sizeable population of the Gaur or Indian Bison. The sanctuary also harbours a good stock of avifauna population which is integral to the prevalent ecosystem. Trishna Wildlife Sanctuary is also the habitat of and home to the highly endangered and only ape species of the Indian subcontinent, the Hoolock Gibbon and primates like the Capped Langur and the Golden Langur. The sanctuary has several perennial water rivulets, water bodies and grasslands with patches of virgin forests that are rich in rare vegetation. Closed on Tuesdays, the sanctuary is open between 9 am and 5 pm on other days.

Rajbari National Park
Situated in the Trishna Wildlife Sanctuary, the Rajbari National Park is spread over 31.63 sq km. The park is very famous owing to its picturesque surroundings and is one of the many places where one can witness Mother Nature at her best. One can expect to come across various wild animals including the world-famous Indian Gaur, also known as bison, deer, Golden langurs, Pheasants, and many such species. The Bison reserve was entrenched in the Sanctuary to protect the endangered species. With the establishment of this reserve, the primary goal was to restore the natural living habitat of the Bison and strengthen laws put forth for their protection from poachers. The park receives plenty of water from the many rivulets and water bodies situated in the sanctuary which ensures a regular and constant supply for the nourishment of the plant and animal species. It is also extremely abundant in forest reserves and is credited as one of the most conservative reserves that boast of rich biodiversity. The vegetation found in the sanctuary is of great diversity with several herbs, shrubs, tree species and climbers. Four types of forests can be found here including the tropical semi-evergreen forest, the east Himalayan lower Bhabar sal, moist mixed deciduous forest and Savannah woodlands. Bamboo is abundantly available. The safari at the Rajbari National Park is a must and is one of the best ways to experience the beauty of the park. Jeep safaris and wildlife trips are organised regularly to impart knowledge and awareness regarding the environment and its inhabitants to visitors. The magnificent lake situated in the park is a beautiful spot to enjoy a picnic with your friends and family. The park offers boating facilities available at nominal rates as well. The park is open daily between 10 am to 5 pm on all days except Fridays when the park is closed. Entry fees are INR 10 per person.

Rowa Wildlife Sanctuary
Notified in 1988 by the Forest Department, the Rowa Wildlife Sanctuary lies about 160 km northeast of Agartala. It is spread over an area of only 0.86 sq km and was part of the erstwhile protected forests in Mouja Rowa. The sanctuary, despite its small size, has over the years gained a great deal of popularity because of its natural beauty and is the only wildlife sanctuary in North Tripura. The sanctuary is particularly rich in birds and reptiles with large flocks of migratory waterfowl congregating in the several water reservoirs in the protected area. The sanctuary is also home to a large variety of plant species including several species of medicinal value. Rowa Wildlife Sanctuary is open to visitors throughout the year.

Gomati Wildlife Sanctuary
Also known as the Gumti Wildlife Sanctuary, the Gomati Wildlife Sanctuary is the largest sanctuary in Tripura, located in the southeast corner of the state, about 135 km southeast of Agartala. It is spread over an area of 390 sq km. Adjoining the sanctuary, there is a vast water reservoir covering approximately 300 sq km which attracts many local and migratory water birds. The sanctuary also has elephants, bison, sambars and barking deer as well as other animals and reptiles. One of the landmarks of this sanctuary is Lake Dumbur, which attracts around 17 migratory bird species and 126 native bird species in the cold winters, but the number of bird visits has declined significantly in recent years.

And this brings us to the end of this exotic and underrated state. Do drop me a line if I have missed any must-see places and also what are your favorite places to visit in Tripura.

Travel Bucket List: India – Tripura Part 3

Kailashahar
Tripura’s fourth largest town, Kailashahar is located near the northwest Bangladesh border, about 155 km northeast of Agartala and is surrounded by the Unakoti hills Tripura’s longest river, River Manu flows through the town.

Kailashahar was the ancient capital of the Tripuri kingdom. Its history is associated with Unakoti, noted for its 7th to 9th-century stone and rock-cut images. A Shiva disciple who started the Tripurabda or the Tripuri calendar prayed to Lord Shiva in Chhambulnagar village on the banks of the Mau river. It is speculated that Chhambulnagar, which is mentioned in Rajmala, was situated near Unakoti Hill. The Prince prayed for Mahadeva in Unakoti. Kailashahar may be the legendary Chhambulnagar. Some believers thought that Har or Lord Shiva resides in Kailash. Therefore, the place was known as Kailash Har which was later on transformed into Kailashahar. Tripura King Adi-Dharmapha ruled there in the 7th century.

Today the town is famous for tea estates, with about 16 tea estates in Kailashahar dating back to the 16th century. The tea leaves grown here are entirely organic. Trekking options are also present here. This place is also known for the bamboo work done here, as well as handloom products made here.

Dedicated to Lord Krishna, the Lakhi Narayan Bari temple was installed by Krishnanada Sevayet and has monumental value today. The Chouddo Devotar Mandir or the 14 Deities Temple is dedicated to Ama or Tripuri, the mother of the people of Tripura. It is situated atop a tortoise-shaped hill with Lake Kalyansagar to its eastern side. Along with the several inscriptions of shlokas and ancient paintings found here, a structure looking like a Buddhist Stupa is seen on the roof of this temple. This place is located just 14km from the city of Agartala.

Unakoti
Lying 178 km to the northeast of Agartala, Unakoti is an ancient pilgrimage centre and hill. The Kokborok name of Unakoti is Subrai Khung as claimed by Jamatia Hoda. Unakoti hill means one less a koti or crore or ten million in Hindi and Bengali. The hill hosts an ancient Shaivite place of worship with huge rock reliefs celebrating Lord Shiva. The carvings are located in a beautifully landscaped forest area with green vegetation all around which adds to the beauty of the carvings.

Many of the rock carvings here depict the life of Lord Shiva as well as other deities from the Hindu pantheon. Sculptures of the Nandi Bull, Lord Ram, Lord Ganesha, and Lord Hanuman can also be seen here. The images found at Unakoti are of two types: namely rock-carved figures and stone images. Among the rock-cut carvings, the central Shiva head and gigantic Ganesha figures deserve special mention. The central Shiva head known as Unakotiswara Kal Bhairava is about 30 feet high including an embroidered head-dress which itself is 10 feet high. On each side of the head-dress of the central Shiva, there are two full-size female figures – one of Durga standing on a lion and another female figure on the other side. In addition, three enormous images of Nandi Bull are found half-buried in the ground. There are various other stone as well as rock-cut images at Unakoti.

The carvings are said to date to the 7th and 9th centuries if not earlier. According to Hindu mythology, Lord Shiva once spent a night here en route to Kashi. 99,99,999 gods and goddesses followed him. He had asked his followers to wake up before sunrise and make their way towards Kashi. Unfortunately, none awoke, except Lord Shiva himself. Before he set out for Kashi alone, he put a curse on the others, turning them to stone and that is how the site got its name.

Unakoti also makes a good place for hiking, trekking and other activities given the terrain and the natural offerings of the area. Every year a big fair popularly known as the Ashokastami Mela is held in April and is visited by thousands of pilgrims. Another smaller festival takes place in January.

Udaipur
Known as Tripura’s tourism capital, Udaipur was formerly known as Rangamati and is the third biggest urban area in the state. The town was the capital of the state during the reign of the Manikya Dynasty and is famous for the Tripura Sundari temple also known as Tripureswari temple, one of the 51 Shakti Peethas. Udaipur lies about 51 km south of Agartala. The Gomati river passes through the heart of Udaipur.

Udaipur is dotted with temples the most famous of which is the Tripura Sundari temple, which is one of the 51 Shakti Peethas. The temple was constructed by Maharaja Dhanya Manikya Debbarma in 1501. There is a big lake beside the temple known as Kalyan Sagar. The Bhubaneshwari Temple is another famous temple and the Gunabati Temple, The Jagannath Temple, The Mahadev Temple are other famous temples. Udaipur is also known as the lake city and has many beautiful lakes. Some of them are the Jagannath Dighi, the Mahadev Dighi, the Amar Sagar, the Dhanisagar and Kalyan Sagar. It also has a national library named Nazrul Granthagar, after Kazi Nazrul Islam. The Tepania Eco Park and the Puran Rajbari are other attractions of Udaipur.

The Gunabati Group of Temples was built in the name of Maharani Gunabati, the wife of Maharaja Govinda Manikya, in 1668. The two other temples also bear a contemporary look but their actual history is still to be unveiled. The architecture of these temples resembles other contemporary temples of Tripura except that the topmost parts are without a stupa. The core chambers are marked by the presence of a pitcher circular core chamber and its vestibule which was large with a stupa-like crown is beautifully crafted like a lotus.

Ambassa
Ambassa is a quiet little town popular for its several temples and pleasant surroundings. Initially, a hilly area, which was covered in dense woods, the forests were cleared to create the district only in 1995. Boasting picturesque surroundings and ample natural resources, the town has not only become a popular tourist spot but also has earned fame for being extremely resourceful. Ambassa is inhabited by tribes which mainly live in houses built on platforms. Other residents have mostly migrated from India and Bangladesh. The places of attraction in Ambassa are its several beautiful gardens and the plethora of temples.

A massive juice plant is situated in Nalkata, some 38 km from Ambassa which is a major tourist attraction. Around the spot are also several handicraft shops which one can visit. The Longtharai Mandir is dedicated to Lord Shiva and is believed to be where Lord Shiva rested while he was on his way to Mount Kailash. The temple is situated atop a hill with a picturesque valley below which is how the temple’s name, Longtharai came to be as the word means a deep valley. Beautiful Khumpi flowers bloom here and the peace and calm at the temple is beyond description. Located at a distance of around 35 km from Ambassa, the Kamaleswari Mandir is a temple that is enshrined by Goddess Kali who is also known by the name of Goddess Kamaleswari.

The Sanaiya Waterfalls have a green and soothing natural beauty with panoramic views of the Kamalpur valley from a hilltop adjoining the border with Bangladesh. The village, consisting of the Upper and Lower Sanaiya Reang Para is the habitat of the Reang tribes, which are one of the prominent tribes of Tripura. The waterfall located in a gorge provides a unique tourist spot.

Pilak Archaeological Sites
Located at Jolaibari, about 100 km south of Agartala, Pilak is an archaeological site in South Tripura. Many images and structures, belonging to Buddhist and Hindu sects, have been discovered here since 1927 with the antiquities found here dating to between the 8th and 13th centuries and are on display at the Tripura Government Museum. There runs a hilly rivulet near the place which is known as Pilak Stream and the whole area is beautiful. Thousands of visitors gathered here during the Pilak Festival held in December.

The archaeological site used to be a part of the Samatata kingdom in historical Bengal and is part of a series of archaeological sites that includes Mainamati and Somapura Mahavihara in Bangladesh. The earliest dates of Hindu and Buddhist sculptures, terracotta plaques and seals found at the site are between the 8th and 9th centuries. The artefacts unearthed at the site belong to the Bengal’s Palas and Guptas sculptural and architectural features; also the style of the Arakan in Myanmar and indigenous features are noticeable. The Archaeological Survey of India or ASI carried out excavations at the site in the early 1960s when stupas built with bricks were found. Recent investigations by the ASI unearthed statues of the Buddha and idols of Mahayana Buddhism.

The Pilak archaeological site represents both Hinduism and Buddhism co-existing peacefully. Artefacts of Hinduism are in the form of sculptures and plaques of Hindu gods and a large number of antiquities of the Hinayana, Mahayana, and Vajrayana Buddhism practices. The site is strewn with a large number of terracotta plaques and statues and very large stone sculptures of Avalokiteśvara and Narasimha have been unearthed at the site.

The inscribed terracotta seals found at Pilak depict Buddhist stupas of very small sizes. In Tripura, it is the seal which is worshipped and not the stupa. There is a cone-shaped stone slab with an image of Buddha in an upright posture, dated to the 8th century. A statue of Avalokiteshvara with two arms found at the site is now exhibited in the Tripura Government Museum. A sculpture of the 8th or 9th centuries found here is that of Goddess Marichi, venerated by both the Mahayana and Vajrayana Buddhists. However, it is now an iconic idol which is installed in a Hindu temple known as Vasudev-badi. The idol in an upright posture is called Pratyalida and is mounted on a simple plinth, and is well preserved. A sculpted sandstone statue from the site dated to the 8th – 9th century is of Chunda which is now revered as Raja Rajeshwari in a temple at Muhuripur. The image is carved with 18 arms in a posture called Vajaparyankasana deified over a padmapitha or a lotus pedestal. A new find from the Sundari Tilla is a stupa dated to the 11th century similar to the architectural features of the rule of the Palas of Bengal. A Hindu religious terracotta image made in fired clay found at Pilak is of Trimurti. Another image from the Sagardheba mound is of Surya, the Sun god, riding a chariot driven by seven horses, dated to the 7th to 9th centuries which is deified in a temple in the Rajesvari Ashram in Muhuripur.

Chabimura
Located about 77 km southeast of Agartala and about 30 km east of Udaipur, Chabimura is famous for its panels of rock carvings on the steep mountain wall on the bank of the River Gomati. There are huge images carved of Lord Shiva, Lord Vishnu, Lord Kartika, Goddess Mahisasurmardini Durga and other Gods and Goddesses. These images date back to the 15th and 16th centuries. These beautiful images are curved with a lot of dexterity on the rocky faces of Devtamura which is steep at 90 degrees. The hill ranges are covered with thick jungles and one can reach this place only after trekking through these jungles. The road leading to the river bank where the rock-cut images exist is a treat to the eye. The area is also an eco-tourism centre.

The first panel is just on the other side of the bank measuring 10.3 m in height and is spread over an area of 28 m and is south-facing. The area to the right of the panel extends up to 60 m where some other images existed. At present some of the images are lost by sliding of rock panels. The second image is that of Mahishasurmardini and is about one km away from the 1st panel and is curved at a height of 10 meters from the river bed. The local tribe worshipped it as Chakrak-Ma. This is one of the largest reliefs of the Goddess present in the country which itself makes it unique. The image has a height of 10.70 meters and a width of 7.70 meters. The face is depicted as round with dishevelled hair-and several hair locks. She is ten-armed and is holding a weapon in nine arms except for the lower arm which holds the hair of the demon king. The weapons are mostly indistinct due to erosion and floral growth.

Mahamuni Pagoda, Manubankul
The Mahamuni Pagoda at Manubankul is located about 134 km south of Agartala. The Buddhist temple not only draws devotees from within India, but it also attracts Buddhist pilgrims from countries like Thailand, Sri Lanka, Myanmar, Japan and Bangladesh. The temple was built under the leadership of Mathu Mog and others. The monastery bears the Buddhist idioms of expressions in religious architecture. Annually, during March and April, a week-long festival is held and the festival brings about a lot of happiness and bliss to the people. During the festival Lord Buddha is worshipped in the monastery by both Buddhist and Hindu devotees. The Mahamuni Buddha Temple is open throughout the year and the visiting hours are from 6 am to 7 pm.

Buddhist Stupa, Boxanagar
About 36 km southwest of Agartala lies the town of Boxanagar, where, recently after the denudation of a natural forest area, ruins of a brick-built building emerged on the edge of the border with Bangladesh. The local people initially attributed the remains to an ancient temple of Manasa the Goddess of Snakes. After the Archaeological Survey of India took over the site, excavations began and an idol of Lord Buddha was discovered and it was confirmed that it had been a Buddha temple. Other discoveries here include a massive Buddhist stupa, a Chaityagriha, a monastery and other associated burnt brick structures.

The brick-built stupa exposed through archaeological excavation is of a square plan. The basement of the stupa is arrayed in eight mouldings in diminishing order over which the tapering medhi is set with mud mortar and burnt bricks of different sizes. The ruin of the Chaityagriha has been exposed on the eastern side of the stupa which is rectangular on plan and is aligned in the east-west direction. The superstructure of the Chaityagriha is completely damaged except on the side walls which survived up to 1.60 m. The brick-built monastery have a long corridor between rows of five cells on each side.

The excavation of another mound at Boxanagar has exposed a fully burnt-brick structure with Triratha projections having a square sacred chamber which appears to contain the extant remains of three spokes. These spokes are found radiating out from a semi-circular structure located on the eastern side of the sacred chamber. In front of this structure, there is a rectangular hall enclosed by a wall all around. A brick-rammed floor is provided inside this hall probably for facilitating the congregation of devotees. A wide Pradakshinapatha is also provided around these structures.