Banarasi Brocade
Motifs
The Ajanta wall sculptors that were made during the Gupta period provides us information about popular designs that included floral patterns( like marigold, jasmine, etc), vegetable designs( like mangoes, etc), animal designs (like elephant, horses,deers, etc) and bird depictions (like parrots and peacock etc.). Geometrical patterns were also a popular textile pattern of the Gupta period. But being sculptors they give no information whether the textile used was of silk, cotton or wool.
The ‘Acharangasutra’ mentions of a scraf woven with golden threads that featured traditional geese motifs.
In good old days, various mythological designs occurred in Brocades. Tigers, lions, elephants, deers were also introduced but in large pieces. They were known as ‘tasvir’.
The Sahi figures present group of motifs in some alien, geometrical designs and bold types of scroll work.
During Shahjahan's period, blossoms shrinked to get tiny. Emphasis was laid on detailed study of leaves of a plant.
In post-Shajahan period, the delicate trunk of the plant was replaced by an exuberant foliage that radiated both the sides and the blossoms continued to be tiny.
The Apabhramsa school of painting is another important source of information that give a complete account of Indian Zari and the Brocade textiles.They featured dupattas and dhotis for men and a dupatta (scarf) with a choli (bodice) and a ghaghara (skirt) for women..
The ground or the base of these textiles were of deep, vibrant and brilliant shades like black, red or ultramarine.
Motifs included geometrical and vegetal designs, scrollwork and bird and animal figures including the traditional geese pattern.
The Moughal tradition of depicting birds and animal figures survived till the 19th century. The old traditional patterns and decorative designs of elaborate crests and long trailing tails continued.
Geese, Peacocks and Parrots were very popular motifs.
In the late 19th century, many new patterns and designs such as button-roses, flower baskets, bouquets with boa or ribbons, butterflies and pets were substituted for old motifs to suit the English taste and sensibility.
During the second world war, American motifs such as pentagram crept in but there was greater demand for the oriental motifs and designs incorporated by the Americans.
Traditional Indian patterns, designs and motifs and the English wallpaper designs are now much in demand.
Patterns
Complex floral patterns consisted of a ‘beil'- a running floral pattern, a ‘buti’-a single flower or figure, a ‘buta’ (a large buti) and their different possible combinations.These were also known as ‘phulwar’.
'Buta' or a group of ‘butia’,shrubs or florets, were incorporated within a compartment at the pallu or anchal of the sarees. But under the Western influence, these were replaced by ‘sprigs’ or ‘flowers’ that featured all over the compartment.
English wallpaper designs mainly of ‘rose arabesque’ were further incorporated.
The ‘jaal’ pattern encloses a ‘buti’ within a compartment woven by an intricate network of geometrical patterns.
Running patterns of leaves and flowers all over the ground work were one of the famous features of Banaras Brocades.
The ‘jangla’ or ‘woodland’ designs featured the figures incorporated from nature.
Birds like parrots, peacocks and animals made these sarees appear more conventional and closer to nature.