Dacca muslin historian William Digby (Prosperous British India) estimated that the population of Dhaka dropped from200,000 to 79,000 between 1787 and 1817; the export of Dacca muslin to England amounted to 8,000,000 rupees in 1787; in 1817, nil. The fine textile industry, the livelihoods of thousands, and the self-sufficient village economy, were systematically destroyed.Muslin From Wikipedia, the free encyclopedia Woman's muslin dress, Europe, c. 1855. Los Angeles County Museum of Art, M.2007.211.755. Muslin (/ˈm sl n/ or /ˈmjuˈsl n/) is a loosely-woven cotton fabric which originated in then India (and now Bangladesh), which was introduced to Europe from the Middle East in the 17th century. It became very popular at the end of the 18th century in France. Muslin is most typically an unbleached or white cloth, produced from carded cotton yarn. It is often used to make sewing patterns, such as for clothing, curtains, or upholstery. Because air moves easily through muslin, muslin clothing is suitable for hot, dry climates. Contents [hide] 1 Etymology and history 2 Uses 2.1 Dress-making and sewing 2.2 Culinary 2.3 Theater and photography 2.4 Medicine 3 References [edit]Etymology and history Muslin clothes were traded by ancient Greeks from the Indian port town Machilipatnam, which was called Maisolos or Masalia in ancient times. Some believe that the name muslin originated from the name Maisolos.[1] Marco Polo, the famous traveller, visited the Kakatiya kingdom in which Machilipatnam was located and praised the muslins available there.[2] In 1298, Marco Polo described the cloth in his book The Travels. He said that it was made in Mosul, Iraq.[3] Although this view has the fabric named after the city where Europeans first encountered it (Mosul), the fabric is believed to have ɨ ɨ ʌ originated in Dhaka, which is now the capital of Bangladesh.[4][5] In the 9th century, an Arab merchant named Sulaiman makes note of the material's origin in Bengal (known as Ruhml in Arabic).[5] The word muslin is also used colloquially. In the United Kingdom, many sheer cotton fabrics are called muslin, while in the United States, muslin sometimes refers to a firm cloth for everyday use, which in the UK and Australia is known as calico. In British slang, muslin used to refer to women or femininity, while in nautical slang, muslin can refer to a vessel's sails. [edit]Uses [edit]Dress-making and sewing In Advantages of wearing Muslin Dresses! (1802), James Gillray caricatured a hazard of untreated muslin: its flammability. Marie Antoinette, in 1783, in her famous "muslin" portrait When sewing clothing, a dressmaker may test the fit of a garment, using an inexpensive muslin fabric before cutting the intended expensive fabric, thereby avoiding potential costly mistakes. The muslin garment is often called a "muslin", and the process is called "making a muslin". With the availability of inexpensive synthetic fabrics, which closely resemble the hand (drape and feel) of expensive natural fabrics, a test or fitting garment made of synthetics may still be referred to as a muslin, because the word has become the generic term for a test or fitting garment. Muslin is also often used as a backing or lining for quilts, and thus can often be found in wide widths in the quilting sections of fabric stores. [edit]Culinary Main article: Cheesecloth Muslin can be used as a filter: in a funnel when decanting fine wine or port to prevent sediment from entering the decanter chop. while others think that Muslin was connected with Musulipattam. It is wrapped circumferentially around aneurysms or intracranial vessels at risk for bleeding. if treated properly.to separate liquid from mush (for example. movie studios did not have the elaborate lights needed to illuminate indoor sets. so it is very likely that . especially of Dhaka origins. nor Sanskrit. nor Bengali.[7] Muslin a brand name of pre-colonial Bengal textile. It also holds dyes very well. It is often used to create night time scenes because when it is dyed. It is often used for aneurysms that. These backdrops are usually painted. In video production as well. muslin can be used as a cheap greenscreen or bluescreen. cannot be microsurgically clipped or coiled. either precolored or painted with latex paint (diluted with water). It is used to mask the background of sets and to establish the mood or feel of different scenes. making it clean and particle-free for sale. Muslin shrinks after it is painted. but it is widely used because it makes an excellent painting surface. mash. [edit]Theater and photography Muslin is often the cloth of choice for theater sets. so most interior scenes were sets built outdoors with large pieces of muslin hanging overhead to diffuse the lighting. It is commonly used as a background for the chroma key technique. it often gets a wavy look with the color varying slightly. In the early days of silent film-making and up until the late 1910s.[6] The thought is that the gauze reinforces the artery and helps prevent rupture. an old trade centre in Iraq. pour into a muslin bag and squash between two saucers (upside down under a brick) to squeeze out the liquid whey from the cheese curd) Muslin is the material for the traditional cloth used to wrap a Christmas pudding. then filter by pouring the mush into a muslin bag suspended over a jug) to retain a liquidy solid (for example. Muslin is not a Persian word. due to their size or shape. boil. to make apple juice: wash. Muslin is the most common backdrop material used by photographers for formal portrait backgrounds. It receives paint well and. in home cheese-making. sometime headquarters of European trading companies in southern India. such that it resembles a night sky. Muslin was manufactured in the city of Dhaka and in some surrounding stations. by local skill with locally produced cotton and attained world-wide fame as the Dhaka Muslin. can be made translucent. when the milk has curdled to a gel. most often with an abstract mottled pattern. [edit]Medicine Muslin gauze has also found a use in cerebrovascular neurosurgery. Muslin is used by beekeepers to filter melted beeswax. The origin of the word Muslin is obscure. some say that the word was derived from Mosul. etc were also called Muslin. nawabs and so on. Bengal cotton fabrics were exported to the Roman and the Chinese empires and they are mentioned in Ptolemy's Geography and the Periplus of the Erythraean Sea. ranging from the finest texture used by the highly aristocratic people. the emperor. That the name Muslin was given by the Europeans admits of little doubt. The productions of Dhaka weavers consisted of fabrics of varying quality. Muslins . from the cleaner to the maker of thread and the person who did the actual weaving.the name Muslin was given by the Europeans to cotton cloth imported by them from Mosul. which was grown in certain localities on the banks of the Brahmaputra and her branches. But Dhaka Muslin became famous and attracted foreign and transmarine buyers after the establishment of the Mughal capital at Dhaka. and when they saw the fine cotton goods of Dhaka. A huge quantity of the finest sort of Muslin was procured for the use of the Mughal emperors. The finest sort of Muslin was made of phuti cotton. provincial governors and high officers and nobles. The Muslin industry of Dhaka received patronage from the Mughal emperors and the Mughal nobility. Golconda. and through Mosul from other eastern countries. Fine white muslin (19th century) Contemporary embroidered muslin The textile industry of Bengal is very old. and by the ancient Chinese travellers. The other kinds of cotton called bairait and desee were inferior and were produced in different parts of Dhaka and neighbouring areas. belonged to a family of weavers. they were used for manufacturing slightly inferior and course clothes. attracted a large number of visitors and the British Press spoke very highly of the marvelous Muslin fabrics of Dhaka. viziers. Dhaka Muslin occupied a prominent place. they gave the same name to Dhaka fabrics. but cotton goods imported by the Europeans from other parts of India like Gujrat. In the great 1851 Exhibition of London. The persons connected with the manufacture of cloth. down to the coarse thick wrapper used by the poor people. because not only Dhaka cotton textiles. or if the family was small two to three families joined together to manufacture the cloth. the great banker. Abirawan (fancifully compared with running water). The finest sort of Muslin was called Malmal. were established. Bajitpur. The Malmal was also procured for the diwan and other high officers and for JAGAT SHETH. It was used by emperors. in the west. or the place of manufacture or the uses to which they were applied as articles of dress.were designated by names denoting either fineness or transparency of texture. Iran. Shabnam (morning dew) Alaballee (very fine). Junglebary and Bajitpur. Kumees (used for making shirts). Names thus derived were Malmal (the finest sort).Doorea (striped). sometimes mentioned as Malmal Shahi orMalmal Khas by foreign travellers. Muslim or Hindu. because they were situated near the places where cotton suitable for manufacturing Muslins was produced. SONARGAON. to make a piece of this sort. Jamdanee (figured cloth). Jhuna (used by native dancers). Seerbund (used for turbans). It was costly. it was once the capital of Sultan FAKHRUDDIN MUBARAK SHAHand his son (1338-1353). and China. Dhamrai is still an important place on the Bangshi river. Buddankhas (a special sort of cloth). Junglebary was for long a residence of the family of Isa Khan. Dhaka does not need introduction. Teetbady is a village in the Kapasia thana of Gazipur district. and again capital of ISA KHAN in the Mughal period. Dhaka Muslin was in great demand in the national and international markets. Java in the east. about 20 miles west of Dhaka. Armenia. Muslins procured for emperors were called Malbus Khas and those procured for nawabs were called Sarkar-i-Ala. 15/20 miles away from Junglebary is also in Mymensingh district. Weaving was prevalent in the Dhaka district in almost every village. Muslins other than Malmal (or Malbus Khas and Sarkar-i-Ali) were exported by the traders. Dhamrai. These places were Dhaka. Junglebary is now in the district of Mymensingh on the eastern bank of the river Brahmaputra. fine or elegant). or some portion was used locally. The Mughal government appointed an officer. where foreign buyers were ready with cash in hand. These were also the places where the headquarters of ruling dynasties. Rang (of transparent and net-like texture). Local businessmen procured the cotton goods from theADANGs or manufacturing stations and sent them to Dhaka. The traders were active at Dhaka. Tanzib (adorning the body). Sonargaon is now in Narayanganj district.Khassa (special quality. So the weavers of these places got support and encouragement from the aristocratic class. it is the same place where the capital stands now. The foreign traders came from far-off countries like Arabia. Charkona (chequered cloth).Darogah or Darogah-i-Malbus Khas to supervise the manufacture of Muslins meant for the emperor or a nawab. sometimes six months. Nayansukh (pleasing to the eye). nawabs etc. but some places became famous for manufacturing superior quality of Muslins. Teetbady. Malaya. These places manufactured fine quality cloth. and the weavers spent a long time. Some traders . The Dutch set up their factory at Dhaka in 1663. The Muslin industry of Dhaka declined after the BATTLE OF PALASHI. Their principal settlements were located near HUGHLI. The costly Dhaka cotton goods. In the 17th century. paikars and also through their own officials. By the beginning of the 17th and certainly by the middle of that century. on the bank of the river Bhagirath. nawabs and other high officials. 1757. the PORTUGUESE at Hughli. to meet the growing demand of Bengal. so much so that they had to establish settlements and factories at Dhaka proper to feed the increased volume of trade. The government officials procured various types of Muslin. the export of Dhaka Muslin came down to almost half of that of 1747. which they sent to Delhi for the use of emperors and ministers. so the companies imported hard cash. Available estimates show that in 1747 the export of Dhaka cotton goods (chiefly of the fine variety of Muslin). by the end of the 18th century. while others sent the Muslin to countries outside India. the trade of other European companies and traders belonging to other nationals practically came to a stop. The Mughals not only lost their power and prestige but also their buying and spending capacity. but with the coming of the European companies and the establishment of their settlements in Bengal the export of Dhaka Muslin increased enormously. the European companies came and established their settlements in Bengal. diwan and other aristocratic people (like the banker Jagat Sheth) were sent there. bullion. the Portuguese trade declined. When they found their export of Muslin extremely profitable. the DUTCH settled at Chinsura. But the most important cause of decline and the ultimate extinction of the Muslin industry was the industrial revolution in England. The volume of the export trade of the European companies increased year to year. They procured Dhaka Muslin. the English in 1669 and the French in 1682. The decline of Dhaka Muslin was due to loss of patronage from the Mughal emperors. The Ostend Company also came towards the beginning of the 18th century. the ENGLISH settled first at Hughli but later shifted to Calcutta and the FRENCH settled at Chandernagore. which introduced modern inventions in manufacture. nawab etc was valued at rupees twenty-eight lakh and a half.were busy in inter-provincial trade. When the capital was transferred to Murshidabad. particularly the Muslin. they also established settlements at Dhaka. The imports of European companies had no local markets. and by the middle of the 19th century was valued at less than ten lakh Rupees. [Abdul Karim] . With the establishment of the EAST INDIA COMPANY's monopoly over the trade of Bengal after the battle of Palashi. the Muslins meant for the subahdar. Formerly Europe used to get the Muslin through Iranian and Armenian merchants. through dalals. lost in competition with the cheap industrial products of England. including those procured for the emperor. and particularly of Dhaka. Egypt and Mesopotamia and later to South Europe. such as cotton textiles. words for woof and web 'otu'.C. analyzed by scholars and anthropologists reflect the trade and cultural exchanges between the inhabitants of the Harrapan and Mohenjodaro region and Babylonia (Mesopotamia). In ancient philosophies the universe is envisioned as a fabric woven by the gods. April. The number of needles found at the Indus Valley sites evidences that the technique of sewing was practised.C. The word derives from the Latin 'textiles' originally meant only for woven fabrics. JC Sinha. At the excavation sites of the Indus Valley dyeing vats show that the art of fabric dyeing was known and widely used. but in later times came to include knitted. beads. London 1851.Bibliography James Taylor. Board's collection no. and a bride wore the vadhuya at her marriage. describing two parts of the worn garment: the vasu (lower garment) and the adhivasa or upper garments.C. by former Resident of Dacca. and continued up to 1800 B.) contains literary references to dress. A whole range of mystic thought expressed in folklore and folk verse compares the act of weaving. 1844. resulting in the material or textile.C. Clay and metal seals from the Indus Valley sites depict human figures clothed in shawl like draped garments and loincloths held in position by woven belts and sashes. Certainly from the time of the Rig-Veda weaving and a variety of terms describing different materials are used. "The Muslin Industry of Dacca" in the Modern Review. One can deduce that clothes of simplified forms were in use. silk. Female dancers used the embroidered garment or pesas. but the find of a small shred of cotton cloth stuck to a pottery shard indicates that weaving was part of craft production. Background Textiles are believed to date from pre-historic times evidence of weaving being traced to a period before 3000 B. thus supporting the archaeological finds of Harrapa and Mohenjodaro. which is dated from the Harappa and Mohenjodaro settlements of 2600 B.2. Cotton. God is the weaver the fabric is man. Dhaka Commissioner's letter dated 2 may. shell and bone. Gold and copper. 1925. bonded. wool and flex fibre were produced in many regions of the world and the skill and artistry of weaving occupied the imagination and dexterity of those ancient peoples. copper tools. Historic events of the period from 3000 B. . 'tantu' for yarns or threads and 'tantra' the warp are found in Vedic texts. as creation. the ancient name for the Indus region. China and Mesopotamia. do not provide visible evidence of the making of textiles. lapis lazuli stone. as seen in the terracotta and stone statuary of figurines such as the Mother Goddess. A Descriptive and Historical Account of Cotton Manufacture of Dacca. Traditional handloom textiles began their long journey in the earliest civilizations of India. Dhaka. "An Account of Dacca. A Karim. the laying of loom threads as warp and weft. lead. display cord or sacking (hessein) impressions on the clay seals testify to different weaving techniques. The word textile refers to a filament or yarn that can be made into fabric or cloth. Fine weaving probably passed from India to Assyria. dated 1800" in the Journal of the Asiatic Society of Pakistan. The early Indus Valley civilization. felted and tufted fabrics as well. while a mantle or cloak called drapi is recorded. leading us to believe that clothes were in use.C. Harrapan seals used to seal bundles as merchandise. dancing female and male figures of priests and deities. No. In the subcontinent textiles are hallowed by ritual and spiritual connotation. vasana and vastra . The Indus (Harrapan) seals seen at Ur and other Mesopotamian cities convincingly corroborate that sea trade between these two regions had commenced as early as 2600 B. 100122. to 1800 B. India office Records. VII. pearls.C. A Sketch of the Topography and Statistics of Dacca. vol. Mesopotamia trade documents. fuchsite inlay and jade were probably traded for the products of the Indus Valley settlers. timber and precious woods.C. turquoises. such as vasas. The Rig-Veda (1500 B. lists of goods and official inscriptions. London. mentioned Meluhha. The taste for dressing was epitomized in the words suvasas and suvasana meaning well clad. A garment called atkal described as woven and well fitted is mentioned. London 1840. Descriptions of different types of dress for various strata in society are mentioned in the Rig-Veda. Spindles and spinning whorls have been excavated from the sites of the Indus Valley while the cultivation of cotton and use of sheep's wool has been evidenced from the implements found for processing these fibres. and described the garb of the Indians in the court as 'flowered robes of fine muslin'. fold up the looms and attend the village `melas' (trade fair). Demra and Narayanganj.It is at this point in history that cotton wool and cotton fibres from Vanga or East Bengal are recorded as important trade items and revenue earners. where enough was produced for export. gave accounts of the fine cotton cultivation and its products. The Greek Chronicler Mesgasthenes visited the court of Chandragupta Maurya (Sandrocottus) in 325 B. It is the unique quality of the air at the particular point of conjunction. Marco Polo who traveled through many parts of Asia in 1290 A. The weaving techniques of ancient Bengal. Even today in the villages of Naopara. The renowned muslins of ancient Bengal. has such fabric been woven by the hand of man. or elsewhere in the world. In the India Office Library in London is a manuscript entitled Textile Fabrics by H.D. Indian cotton textiles continued to be the cynosure among royalty all over Europe.000 persons) which was done by issuing permits that prevented the weavers from taking on work for private traders. which had been developed into a fine art. to provide in an almost unbroken line the heritage we own today. it is believed. the fixing of taana and baana (arranging yarns in order) when breezes are light at different hours of the day. Italian traveller Manrique. Even to this day the weavers preserve habits and activities that conform to the rainy season. the mode of weaving during the monsoon rains. and the specialty of Dhaka muslin is undoubtedly linked to the genre of the Dhaka weaver's skill and talent. It is said that the grey waters of the Meghna turn to a light yellow colour in the tributary causing the air above it to hold a different dampness. Cole. describes the patronage of the court of Emperor Shahjahan. Nowhere else in the subcontinent. The breezes that waft from the river over the village on its banks (especially the morning air before the sun rises high) give the weaver his `gift of the loom'. The weaver himself is a unique being too. The other factor of vital importance to the uniqueness of Dhaka muslin is the existence of the cotton fibre itself. where the river Sitalakhya branches off from the mighty Meghna. the most important being that the staple of the cotton is . fused into the indigenous culture of the Bengal delta. In fact. who received annual tributes of these fine cloths from their Governors in Bengal and which were so special that it cost ten times the price of any other clothes made for Europeans or others in the Empire. have come down to present times in a more or less continuous form. stormy weather. the applying of starch in the dry afternoon air and maintained seasonal time. it is amazing that the shape and design of the bamboo loom placed over a clay floor pit is unchanged over the past centuries. 1877. He kept his elementary links with nature. In India the manufacture of textile. It can be said that the zenith of muslin production was achieved with the patronage of the great Moghuls.C. or else how could a loom craft come down over a period of two thousand years? The delicate weaves of the diaphanous material and later the figured muslins or jamdanis can only be explained by the unique inner quality of the Dhaka weavers and their descendants. living along the same riverbanks and using the same type of bamboo looms to weave their magic. and later Emperor Aurangzeb. `The cotton of which fine Dacca muslin are made is grown in the district and differs from the common cotton plant of Bengal in some particulars. Under paragraph No. a catalogue made out in preparation for the Great Exhibition in London at that time. in his writings of 1628. reside the offspring of these blessed and gifted weavers. and the dry winters. He held on ritualistically to the rising at dawn to start weaving. Muslin and Jamdani The Indo-Gangetic civilization which grew and developed along the banks of the mighty Ganga-JamunaBrahmaputra. the Middle East and India. 335 it says. especially cotton had become a large industry. the season to stop weaving. keeping their looms in tune with the earth on which it stands.H. We are informed further that muslin merchants in 1887 protested the monopoly of the East India Company's hold on weavers throughout East Bengal (48. For an accurate description of Jamdanis as observed by the British officials. I quote from. "The famous malmal khas or 'King's muslin' could be made in lengths of 10 yards and one yard in width. which springs from religious inspiration. The cotton in the state of kapas. mixing with the rivers. This signifies the exquisiteness of the cotton yarn used to weave muslin. so as to become legendary. Persian influence takes dominance over design at this point in history and the Islamic civilization's unique grasp of geometric and abstract motif carries the craft of weaving to new heights. that the Iranian king Shah Safy (1628-1641) was presented by his ambassador to India a muslin turban 30 yards long. 'Hand Woven Textiles of India. act as a fine comb in removing the loose and coarse fibres of the cotton and all extraneous earth or vegetable matter' The combination of a special raw material in the cotton (kapas) produced in the Dhaka region. and produce the effect of embroidery. The finest qualities called the photi. It must be understood that mulmul. The unique art of jamdani motif . Without doubt it became clear that the ethos. Its superiority has been attributed to the action of the sea. Hence the word 'Mulmul Khas' (special mulmul) and 'SarcareAle' (the great ruler) were coined when mulmul was woven on order for royalty. the unique atmospheric temperature on the banks of the Meghna. that is. but mulmul was always a popular material for wearing comfort and beauty. How rightly has Dr. led to an outburst of art expression. from their complicated designs they have always constituted the most expensive productions of the Dacca looms". the plain white. striped and checked muslins were produced since long on the Dhaka looms in different qualities for the local populace and figured muslins or Jamdani were woven under order for the richer classes. so fine that it could scarcely be felt when held in the hands. The heat and climate of Dacca is lower by some degrees than that of the western district of the province'. which overflow their banks during three months of the year. are grown in certain localities along the banks of the Brahmaputra and the Meghna. He also adds that `the reason why the best weavers had settled in Dacca was that the finest kind of cotton was cultivated in the neighborhood of Dacca'. firmly established the name and value of Dhaka muslins by the 16th century. and Junglebarry possessed all the components necessary for the best cotton ground'. finer and softer. acknowledging the masterpieces of muslin production. "With all our machinery and wondrous appliances we have hitherto been unable to produce a fabric which for fineness and utility can equal the woven air of Dacca. Watson said. curved and closely set. with the seeds and wool unseparated. Kapasia. the weaver producing the exquisite designs by the skilful use of the bobbins in the course of the intricate weaving. By the 1800's English officials of the East India Company had made detailed records of the loom manufacturing industry. the water of which. along with the aesthetic senses of the Muslim patrons at Bengal's capital and the Delhi court. The weavers responded with imagination and dexterity. the teeth of which being small. Mitra also notes. The perfection of embellished muslins called jamdani took place through that extraordinary coming together of three vital forces: material. Regarding the climate Mitra quotes that `The climate of Dacca was well suited to the manufacture of fine muslins. Dhaka muslins exceeded in delicacy and were far superior in texture. containing from 1000 to 1800 threads in the warp.B. while that of Birbhum to the manufacture of coarse calico. gold or silver threads. No wonder the best jamdanis of old are today the prized heirlooms of many a Bengali family. More beautiful still are the figured muslinsthe jamdanis. historian-traveller from Italy." These could only be made during the rainy season. and would take a weaver almost five months to complete. The wool adhering to those seeds is carded with the jaw of the boali fish.longer. are passed through the warp. D. James Taylor noted in his book that `A skein which a native weaver measured in my presence in 1846 and which afterwards carefully weighed proved to be in the proportion of upwards of 250 miles to the pound'. Although fine cottons were also produced at Mosalipotam in South India at this point in time. The Muslim ruling classes with their Turko-Persian Central Asian combine of sense and style placed a new demand on the weavers. is cleansed and prepared by the women who spin the yarn. small bobbins or shuttles filled with coloured. the moisture in the air allowing the very fine thread to be woven. which have been cultivated from time immemorial in the districts. causes a deposit of silt and sand and this improves and fertilizes the soil. As in tapestry weaving. The jamdani may be called a product of the shuttle in which the designs are inserted by hand during the process of weaving. the remarkably fine sense of touch and the nice perception of weight which characterizes their fingers'. The Dhaka muslins (as a genre of woven loom cloth) were highly prized by this time and it is recorded by Tavernier. talent and patronage. the innate skill of the Dhaka weaver. `Many Europeans have noted the slender and somewhat delicate physical frame of the natives of Dacca. and later `the soil of Sonargaon. fulfilling the requirements of their patrons. and gradually India chintzes. and the Government yielding to the clamor passed the law in 1721 banning wearing of all printed calicoes whatever.B Mitra states in 'The Cotton Weavers of Bengal' that `In 1800 the inhabitants on Dacca were 20. star. The debilitating actions by the colonizing power had commenced a long while ago as learnt from G. woolen carpet patterns and the enlarged blown-up paisley (kalka) lifted from Kashmir shawls and Persian woven brocades. according to the Company registers. had by 1787 begun to suffer the negative effects of the mechanized spinning and weaving methods of British manufacture. as by then the export trade to England had been completely overshadowed by machine made cheap cotton produced in Manchester.000 was the centre for manufacturing flowered muslins (jamdanees) done mainly by Muslim weavers in the town and surrounding villages and numbered about 1." The British policy to protect its own textile manufacture led to a general stoppage of import of the fine cottons including muslins from Dhaka.300 weavers. We also see the angular and geometric outlines taken from glazed tiles.000. Gulf of Persia and Arabia. Results of this policy became further obvious by 1793 and I quote. Another important factor was the export of raw cotton to England. and weavers had begun moving out of their profession and tried to make a living out of their agricultural land.9 Writing in 1839 James Taylor in his book Topography and Statistics of Dacca noted that the produce of the Dacca looms chiefly consisted of `flowered muslins (jamdanees) and Khasidas (Kasida needle work on muslin) but the quantity was small compared to what it was in former years'. The coercive policies of the British through their `gamasters' and `amlas' had begun to take its toll. loom embroidered fabrics. The Dhaka muslin. while the rose. Birdwood's record: "In 1641 Manchester cottons were still made of wool.600 weavers. As we seek to find the cause of the decline of muslin in the 18th century and disappearance by the 19th century we find ample indicators pointing to the loss of this rich cultural heritage. The Dhaka weavers who were employed full time in this occupation. particularly to Versailles. 264. Designs from Turkish leather saddles. lily. Ceylon. the lotus is evidently absent. But in vain did Manchester attempt to compete on fair free trade principles with the printed calicoes of India. sprig and arabesque foliage take over. At this time also there is a noteworthy breakthrough in innovative design.was thus born and gives proof to the phrase 'divinely inspired expression' as creative weavers used their tools to express their thoughts. 239. which had been introduced into England between 1666-1670. established a new economy and bound India to the heels of the British economy' (N. silk. to the detriment of the woolen and flaxen manufactures of the country. and the disappearance of Mughal patronage at the court. became unemployed due to the fall in exports of the finer qualities of mulmul or muslin to Europe. Indeed the population of Dhaka declined as a results of unemployment and D.00. Dhaka muslins were produced only on orders for the gentry and a small quantity for local markets. cotton and woolen thread: sub section Nos. America.M. resulting in a severe scarcity of cotton raw material in Bengal. loom worked jamdani pieces both white and coloured. After the French Revolution the demand of muslin cloths at the French court ceased. bring vitality to the jamdani woven textile design. In the Dhaka arang in 1776 there were 1. etc. A distinct moving away from typical Hindu and indigenous motifs took place. `British policy British skill and British enterprise brought about a commercial revolution.K.038 in 1839'. but the total would not be more than 68. Economic History of Bengal. Another interesting record at the India Office Library in London is the manuscript of the Colonial and Indian Exhibition: Indian Catalogue 1886. tents (shamiana and kanats) and Muslim architectural lines. Manila and China. were so generally worn in England. Hamburg and Lisbon was badly affected by the wars England was waging against France. but they were suffering under the oppressive `advance loan' conditions of the Company's officials. Sonargaon which in 1833 had a population of 5. The Company's trade to Europe. it is recorded as follow: `From Dacca. the price of cotton rose sharply leaving the weavers with no margin of profit on their production. Vol-III) Many factors caused the loss of one of the world's greatest living treasures. No 239 Shahburga chawal-dana piece lent by Nawab Ahsanullah of Dacca ' This account indicated that the patronage of loom fabrics by the Nawab family . In fact by the time of the first Great Exhibition of 1851. Under the heading Bengal Div XIII. Sinha.C. as to excite popular feeling against them. so that we find patterns of the swan motif (hangshs/hamsa) and the paisley shape called kalka of Bengal and keri of North India.continued till very recent times. Descriptions of the clothes worn by aristocracy and priests in the Mahabharat and Ramayana are replete with examples of "rich silks". the gifted Dhaka weavers can still produce the muslin of old ilk Weaving The Dhaka Heritage The heritage of woven handloom silk in Bengal does not compare to the fine cotton muslins in terms of historic or chronological measurement. For ladies of the court were delicate motifs likebutidar or flowered patterns. Silk textiles were available in the last few hundred years from China and other parts of the Indian subcontinent and were used by the aristocracy and landed classes for ceremonies. The post war migration of weavers from Uttara Pradesh (U. It is interesting to note that some motifs of Moghul textiles are echoed in the fabrics seen in Ajanta fresco paintings of the 5th Century A. Ahmedabad. black motif on off-white silk called "nightingales eyes" or 'bulbul chasm'. embellished with gold. The fame of Banaras silks was duly . Bhopal. coronations and weddings. The yajur veda records the use of rupari and soneri threads to ornament the fabric and we learn from these ancient manuscripts that special women weavers called "pesaskaris" wove such material. Mosul and the Gangetic Valley being carried as gifts to King Herod of Biblical times and the Emperors of Europe is well substantiated in the exotic classical paintings of that luxurious era. being commissioned by the upper classes. that if cotton plantations are revived. hazarbuti thousand flowers and nargis the narcissus flower. India) to the new state of East Pakistan in 1946-47 transfers the growth of a rich heritage to the soil of East Bengal. Moghul patronage in the crafts and arts of the subcontinent had made a tremendous impact on the creative process. named dhup-chaon. The Persian language in itself is steeped in descriptive and colourful words or motifs that charm the mind and heart of the viewer. Surat. Alexandria. The silk brocades of Banaras came under this influence. enhancing the weaver's repertoire. cloaks and shawls had designs named "silver ripples". Murshidabad and Madras set up weaving centres. Over the centuries Banaras silks became renowned and the demand led to more centres being opened in other parts of the subcontinent for trade and marketing. European writers later on called these "Kincob" and indeed the gloss and glimmer of the silk fabric created a dream like vision for the eyes.D. Auarangabad. Descriptions of the "gold cloth" of Babylon. but the material referred to is jamdani and not the old fine muslin. beldar or scroll and vegetal creeper designs. by then. This fact can give culture activists a point to ponder. and silk threads. Central Asia and further on to Italy and France.P. the cultivation of cotton had been completely substituted by indigo and jute plantations which the British rulers found a much more lucrative trade item. Men's robes. This cloth was greatly popular among aristocratic ladies who flaunted the changing colours of their dress as they moved about in the daylight. It would be useful to recount the ancient lineage of weaving silk cloth. the moon and star motifchandtara and linear patterns called peacock's neck or murgh-gala. Thus they named Banaras brocades as "dream fabrics" or Kinkwab. or maz-char. Traditional indigenous Indian forms were also imbibed on to Benaras silks. The use of silk for garments has become more popular in the recent fifty years or so. of Persian design in all its richness and grandeur. Banaras Kinkhawabs were further evolved with the mixture of two shades of silk threads giving the effect of light and shade. Further back in history there are references that trading merchants carried silks and cotton fabrics through the region of Middle. The fabled muslin disappeared because the unique raw cotton was no longer available. The Moghuls were masters in giving nomenclatures to the artistic products of the local artisans. Woven silk is mentioned in the Yujur Veda of approximately 1500 B. We may therefore deduce that there was no high quality `Dacca muslin' produced after the 1890's since. Delhi. Luchnow. The examples of the exquisite loom are hunting scenes of extraordinary finesse depicted in a design named shikargarh.C. The main market were in Sadarghat Market. The paper drawing of the designs would be the guide for the weaver. depending on the skill of the weaver in line-by-line placement of patterns on the taanaand baana. One significant stimulus was in the 1940's resulting from political changes. From these original inhabitants of Benaras (whose second and third generation families are residents in Mirpur). The item was supplied as part of the exotic textiles from Uttar Pradesh. father of Mohammad Rafiq whom I met in Mirpur Palli in 2004. the movement for Independence from the British and finally the desire for a separate homeland for Muslims. All are attending school and college. separated by narrow red lines with gold spots placed at intervals". 400/-. each composite flower of floret being outlined in gold thread". The culture of the Indo-Gangetic plains has been nurtured by the mighty rivers Ganga and Jamuna. and Ghar Ghar Ki Kahani. border designs. As is common with most heritage crafts and arts produced in the subcontinent. were priced at Rs. India. By the Sarees outlets Market 1930s Dhaka set up its own Banaras Silk Industry Centre in Becharam Dewry. forms of creeper design. A brief description of the process undertaken by the Mirpur weaver was explained by Mohammad Rafiq. Devdas. Among the first few families who packed up their looms in 1946 and came with high hopes to Dhaka to start a new life was Mohammad Sobhan. Classical motifs from the Persian storehouse of design were known as jam-e-bahar (trellis patterns) and jam-e-var(Persian paisley) gul-dasta (bouquet or flower vase motif) also referred to as ambros.documented as some of the unique exhibits. 150/. By the 1920's the Banarasi sari became an essential part of the Indian bridal trousseau. which attempted a direct challenge to sunlight the accomplishment of millions of fairies". bamboo and small metal parts arranged in the earthen pit floor of the Karkhana (factory). The master craftsman of Mirpur informed me that silk brocades carried names such as beldar. An overall linear floral ornamentation was called jungala (foliage pattern).moyur-pakhee (peacock). The process of preparing the threads for making saris is long and laborious. diagonal floral styles and satin-but. tiapakhee (parrot). There has been no change in the loom since over a thousand years. As time passed Bengali words came into use such as lata-pata (trellis) prianka (floral) tara-buti (star bud) kalka (paisley). a leader among the weaver community and a second generation Banarasi weaver. The result of these factors brought about the migration of large populations from one region of India to another. They belonged to Cholapur village of Benaras. the border and end piece (anchal) being in thick silver checkered damask. in the old town. However. A brief description is given below : . His wife Razia Sultana Parveen also from a weaver's family. Some other migrants were the father of Sanaullah Warsi (78 years) who still works at the loom in Mirpur. is herself a skilled weaver. thickly embroidered motifs in silk thread embossing. Banarasi brocades were woven with the help of jacquard system. I was able to obtain valuable information on the weaving processes as well as the names of original designs. the Banarasi loom is composed of wooden. The soft breezes blowing out from the rivers were conducive to keeping the looms and the waft and weft of threads pliable. The romance of the soft pure silks of Banaras had reached Bengal with the advent of Moghul rule.and a bridal saree fetched a princely price of Rs. An art connoisseur of the period Theopbile Gautier wrote about the glory of Banaras brocades as "cloth. Islampur of the old town and by the 1960s the posh newly built New near Nilkhet. In recent years the influence of film and television media led to naming sari designs after Titanic. a matter of extraordinary skill of eye and hand. Descriptions detail "a sari in yellow silk gauze with floral scrolls. none of their children have taken up the profession. the only change has been the addition of the jacquard introduced after 1947. Another exhibit was the "diagonal pattern called tercha bearing stalks and foliage of the scroll type. belbuti. Liaqat Ali (70 years) and Qayyum (65 years) whose parents reached Dhaka in 1946. The weavers of Mirpur Palli were commissioned to produce the extravaganza of silk saris worn by Indian actress Aishwarya Rai and her dance troupe in the film Devdas. The weaver explains the design to the setter referring to patterns such as keridar (paisley) or phoolkoli orkangeevaran. for example the main ground colour (jomeen) will be black. 3. First high quality silk threads are purchased at an approximate rate of Tk. do this by immersing the threads in boiling pots of soap water for at least one hour. From these smaller lengths are cut and taken to spin spools on wooden charkas (wheels) for the baana (weft). The larger spools. which look like large rolling pins called belun. Tana (steel plate) Rooler (wood roller) Charka (hand spin or cycle wheel) Khalli (iron rods rotated to tighten threads) Charr or birni (thin wire used to tighten threads). The elders speak with nostalgia about their roots.500 per kg imported from China. but they are aware of their contribution to the cultural wealth of Bangladesh. the bundle threads have to be washed in at least four pots of clean water mixed with a thread softener called khararee (digamen). Makku or dherki (five inch long flat shuttle piece of buffalo horn used to push threads left or right as needed. 4. they are fitted at the weaver's end of the loom by speciallsed craftsman. After boiling for over an hour with at least 4 bars of soap in water for a length of two saris. Once the threads are arranged for the taana. 8. 1. Pakistan or Thailand. lachhis are then sent for dyeing. Nowadays these are made of plastic. The dyed spools are put onto turai or beams. 7. 5. the renowned Banarasi brocaded silks. Dhaka has become a hub of a great heritage of craft of the subcontinent.1. These imported threads come in the form of bales and are put onto wood rollers. India. the loom setter uses the pareta a bamboo rolling pin also called natawa. Katha or shirki (wood or bamboo flat instrument used to form floral patterns). The skills belong to the craftsman. Today the far-flung cousins from the lineage of Banaras weavers are carrying on the legacy in their chosen homeland. This is done by using one colour dye up to a given measurement of the threads. for up to five saris with blouse pieces. as 70 yards can be dyed at one time in three colours. The taana-setter knows before hand that the sari has three colours. the border (paar) and end piece (anchol) will be beige and motifs will be of cream shades. . before laying them out to dry. Special dyeing experts. The required lengths of threads for the taana (warp) of one or two saries are straightened out and joined if necessary to achieve the required length. 2. who are not the weavers. The thread spools already prepared by the charka workers are kept on the earthen floor near the weaver. 6. The heritage is alive because public patronage is forthcoming and because the weavers of the exotic art-craft are dedicated to passing on the legacy for posterity. The exchange of information is all verbal and there is no written code or guideline. The silk threads are fine like hair and they are joined with a powder called madesun made from fine soft ashes (chhai). The dyeing process is fascinating. Names of tools used to weave Benaras silk brocades are as follows: Turai / belun (roller-beam) Khuta (side posts) Karga (pit) Lappa (horizontal wooden rods) Jacquard (cards perforated with holes for lifting needed threads) Phhana (bamboo read) Makri (upper/roof suspended rods) Gulla or baw of natawa bamboo/wood spool. For the baana or weft. 8. Chak and Khyeyng.for belt and Tarchidori. The Pala and Sena Dynasty overcame Buddhism and its followers sought safety in the hilly regions of Rangamati.three sticks used to hold threads. This is called the aalum. and any monk whose clothes have worn out can cut off a piece to fulfill the needs of his apparel.for spinningjhoom threads. as a gift to the monks. who hang the material in the open. Moru.spinning wheel. Tuptupi . 3.seed of eggplant. There is a special cloth made of hand spun yarn and woven specially as an act of charity. Tonchangya.aat-bo-lizard's foot. Roeng. Tripura. Burmese and Assamese peoples with the Aboriginal river. Teen beya . The Chakmas. 10.snake curve. Several.shuttle of bamboo. It has twelve main parts. Shaugtia bach. (up to the 12th century) when Buddhist influence was at its height and the great monasteries at Paharpur and Mainamati testify to that influence. Khagrachari etc. The weaving of material for charity in olden times was a religious act. Chori phool . such as those woven to commemorate the death of a person and also those woven for marriage ceremonies. Bangal Chabugi . 4.design on clay water pot. Anaj . produce handloom cloth. Charka . Arakanese. 7. but not all of these tribes had a weaving tradition. Such long pieces of fabric are made by Chakma women and hung out in open spaces or forest areas on a tall bamboo. Chorki . Leblebi . Begum bichi . 5. commerce and industries over the period approximately of 1000 B. Tammo bach . Some of the most famous designs are: 1.D. Tarchi Cam . The Chakma Loom: The most well known loom is called Baen. Names of Designs : Every Chakma girl is taught weaving by her mother and elders. They form some interesting Tribal population of the country.to keep threads uniform. There are hundreds of patterns but a good weaver must learn. The parts are as follows: Biyong. . an important tribe. belonging to the Chakma. Ritual prayers are offered at the time of weaving. In fact some textiles are considered as sacred. natural dyes.pineapple. They receive gifts of their robes from the community.tiger's eye. At about eight years of age a girl is encouraged to start learning a range of designs. Padi cabang gach .beam.Tribal Textiles Vanga or East Bengal had grown its townships. Pangue. Tusha. Bau Kati . forest and agro-based peoples of old Vanga. Thur Sama . and the raw materials were made of handspun cotton thread. who follow Buddhism. Khumi. and the Indo-Gangetic Civilisation had reached fruition. Rope . Bandarban.C.beam. The most recent entry of outsiders started in the 8th century A. nearly all made from bamboo and the chhaw betal nut tree. imbibing and fusing with the earlier Indus Valley culture. 2. Siyang . Bourgogaw .like Bangla alphabet letter. which her mother shows her from an heir-loom woven catalogue.Waist belt (of buffalo hide).heel to set threads of taana.small flower.king of design. Buddhist monks eat from charity (they do not cook their own food) and also they cannot purchase their garments.heel section. which carries an ancient link with tribal or indigenous communities in larger Asia. Tagalog . Weaving in Buddhist tradition holds spiritual and ritualistic overtones. 6. The skill is considered a qualification of a good wife and mother and a spiritual value is given to the art of weaving. Bago choke . The Bengali race is a mixture of Mongoloid. 9. The Tribals of the Chittagong Hill Tracts consist of ten main tribes. Kanjal . In 1960s and 70s there was no market. I believe that there no one in the world who will be surprise to know that a complete garments can be kept in a small match box and that fabric was Dacca Muslin. is also a winner of many national and international awards for her thirty years of dedication to the preservation and development of Chakma tribal textiles. 14. They go up from sixteen to thirty-eight lines in a single pattern. Chaba Kangel . 18. skirts. Renowned weaver Mrs.10 sticks.11. or as vendors going house-to-house creating a new activity of profit for tribal women. Panchatala Khisa who pioneered the craft of weaving tribal textiles for themarket. 17. With increased demand.small wild marigold.seven stick.ducks feet. with the entry of rayon. Kangara . Now there are at least twenty-five loom factories. 15. Stick counts refer to the number of small sticks inserted in the threads to form the motif. Thengbala satarang . 12. Manjulika Chakma. Majara . Aza thang . These form the complicated geometric designs of Chakma loom fabric. Traditional jhoom handspun yarn has been replaced by Korean cotton yearn. Tribal women are presently marketing their products in the local'haat'. There is a growing interest in tribal loom cloth. you all know that basic raw material for muslin fabric was pure cotton. and the range has therefore increased. while doing my masterarbeit in Germany. shawls. "If we move with the times. men's fatua. but the raw material is available and its final products muslin lost (yarn count 200-400). machine made threads and gold zari threads.cane stool design. 16. i will let you know the technical hurdles behind the disappearance of the heritage. Chakma tribal textiles have a bright future. She believes that the future of woven material produced by the tribal people is undoubtedly bright. Recent changes have occurred in the textural quality of Chakma handloom fabrics. engaging two thousand workers in the hill tract region. but by producing the material for shalwar-kameez. caps etc.snake twist. Member Posts: 61 . Manjulika Chakma mentioned that she markets some of her production through agents. Now dyeing is done with chemical dyes. Logged Mostafa Zaman Jr. very few people know its technical hurdles for that reasons it lost totally. 13. She says. black. Previously red. we are attracting the general buyers. Sath beya karanga kapya .crab. It is up to us to meet that demand". I came to know some important facts why today our one of the famous heritage lost its presence. but her determination has given recognition to a great heritage and kept it alive. says she is optimistic regarding the increase of handloom production.combined pattern. Not only do our tribal women feel proud to wear our own dress. waist coats. in the next post. dark green and white were the main colours. Daush beya . Manjulika Chakma opened the first commercial sales outlet in the 1960's. the apt daughter of Panchalata Khisha. Satacrang . Member Posts: 74 ... Logged Suha Full Member Posts: 142 Re: Why the Dacca Muslin fabric lost in course of time? « Reply #2 on: October 26. Mahfuzur Rahman Senior Lecturer Department of Textile Engineering Daffodil International University fatima Jr.Re: Why the Dacca Muslin fabric lost in course of time? « Reply #1 on: October 26. 2011... 09:21:03 AM » Good post Logged Md. 12:53:56 AM » I think your next post will be more informative and we are eagerly waiting for that. 2011. 05:15:50 PM » there is not coincident with the concept of TAJMahala and its consequences after the completion of one of the magnificent wonders in the in the world. I am sorry I lost the track. cut the finger of the manufacturer and did all things what can destroy the rich economy of this sub continent.Re: Why the Dacca Muslin fabric lost in course of time? « Reply #3 on: October 26. the magnificent mahal was built through giving remuneration to its labors through cutting their fingers. 2011. if you know the technical barriers and accordingly take measures. the dhaka muslin is possible to make even today. but believe me or not what was not happen for Dacca Muslin. Logged Fatima Binta Satter Disha Lecturer Textile Engineering AAA Jr.they destroyed our own production of cotton (carpus). 2011. and i become one of the few fortunate Bangladeshi got all the view of Paris standing upon the tower. .our Muslin fabric was destroyed by the British. Member Posts: 75 Re: Why the Dacca Muslin fabric lost in course of time? « Reply #4 on: October 26.-ok. I am not sure what was the logic behind cutting fingers of so many people.that is Eiffel Tower in Paris. 09:30:40 AM » as far my knowledge. I had opportunity to visit one wonder in the world. and the cotton has the most surprising properties which no other textile fibers has. because this damp environment where humidity % is higher and high humidity means higher strength to the finest yarn in the world. Ali is the New New Thing. one must need expertise. More gossip. to use that loaded word. we have to weave. Asian) Guardian critic Maya Jaggi be replaced by somebody with less. Jaggi responded that this was the first time her background had been a factor in a long career. in the ancient time when Dacca muslin was made that was only weave on pit-looom. this is just a bioscope show. the second thing is that after converting fiber into yarn. the little box of wonders situated not in a larger world. though to reach this insight you have to discard the accumulated hype that almost buries the book itself under a flood of gossip. that is cotton gain its strength while absorbing water or moisture. So it goes. the new Rohinton Mistry. but with respect and the hope of understanding. with its seductive promise of cartoon glimpses into a world permanently out of reach: "Duniya dekho!" In its 21st century avatar.Dacca muslin is pure cotton fabric. Ali leaves us with the sense that. Despite the effective humour. ethnic antecedents. Ali's publicist apologised for the "misunderstanding". consecrated by her presence in Granta's recent list of leading British novelists. after all.Once there was the bioscope. exotic) world. the new Zadie Smith. exploring an unknown (or. which is the most important factor for any yarn to weave. if you know the construction of any pit-loom than you know that a pit-loom is a loom that is set up in a humid square deep space into ground. the obvious affection for her characters. well. this property of cotton fiber has given birth of 200-400 cotton yarn. Monica Ali's Brick Lane is a bioscope story. which create damp environment in the digger spaced. while no other textile fibers in the world has such exceptional property. . it is true that to convert cotton fiber into such higher count yarn. high humid region is the only place where cotton fiber can be converted into such fine yarn. It offers enlightened literary tourism for the First World reader. the bioscope's trained the other way. but a smaller. Ali prefers not to be pigeonholed as 'Asian'. devotion. less accessible one. in this regard humidity (water vapor in air) can play vital role along with fineness of fibers and most importantly expertise. patient and concentration. and sparked off a controversy when her publicist asked that the (coloured. in the manner of an able. and a surprising capacity for a muddled tenderness leavens his apparent leanings toward patriarchy. Cursed with beauty (yes. "an unspoilt girl from the village" when she is uprooted via the instrument of marriage from Bangladesh to the exotic world of Tower Hamlets in London. as did the first. in a world peopled by characters who skate close to the edge of stereotype but don't always overbalance.All of that is so much baggage: Brick Lane will be remembered or forgotten for its own merits. "just another obtuse struggling subcontinental male". discards or is discarded by various male protectors. The circumference of this strange new world is almost as narrow as her life in Mymensingh district. evocative tourist guide. a weak patriarch and ineffectual dreamer. Bibi and Shahana. the same sense of allowing her to rediscover the world through her baby's eyes. is forced to prostitute herself. Running in parallel with the ebb and flow of life in and around Brick Lane are the letters that conjure up the hard-knock life of Nazneen's sister. Chanu appears to be unidimensional when you first meet him. touches on their lives with a kind illumination. As they muddle through their lives. back in Bangladesh. but her real achievement is in depicting the flawed but deeply touching and infinitely complex relationship between Nazneen and Chanu. who descends every so often from the oracular voice of women's wisdom into the mawkish with a discernible thump: "All my life I look for one thing only for love for giving and getting and it seem such a . Chanu. She holds out the possibility of redemption for them. It's more than she does for Hasina. which evokes risibility more often than any other emotion in the reader's breast. Hasina. Ali's style is unadorned. but it does set a gentle if unexciting rhythm. almost monotone. doomed child. occasionally plumbing the unexpected depths that even an arranged liaison can provide. Hasina works in a sweatshop. She evokes the sights and sounds of Brick Lane dutifully. will follow. or the lack of them. The deus ex machina which draws Nazneen past the lakshmanrekha of her normal life is Karim. Nazneen is. the couple discover each other for the first time when they lose their first-born child. Ali evokes a grandeur in the everyday that resonates through Brick Lane. though they cannot excite the same awe in Nazneen's breast. but he has depth. in both departments. There are plenty of those. Two more children. and initially far less colourful. to use the words of her husband. a community leader and activist distinguished unfortunately by a tendency to strike Howard Roarkian attitudes. Nazneen emerges from behind the veil of unassuming blandness draped over her features. In an especially poignant episode. and writes of these things in a curious patois meant to be either broken English or translated colloquial Bangla. this is where things start to get a trifle predictable). As they negotiate the deeps and shallows of marriage. refers to one type of Indian muslin known as jhuna. but it makes a poor substitute for reality. Swamy Clothes made of Dhaka muslin are considered the ultimate in luxury. Their weave was so fine that the Egyptian Pharaohs used them for wrapping mummies. in Iraq and through the centuries when India became known as the home of exotic muslins. just a bioscope show. was used for the turbans of Mughal emperors. dresses of Dhaka muslin are considered the ultimate in luxury. Sir Abdul Gani of Dhaka ordered 30 yards of the most superior muslin as a gift to the prince. came to Bengal.Reviving the once-famous muslin industry K. after all. naubati. yahudi." Despite the effective humour. alizolah and samanderlaher. In 1875. there is no name more famous than that of Dhaka muslin. Mosul. the then Prince of Wales. despite the obvious affection for the people whose diverse lives she's trying to illumine. Ali leaves us with the sense that Brick Lane is. namely Masulipatnam in South India and Dhaka in Bengal. Pliny. known as shama or evening dew. Till 1813. It provides the illusion of having travelled long distances and seen many distant marvels. the famous Roman historian. two Indian cities. known as qutn-e-rumi. The word ‘muslin’ was derived from the name of the city of its origin. with embroideries done in silver or with silk thread and this muslin was known as kasidah.N. Alarmed .thing full of danger can eat you alive and now I stop the looking it come right up to me and show all it tiny little teeth. In the first decade of the 20th century. when Edward VII. one thaan (one yard wide. Dhaka muslin continued to sell in London with 75 per cent profit and was cheaper than the local British make.R. worn by Roman women of high rank to show off the contours of their bodies. explored the lives of strangers with great intimacy. It's a charming illusion. ten yards long) of muslin. became famous for the weaving of this cloth. Imperial Rome imported large quantities of this fabric. The history of Dhaka muslin is replete with exotic varieties. among aristocratic families of the Indian subcontinent. One yard of this fabric weighed barely 10 grams! Even today. The variety known as sarkar-e-ala. cost Rs 400 or Rs 40 per yard. IN the history of textiles. The best test of the material was that repeated washing made it finer. not much attention was paid to the muslin industry. which have a great commercial market. their sight became impaired. An interesting fact was that the polishing of muslin was done using conch shells and the fabric was not ironed. notwithstanding the great perfection which the mills have attained. By modern monetary value." During the medieval times. as by 1817. Abbe Rynal. this would mean a maximum daily wage of Rs 25 per day. one of the main problems faced by Dhaka weavers was to go around collecting yarn from the local spinners. The most famous of the weavers were registered as though in royal employ and were not allowed to make muslin for others. the weavers of Dhaka suffered because of their skill. Whether the fabulous muslin industry can be revived now. But on a commercial scale. But more than the duty. a traveller. Another unsavoury fact associated with the killing of this Indian industry was that the thumbs and index fingers of many yarn makers were chopped off by the British in order to prevent them from twisting the finer yarns required for the muslins. Recently. the British imposed 80 per cent duty on the Indian product. the introduction of the machine-made yarn ruined the muslin trade. pressing and polishing the muslin was one of the specialised tasks of Dhaka’s washermen community. varying from 18 to 30 years. Dr Taylor. Tangail and Jamadani sarees. According to Rabindranath Saha. wrote: "Even in the present day. In the 17th century. "Hindu women of the age. they got only one to one and a half rupees per month. the Dhaka fabrics are unrivalled in transparency. during the era when a rupee fetched two and a half maunds of rice. Despite producing the costliest fabric in the world." The weavers were paid so little that. But after 30 years. Till 1821. the revival of the muslin industry has to depend upon the gradual improvement of the quality of the popular and cheaper muslin-based Dhakai. Kasidah and Jamdani fabrics for saris continued. with British machinery. West Bengal and other states in India have tried to revive muslin-weaving skills. But. The superfine quality could be woven only in early morning or afternoon as otherwise the strong sunlight snapped the threads. a British textile expert. were the weavers of superfine quality. This yarn was not of uniform quality. Bangladesh. the finest muslin of Dhaka was reserved for the imperial court. English mill-made thread was introduced in Dhaka. Dr Taylor states.at this competition. because they were then forced to work only for the Government which paid them ill and kept them in sort of captivity. at one-fourth the price of the Indian yarn. which were revived by the Government of India after Independence. yarn of a uniform texture could be obtained and soon the Indian handmade yarn industry closed. the manufacture of Dhaka. had this to say about the weavers: "It was a misfortune to appear very dexterous. . Unlike the case of many famous handicrafts of the subcontinent. a muslin weaver who has won a national award. In 1840. while the lesser varieties had about 1400 threads per inch." The count for the best variety of Dhaka muslin was 1800 threads per inch. Washing. is the question experts are trying to sort out. beauty and delicacy of texture. just as the skill of the muslin weavers was two centuries ago. the modern Indian computer experts are the nation’s pride. Today. thousands of Hindu weavers from Bangladesh came to West Bengal. serious efforts are being made to revive the muslin textile industry. And at the Computer-Aided Design Centre at Krishnagar in West Bengal. has taken the lead to establish a muslin saree centre for weavers in the Kalna town.In the town of Kalna in West Bengal. The expertise of computer scientists is being made use of to create indigenous but varied intricate designs for the fashionable Dhakai saris. in the last decade. . Happily. so that both India and our neighbour can reap the benefit. a senior executive in Tata Iron and Steel Co. In 1947 and later in the 1970s. there are six IBM workstations with more than 20 traditional weavers working on computer-aided designs. a visionary by name of Sujay Nag. Efforts are made to coordinate with the muslin industry in Bangladesh.