Changes

[[File:Shaft and peddle attachments.PNG|left|thumb|Fig. 10: Shaft and Peddle attachments. Note narrow width of border, geometrical mirror, image motifs and bobbin used. Courtesy: INSA.<ref>A. K. Bag, History of Technology in India (Vol. I), New Delhi: Indian National Science Academy, Lotika Varadarajan & Krishna Amin Patel, Textile Technology, [https://archive.org/details/in.ernet.dli.2015.205662/page/n413/mode/2up p.374.] Fig.11b.</ref>]]

[[File:Shaft and peddle attachments.PNG|left|thumb|Fig. 10: Shaft and Peddle attachments. Note narrow width of border, geometrical mirror, image motifs and bobbin used. Courtesy: INSA.<ref>A. K. Bag, History of Technology in India (Vol. I), New Delhi: Indian National Science Academy, Lotika Varadarajan & Krishna Amin Patel, Textile Technology, [https://archive.org/details/in.ernet.dli.2015.205662/page/n413/mode/2up p.374.] Fig.11b.</ref>]]

[[File:Manipulation of Peddle.PNG|thumb|Fig. 11 Manipulation of Peddles with the big toe of each foot. Courtesy: INSA.<ref>A. K. Bag, History of Technology in India (Vol. I), New Delhi: Indian National Science Academy, Lotika Varadarajan & Krishna Amin Patel, Textile Technology, [https://archive.org/details/in.ernet.dli.2015.205662/page/n413/mode/2up p.374.] Fig.11c.</ref>]]

[[File:Manipulation of Peddle.PNG|thumb|Fig. 11 Manipulation of Peddles with the big toe of each foot. Courtesy: INSA.<ref>A. K. Bag, History of Technology in India (Vol. I), New Delhi: Indian National Science Academy, Lotika Varadarajan & Krishna Amin Patel, Textile Technology, [https://archive.org/details/in.ernet.dli.2015.205662/page/n413/mode/2up p.374.] Fig.11c.</ref>]]

Fabrics can also be ornamented by the jamdani (Fig.l5a,b), slit, single and double interlock as also the dovetail tapestry techniques (Figs.l6a-d, 17a-b.). None of these methods of weaving involve usage of elaborate loom procedures. The investment is in terms of manual skill. Jamdani and tapestry both pre-date the introduction of the Islamic repertoire in weaves. In Jamdani, which falls under the category' of Supplementary weft inlaid, pattern ends are manually lifted with the pattern weft and ground weft positioned within the same shed (Fig. 15a-b). Major centres of Jamdani have been Dhaka, Tanda, Uppada and Paithan.

Fabrics can also be ornamented by the jamdani (Refer Fig.l4-15), slit, single and double interlock as also the dovetail tapestry techniques (Fig 16a-d, 17a-b). None of these methods of weaving involve usage of elaborate loom procedures. The investment is in terms of manual skill. Jamdani and tapestry both pre-date the introduction of the Islamic repertoire in weaves. In Jamdani, which falls under the category' of Supplementary weft inlaid, pattern ends are manually lifted with the pattern weft and ground weft positioned within the same shed (Fig. 15a-b). Major centres of Jamdani have been Dhaka, Tanda, Uppada and Paithan.

[[File:Tablet weaving apparatus.PNG|left|thumb|Fig. 12 Tablet weaving apparatus. Courtesy: INSA.<ref>A. K. Bag, History of Technology in India (Vol. I), New Delhi: Indian National Science Academy, Lotika Varadarajan & Krishna Amin Patel, Textile Technology, [https://archive.org/details/in.ernet.dli.2015.205662/page/n415/mode/2up p.376.] Fig.13.</ref>]]

[[File:Tablet weaving apparatus.PNG|left|thumb|Fig. 12 Tablet weaving apparatus. Courtesy: INSA.<ref>A. K. Bag, History of Technology in India (Vol. I), New Delhi: Indian National Science Academy, Lotika Varadarajan & Krishna Amin Patel, Textile Technology, [https://archive.org/details/in.ernet.dli.2015.205662/page/n415/mode/2up p.376.] Fig.13.</ref>]]

Slit tapestry, an early technique associated with Coptic tapestry, is found in the panja dari (Fig. 18); single and double interlock (Fig.16 b.c), occur in Kani Pashmina, to mention one example; the prime example of dovetail tapestry is the Kulu and Kinnaur body wrapper of Himachal Pradesh (Fig. 19.).

Slit tapestry, an early technique associated with Coptic tapestry, is found in the panja dari (Fig. 18); single and double interlock (Fig.16 b.c), occur in Kani Pashmina, to mention one example; the prime example of dovetail tapestry is the Kulu and Kinnaur body wrapper of Himachal Pradesh (Fig. 19.).

[[File:Tapes for tying manuscripts.PNG|left|thumb|Fig. 13 Tapes for tying manuscripts, possibly made in Varanasi acquired in A.D. 1885. It is double faced in reversible colour. Courtesy: INSA.<ref>A. K. Bag, History of Technology in India (Vol. I), New Delhi: Indian National Science Academy, Lotika Varadarajan & Krishna Amin Patel, Textile Technology, [https://archive.org/details/in.ernet.dli.2015.205662/page/n415/mode/2up p.377.] Fig.14.</ref>]]

[[File:Tapes for tying manuscripts.PNG|left|thumb|Fig. 13 Tapes for tying manuscripts, possibly made in Varanasi acquired in A.D. 1885. It is double faced in reversible colour. Courtesy: INSA.<ref>A. K. Bag, History of Technology in India (Vol. I), New Delhi: Indian National Science Academy, Lotika Varadarajan & Krishna Amin Patel, Textile Technology, [https://archive.org/details/in.ernet.dli.2015.205662/page/n415/mode/2up p.377.] Fig.14.</ref>]]

In South India where garments follow the mode of the ground fabric being fashioned in one colour with borders of another, the interlock is found at junctions where two opposing weft coloured picks are united. Since three separate shuttles are used in this category of weaving, this is also called the three shuttle technique (Fig.20).

In South India where garments follow the mode of the ground fabric being fashioned in one colour with borders of another, the interlock is found at junctions where two opposing weft coloured picks are united. Since three separate shuttles are used in this category of weaving, this is also called the three shuttle technique (Fig.20).

 

The major differentiation between the North and South Indian schema in ornamentation is that in the former there is greater reliance on weft patterning whereas in the latter there has been a greater orientation to warp ornamentation. This is reflected in loom typology. The ability to experiment with weft structures is associated with the development of the reed which ensures a more even separation of ends and maintenance of tension. The reed number is related to the count of the yarn, and this in turn, conforms to the structure of the fabric. Its presence on the loom would also facilitate the working of loom attachments such as multiple shafts and harnesses.

The major differentiation between the North and South Indian schema in ornamentation is that in the former there is greater reliance on weft patterning whereas in the latter there has been a greater orientation to warp ornamentation. This is reflected in loom typology. The ability to experiment with weft structures is associated with the development of the reed which ensures a more even separation of ends and maintenance of tension. The reed number is related to the count of the yarn, and this in turn, conforms to the structure of the fabric. Its presence on the loom would also facilitate the working of loom attachments such as multiple shafts and harnesses.