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Bomkai Silk Fabric

Introduction
Woven on a pit loom, Bomkai, which is also known as Sonepuri, is an extraordinary fabric that results
from the confluence of two extremely popular components of the Orissa textile industry. In its simplest,
Bomkai can be explained as an extra weft technique on a pit loom.It is an outcome of Ikat and
embroidery interwoven into each other. The borders are often in contrasting colors and the pallus
marked by intricate threadwork. The motifs on the Bomkai are inspired from nature and tribal art,
giving the saree a fascinating look that makes it perfect for aristocracy. Bomkai sarees are available in
cotton and silk fabrics.

Bomkai Saree (Source: Wikimedia)

BACKGROUND
Origin and History
The historical significance of Bomkai emerges from the fact that Bomkai is one of the traditional faces
of a designer Orissa; and, showcases the adept works of an artisan. Also known as Sonepuri the
embroidered cloth is a type of saree that was first crafted in the southern coastal parts of Orissa.
Undoubtedly then, the fabric carried an essence of the ensembles that originated on the shores. While
most of the coastal areas of Southern Orissa are involved in the creation of Bomkai sarees, it is in
Sonepur that the prettiest of the fabric facades are found.
Locally known as Bandha Bomkai concept of sarees is a part of the Orissan culture since 600 B.C.
An outcome of Ikat and embroidery interwoven into each other, Bomkai is a magnificent innovation
that has taken over the textile industry and gives it a global push. Traditionally worn as an auspicious
attire by the Brahmins of the South during rituals, Bomkai or Sonepuri today is counted amongst one
of the most highly thought of attires in the state of Orissa and an illustrious one in other parts of the
country.
Sources of Inspiration
Unlike most of the common forms of designs that are painted on the face of various fabrics, Bomkai
dares to be different. The motifs and designs portray mythology and well kept secrets of the past.
Inspired by folklore that spring from the roots of the Orissan culture, Bomkai is the heart of the textile
industry of Southern India. However, Bomkai doesnt ignore the inspirations that nature offers to
everyone completely free of cost.
Designs composed in the most outlandish of concepts string together motifs from offerings of the
environment including karela (bitter gourd), the atasi flower, the kanthi phul (small flower), macchi
(fly), rui macchi (carp-fish), koincha (tortoise), padma (lotus), mayura (peacock), and charai (bird). A
significant part of the finishing in Bomkai sarees can be attributed to the borders or pallavs. Some of
the sarees feature border motifs that are inspired by tribal art. A few examples include, Mitkta Panjia,
Kumbha, Rudraksha and Floral.
Colors on the other hand, are inspired by the effect of contrast. So with yellow you might see a nice
bright green, and with an orange saree, an equally absorbing yet mesmerizing black border.
Sometimes, the pallav might be double shaded, giving out a reflection of royal lustre. Lattice work,
which creates small diamond like shapes, can also be commonly found on the border of a Bomkai
saree.
Faces behind the Fabric
Beginning with the history, as usual, the earliest of Bomkais were made using a technique known as
jaalas. Woven with a low count of Cotton yarn, Bomkai saree is a weaving industry which makes use
of both the weft and warp techniques. The major occupation of the people of the Chikiti tehsil, Bomkai
gets its name from the Bomkai village of Orissa.
The main steps in the manufacturing of Bomkai include dyeing, dressing the loom, as well as
weaving. Materials used include pit loom, dye vats, thread, cotton/silk or dyes. While Orissa still
makes use of the Jaala technique for creating certain unique pieces of Bomkai and retaining the
original flavor of the craft, the industry has not been able to escape the influence of modern day

mechanization. However, the changing face of the industry does not, in any way, interfere in the love
that people instil for Bomkai.
Varieties
Its the creativity and the love of the people for Bomkai that sparks innumerable concepts within the
domain of Bomkai industries. Innumerable varieties of Bomkai have been introduced till date by
people belonging to the Southern parts of Orissa. Some of the most popular ones though include
Sonepuri, Pasapali, Barpali, and Bapta saris.
Innovations
One of the most interesting innovations in the history of Bomkai was the introduction of zari thread
work in its weaving. Angular discontinuance that stuck to creating traditional motifs on the pallav make
use of a new base now in the form of shimmering zari. In that way, the Bomkai manages to sell old
wine in a new bottle successfully, not compromising on the likes and dislikes of the industry.
Interesting Facts and Comparisons

A Bomkai saree is largely worn by Kathak dancers around the world

Bomkai is one of the major attractions in world fairs on fabrics, textiles and attires. The
Bomkai or the Sonepuri Saree was a great attraction in the wedding of renowned Bollywood
couple Abhishek Bachhan-Aishwarya Rai.

Reference

http://en.wikipedia.org/wiki/Sonepuri_Sari

http://madanneha.hubpages.com/hub/Traditional-Weaves-of-Orissa-Sari

https://strandofsilk.com/india-journey/gujarat-rajasthan/bandhani-leheriya-printtie-and-dye/production-technique/tie-and-dye

BEYOND THE CRAFT OF TIE AND DYE

The procedure of the production process for tie and dye is simple yet time consuming, and
requires skill and attention to the finest detail. A traditional technique of tie and dye involves the
fabric first being dampened before being placed over a wooden block embedded with small nails
or pins. The fabric is then tied over the nails or pins by hand and without the use of thread.
Another traditional technique, which is more commonly used today, involves the fabric first being
washed and beaten to remove starch and impurities before being folded into three or four layers.
Designs first sketched or stencilled on a transparent plastic sheet called a farma are then
transferred onto the fabric with precision using tiny pinholes made in the farma. The fabric is then

tied in areas dictated by the design using thread dipped in a wax resist to prevent dyes from
reaching other parts of the fabric. The use of these thread ties also results in patterns being
dispersed across the fabric. In the case of leheriya and mothra the fabric is folded and twisted
before being tied.

A craftsman draws a tie and dye design on farma to be transferred to fabric

L: Fabrics are tied with thread in preparation for dyeing

R: Fabrics tied in the leheriya method to create mesmerising wave-like patterns

Tied fabrics are immersed in dye baths, which are usually made of a mixture of dye and water.
Artisans make use of multiple dye baths that are of various colours and shades to create the
tantalising patterns seen in Indian tie and dye. Depending on the type of pattern, the fabric may
be tied and re-tied while being moved from one dye bath to another. The use of thread with a
wax resist creates the trademark white rings. Craftsmen sometimes make use of dyed thread
causing a coloured ring to be imprinted on the fabric. Drying the fabric is the final process and is
dependant on the climate. Fabric may take 4-5 hours to dry in the summer, 6-7 hours in the
winter and can take as long as two days during the monsoon season.

L: Fabrics are immersed in boiling dye baths for easier penetration of the dye
R: Tied and dyed fabrics laid out to dry

A characteristic of Indian tie and dye is a small dot in the centre motif of a square or circle. This
dot is caused by penetration of the dye that is only visible on hand-dyed items, a true indication
that an item is not mechanically-printed with tie and dye patterns. Today, items of tie and dye
made by hand in Gujarat and Rajasthan retain their essence of the art and exemplifies the
expertise of craftsmen whose skills are passed from one generation to the next. Tie and dye
items that make use of high quality cotton or silk fabrics are exquisite in both detail and
craftsmanship whereby skilled craftsmen, each with their own creative individuality, make use of
both contemporary and conventional techniques.

Images: Indian Handicrafts, D'source, Craft Mark

The Dabu Printing

Process
Dabu, which literally translates to "resist," is unique to Bagru. Many of the ingredients
cannot be found outside of the Bagru area, making it an unrepeatable process anywhere else
in the world.
The dabu mud is made from locally available black clay, spoiled wheat flour, calcium and
limestone. The mud is filtered by foot through a net in order to strain out rocks and minerals leaving a thick, smooth mud paste. The process is often compared to the way grapes are
crushed to make wine.
Blocks to print dabu are distinctly different, with deeper grooves for mud, and wider lines
compared to blocks for the traditional Bagru print.
After the mud is made, it is ready to be printed. The printer dips the block in the mud and
stamps it on the fabric.

Sawdust is gently sprinkled over the mud to prevent smudging, preserving the natural beauty
of the mud print.
The fabric is taken directly from the printing table to dry outside beneath the hot, rajasthani
sun.
The mud-printed fabric is then dyed, commonly in indigo wells, or pot-dyed in other colors
like grey, yellow, pink, and more.
After dyeing, washers rinse the mud off the fabric, revealing a white color where the mud
was protecting from dye. The natural cracks in the mud can be seen in the white print that is
unveiled after the wash.
The fabric is left to dry again before it is quality checked, pressed, folded, packaged, and
shipped.
Photos: Jonny Mack and Elliot Bromley