BOOK REVIEW - Baluchars: The Woven Narrative Silks of Bengal

The Baluchari exhibition also resulted in bringing of a book titled Baluchars: The Woven Narrative Silks of Bengal edited by Jasleen Dhamija and brought out by Niyogi Publications, launched with the exhibition is another addition in this ongoing work to document the rich tradition of Baluchari weaving which reached its height and then vanished. The book with chapters contributed by various authors and experts, has in one place managed to collate and collect varied resources which make up the Baluchari tradition. No doubt, there must be lots of information and dimensions still unexplored, yet it does justice to the weaving which once was the cynosure of all eyes.

The richly illustrated book is a feast to the eyes. The reading brings in a simplistic manner and tries to answer the various why and whats of this form of weaving. Jasleen Dhamija’s vast experience and expertise is amply evident in her chapter on Baluchari weaving. Jasleen Dhamija’s involvement with Baluchari’s revival at Benares under the guidance of Kamaladevi Chattopadyay paves the way for a very interesting introduction and chronicle of events. She writes about visiting Kalloo Hafiz and her long friendship with the family. The same was evident in the fondness and appreciation of the weaving skills of the family, and that of Naseem Ahmad which she spoke at the seminar.  So beautiful were the creations of Kalloo Hafiz that Jasmeen Dhamija says in the book that the best of connoisseurs were unable to spot the difference between the old Baluchari and this revival one. The practical recount of the journey is refreshing and one is transported to a different era where the focus was on restructuring the textile traditions of India.

The book has contributions by: Jasleen Dhamija, Ritu Sethi, Darshan Shah, Radhika Lalbhai, Eva Maria Racob, B.B. Paul, Monisha Ahmed,Anamika Pathak and Zahid Ali Ansari, Anita Nathwani, Nita Sen Gupta, Monisha Nene, Shilpa Shah, Ruby Palchoudhur & Siddhartha Tagore. The individual chapters by them and their close association with the Baluchari makes for interesting reading. What stands out in the book is the rich illustration, the breathtaking sarees, close ups of motifs. On display are pieces from rare collections. It is this rich visual imagery which can be used by researchers, designers to take this craft of weaving forward. There is a wonderful piece by Siddhartha Tagore whose father Shubho Tagore’s keen collection and efforts helped in the revival process. B B Paul shares an interesting fact as to how the saree is woven reverse side facing up and the weaver uses a mirror to see the reflection of what he is weaving. The Namavali from the National Museum collection, Asavali semblance from Radhika Lalbhai, details of collections from Tapi, V&A, CSMVS Mumbai, Indian Museum, Kolkata make for interesting reading. Eva Maria Racob untiring research and attention to detail is evident in the chapter by her. The book has managed to bring out in one place a treasure trove of sarees and woven fabric. This will help posterity in researching on the Baluchari tradition further. The immense wealth of the motifs, colours will prove inspiration for others to come out with similar collection. B B Paul opines that it is possible to better the production process at Bishnupur which will result in the creation of better sarees. Any person interested in taking the process further has a base from which to work further. The rich collection of the Museums can be seen in published forms. The other books so far are restricted to those collected by the organisation. In this book, the illustrations from National Museum, Crafts Musuem, CSMVS and V&A can be seen along with those by Weavers Studio Resource Centre, the research studio of Weavers Studio Kolkata and TAPI. The efforts taken from the 20^th century to revive this tradition, to make similar or more vibrant pieces can be read and for a textile lover or an organisation willing to work on the jala looms again, it provides for immense opportunity.

The book has managed to bring on to one platform the diverse views and collections from the country. It can be called a wonderful beginning which with time and perseverance will be definitely taken forward. Any revivalist can work on the patterns to create reproductions or newer forms.