DEPARTMENT OF TEXTILE ENGINEERING

Course No.: Tex 400

Course Title: Project
Academic Semester: Fall 2015

Project Report
on

Study on Production Technique, Problems and Prospects of Jamdani

Manufacturing in Bangladesh

Submitted by:
[Link] Umme Salma
[Link] S.A. Shadman
[Link] Hossain Al Fuad
[Link] Shakil Mahmud

Supervised by:
Mr. A.N.M Masudur Rahman Mr. Md. Ruhul Amin
Assistant Professor, DTE, AUST Associate Professor, DTE, AUST

Ahsanullah University of Science and Technology

June, 2016
 ACKNOWLEDGEMENT
In writing this report, we have been immensely benefitted by conversations with a number of
individuals who we should acknowledge with deep gratitude.

First of all, we would like to thank our supervisor Mr. A.N.M Masudur Rahman,
Assistant Professor, Department of Textile Engineering, for numerous advices provided
for our project development and also for guiding us throughout the project with his
knowledge and support. We would also like to thank Mr. Md. Ruhul Amin, Associate
Professor, Department of Textile Engineering for his overall guidance.

We are cordially grateful to Professor Dr. Ahmed Jalal Uddin, Head of the Department of
Textile Engineering, whose watchful guidance and inspiration enabled us to work hard and
study more to complete this project. We would also like to acknowledge our deep gratitude
for Dr. Mustafizur Rahman, Professor, Department of Textile Engineering, for his utmost
contribution to our department and its well-being.

Md. Saiful Islam provides us practical support to make it possible to meet many weavers and
individuls related to Jamdani production.

We would also like to thank Md. Mustafizur Rahman, Assistant Manager, Bangladesh
Handloom Board and Monjurul Islam, Marketing officer, Bangladesh Handloom Board
for providing valuable information.

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 ABSTRACT
Jamdani is one of the optimum muslin textiles produced in Dhaka division, Bangladesh for
centuries. The Jamdani is something that is exclusive to our country, a symbol of our rich
cultural heritage. The Jamdani saree is designed in geometrical patterns. This type of artwork
is disappearing with time. Holding onto the legacy is now difficult, as people’s styles and
trends are changing from one generation to the next. The aim of the project is to create a
context for Jamdani saree in contemporary light. The project work analyzes and estimates the
progression of Jamdani and its production phenomenon. The project revels the current
problems in its production procedure and mass production. The manuscript also figured the
problems that are responsible for the survival of Jamdani and its anticipation. To conduct the
project work, our choice of cluster was Noapara in Narayangonj. There we observed the
entire production process of Jamdani saree to figure out the major problems which are
obstacle to the progression of Jamdani. The main problem responsible for difficulties in
production of Jamdani is, still it can’t be adopted in power looms because of its distinct
design mechanism. Jamdani industry can only survive if the market is expanded.

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 TABLE OF CONTENTS
Page
Chapter No. Topics No.

Chapter :01 INTRODUCTION TO JAMDANI 01-10

1.1 Introduction 01
1.2 Objectives 02
1.3 What is JAMDANI 03
1.4 Historical and Geographical context of Jamdani 04
1.4.1 The Early History 04
1.4.2 The Mughal era 05
1.4.3 The British era 06
1.5 JAMDANI: Origin and Evolution 07
1.5.1 The Eastern Region 07
1.5.2 Geography and Ecology of production 07
1.5.3 Geography and Ecology of cultivation of raw cotton 07
1.5.4 Geographical and ecological context of the location of 09
Jamdani production sites
1.5.5 Reasons for concentration of Jamdani on these sites 10
Chapter :02 PRODUCTION OF JAMDANI 11-39
2.1 Tools and Equipment 11
2.1.1 Pre-loom accessories 11
2.2 Loom for Jamdani 13
2.2.1 Definition 13
2.2.2 Hand loom 13
2.2.3 Classification of Hand loom 13
2.2.4 Pit loom 14
2.2.5 Different parts of Pit loom 15
2.2.6 Description of loom parts 16
2.3 Why Pit loom 19
2.4 Making of Jamdani 20
2.4.1 Spinning 20
2.4.2 Winding 23
2.4.3 Dyeing 26
2.4.4 Sizing 28
2.4.5 Denting 30
2.4.6 Warping 31

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 2.4.7 Drafting and Drawing in 34
2.5 Weaving of Jamdani 35
2.5.1 Shedding 35
2.5.2 Picking 36
2.5.3 Beat up 36
2.5.4 Take up and let off 37
2.5.5 Weaving technique of Jamdani 38
2.6 Extra weft patterning 39
Chapter :03 DESIGN AND MOTIFS 41-43
3.1 Design and motifs 41
3.2 Configuration of Jamdani saree 43
3.3 Care of Jamdani saree 43
Chapter :04 MARKET STUDY 44-45
4.1 Introduction 44
4.2 Local market 44
4.3 Export market 45
4.4 Import duty & taxes for Jamdani saree 45
Chapter :05 PROBLEMS AND PROSPECTS 48-60
5.1 Registration and protection Jamdani 48
5.2 Current problems 49
5.2.1 Wages, employment and livelihood issue 49
5.2.2 Raw materials supply 49
5.2.3 Raw material prices 50
5.2.4 Infrastructure and investment 50
5.2.5 Design improvement 50
5.2.6 Cooperative system 51
5.2.7 Budget allocations 51
5.2.8 Intermediaries 51
5.3 Major findings 51
5.4 Past and current efforts to safeguard the element 52
5.5 Activities by States Parties for safeguarding the element 52
5.6 Steps and planning for Jamdani’s future 54
5.7 Financial support measure 55
5.8 Modernization, Technological and Quality upgradation 57
5.9 Suggestions 58
5.9.1 Bobbin winding 58

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 5.9.2 Pirn winding 58
5.9.3 Bleaching 59
5.9.4 Dyeing 59
5.9.5 Sizing 59
5.9.6 Warping 60
5.10 Marketing and promotional activities 60
Chapter :06 CONCLUSION 61
6.1 Limitations 61
6.2 Conclusion 61
References 62-63

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 TABLE OF FIGURES
Figure Figure Name Page
No. No.
1.1 Jamdani Saree 03
1.2 Charka winding 06
1.3 Region of cotton cultivation 08
1.4 Jamdani weaving region 09
2.1 Charka 11
2.2 Swift 12
2.3 Pirn 12
2.4 Pit loom 14
2.5 Different parts of Pit loom 16
2.6 A heald wire in the heald 18
2.7 Shuttle 19
2.8 Metallic or Lurex yarn 23
2.9 Bobbin winder machine 24
2.10 Chorka machine 25
2.11 Pirn winding 26
2.12 Dyeing process 27
2.13 Drying of dyed yarn 28
2.14 Weft yarn sizing 28
2.15 Sizing of cotton yarn with starch 29
2.16 Natai winding 30
2.17 Denting 31
2.18 Warp beam 32
2.19 Warping 33
2.20 Warp beam preparation 33
2.21 Drafting and Drawing in 34
2.22 Shedding 35
2.23 Picking 36
2.24 Beating 37
2.25 Weaving 39
2.26 Extra weft patterning 40
3.1 Common motifs used in Jamdani 42

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 CHAPTER-1
INTRODUCTION
1.1 Introduction:
Jamdani is a time-consuming and labor-intensive form of handloom weaving traditionally
practiced by craftspeople around Dhaka. The sheer cotton textiles are renowned for the
richness of their motifs, which are woven directly on the loom. Bengali women wear Jamdani
sarees as a symbol of identity, dignity and self-recognition, both for everyday wear and at
celebrations. The traditional motifs and weaving techniques are transmitted by master
weavers to disciples and are handed down within families in the weaver community. Jamdani
is expensive since it requires dedicated work and special skills [1].

Jamdani was and remains one of India and Bangladesh's most renowned crafts. Because West
Bengal and Bangladesh make up a continuous geographic, cultural and linguistic zone, the
traditional textiles are essentially the same for both. Jamdani industry in Bangladesh is having
glorious past, questionable present and blurry future due to a lot of internal and external
factors that are acting behind the scene. We choose to work on Jamdani due to its immense
historical significance and cultural relevance.

South Asia has at least 4000-years of textile heritage. Of all the regions in South Asia, the
Bengal Delta, or what makes up most of today’s Bangladesh, occupies a prominent place in
terms of cultivation of cotton and production of varieties of extraordinary fine clothes with
the generic name of “muslin”. Within the Bengal Delta, greater Dhaka (“Dacca” in colonial
literature and used until 1983) was a premier site of production and trade in muslin since
ancient times. It is estimated that there were 36 varieties of muslin products in the region and
Jamdani was one of the very best varieties of the muslin. The art and skill of making of
Jamdani was exclusively possessed by the weavers of Dacca. The distinctive character of
designs, techniques and textures of the rich variety of South Asian textiles are often
determined by geographic factors and cultural influences. This report attempts to locate
Jamdani within the geographical, historical and cultural contexts of the Dhaka region in
particular and Bangladesh in general [2].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
1.2 Objectives:

 To find out the history of traditional Jamdani.

 Utilization of Jamdani in our fashion.

 Research and Explore the Design of Jamdani.

 To find out the problems and prospects of Jamdani survival.

 To promote Jamdani manufacturing & use.

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
1.3 What is JAMDANI :

The word Jamdani is of Persian origin; ‘Jam’ meaning flower and ‘Dani’ meaning a vase. In
the textile history of Bangladesh Jamdani generally refers to the “saree”, most popular
garment of Bengali women. Jamdani is one of oldest most precious handmade fabric to be of
great demand across the world from thousands of years ago. Here are the three authoritative
definition of Jamdani:

A. “A kind of cloth in which the flowers are woven in and not worked” (generally muslin.)
(Hunter, 1808)

B. “A type of brocaded Dacca muslin, usually Flowered” (Cannon, 2001).

C. “A Dacca muslin woven with figures of flowers and other ornaments” (Knight, 1881 )
[2].

Figure 1.1: Jamdani Saree

Jamdani is a hand loom woven fabric made of cotton or silk, which historically was referred
to as muslin. Jamdani weaving tradition is of Bengali origin.

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
It is one of the most time and lobour intensive forms of hand loom weaving. It is undoubtedly
one of the varieties of finest muslin.

It has been spoken of as the most artistic textile of the Bangladeshi weaver. Traditionally
woven around Dhaka and created on the loom brocade, Jamdani is fabulously rich in motifs
[3].

Jamdani patterns are mostly of geometric, plant, and floral designs and are said to originate in
Persian and Mughal fusion thousands of years ago. There can be designs with peacocks and
leaves of creepers. Due to the exquisite pain-staking methodology required, only aristocrats
and royal families were able to afford such luxuries. The butis (motifs) across the warp, the
paar (border) and anchal (the portion that goes over and beyond the shoulder) are woven by
using separate bobbins of yarn for each color. The fine bobbins are made from tamarind wood
or bamboo [4].

1.4 Historical and Geographical context of Jamdani:

1.4.1 The Early History:

The earliest mention of the origin of Jamdani and its development as an industry is found in
Kautilya's book of economics (about 300 AD) where it is stated that this fine cloth used to be
made in Bengal and Pundra. Its mention is also found in the book of Periplus of the Eritrean
Sea and in the accounts of Arab, Chinese and Italian travelers and traders. Four kinds of fine
cloth used to be made in Bengal and Pundra in those days, viz khouma, dukul, pattrorna and
karpasi. From various historical accounts, folklore and slokas, it may be assumed that very
fine fabrics were available in Bengal as far back as the first decade before Christ. Cotton
fabrics like dukul and muslin did not develop in a day. Dukul textile appears to have evolved
into muslin. Jamdani designs and muslin developed simultaneously. The fine fabric that used
to be made at Mosul in Iraq was called mosuli or mosulin. In his 9th century book Sril Silat-
ut-Tawarikh the Arab geographer Solaiman mentions the fine fabric produced in a state called
Rumy, which according to many, is the old name of the territory now known as Bangladesh.
In the 14th century, Ibn Batuta profusely praised the quality of cotton textiles of Sonargaon.
Towards the end of the 16th century the English traveler Ralph Fitch and historian Abul Fazl
also praised the muslin made at Sonargaon [6].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
The excellence of cotton mulmul or muslin produced on the Dhaka loom was raised to an art
par excellence by Moghul patronage, and achieved a uniqueness which has remained
unparalleled among handloom cloth all over the world. When woven for royalty the muslin
was called Mulmul Khas (king's special) and the viceroys who placed orders for the Emperor
gave it poetic names such as Ab-e-rawan (running water), Shabnam (evening dew) and
Sharbati (winelike). The pinnacle of perfection came in the evolution of a special weave with
motifs 'embroidered' along the weft and this fabric was named 'Jamdani' which became
renowned as the figured or flowered muslins. Dhaka Jamdani, more than any other woven
craft, became synonymous with Muslim weaving skills. The origin of the word Jamdani has
no substantiated etymological explanation, but it is a Indo-Persian word and in its strictest
meaning describes 'jama' or clothing [7].

1.4.2 The Mughal Era:

Without any shadow of doubt, it can be said that the Jamdani industry of East Bengla reached
its zenith during the Moghul era. The art of making Jamdani designs on fine fabric reached its
zenith during Mughal rule. There were handlooms in almost all villages of the Dhaka district.
Dhaka, Sonargaon, Dhamrai, Titabari, Jangalbari and Bajitpur were famous for making
superior quality Jamdani and muslin. Traders from Europe, Iran, Armenia, as well as Mughal-
Pathan traders used to deal in these fabrics. The Mughal Emperor, the Nawab of Bengal and
other aristocrats used to engage agents at Dhaka to buy high quality muslin and Jamdani for
their masters' use. The golden age of Dhaka muslin began with Mughal rule. Since then the
demand for Jamdani and muslin fabrics at home and abroad grew and this prompted further
improvement in their manufacture. According to 18th century documents of the East India
Company, a high official of the company was posted at Dhaka to buy mulmul khas and
sarkar-i-ali. He had the designation of Daroga-i-mulmul. Every weaving factory had an
office, which maintained records of the best weavers and other exports. Weavers had no fixed
salary. They used to be paid the market value of the Jamdani or muslin they produced. It was
the duty of the Daroga to keep a sharp eye at every stage of production. Mulmul khas worth
about Rs. 100,000 collected from Dhaka, Sonargaon and Jangalbari used to be sent to the
Mughal court every year. According to a 1747 account of muslin export, fabrics worth Rs.
550,000 were bought for the Emperor of Delhi, the Nawab of Bengal and the famous trader
Jagath Sheth. The same year European traders and companies bought muslin worth Rs
950,000. Towards the end of the 18th century, the export of muslin suffered a decline. After

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
the English gained Diwani in Bengal in
1765, Company agents resorted to
oppressing the weavers for their own gains.
They used to dictate prices. If weavers
refused to sell their cloth at a lower price
they were subjected to repression. To stop
this repression, the East India Company
started buying the textiles directly from the
weavers. Thereafter muslin used to go to
Europe as personal imports [5].

Figure 1.2: Charka winding

1.4.3 The British Era:

After the British conquest of India, the aurangs that were once under the relatively
considerate Mughal administration now came under British occupation. British agents
invested huge sums in the industry and created a virtual monopoly for themselves.

However, this excessive greed for Jamdani itself resulted in the decline of the muslin industry
shortly after the end of the 18th century. Many factors contributed to the slump, the most
destructive factor being the dictation of prices by the agents of East India Company who
exploited the weavers for their own financial gains. Other factors that heavily contributed to
the decline were the import of cheaper but shoddier quality yarn and mass produced machine
textile from Europe. By the end of the first half of the 19th century, export came to a halt and
by the end of this century the illustrious Dhaka Jamdani muslin had virtually passed into
history.

Despite the end of its glorious era, Jamdani muslin has survived into modern times, adapting
to changing tastes and trends. Within the last few decades, Jamdani designs have become au
courant and more stylish than ever. No longer is hand-spun cotton yarn the sole material of
choice; Jamdani can now be woven with a combination of silk and cotton or even just silk.
And the colours are no longer restricted to the off-white, grey and indigo palette of yore;
Jamdani is now available in a wealth of vibrant as well as soft mellow tones [5].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
1.5 JAMDANI : Origin and Evolution

1.5.1 The Eastern Region:

The eastern Indian region in the 18th century was consisting Bangladesh, West Bengal, Bihar,
and eastern Uttar Pradesh. Two and a half thousand years ago it developed a distinctive
culture that dominated most of the sub-continent and profoundly influenced the Asia. The
small kingdom of Magadha and central Bihar become the base of the Mauryan and Shunga
empires (320-50 BC) and over the following 12 hundred years eastern India remained the
centre of Buddhist and classical Hindu culture. It was the time when the Muslin invaders
from Afghanisthan in the twelfth century that eastern India lost its political and cultural
dominance.

When the East India Company entrenched itself here during the eighteenth century, its
business practices soon reduced once-comfortable peasants and artisans to utter poverty by
preventing them from spinning and weaving their own cloth for sale, causing the
disappearance of many local textiles. Although the region usually those created for luxury
and urban markets was ruled by Muslims from the west since the twelfth century, sarees
rather than cut and stitched garments always dominated women’s clothing, India’s three
major natural fibres, namely cotton, mulberry silks and wild silks, have traditionally been
cultivated and woven here. While the traditional Bengal variety of cotton (deshi) has a short
fibre that is more crimped than most longer-fibred cottons cultivated for mechanical spinning,
giving a distinct crepe-like appearance to the woven cloth [2].

1.5.2 Geography and Ecology of production:

The Geographical Indicators for Jamdani can be studied from at least two vantage points
offered by Dhaka. First, the location and ecological context of production of raw cotton in the
region. Second, ecological conditions of production of Jamdani itself. We will focus here on
to what extent these geographical factors aided the emergence and development of Jamdani
industry in Dhaka region [2].

1.5.3 Geography and Ecology of cultivation of raw cotton:

To understand the development of Jamdani in Dhaka region, we need to understand the

context and conditions of cotton cultivation, as cotton was the crucial backward linkage for
muslin in general and Jamdani in particular.
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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
The Bengal Delta in general and the Dhaka region in particular was famous for production of
Kapas. Many competent authorities from precolonial and colonial times have suggested that
the Dhaka cotton yarn of unique quality meant for use in the production of muslin grew “only
along the banks of the Brahmaputra and the branches of the Meghna” (Ghuznavi: 38). By the
turn of the nineteenth century John Taylor specified the following areas where cotton was
produced historically: Firingi Bazar, Rajendrapur, Idilpur, Bikrampur, and Kartikpur. The
region around Rajendrapur on the bank of river Shitalakhya is still called Kapasia and it is a
well-known sub-district (Upazilla) of the country [2].

In other words, the cotton production found its most fertile ground in the regions around the
connecting points between the Old Brahmaputra and the Meghna rivers. More recent
authoritative works suggest that the quality of Dhaka muslin resulted greatly in the quality of
raw cotton grown in the region.

Figure 1.3: Region of cotton cultivation

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
In terms of the specific soil ecology, it was observed by colonial officials that the water of the
rivers of the region contained siliceous and calcareous earth mixed with iron, which might
have aided the better cultivation of cotton notes that more the root of the plant of Kapas goes
underground, the better the quality and quantity of cotton. The quality and quantity is further
enhanced if the soil is loamy or which contains maximum moisture and heat. The central
Bengal Delta, or the regions around Dhaka, seems to have ideally and uniquely fit for such
condition.

The geological process was climatically aided as the freshness of sea air nourished the Kapas
cultivations. A favourable combination of geological and climatic condition offered the
Dhaka region a production site for cotton, which was unique to this region only. This is
reflected in the fact that the British attempt to cultivate the Kapas elsewhere in 1790 and 1791
failed completely [2].

1.5.4 Geographical and ecological context

of the location of Jamdani production
sites:

In the mid-nineteenth century that in almost

every village of Dhaka district there were
some sort of weaving establishment, but the
major manufacturing was Dhaka city,
Sonargaon, Dhamrai, Titabadi, Jangalpur and
Bajitpur. At present the production sites are
concentrated in Sonargaon. Historically, a
chain of production sites was located around
the water networks of Dhaka. Sonargaon was
perhaps the earliest sites of production and it
expanded northward along the banks of river
Shitalakhya. From north to south along the
river, the Jamdani production sites exists in

Figure 1.4: Jamdani weaving region

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
Kapasia near Narsingdi (Ghorashal), Rupganj (Kazipara, Under Rupganj‟s Tarabo
Municipality, along the banks of Shitalakhya, are Pabankul, Morgakul, Rupshi, Noapara),
then Siddhirganj. Further south, on the Meghna drainage basin is the Sonargaon. Glassie
(2000: 403) was informed that there were two to three thousand Jamdani looms in the region,
“nearly half of them in the villages that run together, north of Tarabo, along the bank of the
river [2].

1.5.5 Reasons for concentration of Jamdani on these sites:

First of all, it is understood that these production centres were located in the middle of sites of
production of cotton specifically suited to prepare Jamdani.

Secondly, the river system greatly facilitated the supply of raw cotton and distribution and
marketing of finished products. All the markets were, therefore, on the river bank as
mentioned the following markets: Barmi, Kapasia, Laksmipur, Jamalpur, Kaliganj, Rupganj,
Murapara, Demra, Siddhirganj and Narayanganj.

A third issue relates to the quality of waters and climate of the region. Hunter noted that the
water of the Shitalakhya river, with a length of about 50 miles, had a high and wooded bank,
which never overflowed and that it was “remarkable for the purity and coolness of its water”.
Since water was needed for processing cotton and other production contents, it may be
assumed that the water of Shitalakhya had something to do with Jamdani production.

Fourth, in terms of climatic issues, some writers refer to the level of moisture of the region.
There were many processes of weaving which were dependent on the right level of humidity
and moisture.

Fifth, the local ecology inspired most of the Jamdani designs. It seems that in terms of design
Jamdani was not a static weaving practice. Over the times the floral designs gave way to a
diverse pool of designs, focusing on local flowers and plants, signify local orientation.
Designs are drawn from the lived life and the natural environment of Bangladesh in general
and Dhaka in particular [8].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
CHAPTER-2

DETAILS OF
JAMDANI
PRODUCTION
2.1 Tools and Equipments:

2.1.1 Pre-loom accessories:

Charkha:

The charkha is one of the weaving apparatus which has been evolved greatly over the years.
It consists of a wheel and a peg which are connected with a yarn so when the wheel is
revolved the peg revolves as well,
the pirn or bobbin is fixed onto the
peg and yarn is winded onto it from
a hank or creel of yarn. Older
charkhas were made of different
wooden wheels but today they use
discarded cycle Wheels which are
bigger and make the entire process
much faster. A number of weavers
still use the wooden charkhas
which are smaller [9].

Figure 2.1: Charka

Spinning Wheel:

The spinning wheel works in such the same way a charkha does and is primarily used to spin
cotton fibre into yarn. While this activity is at a standstill it can be used as a charkha to wind
bobbins [9].

Creel:

The creel is a fairly large wooden frame with steel rods running through it. These rods are
slipped into holes on the vertical lines of the frame. However, some creels have each steel rod
working independently for each reel. This creel will have the wooden frame divided into a
number of columns as well. The creel is used for is divided into a number of reels which are
then used for drumming to speed up the process of making a long and wide warp [9].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
Swift :

The swift is used to mount the hank. It is a wheel

like structure made of wood and yarn, the wheel has
a central axis with six arms protruding on either
side. Another device is used to plant a swift in a
manner that lets it rotate as the charkha tugs at the
hank. Two Wooden planks are mounted on another
plank. The top of the vertical planks has groves
within which the swift is placed and secured. As the
groove is deep the hank can rotate quite freely [9].

Figure 2.1: Swift

Pirn

A pirn is a rod onto which weft thread is wound for use in weaving. Unlike a bobbin, it is
fixed in place, and the thread is delivered off the end of the pirn rather than from the center. A
typical pirn is made of wood or plastic and is slightly tapered for most of its length, flaring
out more sharply at the base, which fits over a pin in the shuttle. Pirns are wound from the
base forward in order to ensure snag-free delivery of the thread, unlike bobbins [9].

Figure 2.3: Pirn

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
2.2 Loom for Jamdani

2.2.1 Definition

A loom is a device used to weave cloth. The basic purpose of any loom is to hold the warp
threads under tension to facilitate the interweaving of the weft threads. The precise shape of
the loom and its mechanics may vary, but the basic function is the same. Looms are of two
types – Hand loom and Power loom [10].

2.2.2 Hand loom:

Handlooms are fundamentally different from power looms. Motion of the handloom is
operated by skillful human hands, without using any source of energy like electricity, water,
air or sun to drive the motion of the loom.

Fabric is woven on a handloom by interlacing of warp, running length-wise and weft or

filling, running width-wise. Warp threads are raised and lowered by manual shedding motion
to form shed. Through this shed, the shuttle is passed carrying across the weft thread which is
beaten against the woven fabric by the movable comb like frame or reed. When the heddle is
shifted, the two sets of warp reverse position, binding the weft into the fabric and opening
other shed.

Handloom weaving involves three Primary Motions i.e. Shedding, Picking and Beating.
Shedding motion separates warp threads, according to pattern to allow for weft insertions or
picking prior to beating. Picking is the operation wherein after the shed has been formed, the
length of weft is inserted through the shed. As soon as a weft yarn is inserted, the reed pushes
or beats up the weft to the fell of the cloth. All the three motions are carried out by the weaver
manually for weaving of the fabric by interlacement of warp and weft [11].

2.2.3 Classification of Hand loom:

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 Pit loom Frame loom
HAND LOOM
Hattersley loom Chittaranjan loom

Jamdani is mostly popular because of its intricate design. It is a time consuming and very
complex weaving process. It is a laborious process and is an example of high skill in
weaving. Hand loom that popularly used for Jamdani is known as Pit loom.

2.2.4 Pit loom:

The Pit loom is a loom situated on the ground / floor with a pit having two peddles set in the
pit for the weaver to operate. Pit loom weaving is considered to be better weaving as the
fabric woven retains the character of the fiber and fabric due to the proximity to the ground

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
[12].

Figure 2.4: Pit loom

Traditionally a Jamdani is woven on a Pit loom in which the weaver sits on the edge of the pit
with his legs working on the treadles inside the pit. In the Pit loom two healds hanging over a
supporting bar. The two healds are connected with two heald horses or sticks.
In this loom the weaver throws a shuttle through the shed from one selvedge end across the
width of the cloth by one hand, and catches the same at the opposite selvedge and by the
other hand. This operation is repeated so long as the entire piece of fabric is woven [12].

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The yarn for the weft (bana) is wound on a small hollow spools, generally straws. The shuttle
is shaped like a small boat pointed at each end, and having the intermediate space open. In
this space the spool of yarn is placed and revolves on a wire which runs through it
lengthwise. The end of the yarn passes out through a hole in the side of the shuttle.
This loom had been known to be in use in India 5,000 to 6,000 years BC and the uses of the
reed, lease rods and temples were also known to the weavers by that time. But its production
is considerably slow, say, 3 to 5 meters a day of 8 working hours, or in weaving finer fabrics
still lower [12].

2.2.5 Different parts of Pit loom:

 Dotti (beater)

 Shana (reed)

 Jhap (heald frame)

 Noroth (warp beam)

 Putul kathi

 Nachni kathi

 Chouchala

 Babri (Top bar)

 Ohi

 Juitash(side bar)

 Maku (shuttle)

 Noli (pirn)

 Kandu (needle)

 Paddle or Treadle

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 Figure 2.5: Different parts of Pit loom

2.2.6 Description of loom parts:

Frame:

The frame is the obvious frame like structure in the loom. Its dimensions are calculated by
the width of the sley and the beams of the loom. The frame has two side bars which contain
groves within which the sley is mounted. The sley can also be adjusted to be higher or lower.
The sley is kept in place by a wooden bar on its top and bottom [9].

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Side bar or Side frame:

There are wooden bars fixed on both sides of the sley. These bars add to the strength of the
sley and the top rest of the sley rests on these side bars to which it is fixed by iron screws [9].

Top bar or Sley top rest:

Sley is suspended from the top bar which is a wooden beam fixed horizontally on top of the
sley. top bar is what holds the side bars in position. The sley is given mobility by iron pins
that connect it to the top bar. As it is fixed by iron pins and not completely fixed the sley
gains its ability to go to and fro and beat the fabric with the reed mounted on it [9].

Beam:

Beaming is the process of creating a warp of the required length and winding it onto a beam.
The beam which the warp is wound around is called the warp beam. This beam is situated at
the back of the loom. The warp ends are brought to the front of the warp through heald eyes
that are housed in shafts. After the warp ends pass through the shafts they are knotted onto a
rod attached to the cloth beam or the weavers beam. The fabric that is woven is rolled onto
this beam at the front of the loom. This is what we refer to as take-up. The take-up motion is
initiated by let-off where the warp is released from the back of the loom. Both beams are
fixed with iron pins on either side in a manner that allows them to rotate freely on their axis.
Both beams have levers through which the tension of the ends can be adjusted [9].

Beater:

The Beater is the portion of the loom that is assembled to house the reed. There reed is fixed
in between two wooden caps. These caps may work in tandem with the sley and therefore run
through the length of the sley. The two wooden caps and fixed together with a nut and bolt.
The beater is also attached to the frame by rope which allows for adjustment [9].

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Reed:

The reed is fundamental to the weaving process. It was contrived to the warp yarns separate
and therefore, untangled. It also keeps them at a desired distance from one another therefore
the density of the warp can be decided accurately. The reed is mounted with the beater on the
sley of the loom. With movement of the sley the reed is taken forward to beat the weft yarn to
the fell of the cloth. The reed is about 3-4 inches in height and runs the length of the sley or is
fixed in accordance width of the fabric to created. Traditional reeds used for Jamdani is made
of fine bamboo strips mounted between two semi-circular bars to create a frame [9].

Healds:

Traditional and indigenous healds were made by hand with a strong twine to withstand
friction. The healds were loops of twine fastened to wooden sticks. In the centre of a loop or a
"heald eye' is created through which a warp end is passed. The healds are fastened onto
wooden slicks which are placed within shaft boxes thus separating the warp yarns into a
minimum or two parts. These shafts are placed right before reed. The treadles control these
yarns and when any one layer of yarns is elevated a 'shed' is created and the shuttle is passed
through it carrying the weft yarn [9].

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 Figure 2.6: A heald wire in the heald

Treadles:

Treadles are wooden peddles situated in the pit of the loom. The front of the peddles have a
hole from which a yarn is passed and then attached to the shafts. The base of the peddle
contains two holes through which metallic cords are passed

and fixed to the floor of the pit. The iron rods act as a pivot for the treadles. The front of the
treadle is elevated and the back remains tethered to the ground therefore when pressure is
applied with the foot the yarns attached to a specific shaft are lifted, creating the shed [9].

Shuttle:

A shuttle is a tool designed to neatly and compactly store or a holder that carries the thread
across the loom weft yarn while weaving. Shuttles are thrown or passed back and forth
through the shed, between the yarn threads of the warp in order to weave in the weft. The
shuttle carries the weft yarn from one selvedge to the other [9].

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 Figure 2.7: Shuttle

2.3 Why Pit loom:

The mechanism of Pit loom is very simple and two heald frames are used only to produce
plain weave. Because of the minimum number of heald frames used the strain on the yarn
also minimum in the Pit loom. The yarn used in Jamdani production is in very finer count. If
other looms are used the strain on the warp will be high and possibility of frequent yarn
breakage. In addition, if the moisture content of the yarn is reduced the strength of the yarn is
also reduced causes hardening and breakage of yarn. Hence the thread work inside the pit, so
that the warp threads may absorb moisture and better weaving will result.

2.4 Making of Jamdani:

2.4.1 Spinning:

For Jamdani weaving mainly silk and cotton yarn is used. Cotton can be used both for warp
and weft but usually silk is used only for warp. Silk is imported from China, Egypt and India.
Silk from Rajshahi is also used but in small quantity as of low quality. Silk is delivered to the
next process in skein form. Count required for warp in Jamdani ranging from 80-100Ne and
for weft around 50-60Ne. Nylon is also used which is around 10denier. Zari (metallic yarn)
and folded yarn are used for designing.

Silk spinning:

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Sericulture:

Cultivation of the silkworm is known as sericulture. Although many insects produce silk,
only the filament produced by Bombyx mori, the mulberry silk moth and a few others in the
same genus, is used by the commercial silk industry.

[The “silkworm” is, technically, not a worm but a moth pupa. For the sake of simplicity and
consistency, however, we will use the term silkworm throughout this writing] [13].

Hatching the Eggs:

The first stage of silk production is the laying of silkworm eggs, in a controlled environment
such as an aluminum box, which are then examined to ensure they are free from disease. The
female deposits 300 to 400 eggs at a time.

In an area the size of your monitor screen, 100 moths would deposit some 40,000 eggs, each
about the size of a pinhead. The female dies almost immediately after depositing the eggs and
the male lives only a short time after. The adult possesses rudimentary mouthparts and does
not eat during the short period of its mature existence.

The tiny eggs of the silkworm moth are incubated (about 10 days) until they hatch into larvae
(caterpillars). At this point, the larva is about a quarter of an inch long [13].

The Feeding Period:

Once hatched, the larvae are placed under a fine layer of gauze and fed huge amounts of
chopped mulberry leaves during which time they shed their skin four times. The larvae may
also feed on Osage orange or lettuce. Larvae fed on mulberry leaves produce the very finest
silk. The larva will eat 50,000 times its initial weight in plant material.

For about six weeks the silkworm eats almost continually. After growing to its maximum size
of about 3 inches at around 6 weeks, it stops eating, changes color, and is about 10,000 times
heavier than when it hatched. The silkworm is now ready to spin a silk cocoon [13].

Spinning the Cocoon:

The silkworm attaches itself to a compartmented frame, twig, tree or shrub in a rearing house
to spin a silk cocoon over a 3 to 8-day period. This period is termed pupating.

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Silkworms possess a pair of specially modified salivary glands called sericteries, which are
used for the production of fibroin – a clear, viscous, proteinaceous fluid that is forced through
openings called spinnerets on the mouthpart of the larva.

Liquid secretions from the two large glands in the insect emerge from the spinneret, a single
exit tube in the head. The diameter of the spinneret determines the thickness of the silk
thread, which is produced as a long, continuous filament. The secretions harden on exposure
to the air and form twin filaments composed of fibroin, a protein material. A second pair of
glands secretes a gummy binding fluid called sericin which bonds the two filaments together.

Steadily over the next four days, the silkworm rotates its body to construct a cocoon and
produce about a kilometer of silk filament [13].

Reeling the Filament:

At this stage, the cocoon is treated with hot air, steam, or boiling water. The silk is then
unbound from the cocoon by softening the sericin and then delicately and carefully
unwinding, or 'reeling' the filaments from 4 - 8 cocoons at once, sometimes with a slight
twist, to create a single strand.

As the sericin protects the silk fiber during processing, this is often left in until the yarn or
even woven fabric stage. Raw silk is silk that still contains sericin. Once this is washed out
(in soap and boiling water), the fabric is left soft, lustrous, and up to 30% lighter. The amount
of usable silk in each cocoon is small, and about 2500 silkworms are required to produce a
pound of raw silk [13].

Zari (metallic yarn) manufacturing process:

There are two basic processes that are used in manufacturing metallic fibers. The most
common is the laminating process, which seals a layer of aluminum between two layers of

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
acetate or polyester film. These fibers are then cut into lengthwise strips for yarns and wound
onto bobbins. The metal can be colored and sealed in a clear film, the adhesive can be
colored, or the film can be colored before laminating. There are many different variations of
color and effect that can be made in metallic fibers, producing a wide range of looks.

Metallic fibers can also be made by using the metalizing process. This process involves
heating the metal until it vaporizes then depositing it at a high pressure onto the polyester
film. This process produces thinner, more flexible, more durable, and more comfortable
fibers.

Figure 2.8: Metallic or Lurex yarn

Metal fiber may also be shaved from wire (steel wool), bundle drawn from larger diameter
wire (smallest fiber is produced by this method), cast from molten metal, or grown around a
seed (often carbon). Bundle drawn metal fiber can be produced to sizes smaller than one
micrometer in diameter [14].

2.4.2 Winding:

Warp winding:
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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
Weavers receive the silk filament in skein form. The length of yarn contains in one skein is
about 560 yards. Skein is transferred to flanged bobbin by bobbin winder machine.

Figure 2.9: Bobbin winder machine

After winding the bobbin, this are fed to the electrical Chorka machine to convert in skein
form according to the required length of yarn approximately 26 yards i.e. length required for
producing 4 sarees.

In Chorka machine heald shaft is used to separate the warp yarn set for shedding to minimize
the difficulties in drawing in.

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 Figure 2.10: Chorka machine

Pirn winding (for weft):

Pirn is the tool on which the weft yarn is wound and then inserted into the shuttle. Pirns are
generally either made of plastic or wood. One is a tapered piece of wood about 10 cm in
length around which the weft yarn is wound. Pirn winding is to be done in a careful manner
so as to ensure that the yarn unwinds without interruption from the pirn without slipping or
becoming loose while picking. The weft yarn is wound onto the pirn from a hank using a
stand and winding wheel. The yarn has to be guided properly into the pirns by the finger and
thumb in the form of spirals from top to bottom and then reverse.

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 Figure 2.11: Pirn winding

2.4.3 Dyeing:

Cotton dyeing process:

Bleaching:

Before cotton dyeing bleaching is done. The amount of bleaching powder required for
bleaching is 35g/kg of yarn. Hot water is only used to dissolve the bleaching powder and the
whole process is run in normal tube well water. Soda is used in 15-20g/kg of yarn. Then

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
washing for 20 minutes and rinse. Bleached cotton yarn is stored in the room temperature for
drying to remove the bad odour of bleaching powder.

Dyeing:

Vat dye is used for cotton dyeing. Hydrose (Na2S2O4) and Caustic soda (NaOH) is used in the
dye bath. The dye bath temperature is about 60-700C. Hot water is also used for dissolving
the dye. There is no use of other auxiliary chemicals along with the dye.

Figure 2.12: Dyeing process

The amount of dye for required shade matching is added randomly by dyeing master as per
his experience without weighing. After dyeing the dyed yarn is dried in sunlight for 4-5hr.

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Silk dyeing process:

Bleaching is not needed as pretreatment process for silk yarn dyeing. Silk yarn is dyed with
vat dyes. Hydrose (Na2S2O4) and Caustic soda (NaOH) is used in the dye bath. The
temperature of the bath is around 60-700C. No other auxiliary chemicals are used along with
the dye. First the yarn is washed and then dipped in the required color and the worker goes on
turning the yarn so that the color is evenly mixed in the yarn. The most important aspect in
the process is the mixing of colors which will give unique and durable color to the fabric
After dyeing yarn is dried in room temperature.

Figure 2.13: Drying of dyed yarn

2.4.4 Sizing

Sizing is a process used for the application of a film forming polymer to provide temporary
protection to the warp from abrasion and other types of stresses generated during weaving,
while the warp is on the loom, in order to reduce the yarn breakage. With sizing, the strength
- abrasion resistance of the yarn improves and the hairiness of yarn decreases. Sizing can be

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
done by machine or hand. Starch is often used as sizing for cotton yarns.

Figure 2.14: Weft yarn sizing

The cooked rice “bhaat” has to be converted into a starch strong enough to hold through the
infinite movement that go into weaving the fabric. There are precise measures of how rice be
added with the starchy water produced by rice as it cooks.

The starch water has to be mixed with a precise amount of tamarind pulp or tetul and the mix
has to stand a couple of hours. If the starch turns sour it will curdle. If it is too fresh, it will
not hold.

The mixture is then kneaded into the cotton strands deftly, ensuring that there is not a drop of
excess moisture in the strands. This is done for about twenty-five minutes or so by which
time the entire mixture is absorbed by the yarn.

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 Figure 2.15: Sizing of cotton yarn with starch

The little nuances involved in the sizing process can make a big difference to the smooth
functioning of the yarn while winding, drumming and weaving. Only the cotton for weft is
sized. After sizing the sized yarns are wound into a natai for drying.

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 Figure 2.16: Natai winding

2.4.5 Denting:

Denting means drawing the warp thread through the dent as required by reed plan and its
determines more accurately the width of the fabric and the ends per centimeter. Denting is
done manually with the help of a hooked needle. Two ends are inserted through each dent,
2ends/dent. The dent in pit loom is made of bamboo.

Reed count calculation:

Reed width: 47"

Total number of ends: 2100

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 Inserting 2ends/dent, hence number of dent (2100/2 = 1050)

Reed count: (Number of dents / Reed width)*2 = (1050/47)*2 = 44 dents

In stockport system reed count is 44S

Figure 2.17: Denting

2.4.6 Warping:

In Jamdani weaving warping is done after denting. The diameter and length of warp beam is
10cm and 58cm respectively. The beam is made of wood and there is no flange as like we
observed in modern loom’s warp beam. There is a groove from one end to other of the beam
along the length direction. The length of yarn in a warp beam is approximately 26 yards.

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 Figure 2.18: Warp beam

1. Warping or drumming starts with the yarn skein which is already passed through the
reed and wound on a thin bamboo stick.

2. They are then attached to a hook on the warping drum and rotated for as many turns
as the required length of warp.

3. Other end of the warp with bamboo stick is attached to the groove of the warp beam
and rotates the beam once to hold the warp.

4. After that the whole length of warp is wound on the drum.

5. Then the rod on the beam rotated in the reverse direction until the entire warp is
transferred to the beam.

6. While beaming, newspapers are fed in between successive sheets of warp to maintain
appropriate tension.

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 Figure 2.19: Warping

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 Figure 2.20: Warp beam preparation

2.4.7 Drafting and Drawing in:

Drafting involves passing each warp end in consecutive order through heald eyes which are
mounted on a shaft according to a plan furnished by the designer. There needs to be a
minimum of two shafts for weaving to happen and to form the shed. The warp ends are
distributed among the shafts as required according to the design and construction.

Drawing in involves passing the warp yarn through the heald eye. In Jamdani weaving
drafting and drawing in are done at the same time when preparing the heald shaft.

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 Figure 2.21: Drafting and Drawing in

2.5 Weaving of Jamdani:

Weaving is the interlacement of two sets of yarns. Weaving consists of three primary
motions: shedding, picking and beating.

2.5.1 Shedding:

Shedding is the process by which some of the yarns are lifted in order to form the shed
through which the weft can pass. This is done by pressing the foot treadles on the bottom of
the pit loom. The distribution of ends on top and bottom of the shed depends on drafting plan
and lifting order. The process of shedding is referred to as "jhaap tola" in bengali.

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 Figure 2.22: Shedding

2.5.2 Picking:

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
Picking is the process by which the weft is inserted. In throw shuttle Pit loom two weavers
weave at a time side by side. A shuttle containing a pirn package is thrown by one and
catched by another at opposite side.

Figure 2.23: Picking

2.5.3 Beat up

Beating is process by which the inserted weft is pushed into place in the already woven
fabric. This is done by a swift motion of the beater towards the fell of the cloth. Beat up is
referred to as "baan kora" colloquially.

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 Figure 2.24: Beating

2.5.4 Take up and let off:

The secondary motions involved in weaving are: take up and let-off.

As the cloth is being woven, the already woven fabric is wounded onto the cloth beam
located in the front (on the weaver's side) to facilitate more weaving to happen. This is the
take up motion.

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
Simultaneously, the warp wound onto the warp beam located at the back (end opposite to the
weaver) is let off to facilitate take up. Take up is referred to as "kapor jorano" and let off as
"beam charano" colloquially. Every process is done manually.

2.5.1 Weaving technique of Jamdani:

In a Jamdani, warp is usually ornamented with extra weft (thereby creating the
design) followed by ground weft. The Jamdani is therefore an inlay technique on lightweight
fabrics. Jamdani essentially introduces a thick thread work into a plain base to weave various
patterns. In weaving Jamdani two weavers weave at a time side by side. One of the weavers
press the paddle in order to form an open shed. The design is produced by discontinuous weft
insertion. Plain weave is used for ground fabric [15].

 For traditional Jamdani weaving, a very elementary pit loom is used and the work
is carried on by the weaver and his apprentice.

 The latter works under instruction for each pick, weaving his needle made from,
buffalo horn or tamarind wood to create the floral sequence.

 With a remarkable deftness, the weft yarn is woven into the warp in the
background color from one weaver to the other.

 When the weft thread approaches close to where a flower or other figure has to be
inserted, the weaver takes up on a set of bamboo needles round each of which is
wrapped yarn of a different color as needed for the design.

 As every weft thread passes through the warp then the weaver sews down the
intersected portion of the pattern with one or another of the needles as might be
required, and so continues till the pattern is completed [15].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 Figure 2.25: Weaving

2.6 Extra weft patterning:

The dominant feature of Jamdani is its exquisite design element, woven into perfection into
the gauzy fabric. Although sometimes mistaken for embroidery, Jamdani is not embroidered,
but rather figured on the loom. Jamdani’s are woven in plain weave, the simplest form of
interlacing with supplementary extra weft. The cloth structure is very balanced and strong
due to the plain weave interlacing.

In manufacturing Jamdani, two weavers sit at the loom. They place the pattern, drawn upon
the paper, below the warp, and range along the track of the weft a number of cut threads
equal to the flowers or parts of the design intended to be made; and then, with the small stick
called “kandu” made of buffalo horn, they draw each of these threads between as many
threads of the warp as may be equal to the width of the figure which is to be formed. When
all the threads have been brought between the warp they are drawn close by beat up. The

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
shuttle is then passed by one of the weavers through the shed, and the weft having been
driven home, it is returned by the other weaver. The weavers resume their work and repeat
the operations in the manner above described [9].

Jamdani weaving has evolved over time and in different centers, there is much variation as
well as conflicting information about the methods of weaving. There have been changes in
the technique from then to now. Usually the designs or motifs are memorized by the
experience and highly skilled weavers and there is no need of design papers under the warp.
A long needle like tool is used for the extra weft patterning [9].

Figure 2.26: Extra weft patterning

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 CHAPTER-3

DESIGN AND MOTIFS

3.1 Design and motifs:

The method of weaving resembles tapestry work in which small shuttles of coloured, gold or
silver threads, are passed through the weft. The Jamdani dexterously combines intricate
surface designs with delicate floral sprays. When the surface is covered with superb
diagonally striped floral sprays, the saree is called terchha. The saree is often decorated with
dangling, tassel like corner motifs. The most coveted design is known as the panna hazaar
(literally: a thousand emeralds) in which the floral pattern is highlighted with flowers
interlaced like jewels by means of gold and silver thread. The kalka (paisley), whose origin
may be traced to the painted manuscripts of the Mughal period, has emerged as a highly
popular pattern. Yet another popular pattern in Jamdani is the phulwar, usually worked on
pure black, blue black, grey or off-white background colours. Jamdanis are decorated with
floral motifs woven in discontinuous supplementary-weft cotton, or occasionally silk or
synthetic fibre providing an opaque patterning against a transparent ground. Often the
supplementary threads are thicker and heavier than the growth. In the 19 thcentury mughal
motifs were usual, although they were often stylized and angular. Today, Bangladesh
Jamdanis continue the tradition but in west Bengal saree are more geometric and abstract
forms are more common [9].

The common weave patterns in the borders included the following:

Bhomra paar –Fine mesh beehive Pattern

Aansh Paar- Fish Scale pattern

Chatai paar– Mat pattern

Taaj paar – Crown pattern

Rajmahal paar – palace pattern

Kamini noth Paar – Nose-ring pattern

Chandmala paar – string of moons pattern

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
Prajapati paar –Butterfly pattern

Terchha paar–Diagonal pattern

Benki terchha paar–Double diagonal / wave pattern

Some of the well-known motifs in Jamdani are as follows:

Weavers mentioned the podda or lotus, nimkeen or biscuit and pradeep or lamp patterna part
from the lota paata or vine- patterned borders that were woven in East Bengal. From the use
of the single color in the border, either black, red, green or yellow which were the only dyes
available at that time, they graduated to use of two three colours. These was referred to as
meenar kaaj, derived from the enameling of Gold and silver ornaments [9].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 Figure 3.1: Common motifs used in Jamdani

3.2 Configuration of Jamdani saree:

General specification for a Jamdani saree is given below –

EPI: 100

PPI: 75

Length: 6.5m

Body fabric: 39-41"

Border: 2-3"

Total width: maximum 44"

Weight: 800-1000g

3.3 Care of Jamdani saree:

Recommended cleaning is dry clean only. It is recommended to preserve Jamdani’s in a cool

dry place inside a zippered plastic bag or a clean white cloth (keep washing this white cloth
frequently to preserve the saree well).

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 CHAPTER-4

MARKET STUDY
4.1 Introduction:

Jamdani survived its most challenging time in the colonial period and slowly revived in
postcolonial times, especially since the liberalization of Bangladesh market in the early
1990s. According to Bangladesh Handloom Board, in the year of 2000, compared to 1,600
Jamdani weavers, the number in 2013 was around 15,000 from 3,000 families. In the same
year the Jamdani weavers used about 15,500 weaving units. According to Bangladesh
Handloom Board, the total number of Benarasi and Jamdani weaving units is 12,383. It is
estimated that about 2,000 pieces of Jamdani sarees are being produced per week in the
region. The price of saree ranges between Tk. 3,500 and Tk. 40,000. Specially made sarees
can cost as much as Tk.150,000. The price variation depends on the design complication. The
more intricate design costs more price [16].

4.2 Local market:

The demand for Jamdani sarees has increased substantially as a result of organized
marketing drive and promotional activities undertaken by the practitioners themselves. On the
other hand, the entrepreneurs have identified some Master Weavers from Rupshi, Sonargaon
and Siddhirganj to train new weavers more intensely. The marketing system to some extent
remains same. New addition is fashion houses. There are four to five segments here from
production to sales and marketing.

1. Marginal weavers. They may have their looms or not but they weave for the local
entrepreneurs or mahajan.

2. Weaver cum entrepreneurs. They have their looms at the same time they rum hired looms.
They work for the fashion houses or other entrepreneurs or for the export market.

3. Local entrepreneurs. They run hired looms and do the same. They also involve in export.

4. Fashion houses are also entrepreneurs. They invest money through local entrepreneurs
and/or Weaver come entrepreneurs. They collect product through them and sell directly to the
customer.

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
There are two selling points called haat (big bazaar) held every week in Demra and Noapara.
It begins in the very morning and goes through the noon. In spite of their regular supply
chain, Entrepreneurs buy products from here as well. Other shop owners also come to buy
product from these haats.

In addition, a large number of Bangladeshi fashion houses hold the local market of
Jamdani like Aarong, Anjan’s, Kaycraft, Rong, Noborupa etc.

Aarong (a sister concern and lifestyle brand of BRAC, world’s largest NGO), with the
assistance of BRAC, arranged a magnificent Jamdani exhibition previously in 1981 and
recently in 2009 [17].

4.3 Export market:

Besides local market an export market is also there. India imports the Jamdani for years.
Nevertheless, there are scopes of expanding it in the Western or far Eastern markets too to
export Jamdani and Jamdani products. In addition to meeting domestic demand, the Jamdani
industry is supplying sarees to South Asia, Europe, Middle East and North America. The
increasing demand for Jamdani from Dhaka is corroborated by the report that, in the
International Jamdani Tant Bastra Mela (Handloom Textile Fair) organized in 2011 by
Bangladesh Weavers Product and Manufacturing Business Association (BWPMBA), only
spot order was worth Tk. 0.12 billion. It needs to be particularly noted here that it is India
which has been the leading importer of Jamdani from Bangladesh. In the fiscal year 2013-14,
Bangladesh's export of Jamdani to India was worth $6.12 million as against $1.49 million in
the fiscal year 2008-9. It is believed that there is export of Jamdani to India for which there is
no official data. The total export of Jamdani sarees, including to India, jumped from $4.84
million in 2008-09 to $10.41 million in 2010-11 [17].

4.4 Import duty & taxes for Jamdani saree

Below in the chart shows HS commodity codes, import duty & tax rates and any import
restrictions for Jamdani sarees for some importer country [18].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 HS commodity codes, import duty & taxes and import restrictions for Jamdani Sarees

Import to country HS commodity MFN duty rate Sales tax Additional duties
code & taxes

Belgium 6211.49.0 6.5% No sales tax

Canada 6211.49.0000 6% Depends on province

China 6211.49.1091 16% 17%

Egypt 6211.49.90 30% 10%

Germany 6211.49.0000 12% 19%

India 6211.49.90 10% No sales taxes • Landing charges

(1% CIF)

• Countervailing
duty (12.5%
(CIFD + Landing
charges))

• CESS (3%
(Duty + CEX
(Education &
Higher Education
CESS) +
Countervailing
duty))

Japan 6211.49.2103 11.2% 8% • LVS (10%)

Import to country HS commodity MFN duty rate Sales tax Additional duties
code & taxes

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
Pakistan 6211.49.00 20% No sales taxes • Import
regulatory duty
(5% CIF)

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 CHAPTER-5

PROBLEMS AND
PROSPECTS
5.1 Registration and Protection of Jamdani:

In the early time the Jamdani patent has registered by India with its GI regime that
distinctively originated in Bangladesh. One of these items includes the Jamdani saree of
Dhaka, which is registered by India as Uppada Jamdani. India registered Jamdani as Uppada
Jamdani sarees from Andhra Pradesh in 2009 [8].

But according to the GI act rules it suggests that the combination of geographical, ecological,
historical or commercial conditions for the production of Jamdani is found only in Dhaka,
nowhere else [8].

Some commentators in Bangladesh argue that India's registration of Jamdani as Uppada

Jamdani is not a problem as Jamdani is also known as Dhakai Jamdani. But some strongly
disagree with this logic for a number of reasons. First, greater Dhaka region was the earliest
and sole site of Jamdani production, so Jamdani is automatically entitled to GI tag of Dhaka
and doesn't need an additional geographic locator. Secondly, the term Dhakai Jamdani can
encourage other countries/places to call Jamdani prefixed by other place names, causing
confusing geographical indication. Thirdly, Dhaka had many physical reincarnations in
different historical periods and we are not sure if Jamdani existed at a time when this region
was yet to be named Dhaka. Foremost of all, Jamdani is not a generic name, it's a brand that
combines both fabric and designs [8].

Geographical Indicative Products (Registration and Protection) Act 2013 (GI) was passed in
the National Parliament in November 2013. Until the passing of this Act, Bangladeshi
products were vulnerable to abuse by other parties. The Act will now enable the registration
process of Bangladeshi products under the national and global GI regime, provided that rules
are framed as soon as possible. UNESCO has also recently recognized Jamdani as a
Bangladeshi “intangible cultural heritage of humanity” [8].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
5.2 Current problems:

5.2.1 Wages, employment and livelihood issue:

Wages have not increased in the last 15 years. Some sections of handloom weavers are living
in hand-to-mouth conditions, with no house or assets. These issues need to be addressed by
the government; at least effectively implement the Minimum Wages Act.

At present, a major problem of the industry is that the weavers do not get adequate wages for
their labour. According to Handloom Board, a senior taanti or “ostad” earns about Tk 5000 to
Tk 7000 per month. Junior weavers get much less, around Tk 3000. As a result, many
weavers do not want their children to come to this profession. For many, the garments
industry offers a lucrative alternative. A good piece of Jamdani saree needs the labour of one
to two months, and the wage paid to the weavers does not compensate for their labour. The
producers often do not have direct access to saree markets and because of their dependence
on the middlemen, who often form informal agreement, they are deprived of their share of
profit. Sometimes, the producers fail to recover the costs [19].

5.2.2 Raw materials supply:

Products and raw materials smuggling create much harms in the traditional Jamdani saree
industry. Access to raw material such as yarn, dyes and dye stuffs has become a problem.
Weaving is a rural and semi-rural production activity and weavers have to go far to get these
raw materials. To top it off, yarn prices are steadily increasing. The availability of hank yarn
– the basic material from which weaving is done – is a serious issue because it is controlled
by modern spinning mills, who see more profit in large-volume cone yarn.

Secondly, since hank yarn is tax-free and has subsidies, enormous amounts are diverted to the
power loom and mill sectors. As a result, there is a perennial shortage of yarn for the weavers.
Despite a few schemes, the hank yarn access issue has not been resolved. Colors are
expensive, and presently there is no system or mechanism to increase their availability [19].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
5.2.3 Raw material prices:

Handloom primarily uses natural fibres such as cotton, silk. Prices of these fibres have been
increasing during production and processing. Cotton production in Bangladesh is expensive
because of intensive and high usage of costly agricultural inputs such as pesticides and
fertilizers. Secondly, while the fibre production most often happens in the vicinity of the
weavers, their processing is done in distant areas, and as such the prices to the weaver are
higher. With the central government now encouraging primary fibre and yarn exports,
handloom weavers would be on the last priority for yarn suppliers [19].

5.2.4 Infrastructure and investment:

Investment in handloom sector has thus far been limited to input supply costs. There is no
investment on sectoral growth. While there have been some piece-meal projects such as work
shed-cum-housing and project package schemes, they merely perpetuate the existing
conditions. There has been no thinking on basic requirements of the producer.

Facilities such as land, water and electricity need to be provided in many places that are a
harbor for handloom manufacturing

Places like Noapara (for e.g.) suffer from water pollution, where the Shitalakha river drains
the wastewaters of Narayanganj city. In many places across Dhaka, the only water available
is groundwater, which is laden with salts and other contaminants. This affects the quality of
production, economics and also the structure of production. Weavers simply have to put in
more time to procure water for drinking and other needs, as well as compromise on dyeing
quality.

Common facilities have not been developed such as warehouse, credit facilities (banks in the
vicinity), roads, proper sanitation, etc. have not been provided anywhere [19].

5.2.5 Design improvement:

While there are suggestions that Jamdani sector should increase its design in response to
changes in the market, the bottlenecks are many. The lack of change is not due to the weaver
not being amenable to change, as there is no scope. Rather, it is due to unwillingness of the
investor to take risks and provide incentive to weavers for effecting the change [19].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
5.2.6 Cooperative system

While cooperatives do help in maximizing the benefits for weavers in the entire chain of
production, their present condition a cause of concern. The Jamdani cooperative system is
riddled with corruption and political interference. Many handloom weavers are not members
of these cooperatives. Government departments have to stop using them as primary sources
for routing government funds and schemes. Cooperatives have to become independent of
district-level government officers in terms of management and decision-making [19].

5.2.7 Budget allocations:

Allocations for Jamdani in national and state budgets are being reduced. This has to be
reversed. Budget has to increase with new schemes which address the problems of the sector,
in view of the linkage and the need to protect rural employment [19].

5.2.8 Intermediaries:

Government has created a few research, training and input institutions to help the Jamdani
sector. These institutions include weaver service centers, institutions of handloom technology,
NIFT, etc. But their performance has been below par and their presence has not helped in
obviating the problems of Jamdani weavers [19].

5.3 Major findings:

 Weavers do not get quality raw materials at right time and right price.
 Government supports to Handloom Industry are not sufficient and effective.
 Promotion of Jamdani products is not effective.
 High level of skill is required to produce Jamdani.
 Weavers Association is not efficient.
 Weavers are suffering from inadequate contemporary technology.
 Weavers face scarcity of working capital.
 Existing distribution channel of handloom products is not efficient.

5.4 Past and current efforts to safeguard the Jamdani:

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
Viability of the Jamdani being ensured by the concerned communities, groups or
individuals:

The weaving community and all the other groups involved in the tedious process of Jamdani
weaving consider the element as their long-standing craft heritage. The element survived in
the past due to the ingenuity of its practitioners who kept on preserving the traditional art of
Jamdani weaving and handing down their knowledge and skills to the next generation to
perpetuate their craftsmanship. The high appreciation of the Jamdani saree by the Bengali
women also played a key role in ensuring the viability of the element.

The cost of Jamdani weaving began rising in the late 1970s, which threatened the viability of
the element. The practitioners succeeded in enhancing productivity to cope with the
increasing cost.

In the last few decades, there has been an active collaboration between the practitioners and
the other stakeholders to ensure viability of the element. Many private individuals and non-
profit organizations have been active in ensuring viability of the element through marketing,
craft exhibitions, research on traditional Jamdani designs, documentation of various aspects
of the element, and advocacy for strengthening safeguarding measures. The government also
came forward to provide low-interest loans to the weavers to buy the raw materials. In
response to the demand from the Jamdani weavers, the Government established a Jamdani
village for them at Rupshi [3].

5.5 Activities by States Parties for safeguarding the Jamdani:

The Ministry of Cultural Affairs of the Government of Bangladesh supports safeguarding the
element through various statutory institutions or organizations. Bangladesh National Museum
promotes the historic and artistic value of Jamdani weaving, especially its high state of
traditional craftsmanship. The Museum has been holding a Traditional Handicraft Exhibition
annually since 2000. On this occasion the Museum displays an array of splendid Jamdani
sarees to celebrate the diversity of creativity in modern Bangladesh, and this Exhibition
enables some of the Master Weavers to demonstrate their weaving skills which the visiting
public always highly appreciate. The best weavers are acknowledged with awards.

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 The Bangladesh Small and Cottage Industries Corporation (BSCIC) has established a
township at Noapara of Rupshi where 420 weaving families live. The Bangladesh Folk Arts
and Crafts Foundation has established an emporium of Jamdani sarees at Sonargaon. This site
has become a nucleus of producers, retailers and consumers.

The Ministry of Cultural Affairs held extensive consultation with Jamdani weavers, traders,
entrepreneurs, researchers, academia, media and related public organizations to take a
comprehensive look at Jamdani weaving both as an element of the intangible cultural heritage
that strengthens the identity of the Jamdani Shilpa Community and as a factor that has great
economic and social impact on this Community through job creation and poverty alleviation.
As a result of these consultations, a consensus has developed for undertaking a
comprehensive set of actions by different public and private sector actors to safeguard
Jamdani weaving as an element of the intangible cultural heritage of humanity in the
following ways: 1) collection, identification, research, documentation and display, 2)
preservation and protection, 3) promotion and enhancement, and 4) revitalization [3].

1) Collection, identification, research, documentation and display:

There are more than 1,000 traditional designs which the Jamdani weavers have imitated from
the natural surroundings. Some private sector organizations have been working for decades to
identify and preserve the traditional designs and exclude the external ones in order to
safeguard the purity of the traditional designs. The Ministry of Cultural Affairs will work
with the private sector organizations to reinforce their effort with the active involvement of
several public organizations: Bangla Academy for research and documentation, Bangladesh
National Museum for collection, identification and display of representative specimens of
Jamdani, and the Bangladesh Folk Arts and Crafts Foundation and the Bangladesh Small and
Cottage Industries Corporation for commissioning some of the most renowned Master
Weavers to produce some Jamdani masterpieces [3].

2) Preservation and protection: Both public and private sector stakeholders have agreed
that the Jamdani weavers themselves can preserve and protect Jamdani weaving as they had
done for centuries in the past. Therefore, the Ministry of Cultural Affairs, acting through the

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
Bangladesh Small and Cottage Industries Corporation and the Bangladesh Bank, will ensure
that the Jamdani weavers are able to get easy access to the raw materials and low-interest
loans to make their profession economically profitable so that they feel encouraged to
transmit their knowledge and skills from generation to generation [3].

3) Promotion and enhancement: Inscription of the element is expected to reinforce the

promotion and enhancement of Jamdani weaving at the national, regional and international
levels. The Government of Bangladesh particularly The Ministry of Cultural Affairs, The
Ministry of Foreign Affairs, the Export Promotion Bureau, the Bangladesh Jamdani
Manufacturers and Exporters Association (BJMEA), the media and other concern
organizations will work together to promote Jamdani as an object of traditional culture that
enhances Bangladesh’s national identity on the one hand, and as a commodity whose
promotion and enhancement will directly benefit the Jamdani weavers on the other [3].

4) Revitalization: The nomination process has received tremendous boost from the issues
raised on ways and means to revitalize Jamdani weaving as an element of the intangible
cultural heritage of humanity and Jamdani itself as a commercially promising product for
national economy during the consultations with the stakeholders. The Ministry of Cultural
Affairs, through its organs and the local government representatives of the region, will make
efforts to implement the recommendations received from the discussions with the
stakeholders at the national and local levels respectively to revitalize Jamdani weaving [3].

5.6 Steps and planning for Jamdani’s future:

The Government of Bangladesh involves the stakeholders to express their views on any
policy, plan or project that may affect them. Therefore, the concerned Ministries have ensured
the widest possible participation of the stakeholders in the process of planning and
implementation the proposed safeguarding measures [3].

The proposed safeguarding measures have been planned on the basis of intensive consultation
with the practitioners involved in the production and marketing of Jamdani, with the local
government representatives of the region where Jamdani weaving exists, with the
entrepreneurs involved in the promotion of Jamdani, with the experts dealing with the
cultural heritage, and with the media and academia. Fieldwork was conducted in Rupshi
where the opinions of the Master Weavers were listened to in particular [3].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 In accordance with the safeguarding strategies it is envisaged that the researchers and
experts, with the support of the Government, will compile the knowledge, practices and
techniques of Jamdani weaving. The weavers themselves will be directly involved in the
transmission of their knowledge and skills through family-based training and skill
development within the weaving community. Within the community the Master Weavers will
play the key role in preserving the highest standard of the element by retaining the traditional
designs, skilled weaving techniques and exact thread counts of the fabric. The entrepreneurs,
NGOs and exporters will help to improve marketing and promotional aspects of the element.
The local government representatives and the media will remain engaged in raising
community awareness to safeguard Jamdani weaving [3].

5.7 Financial Support Measure:

 Inadequate access to credit – both short term and long term – remains a perennial
problem facing the small scale sector. Emphasis would henceforth shift from
subsidised/cheap credit, except for specified target groups, and efforts would be made to
ensure both adequate flow of credit on a normative basis, and the quality of its delivery,
for viable operations of this sector. A special monitoring agency would be set up to
oversee that the genuine credit needs of the small scale sector are fully met.

 To provide access to the capital market and to encourage modernization and

technological upgradation, it has been decided to allow equity participation by other
industrial undertakings in the SSI, not exceeding 24 per cent of the total shareholding.
This would also provide a powerful boost to sub-contracting leading to expansion of
employment opportunities.

 Regulatory provisions relating to the management of private limited companies are

being liberalized. A Limited Partnership Act will be introduced to enhance the supply of
risk capital to the small scale sector. Such an Act would limit the financial liability of the
new and non-active partners/entrepreneurs to the capital invested.

 A beginning has been made towards solving the problem of delayed payments to small
industries by setting up of ‘factoring’ services through Small Industries Development
Bank of Bangladesh (SIDBB). Network of such services would be set up throughout the

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 country and operated through commercial banks. A suitable legislation will be
introduced to ensure prompt payment of Small Industries’ bills.

 To facilitate location of industries in rural/backward areas and to promote stronger

linkages between agriculture and industry, a new Scheme of Integrated Infrastructural
Development (including Technological Back-up Services) for Small Scale Industries
would be implemented with the active participation of State Governments and financial
institutions. A beginning in this direction will be made this year itself.

 A Technology Development Cell (TDC) would be set up in the Small Industries

Development Organization (SIDO) which would provide technology inputs to improve
productivity and competitiveness of the products of the small scale sector. The TDC
would coordinate the activities of the Tool Rooms, Process-cum-Product Development
Centres (PPDCs), existing as well as to be established under SIDO, and would also
interact with the other industrial research and development organizations to achieve its
objectives.

 Adequacy and equitable distribution of indigenous and imported raw materials would be
ensured to the small scale sector, particularly the tiny sub-sector. Policies would be so
designed that they do not militate against entry of new units. Based on the capacity
needs, Tiny/Small Scale units would be given priority in allocation of indigenous raw
materials.

 A proper and adequate arrangement for delivery of total package of incentives and
services at the District level will be evolved and implemented [19].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
5.8 Modernization, Technological and Quality Upgradation:

 A greater degree of awareness to produce goods and services conforming to national

and international standards would be created among the small scale sector.

 Industry Associations would be encouraged and supported to establish quality

counselling and common testing facilities. Technology Information Centres to provide
updated knowledge on technology and markets would be established.

 Where non-conformity with quality and standards involves risk to human life and
public health, compulsory quality control would be enforced.

 A reoriented programme of modernization and technological upgradation aimed at

improving productivity, efficiency and cost effectiveness in the small scale sector
would be pursued. Specific industries in large concentrations/clusters would be
identified for studies in conjunction with SIDBB and other banks. Such studies will
establish commercial viability of modernization prescriptions, and financial support
would be provided for modernization of these industries on a priority basis.

 Textile Universities and selected regional/other Engineering Colleges will serve as

Technological Information, Design and Development Centres in their respective
command areas [19].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
5.9 Suggestions:

Some automations that can be adopted in Jamdani manufacturing are -

5.9.1 Bobbin winding:

There is a new machine that can be used in bobbin winding from skein.

Machine name: high speed package winder.

Model: TN-25H

The special features are:

Individual control system, flexible for different types of yarn like cotton and silk, suspended
swivel arm, stability and low noise, adjustable edge softened and anti-overlapping device, no
oil slinging and contamination during machine running, easy operation, simple maintenance,
reliable and durable, independently for spindle and yarn traversing, yarn metering device
[20].

5.9.2 Pirn winding:

Still now Pirn winding for Jamdani is done manually. Hence there is a scope for automation.
There are many machines are available in market. Here we give the details of a machine.

Name: Lakshmi Schweiter Pirn winding machine

Features:
 A single operator can handle a minimum of 36 to 72 Spindles - Synthetic yarns,
18 to 24 Spindles - Cotton yarns
 Each spindle can be set for different wefts with individual winding parameters
 Spindle speeds for LMSK version - Synthetic yarns 5000 - 10000 RPM
 Spindle speeds for LMS version - Cotton yarns 6000 - 12000 RPM
 Traverse variation between 35 - 58 mm with yarn layer locking system.
 Diameter of the full wound pirn adjustable individually for each spindle.
 Travelling blowers for dust removal.
 Runs in oil bath for minimum maintenance [21].

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
5.9.3 Bleaching:
In Jamdani, bleaching is done with bleaching powder. But Direct contact with
hypochlorite solutions, powder, or concentrated vapor causes severe chemical burns, leading
to cell death and ulceration and children are more vulnerable to toxicants affecting the skin.
So they can use per oxide bleaching.

The advantages are:

[Link] the oxidizing bleaching agents, only hydrogen peroxide provides a high
bleaching effect at reasonable costs, especially if modern short-term bleaching
processes are used with only a few minutes bleaching time.

[Link] bleaching keeps the fibre quality intact.

[Link] can be bleached with peroxide in a single stage.

5.9.4 Dyeing:

During the use of vat dye, alkaline medium, and reducing agent can degrade the silk fibre. So
it is safe to use acid dye. Acid dye has full range of bright colors and good light fastness.

5.9.5 Sizing:

In Jamdani manufacturing sizing is still now done manually. The size material used is cooked
rice. Hence it is done manually there is the problem of uniformity in the sizing. So modern
technique and modern size material can be used. Some ingredients should be added to size
material. Such as-

1. Softening agent

2. Brightening agent

3. Antifoaming agent

4. Antistatic agent

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
Sizing material can be used instead of cooked rice- starch from maize, potato or gums of
plant, carboxymethyl cellulose.

5.9.6 Warping:

The warping technique used in Jamdani is resembles with sectional warping which is done
manually. So there is a scope of using automatic sectional warping machine. If use
automation, then denting could be done after warping.

5.10 Marketing and promotional activities:

Everything is changes with time. Time has also influenced the designs. Keeping up the
modern demand, Jamdani has to keep pace with the present market and demand. So, this
traditional fabric/ saree also need to change the design in this time. Some designers are
experimenting also with various kind of dress from Jamdani. So, it is time to think about
Jamdani as newly. For that the concept is “innovative use of Jamdani”. This is only for new
generation and for international fashion market also. Some suggestions for market expansion-

 Instead of using as saree, future use can be expanded to Kamiz, Punjabi, Party dresses
and Gowns.
 Promotion and advertisings is very important in this case.
 Through website and go for online marketing to have a quick and easy access to
maximum number of clients.
 By arranging exhibition and by inviting possible clients and buyers to draw their
attention.

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
CHAPTER-6
CONCLUSION
6.1 Limitations:

 All the processes of weaving are not done everyday, so we could not be able to
observe the whole process in a day.

 The weavers don’t have any technical knowledge, hence it was difficult for us to
gather the technical information.

 Inadequate literature about Jamdani creates problem to our project work.

 We didn’t get any statistical data from Bangladesh Handloom Board.

6.2 Conclusion:

The Jamdani weavers believe that the Jamdani saree is a thing to weave with pride, and
the users believe that wearing a Jamdani saree is a symbol of identity, dignity and self-
recognition in the present-day Bangladesh society. The makers and the consumers of the
element unite in social exchange of joy and harmonious bondage. This exchange frames
discourse, stimulates thoughts, and provides direction for further enrichment of Jamdani.
Apart from the sentimentality associated with past glory, it must be recognized that the
Jamdani industry can only survive if the market is expanded. Jamdani must be made more
popular among the privileged classes and quality of the product has to be maintained to
ensure an overseas market. Also, diversifying the use of Jamdani is required in order to
expand the market. Unless the market is expanded and demand for Jamdani is increased,
the weavers will continue to suffer in terms of lower wages. Worse still, is that their
children will not find it feasible to enter into a profession that pays so little. With fewer

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
 and fewer skilled weavers, an unstable market and lack of greater state patronage, the
danger of losing this rich piece of heritage forever, is very real.

References:

1.[Link] Access
date: 20/04/2016

2. Iqbal I., A research report on Protection of "Jamdani" as a Geographical Indication in

Bangladesh, Department of History, University of Dhaka.

3. Begum S., Convention for The Safeguarding Of The Intangible Cultural Heritage.
Intergovernmental Committee for The Safeguarding of the Intangible Cultural Heritage;
Baku, Azerbaijan, Dec 2013

4. [Link] Access date: 28/04/2016

5. Sarkar S., Inventive Employ of Jamdani: An Idiosyncratic Cram and Analysis. European
Journal of Business and Management, 2016; 8(12):76-77

6. Siddiqui M. S., The cases for Jamdani and Basmati, the financial express, Wednesday, 20
February 2013

7. [Link]
8. Iqbal I., Protection of Jamdani, the daily star, 2015 march 8

9. Ginwala A., Kanoi S., Jamdani weaving tradition of [Link] 2, p:113-115

10. [Link] Access date: 07/05/2016

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Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh
11. [Link] Access date: 09/05/2016

12.[Link]
Access date: 14/05/2016

13. [Link] Access date: 02/05/16

14. [Link] Access date: 21/05/16

15. [Link] Access date: 18/05/16

16. In an oral communication with Monjurul Islam, Marketing officer, Bangladesh Handloom
Board (10 April, 2016)

17.[Link]
sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwjR84r6m6T
NAhUFcRQKHWjrDGIQFggcMAA&url=https%3A%2F
%[Link]%2F2015%2F03%2FJamdani-geographical-indications-
of-bangladesh_sk-
[Link]&usg=AFQjCNF3UgDXCvQbRsTF2C9XCosMJWV3bA&bvm=bv.124272578,d.
ZGg. Access date: 05/06/2016

18. [Link]
woven-silk/import-duty-rate-for-importing-Jamdani-sarees-from-bangladesh-to-india-is-10/.
Access date: 01/06/2016

19. [Link]
[Link]. Access date: 25/05/2016

20. [Link] Access date:

30/06/2016

21. [Link]

Access date: 30/06/2016

[63]
Study on Production Technique, Problems and Prospects of Jamdani Manufacturing in Bangladesh