Issued by India

Issued on Feb 20, 2024

Issued for : Department of Posts is pleased to issue a set of commemorative postage stamps on Cultural Heritage of Western Odisha and appreciates its rich culture and heritage positively affecting the beliefs, traditions and lifestyle of people.

Credits :
Stamp/FDC/Brochure/Cancellation Cachet : Sh. Sankha Samanta

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 500 Paise (6)

Miniature Sheets Printed : 111000

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• Odisha is a confluence of the Aryan, Dravidian and Adivasi cultures. Most festivals, art and cultural traditions in the state bring out some parts of these cultures. Sambalpur serves as the gateway to the enchanting western zone of Odisha. It is the epicentre of a very high profile and rich culture. Its art and culture is a unique proposition of dance, music, handicraft, beliefs, social values, traditional practices etc.
• Sambalpuri Bandha (Ikat) work or Sambalpuri work contains the warp and the weft tie-dyed before weaving. This is produced in Sambalpur, Balangir, Bargarh, Boudh and Sonepur Districts of Odisha. The traditional garment has the motifs like Sankha (conch-shell), Chakra (wheel), Phula (flower). These have deep symbolism with the native Odia colours i.e., red, black and white representing Odia culture along with the colour of the face of Mahaprabhu Shree Jagannatha.
• The traditional craftsmanship of ‘Bandhakala’, the tie-dye art reflected in their intricate weaves, also known as ‘Sambalpuri Ikat’. In this technique, the threads are first tie-dyed and later woven into a fabric, with the entire process taking as long as many weeks. The Ikat sarees gained popularity outside Odisha in the 1980-90s. The yarns or set of yarns so produced are called ‘Bandha’. This art is believed to have been migrated to Odisha along with Bhulia community who fled Northern India in the year 1192 A.D. The colours consisted mainly of vegetable colours. The Bandha Sarees were known as ‘Bhulia Kapta’.
• Sambalpuri fabric owes a great deal to the pioneering efforts of Shri Radhashyam Meher, who brought about a radical movement in the skills of the craftsmen and the quality of the products. Other master craftsmen who contributed to the development of Sambalpuri Textiles were Padma Shri Kailash Chandra Meher, Padma Shri Kunja Bihari Meher, Padma Shri Chaturbhuja Meher and Padma Shri Krutarth Acharya along with Handloom Technologist Shri Ramakrushna Meher (National Awardee). Bandha craftsmen are also masters of the ‘extra warp’ and ‘extra weft’ style of designing which can be seen in almost all forms of Bandha Textiles. Radhashyam Meher also produced Khadi textiles using Bandha Art. Shri Meher has established his propriety at Sambalpur for the research, production and marketing of Sambalpuri Textiles.
• Acknowledging Radhashyam Meher’s unparalleled contributions to the growth and popularity of Bandha art, the Ministry of Textiles of Government of India has sponsored Textile Exhibition coinciding with his birth anniversary on 20^th November and organised by the Director of Textiles of Government Of Odisha. Sagarpalli is a large village hosting around 500 Bhulias (weaver families). This is one of the largest weaving villages in Sonepur district, a bastion of Sambalpuri sarees. Other areas affluent with Handloom Weavers are Barpalli, Tarava, Bijepur, Patnagarh and Bargarh.
• Nuakhai festival has been a tradition since 12^th century A.D. People of Western Odisha, spreading across Sambalpur, Balangir, Bargarh, Sundargarh, Kalahandi and adjoining areas of Simdega in Jharkhand celebrate this festival with great joy and happiness. Western Odisha celebrates this agricultural festival which is known as ‘Nuakhai’. The importance of agriculture is deeply embedded in the economic development of this State.
• This is the annual harvest festival in Odisha. Nuakhai is observed to welcome the newly harvested rice of the season. According to the Odia Hindu Calendar, it is observed on Panchami Tithi of the lunar fortnight of the month of Bhadrapada or Bhadraba, the day after Ganesh Chaturthi Festival. The objective of this festival is to celebrate social bonding and strong family ties. The festival has its origin from the Vedic period where the Rishis used to discuss Panchyajna. The Pralambana Yajna is meant for cutting new crops and offering prayers to mother Goddess. People visit their native place during the festival. Nuakhai festival has nine sets of rituals that begin from Behrana to concluding with the Juhar Bhet. This day is considered as auspicious and one of the most important days marked in the calendar of the Western Odisha. Goddess Samalei, the presiding deity of the land is worshipped and is offered food prepared out of new crop or Nabanna.
• Sitala Sasthi Yatra is a sacred Hindu Festival celebrated in Western Odisha in which the divine couple’s marriage is solemnised. Sitala Sasthi is observed on the sixth day of the Jyestha month during Shukla Pakshya. People observing this festival believe that Lord Shiva represents scorching heat of summer while Goddess Parvati signifies the first rain. This holy/sacred wedding is solemnised for a good monsoon.
• The Ministry of Culture of Government of India has accorded National Festival status to Dhanu Yatra in 2014. The Yatra is performed in many places in Western Odisha. The major one of these is the original one at Bargarh. It is about the episodes from birth of Lord Sri Krishna to death of demon king Kansa including Krishna and Balaram’s visit to Mathura to witness the Dhanu Yatra Ceremony of the king Kansa. The interesting fact is that there is no written script used in these enactments. This has become the World’s largest open-air theatre till date.
• Sambalpuri Folk Dance, a dance form owes its origin to the Western part of Odisha, particularly the erstwhile Sambalpur District. This place is known for its sculpturesque Odissi dance form. Deriving its name from the presiding deity of Sambalpur ‘Samalei’, the dance form has a distinct cultural identity of its own. This dance is usually performed during festivals i.e. Dussehra, Nuakhai etc. Accompanied by the rhythm of ‘Panchavadya’ i.e. the 5 local instruments Dhol, Tasha, Nishaan, Jhanjh and Muhuri coupled with the tinkling of Ghungurus, the creative blends of both traditional and modern scintillating movements punctuated with teaming pauses.
• Text : Based on information received from the proponent.

The post Cultural Heritage of Western Odisha appeared first on iStampGallery.

Issued by India

Issued on Dec 19, 2019

Issued for : Department of Posts is pleased to release a set of 12 Commemorative Postage Stamps on Embroideries of India.

Credits :
Stamps/Miniature Sheet/Sheetlets/First Day Cover/Information Brochure/Cancellation Cachet : Ms. Gulistaan

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 1000 Paise (5), 1500 Paise (3), 2000 Paise (4)

Sheetlets Printed : 31250 each of 12 types

Miniature Sheets Printed : 1.10 lakh

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• Embroideries of India belong to different genres that vary by region and clothing style. Designs in Indian embroidery are formed on the basis of the texture and the design of the fabric and the stitch. The dot and the alternate dot, the circle, the square, the triangle and permutations and combinations of these constitute the design.
• KANTHA
  • Kantha is perhaps the oldest form of Indian embroidery as it can be traced back to the 1^st Century A.D. The thought behind this needlework was to reuse old clothes such as saris and dhotis and turn them into something new with a simple running stitch. Kantha evolved in the eastern regions of the Indian subcontinent, specifically in Bangladesh and in the Indian states of West Bengal, Tripura and Odisha. It is a form of embroidery often practised by rural women. There are 7 different types of Kantha stitches, each having their own unique usage; the Lep Kantha, which is used to make warm, padded quilts or the Baiton Kantha which is used on covers meant to wrap books and other precious objects. “Kantha saris” are traditionally worn by women in Bengal. Today, Kantha embroidery is popular amongst the designer fraternity.
• KAMAL KADHAI
  • Kamal Kadhai is native to the state of Andhra Pradesh that primarily uses needle weaving to stitch beautiful flowers. The flower petals look like they have “steps” or “levels”. It has a 3D effect. The pattern can be used on dresses or cushion covers or making other household stuff like bed sheets, pillow covers, etc. This style of embroidery first started amongst the rural folk about 500 years ago but later received royal patronage.
• PHULKARI
  • Phulkari is the most famous rural embroidery tradition of Punjab, mentioned in the Punjabi folklore of ‘Heer Ranjha’ by Waris Shah. Its present form and popularity goes back to the 15^th century, during Maharaja Ranjit Singh’s reign. Phulkari also means headscarf and it comes from the 19^th century tradition of carrying an odhani or a head-scarf with flower patterns. Its distinctive property is that the base is a dull hand-spun or khadi cloth, with bright coloured threads that cover it completely, leaving no gaps. It uses a darn stitch done from the wrong side of the fabric using darning needles, one thread at a time, leaving a long stitch below to form the basic pattern. Cities famous for Phulkari include Amritsar, Jalandhar, Ambala, Ludhiana, Patiala, Nabha etc.
• CHAMBA RUMAL
  • The Chamba Rumal is an embroidered handicraft that was once promoted under the patronage of the former rulers of Chamba kingdom. Earliest reported form of this rumal is the one made by Bebe Nanaki, sister of Guru Nanak Dev ji in the 16^th century, which is now preserved in the Gurudwara at Hoshiarpur. Chamba Rumal is made in square and rectangular shapes on muslin, malmal, khaddar, silk etc. Using a double satin stitch for the embroidery, both faces of the cloth are concurrently stitched by a forward and backward technique to maintain uniformity of design on both faces of the rumal. After completing the embroidery, the fabric is stitched with a border of about 2 to 4 inches on all sides. The dohbratbokb method is a heritage of Kashmir, which was adopted in Basohli and Chamba, that was improved upon by adopting themes from the Mughal art of Chamba miniature paintings which flourished during the 18^th and 19^th centuries.
• KUTCH EMBROIDERY
  • Kutch Embroidery is a handicraft and textile signature art tradition of the tribal community of Kutch District in Gujarat. Its history is traced to the 16^th and 17^th centuries when people migrated from countries such as Afghanistan, Greece, Germany, Iran and Iraq to Gujarat. It is also said that cobblers known as Mochis were trained in this art form by the Sufi saints of Sindh. The art form became a vocation for women of Kutch not only to meet their own clothing requirements but also to make a living, in view of severe dry and very hot conditions. It became a generational art with the skills passed on from mother to daughter. The embroidery is generally done on fabrics of cotton, in the form of a net using cotton or silk threads. In certain patterns, it is also crafted over silk and satin. The types of stitches adopted are square chain, double buttonhole, pattern darning, running stitch, satin and straight stitches. The signature effect of the colourful embroidery sparkles when small mirrors called bbhib are sewn over the geometrically shaped designs.
• KASHMIRI EMBROIDERY
  • Kashmiri embroidery (also called Kashida) is used for phirans (woollen kurtas) and namdahs (woollen rugs) as well as stoles. It draws inspiration from nature- birds, blossoms and flowers, creepers, chinar leaves, mangoes, lotus, trees etc. The embroidery is done on a base of silk, wool or cotton: the colour is usually white, off-white or cream but nowadays one can find many other colours such as brown, deep blue, sky blue, maroon etc. Kashmiri embroidery is known for the skilled execution of a single stitch, often called the Kashmiri stitch which may comprise the chain stitch, the satin stitch, the slanted darn stitch, the stem stitch and the herringbone stitch.
• KASUTI
  • Kasuti is a traditional form of folk embroidery practised in the state of Karnataka. Kasuti work is very intricate and sometimes involves crafting upto 5,000 stitches by hand and is traditionally made on dresswear like Sarees or Kurta. Its history dates back to the Chalukya period. The Kasuti embroidery features folk designs influenced by rangoli patterns of Karnataka, mirror work and gold & silver thread embroidery, mostly used for special occasions like weddings. Kasuti involves embroidering very intricate patterns like gopura, chariot, palanquin, lamps and conch shells. The pattern to be embroidered is first marked with charcoal or pencil and then proper needles and threads are selected. The patterns are stitched without using knots to ensure that both sides of the cloth look alike.
• CHIKANKARI
  • The present form of chikan (meaning elegant patterns on fabric) work is associated with the city of Lucknow, in Uttar Pradesh. Chikan embroidery is believed to have been introduced by Noor Jahan, the wife of Jahangir. Chikan embroidery involves the use of white thread on white muslin, fine cotton, or voile, which showcases shadow work embroidery. Other colours can also be used. The artisans usually create individual motifs or butjs of animals and flowers like rose, lotus, jasmine, creepers etc. The designs are first printed onto the fabric with a mixture of glue and indigo. At least 40 different stitches are documented and include flat, raised and embossed stitches and the open trellis-like jbbij work, buttonhole stitch, French knots, running stitch etc.
• TODA EMBROIDERY
  • Toda embroidery has its origins in Tamil Nadu. Locally known as “Pukhoor” meaning flower, this embroidery is an art work among the Toda pastoral people of the Nilgiri hills in Tamil Nadu. This embroidery, like Kantha, is practised by women. The embroidery adorns shawls. The shawl, called poothkuli, has red and black bands between which the embroidery is done. As Todas worship buffaloes, the buffalo becomes an important motif in the Toda embroidery. Other motifs include the sun, moon, stars etc. Both sides of the embroidered fabric are usable and both men and women adorn themselves with the embroidered cloaks and shawls.
• SHAMILAMI
  • A renowned textile craft from Manipur is the Shamilami, which uses a technique that combines those of weaving and embroidery. The ethnic Meithei community practises this intricate technique used in the traditional production of Shamilami fabric, whereby motifs such as tjodohbj, inspired by the gracefulness of a silk caterpillar eating a castor leaf, decorate the fabric. The embroidery is done in dark matching shade with untwisted silk thread on the border of the phanek (a lungi or lower body wrap worn by women). Colours in dark red, plum or chocolate are usually used. The embroidery is so artistically done that it does not clash with the weave and is often mistaken for it. Angami Naga shawls have animal motifs in black. This was previously called samilamiphee (which means warrior cloth of wild animals) and was given to brave distinguished warriors by the royalty, in recognition of their prowess. Possession of Shamilami – a combination of weaving and embroidery – is considered a status symbol.
• SUJANI
  • Sujani embroidery originated from the Bhusura village of Bihar. In ancient times, it was considered as a form of quilting wherein old sarees and dhotis were used as the creative canvas. The process begins with tracing down the designs on the base fabric using tracing wheel and tracing sheet. Black or brown threads are used for outlining the motifs and colourful threads are used to fill in colors in the motifs. This style of embroidery is similar to the Kantha stitch of West Bengal. Today Sujani embroidery adorns ethnic outfits like sarees, kurtas, dupattas, stoles, jackets; home décor items such as cushion covers, bedspreads, wall hangings etc. The Sujani is not merely a traditional craft, it is also a way to convey social and political messages.
• APPLIQUÉ
  • Appliqué is a type of embroidery that employs a smaller patch or fabric to be applied or sewed onto a larger fabric or surface to create different designs, abstract patterns or pictures. This embroidery art form came to India with the French in the 17^th century. Appliqué is used extensively in quilting or adorns sarees with elaborate and vibrant looking borders. In Andhra Pradesh, the blouses and headscarves worn by the Banjara tribal women are not only embroidered but also decorated with appliqué and mirror work. Rajasthan is also known for its unique appliqué or gota, which is created by sewing edges of zari ribbon onto fabric, to create elaborate patterns.
• Text : Sh. Pallab Bose

The post Embroideries of India appeared first on iStampGallery.

Issued by India

Issued on Sep 6, 2019

Issued for : Department of Posts has tried to capture the stages in the entire process from conceptualization to the development of the finished product and is pleased to bring out a set of four Commemorative Postage Stamps portraying them.

Credits :
Stamps/Miniature Sheet/First Day Cover/Brochure : Shri Suresh Kumar
Cancellation Cachet : Smt. Nenu Gupta

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 1500 Paise (2) and 1000 Paise (2)

Stamps Printed : 5.0 Lakh each

Miniature Sheets Printed : 1.1 Lakh

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• The story from the concept to the consumer is imbued with inspiration, ideation, labour and glamour. The metamorphosis from an idea to a pleasing product begins, more other than not, with inspiration. Paradoxically, fashion inspiration is an ongoing process in which the mind is trained to gather ideas. The sources of inspiration abound in nature, flora and fauna, the wild, culture, social values, customs and mores that vary from place to place.
• Every designer follows a process for design development. When starting a collection, a designer needs to consider the color story, design functionality, technical package and garment patterns. Some designers select an image, or series of images, to display their color story. Others use forecasting services which offer a variety of different color swatches, silhouette and textile forecasts.
• The world of design is never as easy as it looks. Designing a garment entails demographic and trend research, blending the research result with the brand image and translating it all to a collection – a process that requires a great deal of toil, time and attention to detail. One of the most important aspects in the process is the Technical Design. Though many people do not know about this process, developing the technical sketch and technical package is essential to move on to production.
• The technical package is similar to the drafting of the design. It shows graphic placement, points of measure, graded measurements, trim placement, seams, etc. Manufacturing a garment without a tech pack leads to difficulty when it comes to assembling of the garment. This is the last step in the development process. Garment patterns are the key ingredients to fit and styling. More returns happen because of fit issues than any other reason, especially among online sales. A well fit garment is worn more often and spends less time in the customer’s closet, which increases brand awareness and follow-up sales.
• Customer satisfaction and functionality are other very significant aspects that play a big role in designing a garment. The designer and product developer have to take into consideration what their customer desires in a specific garment. A garment is created by balancing function with design as well as the customer’s need for style, brand value and image. Designers, fashion forecasters, merchandisers, visual merchandisers and product developers work in unison to determine the direction of the product while moving from concept through technical sketch and display to finally putting the collection on rack for sale.
• Production can be either at customised level or for masses. Today, fashion industry is highly mechanised and with the help of augmented technology, fashion industry has grown manifold.
• Presenting “Indian Fashion – Concept to Consumer : Series 3…….”
• Text : Based on the material provided by Prof. Manika Walia.

The post Indian Fashion – Concept to Consumer : Series-III appeared first on iStampGallery.

Issued by India

Issued on Dec 31, 2018

Issued for : Department of Posts is pleased to issue a set of five Commemorative Postage Stamps on Geographical Indication (GI) Registered Handicraft Products.

Credits :
Stamps/Miniature Sheet/FDC/Brochure/Cancellation Cachet : Shri Kamleshwar Singh

Type : First Day Cover

Colour : Multi Colour

Denomination : 500 Paise (5)

Stamps Printed : 606000 each

Miniature Sheets Printed : 110750

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• A Geographical Indication (GI) is a name or sign used on certain products which corresponds to a specific geographical location or origin (e.g. a town, region, or country). India, as a member of the World Trade Organization (WTO), enacted the Geographical Indication of Goods (Registration and Protection) Act, 1999 with effect from 15 September 2003. The GI tag ensures that none other than those registered as authorised users (or at least those residing inside the geographic territory) are allowed to use the popular product name. Darjeeling tea became the first GI tagged product in India, in 2004-05, since then by May 2017, 295 other GI tagged products have been added to the list.
• Department of Posts is releasing a set of Commemorative Postage Stamps on GI Registered Handicraft Products as follows:
• GI Registered Handicraft Products:
  • Blue Pottery of Jaipur: The art of blue pottery came to Jaipur from Persia and Afghanistan in the 14^th century. The use of blue glaze on pottery made from Multani Mitti, or Fuller’s earth, is an imported technique, first developed by enterprising Mongol artisans who combined Chinese glazing technology with Persian decorative arts. Man Singh–I was the first to bring the art of blue and white to Jaipur subsequent to his interactions with the Mughals through his campaign in Afghanistan. Blue Pottery has unique features as the pottery is completely hand painted, does not develop cracks and is impervious, hygienic and suitable for daily use.
  • Karnataka Bronzeware: In Karnataka, bronze casting flourished under Chalukyas, Rastrakutas, Hoysalas and the Vijayanagara period. The Hoysala king Vishnuvardhana under Vaishnava faith, erected many magnificent temples with exquisite metal icons. Bangalore, the capital city of Karnataka, is the chief craft cluster for Bronze Casting. Traditional Indian bronzeware has worldwide reputation in overseas market because of its superior workmanship and modest price. Indian bronzes find place in museums at Boston, New York, Paris, London, Berlin etc. The artisans engaged in making bronze icons known as ‘Stapathies‘ are bound by faith, tradition and religion for making bronze icons and should be well versed in ‘dhynanaslokas‘, which gives the physical attributes to the deity. The traditional crafts persons were an unbroken chain of evolution passing from teacher to the disciple and father to son.
  • Kutch Embroidery: The Kutch Embroidery originated in Kutch–Gujarat with the arrival of different communities that migrated from countries like Iran, Iraq, Greece, Germany, Afghanistan during 16^th & 17^th centuries. Kutch embroidery is basically practised by women. Kutch work is unique in the sense that a net is woven on a cloth using thread. The net is then filled in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes. Designs of Kutch Embroidery are inspired by legend and everyday life. Each individual community expresses its own identity through a sense of aesthetics, colour, layout and motif preferences that evolved out of specific aspects of their history, including migration patterns and contact with surrounding people. However, the different adornment traditions are unified by regional styles and by motifs that bridge cultures: peacocks, parrots, temples, flowers, camels and elephants, human figures in dancing poses, dancing peacocks. It’s a tradition which is handed down from generation to generation (mothers to daughters), thereby skilling and empowering them.
  • Maddalam of Palakkad: Maddalam is considered a divine instrument on account of its inclusion as a major accompaniment in the dance of Shiva. Maddalam dates back to 13^th century. The sound produced by Maddalam is considered to be Pranavam or the sound of ‘Om‘ or ‘Aum‘. It is very similar to the mridangam. The maddalam is the classical drum of South India and is used as an accompaniment for vocal, instrumental and dance performances. Panchavadyam which is regarded as one of the most sophisticated art forms of Kerala is an ensemble of five percussion instruments viz. drums timila, maddalam, edaykka, the cymbals ilathalam and the kombu horn. Cylindrical in shape, maddalam till today is chiselled out of a single piece of jack wood. There are two varieties of maddalam- Suddha maddalam and Toppi maddalam. The former is tied around the waist of the drummer with a cloth while the latter is a smaller version suspended from the neck.
  • Sikki Grass Products of Bihar: Sikki, the golden grass of Bihar, is found growing in the wet and marshy area of Madhubani district. Sikki work is practised by women in the region of Bihar. There is growing demand for Sikki Grass work not only for outstanding beauty but also for its cultural value. At one point of time, a very large part of the population in North Bihar (i.e. pockets in Darbhanga, Madhubani and Sitamarhi districts of Bihar) was engaged in this craft. The sikki is characterized by its wonderful golden hue, is also coloured into myriad shades to make the products more attractive. The products made from sikki grass are as utilitarian as they are uniquely ornamental. They include containers to store grain, rice, and lentils; boxes to keep clothes and jewellery, baskets to store sweets and masalas (spices) etc.
• Text : Based on information received from Ministry of Textiles.

The post Handicrafts of India 2018 appeared first on iStampGallery.

Issued by India

Issued on Aug 7, 2018

Issued for : Department of Posts is pleased to issue a set of five Commemorative Postage Stamps on GI Registered Handloom Products.

Credits :
Stamps/Miniature Sheet/FDC/Brochure : Shri Kamleshwar Singh
Cancellation Cachet : Smt. Alka Sharma

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 500 Paise (5)

Stamps Printed : 606000 each

Miniature Sheets Printed : 110950

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• A Geographical Indication (GI) is a name or sign used on certain products which corresponds to a specific geographical location or origin (e.g. a town, region, or country). India, as a member of the World Trade Organization (WTO), enacted the Geographical Indication of Goods (Registration and Protection) Act, 1999 with effect from 15 September, 2003. The GI tag ensures that none other than those registered as authorised users (or at least those residing inside the geographic territory) are allowed to use the popular product name. Darjeeling tea became the first GI tagged product in India in 2004-05. By May 2017, 295 other GI tagged products have been added to the list.
• Department of Posts is releasing a set of Commemorative Postage Stamps on GI Registered Handloom Products as follows:
  • Baluchari Saree: Baluchari is an exquisite silk saree of West Bengal produced by highly skilled weavers having generations of experience in handloom weaving. The name Baluchari is derived from the word “Baluchar” an area comprising several villages in the district of Murshidabad. In the middle of the 16^th century, a group of experienced weavers from Varanasi migrated to Bengal and settled in Baluchar. They were famous for their weaving skill. They made beautiful designs on silk fabrics mainly used as sarees and exclusively patronized by the Nawabs and aristocrats of the society.
  • Bhagalpur Silk: Bhagalpur is a town of historical importance situated on the southern bank of the Ganga River. Bhagalpur is globally renowned for manufacturing quality silk fabrics and sarees. Presently, Bhagalpur is an important centre for producing Mulberry, Tasar, Eri silks, cotton and their blends. The types of yarn developed from Tasar cocoon are Reeled Tasar, Katiya, Gichha and Balkal yarn etc. Similarly, various qualities of mulberry silk yarn are Reeled, Spun, Dupion, Noil, Matka etc. These are used extensively to develop variety of textiles and products.
  • Kashmir Pashmina: Pashmina was first made by inhabitants of Kashmir. The quest for making a fine warm fabric to protect them from the harsh winter created Pashmina when they discovered an animal that produced one of the warmest raw materials called Pashm, the name given to the fleece of Changthangi goat (capra hiracus). The best Kashmiri shawls produced today are made from the soft, downy undercoat that grows primarily on the neck and belly of the Himalayan mountain goat, ‘capra hiracus’.
  • Pochampally Ikat: Pochampally Ikat is a saree made in Bhoodan Pochampally, Yadadri Bhuvanagiri district, Telangana. Pochampally Ikat or resist dyeing involves the sequence of tying and dyeing sections and bunches of yarn to a predetermined color scheme prior to weaving. Thus the dye penetrates into the exposed section of the yarn while the tied section remains un-dyed. The patterns formed by this process on the yarn are then woven into fabric.
  • Tangaliya Shawl: Tangaliya Shawl is a distinct handloom weaving tradition. It consists of rolling a lump of fibres of a contrast color thread along the warp as per design and pushing them together to create the effect of raised dots on the surface of the fabric. Tangaliya is an age-old weaving craft which evolved in the Saurashtra region of Gujarat around 700 years ago. It is produced in some parts of the Kutch as well as Junagarh and Surendranagar districts of Gujarat.
• Text : Based on information received from Ministry of Textiles.

The post Handlooms of India 2018 appeared first on iStampGallery.

Issued by India

Issued on Jan 1, 2017

Issued for : Department of Posts is pleased to issue a set of 12 stamps on the occasion of New Year.

Reference : Visuals of Pashmina, Sarota, Thanjavur Painting, Blue Pottery and Zardozi provided by Cottage Emporium, New Delhi. Pictures of Peacock Gate provided by Sh. Arjun Kumar. Other visuals have been taken from internet.

Credits :
Stamp / Sheetlet / Calendar / FDC / Brochure : Sh. Sankha Samanta
Cancellation Cachet : Smt. Alka Sharma

Type : Sheetlet of 12, Mint Condition

Colour : Multi Colour

Denomination : 2500 Paise each

Sheetlets Printed : 1.5 Lakh

Calendars printed : 50000

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• New Year celebrations believe to replenish all the joys in life and help to keep the spirits glowing and undaunted. With the New Year comes not only the opportunity to look back at the past year with the warmest of memories and to gain from it, beautiful pearls of wisdom but also the sense of resolution to make the lives of everyone around positively affected.
• Every year Department of Posts has been wishing everybody by bringing out different issues during New Year, either as New Year issue or Season’s Greetings. This year the Department is bringing out the rich heritage of India through 12 beautiful Stamps together in a Mixed Sheetlet, which has the potential to evoke the sense of pride in every Indian. Each Stamp design has been chosen with a perspective to reflect the glory and magnificence of Indian Culture and heritage.
• The first stamp depicts the Ganesh Pol. Ganesh Pol is located in the main palace of the Amber Fort. It is strategically important as entry through this gate was exclusive to the Kings to get into their private cambers. Ganesh Pol is fusion of Mughal and the Rajput architectural styles, famous for its ornamental archways and the fine latticework.
• The second stamp is on Pashmina. Pashmina is the Cashmere wool of the highest grade. It is considered as diamond among fibres. The stamp depicts a hand spun Pashmina shawl woven in Kashmir with exquisite embroidery.
• The third stamp depicts traditional Chhau Mask. Chhau is a major classical Indian dance form and is mainly performed during festivals in the Chaitra Parva, in which the whole community participates. It is believed that Chhau dance drives away the evil forces and let the righteousness prevail among the people. The effectiveness, originality, and beauty of the Chhau dance are dependent on the Chhau masks. Each mask represents a character from the epics, the Puranas, and from mythology.
• The fourth stamp shows Worship of Bodhi Tree. It is a sandstone relief sculpture in the Sanchi Stupa Complex in Madhya Pradesh. Bodhi Tree, or the Tree of Enlightenment, is so called because it represents the ficus tree (peepal) under which Buddha is said to have attained enlightenment. Bodhi Tree motif is used as a symbol of Buddha himself. It is an elaborately carved sandstone relief sculpture in the Sanchi Stupa Complex.
• The fifth stamp depicts Sarota. Sarota is a scissor like cutter made of metal, which is traditionally used to cut Areca nut into small pieces to be chewed along with other ingredients, wrapped in betel leaves. Sarota is found in many shapes and sizes and ornate designs in different parts of the country. Sarota is a beautiful objet d’art, reminiscent of a relaxed household of a by-gone time.
• The sixth stamp has a Peacock gate on it. Peacock Gate is one of the four gates at the inner courtyard which provides access to Chandra Mahal in City palace, Jaipur. It is ornamented with motifs of peacock and represents the Autumn season. It is dedicated to Lord Vishnu.
• The seventh stamp depicts Chaitya Hall of Karle, Maharashtra. The beautiful columns, dating back to the 1^st century BC are covered in carvings depicting life and work of Buddha. This is among the largest rock cut chaityas in India.
• The eighth stamp shows Thanjavur painting. Thanjavur paintings are panel paintings done on wooden planks. The dense composition, surface richness and vibrant colours makes them incomparable. The embellishments of semi-precious stones, pearls and glass pieces add to their appeal. The relief work gives them a three dimensional effect.
• The ninth stamp depicts Blue Pottery which is widely recognized as traditional craft of Jaipur. Blue Pottery has been named so due to the predominant use of blue glaze painting technique. The decorative patterns are largely florals rendered in Persian style.
• The tenth stamp shows Glass window at Bagore-Ki-Haveli in Udaipur, Rajasthan. The splendid architecture of the mansion has exquisite stained glass work, of 18^th Century.
• The eleventh stamp is on Peitra Dura. It depicts a table top in Peitra Dura on black marble. Peitra Dura, a decorative art form is an inlay technique of using cut and fitted highly polished precious and semi-precious coloured stones to create images.
• The twelfth stamp depicts a Zardozi carpet from Agra. Zardozi embroidery is beautiful metal embroidery which involves the use of gold and silver threads and also studded pearls and precious stones.
• Text: Based on the material available on internet.

The post Happy New Year 2017 appeared first on iStampGallery.

Issued by Bangladesh

Issued on Feb 5, 2016 (২৩ মাঘ, ১৪২২ বঙ্গাব্দ)

Issued for : On the prestigious occasion of ‘Muslin Exhibition and Muslin Revival Festival’ in February-2016, Bangladesh Post has issued two commemorative stamps of Tk. 10, and of Tk. 5, and a first day cover of Tk. 10 (ten) only, a data card of Tk. 5 and a special canceller.

দেশবাসীকে সচেতন করার লক্ষ্যে এই মর্যাদাপূর্ণ “মসলিন উৎসব-২০১৬” উপলক্ষে বাংলাদেশ ডাক বিভাগ নকশা-অলংকৃত প্রাচীন আমলের মসলিন বস্ত্রের চিত্র দিয়ে ১০/- (দশ) ও ৫/- (পাঁচ) টাকা মূল্যমানের দুটি স্মারক ডাক টিকিট, ১০/- (দশ) টাকা মূল্যমানের একটি উদ্বোধনী খাম, ৫/- (পাঁচ) টাকা মূল্যমানের একটি ডেটাকার্ড ও একটি বিশেষ সীলমোহর প্রকাশ করছে।

Designer : Shafiq Saheen
নকশাবিদ : সফিক শাহীন

Type : Stamps, Mint Condition

No. of Stamps : 2 (Two)
স্মারক ডাকটিকিটের সংখ্যা : ২ (দুই) টি

Colour : Multicolour
রং : বহুরং বিশিষ্ট

Denomination of Stamps : Tk. 5/- (Five) & Tk. 10/- (Ten)
স্মারক ডাকটিকিটের মূল্যমান : ৫/- (পাঁচ) টাকা & ১০/- (দশ) টাকা

Size of Stamps : 32 m.m. x 42 m.m.
স্মারক ডাকটিকিটের আকার : ৩২ মি.মি. x ৪২ মি.মি.

Perforation of Stamp : 12.5 micron
স্মারক ডাকটিকিটের ছিদ্রক দূরত্ব : ১২.৫ মাইক্রোন

Qnt. of Stamps : 6,00,000 pcs (Each 3 Lac pcs)
ডাকটিকিটের পরিমাণ : ৬,০০,০০০ পিস (প্রতিটি ৩ লক্ষ পিস)

No. of Stamps in each sheet : (80 + 80) = 160 (One Hundred Sixty pcs)
প্রতি শীটে ডাকটিকিটের সংখ্যা : (৮০ + ৮০) = ১৬০ (একশত ষাট) পিস

Process of Printing : Offset
মুদ্রণ প্রক্রিয়া : অফসেট

Printer : The Security Printing Corporation (Bangladesh) Ltd., Gazipur
মুদ্রাকর : দি সিকিউরিটি প্রিন্টিং করপোরেশন (বাং) লিঃ, গাজীপুর

About : 

• Muslin is a bright Chapter in the history of Bengal. Muslin of Dhaka cut a glance to the world for some centuries before the birth of Christ. This finest ancient cloth made by the weavers of Bengal especially introduced this country during Mughal rule all over the world. The best quality of cotton was grown here and for centuries, the finest muslin cloth has been woven around Dhaka. It is known from the writing of Greek historian and China travelers, the muslin of Bengal was exported to Rome and China. The merchants from Arab, Iran, African, Armenia, China, Java and different countries of Europe had been crowded in the then capital of Bengal, Sonargaon and Jahagirnagar as buyers of Muslin production. Seeing the finest quality of Muslin the European merchant and Rulers become highly astonished.
• Unfortunately, the vibrant muslin industry of Bengal and other parts India sharply declined during the British era; and, by the middle of the 19^th century, Muslin became a relic to be collected and preserved by the museums. However, it is possible to resurrect Muslin and restore its lost glory. Regeneration of cotton that was suitable for spinning yarn for Muslin. Revival of the fine technique of weaving is challenging but not impossible. However, what is needed foremost of all is creation of social awareness in this regard. If the society demands revival of Muslin then all of challenges can be removed within a short span of time.
• Following the directives of the Honorable Prime Minister for salvaging the proud heritage of the nearly extinct muslin of Bangladesh National Museum organizing the ‘Muslin Exhibition and Muslin Revival Festival’ in February-2016.
• বাংলার বস্ত্র শিল্পের ইতিহাসে মসলিন একটি উজ্জ্বল অধ্যায়। খ্রিষ্টের জন্মেরও কয়েক শত বছর আগে ঢাকাই মসলিন পৃথিবীকে তাক লাগিয়েছিল। বাংলার তাঁতীদের হাতে তৈরি প্রাচীন এই সূক্ষ্মবস্ত্র বিশেষ করে মোগল আমলে বাংলাকে সারাবিশ্বে পরিচিত করে। বহু শতাব্দী ধরে ঢাকা ও এর পার্শ্ববর্তী এলাকার সর্ব্বোৎকৃষ্ট মসলিন বস্ত্র তৈরী হতো। গ্রিক ঐতিহাসিক ও চীনা পর্যটকদের লেখা থেকে জানা যায়, বাংলার মসলিন রোম ও চীন সাম্রাজ্যে রপ্তানি হতো। বাংলার তৎকালীন রাজধানী সোনারগাঁও এবং জাহাঙ্গীরনগরের মসলিনের ক্রেতা হিসেবে আরব, ইরান, আফ্রিকা ও আর্মেনিয়া, চীন, জাভা ও ইওরোপের বিভিন্ন দেশের ব্যবসায়ীরা ভীড় করতো। ইওরোপীয় বণিক ও শাসকরা বাংলার মসলিনের উচ্চমান দেখে আশ্চর্যান্বিত হতো।
• কিন্তু দুঃখের বিষয় যে, এদেশে ব্রিটিশ শাসন প্রতিষ্ঠা হওয়ার পর রাজকীয় পৃষ্ঠপোষকতার অভাবে মসলিনের দ্রুত অবনতি হয় এবং উনিশ শতকের মাঝামাঝি এসে মসলিন জাদুঘর এবং বিভিন্ন সংগ্রহকারী প্রতিষ্ঠানের প্রত্ন সামগ্রীতে পরিণত হয়ে যায়। আমাদের বিশ্বাস, প্রচেষ্টা চালানো গেলে বাংলার  এই হারানো গৌরবের পুনরুজ্জীবিত করা সম্ভব। মসলিন তৈরির উপযুক্ত তুলা উৎপাদন এবং মিহি সুতার বুনন কাজটি খুবই কঠিন কিন্তু অসম্ভব নয়। এর জন্য এ সম্পর্কে সংশ্লিষ্টগণসহ সমাজের সকলের আগ্রহ ও সচেতনতা প্রয়োজন। সচেতন দেশবাসী যদি চায় তবে মসলিনের পুনরুজ্জীবন অবশ্যই সম্ভব।
• মাননীয় প্রধানমন্ত্রী ্কর্তৃক হারিয়ে যাওয়া মসলিনের গৌরবময় ঐতিহ্য পুনরুদ্ধার বিষয়ক নির্দেশনার অনুবৃত্তিক্রমে বাংলাদেশ জাতীয় জাদুঘর ‘মসলিন প্রদর্শন ও মসলিন পুনরুজ্জীবন উৎসব’ ২০১৬ আয়োজন করেছে।

The post Muslin Festival 2016 appeared first on iStampGallery.

Issued by India

Issued on Oct 15, 2015

Design : This set of two stamps depicts the two kinds of Charkhas used by Mahatma Gandhi: The traditional Charkha and the portable version of the Charkha which was designed by Gandhiji while he was in Yeravda Jail.

Credits :
Stamp/FDC & Miniature Sheet : Sankha Samanta
Cancellation : Alka Sharma

Type : Miniature Sheet, Mint Condition

Colour : Multi colour

Denomination : 500 Paise each

Stamps Printed : 0.5 Million x 2 Stamps

Miniature Sheet : 0.2 Million (1000 p)

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• A spinning wheel or Charkha is a device for spinning thread or yarn from natural or synthetic fibres. The spinning wheel replaced the earlier method of hand spinning with a spindle. From the earliest times, the spinning wheel was a common sight in Indian households. This is borne out by the excavations carried out at ancient sites of Harappa and Mohenjo-Daro. Earlier references about the processes of spinning and weaving are found in the Rig Vedas.
  
• The allusion to the existence of the spinning wheel in the Arthashastra of Kautilya (4^th century B.C.) is another proof of its antiquity. It was then viewed in its outer aspect – as an instrument for making yarn by drawing out, twisting and winding fibres. Kautilya mentions an important state official as Sutradhyaksh or Head of the yarn section.
  
• For centuries Charkha remained an important source of livelihood of artisans who, in utmost reverence, tied sacred threads to it, vowed in its name and burnt incense before starting their work on it. Traditionally, however, spinning was done by women at home and provided them means of earning their livelihood. The entire process, from the picking of raw cotton to carding, slivering, spinning and weaving was done by hand, and involved great skill. Marco Polo, the Venetian, who visited India in 1288 A.D. wrote ecstatically about India’s cotton fabrics which he compared to a spider’s web. Later, during the Mughal period also hand-weaving and spinning remained important occupations.
  
• During the 16^th Century, foreign traders, namely, the Portuguese, the Dutch, the French, and later the British, started exporting Indian handmade textiles to Europe where these were prized for their fine quality. However, the influx of Indian fabrics in their markets provoked opposition among the cloth manufacturers in England, following which the British Parliament passed an Act imposing excessive duties on cloth brought into the country from India. Heavy penalty was also imposed on those who used Indian fabric in England.
  
• Thereafter, England started importing raw cotton from India and sending back cheap, mill-manufactured cloth back to India. This resulted to Indian spinners and weavers being forced into lack of work resulting in weakening of their economic condition.
  
• In 1854, the first textile mill started functioning at Bombay, paving the way for mechanization of the textile industry in the country. Thereafter, the skills of spinning and weaving progressively started to decline. Life in the villages was affected by this trend in a big way impacting the Indian rural economy adversely.
  
• During India’s struggle for freedom, the Charkha became a significant symbol of Swadeshi movement which sought to bring about an economic revolution by discarding machine-made goods produced abroad and replacing them with the Indian hand-made cloth. The emphasis on Charkha was aimed both at removing poverty of people in villages, who could supplement their income by working at home, and at impeding the flow of Indian money to the British industries.
  
• Charkha received a new meaning and novel interpretation at the hands of Mahatma Gandhi. It reminded him of “the ever–moving wheel of the Divine Law of love”. To Gandhiji spinning was like penance or sacrament, a medium for spiritual upliftment, a symbol of dharma, of self-help and self-reliance, of dignity of labour and human values, besides, being an emblem of nonviolence.
  
• Mahatma Gandhi believed that the revival of hand-spinning and hand-weaving would make the largest contribution to the economic and moral regeneration of India. Mahatma Gandhi used the ‘charkha’ as a symbol of self-reliance and to send out the message to the British Empire that India can make its own cloth and did not need to rely on the empire to do it. In his words:
  “The spinning wheel represents to me the hope of the masses…It was the friend and solace of the widow. It kept the villagers from idleness. For the Charkha included all the anterior and posterior industries – ginning, carding, warping, sizing, dyeing and weaving. These, in their turn, kept the village carpenter and the blacksmith busy.”
  
• On the eve of the All India Congress Committee meeting in 1924, Mahatma Gandhi issued an appeal which stated – “I believe in the spinning wheel. It has two aspects, terrible and benign. In its terrible aspect, it is calculated to bring about the only boycott we need for an independent national existence…In its benign aspect, it gives a new life and hope to the villager”.
  
• In 1921, the Congress Working Committee undertook Khadi promotion. It organized an independent body known as the ‘All India Spinners’ Association’, popularly known as the Charkha Sangh.
  
• Gandhiji was very keen on improving the Charkha technologically in order to improve its productivity. He announced a competition for design of a more efficient Charkha. This Charkha was required to be simple in operation, cheap to manufacture, and able to produce yarn of good quality in greater quantity. While he was lodged in Yeravda Jail, Gandhiji himself worked on a portable design of the Charkha which could be easily carried anywhere.
  
• Text : Based on the material obtained from National Gandhi Museum and internet.

The post Charkha appeared first on iStampGallery.

Issued by India

Issued on May 3, 2013

Credits :
Stamp & FDC : Kamleshwar Singh
Cancellation : Nenu Gupta

Type : Miniature Sheet, Mint Condition

Colour : Multi colour

Denomination : 500 Paisa

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

Name : Tiruchengodu Ramalingam Sundaram

Born on Jul 16, 1907 at Salem, Tamil Nadu, India

Died on Aug 23, 1963 at Salem, Tamil Nadu, India

The post T. R. Sundaram appeared first on iStampGallery.

Issued by India

Issued on Dec 10, 2009

Issued for : The Government of India has taken several initiatives for the development and promotion of the hand loom sector, introducing five comprehensive schemes during the 11^th Five Year Plan to: the Integrated Handlooms Development Scheme for developing Handloom Weaver Groups to be sustainable with skill upgradation and diversified products; the Handloom Weavers Comprehensive Welfare Scheme which provides insurance coverage in case of accidents, disability or death; the Marketing and Export Promotion Scheme to build awareness and publicity and provide brand development and financial assistance; the Mill Gate Price Scheme to make all types of yarn available at appropriate rates; and the Diversified Handloom Development Scheme which focuses on design development, skill upgradation, training, R&D etc.

The Department of Posts celebrates India’s heritage of textiles through this set of postage stamps.

Credits :
Stamp & FDC : Sankha Samanta
Cancellation : Alka Sharma

Type : Miniature Sheet, Mint condition

Colour : Multi colour

Denomination : 500 Paise each

Stamps Printed : 0.8 Million each

Sheetlet : 0.4 Million

Miniature Sheets : 0.4 Million 

Printing Process : Wet–offset

Printer : India Security Press, Nasik

About : 

• India has a rich tradition in textile production spanning almost 5000 years. The materials and techniques vary with geo-climatic conditions, traditions and history. Each reflects a marvel of the creative minds and hands that have worked anonymously to create a masterpiece. Four are depicted on the set of postage stamps.
• Kalamkari :
  • The term means pen work and denotes the painted and printed textiles of Andhra Pradesh. They belong to two distinct schools : the Masulipatnam ones patronized by Muslim rulers and the Sri Kalahasti ones by Hindu temples. The former are influenced by Persian paintings and the tenets of Islam; the latter reproduce scenes from Hindu mythology. The pen was often replaced by blocks for the repetitive patterns at Masulipatnam while Kalahasti continues to use the ‘kalam‘ as the main tool. The Kalamkari paintings also play an important role in the rural life of Andhra Pradesh, its rituals and ceremonies. The craft has stood the test of time and shown an adaptability to change.
• Apa Tani Weaves :
  • The Apa Tani inhabit the lower Subansiri district of Arunachal Pradesh, in North East India. The women weave primarily for their own households – a tradition that is passed down from mother to daughter. Almost every family possesses one or two looms. The loom, a single heddle, reed less, loin loom, is small, simple, portable and easy to operate. It is a family heirloom only inherited by the women. The weaving is done in plain weave or tabby and the patterning is done using the extra weft technique. The traditional Apa Tani colours are red, green and yellow, all obtained from leaves, roots, creepers and the bark of trees. Now dyed yarn is available in a variety of colours. The ordinary Apa Tani cloth gets its character from the use of broad stripes alternating with narrow ones and an inexhaustible variety of geometric patterns achieved with the extra weft technique.
• Kanchipuram Silks :
  • The figured and brocaded silk-woven saris of Kanchipuram in Tamil Nadu are as famous as the temples of this centre for Hindu pilgrimage. Ancient southern texts date the rich silks to the 2^nd century, though many attribute the origin of the craft to the migration of weavers at different periods. The silk industry grew with royal and temple patronage and trade facilitated by the river Palar and produced temple cloths, wall hangings and chariot decorations, furnishings and the nine-yard sari. The weaving of a Kanchipuram Sari is a slow process done on a throw shuttle pit loom or a raised pit loom. The process requires two weavers to work together with three shuttles while the designer reads out the graph to facilitate the lifting order of threads. Now jacquard and dobby machines are also being used. The saris have a distinctive style, combining simple borders and grounds in rich contrasting colours with elaborate patterns woven with rows of animals, birds, flowers and creepers or geometric patterns. The silk is compact, thick and richly textured due to the use of twisted three-ply yarn. The use of colour and the lustre of the silk give Kanchipuram Silks their identity.
• Varanasi Brocades :
  • Varanasi, also called Banaras and Kashi, in Uttar Pradesh has been a cultural and religious centre for centuries, its lifeline being the sacred river Ganga. Its fame, apart from its temples, musicians etc. rests on the brocades and the versatile Varanasi draw loom. There are different views on the introduction of the draw loom into India. It is a complex hand loom for weaving figured textiles of great complexity and width. Designs or “naqshas” form the basis of the pattern woven. In brocade – weaving, extra weft threads of different coloured silk or zari, metallic threads, are woven into the base fabric in areas where they are to form a pattern. The brocades vary in the use of fabric, the type of metallic thread used and the silk or cotton yarn used. Today most commonly mulberry silk from Karnataka and from Bengal is used, as also imports from China.
• Text : Based on material given by the Ministry of Textiles.

The post Traditional Indian Textiles 2009 appeared first on iStampGallery.