рдЕрдзрд┐рдХ рдЦреЛрдЬреЗ рдЧрдП рд╢рдмреНрдж

рд╕рд╣реЗрдЬреЗ рдЧрдП рд╢рдмреНрдж

рдЖрда рдмрд╛рд░ рдиреМ рддреНрдпреЛрд╣рд╛рд░

рд╕реБрдЦ-рд╕реБрд╡рд┐рдзрд╛ рдФрд░ рдЖрд░рд╛рдо рдХрд╛ рд╢реМрдХрд╝ рдпрд╛ рд▓рдЧрди рдРрд╕рд╛ рдмрдврд╝рд╛ рд╣реБрдЖ рд╣реИ рдХрд┐ рдпреБрдЧ рдФрд░ рд╕рдордп рдЙрд╕рдХреЛ рдЕрд▓реНрдк рд╡реНрдпрдп рдирд╣реАрдВ рдХрд░рдиреЗ рджреЗрддрд╛

рдЪрдордирд┐рд╕реНрддрд╛рди

рдРрд╕рд╛ рдмрд╛реЪ рдЬрд╣рд╛рдБ рдлреВрд▓ рд╣реА рдлреВрд▓ рд╣реЛрдВ, рдРрд╕реА рдЬрдЧрд╣ рдЬрд╣рд╛рдБ рджреВрд░ рддрдХ рдлреВрд▓ рд╣реА рдлреВрд▓ рдФрд░ рд╣рд░рд╛ рднрд░рд╛ рдиреЫрд░ рдЖрдП, рд╡рд╛рдЯрд┐рдХрд╛, рдЪрдорди, рдмрд╛рдЧрд╝

'рдФрд░рдд

рдЬрд╛рдпрд╛, рднрд╛рд░реНрдпрд╛, рдкрддреНрдиреА, рдЬреЛрд░реВ

рддрд╛рдЧрд╝реВрдд

рд╢реИрддрд╛рди, рдЕрддреНрдпрдиреНрдд рдирд┐рд░реНрджрдп рдФрд░ рдЕрддреНрдпрд╛рдЪрд╛рд░реА рд╡реНрдпрдХреНрддрд┐

рдорди-рднрд╛рд╡рди

рдорди рдХреЛ рднрд╛рдиреЗ рдпрд╛ рдЕрдЪреНрдЫрд╛ рд▓рдЧрдиреЗ рд╡рд╛рд▓рд╛

рджрд╛рджрд░рд╛

рд╕рдВрдЧреАрдд рдореЗрдВ рдПрдХ рдкреНрд░рдХрд╛рд░ рдХрд╛ рдЪрд▓рддрд╛ рдЧрд╛рдирд╛ (рдкрдХреНрдХреЗ рдпрд╛ рд╢рд╛рд╕реНрддреНрд░реАрдп рдЧрд╛рдиреЛрдВ рд╕реЗ рднрд┐рдиреНрди), рдПрдХ рдкреНрд░рдХрд╛рд░ рдХрд╛ рдЧрд╛рди, рдПрдХ рддрд╛рд▓

рдордЬрд╝рджреВрд░

рд╢рд╛рд░реАрд░рд┐рдХ рд╢реНрд░рдо рдХреЗ рджреНрд╡рд╛рд░рд╛ рдЬреАрд╡рд┐рдХрд╛ рдХрдорд╛рдиреЗ рд╡рд╛рд▓рд╛ рдХреЛрдИ рд╡реНрдпрдХреНрддрд┐, рдЬреИрд╕реЗ: рдЗрдорд╛рд░рдд рдмрдирд╛рдиреЗ, рдХрд▓-рдХрд╛рд░реЩрд╛рдиреЛрдВ рдореЗрдВ рдХрд╛рдо рдХрд░рдиреЗ рд╡рд╛рд▓рд╛, рд╢реНрд░рдорд┐рдХ, рдХрд░реНрдордХрд╛рд░, рднреГрддрдХ, рдордЬреВрд░

рдЦрд╝реИрд░-рдЕрдВрджреЗрд╢

рднрд▓рд╛рдИ рдХреА рдмрд╛рдд рд╕реЛрдЪрдиреЗ рд╡рд╛рд▓рд╛, рд╡рд╣ рд╢рдЦрд╝реНрд╕ рдЬреЛ рдХрд┐рд╕реА рдХреА рднрд▓рд╛рдИ рдЪрд╛рд╣реЗ, рд╢реБрднрдЪрд┐рдВрддрдХ

рджреВрдз-рд╢рд░реАрдХ рдмрд╣рди

рдРрд╕реА рдмрд╛рд▓рд┐рдХрд╛ рдЬреЛ рдХрд┐рд╕реА рдРрд╕реА рд╕реНрддреНрд░реА рдХрд╛ рджреВрдз рдкреАрдХрд░ рдкрд▓реА рд╣реЛ рдЬрд┐рд╕рдХрд╛ рджреВрдз рдкреАрдХрд░ рдФрд░ рдХреЛрдИ рдмрд╛рд▓рд┐рдХрд╛ рдпрд╛ рдмрд╛рд▓рдХ рднреА рдкрд▓рд╛ рд╣реЛ, рдзрд╛рдп рд╕рдВрддрд╛рди, рджреВрдзрдмрд╣рд┐рди, рджреВрдзрдмрд╣рди

рд░рд┐рд╕рд╛рдИ

рджреБрдЦ рдФрд░ рдореМрдд рд╕реЗ рд╕рдВрдмрдВрдзрд┐рдд, рд╢реЛрдХрдпреБрдХреНрдд

рдЬрд╝рд░реНрдлрд╝

рдмрд░реНрддрди

рддрд┐рд╣рд╛рдИ

рдХрд┐рд╕реА рд╡рд╕реНрддреБ рдХреЗ рддреАрди рд╕рдорд╛рди рднрд╛рдЧреЛрдВ рдореЗрдВ рдХреЛрдИ рдПрдХ рднрд╛рдЧ, рддреАрд╕рд░рд╛ рдЕрдВрд╢, рднрд╛рдЧ рдпрд╛ рд╣рд┐рд╕реНрд╕рд╛, рддреАрд╕рд░рд╛ рд╣рд┐рд╕реНрд╕рд╛

рд▓рд╛'рдирдд

рдзрд┐рдХреНрдХрд╛рд░, рдлрдЯрдХрд╛рд░, рднрд░реНрддреНрд╕рдирд╛, рдЕрднрд┐рд╢рд╛рдк, рд╢рд╛рдк

рдХрд╝рд╣рд░ рдврд╛рдирд╛

рдХрд┐рд╕реА рдХреЗ рд▓рд┐рдП рд╕рдВрдХрдЯ рдкреИрджрд╛ рдХрд░рдирд╛, рд╕рдВрдХрдЯрдЧреНрд░рд╕реНрдд рдмрдирд╛рдирд╛, рдХрд┐рд╕реА рдкрд░ рдХреЛрдИ рдЖреЮрдд рд▓рд╛рдирд╛, рдЬрд╝реБрд▓реНрдо рдХрд░рдирд╛, реШрд╣рд░ рддреЛреЬрдирд╛

рдЪрд▓реЗ рди рдЬрд╛рдП рдЖрдБрдЧрди рдЯреЗрдврд╝рд╛

рдХрд╛рдо рдореЗрдВ рдХреБрд╢рд▓ рди рд╣реЛрдиреЗ рдкрд░ рджреВрд╕рд░реЗ рдкрд░ рдЖрд░реЛрдк рдореЭрдирд╛

рдЖрдЧреЗ рдирд╛рде рди рдкреАрдЫреЗ рдкрдЧрд╛

рдЬрд┐рд╕рдХреЗ рдЖрдЧреЗ-рдкреАрдЫреЗ рдХреЛрдИ рди рд╣реЛ, рдЬрд┐рд╕рдХрд╛ рдЕрдкрдирд╛ рдХреЛрдИ рди рд╣реЛ, рдЕрд╕рд╣рд╛рдп, рд▓рд╛рд╡рд╛рд░рд┐рд╕, рдЕрдХреЗрд▓рд╛

рд╕рд╛рд╣рд┐рд░

рдЬрд╛рджреВрдЧрд░, рд╡рд╣ рд╡реНрдпрдХреНрддрд┐ рдЬреЛ рдЬрд╛рджреВ рджрд┐рдЦрд╛рддрд╛ рд╣реЛ

рдХреБрдбрд╝рдорд╛рдИ

рд╢рд╛рджреА рдХреЗ рдкреВрд░реНрд╡ рд░рд┐рд╢реНрддрд╛ рдкрдХреНрдХрд╛ рдХрд░рдиреЗ рдХреЗ рд▓рд┐рдП рдХреА рдЬрд╛рдиреЗ рд╡рд╛рд▓реА рд░рд╕реНрдо, рд╕рдЧрд╛рдИ, рд╢рд╛рджреА рддреИ рдХрд░рдирд╛, рд░рд┐рд╢реНрддрд╛ рдХрд░рдирд╛

рдирдЬрд╝рд░-рднрд░ рджреЗрдЦрдирд╛

рдкреВрд░реА рддрд░рд╣ рд╕реЗ рджреЗрдЦрдирд╛, рдзреНрдпрд╛рди рд╕реЗ рджреЗрдЦрдирд╛

рдЦрд╝реНрд╡рд╛рдЬрд╛-рддрд╛рд╢

рдПрдХ рд╕реНрд╡рд╛рдореА рдХреЗ рджрд╛рд╕, рдЬреЛ рдЖрдкрд╕ рдореЗрдВ рдЦреНрд╡рд╛рдЬрдГрддрд╛рд╢ рдХрд╣рд▓рд╛рддреЗ рд╣реИрдВ

Home / Blog / A Tapestry of Tradition: The Legacy of Indian Fabric Names

A Tapestry of Tradition: The Legacy of Indian Fabric Names

by Azra Naqvi 20 August 2024 5 min Read

A Tapestry of Tradition: The Legacy of Indian Fabric Names

Over time, humans have crafted myriad terms and terminologies for the countless varieties of fabrics used for making clothes, coverings, and bedding. The origins of these names, their original meanings, and the etymological alterations that occurred with time make a case for a fascinating study. The most distinctive feature of the fabrics produced in India is the beautiful and poetic names they have earned over the past couple of centuries. In this brief write-up, we will traverse the world of some of these fascinating names and traditions associated with them.

Aab-e-Rawan (╪в╪и ╪▒┘И╪з┌║)
One of the most gentle names is Aab-e-Rawan. The word "Aab" (╪в╪и) means water, and "Rawan" (╪▒┘И╪з┌║) refers to flowing, so "Aab-e-Rawan" stands for "flowing water." This was the name of an elegant type of muslin with an ultra-fine nature. The name itself reflected its delicacy. There are two popular narratives associated with this fabric. One that dates back to the Aurangzeb era is that the Emperor was displeased with his daughter Zeb-un-Nisa for appearing before him in a dress through which her skin was visible. The princess answered that she was wearing seven layers of Aab-e-Rawan. The second story goes back to the era of Nawabs. Nawab Alivardi Khan is said to have punished his weaver and ousted him from the city because he negligently stretched out a piece of Aab-e-Rawan on the grass and a cow ate it. The fabric was so delicate that the cow could not distinguish between it and the grass beneath it. Despite the poetic exaggeration in these tales, Aab-e-Rawan was a very fine muslin of its time. Several European trading companies exported it from India, where it was known among the English as "Abron."

Jamdani (╪м╪з┘Е╪п╪з┘Ж█М)
Our next pick is Bengal's Jamdani. Jamdani sarees are popular all over the sub-continent, but the origin of the name is quite enthralling. "Jama" refers to clothing, and "Dani" or the suffix "dan" signifies a container or box particularly used to hold something. "Shakar-dani" ╪┤┌й╪▒ ╪п╪з┘Ж█М  (sugar pot), "pandan" ┘╛╪з┘Ж╪п╪з┘Ж (betel box), or "guldan" ┌п┘Д╪п╪з┘Ж (vase) are some famous examples. Although "Jama-dani" originally referred to a leather chest used to store clothing, Jamdani came to be associated with a very fine muslin from Dhaka, known for its floral patterns woven into the fabric. Due to the delicacy and value of this fabric, it was carefully stored in a chest, hence the name Jamdani came into being.

Baadla (╪и╪з╪п┘Д╪з)
Baadla is a silk fabric with silver work on it. "Baadla" refers to the sky, where stars twinkle at night. Considering the shimmer of Baadla, it was likened to stars in the sky. Baadla also refers to the gold and silver threads used to create designs on the fabric. Nowadays, this work is known as Kamdani, (┌й╪з┘Е╪п╪з┘Ж█М)  and these threads are used to produce small floral or star-like patterns on Dupattas and Sarees. Kamdani patterns are also integrated into Chikankari embroidery.

Deeba (╪п█М╪и╪з) 
This fabric has been mentioned considerably in Urdu poetry. The word belongs to the Persian. Historically, Deeba was an expensive fabric made from silk and gold threads, featuring innumerable elegant floral designs. It is said that the original word was "Deo-baf," (╪п█М┘И ╪и╪з┘Б) meaning the fabric woven by a "Deo" ╪п█М┘И  or a supernatural being. The fabric was so exquisite that it was initially thought to be a product of otherworldly craftsmanship rather than human skill. Deeba is also used as a girl's name, and a new type of fabric by this name has already been invented in India.
"Deebaacha"╪п█М╪и╪з┌Ж█Б  (foreword) is derived from the same root. Some believe that the initial pages of books were often decorated with floral patterns, which led to the foreword being called "Deebaacha."

In conclusion, the poetic and historical significance of these fabric names from the Indian subcontinent highlights the deep connection between culture, language, and craftsmanship. Each name, whether Aab-e-Rawan, Jamdani, Badla, or Deeba, carries a rich legacy of artistry, tradition, and stories passed down through generations. These fabrics were not merely plain and simple, rather they were a reflection of the region's artistic soul, a testament to the skill of the weavers, and a symbol of the beauty that could be shaped through the interplay of language and material. As we reflect on these names and the folklore attached to them, we are reminded of the unending legacy of the textile arts in India that continues to inspire and captivate the generations.

рдмреЛрд▓рд┐рдП

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рдХреНрдпрд╛ рдЖрдк рд╡рд╛рд╕реНрддрд╡ рдореЗрдВ рдЗрди рдкреНрд░рд╡рд┐рд╖реНрдЯрд┐рдпреЛрдВ рдХреЛ рд╣рдЯрд╛ рд░рд╣реЗ рд╣реИрдВ? рдЗрдиреНрд╣реЗрдВ рдкреБрди: рдкреВрд░реНрд╡рд╡рддреН рдХрд░рдирд╛ рд╕рдВрднрд╡ рдирд╣реАрдВ рд╣реЛрдЧрд╛

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