Uppada sarees wholesalers in bangalore dating

uppada sarees wholesalers in bangalore dating

Items 1 - 90 of Online Shopping for Green Pure Venkatagiri Cotton Saree with Block Cream- Yellow Pure Kalamkari Hand Painted Dupion Silk Saree-U. Business listings of Uppada Silk Saree manufacturers, suppliers and exporters in Bengaluru, Karnataka along with their contact details & address. Find here. The mere mention of shopping in Bangalore brings to mind the word silk! This is a wholesale market and is bustling with activity. Mysore Saree Udyog.

uppada sarees wholesalers in bangalore dating

uppada sarees wholesalers in bangalore dating

Exporters India :

uppada sarees wholesalers in bangalore dating

This is the reason for the far superior workmanship that can be found in the earlier designs dating back to the Mughal era. These fabrics are mostly used for making expensive garments and saris.

Best place to buy sarees in mysore - Badsha Stores - The Silk Experience Since 1965

Uppada sarees wholesalers in bangalore dating - Where to Shop and What to Buy in Bangalore

They also have a range of organic beauty products which include some very nice scented soap and have diversified into some typical Indian preserves and pickles which are available in sealed bottles. Branches also exist at main Commercial Street and the Garuda Mall. You can pick up a few bargains if you have the time to browse. It is a predominantly Muslim part of town and you can also travel a short distance to the Jama Masjid and have a look at the lilac building.

KR road, about 15 minutes from Central Bangalore. Most of them have their showrooms in this area. If you are looking for something traditionally Indian you can head for the Bombay Store. Located at 99 MG Road, this shop has Indian artifacts, gift items, small and big souvenirs, cotton linen, incense sticks and ecological beauty products available. It is a bit more expensive than shopping in the city market and is also a fixed-price shop, but the quality of the merchandise here is good and they have excellent quality control.

If going in for any of the dyed clothes or hand block printed linen, be sure to ask if the colours will run. This is the heart of British Bangalore and the new city centre as well. The best place to get these in Bangalore is at the Mysore Sari Udyog. The heavy fabric appears to be in layers, as the warp ends are crammed drawing three, four and up to seven ends per dent for the Tipara, Chaupara up to Satpara respectively.

Zari is generally of two types Badla and Kala batto. Badla Zari was made of flattened gold or silver wire with the ancient method of making zari from pure metal without any core thread.

This accounted for its peculiar stiffness. Sometimes cracks would develop in the metal during the process of weaving which resulted in the loss of its natural luster and smoothness. Therefore, weaving with Badla Zari was difficult and required great skill. Often a touch of Badla was given to floral motives to enhance the beauty. This type of zari has mostly gone out of favor amongst the contemporary weavers and they mostly depend on polyester or pure silk as a substitute. Silk brocade of Banaras, Ahmedabad and Surat were well known in the 17th century.

While Banaras continues to be a centre of production of silk brocades, Ahmedabad and Surat have practically nothing to show today. On the other hand, silk brocade weaving has gained ground in the south of India. Pot-thans[ edit ] These are called katan a thread prepared by twisting a different number of silk filaments brocades.

Pot-thans are lighter in textures lower thread count than kinkhwabs but closely woven in silk and all or certain portions of the pattern are in gold or silver zaris. These fabrics are mostly used for making expensive garments and saris. Very often the satin ground weave is particularly used for garments fabrics. These fabrics are characterized by their jals which are normally made out of silk and tilla.

Mashru[ edit ] The cloth was distinguished by its butis woven in circular shapes that gave an impression of ashrafis gold coins. The ashrafis were usually woven in gold zari. This is a mixed fabric with a woven stripe or zigzag pattern.

The warp and weft used were of two different materials silk and cotton, cotton and linen, silk and wool or wool and cotton in different colours. It was used mostly for lower garments such as trousers, the lining of the heavy brocade garments or as furnishing. Sangi, Ganta, Ilaycha were types of mashru too. These were popular since ancient times and were known to be woven at all leading silk centres.

One reason for their popularity was Islam. Since Islam does not allow men to wear pure silk, mashru literally meaning permitted became very popular amongst Muslims. Himru or Amru[ edit ] A type of Indian brocade is the Himru, a specialty of Hyderabad and Aurangabad , which is woven from silk and zari on silk to produce variegated designs, woven on the principle of extra weft. Himru can be very pretty with a pseudo-rich effect in general.

It continued to be in popular demand on the account of its low price as compared to the pure silk brocades. Another point in its favor is that it can be woven very fine so as to give it a soft feel, thus making it more suitable as a fabric for personal wear than the true brocade. The cloth is distinguished by its intricate char-khana four squares jal. These are woven like kinkhwabs, but without the use of kala battu zari instead badla zari is used.

Kinkhwabs[ edit ] Kinkhwabs fabrics of India have earned a great reputation for their craftsmanship and grandeur. By and large, still continue to do so, even in the face of fierce competition from other types of woven and printed fabrics.

Kinkhwabs today are typically ornate, jacquard-woven fabrics. The pattern is usually emphasized by contrasting surfaces and colours and appears on the face of the fabric, which is distinguished easily from the back. Uses include apparel, draperies, upholstery and other decorative purposes. Gyasar[ edit ] Gyasar is a silk fabric of a kinkhwab structure with ground, in which the gold thread is profusely used with Tibetan designs.

The fabric is especially popular with Tibetans and used extensively in their dresses as well as in decorative hangings, prayer mats, etc. Gyanta[ edit ] Gyanta is a silk fabric of kinkhwab structure of a satin body with or without the use of gold thread. These sometimes have a tantric design which is also known as tchingo of human heads with three eyes woven in gold and silver threads on a black satin ground.

Jamawar[ edit ] "Jama" means robe and "war" is yard. The base of the jamawar is mostly resham , with perhaps an addition of a little polyester. The brocaded parts are woven in similar threads of silk and polyester. Most of the designs seen today are floral, with the kairy i. Today, the best jamawar is woven in Pakistan. This fabric is widely used in that country for bridal and special occasion outfits.

The texture and weave of patterns is such that the fabric often gets caught when rubbed against rough surfaces metallic embroidery, jewellery etc. Origin[ edit ] Traders introduced this Chinese silk cloth to India, mainly from Samarkand and Bukhara and it gained immense popularity among the royalty and the aristocracy. King and nobles bought the woven fabric by the yard, wearing it as a gown or using it as a wrap or shawl. Jamawar weaving centres in India developed in the holy cities and the trade centres.

Due to its rich and fine raw materials, the rich and powerful merchants used jamawar and noblemen of the time, who could not only afford it but could even commission the weavers to make the fabric for them, as in the case of the Mughals.

Emperor Akbar was one of its greatest patrons. He brought many weavers from East Turkestan to Kashmir. One of the main reasons for the diversity in the designs of the jamawar cloth was the migratory nature of its weavers. Ideas from almost all parts of the world influenced these designs. The Indian motifs were greatly influenced by nature like the sun, moon, stars, rivers, trees, flowers, birds etc. The figural and geometrical motifs such as trees, lotus flower, bulls, horses, lions, elephants, peacocks, swans, eagles, the sun, stars, diagonal or zigzag lines, squares, round shapes, etc.

Indian weaver predominantly used a wide variety of classical motifs such as the swan hamsa , the lotus kamala , the tree of life kulpa, vriksha , the vase of plenty purna, kumbha , the elephant hathi , the lion simha , flowing floral creepers lata patra , peacocks mayur and many more.

Mythical creatures such as winged lions, centaurs, griffins, decorative of ferocious animals, animals formally in profile or with turned heads, animals with human figures in combat or represented in roundels were also commonly used motifs. These motifs have remained in existence for more than two thousand years. However, new patterns have consistently been introduced; sometimes some of these are even an amalgamation of the existing patterns.

Such attempts at evolving new designs were particularly noticeable from the 10th century onwards, when patterns were altered to meet the specific demands of the Muslim rulers. The bull or the swan, arranged between vertical and diagonal stripes can still be found in the silk jamawar saris of India.

Patterns with small flowers and two-coloured squares chess board design are seen, used both as a garment and as furnishing material — bed spreads with same kind of pattern are still woven in some parts of Gujarat. Jamawar dating back to the Mughal era however contained big, bold and realistic patterns, which were rather simple with ample space between the motifs. The designs stood out prominently against the background of the cloth.

Complex patterns were developed only when additional decorative elements were included in the basic pattern.