A case for conserving the Vernacular Architecture

of Handloom Sari Weavers’ Homes and Settlements

By: Aruna Bagchee

Abstract: This paper pleads for concerted action to conserve the tangible heritage of
iconic sari weaving clusters in India. Handloom weaving is an ancient and highly skilled
craft. Weavers’ homes which also function as their artisanal workshops represent a unique
typology of dual purpose vernacular architecture. We discuss the significance of this
architecture, its close links with the traditional craft of handloom weaving, and the results
of a pilot project to safeguard this valuable built heritage in the historical town of
Chanderi in India.

AB_ Chanderi article_2nd draft_3 Dec 2017

 A case for conserving the Vernacular Architecture
of Handloom Sari Weavers’ Homes and Settlements

By: Aruna Bagchee

I. Introduction

The weaving of handloom saris has been India’s largest and most widely dispersed
cottage industry for centuriesi. Despite the higher output from decentralized power
looms, the number of persons employed in weaving handloom cloth remains
significantly highii.

Yet, for several decades now, the handloom sector in

Persons India has been ailing, as weavers continue to abandon
Handloom 43.31 lakh their traditional craft in search of more viable economic
Textile mill 47.65 lakh options. The reasons for this decline have been widely
Power loom 64.36 lakh reported and are therefore well known iii.

A number of government and private initiatives have been launched to counter this
decline and support the handloom sector. These range from the reservation of certain
product lines exclusively for the handloom sector to the direct supply of various inputs
and services like yarn, credit and marketing facilities iv.

Yet there is one aspect of the weavers’ deteriorating situation that has not received the
attention it deserves. This is the dilapidated condition of their homes and the worsening
state of civic amenities impacting their clusters. Lack of attention to the
interconnectedness between the weavers’ tangible heritage (homes, cluster settlements,
materials) and intangible heritage (relations of production, modes of inter-generational
transmission of knowledge and skills and inspiration) explains in large measure the
decline of the handloom industry. It may not be possible to keep it alive merely through
input subsidies. A more sensitive conservation effort, based on appreciating these inter-
linkages, seems called for, if we are to protect, revive and truly appreciate this iconic
and uniquely Indian traditional industry, and nourish it back to health and sustainable
growth.

Spread across the Indian sub-continent are clusters of weavers’ homes which have
produced world famous textiles, particularly the traditional handloom saris that enjoy
an iconic status in the design worldv. The vernacular architecture of these homes
represents a unique typology of traditional homes, built with local materials, and
region-specific lay-outs and design elements that accommodate both living space for the
family and working space for the looms and other ancillary equipment required for
their traditional home-based occupation as weavers.

These homes are therefore quite a special category of artisanal work-shops and merit
more study and closer attention.

AB_ Chanderi article_2nd draft_3 Dec 2017

Recognizing these aspects of the significance attached to weavers’ homes, India’s
Tentative List for world heritage sites, as revised in 2014, includes an entry titled Iconic
Sari Weaving Clusters. Conceived as a serial nomination of several world-famous sari
weaving centres across the country, this proposed nomination seeks to draw attention
to the tangible heritage of weavers’ homes in identified clusters, especially around
historical towns like Chanderi, Varanasi, Paithan and so on.

Concretising this proposal as a serial nomination will require a great deal of

coordination across many stake-holders at national, state and local level, both to finalise
which clusters to include, and also to develop appropriate regulatory frameworks for
their management and conservation. However, work has been initiated by the Indian
National Trust for Art and Cultural Heritage (INTACH) to move forward on this concept.

Since 2015, INTACH has been playing a nodal agency role in concretizing this TL
proposal by following a two-pronged approach. First, at the broad national level, it has
begun a preliminary survey and documentation of iconic sari weaving clusters that may
qualify for inclusion in the serial nomination. Second, at the ground level, it has focused
on Chanderi in Madhya Pradesh, which is both a historic town, and home to the iconic
Chanderi sari. INTACH has collected material towards a dossier for Chanderi, and
recently completed a “demonstration” project for the conservation and restoration of its
weavers’ homes.

The beautiful historical city vi of Chanderi in Madhya Pradesh is situated in the basin of
the river Betwa, at the cross roads of ancient trade routes. It presents itself today as a
well-planned medieval town, still largely intact in terms of its original town-scape and
built heritage, as well as in terms of its social fabric and repute as a major production
centre of exquisite textiles, particularly the hand-woven cotton and silk saris, known
simply as “Chanderi saris”vii.

Figure 1: Panoramic view of Chanderi town

Source: INTACH, AH Division
AB_ Chanderi article_2nd draft_3 Dec 2017
In view of its historical significance and the fact that its townscape even today retains
both Integrity and Authenticity, Chanderi eminently qualifies to be nominated as a
world heritage site under UNESCO’s selection criteria (ii) (v) and (vi) viii. Here we are
mainly concerned with criterion (vi). Given Chanderi’s direct and tangible association
with the living tradition of hand loom weaving, creating artistic textiles of outstanding
universal significance, the conservation of the vernacular architecture of its weaver
clusters is critical to Chanderi’s nomination as a WHS.

In this paper, we first discuss the historical and cultural significance of the tangible
heritage of handloom weavers’ homes, and then look at the conservation works
attempted in Chanderi, before drawing some conclusions for the way ahead.

II. Significance of this architecture

The significance of the tangible heritage of weavers’ clusters in and around old
historical towns derives from the following 5 aspects of inherent value attached to it:

(1) It is a unique and under-represented typology

Handloom weavers’ homes represent a very special category of vernacular
architecture for several reasons:
(a) Weavers’ homes are dual-purpose constructions. Their lay-outs
accommodate both living space for the family, as well as working space for
weaving and ancillary activities. Other types of rural homes may also be dual
purpose constructions, but these are generally for allied agricultural
activities such as tethering small animals (like pigs and goats), keeping
agricultural implements, or drying/curing farm produce. Weavers’ homes,
however, are more like individual “artisanal workshops”, for they are built
for home-based manufacturing of cloth.
(b) They house a numerically significant number of people, considering that
the handloom ‘cottage’ industry in India is the largest and most widely
dispersed manufacturing activity in the country, employing 4.3 million
members of rural artisan families.
(c ) They are geographically widely dispersed since weaving is a traditional
craft practiced all over the country
(d) And given this geographical spread, weavers’ clusters also provide us an
opportunity to study the “sub-types” within the broader typology, depending
on regional factors such as local building materials, climatic conditions, and
cultural and community specific traditions.

Moreover, vernacular architecture is an under-represented area of study and

efforts at heritage conservation ix. This is true in India but also true generally
of vernacular architecture elsewhere across the world. Greater attention has
been paid to conserving monumental architecture representing centers of
power and authority, like temples, forts and palaces. Much less attention has
been paid to the ordinary vernacular architecture and its principles of design,
material, and aesthetics. However, this is now changing, and there are

AB_ Chanderi article_2nd draft_3 Dec 2017

 several traditional habitations elsewhere in the world recognized by UNESCO
as world heritage sites x.

(2) Its historical significance in India’s ancient and medieval links of trade and
commerce with the world and in the country’s freedom movement

The iconic sari weaving clusters in and around historical towns like Chanderi,
Varanasi, Paithan and so on have a centuries old unbroken tradition of
weaving exquisite and world-famous textiles. In most cases, the architecture
of these old cities dates back over five centuries or more and is still intact and
in use for the original purpose it was built for.

It is truly remarkable that in a town like Chanderi, despite the passage of time,
aspects of the Authenticity and Integrity of the built structures are not in
question at all. This medieval town is still as intact and practically unchanged
in its lay-out and design as originally conceived and developed.

Moreover, the iconic textiles produced in these handloom clusters played a

major role in Indian history and trade, for they were highly prized items in the
royal courts and among the aristocracy both within the country and the world
over. Ikats from India went to South East Asia and were exchanged as “sacred
cloth” in temples and marriage ceremonies xi.

Most importantly, the Indian handloom industry has played a key role in the
history of the country’s Independence movement - when Gandhi made the
weaving of hand-spun “khadi” cloth a symbol of passive resistance against
British colonial rulexii.

(3) Its critical importance in enabling continuation of the traditional life style and
creative inspirations, which sustain the remaining handloom weaver
communities

Handloom weaving is a strenuous process that requires considerable patience.

Although hand weaving is clearly a more creative and satisfying activity than
working in a mill, it does require long hours of work. Being able to
intermittently switch to other domestic tasks, or interspersing time on the
loom with other diversions provided by the immediate family has to be an
important aspect of the inspiration and creativeness of this home-based
industry. Seen from this perspective, the vernacular architecture of weavers’
homes becomes an integral part of the question of sustainability of this
traditional occupation xiii.

Another interesting aspect of these weavers’ clusters in or near historical

towns is the link between the designs, motifs and borders of the textiles
produced here and the details of the “grand architecture” surrounding the
weavers’ clusters. Traditional handloom weaving designs often draw their

AB_ Chanderi article_2nd draft_3 Dec 2017

 inspiration from the shapes or embellishments of the surrounding built and
natural heritage. The intricate motifs and designs embellishing the Chanderi
saree and fabric are inspired from the ornate stone carvings found in the built
heritage of Chanderi. From a small flower to interlacing borders, the weavers
since generations have drawn inspiration from their architectural heritage.
The famous “buti” design on these textiles seems to represent the Ashrafi
medallion carved on many of the monuments and homes in Chanderi xiv. We
need therefore to recognize and value the fascinating history of this artistic
exchange of ideas, motifs and designs between elements of the tangible and
intangible heritage in these clusters. (Add Photo)

(4) It is now extremely vulnerable on account of irreversible changes

Yet despite its historical and cultural significance, this heritage is today
extremely vulnerable owing to irreversible trends and market forces. The
advent of power looms has had a huge impact on the economic condition of
handloom weavers. Their numbers continue to decline as more and more of
them, particularly the younger generations, do not find the activity of
handloom weaving economically viable.

As a consequence, weavers’ homes are generally in disrepair because their

owners cannot afford to keep them in good condition. Moreover, modern day
aspirations lead to the increasing use of cement and plaster, even if these are
not climatically suitable nor conducive to working on the loom. Consequently,
there is less and less appreciation of the traditionally built structures. In many
places (e.g. around Yeola town, famous for its Paithani saris) the handloom
weavers’ homes are in a completely dilapidated condition. It is not surprising
then that the younger generations tend to leave their traditional homes as
well as occupation, and move elsewhere in search of work.

(5) Most importantly, it tells a fascinating story of the link between tangible and
intangible heritage.

Vernacular architecture usually tends to be regarded by professionals as plain or

rudimentary, and limited in its vocabulary. But in fact, these weavers’ clusters
have an amazing story to tell of how it addresses the challenges of climate and
the requisites of
weaving.

Weaving and
Architecture
There are several
requisites of
weaving that have
shaped this
architecture.

Figure 2: Sketch showing air flow and

maximum cross ventilation in weavers
AB_ Chanderi article_2nd
home. Source: draft_3 Dec 2017
Shaista Parveen
 a) Maintenance of Temperature Control

Weaving of silk and fine cottons requires careful management of ambient

temperature and humidity levels inside the weaving unit. The extremely hot and
dry weather in summer leads to breakage of thread, while extremely damp and
cold temperatures during winter lead to the sagging of thread. In both situations,
the warp and weft are adversely affected due to extremes of climate and this
damages the quality of woven products.

Traditional houses in Chanderi built with the locally sourced “chinkari” stone,
with walls that are about 500- 600 mm thick, have proved to be effective in
countering the extreme climatic conditions of this region. They are best suited to
ensure reasonable insulation and maintain a warm thermal environment in
winter, as well as protect the interiors from the searing heat outside in the

AB_ Chanderi article_2nd draft_3 Dec 2017

 summer, thus enabling the continuation of weaving activities throughout the
year.

A number of other features also help to regulate the temperature, such as the
height and width of the units, the shape and sizes of the doors and windows, and
access to open spaces and adjacent courtyards for ancillary tasks.

b) Regular Air Flow

Traditional houses are constructed in such a way as to allow regular air flow and
ensure maximum cross ventilation. This is achieved through the careful design of
their roofs, and the height, width and placement of their doors and windows in
relation to adjacent court yards. The dwelling unit is thus fairly well ventilated.
The roof construction, especially the way in which stone tiles are arranged in a
“pattaur roof” is particularly designed to cool the interiors in the hot summer
months. The natural air flows created by this traditional architecture help to
create a moderate and comfortable zone for working indoors throughout the
year.

c) Balanced Humidity
Weaving also requires a balanced humidity level to be maintained in the work
areas. If this is not ensured, the twisted yarn of the warp and weft tend to break
easily. Vernacular architecture ensures this by the use of stone masonry walls
and floors finished in mud and dung plaster. (In homes where a balanced
humidity is not attained, weavers dampen the yarn in their traditional way of
spouting water from the mouth onto the yarn, to get the exact levels of humidity
desired).

d) Adequate Light
In keeping with the design and planning principles of vernacular architecture,
large openings of doors and windows are placed opposite each other on both the
longitudinal sides of the room. This not only allows maximum light to fall on the
loom, making it easier for the weavers to weave intricate patterns, but also
channelizes air flow through cross ventilation.

e) Soft Floor – regularly treated with a wet mixture of mud and dung
Traditional houses have mud floors. This feature facilitates the digging of pits
required to work on the traditional Pit Looms. A soft ground is useful even when
frame looms are erected without a pit, for these are often installed with the
support of short stone pillars, occasionally accompanied by stone benches as
well.

Mud floors are also best suited for the special care and handling of small pieces
of loom accessories. Even a small fall can break the pieces which would prove
costly for the weaver. Such accidents are best avoided by ensuring a clean and
soft floor that is regularly plastered by hand with a wet mixture of mud and
dung. Once the flooring material is altered to tiles or cement, the accessories are
liable to suffer more damage.

AB_ Chanderi article_2nd draft_3 Dec 2017

 Another advantage of this type of flooring is the protection it provides against
bugs and termites. An infestation of these pests can spell ruin for organic silk
yarn and cloth. Mud and dung treatments to the floor act as natural repellents of
termites and bugs.

Figure 3: Picture showing traditional mud floor in weavers home

Source: INTACH, AH Division

However, discussions with home owners revealed that they found it onerous to
keep up the regular applications of mud and dung paste, and preferred to have at
least a stone, if not tiled, flooring.

f) Linear spaces for stretching of looms and ancillary activities

The living and work spaces are arranged in linear sections. Traditional homes
are built in longitudinal sections, which enable the stretching of looms as the
weaving progresses. A linear lay out of the streets and lanes out-side is also
important, for a number of pre-weaving activities, such as the stretching of yarn
for rolling on to the ‘tana’ or warp beams, are done outdoors in the shared public
spaces adjacent to the home cum loom sheds.

Figure 4: Picture showing linear spaces for tretching of looms and other ancillary activities
Source: INTACH, AH Division

g) Spill out spaces for pre-loom activities

Traditional houses are marked by linear units enclosing a large courtyard space.
These courtyards frequently used for social activities, are primarily used by the
AB_ Chanderi article_2nd draft_3 Dec 2017
 women of the house-hold for various pre-loom activities. These activities cannot
be carried out indoors since most of the indoor space is allotted to the loom set
up. In modern structures these open spaces are hard to achieve, and this creates
a space constraint for the weaving process.

Figure 5: Picture showing use of courtyard spaces for social and pre-loom activities
Source: INTACH, AH Division

Courtyards thus play a very important role in this architecture.

h) Flag stone flooring

The loading of the warp yarn requires considerable linear space, and is an
activity that is undertaken outdoors in the streets since historic times. Earlier
these streets were just earth tracts and hence soft-scaped in grass. But over time,
the internal roads of the mohalla have also been laid with flag stones. Where the
streets have been thus paved, one can notice that gaps are left or created in the
flag-stone paving, which are then used as plugging spots to set up their warp
rolls.

Figure 6: Picture showing flagstone flooring used for plugging of Tana Roll and Pre-loom
activities performed in open spaces. Source: INTACH, AH Division
AB_ Chanderi article_2nd draft_3 Dec 2017
 There is thus a very interesting and close functional link between the tangible
heritage of these traditional homes and the amazing intangible heritage craft of
handloom weaving that they keep alive. It would be fascinating to see how the
requisites of weaving, described above, have been addressed in the regional
variations of this architecture.

III Conservation and Restoration of Weavers’ homes in Chanderi

Chanderi has three distinct settlements of weavers who still constitute a significant
proportion of the town’s population xv. These settlements are locally referred to as
“mohallas” which are basic units of an urban neighbourhood, characterized by close
networks of kinship and social interaction among residents, often based on common
occupation, or caste/ religion. The weavers’ mohallas exemplify a specific type of town
planning, with narrow streets providing shade and linear open spaces for the stretching
and drying of yarn, each micro-cluster of dwellings built around a number of court-
yards and open spaces, and close to a shared well or “baoli” from where the residents
draw water. These aspects of Chanderi’s town planning are an integral part of the
historical settlement pattern and intimately linked to the weavers’ traditional
occupation and social activities.

Figure 7: Sketch showing stretching of yarn, a pre-loom activity which optimises the
unobstructed linearity of the street. Source: Shaista Parveen

There are several types of traditional homes in these weavers’ mohallas, depending on
the number of members in the family and the family’s financial status.

AB_ Chanderi article_2nd draft_3 Dec 2017

 Figure 4: Sketch of typical weaver’s home in Chanderi
Source: Shaista Parveen

Figure 8: Sketch of typical weaver’s home in Chanderi

Source: Shaista Parveen

In terms of vertical heights, there are:

• Single Storey Traditional Houses
• Double Storey Traditional Houses
• Multiple Storey Traditional Havelis.

Figure 9: sketch showing height variation

Source: Shaista Parveen

In terms of horizontal scale, there are:

• Single Loom Width Traditional Houses
• Double Loom Width Traditional Houses
• Multiple Storey Traditional House with looms even on the upper floor.

Figure 10: Sketch showing different Typology of homes

AB_ Chanderi article_2nd
Source: Shaista draft_3 Dec 2017
Parveen
Whatever the typology, the essential elements of this vernacular architecture remain
the same. It is, moreover, a building tradition that is closely related to the requisites of
hand loom weaving in this geography.

Based on an understanding of how the requisites of weaving interlink with the

principles of traditional architecture (as discussed in the previous section), INTACH
embarked on a pilot conservation project at two sites in Chanderi xvi.

The two homes were selected on considerations of need, owners’ willingness to

participate, and authenticity of type (one a small single storey structure and the other a
2 storeyed ‘haveli’ type of dwelling unit). The aim was to help the weavers repair their
homes by retaining, as far as possible, traditional materials and building techniques.
The approach followed was intensely consultative, both with the owners but also with
the local masons and craftsmen. Just as this architecture has evolved over time, and
along the way, incorporated new elements like electricity connections or piped water
supply, further adaptations were considered necessary and legitimate. A case in point is
the demand and need to introduce enclosed, private toilets. The goal of “conservation”
was thus to ensure the architecture remained ‘fit for purpose’ (i.e. responsive to local
climate conditions and the requisites of weaving), and that modifications – where
necessary – are done thoughtfully and aesthetically, so as not to harm the overall fabric
of the existing built heritage. The work carried out is described below in brief.

Abdul Mubeen’s house:

Geographical Coordinates: 24.714186°N, 78.141489°E
No. of families: 2 (14 members, 7 weavers)
No. of looms: 2 (Jacquard pit loom)

This is a single storey structure which is part of a lager complex shared by two families.
Serious material deterioration had resulted from weathering and lack of timely
maintenance. The roofing system had been severely compromised (attributed in part to
monkeys disturbing the roof tiles), and rain water had damaged the wooden trusses.
Water percolation and dampness had also caused bulging in the stone masonry walls,
leading to a loss of 70% of their structural strength.

Detailed proposals were prepared after several rounds of intensive discussions with
owners, craftspeople and local skilled labour knowledgeable about vernacular building
techniques. Based on solutions emanating from these consultations, the following works
were carried out:

Roof Repair:
• Replacement of the old timber truss system of the roof by locally crafted stone beams
(since the Forest Act prohibits harvesting of timber from the nearby forests). Wooden
beams were replaced with stone beams of size 15’x 10” wide x 1’ thick.
• In order to curb the critical issue of water leakage, larger size stone slabs were used in
relaying the roof. This minimized joints (compared to the earlier small size stone pataur

AB_ Chanderi article_2nd draft_3 Dec 2017

tiles), even while it retained the traditional design of overlapping roof tiles, and the air
circulation it thereby provides.

Stone Walls:
• Given the structural weakness of the old house, it was completely dismantled and
rebuilt according to traditional building techniques, re-using the old materials.
• The external walls were re-built in the traditional method, with 90% of the chinkari
stones being re-used from the old structure.
• The height of the structure was slightly increased to accommodate the frame loom, as
was the size of windows to ensure adequate natural light in the house.
• The pataur tiles from the old roof were in turn cut and chiseled to an even size of one
square foot, with fine edges, and re-used for the flooring, as the owners were keen to
change the previous mud-flooring.

Mubeen’s house

Figure 11: Mubeen’s house Before Repair and Conservation work Figure 12: Mubeen’s house After Repair and Conservation
Source: INTACH, AH Division work. Source: INTACH, Chanderi Chapter

Salim’s Haveli:
Geographical Coordinates: 24.714186°N, 78.141489°E
No. of families- 1 (3 members, 2 weavers)
No. of looms- 1 (Jacquard pit loom)
Estimated Age of house: 100 years
Note: The condition of the ground floor is satisfactory, but that of the upper floor had
deteriorated. Therefore, only the first floor was selected for repair work.

Roof Repair:
• Wooden beams were replaced with stone beams of size 16’x 10” wide x1’thick.
Vertical truss posts were erected in brick with mud mortar to meet the slope of the roof.
Purlins were provided by thick tree branches, locally known as balliyan. The balliyan
were in turn covered with dense twigs. The resultant air-gaps allow for air ventilation
throughout the structure. The stone tile roof was replaced with larger stone slabs (of
size 3’x6’x1” thickness) and a ridge line design was created withcustomised terracotta
thapua ridge tiles.

AB_ Chanderi article_2nd draft_3 Dec 2017

Stone Walls:
• The stone masonry of the house was generally in good condition. However, it was
necessary to disassemble parts of the walls (a) to undertake roof repairs and (b)
remove the vegetative growth that had taken root in the parapet walls, thus widening
the masonry joints and creating cracks. The portions of the walls were rebuilt in the
original style after repairing the roof and manually removing the unwanted vegetation.

Doors and windows:

• The old doors were in very poor condition and were replaced with new wooden doors.
Two new windows were opened to allow adequate sunlight in the main hall and
adjoining living area, and provided with jaalis.

Flooring:
• The flooring in the main hall (that has the loom) was replaced with stone tiles, as per
the wishes of the owners. But traditional flooring in mud and cow dung, was retained
for the adjoining room (the living space).

Figure 13: Salim’s Haveli Before repair Figure 14: Salim’s Haveli After repair
work. Source: INTACH, AH Division work. Source: INTACH, AH Division

Flooring: The flooring in the main hall was replaced with stone tiles, as per the wishes
of the owners. But traditional flooring in mud and cow dung, was retained for the
adjoining room.

Doors and windows: The old doors were in very poor condition and were replaced
with new wooden doors. Two new windows were opened to allow adequate sunlight in
the main hall and adjoining living area, and provided with jaalis.

AB_ Chanderi article_2nd draft_3 Dec 2017

The new common toilet facility:

Finally, an adjacent open to sky enclosed space (which by convention was used for
defecation by people in the area) was utilized to construct 2 enclosed toilets with
modern fixtures and amenities - as a shared facility for the two conserved homes. This
toilet block is also constructed in the vernacular style, with chinkari stone walls and
stone tiled (pataur) roof.

Figure 15: Sandstone flooring in shared Figure 16: Shared toilet space after completion of work
Toilet space

The total time involved in this project was roughly five months. Much of the time was
spent in the consultative process and in seeking and encouraging local craftsmen to
fashion solutions - within the vernacular vocabulary - to address the chronic problems
faced by home-owners. Although time intensive, this process resulted in a considerable
saving of costs: comparative cost calculations came to Rs 289 per square foot for
repairs with traditional materials, as against Rs 950 per square foot estimated for use of
modern materials. Moreover, it encouraged local masons and artisans, and was much
appreciated by the residents.

IV Conclusion

Although INTACH’s was only a small ‘pilot project’ for safe-guarding the built heritage of
hand-loom weavers’ homes in Chanderi, it provides a starting point for debating the
challenges, achievements, and possibilities of scaling up this conservation effort.

The key achievements of this conservation effort can be listed as:

• Loss of original historic fabric is kept to an absolute minimum. 


• Structural performance of the buildings has been strengthened. 

• Traditional breathing performance of the roof is kept intact while eliminating
water leakage from the roof. 


AB_ Chanderi article_2nd draft_3 Dec 2017

 • A shared toilet facility has been added, within the existing space, built with
traditional construction techniques, and designed to be durable and low-
maintenance, even while including modern fixtures. 

• In short, the initiative has established the feasibility of continuing building in the
vernacular style of architecture.
• The initiative was appreciated by local people, earning their respect for
traditional building techniques, especially the possibility of re-using traditional
materials which are economical and climatically suitable.
• Comparative cost calculations came to Rs 289 per square foot for repairs with
traditional materials, as against Rs 950 per square foot estimated for use of
modern materials.
• It was also appreciated by Chanderi Municipal Council: in April 2017 the
President and Vice-President of
the Council were shown the works on site, and
they voiced agreement about the benefits of stone and other traditional
materials for Chanderi’s future development.

The challenges that lie ahead include:

• Ensuring greater awareness and commitment of policy makers to scale up this
effort
• Addressing the personal aspirations of the community. Home owners often
exhibit a mindset and preference to simply convert their homes into “modern”
buildings.
• Coming up with suitable design solutions for various issues, such as the chronic
problem of rain water leakage from the roofs xvii, possible substitutes for timber
of the needed size, and ways to include indoor toilets.
• Addressing the overall critical constraint of space. To maintain the integrity of
this old historical town will require a ‘masterplan’ for its future – this is a
challenge as well as a great opportunity that planners and architects should
welcome!

Despite these challenges, Chanderi presents us a unique opportunity for conserving the
built heritage of India’s handloom weavers. This is a picturesquely-set historical town,
where the medieval townscape is still intact; where there is still a sizable cluster of
weavers’ homes built in the style of traditional vernacular architecture. What better
place to tell the story of the link between weaving and architecture? To articulate and
respect this unique link between tangible and intangible heritage.

Looking forward:

(i) INTACH’s initiative will have served a useful purpose if it leads to a much wider
appreciation of the link between vernacular architecture and the exceptional craft of
handloom weaving that India has nurtured for centuries. It calls for a more systematic
effort to conserve the tangible heritage of weavers’ clusters in and around historical
cities that have been and still are world-famous for their iconic textiles.

(ii) Towards this, it is important to complete an inventory of the remaining

significantxviii clusters of handloom weavers across the country. A well-conceived and
AB_ Chanderi article_2nd draft_3 Dec 2017
useful inventory will require inputs from 3 principal actors: administrators, textile
specialists, and architects. This work can best be accomplished by the coming together
of state departments of textiles, and by creating a network of architecture schools who
will undertake the survey, enumeration, classification of types, and mapping of this
vernacular architecture. (See INTACH’s work in the satellite towns of Varanasi).

(III) Based on its survey of weavers’ clusters in/around Chanderi and Varanasi, INTACH
should move to suggesting building guidelines and appropriate “management plans” to
the state and local authorities, so that urgent steps are taken to safe-guard this
architecture, since it is very vulnerable and disappearing at an alarming rate in most
parts of the country.

(IV) The case for first safe-guarding the handloom weavers’ homes in Chanderi and
Varanasi rests on the fact that these are places still famous for their iconic sari weaving
traditions, and where major efforts for urban renewal as well as the revival of old textile
weaves are on-going through both private and government efforts xix. The
demonstration effect of greater public awareness and enhanced local and foreign
tourism are likely to be more immediate and tangible in these centers. Learning from
experience, similar efforts can then be extended to other historical towns of famous
weaving traditions such as Indore, Paithan and other areas identified by the proposed
Inventory.

(V) To high light the historical value and significance of this architecture requires a lead
central government authority that champions this cause. The Ministry of Textiles is well
placed to play this lead role, working through its own field offices as well as the state
textile departments, to promote greater awareness of the need to take systematic steps
to safe-guard the important surviving clusters of hand loom weavers’ settlements xx.

End-notes:
i “The earliest Indian fragment of cloth (before the Christian era) with a hansa (swan) design was

excavated from a site near Cairo where the hot dry sand of the desert acted as a preservative.
Later, fragments of finely woven and madder-dyed cotton fabrics and shuttles were found at some of the
excavated sites of Mohenjodaro (Indus valley civilization). Indian floral prints, dating back to the 18th
century A.D were discovered by Sir Aurel Stein in the icy waters of Central Asia. The evidence shows that
of all the arts and crafts of India, traditional handloom textiles are probably the oldest”. India-craft:
http://www.india-crafts.com/textile/indian_handlooms/.

Also, see: “Indian Textile History” in Wilson, Kax, A History of Textiles, Westview Press, 1979.

ii The Ministry of Textiles’ Annual Report provides the following comparison:

Sector 2016-17 Cloth Produced in mil sq mt Employment generated

Hand loom 7,638 43.31 lakh
Power loom 36,984 64.36 Lakh
Textile mills 2,500 47.65 Lakh
See Government of India, Ministry of Textiles, Annual Report 2016-17.

iii
See Krishnakumar, Asha, “The Handloom Sector – a great tradition in decline”, in Frontline magazine,
http://www.frontline.in/static/html/fl2018/stories/20030912000206600.htm, volume 20-Issue 18,
August 30-September 12, 2003. Also, Sundari B. Syama, “Handlooms are dying – and it’s because of our

AB_ Chanderi article_2nd draft_3 Dec 2017

failure to protect them”, in The Wire, 21/03/2017, https://thewire.in/116389/handlooms-are-dying-
and-its-because-of-our-failure-to-protect-them/.

iv
See details of schemes designed to support the Handloom sector in chapter 10 of Government of India,
Ministry of Textiles’ Annual Report for 2016-17, titled “Stitch by Stitch…the traditional with the modern”.

vSee map of Textile Arts & Crafts of India –India’s Famous destination for Handloom Sarees,
https://www.linkedin.com/pulse/indias-famous-destination-handloom-sarees-shatika-.

viSee Chanderi, published by Environmental Planning and Coordination Organisation (EPCO), Madhya
Pradesh, June 1985. It includes excellent black and white photographs of the city’s historical monuments.

Chanderi saris have been recognised and protected under geographical indication. See:
vii

http://www.handicrafts.nic.in/cmsUpload/20170506115215GI_BOOK_FINAL_ilovepdf_compressed.PDF.
The uniqueness of the fabric lies in its transparency, buttis, and sheer texture, see
http://ipindiaservices.gov.in/GI_DOC/7/7%20-%20Form%20GI-1%20-%2002-04-2004.pdf. Also see Rta
Kapur Chisti and Rahul Jain, Handcrafted Indian Textiles edited by Martand Singh, 2000, “History and
Process of Chanderi saris” by Rta Chisti :“the most famous of the fine shallu muslins were woven for the
local aristoracy and the Mughal court during the eighteenth century, where they competed with Bengals
jamdanis. Chanderi (Madhya Pradesh) was the most well-known center, …”(pg 148); and Lynton, Linda,
The Sari, Thames and Hudson, 1995.

Selection criteria for WHS:

viii

(ii) to exhibit an important interchange of human values, over a span of time or within a cultural area of
the world, on developments in architecture or technology, monumental arts, town-planning or landscape
design;
(iv) to be an outstanding example of a type of building, architectural or technological ensemble or
landscape which illustrates (a) significant stage(s) in human history;
(v) to be an outstanding example of a traditional human settlement, land-use, or sea-use which is
representative of a culture (or cultures), or human interaction with the environment especially when it
has become vulnerable under the impact of irreversible change;
(vi) to be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with
artistic and literary works of outstanding universal significance. (The Committee considers that this
criterion should preferably be used in conjunction with other criteria).

See Randhawa, “Demise of Vernacular Architecture” (Details of SOBHI –state of built heritage in India
ix

publication); Aishwarya Tipnis, Vernacular Traditions: Contemporary Architecture, TERI, 2012. Also, the
documentation done on Vernacular Houses by CEPT: http://dicrc.in/Building-
Documentation#Independent-Single-House-with-Balcony-in-Gallagaon---Kumaon---Uttarakhand
Also: http://buildotechindia.com/vernacular-architecture-and-building-materials/

xExamples of vernacular architeture that has been well preserved, even recognized as world heritage
sites are: Asante Traditional Buildings in Ghana (http://whc.unesco.org/en/list/35), M’Zab Valley in
Algeria (http://whc.unesco.org/en/list/188/), Historic Villages of Korea: Hahoe and Yanddong
(http://whc.unesco.org/en/list/1324), Wooden Churches of the Slovak part of the Carpathian Mountain
Area (http://whc.unesco.org/en/list/1273), Sukur Cultural Landscape in Nigeria
(http://whc.unesco.org/en/list/938), The historical towns of Shirokawa-go and Gokayama in Japan
(http://whc.unesco.org/en/list/734).

xiS. P. Sen, The Role of Indian Textiles in Southeast Asian Trade in the Seventeenth Century, in
Journal of Southeast Asian History, Vol. 3, No. 2 (Sep., 1962), pp. 92-110.

xii
Yuko Tanaka, The Power of the Weave –the hidden meanings of Cloth, International House of Japan,
Inc.2013, (Chapter 1: The Meaning of Cloth to Gandhi).

AB_ Chanderi article_2nd draft_3 Dec 2017

 Schemes to move this home-based activity to centralized “weavers’ centres” has not proved practical or
xiii

sustainable over the long term.

Draft dossier for Chanderi, INTACH, discussion of Architectural Patterns inspiring weaving motifs, page
xiv

38. Also, see discussion on Iconography (chapter 8) in Linda Lynton, The Sari.

xvThe population of Chanderi town is 33,081; there are 3659 or close to 4000 hand looms in operation,
directly employing 10,000 to 12,000 persons. See: http://dcmsme.gov.in/dips/2016-17/Ashoknagar.pdf

See INTACH report titled: “Weaver Benefit Initiative: Conservation and Repair work using Traditional
xvi

Materials, Chanderi, M.P.” (Final Report_Chanderi_18082017.pdf).

xvii See discussion and recommended solution in INTACH’s report.

‘Significant’ here should denote that it has a numerically strong base of weaver households and is still
xviii

an “active” center of famous handloom textiles. (Need to clearly define “significance” –see List of
questions suggested by JH).

In other words, the recommendation is that, in view of the rapid rate of loss of this precious heritage,
xix

we should not wait to complete a ‘serial nomination’ of this vernacular architecture as contemplated in
the 2015 Tentative List for WHS. Instead, urgent steps should be taken to safeguard the surviving
examples of these clusters in historical towns like Chanderi and Benaras.

xx The Ministry of Textiles has a number of relevant schemes to assist handloom weavers; and it is
already following a ‘cluster’ approach in its new Comprehensive Handloom Cluster Development Scheme
(CHCDS) that has begun work in Varanasi, UP and a few other places in Bihar, AP, and Assam. See:
Ministry of Textiles, Annual Report, 2016-17, para 1.4.1.3, page 12).

AB_ Chanderi article_2nd draft_3 Dec 2017