![]() This style of kira is predominantly woven in Khoma village in Lhuntse.Īlso, a Kira with a black ground is called a ‘Nagsham’ and a Kira with a blue ground is called a ‘Nogsham’. Handwoven using the backstrap, card, and treadle looms, the weaving tradition was formerly concentrated in the eastern and central parts of the country. It is called a Kishuthara as it has a white ground.Kishuthara is designed with labour intensive and intricate supplementary weft patterns. Kishuthara is a classic example of traditional and exquisite women’s dress. It is sewn from four loom length panels and is worn at knee length and fastened at the waist. A full kira is approximately 25 mtrs by 1.5 mtrs. Together, they support each other and work towards a common goal: the birth of a child. The weft, which is weak and loose in comparison, is the woman. Here the warp, which is strong and tightly twisted, represents the man. It is draped around the body and pinned at both shoulders with silver broaches and belted at the waist. i In the male loom, the weaving process and finished fabric signify the birth of a child. It’s a rectangular piece of woven fabric which is made by sowing three loom length panels together. Weavers are skilled in dying their yarns with local dyes and minerals. The fibers used for weaving are silk, cotton, raw silk, wool and nettle. However, horizontal frame loom is used for weaving woolen fabrics and a card loom, a form of back strap loom is used for weaving narrower textiles such as belts. Weaving is mostly done on a basic, traditional ‘back strap loom’. Women are primarily the weavers and the art of weaving is practiced predominantly in Central and Eastern Bhutan. Besides providing a livelihood for the weavers, it is also an integral part of Bhutanese culture and identity. Weavers in the central Bhutanese valleys of Nabji and Korphu produce fabrics from stinging nettle fibers while the highlanders of Merak and Sakteng, the Brokpas, produce dense weaves of yak hair and wool that protect them from the cold.Weaving is an ancient and a unique art form in Bhutan. Mentsimatha, Aikapur and the cotton fabric DungsamKamtham are produced in southeastern Bhutan, in Pemagatshel AdangMathra, AdangRachu, and AdangKhamar are textiles woven in the Adang village of Wangduephodrang, in western Bhutan. Most weavers in eastern Bhutan use the back-strap loom. ![]() marra4169 271 subscribers 25K views 10 years ago Sitting on the floor weaving on a backstrap loom. The weavers use three types of looms-back-strap, horizontal-framed, and the card-loom. 0:00 / 1:09 Bhutan - weaving on a backstrap loom in Timphu. ![]() The textiles vary in raw material, design and patterns according to the region. Entirely woven from memory - each home-based. Women favor the more ornamental styles with flower motifs, while for men they are more subdued except the ones reserved for celebrations, which can be equally vibrant for both sexes. Each bag has been handwoven on a back-strap loom, using traditional Bhutanese silk on silk weaving techniques. Silk weaving on backstrap looms, Paro, Bhutan. Used in traditional clothing, the weavers compose and create the textiles in vertical strips of color for men and in horizontal bars for women. Thagzo, or the Bhutanese textile-weaving tradition, enjoys a lofty place amongst the national Thirteen. It is an art that features some of the most vibrant patterns anywhere: from the elaborate and expensive silk Kishutharas of Khoma in Lhuentse to the appealing homespun Bura cloths of Radhi and Bidung in Trashigang Bumthang’s chequered Mathra weaves and yak-hair-and-wool-blended Yathra rolls. A domestic art handed down from mother to daughter, it remains predominantly the domain of the fairer sex, although there are some renowned male weavers as well. Thagzo, or the art of weaving, is an integral part of Bhutanese life and culture, a skill that is widely practiced across the country. ![]()
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