Pit loom weaving in Sri Lanka.

Historical Overview of  Weaving

Over a century ago, Anglo-Ceylonese art historian and philosopher Ananda Coomaraswamy remarked that the weaving industry then found in the Kandyan village of Talagune would “hardly survive were it not for the demand for etirili [cotton cloth] made through the Kandyan Art Association.” [1] In fact, he noted, in a region where the production of hand-woven cotton cloth was once widespread, by the early 20^th century Talagune was the only village where this household-based production activity survived. There, with yarn spun from domestically cultivated and locally dyed cotton, weavers used pit looms (an example of which may be viewed today at the Kandyan Art Association) to turn out cloth that served as garments for men and women, sheets, pillow cases, napkins, bathing cloths, towels, and shawls. [2] Today, while the weaving industry has transformed in the face of larger economic forces—domestically produced yarn has been replaced by less costly yarn imported from India and pit looms have largely been replaced by pedal-operated floor looms—it has in some respects been granted a new lease on life thanks to both a burgeoning international demand for handmade goods as well as a growing domestic interest in consuming Sri Lankan products.  Thus, despite the daunting competition presented by more cheaply produced cloth imported from India and elsewhere, weavers in Sri Lanka have witnessed the growth of a strong niche market for their unique hand loom productions, allowing them to sustain and develop the country’s weaving tradition in new directions while recreating traditional patterns and designs such as those described below.

Historical Motifs and Designs 

Although Ananda Coomaraswamy observed that Talagune had once turned out cloth with minimal pattern work, by the time he visited the village in the early 20^th century the weavers there had begun producing cloth “entirely covered” with the kinds of designs and motifs for which certain of Sri Lanka’s decorative hand-woven productions are known today. [3]  The following descriptions of these designs and motifs, which have been passed down from generation to generation, were composed by the Craft Revival Trust (the full article from which they were excerpted may be found here).

·         Bo leaf: The leaf of the Ficus Religiosa - held sacred by all the Buddhists - is prolifically used in all forms of Sinhalese arts and crafts as a motif. Variations of this motif are seen as tapestry designs in textiles.

·         Katuru mala: Also known as katiri mala, this derives its name from crossing petals in a design that resembles a pair of scissors. The flower motif does not resemble any natural flower; it appears to be the creation of the crafts person. This motif is found mainly in vaka deka (double curved form) and its variations.

·         Lanuwa: This is a geometrical design, with two forms: the eka-pota lanuwa (one-ply plait design) and the depota lanuwa (chequered work or grass matting design), also known as thanthirikaya. The atatpota lanuwa has eight strands in its design and is found in Sinhalese weaving, though it is not very common.

·         Para mala: This is an eight-petalled floral design, which is found frequently in the textiles woven at Talagune and is categorized as a geometrical design.

·         Mal petta: This is a geometrical motif whose origin is not known. The variations of this motif are heen mal petta, maha mal petta, and thun pehena mal petta, which are widely found in textiles. This motif does not resemble any known flower in its appearance.

·         Ata peti mala: This is a flower motif with eight petals; it does not resemble any naturally occurring flower. It is created as a geometrical design, widely found in woven Kandyan textiles.

·         Lanu getaya: This is a plait motif, several variations of which are found in weaving. Common variations are the one ply plait and chequer work. Variations of this motif include the lanudangaya, heen dangayalanuwa, and valalu lanuwa.

·         Botapata: This is a geometrical motif in which two triangles are situated apex to apex.

·         Gal piyuma: This is a geometrical motif, which consists of rectangles placed between two parallel lines, and is used chiefly in border designs.

·         Diyarella: This is a design representation of a series of waves rising and falling in a gentle breeze. Several variations, with different degrees of elaboration, are found. Ananda Coomaraswamy calls it as the chevron or the zig-zag pattern and gives several examples of its angular forms. This design is very widely found in textile-weaving.

·         Adara kondu: This is the name given to the motif where straight lines are found in the product; when this motif is found as part of textiles it is known as iri kondu.

·         Bhayankaraya: This is a motif found in a lot of textiles; its origin and meaning are not known widely. 

The Kandyan Art Association 

The Kandyan Art Association was formally established in 1882 with the vision of promoting and marketing the production of quality handmade crafts in the Kandyan region.  Today, the association not only assists its membership of approximately 120 families of craftsmen in the production and marketing of silver, brass, woven, dumbara ware (items made out of hemp), wood and lacquer articles, but also allows visitors from Sri Lanka and all over the world to witness daily demonstrations by artisans at its lakeside premises in the heritage historical city Kandy.  

A weaver at her pit loom in a workshop that manufactures bed runners.The workshop is located in Kandy, where a number of arts and crafts traditions continue to be passed down from generation to generation.

Close up of the looms cotton warp thread showing the double selvedge that levers up and down each alternating thread for the shuttle to pass creating the weave. 2600 threads across, each thread passed individually to its own selvedge. In the middle ground, rising higher is a third set of selvedge that comprise the pattern to be hand woven into the fabric field. The main weave selvedges are operated by foot pedals, and the pattern by hand, by means of the wooden stoppers you can see in the photo.

Hand operating pit loom at the Kandyan Art Association

Cotton Little Bag woven on a pit loom with black, yellow,white and redthreads. The shoulder strap is made out of black yarn for added strength. Measures 14" tall and12" wide. Sides and bottom measure 1". Strap is 48" long.
Great for those who don't like to carry large, heavy bags and for special occasions when you don't want to bring very much. Perfect for carrying the bare necessities!

A fine cotton wall-hanging from the Kandyan Art Association. This cloth was hand-woven using a pit loom.

 

 

This decorative fabric demonstrates the intricate “pickup work” that Sri Lankan weavers have mastered for generations. It may be used as a wall-hanging or bed runner.

Acknowledgement : Ms. Aimee Douglas Caffrey, USA.

This article may not be reproduced in their entirety without permission.

 

[1]Coomaraswamy, Ananda K. 2011 (First printed 1907). Mediaeval Sinhalese Art.Dehiwela, Sri Lanka: TisaraPrakasakayao Ltd. P. 406.

[2]Coomaraswamy, Ananda K. 2011 (First printed 1907). Mediaeval.p. 411

[3]Coomaraswamy, Ananda K. 2011 (First printed 1907). Mediaeval.p. 407