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MANIPURI TEXTILES-A GREAT TRADITIONAL HERITAGE OF NORTHEAST

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AARJSH VOLUME 1 ISSUE 20 (FEBRUARY 2014) ISSN : 2278 – 859X

A Peer Reviewed International Journal of Asian

Academic Research Associates

AARJSH
ASIAN ACADEMIC RESEARCH
JOURNALOFSOCIAL
SCIENCE&HUMANITIES

MANIPURI TEXTILES-A GREAT TRADITIONAL

HERITAGE OF NORTHEAST REGION
DR. MEENU SRIVASTAVA*; INDIRA ANGOM**
* Deptt.of Textiles and Apparel Designing,
College of Home Science, MPUAT, Udaipur (Raj.)
**Deptt.of Textiles and Apparel Designing,
College of Home Science, MPUAT, Udaipur (Raj.)

Abstract

Indian textiles offer a rich variety in texture, colour, pattern, and embellishment. Textiles‟ weaving
seems to have played a pivotal role in the social and the economic life of the Indian people
throughout the age. Among the Manipuris, the Meiteis form the predominant ethnic group and
traditionally inhibit the valley. Their rich culture and tradition are also reflected in their costume,
handloom textiles and in finer workmanship of handicrafts. Manipur, handloom weaving had its
genesis in the need to clothe the family, and to establish strong emotional bonds within the family
unit. Women as part of their domestic chores undertook weaving. The Meitei used large and broad
textile designs, Fish design is widely used in weaving of clothes. The designs of horses and
elephants, sun and moon, spears and phantup (Meitei traditional type of stool) are used in the
highly stylized forms.While Shaphi-Lanphi that is made by the Meitei women and worn by the
Nagas. It is only recently that the concept of commercialization and marketing of handloom
products has gained momentum, and has become a means of providing employment to people.
The textiles of Manipur showcase the great heritage of traditional and indigenous garment making
in the whole of northeastern region of the country. These traditional designs can be adapted on
modern textiles to suit the changing trend of the fashion world.

Key Words: Manipuri, Textile, designs

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Introduction:

Indian textiles offer a rich variety in texture, colour, pattern, and embellishment. Textiles‟ weaving
seems to have played a pivotal role in the social and the economic life of the Indian people
throughout the age. India has its unique and exceptional weaving style and each of them is
influenced by the cultural and social habits of the people of the region. Every state in Textiles are
associated with the social and a ritualistic event from very early times. In the northeast region of
India, each tribe or community has its own specific designs and motifs. Manipur enjoys a distinct
place amongst textiles zones in India. The art of weaving made the village society a self-contained
one, which is a characteristic of Manipur society too. The social functioning of Manipur is based
on the code of personal relations and duties handed down from generation to generation. The
people of this land do not take the execution of this craft as a compulsion but a sacred duty.

Encircled by nine hill ranges, Manipur is marked out by a picturesque valley in the midst. The
total area of Manipur is 22,327 sq. Km. The hills around the cup-shaped valley add the natural
beauty of Manipur. The first Prime Minister of India, the Late Pundit Jawaharlal Nehru, described
Manipur as a “Jewel of India”, bewitching beholders with its natural beauty and its cultural
paraphernalia. It is bounded by Nagaland in the north, Mizoram in the south, upper Myanmar in
the east and Cachar district of Assam in the west.

Among the Manipuris, the Meiteis form the predominant ethnic group and traditionally inhibit the
valley. The surrounding hill ranges are settled by many tribes. Meiteis are deeply sensitive and
their unique pattern of life with inherent love art is reflected in their festival, dance and music.
Their rich culture and tradition are also reflected in their costume, handloom textiles and in finer
workmanship of handicrafts.

Manipur, handloom weaving had its genesis in the need to clothe the family, and to establish
strong emotional bonds within the family unit. Women as part of their domestic chores undertook
weaving. It is only recently that the concept of commercialization and marketing of handloom
products has gained momentum, and has become a means of providing employment to people. In
Meitei lores, the weaving of textile appears as a replica of the cosmic process, during the dance of
the creation, the male and female messengers of God (Maiba and Maibi) stimulate the sound of
spinning and weaving. In other words, creation is a magnificent process of weaving to the cosmic

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being. It is a matter of great significance that in the traditional belief system of the Meiteis, it is the
God of Handicrafts (Leismbi) who taught the Meiteis, the method of textile weaving as well as the
mystique of the dance creation.

This is however, an alternative stand in the belief system of the Meiteis. According to this,
it is not by the grace of God that man has learnt textile weaving; but it is by his own enterprise that
man has picked up the skill from nature. He observed the spiders weaving their webs on the shrubs
and bushes and he responded to this challenge.

A Meitei girl is initiated with this art at a tender age, and throughout her life, she practices
this art. Not only does she supply clothing to her family members but also make it a source of their
income. It is said that the development of this industry by the women is linked to the fact, that the
Manipur men were continuously engaged in wars and these women supplied them with uniforms
and maintained their families from the sale product of this industry.

Textiles of Manipur

Manipur is famous for the production of special cotton fabrics, popularly known as Manipuri
cotton. Different types of tribal fabrics of Manipur are famous, such as „Moiraingphee‟,
„Lasingphee‟ and „Phanek‟. Tribal textiles are woven on a loin-loom, a type of back-strap loom
commonly used by hill people. The warp of manageable length and breadth is prepared and
fastened at one end generally to the wall of a house or to two fixed poles while the other is tied to
the waist of the weaver with a cotton or leather belt. Sometimes the belt is woven out of cane or
bamboo. Most of the people in Manipur undertake weaving, which is passed on from one
generation to another. The motifs that are traditionally used in these fabrics are inspired by nature.
Usually, natural colors are used in these textiles.

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Motifs
The textile motifs of Manipura are rooted in sociological significance and mystic symbols. The
designs and patterns date back over the centuries and are associated with commonly held beliefs,
customs and rituals.

The serpent god, Pakhangba, is an important deity in the state. Traditional Meitei motifs are
inspired from the pattern of snake scales. In this region the serpent signifies fertility and life. A
popular circular motif, khoi, is derived from the pattern formed by a serpents tail being swallowed
up by its mouth symbolizes the eternal cycle of life.

Another pattern depicts natural living beings such as the cock, or butterfly. This pattern is believed
to have originated from the Mao area. It was supposedly embroidered for officers who performed
extraordinary services for their rulers or for society. A rare design depicting animals and fishes
(sha-nga) is believed to have originated from Burma. Another popular pattern is the lamthang
khulhat. Originally a pattern, of lace, called maree and mapak, it was stitched on the borders of the
innaphis worn by royalty. Its design is believed to have been adapted from the abdominal scale
pattern of the Meitei snake god. More recently, this pattern has been used in the innaphi itself. A
simpler adaptation of this design, lamthang khulhat sudaba is used on innaphis worn by ordinary
people.

The ningkhan samjin is another pattern traditionally used in mens ceremonial headdresses. This
block printed design is now also used as a woven design for innaphis.

The extraordinary flora and fauna of this beautiful state too has inspired textile motifs. Among
floral motifs, khongunmellei (orchid), gulab (rose), thambal (lotus), and kundo (jasmine) are
largely used. The swan, parrot, and peacock are some of the birds invariably used as attractive
motifs in Manipuri textiles. Geometrical motifs too are popular, with triangles; crosses, rhombuses
and a blend of these used interestingly. A distinctive border design using triangular motifs can be
seen on a wrapper called moirang phis, woven in Moirang.

Ningthou phee and akoibi are based on snake motifs and the design is worn by royalty. These
designs are mostly found on the phaneks. Tradition has it that when a weaver used to sit down to
weave the ningthou phee, the royal design, a gun salute would be fired in honour. A black shawl
with thick, bold embroidered animal motifs is called the angami naga (sami lami phee). It was

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given to brave and distinguished warriors by the royalty, in recognition of their prowess and
ability. Phaneks are woman's lungies and the morang phee is the traditional Manipuri sari with a
temple border. Likli or bottle designs resembling a loom-accessory and lasing phee (a quilted
design to keep warm in winter as Manipur has no wool) are popular. Shamilami is a combination
of weaving and embroidery once considered a status symbol. The maibung is said to be a copy of
a natural design, resembling the grains of wood as revealed when it is chopped clean. Hijamayak,
which is a boat form, has a restricted use as it is associated with death ceremonies. Horses, swords,
and spears for use in rituals form motifs of typical borders in saris. The patterns in use here are
typical of the region. Bold colours and geometrical patterns are in evidence in most of their
textiles.
The lasingphee (quilted cotton material) is produced in Manipur and used as a covering in winter.
Colours are obtained from natural sources and the juice of wild indigo is used as a black or dark
blue dye. A bark from the plains is used for a red shade, and green, yellow, and orange are
obtained from the barks of jungle trees. A characteristic feature of the moirangphi chaddar is the
triangular form along the border. Phi means cloth in Meithei and Moirang is the name of a place in
Manipur. Morangfi saris woven in white or soft colours carry the mandir shikhara (temple top) on
the border with dotted patterns on the body. There is a belief that this pattern was created by the
Goddess Morangfi herself.

Design and embroidery used in Manipuri Textiles

The Meitei used large and broad textile designs, so as to make these easily and clearly visible to
the public eye. Fish design is widely used in weaving of clothes. The designs of horses and
elephants, sun and moon, spears and phantup (Meitei traditional type of stool) are used in the
highly stylized forms. While Shaphi-Lanphi that is made by the Meitei women and worn by the
Nagas.

Manipur Design: There are a number of embroideries in Manipur that are specially made for
warriors and to be presented by the king as a mark of distinction.

 Lamphie: It is a war cloth that is a special type of shawl embroidered by the women at
home and is used by the warriors at the time of going out for war.
 Ningthouphee: It is a waistcoat, which is presented by the king to the warriors of the
country.
 Saijounba: It is a long coat that is prepared with special embroideries for the very trusted
courtiers of the king.
 Phirananba: These are the small flags delicately embroidered and used by the warriors as
plumes on their turbans.

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 Namthang-khut-hut: A design derived out of the head of Pakhangba on the wrapper, meant
to be used only by the ladies of the royal family.
 Khamenchatpa: These designs are embroidered on the dhotis and are presented to the
people of distinction.
 Phiranji: It is a red colored blanket presented to the persons of merit. The color of the
blanket is totally red and is believed to have been copied from the blood with the placenta.

Other important designs:

 Temple design or Moirang phee: This design is actually in red, green, black and blue
colours and is woven in the borders of chaddars and sari. This design is believed to
have been invented by the princess of Thoibi of Moirang.
Lashing phee: A quilt cloth literally means lashing-cotton, phee-cloth. The usual
shades are golden, orange, green, blue and red. This quilt replaces blankets during
winters.
 Likli Design: This design is popularly known as the bottle design and is used on
shoulder bags, bed covers etc. This design is evolved from the part of a loom.
Maibung design: this design is common on the bed-covers and has green, blue, maroon
and chocolate shades.
 Shamilami design: The Shamilami design is embroidered with motifs of horses,
elephants and butterflies etc. shades of orange, green, blue and red are very common in
these designed shawls. The shawls with this design are popularly known as the Naga
chaddar as the Angami Nagas used the design.
 Leirum: This cloth thus woven however is used by the Meities in ceremonial
occasions. Among he Meities it is an essential item of presentation during the
marriage.
 Chum design: cloth designed after pattern is exclusively meant for a presentation to de
made by the king to the people of high proficiency in dance and song, Pundits and
heroes also receive this cloth as recognition of their deep knowledge and heroism. This
design is now woven not for the same purpose as in the beginning but on the ordinary
door curtains, cushion cover and mats, etc. The shades commonly found are orange,
brown, blue and chocolate.

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 Leirong design: It is a traditional floral design of Manipur and is said to be the mother
design of all floral designs of Manipur. Among the Meities „ lei‟ means flower and
„rong‟ means design. This is a common design for the bed cover and tablecloths with
several variations. The blue, green, orange and red are the common shades used for the
design.
 Bakey Design: The design was named after a Kuki woman who invented this design.
This design was a tribal design and was later introduced to the center. This design was
woven originally for skirts but now this design is practically found on any type of
shawl and bed covers. The common shades are blue, green and maroon.
 Kudam Manbi: this design is known by several names. The most common one is,
button design but the other popular one is known as Mitlaobi design or broad-eye
design. The idea of this design is said to have originated from the patterns made of
beads and cowries by the Kukis.

The art of weaving has developed more in Manipur as compared to any other part of India.
Unlike weaving in other parts of India, the Manipur weaving is entirely the work of women.
Weaving is a part of their domestic duties. In fact, it is a primary qualification of a Meitei woman.
This handloom industry is practically monopolized by women not only from the idea of economic
necessity but also from the sense of social custom. Among the Meiteis, Kabuis, Thangkhuls and
Kukis women practicing this craft are married women. Whereas, among the Paites and Hmars
majority of the unmarried women practice weaving.

Conclusion:

Thus it can be concluded that the textiles of Manipur showcase the great heritage of traditional and
indigenous garment making in the whole of northeastern region of the country. The exquisite designs
used in garments of this region has now become very popular but still lack in exposure and patronage.It
has the potential to become an established cottage industry and even go further into the realms of large
scale merchandising. The traditional richness and the expertise of the Meities can contribute a lot in the
development of contemporary textile designing.

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References:

1. Pandya and Thoudam,2010.handloom weaving, the traditional craft ogf Manipur. “Indian
journal of Traditional knowledge” VOl.9 (4), PP.651-655.
2. Bahadur, M. 1997. Traditional Textiles of Manipur. Mutua Museum, Imphal-795001, Pp-
16-20.
3. Bahadur, M. 2000 Tribal Hand Woven Fabrics of Manipur. Mutua Museum, Imphal-
795001, P-120.
4. Ghosh, G.K. 1992. Tribals and Their Culture in Manipur and Nagaland. Meitei. Ashish
Publishing House. Punjabi Bagh, New Delhi-110026, Pp-132-139.
5. http://www.fibre2fashion.com/industry-article/1/40/the-world-of-indian-textiles1.asp
6. http://textiles.indianetzone.com/1/manipur.htm
7. http://www.craftandartisans.com/textiles-of-manipur.html

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