The eighth century textile traditions from Karnataka that still shape garments today

In the eighth century, as the Rashtrakutas rose to power in the Deccan, shaping India’s political and cultural landscape, the Pala dynasty in the east fostered a golden age of Buddhist scholarship, with institutions like Nalanda University flourishing as global centres of learning. The period was marked by extraordinary artistic and intellectual achievements—temple architecture flourished in Ellora and Mahabalipuram, while cities like Kannauj and Ujjain developed fortified palaces, well-planned roads, and irrigation systems. It was also the era that saw the birth of Ilkal and Khun, two ancient weaving methods from Karnataka, alongside the several hundred textiles that define India’s heritage, with their striking geometric patterns, and even more so for their deep cultural roots. 

At the heart of an ongoing exhibition—Pampa Textiles of Karnataka, curated by textile revivalist Lavina Baldota along with Mayank Mansingh Kaul, Pragati Mathur, Nupur Saxena, and Priya Saxena—lies a commitment to honouring and preserving these textiles. Hosted at the Mantapa Photo Gallery in Hampi Bazaar, the exhibition showcases Karnataka’s vibrant handloom heritage through a collection of sarees and fabrics that embody time-honoured craftsmanship with handmade and hand-patterned weaves while embracing contemporary innovation.

“The historical reference of Ilkal and Khann is from the eighth century, the Chalukya dynasty. While Ilkal saree originated in the Bagalkot region of  Karnataka, Khann—a fabric woven as a blouse piece shares its origin between Karnataka and Maharashtra,” points out Baldota. As it turns out, the two textiles evolved through trade, cultural exchanges, and regional craftsmanship over centuries, transforming into the contemporary fabrics we recognize today. 

These handwoven fabrics have remained steadfast in their design and purpose. “They both were modest textiles worn mostly by the women of agrarian society, and they still largely continue to be so. These weaves haven’t traveled to other parts of India,” Baldota explains. The Ilkal saree, with its signature contrasting borders and bold silk pallu, and Khann, a fabric traditionally woven for saree blouses, continue to be woven using techniques that have endured centuries.

The patterns and motifs of Khann remain largely unchanged—simple grids, stripes, and brocaded geometric designs—while Ilkal sarees still feature the distinctive kondi technique, where two different sets of warp threads are joined seamlessly on the loom. Despite modern interventions, such as the shift toward art silk and power looms, the essence of these textiles remains intact.

A highlight of the exhibition is a specially curated directory of Khann’s quintessential patterns, including sooji mallige (eight-petalled jasmine), aane hejje (elephant footprints), and seventige (chrysanthemum). Each motif carries cultural meaning, rooted in tradition yet adaptable to new interpretations.

Beyond aesthetic appeal, these textiles reflect the environmental and cultural landscape of Karnataka. “Bright colours and the red and white pallu of the traditional Ilkal sarees create an interesting offset to the fields where the women work, the yarns being locally cultivated cotton and silk. In the past few decades, art silk has also been used, and many weavers moved to power looms,” says Baldota. Today, as weavers adapt to modern demands, these textiles are being reimagined as dupattas and contemporary sarees, finding new relevance while staying true to their origins.

The Pampa Textiles of Karnataka exhibition is open at the Mantapa Photo Gallery, Hampi Bazaar, Hampi, Karnataka, until March 10, 2025.

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