Weaving is present-day Amarapura's main supply of income. Amarapura, after known as the 'Town of Immortality', money of the Burmese empire and chair of the 'Konbaung dynasty' from 1783 A.D. to 1859/60 A.D. is located some 11 kilometres/7 miles south of Mandalay. Here, where every second home is said to possess at least one loom is, among others, Burma's many fun and beautiful clothing, the ceremonial 'longyi', 'A-Cheik' htamain (for a woman) and 'A-Cheick' paste (for men), stitched from silk. 'A-Cheicks' are textiles that are simply recognisable by their elaborate weaving patterns that produce their highly appealing and complex designs. The silk and cotton weavers from Amarapura are popular throughout Burma. Their vivid high-quality textiles/clothes in numerous patterns and shade units both old-fashioned and modern are in powerful demand and available everywhere in the country.
Another hub of Burma's weaving industry could be the Inlay Lake. The materials produced here also in many cases are from silk. The process used by the Inlay weavers can be an age-old one, named 'Ikat';.Generally, the posts are dyed before the weaving method in they are destined firmly together and immersed in a dyeing shower for every shade individually. But, the Inlay material is produced in a somewhat different way. Whereas the typical method of dyeing is to dye the posts separately, i.e. each one of these includes a split up shade, the 'Intha's' way to dye the posts is to paint the colours on the threads. The main advantage of this process is that it does not need a retying of the posts of every individual shade used Poly cotton yarn.
When it comes to the weaving method itself it is nearly a vision impossible to have the posts completely fit the stitched sample, which affects the fairly 'blurred' edges of the motifs. Put simply, the motifs aren't sharply divided from their background or motifs bordering on them. That aftereffect of 'soft' edges could be the distinguishing function of the Inlay materials, which are very brilliant in shade and gay in motif.
But, there's something that unites a particular group of Inlay weavers apart from the rest of the world's weavers. And this distinguishing function is neither a particular design, sample, manner of dyeing or weaving nor can it be a particular shade, shade combination or the type of clothes they're weaving. It's nothing of these things but a unique material. A material that is unique in both source and way of rotating the threads/yarn. It's 'Lotus silk', made of the fine fibres of the lotus flower stem.
The story of this unique material and the 'Padonmar' lotus stem fibre weaving started in 1914 with Daw Sar Oo (Miss Sparrow Egg). She was a set girl in the small town of Kyain Khan, positioned at the Inlay Sea in Shan State. Her wish was to present to the Abbot of the area 'Fantastic Peacock Feather Monastery' anything really specific and unprecedented. A wish she'd developed based on the 'Zi-Natta Pakar Thani', by which King Siddhartha was upon making the palace to start to call home his living as visual monk offered a monk's gown with a Brahma (celestial being) who'd found it in a lotus blossom.
When observing the long and really fine filaments which were trailing from the cut ends of lotus stalks after she'd blocked the large-petal lotus blossom from their website - as it is generally performed to be able to offer them at pagodas, etc. - she found himself getting close to her being able to fulfil this strange and really specific wish of hers.
In the next, some words of explanation regarding the subject 'Lotus' in general as the only thing that people do mainly associate with the term 'Lotus' is simply an extremely unspecified flower with orange, red or bright blossoms that keeps growing in freshwater ponds and ponds. But this is not exactly all and the only thing that's inherent in and expressed by the term 'Lotus';.Here are some data for the botanists among you.
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