The master needs to make the required number of skeins — it depends on the required quantity and density of the fabric. beginning from the lower level, the master rotates the davra circle after circle, pulling the threads on it in a bundle. For dense fabrics, sometimes up to 100 turns of the beam are collected on the level.
The process from which hand weaving begins is winding. On a special frame called 'DAVRA', the master 'DAVRAKASH' collects silk threads into skeins, which will then be handed over to the artist for drawing.
All our ornaments are symmetrical about the center. This is due to the technology of drawing and dyeing silk.
Collected in skeins and tied up, the threads are pulled onto the frame - the artist is included in the process.
With a clay or charcoal pencil, he begins to apply the future ornament on the windings. And he also marks which parts of the picture in which colour to paint.
The artist draws only half of the print on silk. the second half will appear when, after dyeing, the skeins are disassembled into two parts.
The dyer ties all the threads in those places that, according to the drawing, SHOULD NOT be dyed. Those pieces that will be painted in the desired shade remain free.
After drawing the pattern, the threads are transferred from the artist to the dyer. Coloring takes place according to the ancient technology 'abrband'. Translated from Persian, it means "tied cloud".
The more colors, the thinner the lines, the more difficult the dyeing process is.
The presence of the 'slope' on silk is a guarantee of manual dyeing and weaving. When applying a print on a woven fabric by printing, such a strip does not exist.
Then, after painting, the winding is unwound, and everything starts all over again - for the next tone, the strapping starts again - as many times as the colors are combined in this ornament, From light to dark tones.
Where the skeins of silk come into contact with the frame during the work of the artist, another thin strapping is made. Under it, the silk will not be dyed in any color, the strip will remain white. In the future, when weaving, a thin white stripe will appear on the fabric - 'the slope'. This will align each pattern in the drawing.
At the fourth stage, the skeins of threads are divided in half and laid out in a certain order, so as to obtain a complete pattern.
Imagine a plate with a bunch of needle eyes. In order to match the pattern, each thread from a dyed skein has its own exact location, provided precisely by the needle eye on the 'berdo' which width is determined by the width of the required silk cloth.
The next master to whom the threads are passed is 'GULYAVARDOR'. To begin, he divides the total number of threads by the number of pedals on the loom.
For our silk, machines with two or three pedals are used. Then GULYAVARDOR pulls EVERY thread through a special device - 'BERDO'.
After pulling the threads through the reed, they are installed on a loom. The first 20-30 centimeters on the silk cloth are rejected, we cut them off. At this segment, the pattern is not yet visible, the silk threads are being adjusted and tensioned so that they exactly fall into the rhythm of the ornament.
When weaving, special metal knitting needles are used, inserting them across the fabric. After a certain segment has been woven, the weaver stops the loom and with a technical knife makes a cut along the threads stretched on the knitting needles.
After the silk fabric is woven and removed from the loom, we carefully check its quality.
This is how the pile appears on our silk, which gives you so many pleasant sensations when touching the product.
And only after that, a pattern begins to appear on the cloth, the way the artist painted it.