Puanchei Process

The yarn for weaving is not local and come from other places like Guwahati. The wholesalers in the market in turn sell the yarn to the weavers.

The yarn for weaving is not local and come from other places like Guwahati. The wholesalers in the market in turn sell the yarn to the weavers.

Yarn wound on a winder, kept in a bowl handy next to the loom for the motifs thread work, the ashtray for throwing away any stray or cut strands.

A porcupine quill is used to untangle any wayward yarn during the loin loom weaving process.

The different kinds and sizes of bamboo and wooden sticks used for the loin loom weaving.

When not in use the sticks are tied together and stored upright in a corner along with other utility objects like umbrellas.

The backstrap is held in place by a bamboo, inserted through the warp, with grooves at the end to strap it through.

The backstrap itself is made from dried buffalo skin. A special shuttle called the Themtleng made from the wood of Meille tree is used to tighten the weave.

The different kinds and sizes of bamboo and wooden sticks used for the loin loom weaving.

A special shuttle called the Themtleng, made from the wood of the Meihle tree is used to tighten the weave, while a wooden piece with grooves called the Tukkrek holds strands of the warp yarn in place.

A porcupine quill is kept handy to untangle any wayward yarn during the weaving process. Motifs are created with thread work tied to the weave from the reverse side.

The various colors to be used in weaving are arranged in the desired pattern.

A maximum width of only 25 inches can be worked on a loin loom.

A stone wrapped in some paper is kept as a weight in the bowl so that the yarn bowl doesn't topple while rolling.

The paper wrapped around the stone helps prevent the yarn cutting against the stone.

Bamboo sticks are inserted through the yarn of the warp keeps the yarn in place for the weaving and also useful for lifting the work to rotate the warp

Wooden pieces with grooves called Tukrek in the local language are used to hold sections of the warp yarn in place to avoid tangling. A porcupine quill is used to further untangle any wayward yarn.

The loin loom all set to begin weaving.

The warp wrapped around the bamboo sticks the yarn rolled on the shuttle for the weft, the dried buffalo skin backstrap fixed in place and the porcupine quill handy to untangle any wayward yarn.

Once the tension is right, the yarn of the weft is passed through to check the tension of the whole arrangement.

A special shuttle called the Themtleng made from the wood of Meille tree is used to tighten the weave.

Lachhanhimi takes advantage of the light penetrating through the large window of the house to help her see her work better, a good way to also connect with the occasional passer-by.

Threads tied to make a motif between the weave, tied on the reverse side.

The thread work motif created in between the weave as seen from the right side of the already woven section on the loom.

An upcycled yarn winder made by the weavers with a repurposed bicycle tyre and charkha for a faster and easier winding process.

Yarn wound on spindles is arranged on a wooden frame, the colours arranged according to the design to be created.

The threads pulled forward from the bobbin arrangement and wound around a warping drum as per the said design.

Rolling the warp drum as the yarn is wound around it in the particular design.

Each thread of the warp passes through the reed and heddles to set it in place for the design.

The heddles are tied to the bamboos below for the footwork, which aids in the weaving.

The number of bamboos depends on the type of cloth being woven.

Sangliani, the weaver, adjusting the spindle shooting the weft yarn through the weave for a tighter output

The weavers each have their own set of headphones as they listen to different kinds of music, ranging from local to pop, creating their own rhythms while weaving.

One will often find a sandalwood paste on their face; they say it is the best way to take care of their skin.

Tying threads on the reverse side of the work to make motif designs. The shuttles with the different threads for the weft hang from the side of the loom, handy for whenever needed.

A neatly organised loom workspace with accessories, spindles, even wrist watches hanging on the side of the frame.

Neihpuia, the weaver, weaving the Tawlhloh pattern on the frame loom. Traditionally this pattern was worn by warrior clans.

Yarn bundles on a rod above the weaving work are kept handy for the thread work to create motifs in middle of the weave.

Pulling yarn from the yarn bundles arranged on a rod on the loom to create motifs in middle of the weave.

Threads to make a motif between the weave are neatly tied up and tightened with the shuttle of the loom tied on the reverse side.

Tying threads on the reverse side of the work to make the Siniar motif design on the Tawlhloh pattern.

The thread work made by hand through the weave making the Lenbuangthuan motif here.

Threads as seen on the reverse side of the puan, with the motif revealed on the right side. The Siniar motif seen in this design.

Threads tied to make a motif between the weave, tied on the reverse side with the finished pattern seen from the right side of the puan.

Cloth designed and woven at the loom in a way that when cut to precise dimensions can be used to make particular sized products like bags.

The craftsman make sling bags from the woven puan cloth at the tailoring unit.

Read more about Puanchei, backstrap weaving of Mizoram here:
-The Community of Puan Cloth Weavers
-Products