
Navalgund Durries: An interview with Metaphor Racha.
Navalgund Durries are flat-weave floor coverings that stand out for their striking colours and designs. Ravi Kiran, proprietor of Metaphor Racha, is deeply committed to khadi (fabric hand-woven from hand-spun yarns) and also works with weavers of Navalgund Durries. He shares insights about these remarkable floor coverings.
Brinda Gill: Could you tell us about Navalgund Durries?
Ravi Kiran: Floor coverings or rugs have traditionally been called durries in India. Navalgund Durries are sturdy, cotton, flat-weave floor coverings traditionally woven in Navalgund, a small town located in the Dharwad district of Karnataka, South India. Navalgund is approximately 450 km from Bengaluru (formerly Bangalore), Karnataka State, India, and about 50 km from Dharwad city, the district headquarters.
Navalgund durries are known as jamkhanas in Kannada, the language spoken in Karnataka. Jamkhana is a generic term for floor mats. The word Navalgund comes from Navil, meaning peacock in Kannada, and Gudda (or Gunda), meaning hill. In earlier times, peacocks inhabited the hill on which the town is located, although they are no longer found here due to urbanisation.
BG: What is the unique feature of Navalgund Durries?
RK: Navalgund is home to the last weaving cluster in Karnataka that preserves the art of durry weaving on vertical looms, known locally as Khadav Magga. These durries are distinguished by their striking geometric patterns that reflect the town’s soul. Among these designs, the iconic peacock motifs stand out, honouring the town’s name, ‘Hill of Peacocks’.
Woven with unbleached cotton yarn for a sturdy vertical warp and vibrant weft yarns in yellow, red, blue, and green, using 10s-count yarn, these thick, durable durries are built to last a lifetime. The durries are available in different colours, motifs, and sizes, making them visually stunning. Navalgund Durries received the Geographical Indications tag in 2015.
BG: Who practices this craft?
RK: The weaving of Navalgund durries dates back to the 16th century when skilled weavers, caught in the conflict between the Deccan Sultanate and the Vijayanagara Empire - two major powers in the region - sought refuge in Navalgund. This migration was not only about survival but also about preserving their craft for future generations. While traditionally woven by Muslim women, today, women from various communities continue this art, ensuring its legacy remains alive.
BG: What was the original function of these durries?
RK: While durries typically cover the floor and add comfort and beauty to interiors, Navalgund Durries have historically held more significant roles. They have been used during wedding ceremonies, to welcome and honour guests, and even as prayer mats. In the past, the hand-woven Navalgund Jamkhana was a cherished wedding gift. While this tradition continues in some families, the rise of affordable power-loom durries has reduced the popularity of handcrafted Navalgund Jamkhanas for weddings today.
BG: How are Navalgund Durries woven?
RK: While durries in Karnataka are typically woven on frame looms with simple multi-coloured bands, Navalgund Durries are distinct. Woven on vertical looms, they are far more intricate and ornate, reflecting the artistry of their makers. Unlike traditional pit looms and frame looms, which are limited to specific widths, the vertical loom offers remarkable versatility. Weavers can create anything from 1.5 square-foot prayer mats to 6x9 foot floor mats. For larger durries, it is not uncommon for two women to weave together on the same loom.
The vertical warp, which stretches to 65 feet, is simple to set up, but the magic lies in the weft. With over 100 local patterns in their design vocabulary, weavers pass the colourful weft yarn through the floating warp, creating designs entirely freehand. The yarn moves back and forth horizontally, pausing at specific warp intervals to form intricate designs. There are no markings or guides—just the weaver's skill and intuition, counting threads to create patterns. This ancient loom allows for unmatched creativity and customisation.
BG: Which motifs and patterns are typically seen on Navalgund Durries?
RK: The artistry of these weavers goes beyond their iconic Mor and Navilu - the two names for peacock motifs - showcasing a wide variety of intricate patterns rooted in tradition. The Badi Ghari (double-edged diamond) and Nanhi Ghari (single-edged diamond) reflect precision and elegance, while the Laheri (wave) and Phul (flower) add rhythm and grace. Patterns like Bhell (zigzag), Chinda (vertical stripes), Dhara (horizontal stripes), and Chunnat (twill diamond) highlight their mastery of texture and form. The playful Pagadi Aata (inspired by an Indian dice game) weaves cultural heritage into their craft.
Each motif tells a story of tradition, skill, and timeless beauty. The 100+ designs created by these weavers are primarily variations and combinations of these foundational patterns. I’m told that each colour woven into the durries carries special significance: red represents kumkum (a ritual powder), yellow signifies turmeric, orange symbolises sandalwood, green represents betel leaf, blue evokes the sky, and ecru denotes water.
BG: What is the current situation regarding Navalgund Durry weavers?
RK: As of today, only about 15 women continue the tradition of durry weaving in Navalgund. While they once had looms in their homes, the growing size of their families made space scarce. To address this, the Karnataka Handloom Development Corporation (KHDC) has provided a dedicated workshop, offering much-needed room to work. In my experience, village women often lack private spaces to gather, talk, sing, and laugh. This centralised space has become a sanctuary, offering them a break from the daily grind of household chores and a place to connect with one another.
BG: How has Metaphor Racha played a role in guiding the weavers?
RK: At Metaphor Racha, we deeply respect age-old designs and traditional skills. Rather than imposing our ideas, we encourage weavers to tap into their creativity and craft unique designs. This approach fosters design democracy and offers consumers a wide variety of one-of-a-kind creations. To ensure their work resonates with urban lifestyles, we guide them on quality and practical durrie sizes, while also promoting the craft through our website, blogs, and seminars in schools and colleges. While we don’t dictate specific colour combinations or designs, we’ve always been happy to advise on sizes. These durries were traditionally large, but we recognised that most small city apartments can’t accommodate such big sizes, so we ensured smaller options are available. In the past, we’ve also helped weavers create table runners, mats, and wall hangings.
BG: Have collaborations with Metaphor Racha and others helped the weavers?
RK: For years, the Karnataka Handloom Development Corporation was responsible for marketing Navalgund Durries through its retail stores. However, they struggled to convey the beauty and intricacy of this craft to consumers. In the last five years, the women weavers of Navalgund have taken matters into their own hands, collaborating directly with brands like ours to preserve and sustain their art. KHDC continues to support them by ensuring access to reasonably priced dyed yarn.
BG: How is the craft being passed down for the future?
RK: Navalgund’s black soil and rain-fed farming make it an ideal region for growing cotton and the famous Byadgi red chillies. This has led to men primarily engaging in farming or farm labor, while weaving has historically been seen as a skill passed down to women. Traditionally, the art of weaving Navalgund Durries was passed down to daughters-in-law, as there was concern that spreading the skill beyond the family would dilute the authenticity and demand for the craft. However, this mindset has evolved, and many local women are now being trained in this weaving tradition. It is hoped that increasing awareness of this heritage craft and demand for the durries will help preserve the craft and sustain livelihoods in Navalgund.
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Text: Brinda Gill
Images Credits: Metaphor Racha
For further information, please visit:
https://metaphorracha.com/