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Silk in the Indian subcontinent
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Colours of India — Silk yarn waiting to be made into saris, Kanchipuram.
Silk in the Indian subcontinent is a luxury good. In India, about 97% of the raw mulberry silk is produced in the five Indian states of Karnataka, Andhra Pradesh, Tamil Nadu, West Bengal and Jammu and Kashmir.[1] Mysore and North Bangalore, the upcoming site of a US$20 million "Silk City", contribute to a majority of silk production.[2] Another emerging silk producer is Tamil Nadu where mulberry cultivation is concentrated in Salem, Erode and Dharmapuri districts. Hyderabad, Andhra Pradesh and Gobichettipalayam, Tamil Nadu were the first locations to have automated silk reeling units.[3] yoyo quantity:::
Contents
[hide]
1 History
1.1 The Silk Route
1.2 Silk goes to India
2 Types of silk cloth
2.1 Silk brocades
2.1.1 Kinkhwab (Brocade)
2.1.2 Pot-thans
2.1.3 Mashru
2.1.4 Himru or Amru
2.2 Kinkhwabs
2.2.1 Gyasar
2.2.2 Gyanta
2.3 Jamawar
2.3.1 Origin
2.3.2 Weaving of Jamawar in Pakistan
3 Significant regions of silk
3.1 Assam silk
3.2 Mysore
3.3 Kanchipuram
3.4 Banarasi
3.4.1 Origin
3.4.2 Distinguishing characteristics
3.4.2.1 Katan
3.4.2.2 Tanchoi
3.5 Karachi
3.5.1 Contemporary designs and motifs
4 References
History[edit]
The Silk Route[edit]
Silk merchants in the 19th century
Weaving silk in Khotan, on the 'Southern Silk Road' 2011
Recent archaeological discoveries in Harappa and Chanhu-daro suggest that sericulture, employing wild silk threads from native silkworm species, existed in South Asia during the time of the Indus Valley Civilization dating between 2450 BC and 2000 BC, while evidence for silk production in China back to around 2570 BC and earlier.[4][5] The Indus silks were obtained from more than one species Antheraea and Philosamia (Eri silk). Antheraea assamensis and A. mylitta were widely used. These findings were published in the journal Archaeometry[4] by archaeologists from Harvard University who examined the silk fibre excavated from two Indus valley cities of Harappa and Chanhudaro. The fibers were dated to around 2450–2000 BCE and were processed using similar techniques of degumming and reeling as that of the Chinese. Scanning electron micrograph of the fibre revealed that some fibers were spun after the silk moth was allowed to escape from the cocoon, similar to the Ahimsa silk promoted by Mahatma Gandhi.
Silk goes to India[edit]
Tradition silk handlooms, in Varanasi India, where it usually takes two months to weave a Banarasi sari.
The brocade weaving centers of India developed in and around the capitals of kingdoms or holy cities because of the demand for expensive fabrics by the royal families and temples. Rich merchants of the trading ports or centers also contributed to the development of these fabrics. Besides trading in the finished product, they advanced money to the weavers to buy the costly raw materials that is silk and zari. The ancient centers were situated mainly in Gujarat, Malwa and South India. In the North, Delhi, Lahore, Agra, Fatehpur Sikri, Varanasi, Mau, Azamgarh and Murshidabad were the main centers for brocade weaving. Northern weavers were greatly influenced by the brocade weaving regions of eastern and southern Persia, Turkey, Central Asia and Afghanistan.[citation needed]
Gujrati builders and weavers were brought by Akbar to the royal workshops in 1572 AD. Akbar took an active role in overseeing the royal textile workshops, established at Lahore, Agra and Fatehpur Sikri where skilled weavers from different backgrounds worked. Expert weavers from those distant lands worked with the local weavers and imparted their skills to the locals. This intermingling of creative techniques brought about a great transformation in the textile weaving industry. The exquisite latifa (beautiful) buti was the outcome of the fusion of Persian and Indian designs.[citation needed] Brocades produced at the royal workshops of other well-known Muslim centers in Syria, Egypt, Turkey and Persia were also exported to India.[citation needed] Under the Mughals, sericulture and silk-weaving received special encouragement and silk cloth produced in the Punjab came to be prized throughout the world. Lahore and Multan developed into major centers of silk industry. The tradition continues.
See also: Assam silk, Tussar Silk
Types of silk cloth[edit]
Silk brocades[edit]
Silk brocades, texturally, are divided mainly into two groups:
Kinkhwab
Pot-thans
Kinkhwab (Brocade)[edit]
Kinkhwab was originally an elegant, heavy silk fabric with a floral or figured pattern known most for its butis and jals woven with silk as the warp and tilla as the weft, produced in China and Japan. Tilla in the earlier times was known as kasab. It was a combination of silver and tamba (copper) which was coated with a veneer of gold and silver. Kinkhwabs have also been known as ‘Kimkhabs’, ‘Kamkhwabs’, ‘Kincobs’, ‘Zar-baft’ (Gold Woven), zartari, zarkashi, mushaiar.[6]
Kam means little or scarcely. Khwab means a dream and it’s said that even with such a name ‘Its beauty, splendor and elegance can be hardly dreamt of’. Kinkhwabs are heavy fabrics or several layers of warp threads with an elaborate all-over pattern of extra weft, which may be of silk, gold and / or silver threads or combinations. There may be three to seven layers of warp threads. (Tipara means three layers and Chaupara means four layers to Satpara meaning seven layers). Kin means golden in Chinese. Its specialty is in profusely using the gold and silver thread in a manner that sometimes leaves the silk background hardly visible.
When the figure work is in silver threads with a background of gold threads it is called ‘Tashi Kinkhwab’. This is a variety of ‘Kinkhwab’ which has a ground worked with an extra warp of gold [badla (flat wire) zari] and the pattern created with an extra weft of silver badla zari or vice versa. A satin weave is very often used, resulting in a smooth ground for the fabric. The heavy fabric appears to be in layers, as the warp ends are crammed drawing three, four and up to seven ends per dent for the Tipara, Chaupara up to Satpara respectively.
Zari is generally of two types Badla and Kala batto. Badla Zari was made of flattened gold or silver wire with the ancient method of making zari from pure metal without any core thread. This accounted for its peculiar stiffness. Sometimes cracks would develop in the metal during the process of weaving which resulted in the loss of its natural luster and smoothness. Therefore, weaving with Badla Zari was difficult and required great skill. Often a touch of Badla was given to floral motives to enhance the beauty. This type of zari has mostly gone out of favor amongst the contemporary weavers and they mostly depend on polyester or pure silk as a substitute.
Silk brocade of Banaras, Ahmedabad and Surat were well known in the seventeenth century. While Banaras continues to be a center of production of Silk Brocades, Ahmedabad and Surat have practically nothing to show today. On the other hand, Silk Brocade weaving has gained ground in the South of India.
Pot-thans[edit]
These are called katan (a thread prepared by twisting a different number of silk filaments) brocades. Pot-thans are lighter in textures (lower thread count) than Kinkhwabs but closely woven in silk and all or certain portions of the pattern are in gold or silver zaris. These fabrics are mostly used for making expensive garments and saris. Very often the satin ground weave is particularly used for garments fabrics. These fabrics are characterized by their jals which are normally made out of silk and tilla.
Mashru[edit]
The cloth was distinguished by its butis woven in circular shapes that gave an impression of ashrafis (gold coins). The ashrafis were usually woven in gold zari.
This is a mixed fabric with a woven stripe or zigzag pattern. The warp and weft used were of two different materials (silk and cotton, cotton and linen, silk and wool or wool and cotton) in different colors. It was used mostly for lower garments such as trousers, the lining of the heavy brocade garments or as furnishing.[7]
Gul Badan (the literal meaning of which is ‘flower like body’) was a known variety of mushru (cotton and silk) popular in the late 19th century. Sangi, Ganta, Ilaycha were types of mashru too. These were popular since ancient times and were known to be woven at all leading silk centers. One reason for their popularity was Islam. Since Islam does not allow men to wear pure silk, mashru (literally meaning permitted) became very popular amongst Muslims.
Himru or Amru[edit]
A type of Indian brocade is the Himru, a specialty of Hyderabad and Aurangabad, which is woven from silk and zari on silk to produce variegated designs, woven on the principle of extra weft. Himru can be very pretty with a pseudo-rich effect in general. It continued to be in popular demand on the account of its low price as compared to the pure silk brocades. Another point in its favor is that it can be woven very fine so as to give it a soft feel, thus making it more suitable as a fabric for personal wear than the true brocade.
The cloth is distinguished by its intricate char-khana (four squares) jal. These are woven like kinkhwabs, but without the use of kala battu (zari) instead badla zari is used.
Kinkhwabs[edit]
Kinkhwabs fabrics of India have earned a great reputation for their craftsmanship and grandeur. By and large, still continue to do so, even in the face of fierce competition from other types of woven and printed fabrics.
Kinkhwabs today are typically ornate, jacquard-woven fabrics. The pattern is usually emphasized by contrasting surfaces and colours and appears on the face of the fabric, which is distinguished easily from the back. Uses include apparel, draperies, upholstery and other decorative purposes.
Gyasar[edit]
Gyasar is a silk fabric of a Kinkhwab structure with ground, in which the gold thread is profusely used with Tibetan designs. The fabric is especially popular with Tibetans and used extensively in their dresses as well as in decorative hangings, prayer mats, etc.
Gyanta[edit]
Gyanta is a silk fabric of Kinkhwab structure of a satin body with or without the use of gold thread. These sometimes have a tantric design (which is also known as Tchingo) of human heads with three eyes woven in gold and silver threads on a black satin ground.
Jamawar[edit]
"Jama" means robe and "war" is yard. The base of the Jamawar is mostly resham, with perhaps an addition of a little polyester. The brocaded parts are woven in similar threads of silk and polyester. Most of the designs seen today are floral, with the kairy (i.e. the paisley) as the predominant motif.
Today, the best Jamawar is woven in Pakistan. This fabric is widely used in that country for bridal and special occasion outfits. The texture and weave of patterns is such that the fabric often gets caught when rubbed against rough surfaces (metallic embroidery, jewellery etc.) it must therefore be handled delicately when worn.
Origin[edit]
Traders introduced this Chinese silk cloth to India, mainly from Samarkand and Bukhara and it gained immense popularity among the royalty and the aristocracy. King and nobles bought the woven fabric by the yard, wearing it as a gown or using it as a wrap or shawl. Jamawar weaving centres in India developed in the holy cities and the trade centres. The most well known Jamawar weaving centres were in Assam, Gujrat, Malwa and South India.
Due to its rich and fine raw materials, the rich and powerful merchants used Jamawar and noblemen of the time, who could not only afford it but could even commission the weavers to make the fabric for them, as in the case of the Mughals. Emperor Akbar was one of its greatest patrons. He brought many weavers from East Turkestan to Kashmir.
One of the main reasons for the diversity in the designs of the Jamawar cloth was the migratory nature of its weavers. Ideas from almost all parts of the world influenced these designs.
The Indian motifs were greatly influenced by nature like the sun, moon, stars, rivers, trees, flowers, birds etc. The figural and geometrical motifs such as trees, lotus flower, bulls, horses, lions, elephants, peacocks, swans, eagles, the sun, stars, diagonal or zigzag lines, squares, round shapes, etc. can be traced through the entire history of Jamawar and are still being used but in a rather different form in terms of intricacy and compositions, thus creating new patterns.
Indian weaver predominantly used a wide variety of classical motifs such as the swan (hamsa), the Lotus (kamala), The Tree Of Life (kulpa, vriksha), the Vase of Plenty (purna, kumbha), the Elephant (hathi), the Lion (simha), flowing floral creepers (lata patra), Peacocks (mayur) and many more. Mythical creatures such as winged lions, centaurs, griffins, decorative of ferocious animals, animals formally in profile or with turned heads, animals with human figures in combat or represented in roundels were also commonly used motifs. These motifs have remained in existence for more than two thousand years. However, new patterns have consistently been introduced; sometimes some of these are even an amalgamation of the existing patterns. Such attempts at evolving new designs were particularly noticeable from the 10th century onwards, when patterns were altered to meet the specific demands of the Muslim rulers.
The bull or the swan, arranged between vertical and diagonal stripes can still be found iasitn the silk Jamawar saris of India. Patterns with small flowers and two-coloured squares (chess board design) are seen, used both as a garment and as furnishing material – bed spreads with same kind of pattern are still woven in some parts of Gujarat.
Jamawar dating back to the Mughal era however contained big, bold and realistic patterns, which were rather simple with ample space between the motifs. The designs stood out prominently against the background of the cloth.
Complex patterns were developed only when additional decorative elements were included in the basic pattern. During later periods, the gap between the motives was also filled with smaller motives or geometrical forms. The iris and narcissus flowers became the most celebrated motifs of this era and were combined with tulips, poppies, primulas, roses and lilies. A lot of figurative motives were also used in the Mughal era such as deers, horses, butterflies, peacocks and insects. The Mughal kings played a vital role in the enhancement of Jamawar by putting their inspirations into the cloth’s designing and visiting the weavers on a regular basis to supervise its making. Shining, decorative pallus were jals were the main designs of this time. The borders were usually woven with silk and zari.
After the Mughal period, the figurative motifs were discouraged by the Muslims and more floral and paisleys were introduced. However, inspiration was taken from these figurative motives and put into designs as in the case of using only the peacock feathers instead of the complete figure.
Another big change was brought about in 1985, where the source of inspiration was the Chinese Shanghai cloth. The patterns of the Chinese Shanghai were amended in accordance to the weave construction of the Jamawar cloth and introduced in the cloth. This proved to be a very successful change and is still appreciated by many.
In recent years, the Indian government has attempted a modest revival of this art by setting up a shawl-weaving centre at Kanihama in Kashmir. Efforts to revive this art have also been made by bringing in innovations like the creation of Jamawar saris by craftsmen in Varanasi. Each sari is a shimmering tapestry of intricate design, in colours that range from the traditionally deep, rich shades to delicate pastels. A minimum of four months of patient effort goes into the creation of each Jamawar sari. Many of the Jamawar saris now have matching silk shawls attached to them, creating elegant ensembles fit for royalty.
Weaving of Jamawar in Pakistan[edit]
Pakistan makes its own yarn from the imported cocoons that come from China. The yarn is cultivated in areas like Orangi and Shershah in Karachi which is then sold to the weavers. The pure silk yarn, before it can be used, has to undergo treatment such as bleaching or washing (in soap) and then dyeing. In its raw state, the silk is hard due to the sericlan; therefore it has to be removed. A single filament of the silk yarn is not strong enough to be woven on its own; therefore, it needs to be twisted in order to give it strength and hold.
A specific person who is called a naqsha-bandh first draws the patterns or designs on paper which are then transferred on a graph paper on a comparatively much bigger scale. Every square in the graph signifies a specific number of threads on the loom. The unfinished, rough ideas and sketches are provided to these naqsha-bandhs by the wholesalers and are thus plotted on the graph. The use of various threads in the pattern such as zari, resham, polyester, etc. are separated on the graph with the help of colours indicated on a key chart. The wholesalers later decide the main colours and this information are forwarded to the weavers. The naqsha-bandhs do not have say in the designing of the motifs and patterns. They do what they are told to do.[citation needed]
In this way, the pattern or motif is drawn on the graph paper to provide the weaver with the exact picture of each thread making up the design in the process of weaving. The designs and patterns are then transferred from the graph paper on a wooden frame and are referred to as the naqsha. The naqsha that is made with cotton threads is a smaller sample of the actual design, which is to be woven on the loom. The warp is then taken for the weaving process, which is carried out, on various looms such as the pit loom, jacquard loom and power loom. There is a vast difference between the outputs of the three types of looms. The power looms cannot match the intricacy that can be achieved using the pit or jacquard loom. This is the reason for the far superior workmanship that can be found in the earlier designs dating back to the Mughal era.
Significant regions of silk[edit]
Assam silk[edit]
Main article: Assam silk
Assam silk denotes the three major types of indigenous wild silks produced in Assam—golden Muga, white Pat and warm Eri silk. The Assam silk industry, now centered in Sualkuchi, is a labor-intensive industry. It's registered trademark is SUALKUCHI'S.[8]
In 2015, Adarsh Gupta K of Nagaraju's research team at Centre for DNA Fingerprinting and Diagnostics, Hyderabad, India discovered the complete sequence and the protein structure of Muga Silk Fibroin and published it in Nature (journal) Scientific Reports [9]
Mysore[edit]
Karnataka produces 9,000 metric tons of mulberry silk of a total of 14,000 metric tons produced in the country, thus contributing to nearly 70% of the country's total mulberry silk. In Karnataka, silk is mainly grown in the Mysore district. In the second half of the 20th century, it revived and the Mysore State became the top multivoltine silk producer in India.[10]
Kanchipuram[edit]
Weaving silk in Kanchipuram, Tamil Nadu, India in 2010
Kanchipuram is located very close to Chennai, the capital of Tamil Nadu. From the past Kanchipuram silk sarees stand out from others due to its intricate weaving patterns and the quality of the silk itself. Kanchipuram silk sarees are large and heavy owing to the zari work on the saree. Kanchipuram attracts large number of people, both from India and abroad, who come specifically to buy the silk sarees. Most of the sarees are still hand woven by workers in the weaving unit. More than 5000 families still indulge in silk weaving.
In 2008 the noted film director Priyadarshan made a Tamil film ' Kanchivaram' about the silk weavers of the town during the pre-independence period. The film won the Best Film Award at the annual National Film Awards.
Banarasi[edit]
Main article: Banarasi
A Banarasi sari is a sari made in Varanasi, a city which is also called Benares or Banaras. The saris are among the finest saris in India and are known for their gold and silver brocade or zari, fine silk and opulent embroidery. The saris are made of finely woven silk and are decorated with intricate design, and, because of these engravings, are relatively heavy.
Their special characteristics are Mughal inspired designs such as intricate intertwining floral and foliate motifs, kalga and bel, a string of upright leaves called jhallar at the outer, edge of border is a characteristic of these saris. Other features are gold work, compact weaving, figures with small details, metallic visual effects, pallus, jal (a net like pattern), and mina work.[1]
The saris are often part of an Indian bride's trousseau.[2][3]
Depending on the intricacy of its designs and patterns, a sari can take from 15 days to a month and sometimes up to six months to complete. Banarasi saris are mostly worn by Indian women on important occasions such as when attending a wedding and are expected to be complemented by the woman's best jewelry. it is from Banarasi sari.
Origin[edit]
'Sari' from Varanasi (Banaras), silk and gold-wrapped silk yarn with supplementary weft brocade
Banaras (Varanasi) is situated on the Calcutta / Delhi rail route 760 km (470 mi) from Calcutta. It has always been a big textile center of silk weaving. European travelers like Marco Polo (1271–1295) and Tavernier (1665) do not mention the manufacture of Brocades in Banaras. Ralph Fitch (1583–91) describes Banaras as a thriving sector of the cotton textile industry. The earliest mention of the brocade and Zari textiles of Banaras is found in the 19th century. With the migration of silk weavers from Gujarat during the famine of 1603, it is likely that silk brocade weaving started in Banaras in the seventeenth century and developed in excellence during the 18th and 19th century.
Distinguishing characteristics[edit]
The following are considered to be the main characteristics of the brocade fabrics of Banaras.
heavy gold work
compact weaving
figures have small details
metallic visual effects
pallus
jal (a net like pattern)
mina work
Banarasi brocade produced two sub-variants from its original structure namely:
Katan
Tanchoi
Katan[edit]
Katan, a thread, prepared by twisting a different number of silk filaments according to requirement gives a firm structure to the background fabric. Katan is a plain woven fabric with pure silk threads. It consists of two threads twisted together and is mostly used for the warp of light fabrics.
Katan can be further classified into the following:
Katan Butidar: Fabric with Katan warp and weft with butis (designs and patterns) in gold or resham (untwisted silk).
Katan Butidar Mina: Katan Butidar with Mina work (design made out of zari thread) in butis.
Katan Butidar Paga Saree: Saree with Katan warp, resham weft, small butis all over body, closely spaced (about 10 cm (4") apart), about 5 cm (2") wide border and 30–55 cm (12-22") wide pallu.
Katan Brocade: This is a fabric with Katan Warp and Katan weft with figures in gold thread with or without mina, with the traditional styles being ‘katrawan’, ‘kardhwan’ and ‘Fekva’.
Katrawan: A technique or design in which the floating portions of the extra weft (laid from selvege to selvege) at the back of the fabric is cut.
Kardhwan:
Fekva
Jangla: Plain fabric of Katan warp and Katan weft, with all-over floral designs in an extra weft of either silk or zari.
Katan Katrawan Mina: A fabric in Katrawan style with Mina.
These days the currently used designs and motifs involving Katan are:
Katan Jal Set: Over the years with minor innovations and influences from other materials, Jangla is now known as ‘Katan Jal Set’.
Katan Buti Zari Resham: Katan Butidar has evolved over time to become Katan Buti Zari Resham.
Katan Stripe and Katan Check are also popular variants found in the markets.
Tanchoi[edit]
Plain woven body with one color extra weft, one color weft and one color warp. Relative to the Jamawar, it is lighter and softer. Tanchoi could be further classified into the following:
Satan Tanchoi is the satin weave (four ends and eight picks or five ends and five picks satin) with the warp in one color and the weft in one or more colors. The extra weft in the design may also be used as body weft.
Satan Jari Tanchoi: Satan Tanchoi with weft in the order of one silk and one gold thread (Jari), or two silk (double) and one gold thread.
Satan Jari Katrawan Tanchoi: Satan Jari tanchoi in which the floating, extra weft, gold thread at the back is cut and removed.
Atlas: Atlas is a pure satin body. Relative to other fabrics, Atlas is thicker, heavier and is shinier than other fabrics because of the extra use of zari. It is also known as gilt, because it is even shinier than the katan.
Mushabbar: The cloth is distinguished by its jal woven as bushes and branches of trees. The normal association with the design was that of a jungle.
Karachi[edit]
Contemporary designs and motifs[edit]
The Jamawar weaving technique is often defined as ‘embroidery weaving’ or ‘loom embroidery’. This technique can also be applied on other fibres but Jamawar is generally restricted to rich silk threads. Currently, any of the major textile fibres may be used in a wide range of quality and price.
Currently, two kinds of Kinkhwab (Jamawar) are available in the markets. Mughal Jamawar and Self Jamawar. Mughal Jamawar has a distinct characteristic of the use of gold and silver zari with silk, the use of gold zari with silver zari and the use of zari with polyester. Self Jamawar does not involve zari and basically is either silk on silk or silk with polyester.
Silk Sari Weaving at Kanchipuram, Tamil Nadu
References[edit]
Jump up ^ "Archived copy". Archived from the original on 2012-05-27. Retrieved 2016-03-20.
Jump up ^ "Silk city to come up near B'lore". deccanherald.com. 17 October 2009. Archived from the original on 15 July 2015.
Jump up ^ "Tamil Nadu's first automatic silk reeling unit opened". 24 August 2008. Archived from the original on 11 May 2018 – via www.thehindu.com.
^ Jump up to: a b Good, I.L.; Kenoyer, J.M.; Meadow, R.H. (2009). "New evidence for early silk in the Indus civilization". Archaeometry. 50 (3): 457. doi:10.1111/j.1475-4754.2008.00454.x.
Jump up ^ Ball, Philip (19 February 2009). "Rethinking silk's origins". Nature: 945–945. doi:10.1038/457945a. Archived from the original on 6 November 2013. More than one of |website= and |journal= specified (help)
Jump up ^ "Blue Silk Brocade 473 Fabric | NY Designer Fabrics". www.nydesignerfabrics.com. Archived from the original on 1 September 2016. Retrieved 9 August 2016.
Jump up ^ York, Neil (2016). Silk Fabrics from the Orient (First ed.). USA: Lulu. ISBN 978-1-365-31798-9.
Jump up ^ "From 2016, Sualkuchi textile products has a trademark SUALKUCHI'S in proprietorship of SUALKUCHI TAT SILPA UNNAYAN SAMITY". Intellectual Property India. Archived from the original on 2016-11-10.
Jump up ^ Adarsh Gupta. K. "Molecular architecture of silk fibroin of Indian golden silkmoth, Antheraea assama". Archived from the original on 2016-12-20.
Jump up ^ R.k.datta (2007). Global Silk Industry: A Complete Source Book. APH Publishing. p. 17. ISBN 8131300870. Retrieved January 22, 2013.
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text:
List of architecture schools in Bangladesh
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Contents
[hide]
1 Institutes
2 Public schools
3 Private schools
4 References
Institutes[edit]
Society of Architectural Historians of Bengal
Institute of Architects Bangladesh
Housing & Building Research Institute
Public schools[edit]
Bangladesh University of Engineering & Technology, Department of Architecture, Faculty of Architecture and Planning, Dhaka,[1]
Hazi Mohammad Danesh Science & Technology University, Department of Architecture, Dinajpur,[2]
Shahjalal University of Science and Technology, Department of Architecture, School of Applied Sciences & Technology, Sylhet,[3]
Chittagong University of Engineering and Technology, Department of Architecture, Faculty of Architecture & Planning, Chittagong,[4]
Dhaka University of Engineering & Technology, Department of Architecture, Dhaka,[5]
University of Engineering & Technology, Department of Architecture, Rajshahi,[6]
buet, Department of Architecture, Dhaka,[7]
Pabna Science & Technology University, Department of Architecture, Pabna,[8]
Khulna University, Discipline of Architecture, School of Science, Engineering & Technology, Khulna,[9]
Department of Architecture, KUET
Private schools[edit]
Ahsanullah University of Science and Technology, Department of Architecture, Dhaka,[10]
BRAC University, Department of Architecture, Dhaka,[11]
North South University, Department of Architecture, Dhaka,[12]
American International University Bangladesh, Department of Architecture, Dhaka,[13]
University of Asia Pacific (Bangladesh), Department of Architecture, Dhaka,[14]
Stamford University, Department of Architecture, Dhaka,[15]
State University of Bangladesh, Department of Architecture, Dhaka[16]
Premier University, Chittagong,Department of Architecture, Chittagong[17]
Bangladesh University, Department of Architecture, Dhaka[18]
Primeasia University, Department of Architecture, Dhaka[19]
Shanto-Mariam University Of Creative, Department of Architecture, Dhaka,[20]
South East University, Department of Architecture, Dhaka,[21]
Leading University, Department of Architecture, Sylhet,[22]
References[edit]
Jump up ^ "Department of Architecture,Military Institute of Science and Technology". www.buet.ac.bd. Retrieved 2016-10-07.
Jump up ^ HSTU. "Home | Hajee Mohammad Danesh Science & Technology University (HSTU)". www.hstu.ac.bd. Retrieved 2016-10-07.
Jump up ^ "Shahjalal University of Science & Technology". www.sust.edu. Retrieved 2016-10-07.
Jump up ^ "Architecture - CUET". www.cuet.ac.bd. Retrieved 2016-10-07.
Jump up ^ "Dhaka University of Engineering & Technology,Gazipur". www.duet.ac.bd. Retrieved 2016-10-07.
Jump up ^ "Rajshahi University of Engineering & Technology - RUET". architecture.ruet.ac.bd. Retrieved 2016-10-07.
Jump up ^ (ict.mist.ac.bd), MIST ICT Directorate. "Department of Architecture (ARCH)". Department of Architecture (ARCH). Retrieved 2016-10-07.
Jump up ^ "Engineering and Technology". www.pust.ac.bd. Retrieved 2016-10-07.
Jump up ^ "Science, Engineering & Technology School | Khulna University". ku.ac.bd. Retrieved 2016-10-07.
Jump up ^ "Ahsanullah University of Science & Technology- [Architechture Department]". www.aust.edu. Retrieved 2016-10-07.
Jump up ^ "Architecture | BRAC University". www.bracu.ac.bd. Retrieved 2016-10-07.
Jump up ^ "Department of Architecture - Faculty Members | North South University". www.northsouth.edu. Retrieved 2016-10-07.
Jump up ^ "Department of Architecture". engg.aiub.edu. Retrieved 2016-10-07.
Jump up ^ "Architecture Department". www.uap-bd.edu. Retrieved 2016-10-07.
Jump up ^ "Department of Architecture". stamforduniversity.edu.bd. Retrieved 2016-10-07.
Jump up ^ "Department of Architecture". State University of Bangladesh. Retrieved 2016-10-07.
Jump up ^ "Premier University | Center of Excellence for Quality Learning". www.puc.ac.bd. Retrieved 2016-10-07.
Jump up ^ "Department of Architecture | BANGLADESH UNIVERSITY". www.bu.edu.bd. Retrieved 2016-10-07.
Jump up ^ "Department of Architecture". arch.primeasia.edu.bd. Retrieved 2016-10-07.
Jump up ^ Nirupam, Mr. "SMUCT - Architecture". www.smuct.edu.bd. Retrieved 2016-10-07.
Jump up ^ "Southeast University : Architecture Department". www.seu.ac.bd. Retrieved 2016-10-07.
Jump up ^ DeviserWeb. "Leading University – ..a promise to lead". Leading University. Retrieved 2016-10-07.
[show]
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text:
Green Brigade
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Green Brigade
Green Brigade tifo display on 13 August 2011
Founded
2006
Type
Ultras group, football supporters group
Club
Celtic F.C.
Location
Glasgow, Scotland
Arena
Celtic Park
Stand
North Curve, Lisbon Lions
Membership
50000[1]
Colors
The Green Brigade are an ultras group consisting of Celtic F.C. supporters.
The group were formed in 2006 and describe themselves as "a leftwing front of anti-fascist, anti-racist ,anti-sectarian and anti-zionist Celtic supporters".[2] They were situated in section 111 of Celtic Park. Celtic made moves to disband the group in December 2013, after a number of incidents.[3]
Contents
[hide]
1 Controversy
2 Poppy protest
3 Palestinian hunger strike solidarity display
4 Appreciation from Neil Lennon
5 125th anniversary display
6 Fans Against Criminalisation Protests
7 Celtic move to disband Green Brigade
8 UEFA sanctions
9 References
Controversy[edit]
At a match against Dundee United in November 2010, there was serious disorder in the section occupied by the Green Brigade when a supporter was being ejected by stewards.[4] Supporters charged at the security guards and one was left with a bloody lip after a coin was reportedly thrown.[4]
In April 2011 at the Scottish Cup semi-final against Aberdeen, police officers attempted to remove a supporter who had set off a flare inside the stadium.[5][6] Police were unable to remove the supporter because other fans held onto him.[5] Four supporters were later held by police in connection with the incident.[5] More than 100 Green Brigade members walked out of the stadium in protest at the arrests.[5][6]
In April 2011 some members of the Green Brigade were not sent season ticket renewal forms after the club threatened to disperse the group around other sections of the stadium.[5][7]
UEFA head of communications William Gaillard, when talking about the matter in 2006, said that chants related to the IRA were not sectarian, and was a nationalist issue – similar to fans of other clubs, such as FC Barcelona and Athletic Bilbao, who support nationalist movements in their own countries. He also stated that only in Balkan countries, where some fans show support for organisations that had engaged in ethnic cleansing, was the situation different because these organisations were by their nature discriminatory. He said that this did not apply to the Irish Republican Army (IRA).[8] Former Celtic manager David Hay has called for singing of IRA anthems to be banned,[9] while former Celtic manager Neil Lennon has also said that the chants "embarrass" the club.[10]
Poppy protest[edit]
Celts with poppies emblazoned on their shirts, November 2010
At a match against Aberdeen in November 2010, the Green Brigade unfurled two banners with the words "Your deeds would shame all the devils in Hell. Ireland, Iraq, Afghanistan. No bloostained [sic] poppy on our Hoops."[11][12][13] This protest was against the placing of the remembrance poppy on Celtic's shirt for the match against St Mirren on 11 November 2010.
The Green Brigade cited civilian deaths caused by the Armed Forces in the wars in Iraq and Afghanistan as well as Bloody Sunday, highlighting the fact that the Saville Inquiry report "confirmed that 14 unarmed civilians were murdered in Derry in 1972 by the Paratroop Regiment".[14]
The Glasgow Herald reported that in the weeks leading up to the incident, the Green Brigade had stepped up pro-IRA chants.[15] Celtic has been investigated by UEFA in the past for alleged sectarian behaviour, including pro-IRA chants.[16]
Palestinian hunger strike solidarity display[edit]
On Celtic's last game of the 2011–12 season, the Green Brigade organised a display of solidarity with Palestinian prisoners on hunger strike. This featured a banner reading "Dignity is More Precious than Food" alongside Palestinian flags. A spokesman for the Brigade stated: "We did this in solidarity, to raise awareness and because it's the right thing to do. We want Palestinians to know we are thinking about them and encourage Scottish civil society to look at the injustice in Palestine."[17]
Appreciation from Neil Lennon[edit]
Banners paying tribute to Neil Lennon, March 2011
After this last match of the 2011–12 season, Celtic manager Neil Lennon 'presented' the Scottish Premier League trophy to the Green Brigade by placing it in front of the section where they sit. He later said, "I just wanted to say thank you to them because they have, week in, week out, created a great atmosphere. They sing non-stop. They add colour. Sometimes they are a little bit controversial but in the main they have behaved themselves impeccably and they have changed the culture of the stadium. It's a fun place to come for the supporters and the atmosphere in the big games has been fantastic. They are the catalyst for all of that."[18]
125th anniversary display[edit]
In November 2012, the Green Brigade organised a full stadium pre-match card display against Barcelona to celebrate Celtic's 125th anniversary.[19] The display featured a Celtic cross, green and white hoops and 125 Celtic in written form, with supporters earning the praise of club chairman Peter Lawwell.[20]
Fans Against Criminalisation Protests[edit]
On 6 April 2013, the Green Brigade took part in a demonstration comprising 3,000 Celtic supporters as part of Fans Against Criminalisation, a body comprising the Green Brigade, the Celtic Trust, Celtic Supporters Association, the Affiliation of Registered Celtic Supporters Clubs and the Association of Irish Celtic Supporters Clubs. Although the march to Celtic Park after the demonstration had not been granted permission, raising concerns about dispersal amongst police, after the event Police Scotland said they were "delighted" by the conduct of the protesters.[21] The protest was organised after a previous march that had not received council permission was broken up by police on 16 March.[22] This initial protest had been called over supporters receiving bans and what was described as "harassment by the police". The Green Brigade announced on its website that it would be holding a "corteo to Celtic Park to raise awareness and show support for the growing list of Celtic supporters receiving and facing bans from both the Club and the PF. It is no secret the level of harassment many fans receive at the hands of Strathclyde Police nor is Celtic PLCs complicity able to be ignored. As such there is an ever growing list of fans being denied their passion of following their team."[23] Fans took to social media after the initial protest, posting pictures of mounted police and a group of supporters surrounded by police with batons being prevented from leaving the area.[23] Celtic fans felt that the initial demonstration had been improperly policed and turned out to show their support for those demonstrators.[21]
Celtic move to disband Green Brigade[edit]
Celtic made moves to disband the Green Brigade section at Parkhead after trouble at a match against Motherwell at Fir Park on 9 December 2013, where fans damaged the stadium seating and threw flares onto the pitch, causing around £10,000 worth of damage. Celtic had already issued a warning to the group after safety breaches in August 2013, and following the incident at Fir Park, Celtic issued "precautionary" suspensions to 128 supporters. 250 season-ticket holders in the group's adopted section of the Celtic Park, section 111, were moved to other parts of the ground, or given the option of a refund for the rest of the season. However, Neil Lennon advocated the return of the Green Brigade.[3]
"We will not allow the great name of Celtic to be damaged in this way – our supporters deserve more than this," said Celtic in a statement. The Green Brigade disputed the decision of the club and argued that its members were not responsible for the damage, but added it should have been more effective in self-policing.[3]
UEFA sanctions[edit]
Banners featuring a "paramilitary-style" motif alongside Celtic manager Brendan Rodgers, displayed during a match with the Belfast-based, largely unionist club Linfield in 2017.
Between 2011 and 2017, Celtic were punished by UEFA ten times for "misconduct from supporters during European ties".[24]
In December 2013 UEFA issued the club with a €50,000 (£42,000) fine as a result of a banner unveiled by the Green Brigade at a UEFA Champions League match against AC Milan which displayed a political message (UEFA rules prohibit the display of banners of a political or ideological nature). The banner attracted further controversy for the use of the image of IRA hunger striker Bobby Sands.
During the 2017–18 season, the second qualifying round draw set up an all-United Kingdom clash with Belfast club Linfield. In the leg held at Windsor Park, some Linfield supporters threw bottles and coins at Celtic players and sang sectarian songs.[25] During the return fixture, "illicit banner" displays were produced and UEFA charged Celtic again.[24] The banner "showed a paramilitary-type figure" next to an image of Brendan Rodgers, the Northern Irish manager of Celtic, under the words "Brendan's undefeated army"; the Daily Record accused the Green Brigade of designing the flags, and also claimed that the "undertones of the imagery were also clearly referring to the politics of Ireland while a section of Celtic fans were also heard singing pro-IRA songs during the powderkeg tie with the Belfast side. Linfield are seen as a Unionist club in Northern Ireland and fans of both sides had earlier hurled abuse at each other as they made their way into the stadium".[26] Celtic elected to close off the zone that holds the Green Bridge for the following two matches.[27]
References[edit]
Jump up ^ "Why Palestinian banners are flown in a Scottish stadium". The Economist. 27 August 2016. Retrieved 27 August 2016.
Jump up ^ Forsyth, Roddy (25 November 2010). "Roddy Forsyth: demented atmosphere in Scottish football led to SPL referees calling for strike action". Telegraph. Retrieved 6 January 2011.
^ Jump up to: a b c "Celtic move to disband Green Brigade after £10,000 damage at Motherwell". The Guardian. 9 December 2013.
^ Jump up to: a b "Fan group Green Brigade told by Celtic they face having season tickets confiscated". Daily Record. 28 November 2010. Retrieved 3 June 2011.
^ Jump up to: a b c d e "Celtic's 'Green Brigade' in stand-off with police over flare at cup tie". The Scotsman. 18 April 2011. Retrieved 3 June 2011.
^ Jump up to: a b "Cops and Celtic fans in stand-off". The Sun. 18 April 2011. Retrieved 3 June 2011.
Jump up ^ "Celtic's warning to Green Brigade". Evening Times. 29 April 2011. Retrieved 3 June 2011.
Jump up ^ "Celtic unlikely to be hit hard by UEFA". Scotsman.com News (Johnston Publishing Ltd). 4 December 2011.
Jump up ^ "HAY: Ban these songs". The Sun. 23 April 2011.
Jump up ^ "Neil Lennon: Cut out sectarian singing". Evening Times. 18 May 2011.
Jump up ^ BBC News (8 November 2010). "Celtic poppy banner angers DUP MP Gregory Campbell". BBC. Retrieved 6 January 2011.
Jump up ^ "Poppy demo fans face a Celtic ban". Evening Times. 9 November 2010. Retrieved 6 January 2011.
Jump up ^ Sports Hotline (9 November 2015). "Celtic fans rapped for Remembrance Sunday silence shame, Sports Hotline callers have their say". Daily Record. Retrieved 15 April 2018.
Jump up ^ Visitor (9 November 2010). "Green Brigade Statement on the Poppy Protest". E-Tims Online Fanzine. Retrieved 5 January 2011.
Jump up ^ "Veterans anger as Celtic stage half time protest against poppies". The Glasgow Herald. 8 November 2010.
Jump up ^ "UEFA inquiry into Celtic sectarian chants". Daily Telegraph. 29 March 2011.
Jump up ^ A Celtic message to Palestine. Al Jazeera English (13 June 2012). Retrieved on 2016-12-31.
Jump up ^ "Celtic boss Neil Lennon pays tribute to Hoops support as SPL party gets into full swing at Parkhead". Daily Record. 14 May 2012. Retrieved 20 May 2012.
Jump up ^ "Incredible pre-match display from supporters". celticfc.net. Celtic F.C. 7 November 2012. Archived from the original on 12 November 2013. Retrieved 8 November 2012.
Jump up ^ "Peter Lawwell congratulates team and support on collective effort". celticfc.net. Celtic F.C. 8 November 2012. Archived from the original on 12 November 2013. Retrieved 8 November 2012.
^ Jump up to: a b "3000 Celtic fans protest 'disproportionate' Green Brigade policing". local.stv.tv. STV. 6 April 2013. Retrieved 9 June 2013.
Jump up ^ "13 fans arrested as police break up Celtic protest". Scotland on Sunday. Johnston Publishing Ltd. 16 March 2013. Retrieved 9 June 2013.
^ Jump up to: a b "Thirteen arrested after protest by Celtic 'Green Brigade' fans". local.stv.tv. STV. 16 March 2013. Retrieved 9 June 2013.
^ Jump up to: a b "Celtic face Uefa charge over 'illicit banner' against Linfield". BBC Sport. British Broadcasting Corporation. 20 July 2017. Retrieved 2 March 2018.
Jump up ^ Little, Ivan (15 July 2017). "Linfield face penalties after yobs ruin historic night and attack Celtic players with bottles and coins". Belfast Telegraph. Retrieved 2 March 2018.
Jump up ^ "Green Brigade paramilitary-style banner tribute to Celtic boss Brendan Rodgers sparks controversy". Daily Record. Glasgow. 20 July 2017. Retrieved 2 March 2018.
Jump up ^ Esplin, Ronnie (22 July 2017). "Celtic take action against Green Brigade fans". The Irish News. Belfast. Retrieved 2 March 2018.
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