Textile Heritage of Telangana
Telangana has a rich and diverse textile heritage shaped by centuries of skilled craftsmanship, regional traditions, and cultural exchange. The state’s weaving communities have preserved techniques that continue to be admired across India and around the world.
Among its most celebrated textiles are Pochampally Ikat, renowned for its intricate resist-dyeing technique; Telia Rumal, a traditional double ikat distinguished by its unique oil-treated yarn preparation; Gadwal, known for its lightweight cotton body with contrasting silk borders joined using the korvai technique; and Narayanpet, appreciated for its elegant simplicity and everyday wearability.
What makes Telangana’s handlooms unique is the diversity of techniques found within a single state. From the mathematical precision of ikat to the engineering skill required for interlocking silk and cotton, each weave reflects generations of knowledge passed down through weaving families.
As I explore the textiles of Telangana, I hope to understand not only how these fabrics are woven, but also the history, craftsmanship, and communities that keep these traditions alive. This section of my Textile Research Library documents my journey of learning—one weave at a time.
Traditional Weaves of Telangana
Pochampally Ikat
TELIA RUMAL
Telia Rumal is one of Telangana’s most distinctive textile traditions and represents a remarkable combination of craftsmanship and technical precision. The name derives from the traditional oil treatment given to the cotton yarn before weaving, while Rumal refers to the square cloths that were originally produced.
Woven using the double ikat technique, both the warp and weft yarns are carefully resist-dyed before weaving, requiring extraordinary skill to align the patterns perfectly on the loom. Traditional Telia Rumal is further distinguished by its elaborate yarn preparation process, making it one of India’s most unique ikat traditions.
Originally woven as square cloths for trade with West Asia, the tradition has evolved over time to include sarees, dupattas, and other textiles. Today, while many contemporary sarees are inspired by the characteristic geometric motifs of Telia Rumal, not all follow the historic yarn preparation process that defines the traditional craft.
Telia Rumal
Overview
Telia Rumal is a traditional double ikat textile that originated in the Deccan region and is now closely associated with Telangana, particularly the weaving village of Puttapaka. It is celebrated not only for its intricate geometric patterns but also for its unique method of preparing the yarn before weaving.
Unlike many other ikat textiles, the defining characteristic of Telia Rumal lies in the preparation of the cotton yarn. Before the resist-dyeing process begins, the yarn undergoes a series of traditional treatments involving oil, alkaline materials, and, according to some weaving communities, animal dung. This distinctive preparation gives the textile its name and contributes to its unique character.
Meaning of the Name
The name Telia Rumal has two parts:
Telia – derived from the word tel (oil), referring to the traditional oil treatment given to the yarn.
Rumal – meaning handkerchief or square cloth.
Originally, these textiles were woven as square cloths rather than sarees.
Origin
Historically, Telia Rumal weaving was practiced in parts of the Deccan region. The tradition is now primarily associated with Puttapaka village in Telangana, although earlier records also connect it with Chirala in present-day Andhra Pradesh.
The woven cloths were exported to the Middle East, where they were used as turbans, headscarves, shoulder cloths, and ceremonial textiles.
Is Telia Rumal a Weave?
This is one of the most common misconceptions.
No.
Telia Rumal is not a separate weaving technique.
The weaving technique is Double Ikat.
Telia Rumal refers to a traditional textile that combines:
Double ikat weaving
Oil-treated yarn preparation
Traditional geometric design vocabulary
Historic methods of natural dyeing
Every authentic Telia Rumal is an ikat, but not every ikat is a Telia Rumal.
Yarn Preparation
The preparation of the yarn is what distinguishes traditional Telia Rumal from other ikat traditions.
The process traditionally includes:
Cleaning the cotton yarn.
Treating the yarn with castor or sesame oil.
Using alkaline ash.
Some weaving communities traditionally included goat, sheep, or cattle dung during the preparation process.
Drying and washing the yarn between treatments.
Only after this lengthy preparation is the yarn ready for tying and dyeing.
Dyeing
After the yarn has been prepared, it is resist tied according to the planned design.
Traditional colours were produced using natural dyes such as:
Indigo for blue
Madder or alizarin for red
Iron-based preparations for black
The treated yarn absorbs these dyes evenly, producing rich, long-lasting colors.
Why was the yarn oil treated?
One of the defining characteristics of traditional Telia Rumal is its unique yarn preparation process. Before the cotton yarn was tied and dyed using the double ikat technique, it underwent repeated treatments with oil and other natural materials.
The oil treatment served several practical purposes. It softened the cotton fibres, making the yarn more flexible and easier to handle during the complex tying and weaving process. It also improved the yarn’s ability to absorb natural dyes, resulting in richer, more even colours and better colour fastness.
The treated yarn became stronger and more durable, enabling it to withstand the repeated tying, dyeing, washing, and weaving required in double ikat production.
Historically, Telia Rumals were exported to West Asia, where they were used as turbans and headscarves. Some textile historians suggest that the oil-treated cloth was also valued because it remained comfortable to wear in hot, dry climates, although this is considered a traditional belief rather than a conclusively proven scientific fact.
The oil treatment, together with the intricate double ikat technique, is what distinguishes traditional Telia Rumal from many contemporary Telia-inspired textiles produced today.
Weaving Technique
Telia Rumal is woven using the double ikat technique.
Unlike single ikat, where only the warp or weft is resist dyed, double ikat requires both the warp and weft yarns to be tied and dyed before weaving.
As the weaving progresses, the artisan carefully aligns both sets of dyed yarns so that the motifs emerge precisely on the loom. This demands exceptional planning, accuracy, and patience.
Design Language
Traditional Telia Rumal textiles are recognized by their:
Geometric layouts
Repeating grid patterns
Diamonds
Checks
Symmetrical motifs
Red, white, blue, and black colour palette
The designs reflect both aesthetic balance and technical precision.
Traditional Use
Originally, Telia Rumal was woven as square cloths rather than sarees.
These cloths were exported to West Asia and were commonly used as:
Turbans
Headscarves
Shoulder cloths
Ceremonial textiles
Over time, the weaving tradition adapted to changing markets, and artisans began producing sarees, dupattas, stoles, and dress materials.
Traditional vs Contemporary Telia Rumal
Today, many sarees are marketed as Telia Rumal because they feature the familiar geometric ikat motifs.
However, many contemporary textiles no longer follow the original oil-treatment process or traditional natural dyeing methods.
These are better understood as Telia Rumal-inspired ikats, while traditional Telia Rumal continues to preserve the historic yarn preparation techniques.
Why Telia Rumal Matters
Telia Rumal represents far more than a beautiful textile.
It reflects generations of inherited knowledge, where every stage—from preparing the yarn to aligning the dyed threads on the loom—requires patience, precision, and experience.
Its value lies not only in the complexity of double ikat weaving but also in the remarkable traditions that prepare the yarn long before weaving even begins.
My Reflection
When I first encountered Telia Rumal, I was drawn to its striking geometric patterns and believed the saree I owned represented the traditional craft.
As I learned more, I discovered the distinction between Telia Rumal-inspired ikat and authentic traditional Telia Rumal.
Rather than diminishing my appreciation, this understanding deepened it. It reminded me that collecting is not only about acquiring beautiful textiles—it is about learning the stories, techniques, and traditions woven into every piece.
For me, every new weave is an invitation to ask better questions and become a more informed collector.
- Gadwal
- Narayanpet
(Each weave is documented separately in this library.)