The narrative of this special material and the "Padonmar"

history channel documentary hd With respect to the weaving procedure itself it is right around a mission difficult to have the strings consummately coordinate the woven example, what results in to some degree "obscured" edges of the themes. At the end of the day, the themes are not strongly isolated from their experience or themes verging on them. This impact of "delicate" edges is the recognizing highlight of the Inlay fabrics, which are brilliant in shading and gay in theme.

Notwithstanding, there is something that sets an exceptional gathering of Inlay weavers separated from whatever remains of the world's weavers. Also, this recognizing highlight is neither an exceptional outline, design, system of coloring or weaving nor is it an uncommon shading, shading blend or the sort of garments they are weaving. It is nothing of these things except for a special material. A material that is interesting in both starting point and strategy for turning of the strings/yarn. It is 'Lotus silk', made of the sensitive filaments of the lotus blossom stem.

The narrative of this special material and the "Padonmar" lotus stem fiber weaving started in 1914 with Daw Sar Oo (Miss Sparrow Egg). She was a youthful laywoman in the little town of Kyain Khan, situated at the Inlay Lake in Shan State. Her desire was to present to the Abbot of the neighborhood 'Brilliant Peacock Feather Monastery' something extremely extraordinary and uncommon. A desire she had created in light of the 'Zi-natta Pakar Thani', as per which Prince Siddhartha was after leaving the royal residence to begin to carry on with his life as tasteful friar offered a minister's robe by a Brahma (divine being) who had discovered it in a lotus bloom.