In Chanderi, traditional craftsmen use silk as warp and fine cotton as weft, which leads to an astounding end product, an ideal summer wear. Usually in subtle hues, these sophisticated garments are best-of-breed. Deriving creative inspiration from the Varanasi style, the silk ‘Zari‘ sarees are most sought after. The sarees generally have a rich gold border and two gold bands on the ‘pallav’(the loose end of the saree hanging from the shoulder). The more expensive sarees have gold checks with lotus roundels all over which are known as ‘butis’.
In ancient times, the kantha was entirely made out of re-used cloth, even the threads removed from the fabric to secure the layers of fabrics and they were not intended to be sold. The density and the direction of the running stitches over layers of soft fabrics rendered it a unique tonality and rippled effect. After pinning, the image is transferred onto the fabric with Zinc oxide mixed with Kerosene/ or some other solvent. Once the motif is traced, the woman ties it to an embroidery loop. In-between her household chores she fills up the fabric with many minute stitches to put it all together.
Later, during the reign of Mughal emperor Akbar, Yessore came under siege and during the reign of King Pratapaditya the priest of the temple gave the Deity to his own guru, Mathuresh Goswami, to protect it during the time of unrest. The Goswami, realizing the gravity of the situation, took Dol Govinda to his ancestral home in Nadia, where he reinstalled the Deity in a new temple. Srimati Radha was later installed alongside Dol Govinda and together they were named Radharaman.