Walk into any saree shop in Varanasi and you will hear words thrown around — Kalga, Jaal, Butidar, Shikargah, Tanchoi. These are not decorative labels. Each one describes a specific design grammar with centuries of history behind it.
Kalga (Kalka)
The most iconic Banarasi motif — a teardrop or mango shape with a curving tip, the same form known in the West as “paisley.” In Banarasi weaving it came from Persian design during the Mughal era.
Jaal
Jaal means “net.” A Jaal design covers the entire body of the saree in a continuous geometric or floral lattice. A full Jaal saree in Katan silk can take a master weaver three to five months to complete.
“A full Jaal in Katan silk — a master weaver's five months of life, condensed into six yards.”
Butidar
Buti means a small flower, leaf, or bird. Butidar sarees have small repeated motifs scattered across the body — sometimes in straight rows, sometimes diagonally offset. Butidar is one of the most versatile Banarasi designs.
Shikargah
Shikargah means “hunting ground.” These sarees depict hunting scenes — animals in forests, elephants and horses, birds in trees — drawn directly from Mughal miniature painting traditions. Genuine Shikargah sarees are rare and expensive.
Lehria
Lehria means “wave.” This design uses diagonal bands of colour that run across the body of the saree. Originally associated with Rajasthan's monsoon celebrations, Lehria was adopted into Banarasi weaving.
Tanchoi
Tanchoi is a weaving technique that produces a fabric with coloured silk self-patterns without any zari. Tanchoi sarees are lighter, more colourful, and suit those who prefer vibrant colour over gold metallic work.