Shikargah: The Hunting-Scene Banarasi

Shikargah: The Hunting-Scene Banarasi

Look closely at a Shikargah and a whole forest appears — deer leaping, tigers prowling, hunters and birds caught mid-flight in silk and gold. It is the most pictorial, and most painstaking, of all Banarasi weaves.

Fun fact: Shikargah means ‘hunting ground’ in Persian — the weave takes its name straight from the scenes it depicts.

Handwoven Banarasi Katan Silk Shikargah Dupatta — Khinkhwab
Katan Silk Shikargah — Khinkhwab. A woven forest: deer, birds and hunters caught in silk and gold.

A forest woven thread by thread

Where most Banarasis repeat a floral or geometric motif, the Shikargah tells a story across the whole field of the saree: animals, trees, creepers and figures arranged in dense, living scenes. Because no two parts of the pattern are quite the same, the design cannot simply repeat — it must be built motif by motif, which is why a fine Shikargah can take many months on the loom.

Mughal hunting scene painting with deer tigers and archers 17th century Metropolitan Museum
Mughal hunting scene, India, 17th century. Metropolitan Museum of Art (Public Domain). The same vocabulary of deer, tigers, archers and dense forest that the Banaras weavers absorbed into silk — the direct ancestor of the Shikargah weave.

Mughal hunts and Persian gardens

The theme is old. Hunting scenes filled Mughal miniatures and Persian carpets long before they reached the loom, and Banaras absorbed them into brocade, turning the royal hunt into a wearable tapestry. The finest Shikargah sarees are usually woven in the kadwa technique, where each motif is woven in by hand as a separate, self-contained shape — we explain that method in kadwa vs cutwork.

Handwoven Banarasi Katan Silk Kadwa Bird Motif Saree in Royal Purple — Khinkhwab
Katan Silk Kadwa Bird Motif Saree in Royal Purple — Khinkhwab. Birds and creatures woven kadwa-style — the same instinct as the full Shikargah hunting scene, concentrated into a single exquisite motif.

The southern cousin: Vanasingaram

The hunting-and-forest theme is not Banaras’s alone. In the South, Kanchipuram silk weavers tell the same story in a tradition often called Vanasingaram — from the Tamil vanam (forest) and singaram (beauty or adornment). Two weaving worlds, North and South, arriving at the same love of a woven forest.

Shikargah at Khinkhwab

Each of ours is a small woven wilderness. Explore our Shikargah Banarasi sarees — and to understand the hand-weaving behind them, read the many hands behind a Banarasi.

Frequently asked questions

What is a Shikargah saree?

A Banarasi woven with elaborate hunting and forest scenes — animals, birds, trees and figures — across the cloth, rather than a single repeating motif.

Why is a Shikargah saree expensive?

Its scenes don’t repeat, so the design is built motif by motif, often in the slow kadwa technique — months of work for a single saree.

Sources & further reading

Histories of Banarasi brocade and Mughal textile motifs; Khinkhwab weavers’ accounts.

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