Textile and its design play a significant role in shaping national identity, and most significantly, the geometric pattern known as Dhaka gained prominence after the Dhaka cap became mandatory during the reign of King Mahendra (reign CE 1955-1972).

There is a belief that Dhaka fabric originated from Dhaka city which is the present-day capital of Bangladesh. This is also considered a misconception by many. According to Kirati sources, they have been making Dhaka fabric before the Rana oligarchy (CE 1846-1951) in Nepal.

There is actually a story on how the Dhaka production started in Nepal and how the term Dhaka became famous.

In 1928CE, Tulsi Meher was sent to Varda in India by Prime Minister Chandra Shamsher for weaving cloth using innovative handlooms. As per Chandra Shamsher's wishes Chandra Kamshenu Charkha Pracharak Mahaguthi was established in 1927CE; however, Devi Prasad Pradhan of Palpa came in contact with Tulsi Meher and took the initiative to bring handloom to Palpa.

Ganesh man Maharjan went to Kathmandu for training and observed Dambar Kumari (the daughter of PM Junga Bahadur Rana) who lived in Dhaka used Chamua Dhaka adopted colorful, fine, and valuable textile called Dhaka Fabric.

In 1958, Ganesh man Maharjan acquired a Jacquard machine that was attached to a handloom which allowed textile makers to produce Dhaka fabrics with their distinctive designs.

In 1968 CE, Palpali Dhaka succeeded in establishing its own identity. Ganesh Man’s wife Purna Maya Maharjan(84) is the president of the Palpali Dhaka Association and intends to keep the legacy alive.

There has been international support such as the UKAID Skills for Employment Program as well as the Skills Enhancement for Employment Project and the Lumbini Provincial Government have been helping to preserve these traits.

Dhaka gained prominence through the government’s mandatory use of caps for official photographs in citizenship.

Dhaka Cap was used as a symbol of national unity while many minorities consider this act as internal colonization and oppression specifically in the southern belt of Nepal where people do not have a culture of wearing caps.

Minorities from eastern and western Nepali hills have made claims of being connected to Dhaka textiles, and this grew specifically after Dhaka became the national symbol. A simple abstract pattern of Dhaka is connected with the design of the mountains and therefore linked with Nepali nationalism. It is widely discussed both as a symbol of unity by one group and a symbol of oppression by another.

Note: The image is AI generated

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Dhaka: The Textile of Nepal