Jamdani () is a fine muslin textile (figured with different patterns) produced for centuries in South Rupshi of Narayanganj district in Bangladesh on the bank of Shitalakhwa river. The historic production of jamdani was patronized by imperial warrants of the Mughal emperors. Under British colonialism, the Bengali jamdani and muslin industries rapidly declined due to colonial import policies favoring industrially manufactured textiles. In more recent years, the production of jamdani has witnessed a revival in Bangladesh. Jamdani is typically woven using a mixture of cotton and gold thread. In 2013, the traditional art of weaving jamdani was declared a UNESCO Intangible Cultural Heritage of Humanity. In 2016, Bangladesh received geographical indication (GI) status for Jamdani Sari. Etymology Jamdani was originally known as Dhakai (Daccai) named after the city of Dhaka (Dacca), one of many ancient textile weaving centers in Bengal region. Under the Mughal Empire the Persian term Jamdani came to be in popular use, since it was the court language of the Mughals. Jamdanis are popularly known as Dhakai Jamdani or simply Dhakai. The earliest mention of jamdani and its development as an industry is found into Dhaka, Bangladesh. Origin An early reference to Indian origins of muslin is found in the book of Periplus of the Erythraean Sea and in the accounts of Arab, Chinese and Italian travelers and traders. Jamdani is a hand loom woven fabric made of cotton, which was historically referred to as muslin. The Jamdani weaving tradition is of Bengali origin. It is one of the most time and labor-intensive forms of hand loom weaving, and is considered one of the finest varieties of muslin, and the most artistic textile of Bangladeshi weavers. Traditionally woven around Dhaka and created on the loom brocade, jamdani is rich in motifs. In the late 19th century, T. N. Mukharji referred to this fabric as jamdani muslin. Weave Whether figured or flowered, jamdani is a woven fabric in cotton. This is a supplementary weft technique of weaving, where the artistic motifs are produced by a non-structural weft, in addition to the standard weft that holds the warp threads together. The standard weft creates a fine, sheer fabric while the supplementary weft with thicker threads adds the intricate patterns to it. Each supplementary weft motif is added separately by hand by interlacing the weft threads into the warp with fine bamboo sticks using individual spools of thread. The result