The Hmar Thangsuopuon is regarded as the grandest and most prestigious cloth among all traditional garments of Hmar men. The word Thangsuopuon comes from two words - Thangsuo, meaning “one who has accomplished a task,” and Puon, meaning “shawl” or “cloth.” The title Thangsuo was traditionally conferred upon a person who had distinguished himself - a hunter who had slain a certain number of wild animals, a warrior victorious in battle, or a man who had harvested abundant grain and hosted a grand public feast.
Thus, the Thangsuopuon was not worn by ordinary men but by those who had earned the right through bravery, achievement, or social contribution. It symbolized courage, victory, and prestige - a visible mark of one’s honour within the community.
The Thangsuopuon is a handwoven traditional cloth of the Hmar tribe, crafted on a back-strap loom using handspun cotton yarns. It features a deep black-brown base adorned with vibrant horizontal stripes of red, green, yellow, blue, and white, arranged in rhythmic symmetry. Using extra weft techniques, weavers create narrow colored bands known as chhouki, symbolizing unity and vitality. Traditionally dyed with natural indigo and plant pigments, this single-width fabric showcases the Hmar weaver’s mastery of color balance and pattern precision.
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In ancient times, only the most valiant warriors were permitted to wear the Thangsuopuon. Those who excelled in hunting or warfare proudly wore it while displaying their trophies - the heads of enemies or wild beasts - and danced triumphantly in celebration. Young men who had not yet proven their bravery were forbidden to wear the full Thangsuopuon attire, including the puon-dierkei (a knee-length cloth) and kekawr (leg coverings). The cloth was sacred and had to remain untainted as a symbol of purity and honour.
During the pre-Christian era, when inter-village and inter-clan conflicts were common, the Thangsuopuon was a visual emblem of valour. During the reign of Pu Lalsavung around 1820, as recorded by Pu Liangkhaia (Mizo Chanchin page 63), distinguished warriors such as Vana Pa, Keikawla, and Tawka were honoured with it. Among them, Tawka - known as “Tawka Hmar, Tawkthiala, Tawk huaisena” (Tawka the Hmar, the Brave, the Valiant) - proudly wore the grand Hmar Thangsuopuon. The first known weaver of this prestigious cloth is believed to be Pi Lieni Hmar.
With time, as warfare ceased, the Thangsuopuon evolved from a warrior’s attire into a ceremonial shawl of honour. Today, it is the most recognized Hmar traditional shawl, used to felicitate individuals for achievements in education, career, and marriage. It also holds a solemn place in funerary customs, often draped over coffins as a final mark of dignity and respect.
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| A young woman draped in Thangsuopuon |
The Thangsuopuon continues to embody valour, artistry, and heritage - a timeless symbol of the Hmar people’s courage, creativity, and enduring cultural pride. It represents not only exceptional craftsmanship but also the cultural identity and heritage of the Hmar people of Manipur, Mizoram, Assam, Meghalaya, and Tripura.
Technical and Design Features of Thangsuopuon (Hmar Traditional Cloth)
1. Fabric Structure & Technique
Weaving Method: The cloth is handwoven on a back-strap loom, a traditional horizontal loom used by Hmar women. This method allows intricate control of colour arrangements and supplementary weft designs.
Weave Type: It is a plain weave base with extra weft ornamentation (also called Choki design technique). The extra weft threads form horizontal decorative bands across the length of the cloth.
Yarn: Traditionally made of handspun cotton, dyed with natural indigo (for the dark base) and other plant-based dyes for red, green, yellow, and white threads. Contemporary versions may use mill-spun cotton or acrylic yarns.
Dimensions: Generally single loom width, measuring approximately 42-45 inches in length and 18-20 inches in breadth. This narrow loom width is typical of Hmar textiles and reflects traditional weaving technology.
2. Colour Scheme
Base Colour: Dominated by a dark brown to nearly black ground, symbolizing strength and dignity in Hmar culture.
Secondary Colours: The cloth features horizontal stripes of red, green, yellow, white, and blue, adding rhythmic visual balance and contrast to the dark base.
Dye Sources:
Black/Brown: Natural soot or indigo.
Red: Extracted from roots or bark (traditionally from the annatto or madder plant).
Green/Yellow: From turmeric or leaf-based dyes.
White: Natural undyed cotton threads.
3. Motifs and Pattern Arrangement
Pattern Layout: The Thangsuopuon exhibits alternating horizontal bands - narrow colored lines interspersed with wider red and green borders, forming a symmetrical and continuous layout.
Motif Type: The patterns are geometric and linear, often representing unity and harmony. Some specific traditional motif types used in similar Hmar puons include:
• Lenbungthuom - stylized tree-branch or pathway motifs.
• Kawppui ziek ziel - inspired by fern shoots.
• Choki - small horizontal dotted or bar-like designs in extra weft.
Symbolism:
• Red bands often symbolize courage or sacrifice.
• Green lines represent fertility and prosperity.
• White dots/lines signify purity and peace.
4. Construction and Finishing
Edges: The vertical ends of the cloth are neatly finished with fringes or knotted sel ends, showing skilled tension control by the weaver.
Joining and Usage: Usually woven as a single piece, the puon can be used as a wrap-around skirt, a shawl, or a ceremonial cloth during festivals and dances.
Texture: Smooth yet firm, due to tight weaving tension; this ensures the fabric’s durability and shape retention over time.
ALSO READ: Ngoteker: The Elegant Black and White Weave of the Hmar People
5. Cultural and Functional Context
• The Thangsuopuon is traditionally worn by both men and women during festivals, community gatherings, and dances.
• For women, it may serve as a festive wrap skirt (fanek style).
• For men, it is often draped over the shoulder as a ceremonial shawl.
• The fabric’s balanced use of color and precision in stripe alignment reflects the aesthetic discipline and symbolic storytelling embedded in Hmar weaving traditions.
