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introduction
India has a rich and ancient heritage in fine textiles. (Double Ikat) Patola from the area of Patan in the North Gujarat region of western India glorifies this heritage. With its unique gem like qualities-gorgeous colours, designs and durability.
Its very appearance lures the connoisseur of fine textiles. It has no reverse side. Both the sides have equal intensity of color and design.
The peculiar quality has its origins in a very intricate and difficult technique of Tie dyeing or Knot dyeing known as "Bandhani Process" on the wrap & weft separately before weaving.
Before World War II, Indonesia was major buyer of patolas. Historically, the art of Double Ikat patola weaving dates back to centuries. Paintings in Ajanta caves resemble the tie-dye technique of patola. Legend indicates that sometimes in the 12th Century AD, King Kumarpal of Solanki dynasty, invited 700 families of patola weavers from Jalna (South Maharashtra) to settle down in Patan in North Gujarat.
Salvi family is one of them who has continued this traditional art and has preserved it even today. This is our heritage art from four generations.
Narikunjar Pattern
Master Weavers of Salvi Family :
Mr. Chhotalal M. Salvi
Mrs. Niranjana C. Salvi
Mr. Vinayak K. Salvi
Mrs. Vinita V. Salvi
Mr. Nipul V. Salvi
Mr. Rahul V. Salvi
Mr. Rohit K. Salvi
Mr. Bharat K. Salvi
Mrs. Kalpana B. Salvi
Mr. Kantilal L. Salvi
Mrs Sharada K. Salvi
Its very appearance lures the connoisseur of fine textiles. It has no reverse side. Both the sides have equal intensity of color and design.
The peculiar quality has its origins in a very intricate and difficult technique of Tie dyeing or Knot dyeing known as "Bandhani Process" on the wrap & weft separately before weaving.
Before World War II, Indonesia was major buyer of patolas. Historically, the art of Double Ikat patola weaving dates back to centuries. Paintings in Ajanta caves resemble the tie-dye technique of patola. Legend indicates that sometimes in the 12th Century AD, King Kumarpal of Solanki dynasty, invited 700 families of patola weavers from Jalna (South Maharashtra) to settle down in Patan in North Gujarat.
Salvi family is one of them who has continued this traditional art and has preserved it even today. This is our heritage art from four generations.
Narikunjar Pattern
Master Weavers of Salvi Family :
Mr. Chhotalal M. Salvi
Mrs. Niranjana C. Salvi
Mr. Vinayak K. Salvi
Mrs. Vinita V. Salvi
Mr. Nipul V. Salvi
Mr. Rahul V. Salvi
Mr. Rohit K. Salvi
Mr. Bharat K. Salvi
Mrs. Kalpana B. Salvi
Mr. Kantilal L. Salvi
Mrs Sharada K. Salvi
material
Traditionally pure silk and natural dyes were used.Since about last 100 years, tradition had given way to the use of fast to bleach and easy to dye chemical colours (dyes). Therefore the use of natural dyes in Patola is discontinued. But since last twenty years again the importance to use of vegetable dyes became the consideration of its eco-friendliness and to maintain the tradition of old natural dyes in Patola.
We have made many experiments and researches in redeveloping the old indigenous process of using vegetable ingredients to obtain different shades which are fast to bleach and sober and pleasing to eyes.
The re-introduced, vegetable materials are: Turmeric, Marigold Flower, Onion Skin, Pomegranate rinds, Madder, Lac, Catechu, Cochineal, Indigo along with different mordant like alum, tinchloride, ferrous sulphate, copper sulphate, Tennic Acid, Oxalic Acid, Potassium Dichromate etc.
Dewelling on the fast colour of the patola, a Gujarat poet wrote; "Padi patole bhat faatey pan phite nahin" meaning the design laid down in the patola may be torn, but it shall never fade.
We have made many experiments and researches in redeveloping the old indigenous process of using vegetable ingredients to obtain different shades which are fast to bleach and sober and pleasing to eyes.
The re-introduced, vegetable materials are: Turmeric, Marigold Flower, Onion Skin, Pomegranate rinds, Madder, Lac, Catechu, Cochineal, Indigo along with different mordant like alum, tinchloride, ferrous sulphate, copper sulphate, Tennic Acid, Oxalic Acid, Potassium Dichromate etc.
Dewelling on the fast colour of the patola, a Gujarat poet wrote; "Padi patole bhat faatey pan phite nahin" meaning the design laid down in the patola may be torn, but it shall never fade.
technique
Warp and weft silk threads are tied separately with cotton thread on the portions already marked out in conformity with the proposed design in the fabric. This tied portion is meant to remain unexposed to the colour while dyeing. United portion which has absorbed one colour, may be tied while dyeing in another colour. Tyeing untying, retying and dyeing in different shades are the main features of this process.
Creating design by
tyeing knots on
warp and weft
After completion of dyeing work of warps & wefts, the threads of the warp of different repeats of a pattern are put together in a sequence on the loom, so that the design becomes visible. The threads of wefts are wound on to bobbins and kept in the bamboo shuttle for weaving process.
Dyeing Process
The patola is woven on a primitive hand operated harness loom made out of rosewood and bamboo strips. The loom lies at a slant, with the left side being lower than the right side. The bamboo shuttle is made to move to and fro through warp shades. Each weft thread is thoroughly examined and matched with each part of the warp design pattern while weaving.
Tyeing knots again
after previous dyeing
The tension of the warp threads are removed by the help of needle after every time weaving of 8" to 10" of fabric. Patola weaving is a highly accurate just a positioning of warp and weft of similar colour to obtain perfect design and harmony.The process is labour intensive, time consuming and requires high order of skill and dexterity.
Traditional Patola Loom
It takes three to four months to prepare tie- dyed design on warp and weft threads for one sari of 6 yards length by 48" width. Two Salvis (weavers) working together weave just about 8" to 9" a day. It takes 40 to 50 days to weave a sari. Thus 4 to 5 persons take a periods of 5 to 6 months to complete a sari depending on the intricacy of the design.
Creating design by
tyeing knots on
warp and weft
After completion of dyeing work of warps & wefts, the threads of the warp of different repeats of a pattern are put together in a sequence on the loom, so that the design becomes visible. The threads of wefts are wound on to bobbins and kept in the bamboo shuttle for weaving process.
Dyeing Process
The patola is woven on a primitive hand operated harness loom made out of rosewood and bamboo strips. The loom lies at a slant, with the left side being lower than the right side. The bamboo shuttle is made to move to and fro through warp shades. Each weft thread is thoroughly examined and matched with each part of the warp design pattern while weaving.
Tyeing knots again
after previous dyeing
The tension of the warp threads are removed by the help of needle after every time weaving of 8" to 10" of fabric. Patola weaving is a highly accurate just a positioning of warp and weft of similar colour to obtain perfect design and harmony.The process is labour intensive, time consuming and requires high order of skill and dexterity.
Traditional Patola Loom
It takes three to four months to prepare tie- dyed design on warp and weft threads for one sari of 6 yards length by 48" width. Two Salvis (weavers) working together weave just about 8" to 9" a day. It takes 40 to 50 days to weave a sari. Thus 4 to 5 persons take a periods of 5 to 6 months to complete a sari depending on the intricacy of the design.
production
The patola was traditionally woven in a sari length of 5 to 9 yards by 45" to 54" width.
The range now extends to include tablecloth borders scarves, handkerchiefs
Design Elements:
Essentially the design in a patola are based on traditional motifs called "Bhat". These designs include "narikunj", "paan", "phulwadi", "chowkdi", "raas", "chhabdi", "choktha", "navratana", "paanchphul", "sarvariya", "laheriya" etc.
Flowers, animals, birds and human figures form the basic designs. New geometrical designs using vegetable dyes were developed and displayed at the Festival of India held in Paris, London, Tokyo, Washington and Moscow.
The range now extends to include tablecloth borders scarves, handkerchiefs
Design Elements:
Essentially the design in a patola are based on traditional motifs called "Bhat". These designs include "narikunj", "paan", "phulwadi", "chowkdi", "raas", "chhabdi", "choktha", "navratana", "paanchphul", "sarvariya", "laheriya" etc.
Flowers, animals, birds and human figures form the basic designs. New geometrical designs using vegetable dyes were developed and displayed at the Festival of India held in Paris, London, Tokyo, Washington and Moscow.
awards
Shilp Guru Award 2002 was conferred upon Shri Vinayak K Salvi by the Dr. Abdul Kalam, President of India on 15th November 2002.
Patola art has also received the National Award of Master in 1965 and CraftsMan of the year award in 1993.
The President of India has conferred the national awards for Master Craft Persons to these very Salvi's in 1978, 1987, 1997.
Also participated in regional trading workshop for women dealing with modern and traditional dyeing, weaving silk in Asia at Bangkok, Thailand in 1987.
Participated in Haebru Asia Kasuri Road Festival in Okinawa, Japan in November 2000.
Postal Stamp on Patan Patola, launched by the Government of India
Our Achievement
Certificate of Appriciation given by Akhil Bharat Rashtriya Mahasabha in 1939 at Haripura
Award from Cottage Industries, Baroda State in 1946
National Award – 1978 by Hon. President NeelamSanjiviya Reddy
We have been honoured by hon. Minister of Youth service and Cultural Activities, Mr. Manoharsinhji Jadeja in 1983
Vishvakarma Award – 1984 by Prime Minister IndiraGandhi
National Award – 1987 by hon. President R.VenkatRaman
Award from Mehsana Art and Culture Society in 1990
Merit Certificate – 1991
National Award – 1997 by hon. Prime Minister Atal Vihari Vajpayee
Shilp Guru Title – 2002 by hon. President Dr. Abdul Kalam
We have been honoured by the hon. Chief Minister Narendra Modi of Gujarat with Momento in 2003
Momento given by Malysian Minister in 2005
MASTERS OF THE CLOTH AWARD Given by Garden Silk Mills in Nov. 2005.
Patola art has also received the National Award of Master in 1965 and CraftsMan of the year award in 1993.
The President of India has conferred the national awards for Master Craft Persons to these very Salvi's in 1978, 1987, 1997.
Also participated in regional trading workshop for women dealing with modern and traditional dyeing, weaving silk in Asia at Bangkok, Thailand in 1987.
Participated in Haebru Asia Kasuri Road Festival in Okinawa, Japan in November 2000.
Postal Stamp on Patan Patola, launched by the Government of India
Our Achievement
Certificate of Appriciation given by Akhil Bharat Rashtriya Mahasabha in 1939 at Haripura
Award from Cottage Industries, Baroda State in 1946
National Award – 1978 by Hon. President NeelamSanjiviya Reddy
We have been honoured by hon. Minister of Youth service and Cultural Activities, Mr. Manoharsinhji Jadeja in 1983
Vishvakarma Award – 1984 by Prime Minister IndiraGandhi
National Award – 1987 by hon. President R.VenkatRaman
Award from Mehsana Art and Culture Society in 1990
Merit Certificate – 1991
National Award – 1997 by hon. Prime Minister Atal Vihari Vajpayee
Shilp Guru Title – 2002 by hon. President Dr. Abdul Kalam
We have been honoured by the hon. Chief Minister Narendra Modi of Gujarat with Momento in 2003
Momento given by Malysian Minister in 2005
MASTERS OF THE CLOTH AWARD Given by Garden Silk Mills in Nov. 2005.
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