Temporal Threads- Punja Weaving Of Salawas by Naimisha Srivastava

TEMPORAL THREADS ENGRAVING EMOTIONS THROUGH WEAVES 1

TEMPORAL THREADS ENGRAVING EMOTIONS THROUGH WEAVES

A Craft Research and Documentation by

Textile Design Department ( Batch 2018- 2022) National Institute of Fashion Technology, New Delhi under the guidance of Mrs Ashima Tiwari, Associate Professor, Textile Design Department

Submitted By Anwaar Naqi | Gaurav Kumar | Naimisha Srivastava Ritakshi Verma | Sneha Majumdar | Sonali Rai 3

All rights reserved. No part of this document covered by the copyright here on may be reproduced or used in any form or by any means- graphics, electronic or mechanical including photocopying, recording, taping and scanning without the permission of the copyright owner. National Institute of Fashion Technology, New Delhi. 4

DECLARATION We solemnly declare that the project report is based our own work TEMPORAL THREADS carried out during the course of our study under the supervision of Associate Professor Mrs Ashima Tiwari. We assert that the statements made and conclusions drawn are an outcome of our research work. We further certify that I. The work contained in the report is original and has been done by us under the general supervision of our supervisor. II. The work has not been submitted to any other Institution for any other degree/ diploma/certificate in this university or any other University of India or abroad. III. We have followed the guidelines provided by the university in writing the report. IV. Whenever we have used materials (data, theoretical analysis, and text) from other sources, we have given due credit to them in the text of the report and giving their details in the references.

ACKNOWLEDGEMENT

We are overwhelmed in all humbleness and gratefulness to acknowledge our depth to all those who have helped us to put these ideas, well above the level of simplicity and into something concrete. We would like to express our special thanks of gratitude to our mentor Mrs Ashima Tiwari who guided us through the research and helped us analyse data and gather local contacts. She also assisted us from time to time in making this project ,and gave us different ideas in making this project unique. Any attempt can’t be satisfactorily completed without the support and guidance of Shri Malaram Prajapat and Shri Chandaram Prajapat who answered all our questions and shared their invaluable experience and details of their skill Our special thanks of gratitude to National Institute Of Fashion Technology, New Delhi who gave us the golden opportunity to do this wonderful project.

PREFACE

The Craft Cluster initiative of National Institute of Fashion Technology aims to create awareness amongst students about the various traditional crafts and textiles of India. It creates a platform for the new upcoming designers to get in touch with the artisan directly and gather the information from the grass root level with the goal to inspire them to take up these crafts in the future. In this document we focus on the Punja Weaving Craft from the Jodhpur Cluster. Through the document, we aim at focusing mainly on the punja durries of Salawas, Jodhpur with a wide perspective of studying its origin, use of motifs, use of the craft in old times and today’s age - and how the craft affects the livelihood of the artisans. Their life during Covid 19 and its effect on the craft. We also aim at providing them with a platform to sell their durries in such testing times.

ABSTRACT

As the heartbeat of the punja tunes with the drumbeats of history And the temporal threads intertwine to lay the fabric of the universe, One is bound to acknowledge the melody that echoes. The flamboyance of the land is reflected in these humble underlays That speak the language of the punja. And as this cosmic divinity is woven into existence, We are forced to bow to the craftsmanship that is as sacred as the soul.

Post lock-down, Abheer is forced to leave the city he adores and return back to his village. Just like any other person, he is in a dilemma. Unsure whether he is happy about moving back or not, he is forced into introspection. But as he approaches the destination he realises he is also nearing his destiny, and rediscovers the jewels he has inherited.

CONTENTS LIST OF IMAGES THE ARID VIBRANCE THE LAND THE CULTURE THE PEOPLE

THE HUMBLE UNDERLAYS THE GREAT INDIAN DURRIES

THE LANGUAGE OF PUNJA TRACING THE HISTORY PACING THROUGH THE EVOLUTION COMPOSING FLAMBOYANCE DESIGN AND MOTIFS FRIUTS OF LABOUR

THE HANDS THAT WEAVE MEET THE MAKERS MARKETING CHANNELS NGOs DESIGNER’S INTERVENTION

SWOT ANALYSIS PREVAILING CONDITIONS OUR TAKE AWAY GLOSSARY REFERENCES 13

LIST OF IMAGES

1.1 - Arid Rajasthan 1.2 - Jodhpur city (Illustration) 1.3 - Aerial View of Jodhpur City 1.4 - Ghanta Ghar, Jodhpur 1.5 - Blue walls of village houses 1.6 - Diverse Culture (illustration) 1.7 - Colourful lineage 1.8 - Rajasthan Platter 1.9 - Bandhej Odhni 1.10 - Block Print 1.11 - Puppet Making 1.12 - Pottery 1.13 - Vibrant Persona (illustration) 1.14 - Old Marwari Couple 1.15 - Tribal Dancer 1.16 - Bhil Tribe 1.17 - Women’s attire 1.18 - Men’s attire 2.1 - The humble underlays 2.2 - Variety of Durries (illustration) 2.3 - Durries of India (illustration) 2.4 - Traditional Durries 3.1 - Durrie Making 3.2 - Passing on the craft (illustration) 3.3 - Punja Durrie like textile excavate from Loulan, China (150-60 CE) 3.4 - Weft Beater from Niya Site, China (100-350 CE) 3.5 - Maharaja Abhai Singh’s Court floored with Punja Durries 3.6 - Maharaja Abhai Singh on Horseback with jhatpatti Durrie, Jodhpur 1725 3.7 - Lord Curzon & Maharaja of Patiala with an array of Durries

3.8 - Durrie artisan from Salawas 3.9 - Durries for modern household 3.10 - Traditional Salawas Durry close up 3.11 - Significant Durries from Salawas 3.12 - Pacing through the evolution (illustration) 3.13 - Durrie in Making 3.14 - Process (illustration) 3.15 - Woollen Yarns 3.16 - Punja 3.17 - Loom frame 3.18 - Tools (illustration) 3.19 - Yarn opening for weft 3.20 - Warping 3.21 - Weaving & Beating 3.22 - Weft Passing 3.23 - Finishing 3.24 - Clipping of Yarns 3.25 - Exploring Motifs (illustration) 3.26 - Prayer Rug (illustration) 3.27 - Geometric Rugs (illustration) 3.28 - Motif- Lidice 3.29 - Motif - Chaukadi 3.30 - Motif -Teer (arrow) 3.31 - Motif - Kanghi (comb) 3.32 - Striped Rugs (illustration) 3.33 - Pictorial Rug (illustration) 3.34 - Motif - Toulouse 3.35 - Motif - Patti 3.36 - Motif - Shangrila (chidia) 3.37 - Motif - Shangrila (Phool) 3.38 - Products in the making

3.39 - Product (illustration)

4.1 - The Hands that weave 4.2 - Three generation of artisans (illustration) 4.3 - Malaram Prajapat 15

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THE ARID VIBRANCE 17

LAND THE

Flanked by the heights of Aravallis and covered with sand dunes of Thar, The greatest land is based. The one that is rooted with pride and reeks of honourable blood Blood that sings the glory of its heroism, duty and sacrifice. This is the land of palaces, That inscribes the grandeur of age old kingdoms and echoes the greatness of its kings. And in this land, a city flourishes with warmth. The Sun city, as they say, chirps all day long The ghanta ghar marks the epicenter of this sweet tweedle. The temple bells ring the melody of belief; As they intervene the history with ethereal divinity.

And anchor within themselves the religious heritage. With the mighty fort still overlooking the city and its enriching streets, The ancestral presence takes a bow. And as this pandemic forces me to paddle along the arid terrain; Inching away from the City I used to call home... I am making my way to an old one Where dreams are woven into existence Where emotions are engraved in colours. Where the mud finds its glorious shape under the influence of expert hands. My hometown, my Birthplace, my Legacy.... Salawas

JODHPUR

Jodhpur, once the capital of Marwar, is one of the most captivating and appealing cities of Rajasthan. Its Mehrangarh fort overlooks the city with all its might. The aerial view of the city leaves us with no wonder why it is known as the blue city because of all the blue walls and blue houses. Jaswant tada and Umaid Bhawan Palace nearby also attract people from around the country and the world. However, the old city holds the magic itself with hundreds of shops, guest houses, eating joints and vendors contributing to it being a

chirpy bustling city, especially near the Sardar market and landmark Ghanta-ghar (clock tower) of the city. The city has attracted various filmmakers from around the world too. Bollywood films like Shudh Desi Romance and even Hollywood films like The Dark Knight Rises have been shot in regions of the city. The ease of travelling to other parts of Rajasthan from this city also makes it a convenient location for tourists to visit.

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The magnificent Ghanta ghar of Jodhpur was built around 200 years ago by Maharaja Sardar Singh. A brilliant panoramic view of the city can be enjoyed from the tower. It signifies the start of Old Jodhpur and is a popular landmark of the city. The area surrounding this grand structure is always bustling with locals providing all kinds of products and services to the people, which makes it the largest and the busiest marketplace of Jodhpur. The clock tower is surrounded by the street markets. Sardar Market being particularly famous amongst them. It is named after the late king. A variety of people can be found in this locality, representing all kinds and styles of life. When the towers are lit up at night, it comes to life in its most beautiful form, making a beautiful end to the day well spent in this market.

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SALAWAS

In accordance with the Census 2011 information the location code of Salawas village is 085544. Salawas village can be mapped in the Luni Tehsil of Jodhpur district in Rajasthan, India. Located 12 km from the sub-district headquarters Luni and 25 km away from the district headquarters Jodhpur. As per the 2009 statistics, Salawas village is a gram panchayat too. The total geographical area of the village is 2963 hectares. Salawas has a total population of 6,592 people. There are about 1,067 houses in Salawas village. Jodhpur is the nearest town to Salawas which is approximately 25km away.

CULTU THE

The monotony of the sterile lands Springs to life with the vibrant culture that still stands. The land of kings still holds its pride, As yet people are crowned, With turbans so profound. Through the jharokhas one might get a view Of illuminated odhinis in all imaginable hues The vast sky is adorned with a parade of kites And the grandeur of folklore, the puppetry recites The sweet smell of Mawa kachori is bewitching A glimpse of this traditional life is surely enriching. 26

URE 27

Despite of the sterile and deserted land, Rajasthan is often described as colourful and vibrant. The minimal and traditional way of living is something that structures the culture of Rajasthan .In contrast with the clothing of the southern and Western India , Rajasthan glows in its bright red and yellow odhanies or turbans which is significantly valued by the people. Jodhpur being a region with many cultures has Hindi, Marwari and Rajasthani as its native and main languages . Hinduism is the main religion that is worshipped in Jodhpur followed by religions like Jainism, Islam and Sikhism. Being a Traditionally uplifted state , Jodhpur is occasionally wrapped in its colourful festivals. Marwar Festival and Jodhpur International Desert Kite Festival are some of the majorly celebrated festivals

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FOOD

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Jodhpur is filled with the delicious smell of Mawa kachori, Makhaniya, Pyaaz kachori, Panchkuta, Lassi and a hot and spicy Mirchi Bada. And for some sweets, there is nothing better than the delicious sweets of Janta Sweet home, Pokhar Sweets and Jodhpur Sweet home.

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Use of lively colours and flamboyant designs makes the craft of the region unique and full of life. Beautifully hand woven carpets, Durries and Namdas are explicitly made in Salawas, Jodhpur and Jaipur. This region is also famous for its “Jail carpets” that were once woven by the prisoners.

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TEXTILES Embroidered , dyed and printed fabrics of Rajasthan are famous for their exotic and unique hues and tones of colour. Block printing, tie and dye and Batik are widely accepted artworks here. Each region has its own distinctive style. Bagru is famous for its geometric patterns and use of earthy colours while Sanganeri clothes are decorated with floral patterns and bright colours. Jaisalmer and Barmer are famous for their reverse printing or Batik work. Sikar and Jodhpur are famous for their bandhani designs or intricate tie and dye.

Bikaner, Jhunjhunu, Sikar are famously known for their embroidery, mirror work and Appliqué work. Jaisalmer is famous for its patchwork spread known as Ralli . Small decorative pieces of material are stitched together in an attractive pattern to form the top of the spread. Jaisalmer and Jodhpur also excel in the skill of silk thread embroidery which is specifically done on shoes and waistcoats. The knuckle pad is an article which is made up of leather and beautifully embroidered with the scenes resembling miniature paintings. 33

CRAFTS Old worldly doors, tables with cast iron Jaalis , wooden Jharokhas, jhoolas are a treat to watch in Rajasthan. Vibrantly coloured miniature paintings, courtly paintings, portraits, murals, henna body arts, and domestic paintings are also popular in this region. Jodhpur has a large market of furniture and Jaipur and Ramgarh in Shekhawati are some popular centres too. Terra Cotta is also famous in Rajasthan. Molela, a village near Udaipur is trained in making clay deity images. 34

Alwar is famous for its paper thin pottery while Bikaner is famous for its Painted pottery. Jootis, Saddles, bags and pouches are famously known in Jaipur and Jodhpur. The metal crafts of Rajasthan have evolved from Royal armours to tabletops , flasks , wall plates . Jaipur, Jodhpur, Alwar are known for their metal wares. Puppets that are draped with dresses made from sequined old fabrics are extremely popular among the people and tourists.

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PEOPL THE

As I stand in the aura of my kindred I feel the legacy that they had entrusted With that I know, it’s the character that makes it my homeland. The countless personas define the citizenry of the land. As yet with honour and pride united they stand. Breathing the aura of the rich culture, they relish the grandeur of embellished and delight. Their lineage of passion for war compliments the desire for finer things in life. Merrily they extend an open arm to all who desire to witness the city’s charm.

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Humble nature and hospitality is what describes best the people of Jodhpur. They speak proudly and completely in the Marwari language. They take pride in wearing their traditional dresses and the multi-hued dresses wore by them are really fascinating. Women are often wearing “Ghagras” and a hip length Kurtis. Turban decorated at their heads is what constitutes the main attraction of menswear. Religion and spirituality has profoundly been accepted by the tribes of Rajasthan. Hinduism is followed by the majority of these tribes. Sikhism is also prevalent amongst the other tribes. Modern time has also introduced these tribes to Buddhism, Islam, Christianity, Parsi religion. 1.6

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THE BHIL TRIBE The Bhil tribe occupies the major position amongst the scheduled tribes of Rajasthan. Another significant one of them is Gadia Lohar tribe. The Garasia tribes can be found in the central part of Rajasthan, who live with their treasure of cultural tradition reflected beautifully in its language, food habits and gorgeous clothes. Other tribal communities, also called ‘Adivasis’ found in the different parts of Rajasthan are Bishnoi tribe, Meena tribe, Meghval and Rabari tribe However, some common behaviour is shared by all the tribes of Rajasthan. The differences are seen in their jewellery, costumes, fairs and festivals.

In Hindu mythology, Shabri is the well-known Bhil figure, who offered half eaten berries to Lord Rama and Lakshmana. There is the existence of Bhils in the Mahabharat also. Meenas derived their name from the Sanskrit word ‘Meen’ meaning fish. Meenas are considered to be descents of Lord Vishnu’s Matsya avatar. The Tribal communities of Rajasthan have survived the attacks of Hunas, Aryans, Sakas and Kusanas and have maintained their cultural and traditional heritage through it all. The tribes carry on cultivation to maintain their livelihood while a number of other tribes have developed acumen for business and commercial activities.

COSTUME Rajasthan , a state with the unity of festivals , folk songs and dances also have rich and bright coloured costumes . The traditional costumes are colourful and unique in their own way making them stand against the rest of the costumes around the country. Due to the weather condition , myriad colours are more favoured.

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Dhoti also known as potia in the local language is the main traditional dress for men in Rajasthan. Bandia Angarkha is a form of a jacket which is closely fitted to the chest and is loose around the waist . It has narrow sleeves and they are usually longer than the arms . This dress is usually coordinated with a bright coloured turban or the headdress. The turbans are made in various colours making them suitable for different weather conditions. The turbans are paired keeping in mind the weather condition of the region. Ghagara , Choli and Odhani are famous costumes among the women of Rajasthan. Ghagras are made in various designs with bright colours. They are usually ankle length long costumes with a narrow waist giving them the resemblance of an umbrella. Cotton ghagras are best suited according to the weather conditions of the region. Printed or dyed ghagras with a lehariya print are popular among the women. The Odhni or chunar is usually a long piece of cloth (approximately 2.5 m in length and 1.5 m in width) which is used as a veil. There are different ways of draping an Odhni but the most common and traditional way is tucking one corner inside the ghagra , resting the middle part on the chest and then draping the end part over the shoulder and above the head. Intricate necklaces like Jadau sets, Aad (chokers) and Rani haar (long necklaces that reach the belly button) are worn around the neck by the women from affluent families. 1.18

THE 2.1

E HUMBLE UNDERLAYS 47

THE GREAT INDIAN Durries Jaipur and Salawas are famous for their durries. Geometric along with the motifs inspired by surroundings can be evidently seen on the durries.

Durries that are made in Maharashtra are famously known as Chindi durries which are highlighted with bright colours and are available in geometric designs.

Punjab is famous for it’s striped multicolored flat woven rugs. Use of contrasting colours make them more appealing.

Kashmir is famously known for its fine quality carpets , with an average piece. being made with about 324 knots per square inch.They have developed their own designs which includes Paisley , leaves and flowers. The carpets of Himachal Pradesh are rich and captivating in design and durable in texture . Dragons and swastika motifs get incorporated in these durries.

Mirzapur durries are known for their fairly bold colours and patterns. The mix of traditional and contemporary designs can be evidently seen. Sironj, a city near Vidhisha District is famous for it’s durries which come in vibrant colours , bold patterns and folk designs ,including birds and animal motifs. Bright colour with intricate geometric and ani mal designs make the durries from Navalgund in Dharwad District stand out from the rest.

CARPETS & DURRIES If seen in the most basic definition, a rug is a piece of fabric that is usually used to cover a specific area of the floor while a carpet is extended from wall-to-wall or is often fixed to the floor. Talking in terms of size, rugs are usually smaller in size(4 feet by 6 feet or less) as compared to carpets( more than 4 feet by 6 feet). Carpets usually have a second layer that makes it thicker and hence, keeps the shape of the floor. On the other hand, rugs are lighter and have the inability to keep the shape. Carpets being heavy in weight are difficult to maintain and need assistance to carry them around while rugs on the other hand are easily transported and cleaned.

THE 3.1

LANGUAGE OF PUNJA 53

HISTO

TRACING THE

ORY

As the heartbeat of the punja merges with the drumbeat of history. The taana...... The bana....... The two philosophical opposites are woven together. To form the cosmic oneness....the fabric of the universe. Just as the gods laid the fundamentals of the adamah. With the durrie, the man built the foundation of space. While some narrate the simple lives of their makers. The others add to the grandeur of kings as the ornate the royal places. Though some were composed by the greatest artists of age. The others were created in the kings own dungeon. And my dadi exclaimed With its roots as deep as the ocean And its expanse as wide as the sky so famed. The dhurrie allows everyone to be seated all the same. 55

DURRIES OF YORE

The origin of durries can be seen back to ritualistic paintings that were made in India. The drawing patterns on the floors and walls was believed to be a powerful religious charm that would protect from the evil spirits. ‘Rangoli, ‘Mandana’ and ‘Kolam’ are some of the floor decorations that are still popular in different parts of India. In many accounts by the travellers, there are descriptions of floor mats in India. The use of reeds, palm leaves and other dried foliage is mentioned for making floor coverings. In records of the 19th century, ‘durrie’ is referred to as a ‘Dari’ or ‘Satranji’ in the northern parts of India and ‘Jamkhani’ in the southern parts of India. Aurel Stein, on one of his several expeditions throughout Central Asia, China and India, attributed various fragments excavated at the Niya site in Turkestan to be flat weaves from India, dating them at around 200-400 AD. Evidence of the durrie tradition can be found in the manuscripts, paintings and fragments from the Mughal period and times after that.

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Earliest form of carpet weaving can be found in India in Buddhist texts around 500 B.C. Also, Mongolia can be sourced as the evidence of use of carpets. These carpets used to be very similar to modern Persian and Anatolian carpets. Writings can be found in Marco Polo’s chronicles about the widespread popularity of floorings in India. However, some simple forms of floorings have found use in day to day life in the villages of India for long like Namda (handwoven wool) and durrie (simple carpets woven by women in rural areas on two horizontal parallel bars), the carpet in its current form was traded in by the Mughal emperors from Persia at the beginning of the 16th century. Along with importing carpets, they also invited and provided patronage to Persian artisans to reside in India and to train the Indian artisans in the carpet-making art. Soon, the Indian weavers were competing with their product in terms of both quality and quantity with the Persians. In the beginning, most of the designs and colour combinations used to be imitated from the Persian art, but very soon Indian weavers started experimenting with their new designs. Indian carpet making soon reached its highest point under the patronage of great Mughal emperors like Akbar and Shahjahan. Modern-day art connoisseurs were later forced to consider carpets

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from that era amongst ‘the most beautiful works of art ever created.’ Durrie weaving has been an Indian cottage industry since centuries. There are several villages as well as towns across the state of Uttar Pradesh (U.P), Punjab, Haryana and Rajasthan that are involved in this craft even today. It is among the oldest and major industries of the country. In fact during the end of the 19th and early 20th centuries, the Indian jails landed their prisoners working on durrie making as a cottage industry and created spectacular durries. They adorned many royal chambers in India and in England. So rich was their design and colour. These had sceneries depicting natural flora and fauna as well as common village activities. A number of landless weavers also sustained themselves overtime on the traditional craft of durrie weaving. 59

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During the Partition of India and Pakistan the greatest historical exodus of populations took place. The people migrated from Hyderabad (Sind), Multan and Jhang were allotted land around Panipat. These were skilled weavers. They immediately began setting up looms and initiating their ancestral craft. However, they faced stiff competition from mills producing similar types of durries in a much faster and cheaper manner on machines. To counter this occurrence the refugee weavers of handloom durries experimented with colour and design. Zebra stripes, floral and geometrical motifs were crafted from rich Indian colours. These durries were then transformed from cotton to woollen yarn and Panipat came to be recognized as the largest market for raw wool durries in North India. These days the geographically spread Ropar-Panipat-Ambala durrie corridor is famous all over the country and abroad for durrie weaving. Weaving of durries by young Punjabi girls has for a long time been a tradition in Punjab. In this case, the pre-1966 undivided Punjab when Himachal Pradesh and Haryana had not been formed. In fact it has been called the ‘Punja’ Durrie of Punjab ever since its origin. It is a significant part of Haryana and Punjab’s traditional craft heritage. Indian durries are known all over the world for their designs, colours and exquisite craftsmanship. The weavers use tools that are very simple. These tools have not changed through time. This craft can be found in India today from Jammu and Kashmir in the north to Tamil Nadu in the south and from Rajasthan in the west to Arunachal Pradesh in the east. The Punja weavers find the relationship of the craft with caste as negligible. 61

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MODERN DURRIES There has been an increasing demand, in recent years, for durries both in India and overseas. The durrie is cotton spread without piles, which usually comes in two variations: one which is used on the bed instead of a mattress or below a thin cotton mattress and the other that is utilized as a floor covering. The formerly mentioned variety is smaller in size and is crafted on a pit-loom while the latter mentioned variety is made on an elementary loom called an Adda. The most primitive form of durrie weaving technique can be found in the villages of Rajasthan, Punjab and Haryana where girls are generally put to the task

at a young age so that they can prepare rugs that will form part of their dowry. In different light, girls in Navalgund, a village in Karnataka which fabricates a small number of unusual durries, are never taught the craft to avoid the risk that after marriage, they spread the skill outside the family. durries come in several designs albeit the most common are different coloured stripes and geometrical designs. Sometimes animal and bird motifs can also be seen. Fine durries in dazzling colours made of cotton and silk have become a speciality of Salem (Tamil Nadu) while those fashioned of jute fibre are woven in West Bengal. 63

The durries made use of in large political or social gatherings are as big as 20 feet by 20 feet. The Durries are easily portable because of being light weighted and are foldable. They come in several colour combinations and patterns catering to the needs of almost every taste and occasions. The durries are cheap at the maintenance cost as they do not get infected by Silverfish or other bugs which are usually responsible for demolishing carpets. durries can be made use of for a complete year as a cotton durrie is warm in winters and cool in summers. The modern Indian housewives often tend to prefer durries over carpets because durries are lighter and easier to maintain and can be washed at home. They are appropriate for a hot and dusty environment and replaceable every few years because of being less expensive. This does not imply that durries are not long lasting. People even have durries that have lasted for about or more than twenty years and despite several washes still look good. They have several uses according to their size, pattern and material. The smallest one being 12″ by 12″ and is used as base cover for telephone stands and flower vases. The ideal size for doing meditation is 24″ by 24″ which is called an aasan. 64

Durries are made by skilled artisans manually on a traditional horizontal loom or a vertical loom. In Rajasthan, pit looms are also made use of for weaving. The weaver sits in a pit and then feet are used in weaving. The maximum breadth for it is 24″. Madhya Pradesh durries are popular for their sturdy character and charming and delightful colours. Rajasthan, Uttar Pradesh, Punjab and Himachal Pradesh, make unique types of durries. In parts of these states, the durries constitute a part of trousseau (dowry given at the time of daughter’s marriage). Durries made in Rajasthan at Salawas are popular as Punja Durries and are shipped outside in large scale.

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SALAWAS DURRIES The roots or the foundation of punja weaving was laid by Shyam Ahuja in Salawas. He contacted the village and hired the villagers for making durries. He trained them and provided skills of using punja and designing durries using the technique. The main channel of durrie weaving was started by Shyam Ahuja in Salawas, Jodhpur. 14 members started working with Shyam Ahuja which slowly raised to 150 families working with them. One of the families was the Mundal Family, belonging to the Prajapati community, who are known for their quality and designs of the durries. The craft was then passed on from generation to generation of the family.

natural colours to create unique patterns in vivid colour combinations. The craft eventually caught the attention of the King, who commissioned durries for the palace. These woven durries travelled from the homes of common folk to the halls of palaces, as they were just people sitting on a durrie and no classes were there to differentiate them.

In 1992, Shyam Ahuja shifted the factory to a new place which resulted in the decline of the craft. As the years passed, they started weaving the durries for themselves. It evolved from a functional piece of cloth to an earthy form of art. Weavers started experimenting with different materials, using threads spun from coconut and cotton fibres, dyed with

Even though the craft has seen many downfalls, the people of Salawas are still holding fast to their roots of durrie weaving. With every new generation that takes up durrie weaving, they are continuously adding up their bit to it and trying to make this craft reach its heights.

Over the years, durrie weaving has been an important means of livelihood for people living in Salawas. Malaram ji, a member of Prajapati community started a cooperative to help these families and started teaching the kids about the craft.

SIGNIFICANCE The durries were earlier dismissed as the poor man’s craft and it was undermined in its value. But with time, it soon became popular among the people due to its unique abstract patterns and the use of contemporary designs. As these durries are handwoven, they have an advantage of being reversible which increases its functionality. The durries are lighter than the carpets and their weaving method gives much more flexibility in creating varied designs and unique designs. The durries also provide a warmer ambience during winters. The craft is usually practiced by both men and women of the family. Durries are usually given to the girls in their marriage as a form of dowry. It is said that ‘’if the durries are not given, then nothing is given’’.

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EVOLU

PACING THROUGH THE

Dhurries today, though interpreted through contemporary spectacles are anchored in a time when people believed in miracles. The secret and skill isn’t just merited It’s the legacy that is inherited And as my father says, like his before The unabashed mediaeval technique still have in store The profound richment of yore.

UTION

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During these changing times, one needs to be on their toes to match with the contemporary times of design. Thread-Weave-Interlock. The process is long as they intersperse coloured thread one after another. They embed beautifully organized designs with contrasting colours. Talking about evolution through the generations, our master artisan Mr. Malaram ji gives us the insight about the difference between the durries of their grandfather and the durries made by him. Material During the time of his grandfather, the durries were made very heavy as the materials used were natural and limited like the hair of a goat, natively known as Jhatpati. The raw materials were usually naturally occurring fibers like camel hair, wool, sheep wool, goat hair. The natively used goat and camel hair was replaced with cotton fiber in 1977 and these durries began to be sold to a small segment of the domestic market. Design Earlier the designs were more intricate and were inspired by the forts and palaces. Animals and flowers were mostly used, along with geometrical patterns to create complex designs. As the market of durries started flourishing, so as the demand and to fulfill these demands, the artisans moved towards simpler designs.

The designs and motifs also have great impact from the buyers. The artisan replicates the design that has been provided by the buyers. Colours Colours are all natural as they were earlier but the difference is that in old times the colours chosen were more of light shades giving a vintage look and now they give colour combinations according to the designs. Some of the traditional colours used in durrie are green, red, black and white which were produced with natural dyes, but nowadays shade developed by synthetic dyes are used in bulk. Some colours i.e. purple have not been used due to its figurative nature and its less demand in the international market. Use of yellow colour is very restricted as they are less preferred by the buyers. Tools Talking about the tools i.e. the punja, has also been evolved according to the needs of the artisan. Earlier the punja was much heavier than the ones that are used by Malaram ji. The punja that was used by his grandfather weighed around 1 ½ kg, his father 700 gm and the punja used by him is about 400 gm. The looms also evolved in terms of material. Earlier they were made up of wood while nowadays they are usually made up of iron and are used for many years. 73

COMPOSING

FLAMBO 74

OYANCE 75

RAW MATERIALS

Both cotton and wool are used for making punja durries. Cotton: Cotton is used invariably to make the warp. Different kinds of cotton thread are required for the warp and the weft. Both of these are mostly procured from dealers and not produced by the weavers. The specifications for these threads are: For weft (or Baana): 6 single cotton thread (from Rajasthan) are used. This remains the same for the two qualities of the Durrie produced, regular and stone-washed. For warp (or Taana): The thread quality used ranges from the regular product to the stonewashed variety. For regular quality, 6/6 thread (from Rajasthan) is used, while for the stonewashed one, a12/20 thread (from Delhi) is used. The latter one is more expensive.

Wool as weft is extensively used in making expensive durries. There are two types of wool: Handspun: Handspun wool is pure wool obtained from the markets of Bikaner and Jodhpur in Rajasthan. This wool type is used for durries that are colored using vegetable dyes. It is not of uniform gauge as it is handspun. Mill-spun: Mill-Spun is pure wool too, procured from Panipat and Bikaner. In durries made with mill-spun wool, normally chemical dyes are used. It is cheaper than handwoven wool and is of uniform gauge. It values around Rs. 150 per kg

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TOOLS Taana: these are the warp threads that are extended tightly from the warp bean to the Kaath. It helps in tight and secured weaving and in keeping the shape proper. a 1 cm gap is left between each thread and the end of them has a thick thread which is the end of the carpet. It is called Gaanth. Bana: weft yarns which are rolled on Tayri. Taana Machine: Two basic parts constitute the Taana machine: A big octagonal horizontal cylinder which rotates on its axis; and a vertical frame on which a variety of thread rolls can be attached. 80

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Loom Frame: Dissimilar to the complex looms used in weaving, this one features a vertical frame made of two beams (of wood or steel) that are horizontal. The first beam is at a height of about 2 feet from the ground and the other is at about 6 feet from the ground. The upper beam is movable and the two beams are tightened by employing a screw-and-chain mechanism. The length of the beams varies according to the dimensions of the durrie to be woven. The taana or the warp fastened on these beams consists of two layers that pass via a horizontal metallic frame called the reed. The reed helps in keeping the threads straight and equidistant from each other. Out of the two layers of the taana, one remains on the external side and the other on the internal side. A mechanism known as the kamana (a wooden frame which is V-shaped and where the ends are bound with a tight rope) and ruchh (two bamboo pieces onto which the kamana is attached with the beam, just above the reed) can however be used to change the positions. Makda- Wooden or iron rod set on loom which is used to separate the upper and lower yarns. There are two makdas on each ghoda all total four in numbers. It is used to lift the gurad after passing the weft yarns. On either end of makda a rope is tied which is linked to ghoda. Gurad: Gurad is the warp beam that is used to pass over and under the weft in order to secure the weave line. It is made by tying these purple knots along with the taana, so that the warp stays tights and no loose ends are left. Ghoda: It is a rod inserted in the gurad to balance it and later tied with ends of makda which helps in maintaining the space in between the warp yarns. Kaath: It is used to stretch the white threads to the opposite of the loom. It is attached using thick ropes and hammered down into the sand/ soil ground. It is used in order to make sure that no warp and weft line stay loose or the durrie don’t go out of shape. The threads are stretched and knotted around the kaath. Scraps of iron rods are utilised and are not bought specially. Tayri: A straight 1-1.5 inches wooden stock used for Rolling the weft yarns which keeps on passing from one end to another (called tairna in Hindi language) to form weave. Bana is the weft yarns which are rolled on tayri. Taana are the warp threads that are extended tightly from the warp bean to the kaatha. It helps in tight and secured weaving and in keeping the shape proper. A 1 cm gap is left between each thread and the end of them has a thick thread which is the end of the carpet. It is called gaanth. 83

Charkha A charkha is used for making rolls or bundles of yarn for the weft

Scissors: A pair of scissors is used to offer the fi touch to the durrie by cutting off the p ing knots, weft threads, etc.

Churi-knife A knife used for cutting the yarns while making the warp. 84

finishing protrud

Shuttle Used to pass the weft through.

Hathoda This is used to fix the loom in place.

Punja-metal comb A metallic claw-like fork used for beating the weft yarns on the warp so as to adjust it there. The beating is directly proportional to the stability of the durries. 85

PRE-PROCESS Designing The designs are either made available by the agencies placing the order with the weavers, or are supplied by the weavers themselves based on traditional designs found in the region. They may also be inspired by designs printed in several books or magazines, or from an already existing product.

Dyeing Dyeing is an significant part of the process of durrie making. It may be done both on a smaller scale (where the artisans dye the yarn in their small tubs) or in dyeing in factories (where the process is almost automated). There are two types of dyes which are used in this process: vegetable dyes (which use indigo, harad, mangeetha, pomegranate peel, etc.) and chemical dyes (normally fast dyes are utilized). Yarn dyed with these two types may be distinguished by the uniformity of color. While a yarn bundle dyed with chemical dye is uniformly coloured, a bundle dyed with the vegetable dye has variable shades. 87

Yarn Opening for Weft Post dyeing process, the yarn is usually received by the weavers either in the form of bundles or rolls (the latter in case of dyeing factories). In case of bundles, the thread needs to be freed from tangles and stretched to tighten them. For this, it is taken through a process of reeling for which a charkha is used. The process is mainly performed by women. 88

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Warping The master weaver does the warp making according to the requirement of the design and color combination. He utilizes the taana (warp) machine for this. The thread rolls are put on the vertical frame in the required color combination. It is a movable frame. The thread-ends are taken from the rolls, passed through another, smaller, grid-like frame that guides the thread, and are wound on the octagonal cylinder in a combination that the master weaver elects for making the taana roll. This process begins from one end of the cylinder and goes on till the entire cylinder is covered with thread. After this is achieved, the log upon which the taana is wound is fitted into the blocks between the cylinder and the frame. The tightly wound thread on this log is then provided to the weaver who makes its use on the loom frame.

PROCESS Weaving For weaving, the warp is bound on loom’s two beams (the warp roll forms the upper beam and it is wound onto the lower beam).The warp is made up of two layers, which pass through a flat metallic reed which guides the threads by keeping them equidistant from one another. On the bench provided in front of the loom, facing the warp, one or two weavers sit, which depends upon the width of the durrie. 92

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In case the breadth of the durrie is greater than five feet, it will cover the whole beam and in this case, only one weaver is able to work on the loom. In case, its width is less than three feet then two weavers are able to work simultaneously on two different carpets of less width (three feet each) on the same beam and loom frame. The weavers place the design in front of themselves (either in the form of a graph or a sample) while weaving the first few articles of that particular design. After some time, when they have memorized the pattern, the work becomes faster. They pull a fixed number of warp threads, bestowing to the design, towards themselves and take the small bundle of weft across the warp threads to fill the gap longitudinally. To simplify the design, the warp is marked at regular intervals to help the weaver about the location of a particular feature (such as a 2flower) in the design. When the first row of weft is finished, the weavers beat it to tightly settle it into the warp by using the punja, which consists of five metallic fingers bent like a claw. These fingers move between the warp threads similar to the movement of comb in hair. When the weft threads are beaten tightly between the warp with a punja, the weaver interchanges the upper and the lower layers of the warp by making use of the kamana and rucch. This leads to locking the weft between the two layers of warp, providing more strength and durability to the durrie. The weavers keep tightening the warp by making adjustments in the two beams with tightening screws. This makes the durrie crisp, strong and the designs symmetrical. They go up the warp as they fill the warp’s lower part. 94

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POST-PROCESS Once the durrie is finished, the weaver takes it off the loom and hands it over for proper finishing to the master weaver. In the case of stone-washed durries, the master weaver directs it to the washer man who washes it in water, detergents and potassium permanganate. After that the master weaver knots the loose ends of the durrie and fixes any problems that it might have developed during the weaving. For example, the durrie may develop differential width at the fringes because of shrinkage. If so, it is set tightly on a frame and kept there for a day or two so that it is stretched appropriately.

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The master weaver then directs it to the clipper, whose work involves clipping off all the protruding threads and knots from the durrie making use of a pair of scissors, offering the durrie a smooth look.

DESIG

MOTIFS AND

The main motifs used in durries are usually geometric and are inspired by surroundings around them while some motifs and design are given by the buyers.

The most common and popularly used motif is Leheriya. A wide range of motifs exist that are inspired by palaces and everyday items such as Kanghi (comb), desi phool (flower), Teer (arrow). A board game played with three long tabular dice, popularly known as chaupar was once famous throughout North India. It is believed to be a forerunner of chess. The cross-shaped pattern of the Chaupar board is sometimes woven into durries. In northern India, Chaupar Durries known as Shahnashin were actually used for playing the game. In the A’in-I Akbari, the emperor’s biographer recorded the use of this game. Formerly, there were often two hundred players, and no one was allowed to leave the game before they had finished sixteen games, which even lasted for months. 100

GNS 101

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PRAYER RUGS

As the name says itself, these rugs are used for the purpose of offering prayer in some Islamic countries. As Muslims are required to offer prayer 5 times a day, they need a clean, sanctified area on which to do so – whether in their mosque, at home or outdoors. The outside wall of the mosque which faces the holy city of Mecca is known as the Qibla. Inside, this wall is usually separated by a painted, inscribed or recessed niche – the Mihrab. Through association, this architectural arc shape has been universally adopted as the most common design element found on a prayer rug. Most of the prayer rugs depict lamps that are suspended by chains from their niches, probably symbolizing the “light of enlightenment”. The dome of the mosque with its minarets and finials is also a common design in these rugs. The concept of collective worship is also illustrated in some of the prayer rugs. Some durries also have intricate patterns that are repeated in each Mihrab. The finer rugs were often embellished with skilful details woven in silk as well as gold wrapped thread. The quality of durries is much a symbol of prosperity and faith for the people.

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GEOMETRIC

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Uniformly repeated geometric motifs enclosed by simple borders is a famous and classic durrie design. The stepped and serrated outlines of geometric motifs with numerous right angles are perfectly suited to the course woven durries. Basket weaving and mat making which are the two oldest forms of weaving, strongly influence the design.

LIDICE

Lattice motifs and serrated and stepped lozenges, also known as staggered diamonds, are widely accepted and used in the flatweaves around the country. These geometric patterns have an ancient history, appearing on painted pottery in southern Turkmenistan. Mellart, a famous archaeologist believes that the geometric designs clearly resemble the designs of local flat woven Kilims.

CHUKADI

The patterns of Mughal architecture also reverberate within these geometrical designs. The recurring motifs in the main fields of most of the durries resemble the brick decoration of Akbar’s tomb. There is a resemblance of the ornate window grills and lattice screens of northern India. The geometric pattern of these durries are arbitrarily terminated by their borders- often a Greek ‘key’ or a simple stripe- which are sometimes quite at odds with the patterns of their central field. Large geometric patterned durries were usually used for darbar halls and open-air assemblies. Predominantly woven in jails, these durries were woven in different contrasting colours- usually indigos, paler blues, pinks, reds and whites.

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KANGHEE 105

STRIPED Common yet sparkly elegant, the durries’ weft faced plain weave pattern is useful in creating variations of simple, horizontal and continuous stripes. In fact, the Sanskrit word dhara is translated as ‘a continuous line’. Since ancient times, many civilizations have woven different forms of striped textiles for their floors using elementary designs that are to weave. Striped durries in natural undyed white, madder red and indigo blue can be seen beautifully illustrated in the Indian miniature paintings. The distinctive blue and white striped durries have been the most loved and endured floor coverings during the end of 19th century in India. These durries had an universal appeal and they graced modern village homes, bungalows of the British officers and even corridors of the royal palace. With changing times, the simple striped durries evolved to incorporate innovations in colour, fibre and design. A wide range of colour spectrum was used, arrows were added at both the ends of horizontal stripes, parallel pairs of stripes were joined at one

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end to give a look of stylized Mihrabs, motifs picked out in silk and metal wrapped thread were often interspersed with simple stripes. Monographs on rug weaving in India document the use of distinctive vocabulary to name and describe these striped Durrie designs. Some of the designs are described as• Stripes are also termed as ‘Patti’ • A light blue field traversed by dark blue bands became ‘Nil abi’, meaning blue water. • Blue and white durries were also known as ‘Nili chitti’, meaning blue spot or blue paint. • Thin blue and white bands were referred to as ‘Gilasdaar Patti’. • Design embellishments included ‘Mihrabdar Patti’, which described the inclusion of a Mihrab and the ‘Kantedar Patti’, in which a kanta was placed between the stripes. • A simple blue striped durrie which was the most common was referred as ‘Ralli Pattidar’.

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PICTORAL

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The art of durrie weaving reached its peak with the pictorial designs – a woven narrative which drew together images of flowers, birds, reptiles and people onto the inherently grid-like structure of the durrie. A durrie weaver should be of tremendous skill and experience to reach the successful fashioning of a curvilinear design. As durries are weft faced, their designs are achieved by colour changes which either occur between one horizontal row of weft and the next, or within the same row. These changes in colour produce minute ‘steps’ or colour blocks that reveal the angle at which the weft intersects the hidden warp. To achieve obvious angularity and illusion of a smooth curve, the weave must be fine. It is easier to produce a curvilinear design on a finer weave. The warps therefore need to be tightly packed and the wefts should be as thin as possible-yet sufficiently thick to conceal the warp entirely.

TOULOUSE

PATTI

Patterns are usually drawn on graph paper, making it easier for the weaver to accurately weave complicated curvilinear pictorial designs. To achieve greater curvilinearity, fine detailing, flowing lines- the weaver might use additional weaving techniques such as eccentric wefting and outlining. It is assumed that pictorial durries were once woven in Mughal karkhanas. Their symmetrical designs consisted of plants, trees, vases with flowers and a large central medallion flanked by open-mouthed tigers whose tails curve over their backs. There was a tremendous upsurge in the weaving of pictorial designs after the jail durries were introduced to the public as a result of which, designers and weavers started taking inspiration from the famous ‘Peacock’ pile carpet in Vienna and others created charming vignettes of animals and birds as well as ‘fantastically dressed artillerymen and pieces of cannon’.

CHIDIYA

PHOOL 109

LABO

FRUITS OF

The traditional product using punja weaves is a durrie. At Salawas, it started as a jhatpatti, a thick piece of cloth that covers the back of animals, especially camels. Later the same technique was employed to make floor coverings called durries which came in all shapes and sizes using various materials like wool, cotton, silk, etc. These were custom made depending on their final use.

The quality of a durrie is marked by its weight and water holding capacity. A traditional handwoven cotton durrie weighs at least 150 grams per square feet and can hold water for up to thirty minutes. Another quality check that happens during warping is determining the tension of warp yarns. The yarns must be so tight that it produces high pitched sounds on vibrations. Recently the product diversification has led to production of punja woven mats, table covers, yoga mats, bags, runners and coasters. Wall hangings are also made using the same technique. Sometimes, old clothes and rags are used as wefts to create these hangings. 110

OUR 111

DURRIES OF ALL SHAPES AND SIZES

WALL HANGINGS

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HANDBAGS AND LAPTOP BAGS

YOGA MATS

TABLE LINEN LIKE RUNNERS, COASTERS ETC. 113

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HE HANDS THAT WEAVE 115

ARTIS THE

As he composes each note In the flamboyance of this everlasting song My father weaves into existence belief His religion, his lineage, his legacy Making it a piece of living history With an uncompromising craftsman’s eye for detail He interlaces the divine insignia And as he goes off to sleep I know he is at peace For he regards this workmanship as worship And the punja as his sacred ritual

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SAN THE ARID VIBRANCE

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The weaving community of Salawas is a wholesome family comprising Hindus from Prajapati caste. They speak Hindi and Marwari. The newer generations are well read and can communicate in English. Malaram Prajapat is one of the most skilled punja durrie artisans in Salawas. He had learnt the craft from his father and has been involved in it since his childhood. He is a master weaver who has conceptualised more than 4000 designs till date and has won various state level competitions. He got recognition while working with Shyam Ahuja and his designs were appreciated worldwide. He has been recognised by the royal family of Jodhpur and often makes specially designed carpets for the royal household. He has established Shree Balaji Durry Udhyog which is a cooperative society of more than 200 artisans who work together to complete orders from companies like FabIndia, Shyam Ahuja, etc. and even orders from international clients. Malaram Ji is a very religious man and has a strong faith in Kuldevi. He believes all his success and failures are her wishes. He is extremely devoted towards his craft and works 10 - 12 hours a day. His wife, Devi Prajapat has been working with him for more than 2 decades and is trained to make floral designs. His 2 sons also help him with the craft and are trained artisans. Chandaram Prajapat the eldest son is involved in the craft for the past 20 years. He specialises in geometric designs and runs a shop in Mehrangarh fort, Jodhpur. The family is also involved in other crafts like macrame, doll making, Kashindakari and recycled durrie making. 119

ARTISAN PROFILE

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NAME AGE LOCALITY EXPERIENCE SPECIALISATION CO-OPERATE PHONE NO.

- Malaram Prajapat - 51 Yrs - Salawas, Jodhpur - 40 Yrs - Designing - Balaji Durry Udhyog - +91 98280 81488

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MARKETING CHANNELS

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The local market for Salawas durries is based in Jodhpur and Jaipur. Apart from that villagers buy it on festive occasions and weddings. Thus, ensuring inter-community exchange. Jodhpur being a famous tourist destination, a large part of the consumer base is formed by both Indian and foreign travellers, who may buy durries at hand or place special orders which are later couriered. The artisans at Salawas have made good connections with guides who bring in these sightseers. Major Indian home decor brands like FabIndia, Shyam Ahuja and Rugsmith often place bulk orders and often indulge in design interventions as well. Various International brands also place such orders. These orders however have more specifications than that cater to the market accordingly. The artisans also make durries on demand for clients who place orders through Whatsapp. These durrie are customised to fit the clients demands. As Salawas is a major sampling centre, many designers and fashion students employ artisans to create prototypes of their concepts.

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NGOs

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In 1996, eight master Craftsmen from all over India met with Roshan Kalapesi and Kamaladevi Chattopadhyay to form Paramparik Karigar with the goal to promote and preserve the traditional art and craft of the country, as well as to create an environment favourable for the Craftsmen to create their exquisite pieces of art. The key initiatives areTo deliver handmade crafts directly from the Craftsman to the customer and to preserve and promote the traditional art and craft of India. To raise awareness about the craft so that the works of the artisan become recognized as art forms. To assist craftsmen in improving their skills by conducting design, marketing and technical workshops. To ensure sustainability of the craft by conducting workshops for the children of craftsmen as well as other school children. To create awareness among people of traditional handicrafts through lectures, workshops and seminars. To provide the opportunities to craftsmen from all over the country showcase their work to the forefront through exhibitions. To maintain the quality in the craft produced by member craftsmen.

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GOVERNMENT INITIATIVES

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The government of India is always on its toes to help the artisans of the country and to preserve the arts and crafts heritage. The central government of India has set up the WCC scheme i.e. Weaver Credit Cards for the upliftment of the weavers. This scheme focuses on providing adequate and timely assistance from the banks to the weavers in case of any financial emergencies. The scheme is likely to be implemented in both urban and rural areas. The state government of Rajasthan also launched many beneficial schemes for the weavers which helped them financially as well as improved their design aesthetics. Rajasthan State Industries Department has helped around 1,000 weavers in Salawas. RFC (Rajasthan Financial Corporation) along with RHDC (Rajasthan Handloom Development Corporation) proposed a scheme in which financial assistance will be provided to 1,000 weavers, belonging to Scheduled Caste. Under this scheme, financial assistance shall be released in favour of RHDC on the behalf of assisted weavers for procurement of yarn and supply to weavers on a regular basis around the year. RHDC shall lift the products by the weavers after the payment of wages and a share is done under the scheme. Indian Institute of Crafts and Design(IICD) has entered into the memoranda of undertaking with the National Institute of Design, Ahmedabad and the National Institute of Fashion Technology, New Delhi. Its propaganda is to create a new cadre of highly skilled and motivated Design-Techno managers who can help in sustaining modernism and accelerate the growth of craft centres in the State. Training will be offered in the institution to craft persons both in Jaipur and its outreaches in the nearby districts 127

DESIGNER’S INTERVENTION

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There was a dynamic transformation in the late sixties with the emergence of designer durries under the name of Shyam Ahuja. He has worked with his father, who was a successful exporter of wool since the days of partition. Wool exports began declining due to the rise of synthetics and hence, Ahuja shifted to manufacturing and exporting of woollen carpets . Ahuja became a worldwide household name after American carpet designer, Irwin Carey, got durries manufactured by him. He made the first sample in wool. The design was created by Shyam Ahuja himself and was inspired by traditional Islamic patterns that were worked in soft pastel shades. The durries became a huge success and the orders flowed in and exports flowed out. This was the time of designer durries. He feels that the durrie is bought on impulse and it is mainly because the customer falls in love with the aesthetic appeal of the durrie. His pastels are a winning streak in the world of durrie appeal. He has maintained each and every design on record with the minutest detail and color combinations. He names all of his designs exotically like Cardoba, Textile, Valencia, Kismet or Kavita.

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There was another addition to the exotic world of durrie manufacture in the mid 1960s.There was the unit of Anand Sagar Khera and his son Madhukar known as the Bharat Carpet Manufacturing Co. at Panipat. It is among the major suppliers of high quality durries to Fab India. Anand Khera is an alumnus of the Mayo School of Art, Lahore. Both the father and son excel in durrie making and they were the first ones to introduce steel structures as looms for weaving. They were introduced with hand levers to facilitate the weavers work. Their units comprises large , well- ventilated, open halls. The Kheras usually help skilled artisans to set up their own independent unit, thus ensuring the spread of the craft while controlling the designs and aesthetics of the durries being produced. The Kheras believe that natural tones of colour are their “strength and their ability to blend naturals, an asset. The natural colours of wool like brown, black, off-white, beige, look good in dusty climates and they are easily blended with traditional Indian colours. Neeru Kumar, a graduate from National Institute of Design, Ahmedabad is a latest entrant into the field of designer durries. She has her own style and design scheme along with a versatile color palette. She is associated with warm and rich Indian colours which are easily blended with naturals. These natural blends are more favoured and are more practical than the pastels because of the dust laden atmosphere of the average homes in India.

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S W STRENGTH

WEAKNESS

- Salawas durries have an edge over others in terms of quality and strength with more weight per sq. feet and more picks per inch. - Diversity in product range. - Durries being easily washable, resistant to climatic variations and affordable have an extra edge over carpets. - Salawas durries have seen multiple design interventions from various designers and thus the area is a major sampling center.

- Lack of unity among artisans has resulted in failed attempts to create larger cooperation. - No proper craft center/lack of infrastructure. People still weave individually in their houses. - No online presence or brand identity - Irregular supply chain increases making cost. - Ineffective outsourcing prevents partnership with major home decor outlets and thus they never reach major cities.

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O T OPPORTUNITY

THREATS

- Demand of durries is increasing in urban homes and home decor industry is expanding. - Recognition by royal families and major hotel chains. - Jodhpur being a famous tourist destination, the consumer base has expanded beyond local, it has reached foreign nations as well. - Various NGOs and government schemes working for the upliftment of craft.

- Well established and technologically advanced centres in Panipat, Bhadohi, Mirzapur. - Machine made rugs available at lower costs. - General lack of awareness amongst citizens.

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PREVALING CONDITIONS

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After talking with the Artisans, it was clear that there was a general sense of panic and uncertainty during the lock-down which was imposed due to Covid 19. It was observed that even in the face of health emergencies, livelihood and financial issues were the most prevalent. Rising costs of raw materials and their unavailability was a major concern. Widespread cancellation of orders, a mounting product inventory, pending payments, shipments on hold or stuck in transit and a general confusion about the measures taken by the government for relief, were some of the major problems faced by the artisans during the complete lock-down of phase 1 and 2 across the country. Production for business was on complete standstill. Artisans also confirmed that they started selling new products in the domestic market specific to the pandemic such as masks.

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OUR TAKE AWAY

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It was an amazing and refreshing experience for us to do the Craft Research and Documentation Project in these unprecedented times. Conversing with the artisans through zoom calls and learning the essentials of the craft was an amazing feeling. The artisans were extremely generous to us and they guided us thoroughly about the craft of durrie weaving. We are extremely grateful to Malaram ji for sparing us his valuable time and giving us a view of their lives as artisans. On further research we observed that although the light of city jobs takes the younger generation away from traditional crafts, weavers who once provided for local needs, now send their beautiful and unique creations to the world that decorate their houses. Durries have been a source of livelihood for the people of Salawas, Jodhpur and have evolved from an earthy piece of floor covering to exquisite and colourful craft of the country. It requires a great deal of craftsmanship to acquire the beautiful patterns on the durries that have been inspired by the surroundings. We can proudly say that they make their dreams lay below our feet to provide us the comfort from the cold during winters. The craft has declined and the business is still. It is our duty to make these crafts known to the people of our country and to give the respect to the artisans they deserve.

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GLOSSARY A

A’in-I Akbari- The Ain-i-Akbari (Persian: ‫یربکا ِنیئآ‬‎) or the “Administration of Akbar”, is a 16th-century detailed document recording the administration of the Mughal Empire under Emperor Akbar, written by his court historian, Abu’l Fazl in the Persian language. Aad- Chokers

Adda- An elementary loom

Adivasis- The term Adivasi derives from the Hindi word ‘adi’ which means of earliest times or from the beginning and ‘vasi’ meaning inhabitant or resident Aryans- The Aryan race is a historical race concept which emerged in the late 19th century to describe people of Indo-European heritage as a racial grouping.

Bagru- Bagru printing is one of the traditional techniques of printing with natural colour followed by the chippas of a remote place of Rajasthan. 138

Bana- Weft yarns which are rolled on Tayri.

Bandia Angarkha- It is a form of a jacket which is closely fitted to the chest and is loose around the waist Batik- Batik is an Indonesian technique of wax-resist dyeing applied to the whole cloth. This technique originated from the island of Java, Indonesia. Bhil- Bhils are listed as indigenous people of the states of Gujarat, Madhya Pradesh, Chhattisgarh, Maharashtra and Rajasthan—all in the western Deccan regions and central India—as well as in Tripura in far-eastern India, on the border with Bangladesh. Bishnoi- Bishnoi (also known as Vishnoi) is a Hindu religious sect found in the Western Thar Desert and northern states of India. They follow a set of 29 principles/commandments given by Guru Jambeshwar (14511536).

Cardoba- Name given by Shyam Ahuja to one of his designs.

Charkha- Charkha (spinning wheel), a type of Indian spinning wheel referenced in the teachings of Mahatma Gandhi. Chaupar- Chaupar (IAST: caupaṛ), chopad or chaupad is a cross and circle board game very similar to pachisi, played in India. Choli – Lehenga is often worn with an embroidered, printed or embellished fitting blouse called ‘choli’. Churi: A knife used for cutting the yarns while making the warp.

Darbar- Darbar may refer to: Durbar (court), a term for a court in Urdu from the Persian. Dari – Flat woven rugs Desi phool - Flower Dhara- The Sanskrit word dhara is translated as ‘a continuous line’. Durries- Flat woven rugs

Gaanth- 1 cm gap is left between each thread and the end of them has a thick thread which is the end of the carpet. It is called Gaanth. Gadia Lohar- Gadia Lohars (also known as Gaduliya Lohars) are a nomadic community of Rajasthan, India. They are also found in the Malwa region of Madhya Pradesh. They are lohar (ironsmith) by profession who move on

from one place to another place on bullock carts Garasia-They are the tribes that can be found in the central part of Rajasthan, who live with their treasure of cultural tradition reflected beautifully in its language, food habits and gorgeous clothes. Ghagara - A long full skirt, often decorated with embroidery, mirrors, or bells. Ghoda- It is a rod inserted in the Gurad to balance it and later tied with ends of Makda which helps in maintaining the space in between the warp yarns. Gilasdaar Patti- Thin blue and white bands

Gurad- Gurad is the warp beam that is used to pass over and under the weft in order to secure the weave line. It is made by tying these purple knots along with the tana, so that the warp stays tights and no loose ends are left.

Harad- Harad is an herb which is commonly known as Harade in India and has multiple Ayurvedic health benefits. Hathoda: It is a hammer used to fix the loom in place. Hunas- Hunas were a tribe close to Himalayas that, because of limited interaction with Indian kingdoms, were mentioned in the epic Mahabharata.

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Jaalis- A jali or jaali, (jālī, meaning “net”) is the term for a perforated stone or latticed screen, usually with an ornamental pattern constructed through the use of calligraphy and geometry. Jadau sets- Jadau is a technique of jewellery-making in which pure gold is heated and beaten to make it malleable. It is then turned into a frame on to which precious stones are studded without the use of any external adhesive or carving. Jamkhani- Flat woven rugs in the southern part of India Jhatpati- Hair of a goat

Jootis- The jutti (Punjabi: ਜੁੱਤੀ) or Punjabi Jutti (Punjabi: ਪੰਜਾਬੀ ਜੁੱਤੀ) is a type of footwear common in North India and neighboring regions. They are traditionally made up of leather and with extensive embroidery, in real gold and silver thread as inspired by Indian royalty over 400 years ago

Kaath- Piece of word, timber.It is used to stretch the white threads to the opposite of the loom Kamana- A wooden frame which is V-shaped and where the ends are bound with a tight rope Kanchali- Rajputi Attire 140

Kanghi- Comb

Kantedar Patti- Kanta placed between the stripes. Kashindakari - Kashida embroidery is created by using thick colored threads as well as beads to create different patterns. Most kashida motifs that are used to create this form of embroidery include images inspired by nature such as vines, birds, leaves and flowers and this is one of the defining aspects of this form of embroidery. Kavita- Name given by Shyam Ahuja to one of his designs. Kilims- A Kilim (Azerbaijani: Kilim ‫میلیک‬, Turkish: Kilim, Turkmen: Kilim, Persian: ‫میلگ‬‎ gelīm) is a flat tapestry-woven carpet or rug traditionally produced in countries of the former Persian Empire, including Iran, Azerbaijan, the Balkans and the Turkic countries of Central Asia. Kismet – Name given by Shyam Ahuja to one of his designs. Kolam- Kolam (Tamil: கோலம்), or also known as Muggu (Telugu: ముగ్గు)is a form of drawing that is drawn by using rice flour, chalk, chalk powder or rock powder, often using naturally or synthetically coloured powders, in Sri Lanka, the Indian states of Tamil Nadu, Karnataka, Telangana, Andhra Pradesh, Kerala Kuldevi- Kula-dèvatā, also known as Kuladeva or Kuladevi is an ancestral tutelary deity in Hinduism, who is often the object of one’s devotion inorder to coax the god for favours, and to have the god as a watch over one’s

family and children from probable misfortune. Kurtis- The term kurti refers to waist coats, jackets and blouses which sit above the waist without side slits, and are believed to have descended from the tunic of the Shunga period Kusanas- Saka people invading India from central Asia, formerly having a ruling house with control extending over northwest India, much of present-day west Pakistan, and the Ganges valley to Benares, and eventually becoming absorbed as Kshatriyas or Sudras.

Lassi- Lassi is a blend of yogurt, water, spices and sometimes fruit. Leheriya- Leheria (or Leheriya) is a traditional style of tie dye practiced in Rajasthan, India that results in brightly colored cloth with distinctive patterns. Lord Rama and Lakshmana- Hindu deities

Lord Vishnu’s Matsya avatar- Matsya (Sanskrit: मत्स्य, lit. fish) is the fish avatar of the Hindu god Vishnu.

Makda- Wooden or iron rod set on loom which is used to separate the upper and lower yarns. Makhaniya - Makhaniya Lassi is a famous

Lassi of Jodhpur. Makhaniya Lassi is a delicious Lassi made with curd, milk. Mandana- Mandana paintings are wall and floor paintings of Rajasthan and Madhya Pradesh, India. Mandana are drawn to protect home and hearth, welcome gods into the house and as a mark of celebrations on festive occasions. Mangeetha- Used for making vegetable dyes.

Marwari- The Marwari or Marwadi are an Indian ethnic group that originate from the Rajasthan region of India. Their language, also called Marwari, comes under the umbrella of Rajasthani languages Mawa kachori - Mawe ki kachori or Jaipuri Mawa kachori is a famous Rajasthani sweet. These are stuffed with sweet mawa filling and then deep-fried and coated in sugar syrup. Meen- Fish

Meghval tribe- Meghval and Meghvar are people who pray for rain. They claim to have descended from the Rishi Megh, a saint who had the power to bring rain from the clouds through his prayers. The Meghval are found in Gujarat, Madhya Pradesh, Maharashtra and Rajasthan. Mihrab- Mihrab (Arabic: ‫بارحم‬‎, miḥrāb, pl. ‫ بيراحم‬maḥārīb), (Persian: ‫هبارهم‬‎, mihrāba), is a semicircular niche in the wall of a mosque that indicates the Qibla, that is, the direction of the Kaaba in Mecca and hence the direction that Muslims should face when praying. 141

Mihrabdar Patti- Inclusion of a Mihrab

Mirchi Bada- Mirchi Bajji or Mirchi Bada is a spicy Indian snack consisting of chili and potato or cauliflower stuffing battered and fried, served hot with tomato sauce or occasionally with mint and tamarind chutney.

Namda- Namdas are a kind of mattress, originally from the state of Jammu and Kashmir. These are made by felting the wool Rather than weaving it Nil abi- Blue water

Nili chitti - Blue spot or blue paint

Odhani or chunar- A headdress that protects the head and face

Panchkuta - Panchkuta means 5 ingredients - Kair, Sangri, Kumatia, Gunda and Aam chur (raw dried mango slice) all are sun dried & found widely across the Thar Desert. Parda system- Pardah or purdah (from Persian: ‫هدرپ‬‎, meaning “curtain”) is a religious and social practice of female seclusion prevalent among some Muslim and Hindu communities. 142

Patti- Stripes

Punja- A metallic claw-like fork used for beating the weft yarns on the warp so as to adjust it there. Pyaaz kachori- A crisp and flaky deep-fried snack recipe made with plain flour and onion stuffing

Qibla- The Qibla is the direction towards the Kaaba in the Sacred Mosque in Mecca, which is used by Muslims in various religious contexts, particularly the direction of prayer for the salah.

Rabari tribe- The Rabari, also called the Rewari or Desai, are an indigenous tribal caste of nomadic cattle and camel herders and shepherds that live throughout northwest India, primarily in the states of Gujarat, Punjab and Rajasthan. Ralli Pattidar- Simple blue stripes

Ralli- Small decorative pieces of material are stitched together in an attractive pattern to form the top of the spread known as Ralli

Rangoli- Rangoli is an art form, originating in the Indian subcontinent, in which patterns are created on the floor or the ground using materials such as coloured rice, coloured sand, quartz powder, flower petals, and co-

loured rocks. Rani haar- Long necklaces that reach the belly button Rath- Tool used for separating and tightening of threads Ruchh- Two bamboo pieces onto which the Kamana is attached with the beam, just above the reed

Kaatha.

Tayri- A straight 1-1.5 inches wooden stock used for Rolling the weft yarns which keeps on passing from one end to another (called tairna in Hindi language) to form weave Teer - Arrow

Sakas - Indo-Scythians (also called Indo-Sakas) were a group of nomadic Iranian peoples of Saka and Scythian origin who migrated southward into western and northern South Asia Sanganeri- Sanganeri is a hand-block printing technique originating from Sanganer, a village in the southern part of Jaipur, Rajasthan. Satranji- A carpet or floor rug made of coloured cotton, now usually with a striped pattern. Shabri- Shabri is the well-known Bhil figure, who offered half eaten berries to Lord Rama and Lakshmana

Shahnashin- Chaupar Durries that are actually used for playing the game.

Taana- These are the warp threads that are extended tightly from the warp bean to the 143

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