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Documentation and design by Shreya Tingal Nitya Paul Amarendra Singh Aashima Kapur Neha Harit Sanjna Urval
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AMARAVATI
1. Raw spools of yarn
ACKNOWLEDGEMENT We are thankful to our mentors for helping us shape our Research work. We sincerely thank Mr. Vinesh Tapre for guiding us through our research work and analyzing our data to the optimum as well as giving us local contacts.We would like to thank our subject faculty Mrs. Sushmita Das and Mrs. Anusha Gawade for guiding us in shaping out this coffee table book. We would like to thank the craftsmen Mr. Zainul Abedin and Mr. Ashok Bene for their time and patience in answering all our questions. National Institute of Fashion Technology, Mumbai for giving us this very remarkable experience.
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v Amaravati and History 10 - 17
People and Culture 18 - 23
l Timeline of design 24 - 31
Process, Progress 32 - 47
; Conclusion 48 - 49
Q Glossary 52
CONTENTS
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2. Hauz Katora
AMRAVATI AND ITS HISTORY
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Every town looks alike until it is dug deeper – its roots studied and its culture experienced! ‘Abode of immortals’ – Amravati is one of the many incredible cities in the state of Maharashtra. Established in 1097 A.D, the city stretches amidst two rivers – Purna River on the West and Warda River on the East. Clear blue skies, vast green fields, from the bright sun to the grey monsoons against the green fields, this city stands true to its reputation.
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3. An ancient graveyard with rich architecture found amidst the city of Achalpur 4. A grave at Bebag shah maqbara (Right)
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5. Remains of the rich burial ground indicates the prosperous culture and lifestyle of Achalpur.
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Along the periphery of Amravati, the small town of Achalpur is accompanied by its twin city, Parathwada. With a rich history adhered to its foundation, the grandeur the city once had can be appraised through the relics of the magnificent forts and gates. The beautiful entrance gates of the Qabaristan that bears people of significance and the elevated Minars testify the ever-changing fortune of Achalpur whilst the reign of Khijli to that of the Britishers. Achalpur was built into a magnificent showpiece of imperial authority which seeps through anecdotes and beliefs of its habitants.
5. Passage at Bebag Shah graveyard
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6. Hauz Katora, a former heritage site currently converted into a tourist spot
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7. Local people of Achalpur 8. Big family of sisters (right)
PEOPLE AND CULTURE
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laLd`fr Colorful houses, vividly standing against the grey monsoon sky on either side of the narrow streets with refreshing views of lush green pastures complimenting this array. Achalpur is more than its glorious past. The earthy scent of rain falling on dry soil, cool breeze and captivating scenery â&#x20AC;&#x201C; though the façade of this town is mesmerizing, the culture of Achalpur is equally admiring. It is a challenge to the ethos of HinduMuslim duels in India.
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The land named to pay homage to Hindu Goddess Ambadevi is predominately a home to Muslim families. From Puran Poli to Chicken Biriyani, Eid to Laxmi Pooja tĂĽhe city thrives together through thick and thin. Obscured from the mindsets, all families regardless of their religions and beliefs, live united in this little community. A community where children all are treated like their own and everyone is welcome with a sense of camaraderie.
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9. Children from the neighbourhood posing for the camera
10. Ready to break their fast, children from Achalpur on an evening of Ramzan month.
11. Portrait of a brother and sistrer.
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12. Happy faces posing for the camera
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TIMELINE OF DESIGN, PROCESS AND PROGRESS
defodkl z Divided by religion, united by love, both these families work and prosper together through the craft of dhurrie making and handloom. What started with 50 families indulged in dhurrie making, only one family now pursues it. Zainul Abedin, the hands and heart behind the making of Panja Dhurrie work from his home with assistance from his family members. Hard to find on google maps, his house in the heart of Achalpur. A few turns and climbs are worthwhile when the route is beautifully ringed with pastel houses and the welcome is warm and â&#x20AC;&#x2DC;all-smilesâ&#x20AC;&#x2122;. A family of 13 and smiles from 30, the hospitality showered by elderlies and kids alike is exceptional.
13. Begining of the loom
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14. At peace with her work- making tayri using a charkha (left) 15. Raw spools of yarn
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16. The dyeing process (left), 17. Workplace for the spinning of the yarn (right top), 18. Dyeind yarn ready to be used (right bottom)
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19. Yarn left to be dried after dyeing
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Rolls of white strong threads are pulled and tied from one kaath to another. Over the kaath, with mere assumption and experience, a small distance like 1 cm is left between each tana. It is amazing to see the preciseness in the distance maintained without any marking or measurements. The thread is tied from one kaath, stretched to the other end, rolled below the other kaath and pulled back to initial kaath and rolled back in repetition.
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20. Oldest hand behind the craft, 21. Setting up gurad
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22. Punjs dhurrie making workplace
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Gurad are then prepared by tying knots over a circular rod. It is left loose on one side. The process is repeated on the opposite end, taking the distance as per the required width of the dhurrie. Before the weaving begins, to seal the Dhurrie, Ganth is Made in the beginning to seal the dhurrie. Technically, weft is interlaced with the warp and sealed, to avoid movement while the weft yarns are pushed. The ganth keeping the yarns stay straight and intact.
23. Setting the kaath
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24. Artisans working on panja dhurrie
Waking up at 4, worshipping the lord, without a drop of water and grain of food throughout the day, working in scorching heat with nothing but a roof on the head and will in their hearts, Zainul Bhai and his accomplice don’t shy away from their work even during the month of Ramzan. Panja weaving forms part of the India’s glorious weaving tradition. A panja dhurrie is hand weaved using a ‘panja’. The hard work put into the making a panja dhurrie, the technique and the material used, all pitch into extend the life of the dhurrie up to a century.
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25. Weaving the threads together - Dhurrie in process.
From setting the loom to finishing the dhIt is used to stretch the white threads to the opposite of the Loom which is then fixed using thick ropes and hammered down into the ground. The threads are stretched and are tied in knots around the kaath. The whole loom is used making recycled scraps of metal. Gurad is the warp beam. It is passed over and under the weft simultaneously to secure the weave line.Taana are the warp threads that are extended tightly from the warp bean to the Kaath. It is used for a tight and secured weaving and helps in maintaining the shape of the dhurrie. Tayri are large oval rolls of the cotton yarn prepared by the women of the house. They are used as the weft line is the roll over the wrap yarns. The tool owing to the name panja dhurrie, Panja is a â&#x20AC;&#x2DC;Yâ&#x20AC;&#x2122; shaped tool similar to the palm of our hands, hence the term panja, used to secure the weft yarns against the warp yarns. Consisting three parts - two trapezium shaped frames and one rod- Ghoda is used to fix the width of the dhurrie. Makad is a bamboo or wood tool used to lift the gurad after passing the weft yarns. There are two makads on each side of the ghoda. At the ends of each makad a rope is tied and looped over the gurad for the ease of movement.
26. Using the selfmade punja tool , the core thing for Punja dhurrie making.
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27. A sneak peak into the lives of the artisan - tayri made with the help of charkha (left) 28. Spools of dyed yarn
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Tayris of different colors are selected, according to the design requirement. The makad is then pushed back and forth to both the sides of the Ghoda. This enables the â&#x20AC;&#x2DC;Up-downâ&#x20AC;&#x2122; movement the Gurad. In the space between the alternative warp yarns, the weft yarn is passed from one end, and is securely pulled to the other side. The panja is then used to tighten the weft warn against the wrap yarn to achieve a tight weave with no spaces in between. Tyaris are passed repeatedly as per the design. Attention to minute details is paid once the dhurrie is completed. The loose edges are knotted and are cut into fringes. Extra threads are cut off to give a neat finish. The Dhurrie is then washed to remove and left to dry. The dhurrie is now ready to be delivered to the customer. From geometric designs to animal motifs to floral motifs, the customized Panja dhurries are made on orders. The process of setting up the loom and weaving together feet long dhurries can take fortnights to complete.
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29. Artisan at work 30. Hands and heart behind the craft (right)
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31. Lost in his work - Zainul Abedin doing what he loves
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32. The patent geometric patterned dhurrie (left) 33. An asana made out of dhurrie (right)
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PERFECTION HAS PRICE
Days of backbreaking work, precision, the heart and soul of the craftsmen is put to create a single dhurrie, making Panja dhurries one of a kind and expensive. The cost varies from Rs.5000 - 50000 depending on the sqft of the Dhurrie. These dhurries are handmade with meticulous care, extending the time to make them. In a fast-moving world, the wait for goods is no longer accepted. Handmade dhurries are now replaced by quicker, machine made dhurries. 47
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CONCLUSION
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34. Strands of white threads spread across the yard
The warm hospitality of this city reaches one and all. Their will to work hard and strive for recognition, peace and harmony among the communities and the breathtaking architecture are more than enough reasons for one to keep visiting this hidden gem. The culture, value and traditions that reside in this community, is something that we can all learn from. In spite the drudgery of the craftsmen, making the optimum from the available resources and appreciating the small things in life, inspired us. The week in Achalpur shaped our thinking, gave us a new perspective and taught us value and appreciate more and work hard as an individual and team as well.
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35. The finished product ready, after days of hardwork and dedication
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GLOSSARY
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1. 2. 3.
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Raw spools of yarn Hauz Katora An ancient graveyard with rich architecure found amidst the city of Achalpur A grave at Bebag shah maqbara Passage at Bebag Shah graveyard Hauz Katora, a former heritage site currently converted into a tourist spot Local people of Achalpur Big family of sisters Children from the neighbourhood posing for the camera Ready to break their fast, children from Achalpur on an evening of Ramzan month. Portrait of a brother and sistrer. Happy faces posing for the camera Begining of the loom At peace with her work- making tayri using a charkha Raw spools of yarn
16. 17. 18. 19. 20. 21. 22. 23. 24. 25.
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The dyeing process Workplace for the spinning of the yarn Dyeind yarn ready to be used Yarn left to be dried after dyeing Oldest hand behind the craft, Setting up gurad Punjs dhurrie making workplace Setting the kaath Artisans working on panja dhurrie Weaving the threads together - Dhurrie in process. Using the selfmade punja tool , the core thing for Punja dhurrie making. A sneak peak into the lives of the artisan - tayri made with the help of charkha Spools of dyed yarn Artisan at work Hands and heart behind the craft Lost in his work - Zainul Abedin doing what he loves The patent geometric patterned dhurrie An asana made out of dhurrie
34. Strands of white threads spread across the yard 35. The finished product ready, after days of hardwork and dedication
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Exploring the land of immortals, the journey of looking at the lives of the people and the culture of Amravati and Achalpur, shows the true meaning of life and love for the craft they call Punja Dhurries. â&#x20AC;&#x153;Dhago Mein Ibadatâ&#x20AC;? is an attempt to show the beauty that lies behind the handcrafted dhurries and the hearts that go into carrying the tradition and making Achalpur known for its colours and heritage.
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