Dhaage- A tale of the exquisite Paithani Saree by Tanishka Samant

A tale of the exquisite Paithani saree

धागॆ (Dhage) Published in 2021. Designed, Written and Processed by Tanishka Samant Editing done by Tanishka Samant All rights reserved. No part of this publication may be reproduced by any means without the prior written permission of the publisher who is the copyright owner. The author also asserts his legal and moral right to be identified as the author of this book. The contents of this book are believed to be correct. Please note that the assessment of attractions and so forth are based upon the author’s own experiences. In fact the publisher does not accept any responsibility for any consequences arising fron the use of this book.

Introduction

What is Paithani?

Story of Paithani

A place for handwoven Paithani saree

Significance

Weaving Process

Designing of Paithani

Makers of the Paithani

Commercialization of Paithani

Future of Paithani

Contents Page

Introduction ‘धागॆ’ is a book which sheds a light on the dying craft of the Paithani sarees. The beauty of hand woven sarees is captured by the author. The leagcy of Paithani weaving has been carried along through generations and we would not be doing justice to the craft if we let it become extinct. The book answers the questions about

the history, weaving techniques, where the craft stands today and various other questions. The book is a documetation of the author’s experience of spending days with the craftsmen at Silk Bazaar in Aurangabad and learning about the craft. We hope you live the same experience as the author did.

Charkha and bundles of silk

Paithani is one of the most exquisite sarees crafted in India. Paithanis come from a small town in Aurangabad, Maharashtra. These sarees are handwoven by the craftsmen on handlooms. Paithanis are made out of pure silk and are considered one of the most expensive sarees in India. The art of weaving Paithanis has originated and flourished in Maharashtra for 2000 years. The Maharashtrians have carried on this legacy of detailed and intricate weaving for centuries. The elements of the saree like the golden

or silver zari, colours, and motifs make a Paithani saree unique. The padar of the saree is a very interesting part of the saree as it has multiple motifs and is the highlight of the saree. A signgle saree can take weeks or months depending on the intricacy level of the saree design. Today, the craft of Paithani is dying as the industry and market are saturated with power looms. The power loom sarees are killing the exclusivity of the hand woven sarees. The dying craft needs to be saved and revived by the coming generations.

What is Paithani?

05 Paithani with bangdi mor motif

Story of Paithani The art of Paithani weaving which has been carried on splendidly for 2000 years originated in Paithan, also known as, Pratishthan. The small town is located 50kms from Aurangabad, Maharashtra. The craft began during the Satvahana Dynasty that ruled between the second century BC and the second century AD. The beautiful saree is named after its birth town. The town used to be known as a trade centre for silk, cotton and zari

(gold yarn). The Paithani flourished during the Mughal Era. Around 17th Century Mughal emperor Aurangzeb also encourages & patronized the art of weaving Paithani sari. It is said that Aurangzeb punished the Jamdani weavers in order to increase the reputation and fame of the Paithani saree. The ‘Aurangzebi’ designs were specially developed for him. These designs are even famous today.

During the early years of Paithani weaving, the saree had a cotton base. Cotton was used as the body of the saree. The set up of the threads or the warp was made of cotton and the threads sewn through the warp were made of silk. As the saree evolved, the base changed from cotton to silk. The zari used in silk used to be made out of pure gold. To create an authentic Portrait of a Lady by Raja Ravi Verma.

and genuine Paithani saree around 500 grams of silk threads and 250 grams of zari is utilized. Back in the day, Paithani saree was worn by royals and people with higher income. The photos on this page show women wearing the saree during the 19th century.

Both: Royal Women from late 19th Century.

Sadly, the Paithani weaving industry experienced a setback with the Industrial Revolution and the advent of the British rule. But in the 17th century, the Peshwas took it upon themselves to promote the craft, and consequently, settled Paithani weavers in Yeola, which is now the

manufacturing hub for Paithani. From then on, Paithani experienced a new lease of life. After Mughals, the Great Madhavrao Peshwe carried forward the tradition of encouraged this art. Madhavrao Peshwe, had special motifs & color combinations designed exclusively for himself.

Other Under the Peshwa patronage, a small town of Yeola, near Nashik, became as important as Paithan. It was the Peshwas who encourages a feeling of pride in Paithani among Maharashtrians.

Left: Beautiful peacock motif on the pallu of the saree. Right: Black paithani with both peacock and parrot motifs called bangadi mor.

A place for handwoven Paithani sarees

Silk Bazaar studio

Maharashtra is known for its rich and exquisite traditional handloom textiles and handicrafts. Hand-woven textiles like Paithani sarees have existed for more than 2000 years in original patterns and are woven with the same techniques. Even today Paithanis are considered as precious heirlooms and possessions by everyone. New weaving techniques were introduced by the various dynasties which ruled the state over the time. These beautiful textiles have left a lasting impression on the history of handwoven textiles, art, and crafts of Maharashtra. Handlooms and handicrafts have proven to be a crucial role in Maharastra’s economy by providing employment and generation of income. This art of weaving is more than 2000 years old, developed in the then splendid city of Pratishthan ruled by the legendary Satavahanas ruler Shalivahana now Paithan in Marathwada, some 50 km

from Aurangabad. In the far past, Paithan was an international trade center for silk and zari. Paithan was the capital of the Satavahanas dynasty (200 B.C.). The main items of export were cotton and silk. Paithan was economically, culturally, physically and geographically advanced. These factors helped Paithan gain the status of a great international trade center. The growth of the textile industry was a result of the it being a trade center. Textiles naturally topped the list and Paithani silk had become extremely famous and popular. After Mughals, the Great Madhavrao Peshwe carried forward the tradition of encouraged this art. Evidence from archieves of the Peshwa period shows that Paithani sari was very popular among the members of the Maratha-Mandal. The powerful Maratha nobles tried to set Paithani weaving industries at their own headquarters at Poona, Indore, Nagpur, Kolhapur, Nasik, etc.

Silk Bazaar, Aurangabad

Silk Bazaar studio

Both: Surroundings outside the studio, Silk Bazaar

The Peshwas took it upon themselves to promote the craft. They set up weaving establishments in Yeola, Paithan and Aurangabad. Today, in 21st century, these three places are the biggest Paithani manufacturers. Paithani weave was at the peak of 34 its popularity during the reign of the Peshwas. The Peshwas also designed their own Paithani called the ‘Asvali’. Yeola is a major handloom weaving centre and the Paithani silk sarees woven here find a prominent place in the domestic market. It is another place where Paithani is still alive, although few families practice the art

now due to industrialization of the craft. Hence, Yeola is as important as Paithan and Aurangabad. The place documented in the book is a studio and store in Khuldabad, Aurangabad. The place is called Silk Bazaar. Silk Bazaar is a private organisation. The place is an organisation to promote and support the craft of handlooms and handwoven Paithanis. The place is divided into to sections for the smooth functioning of the organisation; training and management. They only manufacture quality marked products which are confirmed to specifications.

Handloom studio

Silk Bazaar store 18

Both: Aesthetic door of handloom studio

Sajid Mirza, one of the owner of Silk Bazaar

The owners of Silk Bazaar are two brothers, known as the Mirza brothers. They established Silk Bazaar around 25 years ago. They started the establishment as a family business. They run a very transparent business and and aim to blend traditional art and functionality harmoniously. They believe in giving concrete education about the art of weaving and helping young artists and weavers seek profitable employment opportunities. For this mission, the need for a weaving training center is a necessity. They have three shops in Maharashtra and two handloom studios with 50-100 handlooms.

Mor butti on saree

The Paithani saree is the most stunning as well as traditional fashion piece cherished by Maharashtra. Paithanis are an intregral part of the Maharashtrian culture since the origin of the saree. Paithanis were known to be worn by royals and people with a higher status in the society. During the era of Peshwas, a Paithani saree was one of the precious gift item for other people. The handwoven saree stands out because of its beautiful motifs, the vast variety of colours, pure silk, zari used. The zari used in the making of Paithani used to be made of pure gold and silver. The timeless Paithani saree holds a treasured place in the bridal attire of a Maharashtrian bride.

Significance Zari thread spools

Intricate pallu design

Bangdi mor motif on pallu

The craft of Paithani flourished in the 17th century but saw a slow decline in the late 19th century. The craft was revived by business owners and establishers around 1960s and 1970s. The Paithani, originating from Paithan, is a one of a kind handloom treasure purely woven in silk and zari (thread made of gold or silver). The process of weaving has the primary activity of weaving and ancillary activities like zari making, dyeing or silk preparation. These ancillary activities do not take place at Silk Bazaar, Aurangabad. The zari and

the dyed silk are delivered to Silk Bazaar from Surat and Bengaluru. Depending upon the level of difficulty of craft, time taken for production varies from 10 days to 1 or 2 years. Traditionally men handled the task of weaving on loom and women handled the post processing of the saree. To start weaving the Paithani saree, the artisans have to prepare the loom. The preparation for weaving the Paithani saree itself takes about four to five days, from preparation of the tana (warp) and the bana (weft) to preparing the loom.

Weaving Process

Charkha used for winding spools

Both: Bundles of thread

The two basic raw materials for manufacturing a Paithani are silk and zari. The type of silk used is mulberry silk. The mulberry silk which sourced from Bengaluru, Karnataka. The silk has been sourced from Bengaluru since centuries. The zari on the other hand is sourced from Surat, Gujarat. In the earlier days, raw, undyed and untreated was imported to Paithan. The job of treating and dyeing the silk would be done later. Today the silk is imported pre-dyed and treated. The silk is imported in two type- the warp (tana) and the weft (bana).

The warp (tana) is pre-stretched and is bought with pre-counted threads and in the length required for two sarees. The weft (bana) is brought as single filaments of silk and twirled together four or five times depending on the thickness of silk cloth to be woven before starting the weaving process. The imported silk is spun into bundles for organization and sorting out the silk. The silk is then spun from the bundles to smaller spools. The smaller spools are used while weaving the saree. Silk is imported in kilos. It is quality tested. Every saree uses upto 500 to 700 gms. Mulberry silk costs upto ₹3000 to ₹4000 per kilo. Machine used for spinning silk in bundles

Both: Bundles of colourful silk

Tools used for charkha

Charkha for winding spools

Naziba winding zari on a spool

These days two types of zaris are available as not everyone can afford zari made out of authentic gold and silver. One of the zari types is a copper zari which is cotton thread twirled with copper wire and the other one is a silver zari which is a silver wire twirled with a silver wire and is also wrapped in gold foil. The copper wire is a cheaper and user-friendly option. Silk Bazaar produces sarees with authentic gold and silver zari on demand. All of the zaris are sourced from Surat in Gujarat. The copper zari is market rated at ₹2000 to ₹4000 and the silver zari costs between ₹5000 to ₹6000. A single saree uses 100 gms to 250 gms of zari.

Small thread spools

Initially organic dyes were used for dyeing the silk. Plants, flowers, various roots and metal oxides are used to obtain natural dyes. As the dyes were only natural only a limited number of colours were available like yellow, orange, red, blue, green and magenta also known as falsa. These are also the typical colours of Paithani. As time progressed the type of dyes evolved and hence created a larger range of colours and shades. In today’s scenario, chemical and synthetic dyes are used. This makes the process of dyeing faster and also makes the colour durable. Silk Bazaar obtains pre-dyed silk from the Bangalore Silk Board.

Colour variety of silk

The preparation for weaving the saree takes about four to five days, from preparing the silk for tana and the bana to preparing the loom. The tana (warp) is first prepped by stretching and separating the silk threads. It is stretched multiple times by wrapping around a spindle to smoothen out kinks and detangle the thread. It is then wrapped around the drum of the loom which is known as the dhol. It is ensured that the tana is tightly wrapped around the dhol to maintain tension. Loosening of the tana causes unequal weaving and warping of the saree. The tana has seventeen and a half bundles of ninety threads.

Craftsmen working on handloom

Warp set on the loom

Dowel with white threads

Warp set on the loom

Craftsmen working on the loom

Design sheet

The tools used by weavers for weaving a Paithani saree on a handloom are quite simple. The most esential tool is obviously the handloom. The weaving of the saree doesn’t start until the warp is set. The other tools which are used are shuttles, thread spools, a comb, shed stick and a pair of scissors. Each tool has its purpose. A shuttle (dhota) is used to weave a larger part of the weft throught the warp threads. For smaller sections, like the motifs and the pallu, small thread spools (kandya) made out of either cloth or plastic are used. A large tapestry needle can also be used instead of

the spools but the spools are easier for the craftsmen to use. The comb and the shed stick mostly have same purpose which is to push down the woven weft threads. They also keep the threads from tangling. The shed stick is also called a dowel. And the pair of scissors are used to cut the hanging threads. The craftsmen use a design sheet for reference for the border and the pallu. The design sheet is placed under the warp. The design sheet has a detailed drawing with specified colours.

Tools used like shuttle, spools and scissor

Spools of vibrant colours

Tool kit of a craftsmen

The craftsmen start the weaving of Paithani with the body of the saree. The body of the saree if defined by the border which is called the kath. The kath is made of zari. The kath runs along both the sides of the saree. The kath has intricate design with traditional motifs. The body of

the saree is usually plain with round buttis. A shuttle is used to weave the body and the buttis are handwoven. Every saree has around 200-300 handwoven buttis. The design of buttis can change to small flowers, leafs and paisley. A handwoven saree can take months or a year to finish.

A Paithani saree is woven upside down. The craftsmen work on the backside so the front stays smooth. The craftsmen need to take care so that the back doesn’t seem shabby and look as smooth as the front.

Completed saree rolled around the tulai

Weaving of saree in process

Design sheet under the warp

Weaving in process

Smaller handloom for Paithani dupattas

Muslin cloth used to protect rolled up saree

As the weaver weaves through the saree, the saree is rolled around the tulai (cloth roller). The next step of weaving a saree is the most intricate part which is the pallu that is called padar in Marathi. The padar is woven with a zari weft over a silk warp. The padar is entirely made up of zari with traditional motifs like peacocks, parrots, lotuses, leaves, bangdi mor and asvali. The padar is very intricate and time consuming part of the saree. It can take upto either 2 weeks or 2 months depending on the level of detail and intricacy of the design. A padar is about 24 to 36 inches of deatiled and complex zari work.

Use of spools during weaving

Saree rolled around tulai

Shuttle between the warp layers

Front side of saree under the loom

Intricate weaving

Paithani dupatta in process

Peacock sitting on a vine motif

What makes a Paithani unique are the motifs used used the the kath and padar. The motifs seem to be inspired by flora and fauna found around Paithan. The typical motifs of a Paithani saree are peacock (mor), parrot (tota), lotus (kamal), bangadi mor, narali, aswali and buttis. The Aswali motif, which is a creeper with six pointed flowers, was widely used during the Peshwe era. Another geometric motif used called Akruti.

Designing

Unique parrot and peacock motif on border

Parrot motif

Bundles of silk threads

The parrot (tota) is one the first motifs ever used on a Paithani. It is a very simple and minimalist motif. The motif was patronized by the Nizams in the the 19th century. These motifs are used on the border and the padar. The padar usually has a central design element of an exaggerated design one of the motifs. The value of a Paithani is also determined by the weaves used. The basic weaves used are interlocking weave, split tapestry weave and dobe-tailing weave. An interesting thing about Paithani is the saree looks exactly the same as the weaving is done so intricately that it leaves no Up: Beautiful pallu design, Down: Multiple thread bundles

hanging threads and everything is sealed. This is important to identify a authentic Paithani saree. The colours of the saree are obtained by combining different colours of tana and bana. This also gives the saree a dhoop chaon (dual colour) effect. For example, a red coloured tana and a blue coloured bana will give a beautiful purple colour to the saree. The typical colours of a Paithani saree are red, yellow, orange, blue, green, blue, purple and magenta. The use of syenthetic and chemical dyes has opened up a lot of colour options.

59 Craftsmen working on the handloom

Makers of the Paithani

In India, the knowledge of the art and craft is passed down from generation to generation. The art of weaving a Paithani follows the tradition of keeping the art in the family. In the olden times, small communities were formed to create emploment for people and also a little competition. These communities later developed into establishments to support weavers and the craftsmen. These days the concept of family weaver in the craft of Paithani is declining. New weavers with complete training are being employed as an initiative by the Maharashtra Govt. to revive the art of weaving. Both: Naziba working on the Paithani dupatta

Naziba winding zari spool

Jitu weaving a Paithani

Ravi and Mahesh working together on a saree

Jitu has been weaving Paithani since he was a kid

There are around 12 to 15 craftsmen and weavers at Silk Bazaar. Due to the unfortunate situation of the global pandemic we did not get the chance of meeting all of them. Talented craftsmen are employed at the Silk Bazaar. All of them had interesting stories related to the craft. Jitu comes from a family of weaver. He started to weave as a schoolgoing kid. Ravi,Mahesh and Naziba started weaving Paithanis a little later in life. All of them have been involved in the art of weaving since 15 to 16 years. The craftsmen get paid per saree.

Naziba and her son at work

Rahul, manager at Silk Bazaar

Commercialization of the Paithani

Typical Paithani motif on a clutch

Paithani inspired pillow covers

Silk Bazaar is divided into two section for easier management, the handloom studio and the store. It is a massive store which house a large variety of handwoven pure silk Paithani sarees. They also sell contemporised products of the craft like pillow covers, clutches, hand bags, dupattas and many other things. The price of Paithani is determined depending on the level of intricate work done by the craftsmen. The starting range of a Paithani saree at Silk Bazaar is ₹8000 and the the sarees can go upto ₹40,000 to 1 lakh. Silk Bazaar is a private establiment. They do not mass produce sarees and sell them to other suppliers. Silk Bazaar is known for its gorgeous handwoven Paithani sarees. Commercial store of Silk Bazaar

Commercial store of Silk Bazaar

Stack of handwoven sarees

Gorgeous spread of sarees

Front and back side of a Paithani saree

Paithani saree with a twist of bangdi mor motif

Handloom Paithani sarees can further segregated into two types- Brocade Paithani and Pure silk Paithani. The only difference between these two sarees is the size and intricacy of the design of the padar. The brocade Paithani has a padar of 40 inches whereas the pure silk Paithani has a

28 inch padar. Taking good care of a pure silk saree can increase the life span. Thee numerous ways to make sure the saree stays safe. It is adivised to store the saree in a musling cloth bag and kept it safely in a wooden chest. Teak is the best type of wood to store pure silk sarees.

Details of a Paithani

Royal blue Paithani saree

Unique border design

Details of a Paithani saree with a Narali motif border

Handlooms are considered as Indian heritage. They hold so much importance in our culture, history and also the country’s economy. They explenish the richness and diversity of India. Handlooms gives the opportunity to experiment and creative liberty to the weaver and craftsmen to make soemthing unique. The handloom sector provides direct employment to a large chunk (65%) of artisans. The Government has been taking iniative and providing assistance to weavers for this sector of industry to not go extinct. The handloom need to be appreciated for the genuine innovations created on them by the craftsmen.

Future of the Paithani Light source for the loom

Foot treadles of handloom called pavdya

Batten adjusment for handloom

The serene art weaving Paithani started to decline due the introduction of the powerloom. The authentic Paithanis are striving to survive in the pool of duplicates and fakes. The power looms have enable the mass production of Paithanis but of course they are not the real deal. To

spot a genuine Paithani, these signs should be noticed. The reverse side of handwoven Paithani looks the same as the front whereas the machine made saree has a mesh lining. As the Paithani is handwoven, no two sarees are the same. The design maybe be similar but the weaving skill and

technique used by the craftsmen is unique. Small craft clusters are trying their best to keep this craft alive. Handloom Paithanis crafted with by hand are one a kind and need to be saved. We should take strides to make sure this craft of weaving Paithani is not killed by power loom.

Warping beam as called dhol

I am extremely grateful for Silk Bazaar for opening up their store and studio for research and documentation. The craftsmen working there have helped me make this book tangible and valid. I also want to thank my mentors for supporting me throughout the process of creating this book.

Acknowledgements

Tanishka Samant A true maharashtrian at heart, the author has been exposed to the beautiful craft of Paithani since a young age. She has worked on every aspect of capturing the essence of Paithani in all its stages. Documenting the culture that goes hand in hand with the craft, she aims to do justice to the weavers who work tirelessly to create these weaves.

About the Author