Historical Perspective of Patola Saree of Gujarat

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1 Historical Perspective of Patola Saree of Gujarat Mili Niraniyan, Assistant Professor, in Home Science Govt. College for Women, Karnal Abstract : Traditionally India has a treasure of concentrates on a variety of handicrafts but none as fascinating as its varied and exquisite handloom textiles. Among the Indian handloom textiles, a distinctive place is held by ikat-tied and dyed yarns hand woven to produce pre-determined patterns. The rich and beautiful products of the weavers of India have been rightly called exquisite poetry in colorful fabrics. Among the Indian hand woven(s), Patola saree is one of the finest products of Indian traditional handloom weaving. In India, Patola sarees are products of Gujarat in North- Western India. In Gujarat, Patola saree is held in such high esteem that it figures prominently in social and religious ceremonies. Patolu (singular) and Patola (Plural) are the terms normally used in Gujarat for silk weaving in double ikat. The present study was conducted by interview schedule to find out the origin and brief history of Patola sarees of Gujarat. The study will throw light on the facts regarding the credit of introducing patola sarees in Gujarat along with its history. Key words :- Handicrafts, handloom, textiles, hand woven, weaving, double ikat, Patolu, Patola. Introduction: India is famous for its unique textiles since Roman times and it has been able to retain this predominance through to the present day. The rich and beautiful products of the weavers of India have been rightly called exquisite in colorful fabrics. The Indian saree reigns supreme among the beautiful costumes of the world. Traditional Indian handloom sarees are fascinating and popular all over the world. As written by Srimati Kamala Donger key Although

2 India has various costumes for men and women, the saree has got special importance and significance, it signifies to us and the world our national dresssince many centuries the saree continues to dominate Indian scene. During the establishment of Mughal Empire in India, the handloom industry of India attained its highest glory, as the art was patronized by the royalty. Hand weaving is popular to such and extent that today we find weavers in many parts of India producing sarees of aesthetic quality like the resplendentkancheepuramsfrom Tamil Nadu, the exquisite Patola from Gujarat the vibrant Bandhanisfrom Rajasthan, the spectacular Jamdani sand Balucharis from Bengal, the gorgeousikat from Orissa, Banaras Brocades and the soft Chandari s and Maheshwaris from Madhya Pradesh. Among the Indian hand-woven(s), Patola saree is one of the finest products of India. A patola is a double ikat woven textile. It is the traditional silk wedding saree of Gujarat. The technique employed in weaving a patols is tabby or plain weave, the most elementary of all weavers. The art of the ikat process lies in the tying and dyeing of the warp and weft threads before the weaving begins. In India, the production of ikat textiles is mainly concentrated in the regional states of Gujarat. This art of tying and dyeing of yarn for a pre-determined pattern before weaving is known as Bandhana in Orissa, Pochampalli in Andhra Pradesh and Patola in Gujarat. Of these ikat weaving centers, Gujarat enjoys a special status with double ikat weaving as one of its important crafts. A unique feature of double ikat textiles is that both sides of the cloth have equal intensity of colourand identity of design. Another feature is the slight blurring of the designs in both directions-warp and weft which gives this cloth its most recognizable characteristics. According to Desai, Chelna, each region has produced a rich variety of traditional and contemporary ikat patterns corresponding to the socio-cultural needs of each community and in recent years, to the requirements of urban and international markets. Patola, the doubleikat silk textiles of Gujarat, demonstrate great technical mastery. Today, it is only in the city of Patan in Mehsana district, the ancient capital of

3 Gujarat and in Rajkot district, that this age old craft survives. Patan or AnahilavadPatan is an affluent town in Mehsana district in Northern Gujarat. It was once the capital of the prosperous Solanki and Chauhan kings and is famous for its Jain temples and libraries. Already in the 10 th century, AnahilavadPatan was famous for its textile products and even now days, besides double ikat, mashrufabrics are woven here. Patan is 130 km away from Ahmedabad that is second biggest textile centre in India. A.N. Gulati (1951) did study on The Patola of Gujarat. It dealt with the collection of information from available literature and from the weaves. His main objective was to study the details of the technique of patols manufacture, size, motifs, their prices, colours, ornamentations, raw materials used and demand of these sarees in abroad and India and the place of patolu in woven fabrics. Some information was also gathered on the etymology and history of the word patolu. Patel (1975) studied some of the hand woven sarees produced in Gujarat state. The study dealt with the collection of information from the weaversof cottage industry. His main objective was to study weaver s background, steps in production of saree, types of sarees produced and their prices, motifs, colours and demand of their sarees. Alfred Buhler and Eberhard Fischer in 1979 conducted study on The Patola of Gujarat, double ikat in India. They also analyzed the old and contemporary pieces of patola in the collection of Baloda Museum and Calio Museum at Ahmedabad. R. Sivaraman on 30 th September, 2013 wrote an article in The Hindu-on the edition of India s National Newspaper on Patan Patola regarding the filling an application before the Registry of GI for registration of its products under the names of Patan Patola. Materials and Methods: A survey method was adopted to carry out the research and to collect the required information regarding the origin and history of patola sarees. For this research, an interview schedule was used because of the low education level of the respondents where it was difficult to implement a questionnaire. The

4 schedule had a large proportion of structured question i.e. closed question with few unstructured question i.e. open ended questions as necessary adjuncts. The schedule included questions regarding the origin and history of this art in Gujarat, along with specially and purpose of this. The study was limited to Mehsana District and to weavers residing in Patan of Gujarat, where the art of weaving Patola sarees has been by a handful of weavers. The data was collected personally by administering the interview schedule. Additional information was gathered by referring to various published and unpublished works. Results and Discussions: A great deal of conjecture surrounds the origin of double ikat in India and many theories have been put forth with regard to its beginnings. From the 12 th Century onwards, references in praise of patola appear in the writing of many eminent poets and authors of Gujarati literature. This explains the Gujarati women s insistence for this indigenous fabric as a wedding costume. This theme is well depicted in the poetical composition of Prem Chand, a seventeenth century poet of Gujarat LaisPatolasar sari nahinpehrun. It means. I must get a Patola and will not wear saree. This is in Kerala, that Patola fabric was familiar in the wall paintings of the Mattancheri and Padmanabhapuram palaces. They depict designs of clothes which bear close resemblance to the patan motifs of patola. Though palaces are considerably older, the paintings have been dated to the 17 th and 18 th centuries. There are definite references to patola in the accounts of European travellers from the beginning of the sixteenth century in the works of such writes as Barbosa, Correa and Castacheda. In the sixteenth century, the French traveller Tavernier wrote: Patola, which were the stuffs of silk, very soft, decorated all over with flowers of different colours, are manufactured at Ahmedabad. This is one of the profitable investments of the Dutch who do not permit any member of their company to engage in this private trade. They are exported to the Philippines, Borneo, Java, Sumatra and other neighboring countries.

5 According to Buhler, Alfred, the term of ikat is a Malay-Indonesian word and introduced into the European language by Rouffaer comes from the word Magikat. It is used for yarn tie and dye only as Bandhani. Ina the Malayan Peninsula, the native silken fabrics in Ikat Technique are known as tjindai tjinde or Chindi. During the Dutch colonial era in Java, Patola known locally as tjinde were worn as silk trousers by Javanese district regents. So great was their significance, that they were utilized at every important transitional phase of life-from naming ceremonies, initiation rites, wedding rituals, to covering for the dead. Historical evidence has established that Patolas and other Indian textiles were exported to many parts of the world in the thirteenth century. One record states that in 1342 Ibn Batuta, a traveller from Arabia, brought to the court of China gifts from India s Sultan. These included cloth whose raw material was dyed in four or five different colours. The multicoloured fabrics of saree length (5.5 meters) were traded between India and the Indonesian archipelago. There were called tchindi. The well known historian on the textiles of Indonesia, G.P. Rouffaer, maintains that patola had been exported to Indonesia for 600 to 700 years. Chinese sources of the Ming period record that MadjaPhit, King of Eastern Java, wore flowered sarons, presumably Patola. The highest nobles of the court of Jogjakarta and Surjakarta wore garment of patola silk, as did the dancers from the royal families. It was essential that on their wedding day, the bride and groom wore patola. In the northern Celebes, patolas were used for temple hangings and also worn by the priests. Considered sacred, they are still uitlised as part of their ceremonial dress. Textiles of Indian origin, predominantly from the coromandel west and Gujarat, have played a significant role in trade with the south-east Asian and archipelago. Among the much admired fabrics were the precious silk patola or tjinde from Gujarat. They were used as ritual objects and as ceremonial garments and had a great influence on the local textiles.

6 In many parts of South-East Asia, Patolas were used for garments-waist clothes, trousers, shawls, scarves and belts. They were also used in costumes for dramatic performances. During the 18 th and 19 th centuries, export to Indonesia continued - but to a lesser extent. It was largely as a result of the introduction of printed textiles during the industrial revolution and local patoluimitations thatpatola export declined. A ban on imports from India during the Second World War finally sealed off all avenues of this once flourishing trade. A common saying in Gujarat is: Padepatole bath fate pan fitenahin It means someone who is steadfast and honourable is like the patola where the design may tear but the color will never fade. Of all tie-dyed or resist dyed textiles in Gujarat, Patola still retains pride of place. It has become part of Gujarat s history and legend, and can almost be said to be an object of devotion. A typical Gujarati folk song as given below indicates how inextricably patola is woven into the social life of the people. Chelaji, being me a costly patola from patan, Drawn with beautiful peacocks of brightened hue, A Kesuda border and a pallav brimming with life, In Patan town, I want to become apadmini wearing a patola, Its colours spreading brightness around, With diamonds and a pair of pearlstudded bangles, Bring me a patola from Patan; Beautiful anklets I will wear, My feet will resound with the music of chum-chum Bring me a patola from Patan; In my ornaments thread costly pearls, Chelaji, Bring me a patola from Patan; The word patolu also occurs in two couplets attributed to Ranak Devi, the wife of Rakhengae, the ruler of Junagadh in the eleventh century A.D. It is said that Ranak Devi was forcibly brought to Wadhwan by Sidh Raj Jaya Singh, the ruler of Gujarat after killing her husband. She uttered these

7 couplets while waiting over her husband s corpse, and in protest to accept Siddha Raja as her future husband. The said couplets are: (i) vayepharkemuchadilayanaj habukedant, juvopatolavalio, Lobadivali no kant. The moustache moves with air, teeth sparkle like gems, O. wearers of patola, see the husband of Lobadi wearer. (ii) Balunpattandesajisenpatolani pje, gawosorathdesalakhe in male labadi. I will burn the town of patan where patolas are manufactured,saurastra is good where woollen sarees are available. On the strength of these couplets, it is assumed that Patan was known for its patolas in the 11 th century. Patan, the ancient capital of Gujarat has been the centre for patola for many centuries. The traditional patolu weavers belong to the Salvi caste Salvis, a small class of handloom weavers, called from SAL, a Loom. Some of the Salvis are Jains, some vishnuite Hindu. Hindu and Jaina Salvi families frequently intermarry i.e. that religious beliefs are not a barrier now a days. Accordingly to salvi accounts, they were brought from the South by Mulraja, the ruler of Gujarat in the tenth century. SiddahrajaJaysingh s mother, who belonged to the South, is also credited with bringing thesalvis to Gujarat. Yet another version accounts the story of Siddharaja s son Kumarpal, the Jain king who ruled Patan in the eleventh century. The salvis stated that they had been weaving patols for generations. The origin of the patola art was related with the story of king Kumarpal. There is some description of King Kumarpal sstory in holy book of Jains Guru Pattavali. They told that he always wore a patola when carrying out the Pooja ritual for Parshvanatha; because silk was considered a pure fabric. One day a merchant from Mungipattana is South India, who was a friend of the king s entered the temple for Darshan. He warned the kind that this patola was not Pavitra (Pure) for it had already been used by someone else. On enquiring why, king Kumarpal was told that the king of Mungipatttana in South India, used each new patolu on

8 his bed and than had sold them. So these textiles were not suitable for pooja rituals. The king considered the consequences and sent his servants to the country of Mungipattana to bring Salvi s from there. The king of Mungipattana refused to comply, king Kumarpal defeated him and brought 700 families to patan in the eleventh century so that the king might had a new patolueveryday. Over the centuries the salvi skill has been highly valued and patronized by the nobility and royalty.

9 Conclusion : The history of these famous textiles is as enchanting as the fabric itself. Today, it is only in the city of Patan, the ancient capital of Gujarat that this age old craft survives.since in North-West India, especially in Gujarat, not only do all resist-dyeing-technique exist in their simple as well as complex forms, but also the usage and tradition of patolu fabrics are anchored more strongly here than anywhere else, the most likely Indian place of origin of double-ikat techniques would be this region. References: 1. Buhler, A. and Eberhand F. The patola of Gujarat- Double Ikat in India, 2 Vols, Krebs AG, Basle, Switzerland Desai, Chelna Ikat Textiles of India, Graphic Sha Publishing Co.Ltd.; Japn, May Buhler, A. The Ikat Technique, 4. Mapin; Patolas and Resist Dyed Fabrics of India, Map in publishing Pvt. Ltd. Ahmedabad. This catalogue has been published in conjunction with the exhibition- The vogue of cloth-held at Bank Duta, Jakarta from Jan 27, 1988 to Feb 2, Gulati, A.N. The patolu of Gujarat, Museums Association of Gujarat, Ahmedabad, Das, Sukla, Fabric Art Heritage of India, Abhinav Publications, Hauzkhas, New Delhi Khatoon, J. Patola Fabrics- A Review, the Indian Textiles Journal, July Ciba Review, August 1942.

TABLE OF CONTENTS. List of Tables List of Figures List of Abbreviations. Chapter I Introduction 1

TABLE OF CONTENTS. List of Tables List of Figures List of Abbreviations. Chapter I Introduction 1 TABLE OF CONTENTS List of Tables List of Figures List of Abbreviations Chapter I Introduction 1 1.2. Significance of the Study 4 1.3. Statement of the Problem 5 1.4. Objective of the Study 6 1.5. Hypothesis