Paithani: Is it saree or Shahu ?

Paithani: Is it a Saree or Shalu ?

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'9 yard vs 6 yard'

I have extensive write-up in my other blog about paithani ( Paithani Blog) and (here). I came across another blog (Link) which sort of confused reader about Shalu and Paithani and 6 yard vs 9 yard. With the same line of thought I am writing few details that will help understand these 2 questions.

1) Saree: It is essentially a saree or a textile that is draped around waist in India by women. In olden days which we link to our culture and tradition, it used to be whole 9 yards even 11 yards. Many people ask me and give me various reasons for its length. A simple question I put forward to you that will answer it.

Q: What was the role of women in India before 20th Century ?
A: Housewife-household work, Farm work and work related to care taking and raising family.

Elaboration: Imagine, for ladies, wear a shorts or jeans or salwar kurti and try running, going to well to fetch water, sitting in farm to pluck produce or sow seed, handling your kids and rest of work that a well organised family needs such as washing cloths and utensils in sitting position, cooking and feeding your baby. Now compare this with wearing a 6 yard saree that is used today.

For men, just compare it by wearing a Dhoti (essentially with the same style of 9 yard or Nauary) with your formal wear or even tight jeans.

In short, 9 yards saree and more importantly the way it was draped is more of a Science and utility than tradition. Go back to small towns or villages and you will see how comfortable and quick women there in all daily work in their 9 yard draping. We are humans who can collect memory and pass them forward and in doing so we name them according to the purpose. Saree is tradition but with reference to the living style of our previous generations.

Irrespective of geographical variation, it was more of less draped similarly. Few variation were again of its utility such as in coastal area, they were folded at knees and in Gujarat, draped around chest more appropriately. Details of each region will be discussed in my next post.

So, understanding the reason of 9 yard drape, its transition to 6 yard can be easily connected to dramatic changes in our civil society, more importantly in British ruled India. Domestic help, life in rather developed towns, concrete or stone houses, cooking gas, kerosene stoves, British style kitchens (standing) and table-chair-sofa culture changed many references to women of India. The role of women shrank to family life and social presence and thus the 9 yard drape quickly became inappropriate socially. A western influence of blouse or top and drape converted 9 yard into 6 yard simply because it was comfortable, appropriate-decent and yet very much Indian. Length was just matter of how much it required to drape accordingly. The distinction (even 50%+ India) is untouched by such transition which can been seen in our villages even today.

I can write more details but will skip here for further article.

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2) SHALU: Shalu was a famous version of Paithani that became popular form of saree in late 17th Century (date may vary as I am using it from my research reference). Shalu has its origin from Varanasi or Banaras and even today Shalu is more referred to Banarasi. It is believed that Peshwa of Pune during their travel to Varanasi (mainly for expansion of Maratha Rule under Chhatrapati Shahu of Satara) brought this version to Maharashtra. Yeola which was prosperous weaving center of Paithani set up by Peshwa, assigned the job of weaving Shalu. It is probable origin of Shalu in Maharashtrian form of Paithani.

One prominent distinction between Paithani Saree and Shalu is its texture. While Paithani was weaved in thick silk or cotton, Shalu was weaved in very fine thin silk. Paithani is essentially a border and plain jari pallu with butti on base, Shalu had some motifs on border and more designed pallu. In contrast to Banarasi shalu, which had all base embellished with jari motifs. It was therefore not exactly shalu for which the term was commonly used. Till 1950's Paithani was mainly weaved in Paithan and Shalu were in Yeola. As liking of Shalu declined due to its simple non evolved form while other regional textile advanced and available across India, Yeola stopped making Shalu and switched to Paithani.

In appropriate terms, Paithani Shalu were nothing but fine Saree with design and not really comparable to the Shalu term which was used for Banarasi.

Since economic levels of society was determined from mainly 3 parameters, Money, Lifestyle and Social respect, Shalu was used by riches and those of economically strong section. It was the reason that made this version of Paithani popular and termed as Shalu.

In summary, Paithani shalu was rich version of Paithani Saree and not really a shalu which essentially has fully embellished base.

Example of Simplest Paithani Saree with Peacock Pallu and Traditional Coconut Border.

Content of this post is copyright material of Rashmi Prashant Tapadia, Touch of Class Paithani Sarees. No part or whole can be used without prior permission of author.
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Paithani: Celebrated Indian Art! Since 200 B.C.

Legacy of Paithani:

Paithani, popular by its name and unique art and tradition is carrier of legacy dating over 2000 years. Born in Paithan, the splendid capital of Satvahana Dynasty in 200 BC by the banks of divine Godavari River, under the patronage of Satvahana’s and later progressed throughout Deccan region. The ancient technique of tapestry has been practiced to make Paithanis, where multiple weft and warp threads of different colours along with gold and silver threads weaved together forming a fascinating piece of silk. At times, Romans imported this Golden Woven Fabric in exchange of gold of equal weight. Survived under changing rulers, art of Paithani flourished under Aurangzeb, who not only brought life to it but also incorporated many novelties in appearance. Floral motifs & AmarVell were contributions from Mughal era. Nizam of Hyderabad was most famous admirer of Paithanis. After declining Mughal influence, Peshwa of Pune once again took it under wings by settling weavers to Yeola, a small town near Shirdi, where Paithani took new dimensions in both design and popularity. Asawali, a motif of flowering vine has credited to Peshwa. Afterwards, Paithani remained ignored textile of Maharashtra in absence of real patronage until Government of India and Maharashtra state along with private enterprises took special interest in its revival. Once again, Paithani is becoming an iconic art of the India dissolving borders of geography and religion.

Paithani carrying cultural legacy of Maharashtra have special meaning in life of women who forms pillar of every family and society. It is the only textile, which unite entire elements of life in the form of blessings and protection to the wearer. Made from natural silk or cotton with precious metal of gold and silver, it gives the Midas touch. Particularly, the motifs that set Paithani above all other traditional fabric bear special significance of true Indian philosophy of living in harmony with nature and its elements.

Traditional motifs those are still popular since its birth over 2000 years ago. Bangle-Peacock motif (Bangadi-Mor), where bangle represent completeness of woman being sign of Saubhagya, Peacock, bird of paradise indicate beauty, royalty, wisdom, wholeness, dignity, love and believed to be a guardian. Peacock also carries sense of energy that comes from its renewal of feathers every year. Its asso­ci­ation with Goddess Sarswati rep­re­sents benevo­lence, patience, kind­ness, com­pas­sion, and luck. In Muniya or Tota-Maina motif parrot is symbolized. Parrot is sign of love and passion. Red beak represents the red earth before the rain or unfulfilled desire and the green feathers represent the green earth after the rains or fulfilled desire, full of joy. Lotus or Kamal Pushpa is motif of close resemblance with Ajanta Caves located in Aurangabad, Maharashtra. It is the sign of rebirth, it closes in the evening and falls to the water, but in the morning, it opens lifting above the surface. It also represents essence of life apart from royalty, beauty and purity. Coconut border (Narali) was most common Paithani border until the end of 19th century. Coconut also known as Sriphal is fruit of gods. It symbolises complete usefulness, selfless service, prosperity and generosity. Coconut tree or Kalpvirshka is termed in Hindu mythology the tree that grants all wishes. Adding sense of beauty and aesthetics more motifs such as Asavali, geometrical figures, Amarvell and flowering wine were incorporated with passage of time.

Each Paithani is a dedicated and painstaking work of an artisan who incorporates his soul and heart in weaving every thread that binds all elements of life in the ‘one’ without which it is just another fabric. Passing love and care from mother to daughter for generations, Paithani achieved its place of most precious heirloom of every woman.

The Weaving of Paithani
For Video click here!


Weaving elements of life

Paithani, that carries the cultural legacy of Maharashtra, has a special place in the life of women who are the pillars of every family and society. The ancient textile unites entire elements of life in the form of blessings and protection to the wearer. It is made from natural silk or cotton with precious gold and silver metal threads that gives Paithani the Midas touch. Particularly, the motifs that set Paithani above all other traditional fabric points to the special significance of living in harmony with nature and its elements. Traditional motifs that are still popular since its birth over 2000 years ago are derived from nature that forms essential part of human life.

The Bangle-Peacock motif (Bangadi-Mor) in which the bangle, as sign of Saubhagya, represents completeness of the being of woman. Peacock, the bird of paradise indicates beauty, royalty, wisdom, wholeness, dignity, love and is believed to be a guardian. The Peacock also carries a sense of energy that comes from its renewal of feathers every year. Its asso­ci­ation with Goddess Sarswati rep­re­sents benevo­lence, patience, kind­ness, com­pas­sion, and luck.

The Muniya or Tota-Maina motif symbolizes the parrot. Parrot is sign of love and passion. Its red beak represents the red earth before the rain or the unfulfilled desire and the green feathers representing the green earth after rains or fulfilled desire, full of joy that forms indispensable part of human life.

The Lotus or Kamal Pushpa is a motif that bears a close resemblance to the murals of Ajanta Caves located in Aurangabad, Maharashtra. It is the sign of rebirth. The Lotus closes in the evening and falls into water. But in the morning, it opens up lifting itself above the surface of water. It also represents essence of life in addition to representing royalty, beauty and purity.

The traditional Coconut border (Narali) was the most common Paithani border until the end of 19th century. Coconut known as Sriphal in India is the fruit of gods. It symbolises complete usefulness, selfless service, prosperity and generosity. Coconut tree or Kalpvirshka is termed in Hindu mythology as the tree that grants all wishes.

The added sense of greater beauty and aesthetics in motifs such as Asawali, geometrical figures, Amarvell and flowering wine were introduced with the passage of time. Emperor Jahangir’s great love for nature and flowers brought many symbolic designs to this textile adding another dimension to Paithani in appearance and increasing its repertoire.

Until the nineteenth century, most borders of Paithani Sarees were rather simple coconut or Pankha (hand fan) heavily woven with metal threads. Brocade borders that incorporated various motifs with silk and jari quickly became popular that gave unique identity to the Paithani saree.

Depending on design, details and size, it takes an artisan one month to two years to weave a Paithani Saree. Each Paithani Saree is a dedicated and painstaking work of an artisan who incorporates his soul and heart in weaving every thread that binds all elements of life in to the ‘one’ without which it is just another fabric. As a legacy of love and care passed down from mother to daughter for generations, Paithani holds its place as the most precious piece of heirloom that every woman possesses.

Making of the Paithani

A Paithani saree is the result of a painstakingly complex process of weaving beginning from choosing raw silk and precious metals to the final product. A century ago, fine silk imported from China and locally made Jari in which gold and silver metal was woven around silk or cotton thread used in Paithani. Today, mulberry silk from Bangalore and Jari from Surat are used. Natural dyes, known for having been drawn for centuries, from vegetables, minerals, plants and rocks are used in a combination that gives attractive colors to silk. The Raw Silk bundles are washed followed by dying and transfer to the reels (asari) to separate each thread before loading to the loom. Setting up the loom is a meticulous job of careful handling where each thread is mounted to bring out the design, color and details to convert these into a fabulous fabric. Ancient technique of tapestry weaving where, warp and weft threads are weaved together using handloom is still practiced which offers control over every thread and thus making each Paithani saree special and different. The weavers use the method of interlocking when more than one base color is used.

Once the loom is set, there begins the journey of weaving each thread that binds elements of life into one golden fabric. Using soft handmade cotton pins wound with silk of desired colors and jari, an artisan with delicate fingers dedicates himself to the path of eternal weaving that takes anywhere between a month to two years.

Embellished with motifs and jari, Paithani takes on a personality of her own and awaits an admirer to become a family heirloom. The whole process is painstaking and takes a toll on vision and bones of the artisan making his life very difficult at times when most of us enjoy and cherish retirement and freedom.

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Write-up in this blog, images, concept and any relevent resources are copyright material of Ms. Rashmi Prashant Tapadia and Touch of Class Paithani Sarees (http://www.touchofclass.co.in).

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