The Patola saris are one of India’s finest and most recognisable weaves. Originating from Patan region in Gujarat, they have a rich heritage spanning back to the 12th century and today, are seen as heirloom pieces treasured by families and handloom connoisseurs. At the screening of the documentary film, Patan Patola conceptualised and directed by M Balamani at Alliance Francaise, one got to see the dexterous process involved in the creation of these artistic weaves.
M Balamani has a doctrate in art history and aesthetics from the Faculty of Fine Arts, Baroda and says that what makes these weaves invaluable is the complexity and intensiveness involved in their creation. Known as double ikats (which can be worn either ways), Patolas were priced so high that at one point of time only the royal or aristocratic families could afford them.
Patola saris involve a multifarious mathematical process in which dyed threads are woven both horizontally and vertically making them unique. As an art historian, Balamani’s oeuvre of work is on the visual arts and she stumbled upon the richness of these weaves through the course of her work. “Whenever artists I met included certain motifs in their works, they used to call them textile motifs. The term intrigued me and when I saw the Patola saris, I understood that it was these motifs that gave the weaves its singular identity.” she recounts.
(Far left) Balamani
Originally from Warangal, the art historian who now resides in Baroda started collecting information on these weaves and her documentary has inputs from the head of one of the last three surviving weaving families. Having spent six months researching and shooting the film she remarks, “This is one of the great arts of India. Even in Gujarat which is brimming with artisanship, these weaves stand out and are extremely important in the cultural fabric of the place. Most aristocratic families had these saris which were passed on from one generation to another just like any gold ornament would be. This information piqued me and through my short film, I wanted to focus on why these weaves are so treasured.”
Patola-weaving is a closely guarded family tradition. There are three families in Patan that weave these highly prized double ikat saris. What makes them labour intensive is that it takes six months to one year to make one sari due to the long process of dying each strand separately before weaving them together. Their cost goes up to a couple of lakhs per sari.
Balamani says that value is added each day the cloth is worked on which is what makes it special and adds, “This is the silk craft of the region, which is centred around the artisans who create the saris with a lot of passion. It cannot be industrialised because the quality can only be created by humans and needs to be handcrafted.”
She then holds forth on the many discoveries she gleaned during the making of the documentary. “Apart from the history, the processes involved and its stories, there were many things I learnt. The process of weaving is done by treating the textile with really hard needles and the handling of the textile is rough but then that’s what makes the sari durable! It’s really similar to the dichotomy of life where you have to take the rough with the smooth.”
Documenting arts
Balamani has documented and written extensively about arts — from Cheriyal paintings to the silver filigree work of Karimnagar, she has always been vocal about the importance of art in culture. These saris she opines, involve an intellectual passion and commitment from the weavers which has ensured that their craft has survived for centuries.
Most of the designs have been untouched for centuries — the motifs involve a lot of traditional ones like animals, leaves and auspicious symbols of wealth, fertility and prosperity. While the older favourites go by the names of Narikunjar, Navratna, Kesar, Chandan and Fulbhatt, Balamani says that slowly designs are being customised. “The motifs are culture oriented and natural with elements like peacocks and elephants. However, for different occasions like marriages and baby showers, designs can be customised. The attention to detail is astounding — I once saw a sari in which the tiger was depicted in various colours owing to its mood when it’s hunting and resting!”
Though worried about the future of the craft, which is currently being practised by only three families, Balamani seems hopeful that this centuries-old art will not perish that easily. As our interaction comes to an end, we cannot but ask her — does she have a Patola in her wardrobe? “No, I don’t.” she laughs, “I would rather use that money to further the art form and help the weavers.”
