It has an ornamental zari border and pallu-and buttis (little designs) of tara (star), mor (peacock), popat (parrot), kuyri (mango), rui phool (flower), paisa (coin), pankha (fan), kalas pakli (petal), kamal (lotus), chandrakar (moon), narli (coconut) and so on.The Paithani is not just a silk sari of gorgeous colours, intricate design and painstaking labour. It is now in its 28th year. Many city women have adopted Western-style dress, reserving the sari for weddings and other traditional occasions. Moreover, if she is a Maharashtrian bride, a Paithani would be the high point of her bridal finery. The local names of the colours are interesting: kaali chandrakala (black), uddani (fainter black), pophali (yellow), neeligungi (blue), pasila (red pink green), mirani (black red), pheroze (white red pale green), samprus (green red), kusumbi (purple red), motiya (pale pink) and shkirodak (white).
The eye-popping dhoop-chaav (light and shade) effect is achieved by weaving two different coloured silk threads together in the process of a simple tabby weave. He will dye the thread, and supply it to another family of weavers who will transform it into a bright sari that will adorn regal wardrobes but will hardly make life better for its creators. The government has invested heavily to make infrastructural support available to the weavers. Paithani uses the ancient technique of tapestry where multiple threads of different colours along with gold and silver threads are weaved together to form a fascinating piece of silk. The normal zari count is 1,200 yards, which may increase to 3,000 yards in the case of the traditional coconut design border. It’s made from natural silk or cotton, along with precious gold and silver metal threads, that gives Paithani the Midas touch.5 inches), and the cheapest is the sari with the narli border as it is the easiest to weave. The designs show the influence of the panels of Ajanta frescoes close by.com. On par are the sankhli mor (chain of peacocks) and the Ajanta lotus border measuring six inches each. One of them was a green Paithani sari with a coconut motif within brocade checks. The rainbow-coloured sari growing under their fingers takes months to make, and hardly fetches them a decent earning.Paithani saris have been a precious heirloom since the Shalivahana era of 2nd century AD and have been handed down from mother to daughter for several generations.Paithani saris are known the world over among those with a discerning and refined taste, as a poem hand-woven in silk and gold with a powerful visual appeal. Many of these designs are found on the border and pallu in different sizes and patterns. The hub hosts about 3,500 weavers.No Maharashtrian wedding trousseau was ever complete without the Paithani sari and shawl or stole.
They then became treasured heirlooms that could be preserved and worn by at least three generations. The entire cycle is highly exploitative. The three-ply fine filature weft silk and 20/22 warp is typical of an original and traditional Paithani. It tells us of people who were willing to spend lavishly to clothe their womenfolk in nine yards of traditional silk and spun gold, crafted by indigenous weavers.”The writer is a well-known banker, author and Islamic researcher. Gone are the days of palaces and kings, of Sanskrit pundits who held forth the Vedas, of preachers and their religious discourses. Traditional creative artistry and painstaking workmanship combine to form this unique cloth and make it an experience for the visual and tactile senses. The handwoven ones are not just costly but are also expensive to maintain as they require careful and constant washing, repeated ironing, starching and still fray faster than saris made with sturdier machine made yarn.The intervening years vanish, Time’s broken thread runs whole again;O golden squares of my grandmother’s sari,Tell her of my wellbeing then…— Shanta ShelkeThe late Marathi writer Shanta Shelke rummaged through an old cupboard to find mothballed dresses. The gossamer fabric, woven by hand on long wooden looms, is recogniseable to aficionados by its refined feel and audible rustle. There are moments when I hold the Paithani Close to my heart as close can be; its soft, silken caress Brings my grandmother back to me.
The dominant traditional colours of vegetable dyes include neeligunji (blue), pasila (red and green), gujri (black and white), mirani (black and red), motiya (pink), kusumbi (purplish red) and pophali (yellow). Kamakshi Barve, a proud owner of a 100-year-old black Paithani, said: “The sari has been in the family for over eight generations now. More affordable are Paithanis woven with just silk threads. But not everyone can afford the gold and silver threads interwoven with silk that go into the making of an exclusive Paithani sari. The intricate weaving, in all its China rubber dumbbell hues and colours, when brilliantly executed, makes the fabric highly prized.
The oldest of the traditional Paithani designs are the asavali (flowering vine) and the akruti (squish flower) forms.The Paithani is not just a silk sari of gorgeous colours, intricate design and painstaking labour. Gone too are the days when Paithan was a prosperous trade centre called Pratishthan, and it exported rich fabrics and precious stones to far off lands. Some other designs and motifs used in the Paithani are the kuyri vel (vine and mango), annar vel (vine and pomegranate), draksha vel (vine and grapes), tota-maina (parrot) and behest parinda (the bird of paradise). Purchasing a new Paithani is akin to investing in jewellery because it can be handed down from generation to generation and has virtually become a status symbol.Paithan is a small town and quiet religious place on the northern banks of the river Godavari in Aurangabad, Maharashtra.
A Paithani sari can take anywhere from one month to two years to finish and has a very high yarn count in its warp and weft. Even so, these endeavours have spurred hope in the area and have given tourists another reason to visit. So fine is the weave in some antique Paithan that it is practically impossible to distinguish between the positive and negative sides of the fabric. It takes a master weaver an entire day to weave just an inch, thus, it takes a year-and-half to weave the entire sari.While the efforts to revive the craft are laudable, they are likely to help only a small band of weavers.The township of Yeola, 83 km from Nasik, is now the main hub of Paithani. Yet, a glimmer of the glorious past carries on — not handed down by kings and princes, or even by learned men but by patient weavers working endlessly at their humble looms — an indelible heritage, the Paithani sari, a poem in silk and gold. Right on top of the quality scale is the sari with an asavali border (six inches wide). Young women often prefer cheaper, plainer saris — produced by machines and burnished with garish spangles and beadwork. A Paithani sari can take anywhere from one month to two years to finish and has a very high yarn count in its warp and weft. It is part of a culture given more to thrift than flamboyance and also treasures elegance and beauty. The red-white version called panetar is the most cherished sari for a new bride.An Indian bride looks forward to having the most exquisite of saris in her trousseau
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