Textiles of Odisha

The state of Odisha is renowned for its traditional weaving practices that reflect a rich variety of textiles. The Sambalpuri saree belonging to the district of Sambalpur is one such kind. It’s made from the silk or cotton fabric woven on a handloom, and the texture varies upon the warp and weft yarns used for the production. The use of bandhakala or ikat is a unique feature of this textile that helps the artisans to weave colourful designs, images and patterns on the fabric. Sambalpuri sarees are well-known for their geometrical designs and sober colours. It includes some traditional themes, such as shankha (shell), phula (flower), chakra (wheel), birds, animals, swans and fish among others. These are reflected almost identically on both sides of the fabric.

The ikat technique of making Sambalpuri saree firstly includes tie-dying of the winded yarns. The yarns are boiled in soap water to enhance their flexibility before dipping in colours. Handmade measuring scales are used to mark the areas that need to be tied to avoid colours. To add the second colour in the design, the already coloured portions are tied and the portion on which the second colour has to be put is untied and dyed.

The yarns are dried for some time once the entire process of dyeing is over. Subsequently, the dried yarns are spindled using the spinning wheel to use it for the needed length of the fabric which is to be woven.

The Sambalpuri saree includes a number of varieties, such as - Bomkai, Pasapalli, Bapta, Barpali, Half-half,etc. 

Bomkai saree: It is primarily produced by the Bhulia community of Subarnapur district. The Bomkai saree is an outcome of ikat and embroidery interwoven into each other.  This saree is normally dyed to attain the red, black and white background colours. The motifs on the Bomkai saree include tribal art that reflects fascinating elements of nature. It is one of the identified Geographical Indications (GI) of Odisha. 

Pasapalli saree: The name Pasapalli is derived from pasa or gambling games that include a chessboard. These sarees have intricate patterns of contrasting colours that resemble a chessboard after which this variation is named. 

Bapta saree:  This variation of Sambalpuri saree is prepared by mixing silk and cotton. Bapta sarees also include golden threads that are used to increase their elegance. 

Barpali saree: This variation of Sambalpuri saree is made in a small town of Barpali in western Odisha. The weaving pattern of Sambalpuri ikat fabric is the speciality of this saree. 

Half-half saree: This variation of Sambalpuri saree includes two or more designs or colours. 

The Berhampuri saree belongs to Berhampur situated in the Ganjam district. It is mostly woven in silk, cotton and tussar varieties of silk. According to the Orissa District Gazetteer, the craft of silk weaving was introduced at Berhampur town during the 14th century by the Mohuri Kings. These sarees feature a temple design along the border; either phoda kumbha or badhi kumbha. Phoda kumbha refers to a special weave with a traditional and typical temple pattern.

However, badhi kumbha is created using the tie-dye technique that rarely features serrated lines. The Berhampuri silk saree, also known as Berhampuri Patta is unique due to its typical Odissi style of weaving. This style includes unique temple type designs and some eye-catching zari border works. This technique of weaving is said to have originated over two hundred years ago. These sarees also reflect the deities of Jagannath, Balabhadra and Subhadra at the Jagannath temple in Puri.  Berhampuri Patta is registered under the Geographical Indications (GI) of Goods Act by the Government of India.

​​​​​​Applique is one of the most prominent craft traditions practiced widely in the town of Pipli. It is a traditional patchwork embroidery done on a piece of cloth. The term applique is derived from the French word appliquer, meaning ‘to put on’ or applied or things that have been applied. The artisans skillfully cut up multiple coloured clothes into shapes of gods, goddesses, animals, birds, flowers, leaves and other decorative motifs, and subsequently stitch them on a piece of fabric.  It is generally done with some bright colours such as red, yellow, black, green and blue. The applique work is associated with the religious ceremonies of Lord Jagannath in Puri. The kings of Puri set up the village of Pipli for the craftsmen who were engaged in the service of Lord Jagannath. The craftsmen were equipped in designing the canvas clothes used to cover the chariots of Lord Jagannath, Lord Balabhadra and Devi Subhadra. 

The Pipli applique work is done on different types of fabrics such as cotton, velvet, organdy and satin. The traditional applique items are mostly used during processions of the deities in their ritual outings. These include an umbrella, tarrasa which is a heart-shaped wooden piece covered by a long wooden pole and chandua- a canopy having a resemblance to the shape of an umbrella. However, the motifs used in the modern applique at Pipli display representations of flora and fauna, and a few mythical figures. 

The Pattachitra or Pata, a scroll painting of Odisha is one of the oldest folk art traditions of India. It is a very significant class of pigment painted clothes generally used for rituals. There is a belief that the tradition of Pattachitra started with the establishment of the Jagannath Temple at Puri in the 11th century. The Pattachitra paintings are done by the traditional painter communities, known as Chitrakaras. The primary themes and motifs of these paintings are centred around the Lord Jagannath and the Vaishnav cult.

Different ingredients are used during the entire process of Pattachitra painting. These include water, Kaithatta or Kainth (locally available fruit gum), Tentuli gunda (Tamarind powder), Tentuli Manji (Tamarind seed), Lakha (Lac), Haritali (Yellowstone), Hingula (Red ochre), Ramaraja or Ghanila (Indigo stone), Shankha Gunda (Conch shell powder), Deepa ra Shikha (lamp black), Khadi pathar (white stone powder), etc. 

The preparation of canvas (base fabric) is the initial stage of this process. The Chitrakaras have a unique technique of preparing the patta (canvas).  The artisans use two layers of old cotton sarees for this purpose. In the late nineteenth century, the canvas was prepared by coating it with a mixture of cow dung and black earth. After drying in sun rays, a white coating was applied to fill the uncovered areas of the fabric. Presently, the old cotton sarees are dried after washing in clean water to remove all dirt. Subsequently, the cloth is spread over a flat cemented floor and then a coating of gum made from tamarind seed powder is applied to the fabric.               The second layer of cloth is pasted on the first layer and another layer of gum is applied. The fabric is then allowed to dry in sunlight and the bubbles of gum in between the layers are removed. When the fabric is totally dry, the glutinous coating obtained with soft white stone powder and tamarind gum in the ratio of 1:4 is rubbed on the dried fabric with the help of a cotton puff. The fabric is cut into required rectangular or square sizes, once it is completely dried up.

The entire process of making a patta is known as "Pataastra". Pataastra is followed by the process of painting in which the artisans make the sketches. They use five different colours (black, white, red, blue and yellow) in the paintings that are collected from various sources of nature. 

The Kotpad handloom fabric belongs to the tribal weavers of the Mirgan community of Kotpad village. It’s a vegetable-dyed fabric and the dye is manufactured from the locally grown Aul tree. Cotton yarns, Tussar silk and Aul tree roots are the primary materials used for the preparation of this fabric.

These fabrics include cotton sarees with solid border, dupatta with some typical motifs, handloom stoles and dress materials. The motifs of these fabrics include crab, fish, axe, temple, fan, conch and boat- reflecting the culture of the sea.