anbhule paithani yeola

The Border and Pallu

The Paithani attains its winsome features on account of its charismatic borders and pallu. There was a time when pure gold was used with copper to give it strength for the borders. Now it is silver zari with gold plating. Borders are created with interlocked weft technique with coloured silk or zari. When zari is used, ground coloured silk patterns are added as a supplementary weft in the form of flowery vines.

There are  two types of borders – the Narali and the Pankhi. It is the crafting the inlay border paths that is quite complex and intricate and requires a lot of skill. The borders and pallu are woven in zari irrespective of the body colour.

Motifs are one of more of the most attractive features on the Paithani. The motifs on the Body and the Pallu or end piece are quite different.

The influence of Ajanta and Ellora cave sculptures and Buddhist paintings have evolved a typical range of motifs for the main body. They include the Lotus flower, swan, gold coin or Asharfi, flowering vines, the encircled peacock bird within a bangle, parrot-mynah, the pheasant bird and the Narali. Small circles, stars, three leaf cluster too are sometimes used as motifs.

The pallu being the front portion or the attractive feature of the saree has a different lot of motifs. The Peacock or Mor is the most popular and features quite large on the pallu field. Others include Muniya, the green parrot used generally for borders, Panja a flowery design,Barwa or the 12 strands of a ladder with three strands to one side, the Laher design done central to the pallu, and the Asawali or flowering plant.

Colour is the a third major attraction of the Paithani silk. Using Vat dyes and Acid dyes and selecting from a range of 400 plus shades, the yarn is first bleached and then the dyeing process done. Powder dye is mixed well in the vat, acid mixed for fixing the colour and a little coconut oil added to give the softness and lustre. The yarn is then dipped in the mix, pressed downwards with copper rods to soak it well, then removed and washed several times, squeezed and finally put out to dry in shade.

Popular colours are red, yellow, lavender, purple, sky blue, magenta, peach pink , purple, green, black and white and mixes, that were once used in vegetable dyes. But with artificial dyes, this range has increased manifold.

Classification of Paithanis are done generally according to three criteria – motifs, the weaving, the colours used.

Based on motif we have:

• The Bangadi Mor or single dancing peacock in a bangle of noticeable dimensions on the pallu. This is supposed to be most popular and expensive.
• The Muniya brocade having tota maina or parrot mynah on the pallu and border in leaf green
• The lotus brocade with the flower in seven or eight colours

On the basis of weave it could be

•  Kadiyal border saree – where the borders are of the same colour but there are two different colours in the warp and weft of the body weave.
•  Kad or Ekdhoti – where the colours of warp and weft are different and the body has a narali border and simple motifs.

Taken on basis of colour it would be

• Kalichandrakala for a black saree with a red border
• Raghu for a parrot green coloured sari
• Shiroda for a pure white one

The making of this pride of Maharashtra and India, involves an elaborate process of cleaning the silk threads, dyeing them in the requisite colours, drying and then separating the threads very carefully. It is then the carefully wrapped warp and the reel wound wefts that are brought together in an elaborate pattern of interstices that completes this fascinating yarn of finesse.

There are three methods of weaving that could be used. The split tapestry weave, the interlocking method, the dovetailing method.The weaving of a Paithani saree does not involve any extra weft forming figures. Instead the figures are formed by a plain tapestry technique.

The Paithani is today affordable to a sizeable section of the market. On account of the purity of materials and the elaborate finery, the saree is quite heavy and worn for exclusive occasions only. It is jealously treasured to be displayed on those weddings, festivals, functions, grand parties, that call for it.

The Paithani remains to this day as exclusive and counted as it always has been.