Sambalpuri handloom textile (Ikat) is one of the most ancient textiles of Odisha. The age-old Sambalpuri “Ikat,” is locally known as “bandha kala”. Most of the weavers of this magnificent and globally renowned handloom are spread over different districts of Western Odisha. You can hear the sound of shedding, picking, and beating in most textile village houses, signifying the importance of handloom industries. This cottage industry, where the saris are produced by the brand “Sambalpuri saris,” plays an important role in the economy of Odisha. In this textile, the warp and weft are dyed before weaving as per a preconceived design. Like any other handloom, this is complicated, labour –intensive, and time-consuming.
Origin of Sambalpuri Ika
Ikat is considered one of the most ancient techniques of dyeing textiles in India. Historians believe this Ikat weaving technique has been used in the region for over a thousand years. The word ‘Ikat’ is derived from the Malayan word ‘Mangikat,’ which is inherited from Indonesia. Ikat is an Indonesian word that refers to thread or knot. Ikat is produced in various traditional textile centers in India, Central Asia, Southeast Asia, Japan, Africa, and Latin America.
The name Sambalpuri was named by Padmashree Krutartha Acharya of Bargarh. The tie and dye fabrics of Orissa are much finer and more perfect than the tie and dye of other states. Despite its long history and cultural significance, Sambalpuri ikat handloom remained largely a local craft with minimal exposure to the outside world. In the 20th century, the craft began to gain recognition both in India and abroad. During the 1960s and 1970s, some western fashion designers incorporated traditional Indian handlooms into their collections. This step led to the popularization of the craft, and Sambalpuri handloom was being exported to countries all over the world by the 1980s.
Weaver Community
This age-old Ikat weaving art, locally known as ‘bandha kala,’ is a family and caste-based profession that has been passed on from generation to generation. The entire weaver’s family contributes to the making of every product, which takes an average of over a week to produce depending upon the intricacies of the design.
The Meher Bhulia and Koshta communities are mainly engaged in this handloom weaving. It is believed that Bhulia Mehers’ ancestors migrated from Rajasthan and Delhi long ago. When Moghuls attacked Delhi during the reign of Emperor Prithviraj Chauhan, they fled from Delhi and settled in the villages of Dhamantari and Dhansa in the Raipur district of Chhattisgarh. Later they moved to Patnagarh of Bolangir district during the kingship of Chauhan King Ramai Deb. It is assumed that after settling down, the original Bhulia Meher community, intermingled with the other castes, and soon the Koshta Mehers (who are usually tussar weavers) and Kuli Mehers (who are the least skilled) came into existence.
The Subarnapur and Bargarh districts are famous and have earned fame worldwide for sambalpuri fabrics for a variety of patterns, choice of colour, and designs by Kostha and Bhulia weavers. Now the Bhulia Meher weavers are settled in the Sambalpur, Bargarh, Bolangir, Boudh, Kalahandi, and Sundergarh districts of Odisha. The Bhulias have their monopoly of inherited skill and knowledge imbibed over generations. The Kosta Meher community does not follow the traditional Ikat technique, works mostly on tussar weaves, and uses a three-shuttle loom. Bhulia Mehers are experts in tie and dye weaving in cotton and silk. In the last few decades, the Gondas have adopted this craft and become skilled by getting training in the tie and dye technique. But they are still into coarse tied- and- dyed textiles.
The weavers work independently or under master weavers who own their independent handloom enterprises or are part of different weavers’ cooperative societies (WCS) and self-help groups (SHG). The rural areas of western Odisha are the hub of Sambalpuri handloom industries. In these cottage industries the weavers produce the products under the brand “Sambalpuri” at home. The entire family of the weavers’ is engaged and contributes to the making of the finished product. They do not require any assistance from the outside. Women and children are mostly involved in the preparatory work of weaving, which includes tying the yarns with knots as per the graph, dyeing the yarn, and untying the tied knots after dyeing, whereas men are involved in the job of ‘bandha’ and then weaving. This art of ‘bandha’ (yarn tie-dye) and weaving of Mehers’ is passed from generation to generation. The Odisha “Bandha” has a district native identity because of the skill and knowledge imbibed over generations. The children learn and inherit the talent at a very young age.
Technique of Sambalpuri Ikat
Sambalpuri Ikat weaving, locally known as Bandha kala (tie and dye art), consists of two steps: (i) bandha (tie and dye) and (ii) buna (weave). First, a graph of the design is developed on paper, and then the yarns are grouped as per calculations and tied with knots as per the designs. These tied yarns are dyed and dried by the resist-dyeing technique. Once the yarns are completely dried, the knots are untied, and then each yarn is separated for weaving. Traditionally, both the warp and the weft yarns are tied and dyed before weaving. When the tied and dyed technique is used either for warp or weft, it is termed as ‘single Ikat’, and when in both it is known as ‘double Ikat.’ Now a lot of improvements have been made in the skills of the artisans and the quality of the products.
Uniqueness of Technique
- By using tie & dye, designs are developed and subsequently woven into saris and fabrics.
- Designs are developed by the use of tied & dyed yarn without the use of devices like dobby and jacquard.
- The designs are reflected almost identically on both the side of the fabric and sari.
- It is not only confined to geometrical design but also fine, artistic curvilinear designs like shanka (conch), phulla (flower), machha( fish), lata ( creeper), lahari(waves), deula ( temple), hansha (swan) etc. in the fabric, which is unique.
- In double Ikat, from 5 lines to 30 lines are most frequently used, and this is the tradition of Sambalpuri Style of tie & dye.
- Designs as well as letters (Calligraphy) of any shape and colour are easily produced with full perfection and accuracy.
- The harmonious blending of colours, the floral and animal motifs make sambalpuri style of Ikat more appealing and unique.
Motifs in Sambalpuri Ikat
The exquisite craftsmanship of the ‘bandhakala art’ is reflected in their intricate weaves, motifs, and beautiful colour combinations. The artisans acquired the skill from their ancestors. Traditionally, Sambalpuri bandha motifs were inspired by surroundings, nature, flora, fauna, alpana (jhoti/chita), and geometrical patterns. Gradually they are experimenting with contemporary designs to strive to meet the market demand. In Odisha Ikat, designs are horizontal, and motifs are mainly lion, elephant, deer, horse, swan, duck, tiger, fish, tortoise, and snake, as well as creepers, conch, Konark wheel, rudrakshya, kumbha, and flowers like lotus, lily, jasmine, etc. The Motifs of Odisha Ikat are also inspired by various sources like architecture, mythology, painting, and folk art, which make it exclusive and different from other Ikat fabrics. New types of ‘bandha’ rendering portrait, landscape, wildlife, flowerpots, and Saura tribal art. Even the mythological epics like Mahabharata, Ramayana, Jagannath culture, and folk tales of Odisha inspire the motifs of the saris. Traditional motifs such as chakra (wheel), shankha (shell), phula (flower), matsya (fish), etc., are also incorporated into these amazing hand-woven saris.
The traditional Sambalpuri Ikat saris are thematic and have specific names according to their significance. For example, ‘Panchabati’ resembles Panchabati forest, where Lord Rama was in exile; ‘Konark Chaka’ resembles the wheel of the Konark temple; ‘Asaman Tara’ resembles the shining stars of the sky; ‘Nandighosha’ resembles the chariot of Lord Jagannath; ‘Sankha’ resembles the mythological conch shell; ‘Bichitrapuri’ is a variation of Ikat on borders. The boat design in the saris represents the folk tale of Odisha, ‘Tapoi,’ which relates to the maritime heritage of Odisha centuries ago. The motifs of the saris are associated with different Hindu gods and goddesses, such as Shiva, Vishnu, Lakshmi, Durga, and Ganesh.
The names of some of the famous Saris are Muktamala, Ambika, Priyatama, Madhumati, Kalingasundari, Kalpana, Suchitra, Swarnapuri, Shaktapar, Saudamini, Bichitrapuri, Bhanumati, Vishvasundari, Lavanyavati, Mnamohini, Bijayalaxmi, Chandrika, Manipar, Satyapriya, Kumbha Kalasi, Manikeshwari, Radhaakanti, Padmatola, Padmavati, Swarnalata, Vishvavaarati, Madhuri, Chandrakala, Bhagyalaxmi, and Kanakachampa.
Few Facts about Sambalpuri Ikat
- These handloom textiles preserve a sense of uniqueness and cultural identity.
- The handloom industries generate employment and are environmental friendly, energy-saving, and sustainable.
- A lot of local women are employed in this cottage industry, hence it plays a crucial role in women’s empowerment in the rural areas.
- Some master artisans who have contributed to the development of Sambalpuri textiles are Padmashree Chatrubhuja Meher, Padmashree Kruthartha Acharya, and Padmashree Kailash Chandra Meher.
- Few of the Sant Kabir Awardees in this region are Shri Shashidhar Meher, Shri Kshetra Mohan Meher, Shri Bhikhari Meher, Shri Dayalu Meher and Shri Bhaktaraj Meher.
- While the normal to a little bit complicated designs take 2–3 weeks to produce the end product, the award-winning designs take a minimum of 3–6 months or sometimes even a year to complete.
- The GI tag provides legal protection, encourages the weavers to export handloom products, and promotes the economic prosperity of the artisans.
- The award-winning saris have an intricate, super complex design, a story or concept behind it, and are worth lakhs of rupees.
- Sambalpuri Bastralaya, founded by Padmashree Krutartha Acharya is considered to be one of the largest primary societies in Asia.
- Sambalpuri handloom textiles were displayed at the British Exhibition in Wembley in 1924 and 1925 and were much appreciated.
- Now saris, cotton & silk dress material, and home finishing like door and window curtains, bedcovers, bedspreads, pillow covers, tablecloths, stoles, dupattas, wall hangings etc., are produced.
Conclusion
Sambalpuri saris are one of the most beautiful, unique, and distinctive types of saris in India. These saris are a symbol of the rich and diverse culture and heritage of Odisha. The strength of Odisha’s famous Sambalpuri Ikat lies in innovative, beautiful, and intricate designs. The artisans trying to keep Odia’s culture and heritage alive through this sustainable fashion. Sambalpuri Ikat is a piece of art and a testament to the skill and creativity of the weavers. No doubt these versatile and elegant saris can suit any occasion, style, and personality and make you feel special and beautiful.
