Applique craft of Orissa

Citation preview

EnEEERE

Study of Contemporary Textile Crafts of India

APPLIQUE CRAFT OF ORISSA

AUTHOR BIJOY CHANDRA MOHANTY GENERAL EDITOR ALFRED BUHLER

Calico Museum of Textiles, Ahmedabad, India 1980

Research and Publication by Calico Museum of Textiles Historical, Technical and Socio-economical study by 8. C. Mohanty

Edited by Dr. Alfred Btihler

Photography by 8. C. Mohanty. Layout by A. Sengupta

Published by 8. U. Balsari on behalf of the Calico Museum of Textiles. A Division Of the Ahmedabad Manufacturing and Calico Printing Co. Ltd. Outside Jamalpur Gate, Ahmedabad 380 022, India.

Printed by Arun K. Media at Vaki] & Sous Ltd. Vakils House, 18 Balla.rd Estate, Bombay 400 038, India. Copyright 1980 by Calico Museum of Textiles.

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Plate 23

Women and children working on applique at home, Pipli.

Plate 24

Old document with Ganesh Mahapatra, Purl, Certificate for Sebczks issued in ca. 1754-55 A.D. approximately.

Plate 25

Old document with Ganesh Mahapatra, Purl, Set)c7k'J remuneration on offerings to Lord Jaganiiath authorised by Raja Mukunda Dev, 1920, A.D.

Plate 26

Old document with Ganesh Mahapatra, Puri, Certificate for Sedczkf issued by Rani Suryamani Dei during the reign of Raja Dibyasingha.

Plate 27

Record of rights-Shri Jagannath temple, Puri, pages 74 and 75

Plate 27a

Record of rights-Shri Jagannath temple, Puri, pages 76 and 77

Plate 27b

Record of rights-Shri Jagannath temple, Puri, pages 78 and 79

Plate 27c

Record of rights-Shri Jagannath temple. Puri, page 80

LIST OF MOTIf s AND SKETCHES Applique patch motifs : Fig.

1

jJ¢JI. (elephant)

Fig.

Ia

J7¢fi. (elephant)

Fig.

Ib

j7¢f!. (elephant)

Fig.

2

Ba/aha (duck)

Fig.

2a

B¢/dra (duck)

Fig.

3

ff¢#s4 (swan)

Fig.

4

M¢)/!¢ro (peacock)

Fig.

4a

M¢);"r¢ toeacock)

Fig.

4b

Gamd¢ „a}J"r¢ (double headed peacock)

Fig.

5

Sw¢ (parrot)

Fig.

6

Fig.

7

Fig.

8

Pa#¢ prf/.a (betel leaf)

Fig.

9

Bela patra, Bela patri (Leaf of Bela plarit)

Matsya, Machha (Bst\) Sz.#gAa (lion)

Fig.10

Pfe"/¢hasa pr/ra (leaf with a flower on it)

Fig. I I

Sz}.al pafra (leaf of s/J.c/ plant)

Fig.12

rofe!. (creeper)

Fig.13

Ga!chA¢ (tree)

Fig. \3a.

Gachha (tree)

Fig.14

Sc/rj;a (sun)

Fig.15

Cticz#drtz (moon)

Fig.16

jta%# (the demon that swallows the sun and the moon during eclipses)

Fig.16a

ROAw (the demon that swallows the sun and the moon during eclipses)

Fig.16b

RaA# (the demon that swallows the sun and the moon during eclipses)

Applique made-up motifs : Cloth for chczz.#¢ (lst stage)

Cloth folded (2nd stage) Folded cloth twisted (3rd stage)

Folded cloth twisted (3rd stage continued) Cloth for gczddz. and sun (lst stage)

Cloth folded (2nd stage) Folded cloth pieces arranged as per sun motif sewn at the circular dotted line, keeping openings for padding. The central round portion and the triangular portions are stuffed, the openings closed and stitched to the base cloth leaving the triangulai. padded portions raised (3rd stage).

2

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classes of sedakF and others employed for or connected with LFeb& p"/.a of the Jagannath temple, names of

:e:bgf3S:id::s:i;::Ton:iieeFfsffoe:ci:i,po!:aie:ggii;E!i::aJ;a:::en:i:#TsehL:;#fsl:ti?os#,:#u:sfoe:a£:ari`c:oil::e::f:;?I:ooi:Fipdf:er,ty) :£eth°er[i:aco4£toi4R°jfgi?s:2i£:aagpefo|fttfe8n°troefp;c°bd¢ukcfefsfEeE:3::£r;;'o2n7iay':Z:itasngf2tice).faDm°i|`;'.,J£:fij;efrns:]duf:d

:an£;:rg£:dg.¥&rek[e#eo;Thpe]°f#ckffni!hceaiieerdv£;#rtfife£:y;eTtnscoanseee°xft:£e;rarnte8ifi£:CbeA:;£e;osrci#wCo°r*dGbaenesh Mahapatra, 67 years of age, is one of such leaders. His forefathers Maguni Mahapatra, Loknath Mahapatra, Siba Mahapatra, Kanduri Mahapatra, Ramakrishna Mahapatra, Lenkudi Mahapatra were all fcb¢ks. The sons of Sri Ganesh Mahapatra are also sebckji. There are 14 families, the adult members of which, work for the temple. There are about 4 more families who do not work for the temple. Sri Madhab Mahapatra, one of the sons of Ganesh Mahapatra, has married the grand-daughter of Hatta Maharana of Pipli. The applique-work fabrics in shape of canopy, /r¢Ja (banner), ch4czJfz. are not used inside the precincts of the temple. These articles are used outside the temple in festivals and processions. According to Sri Sadashiva Ratha Sharma of Puri some of the items like dice board (made of patch work on cloth) are used during Kumar Purnima festival and MagczcJfea fapj. (made of cloth with fine applique work) is worn by K¢%s¢ in ,Kcr#s¢bacJfe¢ drama. Some of the frcsas are called Gczr#cJcz frajr¢ (yellow background) and some Gob7.#cJ¢ /r¢far (black background) carried at the head of processions during festivals.

Embroidery work with motifs of fish, frog etc. on black cloth is used in g¢/.a"c7dfo¢ra#¢ bcsa (decoration of the deity) on „¢g¢¢ p!/r#z.rna day. A canopy called !rJ."##di. ch¢#d#¢ with motifs of 27 stars and geometrical forms

igoanpcps[££rtiwm°ortif;Soufs:#Zj£,%sJa"#?`::;£scecd°rddj:;gn:°rg,#,a;:£.andavidyabenode(P16l-163),decorated Pilgrims coming to Puri, as per tradition, offer banners to the temple. Very often they purchase these banners from Pipli on their way to Puri. They also carry from Pipli small canopies for their household deities and for festivals in tbeir home towns. Baf#as or bags are attractive and convenient souvenirs for them to carry. Beside the temple, the "c}Jfes' (monastic houses), of which there are over seventy jn Purl town, use /r"fcrs, char2dwaL5 and chAczJjz.es during festivals and processions. Canopies, !r¢sias and ch4aJfz.cs can still be seen in Jagannath bellav mafA and in Oriya maffe. The Rajas of feudatory states jn Orissa possessed large canopies, /r¢f¢s', chAc{f/z.cs etc. which they got from Pjpli for festivals in their states. With the merger of the feudatory states with

Orissa and the gradual deterioration of the financial position of many "c7fAJ, the demand for large decorative canopies, chfe¢/fj.cs', frcjiaJ etc. has dwindled. While few decorative canopies still continue to be made for Government offices, the decorative canopies and cfefec7f/z.€s are no longer in large demand except occasionally by temples.

There are d¢r/.!. caste inhabitants in other places of Puri and Cuttack districts. They however do not do applique work. These Jar/.J.J are socially well-organised. Every year a me/a is held at Kedargourf (in Bhubaneswar town

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DIMENsloNs, FORMs, MOTIFs, LAyouT ANI] sTiTCHns: Dimensions: The applique patches vary in size from very large pieces of I metre to very small pieces, as small as 1. 3 cms.

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Forms and Motifs : The yearning for beauty in applique work conceived all imaginable motifs in geometric, abstract, schematised, actual life and stylised forms from social, natural, astral and mythical fields varying in different regions. Unlike the craft in other places, the craft in Orissa being connected with religious festivals and processions, geometric, actual life and stylised motifs from natural and astral fields like creeper, tree, flower, bird, animal, rchcf etc., are common. Among the flowers m¢//;. and p¢dm¢ (lotus) are favoured. Peacock, gander and duck are popular among birds. The elephant is a very widely used motif among the animals. It may be of interest to note that natural, abstract and schematised forms from social and mythical fields are absent in Orissa although they are common in the craft in Gujarat, Rajasthan and Bihar where themes of social and war processions and of c7cwhar with motifs of elephants, bullocks, camels, riders on horses, king or queen on Aondcrfe on an elephant, lady in skirt and blouse, soldier, mythical gods and goddesses, parrot etc., besides geometrical motifs are very popular. As indicated above some motifs are cut out flat, some are specially prepared and some are exclusively embroidered. Some of the cut-out motifs and the forms in which they are used are given in figures 1 to 16b while some of the specially prepared motifs and the various stages in which they are made are given in figures 17 to 22. Some exclusively embroidered motifs are shown in figures 23 to 26b. Photographs of very fine embroidered motifs on velvet in the collection of Ganesh Mahapatra of Puri are given in figures 27 to 30. A list of motifs commonly used has been given elsewhere.

Layout: The layout of various motifs and patterns vary according to the shape of the piece. The canopy has a large centre piece which may be a square or a circle within a square. This centre piece is then bounded by several borders of different widths, one outside the other, till the edge is reached. In the umbrella and ch4off;. the inner field is arranged in circles, each circle having patches of one motif placed side by side.

Patterns are laid in the same way as the shape of the faras¢, with a large motif or two placed at the centre. The layout for covers for horses consists of a series of concentric strips in the portion which covers the neck, each strip having patches of one motif, while the portions which fall on either side of the body are plain, having border all round with or without a motif at the centre of the plain field. Stitches: The stitches mainly adopted in applique work fall under six categories namely (I) Z7¢k/.I.ct, (2) /¢rapa, (3) g¢#ffez., (4) chz.kana (chain), (5) button-hole and (6) ruching.

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The chz.ka#cr stitch (Figs. 36, 36a, 36b) which is also called chain stitch is popular in applique work. It is an embroidery stitch built up by looping of threads and is used in binding the edges of the applique patch without turning, as well as for making textural and ornamental effects on motifs.

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(6) The r#chj.#g stitch (Figs. 2lb, 2lc) js used for gathering a strip of cloth to make an applique motif lire malli. 8

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The central motif is that of a large cif4¢pfez//o with rows of petals in the order of blue, orange, green, white, red,

#ha£?ge;4%[„udez.::€h¥hciet:t:::°urandagedd!.atthecentreoforange,green,blueandred-colouredsectionsanda A #cwar pa/f!. on the four edges of the ch¢nd#a, and loops made of rope with #cw¢r covering at the corners and the sides for hanging, completes the ch¢#d„o. The back cloth is heavy markin. The cotton cloths used for patch and applique work are poplin and light markin. Plate 6

Calico Museum of Textiles No. 2402

r¢raso (banner cloth) Pipli, 1973

Maximum width across: 93 cms. Top to bottom working length: 90 cms.-93 cms. The farcrs is in the shape of a heart. The central layout is composed of two motifs of elephant in yellow popliii cloth facing each other. Above the elephants is the motif of rafew in red poplin cloth. The motifs are stitched, and the decorations for eyes, ears, etc. are made in chain stitch with 3-ply sewing thread.

Around the above composition are two rows of ka#gc{/a, one yellow and one white, covering only up to the legs of the elephants on either side from the top, the k¢#g#/4!s projecting inwards and then one row of single m¢//z. /#z.rana/ motifs set on the base cloth in a space 5 cms. wide, also covering up to the legs of the elephants from the top. This is followed by a plain 1.4 cms. (approx.) wide red pr//I. of salu cloth, slightly longer than the row of mar//j., on either side and then by a row of two chain-embroidered creepers twisting in opposite directions, slightly longer than the plain red p¢f//. on either side, all set on the base cloth in a space 4. 5 cms. wide.

The next group of rows form a decorative pattern. One row of 37 single "¢//z. motifs is enclosed inside two yellow k¢7!g"/a rows joined on either end in loop form, the fra#g„/czs projecting inward in the inner row and projecting outwards in the outer row. Between the two end loops of the k¢#gw/cz is placed a stylised motif of a tree in red poplin cloth with two decorative motifs in yellow poplin cloth at the base, on either side.

££:etsheofpai:h;£,!#°s:£r:Sp:raer:tficahc#n:Fs:i?cthheedbfi:iec[t°ht:tfr:acnhgajfa:t;t:ftj¥itsha3r-ep:tit:i:tdejsne*fpt¢h::i:9h.The "a//j.S are fixed with ordinary dakfe!.a stitch.

The base cloth is royal blue cotton poplin.

Plate 7

Calico Museum of Textiles No. 2403

r¢ras¢ (banner cloth) Pipli, 1973

Maximum width across : 93 cms. Top to bottom working length: 90 cms.-93 cms.

The f¢r4rm is in the shape of a heart. The central layout is a pair of dancing peacock motifs placed face to face, and the raised tails joining at the top and so also the hoods on the head. The patches are stitched to the base cloth at the edges and decorations of face, eyes, wings and tail of the peacocks are made in chain stitch, with white 3-ply sewing thread. The dancing posture of the two motifs together conform to the shape of the farasa, and permits easy layout of the rows around it also in the shape of the /¢r¢sa.

There are seven rows of applique work around the central motif, one around the other, till the edge of the /¢r¢s is reached. The rows are as given below:

I.

Son:i;°nwjs°sft#€8'awi?hy,e¢[;:raps:i?:i#. CIoth9 the base of Which is stitched by machine while the k¢„g„/a

2.

One row of motifs of double mcz//I. (double A[.r¢#cz patti). The "¢//I.s are similar to those explained in the analysis of fabric at plate 5 /ch¢r!d#aJ. The m¢%s are set on the blue base cloth in a space of 5 cms. in width. There are 15 m¢//!.r in the row.

3.

One row ofk¢"gw/c!as in I above.

4.

One row of stylised motifs of elephants with raised trunk, alternately in red and yellow poplin cloth, set on the base cloth in a space, 9. 5 cms. in width, the edges of the motifs being stitched on to the base cloth and decorations of ear, eye, face etc., are made in chain stitch. There are 5 motifs facing one way and 4 motifs facing the opposite way, resulting in two red motifs of elephants facing each other on the centre top.

5.

One row ofk¢#g#/fl as in 1 above.

6.

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