Elephant motif in Pātolā and Baandha fabric
Guest edited by Dr. Maneet kaur (Ph.D. Textile Design ,Kala bhavana, Santiniketan)
Pātolā motifs are designed by Salvis of Patan. Among Salvis’, the pattern designer holds the highest rank. Though out of 40 bhaats (design) only a few are known to us2 , among them elephant motifs have been said to be one of the traditional and oldest motifs in list of motifs of Pātolā. Elephant also symbolises agriculture prosperity, airavata name associated with the life fluid of the cosmos. This relationship is evidenced further by the fact that name airavata designates rainbow and thunder associated with indra and conspicuous manifestation of rain.
It is known that seven hundred Salvis, were invited to Patan from south India4 by Kumarpal (The Jain king who ruled in Patan, 11th century) and later they were in a debate accepted to be Svetambara Jains.5 Here, the root of non-violence and the principle of ahimsa were evident in daily life. The Tiger and Goat were given filtered water, and lived next to each other6. These sites were a great source of inspiration for Salvis’ as told during the interview. Hence acceptance of local religious treaties became necessary for them.
A popular legend links it the introduction of the elephant motif in Pātolā up with historical personages is, M.Chandra Acharya . A Jain Muni, during the time of Siddhraj Jai Singh and Kumarpal, wrote the grand Sanskrit grammar. The completion of the book was celebrated by carrying it on. The king’s favourite elephant named Sri Karan, in a procession.
The elephant was decorated and saddle cloth was held with a small canopy on his back and It was joined by other royal court animals and like a carnival the day was celebrated with grace and glamour. The depiction of the procession was a source for Salvi weavers. Hence a huge elephant on whose back the book was carried was designed along with other smaller animals, in ikat technique. So the design is named as Shrikar bhaat3. Elephant motifs and its variation in Pātolā patterns, whether for export or the domestic market, are all more or less based on a grid or trellis pattern.
Besides following the commissioned geometrical motifs, they created some of the figurative motifs ; among them is the elephant motifs and its combination with other motifs, few are listed as below:
1. The tiger with white elephants (wagh kunjar bhaat): this combination was particularly favoured in Indonesia and several types were made exclusively for export7. This particular combination of motif is patterned for the royal court, as it implies the symbolic significance of royalty, power and wealth. The legend around the making of these motifs relates to the visit of an Indonesian queen 8 who got the same pattern woven for her attire but added grey yarn in the weft phase to a small portion of double ikat woven fabric, to identify it as a Queen ‘s robe. In this motif the elephant is decorated with a saddle cloth and ride by a human figure, though the status of rider is unknown. Here the tiger and elephant are facing each other in the same scale and format. Pātolā was made especially for export to South-east Asia, where these designs are frequently used. Besides they were also famous in the domestic market, but they are often made with a looser weave, and the border may be of cotton instead of silk.
2. The four huge black elephants taking up the whole field: These are thought to have been used as hangings in religious ceremonies on islands such as Flores and Timor, where several fine examples have been found. Here the elephant Pātolā are closer in format and scale to certain types of indigenous Indonesian textiles, especially the large hangings called palepai. This observation attributes that the same basic similarity in outline to elephant’s sloping back and front legs as well as the trunk and tail, even the square area that corresponds identifiable. Here Rosemery Crill puts light on the relationship between the local and imported textiles, which is one of layout and scale.
3. The parrot, three flowers, dancing girl and white elephant: in this combination of motifs elephant motifs follows a parrot in the same scale and format arranged inside a rhomboid. It seems as if in Geometrical format the figures are arranged for the field of saree or shawl, This shows the weavers’ sense of arrangement of motifs in a given format.
Image courtesy of Salvi brothers.
4. The elephant and parrot and three flowers in the lane for the border: The source of motif can be associated with Jain architecture of pillar patterns as the drafting of motifs is nearly similar. It is said to be a younger pattern than the previous and is used for female saree, particularly for child birth ceremonies as it is followed by a leaf motif.
5. The white elephant for the border: in this motif all elephants are depicted with a saddle and cart . Since the elephant motif is observed on a saree border, probably it is a much younger introduction to previous ones.
6. The elephant with the saddle: a draft of this motif is a part of almost every weaver’s stock. It is preserved on graph paper and arranged as per the order of the buyer. The elephant is being worshiped in many states as a good omen.
7. Wagh bar hathi bhat: a design consisting of tigers and twelve elephants. This combination of pattern for saree was probably developed after independence.
I have observed Pātolā patterned fabrics specially for male shoulder robes and the saddle cloth of the horse who carries the groom, and ceremonial hanging for coronations and wedding couple attire. Hence it holds a significant role in social and religious gatherings. It is quite evident that for the local events and the demand of skills for certain motifs, salvis weavers have designed and patterned the fabric that has added the vocabulary to motifs of Pātolā as well as sustaining the cultural activities. Ever since it evolved Pātolā has been highly priced, meticulous and time consuming and a revered fabric. Only a countable number of weavers are now skilled in this prestigious art, they forecast that theirs is the last generation that will execute this art as the next has occupied themselves with other professions. The monetary reward is not the only cause for being engaged with this art, there is also the job satisfaction from the creation of patterns. The Salvi weavers today are looking for the sources of new motifs for Pātolā to evolve new designs. They are also being regularly condemned by writers and researchers for maintaining the secrecy of the buyers' buyers' identity , though the technique and process have been shared ever since books have been published on the matter.
Hence, the Salvi weavers are affected on grounds of propagation of their trading methodology and in turn it adds lack of intimacy and harmony between salvis, further affecting the designs of patola that are limited in their scope and variations. Salvi weavers always depended on patrons who commissioned certain motifs and designs, leaving the weaver little opportunity to create their own designs. There is now a need for Salvis to form cooperative groups and to enhance the design and hold a common workshop for design development. There is a superstition amongst the Salvi weavers that if they reveal the name of the buyer of their work, they will suffer bad luck.
Though in Andhara Pradesh, at Pochampalli some weavers are imitating double ikat motifs in spunsilk, others have evolved a new gesture of elephant, may be on commissioned based, as we know Telia Rumal was more for the export market especially to Arab countries. Though the reason for the source of introduction of the elephant motif is still unknown the structure of the elephant motif is not as fine as that of Patan weavers. When drafting the elephant motif on fabric, Pātolā style has more steps as both warp and weft are tied on finest silk, Whereas in Pochampalli it is on the finest cotton but it does not measure up to the silk of the Patola style. Whereas in Pochampalli it is on fine cotton but it does not measure up to the silk of the Patola style. Bandha, i.e is only weft faced tie and dye the form is more linearly drafted by these weavers of Orissa.
Elephant motif in Telia rumal (cotton Tie and dye). These forms of motif are exported to Arab countries. Here, the elephant legs are shown lifted, the significance is so far unknown. As per Ramalingum, traders used to commission almost all the motifs that were popular to locals. They preferred star and moon design as a mark of brotherhood and long term trading business prosperity.
Elephant motif by Bargarh weavers east Orissa weavers in bandha technique. Among popular beliefs, The elephant is a symbol of royalty and emblem of Vaishnav followers, where the tiger is a symbol of power. A bride is associated with Goddess laxmi, the goddess is worshipped in the month of margasia (Nov-Dec), she brings wealth and prosperity to the family. Variations of elephant movements have been designed by weavers of Orissa. The direct source of inspiration and variation can be seen from the floor designs by females of Orissa in the month of margasira (Nov-Dec).
Patronised by the local king, the elephant motif in natural dye. Keeping elephants for war activity and celebration has been practiced by kings but the elephant symbolises prosperity. In the Dhaulgiri war of Ashoka(kalinga) near Bhubaneswar city many elephants for the war were employed, also, Aravata ( a mythological character given to an white elephant with seven trunks that came into existence during samudra manthan),means white that came in the dream of queen mayadevi before delivering a boy who was renounced Buddha. Symbolically its a favourite and still worshiped by locals, whose contribution is considered to have ended the war and brought peace.
Elephant trunk and body has been decorated during festivals and also associated with God Ganesha, who is believed to remove evils and bring justice. The motifs are integral to local rituals and its designing is also bound to be in certain months. As fabric offering in ritual it has been considered as auspicious and significant.
Late Sri Kunj Behari Meher in his autobiography exemplifies that similarity in nature, has been observed in females and elephants and names that grew as simile . There are many names and where elephants are associated as an icon with Indian culture. Besides, the elephant is a wild animal but it has a deep relationship with humans. When it walks, it attracts a lot, though its heavy weight, it steps firmly, without gust dirt. It leaves ‘padma chinha’ (impression of foot like lotus ) on the land where it steps, which is an auspicious symbol.
The sarees developed after the name of the elephant are: Gajh Gamani, Gaja Batsali, Gajh, Aariyabatta, Kara etc. ‘Gajh bandhan’ is the friendship between humans and elephants. Ganesha is also one of the deities evolved from human and elephant species. Since, elephants are huge animals and ‘laxmi’s carrier or vehicle is elephant so its name is gajh laxmi . Even Indra raja (god of rain) ‘vahan’ is also an elephant(hasti). In a year, the day when dasvi tethi falls, females worship goddess laxmi. Also, in margasia month on every Thursday, they observe fast, namely Manabasa, and worship a goddess who sits on an elephant . They offer Bhog and parshad after the name of mahalaxmi, and women recite holy text and listen. Considering this gajh gamini’ saree has been designed, the GAJA GAMANI: It’s border has danta hathi, sangey sangeni roaming together where the mountains, hills, jungle with lake sarobara path ,a passage, on which elephants walks. The saree carries three inches border, small flowers and creeper (lata). The saree100S Ik Tagi suta tie and dye. Size is eighteen feet long by four feet wide.
For the bandha weavers, The temple has been an inspiring source for designing a saree with the motif transformed from the temple carving , as the temple has been intensively carved. Kunj Behari institute has incorporated all local sources for designing, he mentions in his autobiography. “I have taken a small portion of it as the temple is too much for me to draw.” In one of his saree , he has designed in the mouth of anchal , there he drafted ‘ardh-drishya’, above that elephants are walking in a different style. In this saree creeper are also drawn upward, holding that lata (Vine) small kids are climbing up. Hence , the motifs have been introduced to technique due to the dedication of weavers' faith besides trade necessity. The art reached its pinnacle as long faith and necessity cater to each other.
Note: above findings and content development are contributed by weavers of ikat and and Late Rosanne Dasgupta.
On Saturday 8 June 2024 at 14:00 BST, we will be holding an Online Symposium inspired by issue 117: Irresistible of Selvedge Magazine inviting a discussion around the irresistible nature of resist-dyeing techniques around the world. Join us to discuss batik and its history and legacy. Book your tickets now: www.selvedge.org/products/-online-symposium-irresistible
Pātolā motifs are designed by Salvis of Patan. Among Salvis’, the pattern designer holds the highest rank. Though out of 40 bhaats (design) only a few are known to us2 , among them elephant motifs have been said to be one of the traditional and oldest motifs in list of motifs of Pātolā. Elephant also symbolises agriculture prosperity, airavata name associated with the life fluid of the cosmos. This relationship is evidenced further by the fact that name airavata designates rainbow and thunder associated with indra and conspicuous manifestation of rain.
It is known that seven hundred Salvis, were invited to Patan from south India4 by Kumarpal (The Jain king who ruled in Patan, 11th century) and later they were in a debate accepted to be Svetambara Jains.5 Here, the root of non-violence and the principle of ahimsa were evident in daily life. The Tiger and Goat were given filtered water, and lived next to each other6. These sites were a great source of inspiration for Salvis’ as told during the interview. Hence acceptance of local religious treaties became necessary for them.
A popular legend links it the introduction of the elephant motif in Pātolā up with historical personages is, M.Chandra Acharya . A Jain Muni, during the time of Siddhraj Jai Singh and Kumarpal, wrote the grand Sanskrit grammar. The completion of the book was celebrated by carrying it on. The king’s favourite elephant named Sri Karan, in a procession.
The elephant was decorated and saddle cloth was held with a small canopy on his back and It was joined by other royal court animals and like a carnival the day was celebrated with grace and glamour. The depiction of the procession was a source for Salvi weavers. Hence a huge elephant on whose back the book was carried was designed along with other smaller animals, in ikat technique. So the design is named as Shrikar bhaat3. Elephant motifs and its variation in Pātolā patterns, whether for export or the domestic market, are all more or less based on a grid or trellis pattern.
Besides following the commissioned geometrical motifs, they created some of the figurative motifs ; among them is the elephant motifs and its combination with other motifs, few are listed as below:
1. The tiger with white elephants (wagh kunjar bhaat): this combination was particularly favoured in Indonesia and several types were made exclusively for export7. This particular combination of motif is patterned for the royal court, as it implies the symbolic significance of royalty, power and wealth. The legend around the making of these motifs relates to the visit of an Indonesian queen 8 who got the same pattern woven for her attire but added grey yarn in the weft phase to a small portion of double ikat woven fabric, to identify it as a Queen ‘s robe. In this motif the elephant is decorated with a saddle cloth and ride by a human figure, though the status of rider is unknown. Here the tiger and elephant are facing each other in the same scale and format. Pātolā was made especially for export to South-east Asia, where these designs are frequently used. Besides they were also famous in the domestic market, but they are often made with a looser weave, and the border may be of cotton instead of silk.
2. The four huge black elephants taking up the whole field: These are thought to have been used as hangings in religious ceremonies on islands such as Flores and Timor, where several fine examples have been found. Here the elephant Pātolā are closer in format and scale to certain types of indigenous Indonesian textiles, especially the large hangings called palepai. This observation attributes that the same basic similarity in outline to elephant’s sloping back and front legs as well as the trunk and tail, even the square area that corresponds identifiable. Here Rosemery Crill puts light on the relationship between the local and imported textiles, which is one of layout and scale.
3. The parrot, three flowers, dancing girl and white elephant: in this combination of motifs elephant motifs follows a parrot in the same scale and format arranged inside a rhomboid. It seems as if in Geometrical format the figures are arranged for the field of saree or shawl, This shows the weavers’ sense of arrangement of motifs in a given format.
Image courtesy of Salvi brothers.
4. The elephant and parrot and three flowers in the lane for the border: The source of motif can be associated with Jain architecture of pillar patterns as the drafting of motifs is nearly similar. It is said to be a younger pattern than the previous and is used for female saree, particularly for child birth ceremonies as it is followed by a leaf motif.
5. The white elephant for the border: in this motif all elephants are depicted with a saddle and cart . Since the elephant motif is observed on a saree border, probably it is a much younger introduction to previous ones.
6. The elephant with the saddle: a draft of this motif is a part of almost every weaver’s stock. It is preserved on graph paper and arranged as per the order of the buyer. The elephant is being worshiped in many states as a good omen.
7. Wagh bar hathi bhat: a design consisting of tigers and twelve elephants. This combination of pattern for saree was probably developed after independence.
I have observed Pātolā patterned fabrics specially for male shoulder robes and the saddle cloth of the horse who carries the groom, and ceremonial hanging for coronations and wedding couple attire. Hence it holds a significant role in social and religious gatherings. It is quite evident that for the local events and the demand of skills for certain motifs, salvis weavers have designed and patterned the fabric that has added the vocabulary to motifs of Pātolā as well as sustaining the cultural activities. Ever since it evolved Pātolā has been highly priced, meticulous and time consuming and a revered fabric. Only a countable number of weavers are now skilled in this prestigious art, they forecast that theirs is the last generation that will execute this art as the next has occupied themselves with other professions. The monetary reward is not the only cause for being engaged with this art, there is also the job satisfaction from the creation of patterns. The Salvi weavers today are looking for the sources of new motifs for Pātolā to evolve new designs. They are also being regularly condemned by writers and researchers for maintaining the secrecy of the buyers' buyers' identity , though the technique and process have been shared ever since books have been published on the matter.
Hence, the Salvi weavers are affected on grounds of propagation of their trading methodology and in turn it adds lack of intimacy and harmony between salvis, further affecting the designs of patola that are limited in their scope and variations. Salvi weavers always depended on patrons who commissioned certain motifs and designs, leaving the weaver little opportunity to create their own designs. There is now a need for Salvis to form cooperative groups and to enhance the design and hold a common workshop for design development. There is a superstition amongst the Salvi weavers that if they reveal the name of the buyer of their work, they will suffer bad luck.
Though in Andhara Pradesh, at Pochampalli some weavers are imitating double ikat motifs in spunsilk, others have evolved a new gesture of elephant, may be on commissioned based, as we know Telia Rumal was more for the export market especially to Arab countries. Though the reason for the source of introduction of the elephant motif is still unknown the structure of the elephant motif is not as fine as that of Patan weavers. When drafting the elephant motif on fabric, Pātolā style has more steps as both warp and weft are tied on finest silk, Whereas in Pochampalli it is on the finest cotton but it does not measure up to the silk of the Patola style. Whereas in Pochampalli it is on fine cotton but it does not measure up to the silk of the Patola style. Bandha, i.e is only weft faced tie and dye the form is more linearly drafted by these weavers of Orissa.
Elephant motif in Telia rumal (cotton Tie and dye). These forms of motif are exported to Arab countries. Here, the elephant legs are shown lifted, the significance is so far unknown. As per Ramalingum, traders used to commission almost all the motifs that were popular to locals. They preferred star and moon design as a mark of brotherhood and long term trading business prosperity.
Elephant motif by Bargarh weavers east Orissa weavers in bandha technique. Among popular beliefs, The elephant is a symbol of royalty and emblem of Vaishnav followers, where the tiger is a symbol of power. A bride is associated with Goddess laxmi, the goddess is worshipped in the month of margasia (Nov-Dec), she brings wealth and prosperity to the family. Variations of elephant movements have been designed by weavers of Orissa. The direct source of inspiration and variation can be seen from the floor designs by females of Orissa in the month of margasira (Nov-Dec).
Patronised by the local king, the elephant motif in natural dye. Keeping elephants for war activity and celebration has been practiced by kings but the elephant symbolises prosperity. In the Dhaulgiri war of Ashoka(kalinga) near Bhubaneswar city many elephants for the war were employed, also, Aravata ( a mythological character given to an white elephant with seven trunks that came into existence during samudra manthan),means white that came in the dream of queen mayadevi before delivering a boy who was renounced Buddha. Symbolically its a favourite and still worshiped by locals, whose contribution is considered to have ended the war and brought peace.
Elephant trunk and body has been decorated during festivals and also associated with God Ganesha, who is believed to remove evils and bring justice. The motifs are integral to local rituals and its designing is also bound to be in certain months. As fabric offering in ritual it has been considered as auspicious and significant.
Late Sri Kunj Behari Meher in his autobiography exemplifies that similarity in nature, has been observed in females and elephants and names that grew as simile . There are many names and where elephants are associated as an icon with Indian culture. Besides, the elephant is a wild animal but it has a deep relationship with humans. When it walks, it attracts a lot, though its heavy weight, it steps firmly, without gust dirt. It leaves ‘padma chinha’ (impression of foot like lotus ) on the land where it steps, which is an auspicious symbol.
The sarees developed after the name of the elephant are: Gajh Gamani, Gaja Batsali, Gajh, Aariyabatta, Kara etc. ‘Gajh bandhan’ is the friendship between humans and elephants. Ganesha is also one of the deities evolved from human and elephant species. Since, elephants are huge animals and ‘laxmi’s carrier or vehicle is elephant so its name is gajh laxmi . Even Indra raja (god of rain) ‘vahan’ is also an elephant(hasti). In a year, the day when dasvi tethi falls, females worship goddess laxmi. Also, in margasia month on every Thursday, they observe fast, namely Manabasa, and worship a goddess who sits on an elephant . They offer Bhog and parshad after the name of mahalaxmi, and women recite holy text and listen. Considering this gajh gamini’ saree has been designed, the GAJA GAMANI: It’s border has danta hathi, sangey sangeni roaming together where the mountains, hills, jungle with lake sarobara path ,a passage, on which elephants walks. The saree carries three inches border, small flowers and creeper (lata). The saree100S Ik Tagi suta tie and dye. Size is eighteen feet long by four feet wide.
For the bandha weavers, The temple has been an inspiring source for designing a saree with the motif transformed from the temple carving , as the temple has been intensively carved. Kunj Behari institute has incorporated all local sources for designing, he mentions in his autobiography. “I have taken a small portion of it as the temple is too much for me to draw.” In one of his saree , he has designed in the mouth of anchal , there he drafted ‘ardh-drishya’, above that elephants are walking in a different style. In this saree creeper are also drawn upward, holding that lata (Vine) small kids are climbing up. Hence , the motifs have been introduced to technique due to the dedication of weavers' faith besides trade necessity. The art reached its pinnacle as long faith and necessity cater to each other.
Note: above findings and content development are contributed by weavers of ikat and and Late Rosanne Dasgupta.
On Saturday 8 June 2024 at 14:00 BST, we will be holding an Online Symposium inspired by issue 117: Irresistible of Selvedge Magazine inviting a discussion around the irresistible nature of resist-dyeing techniques around the world. Join us to discuss batik and its history and legacy. Book your tickets now: www.selvedge.org/products/-online-symposium-irresistible