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...............
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...............
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