BOMKAI SARIS OF ORISSA

BOMKAI SARIS OF ORISSA

1. HISTORY OF DESIGN AND FASHION

2. BOMKAI SARIS OF ORISSA

3. ORISSA COTTON SARIS Orissa is known for its cotton saris in single and double- ikat . The tie-dye technique for dyeing yarns is locally called bandha . These saris have unusual colour schemes and graphic characters. Commonly used colours are indigo blue, yellow, white, deep red, and black. Sambhalpur , Bargarh , Sonepur and Nuapatna in Cuttack are the best – known weaving centres in Orissa. The most well-known cotton saris from Orissa are sambhalpuri , bichitrapuri , saktapar and bomkai . Tie-dyeing of yarn as per the design is a tedious and time-consuming process. Once the warp is ready, the weaving is carried out on a pitloom . The traditional jala , dobby or jacquard attatchment can be used to suit the design requirements .

4. The example of bomkai , a single village in ganjam district is worth takin note of as it has kept alive a range of coarse cotton saris such as the muhajorha naksho saarhi . These are distinct in their use of only heavily plied cotton, with stylized floral and geometrical pattern in the borders and muhajorha . These were woven by the patra and nayak weaving communities for the local Sadhaba (mercantile community), now settled in the area as landlords. The weavers remember saris such as ramchandra pedi and kuthi ramchandra pedi , one plain and the other with the kuthi (check) in the body and various forms of stylized kalera phulia (flower) in the end piece.

5. Maa santhal saarhi Sada patta santhal saarhi Dega phutta santhal pata Phuta kaunti chowkda Phuta kaunti chawkda saarhi

6. Bonda ringa Rekti kapda ganda Kobari pata Mae lugda tarap pata kotapad

7. Bomkai sari…. A traditional figured sari from the southern Orissan coastal plains in the Bomkoi sari, so named after the village where it was discovered in the early 1980’s. only a few weavers were still creatimg it at that time, but it was originally made for the local maharaja, aristocracy and brahmins of the chikiti tahsil in the Ganjam district a few kilometres from the Andhra Pradesh border. Although woven in heavy, often coarse, low count cotton, these saris were always dyed bright colours , usually with black, red or white grounds and multicoloured supplementary-weft and warp endpieces and borders. The field warp threads were cut and retied to different- coloured warps for the endpiece . This creates a dense layer of colour for the usually large endpiece . Such a time-consuming technique, which is known locally as muhajorbi ( literally, ‘ endpiece with joined threads’) was once much more common throughout India.

8. The ground fabric of the sari is usually in black, red or white. It has multicoloured extra warp and weft patterns in the borders and on the pallav . Originally meant for religious ceremonies. Sometimes the whole sari could be replete with elaborate motifs. The contrast in the borders is achieved through three shuttles. Traditionally these were woven on pitlooms with the jala attachment. However, the jala is now replaced with jacquard.

9. Today it is only found in a few traditional saris in Tamil Nadu, Bastar and in the expensive Paithani sari of the western deccan . The endpiece also contains angular discontinuous supplementary- weft patterns woven in contrasting colours . They have such names as rukha ( pestel , stick ), dombaru ( small hourglass- shaped drum ) , kanthi phoola ( small flowers ) and karela (bitter gourd), peacock and fish. Unlike many eastern Deccan saris , the supplementary bands are not woven in progressive order from large to small, or vice versa, but are woven as the weaver sees fit. Yet despite all the work in the endpiece , it is the supplementary-warp patterns of the borders that give these saris their names. A broad band of the supplementary-warp patterning (the mukta panji ) forming a lattice work of small diamond shapes is the usual design. The size and shape of the lozenges determine its name, such as dalimba (literally, ‘pomegranate seed’, the design has a dot inside the diamond shape).

10. Orissa is a treasure trove of fabrics, each incorporating a special technique used to create a unique set of weaves, with a distinctive palette of colours and designs. Bomkai is woven in a number of places including the Ganjam District and in towns of Barpalli and Attabira in Baragarh District in Orissa. Bomkai derives its name from the town where it originated. The  Bomkai  cotton saris from Ganjam district (southern Orissa), named after a tribal village, have been influenced by tribal art

11. Kans bandhi lugga /three part end piece sari, material: cotton, 20’s, length 7m, width 1.05 m, weight : 980 gm, origin : kotapad , koraput district. Mae lugda tarap pata /bride’s mother ‘s sari : material cotton, 20’s, length: 7m, width 1.05m, weight 980gm, origin : kotapad , koraput district

12. It has an embroidery-like work on the border and pallo (the broad band at the end). Bomkai  threadwork features ornate borders and heavily embroidered drapes with touches of Ikat work . Popular with tourists and locals for their ethnic feel and tribal look “The speciality of Bomkai is the contrast borders and heavy designs on the sari pallavs , while the blouses are in contrast colours .”

13. Beauty of bomkai sari Bomkai combines the tie and dye technique and extra weft weaving. The double shades of the sari, the border and the pallav are worked on the basis of colour combinations. Once the dyed yarn is fitted in, the pattern is worked using extra weft technique. This gives a sari an almost woven, carpet like effect. Orissa still uses the traditional jalas for weaving Bomkai . Wooden jalas are used and are tied the traditional way by jala bandhaks (weavers)

14. Jala system is the predecessor to the jacquard looms. The design is tied by specialists called jala bandhaks keeping in mind the design to be followed in the pallav and the sari. If it is an intricate design, the procedure is repeated. Otherwise smaller designs such as bootis and florals are worked through the extra weft. when complicated designs have to be woven, a second set of jalas are used where motifs akin to the pallav are carried on the rest of the sari or in case of salwar kameez’s , the designs of the dupatta or yolk in the fabric are woven in the entire fabric. Simple designs such as bootis and small florals are woven in the entire fabric.”

15. Bomkai silk saris have enjoyed the patronage of royal families.

16. Bomkai patterns are hand woven from gold or silver colored silk threads. They embellish the borders and pallu (falling edge) of a sari.  Orissa's  Bomkai  threadwork features ornate borders and heavily embroidered drapes with touches of Ikat work in some instances and are popular with tourists and locals for their ethnic feel and tribal look. With motifs drawn from the Shakti cult predominant in Orissa's tribal and rural culture for centuries and colored in the subtle hues predominate in nature, Bomkai fabrics are a must buy on your tour to Orissa with Tourism of Orissa tour packages.

17. Bomkai sari

18. Bomkai saris  have a close association with Lord Jagannath , the presiding deity of the Jagannath Temple in Puri . Orissa saris have extensive usage of black, white, red and yellow colour , which are the colours found on the Jagannath's idol. The motifs found in these saris such as lotus, conch, wheel, etc. share a close similarity with the idol of Jagannath .

19. Orissa's bomkai come in earthy patterns of the famous Ikat style of weaving. The  Ikat  handloom and textiles origin can be traced back to Orissa's rich maritime past when seafaring traders ventured forth on journeys to the islands of Indonesia primarily Bali. Drawing heavily from the motifs replete in tribal culture and its association with nature and Orissa's famous temple architectural style, the textiles and handlooms of Orissa have entered the living rooms of people from as far as US and Poland.

20. Fabric in Bomkai Sari Bomkais are woven in cotton, silk and tussar . The cotton used is usually of higher quality being 100 counts and 120 counts. “Even lower counts of 80 are woven. These are coarse with a rough finish. Bomkai saris were originally dyed in bright colours like black,red or white grounds.

21. For regular wear, cotton bomkai is favored. A Bomkai Cotton Sari is also an excellent choice for any religious function. Bomkai Silk Saris are generally worn in formal and semi formal occasions.

22. Bomkai + ikat Bomkai sari

23. Bomkai saris come with elegant designs, enchanting colors for the exclusive women. Some Bomkai sari have small fishes woven onto the border. East Indian ladies love to wear Bomkai saris for their traditional tribal look, as well as their understated and elegant color pallette . A combination of ikat and Bomkai is very unique.

24. Tribal influence in bomkai sari The Bomkai ikats have motifs drawn from the Shakti Cult. The weavers of Orissa are class by themselves. They have been known far and wide for the intricate and painstaking skill exhibited in their fabrics.

25. Motifs used Fish motif is a very common motif found in bomkai saris. Fish symbolizes prosperity and good health.  The dominant motifs in this craft include animals and birds, with the traditional designs being conch shell as well as bolmala , chandankora , and sachipar . The patterns found are: rukha (Pestle, stick) Dombaru (small hour glass shaped drum), kanthi phoola (small flower), karela (bitter gourd) Peacock and fish.

26. Flowers, creepers, birds, animals are abundantly woven in myriad colours , all lending a distinct feature to the nine yards of woven wonder The  temple borders , geometric figures and subtle references to nature are blurry edged giving the fabrics a genuine ethnic feel.

27. Temple border in bomkai sari The typical temple border is created by eye and hand and years of experience. Two weavers working in sync, each create the temple border on their side, interlacing the black and red threads, and tossing the red shuttle with lightning speed between themselves. Two sets of bamboo sticks criss -crossed and tied function like a stretcher bar to maintain the uniform width of the cloth.

28. Weaving process In no other colour technique of textile decoration does the dyeing process play such a prominent role. The pattern is not formed by weaving together yarns of different colour nor it is printed on the fabric :it is made by dyeing the warp and weft before weaving. Following the precise plan , pieces of another material are tied with the hanks of yarn at certain points. This material absorbs the dye stuff and is removed after completion of dyeing, leaving the yarn dyed only where it was exposed to the dye liquor

29. weaving process

30. The Bomkai design both the warp and weft is dyed according to the requirement. For border design, warp alone is processed, while for Palavas and anchal of saris, weft is processed and overall sari designs, both the warp and weft are processed. The simplest method in which threads or yarns are tied irregularly and dyed once ,yields speckled yarn, whereas eight fold tying and dyeing in different vats produces yarn for weaving the most elaborate patterns. Needles to say such a complicated process calls for a high measure of skill and expenditure and of considerable time so it is quite unsuitable for industrial application and that is why it is unique.

31. The splendid weaving The remarkable speed and skill of the weavers creates a peaceful and serene atmosphere. The work progresses slowly, it takes two people about a week to weave a sari and a few days of dying and preparation of this simple style. The  jagged edges  are achieved by arranging the yarns with not to precise a position. These yarns of threads were first died according to the colors required to complete the pattern, usually colors derived from nature itself.

32. The Orissa bomkai sari have undergone vast changes as weavers try to adapt the designs to popular taste. Vegetable dyes have been replaced by chemical dyes, though the former is still available, but the prices are significantly higher. New shades and patterns have also been added. This is a very complicated process and it is rather amazing to find that the traditional weavers do not use any graphic designs on paper. The common motifs are borrowed from nature.

33. The present….. Now with the market demand for new colour combinations, new colours like rust, dark green, deep yellow, bright orange, red and navy blue have begun to be used, unlike the usual colours like black, red or white. Orissa’s classic bomkai sari was recently acknowledged in Chennai fashion week in Tamanna and Shreya’s collection.

34. REFERENCES……. THE SARI - LINDA LYNTON SARIS OF INDIA -RTA KAPUR CHISHTI INDIAN SARIS - VIJAI SINGH KATIYAR

35. THANK YOU…..