Patola Fabric:

Introduction
Tie and Dye is one of the oldest textile techniques where portions of cloth are tightly tied before dyeing. These
resist the dye and form the pattern. In India, the specialized skill of ikat weaving exists in three areas, Orissa,
Andhra Pradesh and Gujarat.
Ikat is the meticulous technique of tying and dyeing the warp or weft or may be both before being woven into a
textile form. Single Ikat fabric are created by interweaving tied and dyed warp with plain weft or resisted weft
yarns is inserted in plain weft.
Double ikat involves the process of resisting on both warp and weft and then interlacing them to form intricate
yet well composed patterns.
Patola is a double 'ikat' weave special to Patan district of north Gujarat. The unique feature about this weave is
that it has no reverse side, both sides have equal intensity of colour and design. The peculiar quality of weave
has its origins in a very intricate and difficult technique of tie dyeing or knot dyeing, known as "Bandhani
process", on the wrap and weft separately before weaving so that they blend perfectly when woven and give the
textile its rich colour and form. Made by hand, Patola Saris measures 5.5 metres long and 1.3 meters wide.
The famous Patola from Patan has been one of the 20 Indian traditions submitted to UNESCO seeking their
nomination for 'Intangible Cultural Heritage' in 2009.
History
Patola is possibly derived from the Sanskrit word "Pattakula", meaning a silk fabric.
It is a legendary heritage of Indian textiles from North Gujarat. No exact knowledge of the origin of Indian
double Ikat technique, not of its precise age of the oldest surviving designs, is available. It is believed that this
tradition art received great patronage during the Chalukya period of King Kumarpul reign as before
800(approx.) years. During the period of king Kumarpal, the queen used to wear a new Patola (Sari) every day.
This is also recorded in the autobiography of Kumarpal. At least 700 families, who mastered this weave, were
brought by the then king of Patan, Kumarpal of Solanki dynasty, in the 11th century from Jalna in Maharashtra.
Only four of these families are now surviving in Patan.
Patola can be recognized in 17
th
and 18
th
century wall paintings of the palaces of Mattancheri and
Padmanabhapuram in Kerala. Since beginning of the 16
th
century, the Patola also appears in European travel
literature and trade documents.
While wrap and weft ikats are known in most parts of the world, double Ikat exists only in India, Indonesia and
Japan. The extremely complicated technique of double Ikat is found fully developed in the silk Patola from
Gujarat. The main surviving centre is Patan, where few families still continue the tradition. The wrap and weft
ikats of Andhra-Pradesh and Orissa have relatively simple designs.
In an ancient age dyes for colouring were being prepared by artisans themselves from the indigenous vegetables
materials such as Haldi, Indigo, pomegranate skin, Iron Rust etc. Almost all the instruments of Patola loom are
being made from bamboo and few from wood and carpentry of these instruments were also done by artisan
themselves.
The Patola are produced for years by the same process as it was before till today. Nobody has tried to make a
single modification in the technique and the process of preparing of Patola. Since 1920 only four families are
connected in traditional art.
Historically, Patola was formally worn in some parts of Gujarat, Maharashtra, Madhya Pradesh and South India.
Originally, Patola were woven in four distinct styles by the Salvi community. For Jains and Hindus, it was done
in double Ikat style with all over patterns of flowers, parrots, dancing figures and elephants. For the Muslim
Vohra community, wedding saris were woven with geometric and floral designs. For Maharashtra Brahmins,
Nari Kunj saris of plain, dark-colour body and borders, with women and birds, were woven. Lastly, there were
exclusive saris woven for the traditional export markets in the Far East.
It used to be worn by a bride as a wedding sari amongst well to do cast and Salvi community. It is also worn as
Shawl by groom. It also used to be draped over the saddle when the groom rides on horseback to the brides
house. Patola saris are worn on festive occasions. They are preserved as heirlooms.
The Brahmins use to wear Patola characterised by short length less than 4 m long and width of 1m with various
designs. The women of Vohra community of Shia Muslims of Siddhpur and Ahmedabad do not normally wear
Saris but the bride is adorned by Patola Sari in typically Gujarati Style. These are normally about 4.3 m long and
1.1 m wide and keep the same pattern which only rarely varies in borders and end pieces. Galavali Bhat usually
long upto 7 m and narrow 1 m is known as Dakshini Patola, suitable to be worn as a sari, maharastrian Style.
This type was sold in Burhanpur to local traders. Art the end of 18
th
century, the Maharani of Baroda,and the
sovereign of Patan use to wear patola saries.
In recent times, double ikats have been made for use as table cloths, wall hangings, handkerchiefs, scarves etc.
Patola fabric was exported to Indonesia in old times of 4 m long and 1 m wide. Cotton was used instead of silk
in the borders in the wrap and additional gold weft threads were not used. The lion and tiger motives with
elephants were used. It was worn as loin cloth or made into costumes and used in dance to signify magical
significance.
Materials & colours:

From more than 100 of years the material used in Patola fabric have always been pure silk with vegetable or
natural colours, the best part of these dyes is that they create a proper harmony and co-ordination even when
contrast colours are used, they are pleasing to the eyes and are eco-friendly and hygienic and apart from all these
they look beautiful as compare to synthetic dyes.

There is a famous proverb in Gujarati padi patola bhat fatey pan fite nahi meaning design on Patola will
never perish though it may be worn out".

Some of natural dyes used are haldi, madar roots, manjistha, ratanjyot, indigo, mendhi, katha, kesudo,
promogranate skin etc. to name the few.

Types of Designs available in Patola Fabric:
Narikunjar
Ratanchawk
Navaratna
Voragaji
Chhabdi Bhat
Chokhta Bhat
Chanda Bhat
Pan Bhat
Phul Bhat
Laheriya Bhat
Tarliya Bhat
Zumar Bhat
Sankal Bhat
Diamond Bhat
Star Bhat
Butta Bhat
Sarvariya Bhat etc.
Process of making patola:
The designs are first drawn on papers to achieve accuracy in tie & knots, and then transferred to looms, with
great care and cautiousness. A craftsman (Weaver) can weave only ten to twelve inches within a day, for 8 to 10
hours. It takes one and half month to complete a patola saree.
Following are the seven main processes of preparing a Patola. Each main process is also sub divided into
3 to 4 sub processes. In short, total process of making Patola is 22 to 25.
1. Process of making silk pure. (Conversion of raw silk in to pure silk)

Opening the hanks on small spindle


Multiplying of silk threads to the required thickness


Making hank again from small spindle


Degumming of Raw Silk Yarn by boiling in washing soda water


Washing in plain water after degumming

2. Process of making warp and weft
Twisting the twelve silk threads by making a Tani


Winding the wrap from spindles

Making the weft from spindles


3. Process of tying the knots on warp and weft
Tying the knots by cotton strings according to the design for first colour ion wrap and weft

Weft is taken on the frame and knots are tied for the dying of first colour


The process of tying, colouring and washing is repeated for multiple times depending on the
number of colours in the fabric


4. Process of dyeing
First colour is dyed on tied up Wrap and Weft


washing the dyed Wrap and Weft


After finishing all the colours complete design and colours are seen on warp and weft


5. Process of weaving
Separating the coloured threads on small spindle


Coloured threads winding up on bobbins from spindle

Weaving work on Patola Loom

6. Process of adjusting each thread of warp and weft
7. Process of finishing the fabric