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Les Textiles Patola De Patan ( Inde), Xviie Et Xxie Siècles : Techniques, Patrimoine, Mémoire Manisha Iyer

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Les Textiles Patola De Patan ( Inde), Xviie Et Xxie Siècles : Techniques, Patrimoine, Mémoire Manisha Iyer Les textiles patola de Patan ( Inde), XVIIe et XXIe siècles : techniques, patrimoine, mémoire Manisha Iyer To cite this version: Manisha Iyer. Les textiles patola de Patan ( Inde), XVIIe et XXIe siècles : techniques, patrimoine, mémoire. Histoire. Université Panthéon-Sorbonne - Paris I, 2015. Français. NNT : 2015PA010653. tel-02494004 HAL Id: tel-02494004 https://tel.archives-ouvertes.fr/tel-02494004 Submitted on 28 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Université Paris 1 Panthéon-Sorbonne Ecole doctorale d’histoire (ED113) Centre d’histoire des techniques (IHMC « Institut d’histoire moderne et contemporaine) Doctorat en histoire moderne Manisha Iyer Les textiles patola de Patan (Inde), XVIIe et XXIe siècles: techniques, patrimoine, mémoire Thèse dirigée par Madame Anne-Françoise Garçon, professeur Université Paris 1 Panthéon-Sorbonne Date de soutenance : le 2 décembre 2015 Pré-rapporteurs : Filipe Themudo Barata, professeur, Université d’Evora Pierre Lamard, professeur des Universités (72ème section de CNU) Membres du jury : Sophie Desrosiers, Maître de conférences, EHESS Michel Cotte, professeur émérite, Université de Nantes Lotika Varadarajan, Tagore Fellow, National Museum de New Delhi Anne-Françoise Garçon, professeur des Universités, Université de Paris1 Panthéon Sorbonne REMERCIEMENTS En premier lieu, je souhaite remercier chaleureusement Prof. Anne-Françoise Garçon, ma directrice de thèse, pour m’avoir fait confiance dès le début et qui par son soutien et sa disponibilité m’a permis d’achever cette thèse. Je remercie aussi le secrétariat et l’ensemble des étudiants du centre. Je tiens à remercier toute la famille Salvi à Patan sans qui ce travail resterait inaccompli. Merci pour sa patience, son partage de ses connaissances ainsi que son enthousiasme. Mes remerciements également à Raghupathi Vyas et Parimar Vahalia et leur famille pour leur hospitalité chaleureuse et leur aide précieux lors de mes visites de terrain. Je remercie tout particulièrement Lotika Varadarajan pour son aide généreux et ses conseils judicieux. A travers elle, je remercie l’ensemble des personnels des diverses institutions visités, notamment M.Dawson, Manvi Seth et Chaya Bhattacharya de National Museum de New Delhi, Archana Shastri de Indira Gandhi National Centre for Arts, Mushtaq Khan de Crafts Museum de Delhi. Je remercie tout spécialement mon époux Stephen Monteiro pour son encouragement quotidien, pour ses remarques et suggestions à améliorer la qualité de ce travail et pour m’avoir apporté le réconfort dont j’avais besoin. Je remercie également mon fils Dhruv, récemment arrivé, qui a su m’accorder un environnement de travail calme. Enfin, ces remerciements ne sauraient être complets sans évoquer mes parents qui sont mes points de référence de vie. Je remercie également mon frère, ma belle- sœur, mes cousins et cousines, et mes amis pour leur soutien explicite comme implicite. i RESUME Fabriqués dans la ville de Patan située dans l’état de Gujarat dans l’ouest de l’Inde, les textiles patola figurent parmi les plus anciens et les meilleurs textiles indiens. La particularité de ces soieries confectionnées suivant le procédé de double ikat, reste dans la complexité de sa technique de tissage ainsi que le métier à tisser utilisé dans sa fabrication. En tant que marchandises les plus précieuses, ils ont connu un succès dans le marché international dans les XVIIIe et XIXe siècles dans les pays de l’Asie du Sud-est, notamment en Indonésie. A l’heure actuelle, n’y ayant qu’une seule famille à pratiquer cette technique en Inde, un risque imminent de disparition de cet art persiste. Cette étude examine l’histoire des patola ainsi que son rôle dans le mondialisation et l’échange culturel. A travers ce travail, nous proposons des stratégies muséographiques qui pourront éventuellement servir comme base pour la conservation et valorisation de cet art mais également d’autres expressions culturelles en péril en Inde contemporaine. Mot-clés : patola, histoire des techniques, muséalisation, Inde, soieries, écomusée, patrimoine immatériel. ABSTRACT Created in Patan in Gujarat, patola silk is considered to be among the best hand- woven silk in India. A long standing weaving tradition, the patola silks fall under the resist-dyed category of textiles where both weft and warp threads are dyed before the weaving begins. Although the patola textiles were extremely popular in the global market in the 18th and 19th centuries, especially in Indonesia, this weaving technique and the textiles face an imminent danger of extinction. Today, there is only one family in Patan that still practices this art. This research aims at examining the history of this textile and its significance in globalization and cross- cultural exchange. It explores museological strategies that could generate models for preserving and valorizing this as well as other cultural expressions in danger of disappearing in contemporary India. Key words: patola, history of technology, musealization, India, silk textiles, ecomuseum, intangible heritage. ii ACRONYMES ASB Société asiatique de Bengale (Asiatic Society of Bengal) ASI Service archéologique de l’Inde (Archeological Survey of India) CCK Centre pour la connaissance des communautés (Centre for Community Knowledge) CCI Conseil indien de l’artisanat (Crafts Council of India) CGC Commission géographique de la province du Canada. EIC Compagnie anglaise des Indes orientales (East India Company) IG Indication géographique INTACH Indian National Trust for Art and Cultural Heritage MAI Museum Association of India MCC Musée canadien des civilisations MoWC Museum of Work and Culture UNESCO Organisation des nations unies pour l’éducation, la science et la culture VOC Compagnie hollandaise des Indes orientales (Vereenigde Oost- Indische Compagnie/ Dutch East India Company) iii LISTE DES IMAGES Figure 1 : L’orchestre de Ravi Varma ................................................................... 2 Figure 2: Un couple tamoul, c.1945 ..................................................................... 3 Figure 3: Robe à la française, 1760 ....................................................................... 9 Figure 4: Marie-Antoinette à lâge de 13, Joseph Ducreux, 1769. ......................... 10 Figure 5: Un prince et ses assistantes, Grottes I, Ajanta, c. VIe – VIIe siècle. ....... 12 Figure 6: Un personnel d’une des boutiques des saris montrant le ‘temple cloth’ 39 Figure 7: Un sari en soie fabriqué à Kanchipuram orné des brocarts en zari ou fil d’or .................................................................................................................... 42 Figure 8: Une écharpe en Ajrakh fabriqué au Gujarat.......................................... 43 Figure 9: Un exemple de textile batik fabriqué en Inde.. ..................................... 45 Figure 10: Un exemple du textile bandhini fabriqué en Inde…………………. 45 Figure 11: Exemples d’ikat simple et ikat double sur la soie. .............................. 46 Figure 12; Rani ki vav ......................................................................................... 90 Figure 13: Une pelote de la soie grège ............................................................... 100 Figure 14: Le métier à tisser à fosse utilisé par les tisserands de Kanchipuram ... 123 Figure 15: Le métier à tisser patola .................................................................... 125 Figure 16: Le tisserand ajuste les fils pour bien aligner la chaîne et la trame ......128 Figure 17 Cette photo d’un sari patolu montre les différentes parties du textile .. 133 Figure 18: Le dessin du motif vora gaji sur le papier quadrillé. .......................... 134 Figure 19: Pan bhaat ou le motif de feuille de bétel (photo de l’auteur) ............. 135 Figure 20: Tran phool bhat ou le motif de trois fleurs (photo de l’auteur). ......... 136 iv Figure 21 Le prince javanais .............................................................................. 153 Figure 22 Le prince de Sukarta avec sa famille. ................................................. 156 Figure 23 La pièce avec le motif des éléphants caparaçonnés. ............................ 157 Figure 24 Un patolu à des fins cérémoniales avec les éléphants caparaçonnés datant du XVIIIe ou XIXe siècle. ........................................................................ 158 Figure 25 Le prince javanais .............................................................................. 159 Figure 26 Un lot de pantalons patola fabriqués pour l’Indonésie, ....................... 159 v LISTE DES ANNEXES I Questionnaire d’enquête de terrain 233 II Localisation géographique des textiles patola 235 III Centre de production des textiles ikats en Inde 236 vi TABLE DE MATIERES REMERCIEMENTS ............................................................................................. i ABSTRACT ......................................................................................................... ii ACRONYMES ...................................................................................................
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