Research-Paper-On-Paithani-Artisans

ABSTRACT From times immemorial, the craft of Paithani has been an integral part of Maharashtra’s culture and tradition. The artisans used to be held in high regard, but with the industrial revolution setting the scene from 19th century, these artisans have been deprived of the basic rights and amenities required for their wellbeing. The main issue dealt in this research paper is about the challenges the artisans face these days that hinders their growth. To address this issue, we had formulated a study plan which required me to take part in group discussions and actual site visit. Actually visiting Aurangabad helped me understand the history and the revival of the craft in depth. The visit also aided in taking first hand experiences of the artisan through interview which was helpful in understanding the actual issues at hand. The interviews and the inputs given by the people mentioned in the references were very valuable in analyzing the data and finding out the prospects to overcome the issues faced by the custodians of the resilient, yet fragile tradition. OBJECTIVE The idea behind this project is to capture the pure, untainted spirit of the craftsmen. The intent was to methodically record and document the threat this exquisite craft is facing and to address the issues faced by the artisans who toil hard to nurture this craft. The handicrafts and various other artefacts are of the major factors that determine the identity of a civilization. In the days of yore, Indian handicrafts and its artisans were held in high esteem and were even patronized by the governing bodies. But the outbreak of industrial revolution in 19th century stripped the artisans off their only source of livelihood. Although the government did take efforts to secure this sector, the threat of industrialization continued to affect the artisans. These artisans live in unhealthy clusters and are deprived of basic amenities due to highly unstable income. The research paper deals with the decline of the status of the artisans, and the challenges encountered by them. METHODOLOGY To achieve the objectives a study was planned which involved various aspects such as photography, documentary and branding, which this research paper was a part of. The first part of the entire procedure included group discussions, which helped us devise the further plan of action to document Paithani. Discussion with the project guide, Ms. Anandi Kelkar helped me formulate the questionnaire to conduct the interviews of the artisans and the owner of the Bashir Silk Factory. A brief research was conducted with the help of inputs from the project guide along with the inputs from Mrs. Garima Bhalla, the Head of the Department of Bachelors of Design programme. The second phase of the project was to actually visit the city of Paithani and meticulously document and put in words, the process of Paithani weaving, its history, the process and last, but not the least, the threats that this craft faces. Observing the entire procedure and speaking to the artisan – Aarifa Begum in person gave me insights, which were useful for this research paper as well as the entire project. The last part was to come back home, and compile all the gathered information and present it in front of the jury, who was Mr. Hemang Agarwal, whose inputs only helped me to improvise this research paper further. INTRODUCTION The Paithani Sari, the most celebrated and traditionally fashionable fabric of Maharashtra is usually worn by women belonging to economically sound families. It is somewhat coming back into fashion again. While the sari is sometimes also made of cotton-weave, the elegance of silk texture is far superior to that of cotton. Besides, cotton is not so elastic as to bear the weight of gold and silver threads. Recently a low priced variety of artificial silk and zari had come into the market. Because of the introduction of this low priced variety of Paithani brocade, the demand for the traditional pure silk and gold brocade has fallen. And the low level of aesthetic awareness among the younger generation, threatens the existence of the original weave. Arshi Ahmed Qureshi, owner of the Bashir Silk Factory in Aurangabad says, “Evidence from archives of the Peshwa period shows that Paithani Sari was very popular among the members of the Maratha-Mandal. Because of its increasing demand in Maratha – Mandal, the powerful Maratha nobles tried to set Paithani weaving industries at their own headquarters at Poona, Indore, Nagpur, Kolhapur, Miraj, Nasik, Baroda, etc. As a result, Saris of the types of Paithani-brocades were manufactured at these centres too.” But the imitations remained far inferior in their texture and decoration as compared to the traditional Paithani of Paithan. Perhaps the ethos of Paithan has something to do with its craft and the new centres were bereft of it. Since then, Because of its dazzling colours and beautiful motifs, it attracts all sorts of persons, ranging from warriors to merchants and from kings to paupers. In today’s era, Paithani has become indispensable apparel for brides. Brides clad in these graceful Paithani brocades, and present a picturesque sight at weddings and at other religious ceremonies. HISTORY Maharashtra is known for its rich and exquisite traditional handloom textiles and handicrafts. Hand-woven textiles like Paithani brocades that have existed for more than 2000 years in original patterns and woven with the same techniques even today, are prized heirlooms and possessions for many. New techniques and products were introduced by different dynasties, which ruled the state from time to time. These have left an indelible impression on the history of hand-woven textiles and handcrafted arts of Maharashtra. As with many other crafts in India, textile weaving and the associated crafts were handed down from generation to generation, the art remaining within the family of the craftsman. The Godavari is the Deccan’s longest and the broadest river, not surpassed in size even by the Krishna. Its resultant holy status often causes it to be referred to as the Dakshin Ganga. Since the Ganga has been the most important river for agriculture in North India or perhaps the whole of India, many villagers living on the banks of the Godavari in Maharashtra, call the river just “Ganga”. It is almost a perennial river, or at least was till some of the big dams appeared. It is a boon of life due to continuous source of water which helps flourish the agriculture and is fit for human consumption in the semi-arid land of Maharashtra. Paithan or Pratishthan as it was called the Kashi of the Deccan in the days of yore because of the ceaseless source of fresh water provided by Godavari. Historically it was the most important city on the banks of the Godavari. The fact that so many of Maharashtra’s poet saints lived there, were born there or at least made a pilgrimage there, also gives it a consonance to Banaras in its being. But having also been the capital of several Deccan kings for centuries and being religious, trading and a flourishing textile center, Paithan, even today gives glimpses of its past and is at par with the meticulous planning of Mohenjo Daro. The art is more than 2000 years old, developed in the then splendid city of Pratishthan (presently known as Paithan) ruled by the legendary Satavahanas ruler Shalivahana, by the Godavari in Marathwada, some 50 km from Aurangabad. In the far past it had been an international trade centre for silk and zari. Paithan was the capital of the Satavahanas dynasty (200 B.C.) and used to export cotton and silks to the great Roman Empire. During the 17th century, Aurangzeb patronized the weavers and the designs in this era came to be known as “Aurangzebi”. The topographic background of the region was the key factor in shaping the economy of the people. The richness of minerals, the fertility of the soil, and the forest resources had determined the nature and scope of the economic activity that ensued there. Paithan had the advantage of all these factors to aid the growth of business and economy from ancient through medieval periods and retained the status of a great centre for trade and commerce. Not just Indian exports such as cotton, silk, ivory, peas and pepper were in great demand in Greco-Roman world, but the demand for cotton and silk went on increasing due to their fine texture and elegance and the skill and craftsmanship’s that lay behind them. To know the tastes of the Western people in fabric and to study them, Satavahanas kings dispatched a number of ambassadors to western countries. Paithan being the capital of the Satavahanas, emerged and prospered into an important centre of textile production under the special patronage of the Satavahana rulers. It remained important in the field of textile production till the early decades of the 20th century. The complex art of textile weaving could not have spread out suddenly. But since the agriculture around Paithan provided such a substance it is likely that the trade grew to substantial proportions even before the coming of the Satavahanas the then existing demand for textiles must have already increased to large proportion, and a section of the society must have taken already to master the art of weaving, since the craft received special favours from the rulers. The Mughal Age After the invasion of Alludin Khilji, Deccan became a part of the northern empire and various Sultans of Delhi tried to control the affairs of Deccan from their capital. Mohammed Tughlaq, the immediate successor of the Khiljis, not being satisfied with this, shifted his capital along with the empire from Delhi to Devagiri which was renamed as Daulatabad by him.

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