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PATOLA

Patola is one of the famous textiles from Gujarat characterized by weaving of separately dyed warp and

weft yarns to create surface motifs as per the design. The term patola is derived from the Sanskrit

word pattal(a spindle shaped gourd). Few well known designs are Rattan chowk (where diamonds

cross with diamonds as they are interspersed around walnut), Narikunjar (shows motifs of dancing girl,parrot and elephant), Chhabri is a basket made up by four elephants, Waghkunjar (shows tiger and

elephant), Wadi Bhaff (shows motif of flowering creeper). Also there is a variety of leaf and flower and

geometrical patterns. The colours used are vivid, fast and pleasantly harmonized.

Belongs to Gujarat

Apr 23, 2010- Patolas are complex cloths requiring months to weave. With an intricate knowledge of

dyeing, the Gujarati weavers managed to create some of the most extraordinary cloths through a process

of ikat weaving which involved the precise dyeing of both the weft and warp thread systems. These

extraordinary cloths have maintained their value right into modern times and the techniques and

processes associated with Patola weaving are secret to this day.

It should be noted that some of the more valuable cloths like the Patan Patolas, expensive and coveted

even in India, that were brought to Indonesia for the purposes of trade were not of the highest quality

weave, such as that sold in India. This fact clearly implies that the Patolas the traders brought to

Indonesia were woven expressly for the overseas market, perhaps to fulfil explicit orders.

By the time the Dutch arrived in Indonesia, Patola textiles had become synonymous with status and

spiritual power and hence authority. The right to own and wear Patola rested with the nobility, and being

able to own or wear a Patola gave a family instant status.

The designs and lengths that were exported to Indonesia were very specific and do not occur in the

corresponding Indian inventory. However, the designs clearly conform to Indian aesthetic parameters and

depict commonplace Indian themes rather than Indonesian ones. Hence it is likely that Indian weavers

created specific styles and patterns exclusively for the Indonesian market, in turn establishing strict

parameters for the exported Patola's spiritual language. Even a slight deviation from the established

patterns meant that the cloths would not be accepted by Indonesian buyers.

The Patola's that made their way to Indonesia were decorated with Animal motifs and geometrical

patterns. The most common of the animal motifs were the tiger and elephant repeat patterns. The more

exclusive patterns were the ones with the caparisoned elephants; the fewer the elephants and the less-

repetitive the pattern the more valuable the cloth.

These cloths were used to barter for items of great value such as land rights. All the animal Patolas were

display textiles, used in two plus meter lengths as a backdrop for the royal throne. The geometric patterns

were mostly based on nature the most common ones are the eight point jasmine flower and a trellis

flower pattern. The geometric Patolas have been found in longer lengths, and were used as turbans and

waist sashes for nobility as depicted in royal paintings and aquatints by Dutch artists.

Another category of Patola was exported to Indonesia most probably at a much later time. These Patola

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cloths were stitched into trousers, sashes and head dresses for nobility. The patterns on these cloths are

exactly similar to those found in Indian Patola and the high quality of weaving also suggests that these

cloths were made for the Indian market and then converted into articles of royal clothing either in India or

after shipment in Indonesia.

When the prices of Patola and the appetite for such cloths increased, cotton imitations, also made in

India, began to appear on the market mostly for use as shoulder cloths by the laity.

Other cloths exported to Indonesia since the earliest times were the coarse cotton cloths from Cambay.

The typical patterns were simple repeat patterns of floral block-printed designs and cheap checked cloths

that came to be commonly known as Cambay cloths.

The dyeing techniques consisted of mordant and resist dyeing and the rare hand painting. They were

sent to Indonesia in bolts, to be cut to the required length for the buyer. Most cloths had no edges to

signify the natural length of the cloth, though a few like the hamsa, the sacred goose pattern did have

edges along the widths where they were to be cut. These cottons were used both as attire and wall

hangings.

Who dictated the patterns of Indian trade cloths is an issue for debate, though evidence points strongly in

favor of Indian pattern makers, because the cloths that have been found at best interpret common Indian

stylistic themes in an Indonesian aesthetic style, rather than depicting Indonesian themes. Some of the

patterns on cotton cloths are unchanged from the ninth century fragments found in the Fustat excavations

in Egypt.

Therefore, it stands to reason that since similarly patterned cloths were being shipped to entirely different

markets, the patterns must have originated in India. Many of the patterns themselves can be traced to

copies of stone screens and trellises, and hybrid Hindu-Moslem patterns that were perfected by the

fourteenth century.

Another totally different category of Cambay cloths found in Indonesia were the figurative block-printed

cottons depicting dancing girls holding parrots and dressed in the rich attire of court dancers and hunting

scenes depicting elephants and warriors on horseback. The paintings include many Indian symbols

associated with such types of depictions, such as sacred geese, umbrellas, fly whisks and musicians.

The block-printed pictures on most the seventeenth century cloths are very similar to the in the style of

Jain miniature paintings of the time, while some of the earlier fourteenth century finds are more in the

style of the Ajanta and Ellora cave paintings.

These cloths found predominantly in Toraja, Central Sulawesi were most probably clan cloths used as

ceremonial hangings by tribal chiefs. Some of these cloths were singed, while others were inscripted.

Ceremonial hunting scenes in the Rajasthani style of painting, produced to this day for special festivals,have also been found in Toraja and some stylized version in Timor. The Rajasthani hunting scene cloths

differ from those depicting dancers and hunting scenes of Gujarati influence in as much as they were

probably not explicitly produced for the Indonesian market like the latter.

About

The silken feel of an elaborately intensive hand woven depiction of flora fauna, stylized elephants,

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motifs of flowers, jewels and abstracted geometrical patterns along with frolicking maidens dancing on

the borders of the sari; all lauding the most beautiful textile craft form the world has ever known. This is

the double Ikat craft form as practiced in Patan, a district in North Gujarat.

The tie and dye of the yarn itself, before the weave requires intensive voyage of creative discovery

within the mind of the weaver and as each pattern unfolds on the loom it is akin to the birth of a single

perfect pearl. The word Patola to the connoisseurs conjures up an image of the absolute finest in silk

hand woven textile, a skill intensive labor of love involving the mysterious bond of creativity between

the weaver and the very silken strands of threads that eventually germinate into a luxurious sari worth

loosing a kingdom for.

The textile works of art emanating from a Patola loom are predominantly sari length and are amongst

the most famous textile craft forms in the world today. The making of a Patolu is a creative process

envisaged in the mind of the weaver as tie and dye work is undertaken both on the warp and the weft

threads. Though earlier woven in Palanpur and Ahmedabad today the Patola or the singular Patolu aresynonymous with the city of Patan in North Gujarat. During the making, specific dye extracts from

natural sources are used and supervised by the master craftsmen himself.

Traditional Trivia

Patola, the woven fabric of a coarser variety was the prime element of export to Southeast Asia and the

Dutch Indies. So engrained was the Patola as a ritualistic and royal symbol in the Malayan archipelago

that it was called Mengikat there, a title later shortened by the Indonesians to Ikat which became the

internationally accepted nomenclature for this weave form.

The origins of the Patola can be traced back to Gujarats Solanki royal family who invited weavers from

Jalna, now in the state of Maharashtra to settle in Patan and explore the full potential of the weave

construction. Here changes were also made on the existing looms requiring two people to operate it

and the creativity of the Patola incorporated Gujarti sensibilities and design variations. It borrowed

heavily from the geometrical yantric configurations of Solanki architecture such as the Udaymati Vav at

Patan. Today, the Salvi family at Patan has kept alive the double ikat sheer poetry of the intermingling

warp and weft of silken music that is the Patolu of covetous desire.

The history, skill and aura created by this amazing creation in silk has made it an item worth the wait as

each sari is an individual work of art taking anything between three to six months to complete.

Geographical Location

Geographical Location

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Patan

Community Involved

Salvi community is involved in creating this wondrous textile

Raw Materials Used

Silk yarns

Natural Dyes

Product Name : Cushion Cover

Artisan :Makwana Pankajbhai Dungarbhai

Product Details : Cushion cover in patola design

Size : 16"

Category(ies) :Cushion/Bolster/Pillow covers

Craft(s) :Patola (Double Ikat - Patan)

Price : 350.00 INR / piece

7.00 USD* / piece

4.12 EURO* / piece

Packing, Forwarding and Shipping charges extra as applicable.

Product Name : Silk Duptta

Artisan :Makwana Pankajbhai

Dungarbhai

Product Details : Silk Duptta in patola

design

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Category(ies) :Dupattas

Craft(s) :Patola (Double Ikat - Patan)

Price : 1500.00 INR / piece

30.00 USD* / piece

17.65 EURO* / piece

Packing, Forwarding and Shipping

charges extra as applicable.

Product Name : Silk Dress Material

Artisan :Makwana Pankajbhai Dungarbhai

Product Details : Silk Dress Material in patola design

Category(ies) :Running Dress Material

Craft(s) :Patola (Double Ikat - Patan)

Price : 6000.00 INR / piece

120.00 USD* / piece

70.59 EURO* / piece

Packing, Forwarding and Shipping charges extra as applicable.

Saree

Saree

Product Name : Saree

Artisan :Shree Nath Utpadan ane

Vechan Sahakari Mandli Ltd.

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Product Details : Sari made with jari

tissue & silk in patola design

Size : 6 mtr. with Blouse

Category(ies) :Sarees

Craft(s) :Patola (Double Ikat - Patan)

Price : 4500.00 INR / piece

90.00 USD* / piece

52.94 EURO* / piece

Packing, Forwarding and Shipping

charges extra as applicable.

Silk Patola Saree

Silk Patola Saree

Product Name : Silk Patola Saree

Artisan :Makwana Pankajbhai

Dungarbhai

Product Details : Patola Saree made

by pure silk

Category(ies) :Sarees

Craft(s) :Patola (Double Ikat - Patan)

Price : 5000.00 INR / piece

100.00 USD* / piece

58.82 EURO* / piece

Packing, Forwarding and Shipping

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charges extra as applicable.

Silk Patola Saree

Saree

Product Name : Silk Patola Saree

Artisan :Shree Nath Utpadan aneVechan Sahakari Mandli Ltd.

Product Details : Silk Patola Saree

Size : 6 mtr. with Blouse

Category(ies) :Sarees

Craft(s) :Patola (Double Ikat - Patan)

Price : 2800.00 INR / piece

56.00 USD* / piece

32.94 EURO* / piece

Silk Patola Saree

Saree

Product Name : Silk Patola Saree

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Artisan :Vaghela Ghanshyambhai M.

Product Details : Single Ikat Silk Patola

Saree

Size : 6.5 Meter with Blouce piece

Category(ies) :Sarees

Craft(s) :Patola (Double Ikat - Patan)

Price : 4800.00 INR / piece

96.00 USD* / piece

56.47 EURO* / piece

Product Name : Top

Artisan :Makwana Pankajbhai Dungarbhai

Product Details : Top made by pure silk in patola design

Category(ies) :Tops

Craft(s) :Patola (Double Ikat - Patan)

Price : 800.00 INR / piece

16.00 USD* / piece

9.41 EURO* / piece

About

Photo Gallery

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Double Ikat

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.

Emerging notions of affordability and transforming profile of modern Indian women have made a big

difference in the perception of the Sari. New developments in the sari, its designs and patterns, color

combinations and contrasts, variety of materials and techniques are rekindling the interest of customers

for the sari as a dressing option.

The single as well as double Ikat Patola sari from Surendranagar and Rajkot region of Gujarat has

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developed keeping the emerging new trend and demand in the market. This style has materialized

strongly in last three decades in order to provide a cheaper option to celebrated Patan Patola varieties.

Traditional double-ikat patola weaving technique from Patan in North Gujarat is highly intricate, labor

intensive and one of the high cost production of Indian handlooms. Due to its intricacies and use of

natural materials, Patan Patola can be the costliest of all sari varieties woven. The Surendranagar and

Rajkot patola are a low-cost variation of the traditional technique, using cheaper raw materials leading to

an affordable range of products.

Traditional Trivia

A few years back Rashtriya shala in Rajkot invited one of the Salvi Patola experts from Patan and held a

ikat workshop in the campus providing training to weavers in that area. With time these weavers

developed their own style of Ikat using similar patterns but with a different color palette and material

range. Government is patronizing the low-cost Patola weaving as it promotes employment for many

handloom weavers in rural areas. A number of welfare and sustenance projects are being run by the

government to popularize this patola weaving in Gujarat. Private traders also support this variant as it

has vast market of readily available customers from Indian middle class and lower middle class who

otherwise cannot afford a genuine Patola. With the huge cost savings in production and a perceived

liking due to affordability factor, the Surendranagar and Rajkot Patola has became very popular in local

markets of Gujarat in the previous decade. This has brought in positive changes in the lives of the many

handloom weaver families who otherwise were not finding enough work.

Geographical Location

Geographical Location

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Map data 2011 -Terms of Use

Map

Satellite

Hybrid

Expand Map

Surendranagar

Rajkot

Community Involved

Wankar and Maheshwari community is involved in this craft form.

Raw Materials Used

Rayon

Artificial silk

Cotton

Chemical Dyes

Salvis keep 1000 year-old Patan Patola textile art alive

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Patan Patola has an envious history and track record of over 10 centuries of

the craft of spinning, weaving, dyeing and finally draping pure silk.

Patan, located to the north of Ahmedabad has inherited a rich cultural

heritage and become famous for its Patolas (double ikat).

Hand-wovenPatan Patolasare available in various forms like, saris, stoles,

scarves and even hand kerchiefs, albeit costly.

The Patolas are made using the tie and dye process using natural dyes like catechu, cochineal, indigo,

turmeric, asafoetida, madder roots, manjistha, ratnajyot, katha, kesudo, pomegranate skin, henna,

marigold flower, onion skin etc to display vibrant colours in the silk sari or fabric.

Alum, copper sulphate, ferrous sulphate, tin chloride, tannic acid, oxalic acid, potassium dichromate and

other mordents are also used in the tedious dyeing process.

It is said that the Patola will wear out or tear off, but will never fade. The Patola fabric production process

extensively involves use of vegetable dyes, which accords it an eco-friendly status.

The fabric manufacturing process involves a hand weaving style that originated from Ikat that uses a

resist dyeing process similar to tie-dye on either the warp or weft silk fibres.

However, the Patan Patola double ikat process involves tie-dye method on both warp as well as weft,

which is a tedious process. Both sides of the Patola have the same look and feel which is indeed unique

for any textiles.

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One can see visually enchanting traditional designs like geometrical figurines juxtaposed against plants,

birds and animals etc, on the Patan Patola silk sari, handkerchief, scarf or stole.

This unique 1,000 year-old art has been kept alive by a single family. Salvi Kanubhai Patolawala and his

family members are the lone flag bearers of this traditional art and are among the most honoured artisans

of India.

They come from a family of rich traditional artisans of Patan, who have mastered the art of double ikat

that has been traditionally passed through generations.

The Salvis have also been trying to keep up with modern times without compromising on the methods

and processes that have been followed since centuries.

India has a rich and ancient heritage in fine textiles. (Double Ikat) Patola from the area of Patan in the

North Gujarat region of western India glorifies this heritage. With its unique gem like qualities-gorgeous

colours, designs and durability.

Its very appearance lures the connoisseur of fine textiles. It has no reverse side. Both the sides have

equal intensity of color and design.

The peculiar quality has its origins in a very intricate and difficult technique of Tie dyeing or Knot dyeing

known as "Bandhani Process" on the wrap & weft separately before weaving.

Before World War II, Indonesia was major buyer of patolas. Historically, the art of Double Ikat patola

weaving dates back to centuries. Paintings in Ajanta caves resemble the tie-dye technique of patola.

Legend indicates that sometimes in the 12th Century AD, King Kumarpal of Solanki dynasty, invited 700

families of patola weavers from Jalna (South Maharashtra) to settle down in Patan in North Gujarat.

Salvi family is one of them who has continued this traditional art and has preserved it even today. This is

our heritage art from four generations.

Master Weavers of Salvi Family :

Mr. Chhotalal M. Salvi

Mrs. Niranjana C. Salvi

Mr. Vinayak K. Salvi

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Mrs. Vinita V. Salvi

Mr. Nipul V. Salvi

Mr. Rahul V. Salvi

Mr. Rohit K. Salvi

Mr. Bharat K. Salvi

Mrs. Kalpana B. Salvi

Mr. Kantilal L. Salvi

Mrs Sharada K. Salvi

Traditionally pure silk and natural dyes were used.Since about last 100 years, tradition had given way to

the use of fast to bleach and easy to dye chemical colours (dyes). Therefore the use of natural dyes in

Patola is discontinued. But since last twenty years again the importance to use of vegetable dyes

became the consideration of its eco-friendliness and to maintain the tradition of old natural dyes in

Patola.

E experiments and researches are being done for redeveloping the old indigenous process of usingvegetable ingredients to obtain different shades which are fast to bleach and sober and pleasing to eyes.

The re-introduced, vegetable materials are: Turmeric, Marigold Flower, Onion Skin, Pomegranate rinds,

Madder, Lac, Catechu, Cochineal, Indigo along with different mordant like alum, tinchloride, ferrous

sulphate, copper sulphate, Tennic Acid, Oxalic Acid, Potassium Dichromate etc.

Dewelling on the fast colour of the patola, a Gujarat poet wrote; "Padi patole bhat faatey pan phite

nahin" meaning the design laid down in the patola may be torn, but it shall never fade.

Warp and weft silk threads are tied separately with cotton

thread on the portions already marked out in conformity with

the proposed design in the fabric. This tied portion is meant to

remain unexposed to the colour while dyeing. United portion

which has absorbed one colour, may be tied while dyeing in

another colour. Tyeing untying, retying and dyeing in different

shades are the main features of this process.Creating design by

tyeing knots on

warp and weft

After completion of dyeing work of warps & wefts, the threads

of the warp of different repeats of a pattern are put together

in a sequence on the loom, so that the design becomes visible.

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The threads of wefts are wound on to bobbins and kept in the

bamboo shuttle for weaving process.

Dyeing Process

The patola is woven on a primitive hand operated harness

loom made out of rosewood and bamboo strips. The loom lies

at a slant, with the left side being lower than the right side.

The bamboo shuttle is made to move to and fro through warp

shades. Each weft thread is thoroughly examined and matched

with each part of the warp design pattern while weaving. Tyeing knots again

after previous dyeing

The tension of the warp threads are removed by the help of

needle after every time weaving of 8" to 10" of fabric. Patola

weaving is a highly accurate just a positioning of warp and weft

of similar colour to obtain perfect design and harmony.The

process is labour intensive, time consuming and requires high

order of skill and dexterity.Traditional Patola Loom

It takes three to four months to prepare tie- dyed design on

warp and weft threads for one sari of 6 yards length by 48"

width. Two Salvis (weavers) working together weave just

about 8" to 9" a day. It takes 40 to 50 days to weave a sari.

Thus 4 to 5 persons take a periods of 5 to 6 months to

complete a sari depending on the intricacy of the design

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The patola was traditionally woven in a sari length of 5 to 9 yards by 45" to 54" width.

The range now extends to include tablecloth borders scarves, handkerchiefs

Design Elements:

Essentially the design in a patola are based on traditional motifs called "Bhat". These designs include

"narikunj", "paan", "phulwadi", "chowkdi", "raas", "chhabdi", "choktha", "navratana", "paanchphul",

"sarvariya", "laheriya" etc.

Flowers, animals, birds and human figures form the basic designs. New geometrical designs

using vegetable dyes were developed and displayed at the Festival of India held in Paris,

London, Tokyo, Washington and Moscow.

The patterns include geometric and floral forms, stripes, animals, etc and,

depending on how the warp and weft threads are aligned together, can either besuper rigorous and sharp or have a blurred look.

When only the warps have been resist dyed the technique is called warp ikat. One

great example of warp ikat comes from West African textiles, where the warp is

resist dyed with indigo, creating a white and blue striped effect.

When Patola silk first came into existence, it was specifically meant for queens and the nobles. The

silk fabric is steeped in history and is also referred to as the queen of all silks. Not one, but there are

a number of reasons that make Patola silk one of the most liked and preferred types of fabric. Not

only for women's dress materials, but the silk fabric also extensively used in the preparation of

kurtas, suits, salwars and Sherwanis. The Patola silk fabric looks utmost elegant on people is at

same time gives a heightened level of softness and comfort. Wearing a Patola silk garment may well

remind you of the glorious days of the kings and queens and the nobility.

Patola has its associations with a place called Patan in Surat district of Gujarat. You must have also

heard of exclusive Patola sarees that have the eminence of being of the finest hand-woven sarees

ever produced in the country. It is only after great precision and days of tedious labour that a Patola

silk garment comes into existence. Delicate patterns can be easily created on Patola fabric. Dress

materials prepared from Patola silk are not only unique but they are a symbol of the nation's identity

in the world.

Like most of other fabric forms, Patola silk too boasts and ancient history. Before Patola found a

home in the western Indian state of Gujarat, it was practised and used by the Salvi community

weavers who hailed from Maharashtra and Karnataka. It was back in the 12th century that Patola

weavers headed towards Patan in Surat under the great patronage of the Solanki Rajputs. Later, the

Salvi community had the affluent support of the Gujarati merchant. And even today, the Patola fabric

witnesses its creative use in the state of Gujarat and is worn with much pleasure all across India and

the world.

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Patola fabric is in great demand during wedding celebrations. It is a fact that weaving Patola fabric

and garments happens to be the most meticulous task in the world. The major feature of the fabric is

that it is lined with many twisted thread that distinguish it from other types and forms of fabric. Patola

fabric is created in traditional handlooms. The fabrics feature vibrant colours and can also be worn

from either side. The fabric uses only natural colours that are procured from vegetable extracts.

Intricate patterns and various geometrical shapes along with soft shade outlines impart a goodamount of gracefulness to the Patola silk fabric.

Patola silk is liked by all communities including Jains, Hindus, Muslims, Maharashtrians and even

Brahmins. The fabric is available in a variety of shades, from plain and sobre to dark colours.

Whether it is a traditional fest or a wedding ceremony, Patola silk is second to none. Sherwanis

made from Patola silk are a rage among all age groups in India and the world over.

Shilp Guru Award 2002 was conferred upon Shri Vinayak K Salvi by the Dr. Abdul Kalam, President of

India on 15th November 2002.

Patola art has also received the National Award of Master in 1965 and CraftsMan of the year award in

1993.

The President of India has conferred the national awards forMaster Craft Persons to these very Salvi's in

1978, 1987, 1997.

Also participated in regional trading workshop for women dealing with modern and traditional dyeing,

weaving silk in Asia at Bangkok, Thailand in 1987.

Participated in Haebru Asia Kasuri Road Festival in Okinawa, Japan in November 2000.

PATOLA,THE TEXTILES woven of selectively dyed warp and weft threads are characterized by their

distinctive geometric,floral and figurative double ikat patterns.Of these,the textiles withgeometric patterns and tiger and elephant motifs constituted a significant luxury good that wasexported to southeast Asia,especially Indonesia,in the 17th and 18th centuries.The floral andgeometric patterns were worn largely by the Bohra community while a patola sari with figures ofdanceing women,elephants or parrots is traditionally presented to pregnant women during thesrimant,the ritual held during the seventh month of pregnancy.The silk warp and weft threads ofthe patola are tied separately with cotton thread and then dipped in coloured so that only theopen threads may absorb the dye.The area that have been coloured are then tied and the threadsare immersed in the second colour,so that once again only the untied areas may be coloured.Theprocess is repeated depending upon the number of colours desired and after all the colours appearon both sides of warp and weft the cotton threads are loosened.The process of colouring thethreads itself takes nearly 75 days,even with three craftsmen participating in the activity.Theweaving requires two craftsmen to work simultaneously on the same loom.At the most,10 inchesof cloth can be woven in a day and it takes about 25 days to complete the weaving and finishing ofa sari.

Inset Detail of the double ikat charactteristics of the patola textiles.

1. A craftsman at Patan painstakingly straightening the threads of a patola textile while it isstill on the loom.

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2. Dyed blue except for the areas that have been tied,these threads shall now be retied anddyed in another colour.

3. The border of a silk patola sari.4. The border of a silk patola sari patterned with the peacock and elephant motifs.

Production Clusters

Patan district:

Patan

5.

Products

Sari,Scarves

Border

6.

Tools

Loom

Kamthi-bamboo Poles

Tokaru-bamboo shedpole

Vi-wooden sword orbeater

Katar-temple

Tor-Cloth beam

Nali-shuttle

Parita-yarn winder

Porcupine quillsVessels for dyeing

Our Achievement

Certificate of Appriciation given by Akhil Bharat Rashtriya Mahasabha in 1939 at Haripura

Award from Cottage Industries, Baroda State in 1946

National Award 1978 by Hon. President NeelamSanjiviya Reddy

We have been honoured by hon. Minister of Youth service and Cultural Activities, Mr.

Manoharsinhji Jadeja in 1983

Vishvakarma Award 1984 by Prime Minister IndiraGandhi

National Award 1987 by hon. President R.VenkatRaman

Award from Mehsana Art and Culture Society in 1990

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Merit Certificate 1991

National Award 1997 by hon. Prime Minister Atal Vihari Vajpayee

Shilp Guru Title 2002 by hon. President Dr. Abdul Kalam

We have been honoured by the hon. Chief Minister Narendra Modi of Gujarat with Momento in

2003

Momento given by Malysian Minister in 2005

MASTERS OF THE CLOTH AWARD Given by Garden Silk Mills in Nov. 2005.

Product Portfolio

We offer a variety collection of Sarees, which are reckoned for their salient features like smooth texture,

fine stitching, perfect finish, color fastness and many others. Our entire range of products includes:

Patola Saree:

o Narikunjar

o Ratanchawk

o Navaratna

o Voragaji

o Chhabdi Bhat

o Chokhta Bhat

o Chanda Bhat

o Pan Bhat

o Phul Bhat

o Laheriya Bhat

o Tarliya Bhat

o Zumar Bhat

o Sankal Bhat

o Diamond Bhat

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o Star Bhat

o Butta Bhat

o Sarvariya Bhat etc.

Patan Patola has an envious history and track record of over 10 centuries of the craft of spinning,weaving, dyeing and finally draping pure silk.

Patan, located to the north of Ahmedabad has inherited a rich cultural heritage and become famous for

its Patolas (double ikat).

Hand-wovenPatan Patolasare available in various forms like, saris, stoles, scarves and even hand

kerchiefs, albeit costly.

The Patolas are made using the tie and dye process using natural dyes like catechu, cochineal, indigo,

turmeric, asafoetida, madder roots, manjistha, ratnajyot, katha, kesudo, pomegranate skin, henna,

marigold flower, onion skin etc to display vibrant colours in the silk sari or fabric.

Alum, copper sulphate, ferrous sulphate, tin chloride, tannic acid, oxalic acid, potassium dichromate and

other mordents are also used in the tedious dyeing process.

It is said that the Patola will wear out or tear off, but will never fade. The Patola fabric production process

extensively involves use of vegetable dyes, which accords it an eco-friendly status.

The fabric manufacturing process involves a hand weaving style that originated from Ikat that uses a

resist dyeing process similar to tie-dye on either the warp or weft silk fibres.

However, the Patan Patola double ikat process involves tie-dye method on both warp as well as weft,

which is a tedious process. Both sides of the Patola have the same look and feel which is indeed uniquefor any textiles.

One can see visually enchanting traditional designs like geometrical figurines juxtaposed against plants,

birds and animals etc, on the Patan Patola silk sari, handkerchief, scarf or stole.

This unique 1,000 year-old art has been kept alive by a single family. Salvi Kanubhai Patolawala and his

family members are the lone flag bearers of this traditional art and are among the most honoured

artisans of India.

They come from a family of rich traditional artisans of Patan, who have mastered the art of double ikat

that has been traditionally passed through generations.

The Salvis have also been trying to keep up with modern times withou t compromising on the methods

and processes that have been followed since centuries.

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HISTORY :

Craftman of Patola of Patan are originally from South India's salvi

families, Around 1175 AD a King Kumarpal, a Jain cast king has

kingdom. He uses new Patola every day for worshiping god. Patola

being made from pure silk is accepted by Jainism. The Patola used asdress for worship for king Kumarpal were not holy. Because at that

time Patola were imported from 'MungiPattan' near to Jalna situated

near Aurangabad, Maharastra State, South India.

King of Jalna use this Patola and then export it to other countries, and

this used patolu is not considered holy for worship and so not used in

devotion. So king Kumarpal defeated king of Jalna and bring 700 Salvi

craftsmen to Patan and reside them. At that time those salvies were

Digambar Jain. Kumarpal converted them into 'Shwetambar' Jain after

reside them in Patan.

Former Honorable Chief Minister of Gujarat Dr. Jivraj Mehta giventheir contribution to stop the world famous art of Patola being

vanished. Present Honorable Chief Minister Narendrabhai Modi and

Patan's MLA Smt. Anandiben Patel tried to increase fame of heritage

Patola of Patan at the world level.

People of Bali, Java and Sumatra of Indonesia believes that Patola is

very pure, prosperous and prosperity for them and they always put a

piece of Patola in reverence room or under pillow.

PROVERB :

In PATOLA, colors are developed on warp (vertical) and weft (horizontal). Those colors are very fast and so

never washed out. So it becomes a proverb in Gujarati -

"Padi Patole Bhat, Fate Pan Fite Nahi"

means

"The design laid down in PATOLA may be tornout but it shall never fade."

Handicraft of Patan Patola means acquintance of

historical heritage and Indian Cultural.

'PATOLA of PATAN' is an unparalleled and

original handy-craft, before invention of

machines, developed with the help of wisdom

and strength, which has a very precious heritage

in human culture. PATAN's PATOLA is aworthless heritage to preserve.

Patola of Patan are manufactured only by direct

order of customer and delivered to the customer.

The Then President of India

Shri Gyani Zailsing

presenting National Award : 1983

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That's why, Patola of Patan were not seen in any

shop or show-rooms in Gujarat and in India.

This must be remembered by the customer. We

request all valued customers of Patola of Patan,

not to get cheat on name of Patola of Patan.

Always have determination to buy Patola of

Patan from Patan and get aware from duplicate.

MEANING OF PATOLA :

PATOLA is one kind of silk cloth. The word

PATOLA comes from 'patt' (silk cloth). From

AD 700 'patt' is used to describe silk cloth.

Mr. K. K. Shashtri, one of the greatest pandits of

Gujarat, gives his opinion that PATOLA is

deformed from Sanskrit word 'pattkalam'. Cloth

imported from china in BD 4th is known as'chinpatt' and 'chinankush'.

Mahakavi kalidas used 'patrorna' and

'chinankush' words in his lyrics Malvikagnimitra

and Shakuntal respectively. In Tamil and

Malayalam language the word 'patt' is used for

silk cloth. Upon a time 'chinapatt' is very

popular in PATAN.

Salvi cast's Patola were mention in 2000 years

old Jain's religious book 'Kalpsutra'. Also it was

described in Premanand's 'Kuvarbai's Mameru'

in 17th century.

That's, this Patola of Patan's handicraft is 2000

years old.

Shri Sevantilal Weaving Patola

Postal Ticket of Patan's Patola By Government of India.

MAIN TRAIT OF PATOLA :

From the era or Patan's Maharaja Kumarpal and Kalikal Sarvagnya Acharya

Hemchandracharya's time i.e. approximately from 900 years, patan is become world famous

because of its "Patola of Patan" and "Double Ikat" weaving work.

1. "Double Ikat" Patola of Patan-saree means, euqal design on both side, wearable on both side

and even weaver can not identify which side is front or which is back side.

2. In "Double Ikat" handicraft, machine or computer got completely failure; it is completelyhand weaved item. If there are 3 persons, it will take 3 to 4 months to weave one Patolu. Needs

of because skills, like carefulness, deep calculations, mind, patience, perception, attention and

very hard working, now only 2 families out of 700 families are preserving it.

3. In era of science and technology, first Japan tried to put Patola of Patan on machine in 1970 to

1980, but can not succeeded. Years ago Calico mill of Ahmedabad also so research on

possibility to put it on machine along with "Atira Research Institute", but they got failure. Not

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only this, America, Britain, Germany, Switzerland and countries of European also tried to take

this craft on machine or computer and failed. Visitors of taxtile industries from different part of

Britain and other countries, during their visit of Patola of Patan, tell that still research is going on

to get this craft on machine or computer. With such reasons patola of Patan is become world

famous.

4. Any cloth weaved by hand can not last up to 80 to 100 years. But Patola of Patan lasts up to

80 to 100 years, and after that, if you want to sale it, you will get much more price than price of

purchase. That way, you can say it is an invaluable ornament of your home. In Gujarati called a

proverb on Patola of Patan - "Padi Patole Bhat, Fate Pan Fite Nahi". Because of such reasons

Patola of Patan has special importance, visitors comes to Patan to view this invaluable, precious,

unique and wonderable handicraft in Patan from all over the world.

For making Patolu, imported silk cloth prepared from

pupae of silkworm is being used. Commonly this silk

from chine, Japan, Koria and Brazil are used. Warp and

weft is made from silk thread and colored with tie and die

process. Coloring process takes approximately 2 to 21/zmonths.The clothes from China, Korea and Brazil are

very even which reflects in high quality of Patolu. Raw

silk threads are thinner than hair and hence eight such

threads are woven together and bleached. Twisting is

done to make it strong. The threads thus made are

weaved on handloom. Horizontal threads are called

VANA (warp) and vertical ones are called TANA (weft).

For preparing sari, design is made on graph paper, then on certain threads (Tana and Vana), which are kept

open, the rest are tied by cotton thread. The Tana and Vana thus tied are dipped in colour so that only open

threads take up the colour. Now the coloured threads are tied and another colour is to be applied to open

threads after immersing in another colour. Thus depending upon the number of colours, tieing and colouringare made. Cotton threads are loosended after all required colours appear on both sides of Tana and Vana. The

process of colouring the threads takes nearly 75 days.

Weaving Work :

In making palans two persons can weave only 8 to 10 inch of cloth hardly. Because after waving

adjustment and finishing work is required to be done. It consumes much time. Seeing such difficult labour and

skill required 4 to 5 months time for 4 to 5 craftsmen to weave a sari. Preparing patola, skilled labour ,

precision, calculation and patience, hard work is almost importance

After colouring work is completed, weaving begins. In general only one man works on the handloom, but for

Patola two men are required. Two men can weave hardly 10 inch of cloth in one day. After weaving

adjustment and finishing work is required to be done. For weaving one sari, 25 days' time is consumed. Total

time required for making one sari is about 3-4 months with help of 3 craftmen.

For preparing Patola, skilled labour, Precision, calculation and patience are utmost importance. Once a

small mistake is done in colouring of Tana-Vana, it may not match on the design. Because of hard difficult

labour and unique skill involved in preparing patola, few craftmen have shifted to other business and today

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only 2-3 families are engaged in this craft.

Designed & Developed by Madhuram Infosystems Pvt. Ltd.

Patola mainly used in traditional designs, is running from many many

years, Besides patola sari, Handkerchief, Table Cloth ,Dupatta, & Wall

Piece, Lace, Shawl etc are prepared. In preparation chemical & natural

colors are used depending on customers choice. Patans patola made

only by order and delivered direct to a costumer, thats why patans

patola are not available at any store or show room. Patola are called

"Reshmi Chir" by Nagar Brahmin and Vora Communities. Among the

main designs, popular ones are 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. Besides Patola sari,Hand-ker-chief, Table-cloth, Lace etc. are also prepared from Patola

cloth.

Colours Used in Patola :

In those days when chemical colours were not invented, colours were made from different plants.

Among these natural colours, Wax, Indigo, Pomegranate bark, Katho, Majith, Kapilo, Alum, Kirmaj,

Harsingar, Bojgar, Iron rust, Logware, Turmerik etc. Nowadays, Chemical dyes and colours are in great use.

However, those who insist for natural colours Patolas are made to order for customer's satisfaction.

Patola Saree also available in Vegetable colours & Cosmetic colours.

Proverb :

In Patola, colours are developed on Tana and Vana and those colours are very fast, there is a saying in

Gujarat! :

"PADI PATOLE BHAT, FATE PAN FITE NAHI"

Means-' The design laid down in patola shall never fade even if cloth may be torn.' To art-used than its cost.

One sari under normal use lasts for 80-100 years. Also, as it gets older its cost increase inspite of decreasing.

Therefore, it is considered as an ornament and priceless dignity

The design laid down in Patola shall never fade even if cloth may be torn.

In appreciation of unique craftsmanship of PATOLA, Govt. of India awarded 'National Award' to Shri

Sevantilal Laherchand Salvi in the hands of Honorable President of India Shri Zailsingh in 1983.

Preserving the historical and traditional craftsmanship of PATOLA, Shri Sevantilal Laherchand Salvi has been

awarded on 5th January, 2005 by Honorable President of India, Shri A.P.J. Abdul Kalam on behalf of National

Innovation Foundation, at IIM, Ahmedabad.

A first prise 'Best Award in Handicraft Works - Year 2006' of Gujarat State is given to Shri Ashokbhai

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Sevantilal Salvi by Honorable Chief Minister of Gujarat, Shri Narendrabhai Modi. Also Shri Ashokbhai is

honored with 'Paghadi and Shawl' by Honorable Governer Shri Naval Kishor Sharma.

The Central Government of India has launched 'PATAN's PATOLA' postage stamp of Rs. 5/- on 15th

November 2002. This gives respect to Gujarat at national level, from Gujarat only Mahatma Gandhi, Sardar

Vallabhbhai Patel and Dhirubhai Ambani's postage stamps are launched.

International exhibition and event from 10th Sept., 2009 to 13th Sept., 2009 organised with name 'Village

India and Experience Gujarat at De-Mont Fort Hall and Garden at Leicester, UK as part of 'Swarnim Gujarat'.

In this exhibition and event Shri Ashokbhai Salvi is promoted by Gujarat Govt. to take part. There he

introduced Patan's Double Ikat PATOLA at international level.

From Gujarat only Patola of Patan nominated in the list of 'Intangible Cultural world heritage' promoted by

UNESCO by Indian Government.

Many flock songs and proverbs knotted by Patola of Patan and becomes identity of Patan. Patola of Patan puts

Gujarat on world map. The art of Patola is not only pride of Patan but its pride of Gujarat and India.

We solicitate your co-operation and help to encourage to keep this priceless and unique craft alive and it

should not disappear like 'Malmal of Dhaka'.

Thank You Very Much.There are at least 20 (twenty) small and big processes in making of Patola of Patan. Such tough work and long

time for making Patola, makes its cost higher.

Cost variation depends on labour and time consumed. Patolu is more costly compared to art-used than its cost.

One sari under normal use lasts for 80 to 100 years. Also as Patolu gets older its cost increases inspite of

decreasing. Therefore, it is considered as an ornament and priceless dignity of home.

and there are now only three families left that weave these highly prized doubleikkat saris. Many among the younger generation are not interested in spendinglong hours meticulously dyeing the yarn and weaving at the huge, traditional

wooden handlooms. The art of weaving the Patan patola is not dying quite yet there are a handful of young men who have taken up the family occupation but the number of weavers is dwindling and there appears to be a questionmark over the future.

"The process is very long. It takes four to six months to make one patola sari;and it takes at least seven to eight years to learn," says Satishbhai Salvi, who isin his late-40s. "Nowadays no one is interested in investing so much timelearning how to make patolas, and the monetary returns are also delayed."

In another patola weaver's household, Rahul Salvi, 28, sits on the loom. Though

he has a degree in architecture, he has decided to follow the family tradition. "Ifeel good about what I am doing," he says. "As children, we grew up watchingour fathers weave and we used to help around during the school vacations. ButI became really involved in the process only after I graduated." The long hoursof slow labour on the loom do not wear out Salvi who enters the workshop at 9a.m. each day and leaves only at 11 p.m. "When I start weaving, I feel I amworshipping God, so I don't feel the passing of time. I love what I do," he says.

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Salvi doesn't feel out of place when hanging out with friends pursuing othercareers. "I am very proud of what I do. I am practising an old and extraordinaryart," he says.

The beginnings of a tradition

Originally from Jalna in southern Maharashtra, the patola weavers moved toGujarat about 800 years ago to benefit from the patronage of the SolankiRajputs who then ruled Gujarat and parts of South Rajasthan and Malva.

King Kumarpal is known to have worn robes made of patola fabric forworshipping and other royal occasions. After the fall of the Solanki dynasty,affluent Gujarati merchants patronised the weavers and patola saris soonbecame a status symbol. After World War II, as foreign and Indian clienteledwindled, weavers sought other means of livelihood and only 15 familiescontinued the ancient art. And now there are just three.

The Patan patola's double ikkat style is among the most complicated textilesdesigns in the world. Each fabric consists of a series of warp threads and asingle weft thread binding them together. The resist dyeing process is laboriousand intricate, and takes anywhere from two to three months. Each of the warpthreads is tied and dyed according to the pattern of the sari, such that theknotted portions of the thread do not catch the colours. The result is not only atremendous richness in colour of the fabric, but also both sides of the sari lookexactly alike and can be worn either way. The price of patola saris ranges fromRs 95,000 to Rs 6 lakh.

The dyes, made from vegetable extracts and other natural colours, are so fastthat there is a Gujarati saying that "the patola will tear, but the colour will notfade".

There are other patolas woven in India in Rajkot in Gujarat, in AndhraPradesh and in Orissa but they are all single ikkat. None can match thebeauty, clarity and delicacy of design of the Patan patola.

If the patola weavers of Patan have a grouse it is that the government has notdone enough to preserve and promote this heritage art. For instance, they say,the government of Gujarat gives subsidies to encourage the single-ikkat patola

weavers of Rajkot (dismissed scathingly as `duplicates' by the younger weaversin Patan) and this is adding insult to injury.

Proud inheritors

Nirmal Salvi, 22, has a B.Sc degree but he is following in his father's footsteps."I feel proud to be a part of the 2,000-year-old family heritage," he says. Nirmalstarted learning the art of patola-weaving from the time he joined college. He

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puts in close to 12 hours at the loom each day; as the only son, he is consciousof the burden of continuing his family's legacy.

"Education is just a means of being in tune with the world. But our real ambitionis to weave beautiful patolas," says Sawant Salvi, 22, who is currently pursuing

a civil engineering degree. He has been learning patola-making for the pastthree years.

The inheritors of the Patan patola legacy are possessive about their craft. It iswidely believed that the daughters of the three Salvi households are not taughtto weave the patolas, though they help in the tying and dyeing processes.Wives and daughters-in-law, however, are trained so that the craft remainswithin the family.

"I want to marry a girl who is interested in weaving patolas," says Rahul Salvi."My greatest contribution to this rare art would be teaching it to the future

generations of my family," says Sawant.

Joe Loux, one of the few tribal art and textile dealers whose tastes coincide almost unerringly with my

own, is showing this dazzling patola in the annual exhibition of theSan Francisco Tribalgroup at the

Presidio. The exhibition opens with a benefit bash on 10 October, with proceeds going to the De Young

Museums oceanic, tribal and textile arts departments. It runs through the weekend.

Among the dealers exhibiting are my friends Tom Murray, Andres Moraga, Wenhua Liu, and Frank

Whiggers. Moraga has a keen eye for textile art, and never fails to put things up on the wall that make

eyes pop, jaws drop, and cause contemporary art collectors to go into paroxysms of glee.

Coming back to the textile above. Louxspatolawill be of particular interest to collectors and scholars of

Indonesian textiles. The double-ikat silkpatola textiles of Gujarat have been influential prototypes for

prestige textiles woven in Indonesia over the past five hundred years or more. They were highly prized

and easily transported trade goods exchanged to get access to the natural and human resources of theIndonesian archipelago. The patola influence is so pervasive in Indonesian textiles as to be almost

ubiquitous. Whenever a distinctive patola turns up, it is avidly inspected by collectors and scholars to

ascertain whether the pattern may have been a precursor or inspiration for specific patterns of

Indonesian textiles.

Balinese geringsingdouble ikat textiles, and cepukweft-ikat textiles both directly quotepatolamotifs and

have done so for centuries. Some of the more unusual types ofgeringsingand cepukshow variations on

the patolatheme with origins that remain elusive. So every patola that we have a chance to study and

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appreciate, may represent a meaningful piece of the jigsaw puzzle which helps us to better

understandgeringsing, cepuk, and many other textile traditions in Indonesia.

Both geringsingand cepuk, by the way, are regarded by the Balinese as objects with magical powers,

and are used in a variety of rituals, to this day.

Historical context of Patan patola

Patan, founded by Vanraj Chavda in 746 AD, is situated 130 kilometres from Ahmedabad

on the banks of the River Saraswati. It was the capital of Gujarat from 746 AD to 1411

AD. Three major Rajput clans the Chavadas (746-942AD), Solankis (942-1244 AD)

and Vaghelas (1244-1304AD) ruled from here. The Solanki rule is considered as the

golden age; prosperity peaked during the reign of King Kumarpal. Patan became a

centre of patola weaving during his reign (1143-1173AD).

Kumarpal had deep respect for Jain traditions. He was very scrupulous about his attire

and always used new patola clothes while going to temples. The patolu worn by king

Kumarpal used to be specially imported from South India. One day, the temple priest

barred Kumarpal from entering the temple by saying that his clothes were impure. An

inquiry into this led to the finding that the king of Jalna was exporting the fabric after

first using them as bedspreads. Deeply offended, Kumarpal fought and defeated the

ruler of Jalna and brought 700 Salvi craftsmen to Patan so that he could be assured of

procuring unsullied fabrics. It is believed that some weavers also came from Karnataka

in addition to those that came from Maharashtra. At a later date, Kumarpal converted

the Salvi families into Shwetamber Jains. Today, this tradition is being practiced by only

four families. One of them has moved to Baroda, but some of their work is still done at

Patan.

The four Salvis are: Shri Kanubhai Mafatlal Salvi, Shri Satish Chandra Kantilal Salvi,

Sevantilal Lehar Chand Salvi, Vinayak Kantilal Salvi

Vinayak Bhai Salvi: the family comprises three brothers, Vinayak, Bharat and

Rohit and their wives, a cousin Jaya settled in Patan and children. Vinayak Bhais

son, a trained architect, has now taken to this tradition full time. They claim that

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they use vegetable dyes in dyeing the yarns for some colours (depending upon

the demand from consumers). Since they live in the first house in the lane called

Shalviwada, they attract the maximum customers [www.patanpatola.com, 02766-

232274, 231369]

Sevantilal Salvi: the family includes two sons, Ashok and Vijay, and three grand

sons Viral, Ujjwal and Nirmal. They have been teaching the craft to people outside

the Salvi community also. They have used PVC pipes instead of traditional wooden

frames in their looms [www. patolaofpatan.com, 02766-222182, 2232172]

Kanubhai Salvi: His father, Mafatlal, and his two daughters, Neepa and Hetal, are

carrying on this tradition. They migrated to Baroda about twenty years back and have

been practicing the craft since then. They claim to have the highest production among

the four families, but face problems in marketing their products. The family says that

it uses natural dyes. [ www.indiamart.com/patolaikatsalvi, 0265-2462210

Designs and motifs

The patterns indicate the different situations and creativity of each country.

Some of the designs were created in warp ikat (single ikat), some in Weft ikat

(single ikat) and some only in double ikat. (both warp and weft).

Red or vermilion is normally the background colour. The other colours that are

used along with red are yellow, orange, pink, green, blue, purple, white and

black. The most common motifs in patola are parrots, elephants, plants, ladies,

f lowe r s , t r e l l i s , ba ske t s , l e ave s , e t c . The s e a r e us ed in many di f f e r ent

permutations and combinations for the body, border and the pallav.

Among the main designs, the popular ones are narikunjar, ratanchawk, navaratna,

voragaji, chhabdi bhat, chokhta bhat, chanda bhat, pan bhat, phul bhat, laheriya

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bhat, tarliya bhat, zumar bhat, sankal bhat, diamond bhat, star bhat, butta

bhat, sarvariya bhat etc. Besides saris, handkerchiefs, tablecloth, lace etc, are

also prepared from the patola cloth.

Dyes

Traditionally, pure silk and natural dyes were used for ikat. Before chemical colours

were invented, colours were made from plants. The natural colours used include

indigo, pomegranate bark, katho, majith, kapilo, kirmaj, harsingar, bojgar, iron

rust, alum, logware and turmeric. Nowadays, chemical dyes and colours are in

great use. Each region invented dyes and used them in its own way.

Tanaka (1995) explains, In Japan, different districts used different methods.

India used alum, iron-salt and wax to prevent dyeing, Java used wax, and Japan

used paper and paste which had always been the traditional way of dyeing cloth.

Asian countries used Rubia cordifolia but European countries used Rubia

tinctorum. Kyoto used inorganic dyes whereas, Kyushu used organic dyes

7

.

For the last 100 years, tradition has given

way to the use of fast-to-bleach and

easy-to-dye chemical. Therefore, the use

of natural dyes in patola has almost been

discontinued. However, during the last

20 years, the resurgence of eco friendly

vegetable dyes and natural dyes has taken

place.

Recently the Salvi families, Vinayak bhai

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ment ioned, have expe r iment ed and

redeveloped indigenous processes of

using vegetable ingredients to obtain

different shades that are fast to bleach

and are sober and pleasing to the eye.