Handlooms of India: Rajasthan, Gujarat and Maharashtra
The western states are well-known for handloom sarees that are among India’s most opulent. Yet, beyond the exquisite Patola sarees and Paithani weaves lie an array of climate-friendly textiles and unique patterning techniques.
RAJASTHAN
Rajasthan is synonymous with royalty and desert landscapes, and both have had a bearing on its textiles. The fabrics, whether they’re fine muslin or light silk, were designed to combat the region’s dry heat. Richness is added via patterning, and Rajasthan’s artisans excel at it. It’s how they’ve converted airy Kota sarees and Bandhani silk sarees into weaves fit for royalty.
The tie-and-dye Bandhani sarees are created in both Rajasthan and Gujarat. The migration of weavers from the neighbouring Saurashtra region to Tamil Nadu centuries ago resulted in the creation of the handloom Sungudi saree, which is produced using a similar technique. To create the dotted patterns, pinches of the fabric are bound with yarn and dyed. Once the fabric dries and the colours set in, the binds are removed and the pattern is created by the undyed sections. Fittingly, the word ‘Bandhani’ is derived from ‘bandha’ - to tie.
In Rajasthan, the colours tend to be deeper; rich blues, reds, purples and greens differentiate the sarees woven here. The diagonal leheriya pattern is another distinguishing pattern. Other motifs include spirals and single dots called ek dali. The dainty dots or squares are often clustered together to form larger patterns; in a tikunthi pattern, they appear in groups of three, while in chaubundi, they’re arranged in groups of four.
The fabrics are lightweight, ranging from fine-count cottons to silks like georgette and chiffon.
The designs can be simple or elaborate, depending on the fabric and occasion. For silks, bandhani bodies are now being paired with Paithani pallus, borders with tribal prints, Ikat motifs, and Banarasi patterns. For a centuries-old handcraft tradition, Bandhani is proving to be astonishingly modern.
Handblock printing is one of Rajasthan’s most celebrated textile traditions. Wooden blocks carved with motifs are dipped in dyes and then pressed onto the fabric, leaving behind elegant patterns. This technique is naturally applied to handloom sarees as well, and the resulting Jaipur cotton sarees are coveted dailywear garments.
Sanganeri and Bagru are distinct handblock printing techniques from Rajasthan. In the Sanganeri tradition, colourful Banarasi-style floral buttis and vines are imprinted on white or pastel backgrounds. The effect is summery yet sophisticated. For Bagru prints, the patterns are simpler and more earthy; the palette veers towards darker shades derived from natural dyes such as madder, indigo and iron. With their muted designs and airy texture, Jaipur cotton sarees are easy to style and easier to wear.
As light as a desert breeze, the handloom Kota saree is an ingenious response to Rajasthan’s warm weather. The breathable, gauzy weave is created on pit looms using a grid system called khat. The resulting tiny squares alternate between thick and thin, making the otherwise delicate fabric stronger and less prone to breakage.
Traditionally, handloom Kota Doria sarees feature prints indigenous to Rajasthan - Sanganeri, Leheriya, Bagru and Dabu. Newer patterns now draw on techniques from across India - Banarasi jangla and floral buttis, Kalamkari, Meenakari work, digital prints, Chikankari embroidery and more. To maintain the lightness of handloom Kota sarees, the border is minimal; often, it’s a contrasting print or colour, perhaps even a thin ribbon of metallic threads. While cotton Kota Doria sarees are ideal for a summer day, silk and silk-cotton variants are preferred for occasionwear.
GUJARAT
Since the beginning of recorded history, Gujarat has been the western hemisphere’s entrepot to India. Not surprisingly, it has developed a multicultural handloom tradition. Gujarat’s vibrant and varied communities have enriched its handcrafted textiles, from the Bhujodi weaves of the nomads and the exquisite ajrakh handblock prints of Kutch to the richly-embroidered gara sarees of the Parsis.
The Bhujodi weave speaks volumes about the place it’s woven in. Traditionally made with heavy cotton or wool, handloom Bhujodis are favoured by nomadic communities for their ability to insulate the wearer against Kutch’s hot days and cold nights. Handloom Bhujodi sarees have recently become trendy, thanks to their artistic designs and striking colour palettes.
Kala cotton, an indigenous variety of rain-fed cotton, is typically used, making the saree slightly denser. The Vankar community of artisans specialises in the Bhujodi weave, and the saree is handwoven on manual looms while the motifs are added using the supplementary weft technique. Most often, the body tends to be of a single, solid colour with small folk-inspired or geometric motifs in contrasting tones. Widely-spaced pinstripes and bold checks are also common while the borders are slender bands of colour. The highlight of the Bhujodi saree is the pallu; it balances the simplicity of the body with layers of diminutive designs - triangles, diamonds, stars, single and double stripes, and folk art. A thick braid of yarn underlines these designs while intricate tassels end the weave on a high note.
It’s interesting that the double ikat technique has been mastered in weaving clusters at opposite ends of India. While Pochampally in Telangana is widely considered a leader in this technique of resist-dyeing and weaving, on India’s western coast, the honour belongs to Patan.
The story of ikat is one of migration. The technique itself is believed to have originated in Indonesia. In Gujarat, the weavers of Patan are said to be descendants of artisans who arrived from Jalna in Maharashtra. Over centuries, they handcrafted a double ikat weave of unmatched intricacy. The eight-ply silk wrap and weft yarns are first resist-dyed and then interlocked by the weaver with mathematical precision. The paan bhaat (leaf) patolu is a favourite, while the navratna (nine jewels) and nari-kunjar (woman and elephant) patterns are also popular. When plain bodies are paired with ikat borders, the design is called gala ni. In fact, the weavers customise the designs for different communities.
In Rajkot, weavers have perfected the single ikat handloom Patola saree. The Rajkot Patola silk saree features more widely-spaced patterns than its Patan counterpart; the outlines of the motifs appear more blurry and have a softer outline. While Patan Patolas are ideal wedding sarees, handloom Rajkot Patola sarees are lighter and can be worn to office parties and daytime events.
MAHARASHTRA
Maharashtra’s handloom heritage is rich with influences and variety. Solapur produces coarse cotton sarees in bold checks and stripes, while the 9-yard Nauvari saree is a cultural legacy. Yet, the saree that is the most celebrated weave of the region is the handloom Paithani silk saree.
Chances are, you’ll hear about a handloom Paithani silk saree before you actually see one. The weave is as legendary as it is luxurious. Mulberry silk and pure gold zari are entwined on the loom using the tapestry-inspired weft interlock method; this makes the weave identical on the reverse side as well, adding to its finesse.
The most striking feature of a handwoven Paithani saree is the pallu. A field of gold, it contains an elaborate design within a frame of colourful geometric patterns. Traditionally, these designs featured mor (peacock), bangadi mor (peacock in a bangle), hans (swan) and popat maina (parrot) amidst flora, but these scenes have been reimagined to include mythology and courtly life as well. The aswali (flowering vine), kamal (lotus) and narali (coconut) usually embellish the border. The body, meanwhile, is dotted with dainty floral, coin or star buttis in pure gold zari.
Weaving a handloom Paithani silk saree is a time-consuming process that takes months. Moreover, the materials are of the finest quality, which is why they’re sold at a premium. To address the need for more affordable handloom Paithanis, weavers are now creating pure cotton variants and zari-infused tissue Paithani sarees as well.
Whether it’s Maharashtra's handloom Paithani silk sarees or Rajasthan’s Bandhani weaves, the textiles reflect the many communities that call India’s western states home. Some, like handloom Kota silk sarees, were woven for royals who sought opulence that didn’t scrimp on comfort; others, like Kutch’s Bhujodi, were designed for a nomadic people who traversed the desert across seasons. With exceptional artistry, the weavers of these states transformed the functional into something beautiful.
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