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INTRODUCTION
The eastern region covers the lower reaches of the Ganga plain and delta and consists of the Indian states of West Bengal, Bihar and Eastern Uttar Pradesh. The Eastern Deccan region consists of Orissa, Eastern Madhya Pradesh, and Andhra Pradesh. The different categories of saree from Bihar, West Bengal and Orissa are discussed in this presentation.
SAREES OF BIHAR
TUSSAR SAREE Silk weavers could be found in : Districts of Bhaglpur and Patna Further south India in Behragoda (Singhbhum dist) Towards the east in Bhagaiyya (Santhal Paganas dist) Westwards in Aurangabad.
SAREES OF BIHAR
Fabrics, saris and dhotis made of Tussar were considered to be pure and auspicious. The traditional Tussar sari was primarily of two types: a) The plain Tussar sari b) The Tussar sari with extra weft ornamentation in the end piece and extra warp patterning in the border The kora or plain unbleached Tussar by Tussar sari with red border or lal paad of up to one handspun was largely woven for ceremonial occasions, especially Hindu rituals.
SAREES OF BIHAR
Manpur and Chakand (Gaya dist) too, plain Tussar sari was being woven especially for the Chhtpuja after diwali A reverse of the Pote sari with a red body and a gold Tussar border called Sundri, was also woven.
In some areas a greater play with the reed, pick, denting and the introduction of extra weft and extra warp With two ends in yellow alternating with two in red, its close variation, the Laldehi had two ends in pink instead of yellow in the body. . The border and end piece patterns were subtle yet effective such as the Chataiyya or the Bulbul chashm pattern.
The main peculiarity of jamdani work is the geometric design. Present day jamdani saris have on their ground designs of rose, jasmine, lotus, bunch of bananas, bunch of ginger and sago. A jamdani with small flowers diapered on the fabric is known as butidar. If these flowers are arranged in reclined position it is called tersa jamdani.
Increased demands for jamdani weavers caused a rise in their wage and subsequently, the prices of jamdani too At present, a major problem of the industry is that the weavers do not get adequate wages for their labor. The producers fail to recover the costs. Many organizations now patronize jamdani industry and this is helping the production of superior quality jamdani.
Orrisa is a beautiful state, well irrigated by rivers its landscape rising up from the temple towns of the coast through the eastern ghats with their thick forests, to the deccan plateau. The women of Orrisa dress in saris of Blue, Red and Magenta and deep colors. Influence on textile art is seen through the presence of motifs such as the temple borders, lotus, conches and wheels, that signify the affinity with the reigning deity or goddess.
THE MATERIAL
COTTON . Odissi cottons are thick with a high thread count as well as thicker yarn and are available in varying degrees of fineness. Cottons are usually starched stiff for maximum effect prior to draping. Odissi sarees are available in the 5 yard format as well as the dupatta format which is 2.25 metre. SILK Tussar silk originated from Orissa and is one of the lighter, more delicate and stiffer silks available.
2.SAMBALPURI SAREES: Sambhalpuri sarees, with their richly woven borders and pallus are among the most popular Odissi sarees.
The below are examples of the Bandha or tie-and-dye or double ikat from Sambhalpur and is one of the several variations of Sambhalpuris.
The two sarees below have a coarser cotton and also have more ethnic elements e.g. multiple borders and the elements within the borders.
These saris are the example of the Pasapalli. Pasa is the word for the chequer board and it is a very popular game almost exactly like ludo. Pasa palli is therefore the saree full of chequers .This element is usually found all over the saree and is not restricted to one area of the piece. The first is a saree, while the second is a dupatta,
3.BEHRAMPURI SILK SAREES: The third type is the Behrampuri silk, which are usually heavy, with narrow borders, that are slightly plain, without the intricate designs generally found on the Sambhalpuri sarees. The last is the Khandua pata, which is cheaper than the Sambhalpuri because the yarn used is less expensive.
THE COLOURS
It must be noted that the color and design palette for mens dressing is conservative while women dress in any and every possible color, design and pattern. The only exceptions are white, black and red. White signifies death and is necessarily worn in mourning. Red is auspicious and is necessarily worn by the bride. Black is inauspicious and is not a good colour to wear at weddings or festive celebrations. These colors lead to strong associations and are part of a bundle of nonverbal communication but these may be worn on other occasions without any meaning. An Odissi saree cannot hope to blend quietly into the background! Most handloom Odissi sarees contains bright and strong colours. Vegetable dyes have been replaced by chemical dyes, though the former is still available, but the prices are significantly higher
THE PALLO
This is the loose end of the sari that flows freely and is usually its most attractive part. The pallaa or paalav or pallo may have contrasting colors or designs and stands out from the rest of the sari. This part may be up to a meters long. It is also the portion used as a partial veil in a temple or as a mark of respect among elders in traditionally conservative societies in the northern belts. The pallo of the Odissi saree is always arranged in horizontal lines with motifs filling up the space in between. Lines alternating with a variety of motifs seems to be the signature of the classic Odissi textile.
THE BORDER
This is a special element of all sarees. It takes on representations from the culture of the place that creates it. The sarees from Orissa have a border which shows the silhouettes of these temples seen as simple mountain peaks. Sea shells or wheels are another major characteristic of borders in Oriya sarees.
THE MOTIFS
THE LOTUS THE RUDRAKSHA. THE MATSYA OR FISH THE TORTOISE THE COILED SERPENT THE PEACOCK. THE BICHITRAPURI ANCHAL THE ELEPHANT THE DHARMA-CHAKRA
THE BUTTIS
These are small little elements that may be present all over the saree in some form of symmetry. They may populate the saree sparsely or densely and the more work there is on the saree, the heavier it gets not only in real weight terms but in price perceptions as well. These are minor elements and cannot on their own create magic. They can only support the overall design through a splattering of colour or consonant design elements. These two pictures show details of the buttis which are present all over the saree. In sarees from other states, this element plays a major role, but in Oriya sarees, they are generally very sparse and small.
THE EMBROIDERY
The actual embroidery work may be done using zari which is golden thread (not gold just golden) or silk thread. The presence of golden thread or zari work makes a sari very heavy figuratively and the use of such heavy sarees is warranted only at weddings of families and close friends. On all the silk examples above, the threadwork is resham or silk thread.