Latest New Fashion Salwar Kameez Collection Designs in Pakistan And India Looking hot: saree online Photos Pictures Pics Images

Wednesday, 5 June 2013

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Source(google.com.pk)

Even today Maharashtra is the home of the most celebrated textile’s the paithani, gold embroidered zari sari with its wonderful designs and woven borders. Even during the medieval period, the interaction between the Hindu and Muslim rulers gave rise to new styles. Human skills may have been replaced by machines. However, no machine-made fabric can compare with the hand-made beauty of the paithani sari by the master craftsmen of Maharashtra

Paithani is a variety of sari, named after the Paithan region in Maharashtra state where they are woven by hand. Made from very fine silk, it is considered as one of the richest saris in Maharashtra.Paithani is characterized by borders of an oblique square design, and a pallu with a peacock design.

The art is more than 2000 years old, developed in the then splendid city of Pratishthan ruled by the legendary Satavahanas ruler Shalivahana (See Shalivahana era) now Paithan by the Godavari in Marathwada, some 50 km from Aurangabad).

It is believed that the Nizam of Hyderabad was also attracted to the Paithanis and made several trips to the small town of Paithan.

A pattan (Paithani) is a gold and silk sari. In the revival of Paithani weaving, the production was oriented towards export requirements, while saris were produced only for sophisticated buyers. Paithani evolved from a cotton base to a silk base. Silk was used in weft designs and in the borders, whereas cotton was used in the body of the fabric. Present day Paithani has no trace of cotton.

It took approximately 1 day to set the silk threads on the loom. “Tansal” is used to put the “wagi”. The “pavda” works like the paddle to speed up the weaving. The “jhatka” is used to push the “kandi” from one side to the other. “Pushthe” is used in designing the border of Paithani in which it is punched according to design application. “Pagey” are tied to the loom. The threads are then passed through “fani”.

Shedding – dividing the warp sheet or shed into two layers, one above the other for the passage of shuttle with the weft threads.

Picking – passing a pick of weft from one selvedge of a cloth through the warp threads.

Beating – dividing the last pick through the fell of cloth with the help of slay fixed on the reel.

Take up motion – taking up the cloth when being woven and winding it on the roller.

Let off motion – letting the warp wound on a warp beam, when the cloth is taken up on the cloth roller beam. Taking up and letting off the warp are done simultaneously.

It is a revival of hundreds of years tradition in weaving .But so far as its weaving technique is to filling the picks will not move directly from one end of saree to the other end, width wise, but the weft yarn returns being interlaced or interlocked with the threads of different weft colors. This procedure of returning of thread has no Indian technical name but still it is called brocade weaving.

Ghanshyam Sarode’s work in handloom is interesting, but for the approaching into what goes behind the tempt of the long-established hand-weaving in India. When one buys these sarees, she is buying a feeling in owning such an astonishing design. The exploration in the field of Handlooms has made few accepted techniques emerge from an exasperatingly lengthy, dense &complex with time intense process.

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