Book Review: Sambalpuri Ikats: The Masterpiece  

Historians believe the craft of Ikat to have originated in Odisha in the 12th century AD. The word ‘Ikat’ is derived from the Malaysian word ‘Mangikat’. Several Sambalpuri Ikat weavers have been honoured with Padma Shri and Sant Kabir Awards for their craftsmanship and innovative designs. This centuries old handloom marvel is unparalleled in its flexibility and versatility, allowing constant innovation and experimentation. Eye-catching and stylish, the distinctive feature of the Ikat weave lies in its double-sided clarity—its exquisite designs are reflected on both sides with equal clarity, which is unseen in other weaves. 

The book—Sambalpuri Ikats: The Masterpiece—offers a rich depiction of the raw materials, the processes and procedures, motifs, themes and patterns used in weaving. The iconic motifs and mathematical precision of the designs with vibrant colours are achieved by enormous labour and creativity of the master weavers of Sambalpuri Ikats who weave magic into these masterpieces. The book pays a befitting tribute to the steadfast hard work of generations of numerous craftsmen. The aesthetic appeal of the versatile Sambalpuri Ikats lies in its vibrancy which is not only charming but also has a magnetic appeal.  

An unmatched handloom marvel, exquisite and glamourous, the Sambalpuri Ikats create a top-notch fashion statement that defies any parallel in the world. Of late, connoisseurs of fashion have been experimenting with the light and airy Sambalpuri Ikats in all kinds of silhouettes. 

Sambalpuri Ikats are a dress designer’s delight. This unmatched and unparalleled fabric makes a great addition to one’s closet. They are head turners. The versatility and comfort of Sambalpuri Ikats makes it a chosen and preferred fabric not only for daily use but also for celebrities, office goers, corporate executives, models, fashion designers, boutique personnel and others. In fact, various segments of society of different age groups simply love to own and flaunt this fabric. This timeless fabric is high in glamour and style quotient which exudes an irresistible charm. Various fashion designers in India have creatively experimented with this fabric and models have flaunted this with elan.  

Sambalpuri Ikat weaves come in different designs and colours. Available in a variety of designs, patterns and fabrics, one can choose between silks, Cottons, Patas, Bomkais, Ikats, Passapalis, Khanduas, Tissues etc. While sarees form the bulk of the weaves, there are various other dress materials and fabrics for both men and women, to reach a wider market and cater to changing trends and demands of the times. The textiles are also used to manufacture dupattas and scarves, kurtas, kurtis, shirts, jackets, coats, drapes, bedspreads, tablecloths, dining mats, wall-mounted paintings, etc. 

Some of the prominent motifs used in Sambalpuri Ikats are Machha (fish), hamsa (swan), mruga (deer), simha (lion), lata (creeper), lahari (waves), rudraksh, sankha (conch), padma (lotus), chakra (wheel), jaagara deepa (lamp), boita (boat), nartaki (dancer), tribal art, peacock, tortoise, geometrical motifs and several new patterns having a connection to mythology, folklore and culture.

Sambalpuri Ikats have maintained their originality and charm as design-wise they are more intricate and weavers have made in-depth advances into experimentation with new ideas, based on various themes, folklore, creations from famous poets, decoration of the walls of the houses by women on ceremonial occasions (Alpanas) and enchanting bucolic landscapes of Odisha.  

Creative artisans and weavers have ventured into textile innovation using innumerable designs and patterns which are possible only with the help of the Bandha technique of the Sambalpuri Ikats. It becomes imperative to have an understanding of the Bandha technique.  

Warp and weft threads both are pre-dyed and motifs are pre-designed on the thread before they are placed in the loom for weaving. In Banarasi Brocade, Jamdani, and Baluchari of West Bengal and shawls of Kashmir, extra coloured threads are used to create designs on the saree, shawl or long fabrics. In Kalamkari of Machhlipatnam and Kalla Hasti of Andhra Pradesh, a brush is used to create designs. However, in Bandhas, the designs and patterns are inbuilt and the colour scheme is pre-decided. At the time of weaving, the weaver/artisan gives visibility to the design and colour. The most distinguishing feature of the Bandhas is that both the front and back of the fabric have the same design and colour, which is absent in other weaves.  

In Sambalpuri Ikats, the Bandha (tie and dye) technic is the popular method of fabric ornamentation. However, it is not the only process, figurative designs are created on textiles by change of colour combination, weave, count, drafts, denting, combination of weaves, insertion of extra warp and extra weft threads, mechanical and chemical finishing and combination of the above methods are also employed.  

Extra warp and extra weft or combination of both is another traditional method of placing motifs and designs on the fabrics. Warp is the thread running in the longitudinal side and weft is the thread running in the horizontal side. They are placed, perpendicular to each other.  

The cult of Lord Jagannath has influenced various aspects of Odishan life, including weaving of the Sambalpuri Ikats since colour, design and motifs of the Sambalpuri Ikats are closely associated with the religious mindset and spiritual outlook of the Odishan people. With the passage of time and influence of modernity, textile designs have changed, however, the basic colours namely, white, yellow, red and black and motifs namely, lotus, conch, disc, fish, elephant and rudraksh have remain unchanged which is a significant reminder of the Odia way of life. 

The book would be a valuable resource for several entities such as libraries, regional and international book fairs, museums, embassies, Department of Handloom and Handicrafts, Department of Culture, Department of Tourism, fashion designers, art galleries, exhibitions for art and craft, international airport lounges, star hotel lobbies, artisans, consumers, general readers and tourists.

The government has taken concerted efforts to develop the existing Sambalpuri Ikat weaving clusters through the formation of Self Help Groups (SHG), cooperative societies of weavers, capacity building of weavers and handloom organisations, modernisation of production processes, designs, inputs, Common Facility Centres (CFC), raw material banks, credit linkage, branding, marketing, imparting of skill training, setting up of handloom enterprises, training inputs and skill upgradation for various activities such as pre-and post-loom processes, weaving, dyeing, tie-making and weaving, designing, exposure visits by the weavers in groups to other reputed weaving clusters to learn event management are being resorted to.  

Promoting of local products and creation of self- employment in various sectors, including packaging, branding and logistics as well as skill development and design enhancement by equipping local artisans, craftsmen and weavers with modern skills and design techniques have also been undertaken. Governmental efforts include improvement in packaging, branding and marketing to enhance product visibility and demand. The government initiatives have not only boosted the local economy but also have promoted Odisha’s cultural heritage. Through the Mission Shakti Programme, women weavers in SHGs are given training and assistance to improve their knowledge and skills connected to weaving of handlooms. The Viswakarma Scheme is a laudable step for boosting the productivity and earnings of the Sambalpuri Ikat weavers. A catalytic role is also being played by the master craftsmen/master weavers in the development of the Sambalpuri Ikat weaving clusters. 

Rashmi Ranjan Parida is the founder and director of Kalinga Literary Festival, Art, Culture and Literature Entrepreneur.