Important Notice

PATAN, GUJARAT, CIRCA 1930
Handspun and handwoven silk, double-ikat, natural dyes
172.25 x 46 in (438 x 117 cm)


The double-ikat weave that creates a patola is undeniably one of India???s most complex and legendary weaving techniques. Woven on a simple, horizontal hand loom with two string heddles, the patola is always woven in a plain weave. The intricate patterning is achieved by tying and dyeing the warp and weft separately, and according to the specific design of the overall sari. When weaving commences the warp and weft threads of the same colour are juxtaposed accurately so that the design gradually reveals itself.

Motifs of flowers and jewels, elephants, parrots, tigers and dancing women were used either in the border or in the central field, sometimes in a grid-like alternating pattern. These were always interspersed with geometric designs. Designs varied between patrons who were largely from the Hindu, Jain and Muslim communities with the latter not wearing animal and human figures. The present lot was worn by a woman from the Muslim Bohra community, most probably for a wedding. It features a pan-bhat or pipal leaf pattern also known as vohra-gajibhat, along with the caterpillar, lotus flower and stars. "Abdullah," who may be the name of the agent or owner, is embroidered on one edge of the pallav. A heavy silk, it was known as cheera and worn by the bride for her marriage ceremony. Among the Hindus and Jains, the bride did not wear the red patola, as it was considered too powerful for a virgin bride.

Celebrated the world-over, patolas were highly prized and patronised only by those who could afford them. They took tremendous patience and precision to make. While double-ikats were woven in Patan and Surat, patola imitations were made in single-ikat in Rajkot and Saurashtra. Today, while a limited selection of patolas continue to be woven, mostly by the Salvi Jain community, natural dyes are seldom used, making the present lot an extremely rare piece.

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