The work structure of the craft

The work structure like most other industry is divided into two parts the private and the Govt. sector the only exception is that the paithini structure is they have a sector where people work from home

The Govt. Setup 

The Maharashtra Small Scale Industries Development Corporation Ltd., popularly known as MSSIDC, was established on October 19, 1962 with a view to give a new orientation and strength to the development of Small Scale Industries in the State of Maharashtra. The main objective of MSSIDC is to aid, counsel, assist, Finance  , protect and promote the interests of Small Industries. The Corporation renders assistance to approximately 30000 SSI units in the State.

MSSIDC plays a vital role in revival, development and growth of traditional handicrafts of Maharashtra by responding to the diversified need s of rural artisans and marketing their products in India as well as abroad.

Over the years, MSSIDC has grown to become India’s leading Small Scale Industries Development Corporation, continuously responding to the expanding and diversified needs of Small Scale Industries, Village and Cottage Industries, providing support services like Training and Entrepreneurship Development Programme .

Private Sector Setup

For 25 years Mughal Silk Bazaar have worked to become a premier organisation in developing, promoting & marketing of quality Paithini products

They give concrete education in weaving art and to help seek gainful employment opportunities for young and needy weavers in exile the need for a “weaving training centre” became a must. Thus they have divided their work into “training & business” section in order to facilitate better management. As manufacturer & seller theye offer only quality weaves that have conformed to high standard & specification. This is in keeping with the strict tradition of blending artistry & functionality in a harmonious manner. They give useful information and guidance to their clients so that they get the best deal for their money.

This is the only private sector industry for Paithini which has grown so big ,also only ones to provide free training programs for the weaver because of which they also receive funds and aids from the their affiliated organization Textile Ministry Of India.

Work From Home Weavers

The work from home weavers are the only unorganized end in the entire work circle of  Paithini , How it  works for this sector is that the weavers get orders from both private and govt. sector. They are handed over with all the raw materials  and khaka , so much so that for beginners they also set up the looms. Once the saree is made irrespective of the quality the saree has to be bought buy the organization which places the of course the price might vary, the standardize rate is 55% labor charges  per saree . In many cases the entire family is into weaving however there are also families where only the lady of the family weaves in her leisure time. There is no legal bond signed on paper and a weaver is always free to leave , this system completely runs on mutual trust.

The Ajanta & Ellora connect

While on the craft study we paid a visit to the caves though it was a complete leisure activity until we notices some famous Paithini motifs like the Buddha, Munia and various border patterns repeatedly used in the caves in both sculpture and painting for, on further research we assimilated facts that connect the similarities due to a common past, being a craft of the same region the change in rulers defiantly affected the craft just as much as other things like architecture, culture etc. The Ellora connect is something that we had not heard before until we witnessed it and then enquired form the locals, there isn’t much that one could find about this in books and other resources the only place which even has a mention of this is in the records of archeological survey of India. Despite of being a very minute detail it did broadened our prospect and helped us reason out every little detail of the craft.

Budha and Munia in two different era caves completely depicts how with the change in reign effected the motifs also strengthens the fact that the craft has existed for hundreds of years an adapted with time.

The roots of paithani

Traditionally it was only the Kashti cast of Paithan which were allowed to practice the craft however over the years due to constant efforts by the govt. other castes of the village also started practicing the craft to earn a living,

In Paithan the craft doesn’t just reside with in he primacies of the industry, there isn't a single family which doesn’t have any member involved in the craft

Paithani that carries the cultural legacy of the village, has a special place in the life of women who are the pillars of every family and society.

 every home has it’s own looms were the women in their leisure time weave so as to to help their spouse complete orders to contribute to the family income as well as continue the legacy and family tradition.

The Paithini Influence Prominently Visible In The Village

Classification of Paithani Saree:

 Paithani Saree can be classified by three criteria: motifs, weaving, and colours.

 
• Classification by motif:

 Bangadi Mor: The word “bangadi” means bangle and “mor” means peacock. So bangadi mor means a peacock in a bangle or in a bangle shape. The motif is woven onto the pallu and the design sometimes having a single dancing peacock. The Sarees using this motif are generally very expensive because of the design.

 Munia brocade: The word munia means parrot. Parrots are woven on the pallu as well as in border. Parrots are always in leaf green colour. The parrots in silk are also called tota-maina.

 Lotus brocade: Lotus motifs are used in pallu and sometimes on the border. The lotus motif consists of 7-8 colours.

• Classification by weaving:

Kadiyal border Saree:The word ‘kadiyal’ means interlocking. The warp and the weft of the border are of the same colour while the body has different colours for warp and weft.

Kad/Ekdhoti: A single shuttle is used for weaving of weft. The colour of the warp yarnkis different from that of the weft yarn. It has a Narali border and simple buttis like paisa, watana, etc. Kad is also a form of lungi and is used by male Maharashtrians.

 
• Classification by colour:

Kalichandrakala: It is a pure black Saree with red border.
Raghu: Parrot green coloured Saree.
Shirodak: It is a pure white Saree.

The details

Colors Used 
Paithani comes in various colors. Some are pure and some resulting from the blending of yarns of different colors in the weave. Usually the dominant color in the border and Pallov is different from that of the body.

The local name for the Paithani colors are aboli (peach-pink), Firozi (White-red pale green), Gujri (black white blend), kaali chandrakala, Mirani (Black red blend), orphankhi (green-blue blend), Motia (Pale pink) and Neeligunji (Blue), Pasila (red-pink green blend), Pophali (Yellow), Samprus (green-red), Sankirodak (White), Uddani (a fainterblack), Vangi (aubegine purple). The darker shades of tones of red, green, blue, yellow are more popular.

Motifs

The oldest traditional Paithani designs are the Vine and Flowers (Asavali) and Squarish floral motifs (the akruti). Some oth%r traditional designs are the petal form (kalas Pakli), the Fan (Pankha), Cocount (Narali) and cotton bud (Rui phul). Some of the motifs that were inspired by the Mughul influence were the Humaparindas (the pheasant), the bangdimor (peacock in a bangle), the Tota maina (parrots), the Anarvel (Pomegranate flower) and the Behesti Parinda (the bird of paradise). The motifs which are still popular are the Drakshavel (Vine and Grapes), the kuyri (the paisleys) and the gokarna vel.

Paithini

This is a hand woven silk saree with a rich, ornamental Zari Pallovand border, which is characterised by borders of an oblique square design, and a Pallov with a peacock design. The Paithani saree is known all over the world over for its uniqueness.

The name “Paithani” is derived from the small town Paithan located in Maharashtra about 400 km north east of Bombay. This place is one of the Deccan’s oldest towns. The Paithani Sarees & Fabrics is socio-culturally associated with the people of Maharashtra due to its confluence with the culture of the people. The Paithani saree is traditionally a part of the trousseau of every Maharashtrian bride.

Historically The art of Paithan is more than 2000 years old, developed in the the city of Pratishthan ruled by the legendary Satavahanas ruler Shalivahana now Paithan by the river Godavari in Marathwada, about 50 km from Aurangabad. In the far past it had been an international trade centre for silk and zari.

The Peshwas had a special love for Paithani textiles. During the 17th century, the Mughal emperor Aurangzeb patronized the Paithani Silk weavers and introduced new motif that was called Aurangzebi. He prohibited weavers to weave ‘Jamdanis’ except for his court and punished the weavers who disobeyed his orders.

Later during the 19-20th centuries, the Nizam of Hyderabad ordered large quantities of Paithani silks. Paithani possibly survived because of the patronage of the household of the Nizam of Hyderabad. Begum Niloufer, from Nizam family, is attributed for her contribution of the motif Parinda (Pheasant bird).

Human expertise may have been replaced by modern machines. However, no machine-made fabric can be compared with the hand-made paithani sarees by the master craftsmen of Maharashtra.

 The decline in the production of Paithani began with the industrial revolution, when the mills introduced cheap fabric into the traditional market. The number of looms in Paithan gradually reduced to very few.

Initially weaving activities were limited to Paithan town till 17th century. Later weaving activities were transferred to Yeola (a village in Nashik district), with the help of local wealthy people. The sale of Paithani saree picked up from 1984-85 and Yeola village became the main commercial centre of Paithani weaving.

The weavers of Paithani Saree & Fabrics are mainly in Paithan and Yeola in District of Maharashtra, India.