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.