TITLE OF THE PAPER

Embellishment of Kota-Doria ornamentation techniques.

Sarees

by

using

various

surface

NAME OF THE AUTHORS

Mrs. Lopamudra Nayak & Mrs. Nirmala Bansiwal

DEPTT. OF TEXTILE & CLOTHING BANASTHALI VIDYAPITH RAJASTHAN 304 022

Embellishment of Kota-Doria ornamentation techniques.

Sarees

by

using

various

surface

Rajasthan once the land of kings and their battles, beautiful dances and music has also immensely contributed to the Indian textile industry and is well known for the vibrant

colors of Lehanga and Chunri. But, it is the Kota district in Rajasthan that steals the show with its age-old weaving and invaluable contribution to the Indian Textile world through the magic of Kota-Doria sarees.

Kota-Doria a nostalgic tradition:

The traditional Kota-Doria saree is originally manufactured in Kaithun Village which is situated in Kota district of Rajasthan. However, now-a-days it is made in many villages located in Kota, Bundi and Baran districts of Rajasthan. While the origin of Kota-Doria was in the form of a headgear of the royal family of Kota, later on the Oswal Community started using the fabric as a saree. It is believed that they use Kota-Doria for religious ceremonies as they consider the fabric auspicious.

Kota-Doria is a unique hand woven fabric having a characteristic square check pattern. The deft weavers of the cluster create it through differential beating of the silk and cotton yarns. Each square of 14 yarns (8 of cotton and 6 of silk) is termed as a Khat, and this is the hall mark of Kota-Doria. A total of 300 khats are there across the width of the fabric, which is upto 48 inches due to the usage of a throw shuttle technique on pit looms.

Paul, B.B.(1994) reported that of late, jacquards and dobbies have been introduced to produce sarees with border design. Even Naka, Pegia and Jala system of Banaras have been put into action for weaving beautiful designs in Anchal of the saree, perfectly matching the border design.

According to the Kota-Doria Utthan Samuh, Kaithun, the Kota-Doria sarees, since ages have carried a buy-back value for its customers due to the use of pure zari. (gold plated silver-silk yarn) in it. The traditional still continues, though usage of various motifs in silk have also found place in the value addition carried out during the course of weaving. The plain Doria is found its way to various value additions such as block printing, batik, embroidery etc. outside the cluster. However, the weavers of Kaithun feel that this hand

woven saree, faces a serious threats from technologically advanced power looms. Besides, this sarees, though elegant are not as famous as Banarasi.

Embellishments on Kota-Doria:

This study has been conducted with the following objectives.

(i)

To enhance the traditional Kota-Doria saree by different surface ornamentation techniques.

(ii)

To find out the best preferable techniques out of the different techniques used on Kota-Doria saree.

Material and Methods:

Survey Work:

Firstly, a survey was carried out on the Kaithun and Kota city to study the varieties of the Kota-Doria sarees available and the yarn, fabric, motif and styles used and the information were collected from the weavers and shopkeepers through questionnaire.

Surface Ornamentation Techniques:

From the data collected, it was observed that embroidery with combination of wool, silk and painting were not used till yet. Thus, for the study, two ply wool for hand

embroidery silk and zari work for machine embroidery and fabric painting were used for surface ornamentations of Kota-Doria sarees.

Five Kota-Doria sarees were chosen for embellishment and the designs were sketched out keeping in mind the surface ornamentation techniques preferred by the respondents. Saree-1 was hand painted whereas saree-2 was hand-embroidered using woolen yarn along with Saroj work (i.e. transparent stones were fixed). Stitches used were

herringbone, dharwari, and stem stitch. Similarly saree-3 was hand embroidered using woolen and silk yarns. French knot, chain, blanket and laisy-daisey stitches were used for this purpose. Saree-4&5 were embroidered with machine using silk and zari threads.

Statistical Analysis:

All the sarees were subjected to comparative analysis by a panel of 30judges for the color combination and techniques used and overall acceptability. The judges were asked to grade the sarees on a five-point rating scale comprising 5-- for excellent, 4--very good, 3good, 2fair, and 1poor. The data obtained were analyzed and values of comparative analysis were expressed in percentage to draw meaningful inferences.

Finding and conclusions:

Evaluation of Fabrics And Suits Sets (by 30 judges). [ All Values are expressed in percentage(%)] Table:1

Factors Evaluated E Color Combination Ornamentation techniques used Overall Appearance 25 V

Saree-1

Saree-2

Saree-3

Saree-4

Saree-5

G 20

F -

P -

E 35

V 55

G 10

F -

P -

E 45

V 40

G 15

F -

P -

E 25

V 55

G 20

F -

P -

E 50

V 40

G 10

F -

P -

55

40

40

20

60

40

65

35

35

50

15

50

40

10

30

50

20

70

30

60

40

20

70

10

50

40

10

Where, E stands for Excellent; V. stands for Very Good; G. stands for Good; F stands for Fair; and

P stands for Poor. From the illustration in given in the Table-1 it was found that all the sarees were rated from excellent to good when evaluated for their color combination, surface ornamentation techniques used and overall appearance. 100% respondents rated saree2&3 from excellent to very good in terms of surface ornamentation techniques used (i.e. hand embroidery and Saroj work) and overall appearance. It was concluded that the surface ornamentation techniques can be successfully implemented in Kota-Doria sarees. They can be readily accepted by consumers and can be introduced into the market. They also can provide a new look to the fashion garment.