APPLIQUE WORK
'Applique', which is a French term, is a technique by which
the decorative effect is obtained by superposing patches of coloured
fabrics on a basic fabric, the edges of the patches being sewn in some
form of stitchery. It is distinct from what is known as patch work in
which small pieces of cut fabrics are usually joined side by side to make
a large piece of fabric or for repairing a damaged fabric.
Though
the form is not unknown in other parts of India, it is Orissa
and especially in Pipli that the craft has a living and active tradition
continuing over centuries. While the largest number of appliqué
craftsmen are concentrated in Pipli, there are quite a few in
Puri and very small
numbers in Khallikote, Parlakhemundi and Boudh areas also.
Entangled With Rituals And Traditions
As with many other handicrafts of Orissa, the roots of the appliqué
art & craft form is intertwined with the rituals and traditions of
Lord Jagannatha, the presiding deity of the Puri temple.
The appliqué items are mainly used during processions of the
deities in their various ritual outings. Items like 'Chhati', 'Tarasa' and
'Chandua' are used for the purpose. However, the appliqué work in
its colourful best is most prominent in the cloth cover of the three
chariots of the presiding deities in which they travel every year during
the 'Ratha Yatra' or Car Festival.
Creating A Multihued Appearance Of The Rathas
As per tradition, the colour scheme of the three covers is predetermined.
The chariot of Balabhadra known as "Taladhawaja" has a cloth
covering of bright green and red, while that of Subhadra known as "Padmadhwaja"
or "Darpadalana" has a cover of bright red and black. The
chariot of Lord Jagannatha called "Nadighosha" has a cover of
bright red and yellow.
The basic design of all three is similar being a combination of narrow
and wide stripes while on the four sides above the openings, there are
appliqué mythical motifs like 'Rahu', 'Chandra' as well as motifs
from nature like flowers etc. It is these colourful appliqué
covers, which identify the chariots of the three deities from far away by
the millions of pilgrims thronging the "Badadanda" or the extra
wide main road of Puri
, in which the lords make their annual sojourn in the car festival.
Seats and pillows in appliqué are also made for ceremonial use by
the deities during the annual ritual of bathing festival ('Snana Jatra')
and is locally known as 'Chakada Kama' with motifs of 27 stars and
geometrical forms in appliqué work with motifs of fish, frog etc.
on black cloth is used in the ritual dress of the Deities of Puri temple,
locally known as the 'Gaja Uddharana Vesha', incarnation of Rescuer of
Elephant. Appliqué cover is also made for caparisoning the dummy
horses in the 'Horse Dance' or 'Ghoda Nacha' during
'Chaitra' Festival in Puri
and other places.
A Time-Honored Craft
The craft is traditionally practised by a caste of professional tailors,
known as 'Darjis'. As with others services of the Lord, 'Darji Seva' or
the supply of appliqué items is rendered by the caste members in
return for which they receive certain portion of the daily offering,
'bhog' from the temple.
All this is regulated by the record-of-rights of the
Jagannatha Temple (
also spelt as Jagannath). The Darjis have their own headman or 'Sardar'
who has a higher share in the 'bhog' of the Jagannatha Temple. It is
interesting to note that the craftsmen are socially well organised and
there are close family relationships between the craftsmen of Puri and
Pipli. Their organisation can be very well compared to the craftsmen's'
guilds of medieval Europe. They also have annual meetings of craftsmen to
resolve social and related problems.
Religiously
Associated Items
The traditional items made of appliqué patterns and associated
with religious functions are canopies, locally called 'Chanduas', Chhati -
a sort of big umbrella with a long wooden handle. 'Tarasa', a heart-shaped
wooden piece covered by appliqué cloth and supported by a long
wooden pole, both these items being carried before the deities in their
ceremonial processions.
'Jhalar' another popular item is a sort of frill, which is used as a
border to canopies and also independently used as decorative pieces. An
interesting secular and popular item is 'Batua', a unique Orissan cloth
pouch, which has usually a semi-circular shape with the top being
straight.
There are various layers of cloth providing pockets for storing different
items of use and the mouth is closed by pulling strings attached to the
sides. It is very popular among village folk for keeping the materials for
'pan', like betel leaf, areca nut, lime, etc., as well as for keeping
money. Another traditional item is 'Sujnis' or embroidered quilts.
The Basic Material
The basic material for appliqué is cloth. The process is fairly
simple and has been succinctly summarized by Mr. B.C. Mohanty in his
monograph on "Appliqué craft of Orissa-study of contemporary
Textile crafts of India"as under:
Flat motifs are first cut from cloth and specially prepared motifs are
made separately. If more than one of the same cut motifs is required, a
stencil is used. These cut and specially prepared motifs are then
superposed on a base cloth in predetermined layout and sequence.
The edges of the motifs are turned in and skillfully stitched onto the
base cloth or stitched by embroidery or without turning as necessary. The
specially prepared motifs may be coloured or white. The base cloth is
usually coloured. Some of the specially prepared motifs have exclusive
embroidery work and some have mirror work. In heavy canopies, the base
cloth is additionally supported by a backcloth for strength.
Making Process
The stitching process varies from item to item and come under six broad
categories, namely, (1) 'Bakhia', (2) 'Taropa', (3) 'Ganthi', (4)
'Chikana', (5) Button-Hole and (6) 'Ruching'. Sometimes embroidered
patterns are also used and in a few items mirror work is also
incorporated.
The layout of various motifs and patterns vary according to the shape of
the piece. The canopy has a large centrepiece, which may be a square.
Several borders of different widths, one outside the other then bound this
centrepiece, till the edge is reached. In the umbrella and Chhati the
inner field is arranged in circles, each circle having patches of one
motif placed side by side.
Patterns are laid in the same way as the shape of the Tarasa, with a
large motif or two placed at the centre. The layout for covers for horses
consists of a series of concentric strips in the portion which covers the
neck, each strip having patches of one motif, while the portions which
fall on either side of the body are plain, having border all round with or
without a motif at the centre of the plain field.
The motifs used are fairly varied yet fixed and consist of stylised
representations of flora and fauna as well as a few mythical figures. Of
the more common of these motifs are the elephant, parrot, peacock, ducks,
creepers, trees, flowers like lotus, jasmine, half-moon, the Sun and
'Rahu'.
Just as there are a few fixed motifs only a limited number of colors are
used in the traditional appliqué craft. These are green, red, blue,
ochre and black. The creative urge of the craftsmen however are released
in the endlessly various combination of motifs as well in the mixing of
these limited colors. While there has been very little change in the use
of motifs, there has been a trend towards greater experimentation in
colour combinations.
Rejuvenating A Contemporary Look
Superimposition of coloured cloths on grey marking cloth is quite common
today as the use of cloth of all colors and hues. Similarly, with the
changing times the craft has also adopted itself to the needs of modern
man. Among the more popular appliqué items today are garden
umbrellas, a variant of Chhati with wooden or aluminum stands, shoulder
bags, ladies hand bags, wall hangings, lamp shades, bed covers, pillow
covers, letter pouches, etc.
Appliqué items are also being used in combination with other
handicrafts to produce composite products. An interesting use is the
superimposition of appliqué on grass mats and used as partitions.
Though earlier the art form was restricted to Darji caste, today it is
practised by non-caste members, notably by some young Muslim boys. Unlike
many other handicrafts, appliqué items are attractive artefacts of
daily use apart from being decorative and they are also comparatively
cheaper.
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