Against the background of Gujarat’s sandy landscape, some of the world’s most renowned textile arts have flourished through the centuries. Patan Patola and Ajrakh are two such textiles whose beauty has inspired poetry and wonder through history. To this day, Patola woven in the double ikat technique is considered a ‘sacred cloth’ by Indonesians, who use it for ritualistic purposes. While Patan Patolas were and are still worn by the aristocracy in Gujarat and elsewhere, Ajrakh was the badge of identity of the common folk in Bhuj. Complex block printing processes on both sides of the cloth in geometric and floral patterns on indigo, red and black backdrops made Ajrakh a marvel. Only in the past three decades has the Ajrakh imagery begun to embellish saris, dupattas and yardage. Both Patan Patola and Ajrakh used only natural dyes through there was a brief interlude when chemical dyes took over.
Sadly, today both face an existential crisis. At the beginning of the 20th century, nearly 500 Salvi Jain families were involved in Patola weaving. Today, just two families carry the tradition forward. As for Ajrakh, its birth place -- Dhamadka in Bhuj -- was all but wiped out in the 2003 earthquake forcing artists to relocate to Ajrakhpur where they now face a new set of challenges.
Meeting masters Rohit Kantilal Salvi, head of one of the two Salvi families, and Dr. Ismail Mohammad Khatri, creator of Ajrakh cloth and a natural dye revivalist, is inspiring.
National Award winner Rohit Salvi’s family includes two shilp gurus and three National awardees. The family has been weaving Patolas since the 11th century when King Kumara Pala of the Solanki dynasty invited 600 Salvi Jain weavers from Maharashtra to practise their vocation in Patan.
Rohit says, “Today, my family is actually the only one weaving Patola using the old techniques, borders, motif designs and colours. The younger generation is well educated and prefers to follow other professions.”
In Chennai to participate in the Craft’s Council of India’s Natural Dye Bazaar, Rohit unfolds a magnificent Patola sari which he and his nephew Sawan have woven.
A Patola sari, ranked by international textile experts as among the best in the world, takes 4-6 months to make. The duo has crafted many outstanding Patolas including a copy of a 150-year-old piece depicting a 11th century royal procession recorded in manuscripts of that era. “We sold that piece to Singapore’s Asian Civilization Museum,” say Rohit and Sawan.
Dr. Ismail Khatri’s ancestors migrated from Sindh to Bhuj during the reign of Rao Bharmal I of Kutch bringing with them their geometric designs and natural dyes. With the introduction of chemical dyes in the 19th century, many artisans switched to chemical dyes. However, Ismail Khatri’s father re-introduced the making of dyes from flower, root and bark taking Ajrakh block printing back to its pristine glory.
Dr. Khatri’s profound knowledge of creating natural dye Ajrakh cloth caught the imagination of the world with many international scholars and students coming to him to learn, research and document. Invited to lecture at London and Oxford, he was conferred a Doctorate by the De Montford University. Dr.Ismail Khatri set up shop at Ajrakhpur after studying its land and water situation. “The government gave us bore wells, water, helped with housing and people gave us land,” says the master craftsman. “But water levels are receding and Gen Next is not too interested in the family vocation.”
Are Patan Palola and Ajrakh vanishing, relegated to text books, folk tales and museums? “No, they are not going to die,” say the two legends, though I had spoken to them at different locates. “These arts are as immortal as our dreaming.”
(Dr. Ismail Khatri can be contacted at: 9925169313 while Rohit Salvi can be contacted at 09426279404.)
