"BUNKAR" - The Magic Behind Maheshwari Textile

BUNKAR

THE MAGIC BEHIND MAHESHWARI HANDLOOM

CRAFT DOCUMENTATION

by NIMMI SUDHA RAM

Submied to Virtual Voyage College of Design, Media, Art & Management INDORE

Declaration:

I hereby declare that the craft documentation work entitled “BUNKAR” - The magic behind Maheshwari Handloom submitted to Virtual voyage College of Design, Media, Art & Management is compiled by Nimmi Sudha Ram under the guidance of Mrs. Nita Mathur ma’am (HOD).

year | 2021

ACKNOWLEDGEMENT

It was an immense pleasure to experience, explore and understand the handlooms of Maheshwar. I am thankful to a lot of people for the same. This project would not have been conceivable without them.

L able to explore and understand the handloom of Maheshwar. I am thankful to a lot of people for the same. This project would not have been conceivable without the help of people.

I would like to thank Virtual Voyage College, Indore for taking the initiative of craft documentation and providing me with wonderful opportunity to explore and learn about the prestigious craft of Madhya Pradesh. I would like to appreciate Mr. Nagendra Mehta sir cooperation for answering all my queries for my field research. Mrs. Nita Mathur mam, for guiding me through the transcription and content building process. Mr. Raisen Gupta for his constant guidance throughout the period of learning. My seniors Mr. Ravi Parihar & Miss. Nandini Lohiyan who were also my team mates for this project would not have been possible.

I would like to thank Virtual Voyage college, Indore for taking the initiative of craft documentation course and providing me with wonderful opportunity to explore and lern about these prestigious crafts of India. Mr. Nagendra Mehta sir, for answering all my queries in advance, for equipping and making me ready for the field research. Mrs. Neeta Mathur mam, for guiding me through the transcription and content building process. Mr. Raisen Gupta for his constant guidance throughout the period of learning. My seniors Miss. Nandini Lohiyan & Mr. Ravi Parihar who were also my mates for this project, without them this project would not have been possible.

Also like to extend my thanks to The Artisans: Mr. Asim Ansari, Mr. Faizulla Ansari, Ms. Chandra Bai Palanpure & son Mr. Rajesh Palanpure for being so welcoming and sharing their art with us. Lastly I am grateful to my family and friends who were always there for feedback and motivation while compiling this document.

Also like to extend my thanks to craft persons Mr. Asim Ansari, Mr. Faizulla Ansari & Ms. Chanra bai Palanpure and son Mr. Rajesh Palanpure for being so welcoming and letting us inside their Work stations and home, for showing us how they work very patiently, being open to our queries. Lastly, I am grateful to My family and friends who were always there for feedback and motivation while writing this document.

PREFACE

This project report has been prepared for the subject: Craft Documentation in B.Des 3rd year 2020-21.

Ç report has been prepared for the Subject: Craft Documentation in the academic year 2020-2021

For prepring the project report, we have visited Maheshwar repeatedly, to avail the necessary information. The blend of learning and knowledge acquired from the artisans and Rehwa society is presented in this project report.

For preparing the project report, we have visited Maheshwar during the sugge three days, to avail the necessary information. The blend of learning and know during our practical studies at the artisans house and Rehwa society is presen report.

The objective behind visiting Maheshwar is to learn the history of the art, the lifestyle of artisans involved, understand the manufacturing process and effect of modernization over the handlooms of Maheshwar.

The rationale behind visiting Maheshwar is to build learning about the craft an way of life, understanding the manufacturing and the methods of production, modern technology is over taking the value of handmade crafts and understan of the craft.

The project report starts with introduction to weaving, the history of handloom and also covers the beauty, culture and history of Maheshwar. It contains the materials & process and market study of Maheshwar.

The information presented in this project report is obtained from artisans themselves, Rehwa society and other sources

The project report starts with Introduction to weaving, the history of handloo the beauty, culture and history of Maheshwar. It contains the materials & proc study of Maheshwar.

The Information presented in this project report is obtained from sources like themselves, Rehwa society, the official website of Rehwa society and other we

CONTENTS

INTRODUCTION

*Evolution of textile in world

*Weaving in India

*Weaving in Maheshwar

*History od Maheshwari Handlooms

*Origins of Maheshwari Textiles

*Rehwa society origins

*Setting up rehwa society

*Aims of the organization

*Empowering women

PLACE

*History and Origin

*How to reach

*Geography

*Demographics

*Latitude & Longitude

*Altitude

*Area

*Best time to visit

*Places to visit

*Shivalinga puja at ahilya fort

*Rajwada

*Court

*Temples of Maheshwar

*Ahilyeshwar shivalaya

*Mural depicting the Narmada

*Raj Rajeshwar temple

*Baneshwar temple

*Chhatris

*Kamani gate for elephants

*The Narmada & it’s ghats

*Pilgrims

*Boat ride at Narmada

*Film industry and Maheshwar

*Festivals

*Nimar utsav

MATERIALS & PROCESS

*Loom

*Types of loom used in maheshwar

*Parts of loom

*Process

*Colours

*Motifs

ARTISANS PROFILE

*Faizulla Ansari

*Chandra Bai Palanpure

*Chandra Bai’s Family

MARKET STUDY

*Varities

*Price range

*Care guide

*A swot analysis of Maheshwari handloom

*Abstract

*Objective

*Methodology

*Conceptualization

*Government support & Further development

*The voice of weavers

CONCLUSION

BIBLIOGRAPHY

I. INTRODUCTION

Evoluon of texle in world

The term 'Textile' is a Latin word originated from the word 'texere' which means 'to weave'. Textile refers to a flexible material comprising of a network of natural or artificial fibers, known as yarn. Textiles are formed by weaving, knitting, crocheting, knotting and pressing fibers together. History of Textile The history of textile is almost as old as that of human civilization and as time moves on the history of textile has further enriched itself. In the 6th and 7th century BC, the oldest recorded indication of using fiber comes with the invention of flax and wool fabric at the excavation of Swiss lake inhabitants. In India, the culture of silk was introduced in 400AD, while spinning of cotton traces back to 3000BC.

In China, the discovery and consequent development of sericulture and spin silk methods got initiated at 2640 BC while in Egypt the art of spinning linen and weaving developed in 3400 BC. The discovery of machines and their widespread application in processing natural fibers was a direct outcome of the industrial revolution of the 18th and 19th centuries. The discoveries of various synthetic fibers like nylon created a wider market for textile products and gradually led to the invention of new and improved sources of natural fiber. The development of transportation and communication facilities facilitated the path of a transaction of localized skills and textile art among various countries.

Weaving in India

Have you ever seen women wearing colorful silk saris? These woven fabrics are examples of textiles from India. India is a vast, diverse country with a rich history of weaving. Weaving is the process of making textiles by interlacing fiber threads. Examples of Indian cotton textiles date back 5,000 years ago. References to hiranya, or cloth made of gold, can be found in the ancient Vedas texts.Weaving centers in India made saris for royalty in the 12th and 13th centuries. Saris are women's garments made from a single, long piece of fabric. By the time trading customs were established along the fabled Silk Road, India was well known for its woven textiles.Regions, villages, and communities throughout India have unique weaving traditions with distinct customs and patterns. Depending on the location, textiles may be woven from cotton, wool, or silk. Today, weaving remains important to India's economy with roughly 4.3 million people involved. The country even has a Ministry of Textiles.

Weaving in Maheshwar

MADHYA PRADESH

Though the practice of weaving in the primordial temple city of Maheshwar dates back to the 5th century, it was popularized in the sovereignty of Maratha ruler Rani Ahilyabai Holkar. Rani Holkar called upon master weavers from Surat, and South India to fashion conventional Nauvari or Maharashtrian-style nine-yard saris, andturbans, giving them as presents to visiting royalty.The expansion of the local fabric business and turned the Maheshwari saris into a trademark name. In spite of their delicate and simple style, Maheshwari saris radiate charisma, and superiority. Silk yarn is utilized in the warp (tana), and cotton strands in the weft (bana), passing onto the textile a beautiful, silky lustre.Fabric is light, and easy to wrap, an ideal option for the region's hot climate. The individuality of Maheshwari saris lie in the weave. The body of the fabric usually has small checks, stripes, or can be plain, whereas the classically striped pallu and border patterns are filled with conventional motifs, or architectural flourishes found in the town's temples, and monuments

HISTORY OF MAHESHWARI HANDLOOMS

Maheshwari handlooms owe their name to Maharani Ahilyabai Holkar, the ruler of the state of Indore in the late 18th century. Her reign was deemed the Golden Age, and she is revered by all at Maheshwar as Devi Ahilyabai or Ma Saab till date. She embellished the towns with many buildings and public works and ensured the well-being of the people of her state.

In the late 1700's, in order to find them a better livelihood, the Maharani invited weaver communities to come teach her people the craft of weaving. The community of weavers that settled in Maheshwar due to her efforts were originally known to be from Manduweaving for the Mughals, what was then known to be the finest fabric of Madhya Pradesh. She gifted the beautiful, light textiles that were created to royal dignitaries and Peshwa Kings as welcoming presents. The craft slowly found royal patronage and thus, the handloom weaving tradition in Maheshwar began.

ORIGINS OF MAHESHWARI TEXTILES

Look upon any painted or sculpted representation of Ahilya Ma Saab, and you will discover a serene resilient woman, the determination to help her people, strong in her eyes. As a widow in an ancient India, her style was extremely simple, poised and elegant. Maheshwari handlooms derived their fine simplicity from this icon. It is said that under her artistic guidance, the craftspeople made light fabrics, detailed with motifs derived from carvings on the Maheshwar fort- a design directory in stone that they regularly used for inspiration.

Maheshwari saris were traditionally made in colours like peacock blue, bright yellow, forest green and an Indian red dye called Aal. The pallus were designed with stripes of red, white and gold zari. Borders like Leheriya (wave), Narmada (the sacred river), Rui Phul (cotton flower), Eent (brick), Chatai (matting), Heera (diamond)- were all drawn from the fort and the adjoining river and woven seamlessly into the fabric . Originally, the classic Maheshwari saris were only woven in pure cotton, 9 yards long, and with pallus at both ends- so when they frayed, the saree could be reversed and worn some more. That was the uniqueness of a Maheshwari sari- its elegant versatility and durability.

REHWA SOCIETY ORIGINS

In the 1970's, Maheshwar was far from the prosperous golden era of the 18th century. With a skilled weaving community and exquisite textiles, future prospects seemed good, but no one could predict the effects of industrialisation. After India's independence, everything seemed to be mill-made, and everyone seemed to like it that way! The weavers were left without a market for their beautifully hand-woven fabric and they were slowly, but surely, falling into neglect.

One evening, in the year 1978, Richard and Sally Holkar were taking a stroll on the ghats during a visit to Maheshwar. The young successors of the Holkar Dynasty were stopped on their way by a man with a piece of cloth hanging off his arm. He eagerly showed them the light, fine fabric, telling them of the hardships his people faced due to the decline of handlooms. Encouraged by their keen interest, he asked a favour of them- to, somehow, help his people find a source of income again. The Holkars were captivated by the thought of helping the people of Maheshwar, and soon their thoughts became words and actions. In 1979, with a grant from the Central Welfare Board and an investment of 79,000 rupees to train weavers, they established REHWA Society as a non-profit organisation.

SETTING UP REHWA SOCIETY

The Society was auspiciously built in the same structure that once housed a temple with a Shiv Ling, where dozens of Brahmins were requested by Ahilya Devi, to pray for the people of her state in the 18th century. In 1979, 12 looms were set up where 12 frail women in worn saris learned the skill of weaving under the guidance of Maheshwar's treasured Master Weaver, Mr. Ganesh Bichwe, and his family. Saris were made, new weavers joined and a huge stock of textiles slowly gathered. That was 40 years ago, and several exhibitions and sari designs later, the same 12 women are happily plump, surrounded by family and working as harmoniously as ever with REHWA Society.

AIMS OF THE ORGANIZATION

As REHWA Society was established as a non-profit organisation, it formed itself around 3 ideals to which it holds itself accountable, till date:

To sustain the handweaving traditions of the town of Maheshwar.

To empower women weavers by giving them a source of livelihood.

To provide housing, healthcare and education to the weavers and their families.

EMPOWERING WOMEN

Traditionally, weaving was an art predominantly carried out by the male members of the family. When REHWA Society was set up, it became evident that there were many young women in need of empowerment, a sense of purpose and most of all, an income source. Many of these women had faced several hardships in their lives before they walked through the doors of REHWA, and it became an aim for the organisation to help them find their way. Even today, 85% of the weavers working with REHWA Society are women.

II. PLACE

HISTORY AND ORIGIN

It is an ancient town on the banks of the Narmada River. In ancient Indian scriptures, it is mentioned as Mahishmati. Yes, the same name you might have heard in the blockbuster Bahubali. This is supposed to be a place where Ravan was held prisoner for 6 months by king Sahastrarjun. His temple can be seen at the RajRajeshwar temple complex. Both, our epics, Ramayana and Mahabharata mention Maheshwar. It was also a part of Avanti that we better know as Ujjain. In the recorded history, we know it was under Mauryas, Guptas & Harshvardhan before falling to Delhi Sultanate and Akbar. It came back to Marathas in 18th CE. When Ahilya Bai Holkar took over the Subedari of Malwa, she shifted the capital from Indore to this place. This is where she ruled from, driving her strength from her faith in Shiva and Narmada. At this place, you are never far away from the Narmada.

HOW TO REACH

While Maheshwar does not have its own airport, it is close to Indore which is wellconnected to most places in the state and the country. Maheshwar has good road connectivity which makes it accessible from most major parts of India. Here is how to reach Maheshwar.

BY AIR

Nearest airport is the Devi Ahilyabai Holkar International Airport. The nearest airport is at Indore; located about 91 km from Maheshwar. The airport is well connected by flights to cities like Mumbai, Delhi and Bhopal. From the airport, visitors can hire a taxi to reach Maheshwar.

BY TRAIN

The nearest railhead is at Barwaha; located about 39 km from Maheshwar. Indore is the nearest major railhead. Trains from Mumbai, Delhi, Bhopal and many other Indian cities halt at the station. From the station, visitors can hire taxi for Maheshwar.

BY ROAD

Maheswar can be reached easily by road. Several state-run buses do ply regularly from Indore, Bhopal, Khandwa, Dhar, Dhamnod and many other cities of Madhya Pradesh.

GEOGRAPHY

Maheshwar, also called Choli-Maheshwar, town, southwestern Madhya Pradesh state, central India. It lies on the north bank of the Narmada River, about 40 miles (64 km) southwest of Indore. The town is located on the ancient site of Maheshvari, the capital (c. 200 BCE) of Kartavirya Arjuna, a Haihaya king mentioned in the Sanskrit epics Ramayana and Mahabharata. Broad ghats—stepped bathing places—sweep from the river upward toward the fort, temples, and the palace of Ahalya Bai, a queen who selected Maheshwar as her capital in 1767. A 16th-century mosque is also of historical interest. On the opposite bank of the Narmada lies the early site of Navdatoli, where painted pottery and other artifacts have been excavated. Maheshwar is an agricultural market centre. The town is also famous for its hand-loomed saris and locally manufactured brass utensils.

DEMOGRAPHICS

Maheshwar is a Nagar Panchayat city in district of West Nimar, Madhya Pradesh. The Maheshwar city is divided into 15 wards for which elections are held every 5 years. The Maheshwar Nagar Panchayat has population of 24,411 of which 12,447 are males while 11,964 are females as per report released by Census India 2011. Literacy rate of Maheshwar city is 81.21 % higher than state average of 69.32 %. In Maheshwar, Male literacy is around 88.40 % while female literacy rate is 73.78 %.

AREA

Maheshwar is a town in Khargone district of Madhya Pradesh state, in central India. It is located 13 km east of National Highway 3 (Agra-Mumbai highway) and 91 km from Indore, the commercial capital of the state. The Town lies on the north bank of the Narmada River.

District: Khargone

Country: India

State: Madhya Pradesh

Telephone code: 07283

BEST TIME TO VISIT

Maheshwar was also the capital of Ahilya Devi's empire during the 18th century. Like most parts of MP the weather in Maheshwar is tropical. The best time to visit Maheshwar is between October and March

Summer (March-May)

The temperature in Maheshwar during the summer months could go up to 45°C, in which condition tourism will not be advisable. The visitor will find the days scalding hot and dry too, dehydration will be a major problem and sunstrokes are common too. It is best to avoid visiting Maheshwar during the summer months.

Monsoon (June-September)

Maheshwar is very humid during the rainy season and this might make you feel uncomfortable. However, one can still visit Maheshwar during the monsoon if one can put up with a bit of humidity and mild discomfort. The rainy season is therefore the second choice if you are planning to visit Maheshwar.

Winter (October-February)

It is during winter that Maheshwar really blooms. The temperature tends to fluctuate between 15 and 25°C. You will find the mornings and nights slightly chilly but the weather is excellent right through the day and tourists will be very comfortable. It is a good idea to visit Maheshwar during the festive season and find out the grandeur of this place during Diwali or Shivratri.

PLACES TO VISIT

It is a small town, you can potentially do it in a day or two. The city revolves around the Maheshwar Fort with the Narmada flowing gently on one side and the city emanating from its gates on the other. So, let us start our journey from the heart of this place

SHIVALINGA PUJA AT AHILYA FORT

In her days, 108 Brahmins used to create 125,000 miniature Shivalingas every day from black earth, worship them, and then offer them to the Narmada River. Today, 11 Brahmins create about 15,000 Shivalingas every day, worship them, and then offer them to Narmada waters. Every day between 8-10 AM you can witness this Puja. I was totally fascinated by it. I wanted to participate in the process, but it is only done by the assigned Brahmins. However, you are welcome to witness it and join in chanting the mantras as I did. Do watch it, if you are visiting this place. Watch a bit of it in this video.

RAJWADA

Gaadi or the throne of Rani Ahilya Bai Holkar

Ahilya Fort or palace were potentially built by the Mughals. The palace is now a heritage hotel which means the residential part is open only to the guests staying here. However, the key areas are still open to the public. I was pleasantly surprised to see how many locals visit the place to pay their respects as if visiting a temple. Rajawada area is like a courtyard of a large house. As you enter you see an idol of Sri Krishna flanked by two cows. The open space in the middle is full of green plants, giving you a feeling, it is still a living space. Various boards in white and red tell you briefly about Holkars, Ahilya Bai, and her works to restore temples across India

In one of the open corridors or veranda is where Rani Ahilya Bai used to have her Gaadi or the court. This is where she sat with a Shivalinga in her hand, listened to her people, and did justice. The place is maintained as it used to be. Surrounded by wooden pillars with a cotton mattress, there is now a life-size statue of Ahilya Bai. On top are the portraits of various Holkars. What I liked the most was a long mural depicting the Maheshwar Fort from the Narmada. What remains with you is the innate simplicity of Maheshwar Rajwada, which is a reflection of the simplicity of the queen who ruled from here.

TEMPLES OF MAHESHWAR

This place can well be called a temple town, for the life here revolves around temples and Narmada. It may not be possible to see all the temples where people believe that every stone found in the Narmada bank is a Shankar or God. Let me share a few temples I visited during my short stay at this place.

AHILYESHWAR SHIVALAYA

This is a beautiful temple in stone that combines many architectural styles in its stone walls. Built by Krishna Bai, Ahilya Bai's daughter it is called the chhatri or cenotaph of Ahilya Bai. It is built like a temple in Nagar style with a towering Shikhara. It has a Shivalinga in its Garbh Griha along with a statue of Ahilya Bai Holkar.

Two tall Deepastambhas, built in the typical Maharashtrian style stand on either side of the temple. There is a small temple dedicated to Sri Ram and Hanuman in the complex.

MURAL DEPICTING THE NARMADA

The premises of Rajwada of Ahilya Bai has her Palki which is still taken out every Monday in a procession. There are statues in marble. What I found most interesting was the wood carved brackets – some in the shape of elephant trunks. Outside there are life-size images of an elephant, a horse, and a bull. The bull represents the Shiva's vehicle, Horse the Kuldevta of Holkars, and the Elephant a sign of royalty. Simplicity is the keyword at Ahilya Bai's Rajwada or palace.

RAJ RAJESHWAR TEMPLE

This is an ancient temple located not too far from the Ahilyeshwar Shivalay. The unique aspect of this Shiva temple is the 11 lamps that are supposed to be burning since pre-historic times to honor Agni. No, there is no magic involved here. They have been kept burning by the people. Each lamp can take 1.25 kg of Desi ghee to burn for 24 hours. Devotees have been donating ghee to keep it burning forever. You can see these fairly large Diyas or lamps when you visit the temple.

This temple complex has a small temple dedicated to Sahastraarjun – the mighty king who held Ravana prisoner for many months here. At Raj Rajeshwar temple, you have to sit for a few moments and imagine there was no fort and this temple stood next to the Narmada River. Rishis meditated here in their ashrams close to the Narmada.

BANESHWAR TEMPLE

This is a small temple, or at least it looks small from a distance, in the middle of the Narmada River. It is believed that Baneshwar is located on the axis connecting the center of the earth with the Dhruv Tara or the North Pole.

CHHATRIS

Chhatris are memorial or cenotaphs typically built for royal families. Bang opposite the Ahilya Shivalay is this lovely Chhatri dedicated to Vithoji, It has an exquisite elephant panel running around its base. Inside the hexagonal structure are the carved stone walls. In the complex are ornate pillared corridors with arched windows overlooking the Narmada River.

Vithoji was the son of Yashwant Rao Holkar – the ruler who succeeded Ahilya Bai Holkar.The signature frame of Maheshwar, the fan-shaped staircase leads to Ahilya Ghat. The landing on these stairs creates the most beautiful and signature facade of this heritage place.

KAMANI GATE FOR ELEPHANTS

This fort is one of the few living forts, and its gates are still in use. The most important gate is the Ahilya Dwar that leads to the Ahilya Fort. It is a rather simple gate and is the only motorable gate. Kamani gate is interesting as it was probably made for elephants to go through. The wide ramped gate is now used by pedestrians to enter the fort area.

Pani Darwaza is located close to Kashi Vishwanath Temple and was probably used by those visiting the city through the water route. Next to it is Mandal Kho Darwaza also on the waterfront.

THE NARMADA & IT’S GHATS

The Narmada is the life force of Maheshwar that is located on its northern banks. They say that the Narmada is also known as Shankari as she was born out of a teardrop of Shankar. It is the natural dividing line between North India and South India. The rounded stones found at the base of Narmada are called Banlingas. It is difficult to find them these days. The ones you find in the market are made in a village nearby.

The Ghats of the Narmada here are lined up with some small temples and Chhatris that you can see from a distance or from the top of Ahilya Fort. It is when you walk on the ghats that you would see big and small Shivalingas all along the ghat. In all, there are 28 ghats on the Narmada in Maheshwar but the prominent ones include Ahilya Ghat, Peshwa Ghat, Phanse Ghat & Mahila Ghat.

PILGRIMS

In the mornings and evenings, you can see pilgrims taking a dip in the Narmada and praying to these Shivalingas. It is also an important stop for pilgrims doing the Narmada Parikrama. On my morning walk, I met a lot of women who were stopping here as part of their Parikrama. Some were doing it on foot and others were using a vehicle. What intrigued me was the sheer number of women who were on this yatra. It seems we women have always been travelers just that no one saw as one.

In the evening, Narmada Arti is a small and intimate affair. There is no big show like Ganga Arti at Kashi, and only a few people gather for this.

BOAT RIDE AT NARMADA

A boat ride on the Narmada can give you a panoramic view of the stunning Maheshwar riverfront. It is arguably the most stunning riverfront of India or maybe the world. You can also visit the Baneshwar temple located in the middle of the river. As you go towards this temple you will see small temples in the river that mark their presence through the flags on top of them. On the other bank of Narmada, and symbolically in South India is the village of Naodatodi. Here you can see an ancient Shiva temple called Shalivan, a typical central Indian village with a huge ashram. Take your boat to the other end and admire the panoramic view of the riverfront – the most beautiful riverfront in India. Take a leisurely walk around the village before you head back.

FILM INDUSTRY AND MAHESHWAR

The exquisite beauty of Maheshwar and river Narmada is captured in some Bollywood and Tamil/ Kollywood movies. Some of the movies shot in Maheshwar including the movie "Ashoka", Tulsi (by actor and director Sachin), Mahashivratri, A R Rehman's music video, Tamil movie Alaipayuthey's song "Snehithane..." and " yaro yaro di..." directed by Maniratnam, Tamil movie Leelai's song "Oru killi oru killi..." directed by Andrew Vasanth Louis, Yuvan Shankar Raja's musical Tamil movie Arrambam's song "Adadada Arrambame..." directed by Vishnuvardhan. Also starting episodes of Zee TV serial Jhansi Ki Rani were shot here. In the 60's, Mythological film Mahashivratri's shooting was done here and many local artists were given a chance to act in that. Then Aadi Shankaryachary's shooting was completed in 1985. Many film stars from Bharat Bhushan to Shah Rukh Khan have visited Maheshwar and admired its rich culture and beauty. Also Yamala Pagla Deewana (Dharmendra, Sunny Deol, Bobby Deol, Kulraj Randhawa come here for shooting) film's 50 minute shot done here at Bazar Chowk, Rajwada, Ahilyabai Chhatri, Ahilya Ghaat, and many more location. The shooting of "Radha Nachegi" song from Tevar was done here. Also, recently few scenes of Bajirao Mastani, Neerja and Gautamiputra Satakarni (film) were shot here. Recently the film Pad Man directed by R.Balki starring Akshay Kumar, Sonam Kapoor, and Radhika Apte was shot here. And recently shot title track of Prabhu Deva directed, an Arbaz Khan Production movie Dabangg 3 starring Salman Khan was shot for 2 weeks. Shooting of Kalank is also done here.

FESTIVALS

Maheshwar is full of festivals and celebrations, some are: Nag Panchami, Gudi Padava, Teez (New year celebrations according to the Hindu calendar), All Mondays of Shravan month, (DOLA of Kashivishwnath on last Monday, bhang is served as prasad of Shiva), Mahashivratri, Samoti Amavas, and all other Indian festivals. There are many visiting places like gold swing is also their and it is situated at Rajwada. Maheshwar also has the temple of Goddess Vindhyavasini Bhavani, one of the 24Shaktipeeths of Goddess Parvati.

Every year on the immediately preceding Sunday of Makar Sankranti (i.e. the Sunday just before the date when the Sun is about to enter the sign of Capricorn as per Indian Astrological / Sidereal calendar), Swaadhyaaya Bhavan

Ashram (based at Mahalaxmi Nagar, Maheshwar) organizes

Mahaamrityunjaya Rath Yaatraa in the town of Maheshwar. This

Mahaamrityunjaya Rath Yaatraa was initiated by Shri Harvilas Aasopaa for the welfare of humanity, and is known to be the first of its kind in the world. The yatra intends to invoke blessings of Ayurved Murti Bhagwaan Sadaashiv

Mahaamrityunjaya (who is regarded as the primordial and supreme doctor), and it starts from Swaadhyaaya Bhawan Ashram and culminates at the banks of the holy river Narmada.

NIMAR UTSAV

Nimar Utsav is the annual 3-day event that is held at Maheshwar in Madhya Pradesh around Kartik Purnima (November). The festivities comprise music, dance, and drama and activities such as boating and canoeing. It is organized and celebrated on the banks of the holy river Narmada.

Maheshwar, where the festival is held is situated at the banks of the holy river Narmada and was known as the one time capital of the Holkar Queen Devi Ahilya is renowned for Ahilya Ghat and saris.

III. MATERIALS & PROCESS

ABOUT LOOM

LOOM

Loom is a machine or device which is used to produce woven fabrics. It is the central point of the whole process of cloth production. In other words, a loom is a mechanism or tool used for weaving yarn and thread into textiles. Looms vary in a wide assortment of sizes. They come in huge free standing hand looms, tiny hand-held frames, to vast automatic mechanical tools.

TYPES OF LOOM USED IN MAHESHWAR

Two types of handlooms are used in Maheshwar – the older pit looms which are heavy and fixed, and the newer frame looms with lightweight metal frames. The latter is the more popular type now. The dyed and untangled yarn is now ready for the tedious and time-consuming process of weaving by master weavers. Frame looms almost have the similar mechanisms that ground looms hold. The loom was made of rods and panels fastened at the right angles to construct a form similar to a box to make it more handy and manageable. This type of loom is being utilized even until now due to its economy and portability.

PARTS OF A LOOM :

PARTS:

HEALD/HEDDLE

wire or cords with eyelets that hold warp yarns in a place

HEALD SHAFT/HARNESS

A wood or metal frame that holds the headl/heddles in position in the loom during weaving. It is usually more than one.

SHUTTLE

This is a vehicle for weft & passes through the divided warp for the interlacement of the warp & weft.

SHUTTLE BOX

Compartment of each end of the sley of a shuttle loom used to retain the shuttle between picking motion

PICKER

It is a piece of leather or metal placed in grooves or on a spindle inside a shuttle box.

BEAMS

A cylindrical body with end flanges on which a multiple of warp ends is wound in such way to permit the removal of these yarns as a warp sheet

FRONT REST

It is a fixed roller placed in front of the loom above the cloth beam & act as a guide for the cloth to wind on to the cloth beam. The division of warp yarn into one & one, two & two, & so on is termed as lease. The two rods passed between the two successive divisions of warp yarns are called lease rods.

SLAY

It is the portion of loom that carries the reed and oscillates between the harness & the fell of the cloth.

REED

A comb like wire or device used to separate yarns on a loom & to beat up the filling during weaving.

TREADLE

The treadle is a paddle or lever under a loom with which a thread is connected by means of cords.

TEMPLE

Roller device on a loom that hold at a proper width to prevent it from being drawn in too much by the filling.

PROCESS

Cotton and silk threads both require dyeing before they can be used on a loom.This process starts with dipping them in the solution ofTurkish oil and bleaching powder.The threads are then dipped in a solution of the dye and warm water a number of times until the desired color is achieved. Finally the threads are washed and hung to dry After dyeing the yarn is normally received by the weaver in the form of bundles, the threads then need to be detangled and stretched in order to make them tighter and suitable for the warp and the weft.Acharkha is used to convert the bundles into small rolls called bobbins.As the silk used is very delicate a warp machine is used for warping or preparing the tana.The warp roll is then placed at the screen end of the loom and the weaving begins. Here the weaver engages an three different actions simultaneously, the right hand operates the string that provides motion to the shuttle carrying the bobbin weft across the threads of the warp, the left hand provides an up and down motion to the wooden frame of the loom that falls on the threads of the warp and the weft to guide them to their respective places in the cloth both legs move in rhythmic movement providing the motion to the roach which helps the threads of the warp and the weft to interlock.The motion of the loom provides movement to the overhead punch guard mechanism called Dobby, which helps in weaving the border of the Sari.There are up to four-thousand strings in a single warp which makes the process of weaving time consuming and complex. Maheshwari has always excited textile lovers and held a special place in the hearts of the costumers. However the decades of the 50s and the 60s saw sharp decline in the demand for the fabric.

COLOURS

Originally, Maheshwari sarees were woven in earthy shades like maroon, red, green, purple and black. Weavers used only natural dyes for the yarn. Today, Maheshwari fabrics are woven in many jewel tones which are derived from chemicals rather than from flowers, roots and leaves. Popular colours today include shades of blue, mauve, pink, yellow and orange, mixed with gold or silver thread. Subtle colours and textures are created by using different shades in the warp and weft. Gold thread or zari is also used in Maheshwari sarees to weave elegant motifs on the body, border and pallu .

MOTIFS

Maheshwari sarees are distinguished by their vibrant colours, unusual combinations and distinctive designs that include stripes, checks and floral borders. Authentic Maheshwaris have designs that are inspired by the grand temples, palaces and forts of Madhya Pradesh. Popular designs include the mat pattern, which is also known as chattai pattern, along with Chameli ka phool — all of which may be traced back to the detailing on the walls of Maheshwar Fort. Through its evolution, the eent (brick) pattern and the heera (diamond) patterns have survived the test of time, and still have a strong presence in these sarees.

ARTISANS PROFILE

He started working on handloom since he was 15 years old, today he is 70 years old and still working with same passion. Now days he is working under “SAMARTH” Scheme for capacity building in textile sector. Mr. Asim Ansari handles this handicraft training programme in maheshwar.

She is 80 years old and working from past 50 years. Her whole family is in handloom business. she says that her food does not digest if she dosen’t work on loom. Now days she is told by doctors not to work because of her age and her son Rajesh Palanpure handles whole business.

Faizulla Ansari

Chandra Bai Palanpure

CHANDRA BAI’S FAMILY

Every process of making maheshwari fabric is done by them at home

VARIETIES PRICE RANGE

There are five popular forms of this lovely weave, namely, Chandrakala, Baingani Chandrakala, Chandratara, Beli and Parbi. While the Chandrakala and Baingani Chandrakala are plain sarees, Chandratara, Beli and Parbi are characterised by stripes or checks.

CARE GUIDE

It's best not to wash your Maheshwari saree in detergent for the first wash. Use a mild detergent after two or three plain washes, and do not keep the saree soaked in detergent for long. Iron at low or medium heat.

So, right before the season sets in, grab yourself a few gorgeous Maheshwari sarees. Now, a trip to the quaint, historical town of Maheshwar isn't mandatory for an authentic Maheshwari piece. You can now browse through some of the best designs online, and be absolutely mesmerised by this vibrant and playful fabric.

A Maheswari saree is priced at Rs.2000 and above.

IV. MARKETSTUDY

A SWOT ANALYSIS OF MAHESHWAR HANDLOOM

STRENGTH

* Availability of raw material

* Skills people

* Traditional design

WEAKNESS

* Old pattern

* Transportation issues

* Obselete system of working

OPPORTUNITIES

* Export market/ Demand

* Highlight market

* Indore commercial capital

THREATS

* Fake products

* Weak R&D

* Power loom industries

Textile industry plays important role in our country's economy. Handloom weaving sector is one of the most important sectors, have the potential to produce employment. However, this sector is ignored in terms of development. Due to lack of development in this field, the workers were forced to use traditional methods and equipment for their task, which was time consuming and hard work. Workers suffered a lot of health problems due to the practice of traditional techniques of weaving.This leads to loss of interest by workers in this field and their migration to other areas of work. It also seriously affects the socio-economic conditions of rural people. Besides, directly or indirectly it does affect the economy. It is also very time-consuming task. So, an ergonomic and technical improvement was important for upgrading traditional weaving.This work identified the issues with traditional weaving process of Maheshwar handloom sector and propose solution provide a better working condition to the workers involved in the Maheshwar handloom weaving sector. Further, the work also focuses to provide a viable and feasible solution to reduce ergonomic risk factors and satisfy workers of Maheshwar handloom weaving sector by earn profit and also increase productivity and provide efficient work.

To provide a viable and feasible solution to reduce ergonomic risk factors, also satisfy workers of Maheshwar Handloom weaving sector by earning profit, increase in productivity and efficient workspace.

For the purpose of data collection, methods namely questionnaire, interview and direct observation, task analysis, posture and anthropometric analysis, workspace study, time and motion study were used (Gill, P., Stewart, K., Treasure, E., & Chadwick, B., 2008). The Questionnaire was used to determine needs and problems of the workers/weaver. The interview was conducted for getting deep insights into the problems (Kuorinka, I., Jonsson, B., Kilbom, A., Vinterberg, H., Biering-Sørensen, F., Andersson, G., & Jørgensen, K., 1987). Analysis performed in Rehwa Society and was observed directly, to get more reliable data in the weaver's environment. Wherever allowed, video and photos were clicked for Task Analysis and time study.

ABSTRACT OBJECTIVE METHODOLOGY CONCEPTUALIZATION

It was found that during shedding step repetitive motion on paddle cause leg muscle pain due to continuous strain and load on foot as weaver need to put same energy to continue the process. To solve this complex problem found during our study and also from the design direction gathered through the other similar previous study done on the handloom suggested design attachment of additional part (Hani U., Das A., 2017) Flywheel was selected to overcome this problem where it was connected with the help of push rod which decrease the amount of energy applied. Other identified problem was the application of force done by only one foot during the shedding step. Here, we applied distribution of load using treadle mechanism. Final concept was prepared after analysing both the concepts and integrated them for better performance.

GOVERNMENT SUPPORT & FURTHER DEVELOPEMENT

Maheshwari over the years has reinvented itself according to the needs of the changing market and developed products that suit current sensibilities and market requirements. The government of Madhya Pradesh its partners and rehwa continued to support and further developed this textile. However there is still a lot that can be achieved with further support and investment. The Madhya Pradesh government has been investing a lot in the weavers and the weaving technology. However, a lot remains to be done since it is not really enough for the economic empowerment and one of the main things which could really be done is to actually harness this knowledge, which is rooted for generations by making craft design and art educations a regular part of the schooling.

THE VOICE OF WEAVERS

With there innovative schemes and new policies the state government partnered with designers Developers and organizations to reestablish the market for Maheshwari. The government made looms and raw materials available to the weavers, looms were given at a 100% subsidy. Yarn bank was opened for raw material. The weaver could then purchase yarn here itself.

MPLUN also started buying more than before.In our training we received looms from the government, we have also been supported financially and in marketing

Rehwa society brought in their own designers and the products they developed created a bigger demand, this helped the weavers get more orders. They started making Rs.500 where earlier they would have got only Rs.50

What the weavers want is a silk yarn bank and their final products get sold in good time.

CONCLUSION

Maheshwar is kind of a cultural biosphere, one of its kind which need to be conserved and seen as heritage place. They have all the potential to be turned into museum and tourism spaces where people can come and add to their economy and greater thrust, In terms of knowledge which is already there. It is very important to teach the weavers and their children to carry these further and to have a sense of pride in what they are doing today. These elegant fabric and its product have created a niche for themselves and the demanding global market with the will to work hard and the flexibility to change with the times. Maheshwar looks to the future with anticipation and hopes to carry forward the magnificence of the heritage left behind by Devi Ahilya bai.

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https://www.inditales.com/

http://www.nivalink.com/

https://gaatha.org/ https://www.youtube.com/ https://issuu.com/

https://www.ieomsociety.org/

https://textilesofindia.in/