| Next to perhaps only the rich gold brocade of Banaras the silken gold embroidered sari of Paithan, known as Paithani, stands high among the most precious and celebrated textiles of India. Like the patola of Patan (Gujarat) the paithani of Paithan is a ceremonial sari worn only on special occasions. Maratha women of older generations used to prefer the paithani sari with coin motifs known as buties, spread all over the fabric. Such a sari is called the shawl. The bright green shalus with red borders and elaborate pallus were considered auspicious and worn on occasions like marriages. The pallu (or pallav) as well as the borders of paithani have floral and creeper motifs on a background of rich gold. Such sarees are worn by brides. Even today the knowledgeable Maharashtrain ladies who have aesthetic taste and reasonable wealth would crave for a paithani shalu as a pride possession in their wardrobe. |
| The design woven in its border and its pallu is a great speciality of paithani. Richly decorated pallu projects a variety of motifs known as asavali, bangdimors, shikar-khana, akroti, gazwel, Ajanta Lotus and human-parinds. These paithanis can also be fringed with pearls or precious stones. They can be woven in cotton also. |
| History tells us that the Peshwas had a great fascination for paithani textiles. There are a number of letters in the Peshwa Daftar to give evidence of this. In one such letter dated 7.12.1768 Madhavarao Peshwa asked for the supply, pomegranate and pink colours. The Nizam of Hyderbad had visited Paithan several times as he was much attracted to the richness of paithani textile. It is believed that his daughter-in-law, Begum Nilofar had introduced some new motifs in the border as well as to designs of the pallu. |
| The paithani technique cannot be called simple. In fact it is a very complicated one. Here, on a zari warp thread, the weft was never thrown across, but was interlocked with different colours, somewhat similar in technique to tapestry weave, which also created the same effect on both sides. They wove complicated patterns of mythical swans, peacocks, stylized parrots and flowering bushes with star like flowers. These techniques combined with fine cotton weaves and soft colours, created a sophisticated textile. |
| It appears that the execution of this costly and rich silken gold embroidered sari must have originated from Paithan, hence the textile was called Paithani. But the production of paithani soon spread in other places like Yeols, Pune, Nasik and Malegaon. However, Yeola remained prominent and was particularly known for its kayari (mango mofit) pallur paithani. |
| During the last quarter of the 19th Century, George C.M. Birdwood, the British scholar, had compiled and published a book on the Arts of India (1880) in which Yeola was mentioned prominently for high quality, silken, gold-embroidered saris, but nowhere did he mention anything about the paithani and Paithan. Similarly, the doyen of Indian art, Dr. Anand Coomaraswamy in his book, History of Indian and Indonesian Art, published in 1927 wrote about patola, ikat, kimkhwab (brocade), jamdani and other types of Indian textile, but could not discover the paithani. |
| From this it appears that during the turn of the last century, the production of paithani in Paithan must have received a great setback for some reason or the other. But Yeola weavers must have survived and continued their work to give evidence of their rich craftsmanship. Hence they were taken note of by historians. However, due to special efforts made after Independence, the rich craft of executing paithani has been revived and paithani shalu has once again become a household name in Indian textiles. |
Himroo is a fabric made of silk and cotton, which is grown locally in Aurangabad. Himroo was brought to Aurangabad in the reign of Muhammad Tughlaq, when he had shifted his capital from Delhi to Daulatabad, Aurangabad. The word himroo originated from Persian word Hum-ruh which means ‘similar’. Himroo is a replication of Kum-khwab, which was woven with pure golden and silver threads in olden days, and was meant for the royal families.
Himroo uses Persian designs, and is very characteristic and distinctive in appearance. Himroo from Aurangabad is in demand for its unique style and design. Some historians believe that Himroo was the innovation was local craftsmen with very little Persian influence.
According to historians this art originated in Persia, though it has not been proved, himroo is associated with the times of Muhammad Tughlaq ruled in the 14th century. When Mohammad Tughlaq shifted his capital from Delhi to Daulatabad many weavers came and settled here. During the migration, the weavers instead of returning to Delhi chose to stay back here. They did not want to go back to Delhi. During the reign of Malik Ambar many people were attracted to the city and came and settled here from far and wide. Aurangabad during Aurangzeb's Governorship and the times of Mughal became the capital and the weavers had a gala time making money and becoming prosperous. The handicraft industry in Aurangabad attracted hundreds of craftsman and artisans. Members of the royal family and an elite few used the famous Aurangabad himroo. Himroo weaving is very characteristic and different. Fabrics and shawls from Aurangabad are much in demand for their unique style and design.
