fig 1

(National Institute of Fashion Technology, Bhubaneswar) Aithiya : The Woven Heritage of Nuapatna Craft Research & Documentation - 2026 Submitted By : Anurag Singh, Atulya Singh, Mrunali Mukund Kamble, Saswita Barik, Suhangi Kumari, Sulagna Dey and Tanya Sinha Guided By : Md. Abul Ala (Assistant Professor, Textile Department)

“A thread is tied, a colour is restrained, A hidden geometry slowly is framed. Through warp, weft, and the artisan’s hand, A living language of craft continues to stand”.

Craft Research & Documentation | 5 Illustration 1, Weaving being done on loom

6 | AITHIYA : The Woven Heritage of Nuapatna Copyright @ 2026 NIFT, Bhubaneshwar All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, in- cluding photocopying, recording or other electronic mechanical methods without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviewes and certain other non-commercial uses permitted by copy- right law.

Craft Research & Documentation | 7 CERTIFICATE OF AUTHORSHIP & ORIGINALITY This is to certify that the Craft Cluster Project titled “Aithiya : The Woven Heritage of Nuapatna” is a record of work done by the students named Anurag Singh, Atulya Singh, Mrunali Mukund Kamble, Saswita Barik, Suhangi Kumari, Sulagna Dey and Tanya Sinha for the degree of B.DES in Textile Design Department from the batch of 2024-2028, during the period of 5th Semester, which represents as a independent work and is not copied from any of the previous work. The documentary named, “Aithiya : The Woven Heritage of Nuapatna” has been done under the mentorship of Md. Abul Ala, Assistant Professor of National Institute of Fashion Technology, Bhubaneswar. In addition, we hereby certify that research pre- sented in the document are original and sources referred are fully acknowledged and all due credits has been given in the book. Mentor : Md. Abul Ala (Asst, Professor, TD Dept.) Date : CC : Ms. Ushasi Rudra (Asst, Professor, TD Dept.) Date :

8 | AITHIYA : The Woven Heritage of Nuapatna fig 1, Visuals from Nuapatna

Craft Research & Documentation | 9 PREFACE In strategic collaboration with the Ministry of Textiles, the National Institute of Fashion Technology (NIFT) conceptualized the Craft Cluster initiative as a dynamic program designed to bridge the gap between academic learning and the rich heritage of the handicraft sector. This initiative is deeply committed to the holistic development of traditional crafts, the empowerment of local artisans, and the strategic expansion of these art forms into urban markets. By integrating the generational expertise of master craftspeople with the fresh, innovative perspectives of our students, the program serves to revitalize and enrich both domains. The primary objective of the Craft Cluster is to provide students with an immersive, comprehensive introduction to the artisanal ecosystem. Through this structured research and hands on engagement, guided by experienced faculty members and skilled craftspeople, the students gains a profound insights and a better grasp about the craft, and also learn from the experts, who have been involved in that particular research field for a long time.

10 | AITHIYA : The Woven Heritage of Nuapatna fig 2, Extra weft being done on loom.

Craft Research & Documentation | 11 ACKNOWLEDGEMENT We would like to express our gratitude towards the Ministry Of Textiles of India and National Institute of Fashion Technology, Bhubaneswar for providing us a significant opportunity to be a part of this Craft Research & Documentation. Our heartfelt thanks goes to our course coordinator Ms. Ushasi Rudra, who had guided and supported us throughout this whole project. We would like to express our profound gratitude towards our mentor, Md. Abul Ala, for his constant encouragement and in- sightful feedbacks time to time, which acted as a crucial part in shaping this whole work, Also to Ms. Aruna Behera for her guidance in the entire visits to Nuapatna for the Craft Research. We are profoundly grateful to the artisans who shared their experiences and expertise regarding the craft, making this re- search comprehensive and detailed. We are also grateful towards Mr Pradeep Kumar Dutta who had guided us throughout the visits to Nuapatna and also for sharing such meaningful insights related to the craft, as it doesn’t only helped in the craft research but also it enhanced the understanding process of the craft.

Table of contents 1. Odisha 1.1 About Odisha 1.2 About Odisha’s Topography 1.3 About Odisha’s Architecture 1.4 About Odisha’s Culture 1.5 Festivals of Odisha 1.6 Dance forms of Odisha 1.7 Art and Crafts of Odisha 1.8 Cuisines of Odisha 2. Nuapatna 2.1 About Nuapatna 2.2 History and Evolution of Nuapatna Weaving 2.3 How to reach Nuapatna 2.4 Landscapes and Climates of Nuapatna 2.5 Demographics of Nuapatna 2.5.1 Local Demographics of Nuapatna 2.6 Communities of Nuapatna 2.7 Attires of Nuapatna 2.8 Cultural significance and festivals of Nuapatna. 2.8 Cuisines of Nuapatna 16 - 31 32 - 45

3. Khandua Sarees 3.1 About Khandua Sarees 3.2 History & Evolution of Nuapatna Weaving 3.3 USP of Khandua 4. Tools and Techniques 4.1 Raw Materials 4.2 Dye used for silk yarns 4.3 Dyes used for cotton yarns 4.4 Tools used in the process 5. Making Process 5.1 Thigh Reeling 5.2 Yarn Sourcing 5.3 Degumming of the silk 5.4 Drawing of the intended design on the graph paper 5.5 Tying of the weft threads 5.6 Dyeing of the yarns 5.6.1 Steps of dyeing 5.7 Winding 5.8 Loom Set-up 5.8.1 Warping & Beaming 5.8.2 Drafting & Denting 5.8.3 Tying & Tensioning 5.9 Weaving 5.10 Post - Weaving 6. Design Implementation 6.1 Traditional Motifs 6.2 Contemporary Motifs 46 - 55 56 - 69 70 - 99 100 - 107

6.3 Nabakothi 7. Natural Dyes 7.1 Types of Natural Dyes used 7.2 Natural Dyeing with Katha 7.3 Materials used in Natural Dyeing 8. Extra-Weft Weaving 8.1 About Extra-weft Weaving 9. Artisans 10. Interviews 10.1 Questionaires 10.2 Graphs of received information 11. Market Analysis 12. SWOT Analysis 12.1 Suggestions 13. Glossary 14. Member’s Pro¿le 15. Plagarism Report 16. References 108 - 115 116 - 121 122 - 131 140 - 141 142 - 149 150 - 151 152 - 153 154 132 - 139 155

fig 3,Pit Loom

ODISHA

ODISHA Odisha, located on the eastern coast of India along the Bay of Bengal, is renowned for its rich cultural her- itage, ancient temples, vibrant festivals, and diverse handicrafts. The state has a long-standing tradition of handloom weaving, with each region developing its own distinctive techniques, motifs, and textile styles. Handloom is not only an important source of livelihood for thousands of artisan families but also a reflec- tion of Odisha’s history, beliefs, and artistic excellence. Among Odisha’s many textile traditions, Bandha (Ikat) weaving is one of the most celebrated. The state is home to several prominent weaving clusters, including Nuapatna, Sambalpur, Bargarh, Sonepur, and Ma- niabandha, each known for its unique weaving style and craftsmanship. Odisha’s handwoven textiles are admired for their intricate tie-and-dye techniques, vibrant colours, geometric patterns, and motifs inspired by nature, mythology, and temple architecture. The weaving tradition of Odisha has evolved over centuries under the patronage of kings, temples, and local communities. Many textiles, particularly the Khandua Patta woven in Nuapatna, hold deep religious significance and are traditionally offered to Lord Jagannath at the Jagannath Temple in Puri. These textiles represent the harmonious blend of spirituality, craftsmanship, and cultural identity. About

Illustration 2, Konark sculptures done on Odisha Map

20 | AITHIYA : The Woven Heritage of Nuapatna Location: Eastern India Capital: Bhubaneswar Area: Approximately 155,707 sq. km Latitude: 17°49’ N to 22°34’ N Longitude: 81°27’ E to 87°29’ E Northern Plateau Eastern Ghats Central Table Land Coastal Plains River Valleys (Mahanadi, Brahmani, Baitarani, Sub- arnarekha, Rushikulya Summer: March–June (25°C–45°C) Monsoon: June–September (Southwest monsoon; annual rainfall about 1450 mm) Winter: October–February (12°C–28°C) About Odisha’s topography

Craft Research & Documentation | 21 fig 4, Visuals from Konark Sun Temple

22 | AITHIYA : The Woven Heritage of Nuapatna Odisha is renowned for the Kalinga style of temple architecture, characterized by towering spires, intricate stone carvings, and sculptural ornamentation. Famous monuments include: • Jagannath Temple, Puri • Konark Sun Temple (UNESCO World Heritage Site) • Lingaraj Temple, Bhubaneswar • Mukteswara Temple • Rajarani Temple • The architectural motifs of these temples have inspired generations of Odisha’s textile designers and weavers. About Odisha’s ARCHITECTURE fig 5, Visuals from outside of Jagannath Temple, Puri

Craft Research & Documentation | 23 fig 6, Zoom in view of Konark Sun Temple

24 | AITHIYA : The Woven Heritage of Nuapatna About Odisha’s CULTURE Odisha is one of those Indian states where the richness of culture is deeply felt. Over time, Odisha has preserved not only some old traditions but also many new features of culture which have been formed under the influence of the state’s histo- ry, religion, literature, music, dance, art and craftmanship. Devotion, simplicity, harmony, unity and collectivism in society are the main characteristics of the Odia culture. The importance of religion in the cultural life of Odisha cannot be overestimated. Puri Jagannath temple is not only a ma- jor place of pilgrimage but also a symbol of spirituality and culture of Odisha. Various festivals including Rath Yatra, Raja Parba, Kartik Purnima, etc., are organized every year with much excitement and passion. fig 7, Local puja celebrations in Odisha

Craft Research & Documentation | 25 The state of Odisha is renowned for its literary and artistic achievements. Poetry from poets like Jayadeva, Sarala Das, and Upendra Bhanja have added to the literary wealth of Odia literature in a significant manner. Classical music, bhajans, and folk music remain a very integral part of all cultural festivities and spiritual functions. Attire in traditional Odia culture is quite significant in nature. Handloom sarees like Sambalpuri, Bomkai, Kotpad, and Khandua are normally worn by women on occasions, whereas men normally wear a dhoti and kurta on special occasions and festivities. Odisha’s people have a hospitable nature and sense of togetherness among them. Weaving, pottery, stone-carving, appli- qué work, and Pattachitra painting continue to be practiced even today by families who make these their occupation and keep the art forms alive through generations. It is not only their means of earning a livelihood but also reflects the cultural heritage of Odisha. Food, dance, music, and handicrafts make for a rich cultural background. Dance forms like the Odissi classical dance form and Gotipua, Dalkhai, and Ghumura folk dances are performed at various festivals. fig 8, Iconic Konark Chakra from Sun Temple

26 | AITHIYA : The Woven Heritage of Nuapatna Festivals in Odisha reflect the state’s rich spiritual, ag- ricultural, and cultural traditions. They are celebrat- ed with great enthusiasm and play a significant role in strengthening community bonds while preserving age-old customs. Many of these festivals are closely associated with Lord Jagannath, seasonal changes, and the harvest cycle. They also inspire the colours, motifs, and themes seen in Odisha’s traditional tex- tiles and handicrafts. Some of the major festivals celebrated in Odisha in- clude: • Rath Yatra (Puri) • Raja Parba • Durga Puja • Nuakhai • Kartik Purnima (Boita Bandana) • Makar Sankranti Festivals of ODISHA fig 9, Local celebration of Ratha Yatra in Odisha

Craft Research & Documentation | 27 • Rath Yatra (Puri): The most famous festival of Odisha, where Lord Jagannath, Lord Balabhadra, and Goddess Subhadra are taken in magnificent wooden chariots from the Jagannath Temple to the Gundicha Temple. Mil- lions of devotees from across the world participate in this annual event. • Raja Parba: A unique three-day festival celebrating womanhood and the fertility of Mother Earth. During this festival, women wear new clothes, enjoy traditional foods, sing folk songs, and swing on beautifully decorated swings, while agricultural activities are paused. • Durga Puja: Celebrated with grandeur throughout the state, especially in Cuttack, which is renowned for its artistic silver filigree (Tarakasi) decorations adorning the pandals. • Nuakhai: Primarily celebrated in Western Odisha, this harvest festival marks the offering of the season’s first harvested rice to the deities before it is consumed by the family. • Kartik Purnima (Boita Bandana): This festival commemorates Odisha’s ancient maritime trade. People float small decorated boats in rivers, ponds, and the sea to honour the state’s historic seafaring merchants known as Sadhabas. fig 10, Puja Pandals during Durga Puja

Dance forms of ODISHA Odisha is renowned throughout the world for its dance forms that symbolise the state’s history, spirituality and cul- ture. Each dance form has its distinct styles, music, costumes and significance, be it classical dance in temples, folk or trib- al dance. Other important folk and tribal dances include: • Gotipua • Chhau (Mayurbhanj) • Ghumura • Dalkhai • Sambalpuri Folk Dance Odissi Odissi is one of the eight classical dances of India and is known to be the pride of Odisha. It was developed in the temples of the state as an offering to Lord Jagannath. This dance includes fluid movements, expressions (abhinaya), unique foot work and posture like Tribhangi and Chauka. The theme used mostly in this dance includes mythology of India with a focus on Lord Krishna and Radha as well as the famous Gita Govinda written by poet Jayadeva. fig 11, A dancer performing Odissi

Gotipua Gotipua is a traditional style of dance that is considered to be the precursor of Odissi. In Gotipua, dances of male youths portraying female dancers performing devotional dances dedicated to Lord Krishna and Lord Jagannath are presented. The performance consists of expressive dances and acrobatics, where flexibility and balance of dancers is evident. Even today, Gotipua is still an important part of Odisha’s culture. Chhau (Mayurbhanj) Mayurbhanj Chhau is a classical form of martial dance that originates from Mayurbhanj, Orissa. Different from oth- er Chhau styles, this style does not use masks; thus, emotions are conveyed by facial expressions. Chhau dance is a mixture of martial art, folklore and classical dances. Stories of the Ramayana, Mahabharata, and other mythological characters are portrayed through dance movements. Ghumura Ghumura is an exuberant folk dance of the region of Kalahandi in Odisha. This dance gets its name from the Ghu- mura, which is a musical instrument made of clay and is used during the dance. Though earlier it was a part of mar- tial tradition, now it is performed on festivals and social occasions. The vigorous moves and rhythm of music make Ghumura one of the most attractive dances of the state. Dalkhai Dalkhai is one of the most prominent folk dances of western Odisha, especially in districts of Sambalpur, Bargarh, and Balangir. This dance form is performed by young women during festival times, especially the festival of Bhadraba and other harvest festivals. The dancers dress up in colorful Sambalpuri sarees and dance gracefully while singing folk songs along with dhol, nisan, and mahuri. Folk Dance of Sambalpur The folk dance of Sambalpur stands for the rich culture of Western Orissa. The dance is performed on occasions like festivals, weddings, and other social gatherings and includes lively dancing steps along with colorful traditional dresses and music. Both men and women perform this dance by playing traditional musical instruments like dhol, tasa, and mahuri.

30 | AITHIYA : The Woven Heritage of Nuapatna arts & crafts of ODISHA Odisha is a powerhouse of artistic talent, boasting over 50 distinct craft forms. The state’s artistic heritage is a beautiful blend of deep-rooted temple tradition, particularly centered around the Jagannath cult in Puri, and the vibrant, rustic aesthetics of its indigenous tribal communities. Pattachitra is a traditional painting style which had originated in the villages of Raghurajpur and Puri. These paintings are done on special cloth prepared for the purpose using natural colors and depicting episodes from the Ramayana, Mahabharata, Krishna Leela and Jagannath. The intricate lines and vivid colors have made Pattachitra one of the finest specimens of Indian folk art. For textiles, there’s the famous Bandha (Ikat) weaving from Odisha. It involves dying the yarn prior to the weaving process in order to create the design on the cloth. It is quite an intricate process and each cloth made through this technique is unique in its own way. Some of the famous weaving centers in Odisha include Nuapatna, Sambalpur, Bargarh, Sonepur, and Maniabandha. Pipili applique work involves sewing colorful fabrics to create designs. Originally, the crafts were meant for decorating temples as well as the cover of the Rath Yatra chariots. However, currently, these crafts have been turned into items like wall hangings, bags, lampshades, umbrellas, and even household decorations. The filigree made out of silver is called Tarakasi, which is native to Cuttack. In this form of art, craftsmen make beau- tiful flower and geometrical designs using very thin strips of silver metal. Another craft of Odisha which deserves a special mention is stone carving. Based on the state’s well-known temples, sculptors use sandstone and soapstone to create statues of deities, animals, and other decorative panels. The skill demonstrated in structures such as Konark and Lingaraj inspires stone carvings. fig 12, Making of Pattachitra

Craft Research & Documentation | 31 cuisines of ODISHA Savory Dishes Pakhala Bhata: A cooling summer staple of fermented rice and water or curd, served with fried sides. Dalma: A classic, hearty mix of lentils and seasonal vegetables. Santula: A mild, highly nutritious boiled mixed vegetable dish with minimal spices. Chencheda: A traditional medley that makes the most of chopped seasonal vegetables and greens. Macha Besara: A staple Odia fish curry prepared in a rich, spiced mustard paste. Sweets & Desserts Chhena Poda: The iconic Odia dessert of baked cottage cheese, sugar, and cardamom. Rasabali: Fried cottage cheese patties soaked in thickened, sweetened milk. Chhena Jhili: Soft, deep-fried cottage cheese dumplings soaked in sugar syrup. Khaja: A crispy, syrup-coated layered pastry famously offered as Mahaprasad at the Jagannath Temple in Puri. fig 3, Illustration of Chakuli pitha and Ghuguni

nuapatna

34 | AITHIYA : The Woven Heritage of Nuapatnafig 13, Visuals of Tyeing the weft yarns

Craft Research & Documentation | 35 ABOUT NUAPATNA Nuapatna is a village located in the Tigiria tehsil of cuttack dis- trict of Odisha ,India. It is situated at a distance of around 70 km from Cuttack town and approximately 85 km northwest of Bhubaneswar city.It is famous handloom cluster town. The village is mainly known for its Bandha (Ikat) weaving tech- nique.It is particularly recognized for producing khandua pa- ta(ikat) high-quality silk and cotton fabrics, including sarees and dress materials. Nuapatna has a strong artisan base where weaving is practiced as a primary occupation. The village has gained importance for preserving this craft through generations of skilled artisans. Geographic Details : Country: India State : Odisha Capital: Bhubaneswar District : Cuttack Pincode : 754035 Coordinates: 20.4491°N 85.464491°E Language : Odia Illustration 4, Nuapatna’s Platform Signage

36 | AITHIYA : The Woven Heritage of Nuapatna NUAPATNA BIRIPURI ANSUPA CHAHAKA KANTAPANHARA CHAHAKA KHANDAK BRIDGE JATAMUNDIA - SUBARNAPUR BRIDGE PARTAPUR RAGHUNATHPUR KIIT ROAD NIFT BBSR Nuapatna can be reached through various modes of transport, such as road, rail, air, and local transport. By Road: It can be reached by road from Cuttack and Bhubaneswar by using the common route which passes through Athagarh and Tigiria. Regular buses, taxis, and private vehicles are easily available. By Railways: The nearest railway stations are Cuttack and Dhenkanal railway station, which is closer to the northern side of the river. From the station, local taxis or buses can be taken to reach Nuapatna. By Airways: The nearest airport is Biju Patnaik International Airport in Bhubaneswar, which is located about 75 km away from the village. HOW TO REACH NUAPATNA Illustration 5, A map guide from Nift Bhubaneshwar to Nuapatna

Craft Research & Documentation | 37 Landscapes and climates of NUAPATNA Nuapatna has a plain rural area, surrounded by green fields and agricultural land. CLIMATE Summers are usually hot, with temperatures between 30°C to 45°C. The monsoon season brings heavy rainfall, while winters are mild and comfortable here, ranging from 12°C to 26°C. The climate is suitable for cotton and silk weaving, although high humidity sometimes makes yarn handling difficult. RIVERS Mahanadi is an major identity of this area . Area covered by nua patna Nuapatna covers a geographical area of arround 2.8 square kilometers. fig 14, Sky view of Nuapatna

38 | AITHIYA : The Woven Heritage of Nuapatna demographics of NUAPATNA Nuapatna has a population of around 8,057 people according to the 2011 Census. Most people are con- nected to traditional work and daily livelihood activities. Population Distribution Out of the total population, 4,208 are males and 3,849 are females. Child Population There are 761 children (0–6 years), which is about 9.45% of the total population. Sex Ratio The sex ratio is 915 females per 1000 males, which is lower compared to the state average. Literacy Rate The literacy rate is 83.50%. Male literacy rate is higher (90.08%) than female literacy rate (76.50%). Social Composition A small percentage of the population belongs to Scheduled Castes (4.33%), while the presence of Sched- uled Tribes is very low(2%). The majority of the population mainly belongs to traditional weaving (OBC/ general) families. POPULATION DISTRIBUTION CHILD POPULATION

Craft Research & Documentation | 39 LITERACY RATIO GENDER BASE SOCIAL COMPOSITION SEX RATIO LITERACY RATIO Population Growth The population is expected to reach around 11,900 by 2026

40 | AITHIYA : The Woven Heritage of Nuapatna Religious Demography Hindus: 97.33% Buddhists: 2.45% Christians: 0.01% Muslims: 0.19% Population Growth Expected population by 2026: 11,900. Medical Facilities There is no major hospital in Nuapatna but there are some small clinics providing basic medical assistance. People have to go to nearby towns (25-30 kilometers distance) like Arogya Hospital, Banki. For better medical assistance, people go to nearby cities (50-55 kilometers distance) like Cuttack hospitals (Ashwini Hospital). Educational Institutions Educational institutions at primary and secondary level are available in the village itself. Some of the major institutions are : • Nuapatna Nodal Upper Primary School • Nuapatna Talasahi Primary School • Chaitanya Sahu Higher Secondary school ,etc Educational institutions for higher secondary and colleges are also available in nearby towns (7-20 kilome- ters), such as , Prasanna Purusottam College,Tigiria. For higher studies, students go to cities (50-55km), such as Ravenshaw University ,Cuttack. local demographics of NUAPATNA

Craft Research & Documentation | 41 fig 15, Visuals from the local temple of Nuapatna

42 | AITHIYA : The Woven Heritage of Nuapatna COMMUNITIES of NUAPATNA Handloom weaving practice of Nuapatna is enriched by the diversity of weaving communities with their roles and skills. The mentioned communities are engaged in the weaving craft for ages. Gaudia Patra Community The main weaving community of Nuapatna is the Gaudia Patra. This group is known for their silk weav- ing, especially for Khandua pata decorating Lord Jagannath’s temple. Their products are characterized by the complex patterns handed down through generations. What is more, Gaudia Patras’ traditional knowledge is transferred from generation to generation. Saraka (Srabak) Community The third group of weaving community is the Saraka, also known as Srabak. This group is accustomed to a humble village life, fol- lowing the Buddhist religion. Saraka weavers prefer weaving gar- ments from cotton and Eri silk, which diversifies the range of tra- ditional textiles. Asani Patra Community Another group of weavers is called Asani Patra, and they are known to be engaged in silk weaving and cotton weaving. Hence, both weaving groups are essential in terms of the supply of silk and cotton textile. Together with Gaudia Patras, Asani Patras rep- resent the major part of the weaving community in Nuapatna. Illustration 6, Chaura

Craft Research & Documentation | 43 ATTIRES OF NUAPATNA The traditional attire of Nuapatna includes hand-ovened cotton sarees for women . The sarees are made using cotton yarn and silk yarn. sa- rees are created using the weft ikat weaving technique. Also most of the old aged women wear sarees without the blouse. The sarees have mostly contrasting borders and pallus. which makes it look more beautiful and attractive. Men usually wear simple traditional clothing like dhoti, kurta, and gamcha. In daily life, some also wear shirts and pants, but traditional dress is still common during festivals and cultural events. Illustration 7, Daily Attires of old men and women from Nuapatna

44 | AITHIYA : The Woven Heritage of Nuapatna CULTURAL SIGNIFICANCE & FESTIVALS OF NUAPATNA Nuapatna is deeply rooted in an ikat weaving tradition that has been existed for about 800 years. the handweavers of this village are famous for their khandua pata , which is made of mulberry silk and cotton and woven into distinctive patterns. they are used in religious rituals as offerings to god jagannath. this craft is unique because its master weavers manage to portray verses from the geeta govinda of jayadeva into the melting cloth. Every day life in the village is closely linked with the craft. Almost in every house, there is a loom where weavers work with a lot of effort to create the traditional cloth, which was the absolute symbol of the village. The rhythm of weaving penetrates into the very heart of the village. Khanda Pata Jatra Another famous festival of Nuapatna is the Khanda Pata Jatra, which has a great value of its own. It is the major festival for the handloom weaving community of the village as this is the festival of the Khandua cloth that is offered to Lord Ja- gannath. It is a great festival of Nuapatna which is celebrated with extreme devotion and enthusiasm by the weavers. It is usually celebrated in summer. Lobhi Thakurani Puja Lobhi Thakurani Puja is organized in the memory of Maa Lobhi Thakurani which is celebrated with great devotion in the whole village. It is mainly celebrated on Kartik Purnima. Devotees visit the idol of the goddess to take her blessings. The procession is taken out with music and local talent. Various rituals like mundan (shaving of head) for children are also performed. Ghoda Navami Ghoda Navami is a festival celebrated mainly by the weaving community of Nuapatna. It falls on Navami tithi as per the Lunar calendar. Everyone belonging to the weaving community takes a break from their daily routine of weaving on this day and celebrates this festival. It is a community festival where people come together to celebrate and enjoy. Other Festivals Other than these festivals, many other festivals are also celebrated in Nuapatna.Some of them are Durga Puja, Diwali, Raja festival, Makar sankranti, Holi, Ganesh Puja, Saraswati Puja, Kartik Purnima (Boita Bandana), Dola Purnima, Pana Sank- ranti, etc.

Craft Research & Documentation | 45 Chandan Jatra is one of the most famous festivals of Nuapatna. It is celebrated with great enthusiasm in the village after Buddha Purnima for three days. The whole village looks attractive with its processions, big 3-D animals, 3-D medha (tableaux), and decorated lights, etc. Chaapa Khela is performed at places near water bodies, which is the main attraction of this festival. It showcases the cultural heritage and traditions of this village through various cultural activities and fairs. fig 16, 3d animal mask used in the celebrations of Chandan jatra

KHANDUA SAREES

48 | AITHIYA : The Woven Heritage of Nuapatna Illustration 8, Khandua Saree

Craft Research & Documentation | 49 ABOUT KHANDUA SAREES Khandua is known to be one of the traditional and most famous fabric in Odisha,that is strongly connected with its culture and religion. This regional product is presented by silk fabric with bright colors and intricate Ikat patterns. However, Khandua is not only beautiful but also has a long history that has been enriched by centuries of development. The main feature of the Khandua weaving is the traditional Bandha weaving technique, also called Ikat weav- ing. This is a complicated and time-consuming process that involves painting the design on the yarn. There are two types of Ikat weaving: single (warp) Ikat and double (warp and weft) Ikat. In the case of Khandua weaving, the single Ikat is used, making the fabric more airy and lightweight. Nevertheless, even single Ikat requires great precision to create the desired pattern. As a result, the Khandua Pat (fabric) has gained its unique identity, being characterized by fine and almost in- visible patterns. The complexity of the weaving process and the precision of the patterns are explained by the fact that the weavers are experts in the Ikat weaving technique and have mastered it to perfection. Shift Of Production To Nuapatna Though it was developed in Kenduli, the centre of its production shifted to Nuapatna and Maniabandha in Cuttack district under the Ganga and Gajapati rulers. The rulers patronized this art and the weavers belonging to the Gaudia Patra, Asani Patra and Saraka commu- nities were invited to the royal courts to weave Khandua. This weaving craft has been passed on from one generation to another for ages as an ancestral legacy and has been practiced with devotion and dedication. Later on it gained popularity not only in the temples but also in the royal families and eventually became a part of the state’s cultural heritage as well as the traditional dress for festivals and weddings.

50 | AITHIYA : The Woven Heritage of Nuapatna HISTORY & EVOLUTION OF NUAPATNA WEAVING The history of Nuapatna weaving dates back several centuries and is closely linked to Odisha’s rich handloom tradition. According to local oral history shared by the artisans, the weavers of Nuapatna once lived under dif- ficult conditions. During the rule of local kings and feudal authorities, skilled weavers were often compelled to work exclusively for the rulers. To protect themselves and continue weaving independently, many artisans concealed their work by storing the woven textiles in the upper loft or attic spaces (locally called the tent or roof gap) of their houses, where they remained hidden from the rulers’ inspection. Khandua is one of the traditional and famous fabrics in Odisha that is strongly connected with its culture and religion. The product is presented in silk fabric ,adorned with vibrant colors and intricate Ikat patterns. Howev- er, Khandua is not only beautiful but also has a long history that has been enriched by centuries of development. Origins and History The art of Khandua weaving dates back to more than 800 years ago, with its origin tracing to the 12th century AD. This art was traditionally connected with the devotional cult of Lord Jagannath. According to the Mada- la Panji, the history of Odisha’s temples and its people, the great poet Jayadeva was the creator of Khandua. It is said that Jayadeva wanted his poetry to be further narrated after his death. That is why he called the weavers from Kenduli, his native village, where the art of Bandha weaving was known. They inscribed the poet’s composition on the silk fabric with the traditional Bandha weaving technique. As a result, the first Khandua Pata (Gitagovinda Khandua Pata) was created, combining the religious text and art. Even nowadays, this sacred fabric is presented to Lord Jagannath, Lord Balabhadra, and Devi Subhadra during the Bada Singhar Besha, the final ritual bath of the deities in the Jagannath Temple in Puri. Khandua is special because it has verses from the Gita Govinda woven into it, which describes the divine love of Lord Krishna and Radha. It holds deep religious importance in Odisha, When these verses are woven into Khandua , the fabric becomes more than just a textile. It turns into a medium that carries poetry, devotion, and tradition together, reflecting the close connection between art, culture, and spirituality in Odisha.. This means Khandua is not just about how it looks. It also has a cultural and religious meaning.

Craft Research & Documentation | 51 Illustration 9 Lord Jagannath wrapped in Khandua

52 | AITHIYA : The Woven Heritage of Nuapatna The Center of Khandua Weaving: Nuapatna and Maniabandha Although the art of Khandua weaving traditionally originated in Kenduli, the weaving centers of Nuapatna and Maniabandha in Cuttack district became its true home. It was in this region under the Ganga and Gajapati kings that Khandua weaving developed and flourished. The weaving communities of Gaudia Patra, Asani Patra, and Saraka were historically invited to the royal court to weave temple textiles. This weaving craft has been passed down from one generation to another for ages as an ancestral legacy, practiced with deep devotion and dedication. Over time, it gained popularity not only within temples and royal families but also among the common people. Eventually, it became an integral part of the state’s cultural heritage, serving as the traditional dress for festivals and weddings, and transforming into a timeless symbol of Odia culture and tradition. Weaving Technique of Khandua Textiles The defining feature of Khandua weaving is the traditional Bandha technique, also known as Ikat weaving. This is a highly complex and time-consuming process that involves tying and dyeing the design directly onto the yarn before weaving. This method requires the weavers to meticulously plan out the design, as the yarn must be dyed and aligned perfectly according to the desired motif. It should be noted that in the case of Khandua weaving, mostly single ikat of the warp is used. The entire process demands an incredible amount of precision. The complexity of the weaving pro- cess and the exactness of the patterns are testaments to the fact that these weavers are master arti- sans of the Ikat technique, having perfected it over generations. It is because of this unmatched skill that Khandua weaving has cemented its unique identity. Materials Used Traditionally, Khandua is made entirely with silk yarn. This is what gives Khandua its signature soft- ness and brilliant shine. When viewed in person, silk Khandua looks exceptionally rich and auspi- cious. Today, weavers are also experimenting with cotton or blended yarns. This shift makes the textiles more affordable and easier to work with for everyday use. However, Khandua made with pure silk remains the original standard, and people continue to value it most for special and sacred occasions.

Craft Research & Documentation | 53 fig 17, A zoomed-in visual the loom during weaving

54 | AITHIYA : The Woven Heritage of Nuapatna fig 18, A zoomed-in photo of Geeta Govind

Craft Research & Documentation | 55 USP OF KHANDUA The divine and ritualistic connection is really something. It is the sacred cloth that people offer every day to Lord Jagannath, Balabhadra and Subhadra at the Puri Dham temple. This has been going on since the centu- ry. The Gitagovinda Calligraphy is a thing. There is a kind of Khandua called Kenduli Khandua. It has hand- written-style verses of Jayadevas epic poem, Gitagovinda that are carefully tie-dyed into the fabric. The Distinct Curvilinear Single Ikat is made using a single-Ikat technique on traditional wooden looms. Weavers use this technique to create patterns with blurred edges that look really nice. The Auspicious Motifs and Plain Borders are a part of the Khandua fabric. It features symbols like elephants, which represent Buddha and other creatures like lions and peacocks. You will also see temple towers and the Nabakothi, which are nine houses. What is interesting, about Khandua is that it pairs these motifs with plain borders. The people who make Khandua believe in Spiritual Craftsmanship. To make the garments weavers follow strict spiritual rules. They. Eat only vegetarian food while they are crafting the cloth. This is to maintain the purity of the Divine and Ritualistic Connection of the Khandua fabric.

TOOLS AND TECHNIQUES

58 | AITHIYA : The Woven Heritage of Nuapatna raw materials Cocoon: Silk filament are obtained from this co- coon and processed into silk yarn. Baking Soda: It is used during the pre-treatment of the yarn, usually along with soap and water. Silk Yarns: The yarns which were directly sourced from the local markets for further person. Illustration 10, Cocoon Illustration 12, Baking Soda Illustration 11,Silk Yarn

Craft Research & Documentation | 59 Polyethene: It is used as a resist material to prevent dye from getting coloured the selected section of the yarns. Threads: These are used for tying of the yarns for the pattern. Synthetic Dye: These are chemically produced co- lourant used to dye yarn providing bright consis- tency and durability before further processing. Illustration 15, Polythene Wrapper Soap : It is a cleaning soap used to wash yarns and to remove dust, oil and the other impurities before dyeing and weaving Illustration 13, Soap Illustration 14, Threads Illustration 16, Synthetic Dye

60 | AITHIYA : The Woven Heritage of Nuapatna fig 19, Visuals of dyeing of yarns in Nuapatna

Craft Research & Documentation | 61 DYES USED for silk yarns Khandua sarees are most often made with mulberry silk yarn (sometimes with tussar or cotton blends). The raw silk is first degummed (boiled with soap powder and a little soda ash) to remove natural gum, then bleached/dyed as needed before winding, warping and bandha tying. Acid dye In Nuapatna, Colourtex brand acid dye is is being used to dye silk yarn. Acid dyes are anionic [negatively charged]synthetic dyes that are applied in acidic dye baths. They bond to the amine groups[-NH3+] on protein fibres such as silkthrough ionic and hydrogen bonding, rather than forming covalent bonds like reactive dyes on cotton. Silk is a protein fibre obtained from silkworms, it has many amino acid residues with basic sites that readily attract acid dyes molecules under acidic conditions. This makes acid dyes highly effective for silk in terms of: Colour intake: Brightness and clarity of shades Reasonably good wash and light fastness Why acid dyes: Excellent affinity for silk They penetrate silk yarns uniformly and give strong, even colour even in small-batch, hand-dyeing conditions. Bright, vibrant palette Acid dyes produce the intense reds, maroons, yellows, pinks and creams typical of Khandua sarees. Compatibility with tie-and-dye (bandha) work In ikat, yarns are repeatedly tied, dyed, dried and retied. Acid dyes’ good exhaustion and relatively controllable uptake make them suitable for multi-step colouring of silk weft and warp.

62 | AITHIYA : The Woven Heritage of Nuapatna Cotton yarns are dyed using Vat dyes, Those are a class of water-insoluble dyes that become soluble only after chemical reduction in an alkaline bath. The name comes from the old practice of dyeing in a “vat” (bucket or tank). Key features: Insoluble in water in their original form – they exist as pigments. In the dye bath, they are reduced (usually with sodium hydrosulphite / hydrose) in the presence of alkali (caustic soda, NaOH) to form a soluble “leuco” compound (colourless or pale). The leuco form is absorbed into the fibre. On exposure to air or chemical oxidants, it re-oxidises back to the original insoluble pigment inside the fibre, where it is physically trapped. This internal, insoluble pigment gives excellent wash, light, and rubbing fastness—among the best of all dye classes for cotton. Materials used during vat dyes: Vat dye (e.g., indigo or synthetic anthraquinone vat dyes) Sodium hydrosulphite (Na₂S₂O₄) – reducing agent (“hydrose”) Caustic soda (NaOH) – alkali to maintain high pH Main reason: Cotton Khandua is often used as regular, wash-and-wear sarees. Vat dyes provide the best colour-fastness (wash, light, rubbing) of all dyes commonly used on cotton. Once the vat dye is reduced, absorbed, and then re-oxidised inside the fibre, it becomes an insoluble pigment trapped within the cotton, so it does not easily wash out. Cotton has hydroxyl (–OH) groups that readily take up the reduced, soluble leuco-vat anions in an alkaline bath. After oxidation, the dye becomes insoluble inside the fibre, locking the colour in place. DYES USED for cotton yarns

Craft Research & Documentation | 63 fig 20,Visuals of dyeing of yarns in Vat Dyes in Nuapatna

64 | AITHIYA : The Woven Heritage of Nuapatna tools used in the process The process of making a Nuapatna Silk saree is a journey of precision, patience and hand craftmanship, where artisans use simple wooden, metal and bamboo tools to transform yarns and fibers into intricate ikat textiles. Every single tools used in the process has been designed by artisan families over many generations to solve specific technical challenges.

Craft Research & Documentation | 65 Chadaki- A simple handheld wooden tool used by the artisan to control the charkha and guide the threads, it controls the tension of the thread and prevents the formation of tangles. Bandha Frame ( Janta) - A bamboo and iron frame on which the tying of weft threads is done. It is also done for various products, a frame of a varied size is employed. For instance, a 49 inch frame is used to tie the sarees weft. Creel frame -The standing frame with pegs for holding the bobbins, after which the threads are pulled together at once to form the long warp. Hook - A small, metallic tool used in denting to insert the warp yarns into the reed’s dent and heedles. Illustration 17 Chadakhi Illustration 18 Hook Illustration 19 Bandha Frame Illustration 20 Creel Frame

66 | AITHIYA : The Woven Heritage of Nuapatna Reed(pania): a swinging wooden frame with a fine comblike grid of thin metal strips from which all the weft thread are passed. It is also used to beat the new weft into place against the finished clothes. Foot Pedal: The wooden pedals for the foot located in the pit under the loom. These are directly connected to the heddles on the upper part of the loom. By pressing these with foot, the weaver opens and closes spaces (shed) for the weft shuttle to pass through in order to alternate the warp threads. Temple (Khati): This is a small rod made of wood or metal with tiny pins at both ends. It is put across the edges of the fabric that has just been woven. This rod is pulled tignt to keep the width of the fabric uniform. 10. Heddle’s Eye: These Small loops or eyes made of string or metal wire are held inside vertical frames on the loom. As each warp thread is threaded through an eye in the heddle, it can be lifted or lowered to open up a path for the shuttle through the weft. Illustration 21 Reed Illustration 23 Khati (Temple) Illustration 24 Heddle’s Eye Illustration 22 Foot Pedal

Craft Research & Documentation | 67 Aluminum Pot for Dyeing: This large aluminum or steel tank is used to hold the dye bath solution that has been mixed with water, salt and Tur- key Red Oil, The solution in the tank can be heated up on the stove quickly. Steel Pot: Stainless steel vessels of heavy type are used for boil- ing of raw silk hanks with soap and soda ash for degumming. The material of steel pots is sturdy and rust free. It helps in keeping the silk clean during high temperature processing. Mitti Ka Chulha (Clay Stove): A tradtional mud stove,built by artisans in their homes,on the earthen floors for degum- ming and dyeing process. Pit loom: dug into an earthen floor to maintain the temperature and to maintain the correct body posture of the weaver. Foot pedals placed in the pit operate the shedding motion, leaving hands free to throw the shuttle. Illustration 25 Steel Pot Illustration 26 Aluminium Pot for dyeing Illustration 27 Mitti Ka Chulha (Clay Stove) Illustration 28 Pit Loom

68 | AITHIYA : The Woven Heritage of Nuapatna Wooden Rod: Long, polished wooden rods for dry- ing the sarees after starching. Raw Silk: Raw mulberry or tussar yarns are coated with natural gum(sericin) to make them stiff and rough. Artisans wash, soften, tie, dye and weave the silk to make a fabric. Frame for Tying the Yarns (Danta): This is a special wooden frame, called ‘ Danta’ used by artisans to evenly space and stretch weft threads in preparation for making patterns.On this frame, large bundles of yarn are stretched to the exact Gloves: Gloves are protective wear of the artisan, this protect their hands from heat and from getting stained by dyes, and rubber boots will keep their feet dry and safe from chemicals. Rubber Boots: Boots are protective wear of the artisan, while doing the Scouring and dyeing processes. Artisan has to handle boiling water and strong chemicals in these pro- cesses rubber boots will keep their feet dry and safe from chemicals. Illustration 29 Wooden Rod Illustration 30 Rubber Boots Illustration 31 Raw Silk Illustration 32 Rubber Gloves Illustration 33 Danta

Craft Research & Documentation | 69 Bobbin(nali): All hollow spools which hold individ- ual threads to be loaded into the weaver’s shuttle one by one. Hand Spinning Wheel (Haath Charkha): A hand- cranked spinning wheel used to wind dyed yarn from hanks into small bobbins. Small drum (Natai) - A wooden instrument used for separating weft yarns, which is further filled in a prim Wooden drum- a large cylindrical wooden drum on which hundreds of threads are wound together from the reeling frame. Shuttle (Maku)- A smooth, boat- shaped wooden tool to hold a yarn filled Bobin in the hollow of its belly. Illustration 34 Bobbin (Nali) Illustration 35 Shuttle (Maku) Illustration 36 Haath Charkha Illustration 37 Wooden Drum Illustration 38 Small Drum Natai

making process

fig 21, Thigh Reeling of Silk Filament

Craft Research & Documentation | 73 thigh reeling Thigh reeling is the method of turning silk cocoons into continuous raw- silk yarn. During this process, the filaments from multiple softened cocoons are unwound at the same time, combined, and wrapped onto a reel to cre- ate a single uniform thread.Firstly mature cocoons are gathered and careful- ly inspected. Damaged, stained, pierced, or irregular cocoons are removed to ensure the production of strong and even silk yarn and then the dried co- coons are sorted by size, shape, color, shell quality, and filament strength. The selected cocoons are placed in hot water or treated with steam. This softens the sericin, the natural gum holding the silk layers to- gether, allowing the filament to be unwound smoothly without break- ing excessively consequetively brushing and Finding the Filament end. Then the filament ends from several cooked cocoons are gathered together. These filaments are passed through a guide and wound onto a rotating reel. The num- ber of cocoons combined depends on the desired thickness and denier of the silk yarn.

Yarn Sourcing Since Odisha does not produce Mulberry silk ,weavers in Nuapatna have to source the silk from different places - A. Raw Mulberry Silk Yarn (Kacha Suta)- source from Malda, West Bengal B. Fine Mulberry Silk (Pata Suta / Bangalore Silk)- High-lustre, fine silk, source from Bengaluru, Karnataka C. Wild Tussar Silk (Kosa Suta)- Golden-brown forest silk yarn, source from Gopalpur and Shivpuri (Odisha) D. Cotton Yarn(Suta)- source from Coimbatore & Tamil Nadu Mills

fig 22, Silk Yarns

fig 23, Degumming of the Silk Yarns

Degumming of silk yarn When raw silk comes from the silkworm cocoon it is coated with a natural sticky gum called sericin, The sericin makes the raw silk feel, rough and stiff, very hard to dye and which ultimately make the dye dull. For which,the yarns are degummed to remove those sericin and other impurities, like dust, oil etc from the yarns. After degumming, silk loses about 20–30% of its weight, but it becomes more softer, smoother, and allow dyes to penetrate deeply, uniformly. For degumming, Raw silk hanks(Lachhi) are boiled in large steel pots with water, soap(they use Sunlight- brand soap), and soda ash for 1 to 2 hours.as the water starts to boil, all the dirt and sericin melts into the solution. After the process is done,they wash thoroughly in clean water.( they use the degumming water to wash their cloths after degumming the silk). They do all this process on their own clay stoves ( mati chulhi),so they try to finish it before evening.

Drawing of the intended design on graph paper Then for the further process the master weaver starts with the drawing the motifs on the graph paper using pen or pencil. Since all these designs are created on graph paper by filling the desire blocks,this is why they give a hazy and blurry effect. They also fill each grid squares with markers or sketch pens. and this tells them exactly which color goes onto which yarn. Then finally the artisan, who is tying the yarn looks at the graph line by line, marks the yarns using pencil and tie the yarns accordingly.

fig 24, Designs done on graph

80 | AITHIYA : The Woven Heritage of Nuapatna fig 25, Tying being done on Bandha Frame

tying the weft threads The process of tying the weft threads to create patterns is called Pakhia or Pakhia Bandha. It starts with winding the yarn on a special wooden frame called a Danta, then to keep the length and width exact and even, weavers use a wooden measuring stick called a Mapo Juwa. Then they group the yarn into sections of 200 threads each. Before starting the main parttern ,they tie the starting and ending threads in the bundle which is called The Master Line.it acts as an anchor to keep all the threads aligned throughout the process. Then they tie yarns for multiple saree at one time, usually 4 sarees at the same time, then ifor theonly An- chals (Pallus) they tie up to 100 saree anchals at a time to save the time and energy. Once the setup is ready, then they start with making the motifs and patterns onto the thread by the use of charcoal or ink. Then comes the actual tying part which is done by artisan called Bandhakara. where they uses thin poly- thene plastic strips, rubber and cotton threads (Suta), as polyethene is a good option cause it repels wa- terdfrom getting penetrated to the yarns and seals larges areas so no dye leaks through. For the tiny details or the master lines ,they use cotton thread to wrap tightly, which usually takes 5 to 6 days to complete the tie. Overally days for tyeing depends totally on the design.

dyeing of the yarn In Nuapatna, for the single ikat(bandha) weaving, the dyeing process hap- pens before the fabric is woven on the loom. This technique is called resist dyeing, where the parts of the yarns are wrapped tightly to block the dye from reaching the, because after it, one cannot wash to remove the dark dye and also it cannnot be dyed with lighter color over the darker one, then the artisans starts with the dyeing process from lightest to darkest.

Craft Research & Documentation | 83 fig 26, A group of Tied Yarns

84 | AITHIYA : The Woven Heritage of Nuapatna

A. Preparing the bath : They start by adding regular water to a stainless steel tank and heating it to between 85°C–90°C. Turkey Red Oil is then added to reduce surface tension and allow the color to permeate. They next add regular salt, which allows the dye to uniformly disperse throughout the water. B. Dye addition : first they put the measured Acid Dye Powder in boiling water and dissolve it. C. First Dyeing Stage (Lightest Colour) : Dyeing always begins with the lightest shade. They put the wet, degummed silk hanks (hanks) using wooden rods. then slowly they raise the temperature to 85°C–90°C while turning the yarn continuously. D. Second Dyeing Stage : After the first dyeing, the yarn goes for the second dyeing process. During this stage, the dye bath temperature is gradually raised and maintained at ap- proximately 100°C to ensure proper dye penetration and colour development. E. Third Dyeing Stage and Colour Fixation : In the final dyeing stage, after 45 to 60 minutes. acetic acid is added to the dye bath to maintain the required acidic pH. This improves dye absorption and fixes the colour firmly onto the silk fibre. F. Washing and drying : After the dyeing the take the silk hanks out and wash it thoroughly in normal clean water, squeeze out excess water and hang the yarns in the shade to dry. steps of dyeing Fig 27, Dyeing of Silk Yarn

After drying , artisans uses a blade or a knife to cut all the wrapped cotton ties. The untied yarns are gently shaken out between hands to separate the threads that stuck together be- cause of high heat dyeing, Then the untied silk hanks (lachhi)is opened over a conical wooden cage- like frame (Natai).that Natai rotates freely on a central axis as the yarn is pulled. the artisan uses a small, handheld guid tool (chadaki)to hold and cpntro the threads. The Chadaki maintains tension of the yarns, so that they will not tangled together, after which the ending of the thread is tied into a bobbin(nali) mounted on the spindle of a spinning wheel(charkha). Spinning the wheel (suta katiba)winds the patterned weft yarn onto the Nali. winding

fig 28, Winding being done

88 | AITHIYA : The Woven Heritage of Nuapatna Loom set-up

fig 15 fig 29, Weaving being done on Loom

90 | AITHIYA : The Woven Heritage of Nuapatna fig 30, Detangling of the Warping Threads

Craft Research & Documentation | 91 Warping: Warping is the method utilized to turn many yarn spools into one long continuous uni- form bundle of threads. The primary purpose of the warping procedure is to prepare many warp threads (often a few thousand) so that they do not get twisted during weaving. Key Elements of Warping Creel: Holds different types of yarn cones/packages in rows and supplies yarn to the warp sheet. • Warp Sheet: Converts all yarn threads into a flat layer uniform layer of threads. • Uniform Tension: Maintains equal tension in every thread to keep it from being loose and breaking on the loom. • Methods of Warping: Can be divided into two methods, direct warping (for weaving simple fabrics) and sectional warping (for weaving complex patterns). Beaming: Beaming refers to the procedure whereby a sheet of uniform warp yarn is transferred from the warping process and wound around a cylindrical warp beam. The aim of this operation is to produce a uniform and compact package of warp yarn that can be fed into the loom for weaving. The Objective: To combine a number of narrow sheets of warp yarn into one single compact package making it ready for the weaving process. • Control of Tightness: Beaming means the application of enough pressure to the yarns in order to avoid slack threads on the warp beam. • Flanges: The use of heavy metallic discs (flanges) on both sides of the warp beam helps keep warp yarn edges flat and aligned. • Friction-Free: All yarns in beaming are placed flat to prevent destroying each other. warping & beaming

92 | AITHIYA : The Woven Heritage of Nuapatna Drafting: The process of drafting (also known as drawing-in) involves guiding every one of the warp threads through a unique heddle eyelet on the harness loom’s frame. The main objective of drafting is to control the order in which the threads are arranged so that their lifting will form a specific weave design. Drafting’s Important Elements Heddle Eye: Each warp thread is directed through its individual small metal or nylon loop (eye). Harness Frame: Specifies which warp thread is connected to each moving frame. Draft Blueprints: A certain pattern or grid is used to follow a draft for creating a weave, whether it’s plain, twill, or satin. Eliminate Tangles: Breaks apart all the threads to allow clear movement without entanglements. Denting: Denting is when warp yarns are inserted through thin slits (called dents) of a metallic tool known as a reed. The chief purpose of denting is to determine the fabric width and density of the threads. Some of the critical aspects of denting include: The Reed: Employs a heavy metallic structure with specific wire-gaps so that the threads can be arranged. Density Control: Finds out the number of End Per Inch (EPI) by taking into account the num- ber of threads emerging through each dent. Fabric Width: Ensures that the warp sheet attained the desired and final width. Beat-Up Guide: Makes sure wires remain parallel so that the Reed pushes in each new filling. DRAFTING & DENTING

Craft Research & Documentation | 93 fig 31, Denting is being done through wooden reed with the help of hook

fig 15 fig 32, Setting of the Loom.

Craft Research & Documentation | 95 Tying & Tensioning In order to anchor the warp sheet in the loom and guarantee a consistent stretching process during weaving, tying and tensioning must be performed right after denting. Important Factors relating to Tying and Tensioning: • This means securing a group of freshly prepared warp yarns to the cloth beam or apron by means of sturdy flat knots (like the weaver’s knot). • Knot Regularity: This means that the knots must be the same size and in the same position in order to avoid tangles or bumps being created. • Tensioning: This means adjusting the knot for the whole width of the loom with the help of weights or mechanically letting it out. tying & tensioning

96 | AITHIYA : The Woven Heritage of Nuapatna Weavers use traditional Pit loom, which is built over a shallow pit dug into an earthen floor, de- signed to maintain the natural moisture. The loom core structure relies on two rollers: the warp beam and the weaver beam. Heddles are connected with foot pedals inside the pit. Between the weaver and the heddles a heavy swinging frame holding a fine metal comb called a reed(pani).here is the step-by-step weaving process. A. Shedding the weaver inserts a bobbin(nali) into the hollow space of the shuttle(kanduri), Then the weaver presses the first foot pedal inside the pit, raising odd warp threads and lowering even ones to create a wide shed . B. Picking inserting the shuttle through shed. Where the weft threads unrolls continuously from the tip of the shuttle. C. Motif alignment Because Nuapatna sarees feature intricate pre-dyed motifs, the weaver briefly pauses after throwing the shuttle. Using a needle or small pick, they manually adjust the newly inserted weft thread so its pre-dyed colored blocks line up precisely with the pre-dyed warp pattern. D.Beating and Alternate Treadling The weaver pulls the reed forward to beat the weft thread tightly. then they release the first pedal and press the second pedal, closing the previous shed and opening the reverse shed. E. Maintaining Fabric Width & Take-Up As the weaving progresses, the temple rod(khati) is moved forward along with the selvage, to main- tain the tension. and when a full section is woven weaver wind the fabric in weaver beam. WEAVING

Craft Research & Documentation | 97 fig 15 Fig 33, Weaving being done on Loom

98 | AITHIYA : The Woven Heritage of Nuapatna After weaving, they do starching in the fabric to enhance its body, stiffness, and overall finish. Where a starch solution is prepared using maida (refined wheat flour). After weaving starching process: 1. Starching: After weaving, the saree is sent for the starching process to enhance its body, stiffness, and overall finish. 2. Starch Preparation: A starch solution is prepared using maida (refined wheat flour). Two consisten- cies are made: Thick paste (concentrated starch) Diluted paste (thick paste mixed with a higher quanti- ty of water) for application. 3. Application: The diluted starch paste is evenly applied over the entire saree. 4. Rolling: After starch application, the saree is tightly rolled around a thick wooden log (roller) to en- sure uniform absorption and smooth finishing. 5. Drying: The rolled saree is then placed in sunlight until it is completely dry, after which it proceeds to the final finishing process. Post weaving

Craft Research & Documentation | 99 fig 34, Drying after the starching of the yarn.

design implementation

TRADITIONAL MOTIFS Kalasa Motif Chari patia phula motif Sua (Parrot) Motif Patia Phula Motif Sankha (Conch) Motif Hati (Elephant ) Motif

Mayura (Peacock) Motif Panapatra Motifs (Betel Leaf) Deula (Temple) Motif Kalpa Brukshya (Banyan Tree) Motifs Ghara (House) Motifs Barnamala Motif (Odia Alphabets) Illustration 39 -50, Motifs

Kothari Motif Patia Phula (Flower)Motif Prajapati (ButterÀy) Motif Padma Phula (Lotus) Motif Deepa Motif Mayura (Peacock) Motif

Dancing Figurine Motif Kumbha Motif Harina (Deer) Motif Amba (Paisley) Motif Macha (Fish) Motif Nadia Gacha (Cocunut tree) Motif Illustration 51-62, Motifs

106 | AITHIYA : The Woven Heritage of Nuapatna CONTEMPORARY MOTIFS Star motifAbstract motif Geometric square motif Geometric ButterÀy Motif Stylized form of buti Human Figure Motif Illustration 63-68, Motifs

Craft Research & Documentation | 107 nabakothi The Nabakothi (also spelled as Navagoti) saree of Nu- apatna, Odisha is a traditional single ikat (bandha) weave distinguished by its unique design of nine dif- ferent auspicious motifs enclosed in squared boxes. The word nabakothi itself speaks about the design language of this particular saree. The word naba- kothi is derived from the local language Odia which means ‘nine boxes’. ‘Naba’ signifies ‘nine’ and ‘kothi’ (or ‘goti’) stands for ‘boxes Illustration 69, Nabakothi Saree Border

Natural dyes

110 | AITHIYA : The Woven Heritage of Nuapatna fig 35, Saree Pallu made with diৼerent types of natural dye

Craft Research & Documentation | 111 types of Natural dyes Illustration 70-74, Natural Dyes Sindoori or Kumkum Seeds : The seeds are covered with a red waxy coating that yields bixin, a deep orange-red natural dye, used to make traditional sindoor or kumkum. Marigold Powder : is a natural product made from dried and ground marigold Àower petals. Ratanjot : It is widely used in Indian cooking for color (such as in Rogan Josh), Ayurvedic skin and hair remedies, and as a nat- ural dye. Jackfruit Powder : Jackfruit dye typically comes from heartwood sawdust or yellow waste parts like peel and leaves, rather than the fruit Àesh Àour. It yields rich yellow, brown, or khaki shades. Lac : Lac is a natural, sticky red resin made by tiny scale insects called Kerria lacca.

112 | AITHIYA : The Woven Heritage of Nuapatna 1. First, they soak threads in Harida [10%] [soak in water for 3 days for solution] then in Alum [10%] solution for half an hour. 2. They make kattha solution [ 500gm silk threads required 100 gm kattha] and add to approximate 2litre water. 3. Put this solution on gas and boiled it for 30 minutes. 4. After reaching temperature to 90 degree add threads in it and with continue stirring boiled for 30 minutes 5. After 30 minutes remove threads from solution and squeeze excess dye from threads. 6. Again, soak threads in Harida and alum solution for fixing colour. 7. Then leave it for oxidation process for 1 hours [ it makes colours of become darker after some] 8. After totally drying threads is ready for weaving. dyeing with katha

Craft Research & Documentation | 113 fig 36, Dyeing of yarns using Katha

114 | AITHIYA : The Woven Heritage of Nuapatna fig 37, Yarns after dying with Natural Dye

Craft Research & Documentation | 115 Natural material Colour Source Jackfruit Yellow Local market Sappan Wood Red Kerala Lac Maroon Mayurbhanj, Odisha Anar Yellow to Yellowish Brown Local market Ratanjot Red Punjab Manjistha Red to reddish- orange deep Local market Marigold Yellow Local market Katha Rustic Red Local market Sinduri tree or kukum seed Red to orange- vermilion Local market Mordrant Used: Copper sulphate Ferrous Sulphate Fixing Materials Used for Natural Dyeing: Alum [10%] Harida [10%] Raw Materials used for making natural dyes: Materials used in natural dyeing

extra weft

118 | AITHIYA : The Woven Heritage of Nuapatna Extra weft is a decorative weaving technique in which an additional weft yarn is inserted into fab- ric over and above the regular ground weft to create motifs, lines, textures, or ornamental effects. In the Nuapatna weaving tradition of Odisha extra-weft work can be used to enhance the surface of handwoven textiles, particularly for creating raised or visually prominent motifs. Purpose of extra weft • Extra weft is mainly used to create: • Decorative motifs • Geometric patterns • Floral elements • Borders • Small scattered motifs • Textural effects • Contrasting colour highlights • Raised surface effects about Extra weft

Craft Research & Documentation | 119 fig 38, Extra Weft for wall hanging fig 38, Extra Weft being done in a Saree Pallu

120 | AITHIYA : The Woven Heritage of Nuapatna

Craft Research & Documentation | 121 One of the main visual characteristics is that extra weft motifs appear: • Slightly raised • More lustrous • More textured • More prominent Design elements • Creates intricate surface decoration. • Enhances traditional motifs • Produces dimensional effects • Allows colour contrast Production advantages • Motifs can be repeated systematically • No separate embroidery process is required • Decoration is integrated during weaving fig 39, Extra Weft being made on Wall Hanging

ARTISANS

124 | AITHIYA : The Woven Heritage of Nuapatna Urmila Katuwal Age: 60 Gender: Female Occupation: Weaver. She is a 60yrs old women, who has been weaving since she was 15. More than four decades have passed since weaving became an important part of her livelihood and daily life. She has no formal education, she do not any other language except odia. She is also a member of the artisan group/community and gets support by the government with getting a weaving loom. Even at this age, she is still working on the loom and is still part of the traditional weaving practice. With a long experience of 45 years, she has acquired the skills and knowledge handed down through years of working in the craft. Illustration 75, Urmila Katuwal

Craft Research & Documentation | 125 Akshaya Katuwal Age: 47 Gender: Male Occupation: Tying of Weft Threads He is a 47-year-old artisan with around 25 years of experience in the traditional textile craft. He stud- ied till primary school and can speak Odia and a little of Hindi. His primary work involves tying, which is an important part of the traditional tex- tile-making process. He earns approximately ₹500 per saree, with his monthly income being around ₹15,000, depending on the availability of work. The work is physically demanding and requires long hours of concentration and repetitive hand move- ments. As a result, he experiences difficulties such as back pain and hand pain. Despite these challeng- es, he continues to practice the craft and contribute to the traditional textile-making process. Illustration 76, Akshaya Katuwal

126 | AITHIYA : The Woven Heritage of Nuapatna Pradip Kumar Dutta Age: 45 Gender: Male Occupation: Weaver. He is a 45-year-old traditional Ikat weaver with 25 years of experience. He is a third-generation Ikat weaver and learned the skill of weaving from his father. He also completed training in dyeing as well as natural dyeing. He works in making sarees, dress materials, dupat- tas, etc. He uses a variety of materials including linen, cotton, tussar and mulberry silks and ahim- sa silk. Moreover, he makes use of natural dyes, 2-Ply weaving, and CAD designs in his craft. He combines traditional Ikat patterns with the mod- ern use of colours, designs and techniques that suit the modern fashion trends. Some of his notable cli- ents are Fab India and JP Handloom. Illustration 77, Pradip Kumar Dutta

Craft Research & Documentation | 127 Manoranjan Ash Age: 51 Gender: Male Occupation: Master Weaver Being a 51 year old man, he is a master Ikat hand- loom weaver, who has worked in this field for more than three decades and has been into this field for the last three generations , he learned the work from his father. Being one of the very few Nuapatna based weavers, who use natural colors. He works inde- pendently and also cooperates with designers as well as other craftsmen in various weaving processes. In addition to producing sarees, dupattas, wall hangings and stoles with unique designs, he also created a saree for the National Award. He has also been a President of the Weaver’s Society. Illustration 78, Manoranjan Ash

128 | AITHIYA : The Woven Heritage of Nuapatna Bijaya K. Bhanja Age: 50 Gender: Female Occupation: Works at Nuapatna Weaving Society He has completed his study only up to 10th class. He knows Odia language only and has around 10 years of experience as a weaver, which is a fami- ly tradition for him. His family is also engaged in the trade of weaving, along with that,he works for the weaver’s society, where he looks after the pa- per work. His working hours are from 10am-1pm and 4pm-6pm. He mainly works for Boyanika and makes Khandua sarees, coton saree , along with other products. There are around 60 artisans in his community involved in weaving. He earns about ₹ 500 per day. His works is based upon the demand and pattern requirement and gets the raw materials from buyers and sells finished goods to them. Illustration 79, Bijaya Kumar Bhanja

Craft Research & Documentation | 129 Sahadeva K. Patra Age: 56 Gender: Male Occupation: Works on Extra Weft He has a deep interest in traditional temple art and design. He usually visits temples and carefully ob- serves the sculptures, patterns, and traditional mo- tifs carved inside them. Since photography is often not allowed inside temples, he remembers the details and later recreates them at home through his own de- signs. He works with great attention towards detail and develops intricate motifs inspired by traditional temple art. At present, he is working on a 15-foot-long detailed design, of which only 4 feet have been completed over the past five years. His work requires a lot of time, patience, and precision, as he transforms the traditional elements of temples into detailed textile and craft designs. Illustration 80, Sahadev K. Patra

130 | AITHIYA : The Woven Heritage of Nuapatna Illustration 81, Shri Sharat Kumar Patra

Craft Research & Documentation | 131 Age - 61 Gender : Male Occupation : Weaver Awards: Padma Shri Award for his lifelong work in art and handloom, National Award for his handwoven Dashavatara motifs into the fabric. He had accomplished and experienced handloom weaving and had made his mark through his expertise in weaving. He used to draw the designs on the floor with chalk prior to starting the process of weaving. One of his distinctive techniques involved using four threads in the weft at the same time. Then another outstanding works is that he weaved Gita Govinda on the 53 meter long fab- ric , which took him about seven years to complete. The dedication and contributions of his life towards handloom weaving was acknowledged through the Padma Shri award. He does not sell his masterpieces and keeps them for collection in museums like Kala Bhoomi. Apart from this, he has helped in the sustenance of the craft by offering training at the WSC (Weaving Service Centre). He felt dissatisfied with the present price of handloom products, as compared to amount of time and labor involved. One more issue which worries him is the reduction in the use of tradi- tional looms where, out of about 300 looms, only 20-25 looms are in use presently. Sarat Kumar Patra

Interviews

questionnaire 1. Artisan’s Name- 2. Artisan’s Age- 3. Artisan’s Sex- Male ( ) Female ( ) 4. Education level of Artisan- Illiterate ( ) Primary ( ) Secondary ( ) College ( ) Other ( ) 5. What skill are you particularly associated with ? 6. For how many years the craft has been practiced by family ? 0-10yrs ( ) 11-20yrs( ) 21-30yrs( ) 31-40yrs( ) 41-50yrs( ) 7. Are you associated with some society related to the handloom? ________________________________________________________________________ 8. Are you engaged with any other activity apart from the handicrafts ? Yes ( ) No ( ) If Yes, then specify the other activity ________________________________________________________________________ 9. Are you planning to train your children in your traditional craft practices ? Yes ( ) No ( ) Give reason for your choice ________________________________________________________________________ 10. Are you willing to continuing working in the craft ? Yes ( ) No ( ) Give reason for your choice ________________________________________________________________________ 11. Any specific time, when there is a high demand for the craft ? Give reason ______________________________________________________________

12. Current monthly income of the artisan: 2k-5k ( ) 5k-7.5k ( ) 7.5k-10k ( ) More than 10k ( ) 13.Types of Houses Kachha ( ) Pucca ( ) Semi-Pucca ( ) 14. Do you get any health/life insurance policy ? Yes ( ) No ( ) 15. Are you working on: Traditional Design ( ) Latest Design ( ) 16. Who gives you the design ? Demanded Design at the time ( ) Own ( ) Trader/Agent ( ) Old Patterns ( ) Designers ( ) 17. Has there been an adoption of new techniques in the development of the craft ? If Yes, then specify: ________________________________________________________________________ 18. Have you received any training recently for upgrading your skills? Yes ( ) No ( ) 19. In which of the following areas would you want to be trained? Skill Development ( ) Capacity Building( ) Design Innovation( ) Better Quality( ) Marketing( ) 20. Are you satisfied with the present system of pricing? Yes ( ) No ( ) 21. Where do you procure raw material from? Local Markets ( ) Agents( ) Nearby Markets( ) Far-away Markets( ) 22. How do you sell your products? Directly to customers ( ) Melas & Festivals ( ) Dealers/Agent Network ( ) Exports ( ) Local Markets ( ) Trade fairs ( ) E commerce (specify ) _________________________ Other ___________________________________________________________________

Working on Education level of Artisan Types of Houses Artisan’s Sex

Have you received any training recently for upgrading your skills? For how many years the craft has been practiced by family? In which of the following areas would you want to be trained? Are you willing to continuing working in the craft?

Are you planning to train your children in your traditional craft practices ? How do you sell your products? Are you willing to continuing working in the craft? Are you associated with some society re- lated to the handloom?

Are you satisfied with the present system of pricing? Where do you procure raw material from? Far - away market 3.3% For gathering primary data in this research, • 30 local artisans were interviewed through personal interactions with the use of a questionnaire. • Out of the collected data, 16 questions were chosen as the most appropriate ones for doing categorical analysis and were entered in Google Form. • Pie charts were created based on the obtained data from Google Form, allowing visual representation of the main tendencies in the artisan community. Graphical representation

Market analysis Nuapatna is a place for making things with looms in Odisha. It is famous for its ikat and Khandua things. It creates a bridge between the Nuapatna’s Weaving Committee and Nuapatna, as it gives bulk orders directly to the committee that eventually goes to the artisans for the final production. . It also allows them to make designs in their own will and buys the things they make. Then Boyanika further sells it in their stores across India. Boyanika has been started in 1956, and it works under the Handlooms, Textiles and Handicrafts De- partment of the Government of Odisha. Role of Boyanika Boyanika’s role goes beyond selling things in stores. Its main tasks are: • Providing quality yarn, dyes and other materials needed for making products. • Giving designs color ideas and details about how to make things. • Telling societies or expert weavers what to do during the making process. • Buying products from groups that help people, expert weavers and individual weavers. • Checking the quality of the products. • Arranging the prices to buy the products and charges for converting them. • Helping to show off Odisha handlooms through shops, events and the internet. • Finding places to sell the products inside and, outside Odisha. • Helping with designs using better technology and making different kinds of products. The main goal of the organization is helping the Primary Weavers Cooperative Societies with better exposure Role of Nuapatna Nuapatna works as a special production center. The main value of the group comes from the skills of the weavers, who take the provided yarn and design and turn it into a handwoven textile. The weaver’s tasks usually include: • Receiving the assigned materials. • Checking the amount and quality of the yarn. • Getting the yarn ready, for production. • Doing the tying and dyeing process based on the design. • Setting up the loom, then followed by further weaving and post weaving processes. Then sending the final product for checking.

fig 40, Our group members at Nuapatna

SWOT ANALYSIS

sTRENgTH • Unique Integration of Text & Motif being done in Gita Govinda Weaving. • The ability to weave scripted verses directly into fabric demonstrates an advanced level of craftsman- ship rarely found in other textile traditions • Knowledge is distributed across specialized actors (tier, dyer, warper and weaver), creating an interde- pendent production ecosystem that sustains the cluster’s functional resilience. • Support through Boyanika: Artisan collaboration: Artisans get help from working with Boyanika, as it helps in providing materials that the artisans need which means the artisans do not have to find these materials themselves. It also makes it easier, for them because they do not have to pay for the materials upfront. This lets the artisans spend most of their time making things with their skills. It also makes sure that the materials they need are always available. • Government-enabled digital traceability and authentication: Government initiatives integrating QR- based traceability allow buyers to access real-time or process-stage images documenting the artisan and the making of the textile. This enhances product transparency, provenance verification, and consumer trust, while strengthening the authenticity and market value of the handcrafted product.

WEAKNESS • During the tying (Bandha), fingers are tied again and again causing cuts, abrasions, hardening of skin, and long-term strain. There is no protection of the fingers, so there are injuries among workers. • There is an excessive dependence on agents for the marketing and selling of products, which leads to low returns for artisans. • There is no hospital that provides round-the-clock service. • The most serious problem with regard to middlemen as agents for the weavers of Nuapatna is that the weavers do not have access to the market place, and are completely dependent upon the middlemen for working capital, leaving them little bargaining power and low wages for their services. • The mistrust is a problem for both parties,is when the designers and the artisans are bounded with a contract and after which when one’s original work is seen in some other party’s hands or is out in the open discourages without any knowing of both the parties that led to breakage of trust from designers towards the artisan, leading to loss of future opportunities.

OPPORTUNITIES • The joining of Ikat methods with new design ideas led to product diversification can also help in mak- ing more products and reach more people. • More people, around the world want hand-made, fabrics which can help sell more by showing off at events, markets and working with others. • Showing how each item is made from start to finish (drawing the pattern, tying, dyeing and weaving) can give it feeling and culture making people want to buy it more. • The design students, who are younger than the artisans, get an opportunity to present their designs to the artisans, as the students desires to network by working together with the artisan communities, and, in re- turn the artisans gets the designs, that led to design diversification. • The addition of a QR code on all products would enable the end customer to scan the code and connect directly with the artisan. This QR code would establish a connection between the weaver and the market by enabling the former to do away with the latter as an intermediary and connect directly with the consumer.

THREATS • The interest from people is going down because they aren’t making as much money from it. • The group had a difference in gender with way more men than women. This could be connected to where people move the jobs available or other social and cultural reasons. More study is needed on this. • The environment is getting polluted because of the dye water being poured directly into the drains,this could cause strict rules, about the environment and might hurt the craft in the future. • The upcoming generation doesn’t want to learn this craft further as aprofession because of less expo- sure, and low earnings.Hence it is leading to the degradation of the craft’s future and existence. • There are only two women left who practice thigh reeling. After them, this specific technique will com- pletely stop, resulting in a permanent loss of this traditional process in Nuapatna.

suggestion • There can be a clear design attribution and remuneration between the designer and the weaver to reduce mistrust, related to any particular design. • Instead of relying heavily on intermediaries, there should be a development of a community-owned digital marketplace. • A community-level dye management system could be included: For the collection of dye wastewater. Basic treatment before discharge. Reuse of water wherever technically feasible. There should be a controlled disposal of dye residues. Training in terms of lower-impact dyeing practices. • “The objective is not to modernise Nuapatna by replacing its traditional practices, but to strengthen the ecosystem around the craft making traditional knowledge safer to practise, more rewarding to sustain, easier to authenticate, and more relevant to contemporary markets.”

fig 41, Silk Yarns

glossary

Kumbha – temple motif L Lachhi – hanks (silk or cotton) M Macha – fish Maida – refined wheat flour Maku – shuttle Manjistha – madder Mapo Juwa – wooden measuring stick Mati chulhi – clay stoves Mayura – peacock N Naba – nine Nadia Gacha – coconut tree Nali – bobbin Natai – conical wooden cage-like frame p Padma Phula – lotus Pakhia or Pakhia Bandha – tying the weft threads Panapatra – betel leaf Pani – reed Patia Phula – directional flower Prajapati – butterfly R Ratanjot – alkanet root S Sankha – conch Sinduri or kukum – vermilion Sua – parrot Suta – cotton threads Suta katiba – spinning the wheel A Amba – paisley Anar – pomegranate B Bandha – ikat Bandhakara – artisan who ties the yarns Barnamala – Odia alphabets C Chadaki – handheld guide tool Chari patia phula – four directional flower Charkha – spinning wheel D Danta – wooden frame Deepa – clay lamp Deula – temple F Flanges – heavy metallic discs G Ghara – house Gitagovinda – Sanskrit lyrical poem written by the poet Jayadeva Goti – boxes H Harida – chebulic myrobalan Harina – deer Hati – elephant K Kalasa – sacred pot Kalpa Brukshya – banyan tree Katha – catechu Khati – temple rod Kothari – square grids

members profile SUHANGI KUMARI Illustrator SASWITA BARIK Layout Design, Editing, Photography SULAGNA DEY Content Writing

TANYA SINHA Content Writing ATULYA SINGH Content Writing, Photography MRUNALI MUKUND KAMBLE Photography ANURAG SINGH Content Writing

Plagarism report

references • Britannica. (2026, August 11). About Odisha. About Odisha, p. 4. • Handloom, O. (2026). Nuapatna cotton sarees. Nuapatna cotton sarees, p. 4. • LTD., U. O.-o. (2022). Nuapatna Khandua silk saree. Nuapatna Khandua silk saree, p. 2. • Population census. (n.d.). Nuapatna Town Population Census 2011-2026. Nuapatna Town Popula- tion Census 2011-2026, p. 1. • village, N. (n.d.). Nuapatna Cuttack, TIGIRIA Odisha. Nuapatna Cuttack, TIGIRIA Odisha, p. 4. • url: https://www.pexels.com/photo/rath-yatra-festival-in-kolkata-india-38604775/ • Behera, S. (05, May - 2017). Tie & Dye Textiles in Fashion Domain . International Journal of Engi- neering Research & Technology (IJERT). • P.Nayak. (June, 2008). Khandua Sarees & Fabrics : Tradition and Pride of Orissa. Textiles Commit- tee Government of India : Mumbai ORIFAB Bhubaneswar. Sharma, S. K. (July, 2020). Bhartiya Manyaprad. Bharatiya Vidya Bhavan