Whenever we discuss regarding the rich cultural legacy of Odisha, Rock cut temples, Pattachitras, Silver Filigree and many such arts come to our mind. Also, there remain a huge trove of handlooms from Odisha, which have a lot of varieties, but a particular handloom from here, which has shattered the boundaries to reach the global audience through its immense beauty and intricate and minute details. This is the iconic tale of the Sambalpuri sarees, a vibrant and intricate weave that tells us the stories of heritage, resistance and revival, which justifies its significance as not only a piece of clothing, but a living tradition, which has created an identity per se, along with being a symbol of Odisha’s artistic genius.
A Legacy of Weaving Through Time
The Sambalpuri Saree traces back its origin to the districts of Sambalpur, Sonepur, Bargarh, Balangir and Boudh, where people of the Bhulia community are considered as the sole creator of this traditional craft, who still take immense joy in creating this artform within their households. While there’s still obscurity regarding the origin of this craft, experts opine that it is of several centuries old, but it gained national attention during the 20th century, particularly due to the efforts of excellent as well as visionary weavers and social reformers, who rendered their invaluable support in its revival and standardization process. The saree’s unique identity remains in the tie and dye ikat technique, locally known as “Bandha”, where both the warp and weft threads are tied and dyed as well before the weaving begins. The complexity of this process ensures that the design is intricately woven over the fabric rather than being printed or embroidered upon it.
Precision and Patience in this Craft
Creating a Sambalpuri Saree is quite a labor intensive and deeply skilled process that can consume a period anywhere from 10 days to several months, depending on the intricate designs, that are beautifully made over its surface. During the initial stage of production, the artisans create intricate designs on a paper like surface, but modern day artisans are using printed graph papers for increased accuracy. Then comes the tying and dyeing process, in which, portions of the cotton or silk threads are carefully tied using waterproof material to prevent dye. The threads are dyed in different stages, which then gets untied in each and every stage to introduce a new colour. Once dyed, these threads are placed over the handloom, locally known as “Manga” and this is where the final form of the saree takes form. The alignment must be perfect, otherwise the entire hard work done prior to this will be wasted altogether. Each saree produced is a testament of precise mathematical calculation, colour schemes and muscle memory. When compared side by side, no two Sambalpuri saree are identical to each other due to the fact that hand dyeing process incorporates multiple variations in it.
Motifs as a Speaker of Nature and Tradition
Sambalpuri sarees are often celebrated for their symbolic and geometrical symmetry and the most common motifs they are designed with include Shankha (Conch shell), which symbolizes its purified nature. Secondly, Chakra (Wheel), which represents the developmental progress in the cosmic order. Thirdly, Phula (Flower), which denotes the beauty and the nature surrounding us. Lastly, Animal motifs such as elephant, peacocks and fish as well as the structural motifs of temples are depicted throughout these sarees, which symbolizes regional beliefs and their associated myths. Apart from all these motifs, The borders and pallu of these sarees often carry bold red, black and white themes, which is highly associated with the tribal aesthetics and sometimes, with the Jagannath culture of Odisha as a trifecta of spirituality.
When Village Looms Transformed into National Spotlight
These pieces of art came to limelight during the 1980s, when the then Prime Minister of India, Smt. Indira Gandhi began wearing them frequently, to support and appreciate indigenous weaves. Apart from that, state run initiatives like Sambalpuri Bastralaya and Boyanika outlets played a catalyst in bringing these weaves to the attention of urban as well as international customers who were awe struck by its intricately made designs and the refined quality of this hand made product. As time, passed by, Sambalpuri saree became a national fame, when popular celebrities from the Bollywood industry, stared flaunting themselves while wearing this piece of art and by the year 2010, Sambalpuri sarees were awarded with the Geographical Indicator (GI) tag, which confirmed their unique identity by acknowledging the indigenous knowledge system of these artists.
Women and Weaving
Just like any other traditional craft, weaving Sambalpuri saree has been a source of livelihood for thousands of families over generations. It would be a surprising for many of the readers that a major chunk of contribution in the Sambalpuri saree industry, is actually from the women, who are working tirelessly for days and weeks to beautifully weave these sarees and by that, they are not only contributing a revenue source for their family, but also lending hand in the preservation of cultural heritage. The handloom sector in Odisha is also supporting over 1.5 lakh weavers, many of whom belong to the indigenous tribal communities and also to the socially backward groups to increase their exposure to the present world. With that being said, sarees have become not only a sense of beauty and pride, but also a source of economic independence, with the protection of their dying heritage.
Contemporary Challenges and Revival
Despite their beauty and cultural significance, Sambalpuri saree weavers face several challenges in the present scenario. Primarily, due to the current market competition in India, Sambalpuri saree faces a huge competition against the machine made products, which can be produced in hundreds of numbers in just a time span of hours. Another severe problem is the constant decline in its demand among the younger generation of weavers due to lack of motivation and the reduced amount of profits earned. Nevertheless, digital marketplaces, NGOs and government schemes are rendering support to traditional weavers. Famous designers like Sabyasachi Mukherjee have taken inspiration from Odisha’s textiles, while many other influencer promote these on social media platforms. Apart from that, the younger generation of weavers are also adapting to contemporary vibrant colour schemes and minimalistic designs to stay true to their heritage.
Sambalpuri Beyond Saree
Although Sambalpuri sarees has earned their own share of fame, with the changing generations, the fashion sense and its demand is also getting altered. Modern artisans, along with these sarees, are also producing Kurta-Pajamas, Dupattas, stoles, cushion covers and home decors, bags and accessories. Such adaptability of this craft showcases its dynamic nature, which is firmly rooted in the Odia tradition, yet willing to transform with the course of time.
Conclusion
The Sambalpuri saree is more than just an attire- it is a carrier of Odisha’s heritage that is intricately woven, a repository of Odisha’s collective memory, artistic excellence and cultural resilience. It is a story of countless skilled hands tirelessly working in rhythm, of the knowledge that has been passed down from one generation to another, and of a region that is creating an identity through weaving. In an age where people are more inclined towards fast fashion, embracing the Sambalpuri saree is a way of honoring a craft based on slow, sustainable and ethical artistry. It is a gesture of respect to the weaver, the land and a legacy which have endured through every warp and weft.
References
Chattopadhyay, K. (1995). Handicrafts of India. Indian Council for Cultural Relations.
Das, M. (2006). Ikat in India: Techniques and Traditions. Ministry of Textiles.
Panda, N. (2010). “Reviving the Woven Heritage of Western Odisha.” Orissa Review, 66(9), 52–58.
Rout, B. (2020). “Women Weavers of Western Odisha: A Socioeconomic Perspective.” Journal of Social Inclusion Studies, 6(1), 112–129.
Indian Express. (2013). How Indira Gandhi popularized handloom in India