GROUP 1 KOTA DORIA CRAFT CLUSTER

‫۔ایروڈ اٹوک‬

KOTA DORIA

An Exuberant Craft of Kaithun





NATIONAL INSTITUTE OF FASHION TECHNOLOGY, JODHPUR

MINISTRY OF TEXTILES, GOVERNMENT OF INDIA

National Institute of Fashion Technology
Karwar, Jodhpur, Rajasthan, India 342037
Tel: +91-291-2659551/52
Fax: +91-291-2640066
Website: www.nift.ac.in/jodhpur
© National Institute of Fashion Technology,
All rights reserved: no part of this publication may be reproduced, stored in a retrieval system or transmitted in any other form through electronic,
mechanical, photocopy, recording or otherwise without prior permission from National Institute of Fashion Technology, accept bi a review/
reader who wishes to quote a brief passage in connection with paper II review/ essay written for inclusion in a periodical, newspaper or broadcast.

CERTIFICATE

This is to certify that the following students of the National Institute of Fashion Technology (NIFT), Jodhpur
pursuing Bachelor of Fashion Design (Semester V), batch 2019 - 2023 have completed the craft research and

documentation on Kota Doria.

Abisha Gomez Viju
Aniket Rajpoot

Dakshita Deshmukh
Gauri Verma
Pankaj Doley

Smriti Dhankhar
Tripti Badlani

This is an original work under my guidance and the documentation is based on the research done by the students
involved.

Ms. Anusha Arun Dr. Madan Regar
(Mentor) Course Coordinator,

Assistant Professor, FD Department,
FD Department, NIFT Jodhpur
NIFT Jodhpur

NIFT JODHPUR

NIFT Jodhpur began in a temporary location at
Sojati Gate in 2010 and is now based in Karwar. In
the fields of technology, design, and management,
NIFT Jodhpur provides four-year bachelor’s and two-
year master’s programmes. The National Institute of
Fashion Technology in Jodhpur has pledged to help
the fashion sector develop a pool of professionals.
It also hopes to contribute to the recruitment of
artists and craftspeople through a variety of courses
and workshops. Students can explore and develop
themselves through professionals thanks to the state’s
rich art and craft culture. The institute bills itself as

the state’s first fashion education institution.

Image1- Academic building of
NIFT, Jodhpur

NIFT CRAFT CLUSTER INITIATIVE

NIFT (National Institute of Fashion Technology) has developed and implemented a new Craft Cluster
Initiative Program for students which aims to provide a lot of exposure to the handloom and handicraft
clusters, thus providing an opportunity for creative innovation and experimentation with the active
support from the Ministry of Textiles, Office of Development Commissioner (Handlooms) and Office of
Development Commissioner (Handicrafts). The aim of this initiative is to reach out to the artisans and
craftsmen at the grass root level. The artisans and craftsmen who decide to be involved in the initiative
benefit through knowledge circulation and exposure to new markets, design intervention, innovative
designs and recent demand.
The objective of this initiative is also to showcase the reality of the craft sector and give insight to the
diversities to the students of NIFT. So far, the initiative has been successful in creating awareness and
inculcating various crafts into fashion.



ACKNOWLEDGMENT

The craft research document is an important element of learning more about our country’s history
and variety. We want to thank everyone who helped us with this compilation, especially those who
talked to us, listened to us with patience and support, read, wrote, contributed comments, let us

quote their comments, and assisted with editing, proof-reading, and design.
We, the students of NIFT, Jodhpur’s Fashion Design (FD) department, would like to express our
gratitude for the active guidance and expertise of numerous specialists from a variety of fields,

without whom the documentation would not have been as good as it is.
Dr. Vijaya Deshmukh, campus director, National Institute of Fashion Technology, Jodhpur, deserves
our heartfelt gratitude for allowing us to undertake this craft study and research documentation.
We’d like to thank Ms. Anusha Arun,Assistant Professor , Fashion Design department, National

Institute of Fashion Technology, Jodhpur, for her guidance and support.
We would like to express our gratitude to all of the artisans for sharing their knowledge and thorough
explanations of the craft, as well as their personal experiences with the lovely culture and tradition.

Image 2 – Rani pink kota doria fabric

ABSTRACT

This research document gives a detailed analysis of the Indian craft called Kota Doria. India has a
very vibrant culture and for this research, the main focus will be Rajasthan. The journey of documenting
and learning about the unique craft of Kota Doria has been a fulfilling experience. The study includes
an in-depth study of the processes, techniques, raw materials, problems faced, current scenarios of the
craft and the socio-economic conditions of the artisans and our interactions with them. The craftsmen
explain their personal schedules, the way they manage work and the way they are trying to cope in
tough times with covid affecting their businesses. The intervention also provides a way for the artisans

to promote their business through our documentation and word of mouth.
This research and documentation has been done by the students of Fashion Design (Semester 5) from

National Institute of Fashion Technology (NIFT), Jodhpur Academic year 2019-23.
Key words: Kota Doria, Craft, Yarn, Weaving, Handicraft, Hand-made, Artisan, 2021

TOPIC PAGE NO. 5. PROCESS 48 - 91

1. INDIAN HANDLOOM 14 - 15
18 - 25
CONTENT 2. RAJASTHAN • Consumption of Kota Doria
28 - 31 • Raw materials
• About Rajasthan • Tools & equipment
• Clothing 34 - 45 • About pit loom
• Crafts of Rajasthan • Parts of pit loom
• Handloom/ weaving of Rajasthan • Pre - loom procedures
• Bobbin/Pirn winding
3. KOTA • Warping
• Dyeing
• Kota • Sizing
• Geographical location • Design drafting
• Loom preparation
4. KOTA DORIA • Hanging weights
• Motif and pattern weaving
• Kota Doria - Introduction in Kota Doria
• Kota Doria -Origin • Jaala technique
• Jacquard technique
• Kaithun • Weaving
• Climate • Motions of the loom
• Communities • Varieties in Kota Doria
• Language • Embroidery
• Food • Colors
• Festivals • Motifs
• Crafts of Kaithun • Types of Motif arrangement
• Kota Doria and Artisans • Significance of Kota Doria
• Product range
• Product costing
• Marketing and marketing
channels

6. SWOT ANALYSIS 94 - 95 9. ARTISAN’S PROFILES 114 - 117

7. KOTA DORIA & GI 98 - 103 10. THE TEAM 118
106 - 111
• About GI 11. ANNEXURE 119
• Journey of attaining a GI
• Kota Doria logo 12. GLOSSARY 120 - 121
• Handloom mark
• Quality check 13. REFERENCES 122 - 123
• Villages under Kota Doria GI
• Factors differentiating the original
Kota Doria from the fake Kota Doria

8. KOTA DORI AND ORGANISATIONS

• NGOs and groups associated with Kota Doria 14. IMAGE CITATION 124 - 126
• Training of weavers
• Conclusion

HANDLOOMS OF INDIA

In India, hand-woven fabrics have been known since the very beginning. Every region is known for its own unique
textile tradition with different materials and patterns. There are few textiles from early dyed and printed cotton fabrics
that have survived in India, despite being a prominent exporter of textiles throughout history. This is due to the hot, moist
climate and the existence of the monsoons in India. Despite its age (before the Christian era), the earliest Indian frag-
ment of cloth with a swan design has been found near Cairo, Egypt, where the dry desert sand preserved it. A few of the
archaeological sites of Mohenjodaro later yielded fragments of finely woven and madder-dyed cotton fabrics and shuttles.
Among all the art and crafts of India, handloom textiles are probably the oldest and the oldest of these prints dates back
to the 18th century A.D.
Across the nation millions of looms specialize in weaving cotton, silk and other natural fibers as part of the hand-
loom industry. Indian handlooms are heavily used for the production of cotton, silk and other products.In every village in
India there are weavers who weave out India's own unique beauty through their intricate work. The handloom industry
consists of Madras checks from Tamil Nadu, ikats from Andhra and Orissa, tie-and-dye from Gujarat and Rajasthan,
brocades from Banaras, jacquards from Uttar Pradesh and the Phulkari from Punjab. The two styles, however, have un-
dergone much technical and stylistic exchange despite these regional variations. The sarees of Coimbatore, which are an
imitation of the Chanderi patterns of Madhya Pradesh, have gained fame. An old tanchoi technique from Surat, based
upon satin weaving, has been reproduced in Varanasi by incorporating extra weft floats into the fabric. In Varanasi, the
Baluchar weave, which originated in West Bengal's Murshidabad district, is woven with untwisted silk thread. Jamdani
techniques have also been adopted by their craftsmen.
Kashmiri weavers specialize in weaving Pashmina and Shahtoosh shawls, both recognized internationally. Despite
their lightness and warmth, the shawls are extremely warm. Kashmir and Karnataka are known for producing mulberry
silk. All four commercially known silk types are only available in India - mulberry silk, tasser, eri, and muga silk. Tasser
is abundant in the forests of Bihar, Madhya Pradesh, Orissa, Andhra Pradesh and Uttar Pradesh and is beginning to gain
popularity in the United States and Europe. Eri is another type of raw silk, it is known to have a soft, dull and wool-like
finish. Muga and Eri silk originate in Assam. Despite its durability, Muga silk's golden tones and unique sheen continue to
shine with each wash. Andhra Pradesh, Orissa, Gujarat are among the states that are known to produce the ikats. The ikat
technique is known as patola in Gujarat, bandha in Orissa, pagdu bandhu in Andhra Pradesh, buddavasi in Uttar Pradesh
and chitki in Kerala.

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Image 3 – Handloom weaving Based on the third handloom census (2010),
it is clear that the Indian handloom industry is doing
poorly at the moment. Handloom sector sustainability
is alarmingly challenged according to key indicators.
Change in lifestyles is inevitable, but a big question
mark looms over it. Changing perceptions and values
in modern society threaten the revival of its originality.
It is evident how the generation’s mindset is changing
due to the obvious transition from traditional to modern
society, hence a handloom will likely become a mu-
seum piece in the near future in terms of history and
heritage. With the number of weavers declining by 7%
per year during the past years, it has been clear that the
handloom sector is in decline.

Among the positives, from 25 lakhs in the sec-
ond census, the number of handloom households has
risen over 11% to 27.8 lakhs in the third census. Hand-
loom households account for 87 percent of rural house-
holds and 13 percent of urban households. However,
the total amount of looms is still short of demand and
this shortfall will attract more passionate and selective
weavers to enjoy the authentic fruit of the loom.

15

RAJASTHAN

• About Rajasthan
• Clothing of Rajasthan
• Crafts of Rajasthan
• Weaving in Rajasthan

16

17

RAJASTHAN, INDIA

Rajasthan is a state situated in the northwest part of India.
The total land area of the state is 342,239 square kilometers. Ac-
cording to the 2011 Indian census report, the total population of
the state is 6.89 crores. The Thar Desert of Rajasthan, also known
as the "Great Indian Desert," shares a border with Pakistan's Pun-
jab and Sindh Provinces to the north and west, respectively. Ra-
jasthan is surrounded on the north by Punjab, Haryana, and Uttar
Pradesh; it is bordered on the east by Madhya Pradesh, and on the
south by Gujarat.
The word ‘Rajasthan’ means a place of kings. People usu-
ally travel from abroad to visit Rajasthan and experience the rich
Indian history. Rajasthan's myths and folk stories have had a sig-
nificant impact on the state, resulting in incredible royal culture
and traditions that Indians continue to follow. Usually, at wed-
dings, the bride and groom will get ready in royal attire. Similarly,
taking inspiration from vibrant royal families, people in modern
times like to be surrounded by distinctive items and colors. As
time passed by, most traditional crafts from Rajasthan started
flourishing in India and spread around the globe.

18

The major features of Rajasthan are:

The sites of the Indus Valley civilization are in Kalibangan
and Balatar, the Temple of Dilwara, the Jain pilgrimage site of
Rajasthan Hill Station, and the only hill station in the state, Abu
in eastern Rajasthan Mountains, ancient Aravali. Located in the
Keoladeo mountain range and park in Bharatpur, this is a world
heritage site known for a large number of birds. The Ranthambo-
re National Park in Sawai Madhopur, the Sariska Tiger Reserve
in Alwar, and the Mukundra Hills Tiger Reserve in Kota are all
national tiger reserves in Rajasthan.
Jodhpur, Kota, Bikaner, Ajmer, Bharatpur, and Udaipur
are major cities. Rajasthan's economy is India's seventh largest.
Rajasthan is known for its rich tradition, culture, and natural
beauty. The same may be seen in Rajasthan's dazzling lakes and
deserts, vibrant markets, and mesmerizing palaces and forts. The
myriad colorful and traditional festivals of Rajasthan are undeni-
ably popular. Some are strictly cultural events, while others reflect
ethnicity or background. These celebrations are undoubtedly a
true Rajasthani celebration of life, heritage, and culture. It allows
visitors to see the various colors that the state has to offer.

Image 4- A royal Arc1h9itec-
ture of Rajasthan.

CLOTHING Image 5 – A Rajasthani women
in traditional Rajasthani attire
WOMEN’S CLOTHING
The traditional attire for Rajasthani women is Ghagra,
Choli also known as Kanchli or Kurti and Odhni. Ghagra can also
refer to a long pleated skirt with embroidered details, available in
a variety of colors, prints, and fabrics such as silk, cotton, geor-
gette, and crêpe. Among the various patterns, the most common-
ly used are Lecheria, Bandhej, Tie & Dye, Chunri, and Motra. To
convey imperial elegance, Jaipuri Gutpatti's vintage tones and
works were received by Ghagra.
The upper body garment is known as kanchli, choli, or Kur-
ti. They are rich in color, carefully designed, and shaped according
to their precise body size. To give a national flair, they are decorat-
ed with mirrors, pearls and glitter, corals and shells, and original
cuts.
Odhni or Chunar is a long piece of cloth worn as a veil that
is roughly 2.5 meters long and 1.5 meters wide. It is made of light-
weight fabric with patterns or patches, decorated with fine em-
broidery, beads, or other ornaments.
Exquisite necklaces, like Jadau sets, aad and Rani Haar
are worn round the neck, especially by women from wealthy fam-
ilies. The women of tribal groups like Bhil, Meena or Garasia pre-
fer wearing brass, silver or bearing metal ornaments. Kaanbali or
surliya, nathani, bajubandh, rakhdi or borla, tagdi or kardhani,
payal, bangadi, bichuwa and finger rings also are worn to finish
the attire.
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MEN’S CLOTHING
The traditional clothing of Rajasthani men is dhoti and
angarkha or pajama kurta. A dhoti is a long piece of cloth that
is wrapped around like a loincloth between the legs and knotted
around the waist. It is combined with the angarkha, which is a
tunic with an inner panel covering the chest. The angarkha was
usually worn by the affluent class. Angarkha is usually flared and
ankle-length, although other tribal tribes and villages wear knee-
length or shorter variants. On a day-to-day basis, men wear An-
garkhi also known as puthia, which is short and tied with laces,
not buttons.
Pajamas are usually made of cotton. They are combined
with kurta or mufti, namely loose-fitting shirts. Although it is al-
ways knee-length, today's Rajasthani men can freely choose the
length and style. Traditional clothing without the pagri is incom-
plete. It is usually 2 meters long and 0.2 meters wide. It comes in
a variety of colors, shapes, and sizes, and takes into account the
pride and honor of men. There are multiple uses, at weddings and
parties, specially designed pagris are carried, so-called safs (short
and wide), and daily pagris are kept in a rustic style.
For accessories, men wear round-shaped balis or studs on
their earlobes, as well as crystal beaded and semi-precious stone
necklaces, to complete their ensemble. Royalty and Influential
families also wear the kamarband and patka, a bit of fabric hung
over the shoulder.

Image 6 – Rajasthani old man wearing regular 21

Rajasthani dress and smoking locally made cigarette.

CRAFTS OF RAJASTHAN 1

Kundan Image 7 - A beautiful jewel set of
Kundan Gem.

Kundan is a classic Indian gem that is 2
commonly used in heavy jewelry. Kundan’s
origins can be traced back to Rajasthani Image 8- Mojaris made of leather.
regal periods. This piece of jewelry was
worn by Indian queens due to its stunning 3
appearance. Brides in India wear Kundan
on their wedding day, as it is an important Image 9- A beautiful piece of
part of traditional bridal jewelry. Meenakari jewel

Mojaris


Mojaris, also known as Juttis, are
handcrafted shoes with intricate embroidery.
The footwear’s themes and patterns differ
from one district to the next. They are an
essential component of a traditional attire.
Mojaris are made for both men and women.
They’re constructed out of camel leather
and embellished with stones and silk thread
embroidery.

Meenakari


It is a cultural and traditional symbol
and has a stunning appearance, making a
woman look like a queen on her wedding
day. In today’s jewelry market, Rajasthani
Meenakari work plays a key role in cutting
stunning designs. Delicate shape, intricacy,
cultural motifs, and vibrant colors, as well
as gems and stones, are all hallmarks of
22 Meenakari.

4 Blue Pottery

Image 10- a collection Blue pottery
craft. The name ‘Blue Pottery’ stems from
a bright cobalt blue dye color used by artists
5 to create objects.It is a sort of blue and
white pottery that is Euroasian in origin. It
Image 11- A small collection Kath- is well- known to be from Jaipur. To create
putli craft. the base for this craft, artisans use quartz
stone powder, powdered glass, gum borax,
6 Multani mitti, and water. Usually, animals,
birds, and flower motifs are found on these
Image 11- Dhurrie placed infront of pottery pieces.
a door.
Kathputli

Kathputli refers to a puppet built
entirely of wood. To make them look
magnificent, the artists utilize cotton and
bright colors. Kathputli’s origins have been
traced back to old folk tales about powerful
monarchs and kingdoms being told by the
artisans using the kathputlis to enact those
tales.
Dhurrie

Dhurrie is a thick, flat handmade rug
used by Indians to sit or sleep on the floor.
They are usually comfortable and are utilized
for huge political or social meetings. Most
importantly, they are low maintenance.
Making dhurries is a Rajasthani tradition.
Dhurries were previously used in kingdoms
to cover floors with a colorful handmade
rug with beautiful designs.
23

HANDLOOM/WEAVING IN RAJASTHAN

The craft of weaving has been practiced in Rajasthan for centuries, and it has now become
a symbol of the state. Hand-weaving has been practiced in Rajasthan for millennia, and the

art of interlacing strands, the warp, and the weft is perhaps as old as civilization itself.
Ancient terracotta spindles and fabric, excavated from the Indus Valley civilization, are the
best evidence of the familiarity of the crafts of spinning and weaving. Weaving is primarily
a cottage industry in India, with the village weaver serving as the community’s primary sup-
ply of fabric in Rajasthan. The loom has always played an important role in people’s social,

economic, and cultural lives.

24

Effects of Urbanisation on Handloom/ 25
Weaving in Rajasthan:
Mill-made fabrics have made serious inroads into
the traditional monopoly of village weavers with
the advent of modernity and industrialization of the
Indian textile sector. With time, the Khaadi, Reza,
and excellent Mathania Mulmul from Rajasthan are
becoming increasingly rare. In most urban and ru-
ral areas, power looms are rapidly displacing hand-
looms. Hereditary weaving abilities are still passed
down via many Rajasthani families, and economical-
ly viable items such as Kota Dona, pattus, durries,
jajams, and pile carpets are still made in traditional
and contemporary styles.

Image 12- A loom of Kota doria craft.

KOTA

• About Kota
• Geographical Location

26

27

KOTA

The Indian city of Kota, formerly known as Kotah,
is found in the state of Rajasthan, located in the southeast.
This city has a population of 1.2 million people, making it
the third largest in Rajasthan after Jaipur and Jodhpur, the
46th largest in India, and the 53rd largest in terms of urban
population. In addition to being the headquarters for Kota
division and Kota district, it serves as the district administra-
tive center.
Historically, Kota was part of Bundi, a Rajput kingdom.
From the 16th to 18th centuries, it was governed as a princely
state. Additionally, Kota has palaces and gardens that reflect
its royal heritage. Having been sworn in on 9 September 2019
as Governor of Rajasthan, Kalraj Mishra has held the posi-
tion since that date. After its selection from 98 Indian cities
for Smart Cities Mission in 2015, the city came in at 67th
place among the top 20 cities for funding in the immediate
financial year.

28Image 13 – Kishore Sagar Lake, Kota

INDIA RAJASTHAN

KOTA

29

GEOGRAPHICAL LOCATION

“ ”A beautiful panaromic view of the
Chambal River and Chambal Valley

Coordinates : 25.18°N, 75.83°E, with an area of 221.36 square kilometers (85.47 square miles)
and an average elevation of 271 meters (889 feet). In the southern portion of Rajasthan, Kota is located
along the banks of the Chambal River. After Jaipur and Jodhpur, it is Rajasthan’s third-largest city. Sawai
Madhopur, Tonk, and Bundi districts border the district on the north and northwest. The Chambal River
is a river in Kota. Kota is located in the heart of Rajasthan’s southeastern area, which is called Hadoti,
or the Land of the Hadas. Kota is located on a high sloping tableland that is part of the Malwa Plateau,
near the banks of the Chambal river. Kota contains fertile terrain and lush vegetation, as well as canals
for irrigation. The reservoir created by the Kota Barrage gives rise to two main canals: the left main canal
(towards Bundi) and the right main canal (towards Baran). These canals’ tributaries form a network that
extends across Rajasthan and Madhya Pradesh’s cities and surrounding territories, complementing irri-
gation in these areas.

30

Image 14 – Garadia Mahadev Kota , Rajasthan

31

KOTA DORIA

• Kota Doria- Introduction
• Kota Doria- Origin
• Kaithun
• Climate
• Communities
• Language
• Food
• Festivals
• Crafts of Kaithun
• Kota Doria and Artisans

32

33

3I4mage 15- Rani pink kota doria fabric.

KOTA DORIA

Kota Doria, as the name suggests, is a craft hailing from the famous city of Kota, a dis-
trict situated on the banks of the Chambal River in Rajasthan’s Southeast corner. ‘Doria’
in Kota Doria is the Hindi translation for the word ‘thread’ implying the ‘Thread of Kota’.
Clusters in various regions in and around Kota produce the Kota Doria fabric which is known for its
outstanding quality and expert workmanship that has garnered global acclaim for its exclusive de-
sign. The cluster residing in Kaithoon, a village located approximately 20 Km away from the district,
is the most prominent one that has been granted the GI Tag where most of Kota Doria is woven.
In the past, Rajasthani textiles used to be coarser with a very high-density weave due to the kind
of cotton cultivated in the arid region but later, Kota Doria emerged as a revolutionary fabric that
was mainly made of fine pure cotton yarns, arranged in a very peculiar kind of open weave. The
open weave was made using pre-defined proportions of cotton (and sometimes combined with
silk) yarns throughout the length and width of the fabric in such a way that the resultant interlac-
ing resembled a check pattern, locally known as ‘Khat.’ The yarns in a Khat have sufficient spac-
ing between them making the fabric translucent, breathable, soft, comfortable and lightweight.

35

ORIGIN OF KOTA DORIA

The name of the craft suggests the linkages to Kota, no concrete information is available to prove its
roots and due to that many old tales have been floating around the villages. One of the most popular
theories suggests that the art of weaving Kota Doria began in the Southern kingdom of Mysore and
subsequently came to Rajasthan in the late 17th and early 18th century when Rao of Kota and Mughal
army officer Raja Shri Rao Kishore Singh, a patron of craft with his son Ram Singh Hada of the Hada
Dynasty aided weavers to migrate to Kaithoon. These weavers were called Masuria back then and the
now-famous Kota Doria Sarees were called the Kota Masuria sarees. The weavers settled there and

passed down the art of weaving open khat from generation to generation.
The second statement regarding the origin of Kota Doria came from the renowned textile specialists
Ms Rta Kapoor Chishti and Ms Amba Sanyal, who said in their famous book, ‘Saris of India’,that “Kota
Masuria sarees are made out of a wide variety of checks in pure cotton as well as in a blend of cotton
and silk, with the finest resembling the ‘Masoor’ lentil seed.” This reference describes that the word
Masuria has no association with Mysore. The term simply refers to the high quality of the cloth, partic-

ularly in the 400 khat patterns, where the finest check resembles the lentil seed ‘Masur.’
The Kota Doria Fabric was previously solely used as a Pagdi, a headpiece for royalty, but as time went
on, the method and fabric began to be used for Dhotis, Odhanis and Sarees which later expanded to
include other products. Presently Kota Doria is woven using pure mercerized cotton, degummed mul-
berry silk and pure gold or silver zari yarns in varied quantities making it an acme of refined craftsman-

ship, elegance and royal sophistication.

36

37

KAITHUN

Streaming along Chandrelohi, a tributary of the Chambal River, Kaithun is
a network of narrow streets surrounded by lush green fields. The village is located
on the outskirts of Kota, about 20 Km away and calls for a 30-minute ride from the
city centre and is the base for the largest Kota Doria cluster along Mangrol, Roteda
and Bara.
One passes through a stream of agricultural grounds that run along the
Chandrelohi River to find oneself amidst a concrete nest where a generation of
artisans could be seen absorbed in the meticulous rhythms of weaving through the
windows of their houses. There are approximately 1500 looms with around 3000
families involved in the handloom weaving industry of this region. All the houses
in Kaithun have Charkhas and Pitlooms onto which each member of the family
channels his/her skills and imagination to weave beautiful yards of Kota Doria
sarees.
Houses are painted in different shades of pastels in contrast to indigo co-
loured glass windows that are fixed on all the storeys. In the evening, old folks and
lads could be seen chatting under the shade of a big Neem tree near the Imam
Chowk that brings life to the area as most of the artisans spend their daytime work-
ing on their looms.
Despite having concrete roads, markets offering a wide variety of prod-
ucts and services, well-lit streets, and pucca houses, people still have to live inside
crumpled dwellings amidst clogged drains that run along narrow streets, trans-
mitting stench and diseases. People are forced to wait longer than they should for
safe drinking water as a constant water supply is unreachable. Such poor living
conditions pose a great threat to the skilled workforce whose livelihood depends
on a craft that doesn’t pay well resulting in a life drenched in poverty.

38

Seasons & Climate of Communities Language
Kaithun There are two ethnic groups living Kaithun falls under the Hadauti re-
in the village, i.e. the Muslim-Ansa- gion of Rajasthan and so the commu-
The climate in Kaithun is semi-arid, ri Community living near the Imam nities residing in the village converse
with a high average temperature all Chowk, and the Hindus belonging in the Hadauti dialect along with
round the year. Summer is long, hot to the neighbourhood surrounding Hindi. The Muslim Ansari commu-
and dry, beginning in late March and it. Even though they follow different nity are fluent in Hindi-Hadauti but
lasting until the end of June. The av- religions, both communities live in use some Urdu words while speaking.
erage temperature is above 40 ° C and complete harmony and have commit- Due to the fact that most of the in-
often exceeds 45 ° C. The tempera- ted to preserving Kota Doria togeth- habitants of the village are educated
ture is relatively low in the monsoon er. The magnificent art of weaving to an elementary level, they do know
season, peaks during heavy rainfalls. Kota Doria sarees has been running English or at least a few terms related
October introduces pleasant weather majorly in the Ansari community for to their occupation. The youth of the
with receding monsoons with a slight 250-300 years and continues to es- weaver's community have access to
increase in temperature. Mild winter tablish itself thanks to the tireless ef- independent education and are even
sets in at the end of November that forts of the old and the aspirations of able to enroll in and graduate from
steadily converts into dry winters a college in Kaithun, as a result of
and lasts until February. Therefore, the sprouting generation. which they are expanding their hori-
Kaithun's temperature ranges from zons and making Kota Doria relevant

40°C to 9°C in a year. in the global economy.

39

Costume Image 16 - Young males of Muslim
Kaithun is a developing village with slight community wearing traditional dress.
urban amenities and so its people wear
clothes that are driven by their culture and
belief system. As the majority of the popula-
tion are Muslims, they tend to keep into con-
sideration what their religion allows them
to wear. Traditional Rajasthani attire is not
worn in this part of the district and is rath-
er simplistic in terms of aesthetics. Women
wear Salwar- Kameez wherein Kameez is a
tunic reaching to the knee and Salwar is a
plain or pleated pair of loose trousers. They
also wrap a shawl known as Dupatta on their
head in a special way. Men tend to wear ei-
ther Salwar- Kurta (A loose collarless shirt)
or shirt- pants. Clothes worn by the people
here are very simple, loose and lightweight
as the region stays hot for the most part of
the calendar and due to the weaving occu-

pation, it is convenient to dress that way.

40

Food Festivals
In this region, people tend to consume a lot Festivities serve as a tool for cultivating
of locally grown legumes, lentils, pulses and unity among groups by celebrating a sig-
beans, which are considered as staple food nificant event that preserves traditions that
items in their diets. The extensive animal might otherwise be lost. Rajasthan cele-
husbandry they practice also allows them to brates almost all the festivals one can find
use a lot of milk products in their food. The in the calendar with utmost enthusiasm but
majority of the cuisines can be preserved in Kaithun the Muslims are in majority so
for a long time because there isn't always they mainly celebrate Islamic festivals. ‘Eid
ready-made food available. In keeping with al Adha’, ‘Eid al Fitr’, and ‘Muharram’ are
its long history and heritage, Kaithun has some of the important festivals celebrated
in the village.The Jain community celebrate
many cuisines, some of them include- Navratri and Dussehra with stage plays,
Vegetarian food:Dal-Bafla-Bati, Bajre fairs, idol worship in Mandirs, and other
ki khichdi, Makka Khichda, Kota Kachori, festivities. Additionally, there is a commu-
nity celebration, especially for the weaver's
Gatte ki sabji, Khaado, Garlic sauce, community. They make ‘Dal-Bati Churma’,
Non-Vegetarian food: Kaala Maas, Gol a fancy traditional dish from the state of Ra-
jasthan, on the last Wednesday of each Is-
Maas, Laal Maas
Desserts: Chane ka Halwa, Makki ka Hal- lamic year.

wa, Rabdi & Besan ki Chakki

41

CRAFTS OF KAITHUN 2

1 3

Image 17- a miniature painting of ancient Image 18 – Beautiful lac bangles of Kota Image 19- stone carving of Maheshwar
times. Fort,Jharokha
Lac Bangles
Kota Kalam Stone Carving
Lac jewellery It is made
It is a fine art, in which every Carving on marble, sand-
stroke from a 'zero point' paintbrush out of Lac, a resinous substance stone and limestone is not only re-
that is made from squirrels, makes secreted from an insect called ‘Ker- stricted to ornate carvings on tem-
paintings surrounding themes such ria Lacca’ which is found in forest ples or sculptures of deities but
as royal lifestyle, hunting scenes, trees. These bangles are coiled by also used in making items like tiles,
Hindu mythology and local folklore. skilled bangle makers, coloured project models, panels sculptures
in vibrant hues and sometimes of living forms and accessories etc.
embellished with rhinestones.

42

4 6
5
Image 20- wood carving design of architec-
ture. Image 21- Bone Inlay coffee table. Image 22- Block printing getting done on
cotton.
Wood Carving Bone Inlay
A wide range of products Block Print

including wooden statues, utensils, printing technique utiliz-
furniture and Pit looms are carved
by skilled artisans of this region. es a hand-carved teak wood block
that is dipped in dye and stamped
by hand onto cotton or silk.

Inlay involves attach-
ing hand-carved pieces of bone
to items so that they look like
mosaics. A coloured resin fills
the space surrounding the
bone and adds a smooth finish.

43

KOTA DORIA AND ARTISANS

The majority of the weavers in Kaithun are from the Muslim Ansari community. Most houses in
Kaithun have one or two looms, and in todays’ scenario, most of the looms are operated by women. Weav-
ing the Kota Doria empowers the women of the village and provides them with a reputed status that they
certainly deserve. For the women weavers of Kaithun, weaving is a way of life that empowers and rewards
them and they hope and request everyone to support this traditional ancient craft that is feasible.
The community is known for their quality products and high intricacy in detail. Weaving of the
Kota Doria, by these artisans is generally done on the basis of piece-work. A particular amount of work
is assigned for a few sarees, instead of having time-bound deadlines. It is very uncommon to see anyone
working on the basis of a contract.
A few craftsmen also reside in the adjacent districts of Bundi and Baran. Usually, the whole family
is involved in the process of weaving in some way or the other.Since the economy of the whole town of
Kaithun relies on Kota Doria and a large percentage of its population is involved in the weaving occu-
pation, the unique works of the weavers are still endless. Artisans’ face a number of challenges as well
while making Kota Doria sarees and are still overworked and underpaid, which results in the craft slowly
vanishing and less people being inspired to continue it.
All of this proves that the going for a Kota Doria weaver, like for probably most of the handcrafts,
is pretty tough. The least they need for now is a steady market.Artisans often demand for efficient support
from the government but it is rare that such opportunity arrives. The Rajasthan government did facilitate
fashion weeks, exhibitions and a few other events to showcase their work in India and abroad, hoping to
help with upgrading their knowledge and techniques but what they also need is a bigger platform for sale.

44

Image 23-24 village of Kaithun 45

PROCESS • Drafting
• Denting
• Composition of Kota Doria • Jacquard set up
• Raw materials • Jaala set up
• Tools & equipment • Weaving
• About pit loom • Types of loom motion
• The process • Motifs
• Process - Flow chart • Colours
• Pirn winding • Varieties in Kota Doria
• Warping 1. Dyeing & printing varieties
• Dyeing 2. Embellished
• Sizing • Significance of Kota Doria
• Design Setting • Product costings
• Hanging weights • Marketing status
• Product variety
46

47

COMPOSITION OF KOTA DORIA

Kota Doria is a distinctive hand-woven fabric having the charac- Each Khat is made of 14 yarns (8 cotton and 6 silk) and is the de-
teristics of a square graph and is commonly referred to as 'Khat' in which fining feature of the fabric. A standard cotton-cotton saree, in both
cotton and silk threads are interlaced to create a fine check pattern. They length and width, contains more or less two Khats per Inch. In each
are woven according to the designs plotted out on graph paper. The most Khat, yarns are arranged as follows:
frequently used yarns in production are as follows: 4 cotton yarns - 2 silk yarns - 2 cotton yarns- 2 silk yarns - 2 cotton
(a) Cotton x Cotton yarns - 2 silk yarns in both weft and warp making it an even square.
(b) Cotton x Silk
(c) Tussar silk x Tussar silk
Approximately 300 to 350 Grams of cotton and 70 to 100 Grams
of silk is required to weave a single Kota Doria in which a bunch of 300
Khats are placed across the width of the fabric, which is about 46 inches
with a length of 6.2 Metres that includes a blouse piece as well.
With just the right spacing between superfine warps and wefts, al-
ternating with slightly thick thread at regular counts, the weave can pro-
duce a very subtle check pattern. The thicker yarns serve to increase the
tensile strength and durability of the fabric, whereas the thin yarns retain
their softness and delicacy, creating a look that is translucent and silky.
Kota Doria sarees come in many varieties, but one of the most dis-
tinct is the saree with prominent vertical lines recurring at a regular dis-
tance which is known as an ‘Adras’.
The overall fabric is very fine and lightweight making it suitable for sum-
mers especially in arid regions with a hot and humid climate.

48

RAW MATERIALS

The Kota Doria fabric is primarily made of cotton, silk, and gold-plated Zari (fine, metallic threads).

Image 25 Image 26 Image 27

Cotton Silk Zari

2 Ply twisted mercerized cotton The silk of 13-20 Denier is mostly Authentic gold and silver zari is
yarns with a count of 80S to 120S sourced from Bangalore and Tamil sourced from Surat in the form of
are sourced from nearby cot- Nadu, Tussar silk is brought in from spools. Gold zari is made by first
ton-growing areas in Ahmedabad Madhya Pradesh and Jharkhand electroplating the silk yarn with sil-
(Gujarat) in Western India or Co- while the special Muga Silk vari- ver and over it, gold metal. Similar-
imbatore (Tamil Nadu) and Mum- ety for the unique custom sarees is ly, silver zari is obtained by electro-
bai (Maharashtra) and are received ordered from Assam. Undyed silk plating pure silk thread with silver
in the form of un-dyed or variably yarns are brought and then dyed metal. Zari is usually used in the
coloured Lacchis or Hanks. Cotton by local dyers. 2-ply twisted yarn of borders of the fabric or as an ex-
is used in both warp and weft to China mulberry silk has replaced tra weft (for motifs and patterns).
make the fabric firm and maintain degummed mulberry silk and is Products made with elaborate use
popularly used in 20/22 Denier to of zari are more expensive and are
the structure. 13/15 Denier in both warp and weft
adding more transparency and a often custom made.

sheen finish to the fabric.

49

TOOLS AND EQUIPMENT

Bicycle Charkha- it is Nali- It is a 3 inch long bam-
a hand operated spinning boo part. These sticks are
wheel in which a bicycle soaked in kerosene oil and
wheel frame is used for its edges are burnt in order
winding the yarn from a to make it smoother.
hank onto the bobbin.

Kandi- hollow wooden Pinjara/Kadia- This is a
sticks or small pirns onto spool rack or creel made of
which weft yarns are wound wood used for holding about
during winding. 40-50 warp bobbins

Tilli- Wooden or plas- Hatta- It is a wooden
tic sticks onto which zari framed warping heddle with
threads are wound. 25 metal strips arranged in
50 lengthwise manner having
eyes in the middle of them
through which yarns are
passed during warping. It
also has a handle attached
to the frame.