Introduction

Orissa has a very wide and distinctive selection of handicrafts. Best known is
probably the gorgeous applique work of Pipili. Pipili is on the way from Puri to
Bhubaneswar. It is 40 kilometres from Puri, at the junction where the konark road
branches from the Bhubaneswar to Puri road. It is a small village. On the main
road at Pipili there are many shops selling Applique work products, tourist visiting
Puri buy these products from Pipili. It is famous in Odisha as well as in India for it's
applique craft. Each and every family of the village engaged themeselves in this
applique craft. Most of the people of the village depend on this applique craft for
their day to day life. Applique, a French term, is a technique by which various
cutting pieces of coloured fabrics are applied to the surface of another foundation
fabric. Applique works of Pipili is also known as patching cloth design and in local
language this handicraft is known as 'Chandua'.

Field study
Page 20
Geography
Pipili, the heart of the colorful art work called appliqué, is located at a distance of 20 km
from Bhubaneswar on the NH 203 connecting Bhubaneswar with Puri. Pipili is located
at 20.12°N 85.83° E. It is at Pipili that one takes a turn and moves eastward to proceed
to Konark, the site of the Sun Temple. At an average elevation of 25 metres (82 feet),
Pipili is a Notified Area Council (NAC) and has 16 wards under jurisdiction of Puri
district.

Field study
Page 21
About the Craft
Pipili’s Applique work is one of the most important and famous craft of orrissa.In
this craft a fabric shape of a particular design of animals , flowers , deities ,
abstract patterns are sewn over a base layer to form intricate designs. These can
be in the form of Chandua( Samiyana) which is offered to the lord Jagarnath or in
the for of chatries or tarasas and many more.
However, the appliqué work in its colourful best is most prominent in thecloth
covers of the three chariots of the presiding deities in which they travel every
year during the Ratha Yatra or Car Festival. As per tradition, the colour scheme of
the three covers is predetermined, green and red for the chariot of Balabhadra,
black and red for that of Subhadra and yellow and red for Lord Jagannath’s
chariot.

The basic design of all three is similar, being a combination of narrow and wide
stripes while on the four sides above the openings, there are appliquéd mythical
motifs like Rahu, Chandra as well as motifs from nature. It is these eye catching
appliqué covers which help identify the chariots of the three deities from far away
when thousands of pilgrims throng the main road of Puri on which the gods make
their annual sojourn in the chariot festival. Appliqué work is also used in making
seats and pillows for the deities and also for their ritual dresses.
A craft that originated as a temple art now finds its application in a wide range of
household, decorative and ceremonial products. This handicraft is unparalleled in
its flexibility and versatility, permitting experimentation and encouraging
innovation. Artisans with their skilful blending of myths, symbolism and
imagination provide the craft an appealing dynamism.

Field study
Page 22
Motifs used in Pipili
1. Geometric Patterns
 Geometric patterns like circles, squares and triangle is used.

2. Abstract Astral Shapes

A lot of other abstract shapes are also used in the Applique work. Like heart shapes, star shaped
designs around the mirror.

3. Floral Patterns
A lot of different types of floral patterns are used in pipili appliqué work specially in Chandua .
 Hiran Patti

Field study
Page 23
  Khandi Yali
 Nahara Patti
 Kalash Patti
 jasmines (malli or mogra)
 sunflowers (suryamukhi)
 lotuses (padma)

4. Animal Motifs
A lot of animal motifs are also used in this appliqué work at the side of the central part of the
Chandua. Main animal Motifs which are used are
 Peacock
 Parrot ( Alotchna)
 Elephant ( Airana)
 Other Birds ( Ganda Bhairava)

5. Celestial Bodies and Mythical Creatures

Field study
Page 24
 6. Abstract Motifs

Colors which are used in the Applique work

a) Red
b) Yellow
c) Green
d) White
e) Black
f) The base fabric, onto which smaller fabric motifs and embellishments are stitched, to
form awe-inspiring designs, is usually one of four colours

Today, contemporary Pipli applique items also incorporate the use of other vibrant hues
including blue and non-customary shades of traditional colours. The artisans make use of
various forms of stitching to make up the enchanting colourful collages of Pipli applique.
Though combinations of these motifs and colours have been quite varied for centuries, their
symbolic representations of traditional themes live on today.

Field study
Page 25
Tools and Raw Materials
Needles: A very fine slender piece of polished metal with a point at one end and a
hole or eye for thread at the other, used in sewing.
Threads: A long, thin strand of cotton, nylon, or other fibers used in sewing or
weaving. Four color of threads are iused mainly.
Cloth: There is not a lot of variety of cloth which are used .M/ainly velvets are
used, then satin cloth is used , cotton is also used.
Scissors:Tool used for cutting paper, cloth, etc., They also use blade for cutting.
Sewing Machine: Machine with a mechanically driven needle for sewing or
stitching cloth.
Marker: It is used to draw the design patterns on cloth
Mirrors: They are used in process of embroidering of applique work.
Sequins: They are used in process of embroidering of applique work.
Yarn : Cotton
The base cloth, that includes waterproof material for umbrellas, velvet for tents,
and cotton, is sourced from Kolkata and threads, locally called “Sutta”, are
sourced from Surat. Since the designated colours for ceremonial pieces are
limited, craftsmen find an outlet to their creativity in combining these colours in
different proportions and combinations.

Field study
Page 26
 Techniques used in Making the
Applique Work
Flat motifs are first cut from cloth and then superposed on the base cloth in a predetermined layout and
sequence. The edges of the motifs are turned in and skilfully stitched onto the base cloth or stitched by
embroidery or without turning as necessary. Craftsmen use straight stitch, blind stitch, satin stitch or
buttonhole stitch for attaching the pieces of cloth. Sometimes they also make use of decorative stitches
and mirror work for more elaborate pieces.

The most common forms of stitching that artisans use to embellish motifs of fabric and small
ornaments on the base fabric are,

Hand Stitch :Chain Stitch (Chikana)

This is regularly used in Pipli applique and is a type of embroidery stitch. The small pieces of
fabric are stitched unturned onto the large base fabric by means of looping the thread, creating
a chain-like effect and securing the embellishment. The chikana is also used on motifs to create
a textual or ornamental effect.

Ruching Stitch

This form of stitching is used to gather fabric to create floral motifs such as the mogra or malli,
jasmine.

Hem Stitch (Taropa)

Field study
Page 27
This form of stitching requires the edges of fabric motifs to be turned in before being sewn onto
the base fabric. The taropa stitch also provides a neat finish to the product and is concealed
under the motif.

Buttonhole Stitch

This form of stitching is mostly used to embellish round objects onto the base fabric, usually
small mirrors or rings, known as mudia. Two variations of the buttonhole stitch, kitikiia and
baiganomangia kitikitia, incorporates an extra half-stitch to secure motifs.

The Ganthi Stitch

This style is similar to the buttonhole stitch and is used to create the most elaborate
embroidered motifs.

Field study
Page 28
Stem Stitch (Bakhia)

This is a type of simple running stitch that is used to keep embellishments in place. These are
temporary stitches that are removed when the embellishments are finally stitched to the base
fabric.

Pipli applique artisans are able to create unlimited designs with a huge array of motifs and
combinations using these forms of stitches. Motifs may be stitched flat onto the base fabric, or
may be texturised as a result of the types of fabrics and the stitching method used. The time
consuming technique of stitching layers of fabric and ornaments atop one another results in
unique breathtaking applique work.

DIFFERENCE BETWEEN HAND STICH AND MACHINE STICH

MACHINE STITCH HAND STITCH

Selling Price : Rs. 550 Selling Price: Rs 350

Difference in Stitching Pattern

Field study
Page 29
Applications
Craft that originated as a temple art now finds its application in a wide
range of household, decorative and ceremonial products.The appliqué
items are mainly used during processions of the deities .Chhati
(umbrella), tarasa – a heart-shaped wooden piece covered by appliqué
cloth and supported by a long wooden pole and chandua – an umbrella
shaped canopy. Jhalar’, another popular item is a sort of frill.Also used
in making seats and pillows for the deities .For deities’ ritual dresses.

SAMIYANA OR CHANDUA WHICH IS OFFERED TO THE DEITIES.

Field study
Page 30
 FANS OR TARASAS AND CHATRIS( umbrella)

Field study
Page 31
 OTHER PRODUCTS INCLUDED BAGS AND CANOPIES

Field study
Page 32
Survey
The artisans and craftsmen helped us a lot in realising the significance
and importance of the craft.

Further on, to know more about the dedication towards the craft, we
asked a lot of questions from the manager , shopkeeper ,the artrisans
from the training centers we visited and also from the trainees.

Interaction with the Manager: The manager of

the Shop (Pipili Applique Workers Industrial Cooperative Society)
helped us a lot in this project.He acknowledged us about the training
centers where the artisans are given training for this craft, he also took
us for a visit there. Rather than that he gave us the details about how
they get the raw materials which is from Kolkata and also about the
production process and the profits they earn.

Field study
Page 33
Interaction With the Shopkeeper:
The shopkeepers name was Surandra Kumar Barik and he had a
experience of 35 years in pipili. He gave us detailed explanation of the
types of things which are used to make the craft like the types of cloths
which are used, the threads, sequins, about the motifs which are used
and what they are called. What was the significance of the motifs and
why these crafts were made. He also told us about the profits they earn
in every type of product and and abot the cost price. When we asked
him why don’t people know a lot about this place pipili he said that
after the bypass road has been constructed the road to pipili has come
into interiors. So people are not able to notice it. He also added that if a
gate was constructed on the enterence of pipili people might notice the
place.

Field study
Page 34
There were two training centers at Mukundadaspur having 15-15
trainees each all were women.They are trained for 6 months before
they are called skilled artisans.They get paid rs 300 each.

Interaction with the Artisans:

We visited the training centers at Mukundadaspur and interacted with
the artisans .We asked them a lot of questionsabout the craft and apart
from the craft too.

1. Average age of artisans

The average age of artisans was ranging between 40 to 45 years.
2. Working experience
Most of trainees had just joined the training centers they were
working there for 6 months.
3. Family background of the artisans
Most of them were not from a rich family. Many of the artisans
belonged to the district of Pipili only. Some of the artisans’ family
was seemed to be involved with this handicraft.
4. Education
They were not well educated.
5. Do they face any language barrier?
The artisans and their families are not well versed with languages
other than their mother tongue or their dialect. Most people
hardly speak Hindi or understand it, the people generally speak
only Odia and its various dialects.
6. Were they trained?
Some of the artisans were trained but many of them were not.
They used their intellect and creativity to carry out this handwork
on their own.

Field study
Page 35
 7. Income of the artisans
The average monthly income was rs. 300.
8. Are the artisans happy with their income as per their work?
No. the artisans are not satisfied with the income they receive
based on the kind of intricate work they perform.
This leads to dissatistifaction among the artisans.
9. If given an opportunity to change their job, will they agree?
Yes. We got three types of responses.
Few artisans would accept the proposal to change their job. Many
of them are in a search for better lifestyle with a better income to
support their family.
Whereas some of them were reluctant to the idea of changing
their job.
Some of them were neutral to the idea.
10. Are they getting any help or support from the government?
They are not really getting any help from the government as the
government told them they would provide electricity and good
health facilities for them but not yet provided since one year.

Few other problems

 Unwilling to change- The artisans do not want to divert from
the traditional motifs which they are used to produce free
hand onto the fabric. They face difficulty in trying to steer away
from the age old motifs and trying to adapt to new more
contemporary designs. Also they do not wish to change
because it slows down their pace of production.
 Artisans are underpaid except who are associated with the
institutions. The artisans who supply their merchandise to
some institutions or ngos receive a fair amount of money in
proportion to their hard work and intricate hand work. But
those artisans who supply to shopkeepers or other retailers do
Field study
Page 36
 not generally receive enough return to compensate for the
amount of hard work they put in, into the production of their
merchandise. Sometimes they receive so little that even their
material cost is not recovered.
 Lack of lead time- Patch work with hand stich is a time
consuming task and needs a fair amount of time to be
completed with the high quality. But since the craft is being
commercialised on a large scale the artisans do not get enough
time after they have received the order. They thus have to rush
with the production and at times they are concerned with only
the completion of the articles rather than their quality of work.
 Presence of middle men- A major reason why the artisans do
not get adequately paid is that the middle men (suppliers and
transporters) take most of the money. Since the artisans are
not very educated. They are generally cheated and not given a
fair amount for their hard work. Sometimes even if the retailer
or the client pays a fair amount to their channel the money
seldom reaches the artisans
 Artisans are sometimes too remotely settled- The artisans
reside in villages and their villages are too remotely settled.
They are not easily accessible and one needs to have a personal
transport to reach them as and when they want.
 High quality of material not available locally to improve the
quality of craft. The artisans who are associated with some
institution are generally given material from the institutions
end, these materials are of a higher quality than that is
available in the local market because the quality of articles has
to be higher and upto a certain standard to be sold in the urban
markets. But the artisans who produce articles from their own
money cannot afford to buy such high quality of materials
which are more expensive and not locally available in the
village markets.

Field study
Page 37
  Communication gap between the artisan and the buyer or
designer-In recent times more designers and buyers are putting
an effort to save this craft from extinction. But the artisans do
not understand the new design and motifs which the designers
want to introduce and at times they do not produce the patch
work in the way the designer wants them, so there exists a
communication gap between the designers and artisans.
 Uninterested youth do not want to continue the legacy since
there is not much money and fame in this field the youth are
looking at more lucratively paying jobs, which pay more than
this craft.

The place where the artisans stay

Field study
Page 38
 The two training centers .One had machines one didn’t have them.

The trainer Artisan working.

The work of the artisans

Field study
Page 39