SOLAPUR

Solapur city is located in southern part of Maharashtra.

The name Solapur is derived from two words Sola and Pur. Sola
means sixteen and pur means village.

Solapur city is renowned for temples and valiant forts which

provides a calm and quiet ambience to the tourists .

It is the sangam of three region Maharashtra, Andhra, kannada.

It is Famous for its Chadder, Handloom, Power loom and Beedi

Industries.

Then it is famous for Lord Sidheswara, a historical personality of

12th century and a great devotee of God Shankar.

Lord Sidheswara

HISTORY OF SOLAPUR

Solapur District was earlier formed part of Ahmednagar, Pune Satara.

It has been said that Solapur came into existence with the arrival of
Agasthya, the first Aryan who crossed Vindhya Mountains.

Solapur people enjoyed the Independence for three days from 9th to
11th May 1930.

The Solapur municipal council was the first municipal council of India

Shri.Mallappa Dhanshetti, Shri.Kurban Hussain, Shri.Jagnnath

Shinde and Shri.Kisan Sarda - Hutatma Chowk

Hutatma Chowk

Solapur Municipal
Corporation

LIFE STYLE OF PEOPLE

Lifestyle shows elective shades of different tradition.

People of three culture have come together and lived in peaceMaharashtra , Kannada and Andhra.

Decorate their entry point of the house with Rangoli and paint
the chaukhat- the doorway with warli imagery.

BIDI MAKING:

A decorated door

Rangoli near the door

bidi making is the part of the lifestyle of the solapuri people and
is done by most of the women.
Raw material used are: tobacco leaves

The present minimum wages effective is Rs.39/- per 1000

beedis and Rs.11/- as special allowance.

as per the agreement made between the beedi producers and

workers unions,. the minimum wages are Rs.33/- per 1000
beedis and Rs.6.78/- as special allowance.

A group picture with

the bedi maker

The bedi maker

WALL HANGING

Solapur is very famous for its wall hanging and weaving.

Wall hangings are made by cotton yarns and they have traditional unique designs.

Earlier wall hanging designs were cut work but now human figure, modern art as well
as figure of Gods, Goddess have also been made.

Solapur wall hangings are also famous in abroad and they are widely exported there.

The weavers of wall hanging craft do not work in organized industry.

TYPES OF WALL HANGING

Cut work wall hanging

Figure work wall hanging
Pile weave wall hanging

Ashtavinayak wall hanging

MATERIALS REQUIRES
1.UNBLEACHED COTTON YARNS:
These yarns are obtained in the form of bundles from Solapur itself.
The count of yarn for warp is 2/20s or 2/40s and the count of weft yarn is
2s,4s,6s and 10s.

Cotton
yarns

2.DYES AND BLEACHNG AGENTS:

Initially vegetable dyes were used but now chemical dyes are used.5kg of yarn
can be dyed with 100gms of dye.
3.WOODEN RODS:
The wooden rods are made of sagwan and sarkanda wood.
these are inserted between the wall hanging at the time of weaving treating them
like weft..
4. MIRRORS AND BELLS:
Once the weaving is over the finishing processes are performed.
The warp ends of the wall hangings are evenly cut off and bells are attached to
give a more ethnic feel.

Wooden rod

5. OTHER YARNS:
Spun cotton and zari are also being used for weaving. these are done as on the
order.
Mirrors and bells

MAKING OF WALL HANGING

Making of wall hanging starts with conceptualization of the design and culminates in to the final product.

PRE LOOM PROCESS

The pre loom process starts with drawing of the design on the paper and then leads to the weaving of the product .

1.DRAWING OF THE DESIGNS

The designs are drawn in exact proportions as the wall hanging would come out finally on the paper which is a sheet of starched cloth or canvas with
graph like checks drawn on it.
Design paper is not required to the weavers for cut-work wall hanging this technique of wall hanging is simple in nature. In cut work wallhanging ready
wall hanging of the same design is kept in front of the weaver during weaving of wall hanging foe reference purpose.
For figure work wall hanging which are detailed in nature, the design paper is required. In such case design paper are made in exact colors.
The drawn paper sheet is placed under the warp yarns(shed) in a way that a weaver can see the designs through the warp yarns and weaves according to
the color of the design paper. One design paper can be use foe several time for a number of wall hangings.

Design of the wall hangings on canvas sheets

2.PROCUREMENT OF YARNS AND RODS

The yarns are procured from the market either pre-dyed or dyed from the local market The wood for the rods are bought from the local places either pre
shaped or some weaver finish them of their own.

YARN DYEING PROCESS

Once the yarns have been procured the dyeing operation is performed . The dyeing of the yarns takes about 8 days.For handloom production, yarn is dyed
in the hank form. Yarn dyeing for handlooms is a crucial pre loom activity. Although the handloom sector is decentralized in nature, dyeing with chemical
colours has emerged as one of the centralized activities in the last 50 years. Dyeing is still carried out in the centres which are close to the weaving
activity. Dyeing in handloom sector is done in small to medium sized dye houses situated in the city. This process of dyeing is done by hand.

a) WETTING
The first part of the dyeing process is
wetting. Here the yarn is put in a tank
of water and soaked. Then it is put on
sticks to drain out excess water. The
rods are given circular finish and
rubbed with sand powder.

B) BLEACHING

c) DYEING

The grey yarns are first bleached. First

the hanks are soaked in plain water
overnight and then bleached the next
day by dipping them in a bleaching tank
containing bleaching agent and water,
after this process the hanks are rinsed
in water and left for drying.

Direct dyes are used for dyeing these yarns. Water is heated
in an rectangular iron box called dye bath which has a
capacity of 25 litre. table spoon of salt and 2 gms of
direct dye is added to the heat water. The hanks are put on
wooden sticks and dipped into the tank and rotated with
the help of wooden sticks every 5 minutes for evenness in
dyeing. The hanks are kept in the tank in for about 15 to
20 minutes, once taken out of the dye bath the hanks are
dipped in cold water to fix the dye and to wash away the
excess. Then the hanks are twolled and kept for two days to
drain off the extra water. The rods are colored in different
colors at this stage only. Mostly , black color is used for
coloring.

DRYING
These yarns are then dried in open
spaces under sunlight. Once the yarn
is dyed it is put on the charkha or
wheel then bobbins are wound

ATTATCHING WARP ONTO LOOM

WARPING
The warping is done on the
warping beam with the help of a
mechanism which enables the
warp for about 15 wall hangings
to be made. Warp is usually black.
Then is the placing of design
paper the warp after which
weaving is done. Normal weaving
is done from top to bottom , here
it is bottom to top.

WEFT WINDING

SIZING OF THE YARNS

Sizing refers to the application of starch
on to the warp threads. This ensure that
the threads do not break often in the
weaving process and also provides sheen
to the yarns. this operation is performed
usually on then streets. The size is
applied frequently with a wide tooth
brush and then the yarns are dyed.

BOBIN WINDING

WEAVING
BEGINS

WEAVING
First an inch or two of plain weave is
woven after which a wooden rod is
inserted. This is followed by a small
length of plain weave, after this the
weft is changed . one pick now
comprises of 7-8 strands of yarns.
The weave now used is an imitation
of the tapestry weave . Every pick
usually comprises of more than one
color. The colored pick is taken
through the warp shed and at the
point where the color changes first
threads interlock with the second.
This way the weaver completes the
pick, after which the beating up
operation is performed. In the next
pick the weaver weaves in the
opposite direction from the left to
right interlocking wherever the color
changes. To get more raised effect
when desired, extra warp is used.

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Once the base weft has been passed,

2-4 strands of extra weft of the
desired color are taken and are
knotted onto each warp end. The
knotting begins from the right side.
The weft yarn encircles every warp
end, of the raised warp. The same
way they come back to where they
started in the reverse direction as
the extra weft encircles itself only
around the raised warp ends, the
texture which is formed is seen only
on the right at side of the hanging,
the baser weft id visible on the
wrong side.
For cut work wall hangings, empty
spaces are incorporated in the
design. In such cases the weft yarn
is not passed through the particular
space, and the warp ends in that
space are cut off during the finishing
process. Whenever required , the
wooden sticks are inserted in the
hand treating as well.

POST LOOM PROCESS

Once the weaving is complete, the wall hanging is taken off. The finishing is done by cutting the extra warp threads to create empty spaces. These warp
threads are then sewn into the reversible side to seal the edges. The uneven wooden rods are cut to size. Metal bells, cowries, mirrors are given to add
ornamentation wherever required. Thread is attached to the top for hanging. These wall hangings are tied up separately and are wrapped in papers.
After this they are packed in cartoons and ready for export and sell.

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TYPES OF WEAVING EFFECT

PLAIN WEAVE

RAISED WEFT WEAVE

INTERLOCK WEAVE

Master weaver Mr. Shrinivas Jindam was awarded

by Maharashtra Govt. for his craftsmanship and
contribution to the development of solapur
wallhanging.
He
worked under the guidance of renown
craftsman of this field and after 2-3 years he
started his own business which is now running
successfully for 35-40 years . Though his work
has being recognised all over the globe, he has
still managed to stick to his roots and live a life of
content.
He made the craft internationally famous , his
contribution to International Rotary club is
noticeable.
Some of his work include making portraits of
Gandhiji, Sant Dyaneshwar,
Tirupati Balaji, Swami Vivekananda,
Mahabir which are exported to countries like
Japan, USA,Arab.

Craftsman profile

Mr. Shrinivas Jindam

And his achievements

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MR. JINDAMS LIFESTYLE

The weavers locality

The weavers home/workplace

The weavers home

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14

PRODUCTS AT THE JINDAM STORE

SOMA TEXTILES

Yarn is brought is wholesale.

One wall hanginf making takes 1 to 4 days depending on design
Big designs take upto 2-3 weeks
Looms r given on rent to the coworkers so they can work at home
The wall hangings are sold off in the Metro cities like Bombay delhi banglorechand igar
Sales have reduced
Weavers are not available.
Very less people want to indulge in weaving
Demand is increasing but workers are less
Since 69 (from his forefathers time) his family has been producing wall hangings.
He is the last member of the family who is willing to keep up with the production of wall
hangings
The genarations after him (his children) do not wish to take this profession.
He has been doing this for 40 years.
A lot of hard work so people don't want to indulge in this work
Warping take upto one days.
the amount of samples that can be made from one warp setting Depends on the length of the
warp.
durability of the wall hangings are good.
only dust settling may cause an issue otherwise the wall hangings stay durable for years.
washing is risky as the yars may bleed color.
washing is not really recommended.
they don't participate in any sort of exhibitions .
viewers visit the store to see the display and make orders ,if any
agents in Bombay, japan, arab countries, usa order the products in bulk n not just single
pieces
mostly orders have atleastupto 500 pieces of the same design

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SOMA WORK PLACE

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SOALPURI CHADDARS

The Solapuri chaddar is the most famous textile craft of Solapur. it has a very
distinct design unique to this region.

Solapruri chaddars were the first product in Maharashtra to obtain geographical

indication status.

Solapur chaddar also known as Solapur cotton blankets, Solapur bedsheets,

Solapur charsa, Solapur sujani .

initially these chaddars were woven only in white, maroon and black colors.

Jacquard Chaddars are made by cotton yarns.

These chaddars are double warp jacquard weave.

The first mill of Solapur "Solapur Spinning & Weaving Mill was started in March
1847 by Seth Morarji Gokuldas.

Chaddars at Phulgam

RAW MATERIALS REQUIRES

Solapur chaddar also known as Solapur cotton blankets, Solapur bedsheets,
Solapur charsa, Solapur sujani .
1. COTTON YARNS:
. The basic raw material used is the cotton yarns that is bought from the local
market
. Many of the manufacturers dye their own yarns and rest of them purchase predyed yarns

Cotton yarns

2. DYES AND BLEACHING AGENT:

. Initially vegetable dyes were used but now chemical dyes are used.
3. GRAPH PAPER:
. The designs are transferred on to the graph papers.
. These graph papers are used to set jacquard on the loom with the help of
punching cards.

Tracing of the design

4. PUNCHING CARDS:
. Punching cards are some special plastic cardboard.
. Local person punch these punching cards according to the design on the graph
paper.
. For one design around 250-300 cards are required.

Punch cards

1.PRE LOOM PROCESS:

The pre loom process starts with making the design to setting up of loom.
a. PROCUREMENT OF YARNS:
In the first stage yarn is procured from the market either per-dyed or the manufacturer dyes it.
b. DYEING OF YARN :
Once the yarn has been procured the dyeing operation is performed. The dyeing of the yarns takes about 8 days.
WETTING:
The yarns is put in a tank of water and soaked.
Then it is put on sticks to drain out the excess water.
BLEACHING:
Grey yarns are soaked in water for one night then bleached the next day by dipping them in a bleaching tank which contains the
bleaching agent and water.
DYEING:
Yarns are dipped into the huge tank of dyes of desired color with rods on which the yarn is hung and rotated.
DRYING:
yarns are then dried in open spaces under the sunlight.
c. SIZING OF YARNS:
Sizing refers to the application of starch on to the warp threads.
This ensures that the threads do not break often in the weaving process and also provides sheen to the yarns.
d .WARPING:
Dyed yarns are rolled over the warp beam with the help of a machine.
warp yarn for about 20to 30chaddars are rolled on the beam at once.

2. WEAVING

Preparation of a jacquard weave is a difficult part and setting up the loom

with jacquard cards can take an entire day.

Once they set the pattern it can be used and reused for different
materials.

Jacquard design is first worked out on a square paper

Moving cards pass over a battery of needles mounted on the top of the
loom and each needle controls a string

The perforations on the cards allow the needle to drop through, and lift
certain strings

For making the jacquard cards the card puncher has a paper design
before him.

Each hole in the card controls the loom mechanism that raise the desired
warp yarns in the fabric surface

Once the loom is set the weaver begins the weaving

Everything runs of its own, only the weaver has to keep on checking the
bobbins and other detailing.

Loom

Solapur Chaddar in making

3.POST WEAVING PROCESS:

After the chaddar is woven it is send for finishing the edges.

The extra warp threads are cut and at times made in to tassels.

The paper labels Having the manufacturers logo and mark are pasted on the
chaddar.

The chaddars are then folded in a particular style and then packed in plastic
jackets

Varieties of Solapur Chaddars: There are many varieties of Solapur chaddars but mainly categories by its weaving
method as 1.Jacquard chaddars
2.Pick by pick chaddars also known as Mayurpankh chaddars
3.Dobby chaddars or Solapur bed sheets.

Solapur chaddar

About the stores

PULGAM TEXTILES

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INTRODUCTION

Pulgam Textiles was established in 1967. Pulgam the name it

seif is known in all over Indian is famous for chaddars is
familiar for last 41 years. They are the manufactures of
chaddars, towels and napkins.The industry is situated in
M.I.D.C. area of Solapur city. Director of Pulgam Texttiles isMr.
Ramaya Yambaya Pulgam.

HISTORY
Pulgam family has its origin from a small village Medak
(Varangal) Andhra Pradesh. The family had migrated to Solapur
of their lively hoods. The story of Pulgam textiles begins with Mr.
Yambaya Mallaya Pulgam who worked as an handloom
employee. In 1949 Mr. Yambaya Mallaya Pulgam with four
handlooms built a base for Pulgam Textiles. They started with
Handloom Sarees Paras peti and Japani kinara were their
famous brand. The achieved eight looms in just 2 years and the
flow continued.

Shri. Ramaya Yambaya Pulgam

PRODUCTS AT SHOWROOM

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OTHER CRAFTS OF SOLAPUR

TERRY TOWEL

The terry towel Industry is becoming the fastest growing industry in Solapur holds a
major population of weaver employed under them.

These industries are about 40 years old but holds a major share in Solapur economic
earnings.

simple terry towels woven on dobby looms with loop piles, sewn edges at top and
bottom.

Manufacturing types of towels :Generally towels are weaved on looms but the type of weaving makes the difference
and varieties in towels as listed : Terry Towels
Cotton Towels
Jacquard Towels
Dobby Towels
Velour Towel
Canaba Towel
Plain Towel
Printed Towel
Velvet Towel
Stripe Towel ( Lining Towel)
waffle towel

Towel in making

SATRANJI

Satranji literally meaning seven colors of rainbow.

Satranji are colorful durries

Satranjis are made both on handlooms and power looms.

Originally satranji were woven in black and white checks

It is said that they were inspired from the game of Shatranj and therefore the name
Satranji.

Initially throw shuttle pit loom were used

Then Fly shuttle frame loom, hand loom is used for weaving a Satranji

At present the use of frame looms has declined drastically

Hand loom are replaced by power loom which are faster and require less labour.

most attractive feature of the Satranji are its dynamic colors.

Satranjis

Loom

SWOT ANALYSIS OF SOLAPUR CRAFT

Strengths:

The Solapur industry is well equipped with skilled manpower and readily available stock of raw materials.

Moreover, easily accessible testing facilities further strengthen the more-than sufficient productive capacity of the
industry.

Presence of locally qualified technical personnel works as an added advantage to the clusters 'efficiency.

Weakness:

The industry workers are reluctant to switch over to modern techniques of production.

As a result, cluster productivity as against its capacity is relatively lower.

Besides, workers resistance to change extends to the areas such as raw material testing and product development
and diversification.

Absence of market information, further weakens the industry.

Opportunities:
In the recent years, Solapur textile products have been witnessing a growing domestic and international demand.
This holds true in case of product mix markets as well as the niche markets.
Apart from the existing markets, there are certain unexplored ones that guarantee huge potential for the industry products.
Also, tie-ups with large firms for outsourcing can spell success for the industry producers.

Threats:

Of late, the entries of multinationals in the domestic market have been offering severe competition to the local producers.

Additionally, the industry has to put up with increasing competition from other developing countries.

In the backdrop of this struggle for survival, slow paced technological upgradation has added to the woes of industry
manufacturers.

Sluggish quality upgradation and inability of the local producers to meet the fashion demands have played an equally important
role in the industry's decline.

THANK YOU
Presented By:
Ankita Gaikwad
Gargi Goswami
Maitralee Abnave
Moumita Banik
Pooja Sanghvi
Saloni Nautiyal
Vidhi Chheda