COSTUMES
India: Orissa, Sambalpur, Bargarh-Sonepur area
Bhulia (Meher) group [?]
Sari (woman's)
1956
Plain weave; Supplementary warp pattern weave; Supplementary weft patterning; Resist dyed, warp ikat; Resist dyed, weft ikat; Resist dyed, double ikat
Cotton; Vegetable dye (indigo); Vegetable dye (Lodha tree bark)
3 yds. 12 1/2 in. x 1 yd. 3 3/4 in. (3.06 x 1.01 m)
Elizabeth Bayley Willis Collection, gift of Virginia and Prentice Bloedel
TC 58.1-400

The saktapar pattern for this sari mimics the board game of the same name, which is traditionally played by the just-married couple. The saktapar design is a traditional Orissi motif used for the very complicated double-ikat weaving, where both the warp and weft are dyed in patterns before weaving. The saktapar is usually red, black and white with contrasting colors and the end pieces contain many, often dozens, of ikat-patterned bands of differing sizes with various levels of complexity. -- Label copy for Unpacking the Collection: Collecting Other Cultures: The Elizabeth Bayley Willis Collection, April 10 to May 15, 1997, October 16, 1997, to March 2, 1998, and March 4 to June 7, 1998.

This ikat sari exhibits the traditional design called Dasphulia Saktapar, made only in the Sambalpur region of Orissa. "Dashpulia" indicates the ten bands of yellow figure, woven designs near each lengthwise edge of the sari. "Saktapar" indicates the double ikat, dice-board pattern seen here in the traditional colors of red, white and indigo blue. Alternating vertical bands of red and blue are ornamented with duck, fish, lion, flower and vine motifs by warp ikating. The pallow (end panel) consists of horizontal bands of geometric devices alternating with traditional motifs of ducks, lions, fish and blossoms outlined in white by weft ikating. The red or blue of each motif stands out against an alternating field color. Narrow yellow bands of extra weft patterning accentuate the transverse position of the pallow, Within the last thirty years, the use of vegetable dyes and the traditional placement of design motifs, like those seen in this sari, has declined.