Panja Durrie of Salawas, Jodhpur

The village Salawas in Luni Tehsil of Jodhpur district is known for weaving ‘Panja Durrie’ (handmade rugs). Durries are utilitarian, homespun floor coverings woven by hand using strong, thick yarns intended for regular domestic use, and are often regarded as the Indian counterpart to Persian carpets. The term Panja durrie derives from the claw-like weaving tool (panja) employed in their manufacture. These rugs are distinguished by their characteristic geometric compositions, floral elements, and motifs drawn from desert landscapes. In Salawas, the practice of durrie weaving can be traced to the mid-nineteenth century, during the reign of Sawai Ram Singh II, Maharaja of Jaipur. Historically, such textiles were known as jhat ka gandha—plain, weft-faced durries produced from coarse goat or camel hair, locally referred to as jhat. Salawas durries were once exported to the Middle East, where their dense construction made them suitable for extinguishing fires in oil wells. In addition to their functional and commercial roles, these textiles have held social and ceremonial significance, forming an integral component of the bridal trousseau.

In Salawas, durrie weaving is traditionally undertaken by members of the Prajapat community, among whom the craft has been transmitted across multiple generations. In recent decades, however, the number of households engaged in this practice has declined to approximately fifteen, largely as a consequence of competition from machine-produced rugs. At present, the weaving community comprises around twenty-six men and thirty women who continue to practise this traditional craft. Despite their reduced numbers, the weavers possess a high level of technical skill, reflecting sustained artisanal knowledge and long-standing expertise.

TOOLS, TECHNIQUES AND MATERIALS

Durrie weaving is a traditional flat-weave textile technique characterised by a weft-faced structure. The weaving process is relatively simple and is carried out on a hand-operated loom using basic tools.

Tools

The primary tools used in durrie weaving are-

• Loom
• Needle
• Boye
• Knife and scissors
• Panja

The panja is a claw-like tool used to separate warp threads, prevent tangling, and compact the weft during weaving. Its repeated use is essential for achieving the dense weft-faced structure that defines the durrie.

Materials

Traditionally, durries were woven using locally available fibres such as sheep’s wool, goat hair, and camel hair. In contemporary practice, production has largely shifted to 20-count cotton yarn. The yarn is sourced from Jaipur, reflecting changes in material availability and market preferences.

In addition to commercially sourced yarn, women weavers continue to spin yarn during leisure hours. This practice highlights the continued role of household-based fibre preparation alongside market-oriented production systems within the durrie weaving tradition.

PROCESS

The weaving of a ‘durrie’ commences with procuring raw materials including the purchase of warp yarn. To prepare for weaving, a frame is then constructed by systematically knotting the individual threads. The production process may be broadly divided into four sequential stages: warping, loom preparation, weaving, and finishing.

1. Warp setting

The initial stage of durrie weaving involves arranging threads according to the desired colour sequence and passing them through a small frame into a larger octagonal frame, until the entire cylinder is uniformly covered. This procedure establishes the basic warp setup, which subsequently forms the foundational structure for weaving the intended design.

2. Loom setting

The second step involved in the process of durrie making is the setup of the loom. Making of the loom is done by the weavers themselves. While earlier looms were built using wooden logs, contemporary practice has shifted towards the use of ‘char foote’ rods—measuring four or six feet, depending on the size and nature of the order—and ‘lathe’, comprising two large pipes positioned on either side to form a rigid framework. A ‘taar’, or iron wire approximately 30 feet in length, is used to bind and support both sides of the loom. In addition, two ropes, each about 25 feet long, provide tensile support to prevent loosening in the central section during the jerky movements associated with weaving. A centrally placed lever regulates the double-string rhythm; through its upward and downward motion, the woven pattern is systematically controlled and secured.

3. Weaving

Prior to the commencement of weaving, a gap of approximately 2–2.5 feet is left within the frame to allow the weaver adequate space to move their hands through it. The threads are then interlaced sequentially, one line at a time. The shaft, locally referred to as the ‘ghora’, is operated in an alternating one-up, one-down technique to facilitate shed formation. Once a line is laid, the threads are compacted firmly. The foundation thread is extended over the upper cross-beam, drawn beneath the lower horizontal beam, and brought back over the top. In accordance with the intended design, coloured threads are gradually introduced into the frame, a process that continues until the requisite number of threads has been tensioned. Following each downward movement of the ghora, the threads are aligned and beaten into place using the panja. Once weaving is completed, a space of approximately 2.5 feet is again left in the frame. The layers of the loom are subsequently interlocked, after which the threads are cut and the loom is carefully dismantled.

4. Finishing

As the final step in the process, the extra threads remaining are cut off from the frame. The threads that remain attached to the durrie are knotted together on either side in order to provide a finished look.

DESIGN AND MOTIFS

The central elements used in the design of durries are mainly stripes and geometric patterns. Over the period of time there has been evolution in design and motifs like rosettes,
flowers, animals, long-indented leaves and stylised natural forms have come into being. Durrie designs frequently feature a central motif, around which the remaining elements of the composition are woven. Weavers from Salawas commonly incorporate figurative motifs such as peacocks, elephants, and camels into their work. Under standard conditions, two weavers can produce approximately five to six durries of the standard 6′ × 4′ size with conventional patterns within a month. The time required for weaving increases with the complexity of the design. Larger durries may take nearly 75–80 days to complete. Smaller durries, measuring less than 5 feet, can typically be woven by a single weaver; however, larger pieces generally require the coordinated effort of two weavers to complete a single durrie.

CONTEMPORARY INFLUENCE

With changing times and rising market demands, trends have influenced the artisans of Salawas into incorporating their traditional weave technique into new modern day products as well. The weavers community has diversified their product range and are making several lifestyle and fashion products. These products include bags of different purposes such as laptop bags and sling bags, cushion covers, coasters and table runners. In addition to products derived from durrie weaving, artisans from Salawas also craft chairs and khatiyas (cots), incorporating motifs and colour palettes intrinsic to their local tradition.