Craft Cluster-Kanchipuram

ÁNANDHA LAHARI a wave of happiness

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All rights reserved. Without limiting the rights under the copyright reserved under NIFT, no part of this publication may be reproduced, stored in, or introduced into retrieval system, or transmitted in any form or by any means (electronic, photocopying, recording or otherwise) without prior written permission.

For permission requests, please contact: The Department of Fashion Communication NIFT Bengaluru, 27th Main road, Sector 1, HSR Layout, Bengaluru Karnataka - 560102.

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Ă NANDA LAHARI A wave of Happiness

Mukhe may thamboolam nayana yugale kajjala kala, Lalate kashmeeram, vilasathi gale moukthilatha, sphuarath kanchee satee Prathu kati thate hataka mayee, Bhajami sthwam gowreen nagapathee kisorimavrutham.

Ananda Lahiri, slokam 3

Oh Gauri, daughter of Himavan, you are so auspicious with Thamboolam in your mouth, streaks of collyrium in your eyes, Kumkumam on your forehead, and necklace of pearls ardorning your neck and a golden kanchi silk saare secured with a resplendent waist band around your broad waist. I am your devotee always .

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“An embodiment of culture,tradtion and devotion, Kanchipuram,the land of a thousand temples,is the very abode of God.�

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CERTIFICATE

This is to certify that the craft cluster project titled : Ananda Lahari is the record of the work done by students Nirkhunan Kuppuram (BD/17/64), Pooja Ostwal (BD/17/N4509), Pooja VV (BD/17/391), Rashmika Prasad (BD/17/N3506), Sakshi Sharma (BD/17/289) as regular students for the degree of B.Des. (Fashion Communication) during the period of JulyAugust 2019 which represents independent work.

Mr. Sanjeev CM Assistant Professor, Departmeny of Fashion Communication

External Jury Member

External Jury Member

External Jury Member

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ACKNOWLEDGEMENT

We are grateful to The National Institute of Fashion Technology, Bengaluru and its director, Mrs. Susan Thomas IRS for providing us with the opportunity to visit the craft clusters of Kanchipuram, Arani and Anagaputtur .We are thankful to Mr. KC Prashant, Central Coodinator, Department of Fashion Communication, Bengaluru for all the motivation and guidance. We would like to extend our gratitude to Mr. CM Sanjeev, Assistant Professor, Department of Fashion Communication, Bengaluru for the constant support, encouragement and mentorship in helping us successfully create this craft cluster document.

We would also like to thank Mr. B. Krishnamoorthy, National Award winning artisan from the Kanchi cluster for all the valuble information that he generously shared with us.

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PREFACE An epitome of diversity, culture and heritage, India is a country with innumerable hidden treasures. Among the many gems, the rich living traditions of handicrafts and handlooms add to the breathtaking splendour of this land. As part of the craft cluster initiative of NIFT which was introduced to sensitize students to the realities of the craft sector thereby giving insight into regional sensibilities, resources, diversities and environments, the students of the department of Fashion Communication (Semester V) had the privilege to experience this first hand. A trip taken to witness and document the strenuous process of weaving exquisite sarees turned out to be a lot more enriching. From the hustle bustle of the city, flavoursome food and the warmest people to the magnificent architecture, history and traditions, Kanchipuram, Arani and Anakaputhur welcomed one and all into their world with open arms. Imbibing the city into itself, a saree becomes a story; a story narrated through colours, motifs, techniques and designs. The writers of these intricate stories weave their experiences into them making every handwoven saree a work of art. Through the document and video, the students attempt to decipher these tales and present their understandings in order to promote this craft through knowledge dissemination in hopes of helping it get the respect and recognition it truly deserves.

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Gopuram of Ekambareswarar Temple 14

Following forty years of rest, Lord Athivaradar finally wakes up to the sound of celebration!

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THE CITY

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Introduction History Map Topography Demographics

THE PEOPLE

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Culture and lifestyle Tourism Food Habits Architecture

CONT

Religion Art Music Festivals Costumes Accessories Kanchi kudail ABOUT THE CRAFT e cra Origin and History Raw Materials and tools Process Health Issues

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TENTS

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MOTIFS AND COLOURS Colours Motifs

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INTERVIEW

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SWOT ANALYSIS

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MARKET SURVEY

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VALUE CHAIN MAPPING

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PRODUCT DISCRIPTION

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LEARNINGS

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EXPERIENCE

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CONCLUSION

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BIBLIOGRAPPHY

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GLOSSARY

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ANNEXURE 1

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ANNEXURE 2

Anakaputhur

Questionnaire

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OBJECTIVE

The main objective of the visit to Kanchipuram, Arani and Anakaputhur was to gather experience and information about the craft of weaving exquisite sarees in order to do a diagnostic study of the cluster. Extensive research, observation, interviews and analysis has been done to understand the process of weaving on handlooms, cultural heritage, the inspiration of colours and motifs used, the working conditions of the artisans and socio-economic elements related to the craft. The objective also includes documentation and promotion of the cluster and the craft through various means.

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THE CITY

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THE CITY

Kanchipuram is a temple city in Tamil Nadu, India. It has always enjoyed a prime place in the cultural, spiritual, religious, architectural and sculptural traditions of the country. ‘Ka’ stands for Lord Brahma and ‘anchi’ means worship. ‘Kanchi’ was therefore the place where Lord Shiva was worshipped by Lord Brahma.The name also corresponds to a woman’s belt or girdle. Known to be an sacred pilgrim centre by Buddhists, Jains and Hindus, the city has great historical and religious importance.

Apart from the architectural beauty of the temples, Kanchipuram is know for its thriving handloom industry especially its silk sarees that are renowned for their lustrous finish and intricate designs and has come to be known as the silk paradise of South India.

Kanchipuram has been under the Pallava, Chola, Vijayanagra, Arcot and British rule at

different times in history before independence.

The city was also believed to be a part of the Dravida Kingdom of the Mahabharatha.An important pilgrimage site for spiritual release in Vaishnavism and Shaivism, Kanchipuram has carved a niche for itself in the pages of history as the Ghatikastanam, a centre of education and a place of higher learning.

Arani is a town in the district of Thiruvannamalai, Tamil Nadu. The name of the place is speculated to have originated from the Tamil word, ‘Aranyam’ which means a place surrounded by forests. Other than Arani silk, the place was historically known for the rice that was cultivated there.

Historically, the place was ruled by Pallavas followed by the Rashtrakutas. Temple inscriptions around Arani depict that the Cholas who ruled the region from 1070 AD gave land grants to the farmers in the region.

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The locals dancing in celebration 23

Crowd walking towards a temple 24

THE CITY’S HISTORY

History of Kanchipuram can be traced back to several centuries before the advent of the Christ era. This region which had remained the nerve centre of knowledge and wisdom has many stories to tell. The place finds its name in Patanjali’s writing ‘Mahabashya’ of 2nd century B.C.E and in famous Tamil classics such as ‘Manimekalai’ and the ‘Perumpanattu Padai’ where the city is so vividly described indicating the height of civilisation and its advancement in the art, architecture, literature, and spirituality.Poet Kalidasa (1st century

B.C.E) passionately lauded the South Indian city Kanchipuram when he said “Pushpeshu Jati, Purusheshu Vishnu, Nareeshu Rambha.

Nagareshu Kanchi” – Meaning Jati (jasmine) - the best among flowers, Vishnu - the best among men, Rambha- the best among women, and Kanchi - the best among the cities.

King Thondaiman Ilandiryan and Karikala Cholan were the earliest rulers known to have ruled this region called Thondaimandalam (neck to South India)- their period debated to be between 1st century B.C.E to 1st century CE.

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From 3rd to 9th century AD Thondaumandalam was under the rule of the Pallavas with Kanchi as the capital. Many of the Pallava Kings were great monarchs who patronised religion, art and literature.

They introduced a new era of building temples in stone. They also developed powerful fleet and maritime trade flourished.

After Pallavas the Cholas penetrated into Tondaimandalam and ruled the region between 9th to 12th century. The Cholan period especially between Rajaraja and Rajendra Chola period remain to be a glorious chapter in the medieval South Indian history. Cholas gave tremendous encouragement to bhakti cult.

Many of the temples were built during this period.

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Ekambareswarar Temple tank 27

The sacred mango tree in Ekambareswarar temple 28

Thus the combination of Pallava, Chola, and Vijayanagara empires stand at the vanguard of the cultural renaissance from the historic town of Kanchipuram. Buddhism, Jainism, Saivism and Vaishnavism all flourished and co-existed. Huge stone cut temples of this town stand as monuments of this glorious past.

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Pallava Capital from 3rd - 9th century

2nd BCE Chola Capital

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Chola Govt. headquarters from 10th - 13th century

Important town Vijayanagar from 15th - 17th century

British weaving Town in 18th century

Conquered by Muslim and Maratha in 17th century

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NTS

Map not to scale

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KANCHIPURAM

KANCHIPURAM

ARANI ARANI 32

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SRIPERUBADUR SRIPERUMBUDUR

ANAGAPUTHUR ANAGAPUTHUR

EKAMBARESHWARAR TEMPLE

KANCHI KUDI

PILLAIYARPALAYAM WEAVING UNIT

BANK OF BARODA

KANCHIPURAM ENNAIKAARAN STREET KRISHNAMOORTHY OFFICE

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TOPOGRAPHY

Kanchipuram district has a land area of 7857 sq. kms. Situated on the banks of river Vegavati, the city it is surrounded by the Bay of Bengal in the east, Villupuram on the south, Tiruvannamalai on the west, Vellore on the north-west and Chennai in the north. Kanchipuram has two divisions, Big Kanchi or Shiva Kanchi and Little Kanchi or Vishnu Kanchi. The region is said to have an undulating topography with fertile paddy fields..

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SH 120

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KANCHIPURAM

WALLAJAHABAD

Coordinates: 12.67639 79.54533 12.99639 79.86533 Minimum elevation: 40 m Maximum elevation: 192 m Average elevation: 82 m

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Crowd in Ennaikaran street, Little Kanchipuram 36

DEMOGRAPHICS (KANCHIPURAM)

Population Male Female Population Growth

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Area Sq. Km Density/km2 Proportion to state population Sex Ratio (/1000) Average Literacy Total Child population

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3,998,252 2,012,958 1,985,294 38.95% (from 2,877,468) 4,483 892

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5.54% 986 84.89 431,574

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THE PEOPLE

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Courtyard of Kanchi Kudil 40

CULTURE AND LIFESTYLE

People in the cities of Kancheepuram and Arani acquire a very simple living and are loving, caring and kind by heart. They are very cultured and god fearing. In these regions, the language Tamil is largely spoken. Other languages that are spoken apart from Tamil in these districts are English and Telugu.

These districts, especially Kanchipuram, is traditionally a centre of religious beliefs and practices, hence aptly it is also called a temple town. Some of the major religions of the ancient India is accommodated in Kanchipuram including Buddhism, Jainism, Hinduism which has two parts- Saivism and Vaishnavism. Kanchipuram is known to be the headquarters of most of these religions by their leaders and ideologies.

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TOURISM

Kanchipuram is roughly 74kms away from Chennai and is a popular weekend getaway for the people of the south. Along with a multitude of temples, Kanchipuram has beautiful forts and sanctuaries waiting to be explored.

Among the most popular tourist attractions of the city is the Kamakshi Amman Temple and the Ekambareswar Temple which leaves travellers awestruck with itsmagnificentarchitecturalbeauty.

Other major attractions are the Vedanthangal

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Sanctuary which is one of the oldest bird sanctuaries in India and The Alamparai Fort was built by the Mughals in the 17th century.

Some other places of worship in Kanchipuram include the Vaikunda Perumal Temple, the Varadaraja Temple, the Chitragupta Swami Temple and the Kanchi Kailasanathar Temple.

Kanchipuram is considered to be one of the seven holiest town of its kind in the country.

Chaos in Ekambareswarar temple 43

Idli Sambar with Chutney Image from google www.thequint.com 44

FOOD

Kanchipuram is not only famous for its silk sarees and temples. It is also famous for their amazing cuisine with a variety of dishes and spices. The Tamilian cuisine involves dosas, idlies etc. It offers a wide range of varieties for both vegetarians as well as non vegetarians. The cuisine is famous for curries like sambar or Kurambu etc. There are dishes like ‘ekootu’ (avocado dependent dish), ‘poriyal’ (assortment of vegetables) and also ‘apalam’ (crispy wafers). The breakfast options are usually dosa or idlies along with sambar or any combination of chutney.

In Tamil cuisine comes the famous ‘Chettinad’ food which is famous because of its spices and beef. The food in general are very spicy and hot as they are prepared by mixing acrylics, peas and also tamarind. The traditional way of eating is on the banana leaf. The cultivated grains in Tamil Nadu are rice, lentils and vegetables. In Tamilian food the mostly used technique in cooking is roasting and baking. Desserts also are prepared, like mysorepak (chick pea dish) and creamy payasam (milky rice dish).

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Sculpture in Ekambareswarar temple

“Kanchipuram is an important centre of worship and the heritage weaves are always linked with religion, mirroring existing cultural patterns.�

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ARCHITECTURE

The practice of building structural temples began during the rule of the Pallava king Narasimhavarman II. The temples in Kanchipuram follow the Dravidian style of temple architecture. The dominating features of these temples is the high gopurams which are large towers over the entrances, a vimana, which is the tower over the sanctum sanctorum or the garbha-griha where the altar of the deity is kept, intricately carved pillared halls and large corridors. The motifs found in the Kanchipuram sarees draw inspiration from the carvings found on the pillars of these temples.

Carved Pillar in Ekambareswarar temple 47

A tree full of wishes in Ekambareswarar temple

RELIGION

The followers and believers of Shaivism are called Shaivite. They pray to Shiva with all their faiths and believe that Shiva is the creator, the preserver and the destroyer.

There are approximately 108 Shiva temples in Kanchipuram and each has a different story. The Shaivite mythology in Kanchipuram revolves around the Ekambareswarar Temple which is located in north part of Kanchipuram and is considered to be the largest temple in the town . It has one of the tallest gopuras (gateway tower of the temple) of India which is 59m.

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Vaishnavism is also called Vishnuism, their devotee’s are known as Vaishnavas or Vaishnavites. Vaishnavism is one of the major hindu religions along with Shaivism, Shaktism and Smartism.

Vaishnavas believe Vishnu to be the Supreme Lord. 18 Divya Desans (Vaishnavite temples) are situated in Kanchipuram out of 108 in India.

Kanchipuram is known to be the origin of the great Vaishnavism tradition of South India.

Here, Little Kanchipuram is known as the Vaishnavite side of the city.

Dhwajastambh of Ekambareswarar Temple

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Pillared hallways of Ekambareswarar temple 50

Jainism is religion from ancient India.

The believers of Jainism are known as “Jains” it comes from a word of Sanskrit “Jina” which makes someone who connotes the path of victory in crossing over life’s stream of rebirths by destroying the karma through an ethical and spiritual life. The beginning of Jainism into Kanchipuram was introduced

by Kunda Kundacharya in the 1st century and was spread across Kanchipuram in 3rd century by Akalanka. Kalbhras, the rules of Kanchipuram before the Pallavas, followed Jainism which gained popularity from royal patronage. According to Vajrayana Buddhism, Kanchipuram is said to be one out

of twenty-four power places of the dakini (the spontaneous play of the basic space).

Kanchipuram is a very importrant centre of Buddhist learning in South India. Scolars and masters of Buddhism such as Bodhidharma, Dignaga, Dharmapala, Buddhaghosa etc were produced in Kanchipuram. In the 2nd century B.C.E, Poompuhar, which was the earlier Buddhist centre in Tamil Nadu, submerged in the sea, leading to the increase in the fame of Kanchipuram as the new Buddhist centre. Tamil Sangams texts like Manimekalai, Silappatikaram and Maduraikkanchi also has mentioned Buddhist presence in Kanchipuram.

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ART

Bommalattam or puppetry is one of the oldest form of culture and arts which is used to portray a story in the state of Tamil Nadu. In the districts of Arani, Anakaputhur and Kanchipuram it is largely performed in temples and portrayed different spiritual and mythological stories, specially during the festivals. In recent times, they are mostly performed not just in temples on festivals but also for taking vows, thanksgiving for marriage or childbirth or the welfare of the community. The duration of performances lasts from seven to ten days, continuing overnight. Bommalattam theatre has elaborate preliminaries which are divided into four parts - Vinayakar Pujai, Komali, Amanattam and Pusenkanattam.

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puppet show google images https://images.app.goo.gl/yhqNiAUkRuYR36VBA 53

puppet show google images https://images.app.goo.gl/VKMzrJTTTLfsfvZbA 54

The history of Bommalattam started from 10th century during the medieval period. Bommalattam, narrates the traditional legends and myths such as Valli Kalyanam (Valli’s marriage), Harichandra, Lava Kusa, Nallatangal Kathai and Markadeyan Kathai. Bommalattam was also used during the freedom struggle to promote nationalistic zeal. In Tamil Nadu, two types of puppet shows are

performed, Bommalattam (String puppet) and Thol Bommalattam (shadow puppet).

The techniques of both rod puppets and string puppets are used in a Bommalattam puppet dance. A puppet may be as big as 4.5 ft in height and weighing about 10 kg, making it the largest and heaviest of all traditional Indian Marionettes. The viewers see the silhouettes or colourful shadows created by the puppets on the screen.

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MUSIC

Most of the art forms including music in Tamil Nadu represents the rich culture and heritage of people along with their rituals.

The music began from the temples. Different dynasties ruled Tamil Nadu during various phases in history and their overwhelming patronage to art and culture gave the state a great diverse and rich cultural heritage.

Carnatic music is considered to be the classical form of music in the entire part

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of south India including Tamil Nadu. It has been passed down through generations of artists. There are various references in the scriptures, epics and puranas that Carnatic music has been originated from the Gods in ancient times. The three great composer saints popularly refered to as the “Trinity of Carnatic Music� Tyagaraja, Muthuswami Dikshitar and Syama Sastri were from Tamil Nadu.

Musical instruments in the Shakuntala Jagannathan Museum of Folk Art in Kanchipuram 57

Villu pattu performed in temple festival Image from google Shakty studio https://images.app.goo.gl/KH8m1RMRxdKkT5PTA

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Villu Pattu is a very antiquated type of simple and catchy folk music which is also known as Villadichampaatu or “bow-song�.

It stands as a symbol of cultural wealth of the Tamilians and is an ancient form of story telling where narration is done through music. It is a famous art form in Kerala and many district of Tamil Nadu including Kanchipuram, Arani and Anaghaputhur.

Villu Pattu is said to be originated by Arasa Pulavar in the fifteenth century.

It is done in by approximately 10 people who are divided into two groups, each one trying to prove opposite points of view of a subject, hence, the government also uses it as a means of spreading social messages. The main vocalist sits in the centre of the bow with two slender wooden rods called the Veesukol in each hand. The music is created by beating the pots while singing.

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FESTIVALS

Kanchipuram is a place which is actively flooded with devotees throughout the year and has an ambience of festivity. The major festivals celebrated at Kanchipuram include • Brahmotsavam • Gardotsavam • Temple car festival • AthyayanaUthsavam Silk Tourism Festival • NaynarUryavan • Devadhiraj Mahotsavam • Sankara Jayanti • Shivratri • Thailiakappu • Pavithrothsavam • Sokkapanai • Floating festival • Vaikunth Ekadashi • Pongal • Hanumam jayanthi

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1008 Shivalingams in Ekambareswarar Temple

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Kumkum Swastika on a pillar 62

BRAHMOTSAVAM

It’s a temple festival celebrated in the Varadaraja Temple of Kanchipuram in the month of May (Chitarai) on the auspicious occasion of Vaishak Pournima which is dedicated in honour of lord Varadaraja along with his two partners Sridevi and Bhoodevi.

The ten day long long festival involves the auspicious ceremonial bath as an offering to the idol of the presiding deity on the bank of the Palar river. This ritualistic and auspicious shower is then followed by a procession that is carried out in really an extravagant way.

GARUDOTSAVAM

It’s a temple festival celebrated in Varadaraja temple in the same chitarai month as part of Brahmotsavam. On this auspicious day the deities from the neighbouring temples including Sri Srinivasa Perumal , Sri Lakshmi Narasima Perumal , Sri Kariayamanika Perumal and Sri Rajagopala Perumal arrive at the Varadaraj Temple on their Garudavahanam.

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DEVADHIRAJ MAHOTSAVAM

It’s a celebration that takes place once in every 40 years on the top the Athigis Mountain when the idol of Lord Vishnu leaning upon his celestial Serpent Shah Nag is brought out for only 48 hours.

During this festival the town of kanchipuram gears up with lakhs of devotees hoping for a rare darsha of the Aththi Vardana deity after a gap of 40 years at Sri Vardharaja Perumal temple.

The 12 foot Idol made out of Fig tree , which is lying in a silver caskets for the past 40 years in the temple tank is taken out in the early morning with chants of ‘ Vardha Vardha’ for 48 days. The Idol is kept in reclining position for the first 40 days and in standing position for last 8 days.Last time the Idol of Atththi Vardana was raised out of water was in 1979 , before that in 1939. Thus normally people get darshana of Aththi Vardana only once or twice in their life time.

The idol was the main deity of the temple during 16th century, then it was immersed in the temple tank to protect it from invaders. Later on since the temple authority could not find the original idol they conducted poojs with a stone idol.

In 1709 the authorities discovered the idol made of fig tree when the temple tank was emptied for some reason. It was then decided by them that the Idol will be taken once in 40 years and worshipped for 48days.

Serving the Holy Prasadam 64

Gopuram and Mango tree of the Ekambareswarar temple

OTHER FESTIVALS

The Floating festival is held in Varadaraja Temple during February and November. The Sankar Jayanti is celebrated at the Kamakshi Amman Temple. During Navratri festival , the temple is beautifully decorated and the goddess is decorated with the jewels, gem stones, ornaments and fine fabrics. The ritualistic poojas performed in Kanchipuram involves decoration and sincere devotion. Mahashivarathri is celebrated at Kailashnatha Temple in the honor of Lord Shiva. Kamakshi Amman festival is celebrated in the month of February while Panguni Uthiram is organized in the month of March to April.

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A figure wearing a Kanchipuram saree in Kanchi Kudil 66

COSTUMES WOMEN’S

Kanchipuram is famous for extravagant temples and rich culture. The rich cultural heritage of Kanchipuram Saree has a great significance in the traditional clothing for women. The Tamil poetry Cilappatikarm also portrays female in saree. Saree is a dress which womens wear in parties , marriages , temple festival etc.

The dress worn by the Brahmin girls before getting married is called a half saree which is a combination of a full skirt with a short blouse and a shawl known as Davani. It is considered a symbol of youth and beauty of Tamil girls.Salwar Kameez is also popular among Tamil women. Salwar is a kind of lose pant with a long top known as Kurti or Kameez. On a daily basis Tamil women wear all other kinds of casual dresses like skirt, tops, jeans etc.

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COSTUMES MEN’S

Traditional dress of Tamil men is as elegant as the Tamil women dress. Lungi is the most common bottom wear for men in. Lungi is a piece of cloth which is 1m long and 2m wide which is wrapped around the waist, covering the lower body. It comes in different colours and patterns .

In marriages, men wear Veshti which is again a rectangular piece of white cotton cloth with 1m hight and 2m with golden border. It is worn with a white shirt or without shirt along with Angavasthram. Angavasthram is a piece of cloth wrapped around the sholder, it is considered as asignificant part of Tamil men’s dress. Earlier Angavasthram was used to cover the upper body, which is now replaced by shirts.On a daily basis they wear all kinds of normal and casual clothes like pants, shirts. T-shirts, Vesti etc.

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A figure wearing a Veshti 69

Antique jewellery box in Kanchi Kudil 70

ACCESSORIES

Traditional dress of men and women are not complete without golden jewellery. Bangles, necklaces, earings, rings etc are worn by womens and chains and rings are worn by men. Tamilians give a lot of importance to gold jewellery. Women love to decorate their hair with flowers garlands known as Gajara. Men apply vibhuti along with the sandle paste on their forehead and women apply kumkum on their hands, feet and forehead.

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Kanchi Kudil 72

KANCHI KUDIL

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An old accounts book displayed in the house

Kanchi Kudil is a museum that was born out of a desire to use the ancestral property to innovatively address key concerns of tourists visiting historic places in Kanchipuram. Kanchi Kudil is a place that provides an opportunity to foreign tourists to get a feel of how the local people lived in a small town of Kanchipuram. It is a 90 year old house, renovated but authentic in its old style architecture and elegant functionality.

The simple furniture, the daily used articles, the master’s room, the ladies room, the child room , the pooja room , the kitchen, the courtyards, the backyard with agricultural implements are all kept open with suitable exhibits so that a visitor can get glimpse of

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how an agricultural family lived in a small town not too long ago. Added features are descriptions on the history of kanchipuram and its temples, traditional music’s handicrafts for the tourists to see. The house is designed to suit the tropical climate of region, the seasons which are often referred to as hot, hotter and the hottest month of the year. Outside the house, it has a stage like structure in the portico which is called ‘thinnai’ in tamil along with the ‘thoon’ which is the pillar ( very important element in Tamil homes), it was constructed mainly for the travellers to take rest on their journey across the village.

Kolam drawn on the floor of the entrance

The entrance of the house is adorned with a beautiful small kolam (designs drawn everyday using rice flour drawn in front of the main door). The main door leads us to a hall way where they have kept old photographs and other old artifacts. On the right side of hallway we come across a room which is the Master’s room, the room had an old telephone, an accounts book which belonged to the owner of the house , an iron locker, a blazer which was used by the main head of the house and few other things. The house belongs to a family of Vellalas an agrarian community. Paddy was the main cultivation – after the harvest, paddy (rice covered with husk) which needs to be sun dried for extended storage. A typical feature of Vellals house is the provision to conveniently stock the paddy for later consumption as well as for selling in the market at the right time.

Rafter seen in that room is used to support a wooden attic for holding paddy grains for this purpose. The attic floor has a trap door that that lifts to provide access from the room.

The room is itself a master of the house – as the head of the family keeps all vital documents and large sums of money in the iron locker.

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Entrance hallway with stone flooring adorned with Kolams

Through the hallway we come across quite a few kolams on the stone flooring which made the kolams look even more beautiful. The front entrance of the house is usually in straight line with the entrance to the backyard. The hall way leads us to main hall of the house, which is a huge room that is divided into two parts. First part is where the dinning happens. They have their food on the floor where there is a narrow wooden plank kept for sitting and other utensils kept which were used to serve and have food.

The head of the family, other male members of the family and children were served food first, seated cross legged on wooden plank placed on the floor. The meal would generally consist of three main courses and a few side dishes served on a banana leaf plucked from clump of banana trees in the backyard. Women of the household would serve the meal, course after course, and eat last, serving themselves. Often their meal will be reduced to gruel, the water in which rice was boiled and some left over rice etc.

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A swing, hand fan and gramophone in the main hall of Kanchi Kudil

There was huge swing which is known as oonjal in same hall just behind the dining area with the traditional tamil fan kept on it which known as ‘viciri’. The hall also had so many other artifacts like a gramophone and many other small show pieces of brass, white metal, metal, along with many old photographs and lamps made of brass. The tiles and wooden rafters are poor conductor of heat and this goes a long way in keeping the house cool and comfortable in the hottest month also without any modern gadgets.

The hall opens to 5 more doors, among which one opens to the kitchen and the courtyard.

The other doors lead to different rooms like pooja room , childs room, ladies room. The door to the

kitchen and courtyard, takes us through a hall way where there are stairs to the attic door that opens to the terrace where the grain would be dried and then shoveled into the attic. Through the hallway we reach the kitchen, bathroom and courtyard area. As Tamil Nadu is a very hot and humid state, the courtyard which is known as mutram , which is an open area, allows a lot of air flow and natural light into the house, It also allows the heated air to escape so that the room temperature remains comfortably cool. In the mutram there was a small well which was basically inside the house in the open courtyard .It was small in width but deep, which is used for the water purposes in the house.

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The kitchen and the bath area were also adjacent to each other in the same courtyard area. The kitchen and the wash area were open spaces and were separated by a 1 or 1.5 m long wall. The Kitchen is designed in such a manner that there is enough room for several women to sit and work simultaneously on the floor. Rice and Ragi were main staple food for them. So the tasks of sorting, pounding, wet grinding and dry grinding of cereals and pulses, using specially designed implements made of stones and metals, kept the women occupied. Besides the time spent for cooking and cleaning they had to look after children and the animals.

Kitchen with utensils 78

Wash area

There was also an area which was specifically for washing with a raised platform for washing clothes on them. Along the sides of mutram or open courtyard there were many old machines kept which were used in the kitchen like grinder, mixer etc.They were all made of stones and metal. There was also a big water container made of metal, a grinder made of wood and also an old bent back chair etc. There were also many pots kept on shelves which were made of clay and brass.

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Again through this area there was an entrance to the pooja room. The pooja room was mainly devoted for Shiva , which showed that the family were a devoted Shiva worshipers, with lot pictures and small show pieces of Shiva along with many other pooja materials. Right next to the pooja room was the ladies dressing room which had a huge dressing table which was the size of a normal trunk but with lot of compartments and drawers and a small mirror. There were lot of ornaments kept in the boxes and shelves inside beautiful jewelry boxes, small beautiful boxes or containers for kumkum, hairpins etc. Their dresses were hanged on a rope tied inside the room. All the rooms inside the house had an opening in the ceiling through which light comes into the rooms

because most of the rooms had no window so it was quite dark inside most of the rooms.

Opposite to the Ladies room with the oonjal in the hall in between was the kid’s room. The kid’s room had a cradle which is known as ‘thotil’ made of wood. There were many toys like horse to ride for the child and an elephant toy with wheels so that the child could sit on it and move. There were many beautiful dolls and others toys which was again made of wood, even this room didn’t have any window other than the opening in the ceiling.

Kanchi kudil, the house mainly depicted the lifestyle of people in Kanchipuram, the kind of houses they live in, the kind of utensils they use, the kind of ornaments they wore and kind of everyday objects that they used.

Lord Shiva statue in the pooja room 80

Children’s room 81

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A glimse of Kanchi Kudil 83

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ABOUT THE CRAFT

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THE CRAFT

Kanchipuram was originally a cotton weaving centre with silk being a new entrant.

But with over 30,000 weavers employed in the art of saree making, the silk industry in Kanchipuram has become one of the fastest growing industries in India. Woven from pure mulberry silk dyed in dazzling vibrant colours and embellished with zari designs, Kanchipuram sarees are the pride of South India. The inimitable merits of the Kanchipuram Silk sarees ensue from its intricate and highly unique designs, high quality of materials used including cotton, silk and zari, the superior craftsmanship, the indigenously developed weaving technology and strength, and durability of the sarees delivered. Notably in the year 2005-06, the Government of India recognized Kanchipuram silk sarees as a Geographical Indication (GI).

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Weaving work on progress 87

Goddess of Kanchipuram 88

ORIGIN AND HISTORY

The silk saree tradition of Kanchipuram dates back to times immemorial. With the origin dating back to about 400 years ago, Kanchipuram sarees have come a long way. It was during the reign of Krishna-Deva Raya, an emperor of the Vijayanagara Empire that the weaving communities of Andhra Pradesh, the Devangas and Saligars, migrated to Kanchipuram and exhibited their expertise in silk weaving here.

Hindu mythology claims Kanchi weavers to be descendants of Sage Markanda, the master weaver of Gods.

It is said that Lord Shiva loved to wear cotton while Lord Vishnu loved to wear silk.

Therefore the handloom saree weaving traditions in Kanchipuram simultaneously evolved both the segments contributing to the production of both cotton and silk sarees.

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An antique loom 90

PROCESS

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Degumming and Dyeing : Raw silk is first degummed to remove the sericin from silk using a soap and soda solution to revive the sheen and texture of the yarn. The silk is then dipped into boiling water with the required colour of dye added. The process is completed with rinsing of the coloured yarn with water to eliminate excess dye and is then left to dry. Stiffness of the saree is said to be obtained because it is dyed in the water of river Palar which flows through the city.

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Dyeing

Spinning : Coloured yarn is reeled onto bamboo spools which is then transferred to spindles using the spinning wheels to clear entangles in the yarn to ensure a smooth weaving process.

The spindles are then inserted into the shuttle.

Warping : The warping process is done on the streets mostly in the early mornings. The warp is stretched between two poles and cotton threads are inserted to identify the damaged silk yarn. The threads are then soaked in rice water and sun dried before being loaded onto the warping machine to prepare warp beam.

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Spinning

Bamboo spools with coloured silk yarn

Reeling coloured yarns on to spindles

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The lustrous threads during the weaving of kanchipu94

Making and loading punch cards : The designs for the saree are first traced and plotted on a large graph paper after which it is transferred to thick cards manually. In recent times, this process has become automated.

The image of the design is scanned, traced, filled with bitmaps and then put into the card punching software. These cards are linked in a chain as per the design and are then attached to the Jacquard machine which reads the pattern of holes punched and lifts the thread associated with the design formation to achieve the pattern on the saree.

4 Punch card making machine

Weaving techniques : Kanchipuram sarees are woven using three shuttles in accordance with the korvai technique. Two side shuttles carry colours of the thread used in the borders while the third middle shuttle carries the thread for the main body of the saree. This way the borders are interlocked as the saree is being woven. The borders are usually in contrasting colours with the body of the saree.

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The pallu which is usually in the colour of the border is woven by cutting the original warp threads of the body and connecting a new warp. A technique known as petni is used to join the pallu to the body in which the main body warp and the warp of the pallu are woven with the weft threads of the pallu for a few inches before cutting off the warp of the main body.

Weaving

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Three qualuties of Zari

Raw silk 96

RAW MATERIALS

Kanchipuram silk sarees are woven from pure mulberry silk sourced from South India, mostly Bangalore and its adjoining areas while the Zari is sourced from Surat, Gujarat. Generally 2 ply silk threads in warp and 3 ply in weft are used in the sarees. The ply of silk refers to the number of threads twisted together to form the yarn used to weave the fabric. Zari is used in the ratio of

40% silver and 0.5% gold. Silver wire is used to conceal the core silk thread which is then gilded with gold to make the zari.

The traditional Kanchipuram saree is woven in a throw shuttle pit loom using the adai technique which is now slowly being replaced by jacquard weaving and punched cards which creates complex designs with much less labour.

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TOOLS

Jacquard fitting : Most of the looms are handlooms that have been converted into jacquard looms by attaching the jacquard mechanism to the older loom that is operated by a punched card system which selects individual warp threads.

Warping machine : It is a hollow octagonal frame which is cylindrical in shape that is used to make the warp beam.

Charkha : It is used to spin yarn to spools and spindles for the preparation of the weft.

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Bamboo spool (Parivattam) : Once the silk yarn is dyed and made into a bundle, it is spun onto bamboo spools to clear entangles in the yarn. This way it becomes easier to store the yarn and also ensures a smooth weaving process. The yarn from the bamboo spools is then transferred to small coloured plastic spindles that are inserted into the

Shuttle : Shuttles are thin bamboo blocks pointed on both sides. The spindles with the weft yarn are inserted into the shuttle which passes from one end of the loom to another between the warp yarn which results in the interlacement of the warp and weft to form fabric.

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WEAVING PROCESS Shedding : Shedding is a process of separating the warp yarns in order to make a tunnel or ‘shed’ through with the shuttle can be passed from one end of the loom to another.

Picking : Picking is a mechanism by which the weft thread is passed from one selvedge of the fabric to another using a shuttle.

Beat-up : Pushing the newly inserted weft yarn into the woven fabric using the reed is known as beat-up.

Take-up and let off : Winding of newly constructed fabric on a cloth beam with each weaving operation is called take up. At the same time warp yarns are released from the warp beams, this is called let off.

Applying gum : Gum is applied on the surface of the saree while weaving to give stiffness to the fabric.

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Loom fitted with a jacquard 101

HEALTH ISSUES

To understand the health issues and problems at workplace of the weavers an observation was done. It was noticed that the workplaces were mostly small with a no safety measures. They work under harsh atmosphere with the heat of Tamil Nadu in those small rooms without proper equipment of for air. Their working conditions includes stimuli like noise, lack of lighting and fresh air, and exposure to dust and fibre.

The handloom equipments were poorly maintained and were seen to be very old and unsteady. No first aid box was seen in the room which should be present to treat general cuts, wounds, pains

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or medicines for head ache or fever. After interviewing the weavers, it was found that musculoskeletal problems were common amongst them. Due to long working hours, the weavers get issues like back, knee and joint pain. Analysing the situation, it could be said that these issues are common and continuing amongst the weaves due to lack of appropriate hours of working, no physical activities to keep a healthy posture, and financial instability. The hygiene and maintenance were lacking in their workplace making the weavers prone to diseases and infections of all types, fever, cold and flu, gastroenteritis etc.

SUGGESTIONS

In order to keep the weavers safe and healthy and to preserve the craft certain health measures should be taken. At every work station or the places/lanes filled with weavers, awareness of health issues should be provided through various means. The weavers must be given a listed guideline to follow in order to keep their posture right and take breaks in between work. An appropriate number of hours for work should be assigned to all the weavers.

The government shall pass certain legislations in order to provide basic safety and hygienic and clean working environment. There should be a regular check done on to ensure safety and health measures are being obeyed. Ergonomically designed chairs and foot rests must be provided in order to avoid the common issue of back pain amongst the weavers.

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MOTIF AND COLOURS

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“The kanjivaram’s colour stories unfold in a stunning lexicon, full of native flavour, indegenous and reminiscent.”

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COLOURS

Bamboo spools with coloured silk yarn 107

Colour is one of the most important aspect of India, it bolsters emotions, ideas and sensory perceptions in clothing, food and music. With the vibrant hues of natural landscapes to the diverse palettes of market places, from the vibrant festivals to the flamboyant clothing, colour is an integral part of India’s culture and traditions.

Every colour holds an underlying symbolic meaning and mood with religious or historical significance making it one of the most important feature of a Kanchipuram saree which relies on the interplay and balance between structure and colour.

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Dyed silk yarns hung for drying 109

Saree being woven in the colour of Haritha 110

HARITHA THE COLOUR OF LIFE

One of the essential colours of the ancient craft present long before the introduction of synthetic designs, Green, the colour of life comes alive on the exquisite silks of the Kanchipuram saree. With myriad shades ranging from jewel tones to soft pastel hues, green is an extremely versatile colour evoking a sense of positivity and freshness. Colour inspirations are drawn mostly from nature and the nomenclature from daily life, food and culture.

The colour green has a deep spiritual connect in South India. The deity of the Meenakshi Sundareswarar temple is always represented in a striking shade of emerald green. Narayana, the lord of the Azhwars (the Tamil poet saints of the Vaishnavite sect in South India) and the brother of the deity Meenakshi is also depicted in green. ‘Pacchai Mamalai Pol Meni, Pavalavai Kamala Sengkann’ is a hymn by the saint Thondaradipodi Azhwar which describes the lord as a green mountain with lotus eyes and red lips. South India celebrates green as a philosophy, a concept and a way of life and is therefore a very auspicious colour for bridal sarees alongside vermillion, kumkuma arakku and yellow.

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Elakkai Pachai

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Paasi pachai

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Ilai Pachai

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Pon Vandu

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Kili Pachai

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Ali Pachai

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Manthulir

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Emerald green

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Mayil Kazhuthu

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Bottle green

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RAKTHA THE COLOUR OF PASSION

Raktha is one of the most auspicious colours for bridal wear and symbolizes love, passion and devotion. The colour is draws inspiration from fire and blood, two natural elements that hold rich historical significance. Fire or ‘agni’ was perceived as a living being, and an early object of worship. The mother goddess associated with the principle of creation is also depicted in red. Red was the first colours humans mastered, fabricated and reproduced in different shades. The Coromandel Coast was famous for the red colour derived from the roots of “manjista” (commonly known as Indian madder) The remnants of madderdyed fabric in Harappa indicates red’s preeminence in every civilisation. The British documented the famous “Madura Red” from the plant called Chay or “Chaya Ver” in Tamil.

Red was among the prominent colours in the palette for the sarees woven for Kamakshi, the goddess of Kanchipuram.

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Kempu

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Arakku

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Milagaipazham

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Kumkumam

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Thakkali

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Sengal

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Sembaruthi

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Pattu Roja

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Paneer Roja

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Vengayam

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Thamarai

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Rani Pink

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Meenakshi

Saree in the shade of Rakhta with gold zari motifs.

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Antique saree in the colour- Nila 114

NILA INFINITY IN BLUES

Blue, the colour of spirituality holds deep historical significance. It is said to have descended from the Sage Markendaya, the weaver of the gods. Lord Vishnu is represented in a dark shade of blue and the dual from of Lord Shiva described as Nila Lohita is represented in deep purple obtained from a combination of red and blue. Natural indigo remains, till today, one of the most loved dyes for fabrics in the country. In Christianity, this sacred colour invokes mother Mary who is also draped in a heavenly shade of blue.

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MS Blue

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Turquoise

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Ananda Blue

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Sapphire

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Navy Blue

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Copper Sulphate

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Nilambari

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Ramar Blue

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Ink Blue

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Kathiri Poo

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Sky Blue

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Lavender

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December Poo

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Krishna Meghavarnam

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HARIDHRA KANJIVARAM’S COLOURS OF THE SUN

Yellow, the colour of turmeric, the golden spice has a is deeply ingrained significance in the consciousness and culture of India. Lord Vishnu is often described as the one who wears a shining and lustrous yellow silk. A shade of yellow called “Basanti” is achieved by mixing turmeric with a carbonate of soda or lime juice. Yellow was also produced from bright flowers. Yellow, orange and saffron have a deeper spiritual significance too. Indian sanyasis and sadhus traditionally wear a saffron garb, referred to as Kashayam. Used in various rituals in South India, these colours are extremely sacred and suspicious. Apart from the custom of smearing the body with turmeric at weddings, garments dyed or marked at the corners with the vivid yellow of turmeric are considered lucky and to possess protective powers. In south Indian households a ‘Haridhra Ganapathi’ or a simple prism made out of turmeric paste is used to propitiate Lord Ganesha at the start of a pooja. In Valmiki Ramayanam there is a description of Sita, the betrothed of Rama, dressed in beautiful yellow silk.

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Srichuranam

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Elumichai

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Mambazham

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Kumkumapoo

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Pasu Manjal

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Sandhanam

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Kanakambaram

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Vendhayam

A golden Kanchipuram saree 117

A black Kanchipuram saree 118

SHYAMA, SVETHA EBONY & IVORY

Black and white represent a psychological force in the world of colour and design. Despite the Kanjipuram saree being closely associated with more vibrant and deep jewel tones, these two hues still hold a firm place in the cultural and social symbolism of the textile heritage. Black is the colour used to ward off the ‘evil eye’ and new born babies are often seen with a black spot drawn on their cheeks and black bangles.

Weavers of the Kanjipuram saree use black yarn more often in the weft pattern of a sari, infusing the warp colour with a darker hue.

Lord Krishna is also referred to as Ghanshyam, drawn from ‘Shyama’, the colour of dark storm clouds. In contrast, white or ‘Sveta’ is considered the purest of the pure, touched by the divine, and is traditionally the colour worn

by Christian brides. The Kanjipuram wedding saree in lustrous shades of white with golden zari takes on various hues - of pearls, butter creams and ivory. The goddess Saraswati is often depicted as a beautiful deity dressed in pure white, seated on a white lotus which symbolizes light, knowledge and truth.

Traditional wedding attire for men in South India is a “ven pattu veshti” or a white silk dhoti. “Palum Pazhamum” black and white checks on Kanjipuram saree have always been a timeless and elegant design.

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Karuppu

Eiyam

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Muthu

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Kumaran

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Sambal

Cement Grey

Yanai

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Adding a new dimension to the visual appeal of a saree, motifs narrate wonderful stories to the ones curious to listen.

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MOTIFS

Motif chart by Mr. Krishnamoorthy 121

Echoing the ethos of the land and its people, motifs offer a new dimension to the visual appeal of a traditional Kanchipuram saree. Usually drawn from elements in nature, temple architecture, sculptures and jewellery, every motif has strong symbolic connotations and plays a twin role of being aesthetically appealing and representing a deeper symbolic meaning. Most traditional motifs in South India either serve as protection from the evil or lend auspiciousness to special occasions.

Apart from using motifs on the body of a sari, weavers also use a number of geometric patterns to break the monotony of a single colour. A traditional textile like a kanjivaram conveys a great deal, not only about the artisan’s skills, but also about the history, culture and traditions of the region.

A black Kanchipuram saree with gold and silver motifs 122

Motif designs

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A temple pillar with the Annam (Hamsam) motif

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BIRDS AND BEASTS

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Annam (Hamsam) – A recurring motif on the kanjipuram drape, the beautiful swan motif, celebrated by poets and philosophers is drawn from the walls of Kanchipuram temple.

These graceful water birds referred to as ‘Chakravaha’ depicted fidelity in ancient literature.

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Iruthalaipakshi (Two headed eagle)– Used as an emblem for the Wodeyars, the rulers of the Kingdom of Mysore and as an important symbol in the Vijayanagara mints, the two headed eagle symbol has great historical importance. Taking on a regal splendour, this motif is woven into a kanjipuram saree in rich gold zari or coloured silk yarn.

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Kili (Parrot) – Representing truth and playing the role of a messenger, the parrot is an important symbol in the Tamil culture. Legend says that Sage Suka and Sage Arunagirinathar took the form of a parrot to recite and record some of the greatest shlokas. This motif is also associated with the God of Love, Kama. It is therefore used extensively in a brides wedding sari.

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Mayil (Peacock) – . Yaperungala Vriti, a 12th century text, describes the city of Kanchipuram as a peacock with Athiyur(where the Varadharajaswamy temple is located) as the head of the peacock and Shaiva Kanchi temple as the body. The national bird is also associated with the worship of Murugan, who is depicted on a peacock vahana or vehicle. Representing royalty and regal pomp, the peacock motif has deep rooted symbolism.

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Simham (lion) –Carved on the mandapam pillars of the Vaikunta Perumal temple, the lions are not mere adornments of temple architecture but embody the brilliant conquering power of goddess Durga. The king of beasts is associated with the mystical yaali in the textile design of Tamil.

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Yaali - The yaali, a mythical creature that is part-lion, part-elephant and part-horse, is ubiquitous in Tamil temple architecture and the Kanchipuram sarees. The yaali is also a vehicle of Budhan (the planet Mercury).The majestic gopurams of temples in South India have rows of lines specifically crafted for depicting the yaali, referred to as the ‘yaali varisai’.

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Maan ( Deer )- The golden deer is described in the Ramayana and is symbolic of innocence and non-violence. It is also connected with the iconography of Lord Siva and is the vehicle of Vayu, the god of wind. The exquisite silk drape of the Kanjipuram saree brings the gentle nature of this animal to life

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Animal carvings on a pillar 127

Flower motifs

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FLORA 1.

Thazhampoo reku (kewra flower) –The temple motif is an extremely auspicious symbol.

Towering gateways called gopurams are very important in the Dravidian style of architecture.

Rows of large triangles resembling the temple gopurams referred to as reku (a bundle of grass) are woven into Kanchipuram sarees. Representing the female participle, flowers are cherished in the Indian culture. The thazhampoo is a scented yellow flower with sharp petals that used in hair ornamentation.

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Manga (mango) - The Sthala Vruksham is the mango tree of the Ekambareshwar temple, the main Shaivate shrine in Kanchipuram. The deity is referred to as “ekamban�, the one who resides under a mango tree (eka amram). In kanjivarams, the mago motif is woven in different sizes on the borders and mundhanai as well as on the body as small buttas.

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Rudraksham- Rudraksha beads are considered sacred by the followers of Shaivism.

Rudra is Siva and Aksha means tears and are said to have originated from the tears that Shiva shed when the tripurars were destroyed.

Mythology states that when Parvati wanted to adorn herself in jewels, Shiva reached up and rudraksha fruits fell from heaven into his hands which she wore. The commonly held belief is that the beads ward off the evil eye.

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Kamalam orThamarai (lotus)- The lotus has been regarded as a manifestation of the divine, and is associated with the Goddess of wealth Lakshmi, Saraswathi and also with Brahma, the creator.

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5.

Thuthiripoo (udhiri pookal) Thuthiripoo is a another word for utharippu meaning loose flowers. This motif is used in between border compositions, lending delicacy and elegance to the drape.

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Kodi Visiri (creeper)-. The floral creeper designs elegantly link motifs and buttis. The term kodi visiri in Tamil aptly describes the gentle way the tendrils cling and wind themselves around the surrounding trees. A kanjivaram sari displays the unique design of the creeper along the borders or as a pattern of the mundhanai.

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Paai madi (basket weave)- The paai madi is a panoramic view of the tabby weave. In this weave, the warp and weft are aligned so that they form a simple crisscross pattern. The paai madi weave in a kanjivaram usually forms part of the ground fabric of a sari and is sometimes depicted richly in zari in the mundhanai.

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Malli moggu (jasmine bud) - Mokku or moggu is the Tamil word for a flower bud.

Malligai or jasmine is one the most used flower in used in everyday rituals, adorning a woman’s hair, forming garlands for gods and bridal couples. They are always represented as buttas on the body of a kanjivaram.

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Creeper motif

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Intricate carvings on a pillar 132

JEWELLERY 1.

Jadai Nagam – The jadai nagam (literally meaning hair serpant) is a ruby and diamond studded divine cobra that is part of the elaborate hair ornaments worn by a bride in Tamil Nadu. These jewels are a part of the head ornamentation of Bharatanatyam dancers . The top portion of the jadai nagam shaped like a snake’s hood is depicted as a stylised floral design in the kanjivaram sari border.

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Muthu Kattam (Pearl checks) - Pearls, the gems of the ocean, were used in the adornment of royal kings and queens and held in high regard. Tiny white dots are woven as Kattams by extra weft either in white silk thread or zari throughout the body of the sari.

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Vaira Oosi (Diamond needle) - Needle-thin lines that run parallel to the border and selvedge of a kanjivaram saree are known as Vaira Oosi. Adding glitter and texture to the drape, this pattern runs all over the warp of the sari interspersing with the colour of the body which makes it a splendid sight. The sheen and lustre spell sheer luxury.

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Neli / Rettai Neli - Neli is the pattern of the toe-ring which is worn by the bride during the marriage ceremony. The wavy double lines are also used as border designs in kolams. In a kanjivaram sari, this design is depicted as a single or double wavy line.

Woven as an accompaniment to the main motif of the sari on border and pallu, the neli designs look stunning when they run all across the body of a saree.

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5.

Pavunpet – Pavumpet is a striking design of a gold coin. It looks similar to the rudraksh but has two vertical lines on either side of the central coin. The motif is woven on the border of the saree but also as buttas on the body sometimes.

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Vairam (Diamond pattern)- A geometric pattern made with the diamond shape. The intricacy of this design enhances the pallu and border design compositions in the kanjivaram saree.

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Salangai – Salangai is the anklet worn by dancers. This ornament has small bells attatched to it that look like small droplets. On kanjivaram saris, this pattern is depicted in rows on the border.

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Vanki – Vanki means armlet that has a unique V-shaped design. Legend states that the origin of this motif can be linked with snake worship.

Vanki motif has angular lines that are closely places to form a beautiful pattern on the border of the sari.

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Carved pillar in Ekambareswarar temple 135

INTERVIEW

Name : Kannan Age : 57 Education : 10th pass (SSLC) Occupation : Weaver Experience : 24 years Place : Arani Address : Chinna Kadai Street, EB Nagar, Arani, Tamil Nadu - 632301.

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Mr Kannan, a weaver from Arani when asked about the craft, business and his life, gave interesting descriptions of how he was introduced to the craft when he was ten years old. With twinkling eyes and a smile on his face he proudly began explaining how he picked up the craft and started helping his family. He shared his grandmother’s anecdotes of how his family migrated to Arani from Saurashtra, their actual place of origin. During the invasion by the Delhi Sultans and later by the Mughals, the weavers of Saurashtra were forced to move down south, and they settled in various places and a large weaving community settled in Arani.

Due to the patronage they received from the kings in South India, they settled down here and developed the craft under the ruler’s encouragement. Generations later, Mr Kannan is continuing his family’s legacy in weaving hand woven silk sarees. His family includes his wife, his two children; a son and a daughter and himself. His daughter a graduate, working in a call centre in Chennai has started helping him to run the house and thus lightening his burden of taking care of

the family in a very fast paced world. His children are not into weaving leaving him as the last person in his family doing this craft. He also mentioned that the craft has been converted into a mere process where the weaver has become a link of a chain He is satisfied with the pay he is getting from the work. Weaving has turned into a very costly business and weaving a saree takes at least eight days with raw materials like silk sourced from Bengaluru and the gold zari imported from Surat.

Mr Kannan was a very bright and cheerful person. He spoke about his family and said that his wife was the person who actually runs the house. The couple were very proud to say that they have been married for thirty years and also shared stories of how they earned their first salary after weaving and how they bought their house. It was evergreen in their mind.

Though he was the last person to weave in his family, Mr Kannan was very happy to have carried his family lineage and was very proud to have been a weaver..

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Mr. Kannan 138

Mr. Kannan working 139

INTERVIEW

Name : B. Krishnamoorthy Age : 61 Education : 8th pass Occupation : Weaver Experience : 31 years Place : Kanchipuram Address : Mettupalayam street, Little Kanchipuram, Kanchipuram - 631501.

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Mr B.Krishnamoorthy is a National awardee for his achievement in the handloom weaving industry in Kanchipuram. When asked about his life, work and contribution to the handloom industry, he extensively described everything.

Krishnamoorthy was the fifth among eight children of his parents. Educating all their kids was an uphill task for the father who was a weaver himself. So Krishnamoorthy took up the work along with his father and started helping and observing his faher while he was working. This whole observation that he had from his childhood, helped him later. Krishnamoorthy set up his own loom when he was thirty and started his business.

During this time, he was one among the few who were remaining in the handloom sector as the powerloom started taking over the saree manufacturing sector.

So Krishnamorthy found the need to educate people from his community about handloom and the necessity to save the craft

from dying. In order to do this, he started teaching people the art of weaving in a jaquard loom. Slowly the craft started taking back its seat in the weaving sector and now Krishnamoorthy wanted to go further deep to save the basis of the craft.

He started digging deep into the motifs and patterns that were used in the sarees to find the traditional ones.

His research led him to temples, museums and a wide array of places and he documented 116 motifs as indegenous to Kanchipuram and weaved it into the longest ever handloom saree woven. It is 60 feet in width thus making it the widest ever made.

He is proud about his achievement because he considers revivng his legacy and passing it down to the younger generations is a necessity because this identity which according to him everybody in Kanchipuram, Tamil Nadu and the whole of India needs to be proud of considering the multitude of arts and crafts form available around us.

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Award winning long saree by Mr. Krishnamoorthy 142

Award winning long saree by Mr. Krishnamoorthy 143

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145

SWOT ANALYSIS MARKET SURVEY VALUE CHAIN MAPPING

146

MARKET POINT OF VIEW

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Z Z Z Z Z Z Z Z

Headquarters of major religious groups Use their history as motifs Skilled Artisans Different and unique style of making sarees Preserved old rituals Equal ratio of gender working Minimal health hazardous Artisans of all age group were working

S

STRENGTH

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Z Z Z Z Z

Middle men are included Time consuming Lack of marketing returns are less lack of knowledge about motif.

W

WEAKNESSES

Z Z Z Z Z

The craft flourish through exports Have a rich history in terms of religion and culture tourist spot They can have more product range Developing

o

OPPORTUNITY

Need more branding Emergence of power loom Need an identity for themselves Z Decrease in quality Z adulterated sarees Z Competition Z Z Z

T

THREATS

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MARKET SURVEY Objective of the market survey : 1.

To study the buying behaviour of the costumers for Kanchipuram Silk Sarees in general and in particular.

2. To identify the purchase price and preferences of Kanchipuram Silk Sarees in different place of purchase.

Primary Data:

A sample study was made in regarding the customers on the bases of preferences . The survey was sent across to a large variety of people from caste , religion and area of living. The market survey was done to obtain the objectives.

Tools of Analysis :

The survey or understanding of the market is studied using pie chart diagram and percentage analysis.

Limitation of study:

150

The market survey was made in the mist of Bangalore city and a general market survey was done online which was filled by people living across. The Survey was constrain to a market of 150 costumers.

Demand and supply analysis and Factors responsible for retail of a saree: Range of sarees from Rs 3000 - 2 lakhs Two types of silks are used : Imitation and pure Range of Imitation silk sarees : Rs1000-3000 Two types of zari : Artificial and pure Range of sarees made with artificial zari : Rs4000-25,000 Range of sarees made with pure zari : Rs20,000-2 lakhs Most colours preferred : Pink, Red, Maroon, Gold Colours preferred for wedding receptions : Maroon, Pink, Peacock colour Least sold colour : Black Cost of saree depends on design and quality of zari used Only pure silk and pure zari used The ratio of zari to silk in a costly Kanchipuram saree is 7:3 (70% zari, 30% silk) Profit : Less than 10% margin on a saree The retailer buys 100-200 sarees per week Most of the sarees are bought during the festive and wedding season A pure handloom Kanchipuram saree takes about 30 days to be woven Power-loom weaves about 6-7 sarees in a week Daily sale :10-12 sarees Sale during festive season : 30-40 sarees per day

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Understanding of market through responses

84.7% of the responses were yes and 15.3% of the responses were no.

48% of the responses said they buy Kanchipuram sarees rarely (once in two years) other 48% said they buy occasionally (once in a year)and 2% buy it frequently (six months once).

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74.7% of the responses preferred a price range of 3000 - 10000 INR and 20.7% preferred a price range of 10000 - 20000 INR. 4.6% of the responses were ready to spend more than 20000 INR to buy a Kanchipuram saree.

82.7% of the responses of the responses preferred handloom sarees whereas 17.3% of the responses preferred powerloom sarees.

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31.3% of the responses inclinded towards maroon, 24% preferred red, 19.3% prefered pink, 10% of the responses liked black, 6% preferred blue and the rest of 9.4% of the responses preferred othercolours.

91.3% of the responses liked natural silk and 8.7% of the responses preferredartificial silk.

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87.3% of the responses preferred to watch the process while 12.7% voted no.

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CONCLUSION OF MARKET SURVEY The market survey conducted helped us gain insight into consumers behavioural patterns and perceptions towards Kanchipuram sarees. Through our research we can conclude that pure silk , handloom sarees are preferred over power loom irrespective of their higher price point. Maroon, a shade of red representing passion and devotion is a popular choice among the masses . According to the survey, Kanchipuram Sarees are mainly purchased by the middle class to be worn on festive occasions, especially weddings.

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VALUE CHAIN MAPPING

Raw material

Silk price per kg - 3300 INR per kg Warp price per kg - 3950 INR per kg Weft price per kg - 3650 INR per kg

Gold zari price per gram - 3250 INR per gram

Dupion price per kg - 2000 INR per kg

Transport

Diesel price - 68 INR per litre Labour cost - 200-300 INR per day Combined - 1000 INR per day

Margin - 10% approx

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Packaging - 8 INR per box

Dyeing silk price per kg - 200 INR per kg

Handloom weaving Adai technique Jaquard technique

Weaving single saree (daily wages)

Punch card designing - 2.50 INR

- 300 INR per day

per card

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PRODUCT DESCRIPTION

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111 cm 15 cm

Motifs used: Annam / Hamsam / Swan -border Mango butti / Mambazham -body Kalasam / Divine pot -body

516 cm 161

SHOOT PIC

Kanchipuram saree shoot 162

OUR LEARNINGS The extensive research done and data collected gave us an insight of the process of fibre turning into a fabric. We became familiar about procuring of the raw materials to the processing, dyeing, and lastly weaving of the yarns into precious sarees. We got the chance to connect with the artisans, learnt about their families, their struggles, their love towards the craft and how it is their source of income.We learnt about the meanings of various colours and motifs used in the Kanchipuram sarees. We learnt about the rich religious and cultural heritage of Kanchipuram and how beautifully they are used and are connected with the sarees. We got to explore the district and also the various temples, we were privileged enough to evidence Athi Varadhar, a festival which only happens every forty year. We were honoured to meet Mr Krishna Moorthy, who is a National Award Winner, who presented his stunning designs and gave us an insight about the importance of the motifs.

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EXPERIENCE

Happy and excited faces, this was our first trip outside Bengaluru together as a class. That’s where our journey started, right beneath the showroom of “Giria’s” everyone pumped up like never before in any of the usual morning class. Bumping each other’s luggage filled with clothes, food and enthusiasm in the bus, we all proceeded for a 7-hour ride. We reached the hotel with the same excitement and energy even after hours of chit-chatting, dancing and singing. Settling in the room with our favorites we prepared ourselves at night to explore the city and absorb the experience and knowledge. We also got the chance to explore various tastes of South India from breakfast to deserts of Tamil Nadu, which gave energy to walk and work.

Everyday we spent nice good time warming up with a walk to to the bus stand. It used to be a task getting on the bus everyday and travel for long hours. But we used it productively by having group discussions to plan our day. It was like an interesting treasure hunt everyday to look for weavers.

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From each and every place we got such valuable information, we got to chance to connect with the weavers on a personal level and observe and understand their livelihood and work. We were overwhelmed by the love and support we received from each artisan we met. We felt welcomed.

This made it easy for us to work, gather and document each thing with pleasure. We loved exploring the city filled with temples, we were able to connect and relate the cultural heritage of the place with the craft.

The group participation was great and we bonded with each other during the trip, which made the cluster more enjoyable.

Even though we faced a lot of day to day challenges, we learnt how to overcome them as adults. We became more cohesive and united both as a group and class. From giving us a glimpse into the realities of the craft sector to helping us polish our life skills, our trip to Kanchipuram has been a great learning experience.

GROUP IMAGES

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CONCLUSION

One week, three neighbourhoods and a plethora of memories; the trip to Tamil Nadu left everyone appreciative, awestruck and well informed. The quiet sensitivity of the weavers rooted in custom, ritual and religious fervour integrated with elements of design and colour truly makes Kanchipuram sarees “the weave of the gods�. The magnificent process of turning silk to saree turned out to be a journey through the mythological history, culture, lifestyle and architecture of the region. Experiencing the undying passion, dedication and warm hospitality of the artisans irrespective of their circumstances was indeed heartening. Leaving with a lot more appreciation and respect for the craft and the craftsmen, this trip was surely an eye-opener and great learning experience for all.

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BIBLIOGRAPHY

“The Sarees of the Gods.” Madras Musings We Care for Madras That Is Chennai The Sarees of the Gods Comments, www. madrasmusings.com/vol-26-no-5/the-sarees-of-the-gods/.

B. Bowonder, and J V Sailesh. ICT for the Renewal of a Traditional Industry: A Case Study of Kancheepuram Silk Saree. planningcommission.nic.in/reports/sereport/ser/stdy_ict/7_kanchee.pdf.

D. Pushpa Gowri, and Dr. Anitha Ramachander. AN OVER VIEW ON THE GROWTH OFKANCHIPURAM SILK INDUSTRY. 27 Nov. 2018, www.isbr.in/journals/An-Over-view-on-the-Growth-of%20Kanchipuram-Silk-Industry.pdf.

“Kanchipuram Silk: All About Kanchipuram Silk & Its Background.” Utsavpedia, 24 Feb. 2017, www.utsavpedia.com/textiles/ the-beautifully-woven-web-of-kanchipuram-silk/.

Nimmi. “KANCHEEPURAM SILK SAREES.” INDIANMIRROR, www.indianmirror.com/culture/indian-specialties/ kancheepuramsaree.html.

GROWTH EVOLUTION OF KANCHIPURAM SILK CLUSTER. shodhganga.inflibnet.ac.in/bitstream/10603/113315/11/11_ chapter%203.pdf.

“THE MARVEL OF KANCHIPURAM SAREES.” Silk Mark, www.silkmarkindia.com/blog/?p=89.

Indurti, Aashrita. “A Documentation on Kanjeevaram Silks.” Issuu, issuu.com/aashritaindurti/docs/final_kanjeevaram_silks_ aashrita.

Dundoo, Sangeetha Devi. The Magic Is in Details. 18 Oct. 2018, 12:46 IST, www.thehindu.com/features/metroplus/fashion/ The-magic-is-in-details/article14623253.ece.

Jacquard Weaving. www.craftmark.org/sites/default/files/P001%20Jacquard%20Weaving.pdf.

Shubhangi. “D’source Design Resource on Silk Weaving - Kanchipuram.” D’Source, 28 Oct. 2015, www.dsource.in/resource/ silk-weaving-kanchipuram.

“Kanchipuram Travel Guide.” Tour My India, www.tourmyindia.com/states/tamilnadu/kanchipuram.html.

“VARNA SUTRA : HARITHA - THE COLOUR OF LIFE.” Kanakavalli, kanakavalli.com/blogs/kanakavalli-journal/varna-sutraharitha-the-colour-of-life.

“Varna Sutra : Ratna Mudra - Kanjivaram’s Motifs.” Kanakavalli, kanakavalli.com/blogs/kanakavalli-journal/varna-sutra-ratnamudra-kanjivarams-motifs.

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“Bommalattam, Pavakkuthu - Art of Tamil Nadu - Dance of Tamil Nadu - Nvasandhi - Kuravaik Koothu - Kazhaikoothu - Kummi Bommalattam.” Webindia123.Com, www.webindia123.com/tamilnadu/ART/bommalattam.htm.

“Bommalattam: Fortunes of a Fading Folk Art.” Sahapedia, www.sahapedia.org/bommalattam-fortunes-of-fading-folk-art.

“Villu Pattu or the ‘Bow-Song’.” The Madras Documentary Company, www.madrasdocumentaries.com/villu-pattu-or-the-bow-song. html.

“Villu Pattu - Art of Tamil Nadu - Folk Mussic of Tamil Nadu - Villu Pattu Folk Musik - Featurs of Villu Pattu.” Webindia123.Com, Singh, Vipul. “PROFILE OF THE KANCHEEPURAM DISTRICT.” Pdf Kancheepuram , shodhganga.inflibnet.ac.in/ bitstream/10603/201130/6/chapter%203.pdf.

Yogi Prabodha Jnana & Yogini Abhaya Devi. “Buddhism in Kanchi - An Ancient City of Learning.” Way of Bodhi, 14 July 2019, www. wayofbodhi.org/buddhism-in-kanchi-tamilnadu/.

Holidify. “Traditional Dresses Of Tamil Nadu - Dressing Style and Culture!” Holidify, Holidify, 5 Nov. 2018, www.holidify.com/pages/ tamil-nadu-dresses-286.html. kanchi kudi Museum “Kanchipuram Culture: Culture and Festivals in Kanchipuram, India.” India Hotels, www.indiahotels.com/kanchipuram/ kanchipuram-culture.html.

Correspondent, Special. “48-Day Aththi Varadhar Festival in Kancheepuram to Begin on July 1.” The Hindu, The Hindu, 5 May 2019, www.thehindu.com/news/cities/chennai/48-day-aththi-varadhar-festival-in-kancheepuram-to-begin-on-july-1/article27042160.ece.

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GLOSSARY

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Aranyam . [aa.run.yum] - a place surrounded by forests Bhakti . [bh.uk.thee] - devotion towards almighty. Also refers to a movement in the religious reformation in India.

Thondaimandalam . [thone.dye.mun.da.lum] - neck of a region. Named after Thondaiman Ilandriyan who ruled over the region before 2500 years who ruled over Kanchipuram as per the ‘Pathupattu’.

Gopuram . [go.poo.rum] - the high towers erected at the entrance of the temples.

Vimana . [V.maa.naa] - tower constructed over the central sanctum.

Garbha Griha . [gar.ba gree.haa] - the central sanctum of a temple.

Ghatikastanam . [ga.tea.kaa.stha.num] - centre of education and higher learning.

Dakini . [dha.key.nee] - space for spontaneous play.

Sangam . [sun.gum] - a Tamizh convention of poets that existed in Madurai about 2000 years ago.

Devangas . [day.vun.gauze] - a Tamizh weaving community.

Saligar . [saw.lee.gur] - a Tamizh weaving community.

Elakkai Pachai . [á.luck.kaay puch.ai] - colour of cardamom pods.

Ilai . [E.lie] - term for leaf in Tamizh.

Kili . [kill.E] - term for parrot in Tamizh.

Manthulir . [mun.thoo.lir] - colour of the first leaves in summer.

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Mayil . (mah.yil) - term for peacock in Tamizh.

Kazhuthu . (ka.lu.tthu) - term for neck in Tamizh.

Paasi . (paw.see) - term for moss in Tamizh.

Ponvandu . (pone.vun.do) - term for golden beetle in Tamizh.

Alli . ((ah)l.li) - term for water lily in Tamizh.

Kempu . (came.boo) - ruby red colour.

Arakku . (ara.koo) - red lac used as sealing agent.

Milagai . (me.la.kaai) - term for red chilli in Tamizh.

Kumkumam . (koom.koo.mum) - the vermillion powder used for sacred marking on the forehead of a married lady.

Thakkali . (thuk.kaali) - term for tomato in Tamizh.

Sengal . (sen.g(ah)l) - term for brick in Tamizh.

Semman . (sem.mun) - term for red soil in Tamizh.

Chemparuthy . (ch.em.paru.thee) - term for hibiscus in Tamizh.

Pattu Roja . (p(ah)t.too row.jaa) - pink garden roses.

Vengayam . (when.gaa.yum) - term for onion in Tamizh.

Thamarai . (thaa.ma.rye) - term for lotus in Tamizh.

Moolaranga . (moo.lah.run.ga) - term for primary colour in Tamizh.

Nila . (nee.la) - term for blue in Tamizh.

Nilambari . (nee.laam.bha.ree) - dark blue-black hue as seen in the Benarasi sarees.

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Meghavarnam . (meh.ga.v(ah)r.num) - colour of the dark rain clouds.

Ramar . (raa.mur) - the seventh avatar of Vishnu. Here used to refer to his dark blue colour.

Kathiri . (k(ah)th.eerie) - term for brinjal in Tamizh.

Vadamalli . (vaa.daa.mul.lee) - term for ‘bachelor button’ flower.

Naval Pazhalam . (naa.v(ah)l pa.lum) - term for jamun in Tamizh.

Srichuranam . (sri.choo.run.um) - the central line worn in-between two whites lines by the Vaishnavas on their forehead.

Thirumann . (thee.roo.m(ah)n) - the sacred red line worn by the Vaishnavas on their forehead.

Elumichai . (el.oo.me.ch.aye) - term for lemon in Tamizh.

Mambazham . (maam.ba.lum) - term for mango innTamizh.

Kumkumapoo . (koom.kooma.poo) - term for saffron in Tamizh.

Pasu Manjal . (pa.soo mun.jhal) - tender turmeric, used as a cosmetic ingredient.

Sandhanam . (sun.dha.num) - term for sandalwood in Tamizh. It is used as a cosmetic ingredient in Indian households.

Kanakamparam . (kana.kaam.baram) - light orange tropical flower found in India.

Crossandra infundibuliformis is the scientific name.

Vendhayam . (ven.dha.yum) - term for fenugreek in Tamizh.

Valai Kappu . (va.lie kaa.poo) - ceremony to mark a woman’s pregnancy.

Drshti pottu . (dhri.sh.tea po.tu) - black dot kept on the bay’s cheek to ward off evil.

Karuppu . (kha.roo.poo) - term for black in Tamizh.

Kanmai . (kun.mye) - term for kohl in Tamizh.

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Eiyam . (ee.yum) - term for tin in Tamizh.

Yanai . (yaa.naie) - term for elephant in Tamizh.

Muthu . (moo.thoo) - term for pearl in Tamizh Kumaran - (koo.ma.run) - term for off-white in Tamizh.

Sambal . (saam.b(ah)l) - term for ash in Tamizh.

Thiruner . (thee.roo.nee.roo) - sacred ash worn on the forehead by shaivaites.

Annam . (un.num) - term for swan in Tamizh.

Iruthalaipakshi . (iru.tha.lie.puk.she) - two headed eagle. A mythological creature associated with the Kingdoms of Mysore.

Simham . (sim.hum) - term for lion in Tamizh.

Thazhampoo . (thaa.lum.poo) - Kewra flower.

Korvai . (kore.vai) - method of interlocking the main saree part with the pally in Kanchipuram weaving technique.

Thuthiripoo . (thoo.thee.ree.poo) - flowers kept in loose and not tied into a garland.

Udhiri Pookal . (oo.thee.ree poo.kul) - flowers kept in loose and not tied into a garland.

Manga . (maan.gaa) - term for raw mango in Tamizh.

Kodi Visiri . (ko.dee vee.see.ree) - term for creeper in Tamizh.

Rudraksham . (roo.dhraa.kshum) - beads taken from the tree of the same name, considered sacred by the Shaivaites.

Paai madi . (paa.I ma.dee) - term for basket weave in Tamizh.

Jadai Nagam . (jha.dye naa.gum) - hair serpent. A piece of jewellery used to beautify the bride of Tamil Nadu.

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Kattam . (cut.tum) - term checks in Tamizh.

Vaira Oosi . (vai.ra oo.see) - term for diamond needle in Tamizh. Here refers to the tin border that runs across the saree.

Thinnai . (thin.naie) - term for courtyard in Tamizh.

Thoon . (thoon) - term for pillar in Tamizh.

Kolam . (ko.lum) - designs drawn using rice flour in front of the house using dots and lines which defines the beginning of celestial space.

Oonjal . (oon.jul) - term for swing in Tamizh.

Mutram . (mot.rum) - central open space in a house where the family gathers for social occasions.

Thotil . (tho.till) - term for cradle in Tamizh.

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ANNEXURE I

ANAGAPUTHUR

Banana fibre cluster - Anagaputtur

Anakaputhur is a village near chennai city Tamil Nadu. The nearest city to this village is chennai, apart from that the cities are Kanchipuram and Pammal. Anakaputhur was once famous for its traditional weaving business, which has declined due to modern competition.

.

Anagaputtur, a small weaving town in Tamil Nadu, is known for its banana fibre weaving craft. The town is bordered by Kanchipuram, Chennai and Pammal. Previously this place was known for its jute manufacturing units but later shifted towards banana fibre. The shift towards weaving banana fibre is considered due to the shift in mechanisation in the jute industry thus around ten thousand families migrating to the nearby cities in search of work leaving behind around three hundred families who continued in the weaving industry.

The reason for the growth in the use of banana fibre is due to the needs in Nigeria where banana fibre was used extensively. The design called ‘Madras checks’ was designed and used here. Though the reason of use is unknown, this is how the need of banana fibre grew. But after the change in the political arena in Africa, the export of banana fibre products was banned making the weavers suffer huge losses. Even

the South American countries’ needs were catered by the banana fibre products made here.

The South American market is considered to be ‘elite’ because of their continuous needs.

Historically, it is believed that banana fibre was used in the Hindu mythological epic of Ramayana where Hanuman is believed to given a saree made of banana fibre to Goddess Sita, who was kept captive in Lanka by the demon king Ravana. It is also said that the technology to weave banana fibre was known back then in the times of Ramayana.

Currently the banana fibre craft is suffering from lack of recognition and proper financial backing from the government and thus is in a state where urgent care is needed. The craft claims to be hundred percent natural form raw materials, to the dyes used and the weaving process.

177

INTERVIEW

Name : Sekar Age : 47 Education : 12th place Work Experience : 23 years Address : Anagaputtur village, District of Chennai

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Mr. Sekar, a banana fibre weaver from Anagaputtur gave a description about his entry into the business and the market where the products sell.

His family, an orthodox Telugu family were first involved in jute weaving for three generations. Natural fiber weaving started 25 years ago, the first natural fiber used for weaving was jute. He started weaving when he was about 13 or 14 years old . He started making ‘madras chequered’ design’ , check design , silk , cotton etc. During his college days he always used to go to the library where he found a magazine about banana fiber history which was connected with the mytholigical story of Ramayan.

In Anakaputhur, when he was young the place had about 10,000 weaving families whereas there are only 300 left now. The main reason being mechanisation of the weaving process by introduction of power loom that a lot of people

went in search of new job opportunities.

Madras Chequered’ a design developed and mastered by Sekar is now being used in power looms thus bringing up the need to create new ones. He said the necessity for these designs arised because of the military necessities that started in Nigeria, which was their chief importer of banana fibre fabrics. Historically, banana fibre was used by Lord Hanuman who gave a banana fibre saree to Goddess Sita when she was held captive by Raavana in Lanka.

The leading places that import banana fibre from here are Nigeria, Brazil and other South American countries. The most interesting part of the whole process is the way he identified the way to weave the banana fibre. He explains that he applied five coats of glue which did not work and it was in his dreams that he got the idea of interweaving the fibres and thus helped him succeed in mastering the craft.

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ANNEXTURE 2 Questionnaire: I. Environment 1.

2.

3.

What are the kind. Of dyes used now in Kanchipuram?

Are the use of chemical dyes being reduced due to the pollution it causes?

Are people aware about the pollution it causes?

II. Beliefs / Socio-cultural factors 1.

2.

3.

4.

Are there any superstitious beliefs related to the sarees?

If so, what are they and how prominent are they?

Are there different colours for different social gatherings / occasions?

Is there a particular ritual done before a saree is woven?

III. Temples / Religion / Caste 1.

2.

3.

4.

How much of influence does the temple have on the motifs and colours used here?

Historically, are there any references to these sarees in the Puranas and epics?

Is the significance of auspicious colours for any occasion?

Significance of colour of cloth used in the temple?

IV. Exposure 1.

2.

How has the influence from different communities changes the course of design language of the saree?

How did the Saurashtras enter into the weaving sector in Kanchipuram?

V. Process 1.

Explain why is power loom preferred over handloom other than cost reduction?

2.

Explain the adai technique and the jacquard technique.

3.

What is the punch card made of?

4.

What is the finishing process?

VI. People 1.

When did the silk saree get open to the masses?

2.

Did the skin tone matter when colours were being made or was it just the way the ideas was passed down through generations?

3.

Is there any specific motif and colour used by different castes

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VII. Materials 1.

2.

3.

4.

5.

What are the materials ued in natural dyes and chemical dyes?

Where is the cultivation side of these materials?

Where do you get the raw materials from?

Where do you make these gold threads (Zari)?

Does the up and down cost of gold affect the Zari?

VIII. Market survey 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

What is the number of sales per day and per month?

Is there any chance of number of sarees bought during festivals or in any specific seasons?

What is the price range of the saree sold in your shop?

Which is the most preferred colour by the customers?

Which are the occasions for which the saree is bought?

Where do you get the supply of the saree from?

How many sarees do you order per month?

What do you do with the leftover saares which are not sold?

What is the profit margin for each sarees?

Does the rate of saree differ with increase in zari?

Does the rate of saree increase with an increase of intricacy of the saree?

What are the types of Kanchipuram sarees do you sell?

What is the price range of pure Kanchipuram silk saree?

What is the price range of artificial Kanchipuram saree?

What is the price range of pure zari of the saree?

What is the price range of artificial zari of the saree?

Which are the colours that are least preferred by the customers?

Is there any specific colour choice for people during specific occasions?

How many weavers are there in the society from where you get your supply?

What is the number of the zari in the most expensive saree you sell?

Do you directly get the sarees from the weavers?

Is the society that you get your sarees supplied from government established?

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DOCUMENTED BY POOJA OSTWAL POOJA V.V NIRKHUNAN KUPPURAM RASHMIKA PRASAD SAKSHI SHARMA 183

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