Selai Kathaigal

National Insititute Of Fashion Technology, Chennai Selai Kathaigal ேசைல கைதகள Deaprtment of Fashion Communication, NIFT Chennai 1

Research and Documentation of Kanjivaram Silk Sarees Kanchipuram, Tamil Nadu. Documented by Ashish Kumar, Harshdeep Kaur, Meghana Karkada Suresh, Raju Ranjan, Sakthi Sree B, Sneha Krishnan, Sudhiksha A, Yashashvi Sinha. Center: Chennai Copyright© 2022 By NIFT, Chennai National Institute Of Fashion Technology, Chennai Department Of Fashion Communication All rights reserved. The publication is the intellectual property of the Department of Fashion Communication, National Institute of Fashion Technology. It is purely for academic purposes and no part of it may be reproduced, distributed, or transmitted in any form through photocopying, recording, or any other electronic or mechanical methods. Faculty Mentor: Ms Ashmita Mondal______________________________________________ Department CC: Ms Divya N 2 Selai Kathaigal, Craft Research Document, 2022

Acknowledgement We would like to extend our sincere gratitude to the Director of The National Institute of Fashion Technology, Chennai, Dr Anitha Manohar for providing us with the facilities and education needed to complete this document. We are also thankful for the opportunities and support provided to us by our Center Coordinator, Ms Divya N and our faculty mentor, Ms Ashmita Mondal who assisted and guided us along the way and provided us with extremely valuable feedback and suggestions. Lastly, we would like to thank Mr V. Krishnamurthy, who took the time out of his schedule to enlighten us about his craft and the lifestyle that it supports. The research for this document would not have been completed without him. Deaprtment of Fashion Communication, NIFT Chennai 3

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Preface The ancient city of Kanchipuram is home to innumerable temples and a rich culture of weaving. By travelling to the region and engaging with the artisans, we were able to gather valuable knowledge about the effort and skills required in the making of a single, stunning Kanchipuram saree. The city and its people welcomed us with open arms and, being immersed in the community, introduced us to the lifestyle and culture of the artisans. Generations of artisans have practised the craft of silk saree weaving here, often beginning early in their childhood. Walking through the age-old temples, as the creators of the Kanchipuram sarees have done for centuries, helped us recognise the sources of inspiration to create saree motifs and patterns. In a couple of months, the team conducted thorough secondary research and several interviews with practising dyers, weavers, designers, master craftsmen, store managers, etc. The details of the processes, raw materials, tools and traditions involved in the production of handwoven Kanchipuram silk sarees have been compiled in this book. It also covers the current market scenario, the effects of the long COVID-19 pandemic as well as game-changing innovations being implemented in the field. In this document, we wanted to highlight the intricacies, techniques and motifs that make each of these sarees unique pieces of Indian heritage. Deaprtment of Fashion Communication, NIFT Chennai 5

Contents 10 11 SILK 12 13 Introduction 14 Tales From History 15 Silk in India Type of Silk 19 Silk Sarees 20 Authenticity of Silk 21 22 KANCHIPURAM 29 30 Introduction Geographical Location & Topography 35 History 36 Famous Landmarks 37 Demographics 38 Culture 40 52 THE CRAFT 54 55 Introduction to Kanjivaram SIlk Sarees 67 Cultural Significance & Provenance 69 Techniques 71 Types of Sarees 72 Design Process & Motifs Tools used for Weaving Degumming Dyeing & Colours Warping Spinning Zari Making Weaving 6 Selai Kathaigal, Craft Research Document, 2022

MARKET STUDY 80 83 Market Research 84 SWOT Analysis 89 Artisan Database 90 Contributors 91 Conclusion Learning 92 97 ANNEXURE 101 103 Question bank Glossary Bibliography Description Deaprtment of Fashion Communication, NIFT Chennai 7

The sericulture industry plays an integral role in the production of sarees. Silk sarees are worn at important events, especially wed- dings and the festivities. They are considered auspicious and are often offered to Goddesses or presented to relatives during special occasions. The colours and designs of a silk saree also influence its function depending on the culture of the region. Some silk sarees are also passed down as heirlooms from one generation to the next. Some popular silk sarees in India include Kanchipuram, Banara- si, Pochampally, Mysore, Assam silk sarees etc. 8 Selai Kathaigal, Craft Research Document, 2022

SILK Tales From History Deaprtment of Fashion Communication, NIFT Chennai 9

Silk Since time immemorial, silk has been known as the Queen of Fibres. Used in many luxury products, this natural animal fibre is known for lustre and softness. The fibre is made of two different proteins, sericin and fibroin. Fibroin forms the structural centre and constitutes around 75% of the silk. Sericine is the material surrounding it and varies from 20 to 25% in composition. Many animals such as bees, beetles, butterflies, hornets, flies and spiders produce silk. However, most of the silk produced comes from the silkworm or the domestic silk moth, Bombyx Mori, which prefers to feed on mulberry leaves. Sea silk is a particularly rare fabric that is produced by pen shells (saltwater clams), historically processed in the Mediterranean region. Properties of Silk • The lustre and sheen of silk is due to its internal structure of triangular tubes which act like a prism, reflecting the light in various directions. • Silk is the strongest natural fibre. The strength is due to its continuous length. • With a specific gravity varying between 1.25 to 1.4 during various stages of processing, silk is less dense than cotton, flax, rayon or wool. • It is a poor conductor of electricity and is known to build up a static charge. • Silk is sensitive to sunlight. • It has high tensile strength. • Silk is fairly water absorbent but loses strength when it is wet • SIlk can be stretched around 10% of its original length without breaking, but it remains elongated. • Silk has good thermal regulation and it can withstand higher temperatures than many other natural fibres like wool. However exposure to prolonged heat could damage the fibres. • Silk has a high affinity to dyes • Silk will be damaged when it comes into contact with strong mineral acids and strong alkalis Image 1: Silk being woven to make a saree 10 Selai Kathaigal, Craft Research Document, 2022

Tales from History Silk has a long history of being traded across Chinese princess was set to marry the cultures. For millennia, silk production and prince of Khotan, in the early 1st century sale was dominated by China. AD. Unwilling to leave the exquisite It is said that the 14 - year old empress, fabric behind, it is said that she smuggled Leizu, also known as Xi Ling-shi , wife of silkworms in her hair and revealed the the Yellow Emperor, himself a heroic legend secret to her husband’s kingdom. in Chinese culture, discovered sericulture From there, Emperor Justinian of the around 3000 BCE. When a silk worm's Byzantine Empire was also successful at cocoon fell into her cup as she was enjoying obtaining silk. On the orders of the emperor, her tea, the empress was perplexed. The two monks smuggled some silkworm silk began unwrapping in the heat of the eggs out of the kingdom. They hid some cup and as Leizu tried to unravel it, the in bamboo canes and went to Sogdania silk stretched across her entire garden. She in Iran to raise them. After an expedition observed the life cycle of silkworms and that lasted almost two years, the monks found them feeding on mulberry trees. She successfully brought the silkworms back in planted a grove of mulberry trees where 552 AD. The Arabs began producing silk the domestication of the worm began. The around the same period.. invention of the silk loom and the first The spread of silk throughout the world is methods to weave silk are also credited to also attributed to the Silk Road. It was a Leizu. Thus she came to be regarded as the network of overland routes between China goddess of silk in Chinese mythology. and the Middle East through which trade Over the years, China maintained a was conducted between the 2nd century monopoly over the fabric. Anyone who and the 15th century. was caught revealing the heavily guarded Crusades gave Western Europe access production process of silk fabrics or to silk production methods. France and smuggling silkworms out of China was Italy became centres of silk trade and executed. Farming and weaving were innovations such as the Jacquard loom were initially both restricted to women and the developed. After the industrial revolution, use of the opulent textile was limited to the silk production in Europe declined and royal family. Asian countries once became the biggest The Chinese did trade the fabric with other players in the sericulture industry. kingdoms. However, China could not keep Across history and cultures silk was a its techniques from the world forever. A valued commodity that remained restricted to a small number of the elite. Silk was a symbol of power, a source of payment and a tool of diplomacy. Image 2: Warp threads on a loom Deaprtment of Fashion Communication, NIFT Chennai 11

Arrival & Growth in India The Indus Valley Civilization is one of the oldest locations where silk was produced outside of China. Silk threads made from wild native species were discovered in Chanhudaro and Harappa dating back four millennia to 2450–2000 BCE. There are mentions of silk weavers in the Arthashastra, written over a period of over five hundred years from the 2nd century BCE. During the reign of the Gupta dynasty from 4th century CE to late 6th century CE, a Buddhist monk is said to have brought the Chinese silk cultivation techniques to India. Ancient centres of silk include Gujarat, Malwa and South India. During the reign of Akbar, silk workshops filled with skilled weavers were established in Lahore, Agra and Fatehpur Sikri. During Mughal rule, silk produced in Punjab gained popularity throughout the world. The East India Company was interested in the research and development of sericulture in India. They introduced a different variety of silk worm and better methods of reeling silk in West Bengal in the 18th Century. Meanwhile, the ruler of Mysore, Tipu Sultan, was gifted a silk cloth by a Qing Dynasty ambassador from China. Mesmerised by the fabric, Tipu Sultan brought the techniques from West Bengal and China to Mysore to fulfil his dream to make it the leading global silk producer. In modern times, India has grown to become the second largest producer of silk in the world. Image 3: Sarees at Pachaiyappa Silks 12 Selai Kathaigal, Craft Research Document, 2022

Types of Silk MULBERRY SILK Muga The silkworm of the moth, Bombyx Mori, which feeds on Muga silk is sought after for its golden yellow in colour. mulberry leaves, is known for its fine quality white silk. Mentions of Muga silk can be traced all the way back to The majority of silk produced in the country is of this Valmiki’s Ramayana. The Assam silkworm, Antheraea type. Leading producers of this silk include Karnataka, assamensis, feeds on Som and Suala leaves. Muga silk has Andhra Pradesh, West Bengal and Tamil Nadu. Since the a Geographical Indication tag associated with Assam. silkworms have been domesticated, they are reared in controlled indoor environments. Ahimsa Silk NON-MULBERRY SILK The harvesting of silk involves boiling the cocoons while the larva is inside, thus killing the insect inside. Ahimsa Non-Mulberry or wild silks are known as Vanya silks silk is the term used for silk which is obtained from in India. The word is said to have originated from the cocoons where the moths complete their metamorphosis Sanskrit word Vana, meaning ‘forest’. The silk varies in and break from their cocoons. The leftover cocoon is colour depending on the diet of the wild silkworms. used to make this cruelty free silk. Eri silk is an ahimsa silk as it is harvested after the moths leave their cocoons. Tassar Ahimsa silks should not be confused with vegan silk, since it is a product obtained from animals. Tasar silk is produced by the moth of the genus, Antheraea. They feed on trees such as Arjun, Asan, Jamun Vegan Silk and Oak. Chhattisgarh, Jharkhand and Orissa are major producers of this silk. This copper coloured silk is a bit Vegan silks are made out of plant based fibres like banana more textured and is used in often used furnishings. stalks. They are known as ‘Vazhai Naaru Pattu’ in Tamil, which translates to 'banana fibre silk'. Eri Also known as endi or errandi, Eri silk is obtained from the silkworm, Samia ricini, which is present in North East India. The name is derived from the Assamese word, ‘era’ for the castor plant. Eri silkworms are known for their colour polymorphism, producing silk that is white or brick red. It is mainly cultivated in Assam and to a smaller extent in Bihar, Odisha and West Bengal. Deaprtment of Fashion Communication, NIFT Chennai 13

Silk Sarees The sericulture industry plays an integral role in the produc- tion of sarees. Known for their resilience and vibrancy, silk sarees are worn at important events, especially weddings and the festivities. They are considered auspicious and are often offered to Goddesses or presented to relatives during special occasions. The colours and designs of a silk saree also influence its func- tion depending on the culture of the region. Some silk sarees are also passed down as heirlooms from one generation to the next. Some popular silk sarees in India include Kanchipuram, Banarasi, Pochampally, Mysore, Assam silk sarees etc. Silk Saree Centers in India Tamil Nadu Kanchipuram, Arani, Salem, Karnataka Kumbhakonam, Thanjavur Uttar Pradesh Chattisgarh - Chanderi, Champa Mysuru, Ilkal, Molakalmuru, Bengaluru Varanasi Odisha Bomkai Andhra Pradesh Dharmavaram, Uppada Bihar Bhagalpur Maharashtra Paithan West Bengal Murshidabad Image 4: Silk on a Spindle 14 Selai Kathaigal, Craft Research Document, 2022

Authenticity of Silk There are several methods of determining the authenticity of silk: • By touch: Silk is a very smooth material. The presence of rough patches may indicate that the fabric is not made of pure silk. Warmth can also be felt upon rubbing the fabric. • Fire Test: When burnt, pure silk will smell like burning hair. • Wedding Ring Test: Pure silk fabric can easily pass through a wedding ring. • Lustre Test: When viewed from an angle in the presence of light, pure silk will give off a soft and uniform lustre. Image 5: Kanjivaram saree from Venkateswara society Deaprtment of Fashion Communication, NIFT Chennai 15

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KANCHIPURAM The City, The People & The Culture Deaprtment of Fashion Communication, NIFT Chennai 17

Image 6: Entrance of Vardharaja Perumal Temple 18 Selai Kathaigal, Craft Research Document, 2022

Introduction In the ancient ‘Land of a Thousand Temples’, visitors get to witness the magnificent thousand pillared halls and breathtaking temple towers. Every street is dotted with temples and shrines dedicated to various Gods and Goddesses. Every dynasty that ruled here, wanted to leave their mark by adding to the existing infra- structure or building their own temples. Historically, Kanchipuram also grew into a centre of commerce and learning. The city is home to finely painted mural art and intricate carvings on the walls of several tem- ples. Beyond being places of worship, these temples have also been locations where music and dance were practised. Temple processions are regularly held with umbrellas and chariots to carry the deity. During any festive season the population of the city swells as innumerable pilgrims make their way there. Located in South India, the city experiences a tropical climate, with high temperatures persisting through- out the year. The clothing and food of the people here are suited to such a climate. Kanchipuram is a hub of silk saree making and a cluster of Golu doll makers is also present here. The people of Kanchipuram are also engaged in the manufacturing and agriculture industries. The city finds itself mentioned in the Mahabharata and its name has several origins. It may be derived from the Tamil word that is a combination of “Kanchi”, further divided into Ka, meaning Brahma and anchi mean- ing worship, and “-puram” meaning residential place. Alternatively in Sanskrit, Kanci means girdle, so the city’s name can also be interpreted as a girdle to the earth. Kancheepuram refers to the district and is the spelling used by the municipal administration, while the city goes by Kanchipuram. Deaprtment of Fashion Communication, NIFT Chennai 19

Geography By Road & Rail Nestled in the northeastern part of Tamil Nadu, Kanchipuram There is regular connectivity to Chennai city through Guidy is enriched by the banks of rivers Vegavathy and Palar. On the and Tambaram routes. Local buses are also available and are map, the coordinates for the city of Kanchipuram are 12.8387 N controlled by the Tamil Nadu State Transportation Corporation. 79.7016 E and the area covered is about 36.14 km2. The city can easily be reached through the Chennai Central By Air railway station and Arakkonam railway station. The Kanchipuram railway station is coded as CJ (from the British To visit Kanchipuram, the closest airport is located in Chennai Conjeevaram) and belongs to the Southern Railway Zone. It (Meenambakkam) which is about 60km away and takes two consists of three platforms. The station is also a part of the hours to reach by road and train. The city is around 75km from Chennai Beach–Chengalpattu–Tirumalpur–Arakkonam route Chennai city, 96km from Tirupati, 101km from Pondicherry and (South-West line). over 232 km away from Bengaluru by road. National Highway-4 is close to the outskirts of the city. Topography Chennai • Situated on the banks of the Vegavathi River, a tributary of the Palar River. Kancheepuram's land is flat and slopes Coordinates: 12.79639 towards the south and east. 79.66533 12.87639 79.74533 Minimum elevation: 71 m • Kanchipuram is subdivided into two divisions – Big Kanchi, Maximum elevation: 100 m also called Shiva Kanchi. Shiva temples are in Big Kanchi Average elevation: 82 m while the Vishnu temples are situated Little Kanchi. Kanchipuram • The city is surrounded by the Bay of Bengal in the east, Villupuram on the south, Tiruvannamalai on the west, Fig 2.1: Chennai to Kanchipuram Vellore on the north-west. • Kancheepuram city is at an elevation of 83.2 m above sea level. • The region has fertile land for cultivation of paddy followed by sugarcane, groundnuts, cereals and pulses. 20 Selai Kathaigal, Craft Research Document, 2022

History The ancient city of Kanchipuram has been ruled by the Pallavas, Cholas, Pandyas, the Vijayanagara Empire, the Carnatic kingdom, and the British, who called the city “Conjeeveram”. Tamil Sangam literature mentions the city as far back as 300BC. There have been references to Kanchipuram in the 2nd and 3rd centuries, by Patanjali, a famous Sanskrit scholar and by the Sanksrit poet Kalidasa in the 4th century. The Pallavas moved their capital South to Kanchipuram in the 6th century They built roads, temples and infrastructure to protect the city, such as moats and fortified walls. During this time the city grew as a centre of Buddhist and Hindu learning and King Narasimhavarman II built significant Hindu temples such as Kanchi Kailasanathar Temple, the Varadharaja Perumal Temple and the Iravatanesvara Temple. Aditya I, a medieval Chola king defeated the Pallavas and captured Kanchipuram c. 890 CE. In the Chola kingdom, Kanchipuram became the headquarters of the Northern Viceroyalty. Under King Raja Raja Chola I, the region was called Jayamkonda Cholamandalam. A Hoysala garrison was present in Kanchipuram till c. 1230. Jatavarman Sundara Pandyan I recaptured the city in 1258 from the Cholas who had briefly conquered Kanchipuram. Kanchipuram was ruled by the Vijayanagar Empire from 1361 until 1645. During this rule, Hindu rituals were brought back to temples that had stopped during previous Muslim attacks. The city faced conquests by the Velama Nayaks in 1437, the Gajapati dynasty in 1463–1465 and 1474–75, and the Bahmani Sultanate in 1480. Mughal rule began in the city in 1688. The city was a combat zone during the Carnatic Wars and the Anglo-Mysore Wars between the British East India Company and the French East India Company and Mysore Sultanate. In 1763 the British took control of the Chingleput District which included the city. During the second Anglo-Mysore war the area was brought under the full control of the Company. The Chingleput district was divided into Kancheepuram and Tiruvallur districts in 1997. Image 7: Ekambaranathar Temple Deaprtment of Fashion Communication, NIFT Chennai 21

Famous Landmarks Kanchipuram, being one of the holiest cities of India, welcomes believers of many faiths on a daily basis. The Kamakshi Amman Temple is an integral part of the city. The region is home to several of the Divya Desams. These refer to the 108 Vishnu temples that were praised by the Azhwar saints in the Divya Prabandha, a compilation of four thousand verses. The ones ‌in Kanchipuram include: • Vaikunta Perumal Temple • Varadharaja Perumal Temple (Hastagiri and Attiyuran) • Yathothakaari Temple (Sonnavannam Seitha Perumal) • Aadhikesava Perumal Temple (Ashtabuja Perumal Temple) • Ulagalantha Perumal Temple • Jagadeeshwarar Temple within the Ulagalantha Perumal Temple • Karunakara Perumal Temple • Thirukkaar Vaanar Temple within the Ulagalantha Perumal Temple • Pavalavanam Temple • Pandava Thoothar Temple • Nilathingal Thundathan Perumal Temple (Chandrasoodeswarar Perumal temple) • Aadhi Varaha Perumal Temple • Azhagiya Singar Perumal Temple • Deepa Prakasar Perumal Temple • Vijayaraghava Perumal Temple • Karunakara Perumal Temple located within the Ulagalantha Perumal Temple Famous temples dedicated to Lord Shiva are the Kailasanathar Temple, Ekambaranathar Temple, Sathyanatheswarar Temple and many more. Trilokyanatha Temple is a Digambara Jain temple built during the rule of the Pallavas. However it should be noted that the temples of Kanchipuram are generally closed to the public from noon to four PM. 22 Selai Kathaigal, Craft Research Document, 2022

Image 8: Road to Ekambaranathar Temple Deaprtment of Fashion Communication, NIFT Chennai 23

Image 9: Ekambareswarar Temple Ekambareswarar Temple 24 Selai Kathaigal, Craft Research Document, 2022 Spread over more than twenty acres, the Ekambaranathar temple or Ekambareswarar temple is the largest temple in Kanchipuram that is dedicated to Lord Shiva. There is proof of its existence dating back to 600 CE, however the original structure was taken down by the Pallavas and built over again by the Cholas. Many additions were made to the temple by Adi Shankaracharya and the Vijayanagara kings. As one enters through the soaring gopuram, they are greeted with a relief painting of the Goddess Parvathi embracing a Shiva Lingam. The southern temple tower is one of the largest gopurams in India, rising to around 190ft. The temple is known to house 1008 Lingams. The temple complex also contains a thousand pillared hall dating back to the Vijayanagara period. The imposing passages are lined with geometric pillars carved with yaazhis and other motifs. The monotony of the grey stone is broken by vibrant parade figures stored inside and colourful maakolam (geometrical line art made of rice flour paste called maavu) on the ground. Ekambareswarar means “Lord of Mango Tree”. The temple has a mango tree that is said to be 3500 years old. According to legend, the tree has four branches and each gives a mango of a different taste. One of the legends says that Lord Shiva married the Goddess Kamakshi under the mango tree at this temple.

Kailasanathar Temple The ancient Kailasanathar temple was a trailblazer of Dravidian temple architecture. Early mornings at this temple provide a serene atmosphere. can still be viewed on the temple walls. There is proof that the Tourists outside the temple are greeted with a few carts full of carvings were also once painted in natural colours. bronze sculptures of idols, rudraksham beaded prayer necklaces and other prayer paraphernalia, all lit with the fragrance of The Kailasanathar temple is also a unique example of Pallava oothubathigal (incense sticks) The ancient Kailasanathar temple architecture which has been unchanged by successive ruling was a trailblazer of Dravidian temple architecture. Before this, dynasties over the centuries. The gopuram faces east and is located temples in South India were usually built out of wood or cut into opposite to a Nandi sculpture in between shrines, with two on one rocks and boulders. The Pallava king Narasimhavarman II, who side and six on the other. The pyramidal vimana is surrounded was also known as Rajasimha, constructed this temple structurally by elaborately carved shrines. Inside the mandapa of the temple, out of sandstone in the 8th Century. there are pillars with stone lion mounts, a characteristic of Pallava architecture. The temple has inscriptions in Pallava Grantha, Over the centuries, the Kailasanathar temple has inspired many Sanskrit and Tamil. Based on the sculptures and inscriptions, constructions including the mighty Brihadeshwara temple in historians suggest that the circumambulation was anti-clockwise Thanjavur, built by Raja Rajaraja Chola in the 11th Century. in nature. The Chalukya king Vikramaditya also left a Kannada Dedicated to Lord Shiva, the temple has a large number of detailed inscription at the Kailasanathar temple and took inspiration to carvings as well as early Hindu mural art, the remnants of which build the Virupaksha temple at Pattadakal. Image 10: Kailasanathar Temple Deaprtment of Fashion Communication, NIFT Chennai 25

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Vardharaja Perumal Temple The crowds at the Varadharaja Perumal temple increase during the evening and swell to great numbers during the festive season. This Vishnu temple is one of the Divya Desams and is also referred to as Hastagiri or Attiyuran. It forms a trio called Mumurtivasam (abode of the trio) along with the Ekambaranathar Temple and the Kamakshi Amman Temple, both in Kanchipuram. Inside the temple complex, pilgrims also worship the Goddess Perundevi ,an incarnation of Goddess Lakshmi, the consort of Lord Vishnu. Pilgrims can witness processions with huge white and red umbrellas covering the deity during festivals. The temple has around 350 inscriptions belonging to various dynasties like the Cholas, Pandya, Kandavarayas, Cheras, Hoysalas and the Vijayanagara kings. These indicate the political landscape of the time and also the various donations made by the rulers. The temple occupies an area of 23 acres and contains 32 shrines and 19 vimanas (towers). The temple has a 7-tier, 130 feet long Rajagopuram at the entrance. The gopuram on the east is taller than the gopuram on the west. Inside the large temple complex, there is a hundred pillared hall with stone sculptures about the Mahabharata and the Ramayana along with a stone chain sculpted out of a single rock. This hall is usually closed off to the public with a metal fence and features riders on horses or yaazhis. There are murals of late Vijayanagara kings on the walls. Near the entrance there is a mural of an elephant, being ridden by Lord Krishna. The elephant is composed of nine women and is called the Nava Nari Kunjara motif. Golden steps with deep pyramidal grooves lead up to the sanctum of the temple where worshippers can touch the sculpted lizard, sun and moon. They made of gold and silver on the roof of a gilded room filled with intricate motifs. Pilgrims stand in long queues to touch the lizard, which is said to wash off the doshas or faults of anyone who touches it. Atthi Varadaraja Perumal (Atthi Varadar) is the 10 feet deity sculpture of the temple that is made of fig wood. It is stored underground, inside the temple tank and is removed from there for worship only once in 40 years. The rituals go on for 48 days with the last one taking place in 2019. Image 11: Vardharaja Temple Deaprtment of Fashion Communication, NIFT Chennai 27

Image 12: Entrance of Kanchi Kudil Museum 70 ft. Kanchi Kudil Museum DRESSING PLAY This museum is built in a century-old house, meant to ROOM ROOM preserve the lifestyle of the people hailing from the region. KITCHEN OFFICE The house has traditional red oxide flooring with wooden pillars. The hall consisted of a tall HALL 2 GOLU sloping roof area with wooden furniture. On the ROOM walls hung Thanjavur paintings and photos of the house’s occupants. The puja room contained a golu 30 ft. arrangement which is a practice of placing dolls during Navratri. HALL ENTRY There were lamps, figurines and rudraksha in this Fig 2.2: Layout of Kanchi Kudil Museum room. The house also had a ladies dressing room, 28 Selai Kathaigal, Craft Research Document, 2022 office, children’s room and an area at the end of the home for a well and courtyard. The walls were decorated with historic photos that depicted Tamil culture in the past two centuries.

Demographics Kanchipuram is Tami. Some of the locals have equipped themselves with English and a few According to the 2011 census, the district, dialects of Telugu. consisting of 13 taluks, had a population of 3,998,252, out of which 2,012,958 were male and In the past, Kanchipuram was a centre of 1,985,294 were female. There were 1,006,245 religious education for the Hindu, Jain and households with 1,673,814 workers in the Buddhist beliefs. The Hindu school system district. became popular with Sanskrit becoming an important language. According to the 2011 A majority of these workers are engaged in census, Hinduism stood out as the majority agricultural activities. 63.5% of the people live religion, with 88.47% following the faith. Second, in urban areas while 36.5% live in the rural came Christianity (6.42%) followed by Islam areas. The average literacy of the was 75.37% (4.35%). The majority of people in all towns in with the male literacy rate being higher at the Kancheepuram district follow Hinduism. 89.89% compared to the female literacy rate at 79.02%. The sex-ratio was 986 females for every 1,000 males. The most spoken language in Image 13: Procession in front Of Vardharaja Perumal Temple Deaprtment of Fashion Communication, NIFT Chennai 29

Image 14: Procession In Vardharaja Culture Perumal Temple Several festivals celebrated in Kanchipuram are tied to 01 the famous temples of the region. The Brahmotsavam 30 Selai Kathaigal, Craft Research Document, 2022 is a ten day long celebration at the Varadharaja Perumal temple in which the Lord and his consorts are given ceremonial baths and decorated . Their statues are carried out in a parade every evening. There is also the ten-day long Garudotsavam at the Vaikunda Perumal temple. During the Naynar Uryavan, devotees revere the 63 Naynar Saints and the idol of the Lord Ekambaranath is taken around the city in a parade. The temples here are also known for their great temple chariots known as ‘ther’, which are decorated with fresh flowers and bright paper. These chariots are brought out of the temple premises for specific festivals and are moved forward with the help of devoted volunteers. Carnatic music is common in this region. The music traditionally consist of three parts, the raga (melodic mode) , tala (rhythmic order), and the bhava (feeling, emotion). Along with Carnatic music, Mayilattam is practiced in the temples here. The dance is performed by women to revere Lord Subramanya and can therefore be seen at Murugan/Karthikeya temples. The name, Mayilattem translates to ‘dance of the peacock’. The costume is meant to mimic a peacock with the use of peacock feathers and a beak that can open and close. The dance also imitates the graceful movements of a peacock.

Clothing represents the culture & tradition of a state. The women of Kanchipuram wear traditional sarees. Here, sarees are available in a variety of fabrics like silk, cotton, and chiffon. A full-length short blouse and shawl, called Pavada or the half saree is worn by young girls. Apart from the traditional attire, many women can be seen wearing jeans as well as the salwar-kameez. Men are accustomed to wearing Tamil traditional clothing like the veshti (a white cloth wrap worn along the waist) for formal settings and lungi (coloured rectangular cotton cloth for the lower body) paired with shirts for everyday use. This attire is also commonly paired with an Angavastram, which is a piece of cloth draped over the shoulders. Nowadays people wear this above a shirt or a T-shirt. Accessories usually help highlight or complete an outfit. Hindu men wear a Vibhuti with sandal paste on their forehead. Along with gold jewellery, ornaments made of silver, copper & brass are also common. Women wear jewellery like chains, earrings, necklaces, bangles, anklets, nettichutti (jewellery worn on the forehead, especially by brides), etc. Women also adorn their hair with flowers and apply kunkumam (dry red powder) on their hands, forehead and feet. (Srinivas 2016) Image 15: Kanjivaram Saree 31 Deaprtment of Fashion Communication, NIFT Chennai

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The craft Deaprtment of Fashion Communication, NIFT Chennai 33

01 Image 16 Stack of Sarees at sri Venkataswara Saree Shop 34 Selai Kathaigal, Craft Research Document, 2022

Introduction To Kanjivaram Silk Sarees The saree is a long piece of un-stiched, woven fabric that border. The body of the saree is usually the largest in is draped over the body, similar to a robe. The garment terms of area. A saree should be draped in such a way has been worn by women across the Indian subcontinent that the design of this region is emphasised. for millennia. The border refers to the area running lengthwise at the Considering this long history, there are hundreds of ways edge of the saree. It is often structurally different from of draping a saree (Varma and Maini, n.d.) Styles vary for the rest of the saree, adding weight and improving the every occasion, originating from various regions across draping of the garment. Southern Asia. One end of the saree is usually tied at the waist and wrapped around the body in such a way that the The pallu is the end piece that is usually draped over the other end rests over the shoulder or over the head like a shoulder or used to cover the head of the person wearing hood. Most sarees range from 4.5 to 9 yards in length and the saree. It is also called pallav. 24 to 48 inches in breadth. Traditionally, the pallu is designed to match the border Historically, sarees have been handwoven with cotton and of the saree harmoniously, while still being unique. The silk, but synthetic fibre sarees are commonly produced saree is designed keeping in mind the principles of unity, today. In our times, the saree is usually worn with a fitted emphasis, rhythm and proportion. Many sarees also blouse and a petticoat. However, this was not a common feature an extra length of fabric, which is ‌stitched into a practice before the British Raj. A saree consists of three matching blouse for the saree. main parts, namely; the pallu, the body (or field) and the Border Body Pallu Fig 3.1: Parts of a saree Deaprtment of Fashion Communication, NIFT Chennai 35

Image 17: Saree Pallu Cultural Significance 36 Selai Kathaigal, Craft Research Document, 2022 Silk sarees are worn at important events, especially weddings and the festivities. They are considered auspicious and are often offered to Goddesses or presented to relatives during special occasions. The colours and designs of a silk saree also influence its function depending on the culture of the region. Some silk sarees are also passed down as heirlooms from one generation to the next. Some popular silk sarees in India include Kanchipuram, Banarasi, Pochampally, Mysore, Assam silk sarees etc. Kanchipuram sarees can be identified from their wide and contrasting borders. Temple and nature inspired motifs can be found on these sarees. In recent years, even paintings of Raja Ravi Varma have been woven into them. Provenance The Kanchipuram saree originated in the town of Kanchipuram in Chennai, Tamil Nadu. Kanchipuram silk weaving has been practised for over 400 years and still remains popular today. Over the years, the town has been ruled by numerous dynasties, including Chola, Mughal, and British dynasties. Under King Krishnadevaraya of the Vijayanagara dynasty, the town experienced its most significant growth. During this period, the two major weaving communities of Andhra Pradesh, the Devangas and Saligars, who were known for their weaving skills, moved into the village of Kanchipuram. Using their weaving skills, the Weavers created motifs inspired by the architecture of temples. They included stunning designs of figures they had seen in the temples around the village. According to Hindu mythology, the Kanjeevaram silk weavers are descendants of Sage Markanda, who was known as the weaver of the Gods. He worshipped Lord Shiva and he is known to have woven the first fabric from lotus fibre which came out Lord Vishnu’s navel. Cotton fabric is said to be the favourite of Lord Shiva, while silk is a favourite of Lord Vishnu. Therefore, the Kanji saree weavers have woven both cotton and silk sarees simultaneously. Weaving with silk is relatively new but cotton has been woven here since the time of the Pallavas. The East coast was known for its cotton weaving. The ships would come upstream from Mahabalipuram. Raja Raja Chola might have invited weavers from Saurashtra to establish looms here. When Benaras was attacked by Aurangzeb many silk weavers migrated South to Kanchipuram and Coimbatore.

Techniques Petni Korvai Technique • The process of twisting the warp, moving • Korvai means in sync and is an ancient the heddles and reed, then untwisting and technique that joins the thicker ply of joining them again is the Petni technique. This zari borders to the body of the saree on a technique is wherein the 'udal' or the body is Kanchipuram sari. Because the Zari border joined with the pallu by creating a narrow strip interlocks at both ends of the sari, it’s also of double fabric, within which the warp and known as “three shuttle” weaving. The weft colours merge to form a new hue. designs are inspired by temple motifs and carvings. When weaving a korvai saree, two • Usually, heavy silk sarees with elaborate zari weavers sit at both weft ends of the loom to borders and the end pieces are woven using throw the shuttle. Ply refers to the number this Petni technique. Once the pallu weaving of strands twisted together to form a single of the first saree is complete, the pallu of the thread. The most typical \"ply\" we see is one second saree is woven and the warp is removed or two strands. to join the new one so that the body of the second saree is woven. • The border and the body of a korvai saree are woven separately and then joined later by • The use of this technique results in the change in hand. colours extracted from leaves, barks and seeds. Weavers have been using the three-shuttle • Korvai saris are more expensive than plain weaving and interlocking weft to get this effect. silks because they use a labour-intensive To complete this with utmost perfection, the procedure that demands delicate and skilled weaver takes upto two days, making it the one fingers. Although most Kanchipuram sarees of the most labour intensive processes used to have contrasting colours between the body weave a saree. and the border, nowadays it depends on the needs of the customer. Adai and Jala techniques • There are three types: • The Adai and Jala were traditional techniques Plain: joined in a single line for weaving intricate border designs. Each of the Small temple border: triangular temple techniques is used in different places. border called muggu Rekku Korvai: bigger temple spire motifs, • Jalais the name given to the technique of using resembles the kewra or a “thazambu” extra warp and weft for the intricate designs in flower the saree border. It is commonly used in Varanasi Thalamppu Rekku: is the name given to (Banarasi) silk sarees. broad temple motifs. The Gopuram Rekku refers to the temple motifs. The seepu • Kanchipuram is famous for adai technique, rekku is a comb style pattern. mainly about the weaving designs in the border Pitni: is the weave used to attach the pallu where the cords are attached to the loom to lift to the main body of the saree. It appears as the warp threads and the weft yarn is woven a single continuous weave. Deaprtment of Fashion Communication, NIFT Chennai 37

Types Of Sarees Image 18: Sarees being shown at Venkateswara Society Shop Madisar is the name given to the saree that is worn by Brahmins. Unlike other sarees, which are 5.5 metres long, this saree is 8.5 to 9 metres in length. The silk madisareeunusuallydoesnothaveintricatedesignsorpatterns.Itiswoveninsolid colours with golden borders containing arumbu (flower bud) or temple motifs. Mupaggam refers to a saree in which the the saree width is divided into three parts. Arai Pagamisthenamegiventoasareewhosewidthhasbeendividedintotwo. Patterns, Stripes and Checks • Puliyam- Kottai Kattam directly means tamarind seeds. It is used for two toned sarees that have patterned checks around an inch in size. • Muthu Kattam refers to tiny white squares which look like pearls. The kattam is done in silk thread to provide contrast. • Koorai Kattam is inspired by the checks woven in Koorainadu of Tanjore village. • Kottadi Kattam refers to zari checks woven into the body of the saree • Vazhaipoo Stripes are called aathi vazhai (plantain flowers) • Thandavalam Stripes are inspired by parallel railway tracks • Veldhari Stripes is derived from kolams. It consists of wavy lines and dots woven into the warp • Vaira Oosi means diamond needle and refers to thin lines running parallel to the border. • High court papli checks are a pattern inspired by the tiles on the Madras High Court which contains black and white checks. • “Palum Pazhamum” (milk and fruit) is traditionally woven in red, yellow or green. It was popularised in 1961 when the movie Palum Pazhamum with famous actors, Sivaji Ganesan and Saroja Devi was released, although none of the leads wears the design. (Mohan 2018) • Kasa-Kasa (kattam) is a name derived from poppy seeds and refers to small checks on the saree. 38 Selai Kathaigal, Craft Research Document, 2022

Image 19 & 20 Relief work in Vardharaja Perumal Temple and 39 Ekambaranathar Temple respectively (top to bottom) Deaprtment of Fashion Communication, NIFT Chennai

Designing The Saree Fig 3.2: Design Process Flowchart Firstly, each motif or design is made specifically for the customer needs based on the market sales that are in great demand. Based on the saree's size and colour, motifs can be stylized. 1 - A rough sketch of the motif is illustrated in a paper. The color scheme and size of the motifs are planned at the beginning. For example, if the border size is 5 inches or 2 inches, the motif is drawn accordingly. The motifs can be, peacock, yaazhi, maanga, yaanai, etc. On the basis of the main motif, supporting motifs are drawn as well. 2 - After sketching out the final motifs, all the designs are drawn in the graph paper, either manual or computerized (Swathi Textile Designer software commonly used). The finishing of the motif should be even in size and position whether its done manually or digitally. For example, if the peacock motif has slimmer neck then the final motif should have the same. 3 - After the motif is drawn, it goes to the punching machine where the cards with desired design are punched. The card can hold 120, 240, 212, 256, 400, 480, 600, 720 and 1000 pixel worth of motifs. An electronic jacquard can also hold a larger 2400-pixel design. 4- Afterwards, the technique of weaving is decided whether it is jala, adai, or jacquard. If its adai technique, the loom is set according to the design being woven. 5 - The position of the motifs are decided whether it should be placed on the body, pallu or the border. Supporting motifs are often placed over the main motifs on the border. Based on their size, main motifs and supporting motifs can be differentiated. 6 - Zari thread is used depending upon the number of motifs in the saree. According to the customer's preferences; tested zari, silk fast zari, and embossed silk threads are used. 40 Selai Kathaigal, Craft Research Document, 2022

Image 21, 22, 23 & 24 L TO R, Top to bottom: 1. Motif Designs, 2. Computerising the Design, 3. Mr B Krishnamurthy’s collection of motifs, 4. A designer computerising the design Deaprtment of Fashion Communication, NIFT Chennai 41

Thinking process while designing the motifs The manufacture of silk saris involves the use of technology. The conventional design procedure has • Kanchipuram silk saree motifs are inspired been largely overhauled by the automated design from the temples. Based on the customer method. preference, designers illustrate the The motif’s image is first scanned, after which it is traditional motifs in stylised version. If its traced and bitmap-filled. The image is finally written customisable, according to the customer’s to the punch cards. The punch cards are now fed into interpretation, designers visualize the idea the jacquard machine in the shape of a chain and the and illustrate the motifs. weaving process begins. This automated procedure is easy and efficient. • Since Kanchipuram is famous for color contrast between body and the border, Petni and korvai technique, 5 or 4 grams of pure zari colours of the motifs are decided before they thread, describes the original Kanchipuram saree. draw in graph paper. Apart from the historical temples motifs, new designs are used from raja ravi varma paintings, mughal • Size and placements of each motifs is motifs. discussed before setting up the loom. Elements of the Designs The fundamental unit of a design is a motif. Some of in the prayers and the architectural wonders of the the inspirations from which motifs are derived are, city. In the case of kanjivaram saree weaving, motifs nature, or even socioeconomic, cultural or religious can be divided according to where they are found on factors. a saree’ namely the border, body or pallu. They are all very colourfully represented through More than the mere aesthetic appeal, motifs on designs on various surfaces, which also adds on to the Kanjivaram sarees are symbols from the ethos of beauty of it. Motifs have been a part of the fashion life. The genius is not just in the choice of motifs, but scene in India, ever since the land was under the also in the way that these motifs are put together in regime of kings. the saree that when seen overall forms a beautiful ecosystem of floral, animal and geometrical designs. The same can be seen in the legacy of kanjivaram sarees. Motifs are extremely important to what makes It is important to understand the orgin of these a kanjivaram saree its namesake. Kanjivaram’s motifs motifs to understand the reason behind their use. are rooted in local contexts and artistic traditions. Since motifs always have a source of inspiration, they They represent centuries of history in a simple form. have stories to tell, beliefs to share and legends to be Weavers have found inspiration in the temples they passed down. visited and the gods they worhipped, the flowers used 42 Selai Kathaigal, Craft Research Document, 2022

Image 25: Saree at Venkateswara Society Shop Deaprtment of Fashion Communication, NIFT Chennai 43

Motifs Life Forms Motifs used in Kanchipuram sarees are not just for decorative purposes but have a lot of mythological/folklore connotations. Motifs here have a twin role- aesthetic appeal and a reflection of symbolic meaning. Some traditional motifs serve a protective functions, for instance, guarding the wearer from the evil eye. Some motifs reveal rich histories of patterns most of whose sources are beyond textiles. Close resemblance to Tamil paintings, temple architecture, sculpture, dance, literature and so on. The rich ornamentation of motifs as shown in the Kanchipuram temples, the land of a thousand temples, so, inspiration has been taken from the place itself- unique temple motif- form of rows of large triangles woven into the fabric. Apart from using motifs on the body of the saree, there are a number of geometric patterns that are also used to enhance the background to the motif embellishment. Some of them are, checks (kattam), diagonal lines (vari), circular forms (buttis). Annam (Hamsam) • Beautiful swan which is celebrated by poets and philosophers- recurring motif- drawn from the walls of Kanchipuram temples. • Annapakshi motifs which appeared in Gandharan and Kushan sculptures which was later incorporated into temple sculpture and Hindu iconography. • This bird is a feature of decoration on the heroine of Kalidasa’s epic Kumarasambhava wedding saree. Iruthalaipakshi (2 headed eagle) • Garuda-Dhvaja is the emblem of victory. • Two headed eagles have been present in imagery for millennia in various civilizations in the world. • This particular motif is woven on body and pallu of saree. • Motif takes on a regal splendour- woven in rich gold zari or colored silk yarn. Kili (parrot) • Parrot has always played an important role in Tamil culture- symbol of truth and transmission of teachings by sages. • According to ancient literature, Sage Suka and Arugirinathan took form of a parrot to recite and record some of the greatest shlokas. Parrot also adorns the favorite goddesses of the south- Meenakshi and Andal. Motif is also associated with God of Love- Kama. • Not only the shape but also the distinctive green color of the parrot- kilipachai- is also a favourite among Kanchipuram sarees. 44 Selai Kathaigal, Craft Research Document, 2022

Mayil (peacock) • Associated with royalty and regal pomp. • Associated with worship of Lord Murugan- He is depicted on a peacock vahana or vehicle. • Yapenngala Vriti is a 12th century text that describes the city of Kanchipuram as a peacock. • Athiyur where the Varadharajaperumal Swamy temple is located is referred to as the head of the peacock, while the Shaiva Kanchi temple forms the body. • Deeply rooted symbolism paved way for the famous Mayil Chakaram motif in the Kanchipuram Saree. Simham (lion) • Vaikunta Perumal temple’s outer praharam has Pallava sculpted lions on the Mandapam pillars. These are not mere adornments of temple architecture but the sculptural and textual evidence reveals that when the temple was consecrated (Kumbhabisheka), these lions embodied the brilliant conquering power from Goddess Durga. • The lion is an insignia in almost all civilizations and in textile design of Tamilnadu it is associated with the mystical yaazhi. The lion is used as a linear design in border and pallu of kanjivaram saree. Yaazhi (part lion, part elephant or part horse) • Popular motif guarding the corridors and entrance of most temples in Tamilnadu. • Ubiquitous in Tamil temple architecture and Kanchipuram saree. • Potent motif of power greater than lion/elephant • Vehicle of budhan (mercury) (one of the Navagrahas) • Majestic gopurams of temples- row of lines specifically crafted for depicting the Yaazhi (called Yaazhi varisai) • In textiles- simha yaazhi, yaanai yaazhi, hamsa yaazhi. Meen (fish) • Potent- fertility symbols of tribal communities in India. • Pandyas of Madurai used fish on their dynastic emblem • Motif seen along borders called MeenPattu. • Associated with vaishnavism. Deaprtment of Fashion Communication, NIFT Chennai 45

Kuthirai (horse) • Horses galloping across the border and pallu of a kanjivaram saree form a stunning pictorial panel. • Predominant feature of the mandapams of temples like Yaazhis and also forms part of the Vana Sigaram- hunting scene woven on the brocades • Horse is also closely affliated with rural art • Mannkuthirai of Ayyanar- part of rural landscape- weavers took inspiration from this for a different form of the motif. Maan (deer) • Golden deer as described in Ramayana and is symbolic of innocence and non violence • Kanakavali’s signature logo is this maan, and is rare but beautiful on the sumptuous silk. • Also connected with iconography of Lord Shiva and vehicle of Vayu, God of Wind. Yaanai (elephant) • Auspicious animal- traditionally associated with royalty and depicted along with goddess of wealth Lakshmi. • In temple architecture- row of elephants- as though holding up the entire temple structure as a symbol of protective power. Similar is seen on the saree border/pallu. Kuyilkann & Mayilkann (cuckoo & peacock eyes) • Supplementary design for borders • Intricate and exquisite • Diamond mesh designs adorn the pattu border in saris and veshtis • Mayilkann veshti with Ganga Jamuna border in red and green is worn by bridegrooms during weddings • Mayilkann motif is heavier and slightly larger than the kuyilkann which has a small central dot within the diamond pattern- a favorite on sari borders. 46 Selai Kathaigal, Craft Research Document, 2022

Meen chethil kann • Meen chethil kann means scale of the fish. • The fish scale is small surface of the fish’s skin. It’s a protective layer for the skin • Inspired from the pattern of the fish’s scale. Temple AraiMaadam • Meaning ‘half niche’, is the triangular niche seen in the walls of the temples of Kanchipuram, meant for lighting diyas. • arai maadam is seen in the border of the kanjeivaram saree and the border is sough after in the tradition 9 yard saree, madisar; ans dalso in the dhotis of grooms. • the border looks the same from both sides wich makes it more preferable. Poo Chakram • One of the oldest motifs in kanjivaram sarees. • It can be spread across the body to create simple and stunning design • It represents the circle of life. Paai Madi (Basket weave) • Along with kanivaram saree, the motif is seen in cotton lungis whicha re called payyadi lungis • These lugis have been exported out to other south asian countries in history • It is a part of the ground fabric of the saree, and is rich in depcting colour and contrast. (Mohan 2018) Deaprtment of Fashion Communication, NIFT Chennai 47

Flora Rudraksham • Rudrakshas are the sacred beads of Lord Shiva • The motif is generally found along the border and on the body as buttis in a bigger size • The rudraksha seed is obtained from rudraksha tree (Elaeocarpus ganitrus) growing at the foothills of the Himalayas - rudraksha translates into the tears of Lord Shiva. Seepu reku • The striped seepu reku often occurs on pallus, yet its tapering pattern distinguishes it as a variation of the temple motif. • Its evenly-spaced, slender lines resemble a comb or ‘seepu’ in Tamil. Kodi Visiri (creeper) • This pattern can be seen on horizontal beams in south indian temples • It is used in the borders or pallu Thazampoo reku (kewra flower) • Thazampoo reku is named after the sacred flower of the screw pine, for it too is wide and sharp-edged. • It is border motif, identified by its repeating geometric triangular and often layered shape which resembles the temple gopuram 48 Selai Kathaigal, Craft Research Document, 2022

Thuthiripoo (udhiri pookal) • Thuthiripoo is a word derived from utharippu which means loose flowers. • This motif is used in between border compositions creating a sense of delicacy and elegance. Kamalam or Thamarai (Lotus) • Lotus is associated with the Goddess of wealth Lakshmi, Saraswathi and also with Brahma, the creator. • A saree’s design is always adorned by the weavers individuality and aesthetic. • The eight petals signify new beginnings. Mango (manga) • Sthala Vruksham is the 3500 year old mango tree located at the Ekambareswarar temple. It is said to produce four different mangoes like the four vedas • Inner details or standalone motif - used in border body and pallu • Known as paisley - part of persian repertoire, mughal • Stockier and more stylized Malli Moggu (jasmine bud) • Moggu is the Tamil word for a flower bud. It is a part of everyday ritual like being used as an adorment ina womans hair and for amking garlands for idols and marriages • Jasmine is the flower used most commonly in tamil nadu and it is often showed on the body of the saree. Deaprtment of Fashion Communication, NIFT Chennai 49

Culture and Accessories Paneer sombu • Paneer sombu/ rose water pot with sweet sombu (fennel) is an indian welcome culture. • Mostly seen in indian weddings, conference meetings or any family functions. • The motif is inspired from the warm welcome culture and designed as a pattern. • Found in border of the saree. Star • The shape of the star is designed in various way. • Mostly placed in the borders. Thilakam • Generally a mark on the forehead, often a red mark which is worn by Indian women • Found in border of the saree. • Inspired from the shape of the mark on the forehead. Rudranchal meen • A combination of the meen motif anf the rudrakham motif • generally used for borders of sarees Salangai ( bell anklet) • Salangai is an ornament which is worn by Indian women. • Inspired from the shape of the tiny bells and mostly found in the borders. 50 Selai Kathaigal, Craft Research Document, 2022