Selai Kathaigal

["Box thuthirppu \u2022\t A thuthiripoo known as indian mallow which is designed inside the box which is known as box thuthiripoo. \u2022\t Mostly found in borders. Kathir mokku \u2022\t It means the corn bud. \u2022\t Motifs are inspired from the shape of corn bud. \u2022\t Mostly found in body and borders of the saree. Paisa \u2022\t A unit of a rupee in india \u2022\t Inspired from the shape and value of the paisa in old times. Bogudi \u2022\t A tiny triangle of consecutive designs that run across on the border or pallu \u2022\t It\u2019s inspiration is the shape of mokku Vanki \u2022\t Vanki is a V - shaped ornament which is worn around the arm. \u2022\t The Ornament is worn by Indian women during their wedding ceremonies. \u2022\t Mostly found in saree borders. \u2022\t Weavers found the inspiration from the ornament and designed it in different forms of motifs. Deaprtment of Fashion Communication, NIFT Chennai 51","Tools Used For Weaving Flying shuttle (nada) - It is used to insert yarns for weaving. To make a variety of patterns,weft threads are placed through the fly shuttle. Traditional bamboo spool (Parivattam) - Yarns from the hank are twisted on a spool locally called \u201cparivattam\u201d. Spinning wheel (Mararatinaam) - IC is used to spin silk yam to pins. It helps in turniny she yarn taost spoods onto shaft. Pirns butta thirte - Yarns trom parivattam wound to the plastic sticks are called pirns 52 Selai Kathaigal, Craft Research Document, 2022","Steel nails (kambi) - They are used toweign down the tread co separate It. Comb - It is used to hold the weft in place while weaving. Measuring tape- Plastic measuring tapes to determine final measurements, but also use them to figure out what size is needed for the final project. Punch cards - The design is punched on the punch cards. The cards are stacked into jacquard machine. Design get scanned and traced, then at particular time, moved to the punch cards. Deaprtment of Fashion Communication, NIFT Chennai 53","Degumming Fig 3.3: Dgumming and dyeing process flowchart Degumming is the process of removing sericin or gum from the silk yarn before it is sent for dyeing. This step is crucial in the entire procedure because it ensures that the yarn reacts well to the dyes. Skipping this step generally results in the yarn\u2019s colour being dull regardless of the amount of dye used and the dye also fading sooner. Colours like arakku (maroon), kanchana brown, navy blue and many more will get a brighter effect after dyeing. Raw Materials and Tools Process \u2022\t The raw materials used for this process include soap oil, 1 - Water is boiled at a high temperature so that washing soda and water. The use of washing machines has the gum is removed from the silk when it\u2019s dipped. modernised the process. 2 - Washing Soda and soap oil are poured inside the \u2022\t According to the required amount of raw silk for body, pallu container and mixed well. and blouse, the silk is dipped into the washing machine by mixing 100 gm of washing soda and 10 ml of soap oil per 3 - Next, raw silk (weight depending on saree order) kilo of raw silk. Dipping of the raw silk is done three times is dipped three times repetitively into the water. more times in the same water. This is done before dyeing to prepare the raw silk to absorb the colors which are about to be dyed. \u2022\t Colours like arakku (maroon), kanchana brown, navy blue and many more will get a brighter effect after dyeing. (\u201cDegumming of silk\u201d 2017) 54 Selai Kathaigal, Craft Research Document, 2022","Image 26: Silk during the dyeing process Dyeing Raw Materials and Tools for 1 kg. Similarly, Dt. Chrysophenine G H\/C dye was available for Rs 1215 per kg from the same producers. \u2022\t During dyeing, steam is used instead of fire to reduce the workload. The use of steam reduces a two-day process with \u2022\t Another producer of chemical dyes was Colourtex fire to half a day. At the dyeing unit, there is a separate Industries Pvt. Ltd. which is based out of Surat. area for the furnace. The dyeing unit that we researched had been using steam for dyeing for 3 years. Before this, \u2022\t For the first stage of dyeing, the dye and water are mixed they used a firewood stove which took more time and also with washing soda and soap oil. 100 gm of washing soda needed a proper ventilation system in the unit. and 10 ml of soap oil is used per kg of raw silk that is dyed. According to the amount of raw silk, the container size for \u2022\t Natural dyes are rare and dyers mostly use chemical dyes. dyeing will differ. The colours of a saree are divided according to pallu, body, and blouse and are dyed separately. 70-80 gms of the \u2022\t Usually, three kilos of raw silk is dyed in one batch.The required amount of dye is used per a saree for the main final stages of dyeing use acetic acid and coconut oil. Large body. For the blouse, around 20-30 gms of dye is used. cans of 30KG net glacial acetic acid produced by Gujarat These are still often measured using traditional weighing Narmada Valley Fertilisers & Chemicals Limited were scales. stored near the entrance of the building, a little away from the steam. Since the liquid is highly flammable and \u2022\t The chemical dyes are obtained from Mumbai and Surat. corrosive it needs to be handled with care. They come in packets of 500g and 1kg. The price varies for each colour. A dye named Acid Red 3BN Conc. by Chander Dye Chem. Industries from Mumbai was priced at Rs 1030 Deaprtment of Fashion Communication, NIFT Chennai 55","L to R Image 27, 28, 29, 30 & 31- Silk sectioned for different colours in dyeing; Dyer sectioning raw silk; dyeing, Silk in dyeing couldron, Swatches for dyeing 56 Selai Kathaigal, Craft Research Document, 2022","Process Before the silk goes into the dyeing process, the raw silk is dyers uses they use 1 kilo of color powder even though dipped in cold water to get more lustrous and stiff raw silk. the 100 g of color powder is needed, because when there is more water, more color dye has to be added. 1 - According to the amount of raw silk used, water is boiled at the normal heating temperature like how one boils 5 - Next, silk yarn is dipped into the steamed container water at home. Dyers adjust the boiling point in the furnace with the help of steel rods, where each dyer carries two according to the need of heat applied for dyeing. rods each. Dyeing is done by two people. 2 - Next, any one of the basic five colours are first added to 6 - Dyers twist and turn the yarn while dipping them into the container. The basic first colours are half white, lemon the water over ten times to get the silk dyed evenly. If it\u2019s yellow, mustard, and golden mustard. Dyers prefer to use not accurate, they repeat the process until the desired color half white colour to get the purity of the hues. is achieved. 3 - 100 g of washing soda and 10 ml of soap oil is added to 7 - The dyed silk is dropped into the container consisting of the container. normal water to remove any excess colour. 4 - The required color powder is added. Generally, they add 8 - It takes one day to dry the entire dyed yarn. Dyers 100g to 1 kg per dye. For example, if its body of the saree, usually dry them during the night until next day\u2019s morning. Colours and Dyeing One of the best textile traditions is found in South India, where skilled craftsmen mix their talent with design, colour, and weave features inspired by the surrounding\u2019s mythical and cultural heritage. Adding on to that, in Tamil Nadu specially, using colour to make a statement is part of our social consciousness. The weaver and the cloth he weaves have a unique relationship because of the weaver\u2019s calm sensitivity, which is steeped in tradition, ritual and religious fervour. As a significant place of devotion, Kanchipuram\u2019s traditional weavings always had a religious theme to them, reflecting prevailing cultural norms. Colours have always been strongly tied with auspiciousness, symbolizing various social and religious variables, as we saw in the first version of the Varna Sutra, especially when picking Kanjivaram sarees for weddings and important celebrations. Dyeing makes it possible to bring about the choiciest colours and shades on silk leading to value addition of the silk materials. Silk offers a wide colouration possibility covering almost the entire spectrum of colours and hues due to its ready acceptability for a large range of dyestuffs. Some of the common shades of colours that are seen are: red (arakku), yellow (manjal), green (pachai), blue (nila) and black (karuppu). 01 Deaprtment of Fashion Communication, NIFT Chennai 57","Image 32: A red kanjivaram saree with rudraksham borders Colours Of Kanjivaram Sarees 58 Selai Kathaigal, Craft Research Document, 2022 Red (Raktha) and The Entire Palette The colour red is the first colour humans mastered, fabricated, reproduced and broke into different shades. It has held a certain power over all the other colours. The real zari in a Kanjivaram saree has a unique aspect to it, that being a red thread runs in a single strand of zari. This is an auspicious addition as well as a depth of colour to the weave. Arakku, is a distinctive colour lying between red and maroon and it marks the transition of pink into a deep red. It is a shade that is unique to Kanjivaram and an absolute favourite choice for the bridal saree. Kempu ruby red of uncut gemstones which adorned Thanjavur paintings and temple jewellery of dancers. Arakku Largely preferred shade of red for bridal sarees Milagaipazham Red Has the essence of glowing red of chillies which makes the wearer of the saree stand out Kumkuma Red It is the vermillion colour of the powder used for religious markings, mainly on the forehead.","Thakkali Red Vengayam It is the fresh colour of ripened tomatoes It is the pastel pink of Indian onions with a slight tinge of orange. Thamarai Brick Red It is the colour of the sacred lotus and it Earthen brownish red colour of sengal, or is revered for its colour since it is also an brick, made from semman, or red soiled ancient symbol with a divine connection earth. to the Gods Vishnu, Bramha and goddesses Lakshmi and Saraswathi. Chembaruthy Red Colour of bright reddish orange flowers Rani Pink which are used in pujas and worship. A very unique shade also referred to as shocking pink. Pattu Roja Colour of fragrant pink garden roses which Meenakshi are used in bridal garlands Deep pink shot with blue Paneer Roja Baby pink of the scented rose which is used to make rose water and food flavourings. Deaprtment of Fashion Communication, NIFT Chennai 59","Image 33: Green saree border Green (pachai) and the entire palette Green is fondly known as the \u2018colour of life\u2019 and it comes alive in a variety of shades on the lustrous Kanjivaram silks. It was one of the essential colours of the ancient craft, at a time before synthetic dyes came to Kanchipuram. Green has always been associated with fertility and new life, evoking a sense of freshness and positivity. Green is one of the most versatile colours, from the various shades ranging from brilliant jewel tones to soft pastel hues. The various nomenclature for the shades of green have been drawn from daily life, food and culture. Elakkai pachai The light shade of green whose name is derived from the cardamom pods which are of the same shade of colour. Ilai pachai It is the vivid colour of chlorophyll found in leaves. Kili pachai It refers to the vibrant parrot colour. Manthulir 01 It is a stunning green-red shade best describing the beauty of tender mango leaves and symbolizes the onset of summer. 60 Selai Kathaigal, Craft Research Document, 2022","Pon Vandu Emerald Green A yellowish green shade, it represents It is one of the colours among the Navaratnas the iridescent golden glow of the golden and the green stone from which the name of the beetle. shade is derived from is believed to belong to the planet Mercury Alli Pachai It is the symphony of white and green of Paasi Pachai water lilies in a pond. This is a raw and earthy shade of moss green Bottle green Refers to the rich colour of the dark green colour seen in glass bottles. Mayil Kazhuthu This shade derives its name from the shimmering blues and greens which can be found in the peacock\u2019s neck. Deaprtment of Fashion Communication, NIFT Chennai 61","Blue (Nila) and the entire palette Sky blue A delightfully bright blue shade, it is a celes- Nila, or Blue is the colour of infinity and a representation of tial colour resembling the sky at noon. vastness. Lord Vishnu is represented in a dark shade of blue which characterizes most of His incarnations- the colour of the sky and the Krishna Meghavarnam ocean on which he reclines. The Lord is referred to as the one with This is a beautiful two toned shade of violet skin the colour of dark blue rain clouds. India\u2019s rich textile history shot with arakku. It is the colour of dark rain over indigo launched thousand fleets of the world to trade with us. clouds associated with Lord Krishna. This is a colour spectrum that combines ancient spiritual Turquoise Blue connotations with references to popular culture and a sense of the The name is derived from a gorgeous blue- contemporary as well. green gemstone. This shade has acquired significance as a sacred stone and has found MS blue: its way into the saree colours also. having derived its name from the legendary Car- natic vocalist and Bharat Ratna M.S.Subbulaksh- Sapphire Blue mi, this is a middle-sea-blue shade and it has Also called \u2018Neelam\u2019 in Tamil, this shade become a must have in every Kanjivaram saree highlights the love for gemstones particularly collection. the Navaratna. This precious light blue colour comes alive on the exquisite silken drape. Ananda blue: This is a vivid shade of sky blue and it is refer- Copper Sulphate blue enced to Lord Krishna. This is a distinctive shade of blue, which is rich and vivid and it is widely used among Navy blue Kanjivaram sarees. This is the very dark shade of blue and the name is derived from the uniforms worn by Kathiri Poo the British Royal Navy. The navy blue on the Having derived its name from \u2018kathiri\u2019, or egg- Kanjivaram silk is like the midnight sky, often plant, it is a beautiful shade of purple dotted with zari motifs like stars. Neelambari This is a dark blue-black hue which is seen as one of the darkest blue shades. Ink blue A deep blue colour of the ink traditionally used in fountain pens and it lends the silk a gorgeous glow. 62 Selai Kathaigal, Craft Research Document, 2022","December Poo It is a distinctive purple tone and found its place among Kanjivaram sarees and its name is derived from the flower that blooms in the winter months. Vadamalli It is the colloquial name for the globe am- aranth flower. This is one of the favourite shades of Kanjivaram saree connoisseurs. Naval Pazham The name of this shade is derived from the crimson and purple hued berries of the ja- mun fruit, which is indigenous to the Indian subcontinent. Image 34: Blue Saree border 63 Deaprtment of Fashion Communication, NIFT Chennai","Image 35: Yellow kanjivaram saree Yellow (Manjal) and the entire palette 64 Selai Kathaigal, Craft Research Document, 2022 The intricate symbolism woven throughout the Kanjivaram saree which is already aesthetically pleasing in and of itself, only serves to enhance its beauty. Every woven pattern or motif, coupled with the colour of the silk has meaning for both the weaver and the user, just as every mudra or hand motion in the classical dance form of Bharatanatyam is a visual representation of a word or concept. There are many implications attached with the yellows and oranges of Kanjivaram saree. Yellow as a colour is strongly entrenched into the culture and mentality in India. Without turmeric or manjal, a substance which has medicinal effects, no ritual in Hinduism is complete. The striking hues in this palette are also drawn from fruits, flowers and flavours typical to a South Indian kitchen. Some of the names given to yellow are, Pitha (the hue yellow), Ranjani (that which adds colour), Varna Datri (that which improves the complexion of the body) and Haridra (showing that it is dear to Hari or Lord Krishna). Srichurnam An orange-yellow shade, it is the colour of the central line of tilakam worn by the Vaishnavites, which is a representation of the grace of Sri or Goddess Lakshmi. Elumichai A lemon yellow shade, it is a delicate citrus colour which is elegant and lovely on silk. Mambazham Having derived its name from the mango fruit, this shade is a Kanjivaram classic; this mambazham yellow and mangai motif are pervasive to Kanjivaram sarees. Kesari\/Kumkumapoo This is the golden orange colour of saffron that ap- pears on the Indian flag and it is very lustrous on the saree.","Pasu Manjal Black (karuppu) White and Gold; the It is the tender turmeric colour, and apart from its entire palette use in rituals, manjal is a key element especially during Pongal, the harvest festival of Tamil Nadu. The history of colours that are seen in the Kanjivaram saree are carved out of a lifelong fascination with South India\u2019s traditions Sandhanam and social norms. Ritual, spiritual and cultural customs offer Colour of sandalwood, it always has an elegant look guidelines specifying colours to be worn for various significant on Kanjivaram sarees. It also has a significant place- events and to mark different stages of life. In particular, shades ment in history. of black and white are symbolic of this. Kanakambaram Weavers of the Kanjivaram saree use black yarn more often A light orange shade, this shade has derived its name in the weft pattern of a saree, infusing the warp colour with a from the much-adored tropical flower which is strik- darker hue. Black sarees are a rare colour to spot at traditional ing, but delicate. weddings and occasions. In contrast, white is much more com- mon than the black colour. The Kanjivaram wedding saree in Fanta Orange lustrous shades of white with golden zari takes on various hues Named after one of the most popular beverages in In- such as pearl, ivory and so on. dia, this shade is quite distinctive. Vendhayam: this is the double hued brownish yellow Karuppu seeds of fenugreek which is one of the important in- This is the basic black colour that takes on gredients in South Indian cooking as well. various shades categorized from masikkai black to kanmai black, which refers to kohl. Thaen Some weavers even till date apply kohl onto The lustrous, dark amber shot shade of honey is a new sarees before handing it over to the stunning colour on silk. clients. Eiyam This shade refers to the tin colours of the vessels used to prepare and serve food. Gold Cement grey Fondly referred to as \u201cgoldu\u201d by the weavers, it is the This shade is a sign of influence of the first colour of zari in the saree and lustre of the silk is ac- cement factory in India in the early 1900s. cented by the use of the same and therefore makes up This cool and smoky shade of grey stands out to be a key element in bridal sarees. beautifully on sarees with contrast borders. Deaprtment of Fashion Communication, NIFT Chennai 65","Image 36: Black kanjivaram silk saree Yaanai The name is derived from elephants, who are seen don- ning the same colour and hence this shade is also called Elephant Grey. Muthu Also called Pearl White, this lustrous white silk draws inspiration from the colours of pearl. The most classic combination on the saree is a pearl white body with an arakku border. Vennai This refers to the golden white colour of freshly churned butter Sambal This is also known as ash grey colour, and its tonality lies halfway between black and white Kumaran: Also called off-white colour, it is a spectrum of whites that includes cream, ivory and vanilla. 66 Selai Kathaigal, Craft Research Document, 2022","Warping Fig 3.4: Warping and spinning flowchart Raw Materials and Tools A bamboo stand that is 45 inches in height and 61 inch long, rope, large nail is hammered into the ground to fix the rope and stand. There were holes on the road already made for this purpose, kanji (starch water) Process 2 - Rice water starch is coated on the yarns once they are laid in straight rows. This is done to strengthen them and to reduce The warping is done in the streets, preferably early in the the friction during weaving. Kanji is the name given to the morning, to avoid sun bleaching the silk yarn's colour. To fermented rices starch water which they preserve for at least 5 complete the warping procedure, approximately 3 to 5 artisans days before usage. are required. The warp consists of a count of 5000 threads together for a saree. Approximately 2500 is the thread count 3 - The warp threads are then beaten with a wooden stick to make for weft. the yarns stiff and to separate them without entanglements. Another stick is used to separate them manually 1 - This involves the preparation of the stand where the yarns are separated and attached to both ends on a bamboo beam and the knots which hold the threads together after the dyeing process are removed. Deaprtment of Fashion Communication, NIFT Chennai 67","Image 37, 38, 39, 40; L TO R 1. Warp thread being examined; 2 Warp threads being beaten by wood; 3 Warped yarn being bundled together; 4 marking the distance on warp threads and being tied together. 68 Selai Kathaigal, Craft Research Document, 2022","Spinning Fig 3.5 Degumming and dyeing process flowchart Raw Materials and Tools \u2022\t Parivattam is the name of the traditional bamboo spool that is used to prevent tangling of the silk. \u2022\t Charkha (Mara-Ratinaam) - used to spin yarn onto spindles for the preparation of weft. \u2022\t Spindles - yarn from mara-rayinaam is moved into spindles. The shuttle is embedded with these spindles, which are used for weaving. \u2022\t Pirns (butta theree) - is a small plastic rod onto which thread is wound for weaving. Process Initially, the silk yarn is spun onto the Parivattam. After this, the silk yarn is transferred onto the spindles with the use of the spinning wheel. The shuttle is embedded with these spindles while weaving to weave the weft. This whole process is practiced to avoid tangling of the yarn and make the weaving process simpler. 01 01 Deaprtment of Fashion Communication, NIFT Chennai 69","Image 41: Yarn being prepared for weaving 70 Selai Kathaigal, Craft Research Document, 2022","Preparing Zari Process Zari is made up of red coloured silk yarn twisted with the silver thread which is then dipped into the gold to get a pure gold zari thread. In the tested zari, copper thread is coated with gold. Try scratching the zari or pulling it with your fingers and gliding it with your nails to see if the red coloured silk yarn appears, if it doesn't, then it's a duplicate zari. 1 - Four steel rods are aligned separately to each other in a horizontal way facing the zari maker. 2 - A bundle of Zari threads are untwisted by hands and placed in each rod. 3 - Zari threads are released from the knot and expanded from each thread to avoid the interconnections between each other and entanglements. Fans and other potential sources of disturbance are avoided so that the threads don\u2019t get twisted. 4 - The beginning of the thread is picked, a knot is tied within the thread itself and then it is rolled onto the bamboo spool repetitively until it\u2019s filled. The zari threads which are placed in the rods are adjusted as it is lifted up and down while rolling onto the bamboo spool. 5 - To stabilise the metals in the gold and silver zari, it is soaked in water to avoid breakage. Image42,43:NationalAwardeeMrRNageswaran,DemonstartingtheProcessofpreparingzariforweaving; Image45:Toolsusedforpreparingzari Deaprtment of Fashion Communication, NIFT Chennai 71","Headles Weaving Shuttle Cloth Roller Warp Beam Fig 3.6: Parts of a Loom Parts of a Loom Whip Roll 1.\t Warp Beam: This part of the loom holds the warp threads, or the lengthwise yarns and it is located at the back of the loom and is controlled so that it releases yarns for weaving whenever needed. 2.\t Whip Roll: This is a guide roller and it directs the warp threads on their way to the lease rods and heddles. 3.\t Lease Rods: This is another guiding device for the warp yarns. These are two wooden or glass rods of sorts set between the whip rolls and heddles. 4.\t Heddles: A heddle is a wire with a hole in the Breast Beam centre through which the warp yarn is threaded. The number of heddles depends on number of the reed involves feeding the filling thread into warp yarns in the fabric and the heddles are held position, and in order for this to be done it has to in two or more harnesses. move in a back and forth motion. 5.\t Harness: It is essentially a frame that holds the 8.\t Breast Beam: This bar is present at the front of heddles. The weave pattern is determined by the the loom over which the fabric passes on its way harness position, number of harnesses, and the to the fabric roller. warp yarns which are controlled by each harness. 6.\t Bobbin & Shuttle: The filling thread is wound on 9.\t Fabric Roller: This is an essential part of the a bobbin which sets into a shuttle. As the shuttle loom that is located at the front of the loom and is passed back and forth, it releases thread from it holds the completed fabric. the bobbin and so forms the filling fabric. 10.\tTemples: They divide at the edges of the cloth 7.\t Reed: Reed is a combination made up of steel which supports to maintain fixed dimension in wire rods set vertically in a frame. The spaces width. in between the wires are called splits and it is kept parallel and as even as possible; this is the first function of the reed. The other function of 72 Selai Kathaigal, Craft Research Document, 2022","Types of Looms Looms are used to convert yarn into fabric. They hold the warp threads under tension so that the weft can be woven in between. Handlooms can be classified as pit looms or frame looms. Frame looms The Jacquard loom holes determine which groups of threads The loom is made of panels or rods fitted together at right will be visible at a particular point in a design.The invention angles to make a frame. of the Jacquard machine reduced the time required to make a design and also decreased the number of errors being made by Pit Loom weavers. The \u2018draw boy\u2019, a child who would aid in the process The pit loom is a horizontal loom, which is controlled by of weaving, became unnecessary. This entire mechanism of treadles (pedals). The four posts of the loom are shifted into the using interchangeable punch cards went on to inspire Charles ground. The warp threads are controlled by the weaver\u2019s feet Babbage to invent the world\u2019s first computer, the Analytical and the hands are used to throw the shuttle carrying the weft Engine. threads. It can be classified as a throw shuttle or a fly shuttle loom as well. Dobby It is a type of floor loom in which the warp threads are controlled Jacquard using a device called the dobby. In the loom every warp thread Invented by Joseph Jacquard, The Jacquard machine acts as is connected to a single shaft using a device called a heddle or an attachment to fabric looms. It has a chain of punch cards harness. Lifting the shaft gives the weaver many gaps to throw that guide the design that needs to be woven in the textile. the shuttle in. Deaprtment of Fashion Communication, NIFT Chennai 73","Raw Materials and Tools \u2022\t The raw materials include silk, zari and. Silk is sourced from Bangalore and zari is obtained from Surat. The pricing of the zari depends on the amount and quality of the gold required. The weaver that we spoke to bought zari which is priced at Rs 12,000 in the market, but he also mentioned that actual zari prices start from Rs 500 and go up to Rs 18,000. The zari that is sold at Rs 18,000 is generally bought by government societies. Silk is currently sold at the price of Rs 7000 per kilogram. However, it was priced at Rs 3000 per kg before the pandemic. The increase in price can be attributed to new rules brought in by Reshamandi. \u2022\t Originally, bamboo reed and steel reed were used in such a way that each warp thread is separated through the vertical slits. Weavers prefer to use bamboo reed instead of steel because steel rusts easily and is not safe for weaving the saree. \u2022\t Sourcing of these raw materials is a smooth process. There are agencies located in Kanchipuram maintaining all the imports and exports. In recent times, the status of the couriered products is also shared via Whatsapp, which makes it even easier for weavers to track the orders. \u2022\t Raw materials are s\u200c tocked up when there is sufficient money in hand or are purchased in bulk when there is good production of high quality silk. This \u200coccurs in the summer season when production is high or during April and May when good quality silk is produced. \u2022\t The raw materials required for each saree are calculated using a unit called paavu. One paavu is the measure of 3 sarees, which comes up to 1kg, 50g of silk for the warp and 1200g of silk for the weft. The weight of zari varies from design to design starting from 50 to 500g . Zari is tied to the prestige of the family and each spends differently on the zari. \u2022\t Kaaikutchi was the hand stick tool used in older weaving techniques. New technology used by the weavers is the electronic jacquard, which is only offered by the weaver\u2019s society and not often available for private weavers. The electronic jacquard costs between Rs 2,00,000-2,50,000. This is not affordable for most weavers and the setting up of the machine also increases the cost. The overall set up cost for one machine is around Rs 1,00,000 which involves several other craftsmen. 74 Selai Kathaigal, Craft Research Document, 2022","\u2022\t For weavers who are based from their own homes, the profits earned would not cover the cost of the electronic jacquard machine. Moreover, a normal hut house would not be equipped with the space and technology to host such a machine. When transitioning for the kaaikutchi to the electronic jacquard, weavers faced the issue of space and problems servicing the machines. Servicing for the machines is done once every one or two years. \u2022\t Weavers use a basic gum filled with water and apply it on the saree, especially on zari threads to obtain a lustrous and stiff look throughout the process of weaving. Traditionally, the weavers used rice water on the saree but now they use gum. \u2022\t Shuttle (nada) - The shuttle is one of the important parts of a weaving machine because it holds weft yarn. Weaver throws shuttle through the shed from one side to another creating woven fabric. Measuring tape along with comb which is used to hold the weft firmly in place for weaving are other tools required. Image 46: Weaver weaving a saree Deaprtment of Fashion Communication, NIFT Chennai 75","Image 47: Weaver weaving a saree, in frame- a jacquard loom 76 Selai Kathaigal, Craft Research Document, 2022","Process The weaving process starts from The process of rolling the warped yarns into the weaver\u2019s beam with uniform tension is known as beaming. Passing the yarns through each heald eye in the respective shafts is known as drafting. Passing the yarns through the reed\/beater is known as denting. Warp loading: Before beginning the weaving process, the loom is set up. After warping, the yarn is prepared into warp sheets by being wound around an iron rod. Beaming is the action of converting the warp sheet into a weaver's beam. The yarn strands flow through the reeds and hemp throughout this procedure. Each silk strand is carefully sewn to the old warp threads to accomplish this. The joining process takes about 2-3 days to finish. The joining operation is typically carried out by women. Fly shuttle pit looms are used for weaving on handlooms. The weaver weaves together the warp and weft threads of silk. The shuttle moves through the openings created when the pedal is depressed, interlacing the warp and weft threads. After the shuttle has been passed, the jacquard's dangling rope is tugged to create the weave. To the wooden beam in front of the weaver, the proton of the cloth is injured. The part of unwoven warp that is purposefully left before and after the weaving of the sari is knotted for fringe after the weft has been woven for 6 metres. The weaving is thus finished, the unwoven supports are removed with a tiny metal blade, and the sari is folded in the customary way for marketing. One sari takes over 4 to 5 days to complete. Ten saris' worth of warp are loaded into the loom at once. The weaver can need one or two people to assist them as they work. Deaprtment of Fashion Communication, NIFT Chennai 77","78 Selai Kathaigal, Craft Research Document, 2022","Market Study The Craftspeople and Their Market Deaprtment of Fashion Communication, NIFT Chennai 79","Market Research Comparitive Study of RmKV and Pachaiyappa\u2019s Sri Rm.K.Visvanatha Pillai founded the company in the year 1924. RmKV is renowned for its innovation in this traditional craft. The brand focuses on three different aspects of the sarees, which is colour, design & innovation and fabric. In terms of raw materials, a majority of their silk yarns are sourced from districts in Karnataka. From years of experience and practice, the best quality silk yarn is found in the Chilkata and Ramnagar districts. A team from RmKV is sent to examine the materials and purchase the best of them. As for Zari, they have a direct supplier from Surat. RmKV sells both pure silk and blended silk sarees although the pricing of the sarees are determined according to the amount of zari and pure silk threads used. The prices of the pure silk sarees start at Rs.6000 while the blended sarees which are generally silk mixed with cotton or polyester, starts at Rs.3000. The prices of the sarees of each category stay specified for nearly six months to a year after which it may vary. Pachaiyappa\u2019s Silks is a 95 year old company, and is run by the fourth generation of the founder\u2019s family. They have their own manufacturing unit in Sipcot, Kanchipuram, and every type of saree is made using their own looms and their weavers. The pricing strategies of Pachaiyappa\u2019s Silks varies from saree to saree, depending on the type of the saree. Pure silk sarees without pure zari starts from Rs.4000 while pure silk sarees with pure zari starts from Rs.2,00,000. Blended silk sarees prices start from Rs.1000. The sarees also differ in terms of border variation, richness quotient and so on. The sarees woven at their units are also shipped internationally to countries like the United States, United Kingdom, Malaysia and so on. Both RmKV and Pachaiyappa\u2019s Silks are leading saree Image 48 & 49: Sarees at RmKV 80 Selai Kathaigal, Craft Research Document, 2022","brands in the market with their stores located almost in all the similar cities and towns. What sets them apart is the innovations that they formulate in order to keep their customers interested and coming back for more. As far as RmKV is concerned, brocade design and contrasting borders (indicative of traditional Kanjivaram sarees) are common in the saree designs. The time around the festival of Navarathri is when they release all their new collections. With regards to innovations in the fabric, the brand makes lesser opacity silk sarees. This was designed especially for the younger demographics who prefer to wear lighter, breathable sarees. RmKV has won several national awards for their various design experiments and innovations. The brand\u2019s most recognizable saree pieces on this note would be the \u2018Hamsa Damayanti\u2019, which depicts Raja Ravi Varma\u2019s painting on the pallu and stories from the artist\u2019s life on the border of the saree. RmKV also creates custom designs on special requests. Similarly, another strategy the store has implemented is the readily available customized products for weddings, sorted by religion. The colours and motifs used differ depending on the community. For instance, Jains prefer artificial silk sarees, and Muslim wedding sarees avoid animal motifs. There is also a large selection of white sarees for Christian weddings. Pachaiyappa\u2019s Silks strategies and innovations slightly differ from RmKV\u2019s. Firstly, their customer base is diverse in terms of economic standard and includes various income stratas. The brand, during the Covid-19 pandemic, launched exclusive offers and rewards for online shopping, which was the ongoing mode of shopping then and it boosted peak sales. They also use an impressive display of sarees and explanation of the process from weaving to the end product to impress customers as part of Image 50: Sarees at Pachaiyappa\u2019s Deaprtment of Fashion Communication, NIFT Chennai 81","Image 51: Sarees at RmKV their marketing strategy. Modern sarees at Pachaiyappa\u2019s Silks features a modernized version of traditional motifs. These sarees do not feature the common motifs such as mayil (peacock), maanga (mango) motifs as people tend to buy such sarees for casual use. Modern motifs differ from the traditional ones in the aspect that the designs are much more free flowing. Traditional motifs, such as mayil, moggu, rudraksham and so on are seen in muhurtam sarees. The classic colours of red, maroon, yellow, green and blue are still in style and popular but younger demographic of customers prefer sarees with tinted colours. While the Samudrika silk and Muhurtam silk line remains popular, the Vivaha Silk saree has fallen out of style. Some commonalities between both the brands would be the choice of motifs and designs customized as per requirements for festivals or communities for weddings, and also the release of new varieties and designs during peak sales seasons and festivals such as Navaratri, Diwali, Pongal and so on. Overall, the innovations formulated by each brand every year during the peak seasons determine their turnover that year and it his highly essential that the standard operating procedures (SOPs) are followed to keep this cycle running and stay at top of the market. 82 Selai Kathaigal, Craft Research Document, 2022","SWOT Strengths Weaknesses Trusted customers Time consuming to produce Good product range Lack of advertising Skilled artisans Poor packaging History and used them as motifs Expensive Different and unique style of making sarees Lack of coordination between government Low capital investment bodies and artisans Strong retail infrastructure Less interest in the younger generations of Large market with potential for growth artisans Opportunities Threats Expansion in the product line Not being able to keep up with trends Incoming tourist spot Regional market competition with cotton Business opportunities through the online industry market Emergence of new brands Strategic partnerships with big brands Spread of power loom Rich culture and history in terms of religion and culture Deaprtment of Fashion Communication, NIFT Chennai 83","Image 52: Mr V Krishnamurthy at his house Artisan Database 84 Selai Kathaigal, Craft Research Document, 2022 Master Artisan Mr V Krishnamurthy Master Artisan, 4th generation. Mr. V. Krishnamurthy was born and brought up here in Kanchipuram along with four brothers. He is currently a devoted husband and father of two. He hails from a family of weavers, him currently being the fourth generation weaver. Originally an agricultural family, weavingbecame a family an dhe also joined in at the age of 7, which resulted in him recieving education only till class 2, due to the family\u2019s needs and situation. With over 38 years of experience in weaving, Mr. V Krishnamurthy follows all the traditional methods and designs involved in weaving, just as he was initiated and taught in the beginning. Being the master artisan, he has the freedom to use newer designs and methods but he mostly sticks on to the older, established ways since he feels that is the way he can do justice to his family legacy. One obstacle he faces whilst doing so is that a lot of customers do not prefer such traditional designs so he is compelled to mix in some newer designs as per the popular trends. To overcome this, he has come up with a very interesting strategy that he claims works excellently for him; he uses the older, traditional designs with newer color combinations. He credits the thinking behind such strategies to the teachings from his grandfathers and other family members. As a master artisan, through this strategy, Mr. V.Krishnamurthy admits that this helps create the variety and meet the requirements and demands. The sarees that are woven by him and his team","are sold directly to private saree shops. Mr. V.Krishnamurthy along with his weavers take the sarees and visit the saree stores the day or week before auspicious or festival days as that is when people come to purchase for such occasions. The shops he visits such as, Chennai, Kanchipuram and Coimbatore- Nalli, RMKV, AS Babu Sah (Kanchi), Prakash (Kanchi), PSR (Coimbatore) and so on, are his regulars and they know what type of sarees he and his team brings, and they pick the best out of them and sell. As far as his team of weavers are concerned, a lot of them are here since his fathers time; he is one of the youngest here although he is a master artisan. It is probably because the interest in this field has come down considerably generation after generation. Even the weavers who taught him weaving work with him. Depending on one\u2019s involvement, they rise up the ladder, that is why although there are weavers that are much senior in age in comparison to him, Mr. V.Krishnamurthy is the master artisan but only because of this involvement in the process. The other older artisans remain weavers due to various reasons like personal, family situations that hindered them, or they simply did not put in the effort for this. Mr. V.Krishnamurthy mainly says that more than effort or involvement it is all blessing of God that also adds on to the prosperity of the weaving trade. Mr.V.Krishnamurthy wishes for his children to continue as 5th generation weavers. Weaving has become such an important thing in his family for generations. They get to see the happy customers wearing their sarees and sending pictures, that satisfaction is unbeatable. Since price of gold keeps varying, that cost of gold zari varies but as weavers, the remuneration they get always stays the same. Mr.V.Krishnamurthy adds on that it is unfortunate for him that his children want to go to a different field. Unlike him they are getting educated really well which is extremely good according to him, but they do not want to become weavers. His wish is that the next generation takes this to the next level- all over the country and even outside. His grandfather and father sold locally, and he took his sales over to various cities in Tamilnadu. Either his kids or people who work with him and their next generation should continue weaving and take it to the next level. Image 53: Mr V Krishnamurthy working on warping 85 Deaprtment of Fashion Communication, NIFT Chennai","Weavers, Warpers and Dyers Tamilselvan. 31 WEAVER (Under Master Artisan) Contact number - 8780064551 V. Shanmugam, 51 Location- Pillaiyarpalayam DYER Experience-15 years Contact -6382881460 S. Ravi, 55 Pillayarpalayam WARPER & WEAVER Contact-9382708976 Experience- 34 years, former farmer for 4 years Pillayarpalayam Experience-47 years V. Mohan, 61 DYER Contact-9600474010 Pillayarpalayam Experience- 40 years Manikandan, 32 DYER Contact-8667749687 Pillayarpalayam Experience- 18 years 86 Selai Kathaigal, Craft Research Document, 2022","Name Profession Contact Location Experince Shankar M Weaver 9843383367 Pillayarpalayam 30 Years V Mohan Dyer 9600474010 Pillayarpalayam 40 Years Vasukai Weaver 9698649257 Sirukaveripakkam --- (silk park ) D Selvan Weaver 9629357673 Sirukaveripakkam 35 Years (silk park ) Poongodi Weaver 9677492473 Pillayarpalayam 32 Years Nachaiyyi Weaver 9843383367 Sirukaveripakkam 26 Years (silk park ) Deaprtment of Fashion Communication, NIFT Chennai 87","National Awardees R .Nageswaran R. Geetha WEAVER, MASTER CRAFTSMAN & WEAVER, NATIONAL AWARD WINNER NATIONAL AWARDEE (2005) Contact-9952218220 Contact-9629436464 Pillaiyarpalayam Pillaiyarpalayam Experience- practicing since age of 8 Asocciated with: Arignar Anna Society Asocciated with: Thiruvalluvar Society 88 Selai Kathaigal, Craft Research Document, 2022","Contributors Harshdeep Kaur Sneha Krishnan Meghana Karkada Suresh Ashish Kumar Sudhiksha A Yashasavi Sinha Sakthi Sree Raju Ranjan Ekansh Sukhla Deaprtment of Fashion Communication, NIFT Chennai 89","Conclusion An Indian woman\u2019s wardrobe is incomplete without a very important possession- the evergreen Kanjivaram Saree. Be it the most affluent citizens of the place to the simplest of households, a wide variety of silk sarees in general are worn by women at all festivals and celebrations. The Kanjivaram saree is known as the \u2018Queen of Silks\u2019 and is the preferred choice of saree to wear at events that are markers of transition and growth and the beginning of a phase in human life and its journey. This fabric is an inherent part of several traditional and religious ceremonies. Kanjivaram silks have created the main occupation for several in the city of Kanchipuram. Over decades, Kanchipuram silk has been evolving in terms of design and pattern but hasn\u2019t lost its charm. Initially sold across the world only by merchants, today the real weavers have woken up to their own cooperative societies to sell their woven Kanjivaram silk. The sheer magnitude of textures, colours and designs of Kanjivaram silk sarees is incredible. These silk sarees are very well known for their interwoven lace work and its lusture, which is the dexterity of the dyer and weaver in bringing the lusture and design respectively. The Kanjivaram Silks industry has managed to survive many highs and lows and has made its presence felt internationally. However, the biggest challenges faced by it today are undertaking modifications to suit changing customer preferences, use of modern technology and product diversification. 90 Selai Kathaigal, Craft Research Document, 2022","Learnings The level of skill, time, artistry and precision required to create one Kanjivaram saree is hu- mongous. For us as designers in-the-making, having gotten the opportunity to visit the artisans on-site and see each process involved in making a Kanjivaram saree in detail was a once-in-a- lifetime opportunity. The various degrees and levels of artisans we met at every process, i.e., dyeing, warping, spin- ning and weaving were so kind and patient enough to let us witness from start to end and took time to explain what it is they were doing, although they were all working on a tight schedule. From 30,000 feet a saree is just a six or a nine yard fabric, but using this opportunity we went indepth and witnessed what kind of effort, time, thinking and creativity goes into making of a single, stunning Kanjivaram saree. The city of Kanchipuram 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 practiced the craft of silk saree weaving here, often beginning early in their childhood. Walking through the age-old temples as the creators of the Kanjivaram sarees have done for centuries, helped us see their inspiration to create motifs and patterns. Overall, through this Craft Cluster Initiative, it was very enlightening to see and learn the nuanc- es behind each specific process from their point of view, which at the same time opened our eyes to the hardships the artisans face day to day. More than anything, in the one week we spent in Kanchipuram, we defenitely gained a huge sense of respect towards such talented artisans who make the Queen of all Silks. Deaprtment of Fashion Communication, NIFT Chennai 91","Annexure Question Bank Market Research 1.\t What is your business about? 2.\t Where do you get your supplies from? 3.\t When do you have more demand for your products? 4.\t How much labor and capital investment is there in your business? 5.\t Who is your main competition? 6.\t What are the challenges you faced? 7.\t What is the future growth of your business? 8.\t What is the marketing strategy used by you? 9.\t Which group of people are your main target customers? 10.\t What influences the price of the product? 11.\t How much of a business entity is shaping towards your goal set? 12.\t Do you market your product internationally or target a specific geographical location? 13.\t What is the size of your target market? 14.\t Who are your target customers? 15.\t What are the primary issues that your customers face? 16.\t How can your product or service help solve the issue for your customers? 17.\t Does your product perfectly fit into the current market? 18.\t What\u2019s the volume of potential customers? 19.\t Have you set a good customer persona to understand your ideal target customers? 20.\t What are the key consumer trends? 21.\t How do you identify new target segments? And, how are these new segments different from the existing ones? 22.\t Who are your direct competitors? What are their strategies for attracting customers? 23.\t Who is your ideal customer? 24.\t What sets you apart from your competition? 25.\t What is the vision of your brand? 26.\t Who are your top customers? 27.\t Which product features are most valuable to you? 28.\t What improvements could you make to existing offerings to improve customer satisfaction and increase repeat sales and referrals? 29.\t What are the best ways and methods to reach your target audience? 92 Selai Kathaigal, Craft Research Document, 2022","30.\t Do you export products internationally? If so, where are you exporting it? 93 31.\t What is the method of export? (eg. through private, government etc.) 32.\t How involved are the weavers in the process of commissioning a saree? 33.\t How are the sarees transported? 34.\t How are the sarees stored and maintained before sale? 35.\t Are the sarees temperature sensitive? Primary Research 1.\t Questions Bank (For Primary Research) 2.\t Pre-Production Process: 3.\t What raw materials are used? What is the method of preparing the raw material? 4.\t What are the local terms for the raw material? 5.\t Where do you buy\/source these raw materials? 6.\t How much of these materials can be collected at one time? 7.\t What, if any, problems encountered in collecting these materials? 8.\t Describe the preparation for making the product in the work area. 9.\t What are the tools used? What is their local name? 10.\t Have new tools been introduced? If so, what was the old tool? How has the new tool changed production processes? 11.\t Who makes the tools? Can they be purchased from the local market and what is the present price? 12.\t How is the tool maintained and by who? How often? 13.\t Describe the preparations, if any done for the exercise 14.\t How much time is spent in each step? 15.\t How do they test that the material is now ready? 16.\t How do they store the prepared material? 17.\t Are there alternative materials? Spinners 1.\t When did a weaver start the spinning process? 2.\t What are the tools required for spinning? 3.\t Where do you get your tools from? 4.\t What are the skills required for spinning? 5.\t What are the different stages of spinning? 6.\t How much time is consumed to complete the spinning process ? Deaprtment of Fashion Communication, NIFT Chennai","7.\t What are the changes the spinning process had when through? 8.\t How much does the spinner take to make a saree? 9.\t What are the new machines which are introduced in the industry for spinning? Dyers 1.\t How do you know if the silk has been properly degummed? 2.\t How long does it take to degum the silk? 3.\t What are the raw materials for degumming? 4.\t What are the local terms of the raw materials? 5.\t How do you buy, collect and store these materials? 6.\t How much of the material can be bought at once? 7.\t How big are the materials. What is the quantity of materials used for one batch? 8.\t How big are the degumming vessels? 9.\t What is the price of the materials used? Where do you get them from? 10.\t Where are the dyes bought? How much of the dye can be bought at a time? How is the price of the dye? 11.\t How are the dyes mixed? 12.\t What are the sources of the dyes? 13.\t Are the dyes natural or synthetic? 14.\t What are the tools used? How much do they cost? 15.\t What dye is used to make what colour? 16.\t How are the tools maintained? 17.\t How much dye is needed for dyeing one saree worth? 18.\t What is usual temperature of the water? 19.\t How much water does the whole process need? 20.\t When do you receive the pre-coloured threads from the government? 21.\t From where do the pre-dyed silk threads come from? 22.\t How much do they cost? 23.\t How is the silk stored? 94 Selai Kathaigal, Craft Research Document, 2022","Warpers 1.\t What are the tools used for warping? What is their local name? 2.\t Have new tools been introduced? If so, what was the old tool? How has the new tool changed production processes? 3.\t Who makes the tools? Can they be purchased from the local market and what is the present price? 4.\t How is the tool maintained and by who? How often? 5.\t When is it done in the morning? 6.\t Why is it done only in the morning? 7.\t What is the full sequence of events? 8.\t How many people are needed to carry out the process? 9.\t Is it gender specific? 10.\t Where is warping done? On the streets, inside, etc. 11.\t Since the sun harms the silk when is warping stopped for the day? (what time) 12.\t If it is a cloudy day, can warping be done throughout the day? 13.\t How are the warped threads transferred to the loom? 14.\t Is weaving done immediately after warping? Related to Health 1.\t Does the profession cause any health problems? 2.\t Are you provided with any government aid for your treatment? Artisan Lifestyle 1.\t How long has your family been in this business? How many generations? (TRY TO LOOK FOR 5-6TH GEN ARTISANS) 2.\t How many years of experience do you have? 3.\t Who taught you how to weave? 4.\t Did you always want to become a craftsman? 5.\t Are there any rituals or prayers that you follow before you do your work? 6.\t What does your daily routine look like? 7.\t How long do you usually work in a day? 8.\t Since how long have you been working as a craftsman? 9.\t How big is your family? Do they also practise the same craft? 10.\tHow do you get to and fro from work (cycle, auto etc.) 11.\tDo you like to work alone or with someone? Deaprtment of Fashion Communication, NIFT Chennai 95","12.\tWhat is the most stressful part of your job? 13.\tHow do you keep up your energy while working? What kind of food do you have? 14.\tHow much sleep do you get daily? 15.\tWhat is the most important practise to follow for an artisan to keep your skill up? 16.\tWhat are some mistakes you learned from to become a better craftsman? 17.\tApart from weaving is there any other side business or job that you do for generating more income? 18.\tWhat are the things that you like to do in your leisure time? 19.\tHow did Covid-19 affect your business? 20.\tWho\/what inspires your design? 21.\tDo you take holidays during the weekend? 22.\tWhat are your thoughts about modern machinery? Do you appreciate it or do you prefer traditional methods? 23.\tWhat is the work that you are most proud of making? 24.\tOther Miscellaneous Questions 25.\tWhat happens to waste during saree production? 26.\tHow to differentiate between powerloom and handloom sarees? 27.\tHow to know if the saree is authentic? Weavers 1.\t Are there any rituals or prayers that you follow before you do your work? 2.\t How many years of learning is required to become a weaver? 3.\t How is the practice of weaving taught to new weavers? Who usually teaches them? 4.\t How long does it usually take to weave a single saree? 5.\t What is the size and material of the tool? 6.\t How much do the tools cost? 7.\t How are the tools maintained? Who maintains them? 8.\t What is the sequence of weaving? 9.\t What are the new tools? (powerlooms) 10.\tWhat is the sequence in which the weaving is done? 11.\tHow is the loom set up? How long does it take to set up one loom? 12.\tHow big is the loom? 13.\tWho maintains the loom? 14.\tHow much does one loom cost? Where does do the raw materials to make the loom come from? 96 Selai Kathaigal, Craft Research Document, 2022","Glossary 1.\t Aayiram Kaal Mandapam (aah.yi.ram kaa.ll man.da.pam) [Ta] - word meaning thousand stone pillars temple which is located in tiruchirapalli, tamilnadu. 2.\t Appam (aap.pam) [Tal] - A type of pancake, made with fermented rice batter and coconut milk 3.\t Arai Pagam (ah.rai pa.gam) [Tal] - term for a saree whose width has been divided into two. 4.\t Devangas (dhe.vaa.ngas) [Ta] - Devanga ( Devala Maharishi) is a sub-caste in Hinduism. They were one of the weaving castes in India. They are Prakrut Brahmins (meaning brahmins by birth). The majority of them are weavers of silk and cotton clothes. 5.\t Eiyam (eyi.yam) [Ta] -meaning a tin or the metal of kitchen vessels 6.\t Ekadashi (ey.gga.da.shi) [Ta] - refers to the 11th lunar day. The eleventh day corresponds to a precise phase of the waxing and waning moon. In Sanskrit, Ekadashi means \u2018Eleven\u2019. 7.\t Elakkai (ey.lla.kkai) [Ta] - spice elachi 8.\t Elumichai (ey.lu.mi.cha.yi) [Ta] - fruit lemon 9.\t gopuram (go.pu.ram) [Ta] - A monumental tower at the entrance of a temple, especially in Southern India. 10.\t Idiyappam (idi.yaap.pam) [Ta] - meaning string hopper\/rice noodles 11.\t Illai (il.lai) [Ta]- warp yarns. 12.\t Iruthalaipakshi (irru.tha.llai.paak.shi) [Ta]- two headed eagle 13.\t Jarigai (Ja.ri.ghai) [Ta]: Zari (Gold Thread used in during weaving kanjivaram silk) 14.\t Kaaikutchi (kaai.ku.tch.yi) [Ta] - hand stick tool 15.\t Kadappa kallu (ka.da.pah kal.lu) [Ta] - Black Limestone which is a tool used for the manual quality check of the zari thread. 16.\t Kambi arakku (kam.bi uh.rak.ku) [Ta] Rust red 17.\t Karuvattu Kuzhambu (ka.ru.va.ttu ku.llam.bu) [Ta] - dry fish curry\/gravy in tamil 18.\t Kathiri Poo (ka.thiri poo) [Ta] -brinjal flower; It\u2019s purple in colour (used yot describe shade of purple) 19.\t Kili (ki.lli) [Ta] - Parrot 20.\t Koorai Kattam (koo.rai kat.tam) [Ta] - checks woven in Koorainadu of Tanjore village. 21.\t Korvai (kohr.vai) [Ta]- defining- to compile, join or thread together 22.\t Kothu (koth.hu) [Ta] - shred Kottadi Kattam (kot.tadi kat.tam) [Ta] - zari checks woven into the body of the saree 23.\t Krambu (krah.mbu) [Ta] -spice clove Deaprtment of Fashion Communication, NIFT Chennai 97 01","24.\t Kumaran (ku.ma.ran) [Ta]- the name used for a range of colours that includes cream, vanilla and ivory. 01 25.\t Kuthirai (ku.thee.rhai) [Ta]- Horse 26.\t Kutturavu sangam (koot.urah.vu sangh.am) [Ta]- term for Government society 27.\t Kuyilkann (ku.yi.il ka.nn) [Ta]- Cuckoo eyes 28.\t Kuzhambu (ku.llam.bu) [Ta]- Spicy gravy 29.\t Lakshadeepam butta (lak.sha.dee.pam bhut.tah) [Ta] - one lakh lamp motifs in body of the saree 30.\t Maan (maa.nn) [Ta] - deer 31.\t Maanga (maa.ngah) [Ta] - mango 32.\t Maligai moggu (mah.lli.ghai mog.ghu) [Ta] - Jasmine bud 33.\t Mambazham (mam.ba.llam) [Ta]- Mango fruit 34.\t Mayil (mah.yi.il) [Ta]- for peacock 35.\t Mayilkann (mah.yi.il ka.nn) [Ta] - peacock eyes 36.\t Mayil Kazhuthu (mah.yil ka.llu.thu) [Ta]- peacock\u2019s neck 37.\t Meen (mee.nn) [Ta] - fish 38.\t MilagaiPazham (mi.la.ghai.pa.lam) [Ta]- Red chilli 39.\t Muthu (mu.th.hu) [Ta] - Pearl 40.\t Muttai kothu Parotta (mut.tayi pa.ro.tta)[Ta] - Egg shred roti 41.\t Naada (Naa.daa) [Ta]- Shuttle; A spindle-shaped device used to carry the weft through the warp 42.\t Naval Pazham (Naa.vah.l pah.lam) [Ta] also known as Nagapazham (na.ga.pah.lam)- Java plum or Indian blackberry 43.\t Nilambari (nee.lam.ba.ri) [Ta] - colour blue 44.\t Paalum Pazhamum (paa.llum pah.lam.um) [Ta] - milk and fruit 45.\t Paasi (paa.si) [Ta]- algae\/moss 46.\t Paavu (Pah.vu) [Ta]: Warp 47.\t Pallu (Phal.lu); Thalapu (old name) (tha.lah.puh) [Ta]- loose end of the saree where tassels are tied. Commonly known as Mundhi (mun.dhee); Mundhani (mun.dha.nyi) 48.\t Pannai (pann.ai) [Ta] - a pedal-like tool in loom where weavers operate them with their legs so that the double warp is divided to each other by moving up and down. 49.\t pattu (pat.tu) [Ta] - Silk 50.\t Puliyankottai (pu.lli.yang.ko.tta.yi) [Ta]- Tamarind seeds 98 Selai Kathaigal, Craft Research Document, 2022","51.\t Puliyodarai (pu.li.yo.thah.rai) [Ta] - Tamarind rice 99 52.\t puttu (put.ttu) [Ta]- Steamed chamber of ground rice layered with coconut 53.\t Saligars (saa.li.gars) [Ta]- Saligars (along with devangas) were experts at weaving silk sarees and legend has it that they were descendants of Sage Markanda, a master weaver who is believed to have woven tissue from lotus fibre. 54.\t Sambal (saam.bal) [Ta] - ash 55.\t Sandhanam (san.dha.nam) [Ta]- Sandalwood 56.\t Sapoori (Sa.poo.ri) [Ta]: Weft 57.\t Simham (sim.ham) [Ta]- Lion 58.\t Rudraksham (rudh.rak.sham) [Ta]- refers to a stonefruit, the dried stones of which are used as prayer beads by Hindus as well as by Buddhists. 59.\t Thakkali (thak.kha.lli) [Ta]- Tomato 60.\t Thari (Thah.rri) [Ta]- Loom 61.\t Thaaru kutchi (thah.rru ku.tch.yi) [Ta]- a plastic stick which carries weft thread placed inside the shuttle. 62.\t Thamarai (tha.ma.rai) [Ta] - lotus in 63.\t Thandavalam (than.da.va.lam) [Ta] - Rail 64.\t Thayir Sadam (thah.yir saa.dham) [Ta]- term for curd rice in tamil. 65.\t Thilagam (thi.la.gam)[Ta] - Tilak; It means \u201ca mark on the forehead\u201d. 66.\t Upma (upp.maa) [Ta] - thick porridge produced using dry broiled semolina with added flavors or vegetables). 67.\t Vadai (va.dai) [Ta] - a crispy and savory deep fried fritter snack. 68.\t Vadamalli (va.da.mal.li) [Ta]- term for globe amarnath\/bachelor\u2019s button 69.\t Valai Kappu (val.lai ka.ppu) [Ta]- baby shower ritual in Tamil Nadu 70.\t Vairam (vai.rum) [Ta] [vaira (vai. rah) as pechu mozhi (peh.chu mo.llyi) (spoken language)] Oosi (Ooh.syi) - Diamond needle 71.\t Vazhaipoo (vaa.llai poo) [Ta]- plantain flower\/banana flower 72.\t Veldhari (vel.dha.ri) [Ta] - Stripes consists of wavy lines and dots woven into the warp. 73.\t Vengayam (ven.ga.yam) [Ta]- onion 74.\t Vennai (vhen.nhai) [Ta] - Butter 75.\t Veshti (vey.sh.ti) [Ta] - dhoti; A loose piece of clothing wrapped around the lower half of the body. 76.\t Vilakku (vi.lla.kku) [Ta]- lamp in tamil. 77.\t Vizhudhu (vi.llu.dhu) [Ta] - White Nylon thread which is connected to harness 78.\t Yaanai (yaa.nayi) [Ta] - term for elephant in tamil. Deaprtment of Fashion Communication, NIFT Chennai","79.\t Yaazhi (yaa.lli) [Ta]- part lion, part elephant or part horse motif 80.\t Floor Loom [Eng] - a loom in which the harnesses are moved by treadles, leaving the weaver\u2019s hands free to operate the shuttle. Also called: treadle loom. 81.\t Treadles 82.\t Sericulture [Eng] - a lever worked by the foot and imparting motion to a machine. 83.\t Nava Nari Kunjara - [Sans] - motif of an elephant composed of nine women. Krishna is usually depicted riding the elephant 84.\t Kandarpa Hasti - [Sans] - Kandarpa refers to the God of Love and Hasti means elephant - it is another name given to the motif of an elephant composed of nine women 85.\t Mupaggamthe [Eng]- saree width is divided into three parts. 86.\t maratti mogu [Eng] -kapok buds 87.\t Krishna Meghavaram [Tel] - Violet 88.\t Parameswara Vinnanagaram (pa.ra.mey.sh.wa.ra vin.na.na.ga.ram) [Tel] -Thiru Parameswara Vinnagaram or Vaikunta Perumal Temple is a temple dedicated to Vishnu, located in Kanchipuram in the South Indian state of Tamil Nadu. 89.\t Seemantham (see.man.tham) [Ta] -Seemantham is a ritual performed widely throughout Tamil Nadu and Kerala by Hindus in preparation for a woman\u2019s first delivery 90.\t Thazhambu [Ta]- pandanus ordifur flower\/spice 91.\t Muggu [Ta] - A pattern or diagram (rangavalli) drawn with lines of flour or coloured powder. muttiyapumuggu a pattern made in seed pearl. 92.\t Muzham (mu.llam) [Ta] - a unit of measurement from the finger tip to elbow of hand. 93.\t Kanji (ka.nj.ji) [Ta] - boiled\/soaked rice water 94.\t Muppagam saree [Ta] - A saree that is woven in three different parts 95.\t Angavastram [Sans]- An angvastra - plural, angavastram, is a shoulder cloth or stole worn by men in India, especially in Maharashtra and South India. 96.\t Pavadai (pa.va.da) [Ta] - bottom skirt 97.\t Parivattam (in spinning section) [Ta] - a cloth or headband 98.\t ragam (rah.ga) [Ta]- Melody\/music 99.\t Thalam [Ta]- Rhythmic order 100.\tbhava (bha.va) [Ta] - feeling, emotion 101.\tvimanam (vi.ma.nam) [Ta] -aeroplane 102.\tVegavathi (vey.ga.va.thi) [Tel]- a river flows from andrapradesh through kanjipuram 100 Selai Kathaigal, Craft Research Document, 2022"]