FINAL

["51 ARCHITECTURE The Pallava kings of Kanchipuram, the capital city, The Pallava carved sculptures of animals, humans, were enthusiastic art lovers. The Pallavas favoured and deities to depict religious narratives. Artists the Dravidian style of art and architecture, which from the Pallava dynasty excelled at painting may be found in both rock cut and structural realistic human figures. The fresco technique is forms. During the reign of the Pallava king commonly used in Kanchipuram murals, which Narasimhavarman II, the construction of structural are typically painted on flat walls. The eyes, temples began. High gopurams, massive pyramidal combined with the roundness of the faces, are the towers over the entrances, a vimana, a tower most prominent traits of Pallava art. Typical paint above the sanctum or Garbhagriha where the colours include black, red, white, yellow, blue, and alter of the god is kept, artistically carved pillared green. The Kanchipuram Silk Sarees take their halls, and large hallways are some of the most design inspiration from the intricate carvings that prominent elements of these temples. Although the adorn the temple\u2019s pillars. succeeding Chola Empire is sometimes credited with pioneering enormous temple complexes, it was the Pallavas who did it, having first begun erecting rock-cut temples like Mahabalipuram without the use of mortar, bricks, etc.","52 TO U R I SM A N D AT T R AC T I O N S With its thousands of temples, numerous sculptures, pyramidal tower. The innermost chamber of the and historic forts that hold stories within their walls, temple houses a one-of-a-kind 16-sided black Kanchipuram is a tourist\u2019s heaven. The notable granite Shivalinga (a symbol of Lord Shiva). The attractions include Kanchi Kailasanathar temple, beauty of this temple small sculptures depicting Ekambareswarar Temple, Varadharaja Perumal the goddess Durga, Shiva in various stories, multi- Temple, and Kamakshi Amman temple. In addition directional mythological lions, and others. to the religious sites, the Kanchi Kudil, a heritage museum provides valuable insight into the local Kamakshi Amman temple, also known as Shakti culture. The Kamakshi Amman Temple, along with Shrine - Believed to have been constructed by the Ekambareswarar Temple and the Varadharaja the Pallavas, the temple contains a seated image Perumal Temple at Kanchipuram,are referred to of the goddess Kamakshi, flanked by the trinity as Mumurtivasam (abode of triad). A visit to the of Shiva, Vishnu, and Brahma. During the Tamil handloom weavers of Kanchipuram is a great month of Masi (between February and March), the opportunity to explore exquisitely coloured silks temple hosts its annual chariot festival with much and intriguing themes that bring the city to life. grandeur, and one of the highlights is the centuries- old ritual of a ther-vizha (chariot festival). Temple of Kanchi Kailasanathar is the oldest in Kanchipuram and is devoted to Lord Shiva. Varadharaja Perumal Temple aka Hastagiri or Temple construction began during the reign of Attiyuran - The temple is one of the 108 Divya Rajasimha Pallava (685-705 AD). The temple\u2019s Desams, the holiest Vaishnavite sanctuaries found architecture is in the typical Pallava style, including all throughout India, and is dedicated to Lord sub-shrines, halls with pillars, a vestibule, and a Vishnu. The 12 poet saints, or Alwars, are said","53 THE KAILASANATHAR TEMPLE","54 VARADHARAJA PERUMAL TEMPLE : REFLECTION OF THE GOPURAM","55 to have visited these sites. It has around 350 Kanchi Kudil inscriptions attributed to practically all important The century-old traditional house, also known dynasties of South India, including the Cholas, as Mini Kanchipuram, is now a heritage museum Pandyas, Kandavarayas, Cheras, Hoysalas, and and is perfect for experiencing a taste of old Vijayanagara Kings, which reveal the political Kanchipuram. Furnished in its original, traditional scene of the time and the many tributes made by manner, the place takes you on a heritage stroll them. The most impressive part of the temple is through the traditional home life of Kanchipuram the \u201c100-pillared hall,\u201d which is decorated with people, as it was in the olden times. sculptures and reliefs of significant Hindu deities and a stone chain carved from a single rock. The architecture and functionality of this 100-year- old home are authentic to its era. The master Temple of Ekambareswarar bedroom, women\u2019s room, children\u2019s room, pooja The Ekambareswarar Temple is the largest temple room, kitchen, open-to-sky courtyards, Verandahs, in the city covering 25 acres and is one of Shiva\u2019s and the backyard with agricultural implements five primary temples. The temple was included on are all kept open with suitable exhibits so that the the list of World Heritage Sites by UNESCO in visitor can get a glimpse of what life was like in a 2021. This temple honours Shiva as he manifests rural town not too long ago. Exquisite handicrafts as one of the five elements of the universe: earth. It are on display, and there are also narratives was originally constructed by the Pallava Dynasty about Kanchipuram and its temples, as well as in the sixth century, but the Tanjore Nayaks made traditional music. The Kolam is another distinctive extensive alterations to the structure during their characteristic of traditional homes in South India. reign. The temple\u2019s main hall, called the \u201cAayiram It\u2019s a decorative drawing made with rice flour every Kaal Mandapam,\u201d (The corridor of a thousand day in front of homes and, in some circumstances, columns) is a major draw for visitors. In addition, inside as well. The home was constructed with there is a passageway with 1008 lingams and a the region\u2019s tropical weather in mind. This house massive sculpture of Nandi immediately outside has a portico with a stagelike structure (called a the temple, but still within the temple complex. \u201cthinnai\u201d in Tamil) and a pillar (called a \u201cthoon\u201d A tree within the courtyard is also regarded as in Tamil) built for weary travellers to rest on their sacred and worshipped as the wedding location way between neighbouring villages. of Shiva and Parvati. The Temple conducts the most significant religious festival in Kanchipuram, the Panguni Brahmotsavam, a 10-day extravaganza that takes place between the months of March and April.","56 ART AND CRAFT Kanchipuram Silk Sarees - It is the city\u2019s most Villupattu, also known as Villadichampaatu or famous handicraft, as they are worn by the vast \u201cbow song\u201d - It\u2019s a musical storytelling tradition majority of women in the southern Indian states that dates back centuries and serves as a for special occasions such as weddings. Wide representation of Tamil culture\u2019s prosperity. About contrasting borders, motifs from temples, checks ten people, split into two teams, and argue for and stripes, and the use of zari characterise the and against a certain viewpoint on a controversial authentic Mulberry Silk Sarees. subject. Creation of Golu dolls - Artisans dress the Golu Kavadi Attam or \u201cThe Burden Dance\u201d - This dance padi in clay dolls they\u2019ve made especially for form is performed in honour of Lord Murugan, the Navratri.Other than the brightly painted life- Hindu god of war. Men solely do this dance as a size dolls, papier-m\u00e2ch\u00e9 is also used to depict form of ritual sacrifice and offering, balancing mystical characters, deities, and social structures. pots of milk or coconut water on the ends of a long It\u2019s common for women to set these up on the steps pole generally during the Thaipusam Festival. in elaborate displays depicting fascinating and aesthetically pleasing mythological and folk tales. Mayilattam - This dance form is performed at the temples of Kanchipuram to honour Lord Stone carving - Stone carvings in Kanchipuram, Subrahmanya, the son of Shiva and Parvati. This are particularly notable for the elaborate designs dance, known as the \u201cdance of the peacocks\u201d in its they feature on the temples and other architectural literal translation, is performed at special Hindu structures. Craftsmen in Tamil Nadu have been celebrations such as the Arattu festival by women. carving stone for centuries, and their relics tell Characters wear peacock costumes, complete stories of a bygone past and serve as historical with threaded beaks that allow them to open and proof. close. Bommalattam or puppetry - It is widely performed in temples during festivals around the Kanchipuram regions, telling various spiritual and mythical stories. The art was also adopted during the fight for independence as a means of stirring up patriotism.","57 A PART OF KANCHI KAMAKSHI AMMAN TEMPLE","58","59 KANCHI COTTON The first sarees were made from cotton, but The temples of Kanchipuram serve as a major today\u2019s sarees can be found in a wide variety source of inspiration for the designs of Kanchi of fabrics, including silk, georgette, chiffon, satin, cotton sarees. Kanchi cotton sarees, like its and even lycra! To this day, however, cotton sarees silk counterparts, typically have earthy tones, remain the most popular option because they are contrast borders, stripes and checkered patterns, soft, more comfortable to wear, allow women to and miniature temple motifs on weaving, such breathe freely, and are inexpensive than other as lotuses, peacocks, parrots, and so on. Cotton fabrics.If you look up to Kanchi Sarees, you will sarees from Kanchi are no longer just plain dresses; see a lot related to silk. But the allure of a Kanchi they\u2019ve evolved into something more on par with a Cotton saree is undeniable. When compared to designer saree, made with today\u2019s trends in mind. silk sarees, Kanchi Cotton Sarees are lighter and The process of making a Kanchi cotton saree is more airy, and they feature an oxidised shine more like the silk saree involving the Korvai and around the saree\u2019s border. Petni techniques.","60","61 THE CRAFT SILK SAREE","62 ABOUT THE CRAFT Indians are extremely proud of their hand-woven These sarees are the cultural hallmark of any textiles. They are interwoven with a variety of wedding, ceremony, or event in South India and stories and folklore. Kanchipuram sarees is not they are one of the most valuable additions to an merely a piece of fabric, but rather a saree that Indian woman\u2019s wardrobe. Kanjeevaram sarees combines emotions and silhouettes. Kanchipuram typically range in length from 5.5 -10 yards sarees are the pride of South India and are and weigh between 750g - 1 kg. Generally the woven from pure mulberry silk that has been dyed border of the saree is between 4- 6 inches wide. in dazzling, vibrant colours, historical tales and The cost of the saree depends on the width of represent Indian identity, culture, and tradition. border, use of zari and the design intricacy of the The magnificent temple city of Kanchipuram is saree. home to one of India\u2019s oldest and most important hand-woven silk industries. The intricate distinctive designs, wide contrasting borders, compact weave of the saree, use of high-quality materials including cotton, silk, and zari, the superior craftsmanship, the indigenously developed weaving technology, the mental and physical strength involved by the weavers, and the durability of the sarees delivered distinguish this craft from all others.","63 KANCHIPURAM SILK SAREE WITH FOLDS","64 G EO G R A P H I C A L I D E N T I F I C AT I O N TAG The Government of India designated Kanchipuram Silk Sarees as a Geographical Indication (GI Tag) as a symbol of conservation and preservation in 2005-2006. In recognition of the artistry involved in the weaving of a Kanchipuram saree, in 2005-2006, the Government granted it a Geographical Indication label, which certifies that the saree is original from the district and meet certain quality standards, especially with regard to the percentage of silver and gold used in the zari that decorates the sarees. The inclusion in Gl Registry would help put a check to the unhealthy practice of cheating customers by selling silk sarees woven in other parts of the state as \u2018Kancheepuram silk saree\u2019. Sarees which comply with the specifications and weaving method mentioned in the Gl registry records would alone qualify for branding as Kancheepuram silk saree. This would definitely bring some discipline among the silk saree manufacturers and weavers in Kancheepuram.","65 HISTORY AND EVOLUTION The tradition of Kanjeevaram silk sarees can be The Kanjivaram silk industry flourished for several traced back to Hindu mythology. It is believed that centuries before being momentarily halted by the early silk weavers were descendants of Sage the French invasion in the 17th century. But after Markandeya, the Gods\u2019 Master Weaver, who is the British victory, the industry renewed and known to have woven the first fabric from lotus fibre. redesigned its style in the 18th century. It continues According to mythology, Lord Vishnu\u2019s preferred to thrive! fabric was silk, while Lord Shiva\u2019s preferred fabric was cotton. Consequently, the handloom saree Kanchipuram silk originated with 9-yard sarees weaving traditions in Kanchipuram simultaneously that have images of mythological scriptures and evolved both segments that contribute to the temple figurines found around the village, which production of cotton and silk sarees. Kanchipuram came to be known as \u2018The Kanjivaram\u2019. With gold was a center for cotton weaving since the time of zari weaving, these sarees were shortened to six the Pallavas prior to the introduction of silk. yards over time. Modern Kanchipuram silk sarees are woven with artificial gold zari to make them The historical evidence, however, tells a different affordable for all budgets, without sacrificing any tale. The Kanjeevaram Silk Industry can be traced of the fabric\u2019s shimmering beauty. back to the patronage of the Chola dynasty, which succeeded the Pallavas. It is claimed that between Today, more than a thousand handlooms and 985 and 1014 CE, Raja Raja Chola I encouraged talented weavers produce the world\u2019s finest silk a significant number of Gujarati weavers from sarees. About 75% of Kanchipuram\u2019s population Saurashtra to come into the area and establish depends directly or indirectly on this business. looms. However, during this time period, it was Nearly every family in the area engages in various only a small-scale, locally specialized craft. production processes, including silk weaving, warping, spinning, twisting, and dying. Only 500 years later, under the time of Krishna Deva Raya (1509-1529 CE), the Kanjivaram silk went from being a local craft to a massively successful enterprise. Temples were the major centers of festivities, therefore these master weavers created silk sarees for weddings and other religious ceremonies and displayed their silk weaving expertise here.","66 R AW M AT E R I A L S MULBERRY SILK (Kora) The continuity of the silk thread\u2019s length The White Mulberry silk thread is the primary raw determines its quality. Mulberry silk is natural, material used in the manufacture of Kanchipuram odorless, and hypoallergenic, which is one of its silk sarees. The purest high-quality silk grants distinctive qualities. Karnataka, Andhra Pradesh, astonishing lustre, typical texture, sturdiness, and West Bengal, and Tamil Nadu are the states that soft and smooth finish to the Kanchi saree. produce the most Mulberry silk. Generally, sarees employ 2 ply silk threads in the warp and 3-ply How is it made? - silk threads in the weft. The ply of silk refers to Silkworms of Bombyx mori moth are utilized to the number of twisted threads that comprise the produce mulberry silk. Domesticated Bombyx Mori yarn used to weave the garment. silkworms die within a day after laying about 500 eggs. The newly hatched silkworms consume white SOURCING - South India, primarily Bangalore mulberry leaves 24 hours a day, for a week. After and its surrounding region. a month of constant feeding on mulberry leaves, COST - A kilograme of Kora costs between INR the silkworms will have gained approximately 5,000\/- and INR 7000\/-, making it the most 10,000 times their initial weight and will have costly natural silk. The amount of silk purchased enough energy to begin spinning their cocoon. It for subsequent processing depends on the number takes the silkworm anywhere between three and of orders issued by the weaving unit. eight days to weave the cocoon. Upon completion of the cocoons, they are placed in hot water to A stretch of a yarn used from the start of the can unravel them into long, thin filaments of silk, which measure upto 54- 61.5 feet in length. is the Mulberry Silk, and are continuously rolled The length is referred to as \u2018MOZHAM\u2019, where 1 on reels during extraction. 300-900 metres is the mozham is equal to 18 inches. length of silk produced by one cocoon. So, for 3 sarees without blouse 36 mozham length of silk warp is needed, but with blouse 41 mozham is used.","67 SILK THREADS MADE INTO BUNDLES AND KEPT TOGETHER FOR DYEING.","68 THE RED YARN AND GOLDEN ZARI THREADS LOADED IN THE LOOM","69 QUALITY ANALYSIS OF SILK SOURCING - Surat is the hub from which all Touch test - It is recommended to use one\u2019s hands weavers in India obtain Zari. Recently, the artisans to rub the silk. It\u2019s genuine if you can feel heat of Kanchipuram established a Zari thread when you rub it. There is no way to feel heat when production unit. rubbing synthetic or artificial silk. COST - Purchased in rolls and costs somewhere Wedding Ring Test - Pure silk of a lower ply is between Rs. 500\/- and Rs.20,000\/- per kg. so flexible and delicate that it may be threaded through a wedding ring without causing any Additionally, the quality of zari impacts the damage. Synthetic silks, on the other hand, would quality of a saree. If the quality of the Zari is wrinkle and be next to impossible to work with. high and the Zari used is pure, the lustre of the Examining the Lustre of the material - The shimmer saree will last longer, and the price of the saree is typically the result of a specific thread mix that will increase accordingly. The more the amount of gives the fabric a desirable gloss. As the light zari utilised, the heavier the saree. source shifts, so does the surface\u2019s colour. However, no matter the lighting conditions, artificial silks TYPES OF ZARI always appear white. A Chemical Test - Real silk disintegrates in bleach, Depending on the type of metal utilised in their whereas synthetic silk does not. making, the zari items available on the market are either pure or imitation. There are various ZARI (Jarigai) forms of imitation zari, like half-fine zari, powder zari, and plastic zari (Lurex). Real zari is made Zari work in a Kanjeevaram Saree not only from pure gold, silver, and red silk threads, while provides a shimmering contrast to the silk, but also imitation zari is made from gold-coated copper increases the saree\u2019s value. foil coiled on red silk thread, chemicals, and viscose rayon or cotton. Plastic zari is an imported How it is made? - Original Kanchipuram Borders product created by laminating polyvinyl chloride of silk sarees are made with 22-karat gold-plated or polyester films with aluminium while pigments silver zari. This is essentially red silk thread that are used to impart colour. has been coated in silver and dipped in 22K gold solution. In the industrial age, due to the high pricing Testing of these metals, zari manufacturers began using A few loose threads are sufficient for testing. When copper wire electroplated with silver. Metallic zari, the gold covering is removed from the thread, which is affordable, durable, and non-tarnishable, the inner thread should be red, regardless of the emerged as a result of technological progress. colour of the saree, if it is pure. Or, when a small","70 amount of zari is rubbed on a slate, a genuine zari ALTERNATIVE - Till the end of the 19th century, all containing silver will leave behind greyish-white dyes were made using natural substances derived marks, whereas tested zari would leave behind from plants and animals to colour silk fabric. The copper-colored marks. pigmentary molecules which are present in the plants, vegetables, and roots work as natural dyes. Currently, DYE COLOUR chemical dyes have replaced natural dyes for a faster dyeing process. The chemical dyes have a preference Different colors of dye colour are available in for more colours, and result in more deepening of powdered form which makes it easy to dissolve the colour with more shine compared to natural dyes. in boiling water while dyeing the silk yarn. The This is why chemical dyes have taken over the natural artisans use a digital weighing scale to measure ones. But still, natural dyes can be the best alternative the weight of each colour as multiple powders are considering them to be eco-friendly. mixed in a particular ratio to make the desired shade; At times, up to 7 different shades are RICE STARCH (Kanji) mixed to get the perfect shade. By boiling rice, starch is extracted. Locally, the SOURCING AND COST - The chemical dye is extracted solution is known as Kanji. Before the yarn sourced from Varanasi with prices ranging from is shipped for weaving, it is dipped in the Kanji in Rs. 500\/- to Rs. 7500\/- per kg in packets with order to impart firmness. This starch is also applied to each packet weighing 1 kg. The price variations the saree during the weaving process prior to folding. depend on the colour. Highly sold colours like yellow, maroon, red and green cost more than others. Or the prices also differ according to primary, secondary, and tertiary colours. More than 1600 colours are available for the dyeing process.","71 THE DYES STORED IN BOXES AND WEIGHING MACHINE IN DYEING UNIT.","72 COPPER CONTAINER BEING USED IN DYEING UNIT","73 TOOLS AND MACHINERY COPPER CONTAINERS facilitates the production of uniform, fine silk The dying process utilizes deep and broad copper spindles that are suitable for use as wefts in the vessels, allowing the silk thread to be completely weaving process. This instrument is sourced from submerged. Historically, wood-burning stoves Kanchipuram or Madurai upon request. (Viragu Adupu) were used which slowed down the dying process. These containers are sourced at a This method of manual spinning has been replaced cost of 75,000\/- from Chennai. with powered spinning to make the process simpler. The process of spinning one spindle with Copper pots are utilized because colours dyed a Ratinam takes approximately ten minutes, but it with copper are typically more colorfast. Today, takes approximately one minute and a half using stainless steel pots are used since they are a powered spinning machine. nonreactive and have no effect on the fibers. The pots are cleaned and maintained by scrubbing BAMBOO SPOOL (Parivattam) them with baking soda and vinegar. The vinegar After the silk yarn has been dyed and bundled, it can eliminate white calcium buildup stains and is wound onto bamboo spools to remove tangles. discoloration. This facilitates yarn storage and facilitates a simplified weaving process. The yarn is then DRYER - used to dry the silk following the dyeing transferred from bamboo spools to little coloured procedure, which costs approximately 75,000\/-. plastic spindles that are inserted into the fly shuttle. BOILER - used to heat the solution in the container This instrument utilized for the spinning process is costs approximately 2.50 Lakhs. also motorized nowadays. SPINNING WHEEL (Ratinam\/Charkha) The tool is made of bamboo and purchased The native name for this manual spinning wheel is from Kanchipuram or Madurai at a cost of \u201cMara Ratinam.\u201d This ancient device is utilised to approximately 100\/- per unit. wind yarn onto spools and spindles. The device","74 SPINDLES - After dying, the bundle of weft yarn row of the design and are strung together in a is spun or twisted around a circular rod or stick particular order. The jacquard machine is loaded with narrower ends. with these punch cards. Historically, punch cards were created in Kanchipuram without the use of a PIRNS (Butathree) - A Pirn is a rod upon which programming language. weft thread for weaving is wound. It is stationary, and the thread is delivered from the end of the Madurai is where the plain punch cards are pirn as opposed to the center. A standard pirn created and purchased. One unpunched card is composed of bamboo, wood, or plastic and is costs 2\/- rupees, while a design-punched card gently tapered for most of its length, with a more costs approximately 6.50\/- per unit. pronounced flare at its base, which fits over a pin in the shuttle. FLY SHUTTLE (Naada) - The shuttles are slender pen-like bamboo blocks with pointed metal- With the invention of the flying shuttle, the capped tips on both the ends utilized for weft importance of Pirns increased. Generally, power processing. The pirns with the weft yarn are looms that employ pirns feature automatic inserted into this shuttle, which travels from one changing mechanisms that remove the used pirn end of the loom to the other between the warp from the shuttle and replace it with a new one, yarn, interlacing the warp and weft to create the allowing weaving to continue uninterrupted. cloth. The flying shuttle is often a bit heavier in order to have adequate momentum to propel it PUNCH CARD (ATTAI) all the way through the shed. It weighs around Punch cards or locally called \u2018Attai\u2019 are a set of thick, 500g and measures 38 cm in length and 4 cm in whiteboards composed of paper and cardboard breadth. If the metal caps are damaged, dull, or used to decide the design or motifs on a saree. corroded, the shuttle must be replaced. They are a series of punched cards with multiple rows of holes with each row corresponding to a","75 FLY SHUTTLE AND PIRNS LAYING ON THE WARP","76 JACQURD LOOM WORKING (SIDE VIEW) JACQURD LOOM OVERVIEW","77 Madurai is where the tool is manufactured and JACQUARD LOOM purchased. Initially, they were constructed of A throw shuttle pit loom is fitted with these Jacquard bamboo, then wood, and now plastic. The tool is machines and this type of loom simplifies the priced between INR 150\/- and INR 200\/-. process of weaving a saree with intricate borders and body designs simultaneously. The looms are HANDLOOM (Kaiththari) controlled by a \u201cstring of punched cards\u201d. Each Kanchipuram sarees are woven on looms. The position of the hole in the punch card corresponds fundamental function of any loom is to maintain to a \u2018Bolus\u2019 hook that is either lowered or raised. tension on the warp threads to permit the The hook lifts and lowers the harness, allowing interweaving of the weft threads. Kanchipuram\u2019s the warp thread to position itself either below or looms range from classic to contemporary. above the warp layer. This progression of raised Traditional looms were manually operated. and lowered threads creates the saree\u2019s design. Modern looms have motorized pedals. While craftsmen are frequently seen utilizing Throw shuttle The method of operating the jacquard box varies pit loom with each loom fitted with minimum of 2 from loom to loom. Some weavers operate with Jacquard boxes having a hook capacity ranging manual levers where each card is changed in from 120-480 hooks. Traditional weavers use the the jacquard box by pulling the lever by hand. classic handloom. Retailers and shops purchase Very few weavers have a motor mechanism motorized and digital looms to improve their mass that automatically changes the cards constantly. production. The primary components of a loom The problem with the last mechanism is that the include the Sley, treadles, reed, heddles, warp weaver should constantly weave as and when the beam, cloth beam, shuttle, and lease rods. card changes. If he\/she pauses, then the machine jumps to the next card and the weaver must wait until the missed card returns in the cycle.","78 The cost of installing a Jacquard loom is In the reed used during weaving there are 36 approximately 3 lakh rupees, with the Jacquard Kunjams, so machine alone costing approximately INR 36 Kunjams = 36 Thalaa 50,000\/- 36 * 120 silk ends = 4320 ends Eventually, 4320 ends + zari ends approximately COMB\/BAMBOO REED (Moongil Palagai\/ Achi) equals to 5000 warp ends. Reeds are a component of weaving looms that *Explained by Anna Society weaver - Shekar who resemble combs. It is utilized to separate and has 20 years of experience in weaving* space the warp threads, guide the shuttle across the loom, and position the weft threads. The beater WARPING MACHINE AND WARP BEAM firmly holds the reed, which consists of a frame A hollow, octagonal, cylinder-shaped structure is with several vertical slits. Reeds were historically used to make the warp beam. The warping beam constructed from reed or split cane. The splintered is a roller positioned behind the loom on which cane was then secured between wooden ribs. the warp ends are coiled prior to weaving. The 1 Izhai (ply) = 2 single thread yarn silk thread is separated into warps and used to 2 Izhai (ply) = 4 single thread yarn - Kuligai create the warp sheet, which is then turned into 60 Kuligai (Dent gap) = 1 Kunjam (green line to the weaver\u2019s beam by the warping machine. This another green line on the reed) method is known as beaming. 60 dent gaps * 2 silk ends = 120 ends On an average, a Kancheepuram silk saree contains almost 5000 silk ends, including the ends of zari threads used. Another term \u2018Thalaa\u2019 is used. Thalaa refers to the warp ends that pass through the reed while Kunjam refers to the reed size.","WARPING BEAM 79 PART OF BAMBOO REED YARN AROUND BAMBOO SPOOL RATINAM : YARN SPINNING WHEEL","80 ARTISAN IN THE PROCESS OF WEAVING","81 THE PROCESS DEGUMMING PROCESS (USHNAM in Tamil) requirements. A silk saree\u2019s border and pallu are Degumming is the process by which sericin, which coloured in a single hue. However, the body of is a protein produced on silk yarn, is removed. This the saree is coloured differently from the border protein is a covering that protects the surface of and pallu. The dying procedure begins with the silk yarn against contamination. Removal of this customary blending of colour powders. The colour layer increases the silk\u2019s lustre, helps in dyeing of is combined in a certain proportion to achieve the a colour, and improves texture. For this, the silk is desired hue. Upto 7 distinct colours are combined soaked in water for approximately 10 minutes. In to create the ideal hue. the boiler, washing soda and soda ash are added. Silk is suspended from metal rods and submerged The silk is soaked in cold water for twenty minutes in the boiler. Two employees rotate the silks to so that it can expand and absorb colour more ensure that the sericin is effectively eliminated. readily. To initiate the dyeing process, water is The duration of the entire process is one hour. The boiled in a large copper pot. After boiling water at surplus mixture is drained, and the entire batch is a high temperature, the dye materials \u2014 washing submerged in cold water for 10 minutes before soda, soap oil, and dye colour powder \u2014 are being dried. added. The off-white silk thread is immersed in the coloured boiling solution for fifteen minutes. DYEING PROCESS The silk is coloured by rotating the threads 16 to The length of raw silk is then separated into three 22 times using an aluminum rods by two workers. segments using a rubber tube in order to produce After being dyed, the yarn is submerged in regular three sarees. Consequently, these silk segments water to remove surplus colour. Three to five days are coloured independently according to the are allotted for the silk to dry.","82 Red, green, blue, and mustard are the most often wooden stand. The bamboo spool is consequently utilized dyeing colours. White requires the most positioned at an incline, with the head in the time to be coloured. Different colours require hole elevated from the ground and the bottom different colouring times. touching the ground. The majority of women and Overcoming a Mistake - If an error occurs during men who do this prefer to position the head tip the procedure, the yarn is decolored and then of the Parivattam between their first and second re-dyed with the appropriate colour. If the dyed toes for a firm grasp on the spool. colours do not adhere to the yarn, the yarn is re-colored and rinsed. When the silk is ready The silk yarn is held taut around three straightened to be dyed, the powdered dye should not come rods inside a cup using cement. A single yarn is into contact with the fibre because it is extremely raised on a horizontal hanger and then lowered delicate at that point. The softness readily absorbs into the spinner\u2019s hands. The spool is then spun with the colour, after which decolorization occurs and one palm from the bottom end of the spool and the entire process is repeated. the other hand holding the yarn from the top. The yarn-filled spool is then made to stand upright SPINNING on the wooden stand. Using the spinning wheel, The bundle of coloured yarn is wound onto a the weft from the spool is spun onto little prins. traditional bamboo spool known as \u201cParivattam\u201d The prins are then incorporated into the shuttle to or onto spindles. Using a spinning wheel, the yarn continue the weaving procedure. on the spindles is transferred to little prins, which are then used in a fly shuttle for weaving the weft. As a result of technological advancement, the Spinning is performed to prevent knots in the yarn entire traditional process of spinning is now and to simplify weaving. motorized. The conventional method employs Parivattam (Bamboo spools), PVC pipes, and a wooden stand. The spool\u2019s head is inserted into the hole in the","83 ARTISAN SPINNING THE YARN ONTO A BAMBOO SPOOL","84 WARP LOADING WARPING ARTSIAN IN PROCESS OF SETTING THE LOOM PUNCH CARDS LOADED TOGETHER","85 WARPING This is accomplished by hand connecting each silk After dying, the warp is brought concurrently to thread to the old warp threads. It takes nearly a the winding process. Warping is the process of week to complete the joining process and set up preparing yarn for weaving fabric. The warping the loom which is generally done by women. This is preferably performed in the early morning so warp beam is loaded into the loom to initiate the that the colour of the silk yarn is not faded by the process of weaving. sun. The yarn is examined for tangles and then knotted. The warp is stretched between two poles DESIGNING - MAKING AND LOADING OF (Ooni Stand), and a cotton thread is woven into PUNCH CARDS it to assist in tracing the tangled silk threads. This Punch cards are purchased based on the design\u2019s increases the yarn\u2019s quality and the weaveability. specifications. On either white or black paper, the design is sketched. They measure between 2 The 18-metre-long warp can be used to create and 5 inches. First, the design sketch is scanned three 6-metre-long saris. Approximately 3 to 5 onto the computer, and then it is traced and filled artisans are required to accomplish the process with bitmaps. The design is then superimposed of warping. The number of warp threads ranges on a graph with 120 to 480 horizontal pixels, from 5,000 to 6,000. The warp threads have 2 depending on the number of ends required for that plies, whereas the weft threads have 4 plyes. design. The image is uploaded to the \u2018Techman\u2019 punching card software. After the design has After the warping process is complete, the yarn is been created, the unpunched card is then drilled dipped in rice starch solution-Kanji and sun-dried with this design. to increase its sheen and lustre. All the cards that makeup the design is then run PRE-WEAVING - SETTING UP THE LOOM through another machine by which each card is The yarn after warping is loaded into the warping joined together by means of Nylon yarn. After machine in preparation for the warp beam. The every 16 joined cards a metal rod is inserted for yarn is transformed into warp sheets by winding support. The weaver is provided with a graph the length of the yarn around an iron rod. Beaming sheet called Pulli Paper and are given 3 sheets refers to the transformation of the warp sheet into comprising the body, border, and pallu patterns. the weaver\u2019s beam. During this procedure, the This automated procedure is easy and efficient. yarn is passed through the reeds and heddles. In the Traditional Design Process, the design was","86 sketched using tracing paper on a graph sheet. separately before being meticulously interwoven. The punch cards were created manually based Since the colour and design of the body and the on the graph\u2019s design. It was a difficult and slow pallu are quite dissimilar, weavers weave them process that required highly specialized labour. separately before joining them. The pallu, which These cards are then fed into a Jacquard machine, is often the colour of the border, is woven by which reads the pattern of punched holes and breaking the body\u2019s original warp threads and raises the warp thread connected with the design joining a new warp. The Pallu is joined to the body formation to create the pattern on the saree. It using the Petni technique takes five to ten days to create a jacquard pattern. Now that the weaving is complete, the unwoven WEAVING stands are cut out with a little metal blade, and Weaving is accomplished with fly shuttle pit after further refinement of the fabric, the saree looms. The weaver intertwines the weft and warp is folded and sent for sale. Depending on the silk strands by passing the shuttle through the complexity of the saree and the speed of the openings created between warps when the pedal weaver, one saree can be woven in one week or is operated. Once the shuttle has been passed, the 10 to 15 days. dangling rope in the jacquard is tugged to create the weave. The section of woven fabric is brought THE PROCEDURE OF WEAVING together with the other wefts done using the wooden beam in front of the weaver. The process Shedding is the process of separating the warp the done repeatedly till the weaver completes the strands to create a tunnel or \u2018shed\u2019 through which saree. Following the weaving of 6 metres of weft, the shuttle can flow from one end of the loom to a part of the unwoven warp is purposefully left the other. before and after the saree weaving and is later knotted for fringe. Picking is the process by which the shuttle is used to move the weft thread from one selvage of a In accordance with the Korvai technique, fabric to another. Kanchipuram sarees are woven using three shuttles. Two shuttles carry the thread colours for Beat-up is the process of pushing the newly the borders, and the third shuttle carries the thread inserted weft yarn into the woven cloth using the for the main body. In this manner, the pallu, the reed. border, and the body of the saree are weaved","87 A WOMEN ARTISAN WEAVING IN THE JACQUARD LOOM","88 Take-up and let-off: Take-up refers to the winding is compared to the provided weight of materials of newly created fabric onto a cloth beam during to ensure accuracy. In addition to checking for each weaving process. Let off refers to the obvious faults, they count the number of ends and simultaneous release of warp yarns from the warp picks per inch. The weaver is compensated based beams. on the evaluation form\u2019s assessment of the work\u2019s quality. The sarees produced by each weaver are Applying gum: During the weaving process, the gathered and sent to the various retail outlets. gum is applied to the woven saree surface to stiffen the fabric. Each saree is given a serial number and a brand label during the packing process. Weaver IDs POST PRODUCTION and names are entered into a database for future reference. Only some saree manufacturers This section covers everything that happens after put them in boxes after they\u2019ve been folded. the weavers finish weaving the saree. It takes Packaging is essential since it determines how at least 20 days to complete a warp that will effectively the silk and zari will be protected. provide three sarees. It is customary to cut and knot the warp between each saree. The excess threads that are protruding from the saree are trimmed. The saree is examined for flaws in the motifs and designs, as well as for consistency in the application of the techniques employed. Two people check the saree thoroughly on both sides before folding it securely with rods. It is subsequently sent over to the showroom\u2019s design committee for final inspection. The saree\u2019s weight","89 PROCESS FLOW","90 TECHNIQUES KORVAI TYPES The Tamil term \u2018Korvai\u2019 translates to \u201cIn Sync.\u201d This Simple Korvai - The saree\u2019s border and main body traditional technique, has come to stand as an are both interlaced with a plain interlocking, and emblem of the Kanjivaram silk saree. Two or Three knots which are worked along the length of the shuttles are needed to weave a Kanchipuram border at regular intervals. saree, one for the body and the other for the border while another shuttle is used if the border Rekku Korvai - Rekku Korvai are of three is on both sides. The weaver uses the shuttle on distinct varieties. The Thalamppu Rekku saree is his right side, while his assistant uses it on the left. characterised by the presence of larger temple In this Korvai technique, the saree\u2019s borders are designs that connect the border with the body. interwoven with its main body. With each pass of The Gopuram Rekku represents a temple design. the shuttle, the contrasting colours of the weft\u2019s Seepu Rekku is a weaving style used for the borders become entwined with the weft\u2019s main saree\u2019s borders. This comb-style Korvai is typically body. It usually takes two weavers, one to focus associated with older Kanjeevarams. on the threadwork and the other on the border colours. PETNI Korvai saris are more expensive than regular The Pallu of the saree is the finest and most intricate silk saris due to the time-consuming and precise section of the garment. Generally the colour of handwork required in the manufacturing process. the pallu is different from the colour of the border. Korvai Kanjiavarams are known for their bright Kanchipuram silk sarees are traditionally woven contrasting colours.","91 PETNI : A CONTRAST PALLU","92 KORVAI : CONTRAST BORDER","93 using a technique called \u201cPetni,\u201d which involves Generally, development occurs for works which weaving two separate portions of warp\u2014the were difficult at that time to make it easier. pallu and the main body\u2014having different colours Whereas easier works at that time has become together with the weft threads of the pallu for a tougher \u2013 like the Aadai technique right now. The few inches before the warp of the main body is difference between a saree done in Aadai and cut. The finished product seems like one seamless Jacquard is the variations in the size of motifs and weave, with the interwoven parts completely designs. In a Jacquard, motif design is constant hidden. and this is repeated in the same size throughout the saree. Whereas in the Aadai technique, motifs Therefore, the body and border of a genuine sizes or the design could be varied during the Kanchipuram Silk Saree are weaved separately weaving process itself. Many number of variations and then interwoven. Even if the saree tears, the and unusual sizes can be bought out using adai border will remain securely attached due to the loom. quality of the weave at the border. Both sides of the saree are adorned with an interlocked zari So, the adai is a device that contains a set of nylon border, and the garment is completed with a threads equal to the number of ends required for gold zari pallu. This seam is so tightly woven that a particular design. According to the lifting order even if the sari splits, the pallu or border will not for every individual pick insertion, the respective separate. This is what sets apart Kanchipuram numbered ends are tied together. Suppose, if there sarees from the rest of the silk varieties. One about 50 picks required for a particular design, 50 saree might take anywhere from 10 to 15 days to sets of nylon yarns will be tied in successive order. weave, depending on the intricacy of the designs. When this is attached to the loom, the weaver ties the nylon ends to the respective ends in the warp. AADAI TECHNIQUE Before inserting the weft each set is pulled to lift the warp ends and the shuttle is thrown and beat. Other than the jacquard mechanism a more primitive Two people are needed to do this particular type version of weaving the design into the loom instead of technique. of punch cards is the tool called ADAl. Before the jacquard mechanism was installed Adais were Traditional adai weavings often include simple yet used by the weaver community. It can be said that sophisticated patterns. Standard sizes for designs the Aadai loom is the traditional way of weaving for Jacquard include 120, 240, and 480 hooks. during those days. Shri V. Palanivelu, a National Whereas the inbetween sizes 120, 240 and 480 Award winner,2013 for handloom weaving used are the standard sizes for adai. Weavers utilise a this traditional technique in his sarees. softer, higher quality zari to create designs using the adai technique.","94 MOTIFS Kanchipuram sarees are known for their use of motifs with mythological significance. The temple architecture, sculptures, paintings, and Tamil literature served as inspiration for many of the designs existing till now. Since the city\u2019s temples serve as the cultural centres, the entire craft has its origins there. ANIMALS AND BIRDS Mayil (Peacock) - Associated with royalty, opulence and its significance with Lord Krishna and Lord Skanda (Murugan) who is depicted with peacock vehicle. Peacock motifs and patterns are seen intricately designed in the Pallu, adding drama and vibrance to the saree. Kili (Parrot) - Symbolizes conveying information about the teachings of sages and truth. The renowned sages Suka and Arunagirinathar are said to have transformed into parrots in order to recite and preserve some of the greatest slokas.","95 Iruthalaipakshi (Two-headed eagle) - The Garuda-dhvaja (dhvaja meaning flag) is a symbol of triumph in mythology. The body and the pallu are weaved with these designs. When woven in the Kanjeevaram with luxurious gold zari or patterned silk yarn, this motif takes on a majestic appearance. Annam (Hamsam) - Annam is a graceful swan motif taken from the walls of the Kanchipuram temple, which has been praised by poets and thinkers for centuries. Ancient texts often used the name \u201cChakravaha\u201d to represent these beautiful water birds, which symbolised virtuousness, success, and elegance. Simham (lion) - The Mandapam pillars in the outside praharam of the Vaikunta Perumal temple include sculpted lions. Sculptural and literary evidence shows that these lions represented the glorious conquering force of Goddess Durga during the temple\u2019s consecration (Kumbhabisheka). The lion is a symbol of authority and it is linked to the mystical yaazhi. The lion is included into the Kanchipuram saree\u2019s border and pallu as a linear design. Yaali - A mythical animal that resembles a cross between a lion, an elephant, and a horse. This is a prominent motif guarding the corridors and doorways of most temples in Tamil Nadu. A distinctive set of lines, known as the \u2018yaali varisai,\u2019 is carved into the towering gopurams of South Indian temples to represent the yaali.","96 Maan (Deer) - The Kanchipuram saree brings to life the peaceful spirit of the animal that has come to represent innocence and non-violence. Symbolic of the god of wind, Vayu, it is also associated with images of Lord Siva. Meen (Fish) - Fish are considered as powerful emblems of fertility. Archaeologists have found this design on pottery, Mohenjo-daro seals, and plaques from the earliest days of the civilization there. The Pandyas of Madurai, a southern Indian dynasty, used twin fish as their dynastic symbol. Yanai (Elephant) - The strength and protection symbolised by elephants is depicted in temple design by having a row of them appear to support the entire building. The motif is also associated with wisdom, bravery, and memory. Kuthirai (Horse) - During Madurai\u2019s annual Chithirai festival, Lord Kallazhagar rides into the Vaigai River on his golden stallion, becoming the event\u2019s most iconic picture. Even today, in most Kanchipuram temple processions, the horse serves as the vahana (vehicle), adding to the grandeur of the occasion.","97 Kuyilkann and Mayilakann (The eyes of cuckoo and Peacock) - The kuyil and mayil (the cuckoo and peacock, respectively) provide inspiration for some particularly beautiful and detailed border designs. Men\u2019s veshtis and women\u2019s sarees alike feature diamond mesh decorations along the border (pettu). Mayilkann motifs are preferred on the borders of Kanchipuram sarees because they are heavier and slightly larger than the Kuyilkann motifs, which include a small central dot within the diamond design. FLORA Thazhampoo Reku (Kewra Flower) - A Yellow flower with pointed petals and a strong fragrance. The rising gopurams of South Indian temples served as inspiration for this Dravidian- style temple motif. Rows of big triangles, interwoven in korvai, are called reku (a bundle of grass) or mottu (flower buds), and they evoke images of temple gopurams. Manga (Mango) - The Ekambareshwar temple is the holiest Shaivate site in Kanchipuram, and its sacred mango tree is known as the Sthala Vruksham. The god is called \u201cekamban,\u201d which means \u201cone who dwells under a mango tree\u201d (ekaamaram). The mangoes seen on South Indian sarees are larger and more stylized than their North Indian counterparts.","98 Thuthiripoo (Udhiri Pookal) - The name utharippu means \u201cloose flowers,\u201d and the Thuthiripoo motif is utilised to add a sense of movement to the designs on the borders, making the fabric look more delicate and refined. Kodi Visiri ( Creeper) - These creeping flower patterns are a sophisticated combination of motifs and buttis. The tenderness and the way the tendrils cling and weave themselves around the surrounding trees are perfectly captured by the Tamil word \u2018kodi visiri\u2019. Paai Madi (Basket weave) - Tabby weave can be seen in its entirety in the paai madi. The warp and the weft in this weave create a basic crisscross design. Malli moggu (Jasmine Bud) - In Tamil, a flower bud is called a mokku or moggu. Malligai, also known as jasmine, is a popular choice for a wide variety of ritualistic purposes, including decorating a woman\u2019s hair and creating garlands for deities and bridal couples.","99 Rudraksham - Rudra refers to Siva, while Aksha refers to the tears that Shiva shed over the death of the Tripuras. According to myth, Parvati asked Shiva to help her find some gems, so he reached up and plucked Rudraksha fruits from the tree of heaven for her to wear. It is often believed that the beads protect the wearer from the evil eye. Rudraksha beads represent strength and tranquilly. Kamalam\/Thamarai (Lotus) - It is regarded as a divine manifestation and has been linked to the goddesses Lakshmi (the goddess of wealth) and Saraswathi (the goddess of knowledge) as well as the creator god Brahma. A Kamalam, a miniature but stylized eight-petal floral motif that calls upon the Goddess of Prosperity, is based on this design. JEWELLERY Jadai Nagam (Hair serpant) -The jadai nagam, or \u201chair serpent,\u201d is a heavenly cobra encrusted with rubies and diamonds, and is part of the extravagant hair jewellery that a bride in Tamil Nadu usually wear. Bharatanatyam dancers use these diamonds as part of their head adornment.","100 Neli\/Rettai Neli - The bride traditionally wears a toe ring (known as a \u201cMetti\u201d in Tamil) with a pattern called \u201cNeli\u201d on the day of the wedding. When woven into the saree\u2019s border and pallu, Neli designs complement the sari\u2019s main motif and provide a magnificent effect when they extend throughout the fabric. Pavunpet - Pavumpet is a beautiful depiction of a gold coin (\u201cPavum\u201d). It resembles a Rudraksh, but its appearance is altered by the presence of two parallel vertical lines that flank the centre coin. Vairam (Diamond) Pattern - Pattern consisting of diamond- shaped geometric elements. The intricate pattern complements the already-elegant pallu and border designs of the Kanchipuram saree."]