An Insight into the Craft
An Insight into the Craft
Aashrita Indurti Fashion Communication Semester V
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Acknowledgement I wish to express my gratitude to Mr C M Sanjeev for guiding me throughout this project. I also wish to thank Mr Suresh for his help and support and all the other artisans who patiently helped me in this endeavour.
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06 26 56 Introduction
The Craft
The Craft
Kancheepuram About the Place Places to Visit
Raw Materials Silk Zari
Process Silk Extraction Dyeing Degumming Pre Weaving Process Weaving
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The Craft
The Craft
The Craft
History
Tools Looms Attai Spinning Wheel Unthi Matti
Design Intervention
Table of Contents
74 82 112 The Craft
The Craft
SWOT Analysis
Artisans
Glossary
76 110 114 The Craft
Conclusion
Bibliography
Motifs
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Kanjeevaram Silks
Introduction
Kancheepuram is known as the ‘Silk Paradise of India’ because of the production of the opulent Kanjeevaram saris. Also it is credited as the ‘Land of Many Temples’ because of its rich cultural heritage.
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A temple in Chinna Kancheepuram
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Kanjeevaram Silks
Introduction
The Beginning This book on Kanjeevaram saris intends to give an overview of the various intricacies that go into making of the exquisite and ornate silk saris. With each aspect playing a vital role, each sari narrates a legend of its own coupled with the hard work of the artisan who weaves to perfection or the colours that symbolise tradition to the motifs that spin a story from mythology,
the Kanjeevaram is complete in its own way. The visual identity is an attempt to bring out these aspects and portrays the silk threads interlinked into one another forming a basic unit of the magnificent sari.
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MG Road, Kancheepuram
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Kanjeevaram Silks
Kancheepuram
Kancheepuram Kancheepuram is a city located in Tamil Nadu famous for the traditional Kancheepuram or Kanjeevaram silk saris. Located on the banks of the Vegavathy River, this city is a culturally strong hub, with its rich art forms and a multitude of historical monuments. The culture and heritage of this city can be attributed to the famous rulers of the Chola, the Pandya, the Vijayanaga-
ra Empire and the Carnatic kingdom patrons who gave this city its glory. Kancheepuram was earlier known as the centre of education or ‘ghatikasthanam’ as it was a religious centre of advanced education for the Jains, the Buddhists and the Hindus. Currently, it has been chosen as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.
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Kanjeevaram Silks
Introduction
Market Area, Chinna Kancheepuram
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Latitude and Longitude 12.82°N and 79.71°E
Area
11.605 km2
Temperature
During summer, it rises up to 39 degree Celsius while winter witnesses the temperature dropping 19 degree Celsius.
How To Get There
-Train to Kancheepuram -Buses to Kancheepuram -By air, Chennai International Airport is 75 kilometres from Kancheepuram
Attire
The traditional attire of veshti or dhoti and shirt is common among men and women wear saris. Girls are seen wearing Pavadai or a blouse and skirt and churidars, while boys wear shirts and denims.
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Kanjeevaram Silks
Introduction
Altitude 85 meters
Best Time To Visit
September to February
Food
Tamil Nadu is famous for its rice preparations such as sambhar rice, Puliogare or Tamarind Rice, Curd rice to name a few. One would find a variety of Idly, vada, dosa, pongal, appam and paniyara to binge on. Every street is filled with eateries with a plethora of options.
Hospitals
The Government Hospital, EMM Womens Hospital, ECHS Polytechnique Hospital and Manohar General Hospital are some places that offer treatment to the sick.
Educational Institutions
Indian Institute of Information Technology, Arignar Anna Memorial Cancer Institute and Hospital and Meenakshi Medical College are famous in the city. Sri Chandrasekharendra Saraswathi Viswa Mahavidyalaya and Chettinad Academy of Research and Education (CARE) are two Deemed universities in Kancheepuram.
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Kancheepuram is a place where one finds both Shiva and Vishnu temples. The place has been divided in to Chinna Kancheepuram or little kancheepuram which is dedicated to Lord Vishnu while Periya Kancheepuram or big Kancheepuram is dedicated to Lord Shiva.
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Kanjeevaram Silks
Introduction
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Kamakshi Amman temple (Left), Jain Temple (Right)
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Kanjeevaram Silks
Kancheepuram
Footloose in Kanchi The sanctum sanctorum includes Kamakshi Amman Temple, Ekambaranathar Temple, Devarajaswami Temple, Kailashanathar Temple, Varadharajaswami Temple being the famous ones besides many others. Twin temples Trilokyanatha and Chandraprabha temple is a Jain temple that owes its heritage to the Pallava dynasty. Inscriptions pertaining and glorifying Bodhidharma, the Buddhist monk who founded Shaolin Kung Fu, who
was the also a Pallava Prince is found in Kanchipuram. The city has two mosques built by the Nawab of Arcot and a church - the Christ Church, built in Scottish style stands in all its grandeur. Vedantangal, a famous water bird Sanctuary is located 48 kilometres from Kancheepuram. Muttukaddu is another place known for its boating activities on the lake formed out of the
backwaters. Some interesting places to visit are Dakshin Chitra, Kanchi Kudil, Anna Memorial and the Crocodile Bank. Covelong Beach and Sadras Beach offer relaxation for those seeking nature’s beauty. Mammalapuram, known for its Pallava architecture and inscriptions is situated close to Kancheepuram.
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Kanjeevaram Silks
The Craft
Kanchi Weaves Kancheepuram is famous for its ancient craft of producing hand-woven silk saris or ‘Kanjeevaram Silk saris ‘. These saris which are woven with heavy and pure silk and gold, are adorned during occasions and stand as a symbol of festivities and celebration. It is characterised by the usage of rich colours, traditional motifs and intricate craftsmanship which is of wide acclaim and makes these saris highly sought after. This traditional craft is protected as a geographical indication (GI), administered by the Government of Tamil Nadu.
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Kanjeevaram Silks
Introduction
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Sage Markandeya (Left), Lord Vishnu (Right)
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Kanjeevaram Silks
History
Footprints
of Time
The history of Kanjeevaram silks can be traced back to mythology that states that these silk weavers are descendants of Sage Markandeya, the Master Weaver of Gods. Another theory suggests that during the Sangam period, people of the weaving community of Devangas and the Saligars migrated to Kancheepuram due to the presence of many temples. Temples were the primary centres of festivities, hence these master weavers wove silk saris for marriages and other occasions. The production of Kanjeevaram silk saris flourished and was made popular under the rule of the Vijayanagara ruler Krishna Deva Raya.
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Kanjeevaram Silks
Introduction
Raw Materials 27
Silk Fibre
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Kanjeevaram Silks
Raw Materials
Silk Kanjeevaram saris are woven from the purest of the mulberry silk thread that adds to the sheen and lustre of the sari. The cocoon of the silkworm Bombyx Mori which feeds on the white mulberry is used to produce fine silk strands. Bombyx Mori silk worms are domesticated and after laying its eggs, it dies within a day. The newly hatched silkworms feed on mulberry leaves. Once the worms are ready to spin cocoons, they begin to
secrete a stream of liquid silk that is coated with sericin, a type of protein which hardens after contact with air. The entire process takes forty hours and the end of it the silk produced is known as Mulberry Silk.
Silk is mostly procured from Chikballapur in Karnataka and also some places of Tamil Nadu. Bangalore is one of the largest producers of silk.
An entire cocoon is unwound to get a long filament of silk strands without any breakage and is rolled on reel continuously during extraction. The quality of the silk thread is determined by the fact that it is continuous in its length.
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Rolls of silk fibre
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Kanjeevaram Silks
Raw Materials
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Zari Zari work in a Kanjeevaram Sari adds to the value and popularity of the sari. Zari was made traditionally with silk thread wound with fine silver and dipped in gold. The exorbitant prices of these metals saw zari makers incorporating copper wire electroplated with silver in the industrial age. Further technological advancement saw the rise of metallic zari which is inexpensive, durable and non-tarnishing.
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The art of zari making preserves its traditional element of being passed down from father to son. This artform was vividly in use during the Mughal era when it was used to embellish the royal attire. The artform is practised in Surat and it is said that the entire zari production process is said to be a secret, known only to the families of the artisans. Surat is the centre, where all weavers across India source zari from. The intricacy of zari production is evident
from the fact that artisans hold great pride on drawing wires that are thinner than the human hair. Zari is procured in rolls of four which cost Rupees Thousand. Thus the zari content in the Kanjeevaram sari not only adds shimmer in contrast to the silk. But also determines and enhances the value of the sari.
Kanjeevaram Silks
Raw Materials
Zari Rolls
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Kanjeevaram Silks
Introduction
Tools 35
Jacquard Loom
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Kanjeevaram Silks
Tools
Loom Looms play a vital role in weaving Kanjeevaram Saris. While one commonly sees artisans using Jacquard Looms, traditional weavers are seen working on the basic handloom. Shops and retailers invest in Motorized and digital looms to enhance their mass production.
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Jacquard Loom
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Kanjeevaram Silks
Tools
Jacquard Loom Jacquard loom is a type of power loom that simplifies the process of weaving a sari with complex patterns and motifs. The loom is operated with respect to a ‘string of punched cards’ or the ‘attai’. Each position of the attai is associated with a ‘Bolus’ hook which is either stopped or raised based on whether the hole is punched out of the card or it is a solid surface. The hook raises and lowers the harness which paves way for the warp thread to take its position so as to guide the weft thread to place itself below or above the warp layer. This sequence of raised and lowered thread creates the pattern of the sari. The cost of setting up a Jacquard Loom comes to around Three Lakh Rupees.
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Jacquard Loom
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Kanjeevaram Silks
Introduction
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Parts of a Jacqard Loom
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Kanjeevaram Silks
Tools
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Working on the Jacqard loom
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Kanjeevaram Silks
Tools
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HandLoom 46
Kanjeevaram Silks
Introduction
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Parts of a Handloom
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Kanjeevaram Silks
Tools
Handloom weaving is the most basic and primitive form of loom used for weaving. Also called ‘hand machine’ by the local artisans, handloom weaving involves labour intensive work. In this set up warp threads pass through a heddle alternately and through a space between them such that raising the shaft sees half the threads being raised and lowering of it leads to the threads being lowered. The artisan uses pedals which are controlled by his feet which enable lifting of the warp threads and thus allows the weft threads to pass. The artisan can manually control the weft threads passing with his hands, thus repeating this process to weave the entire sari. This Handloom set up can only be used to weave ‘Butta’ style saris with simple designs and is devoid of full zari.
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Different views of the attai
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Kanjeevaram Silks
Tools
Attai Attais or Punched cards are a set of white thick boards that are used to determine the design or motif of the sari. They are placed together as a string of cards and are basically a number of punched cards with holes held together in a certain sequence. Multiple rows of holes are punched on each card, with a card corresponding to a row of the design. The punching of holes and preparing a single card costs Rupees Two Thousand Five Hundred.
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Spinning Wheel 52
Kanjeevaram Silks
Tools
A spinning wheel is used by artisans at Kancheepuram to spin thread or yarn from the silk fibre in order to obtain uniform and fine silk thread that is ready for the weaving process.
Spinning wheel - Different views
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The Unthi Matti
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Kanjeevaram Silks
Tools
Unthi Matti
Unthi Matti is a stand sort of a setup on which the silk fibre is stretched and hung after it is dipped in a solution of rice water. The strands are stretched and pulled with the help of a ‘gada parai’ or a crowbar. scattered, the type and design of border and the amount of Zari to be used.
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Kanjeevaram Silks
Process
Process
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Silk Extraction The extraction of silk constitutes the primary and an essential part of the entire process. This is done with the help of advances machinery where silk is unwound from multiple cocoons and the entire unwinding of the silk is done with utmost care to avoid breakage of the filaments. The silk fibre is continuously rolled on a reel during the extraction to obtain good quality silk.
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Kanjeevaram Silks
Process
Upon heating the solution, the fibres are coloured manually depending on the quantity of silk and colour that needs to be imparted. In order to obtain a dual colour on the fibre, the upper half of the strands is first stained which is followed by the colouring of the lower half. The dyeing process is complete with rinsing the coloured strands with water so as to eliminate the excess dye solution. Silk is also known to have great absorbing power and low colour fastness.
Dyeing The extraction of silk constitutes the primary and an essential part of the entire process. This is done with the help of advanced machinery where silk is unwound from multiple cocoons and the entire unwinding of the silk is done with utmost care to avoid breakage of the filaments. The silk fibre is continuously rolled on a reel during the extraction to obtain good quality silk.
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Dyes being mixed Dyes and Degumming Solution
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Kanjeevaram Silks
Introduction
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Caption
Machinery in the Dyeing Unit
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Kanjeevaram Silks
Process
Dyeing in action
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Degumming
The process of degumming plays an important role in adding sheen to the fibres. Degumming is the process of removing sericin, a silk protein or gum from silk strands. This protein is a coating that prevents impurities from damaging the surface of the silk strands. Removal of this layer revives the sheen, colour and texture of silk. Degumming involves silk fibres being treated with a combination of two chemicals – an alkaline solution and a surfactant. The treatment of degumming is followed by immersing the fibres in an acidic solution as a part of post degumming treatment to impart and enhance the texture of the fibre.
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Kanjeevaram Silks
Process
Upon heating the solution, the fibres are coloured manually depending on the quantity of silk and colour that needs to be imparted. In order to obtain a dual colour on the fibre, the upper half of the strands is first stained which is followed by the colouring of the lower half. The dyeing process is complete with rinsing the coloured strands with water so as to eliminate the excess dye solution. Silk is also known to have great absorbing power and low colour fastness.
Designing The look and style of the Kanjeevaram sari is determined by this stage. The primary step commences with the preparation of the punched hole moulds or cards. These punched cards determine the motif that completes the sari and holes are punched accordingly. The colour combination of the sari is looked into and the types of border and sari designs are decided.
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Pre Weaving
Spinning Wheel
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Kanjeevaram Silks
Process
The silk fibres after being coloured and dyed are dipped and rinsed in starch or rice water and are stretched out on the unthi matti with the gadaparai. They are left out in the sun to dry and this is typically done by the women of the household. The weavers then take this fibre and use a spinning wheel to spin and obtain fine silk yarn or thread which is ready to be used for weaving the sari. Spinning to obtain thread
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Weaving
This constitutes the most important phase in determining the look of the sari. The craft is based on the Korvai style of weaving where the borders are interlaced with the body of the saree. Contrasting colours are used and the border, body and pallu are woven separately. One can find a distinguishing difference in the way the pallu meets the body of the saree through its slightly rough surface. The process of joining the pallu with the border is known as petni. Border on both sides of the
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sari is another feature which is brought out through the petni method. The weaving of the sari requires three shuttles as three different sources of threads and Zaris are used. Silk yarn is segregated into warps and forms the warp sheet, which is transferred into the weavers beam and this process is known as beaming. This is followed by the preparation of the weft shuttle. The interlocking of the warp and weft layers forms one weave
of the sari. This process is repeated until six yards of the sari is completed. The braiding and joining of the ends is done manually.
Kanjeevaram Silks
Process
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If the Kanjeevaram sari is genuine, it will have its body and border woven in separate sections. These sections are interlocked in a joint so strong that it does not detach even if the saree gets a tear.
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Kanjeevaram Silks
Introduction
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With The Design Era 72
Kanjeevaram Silks
Design Intervention
Kanjeevaram saris have seen constant experimentation with respect to colours, motifs, the style of weave and texture over the years. Initially simple weaves with elegant design and motifs were in style but with the advent of technology, there has been a constant emphasis on innovating and adding a whole new visual dimension to the sari. Paintings of Raja Ravi Verma are incorporated in the pallu, adding value and essence to the sari. Scenes from the Ramayana, Mahabharata and Indian mythological tales have been intricately woven in the Kanjeevaram sari. With power looms gaining prominence, designs, images, typography can be incorporated in the sari across the body of the sari. Row borders, checks patterns and plain parallel colour block saris have gained popularity and cater to the preferences of today’s generation. The retail outlets, based on their research and market study have cashed in on people’s preferences and needs but unfortunately, local artisans stick to their traditional style and the saris produced lose out on the visual appeal that these retail outlets offer.
Experimentation with borders
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SWOT Analysis 74
Kanjeevaram Silks
Strength
SWOT Analysis
Weakness
Skillset
Poorly Paid
Time Management
No adaptation to the current day taste Dependent on middlemen and retailers
Opportunity
Craft Related Exhibitions and promotion by organisations. Export Endeavours
Threats
Other saris are sold under the banner of Kanjeevaram, which are mass manufactured on machines.
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Motifs Motifs are beautifully woven across a Kanjeevaram sari. They accentuate the look of the sari and it brings out the exquisite craftsmanship with which each motif has been emphasised. Along with the visual appeal, motifs stand as symbols of culture, mythology and tradition. Thus, the Kanjeevaram sari is much more than just a handcrafted sari and narrates a timeless tale through each of these motifs.
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Kanjeevaram Silks
Motifs
Yali Motif Yali is a mythical beast sculpted on the walls of temples. The beauty and grandeur associated with this ferocious character is brought out in the saris. Yali is portrayed as a creature with the head and body of a lion, tail of a serpentine and an elephant’s tusk.
Diamond Motif Diamonds are seen as a symbol of purity and prosperity. Kanjeevaram saris are laden with diamond motifs be it as a part of the body of the sari or in the border. The classic diamond border is repeated as a patern or an alternating half of the diamond motif is filled with zari or left plain to create an emphasis visually.
Rudraksha Motif
Rudraksha motif represents the tears of Lord Shiva. The Rudraksha is synonymous with the evolution of the cosmos and has a sacred significance. This motif is generally seen in repetitive patterns adorning the border of the sari.
Caption
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Mankolam Motif
Peacock Motif
Mankolam or mangoes have an auspicious significance, with a pride of a place in mythological stories and are vividly used in Kanjeevaram saris. They are used in contrasting, bright colours and are typically common in wedding saris. These motifs are also known as Paisley and have been in use from ancient times.
The peacock motif is associated with royalty, opulence and its significance with Lord Krishna and Lord Skanda. Peacock motif and patterns are seen intricately designed in the Pallu, adding drama and vibrance to the sari. It is also woven across the body of the sari and occupies a prominent position in the borders too.
Temple Borders A sari with temple borders has patterns on the border resembling the different layers of a temple and the patterns on the walls of a temple.It has a combination of vertical lines with motifs laden and packed in between the lines.
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Kanjeevaram Silks
Motifs
Swan Motif Annapakshi is a mythical creature that represents purity, beauty and prosperity. It is the current day swan which is mostly seen carved on lamps, temple walls and artefacts. The annapakshi motif is widely used in the body of the sari.
Floral Motif Kanjeevaram saris are filled with floral motifs, different leaves, typical ‘kodi’ or vines and creeper designs. Leaves of neem, peepal, paan, blades of grass are commonly woven in the border and body of the sari.
Lotus Motif
In Hindu tradition, the lotus is of utmost importance. This is the essence of the lotus motif that is brought out in the Kanjeevaram saris. With spiritual significance and an insignia of purity and beauty, the lotus or Padma motif is adorned in borders, body and pallu of the sari.
Caption
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Suryan Motif
Raindrop Motif
The Suryan motif is a celebration of sacred glory, representing the sun god’s fathomless energy. Surya is the source of all cosmic energy and plays a vital role in all Hindu rituals. These motifs are a representation of the sun’s glory and bring out the majesty and opulence in the sari.
Raindrop motifs are synonymous with freshness and creation. Tiny raindrop motifs adorn the bridal sari, rendering a royal look. These motifs are commonly seen in the body of the sari and in the borders in combination with other motifs.
Checks and Lines The checks like pattern has a spiritual significance and represents the Mandala or sacred grid that symbolises the universe. The horizontal lines are parallel to the earth while the vertical lines arise from the earth and go upwards. The meeting of the two represents the cosmic energy. This is a widely used pattern in the body of the pallu and is not popularly used in the borders.
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Kanjeevaram Silks
Motifs
Checks Sari with motifs
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Kanjeevaram Silks
Artisans
Kaivinainar (Artisans)
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Kanjeevaram Silks
Artisans
Kumar
In the rusty lanes of Pillayar Pallayam sits Kumar and continuously weaves the sari unperturbed by the activities around him. Kumar took to weaving at the tender age of four and having been born into a family of weavers, he firmly believes that it takes many years of hard work and practice to master the art. Initially, Kumar was taught to work on the handloom and recollects how it was first dif-
ficult for him to get a hold of synchronising the feet on the pedal and the hands to weave. Today, he has a power loom weave in his workspace and says it has made his work much easier. Working for long hours on the handloom, weakens the shoulder and the back and hence a lot of artisans in their old age suffer from health issues. Kumar describes the tricks of the trade and how artisans are dwindling in number because of the poor income
involved in the craft. It takes fifteen days to weave a sari completely and he sells it for Rupees Twenty Two Thousand which is then sold at a much higher price at retail outlets. His major concern is the fact that cooperative societies are established only for namesake and these organisations do not benefit the artisans in any way.
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Ravi 86
Kanjeevaram Silks
Sitting cheerfully and working on the colourful sari in front of him, Ravi was introduced to the art form at the age of fifteen. He states that it took him nine months to a year to master the art form and has been weaving for the last ten years. Ravi describes the various processes involved in weaving a sari. The silk fibre once spun and woven into a sari can be preserved for more than thirty years, but silk fibre will lose its sheen and the filaments are most likely to break.
He further explains how it takes minimum one week to ten days to decide on the designs that will go into the sari. It is a laborious process he claims. The designs are further refined and orders for the ‘attais’ and its procurement takes another one week. A set of Attais cost around Rupees Two Thousand Five Hundred. A pure Kanjeevaram sari has revalue he exclaims with a twinkle in his eye. The concept of revalue states that if the sari is made with pure zari, the sari when sold will be considered
Introduction
based on the amount of gold and silver in the zari work, along with the intricacy of the design. According to Ravi, it takes twenty days to finally complete the sari. His days begin at seven in the morning and he continues working till seven in the evening and sits up for a while longer, depending on the amount of work.
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An insight into their home
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Kanjeevaram Silks
Artisans
Suresh and Devika Suresh was born into a family of weavers and learnt the art form at a young age, but chose to take up distribution and selling of Kanjeevaram saris. He along with his wife, Devika are involved in this business and have a set up in their house. Showing us around Pillayar Pallayam, he casually talks of the vital aspects associated with the trade. Shops and retail outlets in Kancheepuram, under the brand name of Kanjeeivaram saris, display saris from Kumbakonam and
Salem which are devoid of pure zari work and sell it at a high rate. These saris are mass manufactured and this, in turn affects the business of Kanjeevaram weavers who spend days weaving a single sari. As a result, the weaver community is slowly dwindling. He recalls how as a child, there were more than a lakh weavers in Kancheepuram where every lane and every street was filled with artisans. Today he sadly admits that there are not more than fifteen thousand ar-
tisans in the whole of Kancheepuram. When asked about where items are procured from, he readily tells us the various sources of items that go into the making of the sari. Zari comes from Surat while silk is obtained from Bengaluru and cotton, which is rarely used is procured from a place that is twenty kilometres away from Kanchi.
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His wife Devika describes how back end maintenance of the silk fibre is important. After the completion of weaving three saris, the silk threads are dipped in a solution of starch all over again. This is done to maintain the shine and strength of the silk strands. These threads are then dried in the sun, early in the morning. Having done this, these threads are further rolled uniformly and this process is known as Pavu Ponaikkanum. Pavadais and Podavais, i.e Saris and long skirts are woven and for the sale of three saris, they earn Rupees Four Thousand Five Hundred. The couple has a daughter Sharanya, who is studying in class ten and she intends to build a professional career for herself, far from the struggles that weavCaption ing holds. Caption 90
Kanjeevaram Silks
Artisans
Prayer Room
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Muthu and his workspace
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Kanjeevaram Silks
Artisans
Muthu Kumaran His day begins at six in the morning and ends at nine in the night. This artisan is passionate about his work and is proud of the fact that he has established his workspace and weave set up, all on his own. He procured the weave set up and machinery from Chennai and the entire cost along with the motor added up to Rupees Forty Thousand. The machinery requires timely maintenance and that Acharis or hardware experts come and look into the set up if there is an issue. He describes how the fibres come white in colour to the weavers and three to nine people are mostly involved in the entire activity to roll, dye, weave, market and finally sell the sari. In a span of forty five days, three saris can be woven to be sold. He also talks of how this craft has notions spun around it. Being an art form that does not generate a good fat income, no girl is given in marriage to weavers. He is deeply distressed by the fact that they are looked down upon by the society. He also vents out his frustration when asked about Cooperative Societies. Cooperative Societies are established just for the namesake and instead of benefiting the local artisans, it is a menace with a number of commissions associated with it. Despite the challenges he faces, Muthu is proud of the work he does and intends to hone his skills further.
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Brahmesan and Jayalakshmi 94
Kanjeevaram Silks
Artisans
A traditional artisan who uses the handloom weave, Brahmesan started weaving at the age of eight. He uses the traditional hand machine and weaves simple Buttas with no full zari. He begins work early in the morning at six and calls it a day at around eight in the night. His wife Jayalakshmi helps him in his weaving endeavour and as a part of her contribution to the family, she is involved in cotton handkerchiefs and dress material making business. To weave a simple Kanjeevaram sari by hand, it takes thirty days to complete the entire weaving process.
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The interiors of his showroom
Krishna Sah 96
Kanjeevaram Silks
On the busy roads on Mahatma Gandhi Road, one cannot miss the big M.Seenu Sah Silks outlet. Born into a family of Kanjeevaram artisans, the owner Krishna Sah describes how the shop has sustained the test of time since it was established forty five years back. It was established by his grandmother who was once a master weaver in the town. Initially, they started off by hiring around two thousand weavers but today they work on contract basis. They have a tie up with around twenty to
thirty weavers in the town who are paid Rupees Thousand to Thousand Five Hundred for a simple sari and Rupees Six Thousand to Seven Thousand Five Hundred, depending on the intricacy of the work. He has a loyal set of customers who visit his showroom who come from places around Kancheepuram such as Vayyuru, Keezhkadirpuram and Thirukalimedu. Mr Krishna also has his customers coming from Malaysia, India, Singapore, Sri Lanka and the Middle East.
Artisans
When asked about his marketing and advertising endeavour to promote his outlet, he says he has no such marketing or advertising going in to promote his showroom. He believes in promotional gimmicks such as ‘Buy two for the price of one’.
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Ganesh’s Store
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Kanjeevaram Silks
Artisans
Ganesh Mr Ganesh has his shop in the midst of the busy lanes in Mahatna Gandhi Road. He has a tailoring unit and a set up where he takes old saris based on whether the zari is pure or copper based. His day starts at nine in the morning and he sits with a black stone rubbing the sari against the surface of the stone. A whitish metallic colour indicates the presence of pure zari in the sari while a rose gold tone shows the presence of
copper in the zari. Hence he decides the revalue factor based on this aspect. The black stone used to test is called Touchstone. When asked about his clients, he says he has people coming in from abroad just to exchange their old Kanjeevaram saris and get a good revalue on them. Born into the household of weavers, Mr Ganesh drifted away from the profession and for the last two years has been doing well in his business.
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Kanjeevaram Silks
Process
Caption Differentiating between pure Zari and copper based one
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Kanjeevaram Silks
Artisans
Exchanged old Saris
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Dye Maker and his workspace
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Kanjeevaram Silks
Artisans
Murali Ramalingam
Middle aged Murali works at a dyeing unit. His days begin at 8 in the morning and he works till six in the evening. His work involves colouring and staining the silk fibres that arrive from Bengaluru. They are brought as white rolls and acidic dyes are mixed with rock salt and the rolls of silk fibre are dipped in them. Two kilograms of the solution is needed to dip silk strands for three saris. The dye maker’s job is not an easy and involves multiple health hazards. Continuous standing and bending to dip the silk fibres causes back problems and most importantly the dyes being acidic pose numerous lung related and skin disorders.
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Devaraja 104
Kanjeevaram Silks
Right in front of the magnificent Kamakshi Amman Temple, stands Sivaranjani Silks. The owner Devaraja started weaving at the age of three and was taught the art form by his grandfather. Over the years he realised the craft wasn’t fetching him enough, he established his showroom in the Chinna Kancheepuram area. The shop has been doing well for the last ten years he says. He also talks of how initially
Introduction
he had his shop attached to his house and with a lot of struggle, established a huge outlet in a prime area like Chinna Kanchi. When asked if his children would take his business forward, he sadly mentions that they have seen the struggles that the sari trade holds and they hence do not want to be associated with it in any way.
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The showroom
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Artisans
Street outside Devaraja’s showroom
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The Tamil film Kanchivaram released in 2008 depicts the struggles of silk weavers, the artisans and the people associated in this business in Kancheepuram.
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Introduction
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Conclusion
Conclusion Kanjeevaram holds a pride of place as a silk sari adorned by most women, uniting the different strata of women embracing them. With the back breaking effort that goes into the sari, the passion with which it is woven, despite the various issues the weavers face adds value to the sari. There is a huge scope for designers to work with the motifs and style of the sari, keeping the traditional and cultural aspect intact. It is highly imperative that the art form should be preserved. With the constant dwindling of the artisans, as designers we can contribute our bit in preserving the craft and spreading awareness about it, thus preserving the everlasting glory of the Kanjeevaram saris.
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Glossary
Glossary Shaft is also known as a harness. Each shaft controls a set of threads. Heddles are made of wire or cord. These are suspended from the shaft of a loom. Harness is the nylon thread used to hold the warp threads. Attai is a local term used for punch cards Gadaparai is a crowbar used to stretch silk fibre. Pavu Pannaikanam is a term used for rinsing the silk fibres in starch solution and stretching them to preseve the sheen. Buttas are repetetive motifs spread across the body of the sari.
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Bibliography
Bibliography http://www.saridhoti.com/the-kanjeevaram-formula/ h t t p : / / w w w. f a b r o o p . i n / b l o g s / s a ree-trends/14761577-pride-of-india-kanjeevaram-sarees https://www.sarangithestore.com/ blogs/sari-designs?page=4 http://www.craftrevival.org/CraftArtDetails.asp?CountryCode=India&CraftCode=003701 http://www.thehindu.com/features/ metroplus/the-birth-of-a-kanjeevaramsari/article7485694.ece http://sarisaheli.com/blog/silk-saree-manufacturing/ http://www.craftscouncilofindia.org/indian-crafts-map/tamil-nadu/ http://www.indianmirror.com/culture/ indian-specialties/kancheepuramsaree. html Handmade In India, M P Ranjan Indian Textiles, John Gillow and Nicholas Barnard Indian Saris, Vijai Singh Katiyar Image Credits peae012_sage_markandeya.jpg Image Credits www.hindu-blog.com
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National Institute of Fashion Technology, Bengaluru