Spread pages by muanna617

Bibliography

OF SAREES AND ARTISANS

Muthulakshmi Anu Narasimhan

OF SAREES AND ARTISANS

OF SAREES AND ARTISANS by

Muthulakshmi Anu Narasimhan

OF SAREES AND ARTISANS

TABLE OF CONTENTS CHAPTER 1

A Brief History p. 7

The Benarasi Saree p. 13

CHAPTER 3

The Venkatagiri Saree p. 23

CHAPTER 7

CHAPTER 8

CHAPTER 9

The Kalamkari Saree

The Batik Saree

The Paithani Saree

p. 51 4

CHAPTER 2

p. 61

p. 68

CHAPTER 4

CHAPTER 5

CHAPTER 6

The Kachchora Saree

The Bandhani Saree

The Kasavu Saree

p. 29

p. 37

ep. 23

CHAPTER 10

Bibliography p. 79

OF SAREES AND ARTISANS

CHAPTER ONE

OF SAREES AND ARTISANS

BLOCK PRINTS Block printing is a very old technique applied to decorating sarees. Wood blocks are paintstakingly carved and then placed methodically to create precise intevrals.

A BRIEF HISTORY

A brief history

AT MORE THAN 5,000 YEARS OF EXISTENCE ,

the Indian saree is considered to be among the oldest form of garment in the world still in existence. The Vedas—among the oldest literature composed by mankind—mentions it, and records from the Indus Valley Civilization (3300–1300 B.C.E.) also indicate its usage at the time. Yet it being ancient has in no way impacted its popularity. The sari evolved from a three-piece ensemble comprising the Antriya, the lower garment; the Uttariya; a veil worn over the shoulder or the head; and the Stanapatta, a chestband. This ensemble is mentioned in Sanskrit literature and Buddhist Pali literature during the 6th century B.C. This complete three-piece dress was known as Poshak, generic term for costume. Ancient Antriya closely resembled dothi wrap in the “fishtail” version which was passed through legs, covered the legs loosely and then flowed into a long, decorative pleats at front of the legs.It further evolved into Bhairnivasani skirt, today known as ghagri and lehenga.Uttariya was a shawl-like veil worn over the shoulder or head, it evolved into what is known today known as dupatta and ghoongat. Likewise, Stanapatta evolved into choli by 1st century A.D. Between 2nd century B.C to 1st century A.D, Antariya and Uttariya was merged to form a single garment known as sari mentioned in Pali literature, which served the purpose of two garments in one-piece. This predecessor of the saree is mentioned in ancient Sanksrit literature dating to the 6th century B.C.E. Even lehengas, ghagras and cholis are considered to have their roots in this attire.

OF SAREES AND ARTISANS

The ancient Sanskrit work, Kadambari by Banabhatta and ancient Tamil poetry, such as the Silappadhikaram, describes women in exquisite drapery or sari. In ancient India, although women wore saris that bared the midriff, the Dharmasastra writers stated that women should be dressed such that the navel would never become visible. By which for some time the navel exposure became a taboo and the navel was concealed. In ancient Indian tradition and the Natya Shastra (an ancient Indian treatise describing ancient dance and costumes), the navel of the Supreme Being is considered to be the source of life and creativity, hence the midriff is to be left bare by the sari. Early Sanskrit literature has a wide vocabulary of terms for the veiling used by women, such as Avagunthana (oguntheti/oguṇthikā), meaning cloak-veil, Uttariya meaning shoulder-veil, Mukha-pata meaning face-veil and Sirovas-tra meaning head-veil. In the Pratimānātaka, a play by Bhāsa describes in context of Avagunthana veil that “ladies may be seen without any blame (for the parties concerned) in a religious session, in marriage festivities, during a calamity and in a forest”. The same sentiment is more generically expressed in later Sanskrit literature. Śūdraka, the author of Mṛcchakatika set in fifth century BC says that the Avagaunthaha was not used by women everyday and at every time. He says that a married lady was expected to put on a veil while moving in the public. This may indicate that it was not necessary for unmarried females to put on a veil. This form of veiling by married women is still prevalent in Hindi-speaking areas, and is known as ghoonghat where the loose end of a sari is pulled over the head to act as a facial veil.

A brief history

Based on sculptures and paintings, tight bodices or cholis are believed have evolved between 2nd century B.C to 6th century A.D in various regional styles. Early cholis were front covering tied at the back; this style was more common in parts of ancient northern India. This ancient form of bodice or choli are still common in the state of Rajasthan today. Varies styles of decorative traditional embroidery like gota patti, mochi, pakko, kharak, suf, kathi, phulkari and gamthi are done on cholis. In Southern parts of India, choli is known as ravikie which is tied at the front instead of back, kasuti is traditional form of embroidery used for cholis in this region. In Nepal, choli is known as cholo or chaubandi cholo and is traditionally tied at the front. Still ubiquitous—on ramps at leading fashion shows, in bollywood, on streets of rural and urban India, on hip college students and their conservative grandmothers—the saree is as entrenched in our culture as it ever was.The unstitched single piece of cloth evolved due to ancient Hindu belief that stitching cloth made it impure. And so the four-and-a-half to eight meters of cloth—draped around the lower body and then with a tactful pleating process folded across the upper body— came to be appropriate attire. With its ability to be warming in winter, and cooling in summer, as well as its professional and aesthetically stylish appearance and its utility (for example, it can be folded and tucked to be shorter), the saree developed to be the most suitable attire for South Asian women. This is precisely the reason it is donned by politicians and farm-workers alike. While there exists a professional or classical style of draping a saree, there are more than 80 variations of it across the subcontinent. There’s the pleatless Bengali

OF SAREES AND ARTISANS

A brief history

A SAREE IS THE MOST BEAUTIFUL WRAPPING

A brief history

OF SAREES AND ARTISANS

At more than 5,000 years of existence, the Indian saree is considered to be among the oldest form of garment in the world still in existence. The Vedas—among the oldest literature composed by mankind—mentions it, and records from the Indus Valley Civilization (3300–1300 B.C.E.) also indicate its usage at the time. Yet it being ancient has in no way impacted its popularity. The sari evolved from a three-piece ensemble comprising the Antriya, the lower garment; the Uttariya; a veil worn over the shoulder or the head; and the Stanapatta, a chestband. This ensemble is mentioned in Sanskrit literature and Buddhist Pali literature during the 6th century B.C. This complete three-piece dress was known as Poshak, generic term for costume. Ancient Antriya closely resembled dothi wrap in the “fishtail” version which was passed through legs, covered the legs loosely and then flowed into a long, decorative pleats at front of the legs.It further evolved into Bhairnivasani skirt, today known as ghagri and lehenga.Uttariya was a shawl-like veil worn over the shoulder or head, it evolved into what is known today known as dupatta and ghoongat. Likewise, Stanapatta evolved into choli by 1st century A.D. Between 2nd century B.C to 1st century A.D, Antariya and Uttariya was merged to form a single garment known as sari mentioned in Pali literature, which served the purpose of two garments in one-piece. This predecessor of the saree is mentioned in ancient Sanksrit literature dating to the 6th century B.C.E. Even lehengas, ghagras and cholis are considered to have their roots in this attire. The ancient Sanskrit work, Kadambari by Banabhatta and ancient Tamil poetry, such as the Silappadhikaram, describes women in exquisite drapery or sari. In ancient India, although women wore saris that bared the midriff, the Dharmasastra writers stated that women should be dressed such that the navel would never

A brief history

become visible. By which for some time the navel exposure became a taboo and the navel was concealed. In ancient Indian tradition and the Natya Shastra (an ancient Indian treatise describing ancient dance and costumes), the navel of the Supreme Being is considered to be the source of life and creativity, hence the midriff is to be left bare by the sari. Early Sanskrit literature has a wide vocabulary of terms for the veiling used by women, such as Avagunthana (oguntheti/oguṇthikā), meaning cloak-veil, Uttariya meaning shoulder-veil, Mukha-pata meaning face-veil and Sirovas-tra meaning head-veil. In the Pratimānātaka, a play by Bhāsa describes in context of Avagunthana veil that “ladies may be seen without any blame (for the parties concerned) in a religious session, in marriage festivities, during a calamity and in a forest”. The same sentiment is more generically expressed in later Sanskrit literature. Śūdraka, the author of Mṛcchakatika set in fifth century BC says that the Avagaunthaha was not used by women everyday and at every time. He says that a married lady was expected to put on a veil while moving in the public. This may indicate that it was not necessary for unmarried females to put on a veil. This form of veiling by married women is still prevalent in Hindi-speaking areas, and is known as ghoonghat where the loose end of a sari is pulled over the head to act as a facial veil. Based on sculptures and paintings, tight bodices or cholis are believed have evolved between 2nd century B.C to 6th century A.D in various regional styles. Early cholis were front covering tied at the back; this style was more common in parts of ancient northern India. This ancient form of bodice or choli are still common in the state of Rajasthan today. Varies styles of decorative traditional embroidery like

OF SAREES AND ARTISANS

The Benarasi Saree

CHAPTER TWO 17

OF SAREES AND ARTISANS

Varanasi

VARANASI Block printing is known to have been used in India since at least the 12th century. Block prints have a wide range of designs. This one is an abstract floral design.

THE BENARASI SAREE

The Benarasi Saree

originating from the city of Varanasi in Uttar Pradesh, India. Sarees woven from this fine silk, known as a Banarasi Silk Saree is extremely popular all over India and across the world and knows for its fine craftsmanship. BANARASI SILK IS A FINE VARIANT OF SILK

With a mention in the Mahabharata and in the Buddhist scriptures in the first millennium, Banarasi silk have its roots seeped into the rich cultural history of India. Originally crafted exclusively for the royalty, each Banarasi sari was created from real gold and silver threads, taking as much as a year to make. Banarasi silk is an unmatched example of excellent artistry. Mughals brought this fine craftsmanship in India. Mughals also tried their best to glorify the art of weaving and designing. During the course of that act, they inspired few craftsmen to work in intricate art of weaving. It was the beginning of Sari weaving art. In addition, at that particular time, Persian motifs were being mixed up with the Indian customary attire. Todayâ&#x20AC;&#x2122;s Banarasi Silks are the product of this particular mix up of two different cultures and exemplary enthusiasm of Mughals. In the earlier times, silk for Banarasi Sarees were being imported from China, now it has been provided by the southern part of India.

OF SAREES AND ARTISANS

BENARASI SILK SAREE CRAFTING Intense work goes into making a benarasi saree. Craftsmen work for long hours and for long stretches of time to create a single benarasi silk saree.

The Benarasi Saree

AT LEAST THREE CRAFTSMEN WORK TOGETHER TO MAKE UP ONE SAREE. . .

OF SAREES AND ARTISANS

The art and culture of providing Banarasi sarees with silks is a very ancient practice that goes back millenia. The continuations of passing down the culture of artistry of the Banarasi saris from one generation to another have never been stopped. Persian motifs were being mixed up with the designs of Indian silk for creating this distinctive flowery pattern of Banarasi silk sarees, which are so typical in present days. In the present days, Banarasi silk sarees are still considered to be one of finest traditional saris. It has actually been well known for its designing and gold as well as silver brocade or the ‘Zari‘. The special characteristics of these sarees are their designs, which are Mughal inspired. Very often, it has been decorated with intricate floral as well as foliate designs. Moreover, you may also find a string of upright leaves, which are called as ‘Jhallar’. The idiosyncratic features of these Banarasi silk sarees include heavy working of gold, small detailed figures, metal visual effects and compact weaving as well. Atleast three craftsmen work together to make up one sari by using the power-loom. One artisan has to weave the silk and one has to dye the silk, where the other one has to engage the bundle of silk, which creates the power ring. The designs are drawn previously on a graph paper. It has been imprinted as a patter for the punch-cards. During the complete weaving procedure, this will be used as a guide for threads. The artisans may take fifteen days to six months for creating the sari, which exclusively depends on the intricateness of the design. If you wish to get a Banarasi sari made exclusively with royal designs, the artisans may even take one year to accomplish that.

The Benarasi Saree

TYPES OF BENARASI Benarasi sarees can be divided into six different categories:

JAMDANI Jamdani is the technical variation of figured muslin. In these saris, silk fabrics will be brocaded with the cotton.

JANGLA Jangla saris are designed with colorful silk threads to show the nature and the heaviness of festivity. Wildly spreading as well as scrolling designs are hallmarks of Jangla saris.

TANCHOI Tanchoi Saris uses colorful extra-weft silk yarn to form the outline. The decoration of these saris will show up as a maze, which may look like kaleidoscopic as well.

CUTWORK Cutwork saris are the products of cutwork technique on the plain texture, which has been done after removal of floated threads. These types of saris can provide dazzling and glowing transparent looks.

BUTIDAR Butidar saris are the dark blue silken saris, which are brocaded with threats of silk, silver and gold in a distinctive manner. Due to the darkness of shade of the gold and lightness of shades of silver, it has been called as Ganga and Jamuna as well.

TISSUE Tissue Saris are designed in such ways that the Zari brocade of Banarasi will look like golden cloths. These saris are the combination of zari and silk.

OF SAREES AND ARTISANS

The Venkatagiri Sarees

CHAPTER THREE 25

OF SAREES AND ARTISANS

Venkatagiri

VENKATAGIRI Vekatagiri was originally known as Kalimilli till 17th century and was ruled by Gobburi Polygars under Vijaynagar Empire.

The Venkatagiri Sarees

THE VENKATAGIRI SAREE

popular for their Jamdani style weaving pattern. Coming from the historic town of Venkatagiri in the state of Andhra Pradesh, Venkatagiri Sarees are one of the softest and most durable south sarees in India. They are usually of six yards and are suitable for all climates. VENKATAGIRI SAREES ARE HANDWOVEN ZARI COTTON SAREES

The distinctive feature of a Venkatagiri saree is a big Jamdani motif of a peacock, parrot, swan, mango or leaf in the pallu. The fine weaving and unique zari designs of the sarees made them the preferred choice of royalty in Andhra Pradesh. The Venkatagiri Sarees, known for their fine weaving, date back to early 1700 when these sarees were produced at an artisan cluster close to the city of Nellore called Venkatagiri. The place was then known as â&#x20AC;&#x2DC;Kali Miliâ&#x20AC;&#x2122; and its famous product was patronized by the Velugoti Dynasty of Nellore. The weavers back then used to weave these sarees only for the royal families. In return, they used to get paid such handsome amounts that it would last them a year or so till the next order was placed. More recently, Venkatagiri Sarees got widespread publicity by importing the Jamdani design from Bangladesh.

OF SAREES AND ARTISANS

The unique and highly exclusive designs are what inspired the creation of these highly work-intensive sarees. Exclusivity is what Venkatagiriâ&#x20AC;&#x2122;s weavers excel in. So if you have a design in mind and want it on your saree, then all you need to do is get in touch with the specialized weavers and they would gladly design a saree just for you. In fact, the town of Venkatagiri has 40,000 inhabitants and 20,000 of them are weavers! In the times of kings and queens in the early part of 1700, Venkatagiri Sarees used to be made only on order and that too just for royalty. The weavers used to make exclusive designs for the royal families and get paid hefty sums of money. However, in more recent times, it is the Jamdani design technique from Bangladesh that has made these sarees household names. The weavers who brought this unique technique to India have also been awarded by the President of India.

The Venkatagiri Sarees

THE PRODUCTION The production of the Venkatagiri sari includes different stages which includes:

RAW MAT ERI A L S :

COTTON P URI FI CA T I ON:

DYE ING :

RE MOV AL OF EX CES S DYE:

DRYING :

such as cotton in hank form, silver and gold zariâ&#x20AC;&#x2122;s and Naphthol and Vat dyes This process involves boiling of hank cotton to remove certain impurities, soaked overnight, rinsed and made suitable for dyeing process. it involves bleaching technique for white saris and for colored ones, Vat and Naphthol dyes are used. dyed or bleached yarn undergoes soaking in boiling water with some techniques to cut out excess dyeing. after the above process, the yarn in hank form is dried on bamboo

sticks. 6.

WINDING OF HA NK YA RN I NT O WA RP A ND WEFT :

STRE E T SI ZI NG:

WE AV ING P ROCES S :

CONCE PT I ON OF DES I GN:

10.

CU TTING & FOL DI NG:

11.

INSPE CTI ON OF S A REES :

12.

MARKE TI NG:

charka, shift bamboo and bobbin are used to form warp. While, the weft is made with help of a pirn. the warp extension, spraying of rice conjee ensures suitable weaving followed by drying. involves Warp and Weft method of weaving and sometimes replaced by Jacquard weaving. involves two kinds of process namely, human element and graph paper design woven cloth undergoes cutting per the goods demand inspection by the master weaver to rectify flaws

showroom display for selling the sarees

OF SAREES AND ARTISANS

WEAVERS OF VENKATAGIRI Powerlooms have taken over from traditional weavers and these artisans, who had carried on the legacy for generations, are now paid a meagre amount.

The Venkatagiri Sarees

PRESENT DAY SCENARIO The unique and highly exclusive designs are what inspired the creation of these highly work-intensive sarees. Exclusivity is what Venkatagiriâ&#x20AC;&#x2122;s weavers excel in. So if you have a design in mind and want it on your saree, then all you need to do is get in touch with the specialized weavers and they would gladly design a saree just for you. In fact, the town of Venkatagiri has 40,000 inhabitants and 20,000 of them are weavers! In the times of kings and queens in the early part of 1700, Venkatagiri Sarees used to be made only on order and that too just for royalty. The weavers used to make exclusive designs for the royal families and get paid hefty sums of money. However, in more recent times, it is the Jamdani design technique from Bangladesh that has made these sarees household names. The weavers who brought this unique technique to India have also been awarded by the President of India. The production of the Venkatagiri sari includes different stages which includes:

RAW MAT ERI A L S :

COTTON P URI FI CA T I ON:

DYE ING :

RE MOV AL OF EX CES S DYE:

DRYING :

OF SAREES AND ARTISANS

The Kachchora Saree

CHAPTER FOUR 33

OF SAREES AND ARTISANS

Chattisgarh

CHATTISGARH Chattisgarh in ancient times was known as Dakshina Kosala, which means South Kosala. Kosala was an ancient Indian Kingdom

The Kachchora Saree

THE KACHCHORA SAREE

Chattisgarh has its own unique culture that is strongly identifiable in its clothing, food, festivals, language and rituals. The Kachora Saree is one such cultural element that is unique to this state. These sarees are draped in a manner that is considered typical of this region. Here a separate saree known as a Lugda is paired with a blouse known as the Polkha. Traditionally, this garment is paired with a lot of brightly colored ornaments, which is what makes this so distinct from other sarees, LIKE EVERY STATE IN INDIA,

Predominantly, the sarees worn by women in Chattisgarh in the Kachchora style are printed sarees that are machine made. Essentially, craftsmen in this state were widely influenced by the arts and crafts prevalent in their parent state, Madhya Pradesh. Some of the most prevalent styles of fabric making that are considered to be quintessentially Chattisgarh include weaving, tie-dye and batik styles. The Kachchora sarees in Chattisgarh are mainly classified on the basis of the fabric

OF SAREES AND ARTISANS

CH ATT IS GARH â&#x20AC;&#x2122;S LOOM S The Kachora saree was worn traditionally by tribal woman, but is now worn by non-tribals as well.

The Kachchora Saree

used to create them. Thus, there are Batik sarees, woven sarees and Bandhini sarees when it comes to the different options available. In terms of fabrics, silk, cotton, and linen are the most commonly used fabrics and this can also be used as a means of classification. However, these sarees have extremely identifiable looks based on their style so it is hard to create sub-categories of classification for them. Presently, tribal clothing such as Kachchora sarees is a huge tourist attraction in India. State museums are known to display these sarees for tourists and Indians from other parts of the country alike to study and understand them. In fairs and festivals organized around the country that draw national attention, like the Suraj Kund Mela, these sarees are sold as a part of the Chattisgarh cultural section of the fairs. Globally, these sarees are bought, although not always draped in the correct manner throughout the world. Designers in India, in an effort to highlight any special embroidery or print on the pallu of the saree, usually drape sarees in the Kachchora manner on the models on the runway to show these off.

OF SAREES AND ARTISANS

THE MAKING Predominantly, the sarees worn by women in Chattisgarh in the Kachchora style are printed sarees that are machine made. Essentially, craftsmen in this state were widely influenced by the arts and crafts prevalent in their parent state, Madhya Pradesh. Some of the most prevalent styles of fabric making that are considered to be quintessentially Chattisgarh include weaving, tie-dye and batik styles. The Kachchora sarees in Chattisgarh are mainly classified on the basis of the fabric used to create them. Thus, there are Batik sarees, woven sarees and Bandhini sarees when it comes to the different options available. In terms of fabrics, silk, cotton, and linen are the most commonly used fabrics and this can also be used as a means of classification. However, these sarees have extremely identifiable looks based on their style so it is hard to create sub-categories of classification for them. Presently, tribal clothing such as Kachchora sarees is a huge tourist attraction in India. State museums are known to display these sarees for tourists and Indians from other parts of the country alike to study and understand them. In fairs and festivals organized around the country that draw national attention, like the Suraj Kund Mela, these sarees are sold as a part of the Chattisgarh cultural section of the fairs. Globally, these sarees are bought, although not always draped in the correct manner throughout the world. Designers in India, in an effort to highlight any special embroidery or print on the pallu of the saree, usually drape sarees in the Kachchora manner on the models on the runway to show these off.

The Kachchora Saree

THE KACHCHORA SAREE WAS WORN TRADITIONALLY BY TRIBALWOMEN...

OF SAREES AND ARTISANS

The Bandhani Saree

CHAPTER FIVE 41

OF SAREES AND ARTISANS

Rajasthan

Gujarat

ORIGINS OF BANDHANI Bandhani originated in the state of Gujarat however, it became entwined with the state of Rajasthan as well. Bandhani is in modern times almost synonymous with Rajasthan.

THE BANDHANI SAREE

The Bandhani Saree

BANDHEJ,WHICH IS ALSO KNOWN AS BANDHANI ,

is a tie and dye method practiced mainly in states of Rajasthan, Gujarat and parts of Uttar Pradesh. The word Bandhani is derived from a Sanskrit word Banda which means “to tie”. Bandhani is truly an art that involves dyeing a fabric tied tightly with a thread at several points, producing a variety of patterns. Bandhej is the oldest form of tie and die art which began about 5000 years ago. As per the historical evidence, the first Bandhani saree was worn at the time of Bana Bhatt`s Harshacharita in a royal marriage. One of it’s earliest visual representations can be seen in the Ajanta caves. In India, Bandhani work was started by the Khatri Community of Gujarat. Places in Rajasthan like Jaipur, Sikar, Bhilwara, Udaipur, Bikaner, Ajmer, and Jamnagar in Gujarat are the well known centers producing odhnis, sarees and turbans in Bandhani. It is an ancient form of art which is still in practice. The art of Bandhani is as exciting as it’s history. The fabric to be dyed is tied very tightly at different points in knots and then dyed with extraordinary colors. When this tied cloth goes for dyeing, these threads or knots doesn’t let that part catch color and allows it to stay white or whatever color the cloth has. Once the cloth is dyed, it is left for drying in open air. Drying can take some time depending upon the weather conditions that day. In monsoon, it takes around 2 days to dry while in summer it takes only 4-5 hours. In winter it takes around 6-7 hours for drying.

OF SAREES AND ARTISANS

About Bandhani Bandhani comes in a variety of colors, designs & patterns and these variations are region specific. The colors that are most prominently used in Bandhani are yellow, red, green, blue and black. After the processing is over, Bandhani work results into a variety of symbols including dots, waves, strips and squares. The patterns include Leheriya, Mothra, Ekdali and Shikari depending on the manner in which the cloth has been tied.Simple Bandhani Salwar Kameez are an everyday wear for many. Sarees with Leheriya patterns are usually worn for day-time ceremonies whereas Ghatchola lehengas & sarees are worn for occasions at night. Bandhej dupattas with plain white Salwar Kameez are very popular among young girls. Bandhej Sarees can also be worn by working women for a perfect style statement, yet keeping it subtle. Bandhani is truly an art and itâ&#x20AC;&#x2122;s a common sight to see not only women wearing outfits of Bandhej but also the men can be found wearing turbans with intricate Bandhej motifs. The main market is in Gujarat but it is being sold all over India as the demand has increased over the past few decades. The sales shoot up during the wedding and festive seasons. Mostly, it is used as odhnis by the ladies on festivals. The strength of Bandhani is lost if ironed with a high heat setting, therefore, it is advisable to get your Bandhej apparel dry-cleaned and if needed be, ironed with a low heat setting

The Bandhani Saree

Bandhej was the oldest form of tie and die art... i

TYING THE BANDHANI Water resistant threads like nylon, synthetic are used in order to avoid the dye color absorbent into the fabric by tying the knots.

The Bandhani Saree

OF SAREES AND ARTISANS

The Kerala Kasavu Saree

CHAPTER SIX

OF SAREES AND ARTISANS

KERALA The name Kerala has an uncertain etymology. One popular theory derives Kerala from Kera (“coconut tree” in Malayalam) and alam (“land”); thus “land of coconuts.”

THE KASAVU SAREE

The Kerala Kasavu Saree

worn by Malayalee women. From the land of ‘God’s own country’, Kerala’s Kasavu emerges as one of the finest traditional saris which define the essence of the beauty of every woman in Kerala. It is a handloom designed material which enhances its glamor through the intrinsic borders soaked in the color of pure gold. This fabric sari is considered to be the most auspicious attire for women in Kerela, especially during their new year, as per the Hindu calendar. Also known as Kasavu, Kerela Kasavu, and Mundum Neriyathum. KASAVU IS A HANDWOVEN CREAM COLORED SAREE WITH GOLD BORDER,

Kerala Kasavu which was originally known as ‘Mundum Neryathum’, traces itself way back to the Buddhist era. Slowly and gradually this rich ethnic fabric spread out its essence to the southern parts of India and became richly prominent in Kerala. However, the style of the fabric also finds its original essence from the Graeco-Roman culture which was known as ‘Palmyrene’. This attire was gradually considered as a long piece of fabric which possessed a colored gold border that was displayed as a long garment and pinned onto to the left side of the shoulder. However, this attire till the 1970s was not worn as a typical sari, as the pallu was not considered as something that had to be draped as an upper garment.

OF SAREES AND ARTISANS

The Kerala Kasavu Saree

KERALA KASAVU TRACES ITSELF BACKTO THE BUDDHIST ERA...

The Kerala Kasavu Saree

OF SAREES AND ARTISANS

Golden borders have now been replaced with different kinds and color of zaris and the work and designs which represent the traditional culture, are now crafted enhancing the look and glamor of the sari. Regular Kasavu blouses have now paved the way for designer blouses, which are more in sync with todayâ&#x20AC;&#x2122;s generation and modern fashionable tastes and trends. The upper clothing of the mundu is no longer traditionally tucked inside the Kasavu blouses, since now as per the modern trends these pallus go over the left shoulder which gives the entire attire a sophisticated look. Golden borders have now been replaced with different kinds and color of zaris and the work and designs which represent the traditional culture, are now crafted in the essence of Resham, enhancing the look and glamor of the sari. Regular Kasavu blouses have now paved the way for designer blouses, which are more in sync with todayâ&#x20AC;&#x2122;s generation and modern fashionable tastes and trends. The upper clothing of the mundu is no longer traditionally tucked inside the Kasavu blouses, since now as per the modern trends these pallus go over the left shoulder which gives the entire attire a sophisticated look. The golden and cream threadwork crafted on this ethnic fabric are intrinsically set giving the attire a traditional appeal. The borders which are set on the pallu or on the body of the sari resemble a film reel as the borders are designed in a kerela kasavu style with the use of different colored threads, imprinting ethnic and religious motifs in multi-colored threadwork. This artwork presented on the sari symbolized and defined the personality and the cultural aspect of women who had their cultural roots deep in the soil of Kerala. The original essence of this fabric felt a noticeable presence depicted through the remarkable sketches of Painter Raja Ravi Verma. The design of this fabric also found its popularity in the mythological epics like Mahabharata which portrayed Shakuntala in many Kerala Kasavu attires.

The Kerala Kasavu Saree

PARTS OF THE KERALA KASAVU KARA The basic attire of Kerala Kasavu is basically categorized into two pieces of garments; one is the kara which represents the colored bit of a design that is imprinted in the border. The kara can be coloured and comes in various sizes.

MUNDU The second part of the Kasavu is the ‘Mundu’ that defines the lower portion of the garment. The attire also consists of the upper garment which is known as the ‘Neriyathu’. One end of the neriyathu is tucked inside the pavadai or petticoat and the remaining long end is worn across the front torso. The neriyathu is worn over a blouse that reaches quite above the breast bone. It is worn diagonally from along the right hips to the left shoulder and across the midriff, partly baring it. The remaining loose end of the neriyathu is left hanging from the left shoulder, resembling the ‘nivi saree’. Today the ‘nivi drape’, is the most common form of the saree. A mundum neriyathum is starched before being draped and is worn over a blouse that matches the colour of the border or kara.

OF SAREES AND ARTISANS

The Kalamkari Saree

CHAPTER SEVEN 55

OF SAREES AND ARTISANS

Andhra Pradesh

ANDHRA PRADESH Andhra Pradesh is a coastal state in India that boasts of being famous for its pearls since antiquity.

The Kalamkari Saree

THE KALAMKARI SAREE

done on cotton or silk fabric with a tamarind pen, using natural dyes. The word Kalamkari is actually derived from the Persian word where ‘kalam’ means pen and ‘kari’ refers to the craftsmanship. This art involves twenty-three tedious steps of dyeing, bleaching, hand-painting, block printing, starching, cleaning and more. Motifs drawn in Kalamkari spans from flowers, peacock, paisleys to divine characters of Hindu epics like Mahabharata and Ramayana. Nowadays, this art is primarily done to create Kalamkari sarees. KALAMKARI IS AN ANCIENT STYLE OF HAND PAINTING

Centuries ago, folk singers and painters used to wander from one village to other, narrating stories of Hindu mythology to the village people. But with course of time, the process of telling tales transformed into canvas painting and that’s when Kalamkari art first saw the light of day. This colorful art dates back to more than 3000 B.C. According to the historians, fabric samples depicting Kalamkari art was found at the archeological sites of Mohenjo-daro.

OF SAREES AND ARTISANS

PAINSTAKING PROCESS The Kalamkari is intricate and is hand painted. The paintings are heavily influenced by Hindu mythology, as well as Indian art.

The Kalamkari Saree

But, it was during the Mughal era when this style of painting got recognition. Mughals promoted this art in the Golconda and Coromandel province where skillful craftsmen (known as Qualamkars) used to practice this art, thatâ&#x20AC;&#x2122;s how this art and the word Kalamkari evolved. Under the Golconda sultanate, this art flourished at Machilipatnam in the Krishna district of Andhra Pradesh and further was promoted during the 18th century, as a decorative design on clothing by the British in India. Till today, many families in Andhra Pradesh continue to practice this art and this has served as the prime source of livelihood for them, over the generations.

OF SAREES AND ARTISANS

THE PRODUCTION Predominantly, the sarees worn by women in Chattisgarh in the Kachchora style are printed sarees that are machine made. Essentially, craftsmen in this state were widely influenced by the arts and crafts prevalent in their parent state, Madhya Pradesh. Some of the most prevalent styles of fabric making that are considered to be quintessentially Chattisgarh include weaving, tie-dye and batik styles. The Kachchora sarees in Chattisgarh are mainly classified on the basis of the fabric used to create them. Thus, there are Batik sarees, woven sarees and Bandhini sarees when it comes to the different options available. In terms of fabrics, silk, cotton, and linen are the most commonly used fabrics and this can also be used as a means of classification. However, these sarees have extremely identifiable looks based on their style so it is hard to create sub-categories of classification for them. Presently, tribal clothing such as Kachchora sarees is a huge tourist attraction in India. State museums are known to display these sarees for tourists and Indians from other parts of the country alike to study and understand them. In fairs and festivals organized around the country that draw national attention, like the Suraj Kund Mela, these sarees are sold as a part of the Chattisgarh cultural section of the fairs. Globally, these sarees are bought, although not always draped in the correct manner throughout the world. Designers in India, in an effort to highlight any special embroidery or print on the pallu of the saree, usually drape sarees in the Kachchora manner on the models on the runway to show these off.The process of making Kalamkari involves 23 steps. From natural process of bleaching the fabric, softening it, sun drying, preparing natural dyes, hand painting, to the processes of air drying and washing, the entire procedure is a process which requires precision and an eye for detailing. Cotton fabric used for Kalamkari is first treated with a solution of cow dung and some bleach. After keeping the fabric in this solution for hours, the fabric gets a uniform off-white color. After this, the cotton fabric is immersed in a mixture of buffalo milk and Myrobalans. This avoids smudging of dyes in the fabric when it is

The Kalamkari Saree

painted with natural dyes. Later, the fabric is washed under running water to get rid of the odor of buffalo milk. The fabric likewise, is washed twenty times and dried under the sun. Once the fabric is ready for painting, artists sketch motifs and designs on the fabric. Post this, the Kalamkari artists prepare dyes using natural sources to fill colors within the drawings. Incorporating minute details, the Kalamkars use â&#x20AC;&#x2DC;tamarind twigâ&#x20AC;&#x2122; as pen, to sketch beautiful motifs of Krishna Raas-Leela, Indian god and goddesses like Parvati, Vishnu, Shri Jaganath; designs of peacock, lotus; and scenes from the Hindu epics like Mahabharata and Ramayana.Kalamkari art primarily use earthy colors like indigo, mustard, rust, black and green. Natural dyes used to paint colors in Kalamkari art is extracted for natural sources with no use of chemicals and artificial matter. For instance, craftsmen extract black color by blending jaggery, water and iron fillings which they essentially use for outlining the sketches. While mustard or yellow is derived by boiling pomegranate peels, red hues are created from bark of madder or algirin. Likewise, blue is obtained from indigo and green is derived by mixing yellow and blue together. There are two identifiable styles of Kalamkari art in Indiaâ&#x20AC;&#x201D;Srikalahasti style and Machilipatnam style. In the Machilipatnam style of Kalamkari, motifs are essentially printed with hand-carved traditional blocks with intricate detailing painted by hands. On the other hand, Srikalahasti style of painting draws inspiration from the Hindu mythology describing scenes from the epics and folklore. This style holds a strong religious connect because of its origin in the temples. In recent times, two other types of Kalamkari patterns have also emerged, based on the states where it is created. Gujarat and Andhra Pradesh are two prime states in India, where two different types of Kalamkari patterns are done. The Andhra Kalamkari borrows design inspiration from forts, palaces and temples of India, along with motifs of animals and birds. While the Gujarat Kalamkari depict motifs of mythological characters like Krishna-Arjuna from Mahabharata, lord Krishna, lord Ganesha, lord Buddha etc.

OF SAREES AND ARTISANS

TYPES OF KALAMKARI MACHILIPATNAM In the Machilipatnam style of Kalamkari, motifs are essentially printed with handcarved traditional blocks with intricate detailing painted by hands.

SRIKALAHASTI On the other hand, Srikalahasti style of painting draws inspiration from the Hindu mythology describing scenes from the epics and folklore. This style holds a strong religious connect because of its origin in the temples.

NEW TYPES In recent times, two other types of Kalamkari patterns have also emerged, based on the states where it is created. Gujarat and Andhra Pradesh are two prime states in India, where two different types of Kalamkari patterns are done. The Andhra Kalamkari borrows design inspiration from forts, palaces and temples of India, along with motifs of animals and birds. While the Gujarat Kalamkari depict motifs of mythological characters like Krishna-Arjuna from Mahabharata, lord Krishna, lord Ganesha, lord Buddha etc.

The Kalamkari Saree

GUJARATI KALAMKARI Kalamkari used to be relegated to only being made in Andhra Pradesh. However, nowadays, Gujarat also boasts of Kalamkari craftspeople.

OF SAREES AND ARTISANS

The Batik Saree

CHAPTER EIGHT 65

OF SAREES AND ARTISANS

Gujarat

GUJARAT BATIK Batik was once considered a sign of sophistication and cultivation.

THE BATIK SAREE

The Batik Saree

to create a visual magic on fabrics and colors. It is believed that the term is derived from the word `Ambatikâ&#x20AC;&#x2122; which when translated literally stands for a piece of cloth with small dots or writing with wax or drawing in broken lines. BATIK IS AN ANCIENT ART WHICH USES WAX AND DYES

Batik is an art appreciated all over the world. Traditionally, it is used on Cotton or Silk fabrics. There are varied theories about the place and period of origin of Batik. In India, the roots of Batik can be traced to the 1st century AD. Traditionally, the Khatri community of Gujarat were the only set of artisans for this art. Over a period of time, Batik got relegated to the background in India. However in the 20th century, Batik was introduced as part of the syllabus in the University of Shanti Niketanâ&#x20AC;&#x201D;Kolkata. Thereon, the resurgence of Batik began. While initially it was done only on Cotton and Silk, in recent times other fabrics like Georgette also are being used. It is believed that the finest Batik designs in India come from the artisans of Cholamandalam near Chennai, Tamilnadu. Batik printing is also done in Gujarat, Rajasthan, Andhra Pradesh, Maharashtra, West Bengal and Madhya Pradesh.

OF SAREES AND ARTISANS

The revival of batik in India began in the 20th century when it was introduced as a subject at the famous university of Shantiniketan in Calcutta. In the South near Madras, the well-known artistâ&#x20AC;&#x2122;s village of Chola-Mandal is where batik gets an artistic touch. Batik that is produced in Madras is known for its original and vibrant designs. While the techniques used have evolved over time and screen printing method is used to create beautiful designs, some artisans also prefer to do the Batik printing by hand.Since the 1980s, it has also caught the fancy of housewives and small scale lady entrepreneurs wherein they have been working with hand made Batik designs. Today, there is no one single community in India involved in the production of Batik clothes. There are artisans in various regions who are trained in Batik work. Of course, given the diversity of culture in India, the artisans bring to fore designs which have some influence or the other of elements or culture of their respective states and heritage.

The Batik Saree

BEHIND THE BATIK The creation of batik is a three-stage process of waxing, dyeing and dewaxing (removing the wax). There are also several sub-processes like preparing the cloth, tracing the designs, stretching the cloth on the frame, waxing the area of the cloth that does not need dyeing, preparing the dye, dipping the cloth in dye, boiling the cloth to remove wax and washing the cloth in soap. The characteristic effects of the batik are the fine cracks that appears in the wax, which allow small amounts of the dye to seep in. It is a feature not possible in any other form of printing. It is very important to achieve the right type of cracks or hairline detail for which the cloth must be crumpled correctly. This requires a lot of practice and patience. Knowing how to use the wax is of prime importance. The ideal mixture for batik wax is 30 per cent beeswax and 70 per cent paraffin wax. For first timers even the melted wax of a candle is adequate. It is the skillful cracking that is important. While applying, the wax should not be overheated or it will catch fire and could possibly burn through the cloth as well. Correct knowledge of colors is also important. Practicing on small pieces of cloth helps in the beginning. Patience is of course a very important factor too. The cloth used should be strong enough to bear the heat and wax. Cambric, poplin and voiles are used besides pure silk. Synthetic fabrics should be avoided. Since ancient times Indians have been known to wear vibrant colors and dyes which were made from barks of trees, leaves, flowers and minerals. Blue was obtained from indigo, while orange and red were from henna. Yellow was from turmeric and lilac and mauve from logwood. Black was created by burning iron in molasses and cochineal from insects. Since handmade batik is unable to meet with the consumer demands very often the answer is tjaping with a copper block. A tjap is a metal block made of copper strips into the required design after which it is stamped quickly and with great force.

OF SAREES AND ARTISANS

A LONG HISTORY Indians are known to use resist method of printing designs on cotton fabrics, which can be traced back 2000 years. Initially, wax and even rice starch were used for printing on fabrics.

The Batik Saree

VARIETIES OF BATIK SPLASH METHOD In this process, the wax is splashed over the fabric in a random fashion and then the dye is poured. This results in a virtual explosion of random designs and colours.

HAND PAINTING This process essentially uses the art of Kalamkari to draw the designs and separate the wax.

SCRACTH AND RESIST A fourth method used is the scratch and starch resist method.

SCREEN PRINTING This method involves the use of a stencil to etch the designs in an orderly and defined manner.

OF SAREES AND ARTISANS

The Paithani Saree

CHAPTER NINE 73

OF SAREES AND ARTISANS

Maharashtra

MAHARASHTRA The name Maharashtra is believed to be originated from rathi, which means “chariot driver.” Maharashtra entered the recorded history in the 2nd century BC, with the construction of its first Buddhist caves.

THE PAITHANI SAREE

The Paithani Saree

lies a quaint little town called Paithan in Aurangabad. Rich in its own cultural heritage, the small town holds a mighty tradition; that of churning out Paithani saris which are synonymous to Maharashtrian or Marathi ethos. Named after the town responsible for its inception, the Paithani saris are made from exquisite silk and are hand woven. They are considered to be the richest saris in all Maharashtra. Paithani saris are said to be hand woven poems in gold and silk. They are a symbol of the refined elites and of royalty alike. AMIDST THE SPLENDID CULTURE OF THE STATE OF MAHARASHTRA

The craft of weaving the sari was invented in 200 B.C. and flourished during the Satvahana era. Ever since then, the Paithani sari has become a coveted heirloom that is passed on from generation to generation. Since it is mostly the creation of womenfolk, the mother passes this heirloom on to her daughter. In the ancient times, the Paithani sari was no less than an ornamental treasure and was paid for by the western travelers in gold and gems. Till date, the real Paithani saris are hand woven with real silver or gold and pure silk.

OF SAREES AND ARTISANS

SILKEN THREADS A craftsman weaves the fine threads into a complex Paithani pallu. The pallu is the part of the saree that drapes over the shoulder.

The Paithani Saree

PAIT H AN I IN PROGRESS The Paithani saree is made of very rich, bright hues and uses the finest and most delicate silk threads.

OF SAREES AND ARTISANS

A true Paithani sari is characterized by the borders of an oblique and square design having a pallu with a peacock. They are available in kaleidoscope colors and this effect is achieved by varying the weave. A particular colour is used for weaving lengthwise while another is used width wise. The design woven on the border separates it from all other saris. The greatest specialty of Paithani lies in its pallu wherein various distinctive motifs such as bangdimors, asavali, shikharkhana, gazwel, akroti, Ajanta Lotus are used. The Paithani sari can also have edges lined with rare gems and precious pearls.

The Paithani Saree

Despite the craft being centuries old, the Paithani sari is still woven in the same traditional manner. It is woven with extreme caution as the silk threaded sticks are very fragile. This makes Paithani one such fabric that cannot be matched with any other fabric of its kind. The motifs on pallu can vary vastly from mangoes to peacocks and even lotuses. Some designs are also borrowed from the architecture of the Ajanta Cave. The creation of a Paithani requires skilled labour and artisans having in-depth knowledge of the fabric, its threads as well as its dyes. The time taken to create a Paithani can range from anything between two months to a year depending upon the pallu and the border. Its manufacturing can also cost anything from sixty thousand rupees to five lakh rupees. The most common subjects used as inspirations for the embroidery were scenes from weddings. As a result, the Paithani was not only exquisite but also a vivid vision in silk and gold. The Paithani is an essential part of the brideâ&#x20AC;&#x2122;s dowry that was expected to have learnt this craft at a very tender age. As it is a dowry luxury, the handicraft depends solely upon occasions such as weddings and other such ceremonies. It is worn by the women folk only on such special occasions. Brides are considered to be the all-rounders if they are well trained in the craft of embroidery of the Paithani in parts of Maharashtra where this handicraft is still considered as a matter of pride and prestige. Paithani sarees were once upon a time made in cotton, however, nowadays only silk is used. The handloom silk Paithani sarees are available in two varietiesâ&#x20AC;&#x201D; Traditional Paithani and Brocade Paithani. The traditional variety with a 28-inch pallu design usually takes a lesser time to weave as the work is less intricate.

OF SAREES AND ARTISANS

HANDLOOM VS POWERLOOM The precious woven silk with a rich zari border made from gold or silver thread was once upon a time used to clothe the royals. Today, however, this craft is struggling to survive thanks to the introduction of power looms that produce copies extremely close to the real thing. If you plan to buy a Paithani handloom saree, don’t be fooled by the fakes. Here’s your five-step guide to telling the difference:

The reverse side of a genuine Paithani handloom saree looks exactly the same as the top. A fake Paithani, on the other hand, would reveal itself in the mesh of thread on the reverse side.

Given that real Paithani sarees are handwoven, no two sarees can look exactly the same. Power loom Paithani sarees, however, are mass-produced and hence, you’ll find thousands of the same piece available.

The threads are dyed in natural dyes and hence, genuine handloom Paithanis are usually available only in basic colours. This is not the case with the power loom versions.

It takes anywhere from a month to half a year to weave a real Paithani saree on a hand loom, but just five to 15 days to weave one on a power loom. Naturally, then the latter are much cheaper in comparison.

Lastly, due to the use of natural dyes and colours as well as gold and silver thread, a genuine Paithani handloom saree requires a lot more care than the cheap, power loom sarees.

The Paithani Saree

PAITHANISAREES . . . ONCE UPONA TIME USED TO CLOTHE THE ROYALS OF THE STATE OF MAHARASHTRA

The Paithani Saree

OF SAREES AND ARTISANS

SAREE IN HISTORY The saree can be styled in many different ways. Different regions and eras in history have their own interpretation on how to wear the saree.

Bibliography

REFERENCES 1.

www.Utsavpedia.com

www.craftspedia.com

www.strandofsilk.com

www.indiaemporium.com

OF SAREES AND ARTISANS

Of Sarees and Artisans

Bibliography

OF SAREES AND ARTISANS

ALL ABOUT SAREES Come join us on a journey through India aand meet artisans who painstakingly create beautiful, wearable, centuries-old art. Itâ&#x20AC;&#x2122;s a tale that goes back thousands of years and crosses many regions in India. This book showcases hallmark sarees from some of the many states of India.