TEXTILES AND JEWELLERY PATTERNS     OF   INDIA

Clothing:- started in the leaf, learned from a tailor bird, represents your character and wealth, enhances your beauty, is a sign of honour, and heritage is a trade milestone.  -  P. Deepalakshmi

Famous Tamil Saying: “Ulavum nesavum kann enath thagum” which means “Agriculture and weaving are like two eyes.

Mahatma Gandhi said “the spinning wheel is a nation’s second lung”. He considered the spinning wheel a symbol of revolution 

History of  Textiles

Indian handlooms have a long history dating back to prehistoric times. Varahamihir, who lived around 405 AD, mentions a vast range of textiles available at the time. Various Hindu literary sources, including as the Veda, Upanishad, Ramayana, Mahabharata, and Kautilya's Arthasastra, can be used to trace its early origins and evolution across time.

Based on archaeological evidence, such as a fragment of cotton cloth dyed with madder found in Mohenjodaro and Harappa (Indus Valley Civilisation), it is known that our people practised hand spinning, handloom weaving, and dyeing/printing cotton with natural dyes around 4500 years ago, and that it became an established industry in the country. Till 18th-century, India was the largest exporter of textiles, obviously hand woven and processed with natural dyes, in the world. It also has a lot of influence from the invasions, trade and cultural contacts with various sects like Mughals, Portuguese, Dutches, Britishers etc.

Many poets have portrayed the beauty of Indian textiles in various lyrical forms over the centuries. Tamil poets of the Sangam period compared them to the ethereal elusiveness of smoke and vapour two thousand years ago. "A hundred yards of it can pass the eye of a needle," wrote poet Amir Khoosru of muslin.

History of Silk

Traders brought Chinese silk cloth to India, primarily from Samarkand and Bukhara, and it quickly became popular among kings and aristocrats. Because of the demand for luxury fabrics by royal families and temples, jamawar and brocade weaving industries arose in India's holy towns and commerce capitals.

Gujarat, Malwa, and South India were the primary ancient centres.

The principal brocade weaving centres in the north were Delhi, Lahore, Agra, FatehpurSikri, Varanasi, Mau, Azamgarh, and Murshidabad.

Assam, Gujrat, Malwa, and South India were the most well-known Jamawar weaving centres.

SERICULTURE IN INDIA

SERICULTURE

Silk is considered a premium item on the Indian subcontinent. The five Indian states of Karnataka, Andhra Pradesh, Tamil Nadu, West Bengal, and Jammu and Kashmir generate almost 97 percent of raw silk. A bulk of silk is produced in the Muddenahalli and Kanivenarayanapura and Mysore sectors of North Bangalore. Tamil Nadu is another emerging silk producer, with mulberry cultivation centred in the districts of Coimbatore, Erode, and Dharmapuri. The first automated silk reeling facilities were installed in Hyderabad (Andhra Pradesh) and Gobichettipalayam (Tamil Nadu).

TEXTILES OF TAMIL NADU

"According to documentary data, there were 280 sorts of textiles in Tamil Nadu from the 16th to the 18th centuries, with the majority of them being shipped from the Coromandel Coast ports," adds the author.14 ships loaded with textiles from various districts of Tamil Nadu went from Madras to Manila in the 18th century. These fabrics, known as Real Madras Handkerchief (RMHK), were also given names based on their origins or weaving patterns. The colours of RMHK made their way into the Kalabari tribes of Nigeria's wrappers. It was transported to Southeast Asian countries, and 14 ships carrying textiles from various sections of Tamil Nadu went from Madras to Manila in the 18th century.

Tamil textiles became associated with this cloth. "Madras was known for its red, blue, and white checks, which are conserved and displayed in museums around Spain. These fabrics were weaved by hand in Pulicat, Tamil Nadu, Andhra Pradesh, and Puducherry."Lungi (a handwoven checked cloth in tubular form, draped around the waist by men) was considered the pearl of Indian weaving since patterns such as stripe, checks, and plaids were derived by handloom weavers when it came to the Kattam and Kodu of Madras textile.

KANCHIPURAM SILK SAREES

The Kanchipuram silk sari is a type of silk sari created in the Tamil Nadu area of India. Most women in Tamil Nadu, Kerala, Karnataka, and Andhra Pradesh wear these saris as bridal and special occasion saris. In 2005–2006, the Government of India designated it as a geographical indication. In the region, there are 25 silk and cotton yarn industries, as well as 60 dyeing units. Three shuttles are used to weave a Kanchipuram sari. Kanjeevaram silk is created by delicately converting the silk obtained from mulberry worm sericulture. The 1.2-inch warp frame may accommodate up to 60 holes through which the 240 warp threads would be weaved. The zari used in a Saree is usually gold and silver, with the silver running in first and the gold coating applied subsequently.

The border is frequently a distinct colour and pattern than the body. If the mundhi (the sari's hanging end) needs to be woven in a different colour, it is first woven separately and then delicately connected to the Sari. A zigzag line generally marks the point where the body joins the mundhi. The body and border of a genuine Kanchipuram Silk Sari are weaved separately and then fused together. The border will not detach if the sari tears since the junction is so robust. This distinguishes kanchivaram silk saris from others. Saris are distinguished by their wide contrast borders. Traditional Kanchipuram sari designs include temple borders, checks, stripes, and flowery (buttas). The kanchipuram saris' patterns and decorations were influenced by pictures and scriptures found in South Indian temples, as well as natural elements such as foliage, birds, and animals. These saris have a rich woven mundhi with Raja Ravi Varma's paintings and epics from the Mahabharata and Ramayana. Kanchipuram saris range in price according on the level of detail, colour, design, and materials used, such as zari (gold thread). Silk is also noted for its high quality and craftsmanship, which has contributed to its popularity.

STORY OF WEAVING COMMUNITY

The famous weaving groups of Andhra Pradesh, the Devangas and Saligars, came to Kanchipuram under the reign of Krishna-Deva Raya. The two weaving settlements were known only for their silk weaving abilities. During the French invasion in the 17th century, the weaving industry was briefly interrupted. Thus began the historical migration of the entire silk industry to this city in the 15th century. Its style was revitalised and modified in the 18th century. It is now one of the most popular silks on the planet. In the face of Kanchipuram silks, only a few stand out. Kanchipuram silks were renamed Conjeevaram silks, or Kanjeevarum silks, by the British.

MADURAI SUNGUDI SAREES

The Saurashtrians who migrated to Madurai under the patronage of King Thirumalai Naicker in the 17th century created the Madurai Sungudi, an exclusive textile product typically produced utilising tie and dye (natural dyes) method by the Saurashtrians. The cloth is currently used to manufacture shirts, salwars, shawls, handbags, bed sheets, and pillow cases, in addition to its historic popular use as a saree. The GI registration legislation has granted the goods protection. In recent years, in response to stiff competition from other textile materials, this fabric, known as "sungudi," has been manufactured using new designs and techniques of block printing, wax printing, and screen printing to fulfil market demand.

STORY OF WEAVING COMMUNITY

Due to periodic Muslim invasions, Saurashtrians from Saurashtra (modern-day Gujarat) began migrating to Southern India from the 8th to 11th centuries. These traders were invited by Chola, Pandya, Vijayanagara, Nayak, and Thanjavur. As silk became the garb of royal families following the Gupta dynasty, the Maratha Kings established mercantile silk-weaving guilds throughout Southern India and were involved in the commerce of silk robes and jewels to the royal families of ancient South India. Some of them settled in Madurai, where they were welcomed by the local Nayak dynasty's monarch. They became known as "Patnlkarars" (silk thread people) in this area.. To delight the local rulers, the Saurashtrians of Madurai, who were great fabric weavers and silk garment traders, invented the "Madurai Sungdi," a gift item made of cotton cloth suitable for use in tropical climates.

The Sanskrit word "sunnam" means "round" in Saurashtra, and it refers to the circular dots that are printed on the fabric as a conspicuous and distinctive design.

While the fabric's dotted motifs are inspired by cosmic stars, the knotting pattern is a replica of the knots used by women to tie their hair.

PROCESS OF MAKING SUNGUDI

The main component of this fabric is a woven unbleached cotton cloth or saree with an 80s and 100s combed/carded yarn warp and weft, respectively. The tie and dye method is then applied to this fabric. The fabric is bleached before being printed with motifs. Then it goes through the "putta" or "bandhani" work, which involves tying the knot. More than 20,000 puttas or knots are spaced uniformly and stitched by a single thread in a cloth that is more than 6 yards long.The saree or fabric's "pallu" (loose end) is created in a contrast colour by tying it firmly before being treated in a solution of groundnut oil and alkaline earth. The fabric is dipped in the solution and tamped several times with the foot before being kept wet for 2–3 days. It is then taken out and washed in Vaigai River water (the water from this river is thought to give the fabric an unique gloss) before being dried.Over the course of a week, this process is repeated. The fabric is dyed in a vat with a solution of alizarine red and kasa leaves after it has been washed and dried. The fabric is steamed and dried after it has been dyed The knots made along the lines of the fabric cloth with red pigment prevent colours from entering into the knotted area of the fabric when it is subjected to the dyeing process in the vat, which is a unique feature of the Sungudi saree. The knots are undone after the dyeing process by removing the thread and knotted portions. Vegetable dyes are used in the traditional dyeing process to get various colours. Artificial chemical dyes (aniline) such as alizarine red, napthol, and indigo are employed in the modern dyeing process to provide red, blue, and other colour effects. A traditional Sundgudi saree takes 10 to 15 days to create, with women helping with the tying while the dying is outsourced. This saree is a traditional wedding outfit worn by women in several communities.

Since 1959, the government of Tamil Nadu has exempted the sale of this fabric from sales tax to support this cottage sector. It is also exported due to its distinctive design and high quality.

KOVAI KORA COTTON

Kovai Cora cotton, sometimes known as Kovai Kora cotton, is a style of saree created in Tamil Nadu, India. In 2014–15, the Government of India designated it as a geographical indicator. Devanga women were the first to weave Kovai Kora cotton saris. Kovai Kora cotton saris are sold by 82 weaver cooperative societies in Coimbatore, Tiruppur, and Erode.Cotton and silk are blended to create Kovai Kora cotton. Kora cotton is made by combining high-quality cotton yarn with traditional silk. The sarees have brightly coloured border motifs with zari on the edges. The necessary designs are woven on the loom using a combination of coloured cotton and silk threads, with the borders added subsequently.Traditional handlooms are used to weave the kora cotton sarees. Weaving a saree can take up to three days, and weavers are paid between 450 (US$5.90) and 850 (US$11) per saree. Traditional weaving families in the Kongu Nadu region of Tamil Nadu weave the saree in the districts of Coimbatore, Tiruppur, and Erode. The biggest producer of kora cotton sarees is Sirumugai in the Coimbatore district.

KOORAI SAREE OF KORANAD

Mayiladuthurai is a well-known town in Chola country, famed for its vast and beautiful temples. This territory includes Koorai Naadu, which is home to the Punukeeswarar Temple. The weavers in this area used to manufacture special sarees for brides, which are known as Koorai Pudavai sarees (Koorai Saree). Interestingly, the area became known as Koorai Naadu before being changed to Koranad. The sarees are called Koorai Naadu Sarees and are 9 yards long.

The Koorai Saree is a symbol of South Indian pride and culture. It is known as the temple saree in Tamil Nadu due to its auspicious colours, contrasting borders, and the painstaking efforts of the weavers. Because this was the only type available to deities, it took on a spiritual and God-like quality. Because of the green and yellow colours employed in it, the saree is considered auspicious. The green represents trees, while the yellow represents Thirumaangalyam (Mangalsutra). The mystical essence of marron and crimson found in these sarees, of course, need no explanation.The Koorai Pattu Pudavai was said to be a saree that guaranteed long-lasting marriages and was hence exceedingly auspicious.

MOTIFS OF KOORAI SAREE

These sarees are woven on three different types of looms: pit-loom, elevated pit-loom, and frame-loom. The first two types of looms are prevalent in weaver's homes, and setting up a loom for a Koorai Naadu Saree takes a week. The weaver is paid around 1,700 rupees each saree, plus incentive wages. Customers should expect to pay around 6,000 rupees for a Koorai Naadu Saree.

The Koorai Naadu Sarees were originally made of cotton, but now they are made of silk. To weave a 9-yard saree, a weaver must move his legs and hands around 13,000 times over the course of six to ten days, and these 9-yard sarees are 1.33 yards wide. Historically, a double-sided pallu was provided, but nowadays just one-sided pallu is available. These pallus were a different colour from the rest of the body.

The production of cotton checks by interlacing weft and warp throughout the weaving process is the saree's most unique technique. There was a time when this area of the country was home to thousands of weavers.Weavers in Tamil Nadu are known as kaikolars, but they are also called sengunnars and saliyars. The majority of the Koorai Saree's weavers are saliyans who claim to have a puranam connected to their ancestry. This is claimed to be discovered in the Nallaadai Temple's sthala puranam.

ARANI SILK OR KONRAD   SAREES

Arni is famous for its hand-loomed silk sarees. Arni is a tiny town in the Tiruvannamalai district of northern Tamil Nadu, India, lying on the banks of the Kamandala River. The name 'Arani' comes from the word 'Araneeyam,' which signifies a forest-surrounded location. It is bordered by mountains and hills, with 17 nearby settlements, and is most known for its silk production. It is reported that the Mudaliars or Sengunthar Community has been weaving traditional handlooms in these places for generations. A silk flag woven at Arni is also supposed to have been the first flag hoisted at the Red Fort upon India's freedom.

Arni was thought to be the centre of Konrad saree weaving skills in the 19th century, but Kanchipuram has gradually taken over that role, and is now the principal weaving spot for all sorts of South Indian hand-woven sarees. Different regions manufacture subtle variations of the typical Konrad saree, with locations like Kumbakonam producing a heavier form with a variety of border motifs. Other locations concentrate on producing the Mubbhagam saree, which has two borders or pattu.

Arni silk sarees are known for their check patterns and temple borders (Thazhampoo rekku), which are created using the korvai weaving method.

Kottadi checks, or kottadis, are a type of check pattern. Checks (Kattam) and stripes (Vari) are now a typical design pattern that can be found on any saree; nonetheless, full check patterns on sarees are a distinguishing Arni feature. The Arni checks come in a variety of sizes. There are tiny checks known as 'kasa-kasa kattam' or 'khus-khus' (poppy seeds). A black-and-white checks pattern creates a grey tone appearance since it is so small. Then there are the tamarind seed checks, also known as 'puliyam-kottai.' Finally, the lungi checks or 'kerchip' are extremely huge checks.

THIRUBHUVANAM SILK SAREES

Thirubuvanam Silk Sarees are unique in that they use filature silk for both the wrap and the weft, resulting in superior quality, shine, uniformity, and lustre. "Pitni" work refers to elaborate end pieces woven separately and then woven together with the main body. The best silk yarn and genuine zari are utilised. The sarees range in weight from 450 to 1250 grammes. Silk alone weighs 400 gm in any form of sari, with zari making up the rest. Mango, Kalasam, Temple, Rudraksh, Diamond, Neli, and Vanki are among the motifs employed. Parrot green, coffee brown, and golden yellow were used. They have border contrast.

 CHINNALAMPATTU

A lot of working women prefer the shiny and skillfully tied and coloured silk cotton saris woven like ikats. Weavers in Chinnalampatti have perfected the technique of weaving "Kora" silk in the warp with mercerized cotton in the weft. One sari takes around two days to weave, and these saris are influenced by Pochampally ikats' style and technique. 

CHETTINADU   SAREES OR   KANDANGI

Chettinad cotton saris, also known as Kandaangi saris, are the signature pieces of the Devanga Chettiyars of Tamil Nadu. These thick, non-translucent handwoven saris are famed for their ability to stay cool and absorb sweat in hot, humid weather. These are mostly made of cotton and have vivid checks in bright colours. These saris feature large contrasting borders in appealing colour combinations. The iridescent effect is achieved by using two different colour yarns in the warp and weft.

NILGIRI   TODAS   EMBROIDERS

The Todas are one of the most different tribal groupings found in the Nilgiris. The women engage in the exquisite Toda embroidery skill. Even their tattoos use the same geometric patterns as the embroidered themes, as a nod to nature. Murray Emeneau, a well-known Toda linguist, gave one of the earliest documented mentions of the craft in 1937, but earlier allusions include a photograph from James Wilkinson Breeks' An Account of the Primitive Tribes and Monuments of the Nilgiris in 1873. The Toda embroidery was awarded the Government of India's GI in 2013 and has a notable role in Tamil Nadu's craft map.
The Poothukuli ceremonial embroidered cloth, constructed of coarse unbleached cotton fabric with bands of narrow strips, contains the trademark red and black threads.

The intricate needlework is done on a white foundation handloomed fabric provided by Sirumugai village weavers or Calicut weavers. The embroidery is done without a frame from the back of the fabric using a darning stitch. The needlework is also reversible, which is a unique feature.

In Ooty, Kotagiri, and Kuntha, about 200 Todas perform this artisan technique. In recent years, the Toda women have been more willing to embroider on non-traditional items. Apart from black, red, and white, no other colour has been considered. The Kurumbas, another Nilgiri tribe, are famous for creating the traditional woollen Kurumba Kambili. This craft, according to Shree Lakshmi, Assistant Director, Development Commissioner (Handicrafts) DC(H), Salem, is on the decline. Only a few members of this group work part-time at this skill in the Coimbatore District's Sulur and Sultanpet areas.  

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