Motifs offer a new dimension to the visual appeal of a traditional sari, upholding a unique creative expression within the craft. Plant and floral motifs have held a place of importance in textile designs since ancient times. They have been painted, printed and woven, drawing inspiration from the richness of the natural environment.

KANJIVARAM’S FLORA 

One of the most prized gift to an Indian woman continues to be a richly brocaded handwoven sari, illustrating the central role of the beautiful drape. Over the past 500 years, silks from Kanchipuram have formed a fundamental part of the cultural tradition of the South Indian world. The sheer beauty of the fabulous silks of the South, with jewel toned colours enriched with threads of gold – the Zarigai pattu – has  overwhelmed people. When we look at Tanjore paintings, temple murals and paintings of the royalties, we understand how the weavers have adopted and perfected temple art into weaving patterns in textiles. Kanjivarams showcase the beautiful incorporation of golden thread by way of zari – thin strips of metal wound around a fibre core (a red strand of silk).

There are striking differences in the way motifs are woven into sari designs in different parts of India. Kanjivaram weavers have derived these symbolic patterns into meaningful motifs suiting the nature of their traditional weaving methods. They describe them with the eye and hand of an artist and you can observe a variety of different motifs woven in supplementary warp or weft threads along the borders and enhancing the mundhanai or pallu. These motif designs are usually small and repetitive. The repeating patterns are descriptive, taken from nature, items of jewellery or everyday objects, and fit well into the overall design. Sometimes they also adorn the body of the saree as butas or buttis depicting a floating design element.

The remarkable motifs inspired from the architecture of a thousand temples and the natural environment of Kanchipuram are seen in the most recognised woven patterns of manga, gopuram, rudraksham and kamalam. Trees and plants have always played an important part in the myths and customs of India. Many parts of a tree, including its flowers, seeds, and sometimes even its wood or bark, are considered holy, and associated and identified with Gods, planets and months, among other things.

A traditional textile like a kanjivaram conveys to the knowing eye a great deal, not only about the artisan’s skills, but also about the roots and inspirations of the designs.

 THAZHAMPOO REKU (KEWRA FLOWER)

The temple motif has remained a distinct part of the design vocabulary of Dravidian and Deccani weavers since ancient times. The Dravidian style places importance on the towering gateways of South Indian gopurams, and one glance at this structure provides the entire history of the temple. The mere sight of the gopuram or Gopura Darshanam is an alternative for those who don’t have the time to enter the temple and offer complete worship to the deities – as  cited in a Tamil verse Gopura darshanam koti punyam.

The handloom tradition has imbibed this design, its meaning and value. The rows of large triangles, interlocked in korvai, resemble the temple gopurams and are referred to as reku (a bundle of grass) or mottu (flower buds) in the case of smaller triangles.

Indian culture cherishes flowers, and they also represent the female principle. It is in this aspect that, even today, malai matrudal – the exchange of flower garlands – is one of the first and most important rituals in a South Indian wedding. The thazhampoo is a heavily scented yellow flower with sharp petals that grows along river banks in Tamil Nadu and is used in hair ornamentation.

The temple design is interpreted as a reku in the dhotis and saris of South India, and it narrates the story of the sari as a key contributor to our identity and culture. If the reku is smaller, it is referred to as pillayar moggu.

 

MANGA (MANGO)

Fabrics and weaving – particularly their motifs – inspired new concepts in spiritual thinking and contemporary material culture, and also defined the course of advancement for other arts and crafts. One such motif is the manga which is ubiquitous in a kanjivaram, as well as other craft traditions around India. This motif illustrates how even the simplest shape can be put together in an extraordinary way with varied contrasts by the clever use of indigenous weaving techniques.

The Sthala Vruksham is the mango tree of the Ekambareshwar temple, the main Shaivate shrine in Kanchipuram. One can still see the fossil of a 3,500-year-old mango tree in the temple premises, whose four branches are said to have yielded four different types of mangoes. This temple is one of the pancha bhootha shrines representing the Prithvi Lingam (earth), the deity is referred to as “ekamban” (one who manifested himself as a pillar of light) and also the one who resides under a mango tree (Eka Amram).

The mango motif is a perennial favourite of craftsmen all over India. In kanjivarams, it is woven in different sizes; not just on the border and mundhanai but also as small buttas dotting the body. The motif is referred to as kalga and ambi in northern India, and the iconic paisley internationally. A legendary design, used as prints and for embroidery, the motif was a part of the Persian repertoire made famous by Mughal art and fostered in the Kani shawls of Kashmir. The mangoes of South Indian sari designs are stockier and more stylised, while the Kashmiri version and the paisley have longer curves retaining their characteristic shape.

 

RUDRAKSHAM

Skanda Purana mentions that rudrakasham beads originated from the tears that Shiva shed when the tripurars were destroyed. Tripurars were devotees of Shiva, but because of their atrocities, Shiva had to destroy them. It is also mentioned in mythology that when Parvati wanted to adorn herself in jewels, Shiva reached up and rudraksha fruits fell from heaven into his hands by the dozen. And she wore them as earrings, necklaces and bangles. The commonly held belief is that the beads dispel the evil eye and avert misfortune. Rudraksha beads are considered sacred by the followers of Shaivism, and they are worn during meditation and also used a japa-malas (rosaries). Rudra is the Vedic name of Siva and Aksha means tears.

This motif looks striking when woven along the border of a sari as an accompaniment to the main thematic design. Sometimes bigger rudraksham motifs are woven in the body as buttis too. This design element is yet another example of how weaver communities assimilated attributes from the physical environment and mythology, contributing immensely to the unique identity of the regional weaving traditions that we observe today.

 

KAMALAM OR THAMARAI (LOTUS)

The pundarika or lotus has been regarded in India as a manifestation of the divine, and associated with the Goddess of wealth Lakshmi, Saraswathi and also with Brahma, the creator. Unlike the lotus motif in Varanasi brocades, in Kanchipuram it is adapted as a kamalam – a small, but stylised eight-petal floral motif which invokes the Goddess of wealth. Like in Indian classical music, a sari’s design is always governed by a certain language of form and layout, retaining the weaver’s individual expression.

THUTHIRIPOO (UDHIRI POOKAL)

The concept of showcasing flowers is inspired by common sources of art, but their visual interpretation in the kanjivaram tradition stands out. Garlands of flower petals referred to as arumbu, lavangapoo, madhulam(pomegranate), and sampangi ( Champaka) give fluidity to designs on the borders. Thuthiripoo is a corruption of the word utharippu meaning loose flowers, and this motif is used in between border compositions, lending delicacy and elegance to the drape.

 

KODI VISIRI (CREEPER)

These floral creeper designs elegantly link motifs and buttis. One can see a resemblance between the floral patterns on the sari and those adorning the South Indian temple lintels. The term kodi visiri in Tamil aptly describes the gentleness, and the way the tendrils cling and wind themselves around the surrounding trees.

A kanjivaram sari displays the unique design element of the creeper, fanning out along the borders or as a pattern of the mundhanai. Their patterning styles are unique, and they are precisely and intricately represented on the drape. One can see how the shape and size of the kodi visiri motifs synchronises beautifully with the overall design and its symbolism.

 

PAAI MADI (BASKET WEAVE)

As we have seen, traditional weavers frequently derive inspiration from nature and their immediate environments; animals, birds, creepers and leaves, flowers and foliage, fruits and seeds and sometimes from ancient crafts like basket weaving. The regional artist communities of South India visually captured some of the most identifiable and unique weaves from basketry. The weave referred to as a paai madi is a panoramic view of the tabby weave.

Panai maram or the palmyra tree, is native to Tamil Nadu, and the leaves of the tree are used to make baskets, fans and other objects. The thick stalk of the leaf is cut into strips and used for making baskets. The basic structure of the weave in a kottan (Chettinadu baskets) is traditionally called the gundumani weave – the basic one up- one down plain weave. In this weave, the warp and weft are aligned so that they form a simple criss-cross pattern.

The ability to plait fibres together is not new to Tamil Nadu. The fine silk mats called pattu paai of Pattamadai in Tirunelveli district  are incredibly intricate and made of a special kind of grass called korai.

We also see the basket weave in cotton lungis, referred to as  payyadi lungis, which were once exported to Southeast Asian countries. The paai madi weave in a kanjivaram usually forms part of the ground fabric of a sari, playing with colour and contrast, and is sometimes depicted richly in zari in the mundhanai.

 

MALLI MOGGU (JASMINE BUD)

Mokku or moggu is the Tamil word for a flower bud. The jathi malligai is a part of everyday ritual – adorning a woman’s hair, forming garlands for gods and bridal couples. Malligai poo or jasmine is the single most used flower in Tamil Nadu, and these delicate long buds are always represented as buttas on the body of a kanjivaram. Referred to as ‘rain drops’, these were traditional designs which made the art of weaving truly original, drawing on local culture.The kanjivaram sari weaves together mythology, history and culture, rooting the textile tradition in its South Indian context, and telling stories through its motifs and symbols. The plant and floral motifs we have explored in this edition of Varna Sutra are a unique tribute to the natural world. Each of these motifs, apart from its aesthetic appeal on the silken drape, also lends the sari its rich symbolism.

 

As we trace the origins of the Patra Pushpam motifs – from plant to weave – we are struck not only by how beautifully nature influences design, but also by the way in which the kanjivaram weave interprets nature within its own context. By juxtaposing intricately executed botanical drawings against the kanjivaram’s interpretations of them, we observe that the motif is not a literal rendition of the plant or flower, but a uniquely stylised and msore elemental version, that fits seamlessly into the kanjivaram layout and embellishment. This skilful stylisation and adaptation of the motif, to stay true to the aesthetic of the craft, is a reflection of the power of design language to retain its authenticity while drawing inspiration from diverse cultural and mythological contexts. The weaver’s sensitivity to the traditional design and grammar of the kanjivaram is evident in the artistic, beautifully abstract rendering of the natural world on the sari’s drape.

 

Note : This is an excerpt from the Blog I wrote for Kanakavalli

The brilliant hand illustrations and pic credit goes to Kanakavalli.

Link : https://kanakavalli.com/blogs/kanakavalli-journal/varna-sutra-patra-pushpam-kanjivarams-motifs

Over the centuries, a range of several patterns has become characteristic of kanjivaram sari designs. These motifs and patterns were not just decorative, but also had strong symbolic connotations, both in mythology and folklore. Motifs play a twin role – of aesthetic appeal, and as a reflection of symbolic meaning.

Most traditional motifs in South India either serve a protective function – for example, guarding the wearer against the evil eye – or lend auspiciousness to special occasions. A closer look at these, particularly at the motifs of the kanjivaram, reveals the rich histories of the patterns, drawing from sources beyond textiles. Many of these symbols are recurrent across art forms – from painting and temple architecture to sculpture, Tamil literature and even dance. Not only do the shapes they take resemble each other, but these symbols also share cultural references, religious and other symbolism, and similarities in pairings and contexts.

Indian weavers are known for depicting classical motifs drawn from nature like the swan (hamsa), the lotus (kamala), the tree of life (kalpa vruksha), the Vase of Plenty (Purna Kumbha), the elephant (yanai), the lion (simha), peacocks (mayil) and others in their handwoven textiles, which have been in existence for more than two thousand years. The iconography of the Dravidian motifs was adapted from other regions and civilisations, but has been customised for our cultural design aesthetic.

Kanchipuram has long been commercially well known for its figured and brocaded silk saris. Royal and temple patronage, coupled with domestic patronage, kept this art alive. For generations, the weavers of this town have incorporated the rich ornamentation of the motifs, as depicted in the temples of Kanchipuram. The brocade weaving technique earlier used real zari to enhance the patterns. In current times, this has been replaced by silk and metallic threads in many cases, and the hand patterning has occasionally been supplemented by the use of jacquard machines.

Drawing from the flora and fauna of the natural world, as well as the rich tapestry of symbols adorning Kanchipuram’s numerous temples, the kanjivaram’s motifs are rooted in local contexts and artistic traditions. The land of a thousand temples, as it has come to be known, has contributed the unique temple motif– taking the form of rows of large triangles woven into the ground fabric, in the inter-locked weft technique known as korvai which is unique to kanjivaram saris. ‘Rekku’ refers to the design element which links the body of the sari and the border. The spired temple motifs are locally referred to as ‘thazamburekku’ (thazambu refers to the Kewra flower).

Another distinctive feature in a kanjivaram is the stunning contrast border –weavers create a characteristic raised effect on a ground weave. The clear demarcation of the border by way of a ‘zarigaipettu’ is a highlight of this drape’s bold format.

Apart from using motifs on the body of a sari, weavers also use a number of geometric patterns to break the monotony of a single colour. Checks (kattam), diagonal lines (vari), circular forms (buttis) and other shapes are used to enhance the background to the motif embellishment.

With this brief context of the kanjivaram, its history and its layout, let’s step into the world of animal and bird motifs that adorn this beautiful drape-

Annam (Hamsam) –  The beautiful swan, celebrated by poets and philosophers, is a recurring motif on the kanjivaram drape, drawn from the walls of Kanchipuram’s temples. The Annapakshi motif which appeared in the Gandharan and Kushan sculptures was later incorporated into temple sculpture and Hindu iconography.  Referred to as ‘Chakravaha’ these graceful and elegant water birds had higher connotations of fidelity in ancient literature.  Kumarasambhava, Kalidasa’s epic poem, refers to a garment as Hamsa Dukula, describing this bird as a feature of decoration on the heroine’s wedding sari.

Iruthalaipakshi (Two headed eagle) – In mythology, the ‘Garuda-dhvaja’ (dhvaja meaning flag) is used as an emblem of victory. Two-headed eagles have been present in imagery for millennia in various civilisations of the world. In India, the history of the Kingdom of Mysore records the title of ‘Ganda-bherunda’ – a double headed eagle – as one of the insignias and titles of the Wodeyars. Later on, it was used in Vijayanagara mints, and also found its way into textiles as motifs woven on the body and pallu. In the kanjivaram, this motif takes on a regal splendour, woven in rich gold zari or coloured silken yarn.

Kili (Parrot) – The parrot has always played an important role in Tamil culture, representing truth and the transmission of the teachings of sages. According to ancient literature, Sage Suka  and Sage Arunagirinathar took the form of a parrot to recite and record some of the greatest slokas. Adorning the favourite goddesses of the South, Meenakshi and Andal, this motif is also associated with the God of  Love – Kama. No wonder this motif finds a place in the bridal trousseau, not only in the kanjivaram, but also in Paithani and Patola saris. In the South, parrots are also used by astrologers to tell fortunes, emphasising the connotations of the bird with greater truths. Not only the shape, but the distinctive green colour of the parrot – kilipacchai – is also a favourite of the kanjivaram.

Mayil (Peacock) – Peacocks are associated with royalty and regal pomp. It is interesting to note that in the Bible’s Old Testament peacocks are referred to as ‘thukkiyam’ (in Hebrew), and the root word is derived from the Tamil word ‘thogai’ which refers to the peacock. The national bird is also associated with the worship of Murugan, who is depicted on a peacock vahana or vehicle.Yaperungala Vriti, a 12th century text, describes the city of Kanchipuram as a peacock. Athiyur, the place where the Varadharajaswamy temple is located, is referred to as the head of the peacock, while the Shaiva Kanchi temple forms the body. It’s no wonder that this deeply rooted symbolism paved the way for the famous ‘mayil chakaram’ motif in the kanjivaram.

Simham (lion) – If you walk into the Vaikunta Perumal temple’s outer praharam, you will be floored by the Pallava sculpted lions on the mandapam pillars. These are not mere adornments of temple architecture. The sculptural and textual evidence reveals that when the temple was consecrated (kumbabhisheka), these lions embodied the brilliant conquering power (tejas) of Goddess Durga. The lion sculptures are beautifully rendered in the seventh century monuments of the Pallava Port in Mamallapuram too. The king of beasts was an insignia in almost all civilisations, and in the textile design of Tamil Nadu it is also associated with the mystical yazhi.  The lion is used as a linear design in the border and pallu of a kanjivaram sari.

Yaali – This motif is ubiquitous in Tamil temple architecture and the kanjivaram sari. The yaali, a mythical creature depicted as a composite animal that is part-lion, part-elephant, or part-horse, is a popular motif guarding the corridors and entrances of most temples in Tamil Nadu. Regarded as a potent motif of power greater than the lion or elephant, the yaali is also a vehicle of Budhan (the planet Mercury), one of the Navagrahas. If you observe closely the majestic gopurams of temples in South India, you will find a row of lines specifically crafted for depicting the yaali, referred to as the ‘yaali varisai’. In textiles, the most common designs are the simha yaali (lion yaali) the yanai yaali (elephant yaalii) and the hamsa yaali (swan and yaali).

Maan – Deer – The golden deer is described in the Ramayana, and is symbolic of innocence and non-violence. The gentle nature of this animal comes to life on the silken drape of the kanjivaram sari. The graceful and delicate deer is Kanakavalli’s signature logo, and is rare but beautiful on the sumptuous silk. It is also connected with the iconography of Lord Siva and is the vehicle of Vayu, the god of wind.

Meen (Fish) – Fish are potent fertility symbols of tribal communities in India. This motif appeared early in the archaeological records of the Indus Valley – in pottery, Mohenjodaro seals and plaques. In the south, the Pandyas of Madurai used fish as their dynastic emblem. This motif is used along the borders of the kanjivaram sari, called ‘meenpettu’. The motifs are also important in the textile designs of Orissa and West Bengal, and are associated with Vaishnavism.

Yanai (elephant) – The elephant is considered an auspicious animal, traditionally associated with royalty and depicted along with the goddess of wealth, Lakshmi. In temple architecture, one often sees a row of elephants, as though holding up the entire temple structure; a symbol of their protective power. Associated with wisdom, courage, memory and ‘Pillaiyar’, the elephant god who has a temple in every nook and corner of South India, the elephant is a much loved motif. A row of elephants marching along the border or pallu of a kanjivaram is a visual delight.

Kuthirai (Horse) – Horses galloping across the border and pallu of a kanjivaram sari form a stunning pictorial panel. This magnificent creature is a predominant feature of the mandapams of temples like yazhis, and also forms part of the Vana Singaram – the hunting scene woven on brocades of the South. In South India, the predominant depiction of the horse is the visual image of the annual Chithirai festival of Madurai, where Lord Kallazhagar, mounted on his golden horse, enters the Vaigai river. The grandeur and festivity of this procession finds echoes in most Kanchipuram temple processions, where the horse is the vahana or vehicle. The horse is also closely affiliated with rural art. The huge terracotta horses known as ‘mannkuthirai’ of Ayyanar, are a part of the rural landscape of the country, from which kanjivaram weavers have drawn inspiration for a different form of the motif.

Kuyilkann and Mayilkann – The supplementary designs for borders inspired by the eyes of the kuyil and mayil (the cuckoo and peacock) are intricate and exquisite. The diamond mesh designs adorn the border ‘pettu’ in saris as well as veshtis (dhotis) for men. The ‘mayilkann veshti’ with a Ganga Jamuna border in red and green is worn by bridegrooms during weddings. The mayilkann motif is heavier, and slightly larger than the kuyilkann which has a small central dot within the diamond pattern; a favourite on kanjivaram sari borders.

Kanchipuram is a veritable text book of South Indian art history. The great dynasties of the Pallavas, Cholas, Vijayanagar and Nayak kings left their majestic imprints on temple architecture and sculpture. The richness and intrinsic beauty of these motifs have a timeless appeal in temple and textile traditions, and remain steadfast in their appeal, and constant in their representation.

Note : This is a blog I had written for Kanakavalli’s Varnasutra Series

Pic Credit : Kanakavalli.

Link : https://kanakavalli.com/blogs/kanakavalli-journal/varna-sutra-mriga-pakshi-kanjivarams-motifs

The history of the colours of the kanjivaram sari is carved out of a lifelong fascination with South India’s traditions and social norms. Ritual, spiritual and cultural customs offer guidelines specifying colours to be worn for various significant events and to mark different stages of life. Shades of black and white, in particular, are symbolic of this.

Traditionally, a completely black sari is chosen for the “Valai Kappu” and “Seemantham” ceremony that mark’s a woman’s first pregnancy. She is presented with a new “masikkai” black sari and glass bangles. Masikkai is a medicine in Siddha, also referred to as “Bluejack” and used as “urai marundu” (a medicine) for new born babies.

Black is the colour used to ward off the ‘evil eye’ and new born babies are often seen with a black spot drawn on their cheeks, known as “drishti pottu”. Babies are also made to wear black bangles, again an ornament to protect the child from“drishti” or the evil eye. And that’s the exact reason why a mother-to-be is also given a pure black sari to wear on this occasion!

Weavers of the kanjivaram use black yarn more often in the weft pattern of a sari, infusing the warp colour with a darker hue. Black saris are a rare sight at traditional weddings and on auspicious occasions; more popular are shades that are darker but not quite black, like “Nagapazham” (the deep purple jamun fruit), “V.Paaku” (the dark brown of betel nuts) and navy blue. Even today, black saris are largely made only for specific occasions and on order.

The Mahabharatha refers to two people as “Krishna”, meaning ‘the dark complexioned one’ – the first being Draupadi, and the other Lord Krishna himself, whose dark complexion on a full moon night is the subject of poetry. Krishna is also referred to as Ghanshyam, drawn from ‘Shyama’, the colour of dark storm clouds While talking about the colour black, one cannot but recall Bharathiar’s verses in his beautiful poem describing Krishna as “Kakkai Sirganile Nandalala, Nindan Kariya Niram Thondrudayee Nandalala” (In the feathers of the crow I see your dark hue, Nandalala). He makes us see, hear and feel the fire in the quest of “Nandalala”. Listen to this evergeen song here.

In contrast, white or ‘Sveta’ is considered the purest of the pure, touched by the divine, and is traditionally the colour worn by Christian brides. The pristine cream and gold bordered “kasavu” and “mundu” were also the favourites of Travancore royalty. The kanjivaram wedding sari in lustrous shades of white with golden zari takes on various hues – of pearls, butter creams and ivory – making it truly stunning! The Chitra Sutra describes the different shades of white used in paintings as – “Rukma” (gold-like white), “Danta Gauri” ( ivory white), “Sphuta Candana Gauri” (white like the split sandal), and “Sharadha-Ghana” (white like the autumn clouds).

The goddess Saraswati is often depicted as a beautiful deity dressed in pure white, seated on a white lotus which symbolizes light, knowledge and truth. Her iconography is typically white in theme – from her dress, to flowers, to the swan – the colour symbolizing “Satwa Guna” or purity, and her Dhyana Mantra describes her as:

“Yakundendu Thushara Hara Davalam, Ya shubra vastravrutham,

Ya veena vara danda manditha kara, Ya shwetha padmasana,

Ya brahmachyutha Sankara prbhruthibhi Daivai sada poojitha,

Saa maam pathu saraswathi bhagawathi Nissesha jadyabah”

“My salutations to Goddess Saraswathi,

Who is white like a jasmine flower,

Who shines like the full moon,

Who carries a veena in her hand,

Who is seated on the throne of a white lotus,

Who is worshipped by the holy trinity,

With a prayer to drive away all my slothfulness.”

Interestingly, even today traditional wedding attire for men in South India is a “ven pattu veshti” or a white silk dhoti. Kanchipuram and Salem specialise in the pure silk “mayil kann” (peacock’s eye) veshtis, with the traditional Ganga Jamuna border in green and maroon. The yardage for the dhoti is still referred to and measured by weavers as 4 “muzham” or 8 “muzham” veshti. The “Pancha kacchams” (the more elaborate style of tying the veshti worn by bride grooms, with sections of the fabric tied through the legs) along with the “Angavasthram” (the fabric worn over the shoulder during ceremonies) are called as “Onbadhu Anju” (9×5) or “Pathu Aaru” (10 x 6), a localised reference to the yardage.

Combinations of black and white on saris in the form of checks or stripes highlighted with contrast borders, are also popular and striking in visual effect. “Palum Pazhamum” (or milk and fruit, named after a film) checks on kanjivarams have always been a timeless and elegant design trend that never went out of style. The classic pairing of black and white is especially notable in yesteryear Tamil cinema in which these saris stood out even in black and white visuals! There is an interesting bit of trivia about how craftsmen used to name designs and colour. E.B Havell was a British art historian and author of numerous books on Indian art, who initially served at the Madras school of Art for a decade from 1884. In his monograph, he describes the alternate black and white woven colours on a sari as “High Court Papli” checks since it resembled the flooring tiles of the Madras High Court. From ancient Rome, through to Versailles and more recently Hollywood, the checkerboard design of floor tiling is everywhere, and closer to home, most famously in Karaikudi. No wonder it finds a place on saris as well!

The checkerboard tiling inspiration, top left : Chateau de Versailles, pic courtesy : Bob & Jean, bottom left: Athangudi Palace, Karaikudi, pic courtesy: satyapicmaker and right, Kanakavalli “High Court Papli” kanjivaram sari 

Join us as we delve into the many facets of our Shyama Svetha collective in the Varna Sutra series –

Karuppu (Black)

Black is always in style in the West, and this trend has caught on with kanjivaram saris as well. In the traditional kanjivaram palette, “karuppu” or black takes on various shades categorised from “masikkai” black to ‘kanmai’ (kohl). “Kanmai” refers to the black material used to line the eyes, to make them stronger and more beautiful, and even today this is an ayurvedic medicine, which can be made at home. In fact, some weavers apply “mai” or kohl to the corners of a new sari before handing it over to their clients. Related to the deity Mahalakshmi, this material is considered auspicious and sacred.

Eiyam (Tin)

Even the colours of the vessels used to prepare and serve food in South Indian kitchens find a way into the kanjivaram drape. A shot of light grey and dark grey, “eiyam” refers to the metal coating of tin vessels, once seen in every household. “Rasam” which is unique to South Indian cuisine acquires a distinct smell and flavour when prepared in an “eiya Sombu”

Cement Grey

The “English colours” in kanjivarams came much later; and ‘cement grey’ is perhaps a sign of the influence of the first cement factory in India being established in Madras in 1904. This cool and smoky shade of grey stands out beautifully on saris with contrast borders.

Yanai (Elephant Grey)

The Varadaraja Perumal temple at Kanchipuram is referred to as “Hastigiri” (elephant hill) in Vaishnavite literature and in the eleventh century inscriptions. A great peculiarity about this temple is that the main shrine of Varadaraja is not on the ground level, but on an elevated platform representing a hillock. The “Sthala purana” (legend which describes the temple history) states that it was the abode of the divine elephant Gajendra, whom the Lord saved from the clutches of a crocodile. Elephant motifs have always been a part of temples, their architectures and “Vahanas“, or processional vehicles of the deities. No wonder the colour of this majestic and gentle creature was an inspiration to weavers of kanjivaram saris!

Muthu or Pearl white

The lustrous white silk drawing inspiration from the colour of “muthu” or pearls. Pearl and chank fishing in South India, especially in Tuticorin, dates back thousands of years and contributed to a thriving economy in the region. The most classic combination on the sari is a pearl white body with an arakku border.

Butter or “Vennai”

The golden white of butter which is used to make home-made ghee, and applied on idols of Lord Hanuman as appeasement in “Vennai Kaapu”, finds its way into the lexicon.

Sambal (ash grey)

Sambal in Tamil refers to the sacred ash or “thiru neeru” which Lord Shiva dons all over his body. The colour tone of “Sambal” is halfway between white and black.

Kumaran or Off- white

The spectrum of whites include cream, ivory  and vanilla. This colour is also referred to as “Kumaran” by the dyers.

Black and white represent a psychological force in the world of colour and design. Despite the kanjivaram being closely associated with more vibrant and deep jewel tones, these two hues still hold a firm place in the cultural and social symbolism of the textile heritage. Increasingly, as the kanjivaram is contemporised and reimagined for a modern landscape, shades of black and white are being interpreted in silk within the bold format of the drape.

Note : This is a blog I had written for Kanakavalli’s Varnasutra, Pic Credit – Kanakavalli

Link: https://kanakavalli.com/blogs/kanakavalli-journal/varna-sutra-shyama-svetha-ebony-ivory

In this edition of Varna Sutra, we turn to the colour of infinity, a symbol of vastness: the universally loved shades of blue or Nila. This is a colour spectrum that combines ancient spiritual connotations with references to popular culture and a sense of the contemporary. The weavers of Kanchipuram claim their descent from the Sage Markendaya, believed to be the weaver of the gods who first entwined the fibres of the lotus, a flower worn by Lord Mahavishnu. As we continue to see, the kanjivaram tradition is deeply entrenched in the religion and mythology of South India.

The Pallavas of Kanchi were instrumental in building and patronizing two monumental architectural structures in the eighth century – Kailasanatha temple for Lord Shiva and “Parameswara Vinnanagaram” (translating to the supreme lord residing in ‘vinn’ meaning sky and ‘nagaram’ meaning abode) for Vaikuntha Perumal. Both these temples are characteristically Tamil in style, and indicate a vigorous local art tradition. The Lord of Vaikuntha resides in this ‘sky town’, and is represented in three forms on three tiers of this heritage temple.

As Parameswara, Vishnu is represented in a dark shade of blue which characterises most of his incarnations – the colour of the sky and the ocean on which he reclines. The Lord is referred to as the one with skin the colour of dark blue rain clouds or “Megha Varnam”, according to Vishnu Sahasranamam (the thousand chants of Lord Vishnu). While Vishnu is depicted in blue, the dual form (Ardhanareeshwara) of Lord Shiva is described as Nila Lohita, a deep purple complexion derived from a combination of blue and red.
Silpa Ratna mentions blue as Mularanga, the primary colour. India’s rich textile history and its mastery over indigo launched a thousand fleets of the world to trade with us. The tinted cloth of natural indigo was called Nila and remains, till today, one of the most loved dyes for fabrics in the country.

In Christianity, this sacred colour invokes the Madonna who is also draped in a heavenly shade of blue. When drawing parallels in a study of the roots of Nila or blue, the Scrovegni Chapel comes to mind, with its brilliant frescos in blue and gold on its walls and ceiling.

Closer home, our Mahakavi Subramaniya Bharathi weaves a romantic “Karu neela pudavai” for his muse, Kannamma:
“Suttum vizhi sudar than Kannamma, Suriya chandiraro? (Your eyes are so sharp and full of fire, Kannamma – Is it the sun or the moon?)
Vattakkariya vizhi – Kannamma! Vanakkarumai kollo? (Have your round and black eyes taken their darkness from the sky)?
Pattu karuneela pudavai Padhittha nalvayiram; Natta nadunisiyil theriyum Natchathirangalladi! (In the middle of the night, the sky resembles a dark blue silk saree, with the twinkling stars taking the form of diamond motifs)

These immortal lyrics have made every woman dream of owning that most desirable of kanjivarams, in a shade of ‘karu neelam’ or dark blue sprinkled with zari motifs like stars.
The very local names of the kanjivaram’s colours depicting nature’s richness, culture and mythologies have also found expression in Tamil film songs. Who can forget the famous song “Neela Vanna Kanna Vaada”from the movie “Mangaiyar Thilagam” starring Padmini and Sivaji Ganesan? Listen to this evergreen classic sung by Balasaraswathi Devi in a medley of ragas Mishrakapi, Peelu and Yamuna Kalyani, bringing out the hues of emotions.

The response to colour is fundamental in human beings. No wonder colour plays such a significant role in our lives: in the clothes we wear, the festivals we celebrate and the ways in which we represent our beliefs and cultures. From the colours we paint ourselves in for Holi to the palettes of our favourite kanjivarams, we are expressing our essential love for colour.

In this curation, we explore the many ways in which the colour blue and with it, shades of purples, are brought to life on the fine kanjivaram silk.

MS Blue – Synonymous with the legendary Carnatic vocalist and Bharat Ratna M. S. Subbulakshmi, this shade of “middle sea blue” is a must have in every kanjivaram wardrobe. In this clipping of MS’s famous song “Katrinile Varum Geetham” from the movie Meera (1947), she emphasises the words and refers to Krishna as “Neela Nirathu Balagan oruvan Kuzhal Oodhi Nindran” (the blue boy who plays the flute) in her beautiful voice. One can only imagine why MSS loved the colour so! ( 2:40th minute in this video)

Ananda Blue – This vivid shade of sky blue again has a reference to Lord Krishna, whose eternal presence and radiance brings happiness, or ‘Ananda’.

 Navy blue – The very dark shade of blue which was worn by the officers in the British Royal Navy as uniforms. The navy blue on the kanjivaram silk is like the midnight sky, often dotted with zari motifs like stars.

Nilambari – The dark blue-black hue of Benarasi and Jamdani weaves has influenced the naming of colours in the kanjivaram tradition too.

Ink blue – The deep blue of ink traditionally used in fountain pens, lends the silk a gorgeous glow.

Sky blue – A delightfully bright blue; a celestial colour resembling the sky at noon.

Krishna Meghavarnam – A beautiful two toned shade of violet shot with arakku or red. It is the colour of dark rain clouds associated with Lord Krishna, or “Shyama” as he is referred to.

Turquoise blue – This gorgeous blue green gemstone that is a phosphate of aluminium and copper evolved into an object of interaction and exchange among the empires of early Islamic Eurasia. The association with the Turks and the trade routes that carried the gem across the Ottoman Empire to Europe made this a “Turkish Stone”. Emperor Jahangir was gifted a turquoise stone from the Safavid Shah of Iran in 1613. The Cerulean shade which acquired significance as a sacred stone has found its way into our sari colours too.

Sapphire blue –Lovingly called “Sappair” (also ‘neelam’) in Tamil, this hue highlights our love for gemstones, in particular the nine stones of the Navaratna. This precious light blue stone is worn to ward off the effects of Saturn in astrology, and its colour comes alive on the exquisite silken drape.

Copper sulphate blue – this distinctive shade of blue, rich and vivid, draws its name from the chemical compound and is widely used in the kanjivaram.

Ramar Blue – This delicate blue hue with hints of green is very popular is South India, especially found in the Golu dolls of Rama during the Navarathri festival. People celebrate this festival for nine nights by displaying dolls creatively in their homes, and by dressing up in their finest silks.

Kathiri Poo – ‘Kathiri’, meaning eggplant or aubergine, has a profusion of regional names. Only in a kanjivaram sari can one identify the myriad beautiful shades of purple of both the fruit and its flower!

Lavender – Derived from the pastel colours of the flower, this light purple is a very rare shade in the kanjivaram tradition, but subtly accents the drape of the silk.

December Poo – December Poo blooms in the winter months, from December to February, and comes in yellow, white, light and dark pink and in light violet shades. The distinctive purple tone has found its place in the kanjivaram.

Vadamalli – The colloquial name for the colour of the globe amaranth or bachelor button flower. A beautiful purple shot with pink, this shade is a favourite among many kanjivaram collectors.

Naval Pazham – The crimson and purple hued berries of the “Jamun”, a fruiting tree indigenous to the Indian subcontinent, are considered auspicious in South India. This tree is the Sthala Vruksham (sacred tree) of the famous Thiruvanaikaval (Akilandeswari) temple near Trichy.

Naval Pazham – The crimson and purple hued berries of the “Jamun”, a fruiting tree indigenous to the Indian subcontinent, are considered auspicious in South India. This tree is the Sthala Vruksham (sacred tree) of the famous Thiruvanaikaval (Akilandeswari) temple near Trichy.

Ranging from the subtle to the startling, the gently romantic to the bold and dramatic, the varied exquisite expressions of the colour blue in the kanjivaram are celebrated in this curation. Taking inspiration from flowers and mythology, from ancient history and popular culture, each shade of blue weaves a story in silk.

 

Note : This is a blog I had written for Kanakavalli’s Varnasutra Series. Pic Credit : Kanakavalli.

Link : https://kanakavalli.com/blogs/kanakavalli-journal/varna-sutra-nila-infinity-in-blue