CHENNAI: As a child, I was enthralled by the beauty of my Amma’s saris, constantly running my fingers along the designs that scuttled across the vivid colours. I’d always been drawn to these patterns that seemed ubiquitous, regardless of the colour she wore. Little did I know, those symbols were a product of generations of design a gateway to the history of Tamil art and culture, as I learned from archaeologist KR Ezhil Madhii in her talk, ‘An introduction to the Master Weaver’s Language’, hosted by DakshinaChitra. The culture enthusiast introduced us to the origin of the motifs and how they became a medium of communication for a weaver.
The language of a master weaver, these recurring symbols or motifs showcase the ideas and thoughts of the weaver. It could be an expression of love, a representation of the beauty that surrounds them, recorded memories of the old days, or an obligation to carry forth their culture.
“When I visited the Thanjai Periya Kovil for research purposes, I was astonished to find that most of the symbols that you find on your saris are also present on the temple pillars or ceilings. You see, the cultural symbolism for a particular period reverberates through all forms of art. So, by understanding these motifs, we’re not just trying to understand the weaver’s mindset but also the cultural values that were held then,” Ezhil mentions. These symbols hold relevance to the weaver, as well as their society and culture.
They can be categorised as being derived from animals, plants, or surrounding objects. Some can be witnessed in pan-Indian garments — creeping vines, lotuses, peepal leaves, geese and other water birds, fish and many more. However, others are more telling of Tamil culture.
Take the kili or parrot. This popular sari motif is a symbol of union and longing, befitting its roots as the known vahana of Kama, the god of love and desire. Pining women in Tamil literature often speak to the bird of their love. The 10th-century Tamil saint Andal was known to forever seat a parrot — a gift from Vishnu — on her left shoulder. Other animal designs include swans, horses, peacocks, lions and elephants.
Plant-inspired designs include peepal leaves or arasa ilai, lotus or thamarai, mango leaves etc. But perhaps the most recognised one in handwoven saris is the thazhampoo reku. Often referred to as temple border or gopuram design, it is inspired by the kewra flower or thazhampoo. This motif is found in most saris as part of the korvai, the interlocking of the border and body.
The rudraksha is very significant to Hindu households. It is believed that the tears shed by Lord Shiva over human misery turned into rudraksha seeds, eventually becoming Elaeocarpus ganitrus trees. This pattern is often woven along the border of the sari, creating a garland. The wearer is said to be protected by Shiva. Pavun or gold coins and kalasam or kudam are also inanimate inspirations for saree motifs.
All of these designs are not just dictated by the weaver’s art but also by the aesthetic sense inherited by them. Ultimately, this will be passed on to posterity. Someday, the future generations may run their fingers along our saris, charmed by the designs of today.