India Week with Brinda Gill - A Gift for Posterity: Documenting Traditional Kanjeevaram Motifs

Balaram Krishnamoorthy, a master weaver from Kanchipuram, Tamil Nadu, has dedicated over four decades to preserving the heritage of Kanjeevaram silk saris. His remarkable work includes documenting over 5,000 traditional motifs, which serve as an invaluable reference for future generations of weavers. In recognition of his contributions to the craft, he received the National Award for weaving in 2010 and the Sant Kabir Award in 2018.

Local legend suggests that weaving began in Kanchipuram when Sage Markandeya, an ardent devotee of Lord Shiva, created textiles for the deity’s wedding to Goddess Parvati. The tradition of weaving cotton and silk garments is said to have continued, with Lord Shiva preferring cotton and Lord Vishnu silk. Over the centuries, Kanchipuram has become synonymous with beautifully hand-woven textiles, with both cotton and silk saris being produced. However, it is the Kanjeevaram silk sari that has become a coveted garment for brides, not just in Tamil Nadu but across India.

Balaram’s weaving journey began at the age of 15 when he apprenticed under the guidance of his grandfather, Muniswamy, father, P.M. Balaram, and elder brother, Kannan. He learned to weave using the traditional jala loom, a mechanism that helps create complex designs by lifting warp yarns. In later years, he honed his craft further under the mentorship of senior weavers like N. Veerappan, Director of the Weavers Service Centre, Chennai, and B.P. Uthaya Kumar. Throughout his career, he has woven thousands of exquisite Kanjeevaram saris and trained hundreds of weavers and students, always emphasizing the importance of traditional motifs and techniques.

Kanjeevaram Weave

Kanjeevaram saris are handwoven with three-ply mulberry silk yarns and often feature supplementary silk or metal yarns to create intricate motifs. The saris are distinguished by their rich textures, vivid colours, and traditional patterns. Traditionally, the sari features contrasting solid borders and end panels, often in bold colours, with a different-coloured body in between. While earlier saris had only one contrasting border, the design evolved to include borders on both sides of the body, which became a hallmark of the Kanjeevaram style. The body can be plain or woven with checks, stripes, or motifs. The shimmering shot effect, achieved by weaving different-coloured warp and weft yarns, is another distinguishing feature of the sari.

The weaving technique of Kanjeevaram saris is highly intricate. The borders are woven separately using a different set of warps and wefts, interlocking with independent shuttles to create solid colour borders. To create a contrasting end-panel, a new set of warps is twisted on the loom, enabling different-coloured borders, end-panels, and body sections. This complex process requires considerable skill, time, and effort, which is why Kanjeevaram saris are highly prized for their beauty and craftsmanship.

Motifs in Kanjeevaram saris often draw inspiration from nature, temple art, and local culture. Popular motifs include peacocks, parrots, hamsa birds, and lotuses. The "temple border," a triangular pattern with jagged edges, is a recurring feature symbolizing the superstructure of a temple. These motifs are more than decorative; they represent the rich cultural and spiritual heritage of the region.

Balaram has always been fascinated by these traditional motifs. He began his quest to preserve them by studying the designs found on temple sculptures, recreating them on paper, and transferring the patterns onto graph paper. This method not only helped him develop his skills but also allowed him to document these intricate designs for future generations of weavers. "By documenting these motifs, I wanted to ensure that they would be passed down, as many are disappearing from the saris of today," he says. His catalogue of over 100 motifs is freely shared with other weavers, enabling them to add to the repertoire and continue the tradition.

In 2010, Balaram’s weaving expertise was showcased in a sari that earned him the prestigious National Award. The sari featured Kathakali dancer motifs woven in maroon and green, with intricate gold yarn motifs of the "oddiyanam" (an ornamental belt worn by women at the waist) in the end-panel. This striking design also included nature-inspired motifs such as flowers and stars.

Balaram’s Sant Kabir Award-winning sari in 2018 was equally impressive, adorned with 114 motifs woven in silver and gold yarns on a black background, arranged in horizontal rows. Each row of motifs was repeated in an alternating pattern, creating a visually striking and cohesive design.

To further preserve the traditional motifs, Balaram embarked on a monumental project: weaving a 25-meter-long textile featuring 5,015 motifs. The motifs, both traditional and recreated based on his imagination and aesthetic, were set in a 3” by 3” square grid, making this textile a living library of designs. Weighing 4.15 kilograms and requiring 480 jacquard hooks and 70,800 cards, this textile has been studied by over a thousand students. It is considered one of the most valuable resources for aspiring weavers, offering a rare glimpse into the intricate world of Kanjeevaram weaving.

"I wanted to ensure that these motifs were preserved before they vanished," Balaram says. "The older generation of weavers holds much of this knowledge, and it is crucial to pass it on. Only by understanding the meaning and symbolism behind these motifs can weavers create beautiful saris."

Balaram’s work is a testament to his deep respect for the Kanjeevaram weaving tradition and his commitment to preserving it for future generations. His documentation of traditional motifs and the textiles he has created serve as a lasting legacy for the craft and culture of Kanchipuram.