![]() Usually the kattam is in white silk thread, contrasting beautifully with the deep hues of the body and making the sari all the more appealing. The tiny white squares of the muthu kattam resemble pearls, providing an additional texture to the design which is stunning. Tamarind pulp is the basic ingredient for several South Indian delicacies like sambar, rasam and vatha kuzhambu. The seeds are used while playing “ pallankuzhi’, which is a famous traditional board game in Tamil Nadu. Interestingly, the tamarind and its seeds play a role in our everyday lives, rooted in South Indian culture. With checks in various combinations of colours, this sari, traditional to Tamil Nadu, has a distinct identity. The two-toned sari with checks the size of tamarind seeds ( puliyam kottai) – about an inch or less in size – patterned all over the body has an enduring charm. The checks are so delicate and fine that their beauty is visible only when the sari is draped. The Kasa-Kasa checks resemble tiny poppy seeds ( kasa-kasa in Tamil). Yet everyone associates this name with the super hit movie. If you watch the movie, you might notice that neither of the leading heroines (Saroja Devi and Sowcar Janaki) actually wears this particular design in the film. This design became popular in 1961 when a movie by the same name was released with the famous actor duo Sivaji Ganesan and Saroja Devi. Translating to “milk and fruit” checks, the traditional palum pazhamum combination is woven in the auspicious colours of red, yellow and green. In this edition of Varna Sutra, we take a look at the varied expressions of kattam and vari in the kanjivaram which have withstood the test of time. The weavers of kanjivaram saris give shape to various sizes of checks in yards of fine silk fabric. This geometry, which lends itself to the delightful play of colour, highlights the bold drama of the queen of silks. When the width of a kanjivaram is divided into two-forming a perfect half-the layout is referred to as arai pagam. A perfect muppagam is created when the sari’s width is divided into three equal parts, with the upper and lower sections forming contrast borders. ![]() The ways in which a kanjivaram is divided into its body, borders and pallu emphasise the theatrical geometry of the kanjivaram. The long rectangular form of the sari has always been clearly divided into three distinct parts – the body, the border and the pallu (or munthanai) with a distinct relationship between these three elements. The same symbol is woven into a pattern made for ritual clothes like telia rumal and saris worn by women. It is also the base of any architectural structure. The symbol created by astrologers as they draw an astrological chart is a reflection of this form as well. It is this grid which is drawn as “ padi kolam” everyday by women in the households of South India, adorning the front of the main door to one’s home. It is based on multiples of crosses, representing four directions and transforms into a magical grid. ![]() Kattam means a defined space, which is enclosed, and has become associated with a sacred space. Antar Anga (meaning within the body), focuses on these simple yet stunning designs in this weave. In kanjivarams, the geometrical foundation of the layout and the mathematical precision in arranging the colours is the differentiating factor. The Kattam Vari gives way to a million combinations, as a result of using different yarns and zari in both the warp and weft of the sari. The simple concept of checks and stripes has been transformed by weavers in unique ways, infusing striking colours and flavours into the bold geometry of the drape. The result is a powerful geometric visual and emotive force of expression. The weavers of Tamil Nadu possess a skillful mastery over the weaving of checks and stripes. In this edition of Varna Sutra we look at the patterns that make up the body of the sari, focusing on the kattam and vari (checks and stripes).
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