The Padma Saliyar Community of weavers in Tamilnadu possess a unity in cultural practice and weaving technique. Originally from what is now Andhra Pradesh, they are said to have migrated during the Chola period (900-1300 AD.) They maintain marriage links in AP, speak Telugu, and are distinguished by their worship of their caste deity Bhavana Rishi.
Praxis refers to the unity between the rational and symbolic- (instrumental and expressive.)
The silk wedding sari, when worn or gifted, is related to the realm of the spiritual/auspicuous by its very design concept.
The cultural value of auspiciousness is intrinsically related to the rational sphere, the instrumental activity of weaving in the korvai technique.
Korvai- opposed borders jointed to the main body of the sari. Raasi- auspiciousness- joining of opposed forces. Two or more shuttles to form single weft passage.
Opposing borders establish laterality of the sari. May be symmetrically or asymmetrically balanced.
Saris woven in three colors- kaalai-maalai- alternation between light and dark, united by a third colour in the middle.
The sari as a body
Borders- maintain laterality, like hands and feet on either side of the sari. The narrow, compactly woven selvage protects from wear and tear like nails. The middle portion is the torso, and always less in density than the borders, and the distinctive frontispiece is the 'face' and is referred to as the 'self.' The embellishments in gold thread are like jewels and adornments. The ground weave and texture gives a porous surface like skin. Repeating motifs provide a sense of movement. The borders and endpieces contribute to carriage and posture.
Nomenclature follows the body metaphor-
Fronistpiece- Thalaippu (head.)
Middle Segment- Vodal (body)
Borders- Karai (boundary, bank)
Even when worn, corresponds to the metaphor for example the borders fall around the arms and feet.
According to Brenda E.F. Beck, coolness both precedes and follows a period of heat. Colors form a continuum wherein each color relates or contrasts with the other.
Auspiciousness derives from the uniting or reuniting of diverse elements.
In the context of weaving the korvai sari, the technical and cultural truth of the body are realised at the design stage. This renders the sari significant for human identity and exchange.
Raasi- Disposition, harmony, luck; the human body in relation to the ever changing environment. Individuals are prone to nalla /ketta influences. In Tamil Nadu, it is quite common to consult astrologers and almanacs to derive auspicous time periods to take on important tasks. An astrological chart denoting these time periods is often hung nearby to the loom in many weaving households. Even the loom space is constructed accordingly to provide raasi for the weaver. Thus the conjunction of contrasting colors points to the transformation of the wearer into another state.
The Padma Saliyars pursue auspiciousness through daily activities and weaving is related to the well being of the intended wearers.
Metonymically- The substitution of the name of an attribute for the thing meant.
Saris are indicative of the stages of life that an individual passes through. The bordered silk korvai sari is a social marker denoting 'sumangali' status- literally, with mangalam, or auspicious. The sari traditionally worn by a widow is plain and unbordered. The sari worn by a married woman- metonymically related to other markers- wedding necklace, gold, turmeric, vermillion, etc. Colours such as vermillion and turmeric yellow are preferred wedding sari colors; they must ideally be bordered and in contrasting. White and red- fertility, life affirming.
Padma Saliyars believe that weaving a black sari may cause misfortune. The saris woven during the sumangali prarthana are entirely without black thread. The Padma Saliyar wedding sari is white and dyed with turmeric. Black in combination with other colors is seen as protection against ill will.
Search for well being/evasion of adversity - moral enhancement : auspiciousness - ultimate fulfillment.
Sringaara Rasa / Rasi
Padma Saliyars are know as providers of a specialized product- A sari suited for auspicious occasions and prized for durability, lustre. etc.
Weaving to them, means much more than simply the production of a commodity for exchange in the market.
Work ethic- proscribed rituals- planetary alignment of the weaver/merchant should match on the day weaving is begun. They say that Lord Vishnu is said to have provided the lotus stem yarn only after he deemed the timing right.
During certain periods of time, the weavers avoid contact with the loom. Failure to follow these instructions is said to result in misfortune for the weavers, merchants, and purchasers.
Once removed from the loom the sari is susceptible to pollution if not sold within a certain period of time.
The sari sellers perceive themselves as purveyors of auspiciousness. They seldom take back saris once they are sold. The customer trusts the store not to sell them impure or soiled cloth.
If a customer returns a sari, or it is on the shelf for as much as 60 or 90 days, it is kept aside for discount sales like those during the unlucky month of Adi. Saris sold at these sales carry no promises of auspiciousness.
Wedding silks are never purchased at discount sales. The first purchase of a wedding sari is always done on an auspicious day. People are known to be loyal to certain sari stores which are thought of as raasi. Two such stores, Nalli Chinnaswami Chetti, and Radha Silk Emporium, are owned by Padma Saliyars. Among the community, traditionally, the groom was said to weave the bridal sari. During purchase, the sari is ritually exchanged in front of the shop deity, wrapped in white cloth anointed with vermillion and turmeric.
The aesthetic sensibilities of traditional crafts achieve a deeper significance when seen as indicative of universal principles and cultural values.
Courtesy- Kanchipuram Sari: Design for Auspiciousness by Aarti Kawlra, 2005
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