International Journal of Early Childhood Special Education (INT-JECS)
ISSN: 1308-5581 Vol 14, Issue 03 2022
KUTHAMPULLY SAREE: THE ARTICULATION OF
GENERATIONAL LEGACY IN THE ART OF WEAVING
Arya Kumari. S.R1Dr.C.Nadarajan2
1
Research Scholar, Department of History, Annamalai University,Chidambaram,
Email:krishnaarya1990@[Link], Ph:9544469065
2
Professor, Department of History, Annamalai University,Chidambaram,
Email:drnadarajan_auhis@[Link],Ph:9442891836,9629241836
ABSTRACT
Purpose: The purpose of the study is to analyse the traditional weaving leagcy of Kuthampully saree in
Northern Kerala and the contribution of weaving communities for its manufacture.
Methodology: For writing this article, here Qualitative Research Methodology is used.
Findings/Results: Handloom industry in India is a traditional industry which carries a vibrant part in holding
the cultural heritage of the country. Due to the arrival of Pitlooms the handloom industry got a set back. The
Kerala Handloom sector is unique in terms of its texture, artistic touch, andquality of products. The products of
Handloom is eco-friendly and energy saving one. It provides usefulemployement opportunities for men and
women. The arrival and settlement of weaver communities like DevangaChettis, Kaikolans, Saliyans, etc from
neighbouring states, initiated the weavy legacy in Kerala. Kerala Kasavu or set saree is regarded as a cultural
costume of Malayali society from fifteenth century onwards. Among the Kerala handwoven products, the
KuthampullySarees has been an object of great appreciation of the women fromdifferent parts of the world. Its
natural colour, texture, fitness, the quality of weft coupled with, the attractiveness of the golden border, width
and artistry has made it world famous; irrespective of race, religion, or national boundaries and having demands
in Indian and International markets. In the mid seventies of the twentieth century, the unbleached handloom
crepe fabrics from Kerala had won the hearts of people abroad and this period, the golden age of handloom
weaving in the history of the industry is known as the era of ‘CrepeBoom’.The important weaving clusters of
tradional handloom sarees in Kerala which recognised by the Indian government are the Balaramapuramof
Thirvanthapuram, Chennamangalam of Cochin, Kuthampully Sarees of Thrissur, and Kasargod cluster. The
present paper traces the legacy of Kuthampully saree in the art of weaving.
Paper type: Qualitative Research Paper.
Keywords:Kaithari, Kasavu saree, Mund, SetumMundum,Neriyath, Hantex,Hanveev.
1. INTRODUCTION
Historically, Kerala was noted for the existence [Link] of coir, carvings,
handloom, bell, furniture, metal, leather goods,screw pine craft etc. were famous in ancient Kerala.1The
traditional industry of the State comprised of numerous arts and crafts which commonly came under three
categories- Coir, Handicrafts and Hand [Link] was famous for hand woven fabrics of exquisite texture
and enviable designs. “Travancore Neriyathu, Thuppattah, Kavani etc. had gain considerable reputation for the
excellence of workmanship and for their fine texture”.2 In Kerala, the traditional costumes or attire like, Mundu,
MundumNeriyath, Kasavu Saree, Set Mundus, Dothi, Dupattah are generally came under Kaithari or Handloom.
The garment of Munduwhich usually woven in cotton; is worn around the waist majority by both men and
women. As length and width of a mundu concerned; mundu can de divide into Single munduwhich can wrap
only once around the waist and Double mund which can folded in half before use. The Neriyath is a type of
scarf worn around the neck or over the shoulders by men and women uses Neriyathwith pleats to cover their
upper parts of the body whereas, the dhoti is a loin cloth. The Dhupatta, a scarf can use as a headdress and worn
around the neck or over the shoulders. The term Kasavurefers to the zari used in the border of the Kerala Saree
and not the Saree itself. The costume of MundumNeriyathu had an oldest documented reference as ‘Sattika’. For
the upper part Mundu is denoted as ‘Antariya’ and the upper part mentioned as ‘Uttariya’ in ancient Buddhist
texts.
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International Journal of Early Childhood Special Education (INT-JECS)
ISSN: 1308-5581 Vol 14, Issue 03 2022
Kerala Saree or Kasavu Sarees is considered a symbol of tradition and culture. This type of
Saree is exceptional due to its natural hues, texture and golden border The world-famous painter Raja Ravi
Varma also depicts Kerala Sarees for his Models in the paintings of Goddess Sri Saraswathy, Damayanthi, Sri
Lekshmi Mata, ‘Malabar Lady Playing The Veena’, Kerala Royal Lady, Nair Lady adorning her hair with
flower, etc. Kerala sarees are using by the performers as a costume in the dance forms of
Mohiniyattom,Keralanadanam, and Thiruvathirakalli (Kaikottikalli).
The Government of India has recognised mainly three clusters produces Kasavu sarees in Kerala are-
Balaramapuram, Chennamangalam, and Kuthampully Cluster. As the traditional attire of Kerala is concerned,
Kuthampully saree had a prominent role. Kuthumpally is a village in Thalapally Taluk of Trissur district in
Kerala and noted for the functioning of traditional handloom weaving. Historical records proves that the Royal
family of Cochin brought ‘DevangaChettis’the traditionalskilled weavers of silk and cotton materials, from
Mysore to Keralafor to weave cloths solely to the Royal family of Kochi and from Eighteenth century onwards
the origin of Kuthampully hand woven products started to emerge in Kochi3. During the second half of
Eighteenth Century due to the belligerence of Tippu Sultan, some of DevangaChettisagain migrated to North
Kerala4. They settled in Kerala and began to weave Dobby or Jacquard designs in Kasavu or Kerala Sarees and
began to known as Kuthampully Sarees.
‘DevangaChettis’ of Kuthampully regarded themselves an entirely different caste than the Weaver
caste of Saliyars of South. They be similar to the Saliyans in their life intheru or street, weaving as the
traditionallivelihood, and the sale of their products. Devangaswere also known as Jada orJadaru, Dendra,
Devara, Dera, Seniyan, and Sedan.5Most of them belived in Shiva cult. They worshipped Chamundeswari as
their custodial deity. The earlier weavers of Kuthampullybrought silk and zari(or jari, it is a type of thread
traditionally made up of fine silk in gold or silver colour to decorate saree, especially in borders of saree) from
Tamil Nadu to weave silk fabrics. In due course of time, they started to weave cloths for Muslims too.6 The
Devangas were found in Chittoor, Karimpuzha, Nenmara and Vallangi in the Palaghat [Link]
orDevangas of Kuthampully and Chittoor made finer varieties of cloths using yarns of the cont above 100s.
Usually the yarns of the counts between 60 and 100 were used to make finer varieties with laces or coloured
borders.7Even though, the products were originated from Kuthampully, the increasing demand for kuthampully
hand woven products, especially sarees, more weavers from the nearby places began to weave Kuthampully
sarees.
Mainly, Kuthampullyhandwoven sarees include grey colour Saree or Set Saree. Weavers using cotton
yarns for the making of Kuthampully saree. The Dobby or Jacquard design in Kasavu saree makes the
Kuthampully saree more famous with pure zari or half- fine zari or dyed yarn for the border or cross borderin
the creation of Kuthampalli Saree. Usually, the wrap andweft of the Kuthampully saree is 80*80s and 80*72s.
Its reed became 84s to 88s, and its picks/inch became 80-84s. The width of the saree is 48 inches and the length
is 5.5meters +75 centimetres for [Link] the major places of the manufacture of Kuthampully saree became
widened to the various villages of Thrissur and Chittur, Palakkad, Alathur, and Ottapalam taluks of the district
of Palakkad and Kuthampully, Eravathodi, Thiruvilwamala, Kondazhi are the main regions weaving
Kuthampully saree in Thalappally taluk of Trissur District.
2. METHOD OF PRODUCTION
Cotton Yarn is the most basic raw material. The weavers get yarn from master yarn weavers, or co-
operative societies, or yarn dealers or from yarn bank through the interference of governmental organisations
like HANVEEV and HANTEX. The cotton yarn procured are of 1000, 800 and they also weavehalf-fine zari.
The initial step in the production is for the wrap, cure the yarn in normal water, then for to remove
impurities and cleaning the yarn should cure with rice soup, and again washed in normal temperature water.
After the wash it will be dried in sunlight. Then the processes of Winding, wrapping, and sizing will start
subsequently.
Winding is the next step of production. This is a process of transferring the yarn from one type of
package to another which is hank or corn form.8Usually, weaver gets the yarn in the form of hank or corn.
Through the winding process the hank or corn yarn is to be converted into the form of bobbins. The yarn for
wrap and weft to be considered separately for Winding process. The yarn for weft required the process of Pirn
winding. Pirn Winding is the process of shifting the hank yarns to bobbin or pirn yarn with the help of hand
driven Charkha and for cotton yarn and half fine saree, the weavers carry out Pirn winding.
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International Journal of Early Childhood Special Education (INT-JECS)
ISSN: 1308-5581 Vol 14, Issue 03 2022
Warping is the next step of production. In this process, there make an apt length and width of wrap
sheet by merging many small packages called bobbins or spools. Vertical Sectional Warping is the warping
process used in Kuthampully. Vertical sectional warping is carriedon a wooden drum from a wooden peg creel.
There will be a suitable frame called bobbin creel to hold the required number of bobbins in such a way that the
yarns from them can be drawn separately without touching each other and will get the required yarn. Then the
yarn is drawn through a comb to the wooden drum and the warping will be over.
Sizing is the next process of [Link] is a process of coting the starch (boiled rice or Kanji) on
the wrap yarns to make it strong. Here, weavers using natural ingredients like rice starch, rice gruel and coconut
oil are used for [Link] Kuthampully cluster, ‘street warping’ and ‘brush sizing’ is practised. Starch is applying
on cotton yarn with the help of a sizing brush with grass bristles. For strengthening cotton yarn, sizing is
required and it will help to reduce the yarn breakage. Sizing will improve efficiency and quality of
weaving.9Now atAmmapet in Salem and Negamam in Pollachi of Tamil Nadu concentrates in the process of
Sizing and providing Kutthampullymanufacturing cluster.
Next process of production is Preparation of Loomand Beaming. The process of changing warp sheet
to weaver’s beam to mount on the loom can be mentioned as [Link] process of Preparation of Loom
includes drafting, denting, twisting in the threads with the old warp threads. In most of the weaving clusters, the
process of beaming is followed by looming. As consider the weaving process of Kuthampully, the sequence of
these process is in converse order, that is, first Preparation of loom and then Beaming. Drafting and Denting are
the two processes came under the process of Preparation of loom. The process of Drafting is the passing of warp
yarnthrough the healds of the loom on the basis of its design. Due to Drafting, the warp yarn can keep in parallel
form over the width of the loom and also helps to find out broken yarn. Denting is a process of passing warp
yarns through reeds and the healds. The joining of new warp thread and the local or old warp thread to be joined
together through the process of Hand Twisting. All these processes are doing through manual labour and not the
machinery.10
Next process is weaving. Pit looms are generally using for the manufacturing of Kuthampully sarees.
Usually, two types of Pit looms are functioning, namely, flu shuttle pit looms and throw shuttle pit looms.
Frame looms are also uses here in [Link] weavers widely using the fly shuttle pit looms for the
production of traditional attires. There is no wooden super structures to support the parts in Pit looms and it is
simple form of construction for weaving.11 The healds of these fly shuttle pit looms are locally prepared by the
Nylon Wire or Bombay type healds which is the most suitable finer count yarn for weaving. In Kuthampalli the
finest varieties of textiles, known for their striking designs and textures with half fine zari are produced on fly
shuttle pit looms. Here, the half -fine zari used in the border as an additional warp.
3. EXCLUSIVITY OF KUTHAMPALLY SAREE
Kuthampully Sarees has the unique status of having facility for making finer count cotton combed yarn
of counts 808 and 728. It is noted that in India itself very little clusters only using finer count cotton yarn in
weaving. Another uniqueness is the usage of Half-fine Zari in the border or Pallav of the traditional Saree of
Kuthampully is an extensive one.12 The weavers of this cluster traditionally used pure Zari for border, cross
border and buttas in the body, and now they weave half- fine zare and powder guilt etc. Coloured yarn is also
used as an alternative to the zari in the border and cross border of the Sarees.13 This coloured yarn is used as a
substitute for the half fine zari. No Dyeing or Bleaching is involved in the process except for the dyed yarn used
in the weft for the border or cross border. Otherwise, the yarn used is of natural coloured grey cotton yarn. Thus,
the products are eco-friendly and cause no dermatological harm to the consumers.14
The technique to weave with half-fine Zari in the border or cross border or pallav is another specialities
or skills acquired by the weavers of this cluster. While weaving zari in the cross border of the Sarees, the
weavers create a rib weave effect in it. Due to this weave, there is a series of horizontal ribs means a cross bar
effect in the cross border of the woven Sarees. Rampant usage of modern devices like Dobby, Jacquard, and Jala
are common in Kuthampully.15 For to produce elaborate designs, here using half fine zari or dyed yarn in
border, cross border, Pallavand also for Buttas in body of the saree.16 For to make small designs, the
Jaquardslift the required threads in the warp and the Butta Design is laced in the body of the saree with extra
weft by hand. In Kuthampully and its near by places, the technique of lace weaving also practices. The
Kuthampully hand woven sarees are popular for its intricate designs woven in the [Link] all, the designs
appear very prominently in both side borders.
Kasavudoudle dhoti, Set Mund and Veshti, Set Saree etc. are the traditional attires produced in the
Kuthampully cluster. Now the weavers of this cluster include some modern way of weaving techniques into
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International Journal of Early Childhood Special Education (INT-JECS)
ISSN: 1308-5581 Vol 14, Issue 03 2022
their traditional setups. Sarees with latest trends, mural paintings, sarees with coloured borders, hand
embroidery etc. available from this cluster. The collection of Kuthampully Saree conveys elegance and artistic
characters. Behind all these glory and popularity, lies history and cultural legacy which describes its evolution
itself. The fitness of intricate designs, the sheen of fine craftmanship, the bright yet elegant simplicity of colours
and the beautiful texture of fabric raises Kuthampully saree to its glory.
In June 2012, the Government of Kerala has allocated Rs 1 crore for the exercise and promotion of
indigenous handloom products. Based on the uniqueness of products, Kuthampully sarees also have been
choosen for its branding scheme. On 13th July 2009, Kuthampully Sarees got Geographical Indication Tag with
Geographical Indication Number 179 and the Certificate Number was 127 in the 25th class of category17.
4. CONCLUSION
Kuthampullyhandloom saree had 500 years of history in the art of weaving. The idea of creativity, intricacy, and
quality acquired by the handloom products is exclusive and beyond the scope of modern machines. The
Kuthampully Sarees are greatly influenced in the life of the people of Kerala, especially in South Kerala. From
the time immemorial, the entire cloth requirement of the Cochin Royal family is woven by Devangarswith their
excellence artistry. The textile cluster of Kuthampully is as old as the history of the Cochin dynasty in Kerala
and stands for the generational legacy in the art weaving.
5. NOTES AND REFERENCES
1. Trvancore-Cochin Administration Report 1952-53, The Government Press, Thiruvananthapuram, 1954,
p.73.
2. [Link] Menon, The Cochin State Manual, State Editor, Kerala Gazetteers, Government of Kerala,
Thiruvananthapuram, 1995, p.343.
3. [Link] Menon, Kerala District Gazatters,The Government Press, Thiruvananthapuram, 1962, p.388.
4. T.K. Velupillai, Travancore State Manual, [Link], The Government of Kerala, Thiruvananthapuram,
1996, p.20.
5. V. NagamAiya, The Travancore State Manual,[Link], Kerala Gazetteers Department,
Thiruvananthapuram, 1999, p.50.
6. Francis Buchanan, A Journey From Madras through the Countries of Mysore, Canara and Malabar,
[Link], Asian Educational Services, New Delhi,1999, p.360.
7. ibid.,p.362
8. Study of Textile Markets in Kerala State ( Trivandrun and Kozhikode), Market Research Division,
Textile Committee, Ministry of Committee, Bombay, 1966.
9. [Link] Krishna Iyer, The Tribes and Castes of Cochin, [Link], Cosmo Publications, New Delhi,
1981, p.18.
10. Edgard Thurston, Castes and Tribes in Southern India, [Link], Government Press, Madras, 1909,
pp.154-155.
11. P.M. Thomas(Ed), Industrial Kerala- A Brief Survey of Industry, Commerce, and Economics, Great
India Concern, Thrissur, 1951, p.11.
12. Vijaya Ramaswamy, The Song of the Loom:Weaver folk Traditions in South India, Primus Books,
Delhi, 2013, p.52.
13. ibid., p.57
14. The Times of India, Kerala Handloom to get International Branding, 10thJune,2012.
15. The Times of India,Kuthampully Sarees get an IP address, Weave History, 1st September 2011.
16. P. BhaskaranUnni, PathonpathamNoottandileKeralam (Malayalam), Kerala Sahitya Academy, Trissur,
1988, p.27.
17. Geographical Indication Registry Certificate, Government of India, 4th August 2010.
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