Transcript - Interaction and Intervention

We draw attention here to the two main design movements of the 20th century - The Bauhaus and Viswakarma on Indian textiles. Designed through preloom and post loom techniques (rather than loom construction) - the use of tie and dye, resist dyeing and hand painting are the focus here.

The Telia Rumal was originally produced in Chirala as head gear for fishermen and Arab travellers. Chirala’s proximity to the sea enabled exports to Africa and Arabia, where it was used to make keffiyehs and turbans. The designs were basic - and recognisable to the extent that patterning could be traced back to maker.In 1950 that Kamaladevi Chattopadhyay, then the chairperson of the All India Handicrafts Board, convinced the weavers to translate the Telia designs into sarees. Production was limited. It was only made popular by the success of the Vishwakarma exhibitions that sealed the transition from rumal into a saree. Mathematically engineered, this saree has been woven in Chirala in the double ikat technique with precision paid to the intersection of minor checks central to each floral motif.

The Sikalnayakampet Saree was conceived to keep alive a vernacular art practice during the Vishwakarma exhibitions. Used exclusively as temple hangings and canopies in Sikalnayakampet, Tamilnadu these temple textiles were produced using specially ground dyes from the region and painted with brushes creating fine sweeping lines. Using elements of the Bauhaus - with no ornamentation, the geometric forms in this particular saree , emphasises on form following function, as the saree may be worn with both ends serving as the pala - further explores aspects of creativity.