Friday, February 17, 2017

How Sungudi sarees are made

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Woven with the tropical climate in mind and meticulously knotted to give a unique kaleidoscopic effect to each saree the Sungudi of The Temple City, Madurai  is generally in great demand among the women folk of South India. The saree is manufactured in the traditional tie or knot dying process. The knots made on the saree are generally evenly spaced with a continuous string running amidst all the knots. Thereafter the saree is dyed with the appropriate colour. Subsequently when the knots are untied the knotted portions remain uncoloured as rings.

It is believed that the art of making the Sungudi saree came into Madurai during the Nayak dynasty that ruled Madurai around the 16th  century onwards. The art of making the Sungudi sarees is time immemorial and came from the weavers. In other words, the Saurashtrian community, who brought it along with them as they migrated into Southern India, perfected the art and gave it the unique blend and style that got it to be distinguished as the Madurai Sungudi Saree.  Thus the art is seen to be much older and was known to be practiced since ancient times. And the word 'Sungudi', a Saurashtrian word is derived from the Sanskrit word 'sunnam' meaning 'round'. Thus Sungudi literally meant ringed dots, which are spread throughout the fabric of the Saree and forms a distinct and special feature. 

The manufacturing process of the Madurai Sungudi Saree is generally classifiable as a cottage industry.  The work commences from the already woven cotton saree that is unbleached. Hence it would be appropriate to say that this is the perfect raw material to which a value-add is made by means of the tie - dyeing. The sarees used are woven using 80's or 100's - combed / carded yarn for warp and 80's - 100's combed/ carded yarn for weft. Pencil markers are used to make grids on the fabric. Cotton yarn is used for tying the knots. Effectively, it takes 10 to 15 days to make a traditional Sungudi saree.  Also, the colours used are mainly vegetable dyes. And the water of the sacred River Vaigai, used in the dying process, is believed to possess the unique quality of impacting the brightness of the attractive colours used on the saree making it hold immeasurable worth.



The cloth is purchased from a power-loom generally and from a handloom when it’s specified by order only. This cloth is called the ‘Grey Material’, however turns white from grey after washing. The cloth is washed to remove the starch from it. And the cloth is bleached before the technique is started. After which, the designs are made on the cloth after washing and drying the cloth are done by themselves. They combine the traditional designs with contemporary ones also depending on the designs in the market or seasons/ festive occasions.

 To make the design it is first marked on the cloth. The designs are first made on paper. The cloth is folded into two halves for knotting the cloth. Approximately around 10,000 to 15,000 knots should be made. This is called as ‘Kai Kattu Sungudi‘ since the designs are made by hand-knotting.
The distance from the pallu to the sari is generally 5 inches and it is 2 inches from the sides. 2 inches gap is mainly to separate the body and the border. The border is measured and marked and squares are drawn within the border to graphically mark the dots to create the desired design. It takes an hour for making the complete grid on the sari. The marking is done only on pure cotton loom.
It is entirely hand crafted hence the design is unique to each saree produced. Thus the design and pattern varies  from saree to saree and never is an instance where a a saree has matched another in resemblance.

The marketing of Sungudi sari is limited only to the south because of less awareness of Sungudi as a craft amongst people which makes Sungudi almost extinct in the north. The original tie and dye Sungudi was quite popular and was marketed to most of the South India. As it was a tedious process and less availability of workers made Sungudi lose its originality due to which it was popular. Gradually Sungudi kept on losing its market which resulted in an effort by the people to change the technique of tie and dye to screen printing and batik, which is less tedious as well as quick and gives the same kind of effect. It was after this step Sungudi came back into the market in the form of saris, suit materials, home furnishings.

 Today most of the marketing of the Sungudi saris and products are done in local markets, in and around Madurai. During summer season, the sales reaches its peak since the cotton material and its economic range makes it the choice of a large sector of consumers. Due to its affordable prices it is very much bought by the people. During summer the saris are available outside Madurai, in other parts of Tamil Nadu. Sungudi is also supplied to other states of India, mostly in the South.
Sungudi is an explicit art that survives in the land of temples down South India. Problems faced by this craft and people involved can shortly be the reason for its end which is nothing but a loss to the country’s culture. We are bound to get ourselves introduced to the craft, understand its existence, importance and scope for growth.

Contact : Mr A.K Ramesh 9443034187

 Documented by: R. Aarthi

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