Epigraphy or incision of text on a hard surface like clay tablet,metal plate or a rock was a common practice for keeping literary records in all popular civilisations from Indus valley in the east to the Mayan civilisation in the west. Ever since the beginning of the human history, literary sources are considered to be the most valuable and reliable sources of information. Although in Indian subcontinent, there are evidences of written manuscripts which dates back to 1000BCE, but some archeologist believes that the languages used in these manuscripts are derivates of an older, much simpler parent language. While the ancient manuscripts from Indus valley is still to be decoded properly, the two oldest recognisable language from Indian subcontinent are Sanskrit and Tamil, written in various scripts like Dravidian, Devanagari, Brahmi and Prakrit. While Sanskrit was dominant in the North- Western part of the Indian subcontinent, Tamil dominated the South-Eastern part of it. Tamil is the oldest subcontinental language which is spoken till date. It has evidences to be found at around 300 BCE.

During the Pandyan rule of around 1200 years, the Thamizh script had changed drastically and is still going through a lot of of changes. The city of Madurai, which has long been the Pandyan capital is the best place to visit, to know the evolution of Tamil script. The inscription at Samanar malai has from 4th century AD in “vattezhuthu” has Jain aesthetic where as the inscription on the walls of eastern gate of Meenakshiamman temple has inscriptions which is from 12th century AD is quite similar to modern Tamil.
These Tamil epigraphs showed us how a script can play an major role in evolving a language over a course of time. These manuscripts also made us realise how important the art and skill of epigraphy was. Epigraphy is currently no longer practiced but this skill based art is the reason why we know what we know about our history.

Documented by Kritarth Ghosh

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.




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