ADOPTION AND DEVELOPMENT OF DESIGNS FROM SCULPTURES OF AMARAVATHI (ANDHRA PRADESH) ON TEXTILES
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Date
2018
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Acharya N.G. Ranga Agricultural University
Abstract
Amaravathi sculpture, flourished in the Andhra region of south-eastern India from about the 2nd century BC to the end of the 3rd century AD, during the rule of the Sātavāhana dynasty. Amaravati was a seat of Buddhism prior to the rise of Satavahanas, and a stupa and monastery was built there during the reign of Emperor Ashoka (269-232 BC) under Mauryan empire. The great stupa or Mahachaitya at Amaravati was one of the biggest in Andhra Pradesh done in Amaravati School of art and sculpture during the Satavahna period in 3rd century BCE. The sculptural wealth seen adorned the Mahacahitya is known for its superb reliefs, which are among the world’s finest examples of narrative sculpture. Most of the Amaravati sculptures are made of limestone. Today, there are only a few slabs of the stone left in Amaravati. These structures are now replicated with cement. It is from these replicated sculptural pieces and information from net, different pictures of Buddhist sculpture were collected.
Out of many pictures collected, a total of 40 sculptural designs consisting of animal, birds, floral, creepers were identified. From the selected 40 motifs, twenty were selected for sarees and another 20 for dress materials. All 40 developed motifs were number 1-20 for sarees and 1-20 for dress materials and were placed for the selection of five best each for dress material and sarees. A panel of 30 judges critically evaluated the motifs using a questionnaire developed to identify the best five. Judges evaluation was analysed by using frequency and percentages and final 10 motifs were selected.
Selected motifs were modified using CorelDRAW X5 suitable for dress material and sarees either using a part of the motif or whole of the motif.
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NAME
:
B. SUVARNA
ID. NO.
:
GHM/2016/01
TITLE OF THE THESIS
:
ADOPTION AND DEVELOPMENT OF DESIGNS FROM SCULPTURES OF AMARAVATHI (Andhra Pradesh) ON TEXTILES
DEGREE TO WHICH IT IS SUBMITTED
:
MASTER OF SCIENCE IN HOME SCIENCE
MAJOR FIELD
:
TEXTILES AND APPAREL DESIGNING
FACULTY
:
HOME SCIENCE
MAJOR ADVISOR
:
DR. (MRS.) D. ANITHA
UNIVERSITY
:
ACHARYA N. G. RANGA AGRICULTURAL UNIVERSITY
YEAR OF SUBMISSION
:
2018
As kurti is a favourite of the adolescents, motifs were modified to suit the kurti material. Modified motifs were retained for dress material along with additional design for neck region or sleeve border to enhance the overall look of the kurti. In case of sarees, the modified motifs were further developed into designs as per the present trend with borders, pallu and butis in the saree.
Each motif/design was rendered in three colour ways for both kurti material and saree. Motif/design was shown in three different placements on both sarees and dress materials. For developing colour ways, colours that are used in Kalamkari painting of Srikalahasti were used with the help of CorelDRAW software. All the developed designs were evaluated by a panel of thirty judges for selection of one top preferred colourway and placement for each motif/design for both sarees and for dress materials.
Fabric of 100 per cent plain weave cotton in 90s X 65s count for sarees and 60s X 40s count for dress materials was sourced from Vijayawads, to render Kalamkari painting with sculptural motifs and designs. Sarees and dress materials were treated and painted using Kalamkari technique as per the preferred placements and colour ways using natural colours at Sri Kalahasti of Chittoor district. The cost of each saris was determined by adding the cost of fabric, painting material, and labour involved in tracing, painting and finishing.
The final products-Kalamkari painted saris and dress materials were assessed for consumer’s acceptability on 11 different parameters. The selected five dress materials motifs numbers were 19, 20, 5, 2 and 1 were ranked I, II, III, IV and V respectively. Then, among the other 20 motifs for sarees, selected five motifs numbers were 2, 3, 4, 7 and 11 which were ranked as I, II, III, IV and V respectively. Consumer evaluation revealed that all the dress materials and sarees painted with Kalamkari technique were found to be very appealing and accepted on all the parameters of assessment. The cost of the dress materials and saris was rated appropriate by all the consumers. Thus, Amaravathi sculptural motifs adapted for development of designs for dress materials and saris have broaden the design base for textile products and could cater to the demands of high-end consumers through diversity of designs and unique technique of Kalamkari.
Description
D5757
Keywords
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