CONTEMPORISING SCULPTURAL DESIGNS FROM TADIPATRI TEMPLE ON TEXTILES THROUGH TECHNIQUES OF WEAVING AND PAINTING
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Date
2022-08-23
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guntur
Abstract
Tadipatri temples, the historical constructions from Vijayanagara empire had some excellent stone carvings on them. The two Hindu temples of Tadipatri, Bugga Ramalingeswara Swamy and Chintala Venkataramana Swamy temple are enriched with stone sculptural wonders of historical significance. Every part of the temple is carved with delicate and beautiful carvings of gods, goddess, dancers, animal, floral and other puranic scenes from Ramayana and Mahabharata. Inspired by the stone carvings, different sculptural designs from these stone carvings of the temple were collected and developed into designs suitable for application on textiles in terms of structural and decorative designs on sarees and stoles.
Designs from the site location were collected in the form of photographs which consisted of animal, floral, birds, creepers and some epic scenes. The collected photographs were developed with suitable software CorelDRAW and developed them suitable for textile application as woven and painted motifs and designs.
Research design was framed for execution of the work in a sequential manner from design to product development. Relevant questionnaires were developed for the execution process for expert‟s and consumer‟s opinion and the inputs formed a major source of information to implement and proceed with the work. Questionnaire was pretested to remove any uncertainty or add extra information as felt by the experts/consumers. Appropriate software was used for design development suitable for textiles. It was planned to design sarees and stoles with woven and painted designs.
Of 200 designs collected as photographs from the temples, 71 were developed in CorelDRAW for the purpose of selection. From these 71 motifs/designs, a total of 50 which includes motifs and borders were shown to experts for their choice of best 5 designs from each category. All developed motifs/border designs were consolidated into a design catalogue. This aids the future researchers to access for their development besides being useful to the weavers in developing niche woven products.
A total of 50 designs were selected from more than 200 collected photographs. These designs were divided under two sections as 23 motifs and 27 borders and were numbered accordingly. All designs were evaluated by panel of 50 judges using a
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questionnaire for their preference in sarees and stoles. Experts opinion was sought for selecting the motifs and borders relevant to sarees and stoles.
The overall mean scores obtained by the designs was calculated and the top scored motifs and borders were selected which had a mean average of 4 and above. The top scored motifs and borders were selected for further development. Based on this, 6 motifs and 4 borders were selected. The selected motif numbers were M22, M5, M10, M18, M20, M15 and were ranked as I, II, III, IV, V and VI respectively. The selected border numbers were B7, B27, B13, B3 and were ranked as I, II, III and IV respectively.
The selected motifs and border designs were checked on preferential basis for suitability as woven designs on sarees & stoles and painting designs on sarees & stoles by consumers. Results indicated that motifs M5, M10, and border design B3, B7 and B13 were preferred for weaving saree designs. Stoles with woven motif or border was not opted by the consumers. The motifs and border designs selected for painting sarees and painting stoles are motif no. M15, M18, M20, M22 and border no. B27. The final selected motifs and borders were shown in different placements and colourways suitable for sarees and stoles for both weaving and painting.
Each design was shown in 4 different colourways and 5 different placements along with zari as the fifth choice for woven products, while 4 different colourways and 5 placements were done for each painted saree and stole. A total of 25 woven product designs with 25 sarees and 50 painted product designs with 25 sarees and 25 stoles were developed. All product designs were assessed by panel of judges for their preferences and the best 5 designs for weaving sarees, 5 designs each for painting sarees and painting stoles were selected. All 5 woven sarees were selected in which zari was shown in the design.
Among the five woven saree designs, border B7 was highly preferred. The next in choice was sarees with B3 and motif M5 followed by sarees with M10 and M13 motif. In painted sarees, saree with M18 motif received higher acceptance followed by B27 and M22. The next order of preference was seen for saree with M20 and the last was M15. In case of stoles it was M18 and M15 with same preference followed by M22 motif designed stole. Stoles with border B27 and motif M20 received the same preference.
Body of the sarees were woven with 80s count cotton in warp direction and 20/22 denier silk in weft direction and saree borders 100 per cent silk yarn with warp in 20/22 denier and in weft 20/20 denier with developed motifs/border woven in half fine zari thread. All woven materials were sourced from Desaipeta of Chirala town located in Prakasam district. Based on consumer choice, fabrics used for painting sarees were hundred percent cotton, polyester crepe, and georgette and stoles in pure Mangalagiri cotton in different shades procured from Guntur and Mangalagiri towns respectively.
Designs selected for weaving were converted into woven designs using „Paintshop Pro 9.0‟ software and cards for jacquard were punched on the automatic punching machine. Weaving was done in Chirala town on pit loom with jacquard attachment for weaving designs and catch cord mechanism to join border to the body of the saree in „Kuppadam‟ style. Four jacquards were used on the loom to design saree border, pallu and blouse design along with attachment of border to body of the saree. As many as 500 punched cards were used for each saree that was woven. Painting motifs and designs were enlarged and traced on materials. Hand painting was done with various colours and different painting strokes.
The final developed products through techniques of weaving and painting were assessed by panel of 50 judges for consumer evaluation on different parameters. It
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consisted of 11 parameters for woven products and 12 parameters for painted products. Almost 10 parameters used for evaluating woven products were rated to be in the „excellent‟ category. The final results of consumer evaluation showed that all the developed woven and painted products had „excellent‟ ranking by higher percentage of consumers. The cost of woven sarees, painted sarees and painted stoles were considered as appropriate by a greater number of consumers.
When overall preference of developed products was considered, it was found that as per parameters colours combination, quality and trend, woven sarees were considered while parameters price and trend are considered, painted products were favoured by the consumers. All the consumers agreed that all products developed were trendy.
The collected source of designs helped in adding new set of designs besides preserving culture and traditional designs from temples and was well appreciated by the consumers. Thus, it can be said that the contemporising of sculptural designs of Tadipatri temples were better implemented on sarees and stoles through techniques of weaving and painting.
Description
CONTEMPORISING SCULPTURAL DESIGNS FROM TADIPATRI TEMPLE ON TEXTILES THROUGH TECHNIQUES OF WEAVING AND PAINTING