Historian Meenakshi Devaraj and textile specialist Dr Sridevi Seshabhattar collaborate to save the dying art of sikku kolam. (Supplied)
Until five years ago, historian Meenakshi Devaraj’s knowledge and application of kolam was limited to the four pulli kolam. But as someone inquisitive about local culture and history, Devaraj began researching the chronology of kolams in Tamil Nadu. To her dismay, she found that the sikku kolam is a dying art form.
“People are getting more attracted to the rangoli because it is colourful and easy to draw. It doesn’t have complicated twists and curves like the sikku kolam,” she says.
Following her investigation, all she needed was a purpose and platform. Soon, Devaraj started developing image-based sikku kolam patterns in different formats — on coffee mugs, Golu dolls, and lamps etc.
“Then, I started a series during Margazhi for all 30 pasurams. I did one concept-based sikku kolam for each pasuram,” she shares.
In the last three years, she has accomplished 90 kolams. But that wasn’t fulfilling enough. So now Devaraj is determined to lunge her creative skills and love for history to preserve the art of sikku kolam.
First draft of the screen. (Supplied)
With a strong intent and prayer to Andal, Devaraj devised the way ahead in August, this year. She chose to take the sikku kolam pattern on a saree.
While kolam prints on sarees are fashionable these days, Devaraj was convinced and confident that her unique kolam designs would help in the purpose of preservation.
But, the work had to be achieved with someone who understood the history of kolams and Thiruppavai to recreate what Devaraj had done.
“More than 30 kolams had to be imprinted on the saree,” she adds.
Man proposes, God disposes may be a frayed expression but Devaraj lived this maxim when she was introduced to Dr Sridevi Seshabhattar, a Hyderabad-based textile specialist, in August.
For Seshabhattar, a Telugu Iyengar, meeting Devaraj was “destined.”
“I understand Thiruppavai, pasuram and Dhanur masam. So when she approached me, everything came into perspective,” says Seshabhattar, who pursued her BTech in Textile Technology from Osmania University in Hyderabad.
Dividing the design into multiple screens. (Supplied)
Of the 90 kolams, Devaraj chose the easiest 30 that could be done on the saree. In the initial stages, she drew them on paper and sent them to Seshabhattar, who then put them on a screen.
For Seshabhattar, the primary challenge was to recreate the 30 drawings.
“Meenakshi is extremely creative. I had to ensure I retained the authenticity since most of the images were drawings on the floor, which appeared slanted in the photographs,” she shares.
Seshabhattar also had the responsibility to ensure that the kolams did not look like print. “If it did, it would lose the essence of the hand-drawn pattern,” she points out.
The first step was to place everything without actually tracing it, and without converting it into a mechanical design or a Vector.
The second challenge was conversion, says Seshabhattar, who also runs A Stitch in Time, a Hyderabad-based brand that works with about 250 artisans across Indian subcontinent towards customising Indian ethnic wear.
The duo engaged in several discussions to understand if the designs should be handprinted, printed or embroidered so that they could be replicated for others.
Embroidery would take a year, hand-painting would involve a lot of acrylic, and block printing was too tedious. The ideal option was screen printing. Three to four screens were designed.
In October 2023, they completed the first version of all the kolams. But, the screen, the size, the resolution, etc. had to be redone to ensure the thickness was maintained.
Beyond this, conveying the technicalities of why the centrepiece had to be 18 inches etc. was lost in translation during the screen printing as the print vendor was only familiar with Hindi.
The effort birthed a glorious blue Kanjivaram saree, the pallu of which adorns 30 pasuram kolams in muted gold outlines. In the centre of the framework is the 30th pasuram with Thiruppavai written in Tamil script.
Meenakshi Devaraj in the final version of the saree she designed to preserve the dying art of sikku kolam. (Supplied)
“Devaraj was extremely patient in the process, and gave me complete artistic liberty,” shares Seshabhattar, who also holds a PhD degree in Material Science from North Carolina University, US.
According to the initial plan, Devaraj’s design had Andal on the border of the saree. However, weavers pointed out that since the border would be draped around the legs, having Andal there would be disrespectful. So, she chose the next best plan.
“Parrots. Since they are close to Andal,” shares Devaraj.
The original design of Andal on the border was moved to the four sides of the framework of the pallu.
“I chose Kanjivaram because I wanted to preserve it and so, I didn’t go for any simple weave,” adds Devaraj.
The duo were keen on the colour blue to present a resplendent look. The green blouse boasts Andal’s motif at the back, while both the sleeves are embellished with the parrot print, informs Devaraj.
While the original deadline was to complete the works by the end of October, the saree arrived only two days after the month of Marghazi commenced.
Devaraj considers this as the Universe’s response to her love for Margazhi season.
For Dr Sridevi Seshabhattar, the entire experience was destined. (Supplied)
“Beyond spirituality, Margazhi is the celebration of nature. The need to recognise the greatness of nature is much in need now. Only when you appreciate it, you will know to preserve it, only when you preserve it, nature will do good to you,” she notes.
Thiruppavai, she informs, is all about nature. It depicts the early morning glory, dew drops, chirping of birds, blooming of lotus, etc., Devaraj shares.
For Seshabhattar, the entire experience is a marriage of serendipity and her love for Krishna.
“While drawing Narasimhar I became emotional because I grew up listening to all the devotional stories. And here I was with an opportunity to translate it and present it to someone during Dhanur masam,” says Seshabhattar, who grew up watching her paternal grandparents follow Thiruppavai during Dhanur masam. The first verse that she learned from the text was the 28th verse which is typically recited for Mangala aarti, she recalls.
Her in-laws, too, she says, observe the Dhanur Masam. Everyone wakes up at 4 am and does the pasuram of the day. Throughout the month, Seshabhattar is draped in a nine-yard saree.
For the duo, the birth of Andal saree has been a moment of internalising devotion and spirituality.
“It’s nice to be known as Dr Sridevi Seshabhattar. But it’s nice to be known as someone who understands Dravidian culture,” she signs off.
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