Dezyne E'cole College. www.dezyneecole.com

1. Saree Design
Project
Rishita Paharya
B.Sc.Fashion Design 2nd YearDiploma
NSQF Level 6 ofNSDC
Saree Design
Project

2. Project Report
On
Saree Design
At
Dezyne E'cole College
Submitted to
Dezyne E'cole College
Towards
Partial Fulfillment
Of 2nd year Fashion Design Diploma
NSQF Level 6 Of NSDC
By
Rishita Paharya
Project Report
On
Saree Design
At
Dezyne E'cole College
Submitted to
Dezyne E'cole College
Towards
Partial Fulfillment
Of 2nd year Fashion Design Diploma
NSQF Level 6 Of NSDC
By
Rishita Paharya
www.dezyneecole.com
2017-2018

3. The project of Ms. RISHITA PAHARYA Student of 2nd year Fashion Design with two year Women’s
Wear Fashion Diploma Programme has been Checked and Graded As - _____________
_____________________________________
Thanks
Principal
(Signature & Seal)
The project of Ms. RISHITA PAHARYA Student of 2nd year Fashion Design with two year Women’s
Wear Fashion Diploma Programme has been Checked and Graded As - _____________
_____________________________________
Thanks
Principal
(Signature & Seal)

4. I am deeply grateful to all those whose guidance has been of tremendous value and enabled me to
complete this project successfully.
I am thankful to my mentors of Dezyne E’cole who gave me an opportunity to show my abilities by
working on this project on the esteemorganization.
Acknowledgement
I am deeply grateful to all those whose guidance has been of tremendous value and enabled me to
complete this project successfully.
I am thankful to my mentors of Dezyne E’cole who gave me an opportunity to show my abilities by
working on this project on the esteemorganization.
RISHITAPAHARYA
2nd Year Diploma in FashionTechnology

5. In this project I studied about the Indian traditional motifs and the Central Asian motifs and their
significance. I have also studied about the various types of sarees worn in India and the various types of
border repeats. I have done exercise on repeat and also created designs using lines and shapes. I have done
motif simplification using the papyrus flower . And created sarees with different border repeats. You can see
my working in my subsequent pages.
Synopsis
In this project I studied about the Indian traditional motifs and the Central Asian motifs and their
significance. I have also studied about the various types of sarees worn in India and the various types of
border repeats. I have done exercise on repeat and also created designs using lines and shapes. I have done
motif simplification using the papyrus flower . And created sarees with different border repeats. You can see
my working in my subsequent pages.

6. • History and function of motifs
• Central Asian motifs
• Types of motifs
• Various types of sarees in India
• Motif Repetition
• Designs Created
• Border repeat
• Motif Collage
• Papyrus flower
• Sarees
Contents • History and function of motifs
• Central Asian motifs
• Types of motifs
• Various types of sarees in India
• Motif Repetition
• Designs Created
• Border repeat
• Motif Collage
• Papyrus flower
• Sarees

7. A motif’s past meanings and history are usually discovered from sources that have nothing to do directly
with textiles. Natural surroundings, religion, achievements of an individual, are usually the driving force
behind the human psyche that leads to the development of particularmotifs.
Motifs made on textiles with printing and dyeing may serve as a protective function i.e. guarding the wearer
against the evil eye and other misfortunes.
Another function of motif may relate to the fertility- ability to produce off springs and thus survival. In
agriculture communities, fertility and wealth are closely linked, as the harvest is directly responsible for the
communities well being.
Many motifs have religious communications like the kalash motif, lotus, swastik motif, rudraksh, Islamic
motifs of mihrab and the moon andstar.
HistoryandFunctionof
Motifs
A motif’s past meanings and history are usually discovered from sources that have nothing to do directly
with textiles. Natural surroundings, religion, achievements of an individual, are usually the driving force
behind the human psyche that leads to the development of particularmotifs.
Motifs made on textiles with printing and dyeing may serve as a protective function i.e. guarding the wearer
against the evil eye and other misfortunes.
Another function of motif may relate to the fertility- ability to produce off springs and thus survival. In
agriculture communities, fertility and wealth are closely linked, as the harvest is directly responsible for the
communities well being.
Many motifs have religious communications like the kalash motif, lotus, swastik motif, rudraksh, Islamic
motifs of mihrab and the moon andstar.

8. Shamanism
The prime example of decoration endowing the wearer with the magical
force of the creature it symbolizes in that shaman. Originating in the hunting
societies of the Palaeolithic Era, shaman is now lingers in the north arctic.
Korea, pockets of south-east, asia, aboriginal Australia, africaAmong the
ainu and American Indian tribes and in South America.That shaman is
identified by his costume and it’s decoration. The wearing of antlers to
associate him with the animal world and invest him with its power and spirit
is common, As is the hanging on his vestments of all manner of symbolic
accoutrements amulets which in Islamic countries contain Koranic verses
bells to arouse the soul, trophies of the hunt, towels, with stylised antler
motifs embroidered in red. the embroidered decoration on his clothing is in
sacred white reindeer thread and is often of skeletal patterning – – ribs and
bones – symbolising is the figurative death and subsequent rebirth. Mystical
animals found in archaic embroidery are thoselinked with shamanism such
as Jaguar, an animal who hunts at night and who is in the Americas was the
shaman’s familiar
The prime example of decoration endowing the wearer with the magical
force of the creature it symbolizes in that shaman. Originating in the hunting
societies of the Palaeolithic Era, shaman is now lingers in the north arctic.
Korea, pockets of south-east, asia, aboriginal Australia, africaAmong the
ainu and American Indian tribes and in South America.That shaman is
identified by his costume and it’s decoration. The wearing of antlers to
associate him with the animal world and invest him with its power and spirit
is common, As is the hanging on his vestments of all manner of symbolic
accoutrements amulets which in Islamic countries contain Koranic verses
bells to arouse the soul, trophies of the hunt, towels, with stylised antler
motifs embroidered in red. the embroidered decoration on his clothing is in
sacred white reindeer thread and is often of skeletal patterning – – ribs and
bones – symbolising is the figurative death and subsequent rebirth. Mystical
animals found in archaic embroidery are thoselinked with shamanism such
as Jaguar, an animal who hunts at night and who is in the Americas was the
shaman’s familiar

9. Central Asian motifs and their significance
The majorities of textiles are always have been made by women. Natural forms such as flowers, stars, or as
article from every day home life May suggest the wish of a weaver or embroidered put into the work some
meaningful element of her environment. Over centuries many Central Asian motor motive have been
incorporated in the Indianart.

10. •Persian motifs off Paisley, tree of life and rounded containing bird or beast is commonly used on various
Indian textiles.
•Buddhist motifs such as the endless Thread of Fortune and the Lotus are the favourite among the weavers
and embroiders.
•Islamic patterns incorporates free-flowing floral arabesque and calligraphy into disciplined, mathematically
inspired, geometric self generating designs – language of order and unity. Symbolic shapes connected with
Muslim beliefs such as mihrab (arch) , and the hand of Fatima have created caved a niche in the Indian art.
•The bird, a common motifs is understood to meditate between this world and the world of spirit. The cock,
usually stylised as a head and comb, represents the beginning of the day and dispels the spirits of darkness.
Double handed birds of prey example Eagles signify power and mobility amongst the turkish tribes.
•The ancient cult of worship of the sun and fire as life-giving forces which is widespread in the region and
give rise to a variety of motifs such as solar disc and swastikas. Such motifs appear on phulkari and the ikkat
sarees of Orissa, Gujarat and Kantha embroidery.
•In central Asia, Pomegranate, cowrie shells and Tulip flowers are used as a symbol of fertility. Cowrie shells
are commonly used in the Gujarat and Rajasthan embroidery and are also seen embroidered on phulkaris .
•Persian motifs off Paisley, tree of life and rounded containing bird or beast is commonly used on various
Indian textiles.
•Buddhist motifs such as the endless Thread of Fortune and the Lotus are the favourite among the weavers
and embroiders.
•Islamic patterns incorporates free-flowing floral arabesque and calligraphy into disciplined, mathematically
inspired, geometric self generating designs – language of order and unity. Symbolic shapes connected with
Muslim beliefs such as mihrab (arch) , and the hand of Fatima have created caved a niche in the Indian art.
•The bird, a common motifs is understood to meditate between this world and the world of spirit. The cock,
usually stylised as a head and comb, represents the beginning of the day and dispels the spirits of darkness.
Double handed birds of prey example Eagles signify power and mobility amongst the turkish tribes.
•The ancient cult of worship of the sun and fire as life-giving forces which is widespread in the region and
give rise to a variety of motifs such as solar disc and swastikas. Such motifs appear on phulkari and the ikkat
sarees of Orissa, Gujarat and Kantha embroidery.
•In central Asia, Pomegranate, cowrie shells and Tulip flowers are used as a symbol of fertility. Cowrie shells
are commonly used in the Gujarat and Rajasthan embroidery and are also seen embroidered on phulkaris .

11. •The tree of life, the “axes mundi” , ascends through the three Spheres, the roots springing from the
underworld, the trunk will rising through the Terrestrial world and the branches piercing the heavens. The
tree‘s seasonal cycle is associated symbolically that the universal cycle of birth, maturity, death and rebirth.
Teardrop, corn or the Paisley motifs depict the growing shoot of the tree of life and symbolises growth. The
tree of life is commonly seen in the kutch , phulkari and Kashmir embroideries and also in Kalamkari
painting and Sanganeri block paintings.
•.Mihrab the ‘arch’ is commonly woven or embroidered on the Islamic prayer mats called namazlyk. It
signifies the door way to the Almighty. This is also seen on the Darshan Dwar which are the religious
Phulkari.
•Horned and antlered animals were of vital importance to the lives of the primitive hunters who became
the nomadic pastoralists of Central Asia. The dangers of the hunt and its successful conclusion were
assured by rituals involving a head of antlers or horns which magically endowed the shaman with the spirit
of the hunted nature. Many stylized motifs are based on curved horns or branched antlers.
•As tribal identities developed in the Central Asia a particular motifs would be adopted as the tribal emblem
called gol. Gols are usually octagonal or diamond shaped medallious with complex infilling of symmetrical
patterns. A conquered tribe would be obliged to incorporate the gol of the tribe which was defeated.
•The tree of life, the “axes mundi” , ascends through the three Spheres, the roots springing from the
underworld, the trunk will rising through the Terrestrial world and the branches piercing the heavens. The
tree‘s seasonal cycle is associated symbolically that the universal cycle of birth, maturity, death and rebirth.
Teardrop, corn or the Paisley motifs depict the growing shoot of the tree of life and symbolises growth. The
tree of life is commonly seen in the kutch , phulkari and Kashmir embroideries and also in Kalamkari
painting and Sanganeri block paintings.
•.Mihrab the ‘arch’ is commonly woven or embroidered on the Islamic prayer mats called namazlyk. It
signifies the door way to the Almighty. This is also seen on the Darshan Dwar which are the religious
Phulkari.
•Horned and antlered animals were of vital importance to the lives of the primitive hunters who became
the nomadic pastoralists of Central Asia. The dangers of the hunt and its successful conclusion were
assured by rituals involving a head of antlers or horns which magically endowed the shaman with the spirit
of the hunted nature. Many stylized motifs are based on curved horns or branched antlers.
•As tribal identities developed in the Central Asia a particular motifs would be adopted as the tribal emblem
called gol. Gols are usually octagonal or diamond shaped medallious with complex infilling of symmetrical
patterns. A conquered tribe would be obliged to incorporate the gol of the tribe which was defeated.

12. •People of all faiths, Muslims, Buddhists or Nestorian Christians have deep rooted animistic beliefs and share
the concept of the amulet which safeguards the wearer or the household. Charms take many different forms,
but the triangle is the most common made of felt, it is hung on the doorway of the hut. The triangle signifies
trinity – the three fold nature of the universe in terms of mind, body and spirit.
•Decorative embroidery is also used as a protective element in itself forming symbolic patterns, it is worked
around the edges and openings of the garment i.e. the hems, pockets, necklines, through which the harmful
forces attack the body. Vulnerable areas like the front bodies, head and nape of the neck are dressed in
heavy embroidery. Shiny objects such as coins, metal disk, mirrors incorporated in the embroidery are
believed toavert the evil eye or reflect and hold its image thus absorbing the destructive powers.
•A flower of particular significance in Central Asia is a sign of coming of spring – the season known as
eulnek meaning the blossoming of the fields. The tulips bloom abundantly when the snow melts. As a
decorative motif tulip is symbolic of abundance, spring and fertility and is commonly embroiodered on the
Turkmen women’s gown or chyrpy and on the wall banging.
•People of all faiths, Muslims, Buddhists or Nestorian Christians have deep rooted animistic beliefs and share
the concept of the amulet which safeguards the wearer or the household. Charms take many different forms,
but the triangle is the most common made of felt, it is hung on the doorway of the hut. The triangle signifies
trinity – the three fold nature of the universe in terms of mind, body and spirit.
•Decorative embroidery is also used as a protective element in itself forming symbolic patterns, it is worked
around the edges and openings of the garment i.e. the hems, pockets, necklines, through which the harmful
forces attack the body. Vulnerable areas like the front bodies, head and nape of the neck are dressed in
heavy embroidery. Shiny objects such as coins, metal disk, mirrors incorporated in the embroidery are
believed toavert the evil eye or reflect and hold its image thus absorbing the destructive powers.
•A flower of particular significance in Central Asia is a sign of coming of spring – the season known as
eulnek meaning the blossoming of the fields. The tulips bloom abundantly when the snow melts. As a
decorative motif tulip is symbolic of abundance, spring and fertility and is commonly embroiodered on the
Turkmen women’s gown or chyrpy and on the wall banging.

13. Templemotif
The temple motif has different traditional names in different parts of India. In the north- east, West
Bengal and Bangladesh it was commonly called ‘daant’. In eastern Deccan, especially Orissa and
northern Andhra Pradesh, it is called a kumbb, kumbba or kumbbam.
Function
Kungri of Gujarat- protection against evil
eye Kumbba - it is the fertility symbol
Places
Temple motif is mainly used in Gujarat, West
Bengal, Bangladesh, Andhra Pradesh and
Orissa
Origin
Current evidences indicates that the temple motif is of
pre- Islamic, possibly tribal, origin adopted by caste
Hindus.
Use
The temple motif consists of large triangles found along
ethnic and tribal sari borders, as well as in the end
pieces of Dravidian and some central Deccansaris.
The temple motif has different traditional names in different parts of India. In the north- east, West
Bengal and Bangladesh it was commonly called ‘daant’. In eastern Deccan, especially Orissa and
northern Andhra Pradesh, it is called a kumbb, kumbba or kumbbam.
Function
Kungri of Gujarat- protection against evil
eye Kumbba - it is the fertility symbol
Places
Temple motif is mainly used in Gujarat, West
Bengal, Bangladesh, Andhra Pradesh and
Orissa
Origin
Current evidences indicates that the temple motif is of
pre- Islamic, possibly tribal, origin adopted by caste
Hindus.
Use
The temple motif consists of large triangles found along
ethnic and tribal sari borders, as well as in the end
pieces of Dravidian and some central Deccansaris.

14. : It is called ‘Morbangadi’in Maharashtrian language, ‘Mor’ in Hindi and ‘Nemali’ in Tamil.
Origin:
The peacock was painted on Indus Valley depicting tribal art; it was also found in
Mauryan Buddhist sculpture, Gupta- period artifacts, Mughal miniatures. The
peacock was found in the arts of most post-Indus cultures, indicating that it
remained a potent symbol. The peacock is now India’s nationalbird.
Textiles :
In all types of Indian textiles peacock is either printed
or embroidered on light background with dark colour
combinations.
Uses:
Mochi Embroidery and Kutch Embroidery of Gujarat,
Kancheevaram silk saree of Tamil Nadu, Paithani
saree of Maharashtra and Patola saree ofGujarat.
Symbol Of Motif :
The peacock has had several associations that at first
glance appear to be unrelated : immortality, love,
courtship, fertility, regal pomp, war and protection.
Peacockmotif
: It is called ‘Morbangadi’in Maharashtrian language, ‘Mor’ in Hindi and ‘Nemali’ in Tamil.
Origin:
The peacock was painted on Indus Valley depicting tribal art; it was also found in
Mauryan Buddhist sculpture, Gupta- period artifacts, Mughal miniatures. The
peacock was found in the arts of most post-Indus cultures, indicating that it
remained a potent symbol. The peacock is now India’s nationalbird.
Textiles :
In all types of Indian textiles peacock is either printed
or embroidered on light background with dark colour
combinations.
Uses:
Mochi Embroidery and Kutch Embroidery of Gujarat,
Kancheevaram silk saree of Tamil Nadu, Paithani
saree of Maharashtra and Patola saree ofGujarat.
Symbol Of Motif :
The peacock has had several associations that at first
glance appear to be unrelated : immortality, love,
courtship, fertility, regal pomp, war and protection.

15. Fishmotif
Origin:
The fish appears early in the archaeological record, and
is painted onto Early Indus Valley pottery as well as
carved into Mohenjo- Daro seals and plaques of the
mature Indus Valley civilization. Nevertheless, its
relationship with India folk and tribal art remainsstrong.
Textiles :
It is often depicted in textiles where fish form a major
part of the diet, as in Orissa, or where the Vaishnavism
is important. It is majorly found in Kanthakari of West
Bengal.
Symbol Of Motif :
Fish are potent fertility symbols throughout tribal and
caste Hindu India, indicating abundance of food, wealth
and children, as well as the generative powers of the
supernatural. The fish is also an avtaar of Lord Vishnu
who, as the Preserver, is associated with prosperity and
material comforts.
Origin:
The fish appears early in the archaeological record, and
is painted onto Early Indus Valley pottery as well as
carved into Mohenjo- Daro seals and plaques of the
mature Indus Valley civilization. Nevertheless, its
relationship with India folk and tribal art remainsstrong.
Textiles :
It is often depicted in textiles where fish form a major
part of the diet, as in Orissa, or where the Vaishnavism
is important. It is majorly found in Kanthakari of West
Bengal.
Symbol Of Motif :
Fish are potent fertility symbols throughout tribal and
caste Hindu India, indicating abundance of food, wealth
and children, as well as the generative powers of the
supernatural. The fish is also an avtaar of Lord Vishnu
who, as the Preserver, is associated with prosperity and
material comforts.

16. Origin:
The motif was found in Indus Valley pottery and on the wall paintings
atAjanta. In Buddhist illustrations, it represented spiritual purity. It was
also common in Indian art prior to Mughal times, but afterwards, it
disappeared. Its use in textiles is characterized by its highly stylized
forms as depicted in woven and embroidered textiles of southern
India.
Textiles :
This motif is found in some of the Tamil sarees and ethnicOrissa
Ikats.
Symbol Of Motif :
As it is associated with Goddess Saraswati, it is a symbol of divine
knowledge and creativity.
TheGooseandother water birdsmotif
Origin:
The motif was found in Indus Valley pottery and on the wall paintings
atAjanta. In Buddhist illustrations, it represented spiritual purity. It was
also common in Indian art prior to Mughal times, but afterwards, it
disappeared. Its use in textiles is characterized by its highly stylized
forms as depicted in woven and embroidered textiles of southern
India.
Textiles :
This motif is found in some of the Tamil sarees and ethnicOrissa
Ikats.
Symbol Of Motif :
As it is associated with Goddess Saraswati, it is a symbol of divine
knowledge and creativity.

17. Representations of the parrot do not have the historical and iconographic depth of those of the goose. It has not
depicted in ancient, classical or even medieval India architecture . This dearth of historical representation
suggests that it is a relatively recent addition to the traditional Indiantextile.
Textiles :
Motif of parrot is generally found in textiles
from West Bengal, Gujarat and Rajasthan
embroideries and resist textiles.
Symbol Of Motif :
Parrot Motif It is a symbol of courtship and
passion seen in Indian art mostly in company
of Krishna and Radha, Hinduism’s eternal
lovers
Parrotmotif
Representations of the parrot do not have the historical and iconographic depth of those of the goose. It has not
depicted in ancient, classical or even medieval India architecture . This dearth of historical representation
suggests that it is a relatively recent addition to the traditional Indiantextile.
Textiles :
Motif of parrot is generally found in textiles
from West Bengal, Gujarat and Rajasthan
embroideries and resist textiles.
Symbol Of Motif :
Parrot Motif It is a symbol of courtship and
passion seen in Indian art mostly in company
of Krishna and Radha, Hinduism’s eternal
lovers

18. Names In Different Languages : it is called ‘Vagh’ in Gujarati and ‘Gajah/Hathi’ in Hindilanguage.
Elephant Motif It is widely used motif in Indian
textiles. Elephant is regarded as the mount of Kings
in India. Elephant is a devastating weapon of war In
India,
Uses:
it is used in richly decorated form in their printed,
painted and embroidered textiles to depict war
scenes and royal extravaganza.
Textiles :
It is mostly used in Mochi Embroidery of Gujarat,
Ikat of Andhra Pradesh and Patola ofGujarat.
.
Symbol Of Motif :
. Elephant came to symbolize the God of Warriors.
It is a sign of wealth and power and influence
denoting royalty, inner strength and nobility.
Elephantmotif
Names In Different Languages : it is called ‘Vagh’ in Gujarati and ‘Gajah/Hathi’ in Hindilanguage.
Elephant Motif It is widely used motif in Indian
textiles. Elephant is regarded as the mount of Kings
in India. Elephant is a devastating weapon of war In
India,
Uses:
it is used in richly decorated form in their printed,
painted and embroidered textiles to depict war
scenes and royal extravaganza.
Textiles :
It is mostly used in Mochi Embroidery of Gujarat,
Ikat of Andhra Pradesh and Patola ofGujarat.
.
Symbol Of Motif :
. Elephant came to symbolize the God of Warriors.
It is a sign of wealth and power and influence
denoting royalty, inner strength and nobility.

19. The tortoise is the second incarnation of Vishnu, who
was both the Cosmic Tortoise upon which the universe
rests, and the foundation of the churning stick with which
Vishnu stirred the Cosmic Ocean that created the
universe.
Origin:
Tortoises are known to have been part of the late, Upper
Paleolithic diet, and they were depicted on Early Indus
Valley pottery, suggests they were already a noticeable
part of local life. During the Gupta period, when
Vaishnavism began to take recognizable shape, tortoise
amulets were made in the north-west.
Textiles :
Today, tortoise are traditionally woven in the
supplementary-warp bands of east Deccan sarees.
Symbol Of Motif :
The tortoise has associations with prosperity and the
creation wealth.
Tortoisemotif
The tortoise is the second incarnation of Vishnu, who
was both the Cosmic Tortoise upon which the universe
rests, and the foundation of the churning stick with which
Vishnu stirred the Cosmic Ocean that created the
universe.
Origin:
Tortoises are known to have been part of the late, Upper
Paleolithic diet, and they were depicted on Early Indus
Valley pottery, suggests they were already a noticeable
part of local life. During the Gupta period, when
Vaishnavism began to take recognizable shape, tortoise
amulets were made in the north-west.
Textiles :
Today, tortoise are traditionally woven in the
supplementary-warp bands of east Deccan sarees.
Symbol Of Motif :
The tortoise has associations with prosperity and the
creation wealth.

20. Shankha is a Sanskrit word used to denote a sleek
and smooth conch shell. It is believed that if the
Shankha is blown with skill, it can scare away evil
spirits and is described as a killer of germs and
enemies. The Conch or Shankh has remained as
integral part of Hindu socio-religious philosophy
since the mythological past. It is regarded as a
divine jewel always held by Lord Vishnu on his right
hand. The Shankh is part of Hindu aesthetics as a
permanent motif in the stone carvings and canvases
made by sculptors and artists of ancientdays.
Textiles :
This motif is majorly used in Phulkari of Punjab, Ikat
of Andhra Pradesh, Patola of Gujarat and Mochi
Embroidery of Gujarat.
Symbol Of Motif :
It is a symbol of fertility.
Conchmotif
Shankha is a Sanskrit word used to denote a sleek
and smooth conch shell. It is believed that if the
Shankha is blown with skill, it can scare away evil
spirits and is described as a killer of germs and
enemies. The Conch or Shankh has remained as
integral part of Hindu socio-religious philosophy
since the mythological past. It is regarded as a
divine jewel always held by Lord Vishnu on his right
hand. The Shankh is part of Hindu aesthetics as a
permanent motif in the stone carvings and canvases
made by sculptors and artists of ancientdays.
Textiles :
This motif is majorly used in Phulkari of Punjab, Ikat
of Andhra Pradesh, Patola of Gujarat and Mochi
Embroidery of Gujarat.
Symbol Of Motif :
It is a symbol of fertility.

21. CreepingVine
The creeping vine has different names such as kalapalata, the lata, kalpavalli, bel and
floral vine,
Origin
It first appears in Shunga period stone railing at the stupa of
the Saints at Sanchi as a stylized and somewhat angular
representations of a lotus rhizome. An embellishment
design on expensive fabrics from at least Mughal times, has
a longer and more psychologically subtlehistory.
Use
It is mostly carved around doorways of temples, vines are
depicted on the clothing of medieval north Indian sculptures
such s on the border of the lungi worn by a tree goddess
form the Deccan.
Function
The creeping vine motif often depicted as a symbol for
health and prosperity.
In Central Asia and Eastern Europe, people wear
embroidered cuffs and collars of their shirts and blouses to
keep out evil spirits.
Places
Greek, CentralAsia, Deccan,Egypt.
The creeping vine has different names such as kalapalata, the lata, kalpavalli, bel and
floral vine,
Origin
It first appears in Shunga period stone railing at the stupa of
the Saints at Sanchi as a stylized and somewhat angular
representations of a lotus rhizome. An embellishment
design on expensive fabrics from at least Mughal times, has
a longer and more psychologically subtlehistory.
Use
It is mostly carved around doorways of temples, vines are
depicted on the clothing of medieval north Indian sculptures
such s on the border of the lungi worn by a tree goddess
form the Deccan.
Function
The creeping vine motif often depicted as a symbol for
health and prosperity.
In Central Asia and Eastern Europe, people wear
embroidered cuffs and collars of their shirts and blouses to
keep out evil spirits.
Places
Greek, CentralAsia, Deccan,Egypt.

22. Flowers
The flowers have different names such as the jasmine flower( ta, malli, H, chameli, jai), chrysanthemum,
lotus and plantain.
Function
In Hindu representations flowers are symbolic of
good luck, health and prosperity.In the Dravidian
India, the lemon flower is used as protection from
evil eye.
Origin
Flowers have played a major role in Hindu and
early Buddhist iconography, and many designs
were then used by the Muslims.
Places
South Asia, Tamil Nadu andOrissa.
Uses
Various types of flowers are depicted in
traditional saris, Typical of south eastern Deccan
and Orissa saris, the motif is believed to have
Shaivite( association with rudraksh).
The flowers have different names such as the jasmine flower( ta, malli, H, chameli, jai), chrysanthemum,
lotus and plantain.
Function
In Hindu representations flowers are symbolic of
good luck, health and prosperity.In the Dravidian
India, the lemon flower is used as protection from
evil eye.
Origin
Flowers have played a major role in Hindu and
early Buddhist iconography, and many designs
were then used by the Muslims.
Places
South Asia, Tamil Nadu andOrissa.
Uses
Various types of flowers are depicted in
traditional saris, Typical of south eastern Deccan
and Orissa saris, the motif is believed to have
Shaivite( association with rudraksh).

23. Thelotus motif
Use
The lotus flower is used in religious iconography
as the seat upon which members of the Hinduand
Buddhist rest.
Function
Lotus symbolize fertility and fecundity,prosperity
and material wealth.
Places
Orissa, Tamil Nadu, Bengal..
Origin
The lotus symbol appears to be of Indo- Aryan
origin. Shri Lakshmi, with whom the lotus is so
intimately connected, is believed to have early
proto-Indo-European beginnings.
Use
The lotus flower is used in religious iconography
as the seat upon which members of the Hinduand
Buddhist rest.
Function
Lotus symbolize fertility and fecundity,prosperity
and material wealth.
Places
Orissa, Tamil Nadu, Bengal..
Origin
The lotus symbol appears to be of Indo- Aryan
origin. Shri Lakshmi, with whom the lotus is so
intimately connected, is believed to have early
proto-Indo-European beginnings.

24. Butaand Buti
Origin
Floral buti first appear in the artistic record in the
lungis worn by figures depicted in classical northand
east Indian bronzes dating from the seventh to the
ninth centuries.
Use
The group of floral motifs found in saris is thesmall
buti and large buta, which are depicted as flowers,
springs or bushes.
The smaller buti are usually woven in repeated
rows across the sari field while the buta areusually
created in rows along the endpieces.
Origin
Floral buti first appear in the artistic record in the
lungis worn by figures depicted in classical northand
east Indian bronzes dating from the seventh to the
ninth centuries.
Use
The group of floral motifs found in saris is thesmall
buti and large buta, which are depicted as flowers,
springs or bushes.
The smaller buti are usually woven in repeated
rows across the sari field while the buta areusually
created in rows along the endpieces.

25. TheKalga motif
The kalga motif has different names such as Hook, Hawk’s head, mango and the paisley
motif.
Origin
It evovled from seventeenth century floral; and tree of life
designs that were created in expensive, tapestry woven
Mughal textiles, primarily patkas made for the Mughal
court.
Use
The kalgas on Kashmir shawls, during the late eighteenth
and nineteenth centuries, the kalga became an important
motif in a wide range of Indian textile, saris from north alos
has kalga motif.
Function
The mango was a potent fertility symbol.
Places
United States, Europe, Scotland, Kashmir,Persia.
The kalga motif has different names such as Hook, Hawk’s head, mango and the paisley
motif.
Origin
It evovled from seventeenth century floral; and tree of life
designs that were created in expensive, tapestry woven
Mughal textiles, primarily patkas made for the Mughal
court.
Use
The kalgas on Kashmir shawls, during the late eighteenth
and nineteenth centuries, the kalga became an important
motif in a wide range of Indian textile, saris from north alos
has kalga motif.
Function
The mango was a potent fertility symbol.
Places
United States, Europe, Scotland, Kashmir,Persia.

26. ThePeepalleaf motif
re
ly
It is also called paan bhat or patrabhaat.
Origin
Depictions of the heart shaped leaves of the pepal tree a
one of the earliest and most common motifs found in ear
and Mature Indus Valley pottery.
Use
It mainly appears in traditional textiles worn by high
caste Hindus, in particular Gujarati Patola and Jain
communities and in Dravidian unbleached cottonand
zari muslins.
It is also called paan bhat or patrabhaat.
Origin
Depictions of the heart shaped leaves of the pepal tree a
one of the earliest and most common motifs found in ear
and Mature Indus Valley pottery.
Use
It mainly appears in traditional textiles worn by high
caste Hindus, in particular Gujarati Patola and Jain
communities and in Dravidian unbleached cottonand
zari muslins.

27. Treeof Life motif
Function
In rural India the tree has been a symbol of
fertility and protection for both tribals andcaste
Hindus. It is also used as a symbol for the
interconnectedness of all life.
Use
The tree of life motif appears inKashmiri
carpets and Kalamkari paintings.
Origin
The tree of life appears to have beenin
existence by the Gupta period.
Function
In rural India the tree has been a symbol of
fertility and protection for both tribals andcaste
Hindus. It is also used as a symbol for the
interconnectedness of all life.
Use
The tree of life motif appears inKashmiri
carpets and Kalamkari paintings.
Origin
The tree of life appears to have beenin
existence by the Gupta period.

28. Paithani saree
Named after a small village in Aurangabad in Maharashtra, the making of this saree
needs enormous skill and labor as the expense of material that goes into its weaving
and creation makes it just awesome. Through the entire length of the saree, you will
find distinct6 patterns and motifs like parrots, trees and plants which are woven along
the borders and the pallu of the saree. These sarees are woven using pure silk threads
and given vibrant colours along with the touch of pure gold, making tie perfect for a
wedding.
Bandhej saree
It is also known as "Bandhani saree" is specially found in Rajasthan and
Gujarat The name bandhani means tying up, as it is taken by Hindi
pronoun ‘bandhan’. The sarees have small spots and dots that are
created using the resist dyeing method which creates elaborate and skill
full patterns with the colored and uncolored parts in the saree. They are
further adorned with shells or cowrie and are quite popular across the
country and abroadtoo.
TypesOf SareesWorn In India
Paithani saree
Named after a small village in Aurangabad in Maharashtra, the making of this saree
needs enormous skill and labor as the expense of material that goes into its weaving
and creation makes it just awesome. Through the entire length of the saree, you will
find distinct6 patterns and motifs like parrots, trees and plants which are woven along
the borders and the pallu of the saree. These sarees are woven using pure silk threads
and given vibrant colours along with the touch of pure gold, making tie perfect for a
wedding.
Bandhej saree
It is also known as "Bandhani saree" is specially found in Rajasthan and
Gujarat The name bandhani means tying up, as it is taken by Hindi
pronoun ‘bandhan’. The sarees have small spots and dots that are
created using the resist dyeing method which creates elaborate and skill
full patterns with the colored and uncolored parts in the saree. They are
further adorned with shells or cowrie and are quite popular across the
country and abroadtoo.

29. Pochampally Saree
The name of these Indian sarees comes from the small town of Pochampally in
Hyderabad, which is the origin for this variety of silk sarees. The unique pattern of the
saree comes from the symmetrical size of the weft and warp of the yarns that are then
resist dyed which gives you the prefixed design on the silk saree that is then
interlaced to get the final look. Woven in silk and in bright colors, these sarees are
widely produced in Andhra Pradesh, Gujarat and Orissatoo.
Kerala Kasavu saree
The Kerala kasavu saree is made with super fine quality of cotton
fabric which is usually in shades of white with golden zari border. They
come in colors such as off- white, pure white, ivory white and pale
yellowish white colors and have a very sober appeal. The whole yard
of the saree is free of any zari work, embroidery, or print. But it is kept
plain only with a silk inch golden border along with an elaborate pallu
that is its trademark.

30. Mysore silk saree
One saree that really popular in India which belong to the Karnataka region is the
Mysore silk.It is one of the most sought after sarees of South India and has every
reason to be so popular. The specialty of these sarees is that there is a shimmering
quality in the material that reflects with subtle hints. This kind of silk saree has gained
popularity for its bright and vibrant colors, a soft and breathable fabric, and its pure
sheen. It is popular as a wedding saree.
Konrad silk saree
Also called as the temple saree, Konrad south Indian saree is a special
weave from the state o Tamil Nadu. The original purpose for the
weaving o these sarees was to adorn the deities of the temples, which
gives the saree its name and uniqueness. The special features of this
saree is that it consists of wide borders and they are mostly adorned
with designs of elephants, peacocks and other natural things like
flowers and ferns, spread over the length of thesaree.

31. Kinkhwab
Kinkhwab brocade sarees were very popular in the Mughal era and they were
considered one of the finest and luxurious textiles in that era. Nowadays, this
pattern is widely used for wedding sarees with a heavy brocade and intricate
embroidery inspired from the Islamic heritage. The pattern of the brocade has
the wefts numerous layers as well as warp threads that add to the glory of the
elaborate look created by the embroidery design. Other popular Indian
traditional sarees of the northern region of India include the Amru brocades,
Tissue sarees, Shikargarh brocades,etc.
Kancheevaram
Originating in the town of Kanchipuram in Tamil Nadu, the weavers
here have a tradition of more than 150 years of weaving these
beautiful south Indian silks sarees. This variety is made from silk
and get their name from the town itself. The unique aspect of the
saree is the gold dipped thread that is woven along with premium
silk fabric for a magnificentfinish.

32. Lucknow Chikankari Saree
The art of chikankari is quite popular in the regions of Uttar Pradesh. The thead
work with fine intricate designs shoe elegance and grace. The colors of chikankari
sarees are often very subtle and in pastel shades which can never go out of style.
The light texture versatile variety of Indian traditional sarees, fit for any occasion,
be it casual or formal.
Tanchoi saree
Tanchoi is actually a kind of weaving technique which involves
single or double warp along with two to five colors placed in the
weft that are often of the same shade and done on silk fabric. The
richness of the shade sand the softness of the material make it a
really popular silk saree all across India and abroad too. There are
numerous varieties of tanchoi weave which includes satin and
mushabbar. These sarees are quite popular for formal occasions
such as weddings, ceremonies and festivities. The ideal time to
wear a tanchoi sare is during the cooler months of autumn and
winter because of the warmth of the fabric.

33. Brocade
Originating in the northern region of the country, these Indian traditional sarees
are made of silk and has a heavy Mughal influence to it and is quite a popular
saree for weddings and occasions. The trademark of the saree is its intricate
floral patterns and zari work as well as foliate motifs such as kalga, phool and bel
adorning the whole saree in silver, golden or copper thread work. The signature
design of a Banarasi brocade silk saree is the jhalar that is nothing but an
intricate fringe like pattern that is often found in the outeredge of the borders of
the saree.
Jamawar
More popularly known to be a product of Kashmir, Jamawar is a
glorious variant of the silk saree with an array of skillful designs and
colors on a parchment of pure silk or pashmina. The term Jamawar
literally means robe and yard, which was once used by the royalty
for the purpose of robes and which now is a very popular variety of
Indian traditional sarees that you can invest in for a wedding. The
uniqueness of the saree is that many of its varieties come with
matching silk shawls attached along them and are embellished in
meenakari colours like orange and green and have beautiful
embroidery for the borders.

34. . Baluchuri saree
The Baluchuri sarees are woven in the town of Baluchur in Murshidabad, West
Bengal and are known for their unique and intricate designs. The borders of
these Indian traditional sarees serve as a canvas depicting the stories from the
Hindu mythology, the Ramayana and the Mahabharata, which makes it a
unique creation. 18. Kantha Stitch saree The pattern of the saree is created
using simple run stitch on a silk or cotton yard. The stitches are used to create
intricate patterns all over these Indian traditional sarees, especially on the pallu
and the border using colourful silk threads.
. Maheshwari saree
The motifs of Maheshwari sarees have been derived from the
temple carving and the carving of the place built by Rani Ahilyabai
Holkar. Rani lived near the banks of Narmada. Maheshwari
sarees are woven by men as well as women folks. The weaving
done is intricate with geometric designs with no motifs on the
body of the sarees. Weaving is done with fine silk warp and cotton
weft. Lines play a vital role as vertical stripes, and large checks
are woven to shape up the pattern.

35. Chanderi Silk saree
Chanderi silk is made by hand weaving. It is considered as the fabric of choice
for sarees produced for royalty, as it is light-weight, of fine quality and has
intricate designs developed. It is produced in a town called Chanderi which is
located in the state of Madhya Pradesh In India. The colours of Chanderi silk are
natural as well as the ones that can be developed from chemical processes.
Chanderi sarees are very light and ideal for summers. The beauty of fabric lies in
its feel, simplicity and the borders and butties. They give a sophisticatedlook.
Bagru Block Printed saree
Bagru is known for natural dyes and hand block printing. Bagru is
the place of Raiger and Chhipa community. Bagru is also known
for natural dyeing, indigo dyeing and wooden hand block printing
over textile articles. .Artisans use traditional vegetable dyes for
printing the cloth. Like, the color blue is made from indigo, greens
out of indigo mixed with pomegranate, red from madder root and
yellow from turmeric. Usually Bagru prints have ethnic floral
patterns in natural colours.

36. Sambalpurisaree
Sambalpuri saree is a traditional hand-woven ikat or saree. Wherein the
warp and weft are tie and dyed before weaving. It’s produced in Bargarh,
Sambhalpur, Balangir district, Baudh district of Orissa. Smbalpuri sarees are
known for their incorporation of traditional motifs like Shankha (shell),
Chakra (wheel), Phula (flower) all of which have deep symbolism.
Patola saree
One of the most time-consuming and elaborate sarees, Patola
has a charm of its own. It is created using the most complex
weave techniques with five colour designs that are resist dyed
carefully into both warp and weft threads before woven into
beautiful patterns. The variations in the designs of the Patola
saree range from geometrical patterns to floral or vegetable
patterns as well as the elephant and the maiden motifs.
Patola saree
One of the most time-consuming and elaborate sarees, Patola
has a charm of its own. It is created using the most complex
weave techniques with five colour designs that are resist dyed
carefully into both warp and weft threads before woven into
beautiful patterns. The variations in the designs of the Patola
saree range from geometrical patterns to floral or vegetable
patterns as well as the elephant and the maiden motifs.

37. Kota Doria saree
Also known as Kota saree, these sarees are made in the villages in Kota,
Rajasthan. The unique thing about these sarees is that they are of a
transparent texture, woven using very fine cotton or cotton-silk weave. The
lightness of the texture and weightlessness makes these Indian traditional
sarees ideal for the summer months. These sarees have a graph-like
pattern all over the length and are lightly embellished with zari work on the
borders.
MugaSilksaree
One of the most durable and highly reliable silk sarees from
Assam, Muga silk sarees are popular across the globe for their
natural sheen and a touch of golden colour that is the natural
shade of the raw silk fibre. The fabric is not dyed but
embellished with motifs in black, red, green or bright orange
colours to set a good contrast against the goldenbackdrop.

38. Taant saree
The word ‘taant’ literally translates to ‘made on the loom.’ It is considered
to be the pride of Bengal handloom. Taant sarees are made from cotton
fabric and have a very crisp, smooth finish and are light in weight.
Available in a wide range of patterns and colours, you can take your pick
for the summers.

39. Motif Repetition
Ihave createdvariousmotifsusing shapes and lines and then I have selectedan appropriate motif forrepetition.

40. The motif I have selected forrepetition.

43. Natural Motifs

44. Question1 Draw a semi circle of 24cmdiameter.
Prepare a design for wall decoration using the followingmotifs.
(a) Three curved lines. (b) Three circles of different sizes (c)Two triangles of different sizes. (d) Two
decorative fish forms.
The color scheme used is polychromatic color scheme.

45. Question2 Construct a square 18cm as one of its sides and organize the following motifs.
(a) Three curved lines. (b) Three circles of different sizes (c)Three fish forms of different sizes.
The color scheme used is monochromatic color scheme.

46. Question3 Construct a circle with radius measuring 10 cm and organize the following motifs.
(a) Three curved lines touching the circle. (b) Two circles of different sizes (c)a line dividing the circle in
two unequal parts (d) a square with one side measuring4cm.
The color scheme used is Analogus color scheme.

47. Question4 Construct a rectangle with two of its sides measuring 24cm and 18 cm. Divide it into two
unequal parts and organize the followingmotifs.
(a)Any suitable shape you like (b) Three kite forms of different sizes (c)Three circles of different sizes.
The color scheme used ispolychromatic color scheme.

48. Question5 Draw a circle with its radius measuring 10 cm. Draw another smaller circle of 4 cm radius in
sucgh a way that it would touch the circumference of the larger circle and organize the following motifs.
(a) Five flower forms of different sizes (b) Two circles of different sizes (c)Three squares of differentsizes.
(b) A bird form if necessary.
The color scheme used is polychromatic color scheme.

49. Question6 Draw a semi circle with its radius measuring 10 cm and organize the following motifs.
(a) Two triangles of different sizes (b) Two circles of different sizes (c) a square (d)Two rectangles (e) Two
or three straight lines, if necessary.
The color scheme used is polychromatic color scheme.

50. Question7 Draw a line of 18 cm in the middle. Using the line as diagonal, prepare a hexagon. On two
parallel sides of hexagon, construct two rectangles of 2 cm in width, from outside of the hexagon.
(a) Two straight lines joining opposite angles of hexagon (b) Three circles of different sizes with a little
width to the circumference (c) a square with somewidth.
The color scheme used is single complimentary color scheme.

51. Question8 Prepare a design for a vase with its height measuring 30 cm. Width and outer shape of the vase
are left to your choice. Use the followingunits
(a) Decorative forms of flowers, leaves, birds. (b) Geometrical shape may be used, if necessary.
The color scheme used is single complimentary color scheme.

52. Question9 Draw an attractive hand fan. The outer shape may be of your choice but it should be not less
than 20 cm. Use the followingunits
(a) Decorative forms of flowers, leaves, birds. (b) Geometrical shape may be used, if necessary.
The color scheme used is single complimentary color scheme.

53. Question10 Draw square ABCD one of its sides measuring 15 cm. Produce BC and DC to P and G
respectively outside the square. So that CP and Cg are 5 cm each in length. Use the following units
(a) A circle of any radius(b) Three decorative forms of birds, (c).Decorative forms of leaves , if necessary.

54. Question11 Draw a triangle ABC with base measuring 14 cm and its altitude 14 cm.Draw a semi circle,
with centre D of the baseAB as its centre on the other side of the triangle.. Use the following units (a) use
of geometrical shape, if necessary.(b).Decorative forms of leaves, flowers, fruits andbirds
The color scheme used is Accented neutral color scheme.

55. Question12 Draw a hand bag and in one section prepare the design with the help of decorative forms of
leaves, branches, flowers, butterflies or birds. Trace the design in other section. Use complimentary
colours.
The color scheme used is single complimentary color scheme.

56. Question13 Draw a line of 18 cm in the middle. Using the line as diagonal, prepare a hexagon. On two
parallel sides of hexagon, construct two rectangles of 2 cm in width, from outside of the hexagon. Make six
triangles and in one triangle create a design with decorative flowers, leaves and birds. Trace the design in
rest of the triangles.
The color scheme used is Analogus color scheme.

57. PeacockMotif PaisleyMotif
Treeof
LifeMotifParrotMotif
ConchMotif FishMotif ElephantMotif Peepalleaf Motif
Treeof life motif Lotusmotif Creepingvine motif Flowermotif

58. Papyrusflower
One of the most complex and enduring symbols of both Buddhism and
Hinduism has been the papyrus flower. This is used in religious
iconography. It also symbolize the material world in all of its many forms.
The papyrus flower is an Egyptian oriented flower and is the symbol of
prosperity and material world.
It was used to make everything! The ancient Egyptians used papyrus to
make paper, baskets, sandals, mats, rope, blankets, tables, chairs,
mattresses, medicine, perfume, food, and clothes. Truly, papyrus was an
important "gift of the Nile. The ancient Egyptians soaked papyrus to
soften it, and then mashedit.
One of the most complex and enduring symbols of both Buddhism and
Hinduism has been the papyrus flower. This is used in religious
iconography. It also symbolize the material world in all of its many forms.
The papyrus flower is an Egyptian oriented flower and is the symbol of
prosperity and material world.
It was used to make everything! The ancient Egyptians used papyrus to
make paper, baskets, sandals, mats, rope, blankets, tables, chairs,
mattresses, medicine, perfume, food, and clothes. Truly, papyrus was an
important "gift of the Nile. The ancient Egyptians soaked papyrus to
soften it, and then mashedit.
The Papyrus Flower

59. MOTIFSIMPLIFICATION
I have done motif simplification of the papyrus flower by hand.

60. Motif Simplification
5’’
2.5’’2.5’’2.5’’
2.5’’1.75’’
I have done motif simplification of the papyrus flower on Corel Draw..
1.75’’ 1.75’’ 1.75’’

61. BorderRepeat
I have made Regular Border Repeat for a saree by hand and also on Corel Draw with measurements.

62. Half dropRepeat
I have made Half Drop Border Repeat for a saree by hand and also on Corel Draw with measurements.

63. BrickRepeat
I have made Brick Repeat for a saree by hand and also on Corel Draw with measurements.

64. Overlapping
I have made Overlapping Border Repeat for a saree by hand and also on Corel Draw with measurements.

65. StripeRepeat
I have made Stripe Repeat for a saree by hand and also on Corel Draw with measurements.

66. Scattered Repeat
I have made Scattered Repeat for a saree by hand and also on Corel Draw with measurements.

67. Group Repeat
I have made Group Repeat for a saree by hand and also on Corel Draw with measurements.

68. GroupRepeat
215’’
43’’
215’’
4’’
2’’

69. Half DropRepeat
215’’
43’’
215’’
4’’
5’’

70. StripeRepeat
215’’
43’’
215’’

71. RegularRepeat
215’’
43’’
215’’
4’’
2’’

72. ScatteredRepeat
215’’
43’’
215’’
5’’

73. Brick Repeat
215’’
43’’
215’’
8’’
4’’

74. THANKYOU