Kriti Tolani ,Fashion Design ,Dezyne E'cole College

Saree DESIGN
PROJECT
Kriti Tolani
2nd Year Diploma Fashion Design
NSQF Level 6 Of NSDC

Project Report
on
Saree Design
At
Dezyne E’cole College
Submitted to
Toward The Partial Fulfillment of the
Two Year Diploma in Fashion Design
By
Kriti Tolani
NSQF Level 6, NSDC
2017-18

Civil Lines, Ajmer
www.dezyneecole.com
This Project Of Ms. Kriti Tolani Student Of 2nd Year Advance Diploma In Fashion Design, Confirming To
NSQF Level 6 Of NSDC Has Been Checked And Graded As __________________________________
Thanking You
Principal [Seal & Signature]
Thanks
Principal
[Seal & Signature]

I am Kriti Tolani student of 2nd year diploma Fashion Technology of Dezyne E’cole College, would Like to express my
gratitude to each and every person who has contributed in stimulating suggestions and encouragement which really help
me to coordinate in finishing my project.
I also thank Dezyne E’cole College who provided insight and expertise that greatly assisted the project also a special
thanks to my teachers, Parents and colleagues who have supported me at every step. Not to forget the almighty who
blessed me with good health because of which I worked more efficiently and better.
Kriti Tolani
2nd Year Diploma In Fashion Design
NSQF Level 6, NSDC
Acknowledgement

 Introduction
 Types Of Sarees
 History And Functions Of Motif
 Central Asian Motifs And Their Significance
 Traditional Indian Motifs
 Design Development
 Design Questions
 Papyrus Flower
 Simplifying Papyrus Flower
 Drafting And Construction Of Motif
 Repetitions Of Motif
 Repetition Of Motifs In Saree
 Thank You
Content

The saree is a traditional garment worn by most Indian women. The word saree described In Sanskrit ‘Sati’
which means ‘strip of cloth’ and ‘sadi’ in Pali, and which was corrupted to saree in modern Indian Language.
Although at present there is a lot of western influence in the way people dress. Today, saree comprises over
30% of total textile mills, the number of saree-manufacturing centers are in hundreds and so there are
innumerable types of fabrics, weaving techniques, methods of dying, printing or embellishing, designing
patterns, kind of motifs, colour scheme etc. can be found. There is something about the saree that makes a
woman look dignified, charming and every bit stylish. Over the years, the saree has evolved into a fashion
statement which most fashion designers glorify the look and feel of this traditional garment. A saree consist
of a drape varying from five to nine yards in length and two to four feet in breadth, that is typically wrapped
around the waist, with one end draped over the shoulder, baring the midriff. There are various styles of
saree draping, the most common being the Navi style, which originated in Andhra Pradesh. The saree is
usually worn over a petticoat, with a fitted upper garment commonly called a blouse. The saree is
associated with grace and is widely regarded as a symbol of grace in cultures of the Indian Subcontinent.
Introduction

Types of saree
While an International image of the modern style saree may have been popularized by airline Stewardesses
, each region in the Indian Subcontinent has developed, over the centuries, its own unique saree style.
Following types are the other well-known varieties, distinct on the basis of fabric, weaving style, or motifs
explained in the subsequent pages.

Originating in the northern region of the country, these Indian
traditional sires 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 the kalga, phool and bel adorning
the whole saree in silver, golden or copper thread works. 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 outer edge of the borders of the saree.
More popularly known to be a product of Kashmir, Jamawar is a
glorious variant of the silk saree with an array of skilful designs
and colours 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 aksi embroidery for the borders.
Brocade Saree Jamawar Saree

The art of chikankari is quite popular in the regions of Uttar
Pradesh. The thread work with fine intricate designs show grace
and elegance. The colours of chikankari sarees are often very
subtle and in pastel shades which can never go out of style. The
light texture and soft shade of colours makes it a very versatile
variety of Indian traditional sarees, fit for any occasion, be it casual
or formal.
Tanchoi is actually a kind of weaving technique which involves a
single or double warp along with two to five colours placed in the
weft that are often of the same shade and done on silk fabric. The
richness of the shades and 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 tanchoi,
satin jari tanchoi, atlas or gilt and mushabbar. These sarees are
quite popular for formal occasions such as weddings, ceremonies,
and festivities. The ideal time to wear a tanchoi saree is during the
cooler months of autumn and winter because of the warmth of the
fabric.
Lucknowi Chikankari saree Tanchoi saree

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 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.
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 silk sires. This variety of Indian
traditional sires are 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
magnificent finish.
Kinkhwab brocade sarees Kancipuram Silk

One saree that is really popular in India which belongs to the
Karnataka region is the Mysore silk. It is one of the most sought-
after sarees of South India and it has every reason to be so
popular. The speciality 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 colours, a soft and breathable fabric, and its pure sheen. It
is popular as a wedding saree.
Also called as the temple saree, Konrad south Indian saree is a
special weave from the state of Tamil Nadu. The original purpose
for the weaving of 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 the saree.
Mysore Silk Saree Konrad Silk saree

The name of these Indian traditional sarees comes from the small
town of Pochampally in Hyderabad, which is the origin for this
variety of silk saree. The unique pattern of the saree comes from
the symmetrical size of the weft and the warp of the yarns that are
then resist dyed which gives you the pre-fixed design on the silk
saree that is then interlaced to get the final look. Woven in silk and
in bright colours, these sarees are widely produced in Andhra
Pradesh, Gujarat and Orissa too.
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 colours such as off-white, pure white, ivory white
and pale yellowish white colours 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 six inch golden border
along with an elaborate pallu that is its trademark. Other popular
sarees down South include the Ilkal sarees originating in
Karnataka, Balarampuram mundu veshti sarees from Kerala,
Madurai silk sarees, Chettinad sarees, Coimbatore cotton south
Indian saree, and many more.
Pochampally Kerala Kasavu saree

Named after a small village in Aurangabad in Maharashtra, this the
making of this saree needs enormous skill and labour as the
expanse of material that goes into its weaving and creation makes
it just awesome. Through the entire length of the saree, you will
find distinct patterns and motifs like parrots, trees, and plants,
which are woven along the borders and on the pallu of the saree.
These Indian traditional sarees otherwise known as Pathiani
sarees are woven using pure silk threads and given vibrant colours
along with a touch of pure gold, making the perfect for a wedding.
It is a popular saree which is made using the tie and dye concept.
This form of saree weaving is carried out mostly in the parts of
Gujarat. The sarees have small spots or dots that are created
using the resist-dying method which creates elaborate and skilful
patterns with the coloured and uncoloured parts in the saree. They
are further adorned with shells or cowrie and are quite popular
across the country and abroad too. The Lahariya saree of
Rajasthan is also created using the same concept.
Paithani saree Bandhani 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.
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.
Patola saree Kota Doria saree

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 golden backdrop.
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.
Muga Silk saree Taant 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.
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.
Baluchuri saree Kantha Stitch 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.
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 sophisticated look.
Maheshwari saree Chanderi Silk

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 colors.
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.
Bagru Block Printed Sambalpuri saree

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 particular motifs.
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 and star.
History and Function of Motifs

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, africa Among 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 those linked with shamanism such as Jaguar, an animal who hunts at night and who is in the Americas was
the shaman’s familiar. The bear in many northern cultures was believed to be a human ancestor and guardian. It was revered
by Ainu, whose appliqué patterns potrays the bear, and by the Giliak of siberia. For their festival, when the men of one clan
about to marry into another are invited to kill the bear, clothing is worn with embroidered spiral pattern that symbolise the
animal. Stags, like birds, were believed to transport souls between earth and heaven: most shamanistic ritual is accompanied
by the use of hallucinogenic, especially magic mushrooms, and a state of transcendence, or trance, was linked to the stag.
Creatures believed by some people to be incarnations of the soul,such as lizards or toads or bees and particularly birds, were
also mystical.
Shamanism

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 Indian art.
Central Asian Motifs and their significance:

1. Persian motifs off Paisley, tree of life and rounded containing bird or beast is commonly used on various Indian
textile.
2. Buddhist motifs such as the endless Thread of Fortune and the Lotus are the favourite among the weavers and
embroiders.
3. 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.
4. 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. The cock and other
bird motifs are seen in the phulkari embroidery of Punjab. Double handed birds of prey example Eagles signify power
and mobility amongst the turkish tribes. Parrot, Peacock andgeese motifs Are commonly used on Indian textile.
5. 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. The tree of life is a Persian motif and
depicts The all nourishing date palm tree. 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.
6. 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.
7. 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 .

8. 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
hanging.
9 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.
10.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.
11. 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. Sixty or so different motifs would be woven into
one tent band; these included the gols along with the horn motifs, the arrow point motif, and the star motif.
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.
13.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 to avert the evil eye or reflect and hold its image
thus absorbing the destructive powers.

Traditional motifs can be described as the motifs which are being used in Indian textiles since ancient times
and are handed over from one generation to the other. Our traditional motifs are deeply influenced by
religious belief, culture, environment, activities of day to day life, architecture, history, rulers etc. The
artisans have modified motifs based on the whims and fancies of the kings who invaded and ruled India for
several years. For creating the variety of motifs and designs, weavers and designers had also taken
inspiration from their environment. Indian artisans have created varied motifs and patterns which are
exclusive in their styles and colour combinations like creeping vines and floral patterns, which remind us of
Mughal history and the Islamic portrayals. Motifs like lotus, conch shells, fish, elephant and horse etc. which
represent the philosophy of Hinduism and the concept of bring good-luck, health and prosperity are typically
found in the textiles worn in the occasional ceremonies. These motifs represent over poetic expressions and
imaginations towards life, and devotional characters. These motifs are explained in the following slides.
Traditional Indian Motifs :

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 subtle history.
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.
The flowers have different names such as the jasmine flower( ta, malli, ,
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 and Orissa.
The Creeping Vines Motif: The Flower Motif:

Use
The lotus flower is used in religious iconography as the seat upon which
members of the Hindu and 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.
Origin
Floral buti first appear in the artistic record in the lungis worn by figures
depicted in classical north and east Indian bronzes dating from the
seventh to the ninth centuries.
Use
The group of floral motifs found in saris is the small 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 are usually created in rows along the endpieces.
The Lotus Flower Motif : The Buti and Buta Motif:

The kalga motif has different names such as Hook, Hawk’s head, mango
and the paisley motif.
Origin
It evolved 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.
.
It is also called paan bhat or patra bhaat.
Origin
Depictions of the heart shaped leaves of the pepal tree are one of the
earliest and most common motifs found in early 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 cotton and zari muslins.
The Paisley Motif: The Peepal Leaf Motif:

Function
In rural India the tree has been a symbol of fertility and protection for
both tribals and caste Hindus. It is also used as a symbol for the
interconnectedness of all life.
Use
The tree of life motif appears in Kashmiri carpets and Kalamkari
paintings.
Origin
The tree of life appears to have been in existence by the Gupta period.
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 Deccan saris.
The Tree Of Life Motif: The Temple Motif:

The Assamese sun-tree motif is now such an archetypal pattern of the
north-eastern region that many Assamese textiles are recognized as
such just on the basis of this design. It depicts two birds, animals or
flowers, facing each other on either side of a tree whose branches
spread above them. The motif is rigidly symmetrical, highly stylized and
angular, with a pointed roof-like top to the tree, and its sides are often
straight.
Textiles : It is used as embroidery or as prints in textiles. Also it is found
on may woven textiles of the Northern India.
Symbol Of Motif : Sun tree motif represents reaching upward and
growth.
The peacock was painted on Indus Valley depicting tribal art; it was also
found in Mauryan Buddhist sculpture, Gupta- period artifacts, Mughal
miniatures, and in present-day wall paintings and textiles. Although it is
hard to say if it had the same symbolism in every age, 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 national bird.
Textiles : In all types of Indian textiles peacock is either printed or
embroidered on light background with dark colour combinations. It is
majorly used in Mochi Embroidery and Kutch Embroidery of Gujarat,
Kancheevaram silk saree of Tamil Nadu, Paithani saree of Maharashtra
and Patola saree of Gujarat. Names In Different Languages : It is called
‘Morbangadi’ in Maharashtrian language, ‘Mor’ in Hindi and ‘Nemali’ in
Tamil.
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.
The Sun Tree Motif: The Peacock Motif:

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 Indian textile.
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
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. Yet is was rarely
depicted in the sculptures and architecture of later historical periods
and was never a vehicle for any deity. Nevertheless, its relationship with
India folk and tribal art remains strong.
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.
The Parrot Motif: The Fish Motif:

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, 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 of Gujarat. Names In Different
Languages : it is called ‘Vagh’ in Gujarati and ‘Gajah/Hathi’ in Hindi
language.
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.
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. 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.
The Elephant Motif: The Tortoise Motif:

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 ancient days.
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.
The motif was found in Indus Valley pottery and on the wall paintings at
Ajanta. 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 ethnic
Orissa Ikats. Symbol Of Motif : As it is associated with Goddess
Saraswati, it is a symbol of divine knowledge and creativity.
The Conch Motif: The Goose And Other Water Bird Motif:

Draw a semi circle of 24cm diameter.
Prepare a design for wall decoration using the following motifs.
(a) Three curved lines. (b) Three circles of different sizes (c)Two triangles of different sizes. (d) Two decorative
fish forms.
Question:1
During the learning of this subject some question were given, which we had to solve according to the
condition of the question. Following designs are made on the basis of these questions.

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.
Question:2

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 measuring 4cm.
Question:3

Draw a circle with its radius measuring 10 cm. Draw another smaller circle of 4 cm radius in such 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 different sizes.
(b) A bird form if necessary.
Question: 4

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.
Question: 5

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 some width.
Question: 6

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 following units
(a) Decorative forms of flowers, leaves, birds. (b) Geometrical shape may be used, if necessary.
Question: 7

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.
Question: 13

Draw an attractive hand fan. The outer shape may be of your choice but it should be not less than 20 cm. Use the
following units
(a) Decorative forms of flowers, leaves, birds. (b) Geometrical shape may be used, if necessary.
Question: 8

Draw a triangle ABC with base measuring 14 cm and its altitude 14 cm. Draw a semi circle, with centre D of the
base AB 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 and birds
Question: 9

Construct a rectangle with two of its sides measuring 24cm and 18 cm. Divide it into two unequal parts and
organize the following motifs.
(a) Any suitable shape you like (b) Three kite forms of different sizes (c)Three circles of different sizes.
Question: 10

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.
Question: 10

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.
Question: 10

Architectural
Motif Of Egypt : Papyrus Flower
We learnt how to develop motif, place them on while designing sarees or
any other fabric. This skill has been presented by me on paper through
hand drafting using proper measurement and through Corel software too.

Developing The Motif In Geometric Shape :
1. Constructing Octagon

Developing The Motif In Geometric Shape :
2. Placement Of Motif In Geometric Shape

Regular Repetition :
Drafted on Corel Draw:
Drafted through hands drafting:

After developing the regular repetition pattern of the motif, I have placed it in saree’s boarder.
216.530”
43”
5”

Scattered Repeat :
Drafted on Corel Draw:Drafted through hands drafting:

Grouping :
Drafted on Corel Draw:
Drafted through hands drafting:

After developing the grouping pattern of the motif, I have placed it in saree.
216.530”
43”

Stripe Repeat :
Drafted on Corel Draw:Drafted through hands drafting:

After developing the stripe repeat pattern of the motif, I have placed it in saree’s pallu.
216.530”
43”
5”

After developing the brick repeat pattern of the motif, I have placed it in saree’s pallu..
216.530”
43”

After developing the half-drop repeat pattern of the motif, I have placed it in saree’s boarder.
216.530”
43”

After developing the overlapping pattern of the motif, I have placed it in saree’s boarder.
216.530”
43”

Kriti Tolani ,Fashion Design ,Dezyne E'cole College

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