Kanjivaram weaving is by default woven on a handloom.  That means it’s by sheer human effort and traditional ingenuity that a Kanjivaram saree is created.  It is true that some of the background processes are mechanised and to an extent automated.  For example, the use of a jacquard device that sits atop a loom which helps create repetitive patterns of the border and body.  Such innovations have only enhanced the handloom weaving process and have not eliminated the human effort. Though nearly defect free, it’s unfair to call a saree produced by a powerloom as a true Kanjivaram, even if it has the same mulberry silk, gold zari and trademark Kanjivaram motifs. At best it’s a mass-produced look-alike…. not unlike a factory product such as a pressure cooker or a moulded plastic chair.  It works but cheap and unaesthetic.

A well designed handloom Kanjivaram saree is a piece of art and a product that approaches excellence.  Nevertheless, when put under a magnifying glass, all handloom sarees reveal minor imperfections all through the six yards- in yarn thickness, knots, missing warp and weft lines, inclusions of stray coloured yarns in the fabric, varying shades of colour… just to name a few.  This is true even with the most expensive bridal sarees made of the finest silk and pure silver or gold zari.   In a sense, it is not a perfect product with zero defects.

How dare I call a Kanjivaram imperfect! Yes, it’s true.  If you look around, all the fine craft traditions we Indians are proud of – the embroidery of Kutch, tie and die of Pochampalli, silver filigree jewellery of Odisha, Jaipur’sblock printing, are all highly developed artforms that are illustrations of excellence and none of them are intended to be perfect.  Take a closer look at Kantha embroidery or Lucknow Chikan work, again imperfect, but we appreciate them for the aesthetic appeal.  The same is the case of Kanjivaram – considered queen of silk sarees which possesses its own realm of beauty and patronage, despite all the imperfections it contains.  Seasoned Kanjivaram saree wearers never have an issue with it and new-comers continue to be sceptic.

Debating imperfections vs beauty, the 15^th century Japanese concept of Wabi-Sabi can apply to Kanjivaram sarees and weaving.   

*Wabi-sabi is a concept that prompts us to constantly search for the beauty in imperfection. It reminds us that all things including us and life itself, are impermanent, incomplete, and imperfect. Perfection, then, is impossible…

The words Wabi-Sabi cannot be translated to English directly because the meaning has got to do with a whole philosophy of aesthetics and beauty in Japanese culture and when applied to different areas of creative domains such as the traditional pottery, tea ceremony, Bonsai and Kintsugi – all very Japanese in their practice, the words take on a whole new meaning.  The words themselves and the meaning are constantly evolving to adapt to various spaces around the world.

Let us examine this concept a little more closely in connection with Kanjivaram weaving.   Let us say, a weaver decides to weave a rich Kanjivaram with a particular warp and weft colours, border and pallu design etc.  He then starts the creative process of yarn dying, warp preparation, getting shuttle bobbins ready, setting up the loom and finally sits down to begin the clickity-clack rhythm of weaving.  All of these steps are mindful exercises and the weaver’s attention and involvement are very high, albeit involuntary.  A few minutes in to weaving, the warp yarn snaps, prompting him to stop the loom, tie it together, and needling it through the reed to continue.  Then the shuttle bobbin runs out.  Again, a pause, to replenish a new bobbin and continue.  There is an extended pause when the body yarns have to be twisted to the pallu yarns (a technique called petni).

This process of start-stop-start goes on – clickity-clack, clickity-clack.  Each of these interruptions is a chance for producing defect but a part of a journey to producing excellence.  As he gets back into the pace, the saree will soon be finished and ready to be sliced off the loom and a fine product has taken shape.  All through the weaving process, his mind is also occupied with what other modifications can be done in the next batch – change the body colour, change the border etc…. which will eventually produce another masterpiece.   

* https://www.omaritani.com/blog/wabi-sabi-philosophy-teachings