OLD WORLD CHARM

Reproduced from The Hindu dated 09/09/2011 written by Pradeep Chakravarthy

Heritage With elegant doors, massive halls and intricately carved furniture the palatial building of the Ravilla Veera Mallappa Naidu, the zamindar of Ilayarasanendhal, stands tall. Pradeep Chakravarthy

Published in 1908, ‘Aristocracy of Southern India,' by A. Vadivelu made for fascinating reading and I was overjoyed when a friend promised to take me to one of the Zamindars written about in the book.

Ilayarasanendhal is a small village today between Kovilpatti and Madurai. One would find it difficult to locate it in the map but the efforts will be well rewarded. We snaked through the many small lanes and humble homes to some imposing walls and an entrance to the side. The entry got us abruptly in front of a splendid colonial façade, much like the garden houses of Madras from British times.

Passing through the fabulous doors we were transported in time, the Lakshmi Vilas (built between 1822 – 1854) was a large hall with fine marble flooring and furniture. The walls were painted with delightful parrot motifs and beyond this was the Kalyana Mahal (built between 1854-1869). The lady of the house Vasundaradevi was not available but we were able to talk to her over phone.

The Kalyana Mahal was a large well-lit room where each teak beam was elegantly carved in the corners. We paid special attention to the massive doors that once formed the entrance gates, tall enough for an elephant to pass through and the wall was thick enough for a cart to rumble across in the top.

The history

The book and the family gave us the history. The family speaks Telugu and hailed from the times of the Vijayanagara kings. The first member of the family, Ravilla Veera Mallappa Naidu, was said to be a commander of King Krishnadevaraya. He seems to have had an extraordinary combination of diplomacy and military acumen. Though his military strength got him his first jaghir, his diplomacy with the Thanjavur and Madurai Nayaks and then on behalf of the Madurai Sultanate, earned him large tracts of land in and around Illayarasanendhal. Irrigation in the barren land was through complex rain water fed networks of ponds and lakes. The palace has a built-up area of approximately 30,000 sq. ft. and may have been larger in earlier days. Staff members included men whose only task was to draw water from the well or clean the many tin-Glass lanterns that festooned the rooms.

Passing through the Lakshmi Vilas, we entered a series of courtyards with stunning wood work that were in the middle of many rooms. Door frames had delicate carvings of peacocks and creepers. The courtyards had superb wooden mandapams in the middle that must have been used to conduct weddings. “It was never one wedding, many of our relations/officers, who cannot afford huge amount for the halls, used to get married in the same hall when a major wedding happened,” we were informed. The simple meal for us was sumptuous but the cook was not pleased, for the specialties of the house and the family were decidedly non-vegetarian. “In the old days it was game – deer, rabbits, quails, and partridge among others.” The large groups of youngsters polished off large meals after all the traditional pastimes of playing in the water, climbing trees and chasing peacocks for their feathers! Other recipes famous but long forgotten were crispy mutton podimas, briyani and of course many sweet varieties, some still made on auspicious days.

The highlight of the tour was the Ravi Varma connection. Family names that alternated between the zamindars was Kasturiranga and Venkatasami. One of them was a close associate of the painter and was helping the painter get a property in the family estate of Ilanji near Courtallam. The sale did not happen when the painter passed away but his painting of the Illayarsanendhal zamindar is a prized possession well preserved even today.

We spent a few minutes lingering in the second courtyard, stacked with painted palanquins and built around another splendid wooden mandapam that housed the tutelary deity of Murugan. The home, for at least three centuries, must have had so much of energy and activity but is now quiet and calm.

The Ravilla family always welcomes aesthetically minded and responsible tourists to visit their home. Please contact ravillar@gmail.com

The writer may be contacted at pradeepandanusha@gmail.com

In the olden days it was game – Deer, Rabbits, Quails and partridge among others.

தமிழ் பிறப்பு ரஹஷ்யம் 1 - What is in a Sound?

Discussion on Trending Topic "Science Behind the Mantras" in speakingtree.in

I've heard that a Mantra should be chanted properly to be effective. Is it true? If yes, then I have a query. I have seen people pronounce the Mantra "Om Namah Shivay" differently...South Indians chant it as Siva...which is the right one...Siva or Shiva?...and does it really matter?

Devendra Rao on Nov 26, 2010 at 03:42 pm

To Devendra Rao

It matters on what a category/type of mantra is and its role. In your specific query on Siva/Shiva it does not matter.

Sage Panini (Sanskrit) visioned three nadis (Sa,Sha,Shaa) emanating from Mooladhara Chakra and Sage Agasthiya (Tamil) identified as one(Sa) considering the energy levels in South Indian climatic conditions. All three nadis are emanating from Mooladhara Chakra.
As you may be aware, "hum" - a malevolent mantra in Tibetian climate is not necessary in India and "ham" is sufficient.
For south indian climates, Sage Agasthiya distinguished "La" -(one nadi by Sage panini) emanating from Swadhistana Chakra as three nadis la,lha,zha.
Climatic conditions do alter pranic body of habitants.

You may also read details in my earlier post in this same forum.

Nrv Appasamy replies to Devendra Rao on Aug 24, 2011 at 10:05 pm

To understand “Science behind the mantras”, one should believe energy principle and its association with Shusma sharir, nadis and chakras.

Below are two views – one is the utility and another is futility of words.

Utility view shows, how sage Agasthiya constructed an eternal classical language Tamil with a purpose. Futility view is from Osho’s beautiful explanation on Technique 37 of Vignyana Bhairava Tantra.

Utility View:

Mantras: Tamil has eighteen (6 x 3)  Consonants, twelve (6 x 2) vowels and a weapon (trinetra -three dots).

Tamil is eternal –has no death. [*see Tamil Structure]

Ya, ra, la, va, lha, zha (especially la lha zha are unique to tamil) – nadis emanate from swadhistana chakra makes it eternal. [nadis are channels of energy/sound; chakras are storehouses of energy/sound; The mandala or piece of environment where it puts its ownership rights is the adhisthana and throughout tamilians life this mandala will act as an auric centre that will store all his karma and the base for many lives that a person has to go through i.e. deep in unconscious]

Tamil Structure

Tamil is structured by Sage Agasthiya who had expert knowledge of Panini’s Sanskrit as well. It was the era of defeat (from Aryans) and lack of desire and hence structured to impart success in wars (Lord Karthikeya) and drive to acquire jewels.

Mantra [Tamil Sounds]

Visuddhi Chakra- a aa e ee u uu ae aea I o oo ou (uyir) [Communication]
Anahata heart chakra and Manipura chakra (mei) [Warrior & Materialism]
Right – ka sa da ta pa ra (Hard consonants)
Left - ngha nggha na nha ma nhha (Soft consonants)
Swadhistana - Ya, ra, va, la, lha, zha (eternal consonants)
Aagya – Ak (Ayutha) (vision-trinetra)

Yantra [form]

The visual form of Tamil language is Lord Karthikeya. He is born on the day of suklapaksha (sixth day of bright half of lunar month) carried by Lord Agni (Manipura Chakra) with six faces (2x6 vowels; 3x6 consonants), wield a vel (spear). His beauty can be well defined as that of sun’s rays and is considered as a war God. (Anahata Chakra). Worshipping this form makes one Success in wars  and endurance.

Mandala

The mandala or piece of environment where it puts its ownership rights and encompasses cosmic elements of temples, art, architecture and music. The mandala will act as an auric centre (protective seal) and the effect is now felt in the subtler dimension of consciousness of over 60 million people.

Drawbacks:

As an oldest classical language, Tamil has its own drawbacks. It is refined over time continuosly. It also accommodated the words of other languages over time.

Two examples to quote:

1.The grammer was perfected again by Sage Tholkappian.
 2.Tamil has lot of influence over Sanskrit words. Similarly Sanskrit words also become part of Tamil. (Sanskrit is another great well structured classical language of India).Tamil has gone one step ahead to include many letters (vada mozhi sorkkal) to pronounce and adopt Sanskrit words to invoke additional nadis.

Today it mix and remix other languages like English .English is the language which made Englishmen to rule the entire world by invoking certain mystic nadis of its speakers.  Now Tanglish made Tamils, a real global citizens.

========================================================================
Futility View: Words -- at their futility, their meaninglessness, and do not become attached to any word.

Words are sounds. Thoughts are words in sequence, in logical sequence, in a particular pattern. Sound is basic. With sound words are created, and then with words thoughts are created, and then with thoughts languages, religion and philosophy, everything. Deep down is the sound.

IMAGINE THE TAMIL LETTERS IN AWARENESS, FIRST AS LETTERS, THEN MORE SUBTLY AS SOUNDS, THEN AS MOST SUBTLE FEELING. THEN, LEAVING THEM ASIDE BE FREE.

We speak languages. One is English, one is Hindi, one is Tamil, or something else. We speak languages, systems of thought, and they have become so important that we can die for them. Man can die for words, for mere words. Someone calls his language useless -- then man can fight, for a mere word he can kill the other. The word has become so important. This is nonsense, but this is history and this is how we are still behaving.

A single word can create such a disturbance in you that you are ready to kill or to die for it. We speak languages, systems of thought. What are languages? Thoughts arranged logically, systematically, in a pattern. And what are thoughts? Words arranged in a system, meaningfully. And what are words? Sounds, upon which it is agreed that they mean either this or that. So sounds are basic; they are the basic structure of the mind. languages are the peak, but the bricks by which the whole structure is raised are sounds.

What is wrong? A sound is just a sound, and the meaning is given by us, agreed upon by us; otherwise it has no meaning. The meaning is invested by us, projected by us; otherwise "a aa" is just a sound -- it is meaningless. We give it a meaning, and then we create a system of thought around it. Then this word becomes very significant, then we make a language around it. Then you can do something, anything, for it. You can die or you can live for it. If someone insults this sound "a aa," you can become infuriated. And what is this? Just an agreement, a legal agreement that "This word means this." No word means anything in itself, it is simply a sound.

Bold sentences above says to go in the reverse order -- go backwards. Come to the sounds, then, more basic than sounds, a feeling is somewhere hidden. This has to be understood. Man uses words. Words mean sounds with meanings that are agreed upon. But animals, birds use sounds without any linguistic meaning. They do not have any language, but they use sounds with feeling. A bird is singing: it has a "feeling" meaning in it, it is indicating something. It may be a call for the partner, for the beloved, or it may be a call for the mother, or the child may be feeling hungry and just showing his distress. It is indicating a feeling.

Above sounds there are words, thoughts, languages; below sounds are feelings. And unless you can get below feelings, you cannot get below mind. The whole world is filled with sounds, only the human world is filled with words. And even a child who cannot use language uses sounds. Really, the whole language developed because of particular sounds that every child is using all over the world.

For example, in any language the word `mother' is somehow related with `ma'. It may be `amma', it may be `Mummy', it may be `mata', it may be `ma', -- anything -- but somewhere it is related with the sound "ma" in all the languages, more or less. The child can utter "ma" most easily. The first sound which the child can utter is "ma." Then the whole structure is based on this "ma." A child utters "ma" because it is the first sound which is easy for the child to utter. This is the case anywhere, in any part of the world, in any time. Just because of the structure of the throat and the body, "ma" is the easiest sound to utter.

And the mother is the nearest and the first person who is meaningful. So the first sound becomes associated with the first person who is meaningful, and from this mother, mater, mata, ma, all the other words are derived. But when the child for the first time utters "ma," he has no linguistic meaning for it, but a feeling is there. And because of that feeling the word becomes associated with the mother. That feeling is more basic than the sound.

IMAGINE THE TAMIL LETTERS IN AWARENESS, FIRST AS LETTERS,

First feel inside, in your consciousness, AWARENESS filled with letters: a aa e ee u uu ... any letters of any language. This can be done, and it is a very beautiful exercise. If you want to do it, close your eyes and just see your consciousness inside being filled with words.

Think of consciousness as a blackboard, then: a aa e ee u uu ... Visualize all the words, all the letters. Visualize these first as letters. "a": look at it as "a" as you write it. Write it with consciousness and look at it. Then by and by, forget the letter "a" and just remember the sound of "a" -- just the sound. Start with visualization -- because eyes are predominant for us. Ears are not so predominant. We are eye-oriented, eye-centered. Again, the reason is the same. Because eyes help us to survive more than anything else, our consciousness is ninety percent in the eyes. Conceive of yourself without eyes, and your whole life goes dead -- then a very minor part remains.

So first visualize. Use your eyes inwards and see the letters. Letters are more related to ears than eyes because they are sounds, but for us, because we are reading, reading, reading, they have become associated with eyes. Basically, they are associated with ears -- they are sounds. Start with the eyes, then forget the eyes by and by. Then move away from the eyes to the ears. First imagine them as letters, then see them, hear them MORE SUBTLY AS SOUNDS, THEN AS MOST SUBTLE FEELINGS. And this is a very beautiful exercise.

When you say "a", what is the feeling? You may not have been aware of it. What is the feeling inside you? Whenever you use any sound, what type of feeling comes into existence? We are so feeling-less that we have simply forgotten. When you see a sound, what happens inside? You go on using it and the sound is even forgotten. You go on seeing it. If I say "a", you will see it first. In your mind, "a" will become visible; you will visualize it. When I say "a", do not visualize it. Just hear the sound "a", and then go and find out what happens in your feeling center. Does nothing happen?

From letters to sounds, uncover sounds through the letters. Uncover sounds, and then, through the sounds also, uncover feelings. Be aware of how you feel. They say that man has now become very insensitive; he is the most insensitive animal on earth.

This sutra says, come back, come down -- down to the state of feeling. Feeling is not your mind: that is why you are afraid of feeling. You are not afraid of reasoning. You are always afraid of feeling because feeling can lead you into chaos. You will not be able to control. With reason, the control is with you; with the head, you are the head. Below the head you lose the head, you cannot control, you cannot manipulate. Feelings are just below the mind -- a link between you and the mind.

THEN, LEAVING THEM ASIDE, BE FREE. Then leave the feelings. And remember, only when you come to the deepest layer of feelings can you leave them. You cannot leave them just now. You are not at the deepest layer of feelings, so how can you leave them? First you have to leave languages tamil, telugu, hindi, english-- then you have to leave thoughts, then you have to leave words, then you have to leave letters, then you have to leave sounds, then you have to leave feelings -- because you can leave only that which is there. You can leave that step upon which you are standing; you cannot leave a step upon which you are not standing.

This, can be done very easily. The problem is not with feelings, the problem is with words. You can leave a feeling, just as you can undress -- as you can get out of your clothes. You can throw off your clothes; you can leave feelings simply in that way. But right now you cannot do it, and if you try to do it, it will be impossible. So go step by step.

Imagine letters – a, aa, e, ee -- then change your emphasis from the written letter to the heart sound. You are moving deep, the surface is left behind. You are sinking deep -- then feel what feeling comes through a particular sound.

Because of such techniques, India could discover many things. It could discover which sounds are related to particular feelings. Because of that science, the MANTRA was developed. A particular sound is related to a particular feeling, and it is never otherwise. So if you create that sound within you, that feeling will be created. You can use any sound, and then the related feeling will be created around you. That sound creates the space to be filled by a particular feeling.

So do not use just any mantra, that is not good; it may be dangerous for you. Unless you know, or unless a person who gives you the mantra knows, what particular sound creates what particular feeling, and whether that feeling is needed by you or not, do not use any mantra. There are mantras which are known as death mantras. If you repeat them, you will die within a particular time. Within a particular period you will die, because they create in you a longing for death.

Freud says that man has two basic instincts: libido -- eros -- the will to live, the will to be, the will to continue, the will to exist. And thanatos -- the will to die. There are particular sounds which, if you repeat them, the will to die will come to you. Then you would like just to drop into death. There are sounds which give you eros -- which give you more libido, which give you more lust to live, to be. If you create those sounds within you, that particular feeling will overwhelm you. There are sounds which give you a feeling of peace and silence, there are sounds which create anger. So do not use any sound, any mantra, unless it is given to you by a master who knows what is going to happen through it.

When you come down from sounds, you will be aware. Each sound has its counterpart in feeling. Each sound has a corresponding feeling that goes with it, just hidden behind it. Then move to the feeling; forget the sound and move to the feeling. It is difficult to explain, but you can do it. And there were techniques for this. Particularly in Zen, there were techniques. A particular mantra would be given to a seeker. If he was doing it rightly inside, the master could know from the face. The master could know from the face whether he was doing it rightly or not because a particular feeling would come. If the sound is created, then the feeling is bound to come, and it will be on the face. You cannot deceive a master. He knows by your face what is happening inside.

When you move from sounds to feelings, you move into a very, very ecstatic world, an existential world. You move away from the mind. Feelings are existential; that is what the word means -- you feel them. You cannot see them, you cannot hear them, you simply feel them. When you come to this point, you can take the jump. This is the last step. Now you are standing near an abyss; you can jump.

And if you jump from the feelings, you jump into yourself. That abyss is you -- not as your mind, but as your being; not as the accumulated past, but as the present, here and now.

You move from the mind to the being, and the bridge, the link, is the feelings. But to come to the feelings you will have to leave many things -- words, sounds, the whole deception of the mind. THEN, LEAVING THEM ASIDE, BE FREE.

You ARE free. This saying, BE FREE, doesn't mean that you have to do something to be free. THEN, LEAVING THEM ASIDE, BE FREE means you are free! Being is freedom; mind is bondage. That is why it is said that mind is the world.

Do not leave the world... you cannot leave it. If the mind is there, you will create another world; the seed is there. You can move to a mountain, to a retreat, but you will move with the mind; you cannot leave it here. The world moves with you, you will create another world. Even in your retreat you will start creating it again, because the seed is there. You will create relationships again. It may be with the trees, it may be with birds, but you will create relationships again, you will create expectations again, and you will go on spreading the net because the seed is there. You will again be in a world.

Mind is the world, and you cannot leave mind anywhere. You can leave it only if you move within. So the only Himalaya is this; no other Himalaya will do. If you move within from words to feelings, and from feelings to being, you are moving away from the world. And once you know this inner abyss of being, then you can be anywhere, even in hell. Then it makes no difference. It makes no difference then! If you are without mind, hell cannot enter you, and with mind ONLY hell enters. The mind is the door to hell.

LEAVING THEM ASIDE, BE FREE. But do not try directly with feelings, you will not succeed. Try first with words. But with words also you will not succeed if you do not leave philosophies, if you do not leave thoughts. Words are just units -- and if you give significance to words you cannot leave them.

Know well that language is a human creation. It is utilitarian, necessary, and the meanings we have given to sounds are our own creation. If you can understand this well, then you can move easily. If someone is saying something against the Koran, or against the Vedas, how do you feel? Can you laugh about it or does something clench within you? Can you laugh about it? Someone is insulting the Gita or someone is saying some derogatory thing against Krishna or Ram or Christ -- can you laugh? Can you see through the words, that these are mere words? No, you will be hurt. Then it is difficult to lose words.

See that words are just words -- noises with agreed-upon meanings and nothing else. Be convinced of it. And it is so! First become detached from words. If there is detachment from words, then you can understand that these are just noises.

It is just like in the military where they use numbers. One soldier is number 101: he can become identified with `101'. And if someone says something derogatory against the number 101, he will feel insulted, he will start fighting. And `101' is just a number, but he has become identified with it. Your name is just a number, just an index number. Things will be difficult otherwise, so we have labelled you. That is just a label; any other label can do the same work. But it is not just a label for you, it has gone deep; your name has become the center of your ego.

So they say, the so-called wise ones, they say, "Live for your name. See that your name remains pure. Respectability of your name must be there, and even if you die your name will live." It was never there, it is just a code number. You will die and the name will live... When you yourself cannot live, how is the label going to live?

Look at words -- at their futility, their meaninglessness, and do not become attached to any word.

-Extracted from Osho’s 37th technique, The Book of Secrets.

Nrv Appasamy replies to Natesh Mahadevan on Aug 23, 2011 at 09:16

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Sidhar Peruman Paper Swamigalin Jeeva Saritham

Paper Swamigal, an alchemist who manifests Gold (Rasavatham) and attained Jeeava Samadhi at Ilayarasanendal, Tirunelveli district in Tamilnadu. 

"Guru Pooja" is the annual festival celebrated at "Part II Small Palace". 

A book "Sidhar Peruman Paper Swamigalin Jeeva Saritham" was released in May 2011 Guru Pooja. 

Those who are interested to read his history, can access it through the following link. The book is written in Tamil, by Shri R Ramasubramanian and released by Shri P R V S S Appasamy alias Periya Paper Raja.

http://www.scribd.com/doc/91701215/Sidhdhar-Peruman-Paper-Swami-Gal-In-Jeeva-Saritham

THE DENIM HISTORY - டெனிம் வரலாறு

Salutations

According to the ancient and revered custom, N R V Appasamy begins the work of, Denim, with various salutations.

First, he makes obeisance to the God Ganesha to remove all obstacles and make the work a success.

Then, to the Goddess Saraswati to inspire him to write out the work.

Then, to the Gods; Brahma, Vishnu and Shankar - the Creating, Preserving and Destroying Deities respectively.

Then, to his tutelary Deity Lord Venkateswara of Venkatadri who manifested himself in Tirumala Tirupati.

Then, to the Great Irul Appaswamy, Kula Deivam of his Family.

Then, to his grandfather Narasimha Appasamy, father Rengasamy, his mother,  Mangammal, to his paternal /maternal aunts and uncles and Sisters.

Then, to the readers and prays them to give their whole and undivided attention to his work.

And lastly, to his Guru Rishi Prabhakar.

27-02-2011     NRV     This is a preview. The total pages displayed will be limited. Guest Book at the end. 

IF YOU LIKE IT PLEASE FOLLOW

This venerable fabric has in almost 150 years, run the gamut from a basic work wear fabric to a fashion trend setter.

People around the globe love denim. It has become symbolic of a casual lifestyle for many.  Denim is affordable, comfortable, and durable and offer variety of style and colour.  It is fashionable and can be dressed up or down.  There’s a fit for everybody.

Denim offers something for everyone.

1.1 How Denim Evolved?

The history of denim is as colourful as the fabric that has ruled the fashion chart of the world for the past fifteen decades.  Denim as a fabric was introduced first in the USA during the Californian Gold Rush.  Levi Strauss was a tent salesman in America who thought the miners in Sanfrancisco needed a rugged pair of trousers that could withstand the rigours of their job.  So he offered them what he had trousers made out of canvas.  Across the Atlantic the French were already using such heavy fabric known by the name Serge-de-Nimes, a name of French city.  Since the French alternative was better and tougher, the Americans too started buying the fabrics from France, discarding the canvas and used the same fabric for trousers with studs etc.  Given the American penchant for cutting the names short the elaborate Serge-de-Nimes quickly became “Denim”.  These trousers caught on and the rest is history.

Fashion-wise denim has gone through many phases.  From its initial indigo dye blue it went through various washes, was over-dyed into colours as vivid as brown, yellow, orange, green and even pink.  It went into streaks and prints and it also turned totally black or remained in its natural state that is ecru or off-white.  But no doubt it is the indigo colour that has returned to every time it has got over a current fad.  Indigo unlike most of the dyes is a crystalline substance.  It gets absorbed by the yarn to limited extent.  It dyes merely the outer layer of the yarn leaving its core white.  In between it imparts several shades of blue.  The crystalline nature of the dye is the reason why the fabric appears bright even when the dye has faded.  The indigo crystals reflect light.  Hence even faded jeans look bright and not dull.

1.2 How Jeans Evolved?

The word jeans is believed to have been coined by Genoese sailors who found it difficult to keep their white trousers clean.  They dyed them with cheapest available colour – Indigo blue.  The Invariably humid and often hot atmosphere on the high seas resulted in the colour fading quite fast.  However, indigo being a crystalline substance some brightness remained even after fading.  This was subsequently became everyday wear for industrial workers and cowhands in 19^th century America.  This is how the present day “Denim Jeans” were born.

By World War II, denim jeans had come to be identified with male machoism and celebrated stars like Wayne, Gary Cooper and Clark Gable further pushed the popularity of the jeans by wearing them in their many successful films.  To look manly, thereafter one simply had to wear jeans.

1.3 Denim and Jeans Defined

Denim is defined as a 3/1 warp-faced twill fabric made from yarn dyed warp and undyed weft (Textile Terms and Definitions. The Textile Institute, 1992).  Denim is distinguished from chambray, a flat weave made from similar yarns,  by its 3/1 construction which exposes the dyed warp predominantly on one side and the paler unbleached weft on the other.  Traditionally, denim was dyed with indigo a blue dye originally obtained from natural sources but now manufactured chemically.  While most denim remains’ blue a growing market for other colours has developed.  Most denim is still 100 percent cotton, although a relatively small volume of union denims are produced and traded worldwide.

Jeans are harder to define than denim.  Unless described as denim, they are sometimes made in other fabrics-notably corduroy and lighter flat fabrics for summer wear.  Most manufacturers define jeans as trousers for both sexes with a number of distinctive characteristics, some or all of which may be present.  These include:

-          the so-called waist yoke inserted below the self-supporting waist band at the rear, ensuring a close fit over the buttocks;

-          patch pockets at the rear;

-          double rows of stitches on folded seaming; and

-          in classic versions, metal riverts.

The cut of the rest of the garment may vary to include flares, baggy legs, narrow drain pipes or pleated fullness from the waist at the front of the jeans.

1.4  112 Years Pre-Indian Denim History

The story of how the law of gravity was discovered is well known. Newton was sitting under a tree, under an apple tree, and then one apple fell down. Because of this he started thinking, and he felt that something is pulling the apple downwards. But the law of gravity is only one law. There is another law, which science has yet to uncover it. It is called levitation - “How did the apple reach upwards in the first place? How?”. That must be explained first – how the apple reached the upward position, how the tree is growing upwards. The apple was not there; it was hidden in a seed, and then the apple traveled the whole journey. It reached the upward position and only then did it fall down. So gravity is a secondary law. Levitation was the first and powerful.

Similarly, the water flows downwards; it is under the law of gravity. When it evaporates, suddenly the law also evaporates. Now it is under levitation, it rises upwards.

In denim history,  Levi Strauss, the beverian in 1873, simply become available for the higher law of levitation. In Indian context, it is Sanjay Lalbhai in 1986. The below is the sequence of events between 112 years.

1873   Levi Strauss makes in San Francisco the first jeans using a heavy brown duck fabric for the Californian mine workers.

1873   Levi Strauss produces the first jeans with the designation “501-Indigo”.

1904   Founding of the Blue-Bell Co. in Greensboro, North Carolina.

1950   The first zipper-jeans are introduced in the market.

1954   Marlon Brando and James Dean appear in jeans and thus created a new image for denim.

1960   Denim starts to conquer the world.

1974   The first “pre-washed” jeans appear on the market.

1978   The industry developed a new washing process for denim clothing “stone-wash”.

1986   Birth of Indian denim.

1.5 Blue Revolution in Indian Fashion Industry

The Blue Revolution has taken the Indian industry by storm.  It is a rage among the young and old alike.  The ever blue fabric- Denim- shares the ups and downs of consumers – big and small and is the favourite for fabric designers of clothes and casuals.  No wonder it evokes romance, craze and thrill.

1.5.1 Birth of Indian Denim

The year 1986 marked the birth of Indian denim when Arvind Mills, a member of the Lalbhai Group, set up the first denim plant in Ahmedabad.  Taking this clue from Arvind others K.G, Ashima, Soma, Mafatlals, Aarvee, Century, Raymond Suryalakshmi, Malwa, LNJ, Nahar etc followed.

The one quality of denims which has endeared this material to the vast multitude is its toughness.  It does not crease easily.  Besides it grows brighter with every wash.  While other cotton materials fade and loose their luster with subsequent washes, denim’s luster increases with every wash.

1.5.2 Colour Options

With different weights in denims – 6 to 16 ozs and a variety of colours ranging from light blue to dark blue the utility of denims has increased. To name a few 

Super Dark Denim :Stay blue and stay black indigo products with differential tonal effects for younger generation.

Tinted Denim Cotton denims enriched with different colour cast by tinting or over dyeing technology .

Vintage Dusk Grey cast effect or give unique, second hand look.

Added to this are the different washes – stone wash, bleach wash, hand wash, acid wash, rinse wash, water wash, ink wash, camel wash etc. and over-dyed, printed denims and even coated denims.  Today we have colours like olive, hunter green and over-dyed black.

1.5.3 Fibre and Yarn  Options

Beginning of twenty first century saw the explorations in different yarn options with the development of wide range of characteristic yarns, and their usage in rains, streaks and crosshatch denims. To name a few

Tencel Denim: Woven century luxury cellulosic fibre made from specially grown woods and transformed in non-chemical process which give feel of silk and comfort of cotton.

Stretch Denim: Woven with lycra from Dupont, stretch is the established fashion fabric for women and recently in menswear niche segments too who believes in exact fit and comfort.

Chinos: Two ply chino denims in indigo dyed shade have an unique soft hand feel, Fabric cover and a luxurious appeal.

Polyester Blends: Cotton rich polyester denims with superior hand feel, luster and colour contrast for fashion market.

Rain Denim: Novelty loom denim with a fine weave & premium 'Run' effect for an unique appearance.

Crosshatch Denim: high fashion denim with enhanced fabric texture

1.5.4 Denim for Kids

Today denim is the basis of the Indian fashion industry in many cases.  Children’s wear is one of the largest consumers of the fabric after men’s wear discovered the benefits of this fabric.  No fabric has been as suitable for the rough and tumble use of children’s wear as denim has been.  It is durable and tough and when used in different weights the designing possibilities are limitless.

1.5.5 Denim for Teens

To the present generation jeans means disco.  They mean casual wear or party wear.  The teenagers consider it fit to even jeans at weddings, parties, office etc. Jeans has different connotations for different people.  In the U.S. of America there have been reports of several bride-grooms wearing jeans at the nupitals.  With film stars seeing the trend the present day jet-setter feels that you can appear at the “Rock Around the Clock” only if you are donning the “in” apparel – jeans.

1.5.6 Denim For all  

Today denims don’t just mean jeans.  It means a multitude of things-skirts, jackets, bags, accessories and even shoes.  Cotton dresses have patches of denim material.  The age group which considers denims as fashion wear is 16 to 28. The high profile jeans culture is finally here and urban youngsters particularly are lapping them up as soon as they appear on shop-shelves. Sarees and even Salwar Kameez are being discarded in favour of jeans; something very elegant and more in keeping with the youngish look of the mini-skirted young.  Minis moved out to be replaced by jeans.

The emergence of international brands of jeans in India such as Lee, Wrangler, Levis, Calvin, Klien, Jordache and Pepe further supports the potential of jeans in India.  Indian brands which are already popular in jeans are Flying Machine, Numero, Blue Lagoon, Unnex, Buffalo, UFO, Avis etc.  Besides there are atleast 150 brands which are in the market on dealer support. 

Indian denim is constantly scaling new heights.  It is successfully competing with the other brands which are popular abroad and has carved a niche for itself in the world market by catering to international standards.  No fabric has been as hardsold by it’s manufacturers as denim has been and it is not surprising to read of overnight successes in the readymade garment business with denim as the base fabric.

DENIM PRODUCTION TECHNOLOGIES டெனிம் தொழில்நுட்ப உற்பத்தி முறைகள்

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2.1 DENIM PROCESS SIMPLIFIED: FROM FIBRE TO FABRIC

Denim process begins with the spinning of raw cotton to cotton yarn. Hundred percent cotton still remains the preferred fabric despite attempts made by denim manufacturers in India and abroad to introduce union denims which has not found any wide acceptance either in the international or Indian market.  Spinning is followed by dyeing of warp yarn to required shades and other weaving preparatory treatments like sizing etc. The yarn is woven into fabric and the fabric is subjected to various finishing processes. The finished material is then checked, packaged and delivered to customers. The production of fabric mainly involves spinning, dyeing and sizing, weaving and processing.

TABLE 2.1 : DENIM PRODUCTION TECHNOLOGIES
Process	Description	Production Technologies
Spinning	Converting raw cotton to yarn	OE/Ring spinning technology
Dyeing & Sizing	Dyeing Cotton Yarn to required shade	Slasher/Rope dyeing systems
Weaving	Converting sized yarn to fabric	Airjet/Rapier
Finishing	Imparting Stability to fabric	Foam/Wet finishing systems

2.2 CHOICE OF TECHNOLOGY & THE PROCESS SEQUENCE

2.2.1 Open End Spinning – v – Ring Spinning

Denim plants have both open-end and ring denim capabilities, although a majority of the capacities are open-end, which historically cater to mass-market denim products. However, open-end plants are also able to manufacture specialty denim fabric with changes to their processes. Ring spun denim is of a higher quality and commands higher prices in the denim fabric market. The process sequence of OE and ring spinning are given in the following Table 
2.2

TABLE 2.2 : SPINNING -PROCESS SEQUENCE
SPINNING	OE  SPINNING TECHNOLOGY	RING SPINNING TECHNOLOGY
	Blow room	Blow room
	Cards	Cards
	Draw frames	Draw frames
	OE Spinning	Speed frames
		Ring frames
		Winders

2.2.2 Rope Dyeing – v – Slasher Dyeing

The rope method is generally used in the mass production of fabrics with set specifications. The slasher method is generally used in smaller scale production of fabrics and allows for modification of specifications. Rope-dyeing technology provides a uniform dye to denim fabric when compared to the slasher-dyeing process. Steps involved in the Slasher Process and Rope process are as follows:

TABLE 2.3 : DYEING - PROCESS SEQUENCE
DYEING & SIZING	SLASHER DYED PROCESS	ROPE DYED PROCESS
	Beam Warping	Ball-Warping
	Sheet Dyeing and Sizing	Rope-Dyeing
		Long chain Beaming
		Sizing

2.2.3 Foam Finishing – v – Wet Finishing

While application and distribution of chemicals is quite uniform in wet finishing, the practical alternative to reduce energy bill is to use foam technology. The foam finishing is environmentally-friendlier and reduces pollution. The Table below depicts the process sequence adopted.

TABLE2.4:FINISHING-PROCESS     SEQUENCE
FINISHING	FOAM TECHNOLOGY	WET TECHNOLOGY
	Brushing	Brushing
	Singeing	Singeing
	Finishing(foam)	Finishing(wet)
	Antitwisting	Antitwisting
	Shrinking	Shrinking