RAMAYANA TATTOOS

Karnataka literature denotes to the wealth of literature created in the region of Karnataka in South India roughly corresponding to the modern state of Karnataka. This literature includes works in Sanskrit and Kannada.

Western Ganga Dynasty (350-999)
Pujyapada (Sarvathasiddi , Jinendra Vyakarana, KalayanaKaraka in Sanskrit)
Jinasena II (Adipurana - Sanskrit)
Ajitasena
Bharavi
Akalanka or Nemichandrasiddanta
King Madhava II (370-390 AD) (Dattaka Sutrain Sanskrit)
King Durvinita(495-535 AD) (Reference to his Kannada work in Kavirajamarga, Vaddakatha Sanskrit translation,Sabdavatara a work on Sanskrit grammar, commentary on the 15th sarga of Bharavi's Kiratarjuniya in Sanskrit )
Sripurusha (Gajasastra)
King Shivamara II (788-816 AD) (Gajashtaka, a Kannada work on elephant management, and Sethubandha in Prakrit).
Hemasena or Vidya Dhananjaya (Raghavpandaviya)
Vidhibhasimha (Gadyachintamani and Kshatrachudamani)
Guru Nemichandra (Gommatasara book on jain philosophy, his title was Siddhant-Chakravarti and was guru of Chavundaraya)
Chavundaraya (978 AD) (Chavundarayapurana, Charitrasara, Trishashti LaksanPurana -Kannada)
Gunavarma (Kannada Grammar)
Nagavarma (Chandombhudhi)
Jinasena I (738 AD) (Harivamsha - Sanskrit)

Rashtrakutas (753-973)
Trivikrama (Nalachampu in Sanskrit)
Halayudha (Kavirahasya and Mritasanjivini)
Somadevasuri (Nitikavyamrita)
Mahaviracharya (Ganita-sara-samgraha)
Padma pada
Visvarupa
Virasenacharya (Jayadhavala-tika)
Jinasenacharya (Parsvabhyudaya Mahapurana , Dhavala)
Gunabhadra (Uttarapurana - Sanskrit)
Pushpadanta
Akalanka
Asaga (Vardhamana Purana-Kannada)
King Amoghavarsha I Nripatunga, (Prashottara Ratnamakike, Kavirajamarga, a treatise on Kannada poetics, 850 A.D.)
Sri Ponna (950 AD) (title, Kavichakravarthi wrote Bhuvanaika- Ramabhyudaya, Santipurana and Jinaksaramale - Kannada)
Adikavi Pampa ( 902-975 AD) (called Adhikavi wrote Adipurana and Vikramarjuna Vijaya in Kannada)
Shivakotiacharya (Vaddaradhane 900 CE earliest prose in Kannada borrowed from Sanskrit work Brihatkathakosha of Harishena)
Sri Vijaya
Rudrabhatta of Banahatti - Kannada
Ravinagabhatta who wrote a record for Govinda IV - Kannada
Kavi Rajaraja wrote the Kalasa record, minister of Krishna II - Kannada
Gajankusha who wrote on erotics - Kannada

Western Chalukyas (973-1189)
Ranna (949 AD) (Ajitapurana, Sahasabhimavijaya, Gadayuddha, and Rannakanda - Kannada)
Chavundaraya II (Lokopakara,An important literary source in Kannada dealing with variety of subjects useful for mankind such as Veterinary Science, Aeromatics,Horticulture,Medicine, Astrology, Water resource,Cookery,etc belonging to 11 C AD - Kannada)
Chandraraja (Madanatilaka, a work on erotics - Kannada)
Shridharacharya (Jatakatilaka is a work on astrology - Kannada)
Kirtivarma (1125 AD) (Govaidya on veterinary science - Kannada)
Durgasimha (panchatantra - Kannada)
Nagavarma (Kavyavalokana - Kannada)
Brahmashiva (Samayaparikshe - Kannada)
Devara Dasimayya (Vachanakara belonged to this period - Kannada)
Vadiraja ( Yashodharacharitam and Parshvanatha Charitam - Sanskrit)
Bilhana (Vikramankadeva Charitha, The Kashmiri poet immortalized the name of his patron Vikramaditya VI through this work - Sanskrit)
Vijananeshvara (Mitakshara, a commentary on Yajnavalkya Smriti - Sanskrit)
Someshwara III (Abhilashithartha Chinthamani or Manasollasa, an encyclopedia of all arts and sciences and Chandraprabhacharite - Sanskrit)
Jagadekamalla (Sangithachudamani in Sanskrit)
Jagaddala Somanatha (Karnataka Kalyanakaraka) Kannada work on Ayurvedic medicine (1150 AD)
Karnaparya (1140 AD) (Neminatha purana- Kannada)
Nayasena (1112 AD) (Dharmamrita- Kannada)
Brahmasiva (1150 AD) (Samayaparikshe- Kannada)
Naga Chandra (Jain Ramayana- Kannada)
Kanti (Jain poetess - Kannada),
Shantiraja (Sukumaracharita - Kannada)
Nagavarma II (Kavyavalokana, Karnataka Bhashabhushana and Abhidana Vastukosha, Kirtti Varman and Vritta Vilasa-Kannada).

Hoysala Empire (1000-1346)
Madhvacharya(1238-1317 AD) wrote Rigbhashya in Sanskrit - propounded Dvaita Philosophy
Vidyatirtha (Rudraprashnabhashya - Sanskrit)
Nagachandra (Ramachandra Charita Purana, and Mallinathapurana - Kannada. He known as Abhinava Pampa).
Kanti (poetess)
Vishnudandadipa
Santa Mahanta
Harihara (Girija Kalyana, BasavarajadevaraRagale - Kannada)
Raghavanka (established Shatpadi, , Harischandra Kavya, Siddhara Chanitra, Veeresha Charite,Sharabha Charitre, somanathacharita and Harihara Mahatwa - Kannada)
Janna (1191-1230 AD) (Yashodhara Charite and Ananthanatha Purana- Kannada. Obtained title Kavichakravarti)
Nemichandra (1170 AD) ( (Leelavati, Neminatha Purana - Kannada)
Achanna (1195 AD) (Vardhamana Purana)
Rudra Bhatta (Jagannatha Vijaya - Kannada)
Mallikarjuna (Sukti & Sudharnava- Kannada)
Kesiraja (Shabdamanidarpana- Kannada grammar)
Hastimalla (1290 AD) (Adipurana- Kannada)
Andayya (1235 AD) - (Vardhamana Purana, Kabbigarakava - Kannada)
Choundarasa (1300 AD) (Abhinava-DashaKumara Charitha and Nala Champu - Kannada)
Rajaditya (1191 AD) (Kshetraganita, Vyavaharaganita, and Lilavati on mathematics-Kannada)
Ratta Kavi (1300 AD) (Rata-Mata work on meteorological topics - Kannada)
Bandhuvarma (1200 AD) (Neminatha Purana, Harivamsha - Kannada)
Mahabalakavi (1254 AD) (Neminatha Purana - Kannada)
Sumanobana - Kannada poet
Padmarasa (Dikshabodhe - Kannada)
Hastimalla (1290 AD) (Adipurana)
Trivikrama (Ushaharana, Dvaita philosohpy - Sanskrit)
Narayana Pandita (Madhwavijaya, Manimanjari and Parijataharana - Sanskrit)
Anandabodha - Advaitha Philosophy - Sanskrit
Vidyacharkarvartin II (Rukminikalyana - Sanskrit)

The Kalachuri kingdom (1130-1184), Virashaiva Saints and Vachanakaras
Basavanna (known as Basaveshvara wrote the spiritual lyrics vachanas- Kannada)
Renukacharya
Darukacharya
Ekoramacharya
Panditaradhyacharya
Vishwaradhyacharya
Akkamahadevi
Nilambike
Gangambike
Allama Prabhu
Siddarama
Chennabasava
Madivala Machayya (vachanakara- Kannada)
Madara Channayya (vachanakara -Kannada)
Sakalesha Madarasa (vachanakara-Kannada)
Ramanna (vachanakara-Kannada)
Sujikayakada Ramitande (vachanakara-Kannada)
Medara Ketayya (vachanakara-Kannada)
Kayakada Basappa (vachanakara-Kannada)
Virupaksha Pandita - (Chennabasavapurana- Kannada)
Dharani Pandita - (Bijjalarayacharite - Kannada)
Chandrasagara Varni (Bijjalarayapurana- Kannada)

Seuna Yadavas of Devagiri(850-1315)
Kamalabhava (Santhishwarapurana - Kannada)
Achanna (Varadhamanapurana - Kannada)
Amugudevi - Vachanakara
Chundarasa of Pandharapura (DashakumaraCharite - Kannada)

Vijayanagara Empire (1335-1565), Kannada Haridasa Sahitya
Kumara Vyasa (1430 AD) (Gadugina Bharata or Karnataka Bharata KathaManjari a Kannada adaptation of Mahabharata and Airavata. His title was Rupaka Samrajya Chakravarti (Emperor of the World of Metaphors).)
Narahri or Kumara Valmiki (1500 AD) (Torave Ramayana in Kannada & Smriti Kaustubha in Sanskrit)
Vittalanatha (Bhagavatha)-Kannada
Ratnakarvarni (16th century) (Bharatesha Vaibhava, Triloka Sataka,Someswara Sataka) - Kannada
Nanjunda -Kumara Rama Charita (16th century) - Kannada
BhimaKavi - Basavapurana(1369 AD) - Kannada
Padmanaka - Kannada
Kereya Padmarasa - Padmaraja Purana (1385 AD) - Kannada
Lakkana Dandesa Shivatatwa Chintamani (1428 AD) - -Kannada
Gubbi Mallanacharya - Veerasaivamrita (1513 AD) - Kannada
Singiraja - Kannada
Chamarasa (Prabhulinga Leele) -Kannada
Akalanka (16th century), Jain scholar - Kannada
Bhattakalaka (16th century) -Kannada grammrian
Mangaraja (1360 AD) (Khagendra-Mani-Darpana, work on poisons and antidotes) -Kannada
Sayana (Vedartha Prakasha, Yajnatantra Sudhanidhi, Prayaschitra Sudhanidhi and Purushartha Sudhanidhi) -Sanskrit
Madhava Vidyaranya (Parasara – Madhaviya, Sarva-darshana-samgraha) -Sanskrit
Devanna Bhatta (Smriti Chandrika) - Sanskrit
Gangadevi (Poetess, Madhura Vijayam) - Sanskrit
Tirumalamba Devi (Poetess, Varadambika Parinayam) - Sanskrit
Krishnadevaraya (Madalasa Charita, Satyavadu Parinaya, Rasamanjari, Nyayamritam, Tarkatandava, Tatparya Chandrika - Sanskrit
Ramaraja (Bakhair - Battle of Talikota - Persian??)
Timmanna Kavi, patronised by king Krishnadevaraya, Kannada
Kereya Padmarasa, Padmaraja Purana - Kannada
Linganna, Keladinripavijayam - Kannada
Unknown author, Krishnadevarayana Dinachari is a recent discovery in Kannada.
Chatu Vithalanatha, Kannada
Madhura, Kannada
Salva
Mallanarya, Veerasaivamrita- Kannada
Lakkana Dandesa, Shivatatwa Chintamani - Kannada
Shivagna Prasadi Mahadevayya and Halageyadeva ,Shunya Sampadane- Kannada
Kallumathada Prabhuva - Kannada
Jakkanna - Kannada
Maggeya Mayideva - Kannada
Tontada Siddalingayati - Kannada

Haridasa
Narahari Thirtha
Padmanabha Thirtha
Akshobhya Thirtha
Jayatirtha - Nyaya sudha, Tattva prakashika, Prameya deepika, Nyaya deepika Important works
Sripadaraya of Mulbagal (1500 AD)
Vyasatirtha (1447 – 1539 AD) - Guru of Purandaradasa, Kanakadasa and Krishnadevaraya wrote Nyayamritam, Tarkatandava, Tatparya Chandrika Important Works
Sri Vadirajaswami
Purandaradasa (1484 – 1564 AD) (Father of Carnatic music. Composed 475,000 songs in Kannada. His titles wereDasaShreshta Purandaropanishat, Sangitapitamaha)
Kanakadasa (1509 - 1607 AD) (Padas and Keertans
RamadhyanaCharite, Haribhakthisara,Kalacharithre, Mohana Tarangini, Nalacharitre - Kannada)

Later Haridasa
Guru Raghavendra Swami (1600-1671 AD) the great Sage of Manthralaya.Important works
Vijaya Dasa (1687–1755 AD)
Mohana Dasa
Gopala Dasa (1721–1762 AD)
Helavanakatte Giriyamma
Jagannatha Dasa (1728–1809 AD) (Harikathamrithasara, Uga Bhogas, Keerthanas and Tathva Suvalis- Kannada)

Kannada literature from Mysore Kingdom, Keladi Nayaka kingdom
Basappanayaka (Shivatatwa Ratnakara - History Keladi Kings)
Linganna (Keladi Napra Vijaya- History of Keladi Kings)
Chikkupadhyaya, Minister and teacher of His Highness Sri Chikkadevaraja Wodeyar, (1670 AD) - more than 30 works in Kannada
Tirumalaraya (1680 CE) (Chikkadevaraja Vijayam, Chikkadevaraja Vamshaavali - History of Mysore Kings)
Govinda Vaidya (1648 CE) (Narasaraja Vijaya - History of Mysore Kings)
Bhattakalanka Deva (1604 AD) (Karnataka Shabdaushasana on grammar)
Sakdakshara Deva (1657 AD) (Rajshekhara Vilasa- romantic champu)
Noorondayya (1740 AD) (Soundara Kavya)
Nijaguna Yogi (1650 AD) (Viveka Chintamani- Shaiva work)
Nanja Raja (1760 AD) (Shiva Bhakti Mahatmya and Hari Vamsa - Puranic works)
Brahma Kavi (Samaya Pariksha)
Sarvajna (1650 AD) (tripadis or vachanas pithy three lined poems in Kannada)\

Kannada Literature From Old Bangalore (18th - 21st century AD)
18th Century Kannada
Guru Nanjesh (Jayastuti)
Ekambara Dikshit (Veerabhdra Vijaya)
Jayaram Pande (Radha Madhava Vilasa)
Mudduveeraswamy (1700 AD) (Vachanakara)
Sarpabhooshana Shivayogi (1795-1839 AD) (Vachanakara)
Mahant Desika (Vachanakara)
Jeerage Basavalingacharya (Vachanakara)

19th Century Kannada (topics-grammar, linguistics, Jain and Virashaiva philosophy, geology, agriculture, politics)
Siddhanti Velanada
Subramanya Shastri
Siddhanti Shivakumara Shastri
Srinivasa
Nagasharma
Dakshinamurthy Shastri
Padmaraja Bhramasuri
Ramanathapuram Raguraya
S.N. Narasimhaiah
Doddabele Narayana Shastri - commentary on Jaimini Bharatha, Sundarakhanda, translations of Kalidasa works

20th century Kannada
Bidare Ashwatha Narayana shastri (Dhammapada)
B. Puttiah (priniting technology)
Panyam Sudarashastri (a translation of Bhasa Dharma)
S.K. Nasasimhaiya (biography of Magadi Kempe Gowda)
Toppulu Raghavacharya (translation of commentary on Gita)
Mahant desika (Yakshagana composition)
Balasaraswati (first detective novel)
Mahadevaswamy (nicknamed Abhinava Allama)
Pt. Shivakumar Swamy
Siddalingaswamy of Beli Matha
Nanjundaswamy of Guruvanna Matha
Pt. B. Shivamurty Shastri

20th century Sanskrit Keerthanakaras
Singeri NarasimhaShastri
M. Lakshminarasimha Shastri
Varada Desikachar
Jaggu Vakulabhushana
Rariapalli Anantha Krishna Sharma
Motaganahalli Subramanya Shastri

2oth century harikathe dasaru
Gururajulu Naidu
Sant Keshava Das
Bhadragiri Achuth Das
Malur Sonnappa
Muiratnam Mudaliar

Modern Kannada Poets, Scholars & Writers (Navya, Navodaya or Bandaya Style)
Jnanpitha Awardees
Kuvempu
D. R. Bendre
Shivaram Karanth
Maasti Venkatesh Ayengar
V. K. Gokak
U. R. Ananthamurthy
Girish Karnad

Sahitya Academy Awardees
1955 'Kuvempu' (K. V. Puttappa) Sri Ramayana Darsanam (Epic)
1956 R.S. Mugali Kannada Sahitya Charitre (History of Literature)
1958 D. R. Bendre Aralu-Maralu (Poetry)
1959 K.S. Karanth Yakshagana Bayalata (A treatise on folk-drama)
1960 'Vinayaka' (V. K. Gokak) Dyava-Prithvi (Poetry)
1961 A.R. Krishna Sastri Bengali Kadambarikara Bankim Chandra (A critical study)
1962 Devudu Narasimha Sastri Mahakshatriya (Novel)
1964 B. Puttaswamayya Kranti-Kalyana (Novel)
1965 S.V. Ranganna Ranga Binnapa (Philosophical reflections)
1966 P.T. Narasimhachar Hamsa Damayanti Mattu Itara Rupakagalu (Musical plays)
1967 D.V. Gundappa Shrimad Bhagavadgita Tatparya Athava Jivanandharmayoga (Philosophical expositions)
1968 'Srinivasa' (Masti Venkatesa Iyengar) Sannakathegalu (12-13) (Short stories)
1969 H. Tipperudraswamy Karnataka Samskriti Sameekshe (Cultural study)
1970 S.B. Joshi Karnataka Samskritiya Poorva Peethike (Cultural study)
1971 Adya Rangacharya Kalidasa (Literary criticism)
1972 S.S. Bhoosnurmath Shoonyasampadaneya Paramarshe (Commentary)
1973 V. Sitaramiah Aralu Baralu (Poetry)
1974 Gopalakshrishna Adiga Vardhamaana (Poetry)
1975 S.L. Bhyrappa Daatu (Novel)
1975 L. Gundappa Translations from Tamil, Sanskrit to Kannada
1976 M. Shivaram Mana Manthana (Psychiatric studies)
1977 K.S. Narasimhaswamy Tereda Baagilu (Poetry)
1978 B.G.L. Swamy Hasuru Honnu (Travelogue)
1979 A.N. Moorthy Rao Chitragalu Patragalu
1980 Goruru Ramaswami Iyengar Americadalli Goruru (Travelogue)
1981 Chennaveera Kanavi Jeewa Dhwani (Poetry)
1982 Chanduranga Vyshakha (Novel)
1983 Yashwant Chittal Katheyaadalu Hudugi (Short stories)
1984 G.S. Sivarudrappa Kavyartha Chintana (Literary criticism)
1985 T.R. Subba Rao Durgaasthamaana (Novel)
1986 Vyasaraya Ballal Bandaaya (Novel)
1987 K.P. Poornachandra Tejaswi Chidambara Rahasya (Novel)
1988 Shankar Mokashi Punekar Avadheshwari (novel)
1989 H.M. Nayak Samprati (Belles Lettres)
1990 Devanur Mahadeva Kusuma Bale (Novel)
1991 Chandrasekhar Kambar Sirisampige (Play)
1992 Subbanna Ekkundi Bakulada Hoovugalu (Poetry)
1993 P. Lankesh Kallu Karaguva Samaya (Short stories)
1994 Girish Raghunath Karnad Tale Danda (play)
1995 Kirtinath Kurtkoti Uriya Nalage (Criticism)
1996 G.S. Amur Bhuvanada Bhagya (Literary Criticism)
1997 M. Chidananda Murthy Hosatu Hosatu (Criticism)
1998 B.C. Ramchandra Sharma Sapthapadi (Poetry)
1999 D. R. Nagaraj Sahitya Kathana (Essays)
2000 Shantinath Kuberappa Desai Om Namo (Novel)
2001 L. S. Seshagiri Rao English Sahitya Charitre (Literary history)
2002 Sujana (S. Narayana Shetty) Yugasandhya (Epic)
2003 K.V. Subbanna Kaviraja Marga Mattu Kannada, Jagattu (Essays)
2004 Geetha Nagabhushana Baduku (Novel)
2005 Raghavendra Patil Teru (Novel)

Kendra Sahitya Academy Awardees (Translation)
2005 Dr. Panchakshari Hiremath, Urdu to Kannada

Other Eminent Writers
De. Javare Gowda
Samethanahalli Rama Rao (Raasa)
Anupama Niranjana
B M Srikanthaiah (B M Sri)
Dr. A. N. Krishna Rao (Anakru)
G P Rajarathnam
G.B.Joshi (JadaBharata)
M Govinda Pai
M.V.Seetaramiah
Nisar Ahmed K.S.
P Lankesh
Dr.Panchakshari Hiremath
Panje Mangesh Rao
S.V.Parameshwara Bhatta
T. P. Kailasam - drama
Tha. Ra. Subbarao
Thee. Nam. Shree
R.K. Narayan, Noted Indian Author
R.K. Laxman, Famous Indian Cartoonist & Humorist
Kamala Markhandaya
Triveni (Sharapanjara)Novelist
G.P.Rajaratnam (Ratnana Padagalu)
Beechi - humorist
Dr M.Shivaram, Rashi - humorist
T. Sunandamma - humorist
H.L. Nage Gowda - folklorist
Anakaru - Novelist
M. Ramamurthy
K.V Iyer
Devudu
Niranjana
Na. Kasturi
Navaratna RamaRao
T.T Sharma - Journalism
VeeraKesari
Siddavanahalli Krishna Sharma
Hariharapriya
R.Kalyanamma
Tirumale Rajamma
Ambabai
H.V. Savitramma
H.S. Parvathi
Chi. Na. Mangala
H.R. Indira
M.K. Indira
M.V. Kanakamma
Nirupama
N. Pankaja
Usha Navaratna Ram
Kakolu Saroja Rao
Anupama Niranjana
Vi. Seetharamiah . - Poet, Critic
Basavaraja Kattimani
Nanjanagudu Tirumalamba (authoress)
Sundar V. Nadkarni Fiction writer and Poet
Ta. Raa.Subba Rao Novelist
Veenaa Shantheshvara Short Story Writer
Vaidehi Short Story Writer
Sumangala Short Story Writer
Dr K R Sandhya Reddy Poet, Story Writer, Folk Literature
Prathibha Nandakumar Poetess
D.R.Nagraj Critic
K.V.Narayana Literary Critic and Linguist
B.C.Ramachandra Sharma Poet and Fictionist
Shanhinatha Desai Novelist, Story Writer
Kum. Veerabhadrappa Novelist, Story Writer
Gowri Lankesh, Columnist
Vishweswara Bhat, Columnist
Ravi Hanj, Columnist
B.V Veerabhadrappa, Columnist
A N Murthy Rao
Shivarudraprasad, shimoga. poet and story writer
 won prize for his story from Samyuktha Karnataka News daily,2007

Christian Missionaries Literature
Rev. John Garet (translated Bible, Bhagavadgita, Panchatantra, Shabda Manidarpana to Kannada)
Daniel Sanderson
Ellis Robert
Rev. B.L Rice
Edward Peter Rice

Ref
Dr. Suryanath U. Kamat, A Concise history of Karnataka from pre-historic times to the present, Jupiter books, MCC, Bangalore, 2001 (Reprinted 2002) OCLC: 7796041
Prof K.A. Nilakanta Sastri, History of South India, From Prehistoric times to fall of Vijayanagar, 1955, OUP, New Delhi (Reprinted 2002), ISBN 019560686-8
R. Narasimhacharya, History of Kannada Literature, 1988, Asian Educational Services, New Delhi, Madras,1988 ISBN 81-206-0303-6.
Ramachandra Sidenur, Karmanye Vadhi Karaste, 2004, Dharwad
History of Karnataka, Arthikaje
History of Kannada Literature, Dr. Jyotsna Kamat
Literature from old Bangalore
Dvaita saints

Source Wiki
List is incomplete with prehistoric, Satavahana, Kadamba, Chalukya  and many other dynasties Literature not added. Will be Added shortly.

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Labels: Literature, Poets

Kasuti also spelt kasooti is the oldest form of Embroidery in India. Home to Satavahanas, chutus, Kadambas, Chalukyas, Ratrakutas,Hoysalas,Seunas, Vijayanagar and much more is also home to various arts, Karnataka is said to be the master of all 64 arts and one of them is Kasuti

Kasuti - Etymology
Kasuti can be broken down to ky - hand , suti- weave. Kasuti is called Kashida in North India.

Features

Kasuti was done on Ilkal saris woven in North Karnataka town called Ilkal in pit looms. These are woven in cotton and silk. The Dark background of Ilkal sari provide a good base for the colors used in Kasuti embroidery. These saris had a distinct style- a  4" of border, which was generally in deep shades of red  and this enveloped a well woven sari with a red pallav carrying white panels called tope and tenni. Kasuti embroidery is done above this pallav in a border called bugadi. which forms the base of the embroidery to follow. This continous border is worked in gavanti stitch,which has been known to mean knot stitch or rural stitch. After this the large patterns on the sari emerge. The Chariot Ratha,or a tree with peacocks or flowers and this distribution of motis grows sparse as it travels away from the pallav,becoming  small flowers and dots. Which are worked into the pleats of the sari.

Originally this embroidery was done by women with silk threads,which were taken directly from the weavers of the Ilkal saris. Later weavers sold these saris with 10" of extra silk thread in the wrap, which hung from the pallav area. This way the colours used in the embroidery blended well and the combinations were never garnish. The most readily available medium they could use was their daily clothing, which were saris,cholis,kunchis(bonnets) and lahngas or skirts.

The various themes that are embroidered in Kasuti are that of gopuram, bells, chariots, temple sculpture, flowers, animals etc. Appearing same on both the sides, various designs include Dagabaji Gopura, Gandolagida, Tulasi, Vankipatti, Kayapatti, Gopi Kamala Chittu Kamala, Gundala Gopura etc. Than the geometrical designs of the Kasuti have been educed from the temple structure.

Influences
Kasuti embroidery is every rich in symbolic motifs as the finest examples of this embroidery are found where vijaynagar ,Chalukya court influence was the strongest, the present Bijapur and Dharwad area's. Hence the inspiration of these womenfolk were symbols and designs which came from the temples, cavees, shrines,beautifully sculptured edifices with exquisite patterns, the flora and fauna of the region, and anything that their eyes could relate to.

Religion and Kasuti
Until recently, it was customary for brides to be presented with blue black Ilkal saris with kasuti embroidery on it. In earlier days, the girls themselves embroidered this sari known as chandrakali sari, which is nine yard Ilkal sari to be readied  for their marrige. A Chandrakali sari taken by the bride as she goes to her husband house was traditionally woven with indio dyed warp and black weft. In fact the use of indigo as warp was mandatory in Ilkal sarees and thus the different colours woven would have light and shade effect. The Chandrakala was considered Shubha Shagun- Good Omen.

Among the Lingayats a hand embroidery khun or choli was considered a most appropriate gift for an expectant mother. The dreams and desires of these young girls find experssion in these embroidery pieces. Along the border, one may find horse, which is ridden by horseman, maybe a palanquin, which might take her to her husband's home or two love birds right in the middle of nowhere.

An interesting information is the kasuti is mentioned in bible as per the christian weavers of kasuti. kannada bible shows the kasuti in the book of exodus, chapter 26 shows emboridery and kasuti. The German missionaries put a school and hospital in North karnataka and the school also has kasuti weaving  in their curriculum.

Guru Nanak(1469-1538AD) says Kadh kasida pahreh choli tan tu jane nari(only when you can embroidery of your own costume ,you will be considered  as a woman) same as Chandrkala tradition also practiced in Nanded.

Technique
The most remarkable feature about kasuti is that there is no right or wrong side. Both sides are identical. However complicated the design, the end of the design coincides with the beginning. There is no knot used in the beginning or end of the thread. A small straight stitch is placed at the beginning and end.

Kasuti can be described as a delicate embroidery with geometric designs which when worked very closely can make dramatic patterns. A combination of four main stitches, all based originally on the counted thread method(equi-distance running stitches- by counting the same number of threads), allow many people to work on the same pattern and a change in the working hands does nto affect  the final design. Now the designs are traced on paper or loosely woven gauge, which is then pulled off after completing the work. Kasuti Embroidery is done with four main stitches.

Gavanti or Gaunti meaning konts is a double running stitch and used in straight, horizontal, vertical and diagonal lines.

Muragi is a zigzag running stitch and looks like a ladder when it is used. Small motifs like squares, hexagons, octagons and ladders are created with this stitch. THe Muragi stitch looks identical on both sies of the cloth

Neygi or Negi - the name of the stitch is derived from the kannada word neyi to weave. This darning stitch in which long and short lines are used which gives the effect of weaving.

Menthe - A kannada word meaning Fenugreek seed or a forked stitch, crossed Stitch. This stitch is mainly used to fill motifs

Kasuti Antiquity
Kasuti became famous under Chalukyas of Badami and reached far corners of the country.

Bana Bhatta in Harshacharita in seventh century AD describes the Rajyasri wedding describes Kasuti.

Embroidery of Austria and Hungary bears close resemblance to the embroidery of Kasuti in karnataka.

Celtic stitches of scotland in particular of Holbein stitch used in Elizabethn black work resemble Kasuti of Karnataka.

Holbein was called Spanisshe stitche in 17th century. This apparently was seen in the book printed in Germany 1527, a seamstress of Elizabeth I called it True Stitch-there is no right or wrong side, why so many names for one stitch. The Answer lies in in Egypt. Fragments of printed and embroidery fabrics which have been found in the ruins of Fustat, the capital of Egypt in 14th century. Studies of these fragments which have reached several museums around the world, have revealed that these textiles were indeed made in karnataka. On studying  the pictures, the similarities between kasuti and that particular embroidery which seems to have been done during the rule of the Mamluks(1270-1517) is nothing short of striking.

Laborious process.
The technique is difficult ot learn,as the patterns made by counting warp and weft threads, which when done on dark backgrounds can cause a great deal of eye strain. It is laborious process and taken years to master. Even a minor error during the embroidery process means undoing the motif and redoing it  completely as the error would be spotted afar. This form of emboroidery also requires physical and mental alertness and a great deal of patience.

Revival of Kasuti
There are many who are responsible for revival of kasuti almost made extinct under British rule. Janata shikshana smiti founded by Hukkeri rama roa in dharwad, Laila Tyabji founded Dastkaar, Asha Ben savla, Sabala a NGO in Bijapur to name a few.

Ilkal Saree's

Ilkal saree is a traditional form of saree which is a common feminine wear in India. Ilkal saree takes its name from the town of Ilkal in the Bagalkot district of Karnataka  state, India. Ilkal sarees are woven using cotton warp on the body and art silk warp for border and art silk warp for pallav portion of the saree. In some cases instead of art silk, pure silk is also used. Ilkal was an ancient weaving centre where the weaving seems to have started in the 8th century AD.  The growth of these sarees is attributed to the patronage provided by the local chieftains. The availability of local raw materials helped in the growth of this saree

Uniqueness

• The uniqueness of saree is joining of the body warp with pallav warp with a series of loops locally called as TOPE TENI technique.
• The weaver will gait only 6 yards, 8 yards, 9 yards warp due to above TOPE TENI technique. KONDI Technique is used for weft through inserting 3 shuttles.
• Pallav portion-Design: “TOPE TENE SERAGU” Normally in tope teni seragu 3 solid portions would be in red colour, and in between 2 portions in white colour
•  Tope Teni seragu has been regarded as a state symbol and was greatly respected during festival occasions.
• Traditional Borders: (i) Chikki, (ii) Gomi, and (iii) Gadidadi, and modern Gaythri are unique ones in Ilkal sarees - width ranging from 2.5” to 4”
• Border Colour Uniqueness: Red usually or Maroon dominates.

Description
The peculiar characteristic of the saree is joining the body warp with the pallav warp which is locally called as TOPE TENI. This technique is only used exclusively at Ilkal. If anyone requires Ilkal saree one must prepare a warp for every saree. Warp threads for body is prepared separately. Similarly pallav warp is prepared separately either with art silk or pure silk depending upon the quality required. Thirdly border portion of warp is prepared as like the pallav warp either art silk or pure silk and the colour used for pallav and on border will be one and the same. In general, the length of the pallav will range 16” to 27”. The pallav threads and body threads are joined in loop technique, a typical method which is locally called as TOPE TENI.

Features
The distinctive feature of Ilkal sarees is the use of a form of embroidery called as Kasuti. The designs used in Kasuti reflect traditional patters like palanquins, elephants and lotuses which are embroidered onto Ilkal sarees. These sarees are usually 9 yards in length and the pallu of the Ilkal saree (the part worn over the shoulder) carries designs of temple towers. This pallu is usually made of red silk with white patterns. The end region of the pallu is made up of patterns of different shapes like hanige (comb), koti kammli (fort ramparts), toputenne (jowar) and rampa (mountain range). The border of the sari is very broad (4 to 6 inches) and red or maroon in colour and is made of different designs with ochre patterns. The saree is either made of cotton, or a mixture of cotton and silk or in pure silk. The colors traditionally used are pomegranate red, brilliant peacock green and parrot green. The sarees that are made for bridal wear are made of a particular colour called Giri Kumukum which is associated with the sindhoor worn by the wives of the priests in this region.

Types of Borders
The design woven in the length wise borders are mainly three types :-

•  Gomi (more popularly known as Ilkal dadi)
• Paraspet (Sub-divided into chikki paras and dodd paras)
• Gaadi

Main Body design

• Stripes
• Rectangles
• Squares

Other Differences
With above broad parameters the Ilkal sarees differ in matters of size, nature and quality of yarn used for different portion of saree as also colour combination and combinations of designs on the borders and main body of the saree. The beauty of Tope-teni seragu is further enhanced at times by weaving in its middle portion, yet another design known as ‘Kyadgi’.

Reference
Kasuti - Karnataka Kashida by Sunita Shahaney
Wiki - Ilkal Saree's

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