> [!NOTE]+ Meta > Author:: Se Dhanapal > Date:: 2025-09-12 > Tags:: #warp #India #craftWords > WeftLinks:: [[World Craft Dictionary]] > [!SUMMARY] Summary > In Tamil, the words 'kai' (hand) and 'vinai' (action/profession) combine to denote artistic and creative work done by hand. This contrasts with caste-based policies at the national level. ### ‘Kaivinai’ (Craft) in Tamil Language and Literary Texts The English word ‘Craft’ can be translated as 'Kaivinai' (கைவினை) in the Tamil Language. Kaivinai is a combination of two words, ‘kai’ (கை) and ‘vinai’ (வினை). Kai means “hand” and Vinai means “action”. Taken to mean ‘along with the hand’, kai has 42 different associations[^1], including: decorate, beauty, measure, sequence, form, arrange, treatment, attempt, etc. These words directly denote the making of art, creativity, and creation. Tamil literary texts demonstrate the relationship between these two words. In *Mathuraikkaanji*, a line that reads ‘decorating themselves they walk delicately’[^2] (419), uses the word ‘Kai’ to denote the meaning of decoration. In *Agananooru[^3]*, poems 47 and 181 contain the word ‘kai’ to refer to ‘limit’ and ‘made’ in “beyond limits, when the wide sun reaches the mountains and disappears” and “dolls made by young women at home”, respectively. In addition, in *Mullaippattu[^4]*, in line (49)— “they lit the flames whenever they died down”—mentions Kai in an order form. In the 10th century B.C., *Pingala Nigandu[^5]* (Pingala Lexicon) refers to ‘Kai' as one of the names of Singharas. By combining 'Kai' with 'kolan', 'kaikkolan' (கைக்கோளன்) refers to a noun which means a master of weaving. Similarly, the word ‘Vinai’ is used both as a noun and a verb. Derived from the word 'vina', the word 'Vinaignar' (வினைஞர்) directly refers to 'Artists and professionals'. Ancient Sangam literature used the word ‘Vinaignar’ to refer to a farmer (Purananooru. 61), men of keen knowledge, merchant (Maduraikkaanji. 518, 539), drummers (Pathitrupathu. 75:9), carpenter (Cirupanattruppadai. 257), fish angler (Agananooru. 186), among others. The 86th poem of *Natrinai* mentions 'Kai Val Vinaivan' (கை வல் வினைவன்) as 'a skillful artist'. A craftsman is a person who does artistic, creative, and meticulous work. ‘Kai’ and ‘Vinai’ were merged and used as ‘Kaivinai’ in many Tamil literary texts. In the 309th poem of *Kurunthogai*, ‘Kaivinai makkal’ (கைவினை மாக்கள்) refers to those who work with their hands. *Natrinai* and *Kalithogai* use ‘kaivinai’ to refer to ‘skill’ in “look like fine jewels made by a skilled goldsmith[^6]” (313) and “A gold strand with hand-made bright coins set with perfect, red coral hangs around your waist[^7]” (85) respectively. In *Manimegalai* ‘Kaivinai Chiththiram’ (கைவினை சித்திரம்) (19.5), it refers to a handmade painting. Simultaneously, in Solaamani, Kaivinai Poet (கைவினைப் புலவர்) (34). In *Thiruvilaiyadal Puranam*, the sculpture book is called ‘Kaivinai’ (52.77). *Aathisoodi* uses ‘Kaivinai’ (40) to mean craftsmanship (கைவினை கரவேல்). In the South Indian epigraphical volume, the word 'Kaivinaikkudi[^8]' (கைவினைக்குடி) is used to mean the artisan group. The University of Madras *Tamil Lexicon* (1924) ‘Kaivinai’ translates to "handiwork" (கைவேலை). Both Kaivinai (கைவினை) and Kaivinaignan (கைவினைஞன்) were mentioned under the keyword entry for Kai in *Fabricius' Tamil and English Dictionary*, 1779\. “Kaivinai” refers to “handicraft; workmanship,” and “Kaivinaignan” refers to “artisan, mechanic, workman.” Similarly, both Kaivinai and Kaivinaignan are grouped under Kai in Winslow's *A Comprehensive Tamil and English Dictionary*, 1862\. But here, the word Kaivinai refers specifically to manual arts and the fine arts, and Kaivinaignar refers to mechanics and workman. *A Dravidian Etymological Dictionary[^9]* (1984) refers to the following: Ta. kai (-pp-, \-tt-) to adorn, decorate; n. decoration, dressing (2024), Ta. viṉai action, deed, work, karma, evil deed; viṉaiñar workers, artisans, artificers, agriculturists, smiths; viṉainar, viṉaivar workers; viṉaimai nature of deed, property of functioning(5445). Thus, one can argue that ‘Kai’ represents an organ of the body as well as the subtle artistic and creative spirit expressed through it. ‘Vinai’ expresses the profession and the artistic sense of it. As a combination of these two, ‘Kaivinai’ refers to “craft work done by hand.” The terms 'Kaivinaip porutkal’ (கைவினைப் பொருட்கள்) (objects of craft) and ‘Kaivinaik kalai’ (கைவினைக் கலை) (art of craft) also originate from this term. **Vishvakarma vs Kalaignar Kaivinai Thittam** The Union Government of India launched a scheme called ‘Pradhan Mantri Vishvakarma Scheme’ in 2023 to aid the development of traditional crafts and artisans[^10]. It was announced that 18 types of crafts would be eligible to seek government aid in developing and marketing their work. News reports claim that the scheme has been allotted an annual budget of about Rs. 13,000 crores[^11]. A debate took place in Tamil Nadu in the 1950s on the basis of the clan industry education system. The then Chief Minister of Madras State, C. Rajagopalachari, brought a scheme called the Modified Scheme of Elementary Education[^12]. Accordingly, the activities of primary schools were divided into two: morning and evening, and the education system was based on the fact that students received school-related education in the morning session, and their family business, which was their family business, was learned in the evening session. Many people expressed strong opposition to it. The Vishwakarma scheme that the Union Government has now brought is similar to such a scheme. In this country, where caste hierarchies are sharp, schemes based on family business will further increase caste-based hierarchies and tensions. The Vishwakarma scheme abets caste-based education and business in many ways. First, the basis of this scheme is that artisans possess hereditary skills passed down within families and through the Guru-Shishya system. These lineages and skills are to be verified by the Gram Panchayat President and the Urban Local Body Presidents. The person applying under the Vishwakarma scheme must be 18 years of age or older, which implies that the applicant to have engaged in that business even before he applies. This not only discourages children and youth from pursuing higher education, but also incentivizes their families to retain them for the advancement of their business[^13]. By conceptualizing the scheme to support handicrafts in such a manner, the Union Government views ‘craft’ reductively as a family and caste-based business rather than acquired skills. The ‘Vishvakarma’ scheme is based on the lack of pluralism, where anyone from any social background can undertake ‘craft’ activities based on skills. Tamil Nadu offers a different example. In 1964, the Tamil Nadu Handloom Development Corporation was formed as a public sector undertaking. In 1985, this was transformed into the Department of Handlooms, Handicrafts, Textiles, and Khadi. The department formulates policies and programs aimed at promoting the development of handicrafts. Various schemes have been developed for the benefit of craft artisans engaged in these industries. In these schemes, the word 'Kaivinai (Craft)' was widely used for the activities and creations of traditional artists. It is also noteworthy that every year, the Government of Tamil Nadu awards are given to craft artisans. The Tamil Nadu Handicrafts Development Corporation administers a range of awards to recognize and promote excellence in the handicrafts sector. These include the *Vazhum Kaivinai Pokkisam (வாழும் கைவினை பொக்கிசம்)* (Living Craft Treasure) Award, Poompuhar State Award, Poompuhar District Craft Award, Gen Next Award, Handicrafts Export Award, Team Production Award, and Utility-Based Handicrafts Awards[^14]. Collectively, these honors are conferred to encourage artisans and support individuals engaged in the preservation, innovation, and dissemination of traditional and contemporary craft practices. In this context, the Tamil Nadu government launched a scheme called ‘*Kalaignar Kaivinai Thittam*’ (கலைஞர் கைவினைத் திட்டம்) in December 2024 to support those engaged in over 25 craft industries[^15]. ‘Kalaignar’ refers to Former Chief Minister of Tamil Nadu Kalaignar M. Karunanidhi, who created several important schemes for the welfare of artisans. The minimum age limit for joining this scheme has been fixed at 35, to enable craftsmen to study and develop their skills[^16]. The *Kalaignar Kaivinai Thittam*, launched by the Tamil Nadu government, stands in ideological contrast to the Union government's *Vishwakarma Scheme*, which is rooted in caste-based categorization. While the Vishwakarma Scheme reinforces traditional occupational hierarchies, the *Kalaignar Kaivinai Thittam* seeks to dismantle them. Grounded in the principles of social justice, this scheme reimagines access to craft-based livelihoods—not as a hereditary entitlement, but as a right based on individual skill and creativity. In ancient Tamil society, crafts were revered as manual expressions of artistry, not confined by caste. *Kalaignar Kaivinai Thittam* revives this egalitarian ethos by making training, resources, and recognition available to all, regardless of their caste background. It celebrates the hand-made, the self-made, and the skill-driven—placing dignity in labor and artistry above inherited status. ### Bibliography #### Books and Dictionaries * *Kriyāvin̲ Taṟkālat Tamiḻ Akarāti: Tamiḻ-Tamiḻ-Āṅkilam.* 1st ed. Madras: Kriyā, 1992\. * Fabricius, Johann Philipp. *J. P. Fabricius's Tamil and English Dictionary.* 4th ed., revised and enlarged. Tranquebar: Evangelical Lutheran Mission Publishing House, 1972\. * Kadirvelu Pillai, Na. *Tamil Moli Akarathi.* 6th ed., revised and enlarged. Cennai: Pi. Ve. Namacivaya Mutaliyar, 1928\. * *Taṟkālat Tamiḻ Maraputtoṭar Akarāti: Tamiḻ-Tamiḻ-Āṅkilam.* Chennai: Moḻi, 1997\. * University of Madras. *Tamil Lexicon.* Madras: University of Madras, 1924–1936. * Winslow, Miron. *A Comprehensive Tamil and English Dictionary of High and Low Tamil.* Madras: P.R. Hunt, 1862\. * Burrow, T., and M. B. Emeneau. *A Dravidian Etymological Dictionary.* 2nd ed. Oxford: Clarendon Press, 1984\. * Editorial Committee of Teachers, comp. *Pāṭṭum Tokaiyum.* Chennai: New Century Book House, 1981\. * Piṅkala Muṉivar. *Piṅkalaṉṭai Eṉṉum Piṅkala Nikaṇṭu.* Chennai: Tirunelvēli South Indian Śaiva Siddhānta Book Publishing Society, 1968\. #### Web Sources * PM Vishwakarma. Accessed September 8, 2025\. https://pmvishwakarma.gov.in/ * “PM Vishwakarma Guidelines – Final.” Press Information Bureau. Accessed September 8, 2025\. https://www.pib.gov.in/PressReleasePage.aspx?PRID=1949411 * *Madras Legislative Assembly 1952–1957: Review.* Accessed September 8, 2025\. https://assembly.tn.gov.in/archive/1st\_1952/Review\_1-52-57.pdf * Tamil Nadu Handicrafts Development Corporation Limited (TNHDC) – Poompuhar. Accessed September 8, 2025\. https://poompuhar.com/tnhdc/ * *Kalaignar Kaivinai Thittam.* Accessed September 8, 2025\. https://msmeonline.tn.gov.in/kkt/index.php * “Kalaignar Kaivinai Thittam – Description.” Accessed September 8, 2025\. https://msmeonline.tn.gov.in/kkt/kkt\_desc.php ### Bio Dr. S. Dhanapal, from Salem, Tamil Nadu, is a researcher at Roja Muthiah Research Library, Chennai. He holds degrees in Visual Communication, Folklore, and Tamil Literature. His research spans Sino-Tamil translations, ethical discourse, and Early Tamil print culture. He contributes to Tamil journals through articles, translations, and documentary work. [^1]: ‘Kai’ is referred from following dictionaries: Johann Philipp Fabricius's *J. P. Fabricius's Tamil and English dictionary (1972)*; Na. Kadirvelu Pillai's *N. Kathiraiver Pillai's Tamil Moli Akarathi: Tamil-Tamil dictionary (1928)*; David W. McAlpin's *A core vocabulary for Tamil (1981)*; Pavoorchatram Rajagopal Subramanian's *Kriyavin tarkalat Tamil akarati: Tamil-Tamil-Ankilam (1992)*; *Tarkalat Tamil maraputtotar akarati : Tamil-Tamil-Ankilam (1997)*; University of Madras. *Tamil lexicon (1924-1936)*; and Miron Winslow's *A comprehensive Tamil and English dictionary of high and low Tamil (1862)*. [^2]: மதுரைக்காஞ்சி (Mathuraikkaanji), *கைஇ மெல்லிதின் ஒதுங்கிக் கையெறிந்து* (419) [^3]: அகநானூறு (Agananooru), *“கைமிக்கு அகன் சுடர் கல் சேர்பு மறைய” (47), “கை செய் பாவைத் துறைக்கண்” (181)* [^4]: முல்லைப்பாடு (Mullaippattu), *“கையமை விளக்கம்” (49)* [^5]: பிங்கல நிகண்டு, 1917 [^6]: நற்றிணை (Natrinai) *“கைவினை கடுப்பத் தகை வனப்பு”* (313) [^7]: கலித்தொகை (Kalithogai) *“கைவினைப் பொலிந்த காசமை பொலங்காழ்”* (85.3) [^8]: *உழவுகுடி கைவினைக்குடி காசாயக் குடியிற் கொள்ளும் (SII V.95)* [^9]: DEDR, 2024 and 5445 [^10]: [https://pmvishwakarma.gov.in/](https://pmvishwakarma.gov.in/) [^11]: [https://www.pib.gov.in/PressReleasePage.aspx?PRID=1949411](https://www.pib.gov.in/PressReleasePage.aspx?PRID=1949411) [^12]: [https://assembly.tn.gov.in/archive/1st\_1952/Review\_1-52-57.pdf](https://assembly.tn.gov.in/archive/1st_1952/Review_1-52-57.pdf) [^13]: [eng-v30.0-PM Vishwakarma-Guidelines-final](https://pmvishwakarma.gov.in/cdn/MiscFiles/eng_v30.0_PM_Vishwakarma_Guidelines_final.pdf) [^14]: [Tamil Nadu Handicrafts Development Corporation Limited(TNHDC) \- Poompuhar](https://poompuhar.com/tnhdc/) [^15]: [https://msmeonline.tn.gov.in/kkt/index.php](https://msmeonline.tn.gov.in/kkt/index.php) [^16]: [https://msmeonline.tn.gov.in/kkt/kkt\_desc.php](https://msmeonline.tn.gov.in/kkt/kkt_desc.php)