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India saree, sari -- a brief History by Anshu's Designer Studio (www.anshusdesigns.com)
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The mostcommon style is for the sari to be wrapped around the waist, with one end thendraped over the shoulder baring the midriff. The sari is usually worn over a petticoat ( pavada/pavadai in thesouth, and shaya in eastern India ), with a blouse known as a cholior ravika forming the upper garment. The choli has short sleeves and a low neckand is usually cropped, and as such is particularly well-suited for wear in thesultry South Asian summers. Cholis may be "backless" or of a halterneck style or regular one. These are usually dressier with a lot ofembellishments such as mirrors or embroidery and may be worn on specialoccasions. Women in the armed forces, when wearing a sari uniform, don ahalf-sleeve shirt tucked in at the waist. The saree was born in both South and NorthIndia and is now a symbol for all of India . // Origins and history The word 'sari' evolved from the Prakrit word 'sattika' as mentioned inearliest Jain and Buddhist literature. The history of Indian clothing trace the sari back to the Indus ValleyCivilization, which flourished during 2800-1800 BCE around the western part ofthe Subcontinent. The earliest known depiction of the saree in the Indiansubcontinent is the statue of an Indus valleypriest wearing a drape. Ancient Tamil poetry, such as the Silappadhikaram and the Kadambari by Banabhatta, describes women in exquisite drapery or saree. In ancient Indiantradition and the Natya Shastra (an ancient Indian treatise describing ancientdance and costumes), the navel of the Supreme Being is considered to be thesource of life and creativity, hence the midriff is to be left bare by thesaree. Some costume historians believe that the men's dhoti, which is the oldestIndian draped garment, is the forerunner of the sari. They say that until the14th century, the dhoti was worn by both men and women. Sculptures from the Gandhara, Mathura and Gupta schools (1st-6th century AD)show goddesses and dancers wearing what appears to be a dhoti wrap, in the"fishtail" version which covers the legs loosely and then flows intoa long, decorative drape in front of the legs. No bodices are shown. Other sources say that everyday costume consisted of a dhoti or lungi(sarong), combined with a breast band and a veil or wrap that could be used tocover the upper body or head. The two-piece Kerala mundum neryathum (mundu, adhoti or sarong, neryath, a shawl, in Malayalam) is a survival of ancient Indianclothing styles, the one-piece sari is a modern innovation, created bycombining the two pieces of the mundum neryathum. It is generally accepted that wrapped sari-like garments, shawls, and veilshave been worn by Indian women for a long time, and that they have been worn intheir current form for hundreds of years. One point of particular controversy is the history of the choli, or sariblouse, and the petticoat. Some researchers state that these were unknownbefore the British arrived in India ,and that they were introduced to satisfy Victorian ideas of modesty.Previously, women only wore one draped cloth and casually exposed the upperbody and breasts. Other historians point to much textual and artistic evidencefor various forms of breast band and upper-body shawl. In Kerala and Tamil Nadu, it is indeed documented that women from manycommunities wore only the sari and exposed the upper part of the body till the20th century. Poetic references from works like Shilappadikaram indicate thatduring the sangam period in ancient Tamil Nadu, a single piece of clothingserved as both lower garment and head covering, leaving the bosom and midriffcompletely uncovered. In Kerala there are many references to women beingbare-breasted. Even today, women in some rural areas do not wear cholis. Styles of draping (http://www.anshusdesigns.com/differentways.html) The most common style is for the sari to be wrapped around the waist, withthe loose end of the drape worn over the shoulder, baring the stomach. However,the sari can be draped in several different styles, though some styles dorequire a sari of a particular length or form. The French cultural anthropologistand sari researcher, Chantal Boulanger, categorizes sari drapes in thefollowing families. Nivi – styles originally worn in Andhra Pradesh; besides the modern nivi, there is also the kaccha nivi , where the pleats are passed through the legs and tucked into the waist at the back. This allows free movement while covering the legs. Bengali and Oriya style. Gujarati – this style differs from the nivi only in the manner that the loose end is handled: in this style, the loose end is draped over the right shoulder rather than the left, and is also draped back-to-front rather than the other way around. Maharashtrian/kashta; this drape (front and back) is very similar to that of the male Maharashtrian dhoti. The center of the sari (held lengthwise) is placed at the center back, the ends are brought forward and tied securely, and then the two ends are wrapped around the legs. When worn as a sari, an extra-long cloth is used and the ends are then passed up over the shoulders and the upper body. They are primarily worn by Brahmin women of Maharashtra , Karnataka, Andhra Pradesh and Tamil Nadu. Dravidian – sari drapes worn in Tamil Nadu; many feature a pinkosu , or pleated rosette, at the waist. Madisaara style – This drape is typical of Brahmin ladies from Tamil Nadu and Kerala Kodagu style – This drape is confined to ladies hailing from the Kodagu district of Karnataka. In this style, the pleats are created in the rear, instead of the front. The loose end of the sari is draped back-to-front over the right shoulder, and is pinned to the rest of the sari. Gond – sari styles found in many parts of Central India . The cloth is first draped over the left shoulder, then arranged to cover the body. The two-piece sari, or mundum neryathum, worn in Kerala. Usually made of unbleached cotton and decorated with gold or colored stripes and/or borders. Tribal styles – often secured by tying them firmly across the chest, covering the breasts. The nivi style is today's most popular sari style. The nivi drape starts with one endof the sari tucked into the waistband of the petticoat. The cloth is wrappedaround the lower body once, then hand-gathered into even pleats just below thenavel. The pleats are also tucked into the waistband of the petticoat. Theycreate a graceful, decorative effect which poets have likened to the petals ofa flower. After one more turn around thewaist, the loose end is draped over the shoulder. The loose end is called thepallu or pallav. It is draped diagonally in front of the torso. It is wornacross the right hip to over the left shoulder, partly baring the midriff.Thenavel can be revealed or concealed by the wearer by adjusting the pallu,depending on the social setting in which the sari is being worn. The long endof the pallu hanging from the back of the shoulder is often intricatelydecorated. The pallav may either be left hanging freely,tucked in at the waist,used to cover the head, or just used to cover the neck, by draping it acrossthe right shoulder as well. Some nivi styles are worn with the pallu drapedfrom the back towards the front. The Nivi saree was popularized through the paintings of Raja Ravi Varma. Bymodifying the south indian saree called mundum neriyathum. In one of hispainting the Indian subcontinent was shown as a mother wearing a flowing nivisaree. In Bangladesh The Sari is worn by women throughout Bangladesh . There are many regionalvariations of Saris in both silk and cotton. But the Jamdani Tanta/TaantCotton, Dhakai Benarosi, Rajshahi silk, Tangail Tanter Sari– and Katan Sari asthe most popular in Bangladesh.Popular actresses Aishwarya Rai and MadhuriDixit wore the Dhakaiya Benaroshi Sari in the song"Dola re Dola" ofthe film "devdas". In Pakistan In Pakistan ,the wearing of saris is less common than the more traditional shalwar kameezwhich is worn throughout the country. The sari does however remain a populardress for formal functions such as weddings. The sari is sometimes worn asdaily-wear, mostly in Karachi , by those elderlywomen who were used to wearing it in pre-partition India and by some of the newgeneration who have re-introduced the interest in saris. The reason why thesari lost popularity in Pakistan ,was due to it being viewed as a Hindu dress. Although she was seen wearingthem, Fatima Jinnah, the "Mother of the Nation", called the sari"unpatriotic" and the wife of former Pakistan President Pervez Musharrafstated that she never wears the garment. In Sri Lanka Sri Lankan women wear saris in many styles. However, two ways of draping thesari are popular and tend to dominate; the Indian style (classic nivi drape)and the Kandyan style (or 'osaria' in Sinhalese). The Kandyan style isgenerally more popular in the hill country region of Kandy from which the style gets its name.Though local preferences play a role, most women decide on style depending onpersonal preference or what is perceived to be most flattering for theirfigure. The traditional Kandyan (Osaria) style consists of a full blouse whichcovers the midriff completely, and is partially tucked in at the front as isseen in this 19th century portrait. However, modern intermingling of styles hasled to most wearers baring the midriff. The final tail of the sari is neatlypleated rather than free-flowing. This is rather similar to the pleated rosetteused in the 'Dravidian' style noted earlier in the article. Kandyan style is considered as the national dress of Sinhalese women. It isthe Uniform of air hostesses of Sri Lankan Airlines. In Nepal In Nepal ,a special style of draping is used in a saree called Haku patasi. The saree isdraped around the waist and a shawl is worn covering upper half of saree whichis used in place of "pallu". The sari as cloth Saris are woven with one plain end (the end that is concealed inside thewrap), two long decorative borders running the length of the sari, and a one tothree foot section at the other end which continues and elaborates thelength-wise decoration. This end is called the pallu ; it is the partthrown over the shoulder in the Nivi style of draping. In past times, saris were woven of silk or cotton. The rich could affordfinely-woven, diaphanous silk saris that, according to folklore, could bepassed through a finger ring. The poor wore coarsely woven cotton saris. Allsaris were handwoven and represented a considerable investment of time ormoney. Simple hand-woven villagers' saris are often decorated with checks orstripes woven into the cloth. Inexpensive saris were also decorated with blockprinting using Carved Wooden blocks and vegetable dyes, or tie-dyeing, known in India as bhandani work. More expensive saris had elaborate geometric, floral, or figurativeornaments or brocades created on the loom, as part of the fabric. Sometimeswarp and weft threads were tie-dyed and then woven, creating ikat patterns. Sometimes threads of different colors were woven into the base fabricin patterns; an ornamented border, an elaborate pallu, and often, smallrepeated accents in the cloth itself. These accents are called buttis or bhutties (spellings vary). For fancy saris, these patterns could be wovenwith gold or silver thread, which is called zari work. Sometimes the saris were further decorated, after weaving, with varioussorts of embroidery. Resham work is embroidery done with colored silkthread. Zardozi embroidery uses gold and silver thread and sometimes pearls andprecious stones. Cheap modern versions of zardozi use synthetic metallic threadand imitation stones, such as fake pearls and Swarovski crystals. In modern times, saris are increasingly woven on mechanical looms and madeof artificial fibers, such as polyester, nylon, or rayon, which do not requirestarching or ironing. They are printed by machine, or woven in simple patternsmade with floats across the back of the sari. This can create anelaborate appearance on the front, while looking ugly on the back. The punchrawork is imitated with inexpensive machine-made tassel trim. Hand-woven, hand-decorated saris are naturally much more expensive than themachine imitations. While the over-all market for handweaving has plummeted(leading to much distress among Indian handweavers), hand-woven saris are stillpopular for weddings and other grand social occasions. A prominent weaver whodesigns brocades, Paithani and other types of saris is Meera Mehta. Types of saris While an international image of the 'modern style' sari may have beenpopularised by airline stewardesses, each region in the Indian subcontinent hasdeveloped, over the centuries, its own unique sari style. Following are thewell known varieties, distinct on the basis of fabric, weaving style, or motif,in South Asia : · Tanchoi Shalu Easternstyles Baluchari – West Bengal Kantha – West Bengal Ikat Silk & Cotton – Orissa Cuttacki Pata Silk & Cotton – Orissa Sambalpuri Pata Silk & cotton Saree – Orissa Bomkai Silk & Cotton – Orissa Mayurbhanj Tussar Silk – Orissa Sonepuri/Subarnapuri Silk – Orissa Bapta & Khandua Silk & Cotton – Orissa Berhampuri Silk – Orissa Tanta/Taant Cotton – Orissa, West Bengal & Bangladesh Jamdani – Bangladesh Jamdani Khulna – Bangladesh Dhakai Benarosi– Bangladesh Rajshahi silk– Bangladesh Tangail Tanter Sari– Bangladesh Katan Sari– Bangladesh Western styles Paithani – Maharashtra Bandhani – Gujarat and Rajasthan Kota doria Rajasthan Lugade – Maharashtra Central styles Chanderi – Madhya Pradesh Maheshwari – Madhya Pradesh Kosa silk – Chattisgarh Southern styles Kanchipuram (locally called Kanjivaram) – Tamil Nadu Coimbatore – Tamil Nadu Chinnalapatti – Tamil Nadu Chettinad – Tamil Nadu Madurai – Tamil Nadu Arani – Tamil Nadu Pochampally – Andhra Pradesh Venkatagiri – Andhra Pradesh Gadwal – Andhra Pradesh Guntur – Andhra Pradesh Narayanpet – Andhra Pradesh Mangalagiri – Andhra Pradesh Balarampuram – Kerala Mysore Silk – Karnataka Ilkal saree Valkalam saree Anshu's Designer Studio G3, Shivalik Complex, Opp. AMA, IIM Road , Panjrapole, Ahmedabad - 380 015 . Gujarat , India . Contact Nos.:+91-79-3298 1545 +91-98252 61254 Anshu's Designer Studio ( Chennai ) 3A, 100 Feet Tharamani Link Road , Tansi Nagar,Velachery, Chennai - 600 042.
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