Article of the Month - March 2001
Pattern and content are often dictated by the traditions of the region where the sari is produced. The great sari capitals are Varanasi (Banaras), by the sacred river Ganga, Chanderi in Madhya Pradesh and Kanjivaram in South India. Banaras is renowned for its silk and gold brocades. The weavers who are usually Muslims, are famed for producing brocades so stiff with gold that they cannot be used as garments and are reserved wholly for ritual use. The Banaras sari itself is ubiquitous in India. No bridal trousseau would be complete without a 'Banarasi' brocade which is available within a broad price range. Along with their very intricate patterns, the most interesting aspect of Banaras brocades is the tremendous variety of silk yarns with which they are woven. Ranging from heavy silks such as 'Jamawars' and 'Tanchois' to gossamer fine organzas and tissues, the choice is mind-boggling.
Chanderi is primarily a weavers town. It produces fine shimmering cottons with pale delicate zari borders and motifs of the utmost delicacy. The characteristic feature of the Chanderi sari is the quality of the gold thread that is used. Early craftsmen have even gone to the extent of describing it as the gold thread that shone like a mirror.
Kanjivaram is synonymous with hand woven silk saris and known for its dark, heavy silks, usually with flat stripes of gold decorating the borders. These conservative designs are considered to be more restrained and dignified than the occasionally flamboyant Banarasi sari. Kanjivaram silk also has a reputation for durability. A very distinctive feature of these saris, as opposed to those from other parts of India, is the contrasting color of the border and the pallav, as compared to the body of the sari. Such a restricted mention of sari capitals is invidious for it overshadows other regions with equally sophisticated textile traditions. Almost every district and sometimes even different villages have their own sari tradition which employ a complex language of symbols. But though characterized by geographical considerations, all Indian symbolism, abstract or figurative, is rooted in the natural or physical world. The purist often bemoans the fact that the traditional borders, the field and the end piece motifs have been interchanged between the regions, creating an unwelcome hybrid and often destroying the fine balance and subtle harmony between the three. Yet innovation, not stagnation is the hallmark of the weavers and artists engaged in the creation of these magnificent textiles. Even in the 19th century, the Baluchari sari of Bengal introduced images of British sahibs and memsahibs in railway carriages, thus expanding a traditional vocabulary, which was almost exclusively drawn from religious epics, and making the sari a vehicle for social satire and a mirror of the times. Ingenuity too is a frequently employed device. The Orissa calligraphy sari has coded love messages in the shape of puzzle poems. Thus with the sari, pattern and content also do frequently inform one another.
The sari takes final shape in visual terms only when it is draped on a person. The slightly off-center fan of pleats in the front, the floating pallav with the intricate border thrown over the shoulder and the relatively smooth drape of the material at the back; the wound, pleated, tucked and coiled material give the proportions an aesthetic and intelligent rationality. To an unaccustomed onlooker, a draped sari seems an insecure affair, in danger of coming undone at the slightest movement. Actually, this apparently flimsy concoction is buttressed by a stout, distinctly unromantic, cotton petticoat. The top edges of the pleats are tucked into the waistband of this nether garment, thereby almost eliminating the risk of the sari coming adrift. The art of draping the sari is in itself an expression of a woman's creativity. In urban India, saris tend to be draped in four or five styles requiring approximately six yards of material. It is, however, immensely versatile, and there are a surprising number of regional variations of draping. Women working in the fields of Maharashtra, drape the sari in the kasota fashion, not unlike a pair of trousers, enabling complete freedom for the limbs. Rita Kapur and Amba Sanyal in their book on the saris of Madhya Pradesh document at least ten distinct styles of draping the sari in that state alone. For an unstitched length of material, the wearing of a sari entails a lot of preparation. Most saris have a fall made of cotton attached to the inside lower border, and the choli or bodice that teams up with the sari should match the ground color of the sari, or at least echo one of the tints in the borders or motifs. The sari follows the shape of the body, yet conceals, it is often said, a hundred imperfections. It is true that not only is it one of the most graceful of garments, but also one of the kindest. This perhaps explains its perennial charm. Not only beautiful, it is compassionate. The success of the sari through
the ages is attributable to its total simplicity
and practical comfort, combined with the sense
of BURN THIS SARI Burn this sari. It does not let me stand up
straight It hypnotizes me telling You
I feel like screaming "No,
No I am not" It is blame generations have
laid on me. If I've to stop being the walking
dead - Jayaprabha But the defenders of the sari are quick to add their rejoinder: SAVE THIS SARI Oh my beautiful sari When I see this end of the
sari It helps me cover my head
from sun And because of that it stands for generations. If I've to stop being the walking
dead - S. Santha Devi. Noted psychologist Carl Jung has waxed lyrical about the elegance of the sari thus: "It would be a loss to the whole world if the Indian woman should cease to wear her native costume. India is practically the only civilized country where one can see on living models how woman can and should dress". |
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This article by Nitin Kumar
Editor
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