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Textiles > Saris > Varanasi Pure Silk Net Designer Sari
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Varanasi Pure Silk Net Designer Sari

Varanasi Pure Silk Net Designer Sari

Varanasi Pure Silk Net Designer Sari

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Pure Silk Net
Designer Suman Kumar

Blouse/Underskirt Tailormade to Size
Item Code:
SAG34
Price:
$695.00   Shipping Free - 4 to 6 days
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Varanasi Pure Silk Net Designer Sari

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Viewed 13966 times since 12th Aug, 2012
This gorgeous sari, India’s foremost feminine wear and an Indian woman’s global distinction, crafted from a relatively simple and plain length of textile, though rich in its maroon dye and rare in the quality of its material: the pure silk net from Varanasi, a centre of silk weaving and brocading since Puranic era, is a masterpiece of designed textile by the distinguished textile designer Suman Kumar. Though the role of the loom and the weaver’s fingers is quite significant, this sari, as also any of the designed saris by a genuine designer, is more the work of needle moving across it stitch to stitch for several days strewing over it the beauty that the plain textile length did not have. A designed sari is not like re-designing a piece already woven or printed with a design but creating on a plain surface – a canvas, a completely new world of beauty. All : sophistication, finish elegance, exclusivity and the feeling of being distinct, is the needle’s creation and the conception of the designer’s mind, and it is this priority that defines a designer’s sari.

The sari has been crafted using zari-embroidery and the repeats of two designing patterns for the field and the ‘palla’ – end-part, and an intricate design with tiny flowers, composed of a roundish zircon in the centre for pistil and the white and grayish beads around it for petals, comprising the central band flowing along the entire length of the border. Strangely, the designer has used just a few articles from among the wide range of material used in textile designing, primarily the gold-wire and miniature-pearls, as also gold-sequins, tiny glass-beads, zircons and gold-lace. Characteristically, the material used, especially the gold-wire and pearls, is genuine and pure. She has used neither any article’s imitation nor its synthetic version. Apart, the gold-thread is a bit ticker suggesting use of pure gold in making it as also enabling creation of bold design-patterns for against a maroon background such patterns alone could subsist. Unless the embroidered patterns were bold and large and the material used had its lustre their effect would have diluted into the vastness of maroon.

As has almost concretised the mode of designing a sari, its more ornate parts, borders and palla – end-part worn variedly over the breast and shoulders, alone have been taken care of. About three inches of breadth on each of the two edges of the length and one, the palla, of the breadth, have been defined as borders with a design-pattern consisting of two parts, the upper – about half of an inch, being a lace composed of gold and silk threads, and the lower, over two inches wide, an intricate design running across the whole length. A course of tiny lustrous flowers comprising zircons and beads defines the central line of the border. Two series of pearls set inside the rings made of gold-wire flank the central flower-line on either side. The band on the upper side and that below the centre, have been identically designed usuing gold-wire for creating linear effects, and sequils, beads and the tiniest pearls for creating various patterns. Though exceptionally fine, entire work has been neatly executed.

In designing the palla the designer has not used a pattern or set of patterns in running course over the entire breadth. Instead, the palla and the bottom-line adjacent to border has been identically designed using repeats of a large size design-pattern, broadly an arabesque-type composition consisting of stylised plant motifs rendered in series, one holding, as if into wide expanded arms, the other according to its size. Its top and the central motifs are more interesting than the rest. While its apex looks more like a crest, the other in its centre, looks like a tribal deity shrine. It is more compact as also the most beautiful part of the larger arabesque. This central motif has been used, independent of the rest, as the motif for adorning the field. It seems to emerge from the main motif to float into the space above. In her choice of net and judiciously laid motifs, each at a reasonable distance, Suman Kumar provides to let the beauty of the wearer’s figure project in full.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

Primary Color Pantone 19-1650 TPX - Biking Red

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