As a casual wear for comfort, as sophisticated night-dress, a wear for a morning-evening walk in a park or for a round in the market or around, among friends and acquaintances kurta is the most appropriate dress-type. Kurta was the national dress in freedom movement, martyrs’ inspiration to go to gallows, and agitators, to bear on their heads the canes of British soldiers. Kurta is ever since the distinction of political class.
Unlike a tight-fitted wear a kurta has a wider fitting pattern and might equally well befit more persons than one. Like most pieces this kurta has been designed with full sleeves with such length as one might fold to suit his figure, taste or current trends. As is usual, it has a round neck a bit extended towards shoulders, and a standing collar to define it. It has been tailored from pure cotton length of the finest kind, each yarn closely woven, in the entire texture no thickness variation or a knot betrayed. Visually it has fine silk-like lustre and beauty, and technically, a fine surface with per inch count being very high. It is in its simplicity that this piece discovers its beauty and distinction. With its lighter shade pajama affords brilliant contrast.
Unlike other costume styles a kurta is a living entity with a personality of its own. It has an humble posture when on a farmer’s or labourer’s figure but assumes a distinction of its own and aura when a celebrity, parliamentarian, statesman, industrialist, doctor, professor, lawyer … puts it on. To a farmer an humble looking kurta, usually short in length and a bit tight, is his working costume whereas to most others an elegantly crafted kurta is usually a wear for personal hours.
This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient India. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.
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