This brilliant piece of textile, rare in grace, elegance and gorgeousness, is a sari, the Indian woman’s most characteristic wear. An unstitched length – a tailor’s worship nowhere between, a sari discovers itself as a wear in its form woven with well-defined parts – a magic of loom or artisan’s skilled hands. No other article, a component of ensemble or any, so exclusively reveals the wearer’s Indian identity as does a sari. Sari is the essence of a woman representing India on any international forum, or in an international event. Its natural simplicity, a sari’s inherent character, imparts to the wearer all her grace, distinction and magnificence – in being naïvely simple. Its gorgeous look and exclusivity as a class of wear astonish the viewing eye with rareness of beauty.
A sari is composed of three segments: field – the sari’s broader expanse, borders defining length’s edges, and pallu, the end-part. Well defined and each with its own identity, such segments afford immense scope for embellishment and variety, each of the three being differently conceived, and each sari representing a class. Thus, with such segments differently patterned a Baluchar sari is a class different from a Banarasi brocade. Similarly, a sari – Baluchar, Banarasi, Paithani or any, conceives its field with a scheme different from that which it has for its border or pallu. This affords it immense variety.
Though manufactured using Satin silk, not pure silk, and synthetic zari, this piece represents the truest idiom of Banarasi brocaded sari. Skilfully crafted even the Satin silk and synthetic zari reveal the same level of magnificence as would the pure silk piece worked with pure gold thread. A small buti consisting of tiny Paisley and two leaves adorns the field. The pallu had been designed with closely woven horizontal creepers consisting of bold stems, tinier leaves but large flowers. The inner side has been crested with a course of conceptual leaves and flowers; the flowers are framed within large Paisleys. Border has two parts. The band on the bottom consists of a linear frame with a course of conventionalized vine. Above it is a course of waving creeper consisting of flowers and tiny leaves.
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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