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Sari

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For the city, see Sari, Iran.
For the Transformers character, see Sari Sumdac.
for the town in Nepal see Sari, Nepal
sari
Regions with significant populations
 India1,680,000
 Bangladesh998,000
 Pakistan303,000
   Nepal96,000
 Malaysia82,000
 UAE70,000
 Sri Lanka54,000
 Brunei46,000
 Indonesia40,000
 Azad Kashmir38,000
 China30,000
 UK26,000
 Afghanistan20,000
 Iran18,000
 USA15,000
 Russia12,000
 France11,000
 Spain10,000
 Japan9,000
 South Korea8,000
 Egypt6,000
 Canada4,000
 Brazil2,000
 Australia1,000
 South Africa500
Languages
Hindi (साड़ी), Bengali (শাড়ি),
Religion
Hinduism and Islam, wearing saris.
This painting by Raja Ravi Varma depicts several traditional styles of draping the sari

A sari or saree or shari is a female garment in the Indian subcontinent.[1] A sari is a strip of unstitched cloth, ranging from four to nine metres in length that is draped over the body in various styles. The most common style is for the sari to be wrapped around the waist, with one end then draped over the shoulder baring the midriff.[1] The sari is usually worn over a petticoat (pavada/pavadai in the south, and shaya in eastern India), with a blouse known as a choli or ravika forming the upper garment. The choli has short sleeves and a low neck and is usually cropped, and as such is particularly well-suited for wear in the sultry South Asian summers. Cholis may be "backless" or of a halter neck style. These are usually more dressy with a lot of embellishments such as mirrors or embroidery and may be worn on special occasions. Women in the armed forces, when wearing a sari uniform, don a half-sleeve shirt tucked in at the waist. The saree was born in both South and North India and is now a symbol of india.

Origins and history

The word 'sari' evolved from the Prakrit word 'sattika' as mentioned in earliest Jain Buddhist literature.[2]

File:Women in Sari.jpg
Ramanadha in Sari

The history of Indian clothing trace the sari back to the Indus Valley Civilization, which flourished in 2800-1800 BCE in India (Gujarat, Haryana and Rajasthan) and Pakistan (Sindh and Punjab provinces).[1] The earliest known depiction of the saree in the Indiain subcontinent is the statue of an Indus valley priest wearing a drape.[1]

Ancient Tamil poetry, such as the Silappadhikaram and the Kadambari by Banabhatta, describes women in exquisite drapery or saree.[3] In ancient Indian tradition and the Natya Shastra (an ancient Indian treatise describing ancient dance and costumes), the navel of the Supreme Being is considered to be the source of life and creativity, hence the midriff is to be left bare by the saree.[4]

Some costume historians believe that the men's dhoti, which is the oldest Indian draped garment, is the forerunner of the sari. They say that until the 14th century, the dhoti was worn by both men and women.[5]

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 into a long, decorative drape in front of the legs. No bodices are shown.[6]

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 to cover the upper body or head. The two-piece Kerala mundum neryathum (mundu, a dhoti or sarong, neryath, a shawl, in Malayalam) is a survival of ancient Indian clothing styles, the one-piece sari is a modern innovation, created by combining the two pieces of the mundum neryathum.[7]

Ramanadha in Sari

It is generally accepted that wrapped sari-like garments, shawls, and veils have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years.

One point of particular controversy is the history of the choli, or sari blouse, and the petticoat. Some researchers state that these were unknown before 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 upper body and breasts. Other historians point to much textual and artistic evidence for various forms of breastband and upper-body shawl.

In South India, it is indeed documented that women from many communities wore only the sari and exposed the upper part of the body till the 20th century.[5] Poetic references from works like Shilappadikaram indicate that during the sangam period in ancient South India, a single piece of clothing served as both lower garment and head covering, leaving the bosom and midriff completely uncovered.[3] In Kerala there are many references to women being bare-breasted,[5] including many pictures by Raja Ravi Varma. Even today, women in some rural areas do not wear cholis.

Styles of draping

The most common style is for the sari to be wrapped around the waist, with the loose end of the drape worn over the shoulder, baring the stomach.[1] However, the sari can be draped in several different styles, though some styles do require a sari of a particular length or form. The French cultural anthropologist and sari researcher, Chantal Boulanger, categorizes sari drapes in the following families:[8]

  • 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, 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.
File:Ravi Varma-Princess Damayanthi talking with Royal Swan about Nalan.jpg
Damayanthi in Sari by Raja Ravi Varma
  • 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. (Dongerkerry K. S. 1959).[9]

The nivi drape starts with one end of the sari tucked into the waistband of the petticoat. The cloth is wrapped around the lower body once, then hand-gathered into even pleats just below the navel. The pleats are also tucked into the waistband of the petticoat.[9] They create a graceful, decorative effect which poets have likened to the petals of a flower.[9]
After one more turn around the waist, the loose end is draped over the shoulder.[9] The loose end is called the pallu or pallav. It is draped diagonally in front of the torso. It is worn across the right hip to over the left shoulder, partly baring the midriff.[9] The navel 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 end of the pallu hanging from the back of the shoulder is often intricately decorated. 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 across the right shoulder as well. Some nivi styles are worn with the pallu draped from the back towards the front.

The Nivi saree was popularised through the paintings of Raja Ravi Varma.[10] by modifying the south indian saree called mundum neriyathum. In one of his painting the Indian subcontinent was shown as a mother wearing a flowing nivi saree.[10]

In Pakistan

Madar-e-Millat Fatima Jinnah wearing a sari

In Pakistan, the wearing of saris is less common than the more traditional shalwar kameez which is worn throught the country. The sari does however remain a popular dress for formal functions such as weddings.[11] The sari is sometimes worn as daily-wear, mostly in Karachi, by those elderly women who were used to wearing it in pre-partition India[12] and by some of the new generation who have re-introduced the interest in saris.[13][14] The reason why the sari lost popularity in Pakistan, was due to it being viewed as a Hindu dress. Although she was seen wearing them,[12] Fatima Jinnah, the "Mother of the Nation", called the sari "unpatriotic" and the wife of former Pakistan President Pervez Musharraf stated that she never wears the garment.[15]

In Sri Lanka

Sri Lankan women wear saris in many styles. However, two ways of draping the sari are popular and tend to dominate; the Indian style (classic nivi drape) and the Kandyan style (or 'osaria' in Sinhalese). The Kandyan style is generally 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 on personal preference or what is perceived to be most flattering for their figure.

The traditional Kandyan (Osaria) style consists of a full blouse which covers the midriff completely, and is partially tucked in at the front as is seen in this 19th century portrait. However, modern intermingling of styles has led to most wearers baring the midriff. The final tail of the sari is neatly pleated rather than free-flowing. This is rather similar to the pleated rosette used in the 'Dravidian' style noted earlier in the article.

Kandyan style is considered as the national dress of Sinhalese women. It is the 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 is draped around the waist and a shawl is worn covering upper half of saree which is used in place of "pallu".

The sari as cloth

Sari Showcase at a store

Saris are woven with one plain end (the end that is concealed inside the wrap), two long decorative borders running the length of the sari, and a one to three foot section at the other end which continues and elaborates the length-wise decoration. This end is called the pallu; it is the part thrown over the shoulder in the Nivi style of draping.

In past times, saris were woven of silk or cotton. The rich could afford finely-woven, diaphanous silk saris that, according to folklore, could be passed through a finger ring. The poor wore coarsely woven cotton saris. All saris were handwoven and represented a considerable investment of time or money.

Simple hand-woven villagers' saris are often decorated with checks or stripes woven into the cloth. Inexpensive saris were also decorated with block printing using carved wooden blocks and vegetable dyes, or tie-dyeing, known in India as bhandani work.

More expensive saris had elaborate geometric, floral, or figurative ornament created on the loom, as part of the fabric. Sometimes warp and weft threads were tie-dyed and then woven, creating ikat patterns. Sometimes threads of different colors were woven into the base fabric in patterns; an ornamented border, an elaborate pallu, and often, small repeated accents in the cloth itself. These accents are called buttis or bhutties (spellings vary). For fancy saris, these patterns could be woven with gold or silver thread, which is called zari work.

Sometimes the saris were further decorated, after weaving, with various sorts of embroidery. Resham work is embroidery done with colored silk thread. Zardozi embroidery uses gold and silver thread and sometimes pearls and precious stones. Cheap modern versions of zardozi use synthetic metallic thread and imitation stones, such as fake pearls and Swarovski crystals.

In modern times, saris are increasingly woven on mechanical looms and made of artificial fibers, such as polyester, nylon, or rayon, which do not require starching or ironing. They are printed by machine, or woven in simple patterns made with floats across the back of the sari. This can create an elaborate appearance on the front, while looking ugly on the back. The punchra work is imitated with inexpensive machine-made tassel trim.

Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the over-all market for handweaving has plummeted (leading to much distress among Indian handweavers), hand-woven saris are still popular for weddings and other grand social occasions.

Types of saris

North Indian Women in Sari by Raja Ravi Varma

While an international image of the 'modern style' sari may have been popularised by airline stewardesses, each region in the Indian subcontinent has developed, over the centuries, its own unique sari style. Following are the well known varieties, distinct on the basis of fabric, weaving style, or motif, in South Asia:


Eastern styles

File:Benarasee saree (2).jpg
Banarasi Saree from Baily Road, Bangladesh
A Sambalpuri Handloom Saree From Orissa

Western styles

Central styles

File:Kerala-girl-left.jpg
Kerala Women in Sari South India

Southern styles

See also

Notes

  1. ^ a b c d e Alkazi, Roshan (1983) "Ancient Indian costume", Art Heritage; Ghurye (1951) "Indian costume", Popular book depot (Bombay); Boulanger, Chantal; (1997)
  2. ^ Mohapatra, R. P. (1992) "Fashion styles of ancient India", B. R. Publishing corporation, ISBN 81-7018-723-0
  3. ^ a b Parthasarathy, R. (1993) The Tale of an Anklet: An Epic of South India – The Cilappatikaram of Ilanko Atikal, Translations from the Asian Classics, Columbia Univ. Press, New York, 1993.
  4. ^ Bharata (1967). The Natyashastra [Dramaturgy], 2 vols., 2nd. ed. Trans. by Manomohan Ghosh. Calcutta: Manisha Granthalaya; Beck, Brenda. (1976) The Symbolic Merger of Body, Space, and Cosmos in Hindu Tamil Nadu. Contributions to Indian Sociology 10(2): 213-43.
  5. ^ a b c Ghurye (1951) "Indian costume", Popular book depot (Bombay); Alkazi, Roshan (1983) "Ancient Indian costume", Art Heritage Cite error: The named reference "Ghurye" was defined multiple times with different content (see the help page).
  6. ^ Alkazi, Roshan (1983) "Ancient Indian costume", Art Heritage
  7. ^ Miller, Daniel & Banerjee, Mukulika; (2004) "The Sari", Lustre press / Roli books; Boulanger, C (1997) Saris: An Illustrated Guide to the Indian Art of Draping, Shakti Press International, New York. ISBN 0-9661496-1-0 ; Ghurye (1951) "Indian costume", Popular book depot (Bombay);
  8. ^ Boulanger, Chantal; (1997) Saris: An Illustrated Guide to the Indian Art of Draping, Shakti Press International, New York.
  9. ^ a b c d e Dongerkerry, Kamala, S. (1959) The Indian sari. New Delhi.
  10. ^ a b Miller, Daniel & Banerjee, Mukulika; (2004) "The Sari", Lustre press / Roli books.
  11. ^ "Bollywood, saris and a bombed train". Asia Times. Retrieved 2007-08-31.
  12. ^ a b "The spread of the salwar". The Hindu. Retrieved 2007-08-31.
  13. ^ "Buying saris-tempting hobby for women". One India. Retrieved 2007-08-31.
  14. ^ "Saris in Pakistan". Retrieved 2007-08-31.
  15. ^ "Meanwhile: Unraveling the sari". International Herald Tribune.

References and bibliography

  • Alkazi, Roshan (1983) "Ancient Indian costume", Art Heritage
  • Ambrose, Kay (1950) Classical Dances and Costumes of India. A. & C. Black, London.
  • Beck, Brenda. (1976) The Symbolic Merger of Body, Space, and Cosmos in Hindu Tamil Nadu. Contributions to Indian Sociology 10(2): 213-43.
  • Bharata (1967). The Natyashastra [Dramaturgy], 2 vols., 2nd. ed. Trans. by Manomohan Ghosh. Calcutta: Manisha Granthalaya.
  • Boulanger, Chantal; (1997) Saris: An Illustrated Guide to the Indian Art of Draping, Shakti Press International, New York.
  • Craddock, Norma. (1994). Anthills, Split Mothers, and Sacrifice: Conceptions of Female Power in the Mariyamman Tradition. Dissertation, U. of California, Berkeley.
  • Dongerkerry, Kamala, S. (1959) The Indian sari. New Delhi.
  • Ghurye (1951) "Indian costume", Popular book depot (Bombay); (Includes rare photographs of 19th century Namboothiri and nair women in ancient saree with bare upper torso).
  • Miller, Daniel & Banerjee, Mukulika; (2004) "The Sari", Lustre press / Roli books
  • Mohapatra, R. P. (1992) "Fashion styles of ancient India", B. R. Publishing corporation, ISBN 81-7018-723-0
  • Parthasarathy, R. (1993) The Tale of an Anklet: An Epic of South India – The Cilappatikaram of Ilanko Atikal, Translations from the Asian Classics, Columbia Univ. Press, New York, 1993.
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