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ICONOGRAPHY OF INDIAN GRACE AND FEMINISM: THE WONDER THAT IS SAREE
Dr. Nidhi L Sharda
Associate Professor
Dept. of Knitwear Design, NIFT, Bangalore
Dr. Nidhi L Sharda is an Associate Professor in the Department of Knitwear Design at National
Institute of Fashion Technology, Bangalore. She holds teaching & research experience for more
than 14 years. As a research scholar, she has been closely associated with crafts and cultural
studies of India. Her applied research focuses on the area of Textile and costumes with research
experience in the field of natural dyes, sustainable fashion, clothing and craft.
'Saree vich nari hai , ki nari vich saree hai, saree hi ki nari hai, ki nari hi ki saree hai.' It is
difficult to state weather women is graced by saree or saree gets is graciousness form a
women, they completely compliments each other, such is the wonder of saree!
Saree an Indian drape from time immemorial is identity for Indian feminism and elegance. The
word saree is derived from sanskrit sati which means ‘strip of cloth’. Subsequently it became
“Sadi” in the ancient Prakrit dialogue and then “Sari” in Hindi.“ [1] There is a legend that the Sari,
it is said, was born on the loom of a fanciful weaver. He dreamt of Woman. The shimmer of her
tears. The drape of her tumbling hair. The colors of her many moods. The softness of her touch.
All
these
he
wove
together. He couldn’t stop.
250 years back
British
He wove for many yards.
And when he was done,
the story goes, he sat back
and smiled and smiled and
smiled“.
Sari is not just attire but it
embodies elegance of a
500 years back
Islam
1800 years back
Guptas
2100 years back
Kushans, ParthoSythians
2300 years back
Mauryan Greeks
5000 years back
Indo Aryans
lady.
The
essential
minimalism of the sari, an
Figure 1: Invasions in India painted their colours to Indian culture
unstitched cloth is designed against a wonderful variety of fabrics, colors, patterns, and draping
styles. It displays the rich diverse regional traditions of color, pattern, and weave.
This paper reviews the transformation saree has undergone from the ancient time to present
EVOLUTION OF SARI Indian clothing has been influenced by diverse cultural influences since
time immemorial. There are various factors responsible for the change in the Indian drape.
Migration
Functional Cultural Adoption
Invasions
Conversions
Independence
Globalization
Within these broad changes each community tried to differentiate themselves by adding few
little changes for personal identity. [2]
Indus Valley Civilization: Saree’s origins are unclear, in part because there are so few historical
archive in India. While the exact origin of the saree is not known, yet researches have shown
existence of saris way back in 3000 BC in the Indus Valley civilization. A statue excavated from
the Indus Valley Civilization depicts a female priest wearing a cloth draped like a sari.
Vedic Sari: The sari used to be draped in a way so that it divides the two legs and forms a
trouser like attire. The sari was worn with a breast-band tied with a knot at the back. Hindus
believed that any cloth pierced by needles was impure. Ancient Tamil poetry, such as the
Silappadhikaram and the Sanskrit work, Kadambari by Banabhatta, describes women in
exquisite drapery or sari. 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 sari. The early statues of
Goddesses show that the sari was draped in a sensual manner,
like a ‘fishtail’, which was tied at the waist, covered up the legs
Figure 2: Vedic saree with breast
band
and came in front of the legs like a decorative drape. During that era, the upper part of the
body was either partially covered or was left bare.
Metamorphosis During Middle Ages In India: The Maurian emperor Changragupta was married
to
a
princess
Figure 3: Drape in
antrya form
must have influenced the
from
the
Greek
Seleucid
Figure 3: Emperor Ashoka is sending his daughter
Shangamitra to Singhal (Sri Lanka) for preaching the
teachings of Buddha.
Court.
This
Figure 5: GraecoRoman influence in
saree
kind of drape Indian
saree had as depicted in Figure 1. There are many sculptures of Graeco- Indian civilization
which show a variety of different Sari draping styles. The concept of beauty in ancient India was
that of small waist and large bust and hips, as is evident in the sculptures of those times. And
Sari seemed to be the perfect dress to flaunt those proportions as it exposes the waist of a
woman and emphasises the waist and bust with the pleated fabric. Sometimes women wore
accesories like Girdle(a belt) with elaborate design around their waist to emphasize the hip
area.
During Kushan empire, The craftsmen of Gandhar brought with them the Graeco-Roman style,
particularly in the drapery At Gandhara there are figures wearing a sari-like garment which
seems to have evolved from Graeco-Roman or pure Roman dress. This is the palla (draped –
over garment worn over a long gown with ruched sleeves, which was typical of the Roman
matron) pinned at the left shoulder. The difference in some of the Gandhara female figures is
that they wear, in addition, an antariya, which is extended in length. This long antariya is worn
in the kachcha style but one end continues over the left shoulder and is broached there like the
palla. [3]
Transformation towards conservative style During Islamic
period: The Sultanate ushered in a period of Indian cultural
renaissance. The resulting "Indo-Muslim" fusion. With the
ushering of Mughal rule the mode of saree underwent a sea
change and the persian and central asian influence was soon
seen. Tailored clothes arrived in India with the arrival of
Figure 4: Miniature paintings Radh
Krishna ( www.indiminiature.in)
Muslims. It have been at this time the concept of veil came into existance and became integral
part of Indian saree in north. The intricate and delicate embellishments done by hand marked
the finesse, luxury and exuberance of the saree. Lot of such influences can be seen in various
miniature art work of mughal period.
Influence of British: The choli or the woman’s blouse is
believed to have come into existence with the various
European colonial powers that once occupied a major portion
of the Indian subcontinent. The British did influence women’s
clothing to a great extent. Indian high society ladies started
Figure 6: Western infunces bodices adopted
with saree
wearing long-sleeved blouses with frills, very similar to the Victorian upper garment, during the
late 19th and early 20th centuries. It is commonly beleived in
India that today's petticoat or "Ghagra" and the blouse or
"Choli" which are worn under the Sari are later additions which
started with the coming of British in India. Increasing number of
upper class women in the early 20th century did adopt items of
European style clothing as the fitted blouse and slim petticoat.
This was also adopted due to the fashion of transparent chiffon
Figure 5: Indira devi introduced
chiffon saree
Saris during that particular period. Some of the wives of Indian
Kings draped themselves in Saris that were made by Parisian designers. Indiradevi, daughter of
Maharaja Sayajirao Gaekwad of Baroda and mother of Mahrani Gayatridevi of Jaipur,
introduced the famous ‘Chiffon Saree and string of pearls’ combo in India. She is seen in the
painting above in a Maratha style nine yards Chiffon Saree. Please notice that the styling here is
distinctly French. [4]
REGIONAL ADOPTION OF SAREE
It's a modest costume, yet it's so versatile and often comes in interesting variations. Though
one of the oldest apparels, there is something mystical about the way one wraps, folds, tucks
and drapes a seamless piece of cloth, creating a form from the formless. The sari both conceals
and reveals, depending on the weaver’s whim and conditioning. The versatile sari has its variety
Figure 8: Nivi saree; Painting by
Raviverma
fashion in adorning in this
Figure 9: Young girl in Gujarati Sari, in
this style the lose end is worn on the
front. Vintage Albumen Photograph
India Gujarat 1880
Figure 7: Young girl wearing
Bengali Sari.
multicultural
society
of
India. The Style, texture varies from south to north and east to west in India. The French
cultural anthropologist and sari researcher Chantal Boulanger categorized sari drapes in the
following types:
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. [5]
Bengali: One of India's most elegant, easy and flattering
drapes. Two large pleats in the front and the pallu of the sari
is draped twice over the torso.
Figure 10: Maharani Chimnabai and Indira
Raje of Baroda wearing a 'Nauvari', a
traditional Maharashtrian sari
Gujarati – after tucking in the pleats similar to the Nivi
style, the loose end is taken from the back, draped across the right shoulder, and pulled across
to be secured in the back.
Maharashtrian/Konkani/Kashta; this drape 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
Figure 11: Women in Tamil Sari, in this
style the lose end is warped around the
waist. Vintage Albumem Photograph
India Madras 1880
worn by Brahmin women of Maharashtra, Karnataka, Andhra Pradesh and Goa.
Dravidian – sari drapes worn in Tamil Nadu; many feature a pinkosu, or pleated rosette, at the
waist.
Madisar – this drape is typical of Iyengar/Iyer Brahmin ladies from Karnataka, Tamil Nadu, and
Kerala
Kappulu- This unique drape is found in the coastal areas of Andhra Pradesh. This graceful sari drape
features pleats in the back and the pallu passed is twice around the body and arranged in lovely pleated
arcs.
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.
Gobbe Seere - This style is worn by women in the Malnad or Sahyadri and central region of
Karnataka. It is worn with 18 molas saree with three four
rounds at the waist and a knot after crisscrossing over
shoulders.
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.
Malayali style - the two-piece sari, or Mundum
Neryathum, worn in Kerala. Usually made of unbleached
Figure 13: Madisar
Figure 12: Kappulu
cotton and decorated with gold or colored stripes and/or borders. Also the Set-saree, a sort of
mundum neryathum.
Tribal styles – often secured by tying them firmly across the chest, covering the breasts.
Kunbi style or denthli: Goan Gauda and Kunbis,and those of them who have migrated to other
states use this way of draping Sari or Kappad, this form of draping is created by tying a knot in
the fabric below the shoulder and a strip of cloth which crossed the left shoulder was fasten on
the back.
RECENT MANIFESTATION OF SAREE:
Indian movies, soaps and designer interventions have given saree an international appeal. Satya
Paul designed a saree inspired by Google. The saree showcases the google search page. Even
Figure 14: Google saree by
Satyapaul
Figure 16: Ashwarya Rai at
Cannes
Figure 15: Farida Pinto in
contemperory saree adoption
Shobha De launched a saree collection recognizing the market potential in India.
Indian
designers like Manish Malhotra, Ritu Kumar, Tarun Tahiliani ,Sabyasachi, to name a few, who
have mixed traditionalism with modernity and have revived the saree as a fashion
apparel.Although with globalization women have shifted form this drape to jeans and trousers
into our daily life, the saree has emerged as a winner with its position uplifted to party wear or
that of a designer outfit now. [6]
The sari has gained its popularity internationally due to
the growth of Indian fashion trends globally. Many
celebrities, like Aishwariya Rai, Frida Pinto have worn it
at international events representing the Indian culture.
In 2010, Bollywood actress Deepika Padukone wanted
to represent her country at an international event,
wearing the national costume. On her very first red
carpet appearance at the Cannes International Film
Festival, she stepped out on the red carpet in a Rohit Bal
sari.
[7]
Figure 17: Saree still going on!
‘‘I consider the sari deeply elegant—it is one of the most grounding elements of what
haute couture is all about,’’ -Valentino. Naveen Patnaik, a political from Indian said “The sari’s
radiance, vigor and variety, produced by a single straight length of cloth, should give us in the
West pause and make us think twice about the zipper, the dart and the shoulder pad.”
[8]
Although Indian culture has felt the effects of many outside influences, its distinctive costume
conventions have lasted for thousands of years. The clothing styles worn from the earliest
civilizations in India continue to be worn in modern times.
CONCLUSION
Saree is a one piece of cloth which fits all, fat or thin short or tall. Although influence of
globalization has changed the utility of the saree, as once it used to be garment for casual,
formal wedding to sleepwear for Indian women, still it shows true costume identity of India.
The glamor and demure of the saree had always symbolized an Indian heritage and legacy and
its essence will always adorn Indian women.
Six yards of modestly sensuous, such is the legacy of saree!
REFERENCES
1. Costumes of India and Pakistan: a historical and cultural study - Shiv Nath Dar - 1969
2. Kapoor, Subodh (2002). The Indian encyclopaedia: biographical, historical, religious,
administrative, ethnological, commercial and scientific. Reunion-Satya Yauvana, Volume
20. Genesis Publishing Pvt Ltd. p. 6422 (pg no. starts from 6130). ISBN 9788177552577.
3. Alkazi, Roshan (1983) "Ancient Indian costume", Art Heritage; Ghurye (1951) "Indian
costume", Popular book depot (Bombay); Boulanger, Chantal; (1997)
4. Parthasarathy, R. (1993). The Tale of an Anklet: An Epic of South India – The
Cilappatikaram of Ilanko Atikal, Translations from the Asian Classics. New York:
Columbia Univ. Press. ISBN 0231078498.
5. Boulanger, Chantal; (1997) Saris: An Illustrated Guide to the Indian Art of Draping, Shakti
Press International, New York
6. "Excerpts:
Evolution
of
Court
Costume."
ritukumar.com
http://www.ritukumar.com/ancient.htm (accessed on September, 2011).
.
7. Bharata (1967). The Natyashastra [Dramaturgy], 2 vols., 2nd. ed. Trans. by Manomohan
Ghosh. Calcutta:
8. Alkazi, Roshan (1983) "Ancient Indian costume", Art Heritage
9. Ghurye (1951) "Indian costume", Popular book depot (Bombay); Boulanger, Chantal;
(1997) Saris: An Illustrated Guide to the Indian Art of Draping, Shakti Press International,
New York.
10. Boulanger, Chantal; (1997) Saris: An Illustrated Guide to the Indian Art of Draping, Shakti
Press International, New York.
11. Kalman, Bobbie. India: The People. New York: Crabtree Publishing, 1990.
12. Watson, Francis, with Dilip Hiro. India: A Concise History. New York: Thames and
Hudson, 2002.