The Sari, it is said, was born on the loom of a fanciful weaver. He dreamt of a 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. He wove for many yards. And when he was done, the story goes, he sat back and smiled and smiled and smiled".
Friends, let me tell you the tale of the Indian Sari, the 9 yards of unstiched cloth that graces the feminine figure with ardour across our country and even at times on the international ramps.
The etymology of the word sari is from the Sanskrit word 'sati', which means strip of cloth. This evolved into the Prakrit 'sadi' and was later anglicised into sari. There is ample evidence of the sari in the earliest examples of Indian art. Sculptures from the Gandhara, Mathura and Gupta schools (1st- 6th century AD), suggest that the sari in its earlier form was a briefer garment, with a veil, and usually no discernable bodice.
There are also several references to the fact that in Southern part of India the sari had been for a long time one piece of material that served as both skirt and veil, leaving the bosom bare.
The etymology of the word sari is from the Sanskrit word 'sati', which means strip of cloth. This evolved into the Prakrit 'sadi' and was later anglicised into sari. There is ample evidence of the sari in the earliest examples of Indian art. Sculptures from the Gandhara, Mathura and Gupta schools (1st- 6th century AD), suggest that the sari in its earlier form was a briefer garment, with a veil, and usually no discernable bodice. There are also several references to the fact that in Southern part of India the sari had been for a long time one piece of material that served as both skirt and veil, leaving the bosom bare.
In North Indian miniature paintings, (particularly Jain, Rajasthani and Pahari schools from the 13th to the 19th centuries) the sari consisted of the diaphanous skirt and an equally diaphanous veil draped over a tiny bodice.
Gradually this skirt and veil were amalgamated into one garment, but when and how this happened is not precisely clear. One theory, not fully substantiated, is that the style was created by Noor Jahan (d. 1645) wife of the Mughal emperor Jehangir (reigned. 1605-27). Perhaps it would be more accurate to speculate that the confrontation between the two cultures, Islamic and Hindu, led the comparatively relaxed Hindus to develop a style that robed the person more discreetly and less precariously.
Indian civilization has always placed a tremendous importance on unstitched fabrics like the sari and dhoti, which are given sacred overtones. The belief was that such a fabric was pure; perhaps because in the distant past needles of bone were used for stitching. Hence even to the present day, while attending pujas or other sacred ceremonies, the men dress up in dhotis while women wear the sari. Thus even though the different waves of Islamic expansion (13th - 19th century AD) resulted in new versions of stitched garments, the primacy of the sari and its gently changing form couldn't be changed. Even today, when the Islam influenced Salwar-kameez (loose trousers with a tunic) is an increasingly popular garment, the Sari continues to hold its sway. The flow it confers to the natural contours of the female form enhances the gracefulness of the fairer sex, as no other apparel can.
In the following posts on this page we shall continue to bring forth the various weaves, textiles and drape forms of the saree as is worn in the different parts of our country.
The images used in this post are courtesy Paintings of Raja Ravi Varma and also copies of folklore paintings from India.
