Saree philosophy- Sari drape an essence of South Indian culture
Topic started by robin (@ 202.54.92.174) on Fri Sep 1 03:09:09 .
All times in EST +10:30 for IST.
Hi friends I have collected some information on the philosophy of the saree. I have understood how it is not just a graceful drape, but also the manifestation of south Indian understanding of human expression. I would like to share it with my fellow south Indians, and would like you to give more information on the saree philosophy which you might know. Thank you.
The Saree embodies the essence of south Indian philosophy. This is because in the South Indian philosophy the body is seen as a product and part of the creativity of creation and life, and therefore the human body is considered as the central aspect of South Indian philosophy. Therefore the saree which is the drape of this essential aspect of creativity (the body), becomes the manifestation of this creativity and life. Also in South Indian philosophy it is thought that, just as the body is the product of the whole universe, the whole universe is manifested in a manner in the human body and through the human body. Thus the body is considered the complete expression of the supreme being, and complete expression of human expression.
This is best exemplified through the sculptures of India, the saree philosophy, and the philosophy of Bharatanatyam with its tenets of having a perfectly erect posture, a straight and pout curving stomach, and long hairs. These tenets give the realization of ‘Angikam bhuvanam yasya’ (the body is your world).
The costume of indian women, the saree is considered as a very beautiful and sensuous dress, and is supposed to not completely cover the stomach of a woman. In fact in the saree philosophy at least 40% of the stomach is not meant to be covered, and the navel is definitely not to be covered. This has reasons deeply rooted in the Indian Philosophy and its celebration of life and expression through the body. The navel of the supreme being is considered as the source of life and creativity. Therefore it is not proper to cover the navel and the stomach in the philosophy of saree. This finally makes the realization of ‘sharira-mandala’ (which unites the body ‘Angikam bhuvanam yasya’ to the whole universe ‘sharira-mandala’ ).
Most of all these tenets of saree philosophy are also for those wearing other forms of drapes. Which include even the drapes worn by men. So the saree is principally a garment which embodies the essence of South Indian philosophy (please also see these good links)
1.) http://www.kamat.com/kalranga/attire/saree/sari_story.htm (site on saris)
2.) http://www.shakti.clara.net/lect.html (south indian culture essay)
3.) http://www.india-tourism.de/english/south/inhalt.html (south Indian photos)
Responses:
- Old responses
- From: anu (@ 164.164.86.66)
on: Mon Nov 27 12:12:30 EST 2000
Hemant,That's very interesting point. I also think saree must have been introduced from S.India. The gujarat connection is interesting. But aren't Kancheepuram sarees the costliest? If Sarees originated from TN in S.India, why didn't it spread to neighbouring Kerala? Intriguing.
- From: prem (@ heat.singnet.com.sg)
on: Mon Nov 27 22:42:20 EST 2000
Sorry, I amgoing to side track. Sujatha, I am planning to organise cultural exhibition pertaining to Indian Culture and costumes of different states.
Any help!!
- From: Hemant (@ 63.109.250.137)
on: Tue Nov 28 00:08:44 EST 2000
Hello Anu,
Kerala has always been different from neighbouring Tamil nadu in a lot of matters.But when it comes to Saree, it was ONLY DUE TO CLIMATE , that they did not adopt Saree.
Kancheepuram sarees are not the costliest, Patolas of Patan with less of Zari work cost much more.
Starting price of Kancheepuram Saree is about three thousand rupees.But Patolas start at about 25 to 50,000 rupees.
- From: Anu G (@ 210.214.18.23)
on: Tue Nov 28 00:35:02 EST 2000
hello friend,
i like robin's philosophy of saree.but i beleive that it is saree which reduces the free movements & make women sluggish.you cannot jump into a crowded bus wearing a saree,nor u can run fast if chased by something.That makes women powerless.
Any way,saree is best to wear when u go for a function.there saree has got a diginity.
now u might be thinking that lots of women in south india wears saree & moves about freely.that is because of practice,i know.
- From: HEMANT (@ 63.109.250.137)
on: Tue Nov 28 02:27:38 EST 2000
Anu ....please remember that saree came into being when the need was to cover one's body with dignity.The function of a saree became more varied with ornamental silk sarees for functions and marriages etc.
The women were demure housewives and generally non out going.
It came when the only vehicle which they rod were may be palanqueens.
Today you can't catch buses wearing a saree.It does hamper movement.But it is so dignified.!!!!!
It enhances ones beauty and gives an aura of different kind of beauty which cannot be explained.
- From: Ashiq Ahmed (@ 193.188.104.18)
on: Mon Dec 4 12:44:06 EST 2000
Is there any one can help my young wife to learn to wear saree nicely. If possible with pics.
- From: roja (@ ppp19-61.bom.vsnl.net.in)
on: Wed Dec 6 14:53:22 EST 2000
Ashiq Ahmed this site might help your wife
http://www.apnabangalore.com/nirmal/sari.htm
try iy out -:))
- From: roja (@ ppp19-52.bom.vsnl.net.in)
on: Wed Dec 6 15:18:33 EST 2000
I think that following the principles of the philosophy would be the best way to get the best out of the saree.
all the best -:))
- From: Hemant (@ 63.109.250.137)
on: Wed Dec 6 23:45:55 EST 2000
Hello Roja,
I could not restrain myself from making this comment after reading your note ".... to get the best out of a saree"
"Only the best is wrapped in a saree and the Best comes out of a saree."
- From: shameema (@ )
on: Fri Dec 29 15:01:11
very nice
- From: anu (@ 164.164.86.66)
on: Sat Jan 6 07:51:12 EST 2001
Roja,
How was ur India trip...did you like the saree clad South Indians..
- From: alicia (@ slip-32-100-244-33.ma.us.prserv.net)
on: Wed Jan 17 23:15:51 EST 2001
robin:your article was great but although india is where sarees may have originated that is not the only place you will see them worn .i visit pakistan every six months and even though im american i wear saree with grace not only is it a comfort too wear when worn correct but its the most beautiful and gracefull outfit in my wardrobe .
- From: priya (@ 203.197.56.216)
on: Sat Jan 20 02:59:27
the pallu-less, traditional drape in kerala is one of the most preserved form of the original saree. The oldest and the most original form of the saree was without the pallu. It only had stanapatta or sthanapattam, (which means breast-band) now evolved into a blouse) and a dhoti-like lower clothing. so the mundu and neryathu of kerala in south India is the most finest example of the original saree.
- From: Makku (@ 63.87.244.13)
on: Thu Jan 25 14:08:11
I allways suggest my wife to wear saree very low of her bellybutton. So it'll expose about 100% of her belly. Is it ok?
- From: Yashwant (@ c701887-a.ftclns1.co.home.com)
on: Thu Jan 25 23:11:00
The word saree is from sanskrit "shaatee". In the past it was used for the cloth worn by men also.
Saree as worn in India today (with much of the body covered) probably has its origin in Greece.
it is not seen in ancient sculptures in India.
- From: h (@ 193.188.104.18)
on: Fri Jan 26 10:34:00
test
- From: Padmaja (@ )
on: Sun Mar 18 01:17:42
********************************************************************
Noted Swiss philosopher CARL JUNG has waxed lyrical
about the elegance of the sari thus:
"It would be a loss to the whole world if the Indian woman should cease
to wear her native costume. India is practically the only civilized country
where one can see on living models how woman can and should dress".
***********************************************************************
LEGENDS OF THE SAREE-
Indian myths often use weaving as a metaphor for the creation of the
universe. The sutra or spun thread was the foundation, while the
sutradhara (weaver) or holder of the thread was viewed as the architect or
creator of the universe.
ORIGIN OF THE TERM-
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.
HISTORY OF THE SAREE-
There are also several references to the fact that in South India the sari
had been for a long time one piece of material that served as both skirt and
veil, leaving the bosom and midriff bare. Even today in some rural areas it
is quite common for a woman not to wear a choli. It still survives in its
original form in the traditional saree of kerala the mundu and neryathu.
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.
In extant North Indian miniature paintings, (particularly Jain, Rajasthani
and Pahari schools from the 13th to the 19th centuries) it seems to consist
of the diaphanous skirt and an equally diaphanous veil draped over a tiny
bodice. This style still survives as the more voluminous lehanga of
Rajasthan and Gujarat.
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.
Some costume historians believe that the men's dhoti, which is the oldest
Indian draped garment, is the forerunner of the sari. Till the 14th century
the dhoti was worn by both men and women. Thereafter it is conjectured that
the women's dhoti started to become longer, and the accessory cloth worn
over the shoulders was woven together with the dhoti into a single cloth to
make the sari.
SAREE THE UNSTICHED GARMENT-
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.
THE ASPECTS OF SAREE CLOTHING -
The Sari, like so many other textiles, gives the lie to the hierarchical
distinction made between fine arts and crafts. The approximate size of a
sari is 47 by 216 inches. Although it is an untailored length of cloth, the
fabric is highly structured and its design vocabulary very sophisticated.
The main field of the sari is framed on three sides by a decorative frieze
of flowering plants, figurative images or abstract symbols.
PALLAV OR PALLU
Two of the borders define the edges of the length of the sari and the
third comprises the end piece, which is a visible, broader, more complex
version of the other two borders. This end piece is the part of the sari
that is draped over the shoulder and left to hang over the back or front,
known popularly as the Pallav.The pallav has to be symmetrical in the manner
in which it hangs from the shoulder. It has to be placed completely on the
shoulders, and not hanging outside the shoulders. Neither should the pallav
be draped covering the navel. The pallav hanging outside the shoulders, and
covering the navel, makes one of the shoulders look longer than the other and
thus asymmetrical.The symmetrical form is what makes the essence of the saree.
The pallav usually elaborates the theme found in the two borders and the
actual field of the sari, a sort of repetition and amplification in the
manner of the Indian musical mode, the raga. The raga has a set number of
notes and these are intoned in a form of verbal mnemonics, before the song
is actually sung. No new notes other than those in the introduction are
used, but improvisation is allowed and results in endless permutations and
combinations. This beautiful metaphor thus compares the two narrow borders
to the introductory recital of the pure notes and the pallav to the song.
PALLU DESIGN-
The design, whether woven, embroidered, painted or block-printed, needs to
maintain the proportion and balance between the actual field of the sari,
the borders and the pallav. The pattern creates its own rhythm. For
instance, the scattering of spot weft gold dots increase in the pallav for a
denser, richer pattern and gradually and softly decrease on the actual
ground of the sari.
SARI PATTERNS-
Pattern and content are often dictated by the traditions of the region
where the sari is produced. The great sari capitals are Varanasi (Banaras),
by the sacred river Ganga, Chanderi in Madhya Pradesh and Kanjivaram in
South India.
TYPES OF SAREES-
Banaras is renowned for its silk and gold brocades. The weavers who are
usually Muslims, are famed for producing brocades so stiff with gold that
they cannot be used as garments and are reserved wholly for ritual use. The
Banaras sari itself is ubiquitous in India. No bridal trousseau would be
complete without a 'Banarasi' brocade which is available within a broad
price range. Along with their very intricate patterns, the most interesting
aspect of Banaras brocades is the tremendous variety of silk yarns with
which they are woven. Ranging from heavy silks such as 'Jamawars' and
'Tanchois' to gossamer fine organzas and tissues, the choice is
mind-boggling.
Chanderi is primarily a weavers town. It produces fine shimmering cottons
with pale delicate zari borders and motifs of the utmost delicacy. The
characteristic feature of the Chanderi sari is the quality of the gold
thread that is used. Early craftsmen have even gone to the extent of
describing it as the gold thread that shone like a mirror.
Kanjivaram is synonymous with hand woven silk saris and known for its
dark, heavy silks, usually with flat stripes of gold decorating the borders.
These conservative designs are considered to be more restrained and
dignified than the occasionally flamboyant Banarasi sari. Kanjivaram silk
also has a reputation for durability. A very distinctive feature of these
saris, as opposed to those from other parts of India, is the contrasting
color of the border and the pallav, as compared to the body of the sari.
SAREE AND ITS TEMPERS-
Such a restricted mention of sari capitals is invidious for it overshadows
other regions with equally sophisticated textile traditions. Almost every
district and sometimes even different villages have their own sari tradition
which employ a complex language of symbols. But though characterized by
geographical considerations, all Indian symbolism, abstract or figurative,
is rooted in the natural or physical world. The purist often bemoans the
fact that the traditional borders, the field and the end piece motifs have
been interchanged between the regions, creating an unwelcome hybrid and
often destroying the fine balance and subtle harmony between the three. Yet
innovation, not stagnation is the hallmark of the weavers and artists
engaged in the creation of these magnificent textiles. Even in the 19th
century, the Baluchari sari of Bengal introduced images of British sahibs
and memsahibs in railway carriages, thus expanding a traditional vocabulary,
which was almost exclusively drawn from religious epics, and making the sari
a vehicle for social satire and a mirror of the times. Ingenuity too is a
frequently employed device. The Orissa calligraphy sari has coded love
messages in the shape of puzzle poems. Thus with the sari, pattern and
content also do frequently inform one another.
The material always light enough not to interfere with the fluidity of the
drape is another source of varied tactile delight - cottons, silks, cottons
mixed with silk, chiffons and tissues are some of the preferred mediums. But
in recent times, to the dismay of the weavers, synthetic polyester has made
inroads into the fashion world of the sari. There are several reasons for
this. The number of women who now have careers of their own has increased
dramatically in the last twenty-five years. Handloom cotton normally used
for everyday wear, requires a tremendous amount of maintenance. After each
wear the sari has to be laundered and starched since unstarched cottons have
an unattractive limpness. Ironing such a sari is a laborious process and
not everyone can afford a laundry service. The drip dry polyester, which
requires no ironing has presented itself as an attractive alternative.
ART OF DRAPING THE SAREE-
The sari takes final shape in visual terms only when it is draped on a
person. The slightly off-center fan of pleats in the front, the floating
pallav with the intricate border thrown over the shoulder and the relatively
smooth drape of the material at the back; the wound, pleated, tucked and
coiled material give the proportions an aesthetic and intelligent
rationality. To an unaccustomed onlooker, a draped sari seems an insecure
affair, in danger of coming undone at the slightest movement. Actually, this
apparently flimsy concoction is buttressed by a stout, distinctly
unromantic, cotton petticoat. The top edges of the pleats are tucked into
the waistband of this nether garment, thereby almost eliminating the risk of
the sari coming adrift.
THE NAVEL PRINCIPLE AND THE PRINCIPLE OF THE SYMMETRY-
The fundamental beauty of the saree derives from the symmetry that is
attained by the unstiched garment. For this symmetry to be attained. The
pallav has to be symmetrical in the manner in which it hangs from the shoulder.
It has to be placed completely on or within the shoulders, and not hanging
outside the shoulders. Neither should the pallav be draped covering the navel.
The pallav hanging outside the shoulders, and covering the navel, makes one of
the shoulders look longer than the other and thus asymmetrical.The symmetrical
form is what makes the essence of the saree. Also The lower part of the saree has
to be below the navel. This further enhances the symmetry of the pallav or pallu
and the entire saree, and the garment becomes embodied in symmetry. which makes the
saree the most magnificient costume.
THE SAREE AS AN EXPRESSION-
The art of draping the sari is in itself an expression of a woman's
creativity. In urban India, saris tend to be draped in four or five styles
requiring approximately six yards of material. It is, however, immensely
versatile, and there are a surprising number of regional variations of
draping. Women working in the fields of Maharashtra, drape the sari in the
kasota fashion, not unlike a pair of trousers, enabling complete freedom for
the limbs. Rita Kapur and Amba Sanyal in their book on the saris of Madhya
Pradesh document at least ten distinct styles of draping the sari in that
state alone.
For an unstitched length of material, the wearing of a sari entails a lot
of preparation. Most saris have a fall made of cotton attached to the inside
lower border, and the choli or bodice that teams up with the sari should
match the ground color of the sari, or at least echo one of the tints in the
borders or motifs. The sari follows the shape of the body, yet conceals, it
is often said, a hundred imperfections. It is true that not only is it one
of the most graceful of garments, but also one of the kindest. This perhaps
explains its perennial charm. Not only beautiful, it is compassionate.
The success of the sari through the ages is attributable to its total
simplicity and practical comfort, combined with the sense of luxury a
woman experiences. Though men are intrigued by the demure, floor-length
attire and tantalizing display of a bare midriff at the back, it is said
that sari rarely fails to flatter a woman, making her feel fragile and
feminine. It is an instant fashion, created by the hands of the wearer and
subject to none of the vagaries and changes which plague the modern fashion
scene. But ironically this flowing luxuriousness of the sari does lead to a
corresponding restriction on physical activity and has prompted critics to
describe the sari as "a 51/2 meter cloth entangling the woman with
serpentine viciousness", a modern poetess has put it thus:
SAREE POEM-
SAVE THIS SARI
Oh my beautiful sari
I love you much to tell you free
You enlighten the feminism in me
For which I should thank you much
For I am a woman first
The birth I consider the best.
When I see this end of the sari
I think of chastity enhanced by its
Long free flow.
It helps me cover my head from sun
It solaces me by wiping my tears
It straightens me to stand among the mass
And because of that it stands for generations.
If I've to stop being the walking dead
First accept woman hood is superior
Why to burn a sari?
Burn your slavery thoughts!
I need not change into a man
To become superior
And thus declaring him superior.
poem by ---------------------- S. Santha Devi.
- From: swati (@ 203.197.44.102)
on: Mon Mar 19 13:22:39
Hi Padmaja, that was a nice detailed writing on the saree. I liked the information, and especially on the saree and navel symmetry. No wonder the saree is the only garment in feminine apparels, which has stayed ‘In Fashion’ for 5000 years. I am proud to wear it everyday