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This page is about the female garment of the Indian Subcontinent . For the eponymous Iran ian city, see Sari (city) . A sari (also spelled '''saree''') is the traditional garment worn by many Women in the Indian Subcontinent . The garment is known by different names in Various Indian Languages ; in Hindi , Gujarati and Marathi , it is known as ''Saadi''; in Kannada as ''Seere''; in Telugu as ''Cheera'' and in Tamil as ''Podavai''. The sari is long strip of unstitched Cloth , ranging from five to nine yards in length, which can be draped 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. The sari is usually worn over a Petticoat (called ''lehenga/Ghagra'' in northern India and ''Pavada/Pavadai'' in the south) and a low-cut, short-sleeved, midriff-baring Blouse known in north India as a Choli . THE SARI CONSIDERED AS CLOTH Most saris are five to six yards long. However, some Brahmin women wear the nine-yard Madisar sari, in a dhoti wrap. 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. It is one of the most visible sections of the sari and is woven and decorated "for show". 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. The borders and the pallu are defined only by the use of contrasting thread in the Warp or Weft . 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. Modern zari work is usually executed with glittering synthetic fibers rather than real gold or silver thread (made by wrapping gold or silver around a base thread). 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. The free-hanging end, the pallu, could be additionally embellished with ''punkra'' or ''punchra'' work, in which part of the weft is removed and the warp threads are knotted into elaborate patterns, sometimes decorated with beads or precious stones. 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 Though each region in the Indian subcontinent has developed over the centuries its own unique sari style, the following are the well known varieties, distinct on the basis of fabric, weaving style or motifs: Bangladeshi Saris Indian Saris woman wearing a traditional Malayali Mundum Neryathum which looks like a sari but is infact 2 pieces]] Northern styles:
Central styles: Southern styles:
Pakistani saris In Pakistan , the wearng of Saris has almost completely been replaced by the Salwar Kameez for everyday wear. According to many observers, the sari has lost favour in Pakistan since it is seen as being associated with India. However, the sari is often worn by the elderly, and to formal events. Sri Lankan saris Sri Lanka n 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 body. Contrast this example of a Kandyan style sari draping with what Sri Lankans refer to as the ' Indian style' . The Indian style generally consists of an uninterruped flow of sari fabric over the stomach and shoulders, whereas the Kandyan (Osaria) style bares more of the midriff, and is partially tucked in at the front (similar to the pleated rosette used in the 'Darivian' style noted earier in the article), with the final tail of the sari being neatly pleated rather than free-flowing. Here is another example of a Sri Lankan style of draping the sari. ORIGINS AND HISTORY The word 'sari' is believed to derive from the Sanskrit word 'sati', which means strip of cloth. This evolved into the Prakrit 'sadi' and the sound later decayed into 'sari'. Some versions of the history of Indian clothing trace the sari back to the Indus Valley Civilization , which flourished in 2800-1800 BCE. One ancient statue shows a man in a draped robe which some sari researchers believe to be a precursor of the sari. Ancient Tamil poetry, such as the '' Silappadhikaram '' and the ''Kadambari'' by Banabhatta , describes women in exquisite drapery. This drapery is believed to be a sari. In 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 stomach of the dancer is to be left unconcealed, which some take to indicate the wearing of a sari. dancer wearing a fishtail wrap.]] 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. Sculptures from the Gandhara , Mathura and Gupta schools (1st-6th century CE) 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 {Link without Title} . No bodices are shown. 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. Some argue that the two-piece Kerala Mundum Neryathum (mundu in malayalam is the same as dhoti or sarong and neryath means a cloth to cover the upper body similar to a shawl) is a survival of ancient Indian clothing styles, and that the one-piece sari is a modern innovation, created by combining the two pieces of the mundum neryathum. 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 British ideas of modesty. Previously, women only wore the 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. It is possible that the researchers arguing for a recent origin for the choli and the petticoat are extrapolating from South India, where it is indeed documented that in some areas, women wore only the sari and exposed the upper part of the body. 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. In Kerala there are many references to women being topless, including many pitcures by Raja Ravi Varma. Even today, women in some rural areas do not wear cholis. SEE ALSO BIBLIOGRAPHY
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