Sari

A sari is a draped cloth and women's garment in the Indian subcontinent. It consists of an un-stitched stretch of woven fabric arranged over the body as a dress, with one end attached to the waist, while the other end rests over one shoulder as a stole, sometimes baring a part of the midriff. It may vary from 4.5 to 9 yards in length, and 24 to 47 inches in breadth, and is a form of ethnic clothing in India, Bangladesh, Sri Lanka, Nepal, and Pakistan. There are various names and styles of sari manufacture and draping, the most common being the [|Nivi] style. The sari is worn with a fitted bodice also called a choli and a petticoat called,, or. It remains fashionable in the Indian subcontinent and is also considered formal attire in the countries of the region.

Etymology

The Hindi word , described in Sanskrit which means 'strip of cloth' and शाडी or साडी in Pali, ಸೀರೆ or sīre in Kannada, and which evolved to in modern Indian languages. The word is mentioned as describing women's dharmic attire in Sanskrit literature and Buddhist literature called the Jatakas. This could be equivalent to the modern day sari. The term for the female bodice, the, evolved from the ancient. Rajatarangini, a tenth-century literary work by Kalhana, states that the choli from the Deccan was introduced under the royal order in Kashmir.
The petticoat is called in Hindi, in Marathi, in Tamil, in Bengali and eastern India, and in Sinhalese. Apart from the standard "petticoat", it may also be called an "inner skirt" or an inskirt.

Origins and history

The history of sari-like drapery can be traced back to ancient India, 2800–1800 BCE, around the northwestern part of the Indian subcontinent. Cotton was first cultivated and woven on the Indian subcontinent around the 5th millennium BCE. Dyes used during this period are still in use, particularly indigo, lac, red madder, and turmeric. Silk was woven around 2450 BCE and 2000 BCE.
The word sari evolved from is mentioned in early Hindu literature as women's attire. The sari, or, evolved from a three-piece ensemble comprising the Antariya|, the lower garment; the Uttariya|, a veil worn over the shoulder or the head; and the, a chestband. This ensemble is mentioned in Sanskrit literature and Buddhist Pali literature during the 6th century BCE.
The ancient antariya closely resembled the dhoti wrap in the "fishtail" version, which was passed through the legs, covered the legs loosely, and then flowed into long, decorative pleats at the front of the legs. It further evolved into the Bhairnivasani skirt, today known as the ghagri and lehenga. Uttariya was a shawl-like veil worn over the shoulder or head. It evolved into what is known today known as the dupatta and ghoonghat. Likewise, the evolved into the choli by the 1st century CE.
The 7th century Sanskrit work Kadambari by Banabhatta and ancient Tamil poetry, such as the Cilappatikaram, describe women in exquisite drapery or saris. In ancient India, although women wore saris that bared the navel, the Dharmasastra writers stated that women should be dressed such that the navel would never become visible, which may have led to a taboo on exposure of the midriff at some times and places.
It is generally accepted that wrapped sari-like garments for the lower body and sometimes shawls or scarf like garments called 'uttariya' for the upper body, have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years. In ancient couture, the lower garment was called 'nivi' or 'nivi bandha', while the upper body was mostly left bare. The works of Kalidasa mention the, a form of tight fitting breast band that simply covered the breasts. It was also sometimes referred to as an or Stanapatta|.
Poetic references from works like Cilappatikaram indicate that during the Sangam period in ancient Tamil Nadu in southern India, a single piece of clothing served as both lower garment and head covering, leaving the midriff completely uncovered. Similar styles of the sari are recorded in paintings by Raja Ravi Varma in Kerala. Numerous sources say that everyday costume in ancient India until recent times in Kerala consisted of a pleated dhoti or wrap, combined with a breast band called or and occasionally a wrap called that could at times be used to cover the upper body or head. The two-piece Kerala mundum neryathum is a survival of ancient clothing styles. The one-piece sari in Kerala is derived from neighbouring Tamil Nadu or Deccan during the medieval period based on its appearance on various temple murals in medieval Kerala.
Early Sanskrit literature has a wide vocabulary of terms for the veiling used by women, such as Avagunthana, meaning cloak-veil; Uttariya, meaning shoulder-veil; Mukha-pata, meaning face-veil; and Sirovas-tra, meaning head-veil.
In the Pratimānātaka, a play by Bhāsa. it is described in the context of Avagunthana veil that "ladies may be seen without any blame in a religious session, in marriage festivities, during a calamity and in a forest". The same sentiment is more generically expressed in later Sanskrit literature. Śūdraka, the author of Mṛcchakatika, set in the fifth century BCE, says that the Avagaunthaha was not used by women every day and at every time. He says that a married lady was expected to put on a veil while moving in public. This may indicate that it was not necessary for unmarried females to put on a veil. This form of veiling by married women is still prevalent in Hindi-speaking areas, and is known as ghoonghat where the loose end of a sari is pulled over the head to act as a facial veil.
Based on sculptures and paintings, tight bodices, or cholis, are believed to have evolved between the 2nd century BCE and 6th century CE in various regional styles. Early cholis were front coverings tied at the back; this style was more common in parts of ancient northern India. This ancient form of bodice, or choli, is still common in the state of Rajasthan today. Various styles of decorative traditional embroidery like gota patti, mochi, pakko, kharak, suf, kathi, phulkari and gamthi are done on cholis. In southern parts of India, choli is known as ravikie, which is tied at the front instead of the back, kasuti is a traditional form of embroidery used for cholis in this region. In Nepal, choli is known as cholo or chaubandi cholo and is traditionally tied at the front.
Red is the most favoured colour for wedding saris, which are the traditional garment choice for brides in Hindu weddings. Women traditionally wore various types of regional handloom saris made of silk, cotton, ikkat, block-print, Ilkal sari, embroidery, and tie-dye textiles. The most sought after brocade silk saris are Banasari, Kanchipuram, Gadwal, Paithani, Mysore, Uppada, Bagalpuri, Balchuri, Maheshwari, Chanderi, Mekhela, Ghicha, Narayan pet and Eri etc. are traditionally worn for festive and formal occasions.
Silk Ikat and cotton saris known as Patola, Pochampally, Bomkai, Khandua, Sambalpuri, Gadwal, Berhampuri, Bargarh, Jamdani, Tant, Mangalagiri, Guntur, Narayan pet, Chanderi, Maheshwari, Nuapatn, Tussar, Ilkal, Kotpad and Manipuri were worn for both festive and everyday attire. Tie-dyed and block-print saris known as Bandhani, Leheria/Leheriya, Bagru, Ajrakh, Sungudi, Kota Dabu/Dabu print, Bagh and Kalamkari were traditionally worn during monsoon season.
Gota Patti is a popular form of traditional embroidery used on saris for formal occasions; various other types of traditional folk embroidery, such as mochi, pakko, kharak, suf, kathi, phulkari, and gamthi, are also commonly used for both informal and formal occasions. Today, modern fabrics like polyester, georgette, and charmeuse are also commonly used.

Styles of draping

There are more than 80 recorded ways to wear a sari. The most common style is for the sari to be wrapped around the waist, with the loose end of the drape to be worn over the shoulder, exposing the navel. However, the sari can be draped in several different styles, though some styles do require a sari of a particular length or form. Ṛta Kapur Chishti, a sari historian and recognised textile scholar, has documented 108 ways of wearing a sari in her book, 'Saris: Tradition and Beyond'. The book documents the sari drapes across fourteen states: Gujarat, Maharashtra, Goa, Karnataka, Kerala, Tamil Nadu, Andhra Pradesh, Odisha, West Bengal, Jharkhand, Bihar, Chhattisgarh, Madhya Pradesh, Telangana, and Uttar Pradesh. The Sari Series, a non-profit project created in 2017, is a digital anthology documenting India's regional sari drapes, providing over 80 short films on how to drape the various styles.
The French cultural anthropologist and sari researcher Chantal Boulanger categorised sari drapes into the following families:

Nivi sari – style originally worn in the Deccan region; besides the modern nivi, there is also the Nauvari, kaccha, or kasta nivi, where the pleats are passed through the legs and tucked in at the back. This allows free movement while covering the legs.
Bihar, Uttar Pradesh, Gujarati, Rajasthani – It is worn similar to the nivi style but with the loose end of sari, aanchal or pallu, placed in the front; therefore, this style is known as sidha anchal or sidha pallu or sojha paala. 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. This style is also worn by Punjabi Hindus and Sindhi Hindus.
Bengali and Odia style is worn with a single box-pleat. Traditionally the Bengali style is worn with a single box pleat where the sari is wrapped around in an anti-clockwise direction around the waist and then a second time from the other direction. The loose end is a lot longer, and that goes around the body over the left shoulder. There is enough cloth left to cover the head as well. The Brahmika sari was introduced to Bengal by Jnanadanandini Devi after her tour in Bombay in 1870. Jnanadanandini improvised upon the sari style worn by Parsi and Gujarati women, which came to be known as Brahmika style.
Himalayan – Kulluvi Pattu is traditional form of woollen sari worn in Himachal Pradesh, similar variation is also worn in Uttarakhand.
Nepali: Nepal has many different varieties of draping sari, today the most common is the Nivi drape. The traditional Newari sari drape is, folding the sari till it is below knee length and then wearing it like a nivi sari but the pallu is not worn across the chest and instead is tied around the waist and leaving it so it drops from waist to the knee, instead the pallu or a shawl is tied across the chest, by wrapping it from the right hip and back and is thrown over the shoulders. Saris are worn with blouse that are thicker and are tied several times across the front. The Bhojpuri, Maithil and Awadhi speaking community wears the sari sojha palla like the Gujarati drape. The women of the Rajbanshi communities traditionally wear their sari with no choli and tied below the neck like a towel but today only old women wear it in that style and the nivi and the Bengali drapes are more popular today. The Nivi drape was popularised in Nepal by the Shah royals and the Ranas.
Nauvari and Kasta: this drape is worn similar to ancient form of navi sari worn in "Kacche" style where pleats in the front are tucked in the back, though there are many regional and societal variations. The style worn by Brahmin women differs from that of the Marathas. The style also differs from community to community. This style is popular in Maharashtra and Goa.
Madisar – this drape is typical of Iyengar/Iyer Brahmin ladies from Tamil Nadu. Traditional Madisar is worn using 9 yards sari.
The Parsi 'gara' is worn by Zoroastrian women in Gujarat in India and Sindh in Pakistan, it is worn similar to sidha pallu, it unique compared to traditional sari due to its Chinese style embroidery.
Pin Kosuvam – this is the traditional Tamil Nadu style
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 sari with three-four rounds at the waist and a knot after crisscrossing over shoulders.
Karnataka – In Karnataka, apart from traditional Nivi sari, sari is also worn in "Karnataka Kacche" drape, kacche drape which shows nivi drape in front and kacche in back, there are Four kacche styles known in Karnataka – "Hora kacche", "Melgacche","Vala kacche" or "Olagacche" and " Hale Kacche".
Kerala sari style – the two-piece sari, or Mundum Neryathum, worn in Kerala. Usually made of unbleached cotton and decorated with gold or coloured stripes and/or borders.
Kunbi style or denthli: Goan Kunbis and Gauda, 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.
Riha-Mekhela, Kokalmora, Chador/Murot Mora Gamusa – This style worn in Assam is a wrap around style cloth similar to other Southeast Asian garments. it is originally a four-set of separate garments known Riha-Mekhela, Kokalmora, Chador or Murot Mora Gamusa. The bottom portion, draped from the waist downwards is called Mekhela. The Riha or Methoni is wrapped and often secured by tying them firmly across the chest, covering the breasts originally but now it is sometimes replaced by blouse from mainland India. The Kokalmora was used originally to tie the Mekhela around the waist and keep it firm.
Innaphi and Phanek – This style of clothing worn in Manipur is also worn with three-set garment known as Innaphi Viel, Phanek lower wrap and long sleeved choli. It is somewhat similar to the style of clothing worn in Assam.
Jainsem – It is a Khasi style of clothing worn in Khasi which is made up of several pieces of cloth, giving the body a cylindrical shape.