Table Of ContentTraditions - Perspectives - Design
Vijai Singh Katiyar
Traditions - Perspectives - Design
This book lends a new dimension to the
way the traditional Indian sari is looked
at, and upholds it as an epitome of holistic
design with a unique creative expression.
In the backdrop of Indian sociocultural and
economic ethos, the pages inside unfold
the mesmerising woven yards of the sari,
the quintessential piece of garment that
has draped the Indian women since time
immemorial.
The sari has been subjected to innumerable
cross-cultural influences brought in by the
rise and fall of empires that marked the
history of India. Perhaps no other textile
product reflects the resilience of the Indian
handloom sector as the sari, a true example
of fine Indian sensibilities.
The volume, with over 892 visuals, aims to
delight and enrich the aesthetic experience
of the reader with information on a wide
range of saris from both the past and the
present and ultimately introduces the
contemporary design initiatives taking
place in the sector. It enumerates the
fascinating accounts of the sari’s traditional
significance, the diverse styles of weaving,
design vocabulary, and even the myriad
styles of draping found across the sub-
continent. It is indeed a glowing tribute to
the magic flowing out of the deft hands of
the Indian weaver and to the undeterred
artistic spirit of the sari.
The book will be of interest to designers,
students, policy makers, technocrats,
marketers and businesspersons besides
all those who are interested in Indian art,
culture, design and fashion.
Book Jacket
Front
• Photograph by Anuj Parti courtesy: Satya Paul,
New Delhi
• Overlay on the photograph: A motif inspired
from temple architecture in South India
Back
• Nine variations for keri motif used in different
parts of India
Traditions - Perspectives - Design
Traditions - Perspectives - Design
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First published in 2009,
reprinted in December, 2009 by
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© Vijai Singh Katiyar
ISBN: 978-81-8328-122-5
All rights reserved under international copyright conventions.
No part of this publication may be reproduced or transmitted in
any form or by any means, electronic or mechanical, including
photocopy, recording or any other information storage or retrieval
system, without prior permission in writing from the author.
Every effort has been made to credit (page no. 201) the
contributions of individuals and institutions who permitted to
reproduce images or products whose copyright does not reside
with us and we are grateful to all of them who assisted in this task.
Any omissions are entirely unintentional, and the details should be
forwarded appropriately.
All the maps and drawings in this book are indicative only.
They are not to the scale.
Design: Vijai Singh Katiyar
Copy-editors: Nandini Gupta & Ishita Sharma
Half title page: A rare motif that combines the concepts of yali
and kalpalata. The motif can be seen on the pillar carvings of the
Ekambareshwara Temple in Kanchipuram, Tamil Nadu. Right from
the earliest surviving Kanchipuram saris, we find the yali motif
being profusely used, especially in the pallav. The kalpalata, a
creeper based motif, which is also the most represented image in
the kalamkari art, has been significantly present in the Indian visual
culture since about the first century BC.
Page facing full title page: Traditional Kanchipuram sari in silk
and zari. The contrasting border is achieved through the korvai
technique using three shuttles. The border design is inspired from
the kalpalata motif. The body is embellished with scattered flower
butis.
Full title page: Stylised nagapushpa motif. Nagapushpa (Mesua
ferrea) has white flowers with yellowish orange centre. The
nagapushpa is revered since the Vedic period for its medicinal
properties. Its representation is also found in ancient Buddhist
sculptures.
Left: Considered to be auspicious and having cosmic effects,
rudraksha has been associated with Lord Shiva since eternity. It has
been a mainstay in the motif-bank of handloom weavers in many
regions of India. This contemporary silk sari from Kanchipuram is
designed with rudraksha motifs woven in its broad, contrasting
borders.
Facing page: Karigars, the weavers from Varanasi, Uttar
Pradesh, weaving silk brocade fabric on a pitloom with traditional
jala attachment. The loom set-up requires two karigars to
work in coordination. Pre-designated sets of warp threads are
manoeuvred by a karigar sitting at the back of the loom and as
per the instructions of the weaver sitting in the front. Since both
preparatory as well as weaving processes were time-consuming and
tedious, most weavers have adopted the jacquard since the 1930s.
Contents
Preface . . . . 11
Introduction . . . . 15
The handloom sari sector in India has been a thriving cauldron of creativity. It is a matter of grave concern
that the sector which reached the pinnacle of glory purely on the strength of its creativity should today find
itself at a crossroads, affronted by the modern penchant for cost-cutting and mass production.
Sari: The History . . . . 19
The history of the Indian handwoven sari is a saga of amazing creative skills that evolved from the pre-historic
era into glorious traditions, each tradition with its unique flavour. It is a testimony of their innate strength
that many sari traditions have remained intact till this day, in spite of the social, cultural and economic
upheavals.
Sari: An Overview . . . . 33
The chapter introduces the regions and their sari traditions across India. If the mystique of the sari has held
sway over Indian women for well over five thousand years, it is largely on account of the gifted weaving
communities who are responsible for the evolution of a product that enhances the beauty of the Indian
woman.
Sari: The Traditions . . . . 59
Some of the exclusive and renowned sari traditions can be visually experienced in these pages. The regional
ethos in these traditions is subtly yet effectively reflected in the weaving techniques, patterns, styles, the
colour palette and above all, in the myriad motifs.
Sari: Draping . . . . 103
The matchless aesthetic superiority of the sari is enhanced by the diversity of the draping styles that can
be observed among various communities across the length and breadth of India. The art of draping and
the skilful transformation of a two-dimensional object into a three-dimensional visual composition is as
interesting as the art of weaving itself.
Sari: Textile Design in India . . . . 115
The gifted master weavers laid the very foundation of textile design in India through an innovative culture
marked by a profound understanding of materials, methods, visual composition and user aspirations. The
chapter presents a chronological overview of the textile design practices in India.
Sari: Design Perspectives . . . . 125
The potential of handwoven sari in the modern market has not been fully realised. The chapter brings forth
some fresh perspectives on how design must address issues ranging from traditional skills and appropriate
technology, to brand building and marketing strategies for the contemporary market.
Sari: Design Intervention . . . . 139
There were a few design interventions in the handwoven sari sector that comprehensively dealt with its wide
range of issues and problems. The chapter derives from such firsthand experiences and their insights. The
learning calls for equilibrating the needs and aspired priorities of weavers, designers and the users in a well
considered design process. An approach that not only creates the products that will sell but also nurtures the
indigenous practices and identities to flourish.
Sari: The Future . . . . 197
As a product deeply rooted in sociocultural traditions of the country, the sari must survive, or rather thrive.
Broad-based, wide-ranging design and marketing functions coupled with strategic innovation processes will
play a key role in shaping its future.
Credits . . . . 201
Bibliography . . . . 202
Index . . . . 205
