TRADITIONAL

INDIAN

SAREES AND

MOTIFS

Varsha Karadia2nd Year Diploma In Fashion DesignConforming To NSQF Level 6 Of NSDCDezyne E’cole College , Ajmer

A Project On

SARI DESIGN PROJECT

Submitted To Dezyne E’cole College,

Civil Line,www.dezyneecole.com

By Varsha Karadia2nd Year Diploma In Fashion Design

Conforming to NSQF Level 6 of NSDC

Dezyne E’cole College106/10 Civil LinesAjmer-305001, RajTel. 0145-2624679

www.dezyneecole.com

This project report of Ms. Varsha Karadia student of 2nd Year Fashion Design Diploma, NSQF Level 6 of NSDC, has beenchecked and has been graded as ______________________________________________________________

Thanking you,

Principal(seal & signature)

I am Varsha Karadia, student of Fashion Design department of Dezyne E’cole College. I wouldlike to thank to all the mentors who had helped me to complete this project.

I also thank Dezyne E’cole College for giving me this opportunity to make this project andhelped me to understand the technical working of fashion designing

Acknowledgement

A sari or saree is a female garment from the Indian subcontinent that consists

of a drape varying from five to nine yards (4.5 metres to 8 metres) in

length and two to four feet (60 cm to 1.20 m) in breadth that is typically

wrapped around the waist, with one end draped over the shoulder, baring

the midriff. There are various styles of sari draping.

DIFFERENT WAYS OF DRAPE SAREE

Bengali style Nivi drape Nauvari saree Mekhela chadori style

Chhattisgarh style Madurai style Parsi drape Tamil Nadu style

DIFFERENT WAYS OF DRAPE SAREE

TRADITIONAL INDIAN SAREES

A banarasi saree is a saree madein varanasi. The finest sarees in India andare known for their gold andsilver brocade or zari, fine silk embroidery.The sarees are made of finelywoven silk and are decorated withintricate design through weaving. Theirspecial characteristics are Mughal inspireddesigns such as intricate floralmotifs, kalga and bel.

There are four main varieties of Banarasisaree, which includes pure silk (katan),organza (kora)with zari and silk, georgette, and shattir,and according to design process, they aredivided into categories like, jangla,tanchoi, vaskat, cutwork, tissue andbutidar

BANARASI SAREE

Chanderi sarees are produced fromthree kinds of fabric i.e. pure silk,chanderi cotton and silk cotton.Traditional coin, Flora art, Peacocks andgeometrics are woven into differentchanderi patterns. The sarees areamong the finest sarees in India and areknown for their gold and silver brocadeor zari, fine silk embroidery.

The weaving culture or tradition hasbeen available from the 13th century. Inthe beginning, the weavers wereMuslims, later weavers from Jhansimigrated to Chanderi and settled there.During the Mughal period, the clothbusiness of Chanderi moved to its peak.

CHANDERI SAREE

Sambalpuri Saree is a traditionalhandwoven ikat or sari where in the warp andthe weft are tie-dyed before weaving. It isproduced in the, Sambalpur district of Odisha.The saree is a traditional female garment inthe India consisting of a strip of unstitched clothranging from four to nine metres in length thatis draped over the body in various styles

Sambalpuri fabrics reflect an original style ofcraft known as Baandha. Traditionally,craftsmen created Baandhas with images offlora or fauna or with geometrical patterns,landscape and flower pods are being designed.Baandha fabric is created using a tie-dye technique. The yarns are tied according tothe desired patterns to prevent absorption ofdyes, and then dyed. The yarns or set of yarnsso produced is called 'Baandha'

SAMBHALPURI SAREE

A Paithani saree is a gold and silk sari. In therevival of Paithani weaving, the productionwas oriented towards export requirements,while saris were produced only forsophisticated buyers. Paithani evolved froma cotton base to a silk base. Silk was usedin weft designs and in the borders, whereascotton was used in the body of the fabric

Paithani is characterised by borders ofan oblique square design, and a pallu witha peacock design. Plain as well as spotteddesigns are available. Among other varieties,single coloured and kaleidoscope-coloureddesigns are also popular. The kaleidoscopiceffect is achieved by using one colour forweaving lengthwise and another for weavingwidth wise

PAITHANI SAREE

Kanchipuram Silk is a type of silk saree made inthe Kanchipuram region in Tamil Nadu, India.The sarees are considered as the SouthernIndian version of Banarasi saris.

Kanchipuram saris woven with heavy silk andgold cloth are considered to be special and areworn on occasions and festivities. Saris aredistinguished by their wide contrast borders.Temple borders, checks, stripes and floral(buttas) are traditional designs found on aKanchipuram sarees. The patterns and designsin the kanchipuram sarees were inspired withimages and scriptures in South Indian templesor natural features like leaves, birds andanimals

KANCHIPURAM SILK SAREE

BANDHANI SAREE

Bandhani is ancient art practiced by people mainlyof Rajasthan and Gujarat. Jaipur, Bikaner, Ajmer,and Jamnager are among the important centersproducing odhnis, saris and turbans in bandhani.

Textile bandhani work involves tying and dyeing ofpieces of cotton or silk cloth. The main coloursused in bandhani are yellow ,red, green and black.Bandhani work create beautiful patterns.

Bhagalpuri silk or Tussar silk is a dying styleof silk sarees and other clothesfrom Bhagalpur, Bihar in India. This material isused for making sarees named as Bhagalpuri Sari

BHAGALPURI SILK SAREE

Kalamkari is a type of hand-painted or block-printed cotton textile, produced in partsof India and Iran. Its name originates inthe Persian , which is derived from thewords qalam (pen) and kari (craftmanship),meaning drawing with a penkalamkari, where in the "kalam" or pen is used forfree hand drawing of the subject and filling in thecolors, is entirely hand worked. This styleflowered around temples and their patronage andso had an almost religious identity - scrolls,temple hangings, chariot banners and the like,depicted deities and scenes taken from the Hinduepics - Ramayana, Mahabarata, Puranas and themythological classics

KALAMKARI SAREE

Textile The weaving done is intricate with geometricdesign with no motif on the body of the sari.weaving is done with a fine silk warp and cottonweft. Line use as a vertical stripes, and large checksare woven to shape the pattern.Motifs are inspired from the temple carving of thepalace built by Rani Ahilayabai holkar. Thearchitectural carvings done on the fort walls such asKangura (chevron) Madhya Pradesh

MAHESHWARI SARIS OF MADHYA PRADESH

They are woven in the village on the outskirts of kotacity . Also popularly known as Masuria Malmal.(Masuria means Mysore, the place where thisparticular weave cloth originated). The specialty ofthese saris is its transparency and weightlessness.These saris are worn during summers. Cotton yarn ofdifferent thickness along with silk yarn are used forweaving as cotton provide strength and silk givestransparency. The yarns are of different thicknessthey help in creating geometric patterns, after theweaving the cloth is dyed or in few cases the yarnsare dyed in different colours and then they are worntogether.

KOTA DORIA SARIS RAJASTHAN

TRADITIONAL INDIAN MOTIFS

TEMPLE MOTIF

The temple motif consists of rows of large triangles foundalong ethnic and tribal sari borders, as well as in the endpiece of Dravidian and some central Deccan saris.

Temple motif symbolize –Protection against the evil eye, Fertility symbol, The roundclay pot explicitly involved in this capacity in weddings,religious rituals involving female goddesses – Lakshmi andDurga.

Different names in different regions-Daant ( teeth ) – In the north- east, West Bengal andBangladesh.Kumbb, Kumbba or Kumbbam – in Orissa and NorthernAndhra Pradesh

Techniques – the temple motif are usually woven into theground fabric of the sari in the interlocked- weft technique.

A motif’s past meaning and history are usually discovered from sourcesthat nothing to do directly with the textile. In traditional rural Indiaalmost every aspect of life has A special significance and this istranslated into symbolic expression in clothing and other forms ofpersonal adornment the stylization and blending of various motifs havebeen influenced over the centuries by different emperors who have ruledIndia. Lot of intermingling of Islamic, Buddhist, Persian and European artis seen today in the Indian motifs made on textile with printing, painting,dyeing, weaving and embroidering may serves as protective function. Intraditional rural India every aspect of life has a special significance andthis is translated into symbolic expression in clothing and other forms ofpersonal adornment.

Traditional Indian Motifs and their Significance

Paisley is a droplet-shaped motif of Indian andPersian origin. It also resembles a mango so itscalled mangai motif. In Persian the design isknown as ""boteh jegheh“The modern French words for paisley are boteh.In Pakistan, paisley designs are widely termedthe carrey design. Carrey in Urdu means mangoseed. In Punjab, this pattern is referred to as an"Ambi". Ambi is derived from the word Ambwhich means mango in Punjab

PAISLEY

It is again a Persian origin which came to India through Mughal.It is mostly preferred by the designers or the craftsmen for fillingthe empty area with free flow designs. Creepers with flowers,leaves, buds, and fruits makes a heavy creeping wine patternand fruitful.Creeping vine symbolize –The vine of wish fulfilment, Health and prosperity, Welcomingauspicious element ( such as Lakshmi, the goddess of wealth andgood luck ). Keeping out inauspicious ( such as malignant spritsand the evil eye ).

Different names in different regions-Bel – which refers to both a floral vine in general and fruitbearing tree.

Traditional textile –They are depicted on the clothing of medieval north Indiansculptures, such as on these border of the lungi worn by a treegoddess ( Vrikshaka )from the Deccan.Vines were also printed onto fabrics excavated at al- Fustat,Egypt

CREEPING VINE

Lotus has been a very popular motif almost all over theworld. The lotus has a lot of relevance in the Hindureligion, goddess Laxmi the goddess of financial well holdsa lotus in her hand. so the flower symbolize her. also lordKrishna's feet is compared to lotus.

Lotus symbolize –Multiplicity of the universe, Religious , Fertility, Fecundity,Prosperity and wealth.

Textile –It is likely that the fecund aspect of the lotus, the spiritual,is emphasized when it is depicted on traditional saris, inparticular wedding saris.Some ethnic printed saris in the western region featurestylized lotus pods.The chhaabi bhat pattern in patola.Eight pettaled lotus flower in the Orissan kbanduawedding sari .

Different names in different regions-Padma , kamala

LOTUS

The concept of a Tree of life as a many-branched treeillustrating the idea that all life on earth is related andconsidered to be one according to science, religion,philosophy, mythology and other areas. The tree being aliving thing with so many other life from the bottom tothe top gives a lively feeling to the viewer which explainsthe humanity in a very simple way.

Motif symbolize –Tree of life is a symbol of fertility and protection for bothtribal and caste Hindus.

Textile – the tree of life motif appears in Kashmiricarpets. Trees in general as opposed ethnic saris inRaigarh district, eastern Madhya Pradesh.

TREE OF LIFE

THE SUN TREE MOTIF

The assamese sun tree motif such an archetypal pattern of thenorth eastern region that many Assamese textile arerecognized as such just on the basis of this design. It depictstwo birds, animals or flowers, facing each other on either sideof a tree whose branches spread above them.

Different names in different regions-Among the Thailand Tai, the motif is known as bong of swandesign.

Textile – China and northern south - east Asia create sun treelike motif in their traditional textiles.

All these motifs are related to sea and water bodies so peoplewho live in the coastal areas use it most of the times. (For ex.Kantha of Bengal). These are some of the symbolic motifs whichis always used by the traditional craftsmen and artisansespecially Hindus.It is believed that these motifs symbolize lord Vishnu in hisDashaavatharam. Fish for Matsya avatharam, Tortoise for Kurmaavatharam.Conch which is nothing but the Shank that lord Vishnu holds inhis hand.Some of these motifs are also used by some other countries likeChina and Japan but the reason is different.Fish for its beauty and free flow body and tortoise due to theirlong lifespan, slow movement, sturdiness, and wrinkledappearance which is an emblem of long life and stability inmany cultures around the world

FISH, TORTOISE, CONCH

BUTA AND BUTI

Another motif which is found in saree is the small buti and largebuta, which were depicted as flowers , spring and bushes. Butausually created in rows along end piece.

Different names in different regions-The Persian/Turkish carpet motif similar to the Indian kalgadepicted in Indian sarees have been called boteh and buta.

Textile – the rows of geese is depicted on the textile worn by afifth century Ajanta figure could also be classified as buti. Butthat design was probably printed not woven.

THE PEACOCK

A beautiful and an inherently long-established symbol of theIndian culture since historic times, the Peacock motif has gracedseveral forms of art and architecture, and has been a matter ofpride and prestige for centuries. Even today, the Peacock motifis a popular symbol which is widely used for several differentcreative expressions.

Peacock motif symbolize –Immortality, love, courtship, fertility, rebirth, regal pomp, warand protection.

Textile – A peacock motif embroidered on a kantha sari fromWest Bengal.

THE PARROT

The parrot do not have the historical and iconographic. It hasnot depicted in ancient , classical of even medieval Indiaarchitecture.

Parrot symbolize –A messenger of lovers and associations with courtship ,loveand passion.

Textile – they have the appearance of a block printed design. Asmost of the textiles depicted in Ajanta seem to be of westernIndia origin.The parrot has been depicted in elaborate coloured – silkembroideries created for Rajput courts, for nomadic ethnicgroups such as Rabari.

THE ELEPHANT

The symbol of elephant has appeared throughout Indianhistory since Mature Indus Valley times when it wasdepicted on seals and as terracotta figurines excavatedfrom Mohenjo-Daro.Its head was part of a mythical beast called a Makara.

Elephant symbolize –The elephant is considered an auspicious animal,traditionally associated with water and fertility, and withroyalty and regal power.They are often depicted with Lakshmi.

Textile – elephants have been depicted on the expensivetraditional saris of Tamil mubbhagam, Guajarati gbarcholaand patola and Banaras kincabs.

THANK YOU

Varsha Karadia 2nd Year Diploma In Fashion Design

Conforming To NSQF Level 6 Of NSDC Dezyne E’cole College , Ajmer