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103-715: Paithani is a variety of sari , named after the Paithan town in [[Aurangabad district, Maharashtra| Aurangabad] from state of Maharashtra in India where the sari was first made by hand. Present day Yeola town in Nashik, Maharashtra is the largest manufacturer of Paithani. Paithani is characterised by borders of an oblique square design, and a padar with a peacock design. Plain as well as spotted designs are available. Among other varieties, single colored and kaleidoscope -colored designs are also popular. The kaleidoscopic effect

206-479: A calamity and in a forest ". The same sentiment is more generically expressed in later Sanskrit literature. Śūdraka , the author of Mṛcchakatika set in fifth century BCE says that the Avagaunthaha was not used by women everyday and at every time. He says that a married lady was expected to put on a veil while moving in the public. This may indicate that it was not necessary for unmarried females to put on

309-481: A change of dress. Maharani Indira Devi of Cooch Behar popularised the chiffon sari. She was widowed early in life and followed the convention of abandoning her richly woven Baroda shalus in favour of the unadorned mourning white as per tradition. Characteristically, she transformed her " mourning " clothes into high fashion. She had saris woven in France to her personal specifications, in white chiffon, and introduced

412-503: A darning egg and a separate comb-like piece with teeth to hook the warp over; these are used for repairing knitted garments and are like a linear knitting spool . Darning looms were sold during World War Two clothing rationing in the United Kingdom and Canada, and some are homemade. Circular looms are used to create seamless tubes of fabric for products such as hosiery, sacks, clothing, fabric hoses (such as fire hoses) and

515-658: A hijab with her sari while in Parliament. Sari is the national attire for women in Bangladesh , Although Dhakai Jamdani (hand made sari) is worldwide known and most famous to all women who wear sari but there are also many variety of saris in Bangladesh. There are many regional variations of them in both silk and cotton. There are many regional variations of saris in both silk and cotton. e.g., Dhakai Banarasi sari , Rajshahi silk , Tangail sari , Tant sari , Tassar silk sari, Manipuri sari and Katan sari. The sari

618-477: A loom that folds into a narrow space when not in use. Loom frames can be roughly divided, by the orientation of the warp threads, into horizontal looms and vertical looms. There are many finer divisions. Most handloom frame designs can be constructed fairly simply. The back-strap loom (also known as belt loom) is a simple loom with ancient roots, still used in many cultures around the world (such as Andean textiles ). It consists of two sticks or bars between which

721-441: A lot of floor space, and full-time professional weavers are unlikely to use them as they are unergonomic. Their cheapness and portability is less valuable to urban professional weavers. In a treadle loom, the shedding is controlled by the feet, which tread on the treadles . The earliest evidence of a horizontal loom is found on a pottery dish in ancient Egypt , dated to 4400 BC. It was a frame loom, equipped with treadles to lift

824-464: A popular garment among the middle and upper class for many formal functions. Saris can be seen worn commonly in metropolitan cities such as Karachi and Islamabad and are worn regularly for weddings and other business types of functions. Saris are also worn by many Muslim women in Sindh to show their status or to enhance their beauty. Phulkari , Kota doria , banarasi , Ajrak are the most worn. The sari

927-418: A shed. To create the counter-shed, a heddle-bar is usually used. A heddle-bar is simply a stick placed across the warp and tied to individual warp threads. When it is lifted, it pulls the warp threads it is tied to out of position, creating a shed. A warp-weighted loom (see diagram) typically uses a heddle-bar. It has two upright posts (C); they support a horizontal beam (D), which is cylindrical so that

1030-731: A shirt/blouse and resemble a sarong , as seen in the Burmese longyi ( Burmese : လုံချည် ; MLCTS : lum hkyany ; IPA: [lòʊɰ̃dʑì] ), Filipino malong and tapis , Laotian xout lao ( Lao : ຊຸດລາວ ; IPA: [sut.láːw] ), Laotian and Thai suea pat ( Lao : ເສື້ອປັດ ; pronounced [sɯ̏a.pát] ) and sinh ( Lao : ສິ້ນ , IPA: [sȉn] ; Thai : ซิ่น , RTGS :  sin , IPA: [sîn] ), Cambodian sbai ( Khmer : ស្បៃ ) and sampot ( Khmer : សំពត់ , saṃbát , IPA: [sɑmpʊət] ) and Timorese tais . Saris, worn predominantly in

1133-531: 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 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 ( sarong ) wrap, combined with a breast band called kūrpāsaka or stanapaṭṭa and occasionally

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1236-591: A single-shaft loom. The different shafts (also called harnesses) must be controlled by some mechanism. While non-rigid heddles generally mean that two shafts are needed even for a plain tabby weave , twill weaves require three or more (depending on the type of twill), and more complex figured weaves require still more harnesses. Treadle looms can control multiple harnessess with multiple treadles. The weaver selects which harnesses are engaged with their feet. One treadle may be connected to more than one harness, and any number of treadles can be engaged at once, meaning that

1339-488: A special blouse for the campaign trail which is longer than usual and is tucked in to prevent any midriff showing while waving to the crowds. Stylist Prasad Bidapa has to say, "I think Sonia Gandhi is the country's most stylish politician. But that's because she's inherited the best collection of saris from her mother-in-law. I'm also happy that she supports the Indian handloom industry with her selection." Most female MPs in

1442-482: A tabletop. others are backstraps looms with a rigid heddle , and very portable. There exist very small hand-held looms known as darning looms. They are made to fit under the fabric being mended, and are often held in place by an elastic band on one side of the cloth and a groove around the loom's darning-egg portion on the other. They may have heddles made of flip-flopping rotating hooks (see Loom#Rotating-hook heddles ) . Other devices sold as darning looms are just

1545-481: A utensil, tool, or machine of any kind. In 1404 "lome" was used to mean a machine to enable weaving thread into cloth. By 1838 "loom" had gained the additional meaning of a machine for interlacing thread. Weaving is done on two sets of threads or yarns, which cross one another. The warp threads are the ones stretched on the loom (from the Proto-Indo-European * werp , "to bend" ). Each thread of

1648-476: 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 to 6th century CE in various regional styles. Early cholis were front covering tied at

1751-495: A wide vocabulary of terms for the veiling used by women, such as Avagunthana (oguntheti/oguṇthikā), 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 describes in context of Avagunthana veil that " ladies may be seen without any blame (for the parties concerned) in a religious session, in marriage festivities, during

1854-495: A wrap called uttarīya that could at times be used to cover the upper body or head. The two-piece Kerala mundum neryathum (mundu, a dhoti or sarong, neryath, a shawl, in Malayalam ) is a survival of ancient clothing styles. The one-piece sari in Kerala is derived from neighbouring Tamil Nadu or Deccan during medieval period based on its appearance on various temple murals in medieval Kerala. Early Sanskrit literature has

1957-466: Is a women's garment from the Indian subcontinent . It consists of an un-stitched stretch of woven fabric arranged over the body as a robe , 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 4.1 to 8.2 metres (4.5 to 9 yards) in length, and 60 to 120 centimetres (24 to 47 inches) in breadth, and

2060-399: Is a device that replaces the drawboy, the weaver's helper who used to control the warp threads by pulling on draw threads. "Dobby" is a corruption of "draw boy". Mechanical dobbies pull on the draw threads using pegs in bars to lift a set of levers. The placement of the pegs determines which levers are lifted. The sequence of bars (they are strung together) effectively remembers the sequence for

2163-595: Is a form of ethnic wear in Bangladesh , India , 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 ( ravike or kuppasa in southern India, and cholo in Nepal) and a petticoat called ghagra , parkar , or ul-pavadai . It remains fashionable in

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2266-580: Is a metallic yarn, made of pure silver . Originally, zari was manufactured in Yeola; Surat now being another zari-producing center. Initially, zari used in making Paithani was drawn from pure gold. However, silver is the affordable substitute today. 20-22 denier -organized silk is used in warp , while twofold ply , very lightly twisted 30-32 silk is used for weft. The warp yarn cost Rs . 2900-3200 per kg whereas weft yarn costs Rs. 2400-3000 per kg. A single sari may weigh from 1.45 kg or more depending upon

2369-419: Is a sari made of silk and zari . It is a plain weave , with weft figuring designs according to the principles of tapestry . Traditionally, Paithanis had a coloured, cotton muslin field that often contained considerable supplementary zari patterning. However, in the 19th century, silk fields were also woven. There are three types of silk threads used: This raw silk is cleansed with caustic soda , dyed in

2472-487: Is achieved by using one color for weaving lengthwise and another for weaving width wise. The history of Paithani sarees can be traced back to 2nd century BC in Satvahana Dynasty, at that time the paithani was made with pure gold wire with cotton and silk. The greeko Romans were very fond of this paithani saree 2000 years ago. They use to exchange gold for this luxurious Paithani saree. At that time this paithani

2575-449: Is adopted, two for border and one for plain body. The border therefore appears as separately woven and then stitched to the body of the sari. Some times a separate padar warp is twisted on the body. The end piece has fine silk. Warp threads are only of zari forming a golden ground upon which angular, brightly coloured silk designs are woven in the interlocked weft, producing a tapestry effect which makes it very elegant. Due to proximity to

2678-488: Is also called the takeup roll ). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell . Not all looms have two beams. For instance, warp-weighted looms have only one beam; the warp yarns hang from this beam. The bottom ends of the warp yarns are tied to dangling loom weights. A loom has to perform three principal motions : shedding, picking, and battening. There are also usually two secondary motions , because

2781-500: Is called the pallu ; it is the part thrown over the shoulder in the nivi style of draping. 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

2884-541: Is embroidery done with coloured 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. In modern times, saris are increasingly woven on mechanical looms and made of artificial fibres, 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

2987-439: Is for the sari to be wrapped around the waist, with the loose end of the drape to be worn over the shoulder, baring the midriff. 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

3090-570: Is known today known as dupatta and ghoonghat . Likewise, the stanapaṭṭa evolved into the choli by the 1st century CE. The ancient Sanskrit work Kadambari by Banabhatta and ancient Tamil poetry, such as the Silappadhikaram , describes women in exquisite drapery or sari. In ancient India, although women wore saris that bared the midriff, the Dharmasastra writers stated that women should be dressed such that

3193-422: Is popular form of traditional embroidery used on saris for formal occasions, various other types of traditional folk embroidery such mochi, pakko, kharak, suf, kathi, phulkari and gamthi are also commonly used for both informal and formal occasion. Today, modern fabrics like polyester, georgette and charmeuse are also commonly used. There are more than 80 recorded ways to wear a sari. The most common style

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3296-426: Is reserved as the dress of choice for important occasions and events. In 2013, the traditional art of weaving jamdani was declared a UNESCO Intangible Cultural Heritage of Humanity . In 2016, Bangladesh received geographical indication (GI) status for Jamdani sari. Sri Lankan women wear saris in many styles. Two ways of draping the sari are popular and tend to dominate: the Indian style (classic nivi drape) and

3399-483: Is the most commonly worn women's clothing in Nepal where a special style of sari draping is called haku patasihh . The sari is draped around the waist and a shawl is worn covering the upper half of the sari, which is used in place of a pallu . In Pakistan, the saris are still popular and worn on special occasions. The Shalwar kameez , however, is worn throughout the country on a daily basis. The sari nevertheless remains

3502-505: Is the uniform of Biman Bangladesh Airlines and Air India uniform for air hostesses . An air hostess-style sari is draped in similar manner to a traditional sari, but most of the pleats are pinned to keep them in place. Bangladeshi female newsreaders and anchors also drape their sari in this particular style. Saris are worn as uniforms by the female hotel staff of many five-star luxury hotels in India , Sri Lanka , and Bangladesh as

3605-492: Is the uniform of the air hostesses of SriLankan Airlines . During the 1960s, the mini sari known as 'hipster' sari created a wrinkle in Sri Lankan fashion, since it was worn below the navel and barely above the line of prosecution for indecent exposure. The conservative people described the 'hipster' as " an absolute travesty of a beautiful costume almost a desecration " and " a hideous and purposeless garment ". The sari

3708-1257: Is 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 wedding . Women traditionally wore various types of regional handloom saris made of silk, cotton, ikkat, block-print, embroidery and tie-dye textiles. Most sought after brocade silk saris are Banasari, Kanchipuram (Sometimes also Kanchipuram or Kanjivaram ), 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

3811-409: Is used for narrow work . It is also used to finish edges, weaving decorative selvage bands instead of hemming. There are heddles made of flip-flopping rotating hooks, which raise and lower the warp, creating sheds . The hooks, when vertical, have the weft threads looped around them horizontally. If the hooks are flopped over on side or another, the loop of weft twists, raising one or the other side of

3914-563: Is used to control each warp thread separately, allowing very complex patterns. A drawloom requires two operators, the weaver, and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Some scholars speculate an independent invention in ancient Syria , since drawloom fabrics found in Dura-Europas are thought to date before 256 AD. The draw loom

4017-424: Is worn across the right hip to over the left shoulder, partly baring the midriff. The navel can be revealed or concealed by the wearer by adjusting the pallu , depending on the social setting. The long end of the pallu hanging from the back of the shoulder is often intricately decorated. The pallu may be hanging freely, tucked in at the waist, used to cover the head, or used to cover the neck, by draping it across

4120-478: Is worn as daily wear by Pakistani Hindus , by elderly Muslim women who were used to wearing it in pre-partition India and by some of the new generation who have reintroduced the interest in saris. Black Sari Day, is a celebration of Iqbal Bano a woman who fought in a Black sari in Lahore against Zia. She sang Hum Dekhenge . Although this event is to bring family closer and to enjoy the day of Iqbal Bano. While

4223-547: The Ajanta caves , the influence of the Buddhist paintings can be seen in the woven Paithani motifs: Small motifs like circles, stars, kuyri , rui phool , kalas pakhhli , chandrakor , clusters of 3 leaves, were very common for the body of the sari. The weavers of Yeola dye yarns themselves. Yarn is purchased from Bangalore. The dominant traditional colours of vegetable dyes included: It takes approximately one day to set

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4326-549: The Pussycat Dolls – dressed in saris. in 2014, American singer Selena Gomez was seen in a sari for an UNICEF charity event at Nepal. In the United States , the sari has recently become politicised with the digital-movement, "Sari, Not Sorry". Tanya Rawal-Jindia , a gender studies professor at UC Riverside , initiated this anti- xenophobia fashion-campaign on Instagram. While an international image of

4429-403: The weft (i.e. "that which is woven") is inserted so that it passes over and under the warp threads. The ends of the warp threads are usually fastened to beams. One end is fastened to one beam, the other end to a second beam, so that the warp threads all lie parallel and are all the same length. The beams are held apart to keep the warp threads taut. The textile is woven starting at one end of

4532-408: The 6th century BCE. 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 front of the legs. It further evolved into Bhairnivasani skirt, today known as ghagri and lehenga . Uttariya was a shawl-like veil worn over the shoulder or head. It evolved into what

4635-420: The Indian subcontinent are usually draped with one end of the cloth fastened around the waist, and the other end placed over the shoulder baring the midriff. 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

4738-608: The Indian subcontinent today. The Hindi word sāṛī ( साड़ी ), described in Sanskrit śāṭī which means 'strip of cloth' and शाडी śāḍī or साडी sāḍī in Pali , ಸೀರೆ or sīre in Kannada and which evolved to sāṛī in modern Indian languages. The word śāṭika is mentioned as describing women's dharmic attire in Sanskrit literature and Buddhist literature called Jatakas . This could be equivalent to

4841-513: The Kandyan style (or Osariya in Sinhala). 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 figure. The traditional Kandyan (Osariya) style consists of a full blouse which covers

4944-562: The Paithani thrived under the patronage of the Peshwas. It is believed that Madhavrao Peshwa had a special love for Paithani textiles. Legend also has it that the Paithani caught the fancy of the Nizam of Hyderabad too and that it was his daughter in law Nilofer who introduced new motifs to the border and pallav designs. A pattan is a gold and silk sari. In the revival of Paithani weaving,

5047-542: The Sri Lankan Parliament wear a Kandyan osari. This includes prominent women in politics, the first female premier in the world, Sirimavo Bandaranaike and President Chandrika Bandaranaike Kumaratunga . Contemporary examples include Pavithra Wanniarachchi , the sitting health minister in Cabinet . The adoption of the sari is not exclusive to Sinhalese politicians; Muslim MP Ferial Ashraff combined

5150-532: The United States during the 1970s. Eugene Novack who ran the New York store, Royal Sari House commented that he had initially been selling mainly to Indian women in the New York area. However, many American business women and housewives soon became his customers, favouring styles resembling western attire such as gowns. He also said that men appeared intrigued by the fragility and the femininity it confers on

5253-597: 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. Fashion designer Shaina NC declared, "I can drape a sari in 54 different styles". Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the overall 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. The traditional sari made an impact in

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5356-413: 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. Varies 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 back, kasuti

5459-505: The backstrap loom. The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has woven far enough down, the completed section (fell) can be rolled around the top beam, and additional lengths of warp threads can be unwound from

5562-411: The base fabric in patterns; an ornamented border, an elaborate pallu , and often, small repeated accents in the cloth itself. These accents are called butti or bhutti (spellings vary). For fancy saris, these patterns could be woven with gold or silver thread , which is called zari work. Sometimes the saris were further decorated, after weaving, with various sorts of embroidery. Resham work

5665-477: The beams can be simply held apart by hooking them behind pegs driven into the ground, with wedges or lashings used to adjust the tension. Pegged looms may, however, also have horizontal sidepieces holding the beams apart. Such looms are easy to set up and dismantle, and are easy to transport, so they are popular with nomadic weavers. They are generally only used for comparatively small woven articles. Urbanites are unlikely to use horizontal floor looms as they take up

5768-523: The borders and the Padar were made of pure gold mixed with copper to give it strength. The proportion was 1 kg of gold to 1 tola of copper. The combination was spun into a fine wire called the zari. In recent times, zari is made of silver, coated with gold plating. The borders are created with interlocked weft technique either with coloured silk or zari. In the border woven with a zari, ground coloured silk patterns are added as supplementary weft inlay against

5871-452: The cloth. 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 ornaments or brocades 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 colours were woven into

5974-499: The design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728), and Jacques Vaucanson (1740). To call it a loom is a misnomer. A Jacquard head could be attached to a power loom or a handloom, the head controlling which warp thread

6077-415: The fell. The nature of the loom frame and the shedding, picking, and battening devices vary. Looms come in a wide variety of types, many of them specialized for specific types of weaving. They are also specialized for the lifestyle of the weaver. For instance, nomadic weavers tend to use lighter, more portable looms, while weavers living in cramped city dwellings are more likely to use a tall upright loom, or

6180-485: The final product. Traditionally the processes of dyeing (during the yarn, fabric, or garment stage), warping , sizing, attaching the warp, weft winding and weaving were done by weavers and local specialists around weaving towns and villages. Loom The word "loom" derives from the Old English geloma , formed from ge- (perfective prefix) and loma , a root of unknown origin; the whole word geloma meant

6283-422: The finished cloth can be rolled around it, allowing the loom to be used to weave a piece of cloth taller than the loom, and preserving an ergonomic working height. The warp threads (F, and A and B) hang from the beam and rest against the shed rod (E). The heddle-bar (G) is tied to some of the warp threads (A, but not B), using loops of string called leashes (H). So when the heddle rod is pulled out and placed in

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6386-517: The following families: The Nivi is the most common style of sari worn today. It originated in the Deccan region. In the Deccan region, the Nivi existed in two styles, a style similar to modern Nivi and the second style worn with front pleats of Nivi tucked in the back. The increased interactions during colonial era saw most women from royal families come out of purdah in the 1900s. This necessitated

6489-466: The forked sticks protruding from the posts (not lettered, no technical term given in citation), the shed (1) is replaced by the counter-shed (2). By passing the weft through the shed and the counter-shed, alternately, cloth is woven. Heddle-rods are used on modern tapestry looms. Tablet weaving uses cards punched with holes. The warp threads pass through the holes, and the cards are twisted and shifted to created varied sheds. This shedding technique

6592-497: The like. Tablet weaving can be used to knit tubes, including tubes that split and join. Small jigs also used for circular knitting are also sometimes called circular looms, but they are used for knitting, not weaving. It is possible to weave by manually threading the weft over and under the warp threads, but this is slow. Some tapestry techniques use manual shedding. Pin looms and peg looms also generally have no shedding devices. Pile carpets generally do not use shedding for

6695-436: The loop, which creates the shed and countershed. Rigid heddles are generally used on single-shaft looms. Odd warp threads go through the slots, and even ones through the circular holes, or vice-versa. The shed is formed by lifting the heddle, and the countershed by depressing it. The warp threads in the slots stay where they are, and the ones in the circular holes are pulled back and forth. A single rigid heddle can hold all

6798-488: The lower garment was called ' nivi ' or 'nivi bandha', while the upper body was mostly left bare. The works of Kalidasa mention the kūrpāsaka , a form of tight fitting breast band that simply covered the breasts. It was also sometimes referred to as an uttarāsaṅga or stanapaṭṭa . Poetic references from works like Silappadikaram indicate that during the Sangam period in ancient Tamil Nadu in southern India,

6901-465: The midriff completely and is partially tucked in at the front. However, the modern intermingling of styles has led to most wearers baring the midriff. The final tail of the sari is neatly pleated rather than free-flowing. This is rather similar to the pleated rosette used in the Pin Kosuvam style noted earlier in the article. The Kandyan style is considered the national dress of Sinhalese women. It

7004-429: The midriff region on top of a sari are waist chains . They are sometimes worn as a part of bridal jewellery. Because of the harsh extremes in temperature on the Indian subcontinent, the sari fills a practical role as well as a decorative one. It is not only warming in winter and cooling in summer, but its loose-fitting tailoring is preferred by women who must be free to move as their duties require. For this reason, it

7107-1028: The modern day sari. The term for female bodice , the choli evolved from ancient stanapaṭṭa . 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 sāyā ( साया ) in Hindi , parkar ( परकर ) in Marathi , ulpavadai ( உள்பாவாடை ) in Tamil ( pavada in other parts of South India: Malayalam : പാവാട , romanized :  pāvāḍa , Telugu : పావడ , romanized :  pāvaḍa , Kannada : ಪಾವುಡೆ , romanized:  pāvuḍe ), sāẏā ( সায়া ) in Bengali and eastern India, and sāya ( සාය ) in Sinhalese . Apart from

7210-448: The modern style sari may have been popularised by airline flight attendants , each region in the Indian subcontinent has developed, over the centuries, its own unique sari style. Following are other well-known varieties, distinct on the basis of fabric, weaving style, or motif, in the Indian subcontinent. Handloom sari weaving is one of India's cottage industries . The handloom weaving process requires several stages in order to produce

7313-496: The national costume. On her first red carpet appearance at the Cannes International Film Festival , she stepped out on the red carpet in a Rohit Bal sari. Many foreign celebrities have worn traditional sari attire designed by Indian fashion designers . American actress Pamela Anderson made a surprise guest appearance on Bigg Boss , the Indian version of Big Brother , dressed in a sari that

7416-407: The navel would never become visible, which may have led to a taboo on navel exposure at some times and places. It is generally accepted that wrapped sari-like garments for lower body and sometimes shawls or scarf like garment called 'uttariya' for 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

7519-403: The navel. The pleats are tucked into the waistband of the petticoat. They create a graceful, decorative effect which poets have likened to the petals of a flower. After one more turn around the waist, the loose end is draped over the shoulder. The loose end is called the aanchal , pallu , pallav , seragu , or paita depending on the language. It is draped diagonally in front of the torso. It

7622-636: The newly constructed fabric must be wound onto cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beam, unwinding from it. To become fully automatic, a loom needs a tertiary motion , the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate (100W to 400W). A loom, then, usually needs two beams, and some way to hold them apart. It generally has additional components to make shedding, picking, and battening faster and easier. There are also often components to help take up

7725-417: The number of different sheds that can be selected is two to the power of the number of treadles. Eight is a large but reasonable number of treadles, giving a maximum of 2 =256 sheds (some of which will not have enough threads on one side to be useful). The weaver must remember the sequence of treadling needed to produce the pattern. A drawloom is for weaving figured cloth. In a drawloom, a "figure harness"

7828-586: The pattern. Speed is lower, and shedding and picking devices may be simpler. Looms used for weaving traditional tapestry are called not as "vertical-warp" and "horizontal-warp", but as "high-warp" or "low-warp" (the French terms haute-lisse and basse-lisse are also used in English). Inkle looms are narrow looms used for narrow work . They are used to make narrow warp-faced strips such as ribbons, bands, or tape. They are often quite small; some are used on

7931-409: The pile, because each pile thread is individually knotted onto the warps, but there may be shedding for the weft holding the carpet together. Usually weaving uses shedding devices. These devices pull some of the warp threads to each side, so that a shed is formed between them, and the weft is passed through the shed. There are a variety of methods for forming the shed. At least two sheds must be formed,

8034-431: The production was oriented towards export requirements, while saris were produced only for sophisticated buyers. Paithani evolved from a cotton base to a silk base. Silk was used in weft designs and in the borders, whereas cotton was used in the body of the fabric . Present day Paithani has no trace of cotton. There was a time when silk was imported from China . Now Yeola and Paithan buy silk from Bangalore . Paithani

8137-478: The requisite shades, the threads are carefully separated. Khari ( True / Real ) zari costs about Rs. 1800 for 250 grams. Golden threads are obtained from Surat , the quality being 1200 yard (1080 meters) per tola (11.664 grams). Gold threads are used in double and one of the finest varieties so much so that the closely woven surface looks like a mirror. The texture of the fabric is fairly compact with about 160 ends and 170 picks per inch (2.6 cm). Zari

8240-429: The right shoulder as well. Some Nivi styles are worn with the pallu draped from the back towards the front, coming from the back over the right shoulder with one corner tucked by the left hip, covering the torso/waist. The Nivi sari was popularised through the paintings of Raja Ravi Varma . In one of his paintings, the Indian subcontinent was shown as a mother wearing a flowing Nivi sari. The ornaments sometimes worn in

8343-526: The sari drapes across fourteen states of Gujarat , Maharashtra , Goa , Karnataka , Kerala , Tamil Nadu , Andhra Pradesh , Odisha , West Bengal , Jharkhand , Bihar , Chhattisgarh , Madhya Pradesh , 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

8446-531: The sari is typical traditional wear for women in the Indian subcontinent, clothing worn by women in Southeast Asian countries like Myanmar , Malaysia , Indonesia , the Philippines , Cambodia , Thailand and Laos resemble it, where a long rectangular piece of cloth is draped around the body. These are different from the sari as they are wrapped around the lower-half of body as a skirt, worn with

8549-408: The shed and the countershed. Two sheds is enough for tabby weave ; more complex weaves, such as twill weaves , satin weaves , diaper weaves , and figured (picture-forming) weaves, require more sheds. A shed-rod (shedding stick, shed roll) is simply a stick woven through the warp threads. When pulled perpendicular to the threads (or rotated to stand on edge, for wide, flat shedding rods), it creates

8652-512: The silk chiffon sari to the royal fashion repertoire. Under colonial rule, the petticoat was adopted, along with Victorian styles of puffed-sleeved blouses, which was commonly seen among the elites in Bombay presidency and Bengal presidency . Nivi drape starts with one end of the sari tucked into the waistband of the petticoat , usually a plain skirt . The cloth is wrapped around the lower body once, then hand-gathered into even pleats below

8755-438: The silk threads on the loom. "Tansal" is used to put the "wagi". The "pavda" works like the paddle to speed up the weaving. The "jhatka" is used to push the "kandi" from one side to the other. "Pushthe" is used in designing the border of Paithani in which it is punched according to design application. "Pagey" are tied to the loom. The threads are then passed through "fani". There are two types of motion: Taking up and letting off

8858-556: The standard "petticoat", it may also be called "inner skirt" or an inskirt. The history of sari-like drapery can be traced back to the Indus Valley Civilisation , which flourished during 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

8961-499: The symbol of Indian , Sri Lankan , and Bangladeshi culture , respectively. Similarly, the female politicians of all three countries wear the sari in a professional manner. Bangladeshi politicians usually wear saris with long sleeve blouse while covering their midriff. Some politicians pair up saris with hijabs or shawls for more coverage. The women of the Nehru–Gandhi family like Indira Gandhi and Sonia Gandhi have worn

9064-477: The threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. A treadle loom for figured weaving may have a large number of harnesses or a control head. It can, for instance, have a Jacquard machine attached to it (see Loom#Shedding methods) . Tapestry can have extremely complex wefts, as different strands of wefts of different colours are used to form

9167-415: The warp are done simultaneously. Paithani saris are silks in which there is no extra weft forming figures. The figuring weave was obtained by a plain tapestry technique. There are three techniques of weaving; Weaving could take between 18 and 24 months, depending upon the complexity of the design. Today there are many weavers who are working for the revival of this treasured weave. In the days of Peshwas,

9270-420: The warp threads, and progressing towards the other end. The beam on the finished-fabric end is called the cloth beam . The other beam is called the warp beam . Beams may be used as rollers to allow the weaver to weave a piece of cloth longer than the loom. As the cloth is woven, the warp threads are gradually unrolled from the warp beam, and the woven portion of the cloth is rolled up onto the cloth beam (which

9373-416: The warp threads, leaving the weaver's hands free to pass and beat the weft thread. A pit loom has a pit for the treadles, reducing the stress transmitted through the much shorter frame. In a wooden vertical-shaft loom, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed ), so that raising the shaft raises half

9476-450: The warp threads, though sometimes multiple rigid heddles are used. Treadles may be used to drive the rigid heddle up and down. Rigid heddles (above) are called "rigid" to distinguish them from string and metal heddles, where each warp thread has its own heddle, which has an eye at each end and one in the middle for the warp thread. The eyes in the ends are fastened to a shaft, all in a row. This requires multiple shafts; it cannot be done on

9579-563: The warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the weaver's back. The weaver leans back and uses their body weight to tension the loom. Both simple and complex textiles can be woven on backstrap looms. They produce narrowcloth : width is limited to the weaver's armspan. They can readily produce warp-faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques, and brocading. Balanced weaves are also possible on

9682-529: The wearer. Newcomers to the sari report that it is comfortable to wear, requiring no girdles or stockings and that the flowing garb feels so feminine with unusual grace. The sari has gained its popularity internationally because of the growth of Indian fashion trends globally. Many Bollywood celebrities, like Aishwarya Rai , have worn it at international events representing India's cultural heritage . In 2010, Bollywood actress Deepika Padukone wanted to represent her country at an international event, wearing

9785-400: The weaver. Computer-controlled dobbies use solenoids instead of pegs. The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing figured textiles with complex patterns such as brocade , damask , and matelasse . The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of

9888-401: The weight of the silk and zari used. The warp is usually made in the peg or drums warping process and is tied in ball form at the back of loom . It is usually made for 2 pieces of sari and is about 11.5 meters in length. While coloured silk is mostly used in figure work, the solid border have extra weft figuring threads. The weft for borders and body being different, three shuttle weaving

9991-408: The weights to continue. This frees the weaver from vertical size constraint. Horizontally, breadth is limited by armspan; making broadwoven cloth requires two weavers, standing side by side at the loom. Simple weaves, and complex weaves that need more than two different sheds, can both be woven on a warp-weighted loom. They can also be used to produce tapestries. [REDACTED] In pegged looms,

10094-562: The zari usually in the form of flower or a creeping vine. Two types of border are the Narali and the Pankhi. Even if a very good weaver has woven the main body, a master weaver is needed for the intricate inlay border paths. The borders and the padar are woven in zari regardless of the colour of the sari. Paithani can be classified by three criteria: motifs, weaving, and colours. Sari A sari (sometimes also saree or sadi )

10197-562: Was invented in China during the Han dynasty ( State of Liu ?); foot-powered multi-harness looms and jacquard looms were used for silk weaving and embroidery, both of which were cottage industries with imperial workshops. The drawloom enhanced and sped up the production of silk and played a significant role in Chinese silk weaving. The loom was introduced to Persia, India, and Europe. A dobby head

10300-571: Was only worn by royals. Paithani was also known as "Pratishthani" as it was originated in the ancient city of Pratishthan now known as Paithan. Paithani also has the traces in many ancient Hindu and Buddhist texts. Paithani is also known as "Dev vastra"(fabric of God). Paithani has a very rich history of 2500 years but still many of us are unaware. Historians have noted fine Paithani sarees with delicate gold and silver thread-work being sold in Greece in exchange for gold between 200 and 400 BC. In 18th century

10403-402: Was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the computer punched card readers of the 19th and 20th centuries. The weft may be passed across the shed as a ball of yarn, but usually this is too bulky and unergonomic. Shuttles are designed to be slim, so they pass through the shed; to carry

10506-644: Was specially designed for her by Mumbai-based fashion designer Ashley Rebello. Ashley Judd donned a purple sari at the YouthAIDS Benefit Gala in November 2007 at the Ritz Carlton in Mclean, Virginia. There was an Indian flavour to the red carpet at the annual Fashion Rocks concert in New York, with designer Rocky S walking the ramp along with Jessica, Ashley, Nicole, Kimberly and Melody –

10609-472: Was woven around 2450 BCE and 2000 BCE. The word sari evolved from śāṭikā ( Sanskrit : शाटिका ) is mentioned in early Hindu literature as women's attire. The sari or śāṭikā evolved from a three-piece ensemble comprising the antarīya , the lower garment; the uttarīya ; a veil worn over the shoulder or the head; and the stanapatta , a chestband. This ensemble is mentioned in Sanskrit literature and Buddhist Pali literature during

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