Ayushi khilani ,2year Fashion Design Diploma NSQF Level -6 ,NSDC

EVOLUTION OF THE SAREE IN INDIA
AYUSHI KHILANI
2ND YEAR DIPLOMA IN FASHION DESIGN
CONFORMING TO NSQF LEVEL 6 OF NSDC
DEZYNE E’COLE COLLEGE , AJMER

A Project On
SAREE
DESIGN
Submitted To
Dezyne E’cole College,
Civil Line,
www.dezyneecole.com
By Ayushi Khilani
2nd Year Diploma In Fashion Design
Conforming to NSQF Level 6 of NSDC

I Am Ayushi Khilani , Student Of Fashion Design Diploma At Dezyne E’cole College. I
Would Like To Thank All The Mentors Who Had Helped Me To Complete This Project.
I Also Thank Dezyne E’cole College For Giving Me This Opportunity And Helped Me To
Understand The Technical Working Of Fashion Designing
ACKNOWLEDGEMENT

This Assignment Is Based On A Short Introductory Knowledge About Saris. This Project Will Be The Basis For Sari
Design Project .It Includes How Did Saris Evolved , What Are The Traditional Types Of Saris And The Styles Of Draping
A Sari.
The Second Part Of This Project Will Deal With Who All Indian Designers Have Rediscovered The Styles Of Saris It
Will Include The Various Famous Indian Designers Who Have Taken Indian Textile To Global Platform.
This Project Will Also Deal With Motif Development And What Are The Traditional Motifs Use On Indian Textiles
With Its Regional Names.
SYNOPSIS

Content
 1) Evolution Of Saris
I. Timeline Of Indian Saris
II. Introduction To Saris
III. Components Of Saris
 Types Of Saris
I. Central Indian
II. Western Indian
III. Southern Indian
IV. Eastern Indian
 Draping Styles Of Saris
 Indian Designers Work With Saris
 Traditional Indian Motifs
 Famous Motifs Used In Indian Textiles

The word sari described in Sanskrit as strip of cloth, called śāṭī and is having different names of it in
different regional languages.
The Earliest Depiction Of The Sari Can Be Traced To One Of The Earliest Civilizations Of The World, The
Indus Valley Civilization, A Sculpture Of An Indus Valley Priest Wearing A Drape. Between Now And Then,
The Sari Has Evolved Into Various Different Styles All Over The Country, Be It Difference In Terms Of
Draping, Material, Prints, Dyes Or Weaves.
2800–1800 BC 1st-2nd century A.D Present era
TIMELINE OF INDIAN SARI

Saree Or Sari Is The Most Magnificent Draping Art
Of The World, Which Has An Elegant History From
Its Inception To The Modern Time. Sari Is Worn By
Millions Of Indian Subcontinent And Bangladeshi
Women And Is, By Far The Most Elegant. It Is Not
Merely An Outfit But A Living Art Or An Ornament,
Lending Both Grace And Glamour To The Wearer.
More Importantly, The Sari Exemplifies The
Continuity Of An Age-old Tradition That Has Been
Survived The Onslaught Of Many Different Cultures,
To Emerge Today As A Visible Symbol Of The
Resiliency, Continuity And Timelessness Of The
Indian Subcontinent Way Of Life. The Sari Speaks
For Itself Of So Many Things. Every Rustle Of This
Unique Garment Has A Story To Tell – Stories Both
Of Happiness And Of Sorrow. For The Sari Has
Seen It All. It Has Shared, With The Wearer, Every
Gradation Of Human Experience – The Joy And
Happiness Of Marriage, As Well As The Sorrow Of
INTRODUCTION TO SARIS
Parting , The Pleasures And Satisfaction Of
Motherhood, The Happy Times When The Life
Dealt Kindly, The Trying Times When Adversity
Was Met With Typical Indian Subcontinent
Stoicism.

1. Cotton Sari:
Indian Subcontinent Cotton Saris Give A Pure
Relaxing Comfort. Cotton Saris Are The Most
Favored Saris For Indian Subcontinent Women. One
Can Use Cotton Sari In Daily Wear Especially During
Summer Season. Cotton Saris Can Be Worn At
Festive As Well As Daily Wear. Cotton Sari Is Worn
At Holi, Diwali, Dussehra, Lohri, Baisakhi And All
The Other Festivals. Cotton Saris Are Also Office
Wear Saris Worn By Teachers While Going To
Schools/Colleges, Lady Doctors And Housewives In
Their Daily Wear.
2. Silk Sari:
Silk Saris In Indian Subcontinent Are Very Popular
For Any Kind Of Occasion. Silk Saris Are Most
Exotic And Sensual. Silk Sari Is A Smart Sari Fabric.
A Women's Wardrobe Is Incomplete Without A Silk
Sari. Silk Has Been A Highly Revered Fabric In
Indian Subcontinent.
COMPONENTS OF SARI
The Softness, Smoothness, Luster And Its Graceful
And Sensuous Folds Of The Fabric Are Marvels
For Designing Silk Saris. Silk Saris Are Often
Created With Zari. Silk Saris Are Popular All Across
Indian Subcontinent For Their Shine And Glamour.
3. Tissue Sari:
Surprisingly Affordable And Easily Maintained,
Tissue Is Woven Of 100% Polyester, And Is
Moderately Wrinkle Resistant, And Is Machine
Washable Or Dry Cleanable, Depending On Color
And Trim Combinations. Tissue Offers The Ultimate
In Draping Qualities And Sumptuous Texture. This
Top Quality Silky Faille Weave Brings An Elegant
Gracefulness To A Sari. There Are Silk Tissues As
Well As Cotton Tissue Saris. Cotton Tissue Saris
Are Ideal For Summer. Tissue Silk Is A Very Fine
Quality Silk Fabric. It Is Shiny And Gorgeous
Fabric. These Can Be Both Simple And Gorgeous
Depending On The Occasion In Which It Is Worn.

4. GEORGETT SARI:
Georgette Sari Is Often Made Up Of Nylon And
Polyester. It Is The Most Graceful Fabric. When
Draped Properly, It Can Add Charm To The Beauty
Of The Lady. It Is A Very Soft And Delicate Texture
That Is Comfortable, At The Same Time Gives A
Gorgeous Look. It Is A Party Wear Which Has The
Most Intricate Designs. Georgette Sari Collection Is
Like A Treasure.
5. CHIFFON SARI:
Chiffon Sari Is Yet Another Sari That Makes An
Elegant Wear Both For Everyday Wear And Evening
Wear. These Are Very Fine Graceful Saris For Every
Occasion. The Chiffon Fabric Is Widely Used In
Indian Subcontinent Fashionable Saris Chiffon Is A
Plain-weave, Lightweight, Sheer, Transparent Fabric
Made Of Cotton, Silk Or Synthetic Fiber; It Is Made
Of Fine, Highly Twisted, Strong Yarn.
COMPONENTS OF SARIS
6. CREPE SARI:
Crepe Saris Are Suitable For Formal Get Together
And Parties. One Can Wear Crepe Saris For Any
Occasion But In Summer Wedding Crepe Sari
Gives A Modern Look. Crepe Saris Make A Woman
Look And Feel Attractive. The Summer Friendly
Fabrics Like Georgette Saris, Lovely Chiffon Saris
And Crepe Saris Are Very Abstemious Saris.
Different Colors Make These Crepe Saris Exciting.
Crepe Is A Thin Fabric Of Crinkled Texture, Woven
Originally In Silk But Now Available In All Major
Fibers. Silk Crepe Is A Classic Soft Fabric With
Good Drape Characteristics.
After Learning About Some Of The
Components Of Saris I Gained Knowledge
About The Various Types Of Saris Worn In India
According To Different Geographical Locations,
which Is As Follows:

TYPES OF SAREE WORN IN INDIA
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
South Asia:
CHANDERI SARI
PATHANI SARI
MAHESHWARI SARI IKAT SARI SAMBALPUR SARI

TYPES OF SAREE WORN IN INDIA
 Western Indian Style Saree:
 Paithani – Maharashtra
 Bandhani – Gujarat And Rajasthan
 Kota Doria Rajasthan
 Lugade – Maharashtra
 Patola – Gujarat
 Southern Indian Style Saree:
 Mysore Silk Saree Karnataka
 Kanchipuram Sari (Locally Called
Kanjivaram Pattu) – Tamil Nadu
 Central Indian Style Saree:
 Chanderi Sari – Madhya Pradesh-chanderi
Sari Is A Traditional Sari Made In Chanderi,
Madhya Pradesh, India.
 Maheshwari – Madhya Pradesh
 Kosa Silk – Chhattisgarh.
 Eastern Indian Style Saree:
 Sambalpur
 Jamdani
 Rajshahi
 Tussar
 Mooga silk
 Tant Bengali cotton
 Baluchari
 Kantha silk
 Sonapuri

CENTRAL INDIAN SARIS
 Maheshwari Saris-(Madhya Pradesh)
These Saris Are Largely Produced In The Town Of
Maheshwari In Madhya Pradesh. The Origin Of The
Maheshwari Saris Dates Back To The 18th Century,
When The State Of Indore In Madhya Pradesh Was
Ruled By Queen Ahilyabai Holkar.
Originally, The Maheshwari Saree Was Made Of
Pure Silk. Then In Course Of Time, These Saris
Began To Be Made In Pure Cotton And With A
Mixture Of Silk And Cotton (Silk Yarn In The Warp
And Cotton In The Weft). Nowadays, Wool Is Also
Being Used In The Production Of Maheshwari
Saris. These Saris Are Extremely Light In Weight
And Present A Sharp Contrast To The Kanchipuram
Saris Of South India.
The Unique Feature Of A Maheshwari Saree Is Its
Reversible Border. The Border Is Designed In Such
A Way That Both Sides Of The Saree Can Be Worn.
This Is Locally Known As Bugdi.

 Chanderi -( Madhya Pradesh)
Chanderi Silk Is Made By Weaving. It Is Considered As The
Fabric Of Choice For Saris Produced For Royalty, As It Is Light
Weight , Of Fine Quality And Has Intricate Designs Developed.
Chanderi Silk Is Produced By Using Three Raw Materials :
Cotton, Silk, Thread And Zari.
It Has Various Types On The Basis Of Width Of Border:
Narrow Border, Broader Border And Wide Boarder.

 Kosa Saris- (Chhattisgarh)
Kosa silk is a type of silk made from a thread
produced by a
worm similar to the silk worm. It is primarily
produced in central India in the Chhattisgarh region.
Kosa silk is known for its comfort and is popular in
other countries. Bilaspur, Raigarh, Champa
of Chattisgarh are known for kosa silk and its
production by Dewangan community.

WESTERN INDIAN SARIS
 Paithani Saris:
Paithani saris are woven in Paithani and yevla
villages of Aurangabad in Maharashtra. Paithani
saris are heavy silk saris which are preferred for
wedding trousseau and festive wear. The intricate
motifs are woven by interlock twill tapestry weaving
technique on traditional handlooms. Paithani is
coveted in India as a precious heirloom passing on
from generation to generation. Exquisite silk from
Paithani was exported to many countries and was
traded in return for gold and precious stones. Bright
jewel tones such as emerald green, ruby red and
yellow coloured silk yarns were used, however
midnight blue coloured saris were most preferred.
The interlocking technique created geometric
angular forms out of patterns which were floral,
paisleys, parrots, peacocks and lotus flowers.

 Kota Doria :
They Are Woven In The Village On The Outskirts Of
Kota City. Also Popularly Known As Masuria Malmal
.
In The 17th And 18th Century The Weavers From
Mysore Were Brought To Kota.
The Specialty Of These Saris Is Its Transparency
And Weightlessness.
These Saris Are Woven During Summers.
Cotton Yarn Of Different thickness With Silk Yarns
Are Used For Weaving As Cotton Provide Strength
And Silk Gives Transparency.
As The Yarns Are Of Different Thickness They Help
Creating Geometric Patterns Which Are Called As
‘Khats’ These Saris Are Also Woven Using
Elaborate Patterns. After Weaving The Cloth Is
Dyed But In Few Cases The Yarns Are Dyed In
Different Colors And Then They Are Worn Together.

 Patola Saris:
The double ikat weaving tradition of Gujarat is
called ‘Patola’. The textile is produced by the
weavers of the Salvi community using expensive
silk yarns. However with the passage of time,
there are only two families in Patan who continue
to practice this craft. Patola Textiles Use Intense
Colours Like Bright Red, Golden Yellow, Green,
Dark Blue, Reddish Brown Etc. The Distinctive
Patola Motifs Are Flowers, Jewels, Elephants,
Birds And Dancing Women For The Hindu And
Jain Communities. The Muslim Community
Restricts Themselves To Abstract Designs. The
Patola Designs Are Named As Kunjar Popat Bhat
(Elephant – Parrot), Nari Kunjar Popat Bhat (Lady
– Elephant – Parrot), Navratan Bhat (Jewel
Mosaic), Phool Wali Bhat (Floral), Chabri Bhat
(Basket Of Flowers) Etc

SOUTHERN INDIAN SARIS
 Mysore Silk Saris :
Karnataka-Mysore Is The Home Of The Famous
Indian Feminine Wear, The
Mysore Silk Saree. Mysore Silk Is A Trademark For
The Silk Saris Produced By KSIC (Karnataka
Silk Industries Corporation). The Distinguishing
Feature Of This Saree Is The Usage Of Pure Silk
And 100% Pure Gold Zari (A Golden Coloured
Thread Containing 65% Of Silver And 0.65% Of
Gold).
These Saris Are Manufactured In A Silk Factory
Located In Mysore City. Mysore Silk Saris
Are Also Undergoing An Innovating Change With
The Use Of Kasuti Embroidery, Thickly Woven
Pallus (The Part Of The Saree Worn Over The
Shoulder), Bandhani Techniques And New Colours
Like Lilac, Coffee-brown And Elephant-grey

 Kanjeevaram Saris :
Kanjeevaram saris hail from the town of
Kanchipuram in Tamil Nadu. It is considered to be
one of the most expensive saris in the world and
thus used for all special occasions. The sari is
woven in pure mulberry silk and gold Zari on hand
operated pit-looms. The colours most commonly
used are mustard, deep green, maroon, aubergine,
etc. The motif imagery is drawn from the nature and
forms of temple architecture. Some examples are
peacock, parrot, rosary beads, bird’s eye, kalash,
mythical creatures, temple designs, scenes from
Ramayana, Mahabharata and Bhagwad gita etc.

 Kanchipuram Saris :
Kanchipuram Silk is a type of silk sari made in
the Kanchipuram region in Tamil Nadu, India. The
saris are considered as the Southern Indian version
of Banarasi saris It has been recognized as
a Geographical indication by the Government of
India in 2005-06. Saris are distinguished by their
wide contrast borders. Temple borders, checks,
stripes and floral (buttas) are traditional designs
found on a Kanchipuram saris. The patterns and
designs in the kanchipuram saris were inspired with
images and scriptures in South Indian temples or
natural features like leaves, birds and
animals. These are saris with rich
woven pallu showing paintings of Raja Ravi
Varma and epics of Mahabharata and Ramayana.

EASTERN INDIAN SARIS
 Sambalpur Saris :
Sambalpuri sari silk & cotton – Sambalpur,Orissa-is
a traditional hand woven ikat or sari or Saree
(locally called shadhi) wherein the warp and the
weft are tie-dyed before weaving. It is produced in
the Bargarh, Sonepur, Sambalpur, Balangir district,
Boudh District of Odisha. The sari is a traditional
female garment in the Indian Subcontinent
consisting of a strip of unstitched cloth ranging from
four to nine metres in length that is draped over the
body in various styles. Sambalpuri saris are known
for their incorporation of traditional motifs like
shankha (shell),chakra (wheel), pula (flower), all of
which have deep symbolism, but the highpoint of
these saris is the traditional craftsmanship of the
'Bandhakala', the Tie-dye art reflected in their
intricate weaves, also known as Sambalpuri "Ikat".

 Baluchari Saris :
The Baluchari saris are often reckoned with the
patterning of sun, moon, stars, mythical scenes and
motifs of natural objects. The field of the saris are
embellished with small butis. Colours like maroon,
blue, red and dull dark terracotta were used as the
base colour. ornamentation of butidar Baluchari
saris is done with extra weft motifs in off-white,
white, yellow and dull orange coloured yarn. These
saris were mostly worn by women from upper class
and zamindar households in Bengal during festive
occasions and weddings. In recent times, scenes
from ramayana and Mahabharata are depicted on
Baluchari saris as motifs. Colours have become
brighter and polychromatic. Zari yarns are also used
for ornamentation.

 Tussar Silk Saris :
Bihar-tussar Silk (Alternatively Spelled As Tussah,
Tushar, Tassar, Tusser And Also Known As Kosa
Silk) Is Produced From Tussar Silkworms
(Antheraea Mylitta And Antheraea Proylei,
Belonging To The Moth Genus Antheraea).

 Jamdani Saris :
The Jamdani saris are from West Bengal. These are
sheer, delicate saris woven in Phulia, Nadia and
Shantipur villages.
These are made in combination of cotton with
cotton, cotton with silk and silk with silk. The
technique of interlocking the extra weft yarns for
creating motifs in the fabric is used in Jamdani
saris.
These are woven on traditional handlooms. Floral
geometric creepers, paisleys and leaves are the
most common motifs in the Jamdani saris

DRAPING STYLES OF SARIS
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, 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.
Seedha Pallu From
Gujarat, UP And
Odisha
Athpourey Shari
From Bengal
Santhal Drape From
Jharkhand
Nivi Drape From
Andhra Pradesh
Mohiniattam From Kerala

DRAPING STYLES OF SARIS
NAUVARI SAREE FROM
MAHARASHTRA
SURGUJA FROM
CHHATTISGARH
MADISARU
FROM TAMIL
NADU
KUNBI DRAPE FROM
GOA

INDIAN DESIGNERS WORK WITH SARIS

DESIGNERS WORK WITH SARIS
The Sari Has Always Been A Timeless Classic; It Lends The
Wearer A Regality And Sensuality Like No Other! With Over
Hundred Different Ways To Wear It, There Is Really No Way
You Can Every Get Bored Of This Fabulously Versatile
Outfit. The Current Fleet Of Talented Indian Designers Have
Understood The Need To Revolutionise This Elegant And
Sophisticated Drape. The Fashion Fraternity Is Flooded With
These Revolutionaries', Who Have Added A Breath Of Fresh
Air With The Light Flirty Fabrics And Colours They Choose
For The Exquisite Saris They Create With Modern
Embellishments Like Burnt Sequins, Metal Chains And
Corsetry Being Incorporated Into Traditional Choli Styles,
The Indian Youth Is Clamouring For More, here Are Some
Indian Design Moguls Who Have Made Waves With Their
Modern Take On The Classic Saree.
Following Includes The Famous Designers Of India Who
Have Taken Saris To The Revolutionary Platform

DESIGNERS WORK WITH SARIS
Manish Malhotra
Abraham & Thakore:
Masaba Gupta
Kiran Uttam Shivan & Narresh Tarun Tahiliani
Anju Modi Dev R Nil
Payal PratapShantanu & Nikhil

HISTORY OF MOTIFS
A Motif’s Past Meaning And History Are Usually
Discovered From Sources That Have Nothing To Do
Directly With Textiles. The Stylization And Blending Of
Various Motifs Have Been Influenced Over The Centuries
By Different Emperors Who Have Ruled India. Lot Of
Intermingling Of Islamic, Buddhist, Persian And
European Art Is Seen Today In The Indian Motifs.
In Traditional Rural India Almost Every Aspect Of Life Has
A Special Significance And This Is Translated Into
Symbolic Expression In Clothing And Other Forms Of
Personal Adornment.
Some Traditional Motifs Of India And Their Significance
Is Discussed In This Chapter.
These Have Been Divided On The Basis Of The Origin
And The Aspect Of Every Region According To
Geographical Region.
North
South
eastWest central
• Motifs Have Different Significance , Type , Names And
Value According To The Geographical Region.

TRADITIONAL NORTHERN MOTIFS
Northern India:
(A) The Motifs Used In Kashida Depict The Natural
Elements Which Includes The Rich Flora And
Fauna Of The Region Of Kashmir. Typical Motifs
Are Birds Like Magpie, Kingfisher; Flowers,
Butterflies, Maple Leaves, Almonds, Cherries,
Grapes And Plums. A Popular Motif Seen On
Embroidered Shawls Is Derived From The Cypress
Cone.
(B) The Motifs Used In Phulkari Are Inspired By
Objects Of Everyday Use Like Rolling Pin, Sword,
Flowers, Vegetables, Birds, Animals Etc.
(C) They Are Generally Geometrical And Stylized.
Usually One Motif Is Left Unembroidered Or Is
Embroidered In An Offbeat Colour. This Motif Is
Called ‘Nazarbuti’ Which Is Considered To Ward Off
The Evil Eye.

TRADITIONAL EASTERN MOTIFS
The Eastern Motifs Are As Follows:
The motifs which includes the rich flora and fauna of
the region of Kashmir. Typical motifs are:
(a) Birds Like Magpie, Kingfisher, Flowers , Maple
Leaves , Almonds Cherries, Grapes And Plums.
A Popular Motif Seen On Embroidered Shawls
Is Derived From The Cypress Cone.
(b) The motifs inspired by objects of everyday use
like rolling pin, sword, flowers, vegetables, birds,
animals etc. They are generally geometrical and
stylized. Usually one motif is left unembroidered or
is embroidered in an offbeat color. This motif is
called ‘nazarbuti’ which is considered to ward off the
evil eye.
(c) tiger, goat, deer, horse, peacock, parrot; flowers,
shrubs and plants, willow and cypress trees; and
musical instruments like sitar, tabla, veena, tanpura
etc.

TRADITIONAL SOUTHERN MOTIFS
The Eastern Motifs Are As Follows:
The Motifs Are Inspired From Religion, Architecture,
Flora And Fauna, And Objects Of Daily Use.
Some Examples Are Star Shaped Designs, Chariot
And Palanquin For Deity,
Tulsi Pot Holder, Cradle, Sacred Bull, Deer,
Elephant, Peacock, Horse And Lotus
The Motifs Are Mainly Geometrical With Grid Like
Patterns.

TRADITIONAL WESTERN MOTIFS
The Western Motifs Are As Follows:
• (A) Some Typical Motifs Are Flowers, Creepers,
Trees, Peacocks, Parrots And Elephants.
• (B) Besides Flowers And Animals, Human
Figures In Different Poses Like Dancing Women
And Men Are Also Seen In Some Styles Of
Gujarati Embroidery.
• (C) The Motifs Are Derived From Persian,
Chinese, Indian And European Cultures.
• (D) Like Chrysanthemum, Peony, Lily And Lotus;
Foliage Like Cherry, Weeping Willow And Pine;
Birds Like Crane And Peacock, And Butterflies
• (E) Other Important Motifs Are Inspired From
Chinese Architecture And Portrayal Of Chinese
Human Figures And Scenes From Daily Life.

TRADITIONAL CENTRAL MOTIFS
(A) The Motifs Are Inspired From Nature’s
Flora Including Flowers, Creepers And Lace-
like Patterns.
(B) As The Name Suggests, The Motifs Used
In Phool Patti Ka Kaam Are Flowers And
Leaves. The Floral Forms Are Geometric In
Nature.
(C) The Motifs Used Are Mainly Floral And
Geometrical. Some Popular Motifs Are
Creepers, Flowering Bush, Floral Scrolls And
Intricate Jali Patterns

Natural Surrounding , Religion , Achievements Of An Individual , Are Usually The Driving Force Behind The
Human Psyche That Leads To The Development Of Particular Motifs.
• Motifs Made On Textiles With Printing , Painting , Dyeing , Weaving And Embroidery May Serve As
Protective Function.
Examples Of Protective Function:
a. Shamanism : Hunters Use Animals And Harmful Insects Motifs Such As Scorpion, To Protect The
Wearer From The Live Creature. This Is Called Shamanism.
The Prime Example Of Decoration Endowing Wearer With The Magical Force Of The Creation.
It Symbolizes Is The Shaman.
Originating In The Hunting Societies Of The Paleolithic Era, Shamanism Lingers In The Arctic North.

• Another Function The Motifs May Relate To Is FERTILITY.
The Ability To Produce Off Springs And Thus Survival. In Agricultural Communities, Fertility And Wealth Are
Closely Linked , As Pomegranate With Its Abundance Of Seeds Is Featured On Marriage Bed-covers In
Pineapple Motifs Are Used In Island Nation Of Philippines To Develop Fertility.
Many Motifs Have Religious Commutations Like The Kalash Motifs, Lotus , Swastika Motifs, Rudhraksh ,
Islamic Motifs Of Mihrab And The Moon And Star.

FAMOUS MOTIFS USED IN TEXTILES

FAMOUS TEXTILE MOTIFS
In Traditional Rural India Almost Every Aspect Of Life Has A Special Significance And This Is Translated
Into Symbols Expression In Clothing And Other Forms Of Personal Adornment. Some Traditional Motifs Of
India And Their Significance Is Discussed Below:

THE TEMPLE MOTIF
The Temple Motif Has Different Traditional Names In Different Parts Of India: In North-east, West Bengal
And Bangladesh It Was Called As Daant. In West Bengal And Eastern Deccan ,Orissa And North Andhra
Pradesh, It Is Called As Kumbb ,Kumbba Or Kumbbam.
Technique: They Are Usually Woven Into Ground Fabric Of The Sari In The Interlocked-weft Technique.
Use: The Temple Motif Consist Of Rows Of Large Triangles Found Along Ethnic And Tribal Sari Borders ,
As Well As In The Endpieces Of Dravidian And Some Central Deccan Saris.
Function: The Kungri Of Gujrat, May Have Originally Been Added For Protection Against The Evil Eye .

THE CREEPING VINES
Origin: It Became An ‘Establishment’ Design On Expensive Fabrics From Mughal Times , The Creeping
Vines Has A Longer And More Psychological Subtle History. It First Appeared In Shunga-period Railings At
The Stupa Of The Saints At Sanchi As A Stylized Angular Representation Of A Lotus Rhizome.
Use: It Is Mostly Carved Around Doorways Of Temples And Vines Are Depicted On The Clothing Of
Medieval North Indian Sculptures. Vines Were Also Printed Onto Fabrics Excavated At Al-fustat. Egypt.
Symbol: The Vines Are Design As A Symbol For Health And Prosperity.

THE FLORAL MOTIF
Symbol: In The Islamic Depictions Seem To Have Been Purely Decorative , Various Hindu
Representations Were Often Symbolic Of Good Luck , Health And Prosperity. They Are Explicitly Used In
Rural Domestic Art As Fertility Symbol , Specially The Chrysanthemum, Lotus, jasmine And Plantain.
Names: Jasmine Flower As Ta, Malli , H , Chameli , Jai.
Technique: Various Types Of Flowers Are Depicted In Traditional Saris. I Deccan Saris , Narrow Bands Of
Repeat Supplementary-warp Figuring Are Generically Called (Phoola).
Textile: South-eastern Deccan And Orissa Saris, Larger Versions Of This Design In Tamil Nadu Are Called
Pavum.

THE KALGA (MANGO) MOTIF
Origin: It Evolved From Seventeenth-century Floral And Tree Of Life That Were Created In Expensive
,Tapestry-woven Mughal Textiles, Primarily Patkas(sashes) Made For Court. By Late Eighteenth Century
The Archetypal Curved Point At The Top Of An Elliptical Outline And Paisley Was Evolved.
Names: Kalga, Hook, Hawk’s Head , Mango(haam).
Symbol: The Mango Is A Potent Fertility Symbol.

THE TREE OF LIFE
Origin: The Concept Of Tree Of Life , Which Is Used As A Symbol Of The Interconnectedness Of All Life ,
Appears To Have Been In Existence By The Gupta Period.
Symbol: Throughout Rural India The Tree Of Life Has Been A Symbol Of Fertility And Protection For Both
Tribal And Caste Hindus. Tree In General, As Opposed Ethnic Saris In Raigarh District, Eastern Madhya
Pradesh To Specific Species Like The Pradesh. The Kadam Tree Is A Local Fertility Symbol.
Textile: The Tree Of Life Motif Appears In Kashmiri Carpets And Kalamkari Paintings.

THE FISH MOTIF
Origin: The Fish Appears Early In The Archaeological Record, And Is Painted Onto Early Indus Valley
Pottery At Kalibagan As Well As Carved Into Mohenjo-daro Seals And Pleaques Of The Mature Indus
Valley Civilization.
Symbol: Fish Are Potent Fertility Symbols Throughout Tribal And Caste Hindu India, Indicating Abundance
Of Food, Wealth And Children As Well As The Generative Powers Of The Supernatural.
Textile: Its Relationship With India Folk And Tribal Art Remains Strong, And It Is Often Depicted In Textiles
Where Fish Form A Major Part Of The Diet, As In Orissa, Or Where Vaishnavism Is Important.

THANK YOU
By Ayushi khilani
2nd Year Diploma In Fashion Design
Conforming To NSQF Level 6 Of NSDC
Dezyne E’cole College , Ajmer

Ayushi khilani ,2year Fashion Design Diploma NSQF Level -6 ,NSDC

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