Three geographically and stylistically distinct saris linked by family lineage have recently joined the NGV Collection. All produced and purchased in India, these textiles form part of an intergenerational wedding trousseau (belongings collected by a bride before her marriage) passed down through the women members of the same family. Donor Anindita Basu, is the youngest of three generations of West Bengali women who sourced, wore and cared for these three saris for over a century. They became gifts handed down for keepsake and worn as formal attire for special occasions, demonstrating a valued hereditary cultural tradition.
The oldest of the three newly acquired saris, the Kanchipuram sari, was produced in the late nineteenth century in the southern Indian state of Tamil Nadu and purchased by relatives of Anindita Basu’s grandmother. Named after the city where they were originally produced, Kanchipuram saris are woven from pure mulberry silk thread and renowned for their quality and weight. According to Hindu mythology, Kanchi silk weavers are the descendants of Sage Mrikanda, a folk hero who wove cloth from lotus fibres for the gods. This temple sari, more than a century old, is a vibrant red shade with gold zaree (gilt-thread) detailing. Kanchipuram saris featuring zaree embroidery are often reserved for important ceremonial occasions, particularly weddings. In 2006, the Government of India recognised Kanchipuram saris as an official geographical indication for the region of Tamil Nadu. In India, geographical indication is given to products corresponding to a specific geographic location or origin, which are identified as a part of collective and intellectual heritage that needs to be protected and promoted.
Purchased by the donor’s grandmother in West Bengal in the 1930s, the second sari, Baluchari sari was produced in the historic city of Murshidabad. Now predominantly woven in the city of Bishnupur and surrounding areas, Baluchari saris are known for depictions of folk tales, mythological scenes and Nawabs (noblemen) on the pallu (the loose end of a sari, worn over the shoulder or head). Over the centuries, motifs have evolved to reflect societal changes. Images of daily life, industrialisation and colonisation began appearing more frequently during the nineteenth and twentieth centuries, including East India Company officials and Europeans smoking or drinking. This particular sari features depictions of steam engines alongside a more traditional paisley pattern. Baluchari saris were granted the status of geographical indication for West Bengal in 2011.
Finally, the Sambalpuri sari was purchased by Basu’s mother, Mrs Jyoti Bose, in the eastern Indian state of Odisha in the early 1970s. Sambalpuri saris are garments made in the Sambalpur, Balangir, Bargarth, Boudh and Sonepur districts of the eastern Indian state of Odisha. Granted geographical indication in 2010, these traditionally handwoven bandha (ikat) saris are tie-dyed before weaving with native Odisha colours, such as red, yellow, white and black. These same colours make up the face of Lord Jagannath, a popular Hindu deity worshipped in the region, and can be seen in this example that comprises rows of geometric pattern. A unique feature of Sambalpuri saris is their use of the double ikat technique, where both the warp and weft threads are dyed before weaving, resulting in intricate designs reflected almost identically on both sides of the fabric.
These three saris are superb additions to the Gallery’s growing holdings of South Asian textiles. Aesthetically informed by the geography of production, this unique grouping of works illustrates the diversity of colour and pattern utilised in India. Each sari is a vibrant example of a distinct regional style and time period, connected through maternal legacy.
Sunita Lewis is NGV Curatorial Project Officer, Asian Art.
This essay was commissioned for NGV Magazine, Issue 41, Jul–Aug 2023.