Shikha Kariigarii’s ‘Saree Shastra’ Celebrates the Power of Art, Heritage and Womanhood

New Delhi: The three-day 'Sari Shastra' exhibition held at the India International Center highlighted the saree as a symbol of power, memory, art and cultural heritage rather than just a garment. By displaying saree among spears, maces and knives in the exhibition, the question was raised as to what should be called 'weapons'. Is power only in the edge and blow of metal or is the ability to keep one's identity, tradition and dignity alive for generations no less than a weapon? 

Can saree also be a symbol of power?

The exhibition itself started with this idea. The saree hanging between the arms allowed the audience to think beyond the traditional definition of power. Sari neither makes war nor conquers anyone, but she carries with her the stories, memories and cultural identity of generations. This idea was put forward through different artistic forms in the entire concept of 'Sari Shastra'.

Has women's power also found a place in Indian tradition?

The famous Sanskrit verse ‘Yatra Naryastu Pujyante Ramante Tatra Devtaah’ was prominently displayed in the exhibition. Through this, the respect of women and their multidimensional role was underlined. From lawyer, artist, politician, singer and sportsperson to housewife and family caregiver, different roles were presented together. The exhibition tried to convey the message that the dignity and presence of a woman is a form of power in itself.

What changed when saree became the canvas of art?

Sarees were presented in the exhibition as a fusion of traditional art and modern expression. Art styles like Pichwai, Pattachitra, Gond, Warli, Aipan and Sohrai were carved on the saree. Apart from this, the weaving traditions of different regions of the country were also brought to the fore through hand-painted, handloom and embroidered sarees. Several GI-tagged knits also linked the collection to regional identity.

Did the audience even see the artists sitting in front and working?

The specialty of ‘Sari Shastra’ was that not only were the finished artefacts displayed here. Artists and craftsmen could also be seen working on the spot. Pichwai artists from Rajasthan painted on cloth in front of an audience, while in another part contemporary artists were creating postcards using engraved stamps. This gave the audience an opportunity to understand the labor and skill behind the art along with its final form.

Is the saree also a document of India's cultural memory?

The exhibition presented the saree as a cultural archive rather than just a fashion or garment. The weavings of different regions reflect local identity, folklore, religious traditions and craftsmanship passed down from generation to generation. According to the concept of the exhibition, every weaving is like a record and every buta is like a cultural language.

Did saree play an important role in the Swadeshi movement?

A part of the exhibition was also related to the colonial history of India. The clothes coming from British mills had caused great harm to Indian weavers and the indigenous textile tradition. In response, during the Swadeshi movement of 1905, clothes became a medium of resistance and national consciousness. Messages began to be conveyed through words and symbols on the borders and pallus of sarees. In this way, handloom was not limited to just everyday wear, but also became a medium to express oneself.

Did the exhibition connect the past with the present?

During the exhibition, a discussion was also organized on the topic 'Sari: A Living Civilizational Heritage - Art, Heritage, Identity and Women's Narrative'. Many speakers including Dr. Karansingh, Mugdha Sinha, Bandana Preyasi, Rita Menon, Dr. Sanjay Kumar Manjul, Jyotsna D. Nanda and Dr. Promil Pandey participated in it. Gallery tours with curators, live paintings and conversations with artists and scholars kept the exhibition from being a mere viewing experience.