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Winning MANTRA from MAHABHARATA

Trivia

Second Longest Epic of the World

“What’s not in Bharata, is not in Bharata”

“A Buffet of Ideologies.”

Written around 3000 BC.

“Harappan” Cultre. Urban Way of life.

Astronomy: Existence of Uranus(Shweta) and Neptune(Ksharaka).

Geography. Lands as far as Cambodia(Kamboja), Kazakhistan and/or Scandinavia(Uttarakuru),

Mathemetics: Nos to the range of 10 raised to powers of 16 and -16.

Descriptions of Weapons which resemble modern day weaponry including Nuclear and/or Chemical Weapons.

Complex Millitary Formations and Strategies.

Philosphy, Psychology, Sociology, Spirituality, Religion, Politics.

Even Mangement Lessons.

Logistics

Exiled for 13 years. Have no kingdom. Their main strength both in terms of political and financial power depends on their friends and relatives : The Pancalas, The Yadavas, The Magadhas and The Chedis.

In power for 13 years. Duryodhan has been a benevolent king. Theres no guarantee that the Subjects really miss the Pandavas. Not only have they the wealth and power of Hastinapur, but also that of Indraprastha, the kingdom that the Pandvas had taken such labors to build and which had surpassed the Hastina of old in all degrees. Karna had gone on a nation-wide conquering on behalf of Duryodhana. They are the national sovereigns

Duryodhana was completely focused on the War.It was his moment of truth. He had usurped a kingdom, and he meant to keep it. He had resorted to any means, foul or fair to get the kingdom, which he believed to be rightfully his, and he was in no mood to give it up.

The Pandavas had been humiliated, their wife insulted, their kingdom taken. But…still they wanted to avoid the War. The three elder Pandavas were against the War. They even went as far as making an offer that they will stop the War in exchange of 5 villages.

18th Night of the War :

Ashwatthama slaughtered the Pandava camp in sleep.

Drupad, Virat and his sons, Abhimanyu, Ghatotkach and Iravan.

SO HOW DID THE PANDAVAS WIN ?????

Recap

Purusharthas or the Four aims of Human Life

Purusha means either God or a human being. Artha means an object or objective. "Purusharthas" means objectives of a human being. Purusha does not mean male in the physical sense, but any soul in its differentiated aspect. So the purusharthas are applicable to both men and women equally.

The purusharthas serve as pointers in the life of a human being. They are based on the vision of God which is evident in the creation He manifested and which can be followed by man to be part of that vision and in harmony with His aims. His worlds are established on the principles of dharma. They are filled with the abundance of material and spiritual beings and energies, who seek fulfillment by achieving their desires and liberation. Since man is God in his microcosmic aspect, he too should emulate God and manifest the same reality in his own little world. He should pursue the same aims, experience life in its fullness and be an instrument of God by serving the purpose for which he has been created. The four chief aims or purusharthas are:

1. Dharma (righteousness),

2. Artha (wealth),

3. Kama (desire) and

4. Moksha (salvation or liberation).

The rationale behind these purusharthas becomes clear when we consider the basic tenets of Hinduism. Man is an aspect of God. He is God's objective reality in creation. He exists in relationship with God like a reflection in the mirror that is somewhat different yet inseparable and somewhat similar. Veiled in him is the true self by the influence and involvement of Prakriti or primordial nature. The purpose of his life upon earth is to follow the law (dharma) of God and achieve salvation (moksha) or freedom from his false self (ahamkara) by leading a balanced life in which both material comforts and human passions have their own place and legitimacy.

Man cannot simply take birth on earth and start working for his salvation right away by means of just dharma alone. If that is so man would never realize why he would have to seek liberation in the first place. As he passes through the rigors of life and experiences the problem of human suffering, he learns to appreciate the value of liberation. He becomes sincere in his quest for salvation. So we have the four goals, instead of just one, whose pursuit provides us with an opportunity to learn important lessons and move forward on the spiritual path. What the purusharthas characterize is not a life of self-negation, but of balance, complexity, richness, opportunities and moderation in a cosmic drama of immense proportions in which man ultimately envisions and experiences his true grandeur and fulfills the very purpose of his creation.

Every individual in Hindu society is expected to achieve these four objectives with detachment, without any expectation and as a sacrificial offering to God in the ritual of human life. They have to be pursued selflessly for a higher and greater cause. Depending upon the attitude and the manner in which we pursue them, they either set us free or entangle us deeper with the allurements of human life.

Dharma

The first of the goals is dharma, a word which is difficult to translate in English. Since the same word is used in many eastern religions, it means many things to many people and eludes a true definition. It has been variously translated as duty, faith, religion, righteousness, sacred law, justice, ethics, morality and so on. According to one school of Hinduism, dharma is an obligatory duty as prescribed by the Vedas to be performed by an individual in accordance with the rules prescribed for the caste to which he or she belongs. God is an upholder of dharma because he performs His duties even though they are not obligatory and He is without desire or preference.

There is no word in Latin or English that can truly explain the complex meaning of dharma. Its first letter "dha" is also the first letter of dharitri, the earth, which is suggestive of its connection with the earth or earthly life. In a wider sense, dharma is the secret glue, the binding force, which upholds and regulates this entire creation just as the gravitational force controls and holds the entire material universe as one piece. It is the divine constitution that defines our roles and responsibilities, our social and moral order, our purpose and goals and the rewards and punishments that are appropriate for our actions. It is the law of God that is sacred, inviolable and pervasive. It is responsible for order, regularity, harmony, control, predictability and accountability. According to Manusmriti, dharma is four footed in the Krita age and loses one leg in each successive age. Thus in the fourth and last age of Kali, it becomes crippled and rests upon just one leg.

Dharma exists in all planes, in all aspects and at all levels of creation. In the context of human life, dharma consists of all that an individual undertakes in harmony with divine injunctions and his own sense of morality and justice. However to comprehend the true nature of dharma is not an easy task. The world is enveloped in illusion as our human minds are. What we see in the world and learn from it may not be true and reliable. What we consider as right and wrong or dharma and adharma may not stand the test of truth. Hence to practice dharma we are advised to rely upon the scriptures and follow the injunctions contained there in.

The sources of dharma are the Vedas, the Vedangas, the Sutra literature of which the most important are the Dharmashastras, and scriptures such as the Bhagavadgita. In ancient India dharmashastras (law books) played an important role in guiding people on the path of dharma. It is however difficult to say how far they are relevant in the present age. One should also remember that dharma should not be viewed as end in itself but the means to a still higher end, liberation.

Artha

Artha means wealth. Hinduism recognizes the importance of material wealth for the overall happiness and well being of an individual. A house holder requires wealth, because he has to perform many duties to uphold dharma and take care of the needs of his family and society. A person should not seek wealth for wealth sake but to uphold dharma and help the members of his family and society achieve their goals. Hinduism therefore rightly places material wealth as the second most important objective in human life. While dharma and moksha are meant for oneself, wealth and sex are to be pursued for the sake of others. Lord Vishnu is the best role model for any householder. He leads a luxurious life, served by the goddess of wealth herself, but is very dutiful, helpful, responsive and righteous. So was Lord Krishna while he was in human form. He lived a very luxurious life, but was righteous, detached and balanced.

Hinduism advocates austerity, simplicity and detachment, but does not glorify poverty. Wealth is not an impediment to self-realization, but attachment to wealth is. Desire for wealth is different from greed for wealth. Selfless desire for wealth is preferable to selfish desire for wealth. Money and wealth are a form of divine energy. God is abundance. He is endowed with eight kinds of wealth. But as Sri Aurobindo pointed out we have negative attitude mostly about wealth because hostile and negative forces want us believe so and thereby prevent its use for righteous reasons.

Seeking wealth through human actions is not discouraged in Hinduism. The vedic hymns are mostly invocations addressed to gods and goddesses by men desiring wealth and prosperity. However they also emphasize the need for right intention, right means and moderation in the pursuit of wealth. Aiming for wealth is a virtue, but greed is not. Amassing wealth for the family and for the welfare of oneself is not sinful, but taking what does not belong to one is. Hinduism, Jainism and Buddhism benefited greatly in the past by the individual contribution of rich merchants, their wives and children.

Poverty has become a grotesque reality in present day Hindu society and erroneously considered by many as a virtue. This is a Christian influence. Hindus have become so poverty conscious that if a saint or a sage leads a comfortable life, they scoff at him, saying that he is not a true yogi. They have to remind themselves of the simple fact that none of the Hindu gods and goddesses are really poor. While they always help the poor and the needy, none of them glorify poverty as a virtue. According to Hinduism all experiences are self created and provide an opportunity to learn. So is poverty and so is wealth. Renunciation does not mean to leave aside wealth or denounce the wealthy. It means detachment from wealth. To become indifferent to the comforts and discomforts of life caused by wealth.

Hinduism advocates moderation and balance in the pursuit of material and spiritual goals. Some Hindus think otherwise, ignoring the fact that what is applicable to an ascetic does not apply to a householder. Swami Vivekananda rightly said that religion was not for the empty stomachs. When a person is beset with survival problems, he would hardly find any solace in religion. Soothing words would not comfort a hungry soul as much as a morsel of food.

Kama

Kama in a broader sense means desire and in a narrow sense sexual desire. Both Hinduism and Buddhism consider desire as the root cause of human suffering. According to the Bhagavadgita, desire leads delusion and bondage to the cycle of births and deaths. The way out of suffering is to become detached from the sense objects through such practices as yoga and meditation and perform desireless actions as a sacrificial offerings to God with a sense of duty, accepting God as the doer and without hankering after the fruit of one's actions. According to Manusmriti man performs sacrifices because of the desire for rewards, with the expectation that his actions will bear fruit. Not a single act of him here on earth appears ever to be done by a man free from desire. So he who performs his prescribed duties out of desire in the right manner will obtain the fulfillment of all the desires and reach the deathless state or even beyhond1. As we can see the right way to fulfill one's desire is by performing one's obligatory duties in the right manner but not by neglecting them so that the way of the dharma also becomes the way of fulfillment of desires.

Hinduism differs from other religions in its interpretation and approach to the subject of sex. Sex can be either a means to liberation and happiness in life or a great hindrance and cause of suffering depending upon how we approach it. In any case ultimately one has to overcome it to achieve salvation. It can be done either by abstaining from it or by indulging in it. The former is the way of the Vedanta and the latter the way of the Tantras. One is the way of suppression and the other the way of expression through detachment and understanding in which sexual energy is sublimated and transformed into a higher form of energy. It is just the way you learn to handle fire. In both cases the difficulties are way too many and so are the risks. Sexual desire is the ultimate of all desires and unless it is overcome one is not free from the taints of maya.

In Hinduism there is permission for sexual activity up to a limit, so long as it is not in conflict with the principles of dharma and used for the purposes of procreation, perpetuation of family and social order, within the boundaries established by tradition, social norms and scriptures. Sexual activity is part of obligatory duty and not to be misused for enjoyment as it would lead to attachment, delusion and one's downfall. Sexual relationship outside marriage is not permitted except in special circumstances as laid down in the Dharmashastras. Marriage is a sacred institution in which both the husband and wife join their energies and destinies to promote each other's liberation by performing their respective obligatory duties, which only married couple can perform. Through the bonds of marriage they also bind their respective karmas.

While the law books draw a clear demarcation between legitimate and illegitimate sex, sex by itself is not considered unclean or sinful. Sexual desire is an important and legitimate aspect of manava dharma (human obligations) and is created by nature to perpetuate life in the material plane. Creation itself is a continuation of the union between Purusha and Prakriti, the male and female aspects of the manifest universe, which is symbolically represented in the form of Sivalinga. Creation ends when this union ends. Sexual desire is also the last stronghold of Prakriti and the final refuge of our attachment with samsara. It is the most difficult spiritual obstacle to be overcome. In most people it perpetuates the delusion of the mind and serves as an important force of Prakriti by which she maintains her stranglehold upon them and keeps them bound to the cycle of births and deaths.

The ambivalent attitude of Hinduism on the subject of sex is rooted in its historical growth during which it assimilated divergent traditions and practices of which some were derived from ancient fertility cults. It becomes evident as we go through the scriptures and find in them various stories related to the libidinous activities of various gods and goddesses. While on the one hand we have an established school of opinion that considers celibacy as a great virtue and a necessary condition for liberation, on the other we have stories from the Hindu Puranas which depict the sexual exploits of gods and goddesses and the odd situations that develop out of them.

Some of the stories give us an impression that the gods are oversexed beings who cannot control themselves from temptation in the company of beautiful women. Besides sensuous gods, there are celestial nymphs of indescribable beauty who add passion and drama to Hindu mythology through their activities. At times they descend to earth to disturb and distract the minds of ascetic people who are absorbed in deep meditation. Even Siva, Vishnu and Krishna are not above reproach. Many divinities and legendary heroes, including Bharata the founder of the Indian race are born out of illegitimate sexual conduct. Scholars however tend to consider these stories of sexual union to be symbolic in nature and not to be taken literally.

Whatever may be the truth, sex constituted an important aspect of Hindu society from ancient times. The Dharmashastras prescribed a definite code of conduct to safeguard the social and moral order. Married women were not allowed to meet men in private when they were not accompanied by their husbands or, in their absence, any other male member of their families. Women whose husbands died were allowed to beget children through their brother-in-laws (Gautama 18.4). A marriageable maiden who was not given in marriage had the freedom to choose her sexual partners after giving up the ornaments she received from her family and parents (Gautama 18.20). To avoid misuse of this provision, the scriptures recommended that girls should be married before they reached puberty. Adultery was a punishable offence while killing an unchaste woman or a prostitute was not (Gautama 22.26&27). Mental attitude, the state of mind and the dominant quality of Prakriti at the time of sexual union were considered important because they impacted the children who were born out of such unions. Polygamy was an accepted social norm. It bred intrigue and jealousy among women who shared a common husband. Women were sold and brought in the market place. While sex with unmarried maidens was a lesser taboo, adultery was a punishable offence. More so if it happened between a lower caste male and higher caste female.

According to Hinduism, sex in an important aspect of human life, but lust is not. Lust is one of the chief enemies of man. It is a demonic quality, just as greed and pride are, and one of the biggest hurdles on the spiritual path. All lustful activity would result in sin with unhappy consequences for all those involved in it directly or indirectly. Even gods are not spared from the consequences of lustful sex. However, prostitutes and pleasure girls added color and zest to ancient Hindu society. Some of them were highly skilled in the art and science of sex. They were patronized and frequented by men of repute. They employed various tricks to attract men and keep them under their charm. Prostitution is still a rampant problem in India and one of the chief concerns of women activists and welfare organizations.l

One of the notable developments within Hinduism during the post Mauryan period was the rise of tantrism which upheld sexual activity and considered it to be an expression of the divine. The Tantrics indulged in various kinds of esoteric sexual rites to experience the blissful nature of God. They believed in the possibility of sublimating sexual energy through austerities and penances to transcend one's lower nature and achieve higher states of consciousness. They practiced various breathing and yoga techniques to prolong their sexual prowess so that they could experiences higher states of blissful consciousness during sexual union practiced with detachment. These sects continue to remain on the fringes of society attracting ridicule and criticism and largely unknown and misunderstood by the general public. For the vast majority of Hindus, sex is a taboo unless it is in tune with the social, moral and religious laws.

Moksha

The pursuit of dharma regulates the life of a human being and keeps him on the righteous path. The pursuit of artha and kama enrich his experience and impart to him valuable lesson. The pursuit of moksha or salvation liberates him and lead him to the world Brahman. The pursuit of dharma usually begins in the early age when one is initiated into religious studies. The pursuit of artha and kama begins in most cases after one becomes a householder. The pursuit of moksha however is the most important of all aims and can begin at any time. The other aims are preparatory for this final aim. However, in most cases, though not correctly, moksha becomes an important pursuit in the old age during vanaprastha or the age of retirement. Moksha is both a purushartha and a paramartha (transcendental aim), which is important not only for men but alsi for the divine beings.

Moksha actually means absence of moha or delusion. Delusion is caused by the inter play of the triple gunas, the activity of the senses, attachment with and desire for sense objects. A person achieves liberation when he increases the quality of sattva, suppressing rajas and tamas and overcomes his desire for sense objects by detachment, self control, surrender to god and offering of one's actions to God. There are many paths to salvation and all of them lead to God. The main paths are the path of knowledge, of action, of devotion and of renunciation. Each path has its own advantages and disadvantages. whatever may be the path, the help and guidance of a guru is indispensable to one's spiritual journey. A guru is God in human form whose his chief purpose is to remove the darkness hidden in the hearts and minds of his disciples and help them find their true selves.

The purpose of purusharthas is to ensure that people would not neglect their obligatory duties in their deluded state by becoming obsessed with particular desires that may lead to moral and social decadence and destruction of family values. The four Purusharthas are responsible for balance in human life. They make life a rewarding and enriching experience. They cater to the spiritual and material aspirations of human beings and lead them in the right direction on the path of liberation. The exemplify the very functioning of God who, without any particular aim or desire, detached, seeks to establish these four aims in the entire manifest creation through his trinity of Brahma, Vishnu and Mahesha and Himself as the highest and supreme aim of all. Thus by worshiping Brahma we can gain the knowledge of dharma and perform our obligatory duties with precision and perfection. By worshiping Vishnu we can gain material and spiritual wealth and work for the welfare of our families and society. By worshiping Siva we can seek the fulfillment of our desires and overcome our delusion and finally by pursuing Brahman, or any of these gods as Brahman, we can achieve liberation by becoming Brahman Himself.

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The Story of the Saree (a.k.a. Sari, Seere, Sadi)

The Indian Saree (a.k.a. Sari, Seere, Sadi) boasts of oldest existence in the sartorial world. It is more than 5000 years old! It is mentioned in Vedas, the oldest existing (surviving) literature (3000 B.C.) Patterns of dress change throughout the world now and then but, the Sari has survived because it is the main wear of rural India. 75% of the population (now a billion as per official estimate) wear versatile sari. We can certainly call this cloth versatile because it could be worn as shorts, trousers, flowing gown-like or convenient skirt-wise--all without a single stitch!

Saree (original--Chira in Sanskrit, cloth) is of varied length. From 5 yards to 9.5 yards tied loosely, folded and pleated, it could be turned into working dress or party-wear with manual skill. For day today dress of middle class women, 5-6 yard sari is comfortable to manage household chores. Working class tucks the same length above the ankles and if they have to work in water or fields, they would tuck the front pleats between the legs to the back, and tie the upper portion round the waist. This left them free movement of hands and legs.

A nine yard saree used to be a connoisseurs pleasure with embellishments, embroidery and gold designing. At the same time it was as safe a dress as trousers. It was worn in the similar way as working saree. But, some pleats covered the ankles as well. A gold silver or cloth belt was fastened which kept pallu, (upper cover) pleats and folds in tact. Jhansi's Queen Laxmibai, Belawadi Mallamma and Kittur Chennamma fought enemy troops on horseback, wearing saree this way. Tight tucking of the front pleats in the back was called Veeragacche or soldier's tuck.

Generally the climate of Indian subcontinent is warm and humid. Saree and its male counterpart dhoti was most suited for this land. Earlier there was hardly any difference between Saree and dhoti because men also liked to flaunt colorful Sarees with brocaded borders. They could perhaps be interchanged in needy times. Only the upper portion of the saree-length which covers the chest, left shoulder and at times head, is missing in saree for men.

Styles in wearing saree vary from region to region. Gujarat style and Bengali style are different. So are Mangalorean, Kannadiga, Kodava, Tamilian, Malayali, etc. The Saree is worn in at least 10 to 15 styles throughout the India, though the ways of wearing above used to be common. In Maharashtra and North Karnataka region, wearing a nine yard saree (without a petticoat -- long underskirt --which was superfluous) was in vogue till 20th century. My mother who was a good swimmer, used to wear a nine yard saree tightly and swam in Kali river or Arabian sea along with my father. Wearing swimming costume could just not be dreamt of. But the versatile saree was good enough to move through the waves.

Some people think that Indian saree is influenced by Greek or Roman toga which we see on ancient statues. This is not correct. Saree is essentially Indian and designed to suit local conditions. Cotton was cultivated in India centuries before Alexander the Great landed on the borders of India and Indian cloth (chira or Saree) was a wonder to Greek eyes. In fact, Herodotus and other ancient western historians thought there were cloth-growing trees in India!

An old or worn-out saree is equally utilitarian. Grandmothers used to stitch quilts folding soft and worn-out Sarees and putting bright new cloth on cover, for children which kept them warm. Worn-out thicker Sarees were used as bed covers or blankets in the cradle (as the babies wetted it frequently). For village women, folds of Sarees serve as pouches, bags and haversack to carry grocery and at times babies as well. Some used to make a stand-by cradle out of sree length for the baby. Tying the ends to a nearby tree. White Sarees could be turned into towels, napkins, diapers etc., even after they are worn out.

Dhoti is an abridged version of the saree sans pallu (the throw of the saree). Many Hero-stones (memorials for dead heroes) show the dhoti worn like breeches or shorts with Veeragachche; dagger and other weapons were tucked in dhoti folds.

With globalization, the dress of Indians is also getting westernized. But being most utilitarian, and multi-purpose saree is still reigning in rural India and for all rituals and ceremonials it shines supreme to this day. Colorful sarees are worn as pugrees, turbans and tribals flaunt invariably women's sarees in dances. Yakshagana dancers wear saree designed clothes.

The Vedas

The four Vedas, Rigveda, Yajurveda, Samaveda and Athrvaveda, form the fundamental basis of Hindu philosophy and religion. These are the earliest existing texts of mankind. These deal with the knowledge of the Creator, His Creation, and His Creatures. They have provided a national identity to Hindus through the ages. The Vedic mantras are recited on occasions, happy and sad. In spite of myriads of gods worshipped, the basic mantras, about installation, about various rituals, and for common welfare remain the same, throughout the country. The mantras are in archaic Sanskrit.

The word 'Veda' is derived form the root of Sanskrit word ‘vid’ =to know (Vidya is eduaction). Hence veda means pure knowledge. In broader sense, Vedas mean acquiring of knowledge for right thinking, enlightenment and happiness. These basic requirements of human beings are expressed in Vedas in very short and cryptic words known as mantras. Mantras are revelations of visionaries and sages (rishis), expressed by them occasionally. These were learnt orally by the worthy disciples, and passed on to the following generations.

When put down on paper, these mantras and hymns (suktas) are in twenty thousand and odd in numbers. They are in metrical verses and recited in a particular form. Divided into four books of Rig, Yajur, Sama and Atharva Vedas, mantras pertain to all aspects of human activities.

There are 10589 mantras & hymns in Rigveda, 1975 in Yajurveda, 1225 in Samaveda, and 5997 in Atharvaveda. These vedic verses together are usually known as riks. The most ancient and important veda is Rigveda and is mainly knowledge-oriented.

Yajurveda is action oriented because it mainly deals with all rituals connected with yajnas (sacrifices) through which ancient Indians propitiated gods.

Samaveda is sum total of all the above Vedas put into practice.

Mantras which are metrical, originally meant pure thought or food for intellect.

Shruti is another name for four Vedas. As already stated, oral learning was order of the day and knowledge was acquired by shravana or attentive listening. (The root shru = to listen and shruti is imbibed knowledge acquired through careful listening)

The sacred knowledge, preserved in cryptic mantras or sentences is recited in a particular way with proper stress on correct word, which only reveals the right meaning. This is possible only through years of practice under a Guru, who himself would have acquired the knowledge through attentive listening, reciting and remembering from his Guru. Only parts Khandika of Vedas could be mastered over years of dedicated learning in the traditional chanting way.

The priestly class (the Purohits) are specially trained with mantras meant for occasions which help them with their profession. For bigger occasions of sacrifices, services of highly proficient priests are sought. Real vedic scholars are becoming rare.

Sarees from different regions of India

The core of any good saree wardrobe is to have at least one traditional saree from every region from India. In addition, there should be some plain, single coloured sarees, to show off accessories – be it elegant jewellery or a shawl to perfection.

A range of gorgeous sarees come from Gujarat, Rajasthan, Haryana, Western Uttar Pradesh and Western Madhya Pradesh. The dominant characteristic of the saree of these regions is obtained by dyeing rather than weaving techniques. In fact, the three major forms of Indian resist-dyeing – block printing, tie & dye and ikat have evolved here.

Playing with colour, fabric, weave and embellishments can create an exquisite look to the trousseau wardrobe.

Sarees from West India:

1. Bandhani

- These are sarees created by dyeing the cloth in such a manner that many small resist-dyed ‘spots’ produce elaborate patterns over the fabric.

- The traditional bandhani market has shrunk however, because of the rise of low-cost silk-screened imitations and most modern bandhani sarees are made with larger designs and fewer ties than in the past. There are varieties available in two contrasting colours, with borders, end-pieces and one or more large central medallion called a pomcha or padma (lotus flower). Red and black is the most common colour combination but other pairs of colours are also found. For instance, the panetar saree is a Gujarati-Hindu saree of satin weave and Gajji silk with red borders, central medallions and a white body, which may contain regularly spaced red tie-dyed spots.

- Single colour sarees and odhnis with white spots are also common. The most famous of this type is the Gujarati saree called Garchola It is usually red, but occasionally green, and is divided into a network of squares created by rows of white tie-dyed spots or woven bands of zari. The Garchola is a traditional Hindu and Jain wedding saree, which used to be made of cotton, but is now usually in silk. The number of squares in the saree is ritually significant multiples of 9, 12 or 52.

2. Patola

- The most time consuming and elaborate saree created by the western region is the potole (plural patola) which has intricate five colour designs resist-dyed into both warp and weft threads before weaving.

- Double ikat patola saree is a rare and expensive investment. A cheaper alternative to double ikat patola is the silk ikat saree developed in Rajkot (Gujarat), that creates patola and other geometric designs in the weft threads only.

3. Gujarati Brocade

These are extremely expensive and virtually extinct. The main distinguishing characteristics of the Gujarati Brocade Saree:

- Butis (circular designs) woven into the field in the warp direction instead of the weft, resulting in their lying horizontally instead of vertically on the saree when draped.

- Floral designs woven in coloured silk, against a golden (woven zari) ground fabric. Although such ‘inlay’ work is a common feature in many western Deccan silks, the Gujarati work usually has leaves, flowers and stems outlined by a fine dark line.

4. Embroidered Tinsel Sarees

- The western region also has a rich embroidered tradition, made famous by ethnic groups such as rabaris and sodha Rajputs.

- The saree with zardozi, the gold gilt thread embroidery technique, at one time patronised by the Moghul emperors and the aristocracy, is today an inextricable part of a bridal trousseau.

- Balla tinsel and khari work are the cheaper variations available in metallic embroidery, which have also become quite popular.

5. Paithani

- This saree is named after a village near Aurangabad in Maharashtra. Now also woven in the town of Yeola, these sarees use an enormous amount of labour, skill and sheer expanse of material in their creation.

- Distinctive motifs such as parrots, trees and plants are woven into the saree. The shades vary from vivid magenta, peacock greens and purples. In the pallav, the base is in gold and the pattern is done in silk, giving the whole saree an embossed look.

6. Chanderi and Maheshwari

- The Chanderi saree from Madhya Pradesh is light and meant for Indian summers. It is made in silk or fine cotton with patterns taken from the Chanderi temples.

- The Maheshwari sarees are also both in cotton and silk, usually green or purple with a zari border. The traditional block-printed tussar can also be found in contemporary designs nowadays.

- Balla tinsel and khari work are the cheaper variations available in metallic embroidery, which have also become quite popular.

7. Gadwal

- Gadwal saree is made in cotton in a style influenced by the Banarasi weaves. While the ground of the saree is cotton, there is a loosely attached silk border.

- Copper or gold-dipped zari is generally used in these sarees. The motifs of the murrugan (peacock) and the rudraksh are popular.

- Traditional colours for these sarees are earth shades of browns, greys and off-whites. However, brighter shades have been introduced for the North Indian buyer.

Sarees from North India:

1. Banaras Brocade

- This saree from Banaras is virtually mandatory in the bride’s trousseau. These sarees vary tremendously as weavers create different products to suit different regional markets and changing fashions.

- Most brocades usually have strong Moghul influences in the design, such as intricate intertwining floral and foliate motifs, kalga and bel. A characteristic found along the inner, and sometimes outer, edge of borders is a narrow fringe like pattern that often looks like a string of upright leaves called jhallr. This is almost a signature of Benarasi brocade.

2. Kota Doria

- Kota in Rajasthan, India is the home of the famous Kota Doria saris made in small villages around the Kota city. "Kota Doria" is a super transparent yet stable cotton or cotton/silk weave consisting of varied guages of yarn, creating an almost graph like pattern called khats (squares formed between the different thicknesses of fibers). The intermittent heavier guage yarns give the fabric enough weight and lateral stability to fall very gracefully, yet it is incredibly airy and transparent. Generally, these pieces are worn in the heat of summer.

- The chequered weave of a Kota sari is a prized possession of many women. The gossamer-fine fabric Kota dorias are the finest weaves in India - so fine that they are almost weightless. The spinning, dyeing and weaving are done by skilled artisans and it takes many men hours to do so. The Kota region's craft is exquisite in its perfection. The Kota Doria weave is very special; the warp and the weft use a combination of threads creating a fine chequered pattern where the cotton provides firmness while the silk lends the gossamer finish to the fabric.

- Besides the chequered pattern, there are other weaves in complicated designs in a combination of silk and cotton. The standard Kota doria yardage, in sari width, is always woven in white and later dyed in different colours. Some of the weaves also have a narrow border edged with Zari. In the case of saris with designs, the threads are dyed prior to weaving. Ideal for hot summer, this is a muslin fabric woven with alternating threads of silk and cotton in both warp and weft in an open weave.

3. Other Sarees from this region

- The region is also famous for producing ornate sarees such tanchois, amru brocades, shikargarh brocades and tissues. Abrawans (literally meaning flowing water)- Tissue sarees, usually woven with the finest silk thread are also quite popular. A classy design in Abrawans is tarbana (woven water) with a fine silk warp with a zari weft giving an almost metallic sheen. Kincab or Kinkhwab sarees are the most popular of the brocades and are so covered with the zari patterning that the underlying silk cloth is barely visible.

- Jamawars also come from Uttar Pradesh. These silk sarees are embellished with zari threadwork. The popular theme is a jacquard weave in ‘meena’ colours like orange and green.

- Tanchois (in zari) are another item from of Uttar Pradesh and have different designs, not just Moghul motifs.

Sarees from South India:

1. Kanjeevaram Saree

- No Indian bridal trousseau is complete without the ‘Kanjeewaram’ saree, characterised by gold-dipped silver thread that is woven onto brilliant silk. Kanchipuram is a town in Tamil Nadu with more than 150 years of weaving tradition – completely untouched by fashion fads.

- Kanjeewarams are favoured for their durability. Kanjee silk is thicker than almost all other silks, and is therefore more expensive. The heavier the silk, the better the quality. Peacock and parrot are the most common motifs. Though lightweight kanjee sarees are popular as they are easy to wear and cost very little, the traditional weavers do not like to compromise. While Korean and Chinese silk is suitable for light-weight sarees (machine woven), only mulberry silk produced in Karnataka and few parts of Tamil Nadu, is right for the classic Kanjeewaram.

2. Konrad Saree

- The konrad or the temple saree is also a speciality item from Tamil Nadu. These sarees were original woven for temple deities.

- They are wide bordered sarees and are characterised by wedding related motifs such as elephants and peacocks, symbolising water, fertility and fecundity.

- Traditional colours for these sarees are earth shades of browns, greys and off-whites. However, brighter shades have been introduced for the North Indian buyer.

3. Others

- Pashmina silk, kota silk, Mysore crepes, pochampallis and puttapakshi sarees are also popular South Indian sarees.

- Typical wedding sarees from Kerala are the nayayanpets and bavanjipets which usually have a gold border on a cream base.

- Traditional colours for these sarees are earth shades of browns, greys and off-whites. However, brighter shades have been introduced for the North Indian buyer.

Sarees from East India:

1. Baluchari Sarees

- This saree from Bengal is usually five yards in length and 42” wide in flame red, purple and occasionally in deep blue. The field of the saree is covered with small butis and a beautiful floral design runs across the edges. The anchal has the main decoration depicting narrative motifs. Taingals and kanthas are other speciality items from Bengal.