"A person should not be too honest.
Straight trees are cut first
and Honest people are screwed first.."

"Even if a snake is not poisonous,
it should pretend to be venomous."

"There is some self-interest behind every friendship.
There is noFriendship without self-interests.
This is a bitter truth."

"Before you start some work, always ask yourself three questions - Why am I doing it, What the results might be and Will I be successful. Only when you think deeply
and find satisfactory answers to these questions, go ahead.."

"As soon as the fear approaches near, attack and destroy it."

"Once you start a working on something,
don't be afraid of failure and
don't abandon it.
People who work sincerely are the happiest."

"The fragrance of flowers spreads
only in the direction of the wind.
But the goodness of a person spreads in all direction."

"Whores don't live in company of poor men,
citizens never support a weak company and birds don't build nests on a tree that doesn't bear fruits."

"God is not present in idols. Your feelings are your god.
The soul is your temple."

"A man is great by deeds, not by birth."

"Never make friends with people
who are above or below you in status.

"Treat your kid like a darling for the first five years.
For the next five years, scold them..
By the time they turn sixteen, treat them like a friend.
Your grown up children are your best friends."

"Education is the best friend.
An educated person is respected everywhere.
Education beats the beauty and the youth."

INDIAN NATIONAL ANTHEM OF INDIA 

The Indian National anthem, composed originally in Bengali by Rabindranath Tagore, was adopted in its Hindi version by the Constituent Assembly as the National Anthem of India on 24 January 1950. It was first sung 27 December 1911 at the Calcutta session of the Indian National Congress. The complete song consists of five stanzas. The lyrics were rendered into English by Tagore himself.

NATIONAL ANTHEM OF INDIA

Translation of The national anthem- Jana Gana Mana In English

Thou are the ruler of the minds of all people, dispenser of India's destiny.

The name rouses the hearts of Punjab, Sind, Gujurat and Maratha. Of the Dravid and Orissa and Bengal.

It Echoes in the hills of Vindhyas and Himalayas, mingles in the music of Yamuna and Ganga and is chanted by the waves of the Indian Sea.

They pray for your blessing and sing thy praise. The salvation of all peaople is thy hand, thou dispenser of India's destiny. Victory, Victory, Victory to thee.

The Jana Gana Mana was composed by Shri Rabindranath Tagore and first sung at the Calcutta session of the Indian National Congress on December 27th, 1911. It was adopted as the National Anthem of India on 24th January, 1950 by the Constituent Assembly. The first stanza( out of five stanzas) of the song forms the National Anthem.

THE NATIONAL FLAG OF INDIA is in tricolour of deep saffron(Kesari) at the top, white in the middle and dark green at the bottom in equal propotions.The flag is a horizontal tricolour in equal proportion of deep saffron on the top, white in the middle and dark green at the bottom. The ratio of the width to the length of the flag is two is to three. In the centre of the white band, there is a wheel in navy blue to indicate the Dharma Chakra, the wheel of law in the Sarnath Lion Capital. Its diameter approximates the width of the white band and it has 24 spokes. The saffron stands for courage, sacrifice and the spirit of renunciation; the white, for purity and truth; the green for faith and fertility. The design of the National Flag was adopted by India's constituent assembly on 22nd july, 1947. It's use and display are regulated by a code. The Indian flag symbolizes freedom. The late Prime Minister Pandit Nehru called it a flag not only of freedom for ourselves, but a symbol of freedom for all people.

The National emblem is a symbol of contemporary India's reaffirmation of its commitment to world peace and goodwill.

The National Emblem of India is a replica of the Lion of Sarnath, near Varanasi in Uttar Pradesh State. The Lion Capital was erected in the 3rd century BC by Emperor Ashoka to mark the spot where Lord Buddha first proclaimed his gospel of peace and emancipation..

It is symbolic of India's reaffirmation of its ancient commitment to world peace and goodwill. In the original, there are four lions, standing back to back, mounted on a abacus with a frieze carrying sculptures in high relief of an elephant, a galloping horse, a bull and a lion separated by intervening wheels over a bell-shaped lotus. Carved out of a single block of polished sandstone, the capital is crowned by the Wheel of the Law (Dharma Chakra).

In the state emblem adopted by the Government of India on 26 January 1950, only three lions are visible, the fourth being hidden from view. The wheel appears in relief in the center of the abacus with a bull on the right and a horse on the left and the outlines of the other wheels on extreme right and left. The bell-shaped lotus has been omitted.

The four lions (one hidden from view) - symbolising power, courage and confidence - rest on a circular abacus. The abacus is girded by four smaller animals - guardians of the four directions: the lion of the north, the elephant of the east, the horse of the south and the bull of the west.The abacus rests on a lotus in full bloom, exemplifying the fountainhead of life and creative inspiration. The motto 'Satyameva Jayate' inscribed below the emblem in Devanagari script means 'truth alone triumphs'

National Animal of India-THE TIGER.

The magnificent Tiger Panthera tigris (linnaeus), the national animal of India, is a rich-colored well-striped animal with a short coat. The combination of grace, strength, power has earned the tiger great respect and high esteem. Indian tigers are famous all over the world and one of the main attractions for the lovers of wild life. They are the crowning glory and the light of the Indian wild life.

Tough, muscular, majestic tigers roam about the Sunderbans of Bengal "burning bright in the darkness of the night." The natives of the forest worship the tiger as the deity that gives them honey and wax. The Sunderbans are their main habitat for their thick forests of Sunder trees. They feed on fish, cattle and sometimes human beings. The man-eaters are the most dreaded of all wild beasts. It is a common belief that a tiger does not harm anyone who has offered prayers to him. Tigers are fast runners, excellent swimmers and their eyesight is strong.

To check the dwindling population of tigers in India, which came down to just 1,827 in 1972, massive conservation program was initiated in April 1973, known as the 'Project Tiger'. This project aims to maintain a viable population of tigers in India for scientific, economic, aesthetic, cultural and ecological values. Since then, the tiger population has shown a gradual increase and the census of 1989 puts the tiger population of the country at 4,334. So far, 19 tiger reserves have been established in the country under this project, covering over 29, 716 sq. km. forest area

National Bird of India-THE PEACOCK

Peacock is a large and majestic bird. It has got a long and beautiful tail. Both the peacock and the hen have crest. But the crest of hen is smaller in size. The main body of the cock is mottled brown in color. Especially, the metallic green color found on the lower neck is very attractive. Though peacocks are beautiful looking birds their calls are loud and coarse.

They move in-groups and they are normally spotted in the forests, villages and nearby fields. They are shy in nature. It feeds on lizards, snakes, grains and insects. The hen lays a maximum of five eggs, which are in pale cream color.

The significance of peacock is attached to cultures of India, Far East, Ancient Persia, Greek and Christian. In Hinduism, the image of the god of thunder, rains and war, Indra, was depicted in the form of a peacock. In south India, peacock is considered as a 'vahana' or vehilce of lord Muruga. The figure of peacock is painted in various Islamic religious buildings. In Christianity, the peacock was also known as the symbol of the 'Resurrection'.

In India people believe that whenever the cock spread its tails in an ornamental fashion, it indicates that rain is imminent. In a way it is partly true. At the sight of dark clouds the bird outspreads its tail and starts dancing in rhythmic fashion. Most of the folklore including Bharatha Natyam has got special dancing poses for the peacock dance.

National Flower of India- THE LOTUS

Among the various flowers of Indian sub-continent, the flower Lotus is regarded with divinity and grace. Often, Goddesses Lakshmi and Saraswathi are associated with the flower lotus. Even Lord Siva, who wanted to escape the wrath of the Lord Saneeswaran, morphed himself into the shape of a bee and took asylum inside a lotus. Buddhists regard this flower as a sacred one.

Lotus symbolizes purity, beauty, majesty, grace, fertility, wealth, richness, knowledge and serenity. They are found in white and pink colors in general and they grow in shallow and murky waters. Some blue colored flowers are also sighted. These flowers enjoy a warm sunlight and intolerant to cold weather. Hence they cannot be seen blossoming in the winter. The floating leaves and flowers have long stems, which contains air spaces to maintain buoyancy.

The plant is having various uniqueness attached to it. Though the large leaves of the plant are floating on the surface of the water, even a drop of water is not accommodated on top of the leaves. Perhaps, they are teaching the human beings, to lead a life of non-attachment and avoid the worldly pleasures.

Depending upon the level of water in the tank, the stems will rise. In this fashion, it is guiding the human beings to rise upto the situation leading to a genuine elevation in their lives. As the world famous 'Thirukural' says,

"Vellathanayathu malar neetam manthartham ullath thanyathu ouyarvu"

signifying, in relation with the water level of a tank, the stem will rise. In the same way, depending upon their ambitions and thoughts, human beings can elevate themselves in their life.

In Indian religious epics, references of lotus are made, in relation with eyes and feet of divine persona. For instance "Kamala Kannan" referring Lord Krishna with the contextual meaning, a person having eyes with the color of the pink lotus. Also, it is coupled with the feet of deities. "Kamala Patham" means lotus feet implying the feet of the god. "Charan Kamala Patham" implying, submit oneself in totality, at the lotus feet of the god.

National Tree of India-THE BANYAN TREE.

THE BANYAN TREE-Called the Indian fig tree( Ficus bengalensis) grow over a large area. The roots then give rise to more trunks and branches. Because of this characteristic & longevity, the Banyan tree is considered immortal & sacred and is an integral part of the myths and legends in India. Even today, the banyan tree is the focal point of village life and the village council meetings under the shade of this huge shade-giving tree.

National Fruit of India-THE MANGO

The fruit Mango,of the tree Mangifera indica, is one of the most widely cultivated fruits of the tropical world. This juicy, delicious fruit is a rich source of Vitamins A, C and D. In India there are hundreds of varieties of mangoes, in different sizes, shapes and colours etc. Mangoes, have been cultivated in India since time immemorial. The famous Indian poet Kalidasa sang its praises.King Alexander relished its taste, as did the Chinese traveller Hieun Tsang. Akbar, the Moghal emperor planted over 100,000 mango trees in Darbhanga, known as Lakhi Bagh(India).

PANCHABHUTA Or Five Elements. 

Our whole cosmic quest of the world and beyond starts from the point of panchabhuta (five elements) which then manifests in an enjoining manner to form the life force and then, later, those five elements disintegrates to ensue a celestical traverse at the Paramanu (atom) level.

Wind is gaseous,

Fire is furious,

Sky is the zenith,

Earth is solid,

Water is colourless,

However, we will first try to understand these five elements which are Earth or Prithvi; Water or Jal ; Fire or Agni; Air or Vayu and then Ether or Akasha. Each of these Five elements has its own character and celestial elements which we will gauge in the following lines.

Earth(Prithvi): One can touch earth and smell it too ! However, there are two types of earth one is Eternal or (nitya) which are in the form of atom (Paramanu).The other type is perishable (anitya) which exists in the form of Karya or Work at animate and inanimate levels. Symbolically speaking our body, sense organs are the earth which as a whole get the shape of Jiva or life but those are perishable. But elements or atoms are eternal as after death may we bury, or burn the body, all the atoms get disintegrated to come back to its original eternal form. So our body and its Karya or Work are perishable as the mountain or rock forms but the atom remains which are eternal.

Water or Jal is the second element which again has two characters as in the Earth i.e. eternal in the shape of atom and Karya (Work) be it as river, pond or sea are perishable. As from sea or river water evaporates to be in the sky as cloud then again in the shape of rain it comes down on earth. So the eternal atom is only changing its karya or shape of work and what we see is the perishable form.From the sense organ perspective we can touch it to feel and taste it as well.

The thrid element is Air or Vayu.Again it has two levels as earth and water i.e.eternal atom and perishable Karya. One can feel air, as we breath in or out.We feel the storm or strong breeze which are temporary but air at atomic level remains around us eternally. In the Purana there is a mention of 49 types of Maruts or winds. Seven are important namely

1. Pravaha

2. Avaha;

3. Udvaha

4. Samvaha;

5. Vivaha;

6. Parvaha and

7. Paravaha.

The wind which takes the water from the ocean is called Udvaha.

Fire or Agni is the fourth element of Indian Panchabhuta. Again it has eternal and perishable elements as we have seen above. The essential character of Fire is to generate heat.According to Hindu Mythology, Agni is one of the Eight guardians who guards our universe and is known as Asta- dik-palakas (Asta-eight, dik--Zone,Palaka-Guardian). The Fire is posited in the South East of the Universe.

However, in Indian mythology there are mentions of various types of fires. The four important ones are fire of the earth, fire of the sky, fire of the stomach (can mean hunger and digestive power as well) and the fire we commonly use.

Then comes the last of the Panchabhuta or five elements which is sound or ether. Ether is unique as it has only one character i.e. eternal. Ether is the carrier of sound be it man made or otherwise. One can hear it. As ether is the only eternal element of the five elements it attracted the attention of various sages. The concept of Akashvani or Devine sound which is heard by sages of higher order is related to this Ether or Akasha.The primordial mantra AUM then in modern times Raam or Shyaam are to work as linkages between Jivatma(life force--atman or soul) to Paramatman or (Omnipotent of supreme soul).The concept of sound and Mantra will be discussed in the next issue. Now we should concentrate on elements, other than five mentioned above which are very important to Hindu theological perspective. Those are Time(Kala) and Space (Sthan or Dik i.e. place and direction); Soul and Mind.

Like ether Time and Space are eternal. Time or kala is common cause of all actions of all the elements and is eternal link of predetermined actions and happenings. Thus in Hindu astrologly the whole world and its course are equated with "time". The Direction or Dik are part of Space and North, South, West and East are eternal no matter the Universe undergoes whatever changes.

Then the other element is Soul which is related with the knowledge system of man as jivatman and the eternal Knowledge of God or Paramatman(omnipotent).The last of the nine main elements is the manas or Mind. Its the sense-organ or path to experience the world eternally and otherwise. These sense organs are in the shape of eternal paramanu or atom and works is combinations to derive pleasure at worldly levels. These are the brief out line of main five elements and other four primary elements. It is said that our universe was created out of the manifestation of five elements. This was described in the Devigita very elaborately.

Devigita proclaims that Shakti went about creating the world with 24 tattvas or elements. The five elements were born out of the primordial principle of unmanifested Sakti.The ether through which sound traverse was first element, which is also known as Sabda-rupa (form of sound). Second was Air or Vayu (Sparsharupa or a form which is felt) The Air or Vayu give rise to Agni so it called Vayoranih. Then sense of taste or ‘rasrupa’ the water element came. The the gandharupa or the source of smell came--the earth.

Pauranic Expert Vettam Mani said that the universe remained in embryo form or in the bijarupa. "These Panchabhutas{five elements} were first divided into two (each was divided into two). Then by a process of the combination of these ten parts different substances were born....Each half of each of these five bhutas{elements} is again subdivided into four parts. These 1/8 parts are joined to the other halves and by combining them in other fractions of the material bodies(sthulasariras of all beings are made." wrote Vettam Mani.

The cosmic body is the grand total of those material bodies discussed above. The first and pure manifestation of those five elements are the inner conscience and bodily organs like ear etc. However, the inner conscience or Antarkaranas assumes four state or forms. Once conception and doubt arise it is called Mind. But when there is no doubt arises is called Buddhi. The process of examination and re-examination of a subjects belongs to the state of intellect called citta. But with the feeling of "I" the ego or ahamkar bursts out. So we find the pure five elements gave rise to the inner conscience or Antarkarnana and then there are four states within it namely mind, buddhi, citta and ego.

Vettam Mani explained "From the coarse (rajasic) aspect of the five sense organs originate the five organs of action like word, foot, hand, excretory and the genital organ, and also the five pranas (breaths) called prana, apana, samana, udhana and vyana.

....Prana is located in the heart, apana in the anus, samana in the nabhi (navel)udana in the throat and Vyana all over the body.....(Organs of knowldege 5, of action 5, and pranas 5,and buddhi 1,mind 1, the bodly is composes of these 17 factors".

The sukshmasaria or the subtle body has two nature or Prakrati namely maya wherein the god is reflected. The other is Avidya seen by Jiva or living being who is receptable of sorrows. Through Vidya(Eternal Knowldege) and Avidya (ignorance) three forms of body emerge. Mani explained ‘He who is attached and is pround about the material body is called visva; he who attaches importance to the subtle bodly is called Taijisva, and who is aware of casual body is called Prajna.’ Likewise we see how the five elements manifested itself into 22 tattva (materials) which all go towards creation of a body. In the Devigita it is said that eighty-four lakh species of living beings have manifested from these five elements. In the next article we would take up the ether or sound elements in mantra perspective which has only single and eternal entity and dwells in Hindu theology vibrantly.

Take you time and have a nice look into this tree,

u can see 10 National leaders of India?

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.