In an interview, he recognized the centrality of these forms to his work: “In the anatomy of these gigantic plants I found the essence of calligraphy. Everything that I have painted since then — a city like Rawalpindi, buildings, a forest, a boat, a table or a chair, a man, a mother and child, or a woman—has been based on calligraphy, which in itself issues from the structure of the cactus.” The transition is evident in works such as Genesis: Lady amidst Mountain Cacti (ca. 1957) , in which the woman’s face and limbs are painted in a realist manner but the landscape around her and her sari have been fractured into thorny, angular planes. [X]
I spotted an Indonesian book of fashion illustrations (Cantik Elegan dengan Kebaya XL aka Beautiful and Elegant in Kebaya XL) on my travels. It has a 100 odd illustrations of kain-kebaya for larger women (apparently to break away from the sarong-kebayas are for slender Singapore Girl kind of feeling). The illustrated lady looks pretty cool and there are numerous patterns and vivid colours in there – I always miss colours when in Australia. Kind of a mix of indigenous Indonesian and Islamic influences
The pics are not the best, I only had my phone on me.
Though in our times the fashion is to leave the pallu (the loose end of the sari) largely unsecured, historically there were several ways of securing or draping the pallu of a nivi sari.
In the 1930s-1940s when the nivi style was fairly new amongst the many modes of doing so were the kinds shown in these paper dolls.
From the left: 1) the loosely draped over the shoulder style (more common in South India) – sometimes the pallu would be loosely secured at the waist much like for a nine yard sari 2) the pinned to the shoulder with a brooch and then draped over the head style, more common in Bengal and Western India 3) similar to style 1 but with possibly a brooch at the shoulder and something like a belt – though this style doesn’t always require the drape over the shoulder and 4) the loose end of the sari tucked in at the waist (common in vintage Tamil photographs and also a bit of a 1950s thing)
Paul Louis de Giafferri’s pochoir prints which cover a number of historical costumes, including India (~1925). Some are accurate and probably based on photographs of India at the time, some are a bit whimsical and fanciful and European in execution. E.g. No 11 in pic 2 looks nothing like Indian fashions of 1925 or antiquity yet wouldn’t be out of place on an Indian runway today. And of course I love some of the blouses in pic 3.
Images via bananastrudel.
The lady in pic 2 with that excellent dog is a woman after my own heart.
Also I have a sudden desire to do something anything in white shoes and a sari.
And of course one totally needs a sari with cats on it!