Hindu Culture - Stitching and Design -1

Hindu Culture  - Stitching and Design 

Bandhani

Bandhani is a type of tie-dye practiced mainly in the states of Rajasthan and Gujarat, India. The term bandhani is derived from the Sanskrit word banda ("to tie").
Bandhani is also known as Bandhej or Tie Dye or Bandhni or Bandana, etc. as per the regional pronunciation

Overview

The art of Bandhani is highly skilled process. The technique involves dyeing a fabric which is tied tightly with a thread at several points,thus producing a variety of patterns like Leheriya, Mothra, Ekdali and Shikari depending on the manner in which the cloth is tied. The main colours used in Bandhani are yellow, red,blue, green and black. Bandhani work, after the processing is over, results into a variety of symbols including, dots, squares, waves and strips. Bandhani pieces can be dyed by natural and artificial colors.
The main colours used in Bandhani are natural. In fact all colours in bandhani are dark, no light color is used, and the background is mostly in black / red cloth.
The Bandhani work has been exclusively carried out by the Khatri community of Kutchh. A meter length of cloth can have millions of tiny knots known as "Bheendi" in the local language ("Kutchhi"). Four bheendis are known as a "Kadi". These knots form a design once opened after dyeing in bright colors. Traditionally, the final products can be classified into "khombhi", "Ghar Chola", "Patori", "Chandrokhani" etc.
Bhuj and Mandvi of Kutch District of Gujarat State in India are well known for the finest quality of bandhani.
Saurashtra region of Gujarat state in India are also known for the Bandhani work but the taste of bandhani is different from other district.
Bandhani work is also done in Rajasthan state but having different types of colors and designs than the Kutch and Saurashtra of Gujarat. In Bandhani, different colors convey different meanings. While red represents a bride, a yellow background suggests a lady has become a mother recently.

History

Indian Bandhani, a traditional form of tie and dye, began about 5000 years ago. Also known as Bandhni and Bandhej, it is the oldest tie and dye tradition that is still practiced.Bandhani was introduced in Jamnagar when the city was founded 400 years ago.

Market

Bandhani is being sold all over India and the demand has increased over the past few decades. Sales go up during the festive and wedding seasons in India. The bulk of the market is domestic with the main market being in Gujarat where most women wear Bandhani saris, shawls or odhnis. The odhnis are also decorated with mirrors, gota and tassels to give it a richer and more decorative look.

Chikan (embroidery)

Chikan (Hindi: चिकन, Urdu: چکن‎) is a traditional embroidery style from Lucknow, India. Literally translated, the word means embroidery. Believed to have been introduced by Nur Jehan, Mughal emperor Jahangir's wife,  it is one of Lucknow's most famous textile decoration styles.

Origin

There are several theories about the origin of Chikankari. Chikankari - the process of chikan - was basically invented in Lucknow. It developed quickly during the period when the Mughals ruled and consisted of styles inspired by Persians. Lucknow grew into an international market for its renowned Chikankari work. There are references to Indian Chikan work as early as 3rd century BC by Megasthenes, who mentioned the use of flowered muslins by Indians. There is also a tale that mentions how a traveler taught Chikankari to a peasant in return of water to drink. However, the Noor Jahan story is the most popular of the lot.  The name Chikan has been derived from the Persian word Chakin or Chikeen meaning a cloth wrought with needlework
Chikan began as a type of white-on-white (or whitework) embroidery.

Technique

The technique of creation of a chikan work is known as chikankari   چکن کاری). Chikankari is a delicate and artfully done hand embroidery on a variety of textile fabric like muslin, silk, chiffon, organza, net etc. White thread is embroidered on cool, pastel shades of light muslin and cotton garments. Nowadays chikan embroidery is also done with coloured and silk threads in different colours to meet the recent fashion trends and keep chikankari trendy with fashion. Lucknow is the heart of the Chikankari industry today and the variety is known as Lucknawi chikan.
The piece begins with the use of one or more pattern blocks that are used to block-print a pattern on the ground fabric. The embroiderer then stitches the pattern, and the finished piece is carefully washed to remove all traces of the printed pattern. Process of Chikankari includes following steps:

• Design
• Engraving
• Block printing
• Embroidery
• Washing & finishing

The patterns and effects created depend on the types of stitches and the thicknesses of the threads used in the embroidery. Some of the varieties of stitches used include backstitch, chain stitch and hemstitch. The result is an open work pattern, jali (lace) or shadow-work. Often the embroiderer creates mesh-like sections in the design by using a needle to separate threads in the ground fabric, and then working around the spaces. It consists of 36 different stitches, which are

• Tepchi
• Bakhiya
• Hool
• Zanzeera
• Rahet
• Banarsi
• Khatau
• Phanda''
• Murri
• Jali
• Turpai
• Darzdari
• Pechani
• Bijli
• Ghaspatti
• Makra
• Kauri
• Hathkadi
• Banjkali
• Sazi
• Karan
• Kapkapi
• Madrazi
• Bulbul-chasm
• Taj Mahal
• Janjeera
• Kangan
• Dhania-patti
• Rozan
• Meharki
• Chanapatti
• Baalda
• Jora
• Keel kangan
• bulbul
• sidhaul
• ghas ki patti
• 1) Tepchi is a long running or darning stitch worked with six strands on the right side of the fabric taken over four threads and picking up one. Thus, a line is formed. It is used principally as a basis for further stitchery and occasionally to form a simple shape.
  
  2) Bakhiya, double back or shadow stitch in chikan work is done from the wrong side of the fabric and the design is rendered in the herringbone style. The shadow of the thread is seen through the cloth on the right side.
  
  3) Hool is a fine detached eyelet stitch. Herein, a hole is punched in the fabric and the threads are teased apart. It is then held by small straight stitches all round and worked with one thread on the right side of the fabric. It can be worked with six threads and often forms the center of a flower.
  
  4) Zanzeera is a small chain stitch worked with one thread on the right side of the fabric. Being extremely fine, it is used to finally outline the leaf or petal shapes after one or more outlines have already been worked.
  
  5) Rahet is a stem stitch worked with six threads on the wrong side of the fabric. It forms a solid line of back stitch on the right side of the fabric and is rarely used in its simple form but is common in the double form of dohra bakhiya as an outlining stitch.
  
  6) Banarsi stitch has no European equivalent and is a twisted stitch worked with six threads on the right side of the fabric. Working from the right across about five threads a small stitch is taken over about two threads vertically. The needle is reinserted halfway along and below the horizontal stitch formed and is taken out about two threads vertically on the right above the previous stitch.
  
  7) Khatau is similar to Bakhia, but finer and is a form of applique. In Khatau, the design is prepared on calico material. That is placed over the surface of the final fabric and then paisley and floral patterns are stitched on to it.
  
  8) Phanda and Murri are the forms of stitches used to embroider the centre of the flowers in ordinary chikan work motifs. They are typically French knots, with murri being rice-shaped and phanda millet-shaped.
  
  9) Jali stitch is the one where the thread is never drawn through the fabric, ensuring that the back portion of the garment looks as impeccable as the front. The warp and weft threads are carefully drawn apart and minute buttonhole stitches are inserted into the cloth.
  
  10) Turpai and Darzdari are also significant stitches in chikan work. Turpai should have an effect of a thin thread. Darzdari have several varieties, the popular ones are Kohidarz, Kamal darz, Shankarpara darz, Muchii and Singbhada darz.
  
  11) The various other types of legendary chikankari stitches are: Pechani, Bijli, Ghaspatti, Makra, Kauri, Hathkadi, Banjkali, Sazi, Karan, Kapkapi, Madrazi, Bulbul-chasm, Taj Mahal, Janjeera, Kangan, Dhania- patti, Rozan, Meharki, Chanapatti, Baalda, Jora, Keel kangan, bulbul, sidhaul, ghas ki patti etc.
  
  12) Drifting apart from the original pristine setting, the tone-on-tone embroidery is in vogue these days. The significant use of beads, sequin and mokaish (white flat silver strip embroidery) have gained wide acceptance.
  
  Fabric
  In addition to the white base fabric, colored fabrics and threads are also used. Silk and cotton threads are employed for embroidery work on sarees, dupattas, table linen and kurtas. Cotton being the most preferred choice, chikankari is also done on mulls, muslins, voiles, organzas and polyester. Some more include: chiffon, viscose, georgette, polyester georgette, cotton crepe and net. The designs change every other month, as per the market trends, with colors that perfectly match with the season.

GI status

Geographical Indication Registry (GIR) accorded the Geographical Indication (GI) status for chikankari in December 2008, which recognized Lucknow as an exclusive hub of chikankari

Gota work

Gota work is a type of Indian embroidery that originated in Rajasthan, India.  Gota embroidery uses the applique technique. Small pieces of zari ribbon are applied onto the fabric with the edges sewn down to create elaborate patterns. Gota embroidery is used extensively in South Asian wedding and formal clothes.

Overview

Gota is a strip of gold or silver or various other coloured ribbons of varying width, woven in a satin or twill weave. It is used along with kinari work. The dresses with gota work are used for special occasions or religious occasions. Gota is crafted using appliqué technique with a strip of gold or silver or various other coloured ribbons of different widths woven in a satin or twill weave. It involves placing woven gold cloth onto fabrics such as georgette or bandhini to create different surface textures.
Originally real gold and silver metals were used to embroider but were eventually replaced by copper coated with silver as the genuine way of making it was very expensive. Nowadays there are even more inexpensive options available. The copper has been replaced by polyester film which is further metalized and coated to suit requirements. This is known as Plastic Gota and is highly durable as it has a good resistance to moisture and does not tarnish as opposed to metal based Gota.
The process is lengthy and time consuming. The first step is to trace the design on the fabric. This is done by placing a tracing paper with the design on it on the fabric and spreading a paste of chalk powder over it. This traces the design on the fabric. Depending on the design, the Gota is cut and folded into various shapes. It is then appliquéd by hemming or back stitching it on the fabric.
Attractive patterns which are specific to the region and each motif has its own distinguishing name. The motifs usually inspired by nature and comprise of flowers, leaves and birds or animals such as peacocks, parrots and elephants. Gota creates a rich and heavy look but is yet light to wear.
In Rajasthan, outfits with Gota work are worn at auspicious functions. It is generally done on dupattas, turban edges and ghagras.

Kantha

Kantha is a type of embroidery popular in West Bengal. The use of kantha is popular in "Kantha saris" traditionally worn by women in Bengal.
Kantha stitching is also used to make simple quilts, commonly known as Nakshi Kantha. Women in Bengal typically use old saris and cloth and layer them with kantha stitch to make a light blanket, throw or bedspread, especially for children. Kantha is very popular with tourists visiting Bengal and is a specialty of Bolpur

Weave

Kantha is still the most popular form of embroidery practised by rural women. The traditional form of Kantha embroidery was done with soft dhotis and saris, with a simple running stitch along the edges. Depending on the use of the finished product they were known as Lepkantha or Sujni Kantha.
The embroidered cloth has many uses including women's shawls and covers for mirrors, boxes, and pillows. In the best examples, the entire cloth is covered with running stitches, employing beautiful motifs of flowers, animals birds and geometrical shapes, as well as themes from everyday activities. The stitching on the cloth gives it a slight wrinkled, wavy effect. Contemporary Kantha is applied to a wider range of garments such as sarees, dupatta, shirts for men and women, bedding and other furnishing fabrics, mostly using cotton and silk.

Other uses of the word

Kantha also means "throat". The name Nilakanth is given to Lord Shiva, literally meaning "blue throat" after he swallowed the poison that resulted from the churning of the ocean, or "Throat chakra". Kantha is also used as an adjective to describe a style of necklace that lies close to the throat, open at the back

Kasuti

Kasuti (Kannada: ಕಸೂತಿ) is a traditional form of embroidery practiced in the state of Karnataka, India.  Kasuti work which is very intricate sometimes involves putting up to 5,000 stitches by hand and is traditionally made on dresswear like Ilkal and Kanchivaram sarees. The Karnataka Handicrafts Development Corporation (KHDC) holds a Geographical Indications (GI) protection for Kasuti embroidery which provides Intellectual Property rights on Kasuti to KHDC.

History

The history of Kasuti dates back to the Chalukya period. The name Kasuti is derived from the words Kai (meaning hand) and Suti (meaning cotton), indicating an activity that is done using cotton and hands.  The women courtiers in the Mysore Kingdom in the 17th century were expected to be adept in 64 arts, with Kasuti being one of them.  It is also said that the Lambani clan left their traditional home of Rajasthan and settled down in Karnataka and brought the Kasuti craft along with them. Sarees embroidered with Kasuti were expected to be a part of the bridal trousseau of which one saree made of black silk with Kasuti embroidery called Chandrakali saree was of premier importance.

Kasuti work

Kasuti work involves embroidering very intricate patterns like gopura, chariot, palanquin, lamps and conch shells. Locally available materials are used for Kasuti. The pattern to be embroidered is first marked with charcoal or pencil and then proper needles and thread are selected. The work is laborious and involves counting of each thread on the cloth. The patterns are stitched without using knots to ensure that both sides of the cloth look alike.  Different varieties of stitches are employed to obtain the desired pattern. Some of the stitches employed are Ganti, Murgi, Neyge and Menthe.   Ganti is a double running stitch used for marking vertical, horizontal and diagonal lines, Murgi is a zig-zag stitch, Neyge is a running stitch and Menthe is a cross stitch resembling fenugreek seeds.

Current scenario

Kasuti work has grown beyond its traditional boundaries to be used in other dress materials like the Mysore silk saree.  A Lambani Kasuti centre was set up in Hubli by the Department of Social Welfare, Government of Karnataka to encourage the Kasuti culture and also provide a single roof for the Lambani women to showcase their craft.  However Kasuti work is suffering from poor patronage with not many people willing to take the craft seriously; an indication of which is the closure of the Karnataka Kasuti classes by the JSS college in Dharwad.

Nakshi kantha

Nakshi kantha, a type of embroidered quilt, is a type of folk art of Bangladesh and West Bengal, India. The art has been practiced in rural Bengal for centuries. The basic material used is thread and old cloth.  Kanthas are made throughout Bangladesh, but the greater Mymensingh, Rajshahi, Faridpur and Jessore areas are most famous for this craft.
The colourful patterns and designs that are embroidered resulted in the name "Nakshi Kantha", which was derived from the Bengali word "naksha", which refers to artistic patterns.  The early kanthas had a white background accented with red, blue and black embroidery; later yellow, green, pink and other colours were also included. The running stitch called "kantha stitch" is the main stitch used for the purpose. Traditionally, kantha was produced for the use of the family. Today, after the revival of the nakshi kantha, they are produced commercially.

Etymology

The word kantha has no discernible etymological root.  The exact time of origin of the word kantha is not accurately known but it probably had a precursor in kheta (khet in Hindi and Bengali means "field"). According to Niaz Zaman, the word kantha originated from the Sanskrit word kontha, which means rags, as kantha is made of rags.

Tradition

Like any other folk art, kantha making is influenced by factors such as materials available, daily needs, climate, geography, and economic factors. Probably the earliest form of kantha was the patchwork kantha, and the kanthas of the decorative applique type evolved from this.

In Literature

The earliest mention of Bengal Kantha is found in the book "Sri Sri Chaitanya Charitamrita" by Krishnadas Kaviraj, which was written some five hundred years ago.

Making

Traditionally old sarees, lungis and dhotis were used to make kanthas. Kantha making was not a full-time job. Women in almost every household were expert in the art. Rural women worked at leisure time or during the lazy days of the rainy season, so taking months or even years to finish a kantha was normal. At least five to seven sarees were needed to make a standard-size kantha. Today the old materials are replaced by new cotton cloths. Traditionally the thread was collected from the old sarees. That is rarely done today.
When a kantha is being made, first the sarees are joined together to attain the required size, and then layers are spread out on the ground. The cloths are then smoothed, and no folds or creases are left in between. During the process, the cloth is kept flat on the ground with weights on the edges. Then the four edges are stitched and two or three rows of large running stitches are done to keep the kantha together. At this stage, the kantha can be folded and stitched at leisure time.
Originally, designs and motifs were not drawn on the cloth. The design was first outlined with needle and thread, followed by focal points, and then the filling motifs were done. In a kantha with a predominant central motif the centre was done first, followed by corner designs and the other details. In some types of kanthas (carpet, lik and sujni, etc.) wooden blocks were used to print the outline. The blocks are replaced today by patterns drawn in tracing papers.

Types

The following is how kanthas are categorized, according to the stitch type:

Running stitch

The Running stitch kantha is truly the indigenous kantha. They are subdivided into Nakshi (figured) and par tola (patterned). Nakshi (figured) kanthas are further divided into motif or scenic kanthas.

Lohori kantha

The name was derived from Persian word ‘lehr’, which means wave. This type of kantha is particularly popular in Rajshahi. These kanthas are further divided into soja (straight or simple), Kautar khupi (pigeon coop or triangle), borfi or diamond (charchala, atchala or barachala).

Lik or anarasi

The Lik or Anarasi (pine apple) type of kantha is found in the Chapainawabgonj and Jessore areas. The variations are lik tan, lik tile, lik jhumka, and lik lohori.

Cross Stitch or carpet

This type of kantha was introduced by the English during the British Rule in India. The stitch employed in these kanthas is the cross stitch.

Sujni kantha

This type of kantha is found only in Rajshahi area. The popular motif used is the undulating floral and vine motif.

Stitches

Main article: Kantha

The earliest and most basic stitch found in kanthas is the running stitch. The predominant form of this stitch is called the phor or kantha stitch.  The other forms of stitches used are the Chatai or pattern darning, Kaitya or bending stitch, weave running stitch darning stitch, Jessore stitch (a variation of darning stitch), threaded running stitch, Lik phor or anarasi or ghar hasia (Holbein) stitches. The stitches used in modern day kantha are the Kasmiri stitch and the arrow head stitch. Stitches like the herring bone stitch, satin stitch, back stitch and cross stitch are occasionally used.

Types

Kanthas generally denote quilts used as wrappers; however, all articles made by quilting old cloth may also be referred to by the same generic name. However, depending on the size and purpose, kanthas may be divided into various articles, each with its specific names. The various types of kantha are as follows:

Quilt (lep in Bengali)

A light quilted covering made from the old sarees/dhotis/lungis and sometimes from sheet cloths.

Large spread (Naksi Kantha in Bengali)

An embellished quilt embroidered in traditional motifs and innovative style

Puja floor spread (Ason in Bengali)

Cloth spread for sitting at a place of worship or for an honoured guest.

Cosmetic wrapper (Arshilota in Bengali)

A narrow embroidered wrapper to roll and store away a woman's comb, mirror, eye kohl, vermilion, sandal paste, oil bottle, etc. Often, a tying string is used to bind the wrap, as in later day satches.

Wallet (Batwa thoiley in Bengali)

Small envelop shaped bag for keeping money, betel leaves, etc.

Cover for Quran (ghilaf in Arabic and Bengali)

Envelope shaped bag to cover the Quran.

Prayer mats (Jainamaz in Bengali)

Mats used by Muslims to say prayers.

Floor spread (Galicha in Bengali)

Floor coverings.

Cloths wrapper (Bostani, guthri in Bengali)

A square wrapper for books and other valuables.

Cover (Dhakni in Bengali)

Covering cloths of various shapes and sizes.

Ceremonial meal spread (Daster khan in Bengali)

A spread for eating place, used at meal time.

Pillow cover (Balisher chapa or oshar in Bengali)

A flat single piece pillow cover.

Handkerchief (Rumal)

Small and square in shape.

Modern day articles

Today newer uses are found for nakshi kanthas, such as bedspreads, wall hangins, cushion covers, ladies' purses, place mats, jewellery boxes, dress fronts, skirts border, shawls and sharees.

Motifs

Motifs of the nakshi kantha are deeply influenced by religious belief and culture. Even though no specific strict symmetry is followed, a finely embroidered naksi kantha will always have a focal point. Most kanthas will have a lotus as focal point, and around the lotus there are often undulating vines or floral motifs, or a shari border motif. The motifs may include images of flower and leaves, birds and fish, animals, kithen forms even toilet articles.
While most kantas have some initial pattern, no two naksi kantas are same. While traditional motifs are repeated, the individual touch is used in the variety of stitches, colours and shapes. The notable motifs found in naksi kantha are as follows:

Lotus motif

The lotus motif is the most common motif found in kanthas. This motif is associated with Hindu iconography and thus is also very popular in the kantha. The lotus is the divine seat. It is also symbolic of cosmic harmony and essential womanhood. The lotus is also the symbol of eternal order and of the union of earth, water and, sky. It represents the life-giving power of water, and is also associated with the sun for the opening and closing of the petals. It is also the symbol of the recreating power of life. With the drying up of water, the lotus dies and with the rain it springs to life again. The lotus is associated with purity and the goddess Laksmi, the goddess of good fortune and abundance. There are various forms of lotus motifs, from the eight-petaled astadal padma to the hundred petaled satadal. In the older kanthas, the central motif is almost always a fully bloomed lotus seen from above.

Solar motif

The solar motif is closely associated with the lotus motif. Often, the lotus and the solar motifs are found together at in the centre of a nakshi kantha. The solar motif symbolizes the life giving power of the sun. The sun is associated with the fire which plays a significant part in Hindu rites, both religious and matrimonial.

Moon motif

The moon motif has a religious influence, and is popular amongst the Muslims. Mostly it is in the form of a crescent moon accompanied by a star. This motif is particularly found in jainamaz kanthas.

Wheel motif

The wheel is a common symbol in Indian art, both Hindu and Buddhist. It is the symbol of order. The wheel also represents the world. The wheel is a popular motif in kanthas even when the maker has forgotten the significance of the symbol. The motif is relatively easy to make with chatai phor.

Swastika motif

Su asti in Sanskrit means it is well. As a motif in Indian art, it dates back to the Indus Valley civilization. It is symbol of good fortune. It is also known as muchri or golok dhanda. With the passage of time, the design is more curvilinear than the four armed swastika of the Mohenjodaro seal. The symbolic design has significant influence in Hinduism, Buddhism, and Jainism.

Tree of Life motif

The influence of this motif in Indian Art and Culture (as with kantha) may be traced back to the Indus Valley civilization. It is likely that the Indus people conceived the pipal as the Tree of Life...with the devata inside embodying the power of fecundity.  During the Buddhist times, the cult of the tree continued. Pipal is sacred to the Buddha because he received enlightenment under its shade. It reflects the fecundity of nature and is very popular in Bengal. Vines and creepers play an important role in kanthas and they contain the same symbolisation as that of tree of life. A popular motif in Rajshahi lohori is thr betel leaf.
This is a latter day motif, dating from Mughal times.  The kalka or paisley motif originated in Persia and Kashmir and has become an integral image of the subcontinental decorative motif. It can be compared with a stylized leaf,mango or flame. The kalka is an attractive motif and number of varieties are experimented. Similar motifs can be found in traditional kashmiri Shawls.

Other motifs

• The Water Motif:
• The Mountain Motif:
• The Fish Motif:
• The Boat Motif:
• The Footprint Motif:
• The Rath  Motif:
• The Mosque Motif:
• The Panja or Open Palm Motif:
• Agricultural Implements:
• Animal Motifs:
• Toilet Articles:
• Kithen Implements:
• The Kantha Motif:
• The Palanquin Motif:

Borders

Most nakshi kanthas have some kind of border. Either a sari border is stitched on or a border pattern is embroidered around the kantha. The common border found in kanthas are as follows:^[22]

• The Paddy stalk or date branch (dhaner shish or khejur chari)
• The Scorpion border(Biche par in Bengali)
• The Wavy or bent Border (Beki in Bengali)
• The Diamond border (Barfi)
• The Eye border (chok par in Bengali)
• The Amulet border (Taabiz par in Bengali)
• The Necklace border (mala par in Bengali)
• The Ladder Border (Moi taga)
• The Gut taga
• The Chick taga
• The nolok taga
• The Fish border (Maach par in Bengali)
• The panch taga
• The Bisa taga
• The Anaj taga
• The shamuk taga
• The wrench border
• The anchor (grafi par in Bengali)
• The pen border (kalam par in Bengali)

 

Phulkari

Phulkarian embroidery technique from the Punjab region (divided between India and Pakistan) literally means flower working, which was at one time used as the word for embroidery, but in time the word “Phulkari” became restricted to embroidered shawls and head scarfs. Simple and sparsely embroidered odini (head scarfs), dupatta and shawls, made for everyday use, are called Phulkaris, whereas garments that cover the entire body, made for special and ceremonial occasions, are known as Baghs ("garden").

Etymology

The word phul means flower and kari means craft, thus its name, literally means floral work or floral craft.

Overview

Phulkaris and Baghs were worn by women all over Punjab during marriage festivals and other joyous occasions. They were embroidered by the women for their own use and use of other family members and were not for sale in the market. Thus, it was purely a domestic art which not only satisfied their inner urge for creation but brought colour into day to day life. In a way, it was true folk art. Custom had grown to give Phulkaris and Baghs to brides at the time of marriages. Some best Phulkaris and Baghs are known to have been made in Hazara and Chakwal, areas of Northern Punjab in Pakistan.
Some scholars feel that the art of Phulkari came from Iran where it is known as “Gulkari”. Some feel it came from Central Asia along with Jat tribes who migrated to India and settled in Punjab, Haryana and Gujarat. There is reference of Phulkari in Vedas, Mahabharat, Guru Granth Sahib and folk songs of Punjab. In its present form, phulkari embroidery has been popular since the 15th century.
The main characteristics of Phulkari embroidery are use of darn stitch on the wrong side of coarse cotton cloth with coloured silken thread. Punjabi women created innumerable alluring and interesting designs and patterns by their skilful manipulation of the darn stitch. The base khaddar cloth used in Western Punjab is finer from those of Central Punjab. Black/blue are not preferred in Western Punjab, whereas white is not used in East Punjab. In West Punjab, 2 or 3 pieces of cloth are first folded and joined together. In East Punjab, they are joined together first and then embroidered.
In Phulkari embroidery ornaments the cloth, whereas in Bagh, it entirely covers the garment so that the base cloth is not visible.^[1] The end portion of pallav of Phulkari have separate panels of exquisite workmanship of striking design.
The most favoured colour is red and its shades, because Bagh and Phulkari are used during marriage and other festivals. Red is considered auspicious by Hindus and Sikhs. Other colours are brown, blue, black, white. White was used in Bagh by elderly ladies. Silk thread in strands came from Kashmir, Afghanistan and Bengal. The best quality silk came from China.
No religious subject or darbar scenes were embroidered. Phulkari encompassed life in the villages. Creative ability of Punjabi women has produced innumerable and intricate geometrical patterns. However, most motifs were taken from everyday life. Wheat and barley stalk with ears are a common motif.

Revival and modern applications

Traditionally, phulkari garments were part of a girl's wedding trousseau, its motifs expressive of her emotions and the number of phulkari pieces defined the status of the family.  Over the years, government has been working towards promotion of phulkari embroidery, by organizing special training programs, fairs, and exhibitions.  Since most of women artisan creating phulkari are in the unorganized sector or work through agents, they do not make much money compared to an actual market price of their product, to avoid this lacuna Punjab Small Industries and Export Corporation (PSIEC) has formed women self-help groups and cooperatives to sell directly and make more profits.
Indira Gandhi National Centre for the Arts (IGNCA) acquired a collection of selected phulkari for its archives in 1994.  Some modern fashion designers are incorporating this embroidery into their garments, and its use has spread beyond salwar kameez and dupatta to objects and garments as varied, as jackets, bags, cushion covers, table-mats, shoes, slipper, juttis, and kids garments.
In 2011, after a five-year long legal case, Phulkari was awarded the geographical indication (GI) status in India, which means that after that only registered traders and manufacturers, from Punjab Haryana and Rajasthan states would be able to use the term for the traditional craft, and the patent information centre (PIC) of Punjab State Council for Science and Technology would issue a logo or hologram to distinguish the product

 Shisha (embroidery)

Shisheh or Abhla Bharat embroidery (Shisheh Persian شيشه, Abhala Bharat Hindi:   , Abhla Bharat Gujarati  , or mirror-work, is a type of embroidery which attaches small pieces of mirrors reflect metal to fabric. Mirror embroidery is spread throughout Asia, and today can be found in the traditional embroidery of Iran, India, Pakistan, Afghanistan, China, and Indonesia

History

Shisha embroidery as it exists today originated in 17th-century India. Traditionally, shisheh or abhla bharat work was done using Mica but Beetle, Tin, Silver or Coins were not uncommon depending on the region. But was later replaced by glass blown into large thin bubbles and broken into small pieces for this use. Traditional shisha mirrors have a convex curve due to this process. The tradition of making circular shisha was extensively done by women in South Asia, who use special scissors that are repeatedly dampened to prevent flying shards, and snip them into smaller circular shapes.
The use of decorative mirror or shisheh was introduced from Iran during the Mughal Empire. However shisheh embroidery was not used on Mughal clothing but rather found only on traditional folk clothes of South Asia and Central Asia. The term shisheh means glass in Persian, from where the word transferred to Urdu/Hindi and other related languages. Contemporary shisheh work almost entirely consists of mass-produced, machine-cut glass shisha with a silvered backing. Today most craft stores in South Asia carry small mirrors purchasable for use in embroidery, which come in varying shapes and sizes.
This form of embroidery work is now most common on the Indian subcontinent, especially in parts of Gujarat, Rajasthan, Haryana, Delhi, Madhya Pradesh, Bihar, Karnataka, Andhra Pradesh, Manipur, Baluchistan and Sindh. This type of embroidery lends a sparkling appearance to the brightly colored clothes worn in the region, and is very popular for use on clothing, hangings, tapestries, and domestic textiles.

Religious Signifiance

Among Hindus in Rajasthan, Gujarat, Madhya Pradesh and Haryana the use of abla bharat torana or shisha torana tied to the front door is believed to ward off evil eyes. This belief is also held by Muslims and Jains living in those regions.

Zari

Zari (or Jari) is an even thread traditionally made of fine gold or silver used in traditional Indian, Pakistani and Persian garments, especially as brocade in saris etc.  This thread is woven into fabrics, primarily made of silk to create intricate patterns. Traditional textile weaving in Iran (Persia) have long tradition of Zari, especially in Zardozi embroidery.  It is believed this tradition started during the Mughal era. Today, in most fabrics, zari is not made of real gold and silver, but has cotton or polyester yarn at its core, wrapped by golden/silver metallic yarn.
Zari is the main material in most silk sarees and gharara. It is also used in other garments made of silk, like skirts, tops and vettis.

Manufacture

Zari is basically a brocade of tinsel thread meant for weaving and embroidery.It is manufactured by winding or wrapping (covering) a flattened metallic strip made from pure gold, silver or slitted metallised polyester film, on a core yarn, usually of pure silk, art silk, viscose, cotton, nylon, polyester, P.P., mono/multi filament, wire, etc. Nowadays, it can broadly be divided into 3 types. 'REAL ZARI' made of pure gold & silver, 'IMITATION ZARI' made of silver electroplated (thinly) copper wire, and metallic zari made of slitted polyester metallised film. In ancient times, when precious metals were cheaply and easily available, only REAL ZARI threads were produced. Due to industrial revolution and invention of electroplating process, IMITATION ZARI came into existence to cut the cost of precious metals. As COPPER is the most malleable and ductile metal after Gold and Silver, silver electroplated copper wire replaced pure silver. Various modern colours and chemicals are used to create/impart a golden hue instead of pure Gold. The precious metals & copper too became dearer due to huge demand in various modern industries. Thus, a cheap & durable alternative was invented with non-tarnishing properties. METTALIC ZARI came into vogue replacing traditional metals like Gold, Silver & Copper. This ZARI is light in weight & more durable than earlier editions. Also, it had the most sought after properties of non-tarnishing & knot-free / knot-less.
Surat in the state of Gujarat on the west coast of India is the world's largest producer of all types of ZARI & ZARI MADE-UPS namely Threads, Cantile, Laces, Ribbons, Borders, Trims, Fringes, Edges, cordonettes, Cords, etc. The art of ZARI making has been inherited from father to son since many centuries. It is recognised as one of the ancient Handicrafts by the Government of India. Women from different communities & artisans produce Zari & made-ups for weaving, embroidery, crocheting, braiding, etc.

Om Tat Sat

                                                        

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