PHULKARI

Phulkari
Phulkari, which literally translates into ‘flower work’, has a
history etched in the culture of Punjab. Spun from the
charkha this spectacular style of embroidery is patterned on
odinis, shawls, kurtis and chunris. The main characteristics of
this embroidery are the use of darn stitch on the wrong side
of cloth with colored silken thread. A face of fashion that
finds its first mentions in Punjabi folklore of the romantic
protagonists Heer and Ranjha, Phulkari is a dream weaver for
every Punjabi girl.
In the days gone by, it was an
art that offered complete
freedom of creativity. Motifs
used were an adroit
representation of the dear and
sundry values of Punjab.
Sources of Inspiration
Thread by thread, each motif
was created in a geometric grid, which was a peculiar
technique for coming up with a curvilinear final output. Long
and short darn stitch was put to clever use for creating
horizontal, vertical and diagonal thread work, inspired by
routine of the artists, flowers, and animals.

Various types of Phulkari in India:

Thirma: Symbol of purity, worn by elder women & widows,
but at times, the choice of white is made for esthetical
reasons.
Darshan Dwar: Made for a temple as an offering to thank god
after a wish has been fulfilled.
Bawan Bagh: Mosaic of fifty-two different patterns which
decorate the piece and is the rarest of all.
Vari-da-Bagh: Made on an orange reddish khaddar with the
main pattern being a group of three- four small concentric
lozenges (diamond) of growing size.
Chope: Embroidered with one color, usually on the borders.
Surajmukhi: Sunflower refers to the main pattern of this
Phulkari.
Kaudi Bagh: Chains of small white squares representing
stylized cowries.
Panchranga: Decorated with chevrons of five different
colours.
Satranga: Decorated with chevrons of seven different
colours.
Meenakari: Made of gold and white coloured pat, is
decorated with small multicoloured lozenges referring to
enamel work (meenakari)
CHIKANKAR
I
CHINANKARI
Chikan in the literal sense means embroidery. This traditional
embroidery style is one of Lucknow’s most ancient and well-
known art forms, believed to be introduced by the Mughals.
The simple and precise handwork on the garment, gives it a
very subtle, classy feel that modern embroidery techniques
lack. The main essence of the garment is a simple design, and
while motifs are now added to
make the garment look rich, it
still remains a simple and
affordable fabric choice.
Origin and history
Indian chikan work goes as far
back as the early 3rd century BC,
with one tale mentioning the
story of a traveller who taught
chikan to a peasant in return for
drinking water. However, the
most popular, and factually checkable story is that Noor
Jahan, the wife of Mughal emperor Jehangir, introduced the
Persian art in India in the 17th century. She herself was a
talented embroideress, and had a particular fondness for this
art. Her husband is said to have loved chikan work too and
has established several workshops to perfect this art form in
India.
Started as a white-on-white embroidery form, back in the
day, the favoured fabric was muslin or mulmul as it was best
suited to the warm, slightly humid climate. After the downfall
of the Mughal Empire, chikankari artisans spread all over
India, but Lucknow remained the main center, with Awadh a
close second.

Embroidery process
The type of stitching used depends on the specialty of the
region and the type and size of the motifs. Some of the most
popular stitches in Lucknow chikankari include the backstitch,
chain stitch and hemstitch. The result is an open work
pattern, a jail (lace) or shadow work.
Motifs
Floral patterns and chikankari go hand in hand. Due to its
strong Persian influence, flowers have always been a staple
with stems, buti and leaves added in to complete the design.
Other motifs include embellishments like Mukaish, Kamdani,
Badla as well as sequin, bead and mirror work, all of which
give the simple work a richer look
Indian designers Abu Jani and Sandeep Khosla have been
dedicated to uplifting the status of traditional crafts in India
KNOW YOUR CRAFT: CHIKANKARI
Technique Hand Embroidery Distinguishing factor Unique
chikan stitches in white thread on either white or coloured
cloth.
Manufacturing hubs Lucknow and Awadh. Time taken to
weave 5 to 15 days depending on the intricacy of the
embroidery
Type of fabric
Originally on muslin, now on cotton, organza and silk
Varieties Muslin, cotton, silk, chiffon, organza and net with
sequin, bead and mirror work
Colours Initially a white-on-white embroidery, now available
in a variety of colours Price About Rs.1200 to Rs.2000 for a
kurta
Motifs Floral patterns, stems, butis and leaves Care Silk
variety needs to be dry cleaned.
Classification of Motifs:
Natural Motifs: As the name proposes, these are the themes
roused by nature. Man is roused by all that occurrence
around him. We can see excellent flowers, leaves, vines, birds
and animals weaved on the fabric. Prominent types of
natural motifs included in Chikankari are:
Paisley Motif: Paisley is a vegetal theme, frequently moulded
like a bead or kidney bean. The shape of the paisley motif can
be best depicted as a comparable shape of a mango. The
symbol of paisley was called boteh (the Persian word for
bush or bunch of leaves) which is outwardly a mix of a splash
of floral components and a cypress tree.
Floral Motif: Floral motifs can be seen on the majority of the
chikan embroidery patterns they are quintessential in chikan
work designs. Due to the substantial impact of Persian touch
on this art, floral motifs continue to be an essential part of
this embroidery. The stylisations of floral motifs may have
varied throughout time to keep up with evolving style trends,
but in general, the designs have remained fairly intricate and
delicate.
Palm Leaf: Palm leaf motifs can be described as the imitation
of Paisley motifs, in palm leaf motifs the paisley motif is
formed along with stalk and leaves.
Petal Motifs : Petals are one of the commonly practised
motifs in chikankari designs. Petals are usually created with
flowers to enhance their beauty.
Stylised Motifs: These are made to make the theme and
motifs more delightful. The motifs which have more bends,
details and curves are far from their regular frame and look
more confounded such themes are called stylised motifs.
Abstract Motifs: These themes don’t have a particular source
of motivation. Natural and abstract motifs utilized a similar
wellspring of motivation yet results would be very unique.
The natural motifs of a leaf will resemble a leaf yet an
abstract theme of the same can be made by just utilizing its
surface, veins, examples or shading to deliver an alluring
theme. These are likewise called non-figurative outline.
 KANTHA

KANTHA EMBROIDERY
KANTHA, a popular style of embroidery that comes from
west bengal, it is a significant symbol that displays the skill
and talent of the rural women in Bengal. Kantha, which
basically means 'throat', is associated with lord shiva. The
story resolves around how lord shiva consumed poison while
stirring up the ocean, and therefore the significance of this
word goes all the way back to the vedic times. This type of
stichis basically the 'running' stich, and is very simple.
Traditionally this embroidery was used for quilts, dhotis and
sarees, but over a period of time it has evolved and made its
way right into the heart of indian fashion. The yarn is taen
from old saree borders; the design i sthen traced and finally
covered with running stitches. Today this kind of embroidery
can be found on shawls, pillow covers, dupattas, and home
furnishings as well.
ORIGIN and HISTORY
Kantha is perhaps the oldest forms of Indian embroidery as it
can be traced back to the first and second A.D. The thought
behind this needlework was to reuse old clothes and
materials and turn them into something new. this is what
makes kantha embroidery only one of its kind. Traditionally
women would take 4 to 5 sarees, layer them together and
create diffrent running stitches on them which they then
used as blankets to cover their to cover their cheildren with.
However, what started as a way to make life more
comfortable went on to become a big trend in clothes.
SOURCES OF INSPIRATION
Day to day life was the biggest source of inspiration behind
this craft. The motifs designed on clothes or bed spreads
were of birds, animals, folk scenes, fishes and imagery that
depicted different views of livelihood for the people living in
Bengal.
VARIETIES
There are 7 different types of kantha stitches.
1) ARCHILATA KANTHA - Covers for mirrors or toilet
accessories with wide, colorful borders.
2) LEP KANTHA - these are wraps which are heavily padded to
make warm quilts.
3) BAITON KANTHA - Squares wraps used for covering books.
4) DURJANI KANTHA - are quilted wallets made out of
rectangular kantha pieces.
5) OAAR KANTHA - are used pillow covers.
6) RUMAL KANTHA - are used as plate coverings.
7) SUJANI KANTHA - are decorative quilted kantha used as
blankets or spreads.
Kantha embroidery has definitely taken the fashion industry
by storm. Sharbari Datta, an Indian fashion designrer, has
displayed beautiful ensembles of kantha work, along with
other Indian traditional embroideries, in several of her
fashion shows. She took the traditional kantha embroidery
and gave it a unique twist by including it on dhotiskurtas,
sherwanis and even hot pants. Moreover, Hillary Clinton, on
one of her visits to india, was greatly impressed by the rich
cultural display in Bengal, especially through its embroidery
and handicraft. In one of the fashion shows she attend, she
fell in love with the exquisite displays of Kantha embroidery.
This kind of embroidery truly marks a flair for style in any
individual who wears it, while maintaining the appeal of
comfort and leisure.
INNOVATIONS
Kantha work has been around for ages and has been
favourite amongst those who love taking fashion and style to
levels beyond the ordinary. conventionally, the motifs used
were of animals or birds, but now with modern-day
designers, experiments in designs are also being done. One
can see cave art, Egyptian murals, Hindu mythology and even
pop art being illustrated through this fine stitch work.
 KASUTI

KASUTI EMROIDERY
Introduction
Kasuti is a traditional form of folk embroidery practised in the
state of Karnataka, India.
Kasuti is a world famous embroidery of Karnataka. 'Kai'
means hand, and 'suti' means cotton thread. Hence Kasuti
means hand work made of cotton thread.
Motifs
The motifs used in Kasuti are taken from mythological
stories, architectural motifs like gopuras, shiva linga, nandi
palanquine etc. are used. Apart from these various types of
creepers, foliages, flowers,
animals and birds are used.
Thread: Silk thread is used in
olden days. Now instead of silk
yarns, mercerised cotton threads
with guaranteed color fastness
are used. Two to four strands are
used for fine and coarse work
respectively. This may vary
according to the type of material motif and stitch
employed Kasuti is a world famous embroidery of Karnataka.
'Kai' means hand, and 'suti' means cotton thread. Hence
Kasuti means hand work made of cotton thread.
Stitches
Stitches are always worked in vertical, horizontal and
diagonal manner. The common four types of stitches used in
Kasuti are Gavanti, murgi, negi and menthi.
Types of stitches:
a. Gavanthi:This is a simple more common stitch derived
from the Kannada word-Gantu means 'knot'. It is a double
running stitch, in which the first running stitch is filled by the
second running stitch on the same line. The second one
worked exactly opposite to the first one.Gavanthi may be
worked in horizontal, vertical or diagonal directions.
b. Murgi:
This is a zigzag runnings stitch which appears like staircase. It
is same as Gavanti stitch but works in a stepwise manner.
The work in both Gavanti and Murgi stitches is neat and tidy,
where the design appears same on right and wrong side of
the material. However, the stitches should be of uniform size.
Designs are produced by grouping the tiny designs on regular
intervals and sequences.
b. Murgi:
This is a zigzag runnings stitch which appears like staircase. It
is same as Gavanti stitch but works in a stepwise manner.
The work in both Gavanti and Murgi stitches is neat and tidy,
where the design appears same on right and wrong side of
the material. However, the stitches should be of uniform size.
Designs are produced by grouping the tiny designs on regular
intervals and sequences.
c. Negi:
This is another stitch in Kasuti. Negi in Kannada means 'to
weave' i.e. Negi design has an overall effect of a woven
design. Negi is nothing but ordinary running or darning stitch.
It is worked in long and short straight lines or floats and
therefore the design does not appear identical on either
sides of the cloth.
d. Menthi:
This stitch is an ordinary cross stitch. Menthi in Kannada
means 'Fenugreek Seed'. This cross stitch usually appears
heavy as it is used for filling purpose. This stitch requires
more length of thread than the other three stitches. Similar
to Negi, even this stitch does not give same appearance on
either sides of the cloth. It can be seen in Ikat sarees
Motifs used in Kasuti:
Traditional Kasuti motifs are geometric in design and in cross
stitch. It is executed by counting the threads of the fabric.
Furthermore, the designs are worked along in such a way
that it finishes at the point where it started. The weft and the
warp threads were counted and an exact count of stitches
are calculated
Motifs used in Kasuti:
Karnataka has been influenced by various cultures – Hindu,
Buddhist, Jaina, and Islam and many folk traditions. The Kings
encouraged both Shaivism and Vaishnavism and Sakti
worship had its claimants too. Traditional Kasuti motifs are
geometric in design and in cross stitch. It is executed by
counting the threads of the fabric.
MANIPURI
MANIPURI EMBROIDERY
Introduction
Manipur is a land of rich valleys surrounded by beautiful hills
and lakes. Manipur is surrounded by mountains, its beautiful
valleys covered with sheets of water. The people of Manipur
are skilled in many arts. The women of Manipur carry the
main burden of the society. The embroidery prepared by
women is delicate and extremely fine. This craft is practiced
by both men and women in Manipur.
Threads and colors
Earlier untwisted silk threads were used. Now the usage of
cotton threads in shades of red, yellow, white, green, and
even black is become more popular. Stitches
Tiny satin chain and stem stitches are commonly applied. The
chain stitch is mostly utilized for outlining the motifs.
Fabrics
Woven cotton normally with black as the base color, thus the
colors of the embroidery stand out, At times green and
yellow was also used.

KUTCH EMBROIDERY
ZThe Kutch Embroidery is a
handicraft and textile signature art tradition of the tribal
community of Kutch District in Gujarat, India.[1] This
embroidery with its rich designs has made a notable
contribution to the Indian embroidery traditions.[2] The
embroidery, practiced normally by women is generally done
on fabrics of cotton, in the form of a net using cotton or silk
threads. In certain patterns, it is also crafted over silk and
satin. The types of stitches adopted are “square chain, double
buttonhole, pattern darning, running stitch, satin and straight
stitches”. The signature effect of the colorful embroidery
sparkles when small mirrors called abhla are sewn over the
geometrically shaped designs. Depending on the tribal sub
groups of Rabari, Garasia Jat, and Mutava involved with this
craft work many hand embroidered ethnic styles have
evolved. These six styles: Suf, khaarek, paako, Rabari, Garasia
Jat, and Mutava.
This embroidery product of Kutch has been registered for
protection under the List of Geographical indication of the
Trade Related Intellectual Property Rights (TRIPS) agreement.
In March 2013, it was listed as "Kutch Embroidery" under the
GI Act 1999 of the Government of India with registration
confirmed by the Controller General of Patents Designs and
Trademarks under Class 24 Textile and Textile Goods, and its
logo registered in November 2015 vide application number
509 for the dated 8 January 2012.[1]

History of the Kutch Embroidery is traced to the 16th and

17th centuries when people migrated from the countries such
as Afghanistan, Greece, Germany, Iran and Iraq to Gujarat. It
is also said that cobblers known as Mochis were trained in this
art form by the Muslim sufi saints of Sindh. The art form
became a vocation for women of Kutch not only to meet their
own clothing requirements but also to make a living, in view
of severe dry and very hot conditions of Kutch. It became a
generational art with the skills taught from mother to
daughter. They embroidered clothes for festive occasions and
to decorate deities and to create a source of income.
KUTCH
CHAMBA
RUMAL

CHAMBA RUMAL EMBROIDERY

Popular for its art and embroidery, a little town called
Chamba, is located in the hills of Himachal Pradesh. The small
yet graceful settlement of mountain dwellers gave birth to an
intricate form of needlework known as the Chamba Rumal. It
is presumed that the subjects were drawn in outline by the
women on the court. Chamba embroidery designs were based
on nature, mythology, articles of everyday use and
happenings of everyday life, animals, birds and trees etc and
geometrical designs are also very popular.
History
Chamba, situated on the river Ravi, was one of the most
important centers of miniature painting.The dreamlike quality
of the background coupled with women of porcelain like
beauty developed its own characteristics in Chamba. It is said
that the King and his nobles employed the painter to record
important happenings in the court including musical modes,
seasons, mythological subjects, agony and love. The ladies of
the court created the same motifs with their needles with an
equal amount of skill of the painters.

Styles & Variety

Chamba embroidery mainly revolved around deities, such as
Shiva, Ganesha, Durga, Vishnu, Parvati, and Lakshmi. One of
the favorite themes of a painter was the cheerful antics of
Lord Krishna with Radha. He is shown in various poses with
Radha while the gopis (devotees) dance around them. Some
scenes of battle and hunting are depicted with great finesse.
Various attacks which show guns, swords, spears, etc are
shown.
Fabric and Colors
Khaddar, which is basically a rough, and hand woven cotton,
and malmal, also known as fine muslin, were the fabrics used
in creating Chamba rumal. The reason being that the off-
white fabric creates a clear base for the embroidery while
highlighting the vivid hues of the silken threads used for filling
up the line art. Khaddar was used for Chamba rumal due to its
availability, viable cost, and durability. The figures and floral
patterns drawn on the Chamba rumals are filled with pat, a
type of untwisted silken floss.
The most popular colors used in Chamba rumal are
ultramarine, Persian blue, carmine, parrot green, deep red,
pink, brown, black, white, lemon, deep yellow, brilliant pink,
and purple.

KASHMIR
Kashmir Embroidery
Kashmir embroidery is one of the most famous styles of
decorated needlework from the Indian subcontinent.It
originates from the Jammu and Kashmir region of the
northwestern part of South Asia It is also known as Kashida
embroidery. Traditionally, the cloth for this type of work was
woven and then decorated by embroiderers (rafugar), often
from the same (extended) family.
The embroidery of Kashmir textiles is probably an early
nineteenth century development, which copied the much
more time-consuming and expensive forms of woven
decoration..
The ground material used for Kashmir embroidery is usually a
(fine) wool or cotton cloth in a light colour for summer wear,
while in the winter there is a preference for thick, black wool
cloth. The intended design is traced onto the ground material
by a professional tracer (nakshaband), who uses a punch and
pounce technique with either a charcoal or chalk powder
(depending on the colour of the ground material), which
leaves a trail of dots on the ground material. The dots are
then joined together to create a design using a pen (kalam)
and ink.
The embroidery consists of a simple running stitch, with stem
stitch (kanigar) in a darker shade to outline the various motifs.
Other stitches, notably, are buttonhole stitch (vata chikan ),
chain stitch (zalakdozi), herringbone stitch, satin stitch (sozni
embroidery), slanted darning stitch, stem stitch, and straight
stitch. In addition, occasionally, drawn thread work (doria
embroidery), couched cords (doori embroidery) and knot
stitches can be found.
A wide variety of stylised flowers and fruit form the basis for
Kashmir motifs. The flowers are portrayed in a variety of
different colours and shapes, including almonds, apples,
cherries, grapes, irises, lilies, lotus, mangos (paisley motifs),
plums, saffron, tulips, as well as birds such as kingfishers,
parrots and woodpeckers. Some older examples, called
shikargah, which date from the eighteenth and nineteenth
centuries, may include bands of marching soldiers and horse
riders.
Kashmir embroidery is used to decorate a wide range of
objects, from men and women’s clothing (especially the
shawal, kurta and duppatta), Western style garments such as
cardigans and jackets, as well as blankets and shawls. This
form of embroidery is also used for bags, carpets, wall
hangings, room dividers and so forth. The financial value of a
piece of work is determined by the motifs and size of stitches
used, as well as the quality and quantity of embroidery
thread. In the more elaborately embroidered examples it is
regarded as important for the ground cloth to be totally
covered.