PowerPoint Presentation

TRADITIONAL TEXTILE OF NORTH 1PHULKARI OF PUNJAB

3

ZALAKDOZI OF JAMMU & KASHMIRINTRODUCTIONCrewel or Hook embroidery is locally known as Zalakdozi. It is one of the specialized styles of embroidery practiced in Kashmir. It is chain stitch embroidery done with hook locally known as ari. It is a special work on carpet known as crewel for which chain stitch is the base supplement with satin and whip stitches.

HISTORY OF ZALAKDOZIZalakdozi is hook embroidery, named after a hook resembled a crochet. John Irwin state that, Zalakdozi was probably introduced in Kashmir by Damascus craftsmen during sultan Zain-ul-Abidinis rule. Various articles are prepared by hook embroidery and one of them is Namada, a felt carpet. It is an important textile of Kashmir. Namada is either in white or various colours that is richly embroidery by wool with chain stitch. It is a special work on carpet known as crewed for which chain stitch is the base supplement with satin and whip stitches.MOTIFS OF ZALAKDOZIMotifs of Zalakdozi are mostly taken from nature. Animal and human figures are usually not seen due to Muslim influence. They are:-Chinar leaf,Shikagarh,Theridar,Bulbuldar,Guldar,Badamadar,Kalka, Parrot,Birds , etc.

COLOUR USED IN ZALAKDOZIThe base colour of the fabric is generally cream or white or similar pastel shades. A wide range of colours are used by the Kashmiri embroiders for the embroidery yarns including :White -sufedGreen -zingariDark- green Purple-udaBlue- ferozi

Black-mushkiCrimson- gulmorScarlet-kirmizLight blueYellow- zard

these are died exclusively in vegetable dyestuff.FABRIC USED FOR ZALAKDOZIFabrics:- used are silk, wool, cotton, and threads used are wool, silk and art silk.

STITCHES USED IN ZALAKDOZIUsed in this embroidery are satin stitch, chain stitch, long and short. Herring bone stitch and darning stitches are used occasionally.Other stitches used are known as:-1)Vata Chickan-Button Hole2)Doria-Open Work3)Talaibar-Gold Work4)Zalakdozi-Chain Stitch5)Rafooqani Or Darning Stitch

CHAMBA RUMAL

69The Chamba Rumal , is a form of embroidery that flourished in the eighteenth and early twentieth century in the mountain region of north India.Running through Chamba, Kulu, Kangra, Guler, Mandi and Suket, the craft witnessed explicit distinctions between 'elite' and 'folk art'. The languishing craft of the 'Chamba Rumal' refers only to the delicately embroidered rumals created by royal and elite women who had access to the professional services of trained miniature artists. These miniature artists not only drew the theme to be embroidered on the rumal in charcoal, but also provided the women who would be embroidering the rumal with a sophisticated colour paletteIntroduction Location of Chamba Chamba is the north-western district of Himachal Pradesh. Founded during the 6th century, it is one of the oldest princely states in India. Chamba has a rich history of crafts including metal crafts, miniature paintings, weaving, leather work, wood carving, basketry and jewellery making.

It was customary to gift embroidered rumals in a girls marriage. Subjects like wedding scenes were popular and were repeatedly embroidered. This handicraft , being an important item of the dowry, was dependent for its existence almost on the social custom i.e. wedding. No marriage ceremony would be reckoned complete with out the gift of Chamba rumal by the relatives of the brides.Traditions

Raw material

Traditionally, the fabric used to make the Chamba Rumal was hand-spun or hand-woven unbleached thin muslin or malmal. The most popular fabric , employed inChamba rumals, was khaddar because of its availability, lowcost and durability.

Untwisted silken thread THREADS USED The thread used for the embroidery was untwisted silk yarn, which, in the do - rukha stitch used in Chamba embroidery. This untwisted silk thread - usually made in Sialkot, Amritsar, and Ludhiana - was the same as that used in the Phulkari embroidery of the Punjab.

NEEDLESTITCHES USEDThe stitch used in embroidering the Chamba Rumal was the do rukha, double satin stitch which, as its name implies, can be viewed from two (do) sides or aspects (rukh). The stitch is carried both backward and forward and covers both sides of the cloth, effecting a smooth finish that is flat and looks like colours filled into a miniature painting. No knots are visible, and the embroidered rumal can be viewed from both sides. It thus becomes reversible.

Dandi Tanka - the stem stitch

The outline in black thread is a marked characteristic, which is a conspicuous characteristic of the Chamba rumal. After filling the colourful threads in the figures and floral designs , these are finally enclose with a fine line worked out in black thread , which apparently lends the powerful affect as seenin pahari miniature painting

Criss - Cross stitch

The use of criss cross stitches , which comprise a simple technique of crossing two stitches of equal size in the shape of a cross (X) can be discerned in several rumals. This stitch as a unit comprises a running band mostly in red colour , arrayed usually in straight or circular line identically visibleon the both sides of the fabric. This criss cross stitch is no longer practiced by any contemporary embroider in Chamba .

MOTIFSAnimal and birds motifs are used along with human figuresBird motifs - parrot, peacock, duck and swan Animal motifs tigers, horses, rams Tree motifs cypress and the plantain trees bent, laden with flowers and fruits.

MOTIFS

PROCESS

STEP 1:

STEP 2 :Outlining of drawing with charcoal by the artist.

Do-rukha embroidery done by the women folks.STEP 3 :

EMBROIDARY DESIGNS

Dice board

Radha-Krishna

Shikargah

Radha-Krishna Krishna Ras Leela

Radha-Krishna Krishna Ras LeelaCurrently, raw materials being used are cotton, malmal, silk, terricot and polyester fabrics. Both twisted and untwisted yarn is being used to do the embroidery. The affect and the beauty of the Chamba Rumal are clearly visible on the malmal or cotton. Other fabrics are mostly being used to bring down the costs of the rumal and sell it in the local market Current designs, fabrics and tread used.

Chamba Rumal on silk fabric with traditional motifs Pahari painting in Chamba There is a strong link between pahari paintings and the embroidery on the rumals. The subject of the embroideries ranged from religious themes, embodying the strong Vaishnava fervour in the pahari regions, to themes from the great epics, the Ramayana, and the Mahabharata. Krishna surrounded by his gopis , godhuli(the hour of cow dust, with Krishna and his cow-herd friends bringing home the cows); the Radha-Krishna alliance are among the popular themes.

CHIKANKARI OF UTTAR PRADESHINTRODUCTIONFamous as shadow work, Chikankari embroidery is a very delicate and intricate work from the city of Lucknow. A skill more than 200 years old, the embroidery is famous for its timeless grace and gossamer delicacy. Also known asChikan, the embroidery is traditionally done using a white untwisted cotton thread on colourless muslin popularly knownas tanzeb(the muslim from Dacca).This form of embroidery came to India from Persia with Noor Jehan, the queen of the Mughal Emperor Jehangir. It is also said that the wordchikanis a derivative from the Persian word chikaan meaning drapery. The craft flourished under the benign nawabi influence and later with the British influence designs became more formal resulting in an export market in Europe and England.HISTORY OF CHIKANKARIChikankari, primarily refers to an embroidery variety done originally with pristine white cotton thread on fine mulls and muslins. The word chikan derives its name from the Persian word, Chakeen, meaning rendering of delicate patterns on fabric.

Thechikankariembroidery garmentis believed to be introduced in seventeenth century by Noorjehan (wife of Mughal emperor Jehangir) who was inspired by Turkish embroidery. Some designs and patterns still exist that are believed to be queen's personal creations.

MATERIALOriginally, chikan embroidery was done with the untwisted white cotton thread on soft, white cotton fabric like muslin or cambric. It was sometimes done on net to produce a kind of lace. Today chikan work is not only done with coloured threads but on all kinds of fabrics like silk, crepe, georgette, organdie chiffon, and tassar.TechniqueInChikankari, the design to be embroidered is printed on the fabric using wooden blocks dipped in fugitive colours, which are commonly made by mixing a glue and indigo with water. For extra fine designs, brass-blocks are used sometimes.DesignThe design is decided upon on the chosen fabric. The stitches are decided according to the design to be used in the embroidery.

EngravingThe pattern is then engraved on a wooden block or at times sketching it manually.

Block PrintingOnce the block is ready then the printing is done on the fabric. Printing is carried out by the use of wooden blocks dipped in dyes like neel and safeda to make a pattern.

EmbroideryThe printed fabric then reaches the craftsmen who get to work with the cloth stretched by a wooden frame or Karchop. They do the enriching embroidery using a variety of stitches.

Washing & finishingAfter the embroidery, the fabric reaches the laundry and is thoroughly washed and given the finishing touches. This includes bleaching, acid treatment, stiffening or starching and ironing.

STITCHES USED IN CHIKANKARIChikankari flat stitches with their traditional names are:

BUKHIATAIPCHIPECHNIGITTIJANGIRAChikankari knotted, embossed stitches with their traditional names are:JALI WORKBesides there are two other important forms of embellishments:MURRIPHANDADHUM PATTIGHAS PATTIChikankari flat stitches with their traditional names are:1.Bukhia: Most common chikan stitch to get the effect of shadow work. Bukhia is very similar to the herringbone stitch done on backside and front side to give a shadow effect.It is done in two waysa) From back side (ulta bakhia), the floats lie on the reverse of the fabric underneath the motif. The transparent muslin becomes opaque and provides a beautiful effect of light and shade.b) From front side (sidha bakhia), it is the satin stitch with criss-crossing of individual threads. The floats of thread lie on the surface of the fabric. This is used to fill the forms and there is no light or shade effect.

Chikankari flat stitches with their traditional names are:2.Taipchi: It is the running stitch worked on the right side of the fabric. It is occasionally done within parallel rows to fill petals and leaves. Sometimes taipchi is used to make the bel buti all over the fabric. This is the simplest chikan stitch and often serves as a basis for further embellishment. It resembles jamdani and is considered the cheapest and the quickest stitch.Pechni: It is the variation build on Taipchi where the taipchi base is covered by entwining the thread over it in a regular manner thus forming a lever spring.

Chikankari flat stitches with their traditional names are:3.Gitti: A combination of buttonhole and long satin stitch, usually used to make a wheel-like motif with a tiny hole in the center

Chikankari flat stitches with their traditional names are:Jangira: It is the chain stitch usually used as outlines in combination with a line of pechni or thick taipchi

Chikankari knotted, embossed stitches with their traditional names are:Murri: It is the diagonal satin stitches worked several times with a knot on a basic taipchi stitch to form a grain shape

Chikankari knotted, embossed stitches with their traditional names are:Phanda: It is a smaller shortened form of murri. The knots made are spherical and very small. It resembles millets, gives a raised effect and is used to fill petals and leaves.

Chikankari knotted, embossed stitches with their traditional names are:3.Dhum patti: It is the leaf pattern made of cross-stitch.

Chikankari knotted, embossed stitches with their traditional names are:4.Ghas patti: It is the grass leaves formed by V-shaped line of stitches worked in a graduated series on the right side of the fabric.

Jali work:The jaalis or trellises that are created in chikankari are a unique speciality of this craft. It gives an effect of open mesh or net created by carefully pushing warps and wefts apart by needle without cutting or drawing of thread. The act thus make neat regular holes or jaalis on the fabric.

MOTIFSThe source of most of the design motifs inchikankariis Mughal. Noor Jehans personal preferences and desire to replicate the Turkish architectural open-work designs is said to have that led to the introduction ofjaalisin chikan embroidery. The designs in chikan are graded and used according to the stitches employed murri ka butaandtepchi ka jaal though terms likehathi(elephant) andkairi(mango) are also used to signify the shape of the motif. It is however the stitch employed that is the established nomenclature. Other common motifs include mostly paisley, flowers, foliages, creepers, fruits, birds like peacock and parrots.Brocades of Varanasi, Uttar Pradesh

INTRODUCTIONBanarasi Brocades as the world knows it is called by the name kinkab in Varanasi. A high quality weaving is done using gold and silver threads. Silk Threads are also used as well. The most common motifs include scroll patterns and butidars designs. The other designs are Jewelry designs, birds, animals, flowers, creepers, paisley motifs. Hindu religious and Mughal motifs also influenced the brocade designs. When a Gold embellishment is done on a silver background it is called ganga-jamuna in the local language.The designs are first drawn on paper. The person who draws this is called naqshaband. The main weaver is assisted by a helper. This design is then woven on a small wooden frame to form a grid of warp and weft. The requisite number of warp threads and the extra weft threads are woven on the loom. The famous tissue sari of Varanasi is unbelievably delicate, combining the use of gold and silver metallic threads.

Banaras is one of the rich weaving craft centre of India, famous for Brocade Saris and dress material. One unique and intricate silk brocades and sarees of Banaras has made it world famous. Among the different varieties of sarees produced in the centres, some exclusive varieties of the sarees are Jangla, Tanchoi, Vaskat, Cutwork, Tissue and Butidar which are made of silk warp and silk weft, on plain/satin ground base, brocaded with extra weft patterns in different layouts introducing Buties, Bells, Creepers, Buttas in ground, border and anchal for getting glamourous appearance. With the change in time and consumer preference, the weavers of the cluster are also undertaking changes in the design and pattern of the product alongwith product diversification. In order to cater to the need of the oversees and domestic buyers, the weavers of the cluster are also producing home furnishing, silk dhotis, stole, scarf, muffler, mats, dress material, wall hanging, made ups like curtain, cushion cover, table cover, napkins, runners, etc. some of the items produced in the Banaras are presented below: Brocade: Banarasi Brocade Sarri The eleganttraditional costume for Indian women a common form of clothing for women across south Asia, draped around the body in different styles to form a garment. It is a seamless rectangular piece of fabric measuring between four to nine meters decorated with varying pattern, colour, design, and richness.Usage of diverse colour, motif, pattern and weave over the untailored length of a sari make it a representation of rich regional traditions. The Sari is usually divided into three parts:An end-piece orpalluA field orjaminBorder orkinaraTheend-pieceis the loose end of the sari covering the bosom and thrown over the shoulder. It is usually the most exposed and hence usually the most embellished part of the sari. Thefieldof a sari may be embellished with prints, embroidery, etc or left plain as per design may be. Thebordersof a sari run along the entire lengthgiving it an extraordinary appeal.

The MakingBrocade is typically woven on a draw loom in which each thread can be controlled separately. Brocade is then woven using a weft technique, Brocade is woven. In spite of its intricate weave, the final fabric of Brocade resembles an embroidered texture.Variations in the Brocades:There are few varieties of Banarasi sarees and they are Katan, Shattir, Organza (Kora) designed beautifully with zari and silk andGeorgette. When segregated according to design process, Banarasi sarees can be divided into categories like Jangla, Tanchoi, Cutwork, Tissue and Butidar.KatanKatan is a plain fabric with woven pure silk threads which are twisted and woven into pure silk sarees. These pure silk sarees are now produced using power looms and rapid looms, while in ancient times Katan sarees were woven using handlooms with beautiful creation of patterns and motifs.

ShattirIt is another fabric which is used in creating exclusive and contemporary designs of Banarasi sarees.

Organza (Kora) with Zari and silkBrocades are most beautiful and richly woven fabric where the patterns are pattered with different designs made by warp and weft. Silver threads are coated with gold and are then woven closely around a silk yarn to create zari brocadeGeorgetteIt is a finely woven light fabric with a simple and plain weave. This fabric is made of crepe yarn where two twisted yarns are inter-woven with both warp and weft. This fabric is most popular in modern types are used to produced designer sarees.JanglaThese styles of sarees are woven in colorful silk threads. The name of this saree derives from the pattern of design that distinguishes it from other Banarasi sarees. It has intricate Jangla patterns in form of Jangla vegetation motif that scrolls and spreads across the length of the saree. These sarees are believed to be ancient ones among Banarasi brocades. Unique designs and intricate detailing with luxurious fabric make this saree apt for wedding ceremonies.

TanchoiBeautiful Jamawar style paisleys or Labyrinth woven by zari adds value to this silk saree making it appropriate for wedding ceremonies. Artisans from Benaras weave patterns on these sarees with colorful weft silk yarns. The pallu of this saree are often decorated with large motifs of paisleys while the border is beautified with criss-cross patterns

Cut work SareeThese sarees are commonly referred as the less expensive version ofJamdani sarees. This type of sarees is prepared by cut work technique on plain texture. Silk Jamdani sari is produced by placing few warp threads with cotton and weft to produce traditional design patterns. Most popular motifs which are featured in cut work sarees are jasmine, marigold flowers, creepers and leaves. Unique patterns of cut work sarees are created from selvage to selvage which resembles the design of Jamdani.Tissue SareesDelicately woven sarees with golden zari weft adds sheen to these tissue sarees and therefore it is also known as the golden cloth. Most popular designs used in tissue sarees are golden zari woven lotus floating in a radiant pond, where the water drops are designed with cut-work technique. The border and pallu of the sari are patterned with self woven paisleys.

Butidar SariInimitable feature of Butidar sarees is that it is a richly woven sari which is brocaded with threads of gold, silver and silk. Gold is darker in shade as compared to silver threads. Therefore the weavers of Benaras refer to this variety of brocade patterning as Ganga-Yamuna. Motifs are locally popularized as Angoor Bail, Ashraffi Butti, Latiffa Butti, Reshem Butti Jhummar Butti, Jhari Butta, Patti Butti, Baluchar Butta and many more.