Factors Contributing Resurgence of Embroidery

Textiles and Clothing Research Centre e-Journal Volume 4, Issue 7, February 2020, pp. 10-17 Factors Contributing Resurgence of Embroidery Rohini Arora Abstract In Indian textile’s context, sustainability very aptly signifies subsistence living, following traditions, using indigenous resources, living with a minimum, highlighting the notion of recycling and reuse, and being eco friendly. In today’s time, sustainability and revival of traditional crafts are much sought after topics for discussion in all spheres. As much these concerns have caught attention all around, in India the concept of sustainability is age-old. This can be understood by looking at many of our ancient crafts such as Kantha, which evolved beautifully from quilting craft of joining waste scraps of fabric to magnificent embroidery. The embroidered products created from piles of worn-out fabrics are so much rejoiced and praiseworthy in collections of museums all around the world. Many such craft processes exist here which are based on utilizing minimum resources releasing zero waste products or carbon footprints and cause minimum harm to the environment. Since ancient times despite having a strong foothold in technology, utilizing the best possible processes and raw materials our crafts have witnessed a downfall in quality in recent times. The present research paper would review these limiting factors, which are declining aesthetic quality of crafts. The factors discussed are the outcomes of the primary research undertaken for the doctoral thesis titled ‘Capacity building of artisans for the sustenance of traditional Chamba embroidery’. These can be beneficially taken into consideration for design interventions for embroidery. Introduction India has a vast expanse of various textiles crafts be it in terms of embroidery, weaving painting, or printing. The art of embroidery is ancient and it evolved from the process of plain sewing. The craft of embroidery dated back to 5000 B.C. and practiced since prehistoric times. It is quite evident from the historical development of Indian embroidery that it was a well-established craft practiced with great technical skill in ancient civilizations. These embroideries evolved beautifully in different regions of India reflecting their folk culture and physical environment. For instance, the colourful embroideries in herringbone, satin stitch, and mirror work come from Kutch and Saurashtra region. From the eastern region, we have quilting techniques seen in popular embroidered crafts of Sujani and Kantha. In northern, we have some spectacular embroideries like Chamba rumals, phulkari, Kashmir shawls, and Chikankari. From southern, we have delicate linear forms of kasuti, toda, and glittering metalwork. The point here to note is that there are certain specific characteristics of these embroideries, which make them unique. These special features are indigenous designs, the locally available raw material on which they are made, and finally the technique, which is aptly chosen according to materials and design. The stitches and other processes are very thoughtfully selected keeping with complete technical knowhow of base fabric and designs. TCRC e-Journal, February; 2020, Page | 10 Textiles and Clothing Research Centre e-Journal Volume 4, Issue 7, February 2020, pp. 10-17 Moreover, these factors can be applied to any craft and comparative study between their past and present status can be done. This study will ensure in determining the possible causes declining the quality of craft. The relevance of these factors is evident from the study of museum specimens, which are always seen in best quality raw material, creative designs, and exhibits expertise in the technique. But in recent ones altered materials and processes have been used due to unavailability of the right kind of raw material, lack of exposure in methods of executing the traditional technique, and inaccessibility of traditional designs. So it is very important to address these three factors while doing design intervention studies. As, if any one of them is missing it would alter the quality of products to a great extent. Each of these three factors will further be discussed by giving some illustrated references from doctoral research, which was conducted for capacity building of artisans for the sustenance of traditional Chamba embroidery. Selection of right kind of raw material This is very important while doing design intervention with the artisans as they are exposed to many other substitutes of fabrics similar to traditional ones for product diversification. For assessing the right base fabric is very substantial in getting a good result. In general, hand-spun and hand-woven fabrics are always better options to explore. But in specific terms certain parameters to be kept in mind while selecting substitutes of fabrics for any craft. It can be assessed from fabric composition, thread count, yarn count, and weave. In the case of selecting fabric choices for Chamba rumals and other products variety of hand-spun and hand-woven fabrics were collected. The relationship between the thread count of different fabric types and its embroidery effect was studied. These embroidered samples were closely examined to see if the needle passed through the fabric easily, double-sided stitch appeared the same on both sides of the fabric and whether the stitches laid flat on the fabric surface or not. It was also found that higher thread count resulted in finer fabric and produced a better quality of workmanship. The embroidery on fabrics with thread count (161 and above) showed similar embroidery on both sides of fabric i.e. front and back, minute detailing, and fine workmanship (figure 1). Fabrics with a lesser thread count between (70-100) were found suitable for simpler and less detailed work such as floral, animal figures, or for utilitarian purposes with single-sided embroidery (figure 2). The gaps in embroidery are seen, the smaller areas and details were difficult to achieve. Even the study of museum specimens revealed similar results. In museum pieces, two different types of base fabric were seen. The muslin fabric i.e. fabrics with high thread count show fine quality workmanship in small stitch size (figure 3). This kind of fabric was seen in fine quality rumals. The other fabric is khaddar which shows bigger stitch size and embroidery had raised appearance and used for folk style and single-sided articles (figure 4). Front Back Figure 1: Fine embroidery on high thread count fabric, Photo Courtesy: Author TCRC e-Journal, February; 2020, Page | 11 Textiles and Clothing Research Centre e-Journal Volume 4, Issue 7, February 2020, pp. 10-17 Front Back Figure 2: Base cloth visible between embroidery stitches in fabrics with less thread count (70-100) , Photo Courtesy: Author Figure 3: Embroidery on fine muslin, After Arora, 2018 , Photo Courtesy: Author Figure 4: Embroidery on coarse khaddar, After Arora, 2018, Photo Courtesy: Author Importance of executing right technique The technique is a broad term which comprised of all aspects starting from conceptualizing a theme, tracing/ drawing, execution of stitches, and final finishing. Hence it becomes very important to document all these details with great accuracy using local terminology. For a more comprehensive understanding technique is divided into two aspects i.e. technical characteristics and decorative characteristics (figure 5). Technical characteristics of embroidery are primary components while executing embroidery which included, different types of stitches, the direction of stitches, and outline stitch. Decorative characteristics are extensively used to enhance visual appeal and aesthetics in embroideries like colours, ornamentation, and textures, finishing stitches and edgings. For a holistic approach in documenting the traditional technique, it is very important to document the above-said features by assessing the present stitches practiced by an artisan in the field with museum specimens. It will also give an insight into information that is not known and no longer practiced. The same method was followed in identifying the traditional technique in Chamba rumals (figure 6). In the analysis of filling stitches three different types of stitches were discerned namely long and short stitch, brick stitch, and encroaching satin stitch. At present only long and short darning stitch is being practiced by the artisans. Similar observations were made for outline stitches and stitch directions. TCRC e-Journal, February; 2020, Page | 12 Textiles and Clothing Research Centre e-Journal Volume 4, Issue 7, February 2020, pp. 10-17 This kind of direction creates an optical illusion resulting in shade variation by using single colour yarn as well as added texture and visual appeal to a simple looking motif. Artisans of Pahari region no longer use this kind of work. Through a literature review, it was studied that the commonly practiced stitch for outline was stem stitch. However, it was observed in the majority of earlier samples that the back stitch was used for the outline. The indepth analysis of filling stitches, stitch direction and outline stitch used in Chamba rumals is given below. Technical characteristics § Stitch type § Stitch direction § Outline stitch Decorative characteristics § Ornamentation § Texture § Color § Finishing stitches § Edgings Figure 5: Components of technique Figure 6: Technique of Chamba rumals, Photo Courtesy: Author The decorative aspects such as ornamentation, textures, colors, finishing stitches, and edgings enhance the belongingness of craft with its native place. One such significant decorative aspect is 'texture' as it brings liveliness and realism in designs. A variety of such textures are seen and documented in Chamba rumals. In rumals inspired from miniature style, textures are achieved using voiding technique where a narrow gap was created between rows of stitches. It’s is used to bring out fine details and separating areas without outlining. TCRC e-Journal, February; 2020, Page | 13 Textiles and Clothing Research Centre e-Journal Volume 4, Issue 7, February 2020, pp. 10-17 Textures are also created by filling background space and leaving or filled using different colours (figure 7). In folk style rumals textures are created using long and short darning stitches, encroaching satin stitches in multiple directions and colours (figure 8). Figure 7: Textures in Miniature Style Rumals; Courtesy: After Aryan, 2010, Photo Courtesy: Author Figure 8: Textures in Folk Style Rumals; Courtesy: After Aryan, 2010, Photo Courtesy: Author Documentation of traditional designs The designs and motifs used are very specific to embroideries and characterized by the selective treatment given to them. This can be seen in Chamba rumals where designs were either inspired from miniature paintings, religion, local traditions, scenes from daily life, literature, and floral patterns. The designs are drawn by experts on fabric with great precision. It requires an equal amount of skill on part of the embroiderer to bring out these details with finesse in the final product. The layout is of great importance in understanding its design framework. For instance, in Chamba rumals the main components of the design are the border, central motif, supporting motifs, filler motifs, and corner motifs. One of very spectacular Chamba rumal is shown below where these different components can be seen (figure 9). Such as border is generally used to enclose the embroidery and made on the edge or near the edge of the rumal in varied shapes and widths. The main central motif commonly gods and human figures are seen around which the entire theme is built. Here in the center, Vishnu Laksmi is seated on a lotus throne. Here we can see dancing figures as supporting motifs in a circular pattern around the main deity. They are then surrounded by female figures holding musical instruments further adding to the progression of the main theme. TCRC e-Journal, February; 2020, Page | 14 Textiles and Clothing Research Centre e-Journal Volume 4, Issue 7, February 2020, pp. 10-17 Figure 9: Traditional Raas; Image source: http://www.edgyminds.com/chamba-rumal-lesser-knownart-himalayan-embroidery-royalties/chamba-rumal-2/, Photo Courtesy: Author Figure 10: Recent specimen of Raasselling local market in Chamba, Photo Courtesy: Author Many other forms of figurative motifs could be discerned from the collection of old museum pieces in different poses as representing some kind of action or mood or holding some significant objects. The corner motifs and filler motifs like flora and fauna are used for filling of leftover space with specific symbolism, which supports the main theme. The importance of using these components can be judged from the comparison between traditional raas and recent versions. Raas is a divine dance form where Krishna and gopis in pairs of 2, 3, 4, 8 are depicted dancing in a circular manner around mandala. In traditional raas (figure 9), figures are shown in elaborate costumes showing a variety of patterns and colours. The accompaniment figures are used with equal zeal to reinforce the central theme. They are holding local instruments surrounded with flora and fauna as fillers, which beautifully bind the entire composition. These kinds of detailed compositions are missing in present times (figure10). It is important to document these minute details seen in traditional designs by forming a design directory. The design catalogue was developed for Chamba rumals as a hard copy which comprised of the following steps (figure11). TCRC e-Journal, February; 2020, Page | 15 Textiles and Clothing Research Centre e-Journal Volume 4, Issue 7, February 2020, pp. 10-17 Step 1: Original composition Step 3: Segregated motifs redrawn for clarity and details Step 2: Working sheet showing segregation of motifs from actual composition Figure 11: Steps showing cataloguing of traditional designs, Photo Courtesy: Author The pictures of old museum specimens of embroidery were collected. The motifs within the actual composition were then segregated. The repeated motifs were not taken into consideration. These motifs were then redrawn with the help of miniature artist (Shri Prixit Sharma, Chamba) for clarity and details. The redrawn designs were then classified to form the ‘design catalogue’. The design directory will be used as reference material for producing quality artwork. It will provide access to aboriginal details of the craft which would help artisans to become independent and sustain craft at the domestic level. In the end, it can be concluded that the entire process of design intervention must be followed with great precision. The documentation, reconstruction, and transformation are key solutions for design intervention studies with special focus on design, raw materials, and technique. The following factors that would contribute significantly to enhancing the quality of embroidered products are listed below (figure 12): TCRC e-Journal, February; 2020, Page | 16 Textiles and Clothing Research Centre e-Journal Volume 4, Issue 7, February 2020, pp. 10-17 RAW MATERIAL -Fabric composition -Thread count -Yarn count -Weave TECHNIQUE -Technical characteristics Stitch type, Stitch direction, and Outline stitch -Decorative characteristics Ornamentation, texture, colour, finishing stitches, edgings DESIGNS -Studying the layout of design Border, central motifs, supporting motifs, filler motifs, corner motifs -Cataloging components of design Collection, segregation, redrawing, classification Figure11: Factors kept in mind for design interventions of embroidered craft Bibliography § § § § Aryan, S. (2010) Folk Embroidery of Western Himalaya, RekhaPrakashan, New Delhi, p 8- 16. Arora R. (2018) Technical and Decorative Characteristics of Embroidered Coverlets,Pathak A. ,Sahay B.K. (ed.), Splendors of Pahari Embroidery, B.R Publishing Corporation, New Delhi, p 39. Arora R., Study on Development of Criteria’s for Suitability of Fabrics for Chamba Embroidery, International Journal of Applied Home Science, 20th March 2017, p 183-193, Volume 4 (3 &4), Shiv ShikshaSadanSamitiMuzaffarnagr, India Arora R., etal.,Development of Design Catalogue for Sustenance of Traditional Craft of Chamba Embroidery, Journal for Textile Design, Research and Practice, 15 December 2017, Volume 5 (1), p 17-49, Routledge Taylors and Francis Group About the Author Dr. Rohini Arora is an academic and design consultant with reputed institutions with seven years of teaching and eleven years of experience in field of Indian traditional crafts. She has done Masters in Home Science in Textiles and Clothing from Lady Irwin College, Delhi University. Ph.D degree was awarded in Fabric and Apparel Science, Department of Home science, Lady Irwin College, Delhi University in May 2015 on thesis title ‘Capacity Building of Artisans for the Sustenance of Traditional Chamba Embroidery’. She was empanelled as designer in Textiles and Clothing with the Office of the Development Commissioner (Handicrafts) in October 2013 and December 2016. She initiated the project on revival of Chamba Embroidery as her Ph.D dissertation since 2007 and still continuing in her own capacity with team of artisans for revival of languishing craft. She has presented her work at various prestigious platforms in form of presentations, research papers and displayed research products in exhibitions at national and international level. Her recent exhibitions was held at IIC and later ones sponsored by ICCR and embassy of Serbia and Berne displayed in Belgrade and many art centers in Switzerland in 2018. TCRC e-Journal, February; 2020, Page | 17