KANTHA OF BENGOL

The traditional folk art of Bengal is famous as Kantha which means ‘Patched Cloth’, and the
special significance of kantha is quilting. The Dacca muslin saris of gray, black or white
coloured, are one of the most artistic and beautiful specimens of Handloom textiles, were
considered as very valuable by the women folk of Bengal. There are two types of embroideries.
In the first type, the old and discarded cotton saris or dothis were piled up on the top of each
other, quilted and embroidered. And the other type was quilted by using the
discarded cotton bed spreads and the pictorial embroidery was done with Tussar silk threads.

GROUP OF WOMEN WITH THEIR KANTHA EMBROIDERY

Kantha stands as a model for skilled certainty. Because this fantastic embroidered piece is

revived by utilising the worn-out textiles, literally rags that would have been normally thrown
away.

It is a treasured art of every door where in, the Bengali ladies irrespective of their castes, classes
and socio-economic groups, are expertise. The embroidery not only depicts the stitches
employed but it also expresses the outflow of their creative, resourceful, imaginary, patient
craftsmanship.

The size and thickness of Kantha varied according to its type. The layers of pieces are sewn
together by simple darning stitch in white thread, drawn from the old sari borders. The design is
first traced and the filling is done by coloured threads, taken from the coloured borders of saris.

Kanthas were produced in Hugli, Patna, Satagon, Jessore, Faridpur, Khulna and other parts of
East and West Bengal. The Kantha of each individual is unique by itself. Because its always her
own creation, idea, innovation, taste of fancies, and art of executing new fresh forms, designs,
figures and motifs. It is the traditional art greatly encouraged by the family and therefore no
scope for imitation. Though the ideas, themes, scenes and symbols are almost common as they
come from similar ecological background, there is wide variation in the structural and
decorative arrangement of the designs, composition of motifs combination of figures
and colour scheme, technique and presentation varied from woman to woman, However, some
basic traditional designs are commonly seen in each piece of their work.

The Needle work is done by original darning stitch along with satin and loop stitches. There are
two modes of working. In the first style, the embroidery starts from the centre and ends by
outlining the motif or vice versa. However, the embroidery gives rich textural effects by adding
traditional colours like black, deep blue
and red, which symbolise the nature,
earth, sky and space respectively.

THE DESIGNS & MOTIFS OF

KANTHA

The motifs used in kantha

embroidery has a great influence of
Portuguese and European traditions. The
first factory in India was started at Patna
during the year 1920. Dr. Stella
Karamrisch writes that kantha was first
manufactured in 1875. The motifs are
composed of heterogeneous objects like
various types of lotus flowers, Mandala,
Satadala padma, trees, creepers, foliages,
floral scrolls, kalkas, animal figures,
human figures, spirals, whirls, birds, fish,
boats, submarine sceneries, ships, pitcher,
mermaids, various sea monsters, comb, mirror, nut cracker, umbrella, chariot, palanquins etc.

The designs of kantha are taken from day to day life, depicting folk stories, epics, mythological
background, ritualistic motifs, luxurious vegetation with roaming animals, deer running,
dancing peacock, temples, hukkas, jewelleries, various types of costumes and so on. Some
kanthas even represent the steeds of Gods like bull, swan lion, elephant, peacock, mouse, cat,
eagle, owl, and swan.
COLOURS USED IN KANTHA

The original kantha is double faced where the design appeared identical on either sides of
the quill. The great length of stitch is broken into tiny tackings which give almost a dotted
appearance on either sides of the quilt like ‘Do rukha’. Sometimes the embroidery is so finely
done that it is very difficult to identify the wrong side.

Most of the Bengali women wear white saris and thus the background of the quilt material is
often white. In order to break the monotony of this, and overcome the dullness, a sort of open
mesh of cut work effect is produced by drawing the threads, pulling the stitches or piercing the
holes, specially in the comers. The main colours used are white, red, deep blue and black.

Bengal is also known for its appliqué art and is popular because of its very rarity. There are of
two styles. The large and bold designs worked on wall hangings, canopies, bedspreads, tents,
banners, flags where a lion or lotus motif is cut out in red material and appliquéd against white
background. The other style is of small patterns worked on personal items and household
textiles like pillow covers. This is done by cutting the coloured cloth into narrow strips and
stitched as outlines of the design. Appliqué on quilts earned a large market in the foreign trade
during sixteenth century.

Lotus is the most common and important motif widely used in Kantha. An all over pattern of
lotus may have the petals of red alternating with black petals. Black thread is used to give either
outline for the design or sometimes filled with the stitches of the same colour. A couple of
tantric motifs like ‘ Vajra’, the thunder bolt, ‘swastik’ were used along with the spiral whirl,
representing the eternal life cycle. Kalka is another important motif, a cone or mango shaped,
embroidered in association with spiral whirls, broad band of circles, lotus or heart shaped
foliages.

TYPES OF KANTHAS

There are different kinds of kanthas named according to its utility. According to Jasleen
Dhamija, there are seven types of kanthas used as wrappers in winter, for books, valuables,
mirrors, combs, wallets, pillows and bed spreads.

ARSHILATA

Arshilata is used as cover or wrap for mirror, comb and other such toilet articles. It is a narrow
rectangular piece of eight inch wide and twelve inch length. It has a wide border and the central
motif is taken from the scenes of Krishna Leela or Radha-Krishna raas. The lotus, trees,
creepers, spirals, inverted triangles, zig-zag lines, scrolls are also some of the commonly used
motifs.

BAYTON

Bayton, a three feet square piece serves as a wrap for books and other similar valuables. It has a
central motif, usually the lotus with hundred petals called ‘Satadala Padma’. This motif with
hundred petals is simply a figure, which does not signify anything precisely. The traditional and
folk design

KANTHA FISH MOTIF

of oldest style in Bayton is the Mandala which symbolises the unity of all manifestations of life.
The core has Satadala Padma with two or three borders on the sides. The other motifs
commonly seen are water pots, conch shells, kalkas, trees, foliages, flowers, birds, elephants,
chariot, human figures etc. Sometimes the figure of lord Ganesha and Goddess Saraswati with
their steeds are also observed. Special motifs on Bayton are worked with swan, as
a book wrapper. In other words the designs often are elaborate and this colourful embroidery is
made with yellow, green blue and red coloured threads. This kantha is often carried while
travelling and also presented as gift to their kith and kins.
 STYLISED ELEPHANT IN KANTHA

DURJANI

Durjani (Durfani) is also known as Thalia. It is a square piece kantha, covers the wallet, has a
central lotus motif with an elaborated border. The three corners of this piece are drawn together
inward to make the tips to touch at the centre and are sewn together like an envelop. It will have
another open flap to which a string, tussle or a decorated thread is either stitched or
mechanically fixed, which can be wound and tied up when rolled. The other motifs used arc
various types of foliages, snakes and other objects taken from the natural surroundings.

LEP KANTHA

Lep kantha is relatively a thick quilted wrap padder by more number of sari layers, placed on

top of each other, to provide warmth during winter season. Lep is also popular as ‘desired
covering’. Simple geometrical designs are worked with running stitch using coloured threads.
The entire Lep piece is been given a wavy rippled appearance by working simple embroideries.

OAR ( OOAR )

Oar (ooar), the katha serves as a pillow cover. It is a rectangular piece whose size is about two
feet by one and a half feet. Usually simple designs like trees, foliages, creepers, birds or a liner
design with longitudinal border constitutes the ground base and decorative border is stitched
around its four sides.

SUJANI ( SUJNI )
The most popular and striking kantha is the Sujani (Sujni), generally large rectangular piece of
three feet by six feet, used as a spread during ceremonial occasion. Its size has provided full
scope for the workers to express and exhibit her imaginary, self created designs. The
rectangular piece is divided into nine equal parts and the motifs are distributed in these equal
sized rectangular block. The lotus motif with a whirl in the centre is the commonly used motif
in Sujani. The other motifs observed are the scenes from Ramayana, Mahabharata, folk tales
dancing gal. men riding, birds pecking the fruits, prancing movement of the animals, bees
sucking the nectar, procession in motion etc. A moderately thick, light weighed Sujani has
either two or more borders at the edge to strengthen the layers and to prevent further tearing.
The border stitched at the edge of the rectangular piece has geometrical patterns in
single colour, while the other is more ornamental and colourful. The cover sometimes has large
kalka laid horizontally and separated by Vajra, the thunder bolt or a broad band of circles, lotus
in each circle and heart shaped foliage between the circles. Sarfani is also a quilt used during
ceremonies or functions as a cover or wrap.

Rumal is nothing but a hand kerchief and is the smallest among all the kanthas. A
square piece having a size about one square foot. Lotus is the core and other motifs
embroidered around it. Sometimes plant and animal motifs are also embroidered but invariably
has a well decorated border.

The bed cover and wall hanging of kanthas were famous world wide. The women picked up the
motifs from the epics and mythological scenes and the nature. It represents their traditional
beliefs, individual skills, art and passions towards religion. It does depict the folk art. The ritual
designs are worked only on festive occasion to fulfil their vows. The special characteristic of
kanthas was, it never became a replica of other folk art but remained unique by
itself. Kantha work is a model with inspired romance, philosophy, sentiment and holyness.
KASUTI EMBROIDERY OF KARNATAKA

A style of embroidery that has caught the world unaware, the kasuti style of Dharwad sarees is
indeed mystic. A style that has found its origins in the seven scenic hills, kasuti is a hand woven
variety of embroidery. Basically found in the Silk pallus, Kasuti embroidery consists of
interwoven geometric patterns that make up for this interesting design. It has mostly been
adapted from the temple designs and architectural musings of the surroundings.

Kasuti Embroidery

Origin & History

This style originated way back in the 7th century in the lands of Western Karnataka in the
regions of Dharwad. This is the real source of the name Dharwad Sarees The name has a very
kannada feel to it with Kai’ meaning hand and Suti’ meaning Cotton to make up for Kasuti
embroidery which literally means handwork of Cotton thread. This embroidery pattern found its
source in the Ikal sarees, a variety of cotton sarees found in the regions of Ikal. The tradition
followed was to gift a bride a blue embroidered Cotton saree. This was later extended towards
the Silk varieties. Today a lot of Silk sarees and pallus are embroidered using the Kasuti
embroidery.Kasuti embroidery of dharwad is basically very light embroidery that is formed out
of variety of geometrical patterns. These patterns are close folded and, formed out of four
stitches known as gavanti, muragi, nevgi and menthe. These stitches are completely based on
the thread count method and are equidistant.
Hand woven fabrics make this design look amazing and different. The artisans work hard
before engaging in this embroidery. They insist on drawing out the designs on paper before they
can weave it on a saree. The designs and patterns are all inspired by the surrounding temples.
Kasuti embroidery of dharwad is basically done on brighter shades.

Varieties
From plain Cotton sarees, this style has been adapted by variety of materials ranging from
Georgette to Silk. The pallus are special flavors for this style of embroidery. Present day
sources of income in the western regions of Karnataka are solely ruled by the Kai krafts or
kasuti embroidery. A single embroidery or cross stitch design requires a lot of helping hands. In
fact, a lot of sarees have taken up this embroidery to enrich their designs and collection.

Intricate Kasuti Work

Present Day Scenario

Today, this embroidery is no longer just prevalent in sarees. One can find fine traces of this
embroidery in salwar suits and dress materials as well. Employing various kasuti weavers by
bringing in the tradition of this embroidery in sarees and dress materials gives out a splendid
present time for the dharwad sarees. The materials are not limited to Cotton anymore. They
have started ranging from Silk to other varieties including Nylon.

Innovations

Kasuti embroidery has now spread to furniture covers and splendid curtains also. The rustic
motifs are an interesting version of the kasuti embroidery that has driven the innovations in.
With classic designs and beautiful embroidery, kasuti gives out an amazing collection of
furniture wear.

Occasion Dressing
Given the materials and designs, kasuti embroidery of dharwad suits every occasion. The
Cotton dresses and sarees can be worn when going out or staying in. You can even dress up
with the dharwad sarees during weddings. This forms an ideal gift for those who are about to be
married.

Suitability

No weather can prevent you from wearing the kasuti embroidery. The patterns and material
make it suitable for all seasons.

Maintenance

With the kasuti embroidery, regular wash in the machine or dry cleaning would do. No heavy
maintenance is required as far as these sarees are concerned. The best part is one can just soak it
in a hot water bucket.

Accessorizing

The best part of these sarees is that you can wear any type of jewelry with it and, it would still
look good. You can match up with a good range of colorful bangles to style up these sarees. A
nice matching shawl would look good during the winters. One can even wear anklets or long
earrings to adorn it.
KASHIDA OF KASHMIR
Region

Kashida is an embroidery style from Kashmir that is practiced by

menfolk of the region. The intricate needlework is inspired by the
charming natural surroundings of Kashmir.

Kashida, embroidery is quite popular due to its color, texture,

design, and technique. The very embroidery is in turn revealed in
shawls as well as in cottage industry performed by every member
of families of Srinagar. Kashmiri embroidery is particularly
practiced by men of the families and is a total commercial craft.

Technique

The base material for Kashida is cotton, wool, or silk in a variety of colors like white, blue,
yellow, purple, red, green, and black.

The embroidery threads used to execute Kashida are wool, silk, or cotton depending on the
product to be embroidered.

The main stitches employed for Kashida are darning stitch, stem stitch, satin stitch, and chain
stitch. Special stitches Zalakdozi (chain Stitch) Vata Chikn (button Hole), Doria (openwork),
Talaibar (Gold Work).

Motifs

The motifs used in Kashida depict the natural elements which include the rich flora and fauna of
the region of Kashmir.

Typical motifs are birds like a magpie, kingfisher; flowers, butterflies, maple leaves, almonds,
cherries, grapes, and plums.

A popular motif seen on embroidered shawls is derived from the cypress cone.

Tracing of the design

The selected design is traced on the fabric. It is done by the professional tracers called
Naquashband (Nakshaband) following the traditional technique of tracing.

The procedure of tracing is as follows

The fabric is spread on a flat surface

The perforated design sheet is placed over the fabric

The charcoal or chalk powder is rubbed over it, which leaves an impression on the fabric

To make the tracings durable, gum arabic is added to the powder

The traced design is outlined with a pen called Kalam Fabric and Thread Used Different types
of fabrics are used for Kashida of Kashmir.

Style of embroidery Technique

There are three styles of embroidery followed in Kashmir.

Sozni and Rezkari :  It is mainly done on Shawls using single-strand and sometimes double
strands of silk or fine pashmina floss. The stitches are open chain, open stem, couching, fly,
buttonhole, and herringbone stitch locally known as Kashmiri stitch. It is intricate embroidery
that uses stitches like a fly stitch, stem stitch, and darning stitch. Sozni embroidery or dorukha
is often done so skillfully that the motif appears on both sides of the shawl each side having a
different color. There is no wrong side. The same design is produced in different colors on both
sides.

Aari-work

The aari style, also called Zalakdozi employs hook or aari to fill in motifs with chain stitch.
motifs here are the well-known flower design finely worked in concentric rings of chain stitch.

Mainly done on articles like cushion covers, bed covers, and also on leather items.

Also done on the garments like Phirans and poncho.

Kashmiri Couching

This is done by twisting 4-6 strands of thread on the right side and couching it with a single
thread of the same color.

It is very intricate work and extensive training is needed to perfect this technique.

In Kashmiri couching, zari thread is laid on the fabric along with a pattern and is held in place
with another thread.

Kashmir also produces two very famous works one is called Gabha, a unique type of floor
covering and another is Namda, a special work done on carpets.

Gabha work

It is a unique type of floor covering,

It is very cheap, Devised from old or torn woolen blankets or shawls after being washed milled,
and dyed in various colors appliqué work in grey color and bold floral ornamental design is
done.

Gabha’s work is centered mainly around the town of Anantnag.

Namda Work

It is a special work done on a felt carpet with a hook called crewel forming chain stitch which
forms the base foundation and it is supplemented by other stitches such as satin, cross filling,
etc.

This embroidery is done either in white or in various colors where patterns are filled completely
with chain stitch and the stitches are started from the center. It is also called Crewel embroidery.

The carpet designs selected for Namda ranges from Persian to French like Chinar leaf,
Shikargah, Theridar, Bulbuldar, Guldar, Badamdar, Kalka, and so on

Types of Kashmir Embroideries

Kashida- is a general term for Kashmir embroidery which includes many stitches namely, chain
stitch (zalakdozi), buttonhole (vata chikn), openwork(dora), goldwork (talaibar), and satin
(sozni).

Zalakdozi- a form of Kashmir embroidery where tiny delicate chain stitch is used to render the
stylized paisley motif, a favorite for this art form.

Refoogari- which means darning derives the name from the stitch. It is done with the thread as
that fabric material used in the base. This results in the interweaving that produces a fine texture
in the fabric. Design is worked evenly to look alike on both sides

Tapestry work- This art was introduced by Major and Mrs. Handow to make household articles
around 1935. It is done with a blunt tapestry needle on the canvas cloth called Dasuta. It is done
with the woolen thread called Ear, with whipstitch by counting the threads
Kutch Embroidery & SINDHI

The Kutch Embroidery is a handicraft and textile signature art tradition of the tribal community
of Kutch District in Gujarat and Sindh. This embroidery with its rich designs has made a
notable contribution to the Indian embroidery traditions. 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.

History
History of the Kutch Embroidery is traced to the 16th and 17th centuries when people migrated
from the countries such as 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.

Production

An embroidered product

Embroidered products are of 16 types known by specific names as:

Ahir is type done by peasants of Ahir community with designs of animals and birds done with
chain stitch with hooked needles, herringbone stitch and fixed with small mirrors known as
'abhla', practiced by women during the lean season

Aari type of embroidery is done by cobblers with intricate chain stitch patterned on designs of
the Mughals.

Gotauvn or Gotany which includes Chekan, Chopad, Katri and Mukko types, is done by

Muslim pastoral people of 11 villages, using several intricate patterns of stitches, expensive silk
fabrics, metallic threads and mirrors.

Jat-Garasia and Jat-Fakirani are done by the two Jat communities, is a cross stitch product with

intensive use of mirrors of small size adopting "satin stitch with radiating circles of a couched
stitch".

Kambira and Khudi-Tebha generally adopted in quilts is embroidered by the Harijan people of

the Banni grasslands on the border with the Great Rann.

Kharek practiced by the Sodha, Rajput and Megwar people is usually in the shape of a set of

bars created by adopting "black double running stitch and satin stitch".

Neran meaning "eye brows" is a unique style which adopts buttonhole stitch in the shape of a
curve.
Pakko done by the Sodha, Rajput and Megwar people, which is akin to the Ahir style with
dominance of geometric designs with an embossed appearance and is embroidered with close
knitting with buttonhole stitches.

Rabari made by Rabaris of the Giri region, with prominent patterns adopted from mythology
are made in several shapes embroidered with "square chain interlaced with buttonhole" stitches
fixed with mirrors, it is unlike another any other embroidery of Kutch. Khadi material in
maroon colour is used as the fabric to make door hangings, canopies, wall decorations, etc. It is
also said that Rabaris of Kutch reportedly migrated from Sindh in the 14th century and brought
their traditional style with them and developed a regional style which was a composite style
unlike other types then in vogue in Kutch. The mochi embroidery style with "chin stitch and
parrot circle" patterns influenced their styles.

Soof meaning "neat and clean" is made in

geometric designs dominated by a "chevron design"
known as 'leher' or 'waves' which gives the product
a unique pattern which is an innovation.

A hanging type of embroidery design

6,000 women are engaged in this work. Many

societies and some private corporations are
involved in their production.

The materials used for the embroidery consist of

fabrics made of threads of cotton, silk woolen
and mashru The types of threads used are of floss
silk and other varieties. Tracing paper and its
associated product are used for drawing the designs. Other essential embroidering tools and
material are needle, mirrors, and sequins. Embroidery is done with the fabric fixed on an
adjustable embroidery frame to adjust the tension of the cloth or by holding the fabric in hand.

The designs created on the cloth to embroider relate to the themes of daily lifestyles, animals
and birds like elephant, camel, parrot, peacock, etc. flora, religious places such as temples, and
figurines of women in dancing postures.

The procedure adopted for stitching with needles is by inserting them into the fabric and
bringing it up in one motion and then pulling the thread. A thimble is used with the help of the
middle finger to speed up the process. Some of the major stitches used are identified by specific
names such as "Mochi Bharat, Shisha or Abhala mirror work, Heer Bharat, Soof, Kharek and
Paako".

Mirrors or glass pieces in different shapes are stitched to the fabric to make it shine; it is a
specialty in the rituals and folklore culture of the pastoral community of Rabaris of Kutch. The
best quality embroidery is known as "aari" which was done earlier for the royal family and well
to do families.

The Sindhi hand embroidery work shows a delicacy and refinement that can only be the result
of court patronage.

SINDHI
Even though Sind is no longer a part of India, no work on Indian embroidery can be complete
without mention of the hand works done in Sind. Sindhhas absorbed many influences which are
naturally reflected in embroidery. It was conquered by the Arabs and has geographical
proximity to Baluchistan, Punjab and Kutch. The interlacing stitch worked over a laid
foundation of threads is widely used in Sind. This stitch appeared very early in Germany and
the Middle East from where it was probably brought to Sind by the Arabs who were great dis-
seminators of culture. The influence of Baluchistan is also easily discernible in the juxtaposition
of colors and the use of stitchery to produce abstract pattern often outlined in black and white.
The Baluchi work is finer but the Sindhi embroiderer shows great vigor and creates fantastic
effects by working on a background made up of a variety of patterned cotton fabrics joined
together. The Sindhi hand embroidery is sometimes done on printed material or tie-dyed cloth.
In such cases the background and Sindhi embroidery complement each other being used in
different proportions to produce the desired effect. In other cases, however, the ground material
is almost completely covered by the hand embroidery. In some pieces the stitches are pulled so
tightly that the surface becomes firm and hard almost as if backed by stiffened material. The
overall effect is heightened by the use of tiny mirrors, cowrie shells, silk tassels, glass beads,
and silver spangles.

The Sindhi hand embroidery work  is done in silk and cotton thread on cotton or silk. The
colors used are of various shades of red, orange, yellow, violet, green, black, white, indigo,
brown, pink, turquoise, and blue. The stitches used are satin, straight, back, chain, open chain,
buttonhole, interlacing, couched straight, laid threads, couched, crossed herringbone,
oversewing (for edges), stem, fly and darning. The interlaced stitch is used around a central
loop for affixing mirror discs. Chain stitch is often decorated with cross stitch to imitate
couching. The darning stitch is some-times as much as an inch in length. Leaves and flowers are
brought into sharp relief by the use of a tight buttonhole stitch.

The Sindhis who settled in India after the partition of the country brought their embroidery
tradition with them and it is now as much a part of Indian embroidery tradition as any other.
Sindhi Hand Embroidery work upon silk probably evolved from the leather embroidery
produced by the mochis (cobblers) of Sind. What is interesting is that these same artisans, using
a refined version of the same tool (an) switched over to embroidering garments and other silk
articles thus relinquishing their age old profession of producing leather goods. Others who took
up the work were Kunbis and Ahirs, cultivators and cowherds, who also turned away from their
caste occupation to adopt an entirely different trade.

The Sindhi hand embroidery designs are large and flat done in one or two basic colors to which
are added lines of other colors to provide details, such as the veins of leaves, the pistil of
flowers and the varied hues of the peacock.

The basic work is done in chain stitch, although borders can be finished with rows or couching
or herringbone stitch with chain stitch motifs between the lines. Occasionally, pieces of mirror
or mica are introduced to give a touch of glitter to the work.

The Sindhi embroidery motifs are employed are peacock, elephants, fans, parrots, canopies,
arches, flowering shrubs, flowers, leaves, human figures, and butis (polka dots). Large sized
polka dots are known as Nadir Shahi butis.
EMBROIDERY OF MANIPUR
Manipur surrounded by hills and lakes abounds in people who enjoy dance and music. The
meaning of Manipur is ‘Land of Gems’. There are many legends about the origin of Manipur
and one of them is that an ancestor of the Manipur Rajas dropped the jewels hidden in his
headgear seeing the beauty of Manipur. Hence the name Manipur.

The people of Manipur are skilled in many arts, especially in dance, music and in creating
beautiful things. They are people with a highly evolved way of life. The women shoulder the
main burden of the society, look after the house, practice a craft and find a market for their
goods.

The Meities, the indigenous inhabitants of Manipur, have traditional designs, several of whose
origin is traced back to intriguing legends. The most common and perhaps the finest is the work
done on the border of a Phaneyk – a lungi (sarong) worn by women.

The piece is woven either in a single dark shade or with stripes in three different colours on a
light background. The border on the side is however left a plain black band, on which a pattern
is first drawn, then worked with untwisted silken thread. It is in a dark but matching shade
usually red, chocolate or plum. The stitching is so finely chiselled and even, that it seems part of
the weave itself. In fact as this is the only ornamentation on the phaneyk, to a stranger unaware
that it is a later addition, it would seem like a delicate woven decoration.
Manipuri Shawl with Loom Embroidery

A very simple pattern is tindogbi done in satin stitch. It is said to have been inspired by the sight
of a caterpillar sitting on a castor leaf and eating it.
MOTIFS:

An elaborate design called Akoybi, circular, as the overall pattern is circular, one circle joining
the other, with each circle being further broken into patterns, each with a significant motif with
a special name. There is a romantic tale tracing it back to the legendary snake Pakhamba, who
was killed by the husband of the goddess and who later remorse tried to atone for it by copying
its scaly patterns to perpetuate them in the form of a textile design.
There is another interpretation, less romantic but more imaginative, to make it out as inspired
by the circular swirls of the water.
The central motif is a dot for a bee hovering over lotus buds. Four petals are seen on the side of
the dot.

Some half open circular designs make a pattern indicating the fishing hook design.

This brief description however barely gives an idea of the real complexity of the Akoybi.

Another design is the boat design known as Hijay Mayek. According to Jasleen Dhamija, about
950 A.D. a famous carpenter was craving a boat out of a single trunk of a tree. While chipping
the wood, a long piece fell out and lay on the grass. The carpenter presented it to the king
saying what a beautiful design nature has created. The king was impressed by the flowing lines
on the wood and asked the embroiderer to copy the flowing design into embroidery for the
Phaneyk.
The Hijay Mayek design was associated with the older people and later with widows. Now it is
mostly used by some elderly women only.
Other Motifs:

Butterfly Motifs

Elephant and Bird Motifs

STITCHES:
Mostly Romanian Stitches are used along with couching stitches. Satin stitches are also used
sometimes.
 COLOURS:
The colours mostly used in embroidery are white, black, red, green and yellow.

TYPES OF EMBROIDERY:
1. ZAMPHIE – Known as war cloth worn as a special shawl by warriors at the time of war. This
shawl could be worn only by a few people who have been honoured by the king.
2. NINGTHOUPEE – It was the king’s cloth.
3. SAIJOMBA – It was a long cloth worn by only the trusted courtiers of the king, which had
special embroidery.
4. PHIRANANBA – These are the small flags delicately embroidered and used by the warriors as
plumes on their turbans, each designated the rank.
Applique work was also popular in Manipur. It was prepared of white on white. During the
marriage the mother prepared special curtains for presentation to the daughter and they were
prepared in applique work.

Since Manipur is famous for dances, the Ras costume worn for the dance is of importance. The
Ras skirt known as Kumil (ghagra) is embroidered with abhala or mirror work. In Manipur,
Abhla work is done only on the Ras costume worn by Radha and Gopis. This embroidery is not
found on any other costume except the Ras dress.

The Kumil or the Ras skirt has a border with Akoybi design appliqued with red material on a
yellow background. The mirror work and sequins are worked out into a pattern above
the Akoybi design.
Ras Skirt

The well-known gorgeous black shawl, popularly called the Angami Naga shawl but whose real
name is sami lami phee, the literal meaning being the wild animals warrior cloth depicts mainly
animals. One time it used to be bestowed on distinguished warriors by the rulers for their
success in hunt and warfare and was therefore highly coveted. The background is always black,
divided into horizontal panels by woven bands of colours. Embroidered within these panels are
a whole array of animals like elephants, butterflies, sheep, etc.
CHAMB RUMAL OF HIMACHAL PARDESH
The rumal embroidery was distinguished pictorial handicraft practiced in the region of Hill
states of Punjab from very ancient times and flourished from 17th to 19th centuries. The earliest
extant specimen of embroidery is a rumal dating back to 16th century. It is believe to be
embroidered by Bebe Nanki, sister of Guru Nanak, the founder of Sikh religion3 . This piece is
now kept in the Chola Sahib Gurudwara, Gurdaspur. The stitch used for embroidery was double
sided satin stitch which was known as dorukha tanka. The embroidery was worked using
untwisted silk yarns on unbleached muslin or khaddar fabric. Embroidery was worked in two
different styles i.e. folk style and miniature style. These different styles sometimes shared
common themes, but nevertheless, were identifiable as two distinct entities. Embroidery was
based on distinctive themes such as religious, local traditions, scenes from daily life, literature
and floral patterns. The most popular articles of embroidery were Chamba rumals and wall
hangings. Chamba rumals were used for covering ceremonial gifts and offerings in temples,
whereas wall hangings were used for decoration and gifting purpose. However, other articles
were also made for domestic use such as cholies, caps, pillow covers, hand fans, dice boards
etc. However in Chamba, the production of rumals was plentiful that the geographical
denomination ‘Chamba rumal’ became almost synonym for the embroidery of the entire Panjab
hills. This was the most popular and well known article which was embroidered in large
numbers in Chamba till late 19th century. The province of Chamba was a stable, powerful area
as there were lesser invasions from outside. These conditions were more favorable for the
development of art and crafts including embroidery. Hence, various artistic achievements were
credited to the province of Chamba . In the second quarter of the nineteenth century the
weaving industry as a whole suffered a setback throughout India and generally the process of
finishing of the silk yarn also deteriorated. There was, then the advent of chemical dyes which
were easy to use and also available at cheaper rates. These conditions had appeared late in
Punjab, the source of the supplies to the Punjab hills and good work continued to be done in
nineteenth century. Though, Chamba state during nineteenthcentury continued to be ruled by
the old feudal dynasty in traditional pattern, but the winds of change did not permit this
comparatively much secluded geographical and political entity to remain unaffected by the end
of the 19th century
stitches Variation of darning and satin stitch were observed in old specimen from museums
namely long and short darning stitch, brick stitch and encroaching satin stitch. Long and short
darning stitch:This stitch was most commonly practiced by artisans even to present day. The
double sided stitches were worked from bottom to top in area to be filled.On analysis of
museum specimen textures in miniature style rumals was achieved by filling background in
shape of motifs leaving them unembroidered or filled using different colours. This technique
was used to create patterns in costumes of female forms and horse riders and animals skin
separating areas without outlining like leaves of banana tree, patterning in costume of male and
female.
Brick stitch: It was another variation of double long and short darning stitch where there is more
structured arrangement of stitches . The stitches are laid in perfect brick arrangement. This
stitch was no longer being practiced by the artisans. Encroaching satin stitch: This is variation
of satin stitch where individual rows of stitches are made . This stitch was generally observed in
folk style rumals using multiple directions and colours Different fascinating patterns were
created in costumes and animals which explores hidden creativity of folk of Chamba.
Chikankari Embroidery of Lucknow II
Lucknow- the state capital of Uttar Pradesh is world renowned for its
traditional Chikankari Embroidery. Chikankari is the embroidery work done with
the white cotton thread on fine white cotton material. Chikankari is also called as
shadow work. The word 'Chikan' is basically derived from Persian word 'Chikeen'.
In earlier days, the Chikankari embroidery is traditionally done on mulmul- fine
muslin cotton. Due to non-availability of mulmul, now-a-days this work is done on
cotton, wool, chiffon, crepe, organde chiffon and silk clothes using contrast color
threads. The origin of Chikankari is initiated by the influence of intricate carving
patterns of Mughal architecture during their period. The Chikan work in Lucknow
is older than 200 years and later it is patronized by Nawabs. There are 5000 families
involved in Chikankari embroidery in and around villages of Lucknow. The artisans
belong to local Muslim community. Nearly 90% of Chikankari work is done by
women professionally. Delhi, Mumbai are the other centers for Chikankari work.
Chikankari
History

Chikan or chikan ki Kadai is the traditional embroidery style from Lucknow,

India. The word Chikankari literally means 'Embroidery'. It is one of
Lucknow's oldest and best textile decoration styles. It came to India as part of
the culture of Persian nobles through Mughal courts, where the white on white
embroidery was introduced.

Technique

Chikankari work can be done on a variety of fabrics such as muslin, silk,

chiffon, organza, net, etc. The hand embroidery which is done on these fabrics
is fragile and artistic. Earlier, white coloured cotton threads were used to do
embroidery on a cool and light pastel shade fabrics. But, these days it is done
with colourful cotton and silk threads over like / similar fabrics to make
chikankari trendy and fashionable.

What is special about Chikankari embroidery?

Chikan embroidery is mostly done on fine fabrics like cotton, semi-Georgette,

pure Georgette, crepe, chiffon, silk or any other fabric which is light and which
highlights the embroidery. The fabric needs to be delicate it cannot be too
thick or hard, else the embroidery needle won't pierce it. Chikankari has added
the embellishments like Mukaish, Kamdani, Badla, sequin, bead and mirror
work, which makes it look lustrous. These are the artful decorative designs
which are finally engraved on the textile fabric.

How is Chikankari done?

The process to weave chikankari has various steps. First, the design of the
weave is chosen. Then the process begins with block-printing a pattern where
one or more patterns are used on the light base fabric. Then the embroiderer
intricately crafts the pattern by stitching it with a light cotton thread and then
finally the fabric is washed to remove the colour of printing. The thickness of
the thread and the stitches defines the patterns and the effect created by it.
Kind of Stitches

There are various Chikankari embroidery stitches done on the fabrics. Few of
the stitches include backstitch, chain stitch and hemstitch where it results in
openwork pattern, jali or shadow work. Chikankari consists of 32 kind of
stitches in which the topmost are:

1. Tepchi - It is art and skill of hand embroidery where 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. IT is also
known as Taipchi or Tipkhi stitch.
2. Bakhiya - Bhakia which means shadow work is one of the topmost stitches of
chikankari. The bakhiya stitch is also known as shadow work because in this the
embroidery is done on the opposite side of the chikankari kurta or saree or
dupatta and it results in the shadow on the right side.
3. Hool- It is a fine detached eyelet stitch. A hole is punched in the fabric and the
threads are put apart. It is then held by small straight stitches all around and
worked with one thread on the right side of the fabric. It can be worked with six
threads and often forms the centre of a flower
4. Murri - It is the form of stitch used to embroider the centre of the flowers in
chikan work motifs. They are typically French knots that are rice-shaped. Murri
is the oldest and most sought-after form of chikankari. The use of this stitch is
depleting due to a decrease in the artisans doing this embroidery.
5. Jali - This 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.

At Weaveinindia, embrass your classy handwoven kurtas in ulti bakhiya and

murri stitches. We also have designer spellbinding chikankari dupatta in very
delicate colors’ such as off [-white, pastel peach, yellow, sap green, light coral
etc. The kurta and dupattas are adorned with beautiful floral and keel Kangan
motifs. Coordinate the dupattas with the kurta to bring out a great look.
PHULKARI OF PUNJAB
Phulkari( ਫੁਲਕਾਰੀ) refers to the folk embroidery of the Punjab. Although Phulkari means floral
work, the designs include not only flowers but also cover motifs and geometrical shapes.  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 create innumerable alluring
and interesting designs and patterns by their skilful manipulation of the darn stitch. According
to Kehal , a cloth where only a few flowers are embroidered is called a Phulkari. The other
types are distinct varieties. The traditional varieties of Phulkaris are large items of cloth and
include Chope, Tilpatr, Neelak and Bagh. Sometimes, the Bagh is given separate categorization
of its own as on other varieties of a Phulkari, parts of the cloth is visible, whereas in a Bagh, the
embroidery covers the entire garment so that the base cloth is not visible. Further, in
contemporary modern designs, simple and sparsely embroidered dupattas (long scarf), odhinis ,
and shawls, made for everyday use, are referred to as phulkaris, whereas clothing items that
cover the entire body, made for special and ceremonial occasions such as weddings are
called baghs (large garden). The Phulkari continues to be an integral part of Punjabi weddings
to the present day.

Fabrics
Various coarse structured fabrics such as khaddar, Dasuti, and Khaddar casement
were used for embroidery work, including Phulkari. According to the employment
of Phulkari types "chaddar," "bhagh," or "chope," these Khadddar characteristics
vary in thickness, weight, and loose or firmly woven structures. The first was a
loosely woven khaddar with coarse yarns, which stood in contrast to "Halwan" (a
lightweight and finely woven Khaddar), and the third was "Chaunsa Khaddar,"
which was woven with finer yarns and was chosen for "Bhag".
Types
Pal describes the following traditional varieties of Phulkari: Bagh, Chope, Subhar,
Sainchi, Tilpatra, Neelal, Ghungat bagh and chammas. He also describes the
materials used, colours and stitching techniques. The traditional cloth would be
khaddar using hand-spun cotton. The cotton would be weaved professionally to
create a heavy material. Lighter versions called halvaan were also used. Pal noted
that khaddi material was also becoming popular. The colours were red, white,
golden yellow green and deep blue. Natural methods would be used to dye the
material w such as utilising flowers. A popular method was to use the Rubia
cordifolia tree known as Indian madder and Majith in Punjabi. Unspun silk thread
known as patt would be used to embroider the designs using the double stitch
known in Punjabi as dasuti tropa, herringbone stitch and satin stitch. Long and short
stitches would be employed. No stencil would be used to embroider the designs.
Women would gather to embroider Phulkaris. Traditional folk songs would be sung
by the group. Pal also gives one instance of a woman putting one grain of wheat to
one side for every stitch she made. When the Phulkari was complete, the lady
donated the grains away. Sometimes, different styles can be seen on one Phulkari.
This is because each girl would use her own imagination to stitch a design, perhaps
to remind the girl when she gets married of her friends who helped stitch the
Phulkari. Thind mentions another variety: the bawan bagh where more than one
bagh style is used on one cloth. Many of the varieties are part of museum
exhibitions and private collections. Thind makes reference to the contributions
made by Mohinder Singh Randhawa in promoting the preservation of Phulkari art.
He also mentions private collections where he has seen various motifs including the
Harmandir Sahib (Golden Temple) embroidered in a Phulkari. 

Bagh
Bagh is a style wherein the entire surface was embroidered. By working with
darning stitch numerous designs were made by use of horizontal, vertical, and
diagonal stitches. There were many kinds of Bagh depending on its usage like
Ghungat (Veil) Bagh and Vari da Bagh. In many cases the designs were inspired by
what the embroiderer saw around them. The kitchen provided the designs of many
Baghs — Belan (rolling pin) Bagh, Mirchi (Chilli) Bagh, Gobhi (Cauliflower)
Bagh, Karela (Bitter Gourd) Bagh, and Dabbi (metal container) Bagh. Others like
Dilli Darwaza, Shalimar Char, and Chaurasia Baghs depicted the layout of well-
known Mughal Gardens. The scattered work on the fabric is called "Adha Bagh"
(half garden). The work done with white or yellow silk floss on cotton khaddar that
starts from the center of the fabric and spreads to the whole fabric is called
"Chashm-e-Bulbul".
Antique Chope created using Holbein stitch that results in the same visual on the
front and the back of the textile. Courtesy: The Wovensouls collection
Chope and Subhar
The two styles of chope and subhar are worn by brides. The chope is embroidered
on both sides of the cloth.
Chope traditionally is embroidered on red with yellow. Two fabric panels are joined
that have similar patterns embroidered on both ends. The only motifs embroidered
on both selvage are a series of triangles with the base towards the selvage and
pointing inwards. The design is worked with small squares in a step-ladder
fashion. Only the borders and the four edges of the cloth are embroidered in fine
embroidery. The subhar has a central motif and four motifs on the corners.
Darshan Dwar
Darshan Dwar is a type of Phulkari which was made as an offering or bhet
(presentation). It has panelled architectural design. The pillars and the top of the
gate are filled with latticed geometrical patterns. Sometimes human beings are also
shown standing at the gate.
Sainchi
Close-up of a rare contemporary chope made in Rajpura, Punjab (India) in 2015
This is the only style where the outlines of the figures are drawn using black ink. It
is then filled by embroidering with darn stitch. In other styles, there are no patterns
drawn and the work was done only by counting the threads from the back. Sainchi
was popular in Bathinda and Faridkot districts. Sainchi phulkari was also popular in
and around Ferozepur.
Sainchi embroidery draws inspiration from village life and depict various scenes of
everyday village life such as a man ploughing, lying on a charpai (jute cot), playing
chaupar (a cross and circle board game), smoking hookah, or guests drinking
sharbat (sweet cordial). Common themes also include women performing chores
like churning milk, grinding wheat flour on the chakki (hand mill), and working on
the charkha (spinning wheel). Women also embroidered scenes which they found
interesting, such as a British official coming to a village or women carrying an
umbrella and walking along with memsahib (the wife of a British official). Birds,
trains, circuses as well as scenes from popular Punjabi legends like Sohni Mahiwal
and Sassi-Punnun were often depicted The style also incorporates jewellery designs
of bracelets, earrings, rings and necklaces. Pal (1960) believes that such designs did
no form part of the traditional method of embroidering Phulkaris but expressed a
woman's wish to have such items of jewellery.
Tilpatra
The til (sesame) patra has decorative embroidery which is spread out as if spreading
sesame seeds. The term tilpatra means "the spreading of seeds".
Neelak
Neelak Phulkari is made of a black or red background with yellow or bright red
embroidery. The color of the phulkari is mixed with metals.
Ghunghat bagh
Originating in Rawalpindi, the ghunghat bagh is heavily embroidered around the
centre on the edge to be worn over the head. The embroidered centre is then pulled
over the face so as to form an embroidered veil.
Chhamaas
The Chhaamas phulkari hails from Rohtak, Gurgaon, Hissar, and Delhi. The
Chaamas Phulkari incorporates mirrors which are sewn into the cloth with yellow,
grey, or blue thread.
Phulkari of South and Southwestern Punjab region
South and southwestern Punjab region includes the south Punjab, India, south and
south west of Punjab, Pakistan. The phulkari of south and southwestern Punjab
region, has wide edges upon which designs of animals and birds are embroidered.
As is the case of the chope, the edges are embroidered on both sides of the cloth.