Phulkari - A legacy of passing thread skills
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An Indian traditional craft Phulkari practiced in Punjab from generations. People from all over the love this hand crafted skill by the women in punjab
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Phulkari - A legacy of passing thread skills
- 1. Phulkari A legacy of passing thread skills Compiled by Priyanshi Arora BTEC HND LEVEL 5 Fashion and Textile
- 2. It is an authentic Indian Traditional Embroidery done on cotton cloth “Khaddar” with the silk threads . The inspiration is taken from flowers in geometric forms. Phulkari A "Tawayif" (Courtesan) named "Ilahijan" - Circa 1900 (Patiala, East Punjab (now India))
- 3. C:Documents and SettingsPRIYANKA ARORAMy DocumentsDownloadsPhulkari -- an old embroidery tradition.mp4 Video on Phulkari
- 4. Originated from Punjab Literally meaning “flower work” phulkari was a part of every important moment of local life A means of socializing Purely a domestic art which not only satisfied their inner urge for creation but brought color into day-to-day life. “Baghs” are the garments made for special occasions Scattered work is called “Aadha bagh” Work is done on white or yellow silk floss on cotton “khaddar” with darning stitch Work on the fabric starts from center on the fabric called “chasm-e-bulbul
- 5. An old picture of punjab women wearing phulkari dupattas made by them
- 6. Silk threads used for embroidery Base cloth of Khaddar
- 7. Birth of this handicraft was basic necessity and family culture and not artistic purpose This was never fabricated for sale On birth of a girl child, her grandmother use to start making clothes for her Finishing of a phulkari marked the stepping of a girl into womanhood Khaddar threads were the naturally loomed dyed threads
- 8. Originality disappeared due to socio-economic reasons and Indo-Pak division Each regional group is identifiable by it’s unique embroidery work Phulkari word indicates shawls that were loomed and embroidered to cover woman’s head or to be displayed in Gurudwara It is rural tradition of handmade embroidery in north west India and Pakistan during 19th century and early 20th (geographically specific)
- 9. Women developed various motifs with inspiration from vegetables, flowers, animals they had Karela, gobhi, dhaniya, mirchi bagh Everything was inspired from the daily life Lehariya bagh (wave), satranga and pachranga Mor bagh (peacock) Most common and beautiful are inspired from wheat/barley stalks Recent new motifs are parantha (originally eight colors), kanchan design, butti design
- 10. Leheriya Bagh Parantha (depicting 8 colors)
- 11. Chag (Seieve) design Nau Aakein (9 eyes) Jewellery design
- 12. Peacock motifs
- 13. Wheat and peacock Kanchan design Dhaniya (coriender)
- 14. Done with vertical, horizontal and diagonal stitches No different shades are used for shading purpose Shiny thread reflects different shades in different directions Most favoured color is red and it’s shades because bagh and phulkari are used during marriage and festivals Main colors are yellow, orange, red, green, pink, blue and white Other colors are brown, blue, black White was used in bagh by elderly ladies
- 15. Different shades of colors used in a Phulkari design
- 16. Materials required The stack •Done on cotton or khadi •Hand spun •Today duppatas can vary from chiffon, georgette and crape The thread Silk threads are of various colors are used
- 17. With the grid lines Without gridlines, called bolpuri
- 18. Phulkari embroidery back and front. •Embroidery is done from the back side. •Effect is seen on the front
- 19. Picture of kaeta phulkari Some phulkari designs are so bold that their front and back looks identical They are known a Kaeta phulkari
- 20. Darning stitch, commonly used Narrowest the stitch, finest the piece For unusual purpose: I. Herring bone stitch II. Running stitch III. Holbein stitch or button hole stitch Picture showing different stitched
- 21. • Making rows of straight running stitches near each other • Used to mend torn clothes, especially socks and looks like a woven patch. An example of Darning stitch
- 22. This is the basic herringbone stitch made of crosses that are not cut exactly in the middle, but in quarters. Pictures depicting how herringbone stitch is done
- 23. This stitch is done by running the needle and thread up and down the cloth at a regular distance. An example showing running stitch
- 24. used to securing fabric edges. it gives a much sturdier stitch due to the knots it makes best done with a slightly thicker thread. Pictures showing buttonhole stitch process
- 25. • Phulkari is present in various forms some of them are: I. Bagh II. Thirma III. Darshan dwar IV. Sainchi V. Vari-da-bagh VI. Bawan bagh VII. Chope VIII. Suraj mukhi IX. Kaudi bagh X. Meenakshi bagh XI. Panchrangi XII. Satrangi
- 26. Ceremonial Garden of flowers Embroidery so profuse that ground color is not visible Embroidery becomes fabric itself Demand more time, patience and material increasing the exposure Status symbol Pat’s colors: gold, silvery- white Bagh embroidery covering full khaddar
- 27. North of punjab White khaddar is called thirma Symbol of Purity Elder women widows Ethical reasons too Pat bright pink to deep red tones Includes clutches and darning stitches White khaddar Thirma
- 28. East of punjab Gate through which God is seen Made for temples as offering, after a wish is fulfilled Unlike other Phulkaris, not very big part in dowry Human and animal representation Offered to God by couples
- 29. South-east punjab Art of narration Local animals like goat, cow, elephant, big cat, peacock Train for transportation Depicts way of life interest Small area high embroidery skills Occupy unique position in variety of Phulkari Sainchi narrating the life in villages in 19th century
- 30. West Punjab Gifted to the bride by in- laws while entering the house Made on orange reddish khaddar except on border Embroided with signle golden or orange pat Pattern 3-4 lozengas of growing size with different meaning where outer symbolise Earth next City third fanilial house Vari-da-bagh different lozengas
- 31. East Punjab Exact 52 patterns Display of samples of skills of embroider patters Rarest of all Bawan bagh showing all 52 patterns
- 32. Embroidered on borders Gifted to the bride by her grandmother during ceremony before wedding Embroided with two sided stitch making it appear same on both the sides No variety of colors, single golden or golden-yellow mostly Khaddar in red or orange Chope Phulkari
- 33. West Punjab Sunflower Unique Because it comprises of holbin and darning stitch Comparable proportion Detail of Surajmukhi Phulkari
- 34. East punjab Kaudi used as coins Now sign of humility Worn when women have chances of becoming pregnant Dress ornaments made of Cowdies Detail of kaudi bagh
- 35. Gold white colored pat Small multi colored lozengas referring to meenakari (enamel work) and to diamond playing card suit A meenakari or ikka bagh
- 36. Pachranga bagh (chevrons with five colors) Satranga bagh (chevrons with seven colors) A panchranga bagh
- 37. Suits Duppatta Sarees Shawls
- 38. Potli Keychain Footwear Tissue Box Laptop bagMessengers
- 39. Some associations are trying to keep it alive Originality lost, industrially made Punjab’s villages washed out of their best pieces Easily available all over the world through internet Price rise of fine Phulkari and bagh in very big proportions
Notes de l'éditeur
- authentic Indian Traditional Embroidery done on cotton cloth “Khaddar” with the silk threads . The inspiration is taken from flowers in geometric forms.
- Originated from Punjab Literally meaning “flower work” “Baghs” are the garments made for special occasions Scattered work is called “Aadha bagh” Work is done on white or yellow silk floss on cotton “khaddar” Work on the fabric starts from center Phulkari was a part of every important moment of local life
- Birth of this handicraft was basic necessity and family culture and not artistic purpose This was never fabricated for sale On birth of a girl child, her grandmother use to start making clothes for her Finishing of a phulkari marked the stepping of a girl into womanhood Khaddar threads were the naturally loomed dyed threads
- Originality disappeared due to socio-economic reasons and Indo-Pak division Each regional group is identifiable by it’s unique embroidery work Phulkari word indicates shawls that were loomed and embroidered to cover woman’s head or to be displayed in Gurudwara It is rural tradition of handmade embroidery in north west India and Pakistan during 19th century and early 20th (geographically specific)
- Women developed various motifs with inspiration from vegetables, flowers, animals they had Karela, gobhi, dhaniya, mirchi bagh Lehariya bagh (wave), satranga and pachranga Mor bagh (peacock) Most common and beautiful are inspired from wheat/barley stalks Recent new motifs are parantha (originally eight colors), kanchan design, butti design
- With a stack of his blocked cloth, the shopkeeper travels different villages where he distributes the pieces to different women in same or different villages. The colours and threads are already decided either by the shopkeeper or by the buyer. Many women have started the use of frame as the cloth used nowadays is not coarse enough to be embroidered without a frame. Following the guidelines the embroidery is done from the top. There are some women who do embroidery without any guidelines or any patterns drawn beforehand. These Phulkaris are known as “bolpuri”. Here the woman pulls a strand of thread as a mark of reference, and following that they do the embroidery. Sometimes the embroidery is so thick that the Phulkari looks same on both the ends, such type is known as “kaeta Phulkari”. The embroidery is done from top to bottom. Women have started using a combination of stitches like stem stitch, chain stitch, running stitch etc. Quality of a Phulkari have reduced tremendously, earlier where women would take years to finish a single Phulkari, women today are able to finish around 2-3 Phulkari in a month. Thus there is a wide range of Phulkari depending on the neatness of the embroidery.
- Darning stitch was the most commonly used technique to make phulkari and the quality of a piece could be measured according to the width of this stitch. The narrowest was the stitch, the finest was the piece. In order to create an unusual design or to border the khaddar, some other stitches like the herringbone stitch, running stitch, Holbein stitch or button hole stitch were occasionally used. Darning stitch The darning stitch is about making rows of straight running stitches near each other. The technique of darning is used to mend torn clothes, especially socks and looks like a woven patch.
- This phulkari from the north of Punjab, shared by Hindu and Sikh traditions and very appreciated by collectors is identified by its white khaddar called thirma, symbol of purity. As a symbol of purity, thirma was often worn by elder women and widows but, at times, this choice of white coloured khaddar was also made for esthetical reasons. The pat was generally chosen in a range of bright pink to deep red tones. Cluster stitched flowers, wide triangles covering the forehead as well as chevron darning stitch surfaces were very common thirma patterns.
- Darshan Dwar, that can be translated as "the gate through which God can be seen", unlike other phulkari was not made for a person but for a temple as an offering to thank the gods after a wish had been fulfilled. For this reason, while a dowry could contain dozens of phulkari, darshan dwar has never been made in big quantities. Like other figurative pieces (e.g. Sainchi phulkari, see the next paragraph) this particular kind of phulkari was made in east Punjab, a mostly non-Islamic area which allowed the development of a broad variety of human and animal representations.
- ainchi phulkari are figurative pieces narrating the life in the villages of south east Punjab. Local animals (goats, cows, elephants, big cats, scorpions, peacocks,...) are represented moving among wrestlers, farmers, weavers, etc. Train is also often displayed on sainchi phulkari, this means of transportation, brought by the British in the second half of the19th century, having had a big impact on local populations' life. Beyond their aesthetic value, sainchi phulkari can be compared to our nowadays media as they depict the ways of life, interests and environment of the old time rural people of Punjab. In addition, they were produced in a relatively small area (Firozpur and Bhatinda districts) and required high embroidery skills. These are all the reasons why they became so appreciated by collectors and occupy a very unique position among the different varieties of phulkari.
- ("Vari": gift offered to the bride by her in-laws) This bagh was gifted to the bride by her in-laws when she was entering their house, her new home, on the wedding day. It is an exceptional fact as all the other phulkari were part of her dowry and, thus, were provided by her own family. Vari-da-bagh is always made on an orange-reddish khaddar and, except for its border and sometimes a small decoration, it is always embroidered on its whole surface with a single golden or orange coloured pat. This bagh's main pattern is a group of three or four small concentric lozenges of growing size included in each other. Despite the fact that only one colour of pat is used, these lozenges are easily revealed by the reflections of light. The outer one symbolizes the Earth, the next one the city and the third one the familial house. It happens that this last lozenge is split into four smaller ones probably symbolizing the parents of the groom and the newly married couple. The bride was wrapped in this bagh by her mother in law when she was receiving the keys of her new house, thereby meaning that the bride was becoming responsible for the maintenance of the house.
- "Bawan" means " fifty-two " in Punjabi and refers to the mosaic of fifty-two different patterns which decorate this piece (the number of patterns can be at times more or less than 52). Bawan bagh (or phulkari) was in fact a display of samples used by professional embroiderers to show their skills and the patterns they could provide to their clients. This explains why bawan bagh (or phulkari) is the rarest of all the bagh and phulkari.
- The bride's maternal grandmother (Nani) was starting chope's embroidery as soon as her granddaughter was born. Instead of the common darning stitch, she was using the Holbein stitch which has the specificity of creating the same design on both the sides of the khaddar. This can be interpreted as the grandmother's wish to make her granddaughter equally happy in her life and after her death, on the two sides of her existence. Chope was made to wrap and dry the bride after the ritual bath she was having before her wedding, for this practical reason chope is bigger than other phulkari. Its khaddar was invariably dyed in red or orange colour, symbol of passion and happiness. It is worth noticing that chope was never bordered so that this happiness could be unlimited... Pat was always chosen in golden tones to express desire and wealth. The Patterns were big triangles symmetrically distributed on the two sides of the chope's longitudinal axis. They were maybe symbolizing male and female principles separated by a distance expressing the fact that the wedding's night had not taken place yet and, thus, that the bride and groom had not had physical intimacy. On another hand these triangles could also represent stylized peacocks. As well as in other phulkari, some mistakes were voluntarily introduced into the embroidery work in order to protect the bride from the evil eye ("nazar"). Indeed a perfect piece could have attracted others' jealousy. This principle of keeping others' envy away showing imperfections is found in many oriental traditions. In India, for instance, some black round spots are often drawn on babies faces for this purpose. Sometimes, chope was also used to cover and hide the bride's dowry, making it invisible to jealous minds and thus keeping the nazar away.
- Surajmujkhi, the sunflower, refers to the main pattern of this phulkari. From a technical point of view this type of phulkari is unique as it is the only one that mixes in comparable proportions Holbein stitch (used to make chope phulkari) and the regular darning stitch.
- Among their patterns, these bagh include chains of small white squares representing stylized cowries. Used as currency in the old times these shells have now lost all of their value and using them as ornaments has thus become a sign of humility. From another point of view, the shape of these shells can remind of female genitals and make them become symbols of fertility. Kaudi phulkari were often worn by women wanting to increase their chance to become pregnant.
- his bagh, often made of gold and white coloured pat, is decorated with small multicoloured lozenges referring to enamel work (meenakari) or to "diamond" playing cards' suit.
- eaning "Five colours", this bagh is decorated with chevrons of five different colours. In The same way, similar pieces like satranga ("Seven colours") bagh are also available.
- Phulkari and bagh displayed in collections are mostly 50 to 150 years old. They had been bought for a few rupees or exchanged against kitchen utensils in villages of Punjab, years back, by local intermediaries and then sold to dealers in big cities like Delhi or Peshawar. Some associations have been trying hard to keep this art alive but nowadays phulkari are almost exclusively industrially made. They are available in cloth markets of Punjab's big cities (Patiala, Amritsar...) along with embroidered kurtas and cushions. The fact that this tradition in its original form is now almost over, that Punjab's villages have been washed out of their best pieces and that the information on phulkari's value in the occidental market is now easily available all over the World through the Internet, has increased the prices of fine phulkari and bagh in very big proportions.