Beginning
with the fine needle found at the excavated sites, this art seems to
stretch back in antiquity to more than a thousand years and is now
living in international haute couture
In
the course of my research, I came across a certain type of embroidery
that seemed to be common to a cer-tain type of people. When I asked
them more questions on who they were, they said: We have come
from thar par kar. They are those who have crossed (par kar)
the desert (Thar). These migrants who have come to India from the
other side of the desert, irrespective of their settling in any part
of the north western India, practise similar embroidery. They have
not lost their cultural identity in terms of their embroidery. It is
the embroidery tradition, mutwa and soonf, as they are called, that
links them to the other side of the border. These people are
scattered over the deserts in the border states of Gujarat and
Rajasthan. Various ethnic groups from the same ecological zone are
seen to be practising the similar embroidery. As a matter of fact,
this becomes the important aspect of their cultural affinity to the
other groups scattered over the vast distances. Mutwa and soonf
embroidery are perfect examples from the desert areas of Gujarat and
Rajasthan which resonate of embroidery from Baluchistan and
Afghanistan.
While
these are obvious areas of cultural influences that have travelled
across and along with people, many influences have come and gone to
be quietly absorbed in the existing local craft, in an almost
unnoticeable way.
North-west
India constitutes six major states of the country. These are
Gujarat, Rajasthan, Punjab, Haryana, Himachal Pradesh and, Jammu and
Kashmir.
Many
of these states have been important trade routes across Asia since
ancient times. This has resulted in many cultural influences from
other countries. The area around Gujarat has been a notable centre
for European trading companies who were exporting bulk embroidered
textile goods.
It
was only along the Indus river plain, the distinguished part of
north-west India, that communities with settled urban culture started
to appear. This part of the Indian subcontinent along the plains of
the river Indus plain has some of the best archaeological sites
depicting the Indus culture which has extended up to Dhaulavira in
the Rann of Kutch, Gujarat and Rakhigarhi in Bannavali, Haryana. The
discovery of the thin bronze needles in the excavations are exclusive
attributive evidences of the decorative surface ornamentation of the
manufactured textiles. This is also corroborated by the wrap worn by
the excavated bust of the priest king from Mohen-jo-daro, Indus
Valley.
The
conventional and traditional embroi-deries of North-West India have
specific references to the style and the techniques which are clearly
understood in their cultural framework. Thus an embroidered fabric is
not an exclusive piece of skilled display of any individual
embroiderer but the expertise of the several who worked on the piece
following the trail of the sequence.
Fundamentally,
the embroidery styles of each of these states are regionally
distinguished. The distributive character of these regional
distinctions may be varied. Some of the embroidery styles elucidate
the relationship between the people and their surroundings while
others reverberate the historicity of the linkages, cultural
affiliations, migrations and the settlements.
Interestingly,
each of these states has independent schools of needle work which
have allured the native user for ages. Embroidery in these regions
has been a commercial activity as well as a household activity. The
finest examples of embroideries were produced for the court, temple,
market and household.
Embroidery
patterns from the region
The
mountainous regions of Kash-mir and Himachal Pradesh have nurtured
specific embroidery stitches in local stylised picturesque
depictions.
The
styles practised in the Kashmir Valley include sozni, rezkar, tilla
dori work, crewel embroidery, watchikan, and papier maché
designs. The range of embroidered forms include wraps, costumes,
furnishing items and accessories. The designs and motifs in Valley
embroidery are mainly of the natural flora and fauna of the valley
along with depiction of scenes of processions of the nobility. Sozni
or the amlikar embroidery is the extension of the rafugar stitch
practised in the 18th century to join the woven Jamavar shawls. This
is the basic darning stitch employed to create very fine minute
designs. Dorukha shawl in this stitch is one of the finest examples.
Chamba
embroidery of Himachal Pradesh manifests the skilled use of double
satin stitch on the body and the stem stitch on the outlines in the
polycoloured silk thread. Popularly known as the Chamba rumals, this
embroidery was practised earlier in the Chamba, Bilaspur, Nurpur,
Kangra, Basholi regions of Himachal Pradesh. With the concentration
of embroiderers around Chamba, the designs depict the narratives of
the Krishna legends and other themes in double satin stitch. This
gives the unique mirror image patterns on both the sides. The rumals
are not only noted for their rich aesthetic effect but also for
significance of the subject matter.
Pichvai
of Rajasthan done in the fine chain stitch with silk thread are the
back drops used for the Shrinathji Temple (Shrinath is another name
for Lord Krishna). This is another localised tradition which depicts
Krishna, the eighth incarnation of Lord Vishnu, with dark blue face.
Punjab
and Haryana states have the tradition of embroidered shawls done
collectively by the womenfolk for marriage presentations. Popularly
called phulkari, this style depicts many regional distinctions.
Characteristically using floss silk in monochromatic colour scheme,
it generally employs false satin stitch along with the stem stitch.
The Punjab phulkaris are primarily geometric depictions, while those
from Haryana include the fine pictorial motifs. Bagh is the relevant
example from Punjab and sainchi from Haryana. Caste, religion and
ethnicity have also considerably influenced the various styles of the
embroideries in this part of the India.
Meghavals,
Rabaris, Raikas, Ahir, Mochi, Banni and several other groups have
their distinctive embroidery styles. The powerful impact of
religiosity and ethnicity is distinctly visible in the visual imagery
of the embroiderers.
Rabaris
are a community spread in Rajasthan, particularly in the district of
Kutch. The rulers of Kutch, the Jadeja Rajputs were the patrons of
the mochi bharat kam also known as ari work'. The shoe makers
or the mochis worked with a small crochet-hook-like instrument called
ari to decorate the silk garments and the decorative objects with the
chain stitch. The lyrical compositions of peacocks, alternated with
maidens and flowers with a typically graded colour scheme are some
examples.
Some
of the settlers from other countries, when settled in these regions,
continued to practise their indigenous styles of embroidery.
Chinai
is the type of Chinese embroidery practised by the descendants of
the Chinese embroiderers settled in Surat, Gujarat during the
nineteenth and twentieth century. These groups are making long
borders in fine Chinese stitch even today. They are attached to saris
or other dresses as borders.
Today,
Indian embroidery has been well taken into international haute
couture. Consequently, various traditional embroideries have found a
foothold in fashion houses.
Hand
embroidery is a time consuming art. Increased demand of this
handiwork affects the quality. Therefore when designers think of
adapting various traditional embroidery techniques in contemporary
fashion usage, it is important for them to gauge the availability of
the talent available for this kind of handiwork.
Institutional
efforts are now being made for developing talent among the younger
generation without losing out on the quality and the fineness of
traditional styles. These can be effectively used in contemporary
dress, furnishing and accessories. Few of the notable efforts include
large size screens developed from the Chamba rumal tradition by
Crafts Council of India, while maintaining the excellence of the
embroidered stitch.
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