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Indian Art And Culture Biography
For centuries Indian arts and crafts have been distinguished for their great aesthetic and functional value. In ancient times, the shilpis conceptualized the intricate designs and patterns, which were crafted painfully into the temples and the objects associated with them. India has the widest variety of crafts anywhere in the world. However diverse and intricate the range of craft forms produced by Indian craftsmen, the root of the creative process has always been the artisan tradition. It presents both the widest canvas of creative activity and the broadest spectrum of development.
Handicraft items that were patronized by the Mughal royalty show a remarkable refinement of workmanship. In these crafts the designs were very often influenced by the court paintings and miniature art derived from Persian or indigenous sources. These designs are evident in the Indian carpets, brocades, papier-mache, stone inlay and so on.
Historically speaking the discovery of the Indian arts and crafts by the officers, surveyors and archaeologists of the East India Company and the British Raj and their subsequent display at the India Museum in East India House around the first half of the 19th century was a remarkable event. Indian decorative arts were for the first time carefully studied, collected and appraised with the result that not only in England but also all over Europe, they influenced the public taste and excited the sensibilities of the designers. The Great Exhibition of London in 1851 showed for the first time in the West several Indian decorative objects produced in various materials. Several such exhibitions subsequently held in America, Australia and parts of Europe opened the eyes of the western world to the quality, beauty and sophistication of Indian designs, craftsmanship and materials. The South Kensington Museum, London collected Indian arts and crafts and utilised them for training designers and architects.
Another development was the use of Indian decorative motifs on colonial buildings designed by architects such as Robert Chisholm towards the end of l9th century. In 1904, George Watts and Percy Brown brought together a major exhibition and catalogue of Arts and Crafts of India at Delhi. Indian arts and crafts were thus systematically documented and catalogued for the first time.
CLAY CRAFTS
Clay craft is probably the earliest of man's creations. Clay pottery is an ancient art form in India dating back to well over 10,000 years. The clay objects found at the excavation sites of the Indus Valley Civilisation point to the high quality of skill and technology of the Indian potter. Jhuker Pottery was related with the people of the Harappan towns like Amri and Chanhudaro situated in Sind. The Red Ware was the most popular type of pottery during the late-Vedic period. It has been discovered from many archaeological sites in western Uttar Pradesh. The Painted Grey Ware was another distinctive form of pottery of the Vedic times that consisted of bowls and dishes, which were used for rituals and for eating. The appearance of Northern Black Polished Ware (NBP) marked the beginning of the second phase of urbanisation in India. This was a very glossy and shiny type of pottery made of very fine fabric.
Pottery has been called the lyric of handicrafts because of its irresistible and universal appeal. There is a wide range of clay crafts in India. The Bengali Surai or the common jug; Alwar's Kagzi or paper pottery; Bikaner's painted pottery; the colourful Khurja pottery of Uttar Pradesh; the glazed tiles of Chunar and Chinhat in Uttar Pradesh; the clay ware of Himachal Pradesh in its various forms like gidya, patri and narele; the large-sized storage articles of Khanapur in Belgaum district of Karnataka; Saurashtra's beautiful earthenware made of gopichandan; the dal gate pottery of Srinagar and the unique Karigiri pottery of south Arcot made up of white low-fusing china clay called namakatte are but few examples of the diversity and richness of clay craft in India. The popular but rather unusual Blue pottery of Jaipur was introduced from Persia in the mid-19th century. Another interesting variety of pottery is the Pokran pottery, which combines beautiful moulded forms with interesting geometrical patterns. Black pottery, lac-coated terracotta, temple bricks, decorative roof tiles, lamp- shades and ornaments are some of the other wonderful earthenware of India.
Terracotta is a porous and brittle material formed by the low heat of a traditional Indian kiln. Created by the interaction of earth, water and fire, this medium has found expression through almost every period of Indian history. Most terracotta art and pottery is produced by moulding objects by hand or on the wheel and firing them in an open oven. A smoother finish, when needed, is given by rubbing and polishing the surface with wooden palettes or stones while it is still wet. The terracotta tradition of creating figures of deities on ceremonial and auspicious occasions brings out the religious nature of their pottery. Terracotta sculpture was also commonly used in architectural edifices. The temples of Bishnupur, Murshidabad, Birbhum and Hooghly in West Bengal, the Buddhist viharas of Pala period and some mosques of the Mughal period are beautiful examples of the use of terracotta in architecture.
The discovery of several spindles and a piece of cotton stuck to a silver vase revealed that the art of spinning and weaving of cotton was perhaps known to the Harappans. References to weaving are found in the Vedic literature on the method of spinning and the various materials used. In northern, central and eastern India, ancient texts speak of Benaras, Bengal, Orissa and Madhya Pradesh as famous centres of weaving between the seventh century and second century BC. References to silk artifacts can be found in ancient Buddhist literature. In addition, there are abundant visual references that unveil the evolution of textile designs during different periods of time.
The foundations of the Indian textile trade with other countries began as early as the second century BC. A hoard of block printed and resist-dyed fabrics, mainly of Gujarati origin, found in the tombs of Fostat, Egypt, is the proof of large-scale Indian export of cotton textiles to the Egypt in medieval times. In the 13th century, Indian silk was used as barter for spices from the western countries. Towards the end of the 17th century, the British East India Company had begun exports of Indian silks and various other cotton fabrics to other countries. These included the famous fine Muslin cloth of Bengal, Bihar and Orissa. Trade of painted and printed cottons or chintz was extensively practiced between India, China, Java and the Philippines, long before the arrival of the Europeans.
Textiles came to be associated with social and ritualistic events from very early times. Sacred images are clothed and the texts, whether on palm leaves or on paper, are tied in bright textile pieces. Fabrics that use mill-spun yarn but which are hand-woven are known as handloom. Cotton is the soul of the handloom industry of India today. Before the introduction of mechanized means of spinning in the early 19th century, Indian cottons and silks were hand spun and hand woven. Khadi became a highly popular fabric as a result of the swadeshi movement. Today cotton is an integral part of textiles in India. Nearly four million handlooms are engaged in weaving fabrics of nearly 23 different varieties of cotton.
Each region of the subcontinent developed its own distinct textile identity, reflected in the weave and pattern of the fabric and in the way it was worn. Kanchipuram, Ahmedabad, Aurangabad, Varanasi, Jaipur, Chanderi, Paithan, Gadhwal and Kashmir were important centres of textiles from ancient times. The finest textures of northern parts of the country are the Maheshwari and Chanderi saris of Madhya Pradesh and jamdani of Tanda and Benaras in Uttar Pradesh. The Benares silk saris is a very ancient tradition. In the 19th century, Benares silk manufacturers used vegetable and animal forms which were derivations of the Mughal tradition. The design now widely used is a highly stylised floral motif known as the 'Ashrafi Buti', which is based on the old gold sovereigns. The tangail cottons of West Bengal, Sambalpuri and Vichitrapuri saris of Orissa, tussar silk of Bihar, kasavumundu and karalkuda of Kerala, Kancheepuram silks of Tamil Nadu, Pochampalli telia rummals of Andhra Pradesh and the Irkali saris of Bijapur in Karnataka are fascinating specimens of meticulous workmanship. The Paithani saris, produced in Paithan near Aurangabad, are made of silk in rich, vivid colours with gold embroidery. They find a mention even in the Greek records dating before Christ. Paithani is expressed in designs like mazchar (ripples of silver), bangadi mor (peacock inside a bangle) and dhup chaun (sunshine and shade), which are woven on the pallu. In the modern Paithani saris, silver threads coated with gold are used instead of pure gold threads. Aurangabad is also famous for the Himroo shawls which are made of fine threads of silver and gold. The final cloth appears as "Gold Cloth". Jamdani cottons, traditionally woven in Tanda, Uttar Pradesh, are lightweight patterned cloths that essentially rely on the tapestry technique. Fine white, off-white or cream coloured cloth is woven in Kota, Rajasthan and Palghat and Thiruvanthapuram in Kerala.
Sanganer, near Jaipur, is famous for the finest hand-block printing and design, dyeing and ornamentation. The local craftsmen are experts at crinkling, tie-dye, lahariya, mothra, quilting and multitudinous skills of braiding, plaiting and trimming. This art is also very well developed in other parts of Rajasthan. While the Bagru prints are famous for floral designs in dark vegetable colours the Barmer prints are known for their bold geometric patterns called 'ajrakh'. A later-day development is the method of embossed printing with gold and silver called Khari. Jaisalmer specializes is the wax resistant art printing, a technique that creates some of the most unusual shades. The Udaipur printers take their inspiration from the pichhwai of Nathdwara, which leave their lance in the fold of the cloth. The Kota-dorias are famous throughout the country for the fineness of their quality.
Shawl weaving flourished in Kashmir under the patronage of the Mughals. The pashmina and shahtoosh shawls of Kashmir are woven out of the fleece of the Tibetan goat. The pashmina shawl usually comes in subtle shades of cream, beige, brown and grey, depending on the natural colour of the fleece. They may be dyed to produce brighter colours or livened up with embroidery. The shahtoosh is even more delicate than the pashmina. It is so fine and soft that it passes through a ring quite easily. Ladakh has a most picturesque and fascinating weaving tradition. The natural coloured wool is woven into broad carpets, sacks and saddle-bags.
Kashmir is also famous for its carpets. The art of carpet weaving came to Kashmir from Persia in the 15th century during the reign of Sultan Zain ul_Abadin. The art got a boost in the 17th century during the reign of Ahmed Khan the then governor of Kashmir.
Himachal Pradesh, Nagaland, Mizoram, Tripura, Assam, Manipur, Uttar Pradesh, Rajasthan and Gujarat are other states where good shawls are woven. The art of weaving jamawar or tapestry shawls rolled into India from Turkey in the 15th century AD. Woven in shades of cream, brown and grey interspersed with coloured threads to form floral patterns, the best jamawars are now made in Basohli in Himachal Pradesh. Kullu is famous for its vibrantly coloured shawls with striking geometrical patterns. In the North East, each tribe or community has its own specific designs and motifs for shawls and sarongs. The mekhla chadar, pung and rabha kambang have elaborate patterns. Tripuri women wear a scarp, called pachra or ninon, which reaches down just below the knee. They weave in their loin-loom a small piece of cloth called 'Risha', which is used as their breast garment. The Manipuri designs are based on their special legends, traditions and beliefs. The popular akoibi and ningthous phee are patterned on the different designs of a snake and are used mostly in the phanek or women's lungi. The morang phee or the Manipuri sari is distinguished by its border and the likli and lashing phee design.
The Indian dress can be loosely divided into two categories: stitched clothing (tunics, gowns, jackets, waistcoats, skirts and trousers) and unstitched clothing (mantles, shawls, turbans, scarves, saris and loin-cloths). Different regions have become renowned for different kinds of fabric. Masuriya is a rare cotton fabric woven in Masuriya village in Rajasthan. Himroo is a kind of brocaded material woven on a simple throw-shuttle. Varanasi is well known for its kinkab (brocade) with its beldar (scroll pattern) and butidar designs. Its brocade works like chandtara, dhupchhaon, mazchar, morgala and bulbul chasm have great demand abroad. Gujarat's nathdwara pichwai in the brocade style is very famous. The baluchar silk of Murshidabad district of West Bengal have unique designs. The patola weaving involves the subtle merging of different shades of colour. Assam has several varieties of silk like endi, muga and pala.
Embroidery, the art of working raised designs in threads of silk, cotton, gold or silver upon the surface of woven cloth with the help of a needle, has been known in India from very early times. Gujarat and Rajasthan boast of a mind-boggling range in embroideries. Kantha of Bengal, zardosi of Delhi, kasuti of Karnataka, phulkari of Punjab, the gold thread embroidery and gota work of Rajasthan, the zari work of Hyderabad, the appliqué work and metal-wire embroidery are some of the brilliant specimens of Indian embroidery.
Appliqué or Pipli Work: Appliqué or Pipli Work is an integral part of the decorative needlework of Pipli village in Orissa and some parts of Gujarat. It is based on patchwork, in which pieces of coloured and patterned fabric is finely cut in different sizes and shapes and sewn together on a plain background to form a composite piece. They are found in brilliant colours and are highly ornamented with motifs, which include human forms, animals and vehicles. Originally parasols, canopies and pillows were made for the Rath Yatra but now many objects of daily use like lamp shades, garden umbrellas and bed covers have been introduced.
Aribharat: The embroidery of Kutch is very picturesque and has the quality of jewellery. The best known is aribharat, which is named after ari, a hook, plied from the top but fed by silk thread from below with the material spread out on a frame. This movement creates loops, which are repeated to form a line of chain stitches. It is also known as Mochibharat, as it used to be done by mochis (cobblers).
Bagh: The bagh is an offshoot of phulkari and almost always follows a geometric pattern, with green as the basic colour. The embroidery is worked into khaddar (coarse cotton cloth) with silk thread. Sometimes two or three baghs will be stitched together to for a phulkari.
Banjara: The embroidery of the Lambada gypsy tribes of Andhra Pradesh, banjara is a mix of applique with mirrors and beadwork. Bright red, yellow, black and white coloured cloth is laid in bands and joined with a white crisscross stitch.
Chikankari: The Chikan work of Lucknow involves delicate and subtle embroidery done in white thread on varieties of cloth such as mulmul (fine cotton), voil or polyester.. It owes its origin to Nur Jehan. Intricate and complex, this work is similar to what is commonly known as shadow work. Simplicity, regularity and evenness of stitches, combined with very fine thread-knots are the highlights of Chikan work. The different varieties of chikan stitches include tepchi, pechni, bakhia, zanjira, phanda and murri. The Chikan kurtas are very popular.
Crewel: Kashmir is known for phirans (woollen kurtas) and namdahs (woollen rugs) with big floral embroidery in cheerful colours. Crewel embroidery is the same as chain stitch and is usually done with an awl (a small pointed tool for making holes) and is worked from underneath the fabric rather than above.
Gota Work: The gold embroidery of Jaipur, known as gota-work, is an intricate form of appliqué with patterns of amazing richness, worked out in minute detail in fine gold thread. Small pieces of zari ribbon are applied onto the fabric with the edges sewn down to create elaborate patterns. Lengths of wide, golden ribbons are similarly stitched on the edges of the fabric to create an effect of gold zari work. The gota method is commonly used for women's formal costumes. Khandela in Shekhawati is best known for its manufacture. Kinari or edging refers to the art of fringed border decoration. It is usually practised by the Muslim craftsmen.
Kantha: Kantha is a kind of patchwork embroidery, typical of Bihar and West Bengal, in which the ground consists of remnants of white cotton saris, while the threads used for the embroidery are picked from old materials. In kantha, the thread is carried over the surface in small stitches to produce a series of dotted lines. To these are added, from the reverse side, longer floats that are mostly used as decorative elements and for filling in the bodies of the figures. Floral, animal and bird motifs embroidered on both cotton and silk are extremely popular.
Karchobi: It is a form of raised zari metallic thread embroidery created by sewing flat stitches on cotton padding. The technique is commonly used for bridal and formal costumes as well as for velvet coverings, tent hangings, curtains and the coverings of animal carts and temple chariots.
Kashida: This is the typical embroidery work of Bihar and is done in different styles.
Kasuti: This is typical of the Dharwar region of Karnataka. Kasuti is delicate single thread embroidery done on handloom saris. It is done in two styles called gavanti and murgi and has a wide range of motifs consisting of temples, peacocks, elephants, flowering trees and geometric forms spread across the sari.
Kathi: This rural art of Gujarat is attributed to the nomadic tribes of the kathi. The work is distinguished by a very unusual technique in which chain stitch embroidery is combined with appliqué work and enhanced by small mirror-like insertions. The embroidery is characterised in particular by its wealth of forms and motifs. Many of the kathi embroideries depict Hindu themes.
Mirror Work: The women of Rajasthan and Gujarat traditionally carry embroidered torans (frieze), dowry bags, shawls, cholis and dupattas as part of their dowry. This work can be identified by its use of tiny mirrors with colourful threads that shape floral and figurative designs.
Patti Ka Kaam: It is the exquisite embroidery work of Aligarh in Uttar Pradesh.
Phulkari: The Punjab phulkari is of a spectacular nature. The word means flowering and it creates a flowery surface. Strangely enough, the stitch itself is the simple darning like the damask, done either by counting the threads or with utmost care, since a single miss can spoil the whole pattern. Originally, the designs seem to have been predominantly geometrical but the phulkari now being produced for sale has often a lotus in the centre and stylised animals, birds, worked in harmoniously with flowers. The design is fed into the cloth from the reverse side using darning needles, one thread at a time, leaving a long stitch below to form the basic pattern. The stitching is done in a vertical and horizontal pattern as well as variations from this standard format, so that when the phulkari is finally complete the play of light on its shiny surface can do wonders. Stitching is usually done with silk thread, though occasionally cotton threads are also used. The best work in phulkari is found in Haryana in Gurgaon, Karnal, Hissar, Rohtak and Delhi.
Pichwai: These are colourful embroidered cloth-hangings typical of Nathdwara in Rajasthan.
Rabari Art: This is a typical embroidery work of the nomadic Rabari tribes of the Kutch region. The embroidered motifs are generally camels, royal fans, elephants, scorpions and women bearing water.
Shamilami: It is a combination of weaving and embroidery and was once a high status symbol in Manipur.
Zardozi or Zari: Zardozi or Zari or kalabattu is an embroidery work done in metal wires. Varanasi, Lucknow, Surat, Ajmer, Bhopal and Hyderabad are important centres for zari work. In this work, metal ingots are melted and pressed through perforated steel sheets to convert into wires. They are then hammered to the required thinness. Plain wire is called badla, and when wound round a thread, it is called kasav. Smaller spangles are called sitara and tiny dots made of badla are called mukaish. Zardozi, a more elaborate version of zari, involves the use of gold threads, spangles, beads, seed pearls, wire, gota and kinari.
Indian Art And Culture Biography
For centuries Indian arts and crafts have been distinguished for their great aesthetic and functional value. In ancient times, the shilpis conceptualized the intricate designs and patterns, which were crafted painfully into the temples and the objects associated with them. India has the widest variety of crafts anywhere in the world. However diverse and intricate the range of craft forms produced by Indian craftsmen, the root of the creative process has always been the artisan tradition. It presents both the widest canvas of creative activity and the broadest spectrum of development.
Handicraft items that were patronized by the Mughal royalty show a remarkable refinement of workmanship. In these crafts the designs were very often influenced by the court paintings and miniature art derived from Persian or indigenous sources. These designs are evident in the Indian carpets, brocades, papier-mache, stone inlay and so on.
Historically speaking the discovery of the Indian arts and crafts by the officers, surveyors and archaeologists of the East India Company and the British Raj and their subsequent display at the India Museum in East India House around the first half of the 19th century was a remarkable event. Indian decorative arts were for the first time carefully studied, collected and appraised with the result that not only in England but also all over Europe, they influenced the public taste and excited the sensibilities of the designers. The Great Exhibition of London in 1851 showed for the first time in the West several Indian decorative objects produced in various materials. Several such exhibitions subsequently held in America, Australia and parts of Europe opened the eyes of the western world to the quality, beauty and sophistication of Indian designs, craftsmanship and materials. The South Kensington Museum, London collected Indian arts and crafts and utilised them for training designers and architects.
Another development was the use of Indian decorative motifs on colonial buildings designed by architects such as Robert Chisholm towards the end of l9th century. In 1904, George Watts and Percy Brown brought together a major exhibition and catalogue of Arts and Crafts of India at Delhi. Indian arts and crafts were thus systematically documented and catalogued for the first time.
CLAY CRAFTS
Clay craft is probably the earliest of man's creations. Clay pottery is an ancient art form in India dating back to well over 10,000 years. The clay objects found at the excavation sites of the Indus Valley Civilisation point to the high quality of skill and technology of the Indian potter. Jhuker Pottery was related with the people of the Harappan towns like Amri and Chanhudaro situated in Sind. The Red Ware was the most popular type of pottery during the late-Vedic period. It has been discovered from many archaeological sites in western Uttar Pradesh. The Painted Grey Ware was another distinctive form of pottery of the Vedic times that consisted of bowls and dishes, which were used for rituals and for eating. The appearance of Northern Black Polished Ware (NBP) marked the beginning of the second phase of urbanisation in India. This was a very glossy and shiny type of pottery made of very fine fabric.
Pottery has been called the lyric of handicrafts because of its irresistible and universal appeal. There is a wide range of clay crafts in India. The Bengali Surai or the common jug; Alwar's Kagzi or paper pottery; Bikaner's painted pottery; the colourful Khurja pottery of Uttar Pradesh; the glazed tiles of Chunar and Chinhat in Uttar Pradesh; the clay ware of Himachal Pradesh in its various forms like gidya, patri and narele; the large-sized storage articles of Khanapur in Belgaum district of Karnataka; Saurashtra's beautiful earthenware made of gopichandan; the dal gate pottery of Srinagar and the unique Karigiri pottery of south Arcot made up of white low-fusing china clay called namakatte are but few examples of the diversity and richness of clay craft in India. The popular but rather unusual Blue pottery of Jaipur was introduced from Persia in the mid-19th century. Another interesting variety of pottery is the Pokran pottery, which combines beautiful moulded forms with interesting geometrical patterns. Black pottery, lac-coated terracotta, temple bricks, decorative roof tiles, lamp- shades and ornaments are some of the other wonderful earthenware of India.
Terracotta is a porous and brittle material formed by the low heat of a traditional Indian kiln. Created by the interaction of earth, water and fire, this medium has found expression through almost every period of Indian history. Most terracotta art and pottery is produced by moulding objects by hand or on the wheel and firing them in an open oven. A smoother finish, when needed, is given by rubbing and polishing the surface with wooden palettes or stones while it is still wet. The terracotta tradition of creating figures of deities on ceremonial and auspicious occasions brings out the religious nature of their pottery. Terracotta sculpture was also commonly used in architectural edifices. The temples of Bishnupur, Murshidabad, Birbhum and Hooghly in West Bengal, the Buddhist viharas of Pala period and some mosques of the Mughal period are beautiful examples of the use of terracotta in architecture.
The discovery of several spindles and a piece of cotton stuck to a silver vase revealed that the art of spinning and weaving of cotton was perhaps known to the Harappans. References to weaving are found in the Vedic literature on the method of spinning and the various materials used. In northern, central and eastern India, ancient texts speak of Benaras, Bengal, Orissa and Madhya Pradesh as famous centres of weaving between the seventh century and second century BC. References to silk artifacts can be found in ancient Buddhist literature. In addition, there are abundant visual references that unveil the evolution of textile designs during different periods of time.
The foundations of the Indian textile trade with other countries began as early as the second century BC. A hoard of block printed and resist-dyed fabrics, mainly of Gujarati origin, found in the tombs of Fostat, Egypt, is the proof of large-scale Indian export of cotton textiles to the Egypt in medieval times. In the 13th century, Indian silk was used as barter for spices from the western countries. Towards the end of the 17th century, the British East India Company had begun exports of Indian silks and various other cotton fabrics to other countries. These included the famous fine Muslin cloth of Bengal, Bihar and Orissa. Trade of painted and printed cottons or chintz was extensively practiced between India, China, Java and the Philippines, long before the arrival of the Europeans.
Textiles came to be associated with social and ritualistic events from very early times. Sacred images are clothed and the texts, whether on palm leaves or on paper, are tied in bright textile pieces. Fabrics that use mill-spun yarn but which are hand-woven are known as handloom. Cotton is the soul of the handloom industry of India today. Before the introduction of mechanized means of spinning in the early 19th century, Indian cottons and silks were hand spun and hand woven. Khadi became a highly popular fabric as a result of the swadeshi movement. Today cotton is an integral part of textiles in India. Nearly four million handlooms are engaged in weaving fabrics of nearly 23 different varieties of cotton.
Each region of the subcontinent developed its own distinct textile identity, reflected in the weave and pattern of the fabric and in the way it was worn. Kanchipuram, Ahmedabad, Aurangabad, Varanasi, Jaipur, Chanderi, Paithan, Gadhwal and Kashmir were important centres of textiles from ancient times. The finest textures of northern parts of the country are the Maheshwari and Chanderi saris of Madhya Pradesh and jamdani of Tanda and Benaras in Uttar Pradesh. The Benares silk saris is a very ancient tradition. In the 19th century, Benares silk manufacturers used vegetable and animal forms which were derivations of the Mughal tradition. The design now widely used is a highly stylised floral motif known as the 'Ashrafi Buti', which is based on the old gold sovereigns. The tangail cottons of West Bengal, Sambalpuri and Vichitrapuri saris of Orissa, tussar silk of Bihar, kasavumundu and karalkuda of Kerala, Kancheepuram silks of Tamil Nadu, Pochampalli telia rummals of Andhra Pradesh and the Irkali saris of Bijapur in Karnataka are fascinating specimens of meticulous workmanship. The Paithani saris, produced in Paithan near Aurangabad, are made of silk in rich, vivid colours with gold embroidery. They find a mention even in the Greek records dating before Christ. Paithani is expressed in designs like mazchar (ripples of silver), bangadi mor (peacock inside a bangle) and dhup chaun (sunshine and shade), which are woven on the pallu. In the modern Paithani saris, silver threads coated with gold are used instead of pure gold threads. Aurangabad is also famous for the Himroo shawls which are made of fine threads of silver and gold. The final cloth appears as "Gold Cloth". Jamdani cottons, traditionally woven in Tanda, Uttar Pradesh, are lightweight patterned cloths that essentially rely on the tapestry technique. Fine white, off-white or cream coloured cloth is woven in Kota, Rajasthan and Palghat and Thiruvanthapuram in Kerala.
Sanganer, near Jaipur, is famous for the finest hand-block printing and design, dyeing and ornamentation. The local craftsmen are experts at crinkling, tie-dye, lahariya, mothra, quilting and multitudinous skills of braiding, plaiting and trimming. This art is also very well developed in other parts of Rajasthan. While the Bagru prints are famous for floral designs in dark vegetable colours the Barmer prints are known for their bold geometric patterns called 'ajrakh'. A later-day development is the method of embossed printing with gold and silver called Khari. Jaisalmer specializes is the wax resistant art printing, a technique that creates some of the most unusual shades. The Udaipur printers take their inspiration from the pichhwai of Nathdwara, which leave their lance in the fold of the cloth. The Kota-dorias are famous throughout the country for the fineness of their quality.
Shawl weaving flourished in Kashmir under the patronage of the Mughals. The pashmina and shahtoosh shawls of Kashmir are woven out of the fleece of the Tibetan goat. The pashmina shawl usually comes in subtle shades of cream, beige, brown and grey, depending on the natural colour of the fleece. They may be dyed to produce brighter colours or livened up with embroidery. The shahtoosh is even more delicate than the pashmina. It is so fine and soft that it passes through a ring quite easily. Ladakh has a most picturesque and fascinating weaving tradition. The natural coloured wool is woven into broad carpets, sacks and saddle-bags.
Kashmir is also famous for its carpets. The art of carpet weaving came to Kashmir from Persia in the 15th century during the reign of Sultan Zain ul_Abadin. The art got a boost in the 17th century during the reign of Ahmed Khan the then governor of Kashmir.
Himachal Pradesh, Nagaland, Mizoram, Tripura, Assam, Manipur, Uttar Pradesh, Rajasthan and Gujarat are other states where good shawls are woven. The art of weaving jamawar or tapestry shawls rolled into India from Turkey in the 15th century AD. Woven in shades of cream, brown and grey interspersed with coloured threads to form floral patterns, the best jamawars are now made in Basohli in Himachal Pradesh. Kullu is famous for its vibrantly coloured shawls with striking geometrical patterns. In the North East, each tribe or community has its own specific designs and motifs for shawls and sarongs. The mekhla chadar, pung and rabha kambang have elaborate patterns. Tripuri women wear a scarp, called pachra or ninon, which reaches down just below the knee. They weave in their loin-loom a small piece of cloth called 'Risha', which is used as their breast garment. The Manipuri designs are based on their special legends, traditions and beliefs. The popular akoibi and ningthous phee are patterned on the different designs of a snake and are used mostly in the phanek or women's lungi. The morang phee or the Manipuri sari is distinguished by its border and the likli and lashing phee design.
The Indian dress can be loosely divided into two categories: stitched clothing (tunics, gowns, jackets, waistcoats, skirts and trousers) and unstitched clothing (mantles, shawls, turbans, scarves, saris and loin-cloths). Different regions have become renowned for different kinds of fabric. Masuriya is a rare cotton fabric woven in Masuriya village in Rajasthan. Himroo is a kind of brocaded material woven on a simple throw-shuttle. Varanasi is well known for its kinkab (brocade) with its beldar (scroll pattern) and butidar designs. Its brocade works like chandtara, dhupchhaon, mazchar, morgala and bulbul chasm have great demand abroad. Gujarat's nathdwara pichwai in the brocade style is very famous. The baluchar silk of Murshidabad district of West Bengal have unique designs. The patola weaving involves the subtle merging of different shades of colour. Assam has several varieties of silk like endi, muga and pala.
Embroidery, the art of working raised designs in threads of silk, cotton, gold or silver upon the surface of woven cloth with the help of a needle, has been known in India from very early times. Gujarat and Rajasthan boast of a mind-boggling range in embroideries. Kantha of Bengal, zardosi of Delhi, kasuti of Karnataka, phulkari of Punjab, the gold thread embroidery and gota work of Rajasthan, the zari work of Hyderabad, the appliqué work and metal-wire embroidery are some of the brilliant specimens of Indian embroidery.
Appliqué or Pipli Work: Appliqué or Pipli Work is an integral part of the decorative needlework of Pipli village in Orissa and some parts of Gujarat. It is based on patchwork, in which pieces of coloured and patterned fabric is finely cut in different sizes and shapes and sewn together on a plain background to form a composite piece. They are found in brilliant colours and are highly ornamented with motifs, which include human forms, animals and vehicles. Originally parasols, canopies and pillows were made for the Rath Yatra but now many objects of daily use like lamp shades, garden umbrellas and bed covers have been introduced.
Aribharat: The embroidery of Kutch is very picturesque and has the quality of jewellery. The best known is aribharat, which is named after ari, a hook, plied from the top but fed by silk thread from below with the material spread out on a frame. This movement creates loops, which are repeated to form a line of chain stitches. It is also known as Mochibharat, as it used to be done by mochis (cobblers).
Bagh: The bagh is an offshoot of phulkari and almost always follows a geometric pattern, with green as the basic colour. The embroidery is worked into khaddar (coarse cotton cloth) with silk thread. Sometimes two or three baghs will be stitched together to for a phulkari.
Banjara: The embroidery of the Lambada gypsy tribes of Andhra Pradesh, banjara is a mix of applique with mirrors and beadwork. Bright red, yellow, black and white coloured cloth is laid in bands and joined with a white crisscross stitch.
Chikankari: The Chikan work of Lucknow involves delicate and subtle embroidery done in white thread on varieties of cloth such as mulmul (fine cotton), voil or polyester.. It owes its origin to Nur Jehan. Intricate and complex, this work is similar to what is commonly known as shadow work. Simplicity, regularity and evenness of stitches, combined with very fine thread-knots are the highlights of Chikan work. The different varieties of chikan stitches include tepchi, pechni, bakhia, zanjira, phanda and murri. The Chikan kurtas are very popular.
Crewel: Kashmir is known for phirans (woollen kurtas) and namdahs (woollen rugs) with big floral embroidery in cheerful colours. Crewel embroidery is the same as chain stitch and is usually done with an awl (a small pointed tool for making holes) and is worked from underneath the fabric rather than above.
Gota Work: The gold embroidery of Jaipur, known as gota-work, is an intricate form of appliqué with patterns of amazing richness, worked out in minute detail in fine gold thread. Small pieces of zari ribbon are applied onto the fabric with the edges sewn down to create elaborate patterns. Lengths of wide, golden ribbons are similarly stitched on the edges of the fabric to create an effect of gold zari work. The gota method is commonly used for women's formal costumes. Khandela in Shekhawati is best known for its manufacture. Kinari or edging refers to the art of fringed border decoration. It is usually practised by the Muslim craftsmen.
Kantha: Kantha is a kind of patchwork embroidery, typical of Bihar and West Bengal, in which the ground consists of remnants of white cotton saris, while the threads used for the embroidery are picked from old materials. In kantha, the thread is carried over the surface in small stitches to produce a series of dotted lines. To these are added, from the reverse side, longer floats that are mostly used as decorative elements and for filling in the bodies of the figures. Floral, animal and bird motifs embroidered on both cotton and silk are extremely popular.
Karchobi: It is a form of raised zari metallic thread embroidery created by sewing flat stitches on cotton padding. The technique is commonly used for bridal and formal costumes as well as for velvet coverings, tent hangings, curtains and the coverings of animal carts and temple chariots.
Kashida: This is the typical embroidery work of Bihar and is done in different styles.
Kasuti: This is typical of the Dharwar region of Karnataka. Kasuti is delicate single thread embroidery done on handloom saris. It is done in two styles called gavanti and murgi and has a wide range of motifs consisting of temples, peacocks, elephants, flowering trees and geometric forms spread across the sari.
Kathi: This rural art of Gujarat is attributed to the nomadic tribes of the kathi. The work is distinguished by a very unusual technique in which chain stitch embroidery is combined with appliqué work and enhanced by small mirror-like insertions. The embroidery is characterised in particular by its wealth of forms and motifs. Many of the kathi embroideries depict Hindu themes.
Mirror Work: The women of Rajasthan and Gujarat traditionally carry embroidered torans (frieze), dowry bags, shawls, cholis and dupattas as part of their dowry. This work can be identified by its use of tiny mirrors with colourful threads that shape floral and figurative designs.
Patti Ka Kaam: It is the exquisite embroidery work of Aligarh in Uttar Pradesh.
Phulkari: The Punjab phulkari is of a spectacular nature. The word means flowering and it creates a flowery surface. Strangely enough, the stitch itself is the simple darning like the damask, done either by counting the threads or with utmost care, since a single miss can spoil the whole pattern. Originally, the designs seem to have been predominantly geometrical but the phulkari now being produced for sale has often a lotus in the centre and stylised animals, birds, worked in harmoniously with flowers. The design is fed into the cloth from the reverse side using darning needles, one thread at a time, leaving a long stitch below to form the basic pattern. The stitching is done in a vertical and horizontal pattern as well as variations from this standard format, so that when the phulkari is finally complete the play of light on its shiny surface can do wonders. Stitching is usually done with silk thread, though occasionally cotton threads are also used. The best work in phulkari is found in Haryana in Gurgaon, Karnal, Hissar, Rohtak and Delhi.
Pichwai: These are colourful embroidered cloth-hangings typical of Nathdwara in Rajasthan.
Rabari Art: This is a typical embroidery work of the nomadic Rabari tribes of the Kutch region. The embroidered motifs are generally camels, royal fans, elephants, scorpions and women bearing water.
Shamilami: It is a combination of weaving and embroidery and was once a high status symbol in Manipur.
Zardozi or Zari: Zardozi or Zari or kalabattu is an embroidery work done in metal wires. Varanasi, Lucknow, Surat, Ajmer, Bhopal and Hyderabad are important centres for zari work. In this work, metal ingots are melted and pressed through perforated steel sheets to convert into wires. They are then hammered to the required thinness. Plain wire is called badla, and when wound round a thread, it is called kasav. Smaller spangles are called sitara and tiny dots made of badla are called mukaish. Zardozi, a more elaborate version of zari, involves the use of gold threads, spangles, beads, seed pearls, wire, gota and kinari.
Indian Art And Culture
Indian Art And Culture
Indian Art And Culture
Indian Art And Culture
Indian Art And Culture
Indian Art And Culture
Indian Art And Culture
Indian Art And Culture
Indian Art And Culture
Indian Art And Culture
Indian Art And Culture
Indian Art And Culture
Indian Art And Culture
