DronaCrafts

Lucknow, in Uttar Pradesh, was and is the centre of chikan embroidery, renowned for its timeless grace and its gossamer delicacy, a skill more than 200 years old --- exploited, commercialis but not dead. In fact, the craft is alive and struggling to regain some of its former beauty and elegance. Chikan embroidery is done on fine cotton fabric. The garments are first stitched and then embroidered, whereas skirts, saris, and table linen are first embroidered and then finished. A study of the origin of chikan reveals that this form of embroidery had come to India from Persia with Noor Jehan, the queen of the Mughal Emperor Jehangir. The word chikan is a derivative from the Persian word 'chikaan' meaning drapery. Some, however, insist that the craft migrated from Bengal. What we know is that chikankari came to Oudh when Mughal power declined in Bengal and the artisans moved to the Oudh durbars, seeking employment and patronage.
The craft flourished under the benign nawabi influence. The ladies of the harem vied with each other in making white embroidered caps for the nawabs in order to be noticed and favoured. Earlier garments were so fragile that they had to be discarded after a few washes --this explains why early samples of chikan garments are not available. With the British influence, designs became more formal and items other than ethnic apparel began to be created. This brought a formalisation of designs to a large extent, which resulted in an export market. These items found a place in the prestigious homes in Europe and England, specimens of which are still available. The bel or creeper was the most commonly used design";" individual motifs or butis of animals and flowers were also made. Fish (mahi) was a very common motif in Lucknow and used widely because it was the emblem of the Court of Oudh.

The design to be embroidered is printed on the fabric with wooden blocks, using fugitive colours, which are commonly made by mixing a glue and indigo with water. For extra fine designs, brass-blocks are sometimes used.

In chikan, the needle is held in the right hand while inserting it into the fabric, the left hand supports and controls the thread so that the stitches take the right shape. In traditional chikan no frames were used (though they are used now)";" the portion of the cloth to be embroidered is placed over the index finger of the left hand, supported by the rest of the fingers, leaving the thumb free. The needle is pulled away from the embroiderer who starts from the nearest end and finished at the farthest end.

There is a discipline and method in the application of the stitches. The darn stitch is worked on rough cotton fabric to fill angular designs and to cover the surface of the fabric, while satin stitching is done exclusively on delicate fabrics like silk, muslin, or linen. In chikan some stitches are worked from the wrong side of the fabric, while others are worked from the right side. It is however unique in its discipline in as much as stitches designated for a particular purpose are used only for that purpose --- they are not replaced by other stiches. For example, the chain stitch (zanjeera) will only be used for the final outline of a leaf, petal, or stem.

Different specialists work with different types of stitches. For example, open work or jaali is not done by embroiderers who do the filling work - each worker completes his/her bit and the fabric is then sent to the next embroiderer. The wages for each job are fixed separately.

Chikan embroidery has a repertoire of about 40 stitches of which about 30 are still being used. These can be broadly divided into 3 heads - flat stitches, raised and embossed stitches, and the open trellis-like jaali work. Some of these have equivalents in other embroideries, the rest are manipulations that make them distinctive and unique. They cover almost all the embroidery stitches of the country and have interesting and descriptive names.

The main flat stitches with their traditional names are:

Taipchi: Running stitch worked on the right side of the fabric. It is occasionally done within parallel rows to fill petals and leaves in a motif, called ghaspatti. Sometimes taipchi is used to make the bel buti all over the fabric. This is the simplest chikan stitch and often serves as a basis for further embellishment. It resembles jamdani and is considered the cheapest and the quickest stitch.

Pechni: Taipchi is sometime used as a base for working other variations and pechni is one of them. Here the taipchi is covered by entwining the thread over it in a regular manner to provide the effect of something like a lever spring and is always done on the right side on the cloth.

Pashni: Taipchi is worked to outline a motif and then covered with minute vertical satin stitches over about two threads and is used for fine finish on the inside of badla.

Bakhia: It is the most common stitch and is often referred to as shadow work. It is of two types:

(a) Ulta Bakhia: The floats lie on the reverse of the fabric underneath the motif. The transparent muslin becomes opaque and provides a beautiful effect of light and shade.

(b) Sidhi Bakhia: Satin stitch with criss-crossing of individual threads. The floats of thread lie on the surface of the fabric. This is used to fill the forms and there is no light or shade effect.

Khatao, khatava or katava is cutwork or appliqu? - more a technique than a stitch.

Gitti: A combination of buttonhole and long satin stitch, usually used to make a wheel-like motif .

Jangira: Chain stitch usually used as outlines in combination with a line of pechni or thick taipchi.

The bolder or knottier stitches include the following:

Murri: A very minute satin stitch in which a knot is formed over already outlined taipchi stitches.

Phanda: It is a smaller shortened form of murri. The knots are spherical and very small, not pear shaped as in murri. This is a difficult stitch and requires very good craftsmanship.

Jaalis: The jaalis or trellises that are created in chikankari are a unique speciality of this craft. The holes are made by manipulation of the needle without cutting or drawing of thread. The threads of the fabric are teased apart to make neat regular holes or jaalis. In other centres where jaalis are done, the threads have to be drawn out. In chikankari, this is not the case. Names of jaali techniques suggest the place where they originated from --- Madrasi jaali or Bengali jaali ---- or possibly the place of demand for that particular jaali. The basic manner in which jaalis are created is by pushing aside wrap and weft threads in a fashion that minute openings are made in the cloth. Shape of openings and the stitches used distinguish one jaali from another.

The source of most of the design motifs in chikankari is Mughal. Noor Jehan's personal preferences and desire to replicate the Turkish architectural open-work designs is said to have that led to the introduction of jaalis in chikan embroidery. The designs in chikan are graded and used according to the stitches employed - murri ka buta and tepchi ka jaal --- though terms like hathi (elephant) and kairi (mango) are also used to signify the shape of the motif. It is however the stitch employed that is the established nomenclature.

The production process of a chikan garment, assuming it is a kurta, goes through several processes. In each process a different person is involved. The final responsibility is, however, that of the person ordering the manufacture, who is also usually the seller. Chikan work involves several stages. The fabric is cut by the tailor into the required garment shape, after which the basic pre-embroidery stitching is done so that the correct shape is available to the block-printer to plan the placement of the design. The design is printed on the semi-stitched garment with fugitive colours, and the embroidery of the garment is then begun. After completion, the article is checked carefully since most defects can be detected at first glance. However, the finer flaws surface only after washing. The washing is done in a bhatti, after which the garment is then starched and ironed. The whole cycle can take from one to six months. Originally, chikan embroidery was done with white thread on soft, white cotton fabric like muslin or cambric. It was sometimes done on net to produce a kind of lace. Today chikan work is not only done with coloured threads but on all kinds of fabrics like silk, crepe, organdie chiffon, and tassar.

Block printing is believed to have originated in China towards early 3rd century. Records of its presence in Egypt and some Asian countries were also found around the 4th century, from where it spread to Europe and other places. Apart from wood, blocks were made of metals and porcelain also. But wooden block remains the most sought after apart from metal ones which has gained popularity in recent times. In hand block printing, the design is first drawn on wood using a sharp needle and then the desired design is carved using the chisel, hammer, file, nails etc.
 The printing involves laying the cloth/fabric, which is to be printed, on flat tables and impressions are made using the beautifully carved blocks. In case of direct printing, the block is dipped in the colored dye and impressions are made. In case of resist dyeing, impression of an impermeable material (clay, resin, wax etc) is made on the fabric which is then dyed in the desired shade. The block image remains un printed and reappears in reverse. Traditionally natural and vegetable sources were used for dyes. But with the advent of synthetic dyes, things have changed, not necessarily for good. The ease of usage and the availability of synthetic dyes have replaced the vegetable dye in many cases.

The sari or saree is as old as the Indian civilization. Cotton weaving was known to the inhabitants of the Indus Valley civilization some 5000 years ago. There is mention of sari in the Vedas and Mahabharat establishing the origin and age of sari.It is an unsewn cloth draped around the female body and is 4 to 9 metre in length. Though sari is worn by women in various style, the most common being wrapping one end around the waist and the other end covering the upper body leaving the midriff. Men also wear cloth similar to sari and is known as ‘dhoti’ or ‘lungi’.
 Sari in primarily worn only in the Indian sub-continent. The different colours and designs are symbolic and vary from region to region. The colours also vary according to the occasion on which the same is worn. The saris were initially weaved out of cotton and silk yarn only but the Europeans introduced synthetic polyester and nylon, weaved on power looms and were cheap. The handmade saris are made out of cotton and silk and blends. Metallic threads, also of gold and silver are also used to form intricate designs.

Kalamkari hand-painting on fabric is a technique used to embellish temple cloth and hangings. Painted hangings are used for religious instruction, in temples, and for draping behind the idol in temple cars during processions.

The process followed here is even more painstaking than the kalamkari done at Masulipatnam as the entire design is drawn bv hand using a kalam or pen made from wood (tamarind twigs charred to charcoal sticks) and fibre. All the processes are nearly the same as at Masulipatnam except for the absence of blocks. This craft grew mainly around places of pilgrimage and one of the leading centre is Sri Kalahasti in Andhra Pradesh.
The temple hangings and tapestries from Kalahasti are famous worldwide. Madder and indigo processes are used here and alum is the mordant used to fix the colours. Vegetable dyes in deep rich shades red and blue are used, while green is obtained as a combination of yellow and blue. The washing of the cloth to remove starch and the washing between dyeing and bleaching is done from flowing water in a stream or river. The lines of the design are drawn with a mixture of iron-filings and molasses. The colour schemes used are traditional ones, with women figures in yellow, gods in blue, and demons in red and green. The background colours are usually red with motifs of lotus and other flowers. The aesthetic quality of fine kalamkaris derives from the superb conceptual and technical skill involved in the work.

Religious themes dominate, with temples, epics, and mythological figures being depicted frequently. The stories illustrated on these panels are from Puranic legends and from the Ramayana and the Mahabharata. Paintings are usually done in cloth panels which narrate entire stories, with the smaller ones depicting important religious events like Sita's marriage. As all the panels are done by hand, and each one is unique";" no two panels will look the same. A panel may include a story-theme written in verse under it to explain it.

Embroidery from the Saurashtra and Kutch regions in Gujarat is not only famous but also versatile. There are plenty of stitches used to beautify the product. Abhala is the embroidery where small round pieces of mirrors are fixed on to the fabric using buttonhole stitching";" the embroidery is done in a herringbone stitch using silken thread. Rust, light green, indigo, blue, deep red, pink, and purple are the colours used. skirts, kurtis(ladies shirt) and richly embroidered blouses are the other famous items by the craftspersons.
Kathi is the oldest embroidery which is known for its romantic motifs. Geometrical motifs are fabricated with multicolored fabric pieces leading to patch work effect. Varieties of items are prepared. Heer is an embossed stitch having shades of off-white, yellow, madder red, black, indigo, ivory, and green. Small mirror pieces are used to add more beauty to the embroidery.

Ari embroidery with silk threads using a hook is a popular craft of Kutch. The motifs found commonly are, dancing peacocks, human figures in dancing poses. A Bandhani pattern complimented with beautiful and delicate bead work is an art to be praised. The various communities in Gujarat --- rabaris , , ahirs, , jats, bharwads bharwads and harijans have their own styles of embroidery. Cotton and quality silks are used by jats and mutuwas to decorate women's outfits. The embroidery of the Rabari community is usually done on a maroon background with the enclosed motifs.

Karimnagar in Andhra Pradesh has highly skilled artists practicing the delicate craftsmanship of filigree. Spoons, buttons cigarette cases, boxes, ashtrays, buttons pill boxes, jewelry, paandans and perfume containers. Designs of Peacock, parrots and fish are depicted in the perfume containers. The artisans display mastery is twisting the delicate silver wire into delicate loops knitted in a zigzag pattern resulting in an intricate lace like appearance.
This is an ancient art of metal work practiced in the traditional way. Silver filigree has Cuttack as a centre. The Silver filigree craft is locally known as Tarkashi in Orissa. . The artifacts are made of alloy which contains over 90% of silver and to compete with the changing times new methods are being used..The artists have maintained the craft by keeping themselves updated with the market requirement . Platinum polish is also used and it leaves glare on the item.

The silver is extracted through a series of consecutive smaller holes to produce fine strings of silver threads. The string is the specialty in the filigree jewelry.. Traditional items include figures of animals, birds and flowers. Konark Chakra and temple are the favorite mementos while a still depicting the chariot of Arjuna driven by Lord Krishna is quite popular. Brooches, ladies bags, pendants, earrings and hairpins and other utility items like the trays, plates, cups, candle stands bowls, ash-trays, , incense containers, animals, birds, flowers, peacock and many more.

The finest patterns of terracotta panels can be found in Bengal towns of Murshidabad, Birbhaum, Jessore, Hooghly and Digha. The theme is generally folk and the patterns are fairly highlighted with traditional skill and explicit artwork.

The clay used is generally a blend of two to three clays found in river beds, pits and ditches. More often than not the fuel used is one of the local resources available in the form of twigs, dry leaves or firewood. The kilns where the clay pots are baked are operated at temperatures between 700 ? 800 degrees celcius.

The womenfolk in the khumbkar families are the potters who work on the wheels making the round necks and the upper halves of the pots. They also make solid clay toys and dolls which are cast in burnt clay moulds. Large figurines of gods and goddesses are also made in clay and generate a lot of income for these families.

Terracotta, which is found mainly in rural parts of West Bengal, has found inroads into mainstream lifestyle with many household using the suraii, a clay pitcher used to keep water cool. Most rural households use terracotta feeding bins for cattle, tea mugs, clay pots for cooking rice, plates, tumblers, yoghurt pots. Most of the items though are of the use and throw variety.

The various customs and traditions attached to the festival of Lohri signifies the harvesting of the Rabi crops. The people of Northern India, especially Punjab and Haryana celebrate Lohri, to mark the end of winter. Harvested fields and front yards are litup with flames of bonfires, around which people gather to meet friends and relatives and sing folk songs. For Punjabis,

In the morning, children go from door to door singing songs in praise of Dulha Bhatti, a Punjabi version of Robin Hood who robbed from the rich and helped the poor. These visitors are usually given money as they knock on their neighbor’s doors. In the evening, people gather around bonfires, throw sweets, puffed rice, and popcorn into the flames, sing popular folk songs and exchange greetings.

The Bonfire Customs & Tradition
In the evening, with the setting of the sun, huge bonfires are lit in the harvested fields and in the front yards of houses and people gather around the rising flames, circle around (parikrama) the bonfire and throw puffed rice, popcorn and other munchies into the fire, shouting "Aadar aye dilather jaye" (May honor come and poverty vanish!), and sing popular folk songs. This is a sort of prayer to Agni, the fire god, to bless the land with abundance and prosperity.

After the parikrama, people meet friends and relatives, exchange greetings and gifts, and distribute prasad (offerings made to god). The prasad comprises five main items: til, gajak, jaggery, peanuts, and popcorn. Winter savories are served around the bonfire with the traditional dinner of makki-ki-roti (multi-millet hand-rolled bread) and sarson-ka-saag (cooked mustard herbs).

On the Lohri day everyone gets into their best clothes and is festive. Gifts of sweets are exchanged. The courtyard and rooms of the house are swept and sprinkled with water. As the sun sets, all people dress up in their best and gather around the bonfire. Newly wed ones wear jewelery. The new-born are given little combs to hold. The a burning fagot is brought from the hearth and sets the Lohri bonfire alight. As the flames leap up, the girls throw sesame seed in them and bow. Someone sings:


“Let purity come, dirt depart
Dirt be uprooted and its roots Cast in the fire.”
People throw sticks of sugarcane into the fire and an aroma of burning sugar spreads in the atmosphere. Girls light fireworks and sparklers. The fire's glow lights faces with a golden hue. People sing and dance till the early hours of the morning, and little children sleep in their mother's laps.

When people throw sesame seeds in the fire they ask for sons. The saying is: As many as the elder brother's wife throws, so many sons the younger brother's wife will bear. That is why in homes where there is a new-born son or a newly wed man, Lohri is celebrated with even greater enthusiasm, and sweets made of molasses and sesame seed are sent to relatives and friends. Since the Punjabi word for sesame seed is til and for molasses rorhi the festival is also called Tilori.

Lohri is also an occasion when parents give presents to their newly married daughters. "For peasants, Lohri marks the beginning of a new financial year because on this day they settle the division of the products of the land between themselves and the tillers.
this is more than just a festival; it is also an example of their love for celebrations. Lohri celebrates fertility and the joy of life. People gather around bonfires, throw sweets, puffed rice and popcorn into the flames, sing popular and folksongs and exchange greetings.

Coconut Shell, Fibre & Stem Craft
Coconut trees grow all over Kerala, and the coconut is a fruit which is used in its entirety. From the coconut shell products like bowls, vases, tea pots and hookas are crafted. Lamp stands encased in brass and smaller coconut shell articles are also made in Trivandrum, Attingal and Neyyatinkara, while larger items are made in Quilandy in Kozhikode district in north Kerala. Often hookas and large vases are also made by combining coconut shells with brass bindings. Coconut fibre is cleaned, smoothened and made into various dolls and toys with beads and coloured threads to it go give it a decorative appearance.
The process followed by the artisan to make a cup, for instance, is to rub the outer surface of the shell with steel wool and then smoothen the inner part with a chisel. A circular base and handle made with shell are attached to the cup with screws. The first coat of polish is boot polish, after which a final coat of French polish is give

Coconut Shell

This is a versatile craft and the articles made out of coconut shells range from table lamps and finger bowls to boxes and even jewellery. Basketry and mat-weaving are traditional crafts of the Nicorbarese and are usually done by the women in their leisure time. Mats are made from coconut stems and pandanus leaves and are used for sitting, sleeping, and making the walls of huts. Very often light and dark leaves are interwoven to create intricate patterns. The mats are soft, light, and cool, and have a glossy surface.

Bone and Shell

Marine mollusks(animals) strip off their calcareous casing from time to time. These are sea shells which are painted, etched, carved, cut and sculpted to form various utility and decorative handicraft items. Some of the shells used are puka, nautilus, mother of pearl(mop), blacklip, brownlip, hammer, troca, paua etc. Sea shells have been used by mankind since the stone age. They not only adorned their jewelry but also their boats and other belongings. Soon shells became an important part of their life. Some tribes even used shells as money. Among the Greeks and Romans, shells were a symbol of prosperity. Collecting and decorating with shells became a hobby for the aristocrats. Shells are used to make decorative tiles & floorings, walls, pots, picture frame & mirrors, jewelry boxes, lamp shades, ash trays, incense stick and candle stand and jewelry.

Tortoise Shell Craft
The main centre for the tortoise shell crafting is in Andhra Pradesh district of Vishakapatnam where chiefly trinket boxes are made in combination with bone. The shell surface of the box is covered with intricate designs of bone fretwork so that the orange glow of the shell can be seen through this perforated lacy pattern. The designs include fine geometrical patterns, epic figures and animals fringed by floral motifs.
A combination of horns, bone and tortoise shells are also combined to make products at Vishakapatnam and Secunderabad. Bone is also combined with sandalwood, ebony and tortoise shells to create intricate patterns of fretwork that are mounted or inlaid to make ornate octagonal jewel boxes with the bone net cover.

Shell Craft of Andaman & Nicobar
The large and beautiful shells found in abundance in the Andaman and Nicobar Islands. are cleaned and polished before being used to make ashtrays, small boxes, bangles, table lamps, and jewellery. An interesting and beautiful resource is the tortoise shell which is often inlaid with silver, and used to make jewellery and decorative artefacts such as rings and crosses to be worn around the neck. Shell, because of its light colour and luminous properties, is also being used for inlay work.
Bone has been used by human beings from the very beginning. Probably the bones left after decay of the animals was discovered by man. He might have used it as a weapon for hunting and defending himself. Subsequently it was put to various uses by carvers when not only utility but decorative objects of art were made. Captive jewelry, beads, combs etc are made from bones.