Index

1. Chikankari
2. Toda
3. Kasuti
4. Kantha
5. Rabari
 1. Chikankari

Origin

Lucknow,
Uttar Pradesh

History

The art came to

India from Persia
with Noor Jehan,
the queen of the
Mughal
Emperor
Jehangir and
was patronized
by the nawabs for many years. Origin of the term Chikankari has different
explanations. As per one version, the word Chikankari has been derived from
a Persian word Chakin or Chakeen, which means creating delicate patterns
on a fabric. According to others, it may be a distorted version of Chikeen or
Siquin, a coin valuing Rs 4 for which the work was sold. Yet another
explanation ascribes the term to the East Bengal language, in which Chikan
meant fine.

The fiber used

Traditionally Chikankari was embroidered on muslin with white thread.

Gradually chikankari work started to be done on other fabrics auch as
organdi, cotton and silk. Presently all types of fabrics namely voil, chiffon,
linen, khadi, polyesters, georgettes etc.

Technique

Embroidery- Chikankari embroidery involves about 40 different stitches, with

6 basic ones on which the others are built. Each stitch has an individual
name, involves a specific number of threads and has a specific use; it is
never used in another part of the design. Each stitch is the representation of
a particular purpose. Rahet, for instance, is a stem stitch worked with six
threads producing a solid line of backstitch on the front of the fabric, and is
used only as an outlining stitch. Finely detailed, dense floral patterns with
knots, pulled network and other textural elements are characteristic of this
work.

Motifs

The design motifs in Chikankari are predominantly influenced by Mughal art.

The bel or creeper is the most commonly used design; individual motifs
or butis, animals and flowers are also made including fish
(mahi), hathi (elephant) and kairi (mango), dhaniya patti (corriander
leaf), ghas patti (grass leaves V-shaped line of stitches worked in a
graduated series); murri (grain motif – diagonal stitches are worked several
times on a basic stitch to form a grain shape) and many more. 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.
Color palette

Traditionally Chikankari was worked with fine untwisted white cotton threads
on fine, semi-transparent white cotton or fine muslin. Interestingly,
chikankari embroidery now includes different shades of threads and fabrics,
both pastels and dark coloured fabrics.

End use

Chikan embroidery is worked on a range of attire including salwar kameezes,

churidar-kurta ensembles, saris, tops, and kurtas, summer dresses, etc.

Significance

Chikankari is so fine that the Romans called them ‘textili venti’, woven
winds.

1. Toda
Origin

Nilgiris, Tamil nadu.

History

The todas, a pastoral tribe who inhabit the Nilgiris or Blue mountain of
Tamilnadu are believed to many to be of Greek origin.  Toda women
embroider the 'poothkulli' or long wrap worn in Greek fashion by both men
and women of the tribe. But the way women wear this is different from the
way men wear it. Heavily embroidered attires are worn during ceremonies
and festivities.

Fiber used
The ground fabric used is cotton, which is coarse in texture and unbleached-
off white colour. The fabric has alternate broad stripes of red and black
length wise.,each six inches apart.

Technique

Embroidery

The technique used is an intricate form of Needle Weaving using only one
stitch that is Darning. Motifs are worked, by counting the threads. So the
beauty of the embroidery depends upon the precision with which these
ladies count the threads of the fabric and then embroider.

Motifs

The patterns used are geometric, reflect Macedonian influence and are
inspired by the nature; Sun, Moon, stars, flowers, snakes, etc. Buffalo horn
is widely used motif. Other motifs used are Izhadvinpuguti, which is a motif
named after their priest, mettvi kanpugur is a box. Rabbit ears are always
embroidered at the edge of the fabric to avoid it from unraveling itself.

Color palette

The ground fabric used is cotton, which is coarse in texture and unbleached-
off white colour, the embroidery is done between the gaps in red and black.

End use

Toda embroidery is nowadays visible on stoles, kurtis, pyjamas, skirts,

pants, salwar-kurta etc. Apart from clothes, Toda embroidery is used for
adorning a range of products like pouches, spectacle cases, luncheon sets,
table cloths and other similar accessories.

Significance
Despite the shift to present-day forms, the universal thread running through
the entire presentation displays the Toda passion for creative expression,
splendour and traditional continuity.

2. Kasuti embroidery

Origin
Karnataka

History
Kasuti is one of India’s oldest form of embroidery. After the fall of
Gupta Empire (6th-10th century AD) there was a tremendous revival
of arts and culture known as the golden age. Again in the 13 th
century, in the original state of Mysore, the women of all courts
were well versed with 64 arts and one of them was Kasuti- said
most recently to have been practiced by the Lambani tribe who
migrated to Gujarat from Rajasthan and then to the south in
Karnataka.

Fiber used
Kasuti was done on Ilkal saris woven in the northern Karnataka in
the town called Ilkal on pit looms. These are woven in cotton and in
silk. The dark background of the Ilkal sari provides a good base for
the colors used in Kasuti embroidery.

Technique
Embroidery- Kasuti can be described as delicate embroidery with
geometric designs which when worked closely can make dramatic
patterns. A combination of four main stitches, all based originally
on the counted thread method allows many people to work on same
pattern and change in the working hands does not affect the final
design. Now days the designs are regrettably being traced on a
paper or loosely woven gauze, which is then pulled off after
completing the work.

Motifs
Kasuti embroidery is very rich in symbolic motifs- as the finest
examples of this embroidery are found where the Vijayanagara
& Chalukya court influence was strongest, the present Bijapur/
Dharwar areas. Hence the inspiration for these women fork were
symbols and designs which came from temples, caves, shrines,
 beautiful sculpted edifices with exquisite pattern, the flora and the
fauna of the region and anything that their eyes could relate to.

Color palette
Originally, the embroidery was done by women with silk threads,
which were taken directly from the weavers if Ilkal saris. Later the
weavers sold these saris with 10’’ of extra silk thread in the warp
which hung from the pallav area. This way the colors used in the
Embroidery blended well and the combinations were never garish.
Colors used predominantly are orange, purple, green and red.

End uses
Women embroidered sarees, bridal wear, bonnets, skirts and
blouses.

Significance
The most remarkable feature about Kasuti is that there no right or
wrong side. Both side look identical when the design is embroidered
skillfully.

3. Kantha
Origin

West Bengal

History

Kantha embroidery has a long history and is believed to have arisen with
the way Bengali women mended old clothes. They would take out strands
of thread from the borders of their colorful sarees and then create simple
designs with them. The creations were known by different titles
depending on what the item they created was. These names included
Lepkantha and Sujni Kantha. Another simple fact for the development of
Kantha embroidery was to keep out the cold during the winter months in
this northern region of India.

Fiber used
Kantha embroidery is done one woolen cotton silk

Technique

Embroidery- The stitches used in kantha embroidery are running,

darning, satin and loop. Stem stitch is also used to outline the figures.
The motifs used depict human figures, animals, birds, fish, kalka,
mandala, foliage, tree of life, lotus (usually in the center), lively folk-art
designs, and geometrical shapes. Sometimes themes are also taken from
the day to day lives.

Motifs

The entire cloth is covered with running stitches and usually has beautiful
folk motifs, floral motifs, animal and birds figures and geometrical
shapes. Themes from day to day activities are also a common subject for
the embroidery.

Color palette

Kantha is done in contrasting colours on natural coloured background of

cotton, wool, silk.

End use

sarees, dupatta, shawls, shirts for women, bedding and other furnishing
fabrics. 

Significance

Kantha can also be used to describe a style of necklace that lies close to
the throat and is open at the back. This form of the word is spoken as an
adjective and means ‘throat’. Lord Shiva in fact had the name Nilakanth
which means in literal terms “blue throat”. The connotation comes from
the story of him swallowing poison which resulted from the churning of
the ocean.

4. Rabari Embroidery