Phulkari

1. PHULKARI
Phulkari literary means flower craft. A bagh or Phulkari is not
only a beautiful traditional art but a symbol of maternal love
and faith expressed in embroidery.
The oldest reference of Phulkari could well be traced back to
the 15th century – as even the holy book of the Sikhs
mentions: “Only then will you be considered an
accomplished lady when you will self - embroider your own
blouse.”
The origin of Phulkari is not quite fully known. Some say that
the art was brought by Gujar nomads from Central Asia
and then developed further during Maharaja Ranjit Singh's
reign.

2. Whereas some assert that the Muslim Persians who settled in Kashmir are
responsible for it. It may have some association with Gulkari of Persia which was
practiced there. It is also said that the Jats, the strongest clan in South-east Punjab who
are agriculturists, introduced the art of Phulkari wherever they went.
Reference of Punjabi embroidery though goes back to the Vedic ages. Phulkari
has been mentioned in the famous tale of Heer-Ranjha by the poet Waris Shah.

3. Fabric used :
The ground fabric is thick handspun Khaddar and
apart from white traditionally it was dyed in brick red,
red, black, or blue tones. It was hand woven cotton
material. Great care was taken to make every thread of
the material even since the beauty of the work
depended of the evenness of embroidery stitches.
Now-a-days the embroidery is done on variety of
material ranging from chiffon to satin.
The beauty depends a great deal on the colour of the
ground material. Khadder was formerly woven in
narrow widths. Hence two or more joins had to be
made on the wrong side with running stitches. The size
was two and a half yards long and one and three
quarter yards wide.

4. Its contemporary avatar has also seen it
is being used as motifs on items such as
folders, handfans, jackets, suits, cushion
covers sarees etc.
The literal translation of Phulkari is flower craft
and this art of embroidery is related to the state
of Punjab . Bagh, which literally means garden,
is a Phulkari wherein the entire facade is
splendidly ornamented by a continuous design
through skillful handling of darning. Chobes is
another type of Phulkari Embroidery in which
the edges alone are ornamented with the center
being left plain.

5. The beauty of Phulkari is enhanced by the color of the ground material. The
thread used is invariably pure silk. The uniqueness of the Phulkari
embroidery is that its long short darning stitches are worked on the wrong
side of the cloth. However, the pattern takes shape on the right side.

6. Thread used :
The thread used is untwisted and pure silken floss called “pat’ that is dyed in
five basic colors employed in the design – magenta, golden yellow, green,
crimson, and orange. However the pigment is not so fast, thus even a drop of
water can spoil the phulkari as the colors can run over.
It is fluffy to touch and is a soft, untwisted floss which clings to the fingers,
especially during the summers, so needs to be handled with utmost care.
Going back well into the past, the silk threads were brought in from different
part of India, like Kashmir and Bengal and from beyond its borders,
Afghanistan and China. The last mentioned was reputed for is superior quality
silken threads.
Dera Ghazi Khan in Amritsar was the centre where all the threads were dyed
and then distributed from. Bright colors were always preferred and among
these, golden yellow, red, crimson, orange, green blue, shocking pink etc.,
were the popular ones.

7. Wedding shawl

8. Phulkari, literally means flower-work – a form of craft that became synonymous
with dupttas or shawls which were embroidered over in a sparse and simple
design. Where the design was worked over very closely, covering the material
entirely, it was called bagh (a garden of flowers).
The phulkaris can be classified as follows :
Phulkari / Bagh / Chope
Phulkari and Bagh were commonly worn by Hindu and Sikh women all over
Punjab mainly during festivals, marriages and other celebrations.
These were embroidered by the women themselves and as a purely domestic
art-form became an integral part of their lives. Grandmothers and mothers
especially designed and embroidered these for the daughter’s trousseau.
On the marriage of the daughter, a family’s affluence began to be judged by the
intricacy of the design and the no. of Phulkaris she received in her trousseau.
At times the start of a special ‘Bagh’ would be made after appropriate
ceremonies and prayers and the distribution of prasad (sweets) offered to the
Gods.

9. The "Bagh" design is a more elaborate development, no longer for peasant use.
Though Phulkari is a generic term, when base fabric is completely covered with
embroidery, its called ‘Bagh’.
It is found in the Hazara district where the Jats have converted to Islam. This
type of shawl is an important part of a woman's trousseau and is started early in
a girl's life.
Vari-da-bagh (bagh of the trousseau) is on a red cloth with golden yellow
embroidery symbolizing happiness and fertility. The entire cloth is covered
patterns smaller ones within the border and intricately worked in different colors.

10. The motif seen here is called "bagh tara"
and is a perfect example of pure diapering
in Phulkari work.

11. The Chope, is red colored cloth with embroidered borders usually presented to
the bride by her grandmother during a ceremony before the wedding. It is larger
in size than Phulkari done on khadder of a bright red colour and the silk floss of
golden yellow colour is used for embroidering it.
Ghunghat bagh or sari-pallau (covering for the head) has a small border on all
four sides. In the center of each side, which covers the head, a large triangular
motif is worked.
Bawan bagh (fifty-two in Punjabi) has as many geometrical patterns.
Darshan dwar (the gate offering a view of the deity) is usually for presentation in
temples or to adorn the walls of the home when the Granth Sahib (holy book of
the Sikhs) is brought to a house. The theme is a decorative gate.
Suber is a phulkari worn by a bride during marriage rites. It comprises five
motifs, one in the center and one each in the four corners.

12. Chamba is a hybrid phulkari having a series of wavy creepers, stylized leaves
and flowers.
The plain red / dark red khaddar shawl known as 'Saloo' was used for daily
household wear.
'Til Patra' shawls have very little embroidery and are inferior quality Khaddar. It
was a traditional custom to give servants presents during marriages and
auspicious occasions. It literary means dotted with til seed design.
'Nilak' is worked on black or navy blue Khaddar with yellow and crimson red pat.
The Nilak is a pretty phulkari shawl and looks very attractive. This is popular
among peasant women.
Besides this, designs inspired by various day to day items, fauna and flora like
sunflowers, peacock, red chilies, ace of diamonds and so on.

13. Motifs used :
Motifs are made of horizontal, vertical and diagonal stitches, producing
geometrical pattern in phulkari design and done by counting threads, while the
bagh has an overall geometrically floral pattern.
In Phulkari the ornamentation is dispersed, mostly diapered with large areas of
field colour. In Bagh the whole field is covered with Pat or silk floss and not even
a thread of base fabric is visible with beautifully blended colours chiefly on two
shades with geometric and diapering designs. The designs on Phulkari are more
or less floral in character with a few geometrical patterns in some. Thus Bagh or
Phulkari is the common name of these shawls with the distinction that in Bagh or
garden the whole surface is decorated with a connected pattern, whereas in
Phulkari the pattern is diapered at intervals over the cloth.

14. Though the designs are geometric, motifs within them are inspired from village
life and nature. They could represent birds, animals, vegetables, rivers, sun,
moon, fields and other everyday imagery. Based on these the patterns get there
nomenclatures such as dhaniya, motia, leheria bagh, surajmukhi, mor, kukad,
etc.
Sometimes in a pattern running in tints such as orange or gold, one notices a
motif in a color black navy blue, purple or deep green. It’s not that ladies ran out
of thread, but to ward of the nazar ( the evil eye). This odd motif would get
labelled as tattoo (the useless one) or nazar

15. Stitches used
The stitch craft of the Phulkari is very simple and consists mainly of long and
short darning stitches. It is a unique method of embroidery in that, it is worked
entirely on the wrong side of the cloth. The design is neither drawn nor traced.
The embroiderer plots out the most artistic designs simply by counting the
threads from the back while the pattern takes shape from the right side
unobserved by her & no two pieces are same ever. Usually the base is entirely
covered with embroidery. Women embroidered the cloth with an ordinary needle
and without the help of any sketches or patterns. They started working from one
end and evolved the pattern as they went along.
Phulkari is skillful handling of a single stitch, which when positioned in a
sequence, forms attractive design.

16. The Phulkari derives its richness from the adroit use of long and short darn or
straight stitch, which when placed in different directions – horizontal, vertical or
diagonal- give the thread work many hues, and thus its opulence. The smaller
the stitch, finer is the quality of embroidery
Other stitches used in tandem to extenuate the design are – stem, herringbone,
satin, back, blanket, split and cross-stitch

17. The literal translation of Phulkari is flower craft and this art of embroidery is
related to the state of Punjab. Baugh, which literally means garden, is a
Phulkari wherein the entire facade is splendidly ornamented by a continuous
design through skillful handling of darning. Chobes is another type of Phulkari
Embroidery in which the edges alone are ornamented with the center being left
plain.
The beauty of Phulkari is enhanced by the color of the ground material. The
thread used is invariably pure silk. The uniqueness of the Phulkari
embroideryis that its long short darning stitches is worked on the wrong side of
the cloth. However, the pattern takes shape on the right side.

18. Phulkari, an embroidery technique from the Punjab in India and Pakistan literally
means flower working, which was at one time used as the word for embroidery,
but in time the word “Phulkari” became restricted to embroidered shawls and
head scarfs. Simple and sparsely embroidered odini (head scarfs) and shawls,
made for everyday use, are called Phulkaris, whereas garments that cover the
entire body, made for special and ceremonial occasions, are known
as Baghs ("garden").

19. The main characteristics of Phulkari embroidery are use of darn stitch on the
wrong side of coarse cotton cloth with coloured silken thread. Punjabi women
created innumerable alluring and interesting designs and patterns by their skilful
manipulation of the darn stitch. The base khaddar cloth used in Western Punjab is
finer from those of Central Punjab. Black/blue are not preferred in Western
Punjab, whereas white is not used in East Punjab. In West Punjab, 2 or 3 pieces
of cloth are first folded and joined together. In East Punjab, they are joined
together first and then embroidered. Many women also stiched ornamnets as part
of the design and even a special thread made of gold was used along side silk
threads.The creative ability of women scaped wonderful and sometimes complex
patterns along side the colorful flowers.

21. Salwar kameez
Salwar Kameez: It is the outfit commonly worn by Indian women and is second in
line after the sari. The outfit is probably born out of Islamic influence especially
that of Arabic and Persian cultures. Women all over the country prefer this dress
mainly because of the comfort and ease of movement that it offers, besides near
zero maintenance.
A salwar is a pair of loose pyjamas held together with a drawstring around the
waist. It also comes in another version – very tight and narrow at the bottom with
numerous extra folds gathered at the ankles. This is popularly known as a
churidar. In Punjab, the women wear a patiala salwar which falls around the legs
in innumerable pleats resembling a dhoti.
A kameez is a long shirt, either loose or tight-fitting and comes in a straight or A-
line shape. It is slit along the sides to allow freedom of movement. A salwar
kameez is incomplete without a dupatta, which is a long piece of cloth to cover
the bosom, but mostly used like a scarf.

22. Description
This is an unstitched cotton Voile fabric with matching dupatta of same fabric
with hand work as shown in the pictures. This dress material has beautiful
hand embroidered PATIALA PHULKARI work on:- 1. All over Front of
Shirt/Kameez as in the picture 2. Shoulders of Shirt/Kameez 3. Dupatta
The colour of the fabric is PINK. This fabric is good for all the seasons
throughout the year. Hand painting and Embriodery is also done on specific
orders of the customers.

23. Ghaghra / Lehenga Choli:
A ghagra or a lehenga is a long gathered gypsy skirt with dazzling embroidery
or mirror work and comes in vibrant colours. It is worn with a choli, which is a
short closely fitted woman’s blouse that shows off the midriff, or a kurti (shorter
version of a kurta). Some cholis can be fastened at the back by means of
narrow strips of cloth or chords.
An odhni or a dupatta (scarf) with intricate designs complements the outfit.
Women in Rajasthan and Gujarat don this beautiful and highly sensuous outfit.
Dressier versions are teamed with chunky silver jewellery during festivals and
other important occasions.

24. Lehenga
A Bridal lehenga seems soulless without embroidery. The Phulkari work on the
lehengas in Punjab or the Zari work in Maharashtra provides the lehengas for
the bride with a very beautiful and traditional look. But they also make the
lehenga too heavy to carry.
Phulkari Punjabi suit

25. PHULKARI DUPATTA
Salwar Kameez :A popular, comfortable and convenient dress is the or churidar
kurta. This was traditonally the dress worn in Punjab, but is now worn almost
everywhere, particularly among the younger generations. The kameezor the kurta
is a knee-length flowing tunic worn over a salwar or churidar. A salwar is a
pyjama-like trouser, which tapers slightly towards the ankles, while the churidar is
a tight-fitting trouser that gathers at the ankles. These gathers at the ankles look
like bangles (churis) and hence the name. A dupatta generally completes the
ensemble.

26. PHULKARI DUPATTA

27. Costumes of Delhi have a unique pattern. The traditional costumes of Delhi are
churidar or salwar kameez dupatta for women, and kurtas and pyjamas for men.
Delhi, the microcosmic India, and the national capital of the country, treasures a
rich cultural heritage of splendid diversity and secular democracy that the
country stands for. The air of Delhi is abuzz with the mantra of variety and
ethnicity, founded on the truth of intermingling of cultures, tastes and
preferences. People from diverse states have come and settled in Delhi for
education, business, career, etc. and along with them; they have also brought
their culture, languages, dressing style, etc. Delhi is a fashionable city and it is
showcased in Delhi`s costumes; here youth and adolescents are very fashion
conscious.

29. The cosmopolitan Delhi denizens have reflected this tradition of an all-
accommodative mindset, in the choice and setting of the costume-trends. A living
example is the admired female costume of Delhi, Salwar - Kameez, which refers
to a dress of baggy trousers, narrowed down towards the bottom, topped off by a
long shirt or tunic like dress, and a cloth -piece called dupatta, covering the front
upper portion. This costume of Salwar-Kameez, hugely popular among girls, is
not inherent to India.
The pattern of this Turko-Persian, or Turko-Mongol costume, was imported into
the Indian horizon, with the advent of the Turko-Iranian dynasty of theDelhi
Sultanate. Salwar-suits with sequined embroidery or semi-precious stones`
embroidery, mirror-work, ari work, cut-work, or simple but elegant cut, prints,
hand paints, all alluring on excellent fabric is the characteristic of salwar-kameez
in Delhi these days.

30. A very noteworthy attribute of today`s costumes of Delhi is that, modern
innovations have started impressing their signatures on the traditional element of
the costumes of Delhi. For instance, sari is the traditional Indian costume for
women. But a modern-day Delhi sari, can very much be invested with design,
shades and get-up. The same applies for Ghagra-choli and salwar-kameez.
Ghagra is an oriental ankle-length skirt, and choli is the upper blouse. The
distinct charm of today`s Ghagra, Lehenga, Choli of Delhi is the modern designs,
colours, and cut of a traditional attire. In fact this conjunction of the old and the
new is the mark of excellence of the costumes of Delhi.
The dress-designers namely Ritu Kumar, Neeta Lulla and Sabyasachi Mukherjee
are weaving magic with their embroidery splendour, including Zardozi, a Persian
form of embroidery, done with gold or silver thread, and introduced by the Muslim
rule in India. Exclusive silk materials, tissue cloth, crepe, georgette, chiffon and
other types of fabric possessing a rich texture, work as the perfect base for
shimmering Zardozi. Zardozi can be on sari, or salwar-kameez, Ghagra,
Lehenga, Choli , or Kurta-pajamas, and sherwanis, worn by men, and even on
skirts and blouses, to obtain a gorgeous appearance

31. Women of Delhi are well-aware of fashion-updates. Along with the ethnic
costume of sari, or salwar-kameez or churidar-kameez (churidar is a body-
hugging trouser), Western jeans tops, shirts, T-shirts, skirts, varying in sizes and
shapes, blouses, and so on, crowd a fashionable and modern-day woman`s
wardrobe. These costumes are not only wear-friendly in the course of daily busy
schedule of modern-life, but also enrich a woman`s aura of style and smartness.
Resplendent semi-precious jewelry, crafted by the deft craftsmen of the
neighbouring Jaipur, including fascinating Kundan work, at present compete
with the original gold, silver, diamond or authentic gem-studded ornaments.
They are increasingly becoming a woman`s passion
When it comes to making themselves presentable in proper costume, the men
of Delhi are not lagging behind. The senior and the venerated generation cater
to the ethnic costume of India, namely,Dhoti, Kurta, Sherwani-salwar, Kurta-
Salwar, kurta-pajama. They are not only keen to preserve the culture they
belong to, but also assert the Indianness of their identity, as well as their values,
which get well-communicated through this costume-type.Jawarharlal Nehru, the
first Prime Minister of India, exhibited himself in Sherwani with Nehru collars
(collar-style, popularised by him) and Nehru cap. His costume was helpful in
emphasising his role as the national leader to the country.

32. The young generation, however, usually dress themselves in formal shirts,
trousers, jeans, T-shirts and the other modern-day chic male garment,
happening to be the daily costume, even workplace dress for men. However, on
ceremonial occasions, men try out ornate Sherwani-churidars, Dhoti-Kurtas, or
Kurta-Pajamas, frequently turning out to be a designers or a boutique`s
collection. Men sometimes adorn themselves in ornaments like bangles,
wristbands, to augment their manliness, along with stylish wrist-watches.
Traditional shoes, like, Nagra shoes, is usually worn with Sherwanis, to effect a
royal outlook, on special occasions.
The expanding range and plethora of patterns, related to the costumes of Delhi,
have made Delhi a dream-destination of the costume-lovers, allured by the
availability of the recent in-things as well dignified traditional dress there.
Costumes of Delhi make the style statement and are a yardstick for the clothing
industry nationwide. Over all, the costumes of Delhi have manifold facets of
cultural and ethnic identities despite its primarily global look.