Introduction
Brief overview of this ancient Indian art
In the gread northern lands of India lies the state of Punjab. Phulkari is a traditional art form of embroidery which originates from the Punjab. It is known for it’s vibrant colors and complex design pattern. The word “Phulkari” is originated from the Punjabi language which translates to “Flower Work”. It reflects the floral designs used in this art form. In the historical times, additionaly to the art form, Phulkari was also a symbol of prosperity and cultural tradition. It was passed down through generations of the Punjabi people. It was also an essential part of bride’s dress and was worn during festivals, weddings and ritual events.
Phulkari is created using a hand woven cloth called as “Khaddar” in local language and also with silk thread which is called “Pat” in local language. The Embroidery on top of the cloth is covered with entire fabric which mainly consists more of an elaborative version called “Bagh Phulkari”. Each of it’s stitch is crafted with utmost care accompanying symbolic blessings, happiness and good fortune. Phulkari art was known to be an household art in the previous ages. However, it has evolved it’s form and is known and cultural artifact and fashion statement. It’s evolution is bridging the gap between the old times and the new contemporary style.
Its cultural and historical significance in Punjab
Phulkari has a profound cultural significance in Punjab. It has played a big role in lives of Punjabi women and also in the fabric society. This ancient Indian art form dates back to 15th century. Traditionally, the brides were getting gifts of complex embroidered Phulkari cloths from their mothers or grandmothers. It reflected the symbol of blessings, prosperity and love from family. The richly embroidered shawls specially the Bagh Phulkari were used primarily by women during events.
The floral designs, usage of colors and geometrical shapes reflected the cultural richness of Punjab. The bright colors, the vibrant reds, oranges, and yellows, symbolized joy and optimism. Phulkari also represented women’s resilience in a patriarchal society. It allowed them to express their creativity and emotions through this ancient Indian art form.
The Origins of Phulkari
Historical background and its roots in rural Punjab
Phulkari has it’s references in the vedas which is more than 2000 years old. Poet Waris Shah has also mentioned ancient Indian art Phulkari in the famous folklore Heer Ranjha. Phulkari art form made it’s grasp and became more renowned under the empire of Maharaja Ranjit Singh back in 15th century. It was evolved in many different forms and there was one different design for every occasion. The knowledge of this art was passed on from one generation to the other and it was not for sale at that time. Phulkari was considered auspicious and was generously used in wedding trousseau. The tradition of embroidery in India goes back to the early scriptures of ajanta murals, buddhist and kushan sculptures.
What is the connection to Punjabi women and everyday life?
In ancient times in Punjab, the birth of a girl child in the family was considered very auspicious and so, as soon as a girl was born in a family, the mothers and grandmothers would start embroidering Phulkaris.
A Punjabi folk song that celebrates this folk art, “Ih phulkaari meri maan ne kadhi, iss noo ghut ghut japhiyan paawan” – “My dear mother has embroidered her phulkari; I embrace it again and again with affection”.
As well as being worn on the body as an odhini (head material), Phulkaris were also put on (charpoy) woven bunks as seat covers for visitors, hung on dowry chests or draped in the home as design during religious celebrations. They were also used in temples or Gurudwaras (Holy worship place for Sikhs) to present on deity or to cover the Guru Granth Sahib (Holy book of Sikhs).
Phulkaris – going from the baghs (all-over weaved, practically like a botanical nursery), darshan dwars (which were loaded with design themes and intended to be introduced at Gurdwaras), sainchis (story weavings which portrayed scenes of routine town life and included human themes), and the thirmas (which were weaved on plain white khaddars for older ladies and widows) to the chopes (which were introduced to a young lady by her maternal grandma on her big day) — from the mid nineteenth hundred years to 1947.
What are the symbols and patterns used in Phulkari?
In Phulkari embroidery, key motifs are rich in symbolism and cultural significance.
- Flowers
- Lotus: The lotus is a common motif. It symbolizes purity, creation, and the divine. It often represents a connection between the human and the spiritual world.
- Marigold: This color symbolizes celebration and joy. It is also used to evoke a sense of festivity.
- Roses: This color embroidery signify love, beauty, and the blossoming of relationships. It can also symbolize youth and vitality.
- Birds:
- Peacock: The peacock symbolizes beauty, grace, and fertility. It is also associated with love and is considered a sign of good fortune.
- Sparrows and Pigeons: These birds represent domestic harmony, peace, and the simplicity of village life.
- Parrots: The parrot symbolizes courtship, communication, and companionship. It is a symbol of love and joy in relationships.
- Geometrical Patterns:
- Diamond Patterns (Chaup): Diamonds interwoven with other motifs symbolizes fertility and protection. They are used in borders and central designs to bring balance.
- Squares and Rectangles: These shapes are used to represent stability, order, and a connection to the earth. They are found as the background of complex designs.
- Triangular Patterns: The triangle is linked to femininity, creativity, and the sacred. It is a symbol of protection as well.
- Zigzag and Wave Patterns: These patterns symbolize movement, energy, life. They can represent rivers or flowing energy to depict life’s fluidity.
Types of Phulkari
Bagh Phulkari
The increasingly elaborative form has turned into Bagh. Bagh literally means “Garden of Flowers”. Hence Bagh is the embroidery which is immersed with Flowered design pattern. Compared to other styles, Bagh takes more time and effort for the creation. Hence Bagh is considered to be more expensive and a status symbol.
Chope Phulkari
Chope is generally embroidered on the borders. During wedding festivals, the grandmothers generally give Chope phulkari to the bride as a gift. The “Chope” is embroidered straight with two sided line stitch which is same on both the side. Compared to other styles of this art forms, Chope vastly consists of only one color embroidered and in most of the cases it is yellowish or golden color.
Thirma Phulkari
This type of Phulkari consists of unbleached white or cream based fabric as compared to the other Phulkari’s which are colorful. Thirma are embroidered with floral and geometrical designs. The design is rendered with silk thread which can be dyed in shades of either red, magenta, blue, yellow or green. Thirma was and is at some remote places in Punjab still being used to present the dowry.
What are the techniques and materials?
The cloth used is generally the home-spun, locally woven and dyed khadi. It is strong, long-lasting, and serves the purpose of keeping the wearer warm during winters. The thick cloth does not pucker and pull and could be worked upon without a frame. Cloth pieces of 45 to 60 centimeters width are worked on separately.Later the two or three strips are joined together to form the required size.
Embroidery Frame and Needles are the only two tools which were used. Obviously in the modern day, we have machine made phulkari, but the mentioned two tools were used previously.
The weaving is begun by scoring the texture with a needle; And in some cases, the fundamental design is followed out in a running join. The needle is moved from deep down to above and back once more. The opposite side of the material faces the embroiderer and frequently the heading of the line is changed consistently.
The weaving is performed in lengthy and short darn stitch. It is utilized for designs and complex patterns. It is the capable control of this single line that creates a fascinating and trademark aspect to this embroidery. While the actual join is simple, the nature of this artwork relies on the size of the line. The more modest the fasten, the better the embroidery.
Another stitch utilized is the twofold running line, which draws out similar pattern on the both the sides. Shading and variety were not finished by utilizing different shades of string. All things considered, the impact was acquired by the adroit utilization of level, vertical or inclining stitch. This results in giving an illusion of more than one shade when light fell.
This entire work is finished with white or yellow silk floss on cotton khadar and begins from the middle on the texture called “chashm-e-bulbul” and spreads to the entire texture. For the weaving, just a solitary strand is utilized at a time, each part worked in one shade.
A Timeless expression
Unfortunately, this Punjabi art form has succumbed to wild commercialization, with unfortunate execution and synthetic fabrics. Since it is being requested in enormous amounts by western business sectors, much creation is automated. Is this Phulkaari by any means? I think not.
Luckily, ladies in Punjab in specific pockets keep on rehearsing the prior ways, and there are an adequate efforts by those focused on the art to move Phulkaari along in its pure structure.
Phulkari is being utilized widely in home stylistic theme, footwear, bags, aside from its customary use. Manish Malhotra utilized the art structure for a unique assortment some time back which involves velvet and silk as base materials. Philadelphia Historical center of Workmanship displayed a presentation in 2019 called “The Weaved materials of Punjab,” the show drew on the exhibition hall files, as well as the Bonovitz assortment, to introduce this art form as a novel passage to the narratives of ladies in Punjab.
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