Phulkari

INDIAN ARTS AND CRAFTS: PHULKARI
Submitted in partial fulfilment of the

Requirement for the award of degree of
Bachelor of Architecture
Submitted by
SYED MOHAMMAD HAMZA ABDULLAH
Guided by
Ar. Neeti Gupta
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FACULTY OF ARCHITECTURE AND EKISTICS

JAMIA MILLIA ISLAMIA
NEW DELHI-110025
FACULTY OF ARCHITECTURE AND EKISTICS
JAMIA MILLIA ISLAMIA, NEW DELHI
Certificate
In the partial fulfilment of the B.Arch. degree program, this is to certify that Syed Mohammad
Hamza Abdullah has worked on the dissertation titled, Phulkari under my guidance and
supervision
AR. NEETI GUPTA

Dissertation Guide
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ACKNOWLEDGEMENT
Phulkari is a floral craft practiced in northern part of India and other countries of the subcontinent.
This craft is mainly practiced in the areas of Punjab and Haryana.
I would like to give special thanks to father, my mother and all my friends who helped me in
collecting the information and photograph releated to Phulkari Craft. I would like to thank the
liberarian of F/O ARCHITECTURE AND EKISTICS (JMI) for his support in collecting data.
Syed Mohammad Hamza Abdullah

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Contents
TABLE OF FIGURES .................................................................................................................................. 6
INTRODUCTION ....................................................................................................................................... 8
PATIALA (OVERVIEW) .......................................................................................................................... 8
ORIGIN AND HISTORY ......................................................................................................................... 9
Main Centres ..................................................................................................................................... 10
PROCEDURE .......................................................................................................................................... 11
Step 1: Making the best base ............................................................................................................ 11
Step 2: Creating a picture perfect Pattern ........................................................................................ 12
Step 3 threading the needle ............................................................................................................. 13
Step 4 the final touch ........................................................................................................................ 13
MATERIALS ............................................................................................................................................ 14
Khaddar ............................................................................................................................................. 14
Fabrics ............................................................................................................................................... 16
Frame ................................................................................................................................................ 16
TYPES OF STITCHES ............................................................................................................................... 17
Running stitch ................................................................................................................................... 17
Buttonhole stitch .............................................................................................................................. 17
Darning Stitch.................................................................................................................................... 18
Herringbone Stitch ............................................................................................................................ 19
Cluster Stitch ..................................................................................................................................... 20
Patterns and Colours............................................................................................................................. 22
Embroidery............................................................................................................................................ 23
THE BAGHS .......................................................................................................................................... 25
Thirma ............................................................................................................................................... 26
Darshan Dwar.................................................................................................................................... 28
Sainchi Phulkari ................................................................................................................................. 29
Vari-da-bagh...................................................................................................................................... 30
Bawan Bagh (or Bawan Phulkari) ...................................................................................................... 31
Chope ................................................................................................................................................ 32
Surajmukhi ........................................................................................................................................ 33
Kaudi Bagh ........................................................................................................................................ 34
Panchranga Bagh .............................................................................................................................. 35
Meenakari Bagh (or "Ikka Bagh") ...................................................................................................... 36
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HUMAN RESOURCE ............................................................................................................................... 36
Workers............................................................................................................................................. 36
Women who work for livelihood .................................................................................................. 36
Women who work for pastime. .................................................................................................... 37
Women who work in a family business ........................................................................................ 38
Businessmen ..................................................................................................................................... 38
Businessmen who hire workers .................................................................................................... 38
People carrying forward the family tradition. .............................................................................. 38
MARKET................................................................................................................................................. 39
GOVERNMENT EFFORTS ....................................................................................................................... 39
INTERVIEWS. ......................................................................................................................................... 40
INFERENCES .......................................................................................................................................... 44
BIBLIOGRAPHY ...................................................................................................................................... 47
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TABLE OF FIGURES
Figure 1 A wedding ceremony observed in Patiala: self clicked ........................................................... 8
Figure 2: www.wikipedia.org/phulkari
................................................................................................................................................................ 9
Figure 3: http://www.indianheritage.biz/Phulkari.html
.............................................................................................................................................................. 10
Figure 4
khaddar: http://image.slidesharecdn.com/presentation1-130531114152-
phpapp01/95/slide-6-638.jpg?cb=1370018632
.............................................................................................................................................................. 11
Figure 5
chiffon:
http://image.slidesharecdn.com/presentation1-130531114152-phpapp01/95/slide-6638.jpg?cb=1370018632
.............................................................................................................................................................. 11
Figure 6: www.images.google.com....................................................................................................... 12
Figure 7: self clicked .............................................................................................................................. 13
Figure 8: Self clicked.............................................................................................................................. 13
Figure 9: www.embroidery.cdacmohali.in
.............................................................................................................................................................. 14
Figure 10: www.indianheritage.biz/Phulkari.htm ................................................................................ 15
Figure 11: www.wikipedia.org/phulkari ............................................................................................... 17
Figure 12: www.wikipedia.org/phulkari. .............................................................................................. 18
Figure 17: http://image.slidesharecdn.com/presentation1-130531114152-phpapp01/95/slide6-638.jpg?cb=1370018632
.............................................................................................................................................................. 23
Figure 23 A Darshan Dwar: www.indianheritage.biz/Phulkari.htm..................................................... 28
Figure 24 A 19th century sainchi: www.indianheritage.biz/Phulkari.htm ......................................... 29
Figure 25 A Vari-da bagh: www.indianheritage.biz/Phulkari.htm ........................................................ 30
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Figure 34: self clicked ............................................................................................................................ 37
Figure 36 : self clicked ........................................................................................................................... 41
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INTRODUCTION
PATIALA (OVERVIEW)
Patiala, a city well known for its lively culture, like many other cities of Punjab, inhabits
people who show enthusiasm towards life and look forward to celebrating every good
occasion with fervour. One such occasion is wedding, where zeal of Punjabi people can be
observed visibly.
Figure 1 A wedding ceremony observed in Patiala
One entity that is integral to any Punjabi wedding is the embroidered cloth worn by the bride
and the other women participating in the occasion. This embroidery done on cloth is called
Phulkari.
The word Phulkari is made up of two words, phul and kari, and they stand for flower and
work respectively. So the word Phulkari literally means flower work. Phulkari, a traditional
embroidery art is well known for its colourful designs and colours.
Phulkari design has been divided into four main categories: Phulkari, Bagh, Chobe, and
Shishadar. Phulkari bagh refers to the geometric, patterned surfaces that bear a
resemblance to the plan of a Mughal garden. Today, the simple and meagrely embroidered
head cloths known as Odhni are called Phulkari, while the heavily embroidered cloths
used for ceremonial purposes are referred to as Phulkari Bagh or simply Bagh. While
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preparing a Bagh, heavy embroidery work is done on the cloth, so much that after the
embroidery gets completed, the whole cloth veils behind.
ORIGIN AND HISTORY

Geographically, the Phulkari is associated with north-western India, especially with the
states of Haryana and Punjab. Made from a coarse, cotton material known as khaddar, the
ground fabric is usually a rusty red colour. This is a shade considered auspicious and is
used for weddings and other religious and special ceremonies. The embroidery is
accomplished in soft, untwisted silk floss called pat. Each darning stitch is usually 1/4" in
length, and is worked on the reverse side of the material. A traditional palette of colours
would include white, gold, orange, green, and crimson
Figure 2
The actual origin of Phulkari stitchery is a continuing debate. Some sources credit the Jat
community of southeast Punjab. According to Ibbeson, the Hindu Jats, who were conquered
by the Muslim tribes, originated the craft. After the conquest, the ground fabric which had
traditionally been sparsely covered with embroidery was completely covered. Thus, the
embroidery became the cloth itself, rather than an adjunct to the surface of the fabric.
Some researchers suggest that Phulkaris introduction to the region of Punjab and Haryana
was probably due to the reason that this area is in close proximity to the region of Iran and
central Asia and migrants would easily settle in this region. Techniques and patterns that
were to be worked on a cloth were not documented but were spread by the word of mouth;
thus, each regional group could be identified by its unique embroidery style.
The embroidery was originally meant to decorate the rough surface of the Odhinis but
gradually people began to connect some set of motifs and patterns to the embroidery done
on certain events; thus the embroidery acquired a rich cultural and religious significance.
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There is a mention of Phulkari art in several ancient scriptures including the Vedas,
Mahabharata and Guru Garanth Sahib. Phulkari in the region of Hazara is can be traced
long back when the Greeks used to rule the region.
The credit of promoting this art form should go to Bebe Nanki, sister of Guru Nanak, who
made the ladies of Punjab start using it for the ornamentation of their odhnis.
Figure 3
Group of Punjabi ladies wearing clothes embroidered with Phulkari
Main Centres
Phulkaris and Baghs are associated mainly with the areas such as Hazara, Rawalpindi,
Peshawar, Multan etc. in Pakistan and Amritsar, Jalandhar, Ludhiyana, Ferozpur, Hisaar,
Ambala, Rohtak and Patiala in India.
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PROCEDURE
Traditionally, the Punjabi embroidery is done on handspun khadi cloth. The darn stitch is
used in Phulkari work while the base material for the embroidery has traditionally been handspun, hand-woven and natural dyed khadi. The thread is pierced upwards from underside
the cloth into free-hand motifs. The process of doing the embroidery is pretty comprehensive
and only trained and practiced hands can come up with stunning designs.
Step 1: Making the best base

The first and the most important task in the procedure of Phulkari is choosing the right fabric
or better say the piece of cloth which will be the base of the final output. Since we know that
Phulkari is done on fabrics for various attires and often for dcor these days, hence making it
very important for the craftsmen to understand the need of the customer, the first task being
choosing the right kind of fabric.
Various fabrics that are available in the market can be used to do Phulkari. The type of
material to be used depends entirely upon what will be the purpose of fabric and the need of
the customer. The fabric may be khaddar i.e. the traditional old form or the fabrics like
chiffon etc which nowadays are being used by the craftsmen. Once the right kind of fabric
has been chosen the process moves a step ahead and reaches the next stage .
Figure 4
khaddar
Figure 5
chiffon
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Step 2: Creating a picture perfect Pattern

After rightly identifying the piece of cloth the next step is where the craftsmen has to decide
what he/she actually wants the Phulkari to look like that is the pattern he/she wants to be
seen on the cloth, since the appearance of the artwork depends entirely on the pattern that
has been followed while filling the cloth with thread work.
These desired patterns are printed on the cloth through methods like block printing or also
with help of computerized printers .The motifs used are made up of horizontal , vertical and
diagonal lines . some prominent patterns are bagh which means filling the entire piece of
cloth with thread work shaped mainly like flowers as the term bagh itself means a garden .
Figure 6
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Step 3 threading the needle

After the desired patterns and shapes have been drawn or printed on the fabric the next step
is to choose the correct colour and type of thread to be used on the work so that it not only
looks attractive but also depicts the colour sense of the craftsmen. This is also an important
task as the beauty of the piece will depend on it. Various color combinations are used
whereas sometimes the pattern is filled with the thread of a single colour which is often
contrasting to the colour of the base cloth. Therefore when the colour of the base cloth
peeps out from between the spaces between the thread makes the fabric look immensely
beautiful and appealing. Threads of colors like gold and silver are also being used
nowadays.
Figure 7
Figure 8
Step 4 the final touch

The last stage is where the add on is added to the piece of cloth that has now been
beautifully crafted with Phulkari but just to add a little bit of sparkle to it. The stones and
sequences added to the cloth work as the cherry on the cake. The value gets added to the
cloth when all theses accessories get added to the cloth making it a little more appropriate
for special occasions like weddings etc.
Some stuff like golden or silver laces are also sometimes put on cloth pieces just to make
them look more vibrant and cheerful. This is how simply done Phulkari work can be
highlighted with such materials like stones motifs etc. this dazzles up the piece and attracts
attention. This is the final step the final touch up in other words as rightly said.
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Figure 9
MATERIALS
Khaddar
Khaddar is widely used in the manufacturing of Phulkari clothes. These days, a finer and
thinner variety of Khaddar is also used for Phulkari apart from the conventional coarse
Khaddar that is available locally. It is worthy to note here that the material used for
embroidery and the colour of cloth plays a major role in the detailing process as the design
depends upon counting the threads of the cloth; if the cloth is of any dark colour, the process
of counting threads become a lot cumbersome and requires more eye-work (so it became a
normal procedure to carry out the dying work at the last). Similarly, the rougher or cruder the
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Khaddar cloth is, easier it is to embroider on it. The thicker the weave is, tougher it gets to
detail the clothin some cases, the threads are removed in a particular order so that a definite
pattern and texture can be obtained on the piece of cloth.
Figure 10
Embroidery on a Khaddar base cloth
In the present times, the Phulkari made is normally 3 yards long and 45 inches wide.
Beforehand, 2 or 3 pieces of Khaddar cloth had to be fixed together so as to achieve the
width of 45 inches as the width of Khaddar at that time used to be 14-15 inches only. But the
scenario is quite different today as large power operated looms have been introduced in the
Khaddar industry, that are capable of manufacturing Khaddar with the desired width of 45
inches. Khaddar could be of four colours, white being given to mature women or widows
while red was associated with youth and was by far the most widespread tone. It is
noteworthy that the most ancient fragments of red dyed (using madder) cotton fabric were
found in Punjab and would date back to Harappa Civilization (Age of Bronze). Black and
blue colours were kept for everyday worn shawls as they prevented from revealing stains
and dirt.
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Fabrics
Other than khaddar some other fabrics which are now being used for Phulkari are georgette,
chiffon, crape and certain types of silks. the selection of these fabrics is done on the basis of
what kind of dress is to made put of the particular piece of fabric on which Phulkari has been
done for instance if a Dupatta or scarf is to be made light weight fabrics like chiffon and
georgette are used so as to make them look beautiful and as well as be easy for the person
to carry it. In case of silk a major drawback is that most of silk varieties are quite sensitive
and cannot bear the needle being passed through it all over again.
The increase in demand of the craft has lead to use of other fabrics as well. The use of
expensive fabrics like crape shows the popularity of this craft among the elite classes where
people do wear clothes made of high quality along with a tint of this beautiful craft called
Phulkari.
Depending upon the fabric the print is chosen in such a way that the fabric has enough
strength to hold the thread that is being put over it. the printing of various designs on the
fabric which earlier was done with techniques like block printing now has moves to
computerized printing so that the time consumed in making one piece is reduced and a more
neat and tidy print is obtained at economical prices. the weaving of the fabrics when done for
Phulkari purposes is a little tighter so as to make sure that the fabric does not lose out on
grip of the thread.
Frame
Another tool which is of great importance is the frame i.e. the piece of wood or plastic which
helps the craftsmen to hold the piece of fabric so that the thread can be weaved on it. This is
just another frame which is used for other types of embroideries. The importance is just to
hold tightly the fabric so that it doesnt lag as it is the physical property of the fabric to lag if
not held in a proper grip. Its construction is quite simple as it contains of two circular rings
which hold the fabric between them and are tightened to each other with the help of a screw.
The radius of the rings depends upon the need of the craftsmen as per his/her need.
As we know its the beauty of the craft that has increased its demand among the ladies it
gives a obvious reason to the craftsmen to do experiments with the addition of various
stones, shells, stars etc which can either be weaved or can be additionally added to any
piece of Phulkari. As we nowadays craftsmen have started using these accessories along
with threads while doing Phulkari. The sole purpose of doing this is to make the piece of
cloth look more fancy and attractive and as we say more appropriate for being used in attires
made for special occasions specially weddings as the tradition of the native state of this art
Punjab focuses on the usage of phulakri in weddings not only as a matter of beauty but also
the auspiciousness and prosperity that is to associated with it.
Usage of golden and silver threads is now being seen which again makes the fabric look
much more graceful and alive which somewhere links to the nature of the people of Punjab
that is more full of life and vibrancy and spreading happiness and prosperity all around .
More than just appearance Phulkari also somewhere represents the people of its native
state full of colours and joy.
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TYPES OF STITCHES
Running stitch
The running stitch or straight stitch is the basic stitch in hand-sewing and embroidery, on
which all other forms of sewing are based. The stitch is worked by passing the needle in and
out of the fabric. Running stitches may be of varying length, but typically more thread is
visible on the top of the sewing than on the underside.
Figure 11
Different types of running stitches include
Looped stitch
Laced stitch
Interlaced stitch
Whipped stitch
Parallel stitch
Stepped stitch
Buttonhole stitch
Buttonhole stitch is normally used to sew the edges of a blanket. This is the reason it is
sometimes also referred to as blanket stitch. Buttonhole stitches catch a loop of the thread
on the surface of the fabric and needle is returned to the back of the fabric at a right angle to
the original start of the thread. The finished stitch in some ways resembles a letter "L"
depending on the spacing of the stitches. For buttonholes the stitches are tightly packed
together and for blanket edges they are more spaced out. The properties of this stitch make
it ideal for preventing ravelling of woven fabric.
Contrasting colour threads result in formation of very attractive patterns. Different patterns
can be obtained by stitching different rows of this buttonhole stitch; another way is by
working back to back. Another way of stitching a buttonhole stitch is by working in a free
form manner. Here, rows are stacked to create a beautiful texture.
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Figure 12
Buttonhole stitch in embroidery
Types of Buttonhole Stitches
Closed Buttonhole
Crossed Buttonhole
Detached Buttonhole
Darning Stitch
Darning is a sewing technique for repairing holes or worn areas in fabric or knitting using
needle and thread alone. It is often done by hand, but it is also possible to darn with a
sewing machine. Hand darning employs the darning stitch, a simple running stitch in which
the thread is "woven" in rows along the grain of the fabric, with the stitcher reversing
direction at the end of each row, and then filling in the framework thus created, as if weaving.
Darning is a traditional method for repairing fabric damage or holes that do not run along a
seam, and where patching is impractical or would create discomfort for the wearer, such as
on the heel of a sock.
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Figure 13
A darning stitch
Darning also refers to any of several needlework techniques that are worked using darning stitches:
Pattern darning is a type of embroidery that uses parallel rows of straight stitches of different
lengths to create a geometric design.
Net darning, also called filet lace, is a 19th-century technique using stitching on a mesh
foundation fabric to imitate lace.
Needle weaving is a drawn thread work embroidery technique that involves darning patterns into
barelaid warp or weft threads
Herringbone Stitch
A herringbone stitch is a needlework stitch used in embroidery, knitting and crochet. It is so
named as it resembles the bones extending from the spine of a herring fish. In knitting, it is a
stitch that creates a fabric pattern closely resembling a herringbone pattern, orherringbone
cloth.
A knitted herringbone stitch creates a firm fabric "similar to a woven in appearance and
elasticity".[1] A heavyweight fabric can be made with variations of the herringbone stitch,
such as the herringbone twist stitch, which can be worked in either one or two colours; both
versions are suitable for experienced knitters.
The herringbone pattern represents the "fisherman's catch and thus for success in one's
career".
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Figure 14
Following are the types of herringbone stitches
Threaded herringbone stitch
Tacked herringbone stitch
Tied herringbone stitch
Laced herringbone stitch
Double herringbone stitch
Twisted lattice band
Interlaced herringbone stitch
Cluster Stitch
A cluster (no abbreviation) is a set of crochet stitches that you work across an equal number
of stitches and join together (or cluster) at the top, forming a triangle shape that resembles
an upside-down shell stitch. Many crotchetiers use this stitch combination in conjunction with
shells.
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Figure 15
A cluster stitch
Figure 16
Different types of stitches used in Phulkari
Reference: www.wikipedia.org/phulkari
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Patterns and Colours

Phulkari means growing of flowers. Thus, the motifs and patterns of Phulkari essentially
contain floral designs and motifs. Bright color combinations are used for the floral patterns and
they can be seen in almost all traditional wear.
The art of Phulkari has its origins in the early part of the 19th century when the dupatta or
head cloth was highlighted with embroidered flowers. Phulkari was considered most favorable
and was liberally used in wedding trousseau. Almost every ceremony in which women
participate is given a touch of additional color and richness by the use of Phulkari on account
of its being considered auspicious and a sign of 'Suhag'.
For Phulkari Bright colors were always preferred because it refers to flowers and garden.
Among these, golden yellow, red, crimson, orange, green, blue, pink etc, were the popular
ones. For the embroidery, only a single strand was used at a time, each part worked in one
color. Shading and variation were not done by using various colors of thread.
The threads used were made up of a silk yarn called PAT. It is feathery to touch and is a
soft, untwisted floss which clings to the fingers. Golden yellow, green, white, crimson red and
orange are the five colors prepared in selecting silk floss for Phulkari work.
The motifs are made up of horizontal, vertical and diagonal stitches, producing geometric
pattern in Phulkari designs while the Baugh has an overall geometrically floral pattern. Birds,
animals and human figures and objects of everyday use were inducted, along with pots,
vegetables, buildings, rivers, the sun and the moon, scenes of village life, and other
metaphors.
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Embroidery
A Phulkari was at times made by one woman and at times by several ones who could even
work simultaneously on different parts or stripes of khaddar.
As written before, these pieces were usually made by the family of the bride. However, as in
the rich families a dowry could include several dozens of Phulkari, some professional
embroiderers were occasionally employed.
The choice of patterns was partly driven by the social class of the bride.
For instance, some flowers designs in cluster stitch were only worn by the low class families
while the high class would prefer flowers made with darning stitch.
Figure 17
Figure 18
Flower embroidered using clustered stitch (left) and darning stitch (right)
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Most of the time, patterns to be embroidered were not drawn on the fabric beforehand, the
embroiderer had to count each thread of the khaddar with meticulous care to build her
designs.
It is important to realise that a shift of one thread in the counting would have a visible impact
on the final result...
As it was easier to count the threads of a light coloured khaddar than of a dark one, it
happened sometimes that the fabric was dyed only after the embroidery work was achieved,
thanks to certain preparations that would colour cotton but not silk.
Figure 19
A "chope" Phulkari on beige khaddar
Figure 20
A "chope" Phulkari on red khaddar
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If the fact of using floss silk was providing beauty to these pieces, it was also a heavy
complication added to the artists' task as this brittle and inhomogeneous material was not
easy to lead through the khaddar without creating clusters and knots. As in most of the
oriental countries, the embroidery work was always done pointing the needle's tip to the
opposite of the embroiderer. This gesture, as well as the energy that was injected into the
work, had to come from the heart and go towards others. Darning stitch was the most
commonly used technique to make Phulkari and the quality of a piece could be measured
according to the width of this stitch. The narrowest was the stitch, the finest was the piece. In
order to create an unusual design or to border the khaddar, some other stitches like the
herringbone stitch, running stitch, Holbein stitch or button hole stitch were occasionally used.
THE BAGHS
When the embroidery work was covering the whole surface of the khaddar the Phulkari was
called a bagh ("garden").
The making of a bagh was requiring so much talent and patience (sometimes more than a
year) that it was kept for very special occasions.
Furthermore, the quantity of pat needed to achieve such a piece was implying big expenses
and thus was a way for families to display their wealth.
From a historical point of view, it seems that bagh only appeared after the time people
became passionate for Phulkari in the second half of the 19th century.
Bagh could be considered as a technical culmination in the art of Phulkari fabrication.
Pat's most commonly used colours in the making of bagh were gold and silvery-white, these
tones being a reminiscence of Punjab's wild flowers and cereal fields but also of the jewels
women were wearing under their bagh.
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Figure 21
A red "thirma" (on white khaddar) bagh from West
Some major types of Phulkari & Bagh
Thirma
This Phulkari from the north of Punjab, shared by Hindu and Sikh traditions and very
appreciated by collectors is identified by its white khaddar called thirma, symbol of purity.
As a symbol of purity, thirma was often worn by elder women and widows but, at times, this
choice of white coloured khaddar was also made for esthetical reasons.
The pat was generally chosen in a range of bright pink to deep red tones.
Cluster stitched flowers, wide triangles covering the forehead as well as chevron darning
stitch surfaces were very common thirma patterns.
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Figure 22
Thirma from west Punjab
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Darshan Dwar
Darshan Dwar, that can be translated as "the gate through which God can be seen",
unlike other Phulkari was not made for a person but for a temple as an offering to
thank the gods after a wish had been fulfilled.
For this reason, while a dowry could contain dozens of Phulkari, darshan dwar has
never been made in big quantities.
Like other figurative pieces (e.g. Sainchi Phulkari, see the next paragraph) this
particular kind of Phulkari was made in east Punjab, a mostly non-Islamic area which
allowed the development of a broad variety of human and animal representations.
Figure 23 A Darshan Dwar
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Sainchi Phulkari
Sainchi Phulkari are figurative pieces narrating the life in the villages of south east Punjab.
Local animals (goats, cows, elephants, big cats, scorpions, peacocks,...) are represented
moving among wrestlers, farmers, weavers, etc.
Train is also often displayed on sainchi Phulkari, this means of transportation, brought by the
British in the second half of the19th century, having had a big impact on local populations'
life.
Beyond their aesthetic value, sainchi Phulkari can be compared to our nowadays media as
they depict the ways of life, interests and environment of the old time rural people of Punjab.
In addition, they were produced in a relatively small area (Firozpur and Bhatinda districts)
and required high embroidery skills. These are all the reasons why they became so
appreciated by collectors and occupy a very unique position among the different varieties of
Phulkari.
Figure 24 A 19th century sainchi
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Vari-da-bagh
("Vari": gift offered to the bride by her in-laws)
This bagh was gifted to the bride by her in-laws when she was entering their house, her new
home, on the wedding day.
It is an exceptional fact as all the other Phulkari were part of her dowry and, thus, were
provided by her own family.
Vari-da-bagh is always made on an orange-reddish khaddar and, except for its border and
sometimes a small decoration, it is always embroidered on its whole surface with a single
golden or orange coloured pat.
This bagh's main pattern is a group of three or four small concentric lozenges of growing
size included in each other. Despite the fact that only one colour of pat is used, these
lozenges are easily revealed by the reflections of light. The outer one symbolizes the Earth,
the next one the city and the third one the familial house. It happens that this last lozenge is
split into four smaller ones probably symbolizing the parents of the groom and the newly
married couple.
The bride was wrapped in this bagh by her mother in law when she was receiving the keys
of her new house, thereby meaning that the bride was becoming responsible for the
maintenance of the house.
Figure 25 A Vari-da bagh
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Bawan Bagh (or Bawan Phulkari)

"Bawan" means " fifty-two " in Punjabi and refers to the mosaic of fifty-two different patterns
which decorate this piece (the number of patterns can be at times more or less than 52).
Bawan bagh (or Phulkari) was in fact a display of samples used by professional
embroiderers to show their skills and the patterns they could provide to their clients.
This explains why bawan bagh (or Phulkari) is the rarest of all the bagh and Phulkari.
Figure 26
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Figure 27
Bawan baghs
Chope
The bride's maternal grandmother (Nani) was starting chope's embroidery as soon as her
granddaughter was born. Instead of the common darning stitch, she was using the Holbein
stitch which has the specificity of creating the same design on both the sides of the khaddar.
This can be interpreted as the grandmother's wish to make her granddaughter equally happy
in her life and after her death, on the two sides of her existence.
Chope was made to wrap and dry the bride after the ritual bath she was having before her
wedding, for this practical reason chope is bigger than other Phulkari.
Its khaddar was invariably dyed in red or orange colour, symbol of passion and happiness. It
is worth noticing that chope was never bordered so that this happiness could be unlimited...
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Pat was always chosen in golden tones to express desire and wealth.
The Patterns were big triangles symmetrically distributed on the two sides of the chope's
longitudinal axis. They were maybe symbolizing male and female principles separated by a
distance expressing the fact that the wedding's night had not taken place yet and, thus, that
the bride and groom had not had physical intimacy. On another hand these triangles could
also represent stylized peacocks.
As well as in other Phulkari, some mistakes were voluntarily introduced into the embroidery
work in order to protect the bride from the evil eye ("nazar"). Indeed a perfect piece could
have attracted others' jealousy.
This principle of keeping others' envy away showing imperfections is found in many oriental
traditions. In India, for instance, some black round spots are often drawn on babies faces for
this purpose.
Sometimes, chope was also used to cover and hide the bride's dowry, making it invisible to
jealous minds and thus keeping the nazar away.
Figure 28
A Chope Phulkari
Surajmukhi
Surajmujkhi, the sunflower, refers to the main pattern of this Phulkari.
From a technical point of view this type of Phulkari is unique as it is the only one that
mixes in comparable proportions Holbein stitch (used to make chope Phulkari) and
the regular darning stitch.
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Figure 29
Figure 30
Surajmukhi Phulkari
Kaudi Bagh
Among their patterns, these bagh include chains of small white squares representing stylized
cowries. Used as currency in the old times these shells have now lost all of their value and
using them as ornaments has thus become a sign of humility.
From another point of view, the shape of these shells can remind of female genitals and
make them become symbols of fertility. Kaudi Phulkari were often worn by women wanting
to increase their chance to become pregnant.
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Figure 31
Kaudi Bagh Phulkari
Panchranga Bagh
Meaning "Five colours", this bagh is decorated with chevrons of five different colours. In The
same way, similar pieces like satranga ("Seven colours") bagh are also available.
Figure 32
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Meenakari Bagh (or "Ikka Bagh")

This bagh, often made of gold and white coloured pat, is decorated with small multicoloured
lozenges referring to enamel work (meenakari) or to "diamond" playing cards' suit.
Figure 33
Ikka Bagh
Reference: www.indianheritage.biz/Phulkari.htm
HUMAN RESOURCE
Human resource is one of the key elements of any industry or craft form. In Phulkari, human
resources can be classified into two sections:
Workers i.e. Primary resources

Businessmen i.e. Secondary resources
Both of these together work towards achieving the complete and final form of what we
perceive as Phulkari work.
Workers
The craft form of Phulkari requires skilled workers to work on the cloth. These workers are
mostly ladies from Punjab, Hariyana and parts of Pakistan and Afghanistan. Phulkari is
basically a very much women oriented craft form and has been, since ages, nourished and
evolved mainly by the fairer gender.
These workers of Phulkari can further be classified into the following parts
Women who work for livelihood

These are mainly rural women badly stricken by poverty. Their weak economic condition
leads them to practice this craft so as to make the ends meet. In this case, these women
share the financial burden of the family along with their husband/father. And in some cases,
they may be the sole bread-winner of the family.
Most of these women work for their agent who in turn, deals with the businessmen.
Evidently, there is no direct contact with the businessmen and in most of the cases, the
shopkeepers dont who worked on the clothes that he is selling. These women have to rely
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on the middlemen for their livelihood. This situation often leads them towards being exploited
as most of them are illiterate or semi literate.
Figure 34
Some of them work for commission as low as Rs. 114 per cloth of Phulkari work. It is worthy
to note here that a small piece of Phulkari work can take as long as a month to get
completed. Full suites may take 4 to 5 months.
Government and NGOs reach out to these workers as a helping hand to some extent.
Government organizes exhibitions as a measure to promote small scale industries like this
one which helps these workers getting some recognition as well as business. NGOs too play
a major role by organizing them into self help groups, supervising them along with providing
them with financial assistance.
Women who work for pastime.

These are the women who do this work as a hobby and not by compulsion. Their family
usually is financially sound enough so they do not have to worry about the financial aspects
of their family lives. These women, in many cases, dont know how to read or write; so
naturally, having little options in hand, they resort to Phulkari as a pastime. Many women can
be seen at Tripuri in Patiala, sitting in their verandas and knitting while chatting to each
other. They dont have time constraint, so they work with ease and patience. Eventually,
their work usually has a better finishing and superior quality. Money doesnt matter much to
them and keeping in view their illiteracy, they often end up selling their work to much lower
prices. This situation benefits businessmen a lot and they often try to deal with this category
of workers.
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Figure 35
Women who work in a family business

They are the category of workers who are most well to do. They dont have any financial
constraints upon them and they actively help their patriarchs in the family business.
Businessmen
These are the second category of the human resource that is required for this craft form.
These may further be of two categories
Businessmen who hire workers

These are the businessmen who deal with the Phulkari craft form and treat is solely as a
business. Most of the times, they appear to have no contact with the worker who are working
for them, as they deal with the middlemen. The whole business is done on a commission
basis. For an example, if they want to have 50 pieces of clothes with Phulkari work, they
may hire 5 middlemen under each of whom, 10 women work. They are concerned with their
middlemen only and it is the middleman who is responsible for the quality of the pieces they
get and for the supervision of the manufacturing process. Normally, they dont have any
family history of Phulkari craftsmen.
People carrying forward the family tradition.

These are the businessmen, usually shopkeepers too, who have a rich family tradition of this
craft form. They are self reliant and dont need any external human resource for their
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business. Their family members, usually ladies, are responsible for the production of
Phulkari clothes. The profit also comes out to be comparatively larger in this case for these
businessmen, as they dont have any middlemen between them and their production.
MARKET
The market of Phulkari is always uphill. The demand never gets less. The reason is the huge
acceptability of this craft among the young and the old alike. The businessmen never run out
of business for the following reasons:
Phulkari is an important part of many major Sikh rituals

It is a necessary part of any auspicious occasion such as wedding, in Punjab and
other parts of North.
It works as a style statement among the young girls who like to wear it on special
occasions.
It is one of the most popular gifts that are given to the friends and relatives in the
Punjabi culture.
There is no trouble with the supply as there are plenty of workers out there who are
willing to work for the businessmen. These workers are well-trained as they usually
learn the skill during their adolescence from their ancestors.
Nowadays, there is a wide international demand for Phulkari, propagated mainly by
the non-resident Punjabis worldwide.
GOVERNMENT EFFORTS
The government has put into operation various schemes and made assorted efforts that aim
to promote this craft and support the workers and small scale businessmen.
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One of the major steps taken in this regard is formation of PSIEC.
PSIEC Ltd. helps creative and skillfull artists in Punjab by selling their handicrafts in
the showrooms at various places in India. It owns a chain of emporia in the major cities of
Punjab, Delhi and Kolkata.
Efforts are made by the Punjab government to promote smale scale industries like Phulkari
by setting up Mai Bhago Istri Shakti Team that aims to provide financial assistance to the
women involved in Phulkari craft and giving them subsidy.
Many self-help groups have been formed with the help of government and/or NGOs that
helps the Phulkari workers being empowered. Various women in these groups are expert in
Phulkari work who guide, support and supervise other women.
INTERVIEWS.
Area- Adalat Bazar, Patiala, Punjab.
Name- Rajkumar Mehra

Shop owner
Q. For how long you have been running this business of yours?
A. It has been 22 years.
Q. Do you have your own production of Phulkari clothes?
A. No, we hire workers who prepare suites for us. Our goods are manufactured by the
workers living in some village of Haryana.
Q. Do they get paid by you?
A. No, we do not deal with the workers. We deal with their agents. It is the responsibility of
the agent to pay them. We pay only to the agent after getting our goods.
Q. Do you deal in hand-made Phulkari or the machine-made, or both?
A. We deal in both the hand-made and machine-made varieties.
Q. Which one of the two is better in terms of quality?
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A. The hand-made Phulkari, ofcourse. But it is the costlier one too.
Q. How much does it cost for a hand-made Phulkari item?
A. It costs around Rs. 600-6000 for a dupatta and Rs.6500-12000 for a full suit.
Q. What about the machine-made work?
A. It costs around Rs. 800-2000.
Figure 36
Q. Tell us something about the demand of Phulkari in the present times.

A. The demand never decreases; people are crazy for Phulkari, especially the young girls.
Q. What are your views on the participation of government towards promoting this craft?
A. Government helps. Some days ago, there was a mela in Surajkund, New Delhi. Exhibition
like these help the workers as well as businessmen. These days another exhibition has been
set up in Patiala.
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41
Area- Tripuri, Patiala, Punjab

Name- Gupreet Kaur
Worker
Q. For how long you have been working?
A. It has been over 50 years. I am a refugee from Pakistan. I settled here after the partition
and violence of 1947.
Q. Is it easy to learn this craft or does it require some extra efforts?
A. This art is quite easy to learn. It takes only 15-20 days to learn this.
Q. Where did you learn this craft? From your ancestors?
A. No, after arriving to India and settling here I took part in a mass workshop that taught
many refugee women like me this craft.
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Figure 37
Q. Whom do you work for?

A. My supervisor asks me to deliver a specific amount of work; and I work for her.
Q. How much money do you make ?
A. They give me Rs.114 on a single piece.
Q. How much time does it take to complete one piece?
A. It depends on the amount of work done on a piece of cloth. It usually takes 1 month to
complete a chunni. A full piece can take as long as 6 months to get completed.
Q. What is this thread you are using made of?
A. We call it Pat thread.
Q. How do you do this? Please tell me in brief.
A. First we print the designs on the flipside of the Khaddar, and then we sew on the
impressions with the help of a frame and a needle.
Q. Did your children or grandchildren participate to work on this craft form?
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A. Present generation is not much interested in carriying further this legacy, they want to
wear it, but not to make it.
INFERENCES
In the making of this dissertation we came across a lot of things and information which led to
the following inferences:
Presently the major centres of Phulkari in our country are Amritsar, Jalandhar,
Ludhiana, Ferozpur, Hisaar, Ambala , Rohtak and Patiala.
The materials that are required in this art work are a base cloth, a design printing
technique which may be manual or mechanical, the thread and in case if required
some extra material for beautification like stones shells etc.
The availability of the materials is not a reason to worry as the initial cost of the
investment is not too high. The materials are easily available in our country.
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The procedure requires quite a lot of time and also great sense of colour because
that is what defines the beauty of the crafted piece.
This art form depicts the nature of people of the state of Punjab i.e. full of life and
colours and versatility making them considered great human beings who know
how to live happily and with great enthusiasm.
This art form was and is still considered a sign of auspiciousness and prosperity
in the state and its people especially in weddings where it is a compulsory
element.
The workers or better say artists who perform this art form are mainly women
who stay in house and adopt this artwork either as a means for living and some
as a hobby.
The women who perform this art for earning their living do this maybe due to the
lack of education which does not enable them to do a job to earn a living.
This information tells that the native state of this craft i.e. Punjab does not have a
fairly good women literacy rate. This shows that people of Punjab still have an
orthodox mind set where educating women is not a priority.
The people who are sellers or marketers of Phulkari work who are the ones who
send this beautiful craft to people, some of them are carrying this as a legacy just
like their fathers and forefathers did.
Dealing of Phulkari work is done in two ways where the first one is like a small
scale industry where the people of the house supervise the working of the
workers and then sell the work and the second who on contract place orders and
then supply.
In Punjab this art form is still being carried by the people whereas the
involvement of their kids or the present youngistan is not very appreciable.
Phulkari is quite popular nowadays among people in terms of an ethnic wear to

look stylish and trendy which has made Phulkari reach across the globe.
The mainstream embroidery industry gains a lot of from this art form as it
contributes a lot in this field due to its increasing demand.
The workers of this art face a lot of difficulties like the artwork being bought on
low prices by the middlemen and sold on high prices by them to the shopkeepers.
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Being a very time consuming task it becomes quite difficult for part time workers
to complete the set of order on time.
The businessmen who suffer a lot of troubles like the mal practices like providing
a not up to the mark quality of materials to the workers but asking for high rates ,
sometimes end up quitting this business.
Another problem that this art form faced was that after the indo-pak partition the
state of Punjab got split and hence became a crack in the picture.
During the visit to Patiala it was observed that the people of Punjab are very
warm and wonderful when it comes to hospitality.
The people of this state on an individual level promote this art form as they have
an emotional attachment and affection with this art form.
The people have quite knowledge about this art form as they have grown up
seeing this art form being done in their homes and around.
The efforts of the government have also been remarkably good they have taken
various steps to promote this art.
Various subsidies and schemes have been launched by the government for the
welfare of the workers and the businessman.
There are various NGOs who work for people involved in the business directly by
establishing centers where they can sell their work at fair prices.
The international demand and establishment of this art work has given it an
identity and recognition which it wouldnt have been gained without the support
and cooperation of the government.
The spirit of people of Punjab is what is being clearly depicted in this art form
where it comprises of nature related substances like flowers and leaves which
denote the closeness of people to nature being native to the state that lives
agriculture.
The shapes which are used like squares, rectangles etc show rigidity which
depicts the determination and will power of the people of the land of swords.
The usage of vibrant colours showing the joy and happiness which these people
spread everywhere they go .
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The respect of this art form which they carry in their hearts is depicted by the
importance they give to it in one of the most important events of a persons life I.e
marriage
BIBLIOGRAPHY
www.wikipedia.org/phulkari
http://www.psiec.gov.in/phulkari.html
http://www.indianheritage.biz/Phulkari.html
http://pakistansafari.com/land/places/Punjab/phulkari
www.embroidery.cdacmohali.in
http://image.slidesharecdn.com/presentation1-130531114152-phpapp01/95/slide-6638.jpg?cb=1370018632
[Date]
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http://www.tribuneindia.com/2014/20140112/cth1.htm
Malik S.B. (2011, Nov.). From Silk to Synthetic Phulkari: The Long Journey of a Period
Textile.
[Date]
B.Arch 1 YEAR
48

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INDIAN ARTS AND CRAFTS: PHULKARI

Submitted in partial fulfilment of the

INDIAN ARTS AND CRAFTS: PHULKARI

FACULTY OF ARCHITECTURE AND EKISTICS

AR. NEETI GUPTA

INDIAN ARTS AND CRAFTS: PHULKARI

Syed Mohammad Hamza Abdullah

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

Figure 1 A wedding ceremony observed in Patiala

INDIAN ARTS AND CRAFTS: PHULKARI

ORIGIN AND HISTORY

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

Step 1: Making the best base

INDIAN ARTS AND CRAFTS: PHULKARI

Step 2: Creating a picture perfect Pattern

INDIAN ARTS AND CRAFTS: PHULKARI

Step 3 threading the needle

Step 4 the final touch

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

Different types of running stitches include

INDIAN ARTS AND CRAFTS: PHULKARI

Types of Buttonhole Stitches

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

Following are the types of herringbone stitches

Threaded herringbone stitch

Tacked herringbone stitch

Tied herringbone stitch

Laced herringbone stitch

Double herringbone stitch

Twisted lattice band

Interlaced herringbone stitch

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

Patterns and Colours

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

Some major types of Phulkari & Bagh

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

Figure 23 A Darshan Dwar

INDIAN ARTS AND CRAFTS: PHULKARI

Figure 24 A 19th century sainchi

INDIAN ARTS AND CRAFTS: PHULKARI

Figure 25 A Vari-da bagh

INDIAN ARTS AND CRAFTS: PHULKARI

Bawan Bagh (or Bawan Phulkari)

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

INDIAN ARTS AND CRAFTS: PHULKARI

Meenakari Bagh (or "Ikka Bagh")

Workers i.e. Primary resources