Applique/ Pipli work embroidery ppt.pptx

I write about production place, making process, techniques, community everything about Pipli work of UDISHA and also add some additional information like used fabric, used threads, stiches, colors, material etc.

1. PIPLI WORK OF ORISSA Submitted to – Shekhar Ma’am Submitted by – Simran Choudhary Subject – Indian Textile Class – FD 2 nd year

2. INTRODUCTION Appliqué comes from the French word “ appliquer ”, which means to “put on”. In appliqué, one piece of fabric is placed over a base layer and is sewn in place.
This is carried out in and around the Puri district, with Pipli as its main centre. It is also called Pipliwork . Gangam and Baudh districts also carry out this craft.
Most of the people of the village depend on this applique craft for their day to day life.
The people of Orissa are religious and God fearing. The applique craft of Puri is connected with religious festivals and processions. It is done by the Darji Community.
In local language this handicraft is known as ‘ Chandua ’.
Appliqué work is also used in making seats and pillows for the deities and also for their ritual dresses.
However, the appliqué work in its colourful best is most prominent in thecloth covers of the three chariots of the presiding deities in which they travel every year during the Ratha Yatra or Car Festival.
As per tradition, the colour scheme of the three covers is predetermined, green and red for the chariot of Balabhadra , black and red for that of Subhadra and yellow and red for Lord Jagannath’s chariot.

3. ARTS AND CRAFTS OF ORISSA Orissa treasures an opulent artistic heritage that has specimens from the temple architecture as well as the edifices. Skillful artists and craftsmen of Orissa still maintain their native art by continuously processing it to adapt to a changing taste. Be it the applique artists of Pipli or the stone carvers of Orissa, imperious progeny of artist hands carve the magnificent patterns and designs on Orissa’s most renowned temples.
The hereditary skills of artists has bequeathed traditional Orissan arts and crafts like weaving of Ikat , Bomkai and Sambalpuri Sari. Stone carving, applique and embroidery are equally famous, silver filigree work, palm leaf incised design, metal work, lacquered craftsmanship all have acquired a unique place world wide. A visit to the Raghurajpur artists’ village and Pipli , near Puri , is definitely a revising experience.

4. HISTORY Though the form is not unknown in other parts of India, it is Orissa and especially Pipli , a small town near Bhubaneswar that the craft has a living and active tradition continuing over centuries. While the largest number of applique craftsmen is concentrated in Pipli , there are quite a few in Puri and very small numbers in Khallikote , Parlakhemundi and Boudh areas also. Now the growing popularity of the craft also attracted the artisans of other districts to practice this unique avocation.
In the old days, Pipli craftsmen used to make canopies, banners, umbrellas and trasa for the religious ceremonies of Lord Jagannath and applique’s popularity spread far and wide through the pilgrims of Puri , The kings of Puri engaged craftsmen in the service of Lord Jagannath and set up village Pipli for them to live in.

5. LOCATION A few kilometres from Bhubaneshwar, the capital of Orissa, is a village where all houses and shops along the roads have one thing in common: beautiful appliqué work, in the making or on display, all giving out a loud burst of color . This famous appliqué work comes from Pipli village, which was established by the King of Orissa for accommodating the craftsmen who made applique umbrellas and canopies for the annual Jagannath Yatra . It is thirty-five kilometres from Puri , at the junction where the Konark road branches from the Bhubaneswar to Puri road.

6. FABRIC USED The base material has to be strong enough to take the weight of the applique pieces. The base cloth, that includes waterproof material for umbrellas, velvet for tents, and cotton, is sourced from Kolkata and threads, locally called “ Sutta ”, are sourced from Surat . Since the designated colours for ceremonial pieces are limited, craftsmen find an outlet to their creativity in combining these colours in different proportions and combinations.
This beautiful craft is usually practiced on dazzling red, purple, black, yellow, green and white fabric.

7. STITCHES USED The most common forms of stitching that artisans use to embellish motifs of fabric and small ornaments on the base fabric are, Hand Stitch.
The threads used are twisted cotton threads.
The stitches are known by some local names such as Mainly based upon the chikana or chain stitch. Bakhia (stem stitch) Taropa (hem stitch) Guntha (running stitch) Khanja (tag stitch)
Button-hole stitch Ganthi (similar to button-hole stitch) Kitikitia (variation on button-hole stitch)
Stem Stitch ( Bakhia )
Ruching (running stitch) Baiganomangia Kitikitia

8. MOTIFS USED The craft of Orissa is mainly connected with religious festivals and processions, the motifs picked up are from actual life, modified stylized forms, nature, animals and plant kingdom, and of course geometrical as per the shapes of the article.
The commodity used motifs are, lotus, duck, peacock, elephant, swan, parrot, fish, lion, betel leaf, bela leaf, creeper, tree, ( gachha ), sun (Surya), moon (Chandra), and rahu (the demon that swallows sun and the moon during eclipses).
Geometric patterns like circles, squares and triangle is also used.
A lot of other abstract shapes are also used in the Applique work. Like heart shapes, star shaped designs around the mirror.
A lot of different types of floral patterns are used in pipili appliqué work specially in Chandua . Like Hiran Patti, Khandi Yali , Nahara Patti, Kalash Patti, jasmines ( malli or mogra ), sunflowers ( suryamukhi ) and lotuses ( padma ).

9. TRADITIONAL MOTIFS

10. STRIPES Types of patti (strips) are described below along with their colour combinations and measurements. Phula patti (flower motif): black background with flower of red, yellow, white, or green, 7-9 inches. Sadha patti or naafi patti (plain red strip): always red, 5-6 inches. Nahara patti (right-facing cone pattern): white, red, and black combination, 5-6 inches. Kalaso patti (pitcher strip): black background, white pitcher pattern, 6 inches. Beliri patti (strip from left to right): white and red strip, 4- 4 th inches. Mooda patti (strip from right to left): white, red, and black or blue combina-tion , 5-6 inches. Gula patti (wavy strip): black background, chain stitch with red or white thread, 5-6 inches. Hirana patti ( mogra flower strip): red background, flower of white cloth, 3 inches. Chaina patti (strip of embroidered patterns in chain stitch): 3 inches. Khandiyali patti (diamond-shaped strip): red and black square ( chauka ) pania (triangular strip on top and bottom edge) cloth, 5-6 inches. Chauka patti (square strip): background of black and blue, with chain of white thread, 5-6 inches. Sua patti (swan strip): background of red with green sua , 5-7 inches. Hansa patti (swan strip): black background, with red and yellow hansa , 5-7 inches. Chidiya patti (clubs strip): black background with chidiya of red and yellow or red background chidiya of black and yellow, 4 inches.

11. PRODUCTION 1. Selection of the design is the first step involved, followed by cutting the motifs from the selected appliques material. However, specially prepared motifs are made separately.
2. These motifs are then placed on the base cloth in predetermined layout and sequence.
3. The raw edges of the cut motifs are neatly and evenly turned in and sewn on to the base or sometimes embroidered without turning the raw edges.
4. The layout of the motifs varies according to the size and articles to be prepared since the shape varies for each article, Canopy is a square piece, umbrella is circular, trasa is somewhat circular, having a small pointed part of the circumference as neck.
The motifs are encircled with number of borders, inside and outside, many times it even reaches the edges of the ground fabric For example the square or circular motif, which later is bound by several borders of different widths.
5. The size of applique piece varies from one metre to a very small size of 1.5 cms . The small pieces are for fine decorations and borders whereas the large pieces of geometrical pieces are used as central motifs for canopies and so on.

12. APPLICATIONS Craft that originated as a temple art now finds its application in a wide range of household, decorative and ceremonial products. The appliqué items are mainly used during processions of the deities.Chhati (umbrella), tarasa a heart-shaped wooden piece covered by appliqué cloth and supported by a long wooden pole and chandua an umbrella shaped canopy. Jhalar ’, another popular item is a sort of frill. Also used in making seats and pillows for the deities.For deities’ ritual dresses.

13. ARTICLES Through the intervention of design workshops, artisans are producing many of today’s need-based products, like hanging lamps, big umbrellas, a variety of bags, Dresses, wall hangings, cushion covers, bed sheets, file folders, etc.

14. THANK YOU