Phulkari of punjab embroidery presentation.pdf

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

2. INTRODUCTION
HTTPS://YOUTU.BE/82DBLZRUIZ0?SI=S1XJSQ1MQL0T6R1S
•“PHUL” MEANS“FLOWER“AND“KARI” MEANSWORK.
•THEPHULKARIISMORETHANJUSTANITEMOFCLOTHING; IT’SAPART
OFANETHOSSTEEPEDINSOCIALANDRITUALISTICTRADITIONS.
•THEPHULKARIEMBROIDERYFIRSTBEGANINPUNJABINTHE15
TH
CENTURYBYTHEWOMENOFPUNJAB.
•ITISTHERURALHANDMADE EMBROIDERYTRADITIONOFPUNJAB.

3. HISTORY
• THETRADITIONOFPHULKARIWASOFTENASSOCIATEDWITHTHESIKHHERITAGEBUTASITWASALSO
SHAREDWITHHINDUSANDMUSLIMS.
• THEEXACTORIGINOFPHULKARIISNOTKNOWN. ONETHEORYISBASEDONTHEFACTTHATASITWAS
MOSTLYWORNBYJATWOMEN, ITCAMEFROMCENTRALASIAALONGWITHJATTRIBESWHOCAMETO
INDIAASMIGRANTS. ANOTHERTHEORYBELIEVESTHATITCAMETOINDIAFROMIRAN, WHEREITISKNOWN
ASGULKARI.
• HOWEVER, BOTHTHESETHEORIESDONOTHOLDGOODASPHULKARIISPRACTICEDANDWORNBYALL
THEPEOPLEOFPUNJABFROMEARLY19
TH
CENTURY.
• INANCIENTTIMESINPUNJAB, THEBIRTHOFAGIRLCHILDINTHEFAMILYWASCONSIDEREDVERY
AUSPICIOUSANDSO, ASSOONASAGIRLWASBORNINAFAMILY, THEMOTHERSANDGRANDMOTHERS
WOULDSTARTEMBROIDERINGPHULKARIS. THISWASATRADITIONTHATTHEPARENTSOFTHEGIRLCHILD,
ACCORDING TOTHEIRSTATUS, WOULDGIVEADOWRYATTHETIMEOFHERMARRIAGEOF11 TO101
BAGHSANDPHULKARIS.

4. TECHNIQUES
•THEBASEFABRICI.E. KHADDARWASUSEDBYTHEVILLAGEWEAVERS. THE
FABRICWASOFNARROWWIDTHS. TOMAKELARGEWIDTHSPHULKARI, THE
WOMENUSEDTOJOIN2 OR3 WIDTHSTOGETHER. THEJOINTSWERENEATLY
DONEINHERRINGBONESTITCH.
•DARNINGSTITCHWASEXECUTEDFROMTHEWRONGSIDEOFTHEFABRIC. THE
LENGTHOFTHESTITCHRANGEDFROM¼” TO1”. THEMOTIFSWEREALWAYS
SYMMETRIC.

5. FABRIC
•Embroidery work was invariably
made on a plain cotton fabric
(khaddar) whose thread was
manually spinned, loomed and dyed
with natural pigments.
• Today a variety of fabric is used in
this traditional embroidery. The
dupattas can vary from chiffon,
Georgette and crepe.
• Darning and chop (kind of running & back stich) was
the most commonly used stiches to make phulkari.
• 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.
• To fill in the motif either satin stitch or a variation known
as stop stitch was preferred.
STITCHES

6. •Various shades of red color
are mostly used for the base
fabric.
• Other popular colors are
blue and its various shades.
• White is used for elderly
ladies.
•Embroidery is done with the
use of colors, such as
golden yellow, crimson,
orange, blue, violet, green,
dark brown, and white.
COLORS
A large number of motif designs are inspired by the lives and
surroundings of people, which are as follows:
Vegetables, such as Karelabagh and Gobhibagh
Gardens, such as Shalimar bagh and Char bagh
Flowers, such as Gendabagh and Surajmukhibagh
Birds and animals, such as Tota, Mor, Hathi, Gai, and Bakri
Jewelry items, such as Guluband, Ranihaar, Kangan, Karan
phool, Jhumkas, and Tikka. Wheat and barley stalks were a
favorite motif.
MOTIFS

7. CLASSIFICATION OF PHULKARI
1.WEDDINGPHULKARI
I. CHOPE :-
•EMBROIDEREDONTHEBORDERS. GIFTEDTOTHEBRIDEBYHERGRANDMOTHER
DURINGCEREMONY BEFOREWEDDING.
•EMBROIDEDWITHTWOSIDEDSTITCHMAKINGITAPPEARSAMEONBOTHTHESIDES.
•THECHOPEISEMBROIDEREDWITHONECOLORANDITISMONOCHROME .
•GOLDENORYELLOWISHGOLDENCOLORTHREADSMOSTLYUSED.
•THEHOLBEINSTITCHISUSEDINTHECHOPEPHULKARI.
•KHADDARINREDORORANGE.
•HELDONTHEHEADDURINGTHE“CHURA” CEREMONY.

8. II. VARI DA BAGH
• This particular bagh is embroidered by the grandmother and
presented to the bride of the grandson at the time of the marriage.
• In west Punjab, following the birth of a boy, it was customary, to
begin a vari da bagh.
• Worked in yellow/gold yarn on a red ground.
• The whole surface is covered with a group of three-four small
concentric diamonds, the smallest again divided into quarters.
• In this ground of the fabric is not visible.
III. SUBER
•Worn At the time of Pheras at the wedding.
• The bride wears a Red-colored phulkari.
• Suber is very similar to Chope in terms of colour.
• It contains a centre five-group motif and a matching motif on each
of the four corners.
• The maternal uncle also presents these Phulkari embroideries as
presents for the bride-to-be.

9. 2. RELIGIOUSPHULKARI
I . DARSHAN DWAR BAGH
• THISTYPEOFPHULKARIISMADEASANOFFERINGTOTHANKGOD. ITIS
MADETOGIVETOTHEGURUDWARAS AFTERAWISHISFULFILLED.
• FROMTHEEASTERNPUNJAB, ITHASBEENDONEONAREDBASEDWITH
YELLOWTHREADS.
• ITHASRELIGIOUSMOTIFSLIKETHEWALL& GATEOFTEMPLES, VERANDA
WHICHSURROUNDED THETEMPLE.
• THEROOFSOFTHEGATESAREWORKEDINMULTICOLORED PATTERNSOF
TRIANGLESANDDIAMONDS.

10. 1.BAWAN BAGH
•THEBAWANBAGHISVERYRAREASONLYAFEWWOMENWEREABLETODONE
THISTYPE.
•BAWANMEANSTHENUMBER52; INTHESEPIECESWEUSUALLYFINDMOSAIC
OF52 DIFFERENTPATTERNSWHICHDECORATETHEPIECE.
•EACHSQUAREANDPATTERNHASADIFFERENTGEOMETRICMOTIFONIT.
2. THIRMA
• Unique trait of Thirma is its white khaddar. Usually worn by elder women
and widows. It is a symbol of purity.
• Exclusively made by Hindus.
• The floral patterns were embroidered in red, violet and green- often so
thickly that they give a velvety surface. • The ends have characteristic
diagonal rows in red satin stitch.
3. TYPES OF BAGH
3. VARI-DA-BAGH
4. DARSHAN DWAR

11. 5. SAINCHI
• THISTYPEOFPHULKARIDEPICTSANDNARRATESTHEVILLAGELIFEOFPUNJAB.
• THISPHULKARIWASDONEINVERYFEWAREASLIKEFIROZPURANDBHATINDA.
• ITCOMESFROMTHEWORD“SANJHA” MEANINGTOGETHER.
• WOOLORCOTTONTHREADSWEREOFTENUSEDINSTEADOFSILK.
• THEMOTIFSWEREOFTENMARKEDONTHECLOTHWITHINKANDTHESKETCHTHENFILLED
WITHDARNINGSTITCH.
6. KAUDI BAGH
• Among their patterns, these bagh include chains of small white squares
representing stylized cowries.
• East Punjab
• Worn when women have chances of becoming pregnant.

12. SOME OTHER TYPES OF PHULKARI
1. GHUNGHATBAGH/ SARPALLU:
THISBAGHHASONLYTHESIDESANDTHEPORTIONCOVERINGTHEHEADEMBROIDEREDWITHLARGE
TRIANGULARMOTIFSINONECOLOR.
2. TILAK:ASTHENAMEIMPLIES, ITHASBLUEPHULKARI. WORNBYAGRICULTURALWOMEN, WITH
YELLOWANDCRIMSONEMBROIDERYANDALSODONEINBLACKONCERTAINOCCASIONS. ITEMS
LIKEACOMB, FAN, UMBRELLA, RUMAL, ANDFLOWERSARECOMMON MOTIFS.
3. TILPATRA: A SPARSELYSTITCHEDDESIGNTHATMIMICSSESAMESEEDSSCATTERED. INFERIOR,
CHEAPKHADDARWORNBYMAIDSDURINGWEDDINGSANDOTHERSIGNIFICANTEVENTS,
DECORATEDWITHTINYDOTS.
4. SHEESHADAR: DECORATEDWITHSMALLCIRCULARMIRRORSONRED. BROWNORWHITE
GROUND. A SPECIALITYOFSOUTH-EASTERNPUNJABBUTNOWINHARYANAISBECOMINGRARE
ANDINSTINCTIVE.
5. PANCHRANGA BAGH
MEANING“FIVECOLORS”, THISBAGHISDECORATEDWITHCHEVRONSOFFIVEDIFFERENTCOLORS.
6. SATRANGABAGH
DECORATEDWITHCHEVRONSOFSEVENDIFFERENTCOLOURS.

13. PHULKARI EMBROIDERY ARTICLES
•Today this vibrant folk art of Punjab is now embroidered not only on shawls or dupattas but also on
stolls, saris, bed covers, home furnishings, etc in bright and vivid colours.
•Many people have started getting Phulkari personalised, where some are using it as decorative
piece, others are using them as accessories like juttis (punjabi chappal), bags etc.
Footwear Jwellery
Bags
Keychain
Belt

14. PHULKARI WORK ARTICLES
Upholstery
Clothing

15. NAME OF DESIGNERS WHO WORKED WITH
PHULKARI EMBROIDERY.
1.GAURANGSHAH
2.MANISHMALHOTRA
3.RITUKUMAR
4.TARUNTAHILIYANI
5.ANITADONGRE
6.KAMIKAGOYAL
7.SUKRITI&ASKRITI
8.ABUJANISANDEEPKHOSLA
9.NEETALULLA
10.SABYASACHIMUKHERJEE

16. GAURANG SHAH
GAURANGSHAHISAPOPULARSELF-TAUGHTINDIANFASHIONDESIGNER.
HEWASBORNINHYDERABAD, INDIA.
HEISINSPIREDBYTHEWEAVINGENVIRONMENT, SOHEDECIDEDTO
PURSUEACAREERINFASHIONDESIGNINTHETEXTILEINDUSTRY.
HEMADETHEWISECHOICETORECEIVETRAININGFROMTHEBEST
TRADITIONALCLOTHINGINSTRUCTORS, ANDASARESULT, HEBECAME
FAMILIARWITHPRACTICALLYALLDRESSFORMSANDTHEIRWEAVING
PROCESSES.
THEJAMDANIMETHODOFWEAVINGISHISFAVORITE.
HESUPPORTSMORETHAN800 WEAVERSALLACROSSINDIA.
HETAKESINSPIRATIONFROMTEMPLEART, ARCHITECTURE, GEOMETRYAND
MYTHOLOGY.

17. •TEXTILEDESIGNERGAURANGSHAHISSETTOSHOWCASE ACOLLECTIONTITLEDKALPAVRIKSHAAT
LAKMEFASHIONWEEKSUMMER-RESORT2015. KALPAVRIKSHAISTHEWISH-FULFILLINGDIVINE
TREEINHINDUMYTHOLOGY.
•REVISITINGTHEHUMBLEKHADI(THEFABRICOFFREEDOM) WITHAREPRESENTATION OFTHETREE
OFLIFE, THEJAMDANIWEAVERSOFANDHRAPRADESHANDBANGLADESH STOLETHESHOW.
GAURANGCREATIVELYMERGEDTHEKHADIWITHPHULKARI, KALAMKARIANDCHIKANKARIINTO
ANALLURINGANDCLASSICALLYMODERNCOLLECTION.
•THECOLLECTIONALSOPAYSTRIBUTETOVARIOUSSUMMER-FRIENDLYFABRICS.
•FROMPINKSANDREDSTOBLUESANDRUSTICGREENS, THECOLLECTIONWASFULLOFSUMMER.
•PHULKARIWASUSEDFORDUPATTASANDCHOLIS, WHILEABIRDANDTIGERWEAVELOOKED
MAGNIFICENTONASARI.
About his collection

18. •STUNNINGANARKALISWITHINTRICATEWEAVES, GHAGRASTHATWEREVOLUMINOUS BUTSUPERBLY
CRAFTED, ANDELEGANTSARISWORNBYGRACEFULMODELSFLOATEDDOWNTHERAMP.
•GAURANGPROMISESTOSHOWDIVERSITYOFDIFFERENTFABRICSTHROUGHHISSHOWATTHEFIVE
DAYFASHIONEXTRAVAGANZA WHICHISSCHEDULEDTOTAKEPLACEFROMMARCH18 AT
PALLADIUMHOTELINMUMBAI.
•THEGLAMOROUS SHOWBEGANTOTHELIVESTRAINSOFMELODIOUSMUSICBYWELLKNOWN
SAXOPHONE PLAYER, ANILKUMAR, WHOSERENADEDTHEMODELSWITHPOPULARBOLLYWOOD
TUNES.
•MAKINGASURPRISEAPPEARANCEONTHERAMPFROMTHEAUDIENCEWASSHOWSTOPPER
BOLLYWOOD SUPERSTAR, VIDHYABALAN. SHELOOKEDBEAUTIFULINAGORGEOUSPINK/GOLDSARI
DESIGNEDBYGAURANGSHAHASTHEYGLIDEDDOWNTHECATWALKTOGETHERTOTHUNDEROUS
APPLAUSE.
•ITISALSOAPERFECTTRIBUTETOBEAUTIFULSUMMERFRIENDLYFABRICSANDANCIENTMYTHOLOGY.
About his collection

19. LAKME FASHION WEEK SUMMER -RESORT 2015. –“KALPAVRIKSHA” COLLECTION
HTTPS://YOUTU.BE/GBGILFEFSSI?SI=AMCH1X3UKHZYTBRG

20. Thank You