Types phulkari

phulkari research

1. PHULKARI COULD BE CHARACTERIZED ON THE BASIS OF FOLLOWING FACTORS:- On the basis of type of designed area- Types of phulkari i.e. with scattered motifs Types of Baghs with fully covered designs. On the basis of motifs.

2. TYPES OF PHULKARI CHOPE - Done on the borders. Same design on both sides. It is gifted to the bride by her grandmother during some ceremony before wedding. It is usually done with one color( golden or yellowish golden). It is done on coarse khaddar. Done mainly in eastern parts of Punjab. SUBER -Red colored phulkari worn by bride at the time of Pheras during wedding. Its color is similar to chope but has central five group motif and similar motif on four corners. These are also presented by the maternal uncle. Done in eastern parts.

3. Nilak - As the name suggests it has phulkari of blue color .Worn by farm women with embroidery done in yellow n crimson pat. Sometimes also done on black.Motifs include articles like comb, fan, umbrella, rumal and flowers. Til patra - Design resembles sprinkled sesame seeds, scarcely embroidered. Inferior, inexpensive khaddar used with small tiny dots and worn by maids during wedding and such auspicious rituals.

4. NILAK PHULKARI

5. SHEESHEDAR - Decorated with small circular mirrors on red, brown or white ground. Specialty of south-eastern Punjab but now in Haryana and is becoming rare and instinct.

6. NAZAR BUTI

7. SAINCHI -The motifs depicts the rural life and includes ploughing, harvesting, a water carrier, a smoking hukkah, drinking, hawkers, and also domestic work like churning, spinning, weaving, etc. . In other words whole life of villagers is depicted. The plain red n black khaddar veil is used as daily wear and also known as salu ( saloo ). Mainly done in Malwa region. KAETA - Thick embroidery is done that both ends look similar. This type of phulkari has same design on both sides and is done with utmost care.

8. ON THE BASIS OF TYPES OF BAGHS

9. BAWAN BAGH This is very rare and old type of Phulkari. Bawan means the number 52. In these pieces we usually find 52 different patterns and motifs. The field is subdivided into 42 or 48 rectangles, each containing a different multicoloured motif. The remaining four or ten motifs are placed in the side or end borders.

10. KAUDI BAGH These were often worn by women wanting to increase their chance to become pregnant. Among their patterns, these bagh include chains of small white squares representing stylized cowries. From another point of view, the shape of these shells can remind of female genitals and make them become symbols of fertility. It was mainly used in eastern Punjab districts.

11. THIRMA BAGH A rarer type of phulkari is the thirma, the name signifying a white ground. Exclusively made by Hindus, they formed an important part of the dowry of a woman from north-western Punjab. 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. The patterns of this type differ markedly from all other baghs and phulkaris .

12. THIRMA BAGH

13. LAHARYA PHULKARI “Lahar” means wave in hindi. The pattern on Laharya looks like a wave. It has a zigzag pattern with similar tints and shades used of same colour .

14. SURAJ MUKKHI Phulkari Surajmujkhi, the sunflower, refers to the main pattern of this phulkari. It combines Halbein stitch with darning stitch and is mainly practised in eastern Punjab. It wasdone on dark coloured backgrounds.

15. DANGA BAGH Depicts a row of blue wavy stripes on a white ground like a river.

16. GHUNGHAT BAGH Originating in Rawalpindi, the ghunghat bagh is heavily embroidered around the centre on the edge to be worn over the head. The embroidered centre is then pulled over the face so as to form an embroidered veil

17. PACHRANGA 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. It was done mainly in western Punjab districts and covered the whole shawl.

18. VARI-DA-BAGH In West Punjab, following the birth of a boy, it was customary, to begin a vari da bagh . The new-born's grandmother would place the first stitch on the embroidery. This bagh would later be handed to the boy’s bride on their wedding day. Worked in yellow/gold yarn on a red ground, the colour symbolise luck and fertility. The whole surface is covered with diamonds, each enclosing a smaller diamond. In good pieces three sizes of concentric diamond are found, the smallest again divided into p arts.

19. DARSHAN DWAR BAGH Another more typical bagh is the darshan dwar bagh, meaning "the gate from which one seen the god”. From the eastern Punjab, this type always has a red ground; a series of large peaked gates are drawn, from four to seven on either side depending on their size and dimensions of the cloth .

20. MEENAKARI BAGH OR IKKA BAGH The bagh, often made of gold and white colour pat, is decorated with small multi-coloured diamonds reaffirm to enamel work (meenakari) or to “diamond” playing card’ suit. It was done in western Punjab regions like Rawalpindi, Sialkot etc.

21. VELANIAN DA BAGH The name had been given on the basis of the traditional motif, the ‘rolling pin’ the domestic kitchen device, quite a popular motif. The pattern has rows of rolling pins distinguish through various colour combinations. Sometimes the rows of rolling pins are insert with consecutive rows of zig-zag lines or small circular lozenge, producing an image or shape of rolling pin.

22. ON THE BASIS OF MOTIFS

23. CHAG OR SIEVE DESIGN This motif has a sieve design all over the body with horizontal and vertical lines or in the form of arrows and squares spaced equally all over the shawl.

24. NAU AAKHEIN {9 EYES} This motif is based on nine rectangles which are combined together to form a diamond shape. It has a centre dot in each rectangle and was spread equally to form p hulkari.

25. PARANTHA PHULKARI This type of phulkari or bagh has eight V’s shaped combined to form a square shape parantha motif. The phulkari has this motif spread evenly over the odhni or dupatta and bagh has this motif combined repeatedly without spacing to complete the design.

26. Jewellery design This type of phulkari has all hexagonal motifs which are interconnected together and are spread all over the odhni. This motif doesn’t cover the inner part of hexagonal shape but just the borders. Mainly done in Eastern Punjab areas.

27. Mor or tota phulkari This Phulkari is based on peacock or parrot motifs which were made with counting and were made in geometrical forms only earlier and was done to make phulkari not the bagh as the design is made at frequent intervals and couldn’t be connected. Mainly done in eastern Punjab areas and was done both in scattered motifs and even combined to form baghs .

28. Wheat and peacock motifs This type of phulkari had designs combined of wheat and peacock which were used to make daily used phulkari odhni. The designs could be made by spreading wheat motifs all over and peacock motifs at borders or vice versa etc. It was inspired from the nature and generally the background was kept red, maroon or brown. It was done on Saloo shawls.

29. Kanchan design This phulkari is made with the traditional motif of triple v shaped lines in four directions forming a four side faced design with four corners forming one motif. This motif is repeatedly formed to complete a shawl of phulkari.

30. Bijli bagh This type of bagh has all around lines motifs with different colours showing lighting effect all over the shawl as small varied directional lines, repeatedly formed.

31. Suraj bagh This type of bagh has small circular with side triangle motifs formed all over the shawl with varied colours and gives an appearance similar to the sun on darker backgrounds with lighter and brighter shades. It was done mainly in western Punjab areas.

32. MIRCHI PHULKARI This phulkari had all over spread designs of Mirchi shaped rectangles done on darker backgrounds with brighter shades. It was used mostly by women in their daily wear.

33. CONCLUSION Phulkari was and will remain the traditional art of Punjab and it is characterized both on the basis of region as well as on the basis of design and motifs. In eastern Punjab more commonly Baghs i.e. Fully embroidered shawls were used i.e. In districts of Peshawar, S ialkot, Rawalpindi, Lahore and used colours as orange, brown, red mainly. They mainly repeatedly used motifs to form Baghs . Whereas in west Punjab more scattered motifs phulkaris were used and these were even combined with mirror work and used bright colours as navy blue, browns, red and yellow shades.

34. BIBLIOGRAPHY https:// en.wikipedia.org/wiki/Phulkari https://phulkariembroidery.wordpress.com/2017/02/24/types-of-bagh-phulkaris / http:// www.dsource.in/resource/phulkari/types-phulkari-0 Traditional Embroideries of India By – Dr. Shailaja D. Naik Indian embroideries By – John Irwin and Margaret Hall

35. THANKS SUBMITTED TO:- Dr. SURABHI MAHAJAN Dr. SUMEET GREWAL SUBMITTED BY:- MANKRITI KAUR LOVELEEN JINDAL MANBIR KAUR KULDEEP KAUR