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ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Punjab, Punjabi, Punjabiyat
Timeless Chikankari
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<blockquote data-quote="spnadmin" data-source="post: 194423" data-attributes="member: 35"><p><strong>More history and cultural background</strong></p><p><em></em></p><p><em>Chikankari - Not just embroidery</em></p><p><em></em></p><p></p><p><a href="http://sonamsrivastava.blogspot.com/search/label/lucknow" target="_blank">http://sonamsrivastava.blogspot.com/search/label/lucknow</a></p><p></p><p></p><p>In India there are many popular embroidery groups such as Chikankari of Lucknow, Katha of Bengal, Fulkari of Punjab, Kutchi Embroidery of Gujarat & Kashidakari of Kashmir. Each style of embroidery is different from the other and has its own beauty and significant value.</p><p></p><p>The city of Lucknow has a prominent place in the history of India particularly for its art, historical monuments and rich cultural heritage. Besides being famous for its hot summers and a glorious past, Lucknow is also known the world over for its many fine Handicrafts. Some of the most popular names in this list are Chikankari, Hand Block Textile Printing, Zari Zardozi, Ivory or Bone Carving, Terracotta and many others that are practiced by various artisans of Lucknow. Chikankari is considered to be the most popular amongst these and is recognized worldwide. </p><p></p><p>Chikankari is a fine art of embroidery made with white untwisted yarn with the help of a needle on a fine cloth. It is done on viol, silk, cambric, georgette, terry cotton etc. At first, designs are printed on the cloth with washable colours while different stitches or embroidery work is done on cloth. This is a home based industrial activity which is mainly performed by women artisans and workers. </p><p></p><p></p><p></p><p>History and Tradition</p><p></p><p>The historical records of 17th century of East India Company reveal that Dhaka produced the fine embroidery called ‘Chikan’. Chikankari craft is said to be brought to Lucknow in 18th century from East Bengal by the Nawabs of Awadh. It is said that Noorjahan, wife of the Mughal Emperor Jahangir introduced it in Lucknow. At that time it was designed and practiced by her and other begams (wives) of Mughal Emperors. It was popular among the Nawabs and Rulers of Awadh. Chikankari flourished under the patronage of the rulers of Awadh. Later on, the craftsmen with love and devotion worked on topi-palla or angarkha, for their masters, creating designs that were unmatched in beauty. The craft passed on to the womenfolk of the community, as a source of subsidiary earning for the family. Gradually, it became the main source of earning for the family.</p><p></p><p>However, the emergence of British Raj gave the big shock to the chikankari craft. The import of super fine low priced mill textile from England caused the decline of the trade of chikan craft. Thus, the many of the fine stitchers remained confined to the homes of artisans and those who were fond of the craft. This also resulted exploitation of helpless chikan workers. Efforts to revive this industry were launched after the Independence. The chikan embroidery scheme was launched in 1947.</p><p></p><p>The Uniqueness of Chikankari Art</p><p></p><p>Due to the variety of stitching-styles involved in Chikankari, it is claimed to be one of its kind hand embroidery that is impossible to imitate in any other part of the world. Chikan embroiders claim of about thirty-two stitches, to which they give delightfully fanciful names. Some of the names in their local language are; Sidhual, Makra, Mandarzi, Bulbulchashm, Tajmahal, Phooljali, Phanda, Dhoom, Gol murri, Janjeera, Keel, Kangan, Bakhia, Dhania Patti, lambi Murri, Kapkapi, Karan Phool, Bijli, Ghaspatti, Rozan, Meharki, Kaj, Chameli, Chane ki Patti, Balda, Jora, Pachni, Tapchim Kauri, Hathkati & Daraj of various types. Closer analysis reveals that many of these are different combinations of the same few basic stitches.</p><p></p><p>The crafts sector alone provides employment to 23 million people in India. The crafts have been integral part of cultural life, though traditional craft skills need sensitive adaptation, proper quality cannot suitable pricing and improved designs to meet customer demand and their satisfaction. However, many artisans face the problems of finance, technology and skill up gradation, production and marketing of goods. The chikan industry has enjoyed the patronaged of Nawabs and rulers of Awadh. With the change of time the policies for its promotion and development were evolved by government. However, the socio-economic status of chikan workers has remained pathetic. Even, they are exploited by the private sector since there are no organized efforts to develop and promote chikan industry at present.</p></blockquote><p></p>
[QUOTE="spnadmin, post: 194423, member: 35"] [B]More history and cultural background[/B] [I] Chikankari - Not just embroidery [/I] [url]http://sonamsrivastava.blogspot.com/search/label/lucknow[/url] In India there are many popular embroidery groups such as Chikankari of Lucknow, Katha of Bengal, Fulkari of Punjab, Kutchi Embroidery of Gujarat & Kashidakari of Kashmir. Each style of embroidery is different from the other and has its own beauty and significant value. The city of Lucknow has a prominent place in the history of India particularly for its art, historical monuments and rich cultural heritage. Besides being famous for its hot summers and a glorious past, Lucknow is also known the world over for its many fine Handicrafts. Some of the most popular names in this list are Chikankari, Hand Block Textile Printing, Zari Zardozi, Ivory or Bone Carving, Terracotta and many others that are practiced by various artisans of Lucknow. Chikankari is considered to be the most popular amongst these and is recognized worldwide. Chikankari is a fine art of embroidery made with white untwisted yarn with the help of a needle on a fine cloth. It is done on viol, silk, cambric, georgette, terry cotton etc. At first, designs are printed on the cloth with washable colours while different stitches or embroidery work is done on cloth. This is a home based industrial activity which is mainly performed by women artisans and workers. History and Tradition The historical records of 17th century of East India Company reveal that Dhaka produced the fine embroidery called ‘Chikan’. Chikankari craft is said to be brought to Lucknow in 18th century from East Bengal by the Nawabs of Awadh. It is said that Noorjahan, wife of the Mughal Emperor Jahangir introduced it in Lucknow. At that time it was designed and practiced by her and other begams (wives) of Mughal Emperors. It was popular among the Nawabs and Rulers of Awadh. Chikankari flourished under the patronage of the rulers of Awadh. Later on, the craftsmen with love and devotion worked on topi-palla or angarkha, for their masters, creating designs that were unmatched in beauty. The craft passed on to the womenfolk of the community, as a source of subsidiary earning for the family. Gradually, it became the main source of earning for the family. However, the emergence of British Raj gave the big shock to the chikankari craft. The import of super fine low priced mill textile from England caused the decline of the trade of chikan craft. Thus, the many of the fine stitchers remained confined to the homes of artisans and those who were fond of the craft. This also resulted exploitation of helpless chikan workers. Efforts to revive this industry were launched after the Independence. The chikan embroidery scheme was launched in 1947. The Uniqueness of Chikankari Art Due to the variety of stitching-styles involved in Chikankari, it is claimed to be one of its kind hand embroidery that is impossible to imitate in any other part of the world. Chikan embroiders claim of about thirty-two stitches, to which they give delightfully fanciful names. Some of the names in their local language are; Sidhual, Makra, Mandarzi, Bulbulchashm, Tajmahal, Phooljali, Phanda, Dhoom, Gol murri, Janjeera, Keel, Kangan, Bakhia, Dhania Patti, lambi Murri, Kapkapi, Karan Phool, Bijli, Ghaspatti, Rozan, Meharki, Kaj, Chameli, Chane ki Patti, Balda, Jora, Pachni, Tapchim Kauri, Hathkati & Daraj of various types. Closer analysis reveals that many of these are different combinations of the same few basic stitches. The crafts sector alone provides employment to 23 million people in India. The crafts have been integral part of cultural life, though traditional craft skills need sensitive adaptation, proper quality cannot suitable pricing and improved designs to meet customer demand and their satisfaction. However, many artisans face the problems of finance, technology and skill up gradation, production and marketing of goods. The chikan industry has enjoyed the patronaged of Nawabs and rulers of Awadh. With the change of time the policies for its promotion and development were evolved by government. However, the socio-economic status of chikan workers has remained pathetic. Even, they are exploited by the private sector since there are no organized efforts to develop and promote chikan industry at present. [/QUOTE]
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Timeless Chikankari
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