Indian Traditional: Weaving techniques
A descriptive research
Submitted to
Vasundhara Gupta
Pearl academy
(2014-2018)
Acknowledgement
We hereby take the opportunity to express our very deep appreciation and regards to those
who have contributed to the accomplishment of this research project.
We would like to express our immense gratitude to our mentor, Ms Vasundhara Goel, who
gave us constructive advices and continuous direction, and for her guidance, monitoring and
constant encouragement throughout this project.
Executive summary
In the following pages you would see types of embroidery and traditional weaving techniques
in India, and a descriptive research on Chikankari art form, the history and evolution, types of
chikankari embroidery, process of making and time consumed, availability of Chikankari
products – distribution, a brief on artisans and export market of chikankari.
Lucknow- the state capital of Uttar Pradesh is world renowned for its traditional
Chikankari Embroidery. Chikankari is the embroidery work done with the white cotton
thread on fine white cotton material. Chikankari is also called as shadow work. The word
'Chikan' is basically derived from Persian word 'Chikeen'. In earlier days, the Chikankari
embroidery is traditionally done on mulmul- fine muslin cotton. Due to non-availability of
mulmul, now-a-days this work is done on cotton, wool, chiffon, crepe, organde chiffon and
silk clothes using contrast color threads. The origin of Chikankari is initiated by the influence
of intricate carving patterns of Mughal architecture during their period. The Chikan work in
Lucknow is older than 200 years and later it is patronized by Nawabs. There are 5000
families involved in Chikankari embroidery in and around villages of Lucknow. The artisans
belong to local Muslim community. Nearly 90% of Chikankari work is done by women
professionally. Delhi, Mumbai are the other centers for Chikankari work.(chikankari
embroidery of Lucknow II, the craft of floral
embroidery.)(www.dsource.in/resources/chikankari_embroidery_II/intro/introduction.html)
The purpose behind conducting this research was to know customer’s opinion about the form
in which they would prefer Chikankari in their apparels. Along with it, the research aimed at
better and more precise understanding of potential customers, their demographics and
psychographics. In respect with this, it would be the information concluded from the survey
would also assist to find out a suitable brand for the art form, which could help it getting
mass commercial opportunity .
Objective

RO 1) To understand the art form in depth with respect to its history, culture, artisans,
evolution.
 RO2) To understand consumer preferences for traditional art form Chikankari for
their apparel wear and then to suggest a suitable brand from which they would
purchase.
 RO) To find out a suitable brand for the art form , which could help it getting mass
commercial opportunity .
Design and Colour


Designs are traditionally taken from nature and include beautiful flower patches such
as embroidery of mango and various design of flowers as designed by the designer.
Chikankari is dynamic there is always a central image which pulls the design together.
Colours tend to be bright, red, blue black and yellow have always been popular , as much
for the richness they bring to the design as for their symbolic meaning. White, red and
black are the colours of purity, passion and darkness they also represent water, fire and
earth.
Traditional weaving in India
Textiles:
India’s textiles both woven and printed that have dazzled the world have their own fabulous
stories to tell. Stretched along the length and breadth of the country each region has its own
characteristic fabric that weaves its history. There are hundreds of different textiles in India
but some of the popular ones are favourites with everyone.
The brocades of Varanasi are the most well-known of Indian textiles. The brocade or
kinkhwab (fabric of dreams)is the weaving of pure silk and gold strands to create a lush
fabric. Each region has its own individual brocade like the Aashavali, Paithani, Kanjeevaram,
Tanchoi, Balucheri and Jamewar. Creating the jala are the naqsshaband or master craftsment
of Varanasi. From floral patterns to hunting scene patterns, designs have been adapted to suit
contemporary times. A variety of motifs like creepers, flowers, birds, animals, architectural
and human forms are incorporated in a single design.
Gujarat is generally considered the home of silk and brocade weaving after Varanasi. Even
during the reign of Akbar, Gujarat was a famous center for weaving brocades, velvets and
silks. The Aashavali from the town of Aashval is popular for its rich colours in contrast to the
simple brocade border. The Aashivali woven ininlay technique has four to five coloured silk
threads interspersed with jari (gold thread). Stylized parrots, peacocks, lions and doves
appear quite often with trees and flowers.
From Paithan the town in Maharashtra comes the regal Paithanai. Many royal households
own the Paithani which could take months to weave. Motifs of parrots and flowers are very
popular and the Paithani is treated as an heirloom once it is bought.
Tanchoi was brought to India from China by the three Choi brothers (hence the name) who
settled in Surat to weave the fabric with a different technique-a combination of Indian and
Chinese style. The colours are subtle, the drape is light and the intricate work with extra
floates which are blended into the fabric gives it an embroidered look based on the satin
weaving style.
One of the most coveted of Indian fabrics, the double Ikat Patola, originates from various
stateslike Gujarat, Orissa and Pochampalli in Andhra Pradesh. The double Ikat resist dyed
Patola from Orissa and Patan in Gujarat is very intricate in weave. While the single Ikat from
Rajkot is more affordable it is the double Ikat that is regarded as a masterpiece. Prices can be
quite exorbitant because a Patola is valued for its purity of silk.
From the south comes the Temple Sari, the Kanjeevaram, from the town of Kanchipram. To
own it is every bride’s dream because of its grandeur of weave. The Kanjeevaram sari was
first woven around 400 years ago and since then this vibrantly coloured sari very often
checks in silk yarn or gold threads, is a favourite. Many of the designs are variations of
vertical and horizontal lines and checks.
From the Deccan comes the Gadhwal sari which represents a harmonious look of contrast.
The sari originating from the Decan has the influence from the south, north, east and west of
India. A blend of silk and cotton, the borders are normally in contrasting colours with
intricate motifs.
From the colourful state of Rajasthan comes the Tissue Kotah woven in pure cotton. It is one
of the lightest saris ideal for the
warm weather
of India.
Bhagalpur, Chanderi and Maheshwari are fabrics from different states with a beautiful
combination of cotton and silk spun to create an extremely light fabric. The bhagalpur comes
from Bihar, the Chanderi from the south and Maheshwaris from Madhya Pradesh. The silk
yarn in the warp and a very fine cotton thread in the weft go to make them. The Chanderi
made of super fine silk or Cotton has a light tissue-like appearance while the Maheshwari
made of spun silk and cotton yarn has exquisite and intricate borders sometimes with a touch
of gold.
The Jamewar fabric inspired by the Jamewar shawl with the paisley as the focus of attention
is the beauteous fabric of Kashmir. Created in wool, cotton and silk, it has tht timeless beauty
that is admired by all. The weft thread alone forms the pattern and is inserted by means of
wooden spools without the use of a shuttle. It is a time consuming process which has made
the hand woven Jamevar almost extinct.
From the town of Baluchar in Bengal comes the Baluchari textiles. It was some time in 1704
that the first Baluchar weaving took place. At one stage no gold or silver thread was used
except the pure mulberry silk in the making of the fabric. The important feature is the white
outlining of ht emotifs like animals, vegetation and figuarative patterns.
The most prominent of printing techniques is the Kalamkari from Andhra Pradesh. The world
Kalamkari literally means pen of stylus work which is a combination of printing and painting.
The themes are normally from mythology and the fabrics were first used im temples and
religious places. The Calamari fabric requires patience and skill. But with modern methods
the design is created with wooden blocks and stamped on the cloth.
The Block Print is what India is famous for. The Sanganer prints of Jaipur, Nandana prints of
Madhya Pradesh and Batiks of Bengal provide a vast almost unlimited choice.
The Bandhani and Leheria are two tie-and-dye methods whicha re popular in Rajasthan and
Gujarat. For Bandhani the fabric is tied into minute knots to form a designand then dipped
into the dye, the Leheria (waves) pattern is also achieved with tie-and-dye techniques.
Diagonal lines in a single colour across a white background create a magical effect.
The beauty of India fabrics is so hypnotizing that the West has been enchanted by it and has
never resisted creating garments from them. Indian master craftsmen are being encouraged to
move with the times and attempts innovations in traditional designs so that the art for
weaving Indian textiles is kept alive.
Introduction to chikankari
art form.


 This art form is practised
since many years .it has been a part
of Indian culture since AD655. It is
believed that chikankari art form was introduced by Noor Jehan wife of Mughal
emperor Jahangir.
The wearers of chikan cloth reflects status and style in their society it is purchased by
the rich people.
Designer duo Abu Jani and Sandeep Khosla had life into the art form over a decade ago by
employing chikan kari in their high range ensembles worn by the likes of Dame Judi Dench,
Jaya Bachchan, Dimple Kapadia and Kareena and Karishma Kapoor. Their short kurtapyjamas are a hot favourite with Aishwarya Rai Bachchan. Muzzafar and Meera Ali of
Kotwara label fame initiated an elegant array of gold and silver chikankari work on black for
formal wear and even bridal wear. The daraz chikan kari is the most expensive, stitched-byhand work and takes months to complete.
History and evolution of chikankari art form



.
This art form dates back to 3rd century BC.
Some create the popularity of chikankari to the Mughal group. The word chikan is rooted in
the Persian chikin, meaning needlework on colourless muslin called tanzeb or decorations on
the body . It is also believed to be a distorted form of chikeen or siquin, a coin valued at Rs. 4,
for which the embroidery was sold in Persia. Noor jehan was highly inspired by Turkish
embroidery and gave impetus to this form of needle work.
Origins of chikankari are believed to be rooted in Awadh, the work is believed to have been
part of the Indian heritage for centuries.
Available from www.lucknowcity.com/chikankari.php
Process of making of chikankari art
work.
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. Among these the most popular and recognized worldwide is Chikankari.



At first the design is printed on the cloth with washable colours while different
embroidery work is done on other cloth. This is home based industrial activity done
by women artisans and workers .
Next, The fabric is given desired shape and quick rough hand stitch is done to give
the block printer an idea of the placements of the designs.
After the design is finalised the cloth is then washed which involves bleaching , acid
treatment , stiffing and ironing rounds up the entire process of chikankari.
The stitches used in Chikan Kari work of Lucknow are basically of three categories, namely
• Flat Stitches (Subtle stitches that remain close to the fabric)
• Embossed Stitches (they give a grainy appearance)
• Jali Work (Created by thread tension, it gives a delicate net effect)
Types of chikankari art work.


Tepchi is a long running stitch worked with six shore on the right side of
the fabric taking over four threads and picking up one. Thus a line is
formed .

Bakhiya, double back or shadow stitch in chikan work is done from
opposite side of the fabric and the design is rendered in the zigzag pattern .
The shadow of the cloth is seen from the right side.

Hool – Herein , a hole is punched in the fabric and the threads are teased
apart. It is then held by small straight stitches all around and work is done
with one thread on the right side of the fabric.
Zanzeera is small ring worked with one thread on the right side of the fabric, it is used
to outline the leaf or petal shapes .

Rahet is a back stitch work done on the right side of the fabric , it forms a line of back
stitch, it is rarely used in simple forms.

Banarsi is a twisted stitch worked with six threads on the right side of the fabric. The
needle is reinserted halfway along and below the stitch and is taken out about two
threads vertically on the right above the previous stitch.


Khatau is similar to bakhiya but is fine and is a form of decorative style.

Phanda/Murri are forms of stitches used to embroidery the centre of the flowers in the
ordinary chikan work.

Jali the stitching is done on the back side of the fabric so that the black portion look as
impeccable as the front.
Lifestyle of artisans working in chikankari industry
The lifestyle of artisans has improved a lot from
early times as the rates of fabric has increased with the increase in the demand
of chikan cloths therefore earning of workers has increased subsequently from
year to year.
Export Market of Chikankari
. MLK EXPORTS
The Company is a Govt. of India recognized Export House dealing in exports of readymade
garments of woven fabrics like all type of cottons, viscose, silk, lycra, linen, blended fabrics
etc., specializing in ladies high fashion wear, night wear, kurtas (the traditional item of
Lucknow) that is made based on the requirements of the buyer.
The city of LUCKNOW where the Company is situated, has the specialty of Hand
Embroidery known as Chikankari or CHIKAN Embroidery which is one of the finest and
unique embroidery which cannot be find anywhere else in the world. The Company, apart
from the chikan embroidery, also deals in other types of embroidered garments like Machine,
Ari Machine, Computer, Applique, Beads and Sequin embroideries etc.
The Company has the in-house production capacity of about 2000 garments per day. All the
latest cutting, stitching and finishing machines are installed under one roof so as to give the
top quality product.
The Company has a team of dedicated managed by Mr. Sharad Kapoor and Mr. Shishir
Kapoor, the two Directors having experience of more than 20 years in this line.
The main markets are U.S.A., Brazil, Turkey, Australia, Italy, Spain, France, Canada,
Caribbean islands, Mauritius etc. (www.mlkexports.com/about.html)
15%
21%
Zara
Vero Moda
11%
Forever 21
Mango
21%
15%
Brands that can
adopt chikankari
art as their
product.
Promod
Bebe
17%
References
www.dsource.in/resources/chikankari_emroidery_II/intro/introduction.html
www.mlkexports.com/about.html
www.lucknowcity.com/chikankari.php
www.indianprofile.com/fashion/indian_textile.html
www.dsource.in/resources/chikankari_emroidery_II/intro/introduction.html
Bibliography
www.india-crafts.com/textile/indian-handlooms.html
www.linguistics.byu.edu
www.indianprofile.com/fashion/indian_textile.html
www.indianmirror.com/indain-industries/weaving.html
www.dsource.in/resources/chikankari_emroidery_II/intro/introduction.html
www.mlkexports.com/about.html
www.lucknowcity.com/chikankari.php