kutch embroidery
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Report
Kutch Embroidery
Shachi Sheth
Foundation Programme. Batch 3
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Table of Content
Title Page Number
Introduction 2
About Kutch Embroidery 5
Different styles of Kutch Embroidery 6
I. Ahri Embroidery 6
II. Rabari Embroidery 6
III. Mochi Embroidery 7
IV. Soof Embroidery 7
V. Jat Embroidery 6
Conclusion 8
Bibliography 9
Appendices 10
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Introduction
³Art is the product of man's natural admiration for beauty awakened by what he sees, feels, and
experiences. Art can be seen in everything that man does, ranging from his everyday duties and
tasks to complex art forms and fields. Embroidery is the fascinating techniques to embellishclothes it involves the use of needles and thread. The earliest forms of embroidery that survived
the tests of time are to be found in ancient Egypt. Embroidery was originally done manually by
hand. It is basically done for decorative purposes by sewing various types of materials into a
layer of cloth or fabric to create patterns and designs that are usually a reflection of the beauty of
nature. It is a laborious threadwork, especially for starters since it requires not only the use of
fingers but creativity and imagination as well. There is a need to critically choose the type of
fabric or cloth, needles and threads to come up with a successfully embroidered product.´1
In India, Kashmir has a long tradition of embroidery introduced possibly during the reign
of Zain-ul-Abdin. The art of working raised designs in threads of silk, cotton, gold or silver upon
the surface of woven cloth with the help of a needle has been known here since very early time.From 16th century a professional style of courtly and trade embroideries emerged from Gujarat.
Intricate art of embroidery adds hue to the dusty deserts of Rann of Kutch. An indispensable
element of Gujarati culture, embroidery is an art of perfection and detail. Region from
Bhavnagar to Rajkot is well known for embroidery work. Artisans, mainly women, are wives of
herd¶s men, nomads and farmers working for an extra bite. Embroidery done in metal wires by
kalabattu or zari as it is popularly called is in a class by itself.
Kutch, a generous state of India, and the largest district of Gujarat. It is a drought-porn
area situated at the border of India and Pakistan. A great range of ethnic communities live in the
region, most maintaining traditional dress and crafts of many sorts, including weaving, dyeing,
printing, bandhani (tie-dye), embroidery, leather work, pottery, woodwork, and metalwork. This
district is famous for its heritage monuments and also its traditions and rituals. Kutch embroidery
was practised from the 16th and 17th
century in Patan, a little town in the state of Gujarat. It is
believed that this art was taught to the Mochi¶s by a Muslim who came from Sindh. The
embroideries of Sindh, Kutch and Kathiawar are very similar and almost identical. The
embroidery is very pictorial and original, the mirror work and interlacing stitch set it apart from
any other kind of embroidery. Some of the really famous embroidery styles are Mochi
embroider. It is a style of embroidery done by mainly Mochis2, they have developed the art of
embroidering with fine silk chain stitch using ari. Some of other famous embroideries are Banni
embroidery, Jat work, Rabari
3
embroidery. The aim of this report is to understand differenttypes of Kutch embroidery
1Text quoted from http://ezinearticles.com/?An-Introduction-To-Embroidery&id=251578 2Mochis are traditional cobblers, who work for the courts, merchants and landowning castes.
3Rabari is a tribe in Kutch, whose men or male members are mainly shepherds and herders.
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About Kutch Embroidery
Kutch is world renowned for its mirrored embroideries. Most of these were traditionally stitched
by village women, for themselves and their families, to create festivity, honour deities. While
embroideries contributed to the substantial economic exchange required for marriage andfulfilled other social obligations which required gifts, unlike most crafts, they were never
commercial products.
Embroidery also communicates self and status. Differences in style create and maintain
distinctions that identify community, sub-community, and social status within community. The
"mirror work" of Kutch is really a myriad of styles, which present a richly textured map of
regions and ethnic groups. Each style, a distinct combination of stitches, patterns and colours,
and rules for using them, was shaped by historical, socio-economic and cultural factors.
Traditional but never static, styles evolved over time, responding to prevailing trends. All these
embroidery styles belong to different tribe or community. Each style has a distinct combination
of stitches, patterns, colours and motifs. There are many different types of stitches that exist inthe Kutch embroidery. Some of the famous ones are chain stitch, buttonhole stitch, Rabari
tanka4; herringbone stitch, feather stitch and double feather stitch etc.
The kind of material that these Kutch embroiders used is mainly cotton, as it a natural
fibre which provides coolness to the body in the dry and hot regions of Kutch. Other materials
like silk, wool, fabric with tie and dye5 are also used. As mentioned earlier, colours play an
important role in India, hence it also has importance in embroidery. In the Kutch embroidery
colours such as yellow, purple, red, orange, brown, green on black cloth are mainly used. The
reason of choosing such colours is mainly because in Kutch area people believe that these
colours protect them from evils. There are many other reasons as to why these embroider chose
such colours.In the Kutch embroidery not only do colours have symbolism but also the patterns.
The motifs which are used in Kutch embroidery are mainly considered to bring fertility or
prosperity, or protection from evil spirits. Here many of the motifs relate to the Hindu beliefs.
Basically Kutch embroidery is mainly associated with symbolism in colours and patterns, where
each of the tribe doing this embroidery has different combinations of these colours and patterns.
These embroideries have also played a huge role in transforming the western clothing of India.
There are several different styles of Kutch embroidery which are discussed in detail as the report
progresses.
4Tanka is a Gujarati word for stitch5Tie and dye is a technique in which thread is tied to the cloth and then dipped in dye.
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Different styles of Kutch embroidery
Several different casts with their distinct styles of embroidery are habituated in the region of
Kutch. These casts pass on their skills from generations to generation, but still the style remains
unchanged. The color, range of stitches and distinct styles form the major visual part of thecaste¶s cultural identity.
Ahir Embroidery
The Ahirs, who migrated from Gokul Mathura settled mostly in Kutch and
Saurashtra. They are mostly engaged in agriculture. Women of the Ahir
community do needle work, when they get time from the work the house
and fields. This embroidery resembles Rabari stitches but only round
mirrors are used with geometrical and floral motifs. Their dresses are
embellished with embroidered articles. Kotay, Dhori, Sumraser, Habai,
Lodai, Dharempur, Padhar, Dhanette, Mamuara, Nagor, Cheperedi are
main centers of Ahir embroidery. They embroider in white, yellow, green, and red and
sometimes a little blue, mainly in cotton on red, orange, white, black, or green cotton or satin.
Motifs are mostly floral with accompanying parrots or peacocks, although human and animal
figures are represented with women dancing, churning butter or carrying water pots on their
heads.
Rabari Embroidery
Rabaris are mainly settled in postural Kutch. Rabari women are known
for their gorgeous and very impressive embroidery that is emblematic
of their nomadic life. Ornamentation in Kutch is done by using minute
close chain stitches whereas in the Mehasana district cross stitches
using "Abhla" are used. Their embroidery is similar to Saurashtra
style. The Rabaris liberal use of mirrors of various shapes triangular,
round square and almond shaped for example. The embroideries when
completed are given to the groom as dowry. The Rabaris are a
wandering group of people who are recognized for their extraordinary capacity for endurance
and adaptation in the arid areas of Gujarat and Rajasthan. They are also widely recognized for
their distinctive arts, particularly embroidery, mirrored mud sculpture and beadwork. However,
amongst all these, Rabari Embroidery stands apart boasting of a class of its own. In fact,Rabaris embroider an extensive range of garments, household decorations, bags and animal
trappings. The objects that these people embroider highlight significant events, rites and values
of their lives. Girls of Rabari community traditionally embroider skirts, veils, blouses, wall
hangings, purses, pillows and Kothalo-the dowry sacks.
Married women adorn children's clothing as well as cradle cloths. These embroideries
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usually reflect the primacy of children. Besides that, the mirrors which are embroidered also
guard their children against evil spirits that are believed to inhabit their world.
Some of these Rabari Embroidery emphasize particular customs. Elaborately embroidered
kothaliya, purses in which the bridegroom carries traditional gifts of supari and pan, symbolize
the significance of exchange in maintaining familial ties. Rabari Embroidery done on ludi veils
showcases the importance of laj, the conventional modesty that the women of Rabari community
observe.
The finest Rabari Embroidery with most intricate patterns is created by the needle of the
craftsmen of Mutwa and Jat communities. The Mutwas, staying in Banni, stand out in all styles
of embroidery. They work out the small mirrors with ease. Quality silk and fine handspun cotton
is used in white, golden yellow, blue, black and red to develop patterns and booties which are
interspersed with animal and bird motifs.
Rabari Embroidery Technique is even thankful to the ladies from Lohana community in
Banni. These expert women craft fantasy with silk thread that are thickly piled in golden yellow,
deep orange, bright black and dark red color. The beautiful bootis are inset with mirrors, with theuse of buttonhole stitch, chain stitch, etc.
Mochi Embroidery
The Gujarati embroidery tradition was maintained for
many years by the Mochi embroiderers of Kutch and
Saurashtra, who worked for the court and for the
merchant and land-owning castes. The Mochis were
traditionally cobblers and leather-workers by trade,
who developed the art of embroidering in fine silk
chain stitch, using the ari. This is a fine awl, whichhas a notch incised just above its point to form a hook,
and is akin to the European tambour hook. The thread
is held below the cloth to be embroidered and the
point of the ari is pushed through the fabric to pick up and pull through to the surface a loop of
thread. The point of the ari is then again inserted into the fabric through this loop and the process
is repeated, so that a continuous line of chain stitch is formed. The ari is an adaptation of the
cobblers¶ awl and the Mochis would appear to have developed their methods of ari-work
embroidery from the craft tradition in Sind of embroidering leather belts, shoes and bags.
Until recently, the ari was being used for domestic embroidery by the Lohanas of Banni
Kutch. The embroidered silk was imported from Europe or China, and the satin embroidered on
was again either imported or produced nearby, in Surat, Mandvi or Jamnagar.
The centre for Mochi embroidery was Bhuj, the capital of Kutch, but some Mochis
worked elsewhere in Kutch and others moved to Saurashtra to work for the Kathi landowners
there. The Mochis produced ari work for gaghra (skirt) pieces, chops (bodices), borders,
childrens caps, chaklas (embroidered squares) and torans (pennant doorway friezes). They also
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embroidered the devotional pichhavai hangings for temples, illustrating the Lord Krishna, as
manifested at Nathadwara, Rajasthan. The motifs usually embroidered were buttis (flowers
derived from Persian or Mughal sources) often with parakeets perched on them. These were
interspersed with figures of peacocks or putali (women), sometimes both.
Their embroidery was known as chinai work and they made either garment pieces or
shawls embroidered with fine floss silks, or saris, cholis (blouse), childrens dresses and borders,
precisely embroidered with tightly spun two-ply silk. Long narrow border strips with
interconnecting motifs of birds and flowers, predominantly in white against a colored silk
background, were a favorite of the rich Parsee community, and many examples of this work can
still be found in Bombay.
Soof
Soof embroidery is done by Sodha Rajput and Harijan women who
migrated from Pakistan during the 1971. Indo-Fak war and who settled
in Zura, Sumraser, Fragper and bordering villages of BanaskathaDistrict (Bhabhar). It is also called "Sodha Bharat". Embroidery is
done by using satin thread by inserting the needle from behind the
cloth and the design comes to the front side. The outlined regions are
filled with satin stitches. The designs are mainly geometric, with
preference given to the chevron texture which is locally referred to as
µleher¶ (wave). Stitching in the Soof Embroidery is done by inserting the needle from behind the
fabric, with the designs appearing on the front side. This embroidery is used for adorning
traditional clothes and decorative cloth items.
Jat Embrodiery of KutchJats have migrated from Baluchistan via Pakistan and settled in Kutch.
Chain and inverted chain stitches along with interlacing and button-
hole stitches are common in their embroidery. Mirrors of small
dimension are inset with great care. Only the front of "ABHA" or
"KANJAR uses embroidered designs with refined work. Embroidery is
closely related to their life. Clothes of orange, red, blue and yellow
color are used for this work. Mirrors are embroidered on the cloth in a
grid-like pattern. Covering of the space around the mirrors is done
using the chain stitch and creeper stitch.
The Jat community in the Banni region of this district uses the pattern of medallions on the
border of the clothes. They use red, white, yellow and golden colors in geometrical patterns.
Images of dolls, birds and animals are created in an embossed manner, using interlace of
buttonhole and chain stitch.
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Conclusion
In conclusion, Kutch has several distinct styles of embroidery. These styles and designs differ
from each other because their creators come from different regions around India and Pakistan.
Embroideries were initially done for personal use but now the creators sell the finished products.Fortunately, sophisticated urban markets have welcomed the concept of traditional crafts.
However, traditional work must adapt to the new clientele. In addition, since the market has
expanded, innovations must now be faster and less subtle. While enterprising, artisans do not
always have adequate information about the tastes of new markets. For a myriad of reasons
including social attitudes, they do not have access to the better markets. Commercialization in
this situation has induced a downward spiral of declining quality. In efforts to revive quality, it
has been recognized that new design is needed to make craft sustainable. But conventionally, this
has been perceived as a need for design intervention, in the form of trained designers giving new
designs to artisans. The implication is that designers have knowledge, while artisans have skills.
When design, or art, is separated from craft, or labour, the artisan is essentially reduced to alabourer, reinforcing the low social status of craft. Further, most commercialized craft aims for
quick, standardized and low cost replication. This emulates the factory model. The strength of
hand craft, the personal, handmade quality, is forgotten. The net result is that even when artisans
can earn a living by producing contemporary versions, most do not wish their children to be
artisans. Surely, design input is needed for new markets.
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Bibliography
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y History of Indian craft.
³Embroidery.´ Accessed on 14
th
September 2011.http://crafts.indianetzone.com/embroidery.htm
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September 2011.
http://www.indianholiday.com/gujarat/arts-and-crafts/handicrafts-of-gujarat/rabari-
embroidery.html
y India the Pristen Beauty. ³Jat embroidery in India. ³Accessed on 13th
September 2011.
http://www.india9.com/i9show/Jat-Embroidery-45546.htm
y India the Pristen Beauty. ³Soof Embroidery.´ Accessed on 14th September 2011.
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y Indianetzone. ³Embroidery of Kutch. ³Accessed on 14th
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Books
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Gillow John, Barnard Nicholas. Traditional Indian Textiles. United Kingdom: Thames &
Hudson Ltd, 2002.
Naik, Shailaja. Traditional embroideries of India. India: A.P.H Publishing Corporation, 1996.
London, Christopher. The Arts of Kutch. India: Mang Publications, 2000.
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