CHIKANKARI AND MUGHAL ARCHITECTURE

Submitted by - Nidhi Chauhan

(Based on a visit to Bada Imambara, Wajid Ali Shah Museum, British Residency, Old Lucknow, and various shops around Lucknow)

History :-

Nur-Jahan was the first patron and inventor of chikan embroidery in 16th century .She was the wife of the great emperor Jahangir. She was really inspired by the relief and embossed decorative motif, which was already being used in the decoration of the Mughal architectural buildings by her husband. Nur Jahan is credited with the invention of various kinds of textiles and thus copied the architectural motifs in her chikan embroidered garments.

Meaning of Chikankari:-

The word 'chikan’ is derivative from the Persian word which means a very fine.

Chikan embroidery is done with white cotton on a fine white muslin base using a variety of stitches minutely worked together with knotted stitches resulting in designs with raised surfaces.

Inspiration from Mughal Architecture:-

Chikan’s origin and highlight the reasons for a similarity between the decorative motifs from Mughal architecture and the floral chikan motif.

Abu Jani & Sandeep Khosla (Jani & Khosla, 1990) do point out the similarities between the Chikan patterns and the architectural motifs seen all over the Mughal buildings. A contemporary Chikan sari from the collection of Abu & Sandeep with the floral chikan motifs which are inspired by the Mughal monuments.

The designers being the only people to state that the Chikan patterns reflect the Mughal tradition as the floral sprays, petals, leaves, tendrils, dominant flower heads resemble the floral motifs used on the jaalis, the edges of windows and doors, the carvings and motifs on their pillars and walls, the bejeweled patterns on the ceilings and floors of the Mughal buildings (Jani & Khosla, 1990).

Abu Jani & Sandeep Khosla collections with the floral chikan motifs which are inspired by the Mughal monuments in1987.(Journal of south asian studies- wofflin’s concept by ankita kapoor )

Rehana Begum takes her inspiration for her embroidery motifs from Mughal architecture in 1976. She was given a State Award from the Uttar Pradesh government. In 2003 she received the Shilp Guru award for her contribution to Chikankari (THE HINDU, Rehana Begum)

Floral designs of Bada Imambara’s interior as well in chikankari sari.

Jaali work on window as well on chikan.

Carve work of arches on Rani Mahal as well on chikankari handkerchief and sari.

Mahi-ye maratib motif in monument ( Bada Imambara) as well on chikankari handkerchief.

The form of the onion shaped dome in mughal architecture inspired the new design of the neck of kurtas.

How it has come into practice in Lucknow:-

The Mughal monuments from Aurangzeb’s era are crudely made and lack the fine qualities of the earlier Mughal periods like that of 16th century. He only built a few monuments during his rule and rarely encouraged any development of new styles of arts and crafts.

Due to this, the arts declined in Aurangzeb’s reign and artists and Chikan craftsmen sought refuge in the court of Nawab Asaf-Al-Daula (ruler of Lucknow) in 17 th century. Asaf- Al- Daula was a patron of arts and architecture and promoted and developed the Chikan embroidery extensively . The craft of chikan flourished and developed in Lucknow during 1750-1880 under the patronage of Nawab Asaf-Al-Daula and other patrons of Lucknow.

Different types of stitches in chikankari:-

Phanda , jaali , tepchi , bakhiya , murri , gol-murri , dhoom , janjeera , keel , kangan- bangle , dhania patti , murri lambi , karan , bijli , ghas patti , rozan , meharki , kaj , phool chameli , chane ki patti , gitti , balda , iora , penchni , kauri , sidhaul jaali , makra , mandrazi , bulbul chasham , phool jaali , bel .

Only few of them are practiced nows a days like Taipchi , jaali ,bakhiya (ulta & sidha bakhiya) ,murri ,keel ghaas patti ,dhania patti , phool jaali.

Components of chikankari embroidery.

Steps of involved in chikankari embroidery :-

Fabric cut

Semi- stitched

Block –printing

Doing embroidery

Washing (with rehe metti)

Chikankari embroidery

block block-printing practicing embroidery embroidery

Conclusion:-In order to understand the significance and cultural uniqueness of Chikankari, one needs to explore the various aspects of Mughal Architecture. Mughal architecture has always inspired the forms and designs of chikankari which over the years has been produced, used and even transformed by the people of Lucknow, the birthplace of this art form. But as mentioned above in the document, unfortunately it is dying. As a moral responsibility to our country’s indigenous art forms, we as designers, must take pride and attempt to preserve it or interpret it to today’s modern world before it is lost forever.

Bibliography :-

Ankita Kapoor, Article: Wolfflin’s concept of style and its relation to the Chikan Embroidery(1990), Department of Art History University of North Texas,Denton,Texas, United States.

Abu Jani and Sandeep Khosla(from an interview by Ankita Kapoor,1990)

Rehana Begum, THE HINDU(2007)