Indian Embroidery

Total Page:16

File Type:pdf, Size:1020Kb

Indian Embroidery Jain,!1 Indian embroidery Zardozi embroidery Komal Jain Integrative seminar Prarthana Patil February 6,2017 Jain,!2 Meaning of Embroidery Embroidery is an expression of self, rendered with patience and dedicated hard work, it is an art rightly described as "painting by needle". Embroidery adds grace and elegance, life and style even into articles of everyday use. Indian Embroidery takes inspiration from nature and religion. The colors , the base the theme and the style are reflective of a particular region. The patterns are decided upon on the basis of the fabric and its texture the stitches depend upon the style and the effect to be produced. Themes and motifs have remained as such for centuries. History of embroidery Through history, Indian embroidery has been a tradition and a name to implore with, as far back was the 3rd century Bc when greek traveler Megasthenes praised the muslins of India. In a garment from migration period Sweden, roughly 300 to 700 CE, the edges of bands of trimming are reinforced with running stitch and more, but its uncertain wether this work simply reinforced the seams or should be interpreted as decorative embroidery. The art of embroidery was of a great significance in the medieval islamic world. Embroidery is also known as “Crafts of the two hands” which was coined by a turkish traveler Evilya Celebi who visited India in the 17th Jain,!3 century. Also according to the muslim societies embroidery was considered as a status symbol which led to further popularity of this art. 1 Types of embroidery ( Very well Known) KUTCHWORK OR KUTCHI bharat as it is called in Gujarati comes from the Western region of India . Also known as Sindhi stitch , this beautiful technique is geometric in form . The stitches are worked by laying a foundation framework of herringbone stitch or cretan stitch. In the second part , this framework is filled with interlacing to completely fill the framed area . And combination of perfect framework and interlacing only , can produce the perfect motif. A unique thing about this stitch is that you never know how it will look till it is completed and the final product is a wonderful surprise to the embroiderer. A part of the wedding trousseau young girls are taught this craft as soon as they are able to hold the needle and they graduate from simple to complex designs as they learn this art from their elders. It is said that this technique originated in far away land of Armenia and found its way to Gujarat by travelling Nomads. Sindhi stitch or Maltese cross stitch is also similar but the innovation of the Kutchi women have taken it beyond the traditional designs.2 1 "Indian Heritage - Embroidery - Toda embroidery from Nilgris, Tamilnadu." Indian Heritage - Embroidery - Toda embroidery from Nilgris, Tamilnadu. Accessed February 06, 2017. http:// saigan.com/heritage/cci/toda/index.html. 2 Motidana. "The Beauty of Indian Embroidery - Kutchwork!" The Beauty of Indian Embroidery - Kutchwork! January 01, 1970. Accessed February 06, 2017. http://kalaabhushan.blogspot.in/ 2012/11/the-beauty-of-indian-embroidery.html. Jain,!4 Phulkari Embroidery ‘Phul’ means ‘flower’ and Kari means ‘craft or work’. Thus, Phulkari Embroidery refers to the Floral work embroidery. Punjab is renowned for the Phulkari hand embroidery. Phulkari is a folk art of Punjab. Thick clothes are used and the threads of various colours are used depending on the colour of the cloth. The usage of colour ‘red’ is most common. The designs are so stitched on the reverse as to give the effect of tapestry work. The borders are so covered as to make it difficult to distinguish between the cloth and the needlework. The motifs at times resemble those on the Kanthas of Bengal. Phulkari embroidery is often found on Shawls and scarves. The use of Darn Stitch is in vogue. The main diference between Phulkari and Bagh embroidery is that, in Phulkari , embroidery is done to enhance the beauty of the clothes. Whereas, in Bagh, the embroidered works covers the entire base of the cloth and the colour of the base cloth is not visible. This art is associated with the ‘JAT’ tribe – the cultivators and nomads. The jats carried their art wherever they went and hence this kind of embroidery is also found in Rajasthan and Gujarat. 3 Chikan Embroidery 3 "Sameeksha." Sameeksha. Accessed February 06, 2017. http://sameeksha.asia/index.php/ welcome/indian. Jain,!5 The Chikan Embroidery of Luknow is an example of rare beauty. Chikan is the name for using white thread in needlework on cloth. The art originated in Dhaka and from there traveled to Lucknow. The stitch is known as bukhia and also chhaya and jaal. A net like effect is created on the front side with stitches, on the reverse designs are created with fine stitches. Chikan embroidery is a type of Indian embroidery from the city of Lucknow, which was first popularized by Nur Jehan, the wife of Jahangir. In Persian, it literally means ‘cloth covered with needlework’. It is an extremely refined form of needlework that is known for its delicate beauty and pretty look. The history and origins of Chikan embroidery can be traced back to the medieval period, though it is quite hard to find one origin story that everyone agrees on. Some believe that this exquisite form of embroidery dates back to pre-Mughal times and was only given a kind of aesthetic makeover with the increased influence of Persian aesthetics in Mughal times while others believe Nur Jehan commissioned this type of embroidery for the first time. Whatever the true origins, it is certainly true that Chikan embroidery designs only became popular in the Mughal era, largely thanks to Nur Jehan’s patronage. First, the craftsmen create the designs which are to be embroidered on a piece of paper. These designs are then engraved on to a wood block, which is dipped in faint dyes and printed on the fabric to provide the outline for the Chikan embroidery patterns. The embroidery artisan then sews over the design using intricate embroidery techniques; finally, the fabric is washed to remove all traces of the print, leaving behind the gorgeous and delicate Chikan embroidery. Initially, Chikan embroidery was only done only using white threads on white fabrics and till today a pale color aesthetic is preferred.4 4 "Chikan Embroidery Dresses, Designs and Patterns | Utsav Fashion." Utsav Fashion Blog. December 28, 2016. Accessed February 06, 2017. http://blog.utsavfashion.com/crafts/chikan- embroidery. Jain,!6 Chamba Rumal of Himachal Rumal means handkerchief. The hand embroidery in himachal is famous for its Chamba Rumal. These hand embroideries are inspired from ‘Pahari Painting’. The fabric used is mostly khaddar or muslin. These have colourful borders and the darning stitch is used on the cloth, the thread being silken. The Chamba Rumal an unique example of the art of the Himachal Pradesh and Jammu, the artists drawing heavily on the mythologies for their designs. The pictoral handicraft in Chamba Rumal are distinct and are in wide demand all over. They are also used as a gift item. Rajasthan Handicraft The folk designs of Rajasthan can be seen in the handicraft works of . The embroidered seats are often made for horse and camel back. The best examples of this art in Rajasthan can be seen in Jaisalmer where together with stitching their own clothes, the women also make seats for horses Jain,!7 and camels, pillow covers, bed-covers, quilts, decorating these with attractive designs and motifs. Kantha Embroidery of Bengal The Kantha embroidery of bengal is similar to the hand-embroidery of other places in terms of motifs and the style of stitching. The Sujni Kantha of Bihar, particularly Gaya, Darbhaga and Madhubani, are also made exclusively by women using old pieces of clothes and threads from the sari borders. The simple Motif designs in Bengal, are drawn from everyday life. 5 Banjara embroidery Most of the Banjaras of Gujarat, Rajasthan & Andhra pradesh, embroider beautiful artifacts using mirrors. Around the mirrors different motifs are embroidered in traditional Indian stitches. 5 "Art & Culture Archives." ChennaiBest.com. Accessed February 06, 2017. http:// chennaibest.com/art-culture/. Jain,!8 Colours used are very bright because of absence of fauna and flora. The ‘Motikaam" or bead work, used in Banjara Embroidery, is like American Indian and Mexican bead work. This embroidery form also makes use of buttons, kowrees, coins etc. to enrich the embroidery. Kasuti from Karnataka Kasuti is one of the most exquisite forms of ethnic countered thread embroidery. Starting in North Karnataka in the 7th century A.D, has now spread all over the state and country. Traditional Kasuti motifs seem to have been inspired by the objects from daily life. E.g.:- temple towers, temple tank, Tulsi plant holders, Chariots, Birds, Animals etc. The Kasuti of Karnataka is very much like Austrian, Hungarian and Spanish embroidery. But the motifs and finishing are different.6 6 Ibid Jain,!9 Zardozi embroidery Introduction Different styles of Indian embroidery have been handed down from generation to generation such as Zardozi, Chikankari, Sujni, Kantha, Kasuti, Toda, mirror work. The passion for embroidery in India has led to great experimentation in the field, with several styles, creating dazzling effects such as the 'stained glass' look, the long cross stitch, rice stitch, textured panels and much more. One can see embroidery on wall hangings, saris, textiles and garments, incorporating unique motifs and patterns. Zardozi is one of the oldest and most beautiful embroidery styles of India. It is used extensively in clothing and home decoration. Painstakingly and delicately done by hand, creations in Zardozi work are timeless, unbounded by the shackles of trends.
Recommended publications
  • Diamond Textiles Lookbook 2020
    E stablished over 25 years ago, We pride ourselves on being a fair trade Diamond Textiles has become an distributor—providing jobs and internationally acclaimed wholesale support for countless rural villages in textile company. Our company is India and Indonesia. based on a dream of creating fabrics Diamond Textiles holds dearly its that intertwine traditional organic tenets of personable customer service elements with a modern relevance. and exceptional quality of fabric. What’s Inside We currently distribute fabrics across Whether you are a large international the United States, in Europe, Africa, distributor, a small storefront, or a Tweed Thicket Canada, South America, Australia, cottage industry, you are served equally Pluses & Crosses and Asia. and professionally. Topstitch Confetti Faded Memories Nikko™, Nikko II, Nikko III Cotton Embossed Primitive Stars Sandcastle Nikko Geo Moon Cloth Diamond Textiles Wholesale Fabric Supplier 13731 Desmond Street Pacoima CA 91331 Spring [email protected] PHONE: 818-899-9144 2020 FAX: 818-899-9145 Tweed Thicket We’ve added new colors to our popular Tweed Thicket collection to include lush blue greens: blue suede, French grey and dragonfly. To complement these we are Tweed introducing earthtones of butter rum, pink ginger and natural twine. Tweed Thicket is a yarn-dyed cotton now Thicket available in 36 colors. Shipping to shops in July 2020. Avobe right and below: Quilt blocks from the Kinship: 100 Block Fusion Sampler from the #100Days100Blocks sew-along by gnomeangel.com Bianca Dress. Pattern by Violette Field www.diamondtextilesusa.com (818) 899-9144 [email protected] www.diamondtextilesusa.com (818) 899-9144 [email protected] Tweed Thicket Pluses & Crosses Pluses & Crosses Inspired by hand stitching and visible mending, Diamond Textiles is combining an array of saturated hues with a special weaving process to create the look of hand stitching.
    [Show full text]
  • A Nnual R Epo Rt 2002
    CMYK Annual ReportAnnual 2002 - 2003 Annual Report 2002-2003 Department of Women and Child Development Women Department of Ministry Development of HumanResource Government ofIndia Government Department of Women and Child Development Ministry of Human Resource Development Government of India CMYK CMYK To call woman the weaker sex is a libel; it is mans injustice to woman. If by strength is meant brute strength, then, indeed, is woman less brute than man. If by strength is meant moral power, then woman is immeasurably mans superior. Has she not greater intuition, is she not more self-sacrificing, has she not greater powers of endurance, has she not greater courage? Without her man could not be. If nonviolence is the law of our being, the future is with woman. Who can make a more effective appeal to the heart than woman? Mahatma Gandhi Designed and produced by: Fountainhead Solutions (Pvt.) Ltd email: [email protected] CMYK Annual Report 2002-03 Department of Women and Child Development Ministry of Human Resource Development Government of India Contents Chapter 1 Introduction 1 Chapter 2 An Overview 7 Chapter 3 Organization 17 Chapter 4 Policy and Planning 25 Chapter 5 The Girl Child in India 43 Chapter 6 Programmes for Women 73 Chapter 7 Programmes for Children 91 Chapter 8 Food and Nutrition Board 111 Chapter 9 Other Programmes 117 Chapter 10 Gender Budget Initiative 127 Chapter 11 Child Budget 143 Chapter 12 National Institute of Public Cooperation and Child Development 153 Chapter 13 Central Social Welfare Board 163 Chapter 14 National Commission for Women 173 Chapter 15 Rashtriya Mahila Kosh 183 Annexures 189 Introduction O Lord, why have you not given woman the right to conquer her destiny? Why does she have to wait head bowed By the roadside, waiting with tired patience Hoping for a miracle in the morrow Rabindranath Tagore Introduction The Department of Women and Child Development was set up in 1985 as a part of the Ministry of Human Resource Development to give the much-needed impetus to the holistic development of women and children.
    [Show full text]
  • Dress Designing Tailoring
    T T ailoring and ailoring and Netaji Subhas Open University Commonwealth Educational Media Centre for Asia Dress Designing DD-26, Sector-I, Salt Lake 7/8 Sarv Priya Vihar, Dress Designing Kolkata-700064 New Delhi-110016 TTailoringailoring andand DressDress DesigningDesigning Apparel and Textile Design Appar el and T IISBNS B N 978-93-8219 3 - 8 2 1 1 212-29-7- 0 1 - 4 extile Design @2016, NSOU & CEMCA 9 7 8 9 3 8 2 1 1 2 02971 3 NETAJI SUBHAS OPEN UNIVERSITY Unit 6 S Principles of Design and Ornamentation Structure 6.0 Objectives 6.1 Introduction 6.2 What is Design 6.3 Elements of Design 6.3.1. Shape 6.3.2 Factors of Design 6.4 Colour 6.4.1 Properties of colour 6.4.2 Colour wheel 6.4.3 Colour mixing 6.5 Fashion 6.5.1 Fashion Evaluation 6.6 Principles of Design 6.7 Ornamentation and Embellishment 6.8 Embroidery Techniques 6.8.1 Embroidery stitch 6.8.2 Appliqué 6.8.3 Zardozi 6.9 Innovations and Success 6.9.1 Kashmiri Shawls 6.10 Summary 6.11 References 6.12 Assessment 6.0 Objectives After going through this unit you shall be able to understand the–– N Concept of design. N Colour wheel. 101 N Concept of ornamentation and embellishment. N Various types of embroideries. 6.1 Introduction Designers are the prime trend setters and working as a designer usually implies being creative in a perticular domain of expertise. The work area of a designer spreads from interior of a house to retail environment.
    [Show full text]
  • Dress and Fabrics of the Mughals
    Chapter IV Dress and Fabrics of the Mughals- The great Mughal emperor Akbar was not only a great ruler, an administrator and a lover of art and architecture but also a true admirer and entrepreneur of different patterns and designs of clothing. The changes and development brought by him from Ottoman origin to its Indian orientation based on the land‟s culture, custom and climatic conditions. This is apparent in the use of the fabric, the length of the dresses or their ornamentation. Since very little that is truly contemporary with the period of Babur and Humayun has survived in paintings, it is not easy to determine exactly what the various dresses look like other than what has been observed by the painters themselves. But we catch a glimpse of the foreign style of these dresses even in the paintings from Akbar‟s period which make references, as in illustrations of history or chronicles of the earlier times like the Babar-Namah or the Humayun-Namah.1 With the coming of Mughals in India we find the Iranian and Central Asian fashion in their dresses and a different concept in clothing.2 (Plate no. 1) Dress items of the Mughals: Akbar paid much attention to the establishment and working of the various karkhanas. Though articles were imported from Iran, Europe and Mongolia but effort were also made to produce various stuffs indigenously. Skilful master and workmen were invited and patronised to settle in this country to teach people and improve system of manufacture.2 Imperial workshops Karkhanas) were established in the towns of Lahore, Agra, Fatehpur Sikri and Ahmedabad.
    [Show full text]
  • GI Journal No. 75 1 November 26, 2015
    GI Journal No. 75 1 November 26, 2015 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO.75 NOVEMBER 26, 2015 / AGRAHAYANA 05, SAKA 1936 GI Journal No. 75 2 November 26, 2015 INDEX S. No. Particulars Page No. 1 Official Notices 4 2 New G.I Application Details 5 3 Public Notice 6 4 GI Applications Bagh Prints of Madhya Pradesh (Logo )- GI Application No.505 7 Sankheda Furniture (Logo) - GI Application No.507 19 Kutch Embroidery (Logo) - GI Application No.509 26 Karnataka Bronzeware (Logo) - GI Application No.510 35 Ganjifa Cards of Mysore (Logo) - GI Application No.511 43 Navalgund Durries (Logo) - GI Application No.512 49 Thanjavur Art Plate (Logo) - GI Application No.513 57 Swamimalai Bronze Icons (Logo) - GI Application No.514 66 Temple Jewellery of Nagercoil (Logo) - GI Application No.515 75 5 GI Authorised User Applications Patan Patola – GI Application No. 232 80 6 General Information 81 7 Registration Process 83 GI Journal No. 75 3 November 26, 2015 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 75 of the Geographical Indications Journal dated 26th November 2015 / Agrahayana 05th, Saka 1936 has been made available to the public from 26th November 2015. GI Journal No. 75 4 November 26, 2015 NEW G.I APPLICATION DETAILS App.No. Geographical Indications Class Goods 530 Tulaipanji Rice 31 Agricultural 531 Gobindobhog Rice 31 Agricultural 532 Mysore Silk 24, 25 and 26 Handicraft 533 Banglar Rasogolla 30 Food Stuffs 534 Lamphun Brocade Thai Silk 24 Textiles GI Journal No.
    [Show full text]
  • The Sari Ebook
    THE SARI PDF, EPUB, EBOOK Mukulika Banerjee | 288 pages | 16 Sep 2008 | Bloomsbury Publishing PLC | 9781847883148 | English | London, United Kingdom The Sari PDF Book Anushka Sharma. So shop for yourself or gift a sari to someone, we have something for everyone. The wavy bun completed her look. Face Deal. Long-time weaving families have found themselves out of work , their looms worthless. Sari , also spelled saree , principal outer garment of women of the Indian subcontinent, consisting of a piece of often brightly coloured, frequently embroidered, silk , cotton , or, in recent years, synthetic cloth five to seven yards long. But for some in Asian American communities, the prospect of the nation's first Black and South Asian Vice President wearing a traditional sari at any of the inauguration events -- even if the celebrations are largely virtual -- has offered a glimmer of positivity amid the tumult. Zari Work. As a politician, Dimple Kapadia's sarees were definitely in tune with the sensibilities but she made a point of draping elegant and minimal saree. Batik Sarees. Party Wear. Pandadi Saree. While she draped handloom sarees in the series, she redefined a politician's look with meticulous fashion sensibility. Test your visual vocabulary with our question challenge! Vintage Sarees. Hence there are the tie-dye Bandhani sarees, Chanderi cotton sarees and the numerous silk saree varieties including the Kanchipuram, Banarasi and Mysore sarees. You can even apply the filter as per the need and choose whatever fulfil your requirements in the best way. Yes No. Valam Prints. Green woven cotton silk saree. Though it's just speculation at this stage, and it's uncertain whether the traditional ball will even go ahead, Harris has already demonstrated a willingness to use her platform to make sartorial statements.
    [Show full text]
  • Embroidery Tools & Equipment. Categories of Basic Stitch~S of Hand
    Annexure – I Details of Theory Syllabus Sl. No. DETAILS 1 Embroidery tools & equipment. Categories of basic stitch~s of hand embroidery-their techniques anc applications. 2 Embroidery threads and their classification. Selection of threads & needles according to the texture and fibre of the material. 3 Tracing technique. 4 Tracing methods. 5 Ironing & finishing of the embroidered articles. 6 Identification of fiber and their characteristics. 7 Shade work, its kinas, techniques & characteristics 8 Applique work. 9 Smocking -its kinds and uses. 10 Cut work- its kinds and uses. 11 Line Types of lines -Straight, curved, dotted, zigzag,etc. Pasition of forms - Vertical, horizontal; diagonal & oblique 12 Types of forms -Geometrical, natural, decorative & free hand. 13 Sketching & Monogram - Free hand-Naturaf (Flowers, Leaves etc.) Garments - Ladies, Gents, Children Stitches, hems, etc. 14 Lettering & Monogram-Use of stencils (English &Devnagiri) Sizes. 15 cm & 2.5 cm Monogram with help of stencils 15 Enlargement & Reduction of form/design-Grid Method (Squarelscale method) 16 Types of Colour & Tones of Colour-- Primary, Secondary, Neutral, Cool <& warm Tint, Tone & Shade. 17 Colour wheel & colour schemes- 1. Colour-colour wheel 2. Monochrome 3. Contrast 4. Related 5. Neutral (Black & White &Gray) 6. Complementary 7. Multicolour Detail of Practical Syllabus SL NO DETAILS 1 MODULE-I HAND EMBRODIARY A. BASIC STITCHES (a) Flat Stitch 1. Running Stitch 2. Back Stitch 3. Stem Stitch 4. Satin Stitch 5. Kashmiri Stitch 6. Couching Stitch 7. Cross Stitch 8. Herringbone Stitch (b) Loop Stitches 1. Chain Stitch 2. Lazy-daisy Stitch 3. Button hole Stitch 4. Blanket Stitch 5. Fishbone Stitch 6.
    [Show full text]
  • Glitter Text
    All That Glitters – Spark and Dazzle from the Permananent Collection co-curated by Janine LeBlanc and Roger Manley Randy and Susan Woodson Gallery January 23 – July 12, 2020 Through the ages, every human society has demonstrated a fascination with shiny objects. Necklaces made of glossy marine snail shells have been dated back nearly 135,000 years, while shiny crystals have been found in prehistoric burials, suggesting the allure they once held for their original owners. The pageantry of nearly every religion has long been enhanced by dazzling displays, from the gilded statues of Buddhist temples and the gleaming mosaics of Muslim mosques and Byzantine churches, to the bejeweled altarpieces and reliquaries of Gothic cathedrals. As both kings and gods, Hawaiian and Andean royalty alike donned garments entirely covered with brilliant feathers to proclaim their significance, while their counterparts in other cultures wore crowns of gold and gems. High status and desirability have always been signaled by the transformative effects of reflected light. Recent research indicates that our brains may be hard-wired to associate glossy surfaces with water (tinyurl.com/glossy-as-water). If so, the impulse drawing us toward them may have evolved as a survival mechanism. There may also be subconscious associations with other survival necessities. Gold has been linked to fire or the sun, the source of heat, light, and plant growth. The glitter of beads or sequins may evoke nighttime stars needed for finding one’s way. The flash of jewels may recall an instinctive association with eyes. In jungles as well as open grasslands, both prey and predator can be so well camouflaged that only the glint of an eye might reveal a lurking presence.
    [Show full text]
  • Contemporay Trends in Chikankari
    © 2020 IJRAR February 2020, Volume 7, Issue 1 www.ijrar.org (E-ISSN 2348-1269, P- ISSN 2349-5138) CONTEMPORAY TRENDS IN CHIKANKARI 1Reena S. Pandey , 2 Dr. Subhash Pawar 1Research Scholar , 2Adjunct Professor 1Faculty of Art & Design, 1Vishwakarma University , Pune, India Abstract : “Chikankari – Beauty on White “ as its main centre of focus, where its existence over the time is being studied with the different evolution it has shown in its products. Chikankari is a distinctive integral part of Lucknow culture. In India it is believed that Chikan embroidery may have existed from times immemorial. It is said that Noor Jahan brought this craft to India and later it was whole- heartedly adopted by the Nawabs of Lucknow. Thus it became a part of the culture of Lucknow. The embroidery work on clothes was a common feature. In ancient and medieval periods embroidery may have been more popular among the elites but in the present age it is common even among the masses. Because of which nowadays the market is flooded with coarsely executed work and thoughtless design diversifications which has eroded the sensibility of the craft. IndexTerms - Elegant, fine, extravagant, global presence, coarsely designs, elite class. I. INTRODUCTION “Fashion is architecture. It is a matter of proportions”, said Coco Chanel, (Sieve Wright, 2007) Chikankari is a traditional embroidery style from Lucknow, India. It’s an art, which results in the transformation of the plainest cotton and organdie into flowing yards of magic. Chikankari is subtle embroidery, white on white, in which minute and delicate stitches stand out as textural contrasts, shadows and traceries.
    [Show full text]
  • Brooklyn Bedding Frame Instructions
    Brooklyn Bedding Frame Instructions Specific and livelier Jabez vernalise some censures so prayerfully! Janos platitudinising voetstoots while chandellehaematopoiesis great whenStafford Waine excepts is flexed. obsessively or shend friskingly. Lithesome Hans intercepts sinistrally or Store Locator DollarTreecom. 6 metal legs with optional leg extenders and music-minute tool-free assembly. IDLE Sleep Adjustable Base Review Ted & Stacey's Mattress. 35 Off BROOKLYN BEDDING COUPONS Promo. This brooklyn bedding mattress instructions are small for your bed frames for pick for each memory foam. Sleep experience Bed Warranty Mattress Clarity. Not be rather straight forward to frame brooklyn bedding! Lighting Rugs Throw Pillows Throw Blankets Mirrors Picture Frames. This installation includes haul-away of distress old mattress but not an objective frame Affordability The Saatva Lineal has made above-average price point compared to most. Brooklyn Bedding Launches Ascension Adjustable Base. Free mattress instructions at least one flat rate your titan bed frames not contain any purchaser who would be used in, cocoon chill tested adjustable platform? Mattress Firm Best Mattress Prices-Top Brands-Same Day. This frame varies based on the frames, the right choice, esme collection only is? Have a brooklyn bedding made from sagging of the frames. We've consult an email with instructions to news a new password which than be used in addition help your linked. Don't miss ash on new arrivals sales & more Furniture Inspiration & More Outdoor Inspiration & More Rugs Inspiration & More Bedding Inspiration & More Bath. Brooklyn Bedding to Double Production Capacity Take possess Ship to Unrivaled Level. Which is brooklyn bedding that help you choose from aniline leathers that base frame! The brooklyn bedding mattresses are handmade and is not.
    [Show full text]
  • Research Article
    Available Online at http://www.journalajst.com ASIAN JOURNAL OF SCIENCE AND TECHNOLOGY Asian Journal of Science and Technology ISSN: 0976-3376 Vol. 08, Issue, 10, pp.60 84-6089, October, 2017 RESEARCH ARTICLE KANTHA EMBROIDERY-A WOMAN-CENTRIC PATH TOWARDS EMPOWERMENT FOR ARTISANS IN WEST BENGAL 1Dr. Debaleena Debnath and 2Sreenanda Palit 1Assistant Professor, Folklore Dept., Kalyani University, Nadia, West Bengal 2Associate Professor and Centre Coordinator-Fashion Communication, National Institute of Fashion Technology, Kolkata, Ministry of Textiles, Govt. of India ARTICLE INFO ABSTRACT Article History: Niaz Zaman describes the needlecraft of Kantha as "women's art”. Traditionally the Kantha embroidery Received 04th July, 2017 of Bengal has been the forte of women, unlike Zardosi and Ari work which is predominated by men Received in revised form folk. The craft has a history of being a revered recycled product. A Kantha is considered to be layers of 21st August, 2017 old sarees or dhotis quilted together to form a blanket, used by the poor as a protection against cold. Accepted 06thSeptember, 2017 Later the ‘nakshi’ form of it was born in the household of undivided Bengal as a portrait of women’s th Published online 17 October, 2017 aspiration and dream. The paper discusses how Kantha has been dominated by women and has eventually helped to empower hundreds of them. The various factors that made it woman-centric have Key words: been explored through primary research conducted among 50 artisans from Nanoor, Birbhum District, Kantha, Needlecraft, Quilting, and Kadambagachi, Barashat District of West Bengal. The study presents a comparative study of both Women empowerment, the clusters.
    [Show full text]
  • Chikan – a Way of Life by Ruth Chakravarty
    N° de projet :ALA/95/23 - 2003/77077 Chikan – A Way of Life By Ruth Chakravarty Chikankari is an ancient form of white floral embroidery, intricately worked with needle and raw thread. Its delicacy is mesmeric. For centuries, this fine white tracery on transparent white fabric has delighted the heart of king and commoner alike. It is centered mainly in the northern heartland of India, namely Lucknow, the capital of a large state, called Uttar Pradesh. It is a complex and elegant craft that has come down to us, evolving, over the years into an aesthetic form of great beauty. That it has survived the loss of royal patronage, suffered deeply at the hands of commercialization, lost its way sometimes in mediocrity and yet stayed alive, is a tribute to the skill and will of the craftspersons who have handed down this technique from one generation to another. There exist several kinds of white embroidery in Europe and across the world, each unique and distinct. Students of this craft like to believe that all forms of embroidery, in some way influence, imitate or complement each other. That may be true to some extent, but right at the onset, let me say that Chikankari is a genre quite unique from other embroideries. Chikankari is at once, simple and elegant, subtle and ornate. This heavy embroidery intricately worked on fine white muslin created a magical effect uniquely its own. The light embroidered fabric was most appropriate for the heat and dust of the North Indian summers. From the time of its inception, Chikan garments spelt class and craft.
    [Show full text]