1. TRADITIONAL EMBROIDERIES OF INDIA

2. Kantha

3. Kantha is one of the oldest forms of embroidery that originated in India. Its origins can be traced back to the ancient pre Vedic ages, however, Kantha embroidery as we know it today was found in Krishnadas Kaviraj’s 500 year old book, Chaitanya Charitamrita. Motifs found in early Kantha embroidery include many symbols that were derived from ancient art. These symbols depict or are reflective of nature, such as the sun, the tree of life and the the universe. It was not until later that Kantha embroidery was used as a medium of cultural and religious significance, which came about as a result of Hinduism's influence and was used in ceremonies and pujas, including to celebrate weddings and births.

4. The Story behind Origin of Kantha Embroidery
Interestingly, Kantha embroidery derives its name from the same word with two different meanings. ‘Kantha’ means ‘rags’ in Sanskrit, which reflects the fact that Kantha embroidery is made up of discarded garments or cloths. The word also means ‘throat’ and was named so due its association with the Hindu deity, Lord Shiva. The Samudra Manthan, a popular episode in Hindu mythology, describes that in order to protect the world, Lord Shiva consumed the poison that came about due to the churning of the ocean. Goddess Parvati was shocked by Lord Shiva’s actions and wrapped her hands around his neck, strangling Lord Shiva and stopping the poison in his throat, rather than allowing it to drop to the universe that is held in Lord Shiva’s stomach. The potency of the poison caused Lord Shiva’s neck and throat to turn blue, therefore giving him the moniker, Nilakantha; ‘nila’ translates to ‘blue’.

5. Rural housewives in West Bengal played a significant part in the evolution of Kantha embroidery. It was customary for these women to make use of Kantha’s widely used running stitch and embroidery techniques to create quilts for their families, as well as embroider personal fabrics and garments such as sarees, dhotis and handkerchiefs with simple running stitches along the edges. For centuries, the techniques of the hereditary craft were, and still are, passed down from mother to daughter. Though it continued to be practised amongst rural women, recognition of the craft faded over time, until it was revived on a global scale in the 1940s by the renowned Kala Bhavana Institute of Fine Arts, which part of the Visva-Bharati University in Shantiniketan, West Bengal. It was revived yet again by Shamlu Dudeja in the 1980s when she founded Self Help Enterprise (SHE) that helped empower women and their livelihood through Kantha embroidery.

6. Kantha embroidery began as a means of recycling old or unused cloths and garments, such as sarees and dhotis, in order to create items for household use, such as quilts and plate covers. One of the oldest and most popular forms of Indian embroidery, Kantha is predominantly practised amongst rural women in the Indian states of West Bengal and Odisha (Orissa). Techniques used in Kantha embroidery are passed down from mother to daughter and are popular dowry traditions. In fact, rural housewives from West Bengal practiced the craft of Kantha embroidery throughout history, allowing the household craft to flourish into a well-known trend in Indian clothes and home furnishings.

7. Much like other age-old Indian arts and crafts, motifs found in Kantha communicate the identities of its wearers in terms of caste, village and status. Motifs in early Kantha embroidery were drawn from primitive art, such as illustrations of the sun. With time, Hindu Kantha embroiderers created religious motifs, such as of Gods, peacocks, tigers and lotuses, and auspicious colourful motifs that represent the lotus flower. Geometric designs were, and still are, commonly found in motifs created by Muslim Kantha embroiderers.

8. The technique of Kantha embroidery is most popularly found in the traditional sarees of West Bengal and Odisha (Orissa), called Kantha sarees. In West Bengal, Kantha is also often used in quilting to create light quilts are known as Nakshi Kantha. For instance, rural Bengali mothers would hand stitch four to five sarees together to use as a child’s blanket. In the state of Odisha (Orissa), old sarees are sometimes stacked and hand stitched together to create a thin cushion. Contemporary Kantha does not necessarily utilise layers of multiple disused sarees or dhotis, rather a white cotton or silk base fabric is used.

9. Today, the districts of Burdwan, Hooghly, Murshidabad and North and South 24 Parganas remain the key locations in West Bengal where Kantha embroidery is still practised amongst millions of rural women in their homes. However, the art is particularly prominent in Bolpur-Shantiniketan or, simply, Bolpur, located in the Birbhum district. In Odisha (Orissa), Kantha embroidery can be found alongside the popular applique work of Puri and Pipli. Kantha embroidery is today often used in other garments such as dupattas and shirts, and in modern ranges of bedding and house furnishings. The traditional designs and techniques of Kantha embroidery gained greater global recognition when they were employed in renowned designer Tarun Tahiliani's summer/resort 2013 collection.

10. The Intricacy of Kantha Designs
As threads used in Kantha were traditionally taken from old sarees and dhotis and the colours found in Kantha embroidery are colours commonly seen in everyday life in India - red, yellow, green, blue and black. As dyes were traditionally made of natural substances, these were traditionally used in a wide range of Indian arts and crafts. In contemporary Kantha, an off-white base fabric is usually used to allow the embroidered colours of the threads to catch the eye.

11. Day to day folk scenes were often the source of inspiration for embroiderers of Kantha. Motifs in the early form of Kantha embroidery depicted nature symbols that were found in ancient art such as the tree of life, the sun and the cosmos. These traditional motifs can still be found today as these symbols remain closely connected to nature and historic culture. 

12. The lotus motif is also commonly found in Hindu Kantha
The lotus motif is also commonly found in Hindu Kantha. Lotuses are a sacred flower in Hinduism, often representing the power of life that water and the sun has to offer. The central lotus motif is commonly found in Kantha pieces used during special occasions, such as wedding ceremonies, births and the prayer ritual, puja. The wheel, which can be seen on the Indian flag, is a common motif in Indian arts and crafts, and can be found on Kantha designs. An important symbol in Hinduism and Buddhism, it represents order in the world. Another common motif in Kantha is the swastika. Representing wellness, this common Indian motif dates back to the Indus Valley Civilisation.

13. PHULKARI

14. Phulkari (Punjabi: ਫੁਲਕਾਰੀ) embroidery technique from the Punjab region (divided between India and Pakistan) literally means flower work, which was at one time used as the word for embroidery, but in time the word “Phulkari” became restricted to embroidered shawls and head scarfs. Simple and sparsely embroidered odini (head scarfs), dupatta and shawls, made for everyday use, are called Phulkaris, whereas garments that cover the entire body, made for special and ceremonial occasions like weddings and birth of a son, fully covered fabric is called Baghs ("garden") and scattered work on the fabric is called "adha bagh" (half garden). 

15. Punjab is known for its Phulkaris
Punjab is known for its Phulkaris. The embroidery is done with floss silk thread on coarse hand woven cotton fabric. Geometrical patterns are usually embroidered on the Phulkaris. Phulkaris and Baghs were worn by women all over Punjab during marriage festivals and other joyous occasions. They were embroidered by the women for their own use and use of other family members and were not for sale in the market. Thus, it was purely a domestic art which not only satisfied their inner urge for creation but brought colour into day-to-day life. In a way, it was true folk art. Custom had grown to give Phulkaris and Baghs to brides at the time of marriages

16. Some feel it came from Central Asia along with Jat tribes who migrated to India and settled in Punjab, Haryana and Gujarat. There is reference of Phulkari in Vedas, Mahabharat, GuruGranth Sahib and folk songs of Punjab. In its present form, phulkari embroidery has been popular since the 15th century. The exquisite embroidery for Baghs are known to have been made in the districts of Hazara, Peshawar,Sialkot,Jhelum, Rawalpindi, Multan, Amrisar,Jalandhar, Ambala,Ludhiana, Nabha,Jind,Faridkot, Kapurthala and Chakwal of the Punjab region.

17. The main characteristics of Phulkari embroidery are use of darn stitch on the wrong side of coarse cotton cloth with coloured silken thread. Punjabi women created innumerable alluring and interesting designs and patterns by their skilful manipulation of the darn stitch. The base khaddar cloth used in Western Punjab is finer from those of Central Punjab. Black/blue are not preferred in Western Punjab, whereas white is not used in East Punjab. In West Punjab, 2 or 3 pieces of cloth are first folded and joined together. In East Punjab, they are joined together first and then embroidered.

18. In Phulkari embroidery ornaments the cloth, whereas in Bagh, it entirely covers the garment so that the base cloth is not visible. The end portion of pallav of Phulkari have separate panels of exquisite workmanship of striking design.
The most favoured colour is red and its shades, because Bagh and Phulkari are used during marriage and other festivals. Red is considered auspicious by Hindus and Sikhs. Other colours are brown, blue, black, white. White was used in Bagh by elderly ladies. 

19. Types of Phulkari

20. Chope and subhar
The two styles of chope and subhar are worn by brides. The chope is embroidered on both sides of the cloth. Only the borders and the four edges of the cloth are embroidered in fine embroidery. The subhar has a central motif and four motifs on the corners.
Til patra
The til (sesame) patra has decorative embroidery which is spread out as if spreading sesame seeds. The term til patra means 'the sprinkling of seeds'.
Neelak
The neelak phulkari is made of a black or red background with yellow or bright red embroidery. The colour of the phulkari is mixed with metals.
Ghunghat bagh
Originating in Rawalpindi, the ghunghat bagh is heavily embroidered around the centre on the edge to be worn over the head. The embroidered centre is then pulled over the face so as to form an embroidered veil.

21. Chhamaas
The chhaamas phulkari hails from Rohtak, Gurgaon, Hissar and Delhi. The chaamas phulkari incorporates mirrors which are sewn into the cloth with yellow, grey or blue thread.
Phulkari of south and southwestern Punjab region
The phulkari of south and southwestern Punjab region, has wide edges upon which designs of animals and birds are embroidered. As is the case of the chaup, the edges are embroidered on both sides of the cloth. South and southwestern Punjab region includes the south Punjab, India, south and south west of Punjab, Pakistan.
Senchi phulkari
The senchi phulkari is popular in and around Ferozepur. The senchi phulkari incorporates designs of birds, jewellery such as bracelets, earrings, rings and necklaces.

22. CHIKANKARI

23. Chikan is a traditional embroidery style from Lucknow, India
Chikan is a traditional embroidery style from Lucknow, India. Literally translated, the word means embroidery. Believed to have been introduced by Nur Jehan, the wife of Mughal emperor Jahangir,it is one of Lucknow's best known textile decoration styles. The technique of creation of a chikan work is known as chikankari .
Chikan is a delicate and artfully done hand embroidery on a variety of textile fabric like muslin, silk, chiffon, organza, net, etc. White thread is embroidered on cool, pastel shades of light muslin and cotton garments. Nowadays chikan embroidery is also done with coloured and silk threads in colours to meet the fashion trends and keep chikankari up-to-date. Lucknow is the heart of the chikankari industry today and the variety is known as Lucknawi chikan.

24. Chikan work in the recent times has adapted additional embellishments like Mukaish, Kamdani, Badla, Kamdani, sequin, bead and mirror work, which gives it a rich look. Chikan embroidery is mostly done on fabrics like cotton, semi-Georgette, pure Georgette, crepe, chiffon, silk and any other fabric which is light and which highlights the embroidery. The fabric cannot be too thick or hard, else the embroidery needle won't pierce it.
The piece begins with one or more pattern blocks that are used to block-print a pattern on the ground fabric. The embroiderer stitches the pattern, and the finished piece is carefully washed to remove all traces of the printed pattern.

25. Stitches of Chikankari
The patterns and effects created depend on the stitches and the thicknesses of the threads used. Some of the stitches include backstitch, chain stitch and hemstitch. The result is an open work pattern, jali (lace) or shadow-work. Often the embroiderer creates mesh-like sections by using a needle to separate threads in the ground fabric, and then working around the spaces. It consists of 32 stitches:
Chikankari-Tepchi  is a long running or darning stitch worked with six strands on the right side of the fabric taken over four threads and picking up one. Thus, a line is formed. It is used principally as a basis for further stitchery and occasionally to form a simple shape.
Bakhiya — ‘Shadow work’ or bhakia is one of the stitches of chikankari. The reason for the name shadow is that the embroidery is done on wrong side and we see its shadow on the right side.

26. Hool is a fine detached eyelet stitch
Hool is a fine detached eyelet stitch. A hole is punched in the fabric and the threads are teased apart. It is then held by small straight stitches all round and worked with one thread on the right side of the fabric. It can be worked with six threads and often forms the center of a flower.
Murri is the form of stitch used to embroider the centre of the flowers in chikan work motifs. They are typically French knots that are rice-shaped. Murri is the oldest and most sought-after form of chikankari. The use of this stitch is depleting due to a decrease in the artisans doing this embroidery.
Jali stitch is one where the thread is never drawn through the fabric, ensuring that the back portion of the garment looks as impeccable as the front. The warp and weft threads are carefully drawn apart and minute buttonhole stitches are inserted into the cloth.

27. Zanzeera,Rahet,Banarsi,Khatau,Phanda,Turpai,Darzdari,Pechani,Bijli,Ghaspatti,MakraKauri,Hathkadi,Banjkali,Sazi,Karan,Kapkapi,Madrazi,Bulbul-chasm,Taj Mahal,Janjeera,Kangan,Dhania-patti,Rozan,Meharki,Chanapatti,Baalda,Jora,Keel kangan,Bulbul,Sidhaul and Ghas ki Patti are the other stiches used in chikankari.

28. Chamba Rumal

29. The Chamba Rumal or Chamba handkerchief is an embroidered handicraft that was once promoted under the patronage of the former rulers of Chamba kingdom. It is a common item of gift during marriages with detailed patterns in bright and pleasing colour schemes.
Earliest reported form of this rumal is the one made by Bebe Nanki, sister of Guru Nanak in the 16th century, which is now preserved in the Gurudwara at Hoshiarpur. The Victoria Albert Museum, London has a rumal which was gifted to the British in 1883 by Raja Gopal Singh and it has an embroidered scene of the Kurukshetra War of the epic Mahabharta.However, from the 17th century the women of the erstwhile princely state of Chamba (now part of Himachal Pradesh), including members of the royal family, indulged in embroidery of the rumals or handkerchiefs as a part of a marriage gifts or dowry to their daughters.

30. The handkerchiefs were made in geometrical shapes of square and rectangle using very fine hand made silk which was obtained from the Punjab or muslin cloth, a product of Bengal. Women created highly ornamental patterns using untwined thread made of silk produced in Sialkot (in Pakistan), Amritsar and Ludhiana. The embroidery technique adopted, called the dohara tanka or double satin stitch, created distinct identical patters on both faces of the fabric, which were attractive when viewed even from distance of 10 ft and more. The dohara tanka method is a heritage of Kashmir, which was adopted in Basohli and Chamba, but was improved upon by adopting themes from the special Mughal art of Chamba miniature paintings; this art form flourished during the 18th and 19th centuries. 

31. Known as a "needle wonder" Chamba Rumal is now made in square and rectangular shapes. The materials used still consist of muslin, malmal, khaddar (a coarse fabric), fine charcoal or brush, and silk threads without knots. Using a double satin stitch for the embroidery, both faces of the cloth are concurrently stitched by a forward and backward technique to maintain uniformity of design on both faces of the rumal. After completing the embroidery, the fabric is stitched with a border of about 2 to 4 inches on all sides.

32. Kasuti

33. The history of Kasuti dates back to the Chalukya period
The history of Kasuti dates back to the Chalukya period. The name Kasuti is derived from the words Kai (meaning hand) and Suti (meaning cotton), indicating an activity that is done using cotton and hands. The women courtiers in the Mysore Kingdom in the 17th century were expected to be adept in 64 arts, with Kasuti being one of them. The Kasuti embroidery features folk designs influenced by rangoli patterns of Karnataka, mirror work embroidery and gold & silver thread embroidery were mostly used for special occasions like weddings. In Karnataka Sarees embroidered with Kasuti were expected to be a part of the bridal trousseau of which one saree made of black silk with Kasuti embroidery called Chandrakali saree was of premier importance.

34. Kasuti work involves embroidering very intricate patterns like gopura, chariot, palanquin, lamps and conch shells. Locally available materials are used for Kasuti. The pattern to be embroidered is first marked with charcoal or pencil and then proper needles and thread are selected. The work is laborious and involves counting of each thread on the cloth. The patterns are stitched without using knots to ensure that both sides of the cloth look alike. Different varieties of stitches are employed to obtain the desired pattern. Some of the stitches employed are Ganti, Murgi, Neyge and Menthe. Ganti is a double running stitch used for marking vertical, horizontal and diagonal lines, Murgi is a zig-zag stitch, Neyge is a running stitch and Menthe is a cross stitch resembling fenugreek seeds.

35. Kashmiri Kashida

36. Kashmiri embroidery(also Kashida) is used for phirans (woollen kurtas) and namdahs (woollen rugs)as well as stoles. It draws inspiration from nature. Birds, blossoms and flowers, creepers, chinar leaves, ghobi, mangoes, lotus, and trees are the most common themes. The entire pattern is made with one or two embroidery stitches, and mainly chain stitch on a base of silk, wool and cotton: the colour is usually white, off-white or cream but nowadays one can find stoles and salwar-kameez sets in many other colours such as brown, deep blue, sky blue, maroon and rani pink. Kashida is primarily done on canvas with crystal threads, but Kashida also employs pashmina and leather threads. Apart from clothes, it's found on home furnishings like bed spreads, sofa and floor cushions, and pillow covers.

37. The base cloth, whether wool or cotton, is generally white or cream or a similar shade. Pastel colors are also often used. The craftsmen use shades that blend with the background. Thread colors are inspired by local flowers. Only one or two stitches are employed on one fabric.
Kashmiri embroidery is known for the skilled execution of a single stitch, which is often called the Kashmiri stitch and which may comprise the chain stitch, the satin stitch, the slanted darn stitch, the stem stitch, and the herringbone stitch. Sometimes, the doori (knot) stitches are used but not more than one or two at a time.

38. Kutch Embroidery

39. The Kutch Embroidery is a handicraft and textile signature art tradition of the tribal community of Kutch District in Gujarat, India. This embroidery with its rich designs has made a notable contribution to the Indian embroidery traditions. The embroidery, practiced normally by women is generally done on fabrics of cotton, in the form of a net using cotton or silk threads. In certain patterns, it is also crafted over silk and satin. The types of stitches adopted are “square chain, double buttonhole, pattern darning, running stitch, satin and straight stitches”. The signature effect of the colorful embroidery sparkles when small mirrors called abhla are sewn over the geometrically shaped designs.

40. History of the Kutch Embroidery is traced to the 16th and 17th centuries when people migrated from the countries such as Afghanistan, Greece, Germany, Iran and Iraq to Gujarat. It is also said that cobblers known as Mochis were trained in this art form by the Muslim sufi saints of Sindh. The art form became a vocation for women of Kutch not only to meet their own clothing requirements but also to make a living, in view of severe dry and very hot conditions of Kutch. It became a generational art with the skills taught from mother to daughter. They embroidered clothes for festive occasions and to decorate deities and to create a source of income.

41. The materials used for the embroidery consist of fabrics made of threads of cotton, silk woolen and mashru (an Arabic name). The types of threads used are of floss silk and other varieties. Tracing paper and its associated product are used for drawing the designs. Other essential embroidering tools and material are needle, mirrors, and sequins. Embroidery is done with the fabric fixed on an adjustable embroidery frame to adjust the tension of the cloth or by holding the fabric in hand.
The designs created on the cloth to embroider relate to the themes of daily lifestyles, animals and birds (like elephant, camel, parrot, peacock, etc.), flora, religious places such as temples, and figurines of women in dancing postures.

42. The procedure adopted for stitching with needles is by inserting them into the fabric and bringing it up in one motion and then pulling the thread. A thimble is used with the help of the middle finger to speed up the process. Some of the major stitches used are identified by specific names such as "Mochi Bharat, Shisha or Abhala mirror work, Heer Bharat, Soof, Kharek and Paako".
Mirrors or glass pieces in different shapes are stitched to the fabric to make it shine; it is a specialty in the rituals and folklore culture of the pastoral community of Rabaris of Kutch. The best quality embroidery is known as "aari" which was done earlier for the royal family and well to do families.

43. Sindhi Stitch Embroidery

44. A variation of Kutch work, this geometric embroidery starts with a foundation framework of herringbone stitch or Cretan stitch, and then this framework is completely filled with interlacing. It is said that this technique originated in far away land of Armenia and found its way to Gujarat by travelling Nomads.