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CHIKAN
/ CHIKANKARI
CHARACTERISTICS
HISTORY The origins are uncertain. The word ‘chikan’ is derived from a Persian word meaning to render delicate patterns on fabric. So fine was chikankari that the Romans called them ‘textili venti’, woven winds. In early times, the embroidery was done in Dacca and Calcutta in Bengal and in Lucknow by professional Muslim men under patronage of courts for court and temples: women stitched for domestic use - dowries and animal trappings. Evident in 16th C, chikankari reached its height in the 18th C in Lucknow and crystallized into its definitive form in 19th C. With the advent of the British rule, chikan work declined due to loss of patronage of the courts and landlords: the work changed from professional to a cottage industry for women. By the beginning of the 20th C, standards dropped as the industry became orientated towards the mass market resulting in cheap and rough work. Uttar Pradesh became the chief centre of production, mainly garments, for the huge export trade. Today chikan work is done on mulls, muslins, voiles, organzas and polyester. Whereas once mainly on garments, today it is used also on bed and table linen. EMBRODIERY Chikan is the only white embroidery in the Indian sub-continent, rich in a range of colourful, rich embroideries and woven brocades. It is similar to Ayrshire work resulting from an exchange of ideas between continents during British rule. In chikankari, there is a fixed repertoire of stitches, each of which is only ever used in a certain way – a discipline shared by no other embroidery. (European embroiderers used stitches for whatever purpose they pleased.) A characteristic is texture, using 1 to 12 fine threads. Designs, with a preponderance of trailing stems and often include the paisley shape, are carved on a wooden block and stamped onto the cotton fabric. REFERENCES: Chikan
Embroidery: The Floral Whitework of India, by Sheila Paine,
Shire Publications © Valerie Cavill 2007 |