Submitted by
SYED MOHAMMAD HAMZA ABDULLAH
Guided by
Ar. Neeti Gupta
[Date]
SYED MOHAMMAD HAMZA ABDULLAH
B.Arch 1 YEAR
Certificate
In the partial fulfilment of the B.Arch. degree program, this is to certify that Syed Mohammad
Hamza Abdullah has worked on the dissertation titled, Phulkari under my guidance and
supervision
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ACKNOWLEDGEMENT
Phulkari is a floral craft practiced in northern part of India and other countries of the subcontinent.
This craft is mainly practiced in the areas of Punjab and Haryana.
I would like to give special thanks to father, my mother and all my friends who helped me in
collecting the information and photograph releated to Phulkari Craft. I would like to thank the
liberarian of F/O ARCHITECTURE AND EKISTICS (JMI) for his support in collecting data.
[Date]
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Contents
TABLE OF FIGURES .................................................................................................................................. 6
INTRODUCTION ....................................................................................................................................... 8
PATIALA (OVERVIEW) .......................................................................................................................... 8
ORIGIN AND HISTORY ......................................................................................................................... 9
Main Centres ..................................................................................................................................... 10
PROCEDURE .......................................................................................................................................... 11
Step 1: Making the best base ............................................................................................................ 11
Step 2: Creating a picture perfect Pattern ........................................................................................ 12
Step 3 threading the needle ............................................................................................................. 13
Step 4 the final touch ........................................................................................................................ 13
MATERIALS ............................................................................................................................................ 14
Khaddar ............................................................................................................................................. 14
Fabrics ............................................................................................................................................... 16
Frame ................................................................................................................................................ 16
TYPES OF STITCHES ............................................................................................................................... 17
Running stitch ................................................................................................................................... 17
Buttonhole stitch .............................................................................................................................. 17
Darning Stitch.................................................................................................................................... 18
Herringbone Stitch ............................................................................................................................ 19
Cluster Stitch ..................................................................................................................................... 20
Patterns and Colours............................................................................................................................. 22
Embroidery............................................................................................................................................ 23
THE BAGHS .......................................................................................................................................... 25
Thirma ............................................................................................................................................... 26
Darshan Dwar.................................................................................................................................... 28
Sainchi Phulkari ................................................................................................................................. 29
Vari-da-bagh...................................................................................................................................... 30
Bawan Bagh (or Bawan Phulkari) ...................................................................................................... 31
Chope ................................................................................................................................................ 32
Surajmukhi ........................................................................................................................................ 33
Kaudi Bagh ........................................................................................................................................ 34
Panchranga Bagh .............................................................................................................................. 35
Meenakari Bagh (or "Ikka Bagh") ...................................................................................................... 36
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TABLE OF FIGURES
Figure 1 A wedding ceremony observed in Patiala: self clicked ........................................................... 8
Figure 2: www.wikipedia.org/phulkari
................................................................................................................................................................ 9
Figure 3: http://www.indianheritage.biz/Phulkari.html
.............................................................................................................................................................. 10
Figure 4
khaddar: http://image.slidesharecdn.com/presentation1-130531114152-
phpapp01/95/slide-6-638.jpg?cb=1370018632
.............................................................................................................................................................. 11
Figure 5
chiffon:
http://image.slidesharecdn.com/presentation1-130531114152-phpapp01/95/slide-6638.jpg?cb=1370018632
.............................................................................................................................................................. 11
Figure 6: www.images.google.com....................................................................................................... 12
Figure 7: self clicked .............................................................................................................................. 13
Figure 8: Self clicked.............................................................................................................................. 13
Figure 9: www.embroidery.cdacmohali.in
.............................................................................................................................................................. 14
Figure 10: www.indianheritage.biz/Phulkari.htm ................................................................................ 15
Figure 11: www.wikipedia.org/phulkari ............................................................................................... 17
Figure 12: www.wikipedia.org/phulkari. .............................................................................................. 18
Figure 13: www.wikipedia.org/phulkari ............................................................................................... 19
Figure 14: www.wikipedia.org/phulkari ............................................................................................... 20
Figure 15: www.indianheritage.biz/Phulkari.htm ................................................................................ 21
Figure 16: www.indianheritage.biz/Phulkari.htm ................................................................................ 21
Figure 17: http://image.slidesharecdn.com/presentation1-130531114152-phpapp01/95/slide6-638.jpg?cb=1370018632
.............................................................................................................................................................. 23
Figure 18: www.indianheritage.biz/Phulkari.htm ................................................................................ 23
Figure 19: www.indianheritage.biz/Phulkari.htm ................................................................................ 24
Figure 20: www.indianheritage.biz/Phulkari.htm ................................................................................ 24
Figure 21: www.indianheritage.biz/Phulkari.htm ................................................................................ 26
Figure 22: www.indianheritage.biz/Phulkari.htm ................................................................................ 27
Figure 23 A Darshan Dwar: www.indianheritage.biz/Phulkari.htm..................................................... 28
Figure 24 A 19th century sainchi: www.indianheritage.biz/Phulkari.htm ......................................... 29
Figure 25 A Vari-da bagh: www.indianheritage.biz/Phulkari.htm ........................................................ 30
Figure 26: www.indianheritage.biz/Phulkari.htm ................................................................................ 31
Figure 27: www.indianheritage.biz/Phulkari.htm ................................................................................ 32
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INTRODUCTION
PATIALA (OVERVIEW)
Patiala, a city well known for its lively culture, like many other cities of Punjab, inhabits
people who show enthusiasm towards life and look forward to celebrating every good
occasion with fervour. One such occasion is wedding, where zeal of Punjabi people can be
observed visibly.
One entity that is integral to any Punjabi wedding is the embroidered cloth worn by the bride
and the other women participating in the occasion. This embroidery done on cloth is called
Phulkari.
The word Phulkari is made up of two words, phul and kari, and they stand for flower and
work respectively. So the word Phulkari literally means flower work. Phulkari, a traditional
embroidery art is well known for its colourful designs and colours.
Phulkari design has been divided into four main categories: Phulkari, Bagh, Chobe, and
Shishadar. Phulkari bagh refers to the geometric, patterned surfaces that bear a
resemblance to the plan of a Mughal garden. Today, the simple and meagrely embroidered
head cloths known as Odhni are called Phulkari, while the heavily embroidered cloths
used for ceremonial purposes are referred to as Phulkari Bagh or simply Bagh. While
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Figure 2
The actual origin of Phulkari stitchery is a continuing debate. Some sources credit the Jat
community of southeast Punjab. According to Ibbeson, the Hindu Jats, who were conquered
by the Muslim tribes, originated the craft. After the conquest, the ground fabric which had
traditionally been sparsely covered with embroidery was completely covered. Thus, the
embroidery became the cloth itself, rather than an adjunct to the surface of the fabric.
Some researchers suggest that Phulkaris introduction to the region of Punjab and Haryana
was probably due to the reason that this area is in close proximity to the region of Iran and
central Asia and migrants would easily settle in this region. Techniques and patterns that
were to be worked on a cloth were not documented but were spread by the word of mouth;
thus, each regional group could be identified by its unique embroidery style.
The embroidery was originally meant to decorate the rough surface of the Odhinis but
gradually people began to connect some set of motifs and patterns to the embroidery done
on certain events; thus the embroidery acquired a rich cultural and religious significance.
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Figure 3
Group of Punjabi ladies wearing clothes embroidered with Phulkari
Main Centres
Phulkaris and Baghs are associated mainly with the areas such as Hazara, Rawalpindi,
Peshawar, Multan etc. in Pakistan and Amritsar, Jalandhar, Ludhiyana, Ferozpur, Hisaar,
Ambala, Rohtak and Patiala in India.
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PROCEDURE
Traditionally, the Punjabi embroidery is done on handspun khadi cloth. The darn stitch is
used in Phulkari work while the base material for the embroidery has traditionally been handspun, hand-woven and natural dyed khadi. The thread is pierced upwards from underside
the cloth into free-hand motifs. The process of doing the embroidery is pretty comprehensive
and only trained and practiced hands can come up with stunning designs.
Figure 4
khaddar
Figure 5
chiffon
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Figure 6
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Figure 7
Figure 8
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Figure 9
MATERIALS
Khaddar
Khaddar is widely used in the manufacturing of Phulkari clothes. These days, a finer and
thinner variety of Khaddar is also used for Phulkari apart from the conventional coarse
Khaddar that is available locally. It is worthy to note here that the material used for
embroidery and the colour of cloth plays a major role in the detailing process as the design
depends upon counting the threads of the cloth; if the cloth is of any dark colour, the process
of counting threads become a lot cumbersome and requires more eye-work (so it became a
normal procedure to carry out the dying work at the last). Similarly, the rougher or cruder the
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Figure 10
Embroidery on a Khaddar base cloth
In the present times, the Phulkari made is normally 3 yards long and 45 inches wide.
Beforehand, 2 or 3 pieces of Khaddar cloth had to be fixed together so as to achieve the
width of 45 inches as the width of Khaddar at that time used to be 14-15 inches only. But the
scenario is quite different today as large power operated looms have been introduced in the
Khaddar industry, that are capable of manufacturing Khaddar with the desired width of 45
inches. Khaddar could be of four colours, white being given to mature women or widows
while red was associated with youth and was by far the most widespread tone. It is
noteworthy that the most ancient fragments of red dyed (using madder) cotton fabric were
found in Punjab and would date back to Harappa Civilization (Age of Bronze). Black and
blue colours were kept for everyday worn shawls as they prevented from revealing stains
and dirt.
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Fabrics
Other than khaddar some other fabrics which are now being used for Phulkari are georgette,
chiffon, crape and certain types of silks. the selection of these fabrics is done on the basis of
what kind of dress is to made put of the particular piece of fabric on which Phulkari has been
done for instance if a Dupatta or scarf is to be made light weight fabrics like chiffon and
georgette are used so as to make them look beautiful and as well as be easy for the person
to carry it. In case of silk a major drawback is that most of silk varieties are quite sensitive
and cannot bear the needle being passed through it all over again.
The increase in demand of the craft has lead to use of other fabrics as well. The use of
expensive fabrics like crape shows the popularity of this craft among the elite classes where
people do wear clothes made of high quality along with a tint of this beautiful craft called
Phulkari.
Depending upon the fabric the print is chosen in such a way that the fabric has enough
strength to hold the thread that is being put over it. the printing of various designs on the
fabric which earlier was done with techniques like block printing now has moves to
computerized printing so that the time consumed in making one piece is reduced and a more
neat and tidy print is obtained at economical prices. the weaving of the fabrics when done for
Phulkari purposes is a little tighter so as to make sure that the fabric does not lose out on
grip of the thread.
Frame
Another tool which is of great importance is the frame i.e. the piece of wood or plastic which
helps the craftsmen to hold the piece of fabric so that the thread can be weaved on it. This is
just another frame which is used for other types of embroideries. The importance is just to
hold tightly the fabric so that it doesnt lag as it is the physical property of the fabric to lag if
not held in a proper grip. Its construction is quite simple as it contains of two circular rings
which hold the fabric between them and are tightened to each other with the help of a screw.
The radius of the rings depends upon the need of the craftsmen as per his/her need.
As we know its the beauty of the craft that has increased its demand among the ladies it
gives a obvious reason to the craftsmen to do experiments with the addition of various
stones, shells, stars etc which can either be weaved or can be additionally added to any
piece of Phulkari. As we nowadays craftsmen have started using these accessories along
with threads while doing Phulkari. The sole purpose of doing this is to make the piece of
cloth look more fancy and attractive and as we say more appropriate for being used in attires
made for special occasions specially weddings as the tradition of the native state of this art
Punjab focuses on the usage of phulakri in weddings not only as a matter of beauty but also
the auspiciousness and prosperity that is to associated with it.
Usage of golden and silver threads is now being seen which again makes the fabric look
much more graceful and alive which somewhere links to the nature of the people of Punjab
that is more full of life and vibrancy and spreading happiness and prosperity all around .
More than just appearance Phulkari also somewhere represents the people of its native
state full of colours and joy.
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TYPES OF STITCHES
Running stitch
The running stitch or straight stitch is the basic stitch in hand-sewing and embroidery, on
which all other forms of sewing are based. The stitch is worked by passing the needle in and
out of the fabric. Running stitches may be of varying length, but typically more thread is
visible on the top of the sewing than on the underside.
Figure 11
Looped stitch
Laced stitch
Interlaced stitch
Whipped stitch
Parallel stitch
Stepped stitch
Buttonhole stitch
Buttonhole stitch is normally used to sew the edges of a blanket. This is the reason it is
sometimes also referred to as blanket stitch. Buttonhole stitches catch a loop of the thread
on the surface of the fabric and needle is returned to the back of the fabric at a right angle to
the original start of the thread. The finished stitch in some ways resembles a letter "L"
depending on the spacing of the stitches. For buttonholes the stitches are tightly packed
together and for blanket edges they are more spaced out. The properties of this stitch make
it ideal for preventing ravelling of woven fabric.
Contrasting colour threads result in formation of very attractive patterns. Different patterns
can be obtained by stitching different rows of this buttonhole stitch; another way is by
working back to back. Another way of stitching a buttonhole stitch is by working in a free
form manner. Here, rows are stacked to create a beautiful texture.
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Figure 12
Buttonhole stitch in embroidery
Closed Buttonhole
Crossed Buttonhole
Detached Buttonhole
Darning Stitch
Darning is a sewing technique for repairing holes or worn areas in fabric or knitting using
needle and thread alone. It is often done by hand, but it is also possible to darn with a
sewing machine. Hand darning employs the darning stitch, a simple running stitch in which
the thread is "woven" in rows along the grain of the fabric, with the stitcher reversing
direction at the end of each row, and then filling in the framework thus created, as if weaving.
Darning is a traditional method for repairing fabric damage or holes that do not run along a
seam, and where patching is impractical or would create discomfort for the wearer, such as
on the heel of a sock.
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Figure 13
A darning stitch
Darning also refers to any of several needlework techniques that are worked using darning stitches:
Pattern darning is a type of embroidery that uses parallel rows of straight stitches of different
lengths to create a geometric design.
Net darning, also called filet lace, is a 19th-century technique using stitching on a mesh
foundation fabric to imitate lace.
Needle weaving is a drawn thread work embroidery technique that involves darning patterns into
barelaid warp or weft threads
Herringbone Stitch
A herringbone stitch is a needlework stitch used in embroidery, knitting and crochet. It is so
named as it resembles the bones extending from the spine of a herring fish. In knitting, it is a
stitch that creates a fabric pattern closely resembling a herringbone pattern, orherringbone
cloth.
A knitted herringbone stitch creates a firm fabric "similar to a woven in appearance and
elasticity".[1] A heavyweight fabric can be made with variations of the herringbone stitch,
such as the herringbone twist stitch, which can be worked in either one or two colours; both
versions are suitable for experienced knitters.
The herringbone pattern represents the "fisherman's catch and thus for success in one's
career".
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Figure 14
Cluster Stitch
A cluster (no abbreviation) is a set of crochet stitches that you work across an equal number
of stitches and join together (or cluster) at the top, forming a triangle shape that resembles
an upside-down shell stitch. Many crotchetiers use this stitch combination in conjunction with
shells.
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Figure 15
A cluster stitch
Figure 16
Different types of stitches used in Phulkari
Reference: www.wikipedia.org/phulkari
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Embroidery
A Phulkari was at times made by one woman and at times by several ones who could even
work simultaneously on different parts or stripes of khaddar.
As written before, these pieces were usually made by the family of the bride. However, as in
the rich families a dowry could include several dozens of Phulkari, some professional
embroiderers were occasionally employed.
The choice of patterns was partly driven by the social class of the bride.
For instance, some flowers designs in cluster stitch were only worn by the low class families
while the high class would prefer flowers made with darning stitch.
Figure 17
Figure 18
Flower embroidered using clustered stitch (left) and darning stitch (right)
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Figure 19
A "chope" Phulkari on beige khaddar
Figure 20
A "chope" Phulkari on red khaddar
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THE BAGHS
When the embroidery work was covering the whole surface of the khaddar the Phulkari was
called a bagh ("garden").
The making of a bagh was requiring so much talent and patience (sometimes more than a
year) that it was kept for very special occasions.
Furthermore, the quantity of pat needed to achieve such a piece was implying big expenses
and thus was a way for families to display their wealth.
From a historical point of view, it seems that bagh only appeared after the time people
became passionate for Phulkari in the second half of the 19th century.
Bagh could be considered as a technical culmination in the art of Phulkari fabrication.
Pat's most commonly used colours in the making of bagh were gold and silvery-white, these
tones being a reminiscence of Punjab's wild flowers and cereal fields but also of the jewels
women were wearing under their bagh.
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Figure 21
A red "thirma" (on white khaddar) bagh from West
Thirma
This Phulkari from the north of Punjab, shared by Hindu and Sikh traditions and very
appreciated by collectors is identified by its white khaddar called thirma, symbol of purity.
As a symbol of purity, thirma was often worn by elder women and widows but, at times, this
choice of white coloured khaddar was also made for esthetical reasons.
The pat was generally chosen in a range of bright pink to deep red tones.
Cluster stitched flowers, wide triangles covering the forehead as well as chevron darning
stitch surfaces were very common thirma patterns.
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Figure 22
Thirma from west Punjab
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Darshan Dwar
Darshan Dwar, that can be translated as "the gate through which God can be seen",
unlike other Phulkari was not made for a person but for a temple as an offering to
thank the gods after a wish had been fulfilled.
For this reason, while a dowry could contain dozens of Phulkari, darshan dwar has
never been made in big quantities.
Like other figurative pieces (e.g. Sainchi Phulkari, see the next paragraph) this
particular kind of Phulkari was made in east Punjab, a mostly non-Islamic area which
allowed the development of a broad variety of human and animal representations.
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Sainchi Phulkari
Sainchi Phulkari are figurative pieces narrating the life in the villages of south east Punjab.
Local animals (goats, cows, elephants, big cats, scorpions, peacocks,...) are represented
moving among wrestlers, farmers, weavers, etc.
Train is also often displayed on sainchi Phulkari, this means of transportation, brought by the
British in the second half of the19th century, having had a big impact on local populations'
life.
Beyond their aesthetic value, sainchi Phulkari can be compared to our nowadays media as
they depict the ways of life, interests and environment of the old time rural people of Punjab.
In addition, they were produced in a relatively small area (Firozpur and Bhatinda districts)
and required high embroidery skills. These are all the reasons why they became so
appreciated by collectors and occupy a very unique position among the different varieties of
Phulkari.
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Vari-da-bagh
("Vari": gift offered to the bride by her in-laws)
This bagh was gifted to the bride by her in-laws when she was entering their house, her new
home, on the wedding day.
It is an exceptional fact as all the other Phulkari were part of her dowry and, thus, were
provided by her own family.
Vari-da-bagh is always made on an orange-reddish khaddar and, except for its border and
sometimes a small decoration, it is always embroidered on its whole surface with a single
golden or orange coloured pat.
This bagh's main pattern is a group of three or four small concentric lozenges of growing
size included in each other. Despite the fact that only one colour of pat is used, these
lozenges are easily revealed by the reflections of light. The outer one symbolizes the Earth,
the next one the city and the third one the familial house. It happens that this last lozenge is
split into four smaller ones probably symbolizing the parents of the groom and the newly
married couple.
The bride was wrapped in this bagh by her mother in law when she was receiving the keys
of her new house, thereby meaning that the bride was becoming responsible for the
maintenance of the house.
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Figure 26
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Figure 27
Bawan baghs
Chope
The bride's maternal grandmother (Nani) was starting chope's embroidery as soon as her
granddaughter was born. Instead of the common darning stitch, she was using the Holbein
stitch which has the specificity of creating the same design on both the sides of the khaddar.
This can be interpreted as the grandmother's wish to make her granddaughter equally happy
in her life and after her death, on the two sides of her existence.
Chope was made to wrap and dry the bride after the ritual bath she was having before her
wedding, for this practical reason chope is bigger than other Phulkari.
Its khaddar was invariably dyed in red or orange colour, symbol of passion and happiness. It
is worth noticing that chope was never bordered so that this happiness could be unlimited...
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Figure 28
A Chope Phulkari
Surajmukhi
Surajmujkhi, the sunflower, refers to the main pattern of this Phulkari.
From a technical point of view this type of Phulkari is unique as it is the only one that
mixes in comparable proportions Holbein stitch (used to make chope Phulkari) and
the regular darning stitch.
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Figure 29
Figure 30
Surajmukhi Phulkari
Kaudi Bagh
Among their patterns, these bagh include chains of small white squares representing stylized
cowries. Used as currency in the old times these shells have now lost all of their value and
using them as ornaments has thus become a sign of humility.
From another point of view, the shape of these shells can remind of female genitals and
make them become symbols of fertility. Kaudi Phulkari were often worn by women wanting
to increase their chance to become pregnant.
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Figure 31
Kaudi Bagh Phulkari
Panchranga Bagh
Meaning "Five colours", this bagh is decorated with chevrons of five different colours. In The
same way, similar pieces like satranga ("Seven colours") bagh are also available.
Figure 32
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Figure 33
Ikka Bagh
Reference: www.indianheritage.biz/Phulkari.htm
HUMAN RESOURCE
Human resource is one of the key elements of any industry or craft form. In Phulkari, human
resources can be classified into two sections:
Both of these together work towards achieving the complete and final form of what we
perceive as Phulkari work.
Workers
The craft form of Phulkari requires skilled workers to work on the cloth. These workers are
mostly ladies from Punjab, Hariyana and parts of Pakistan and Afghanistan. Phulkari is
basically a very much women oriented craft form and has been, since ages, nourished and
evolved mainly by the fairer gender.
These workers of Phulkari can further be classified into the following parts
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Figure 34
Some of them work for commission as low as Rs. 114 per cloth of Phulkari work. It is worthy
to note here that a small piece of Phulkari work can take as long as a month to get
completed. Full suites may take 4 to 5 months.
Government and NGOs reach out to these workers as a helping hand to some extent.
Government organizes exhibitions as a measure to promote small scale industries like this
one which helps these workers getting some recognition as well as business. NGOs too play
a major role by organizing them into self help groups, supervising them along with providing
them with financial assistance.
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Figure 35
Businessmen
These are the second category of the human resource that is required for this craft form.
These may further be of two categories
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MARKET
The market of Phulkari is always uphill. The demand never gets less. The reason is the huge
acceptability of this craft among the young and the old alike. The businessmen never run out
of business for the following reasons:
GOVERNMENT EFFORTS
The government has put into operation various schemes and made assorted efforts that aim
to promote this craft and support the workers and small scale businessmen.
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Efforts are made by the Punjab government to promote smale scale industries like Phulkari
by setting up Mai Bhago Istri Shakti Team that aims to provide financial assistance to the
women involved in Phulkari craft and giving them subsidy.
Many self-help groups have been formed with the help of government and/or NGOs that
helps the Phulkari workers being empowered. Various women in these groups are expert in
Phulkari work who guide, support and supervise other women.
INTERVIEWS.
Area- Adalat Bazar, Patiala, Punjab.
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Figure 36
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Worker
Q. For how long you have been working?
A. It has been over 50 years. I am a refugee from Pakistan. I settled here after the partition
and violence of 1947.
Q. Is it easy to learn this craft or does it require some extra efforts?
A. This art is quite easy to learn. It takes only 15-20 days to learn this.
Q. Where did you learn this craft? From your ancestors?
A. No, after arriving to India and settling here I took part in a mass workshop that taught
many refugee women like me this craft.
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Figure 37
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INFERENCES
In the making of this dissertation we came across a lot of things and information which led to
the following inferences:
Presently the major centres of Phulkari in our country are Amritsar, Jalandhar,
Ludhiana, Ferozpur, Hisaar, Ambala , Rohtak and Patiala.
The materials that are required in this art work are a base cloth, a design printing
technique which may be manual or mechanical, the thread and in case if required
some extra material for beautification like stones shells etc.
The availability of the materials is not a reason to worry as the initial cost of the
investment is not too high. The materials are easily available in our country.
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The procedure requires quite a lot of time and also great sense of colour because
that is what defines the beauty of the crafted piece.
This art form depicts the nature of people of the state of Punjab i.e. full of life and
colours and versatility making them considered great human beings who know
how to live happily and with great enthusiasm.
This art form was and is still considered a sign of auspiciousness and prosperity
in the state and its people especially in weddings where it is a compulsory
element.
The workers or better say artists who perform this art form are mainly women
who stay in house and adopt this artwork either as a means for living and some
as a hobby.
The women who perform this art for earning their living do this maybe due to the
lack of education which does not enable them to do a job to earn a living.
This information tells that the native state of this craft i.e. Punjab does not have a
fairly good women literacy rate. This shows that people of Punjab still have an
orthodox mind set where educating women is not a priority.
The people who are sellers or marketers of Phulkari work who are the ones who
send this beautiful craft to people, some of them are carrying this as a legacy just
like their fathers and forefathers did.
Dealing of Phulkari work is done in two ways where the first one is like a small
scale industry where the people of the house supervise the working of the
workers and then sell the work and the second who on contract place orders and
then supply.
In Punjab this art form is still being carried by the people whereas the
involvement of their kids or the present youngistan is not very appreciable.
The mainstream embroidery industry gains a lot of from this art form as it
contributes a lot in this field due to its increasing demand.
The workers of this art face a lot of difficulties like the artwork being bought on
low prices by the middlemen and sold on high prices by them to the shopkeepers.
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Being a very time consuming task it becomes quite difficult for part time workers
to complete the set of order on time.
The businessmen who suffer a lot of troubles like the mal practices like providing
a not up to the mark quality of materials to the workers but asking for high rates ,
sometimes end up quitting this business.
Another problem that this art form faced was that after the indo-pak partition the
state of Punjab got split and hence became a crack in the picture.
During the visit to Patiala it was observed that the people of Punjab are very
warm and wonderful when it comes to hospitality.
The people of this state on an individual level promote this art form as they have
an emotional attachment and affection with this art form.
The people have quite knowledge about this art form as they have grown up
seeing this art form being done in their homes and around.
The efforts of the government have also been remarkably good they have taken
various steps to promote this art.
Various subsidies and schemes have been launched by the government for the
welfare of the workers and the businessman.
There are various NGOs who work for people involved in the business directly by
establishing centers where they can sell their work at fair prices.
The international demand and establishment of this art work has given it an
identity and recognition which it wouldnt have been gained without the support
and cooperation of the government.
The spirit of people of Punjab is what is being clearly depicted in this art form
where it comprises of nature related substances like flowers and leaves which
denote the closeness of people to nature being native to the state that lives
agriculture.
The shapes which are used like squares, rectangles etc show rigidity which
depicts the determination and will power of the people of the land of swords.
The usage of vibrant colours showing the joy and happiness which these people
spread everywhere they go .
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The respect of this art form which they carry in their hearts is depicted by the
importance they give to it in one of the most important events of a persons life I.e
marriage
BIBLIOGRAPHY
www.wikipedia.org/phulkari
http://www.psiec.gov.in/phulkari.html
http://www.indianheritage.biz/Phulkari.html
http://pakistansafari.com/land/places/Punjab/phulkari
www.embroidery.cdacmohali.in
http://image.slidesharecdn.com/presentation1-130531114152-phpapp01/95/slide-6638.jpg?cb=1370018632
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Malik S.B. (2011, Nov.). From Silk to Synthetic Phulkari: The Long Journey of a Period
Textile.
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