LUCKNOW

MUKAISH BADLA
The Wire Embroidery

National Institute of Fashion Technolgy, Kangra

Batch 2014-18

Natinal Insitute of Fashion Technology,
Kangra
Fashion Design (2014-2018)

Craft cluster initiative
Coordinated by
Mr. Vinod K. Sharma

Mentor
Mr. Vinod Kumar Sharma

Student Core Team
Aanchal Arora
Aastha Sharma
Akansksha Kashyap
Namita Rathi
Nikita Bhalla
Shagann Sharma
Shivani Verma

CRAFT CLUSTER INITIATIVE

The whole purpose of the craft documentation is to bring the design students and the
regional crafts face to face. This has been a part of NIFT curriculum since 1990. Due to
this initiative, the students get a chance to go, explore and be a part of the rural crafts in
their natural region. They also get to have a close study on materials and tools required
to create a product. This has resulted in better and deeper understanding of Indian craft
and the related processes. But it was a onetime project; therefore there was no real ben-
efit as the artisans were still deprived of the appreciation which they deserved.

But in 2003, the NIFT curriculum was rethought and restructured after conducting a survey.
The survey brought a very strong point to lime¬light that NIFT should innovate and bring
the rich Indian craft heritage to the mainstream design industry. After much discussion, the
cluster development program was introduced.

The ministry of rural development also came forward to help in bringing up Indian craft in
association with NIFT. So the main motto of craft cluster is to integrate the different craft
sectors of society and introduce them to mainstream industry. This also focuses on creat-
ing new job and employment opportunities for the artisans and workers.

Along with the ministry of rural development, NIFT was also supported by Office of De-
velopment Commissioner and National Center for Jute Development. Since then, the craft
cluster initiative has been focusing on the overall progress of craft & cottage industries.
Altogether, it intends to develop the marketing, management design & technology skills
of the students.

ACKNOWLEDGEMENT

Throughout the course of this craft documentation process, there were many people in-
volved who helped us at different stages to make this documentation possible in a suc-
cessful manner. This is an effort to thank each one of them for the role they played during
the undertaking of this project.

We would like to thank our faculty members for their support and their guidance from time
to time, due to which we could carry out this project smoothly and without any hitch. Even
after the completion, the respected teachers helped us out in crucial areas in order to
avoid mistakes.

We are highly obliged to our honorable director Mr. S. K. Bala Siddharth who has been
the mainstay and an inspiration to us. We express our sincere gratitude to our Course
Coordinator, Miss Lavdeep Singh and to our Cluster Initiative Coordinator and our mentor
Mr. Vinod Sharma for providing us with the opportunity of visiting the state of Uttar Pradesh
and documenting a part of it’s famous heritage and for his valuable feedback and sug-
gestions.

Lastly we extend our gratitude to all craftsmen for welcoming us and sharing their knowl-
edge and experience with us. Alltogether it was a lifetime experience being in Lucknow
and we sincerely hope our efforts will furthermore strengthen this craft.

PREFACE

India is a country with a wide variety of living crafts that forma part of it’s rich culture
and tradition. Every region has a distinct craft and culture associated with it, often in-
fluencedby various factors like the region’s history, climate, condition and social system.

This craft document is an attempt to understand the socialand economic condition which
influence the craft sector and the community that we have sought to study - ‘Kaamdani
and Fardi ka Kaam’. It is basically a study of the usage of materials, color, form, design
vocabulary and the technique that has evolved over the last few hundred years. Through
this we have also tried to gain an insight into the culture of the city of Lucknow that has
been the home of this craft.

This document has been result of the research that we did in Lucknow. The docu-
ment carries our understanding about the place, people , Craft, Government
help and other such factors which are of direct or indirect relevance to the craft.

The document inclose brief description of the craft “Kaamdani and Fardi “. the pro-
cess of embroidery, about the craftspersons, materials used, techniques, production
cost,market, the condition infrastructure, development and the support from organizations.



CONTENTS

Lucknow Introduction 8-9
Lucknow Map 10-11
Lucknow History 12-13
Geography and Climate 14
Culture and Festivals 15
Language and Cuisine 16
Costume 17
Architecture 18-19
Mukaish Work : Kamdani and Fadri 20-21
Concept 22
Badla : Metal wire 23
Tool 24
Embroidery : Discrete Technique 25
Process 26-29
Type of Stitches 30
Motif Directory 31-33
Craftsmen 34-37
Costing 38
Problems faced by craft 39
Other Crafts 40-41
Chikankari 42-43
Quitabat 44-45
Tharu Applique and Bone Carving 46-47
Market Analysis 48
SEWA 49
Future Scope 50
Contemporary Designers 51
Glossary 52-53
Refernces 54

LUCKNOW

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8

Uttar Pradesh is the most populous state of India and fourth largest state in India. It forms more
than one eighth part of India and constitutes its heartland. It comprises an area of 294,413
square km. The region of Uttar Pradesh has been the heart of much of India’s contemporary
religious and cultural life. It contains the source of the sacred river Ganga which is regarded by
most of the Hindus as the physical and spiritual life source of the country.

Lucknow, the capital of Uttar Pradesh, was founded by Nawab Asaf-ud-Daula. In the olden times,
it served as the capital of the nawabs of Awadh and it is one of the reasons why it is also called
as the city of the Nawabs. The era of the Nawabs bestowed Lucknow with the courteous culture
as well as mouthwatering delicacies for which it is famous today. Even after witnessing tremendous
modernization, Lucknow has managed to retain its age-old charm and glory.

The warmth, the hospitality and the formality of the city have still not been lost. The era of the
nawabs also gifted Lucknow with the literature, music, dance and arts and crafts that draw tour-
ists here. Infact, it was in the streets of the city only that Tabla and Sitar were born. The city of
Lucknow has a magical charm surrounding it. Be it its delicious cuisine or its heart melting culture,
the city leaves an everlasting impression on its visitors.

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Nawab, Aadaab, Kebab and Shabab

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Fig 5. Lucknow map
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Fig 1. The Hoosanabad Emambara

Fig 2. Saadat Ali khan (1720-1739) Fig 3. Safdarjung, (1739-1754) the Fig 4. Shuja-ud-Daula, (1754-1775
first Nawab of Awadh. Very power- second Nawab of Awadh, who the third Nawab in Faizabad.
ful ,he also laid the foundation of made Faizabad a military head-
Faizabad. quarter.

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HISTORY

Awadh forms part of Today Uttar Pradesh, a state of India. Awadh, was established around
1722 AD with Faizabad as its capital and Sadat Ali Khan as its first Nawab, the first of the
Nawabs of Awadh.

Awadh is also known in various British historical texts as Oudh or Oude derived from Ayodhya
region in Uttar Pradesh significant for its connection with the Hindu Mythology. This area before
independence was known as the United Provinces of Agra and Oudh.

The traditional capital of Awadh has been Faizabad which then moved to Lucknow, the mod-
ern day capital of UP. The modern definition of Awadh geographically includes the districts of
Ambedkar Nagar, Bahraich, Balrampur, Barabanki, Faizabad, parts of Terai area (Inner Terai
and Outer Terai), now lies within Nepal (Tulsipur Dang) and main parts of Gorakhpur district.
Awadhi is the distinct dialect of the region.

It was during the year 1720 when the great Mughal emperors began to appoint Nawabs
in order to ensure smooth administration in the province. In the year 1732, Mohammad Amir
Saadat Khan was appointed as the viceroyal of Awadh, in which Lucknow was a major
province. It was then that the powerful dynasty of the Nawabs, which changed the history of
this unknown place. Under the rule of the Nawabs, Lucknow flourished like never before. After
1755, Lucknow grew by leaps and bounds under the rule of the fourth Nawab Asaf-ud-Daula.
Lucknow flourished in each and every aspect, which includes poetry, dance, music and the
other finer aspects of the lifestyle of Lucknow.

It was when the British came to India that Lucknow was made into an administrative capital.
There were many uprisings during the British rule by Indian radicals and many ghastly incidents
left Lucknow with bad memories. However, after independence Lucknow was declared the
capital of the state of Uttar Pradesh by the Government of India. Since then it has progressed
beautifully, merging skillfully the past with the present.

4

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Fig 6. Gomti river

GEOGRAPHY AND CLIMATE

Situated in the heart of the great Gangetic plain, Lucknow city is surrounded by its rural towns
and villages like the orchard town of Malihabad, historic Kakori, Mohanlal ganj, Gosainganj,
Chinhat, Itaunja. On its eastern side lies Barabanki District, on the western side is Unnao Dis-
trict, on the southern side Raebareli District, and on the northern side the Sitapur and Hardoi
districts. The Gomti River, the chief geographical feature, meanders through the city, dividing it
into the Trans-Gomti and Cis-Gomti regions.

As situated on the northern part of India in the state of Uttar Pradesh, It faces some extremi-
ties in temperature in summers and winters. The climatic conditions of Lucknow vary in different
seasons and there is much difference in summer and winter temperature. Lucknow has a warm
humid subtropical climate with cool, dry winters from December to February and dry, hot sum-
mers from April to June. The rainy season is from mid-June to mid-September, when Lucknow gets
an average rainfall of 896.2 millimetres (35.28 in) from the south-west monsoon winds, and oc-
casionally frontal rainfall will occur in January. In winter the maximum temperature is around 25
°C (77 °F) and the minimum is in the 7 to 9 degrees Celsius range. Fog is quite common from
late December to late January. Summers are extremely hot with temperatures rising to the 40 to
45 degree Celsius range, the average highs being in the high 30s.

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Fig 7. Lucknow Mahotsav

Fig 8. Eid Fig 9. Lucknow street

CULTURE FESTIVALS

The culture of Lucknow is still very much alive The heterogeneous mix of people have-
and retains its old world charm even today. helped lucknow residents to celebrate vari-
Popularly known as the City of Nawabs, Luc- ous festivals be it Eid, Diwali, Holi, Christmas,
know is famous for its traditional cuisine, fine Gurupurab, Chup Tazia with utmost devo-
arts and the most courteous people you tion and sincerity.
will ever find in India. The cultural heritage
of Lucknow was pretty much influenced Lucknow festival or Lucknow Mahotsav is one
by the Mughal era and you find that of the grand and pompous festivals in the
Mughal touch in almost everything that town that continues for ten days in winters.
relates to the culture of Lucknow. Be it the The festival is dedicated to the celebra-
lip-smacking cuisine, the delightful music tion of the ancient culture of Lucknow. Every
and dance forms or the conversation lan- nook and corner of the city is adorned with
guage, everything has a touch of the royal a royal vintage look.. Nightlong dance per-
splendor that Lucknow once flourished in. formances and classical thumri, quali, ghaz-
als fill in the air. The entire Lucknow seems
to forget their work, commitments and ac-
tively participate in the fanfare and pomp.

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Fig 10. Children reading quran Fig 12. Tunde kabab

Fig 11. Women reciting prayer in urdu Fig 13. Paan on streets of lucknow

LANGUAGE CUISINE

In Lucknow, languages differ from region to The Awadh region has its own distinct
region. Among the most common languag- “Nawabi”-style cuisine. The best-known dish-
es of Lucknow is Hindi, which is spoken all es of this area consist of biryanis, kebabs
over India. However, the most prominent lan- and breads. Kebabs are served in a variety
guage spoken in Lucknow is the Urdu lan- of styles; kakori, galawati , shami, boti, patili-
guage. Though it is an ancient language, ke, ghutwa and seekh are among the avail-
it is very much prevalent in Lucknow. In fact, ablevarieties. .The reputation of Lucknow’s
the language is synonymous with Lucknow kebabs is not limited to the local population
and is often referred to as Lucknowi Urdu. It and the dish attracts people not only from
is this form of Urdu that is used by most liter- other cities but also from other countries.
ary figures like poets and novel writers.
Lucknow is also famous for its delicious chats,
Urdu is also the official language of Luc- street food, kulfi, paan and sweets. Nahari, a
know. Apart from Urdu and Hindi, many other dish prepared using mutton, is very popular
languages are spoken in different parts of among non-vegetarians. Sheermal is a type
Lucknow. These include the two thousand of sweet bread (paratha) prepared only
year old language called Braj, Awadhi, Ko- in Lucknow. Some restaurants in the city are
shali, Bhojpuri and Koeli. Bhojpuri is a widely around 100 years old; there are also many
spoken language in not just Lucknow but high-end restaurants, bakeries, lounges and
also most of Uttar Pradesh and the neigh- pubs which cater to the affluent class and
boring state of Bihar. foreign travellers.

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Fig 14. Nawaab : Sherwani ; Begum : Gharara Fig 15. Chinakari suit & kurta ; Cap with zardozi & mukaish work

COSTUME

Remnants of the old Avadh Court gave had a major influence on present day cothing of
Lucknow. As Lucknow is known for its rich emroiderery, a lot of silver and gold work was done
in past on clothes which is now replaced by metal work emroiderery.
The men wear angarkha, waistcoat (usually emroidered), wide pyjamas and cloth cap. The
angrakha derived from the Mughal jama, the earliest form of coat known to India.
The women mostly wear chikan salwar kameez or sarees whereas the Muslim women can be
seen in anarkali suit which consists of a long, frock-style top which is known as the anarkali.
The salwar, also known as the churidar, for an anarkali is usually slim, similar to that of leggings.
Gharara is also worn which is consists of a kurti (a short, mid-thigh length tunic), a dupatta
(veil), and most importantly, a pair of wide-legged pants, ruched at the knee so they flare
out dramatically. The knee area, called the gote in Urdu, is often elaborately embroidered
in zari and zardozi work.

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ARCHITECTURE

Lucknow’s buildings show different styles of architecture with the many iconic buildings built
during British and Mughal era. More than half of these buildings lie in the old part of the city.
The Uttar Pradesh Tourism Department organises a “Heritage Walk” for tourists covering the
popular monuments. Among the extant architecture there are religious buildings such as
Imambaras, mosques, and other Islamic shrines as well as secular structures such as enclosed
gardens, baradaris, and palace complexes.

Fig 16. Rumi Darwaza

RUMI DARWAZA

The Rumi Darwaza and sometimes known as the Turkish Gate, in Lucknow, Uttar Pradesh, India, is
an imposing gateway which was built under the patronage of Nawab Asaf-Ud-dowlah in 1784.
It is an example of Awadhi architecture. Being an entrance to the city of Lucknow, Russell, the re-
porter of The New York Times who accompanied the victorious British army that entered Lucknow
in 1858, after India’s First War of Independence, had called the stretch of road from Rumi Dar-
waza to Chattar Manzil the most beautiful and spectacular cityscape that he had ever seen,
better than Rome, Paris, London and Constantinople. The Rumi Darwaza, whichstands sixty
feet tall,was modeled (1784) after the Sublime Porte (Bab-iHümayun) in Istanbul. It is ad-
jacent to the Asafi Imambara in Lucknowand has become a logo for the city of Lucknow.

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Fig 17. Bara Imambara

Fig 18. Chota Imambara

BARA IMAMBARA CHOTA IMAMBARA

Bara Imambara in Hussainabad is a colossal Popularly known as the Chhota Imambara,
edifice built in 1784 by the then Nawab of Luc- the Imambara of Hussainabad in the old city
know, Asaf-ud-Daula. It was originally built to is one of the most beautiful and attractive
provide assistance to people affected by buildings. This Imambara was built by Mo-
the deadly famine, which struck the whole of hammed Ali Shah in the second year of his
Uttar Pradesh in the same year.It is the largest rule in 1839. Mohammed Ali Shah must have
hall in Asia without any external support from built this Imambara as a token of allegiance
wood, iron or stone beams.The monument to his faith and as gratitude for the lucky
required approximately 22,000 labourers windfall, that he never expected at the fag
during construction. The Bara Imambara is end of his life, when he was 63 years old
known for its incredible maze called Bhulbhu- and infirm, to be chosen by the British and
laiya. This is located in the upper floor of the crowned as the third King of Oudh (Awadh),
monument. A stairway leads to this level. One of which he wasn’t even a claim.
can view a scenic panorama of the city from
the top of this monument, which is absolutely
breath-taking.

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MUKAISH BADLA : KAMDANI AND FARDIKA KAAM

Mukesh work also known as Mokaish, Mukeish or Mukaish is a type of embroidery done in
the capital of Uttar Pradesh Lucknow. This type of embroidery involves twisting thin metallic
threads to create patterns all over the fabric. Although the most common pattern is dots,
other patterns are also created in Mukesh work.

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Embroidery has been a source of income in Lucknow for centuries. Mukaish work is an integral
part of Lucknow’s history as it originated in this city. This form of embroidery was first devel-
oped for the royalty that resided in the city as part of their finery since Mukesh work initially
used precious metals like gold and silver to make threads. This embroidery has been and still
is used widely to enhance the beauty of a chikankari garment. More often than not, heav-
ily embroidered chikan garments have highlights of Mukesh work amalgamated into them.
Mukesh work is said to be an expensive as well as labor and time intensive craft which has
diminished in status and popularity over the years. There are now only a handful of kaarigars
who are adept at Mukesh work embroidery. Most of them are from the Muslim community
and live as well as work in the narrow by lanes of an area called ‘Chowk’ in old Lucknow.

Under the cultured, sophisticated influence of the rulers of Awadh, Kaamdani and Far-
di ka Kaam flourished. Patronized by the rich nawabs, favoured by local rajahs, sul-
tans and zamindars and became a very intrinsic part of Lakhnavi grace and culture.
Workshops were established wherein this embroidery was practiced and perfected.

According to some old craftpersons this craft is being practiced in Lucknow for al-
most more than 200 years. But it did not originate in Lucknow. It flourished in the Mughal
Court at Delhi in the 16th and 17th centuries. When the Mughal courts disintegrated
the artisans scattered across the country. Some of them came and settled in this area
and developed this craft further. It gained a meaningful presence in Lucknow and its
surrounding areas sometime during the late18th and early 19th century when it was
brought to the Lakhnawi courts of the nawabs.

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THE CONCEPT

Mukesh work transpired as a way to beautify chikankari embroidery. As the metallic threads
used in Mukesh work were initially precious metals such as gold and silver, this craft was
capital intensive. This work is done usually on chiffon and georgette fabrics. However, cotton
is also another viable option since chikankari on cotton is renowned throughout the world.
Mukesh work embroidery can be manifested in two patterns or ways known as Fardi Ka Kaam
and Kamdani. These patterns are created during the process of Takaayi and have vastly
different end results in terms of their design.

Fig 19. Fadri dots Fig 20. Kamdani

FADRI KAMDANI

Fardi, literally translating into “dots”, is the In Kamdani, the wire attached to a small
most basic yet amazing type of Mukaish length of thread is pulled through the fabric
work. Dots are stitched in different sizes and with a needle, beautifully working into motifs.
patterns. Size of the dot depends on the This is also referred to as ‘fancy kaam’. Kam-
width of the wire and the pricing of the work dani is fast becoming a rarity and most of
depends on the size of these dots, the most the craftsmen are elderly men.
intricate or smallest being most expensive.
Fardi ka kaam is usually done by women During the making of the kaamdani if the
from their homes. There are many sizes and wire get short the craftsman join another
patterns in which these dots are stitched wire to the end with a link and continue. It
and each has a different name. is ensured that the link is kept on the outer/
facing side of the fabric so that it can be
Hazaar Batti : Characteristic of Lucknow, it is finished later with kaudi. These finished ends
the thousand dots design and joined links ensure user comfort.
Tikki : These manifest as flattened sequins
Challa: Translates and manifests into ‘rings’

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BADLA : METAL

Fig 21.. Badla wire in different colors

Badla is basically a flat metal thread used for the embroidery .In the traditional method of
producing badla, a bar of pure silver is beaten and pulled through successively smaller
holes in a flat, perforated steel plate with the help of plier till silver wires or threads of the required
diameter are obtained. These threads, are very fine and are absolutely uniform in diameter, and
aresoftandflexibleaswell.Forbadlawork,thewiresareflattenedintothinstrandsbylighthammering.
For gold badla, the bar of silver is covered with three layers of gold, and placed in a fur-
nace till the gold and silver are diffused. The bar is then pulled through the perforated plate
to obtain gilded thread that is subsequently beaten. Earlier real gold and silver badla was
used , but presently aluminium wires are used.
These days there are a very few designers who use pure gold and silver badla for high-end
embroidery. Less expensive embroidery is done with metal threads produced with copper
or steel base and are chemically gilded. Silver badla has traditionally been preferred for
kamdani, embroidered on white fabrics. It creates a formal, rich look without being overly
gracefull. Though traditionally the embroidery was done only on fine white fabrics, kamdani is
now worked on a variety of fabrics and on different coloured fabrics resulting in
striking effect.
The climate plays a very important role as the badla turns black beacuse of the moisture
content in the atmosphere. Very good care has to be taken while handling the sample,
because once the product starts turning black, it looses its Badla affected by the climate
change Kaamdani And Fardi ka Kaam beauty. These days badla is enamled with either gold
or silver to avoid blackness due to climatic change, so that it’s shine and beauty remains
intact and hence the quality.

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TOOLS

Fig 22. Needle Fig 23. Porcupine quill

Needle Siyahi ka kaanta
(porcupine quill)
The wire attached to a small length of
thread is pulled through the fabric with a It’s a very fine instrument which is used to
needle. Earlier in fardi and kaamdani the make mall fine holes in the fabric. For open-
wire (badla) was used as a needle, the work, the fabric is pierced with a porcupine
reason being, it was strong enough to pass quill or pointed sticks made of ivory, wood
from the fabric . But now due to the bad or bone into the fabric .
quality of the badla needle is used.

Fig 24. Shell burnishing Fig 25. Pinwass

Shell - burnishing Pinwass

After the emboidery is done on the fabric. It is pointed tool, which is used to perfo-
It is laid flat on a blanket and rubbed over rate the motifs on the khaka (butter papar).
with a cowrie/shell as this flattens and bur-
nishes the wire. This is done to smoothen the
wire’s sharp edges and also to impart shine
and lusture.

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EMBROIDERY : DISCRETE TECHNIQUE

“Embroidery with badla requires a lot of skill and attention as after a few stitches, the badla
tends to get twisted, just like a regular thread does, in the course of making stitches. The
Badla (silver coated aluminium wire) is attached to the thread of the needle. As the needle
passes through the cloth, tightened around the finger, the succeeding folds of the wire on
the cloth make the knot or the buti. Fardi and kaamdani both are done through the folding
of the wire. The three most important terms in kaamdani and fardi are: Tod (break), Mod (turn)
and Jod (joint). This is particularly important in badla work. Attention is being taken during
“Tod, Mod and Jod” so that the motifs are continuous and flawless.

Fig 26. Karigar doing embroidery on fabric Fig 27. Karigar showing the final piece

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PROCESS

Fig 28. Pinning of khaka

Fig 29. Applying neel Fig 30. Tracing the motif on khaka

Step 1 : Preparing Khaka Step 2 : Chapaayi

Good quality embroidery starts with per- The motif is first printed on the fabric using
fectly made khakas or paper patterns. Fine a mixture of gum and neel (indigo powder).
line drawings of motifs are made on butter This print can be transferred onto the fabric
paper by pen or pencil, and a craftsperson using either a block or a perforated paper
perforates the paper according to the de- stencil..
sign made.

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Fig 31. Metal wire used as thread for embroidery Fig 32. Rubbing of glass bottle over the embroidery

Step 3 : Takaayi Step 4 : Ghutaayi

The metal that is being used is usually in the Once the embroidery has been done, the
form of a wire. These are first stretched into fabric is spread out flat on the ground over
strips and are then passed through the fire a blanket (so as to avoid accumulation
so that the metal takes on different hues. of dirt and stains). The embroidery is then
This is then cut into wires of finer breadths. rubbed thoroughly over with a glass bottle
Next, they are beaten using a smalle ham- or cowrie shells. This is done to work out any
mer so that the density of the wire is al- lumps in the embroidery. It also burnishes the
most paper thin. Only when such density is metal and leavesit brighter and shinier.
achieved thenthe wire is weaved in and out
of something as delicate as a fabric.

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The three most important terms in kaamdani and fardi are: Tod (break), Mod (turn) and Jod (joint).
This is particularly important in badla work. Attention is being taken during “Tod, Mod and Jod” so
that the motifs are continuous and flawless.

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Fig 33. The needle is passed through the fabric Fig 34, Embroidery is done according to the
printed design on the fabric.

Fig 35, Fold the tip of the wire and attach it to the Fig 36. The Kaudi is pressed and rub on the fabric
thread as a hook to make the edges of the wire smooth.

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TYPE OF STITCHES

The badla is treated like a thread, embroiderers work a variety of stitches. Over time, several
stitches of chikankari were absorbed by kamdani work, giving it the elegance of chikankari
with the richness of badla.
These include satin stitch (lote), long-cross stitch (kangan), a square with a back stitch (ro-
zan), button hole (meharki), satin stitch encircling fabric (kauri) and long button hole with eye
in the centre (bijli). Once you learn the technique, you can develop it and create a variety
of stitches that look rich and beautiful.”
The other better known stiches are as follows :-
- Karanphool (basically a straight line flower)
• Mundaphool (petalled flower )
• Patta (leaf )
• Ring design
Incidentally all the various stiches of chikankari can be done on kaamdani, thats the reason why
the craft is known as “gold and chikankari work “. Making aluminium wire stiches on cloth requires
a more strenuous effort than simple cotton thread. While silver badla is mostly used, gold and
multicolored threads creating exotic patterns are rare. The needle work is first done on white
chiffon and later the cloth is dyed to the desired shade , the color of the wire is unaffectes by
the dyeing process.

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MOTIF DIRECTORY

Traditionally, floral motifs were the most popular in kamdani work; geometric motifs were few.
The flower motifs of jamdani weaves and the jali (mesh) of chikankari were absorbed in
kamdani. Today there are different types of jalis worked with badla, which create different
patterns such as a wave pattern, parallel lines, stars and diagonals.
The motifs usually found in fardi are salami patti, ring, Kairi buti, tiki, kut, inner circle karan, mundi
patti, banarasi, chunar patta in Kashmir, kanta, nukili patti, pinwass.

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CRAFTSMEN

“Without craftsmanship, Inspiration is a mere Seed shaken in mind.”
– John Brahms

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Name - Imran Mirza Name - Nasreen Qureshi
Age - 44 Age - 42
Gender - Male Gender - Female
Address- Aminabad, Lucknow Address - Khadra near lal pull, Lucknow
Occupation - Shop owner and Badla Occupation - Freelancer worker
craftsman Experience - 30 years
Experience - 60 years Family Members - Two children
Family Members - Three Due to her father’s demise she got in-
Income - Two lack per annum volved in thi craft when she was 10 years
He is a shop owner in aminabad. Imran ji old to earn a livelihood. Now she is an
takes bulk order for embroidery and further intermediator between the workers and
passes it to the karigars in bazaar itself. It the wholesalers. She has hired 8-9 mar-
takes 8-10 karigars to complete a chiffon ried and unmarried girls who works from
dupatta with allover floral motif in a day. home and delivers the piece back to her
The price of the motif starts from Rs. 400 when the work is completed. The income
and further varies depending uponn the is fluctuating as it depends upon the
motif. orders which she gets per month.

35

“Bas ye khwab hai ke is kaam ko zyada se zyada logo tak
pahuchau, aur log is kaam aur is hunar ki tarif kare”.

Munneji, aged 61 yrs, is part of a family that has been practising Kaamdani since almost
150 years. Family – He is born and brought up in Lucknow only, has a wife and 4 children of
which two are settled abroad and 2 are studying in JNU at Delh. He works for almost 16 – 17
hrs a day, he earns almost 10 – 15 thousand per month.

His father moved back to Lucknow in 1972 from New Delhi where he joined his Chacha. After
a few years, there were very few karigars left in the area.. Many of them had quit working in this
field because of the money (income) they used to get. The artisans get only Rs 100 - 150.

Munne naga is on a better condition than the rest of other craftsmen as he owns a shop of
his own, has a retail outlet in Lucknow and one in Delhi. There are no middle men between
him and his customers.

Based on the intricacy and the patience that they need while embroidering, is nothing com-
pared to the wages that they get in return. He told us that the climate has a great influence
over the badla , it turns black, because of the moisture content, so one needs to take great
care while handling it .The costing or the price of the product is decided by the amount of
fardi used. The usual cost is 100rs for 3000 dana.

36

“ Shauk “ maa baap ko dekh aaya, paise ne
majboori bana di.

Hedat Mehandi belongs to Lucknow, and has his family staying here for more than 70 years. He
lives with his wife 2 sons and a daughter. All 3 of their children were either studying medical or
engineering, which made us curious enough to ask, why isn’t anyone involved in what he did.

He said he doesn’t want any of his children to enter this field as there is no income. He also
said that generally this is the mind frame of all the artisans who are working in this area, they
don’t want their chidren to enter, which obviously means the death of this beautiful craft.

There are definite ups and downs, at times they get work for continuously 3 months or more, and
there are also times when there is almost no work for 3 months. The peak time or the busy season is
“Sept - Dec “. He gets customers from all over the world, as whatever they make mostly gets export-
ed to places like Iran, Dubai , and the rest is bought by people from different places within India.

Another disheartening story that we heard was , the customers who come to them , just give
them the fabric over which they want the embroidery to be done, and come back when
the product is ready, which means absolutely no additional money to buy the raw material,
or even pay the majduri (labour cost), which almost feels like exploitation of the craftsmen .

The craftsmen have to manage things on their own only, the material is so expensive these
days because of which the debt keeps on increasing as they don’t have the money
to buy it, so when the season comes, they pay their debts off .

37

COSTING

COSTS COST OF THE PRODUCT

Labour Cost Price of the final product depends on the
Current wages for kaarigars depend upon type of fabric,dimension, and the labour
the type of work.undertaken generally, charge.
craftsman wages are determined by stitch
type, amount of work and type intricacy the An estimate is done by the kaarkhandar be-
price rate systems keep changing. fore placing order.

Dot work rates Cost of the fabric + Cost of the material(wires)
50 Rs./tola for 3 round work (*1 tola=50 which is done by calculating the dots on
wires) the sample design and estimating the num-
100 Rs./tola for 5 round work ber of times it is printed on the fabric+Cost
of dye+Washing+Charak+Stitching.
Fancy work rates
250 Rs./tola

Women workers earn 30 Rs./day. They pro-
cure orders from stores through middlemen.
This arrangement reduces their bargaining
capacity to get better wages for their work
and makes them vulnerable to exploitation.

38

PROBLEMS FACED BY CRAFT

Time consuming process : The Mukaish Lack of product diversification : The ig-
Badla is a lengthy and very time consum- norance of craftsmen about their mismatch
ing process as just to get a refined wire for with the demand in market and their sup-
embroidery, it takes days. For having handi- ply. Some craftsmen that are educated has
crafts it takes lots of hand tasks and efforts changed with changing world but some still
making Mukaish Badla a time consumer needs to be informed about what is required
and taking away the approaching peo- by the market that they can accomplish.
ple back to the fast life fast textile products.

Lack of dispersion of teachings : Young Drop in the demand of products : The
Generation of traditional craftsmen is not changing mindsets and taste of the fast liv-
keen to take up craft practices as it is ing world has dropped the demand of Mu-
less rewarding and there is no scope and kaish Badla. As there is no change in the tra-
money in this field. The young generation ditional motifs and the looks of the products
is glittered by the fast moving fast money on the other side they can have embroidery
life. The teaching of Mukaish Badla should which is more refined and contemporary. In
not be left confidential with craftsmen it this globalized world where everyone have
should spread to the capable learners too. access to new why on will go back to old? This
thinking has killed the presence of the craft.

High maintenance : The main problem that Lack of Consumer awareness : The igno-
Mukaish faced has is the badla (wire) get- rance of informing the Consumer about the
ting affected by the climate change, as expensive-ness of this craft and the laborious
after wearing the garment and not mainta- tasks performed for this printing will enlighten
ing, it leads to wire losing its actual colour. the consumer, so the demand of this craft.
But when you are going for something like
handicrafts you need to maintain it too.

Laborious production process : Being High production cost : As mentioned
a handicraft, Mukaish Badla requires lots above the process is time consuming
of skilled labor. This increases the labor as well as laborious process adding up
cost which makes this craft very expensive. the cost of the production of this craft.

39

OTHER CRAFTS

40

For a city whose arts and crafts heritage has witnessed a chequered existence, those that
have joined the list of extinct ones far exceed the few that have survived the times to emerge
as living traditions.
Whether it be lucknow’s once famous fish - design bidri - ware which flourished during the
nawabi era and dissapeared with the fall of its patrons , zarbuland , the modified dam-
ascening on polished surfaces , or gold and silver plating , or the glass-work industry ,
which was initiated by the celebrated artisans from Multan, all have vanished ,leaving be-
hind a few items in museums and private collections to prove thier once-thriving existence .
While horncraft and the miniature clay toy industry are at the brink of extinction
, others like the sacred art of Islamic calligraphy , daraj ( a variant of luckno ap-
plique work joined at the seams), the fish- scaled applique art tukri ka kaam , and the
traditional block printing , are all struggling hard for survival in host circumstances.
It is only chikankari , the shahi kaam or zardozi and kaamdani , and the bonecraft that
have emerged as winners through the past century - the first because of its impact
among the fashion cognoscenti and the rest all thanks to a burgeoning export market .

41

CHIKANKARI

The craft of Chikan work, often referred to as Lucknow Chikan, is over 400 years old with a
firm presence in the Indian and global fashion arena. Chikankari is a subtle embroidery,white
on white,in which minute and delicate stitches stand out as tedxtural contrasts,shadows and
traceries Some stitches are worked from the back and some from the front.In a unique,anokhi
chikan,the stitches donot appear at the back. The art form incorporates approximately 36
different stitching techniques that in modern times are often combined with embellishments of
pearls, mirror and Mukaish.
Though traditionally it was done on Muslin cloth, white thread on white fabric, today it can
be seen on various fabrics and colors, popularly pastels. While its central hub and place of
origin is Lucknow, Chikan work has spread far and wide within India, with West Bengal and
Awadh also specializing in its production.
Due to the strong influence of Persian aesthetics on this craft, flowers have been a staple in
Chikankari designs. The types of flowers (including their stems, Buti, leaves and Paisley motifs),
as well as their stylizations, have varied throughout time to keep up with fashion trends, but in
general have remained fairly intricate and delicate.

42

Fig 37. Cotton coloured Fig 38. Tools : frame, cloth, needle and scissors

Fig 39. Wooden blocks for printing Fig 40. Wooden frame and needle used for chikan
embroidery

Fig 41. Chikan embroidery on fabric
43

QUITABAT-CALLIGRAPHY

Calligraphy is one of the most ancient arts of the world. It is an art of writing words or phrases
in a captivating forms and style. Quitabat is a highly eminent form of artistic expression in the
Muslim culture. It is important because it is derived from the holy book of Quran. Calligraphy
became an instrument for expressing the God’s words which were recorded in Arabic script.
Since the craft inclined towards the Muslim culture and tradition therefore it is practiced
mainly by the Muslim communities and that to mainly by the men. They used various ways and
mediums to decorate their buildings, manuscripts, paintings, textiles, metal and ceramic ware,
carpets etc.
In Lucknow the art form flourished during the period of the Nawabs. Different verses from
Qurans were written on either paper or precious/ semi-precious stones in artistic form and
decorated in palaces, homes etc.. For carving various carving tools like chisels and hammers
are used. These tools were traditionally made by the artists themselves according to their
need. For writing on papers traditionally the artist uses stylus made out of Sarkanda, (Sac-
charum spontaneum) also called as elephant grass. These styluses are traditionally called as
Qulam, which helps in obtaining perfect balance between the structure and flow of various
circular word forms.
The tip of the Sarkanda was cut in an angle mostly at 45 degrees. The angle decides the
thickness of the lines. Sarkanda pens were replaced by G-nibs and now with availability of
different calligraphy pens the traditional Qalams are losing their hold.

44

Fig 42. Shazarai-eTayaibba,tree of the
pure, with the names of the 12 Imams,
leaders,have been elegantly inscribed
in gold paint on the leaves and at the
base of the tree.
Fig 43. Shabihi-zuljeanah,thebrave and
faithful horse of Hazrat Imam Hussain,The
grandson of prophet Mohammed.

45

THARU APPLIQUE

THE THARU WOMEN use applique to ornament their traditional garmentsghaghra-
choli,men`s caps,jackets and pouches.In this type of applique,incisions are made on the
top fabric that is hemmed down on to base fabric.thus the form is revealed in the reverse.
Shapes are not cut out from the fabric as is the reverse.Shapes are not cut out from the
fabric as is the case with most appliques.In Bihar the technique is referred to as khat-
wa and in Gujarat as katb-both words suggestive of making cuts or slashes in the fab-
ric.The background fabric is darker than the colour of the applique and the appliqued
ayer covers the surface extensively.The pattern are rectilinear and geometric,comprising
triangles,fine lines and colourful borders.The fabric is bought from wandering salesmen
and bright colours are preferred. Rampur is also a big cluster where appliqué is done.

An appliqué called daraz, a remarkable seam detail used in the hand stitched garments
worn by the nawabs, royalty, is unique to lucknow. Daraz is done to join two pieces of fabric
with two seams that are done on either sides of fabric. motifs such as the fish, leaf, flower, and
star are the cutout from used.

Fig 44. Tharu applique on child’s jacket Fig 45. Tharu applique fabric

46

BONE CARVING

Lucknow was an important centre of ivory carving in Uttar Pradesh.It extensively produced
court objects for the Nawabs of Avadh-sword and dagger hilts,plaques to adorn the
sides of carrigages and howdahs,chessmen,miniature figures and utilitarian objects like
combs,bangles and mirrors.The British introduced ivory on furniture.Since the worldwide ban
on ivory,craftsmen have been carving camel and buffalo bone with great skill.
The work is of two types in Lucknow.The jaali,lattice work,characteristic of Mughal architecture
is carved extensively on jewellery boxes and table lamps.For jewellery,different shades of
camel bone and even dyed pieces are often used.Carving in the round,comprising hunting
and forest scences complete with elephants,tigers,parrots,peacocks and flowering trees is
done on thicker bones.Carved elephants in procession are popular in the European market.
Trinkets are sold at Jaipur and Ajmer in Rajasthan.The openwork products are exported at
Saudi Arabia.

Fig 46. Bone carving on different showpieces

47

MARKET ANALYSIS

Being in the city of nawabs, which marks the origion of so many beautiful crafts is a new
experience , which both of us could feel, going from the lanes of Aminabad, Chota
Imambada, Hazratganj and so many more such market places , we could already see the
difference within all these different types of market we visited One could easily compare
between the craft that literally got cultivated in lucknow and the changes the craft has
gone through the years .

Hazratganj being a new market one could see the changes in the motifs and in the motif
library . We basically categorised the market of lucknow as NEW and OLD . The catego-
rization was done in this way so that we could compare the difference in the motif library ,
product range, originality .product range , material being used. Places like Aminabad, Chowk,
Chota Imambada, Muftiganj were in the old market, places where the craft had grown The place
wherewelearntaboutthecraft,itsorigin,thewayitsmade,andalsothechangesithasgonethrough.

The contractors collect raw materials from the traders/ entrepreneurs distribute these among
individual artisans at their houses, negotiate the labour charges and they pay them after
work is completed and return the finished/ semi finished items to the traders/ entrepreneurs
after obtaining payment from them on piece rate basis as initially settled. Traders/ entre-
preneurs distribute these among individual artisans at their houses, negotiate the labour
charges and they pay them after work is completed and return the finished/ semifinished
items to the traders/ entrepreneurs after obtaining payment from them on piece rate basis as
initially settled.

The striking contrast between the new and the old city was unavoidable. The striking dif-
ference that we could see was between A Big Showroom in Hazaratganj “then and
now” was in the price or the state of the craftsmen or the artisans. The artisans who still
work in the addas or have no ties with organization like SEWA or the middlemen who
give them work their condition is real bad as the labour cost that they get is so minimal
. For all the hard work that they do keeping the craft still alive , the returns that they get
is upsetting to see. On the contrary people who have shops in places like hazaratganj
or any other posh places, the returns that they get on the same craft is unimagniable .

48

SEWA : The Self-Employed Women’s Association of India

Crafts sector is the second largest employment sector in India. There are 23 million crafts
people in India today. Self-Employed Women’s Association (SEWA-Lucknow) is an autono-
mous organisation .It was set up in 1971, the main achievement ang goal of SEWA has been
craft revival and a fair share to the karigar .Runa Banerjee has been with SEWA since the year
1979. The organization started with 31 members and now there are over 4000 members.

Since 1979 there were constant interactions with the community for understanding the
need of becoming selfreliant as well as a support for the earning members in the fam-
ily. Regular value for work earning which will enable them to contribute respectable
amount in the family. Some sit in groups with the pieces they are working on. There is over-
all a peaceful and welcoming atmosphere, its a place where workers are not stressed
and are confident and eager to meet new people. They are upbeat about the craft
that they know and are also ready to learn the changes the craft is going through.

Unlike the other karkhanas , where the owners are scared of competition and not open
to meet new people. In big karkhanas ,the condition of the artisans is bad in com-
parison to the wages and the working enviorment to the artisans working in SEWA.
If the karigars fail to produce the work on time, no efforts are made to see as to
why there has been a delay and the wages are deducted. Where as in SEWA ample
time is given to the workers to finish a piece and interest is taken in whatever they do .

The gap between the karigars who make the pieces and the shopkeepers who market them
is rapidly increasing . More and more middlemen ar coming in to make a multi-tiered struc-
ture, where the craftsmen is the lowest , when it should be the other way round The sho-
powners sells the product at whatever price they want to, and make profits a s much as
possible but the craftsmen are given the minimal wages . where as they are the ones who
should get a substantial wage , so that they can fulfill their needs and live a good life
and also that it makes them confident of what they do.

In case of S.E.W.A , the monthly salary of the artisans is alreast fixed, over and above which
they earn money printing or embroidery per piece. The craftsmen here earn upto 1000
rupees a months and specialize in this field . As there are no middle men involved in SEWA,
theres no explotation of the craftsmen .

49

FUTURE SCOPE

Craft is not too old,
And it’s not too late to Im-

prove.

There is always a scope of opportunities for the improvement. So has Mukesh Bdla, as given below:
Reforms in Education : To encourage the learnings and teachings of crafts ones has to start this
on basic school level. By promoting craft as subject on early age of education will root the people
with craft. Thus, encoring people to choose it as a good career option. This will open the gate of
possibilities and opportunities for the craft sector. Through this we will be able to find capable
people for the journey of sustainability of craft. And this dabu will lead a good future ahead.
Bringing traditional Craftsmen into main stream : If we will let the skilled Craftsmen teach
these subjects in school, this will not only employ them but also teachings will be spread
on a huge scale to the people. Hence building the craft the respect that it deserves.
Design intervention in craft sector : Just like Mukesh Badla, many handicrafts are wiped out or
are on the verge of it. One of many ways to help Mukesh Badla from the extinction is, design inter-
vention. By contemprorize will help it to survive in the market and may increase it demands further.
Promotion and Public Awareness : The foremost thing for the sustainability of any-
thing is Awareness. So is for crafts like Mukesh Badla, ones need to know the beau-
ty of this craft which is losing its importance in the globalized world. Globalizations
should help promoting this craft not letting it down. Surajkund mela and many more ini-
tiative steps are dwelling but there is need to emphasis on the craft more on basic level.
Ones need to think to save the craft first; this will automatically generate the scope of em-
ployment for the skilled labors as well as craftsmen.

50