Chikankari
The famous white floral embroidery work of Uttar Pradesh is
'Chikan' which is known for its exquisite artistic superiority all
over the world. For centuries, this fine white tracery on
transparent white fabric has delighted the heart of king and
commoner alike. It is centered mainly in the northern heartland
of India, namely Lucknow, the capital of a large state, called
Uttar Pradesh. It has survived the loss of royal patronage,
suffered deeply at the hands of commercialization, lost its way
sometimes in mediocrity and yet stayed alive, due to the skill
and will of the crafts persons who have handed down this
technique from one generation to another. Literally translated
from Persian, the word means ‘making delicate pattern over
fabrics’.
History
• The origin of chikankari is shrouded in mystery, the earliest evidence being traced to the third century B.C. evident in
the paintings of Ajanta caves.
• Also, in the third century B. C. Megasthenes wrote about ‘White flowered muslin’ worn by courtiers in reign of
Chandragupta Maurya. He described the textile as subtle and rich in texture although colourless.
• It is believed to be used also in the courts of Harshvardhan(around 7th century A.D.) where white signified Royalty and
Sophistication.
• According to a different story handed down within a well-known family of crafts people, the origin should be ascribed
to a mysterious and exhausted traveller who was assisted by one of their ancestors, a simple peasant. The traveller was
so pleased with his hospitality that he promised to teach him an art which will never allow him to go hungry. The
traveller then trained Ustad Muhammad Shahir Khan in the art of Chikankari. Chikankars believe that he was sent by
God himself.
• However, the most prominent belief is that the Mughal Emperor Jahangir’s consort, Noor Jahan, was a talented
embroiderer with a particular fondness for Chikankari work. Jahangir was also enamored by this craft and lavished it
with his royal patronage. He established several workshops to hone and perfect this art form. In this era, the fabrics
used were mostly Muslin or Mulmul as they were best suited for the warm, humid climate.
Stitches used
Chikankari embroidery involves about 40 different stitches
out of which the most common ones are:
1. Tepchi is a long running or darning stitch forming a line.
It is used principally as a basis for further stitchery and
1. occasionally to form a simple shape. Sometimes tepchi
is used to make the bel buti all over the fabric. A
variation of tepchi is pechni and pashni. This can be
seen on panel I-h.
2. Bakhiya, double back or shadow stitch in chikan work is
done from the wrong side of the fabric and the design is
rendered in the herringbone style. The shadow of the
thread is seen through the cloth on the right side. This
2. can be seen on panel I-d.
3. Hool is a fine detached eyelet stitch. Herein, a hole is
punched in the fabric and the threads are teased apart. It
is then held by small straight stitches all round and
worked with one thread on the right side of the fabric. It
3. can be worked with six threads and often forms the
center of a flower. This can be seen on panel II-j.
4. Zanjeera is a small chain stitch worked with one thread on 7.
the right side of the fabric. Being extremely fine, it is used
to finally outline the leaf or petal shapes after one or more 4.
outlines have already been worked. This can be seen in
outlining of flower motif on panel II-h.
5. Rahet is a stem stitch worked with six threads on the wrong
side of the fabric. It forms a solid line of back stitch on the
right side of the fabric and is rarely used in its simple form
but is common in the double form or dohra bakhiya as an
outlining stitch. This is used to make stems in flower jala
as seen on panel I-b.
5.
6. Banarsi stitch has no European equivalent and is a twisted
stitch worked with six threads on the right side of the
fabric. Working from the right across about five threads a
small stitch is taken over about two threads vertically. The
needle is reinserted halfway along and below the horizontal
stitch formed and is taken out about two threads vertically 6.
on the right above the previous stitch. This can be seen on
panel II-h.
7. Khatua(or Khatwa) might look similar to Bakhia, but is
finer and a form of applique. In Khatua, the design is
prepared on calico material. That is placed over the surface
of the final fabric and then paisley and floral patterns are
stitched on to it. This can be seen on panel I-k.
10.
8.(a)
8. Murri and Phanda are the forms of stitches used to
embroider the centre of the flowers in ordinary
chikan work motifs. They are typically French
knots, with:
(a)murri being rice-shaped, as seen on panel I-b
and;
(b)phanda, a millet-shaped one, as seen on panel
II-b. 8.(b)
Gitti is mainly a blanket stich with button hole
9. stitch done to create circular patterns in the form of
wheel like motifs. This can be seen on panel I-f.
9.
10. Ghas Patti is a v-shaped or fishbone stitch worked
with 6 strands of thread. It is mostly used for
making leaves. This can be seen on panel I-f.
11.(a)
11. Jali work gives an effect of open mesh or net
like appearance. Sometimes it looks like drawn
thread work or lace like, but this effect is
produced by pushing apart the warp and the
weft yarns with the help of needle forming tiny
holes that are later tightened to give the cloth
firmness and appearance of a net. There are
numerous kinds of jalis such as:
(a) Sidhaul Jali, as seen on panel I-k.
11.(b)
(b) Makra Jali, as seen on panel I-f.
12. A variation of jali is Hathkati jali which is a
row of square holes specially worked on
border, center of flowers, veins of a leaf. 12.
Hathkati is also called " Point de Paris " stitch.
This can be seen on panel I-b.
15.(b)
Turpai is also significant stitch in chikan work 13.
13.
as it is used for joining two fabric pieces
together. Turpai should have an effect of a thin
thread. This can be seen on panel II-b.
14. Darzdari is a kind of applique work mostly used
to hide seams. It has several varieties, the
popular ones are Kohidarz, Kamal darz,
Shankarpara darz, Muchii and Singbhada
darz. This can be seen on panel I-g.
14.
15. Mukesh(or Mukaish) work is a type of
embroidery that involves twisting thin metallic
threads to create patterns all over the fabric.
Mukesh work can be manifested in two patterns
or ways known as: 15.(a)
(a) Fardi Ka Kaam: Dotted pattern created by
folding wire multiple times enclosing small
part of fabric. This can be seen on panel II-e.
(b) Kamdani: In this, wire is twisted on thread
to create pattern. This can be seen on panel
II-e.
II(b) II(f) II(j)
II(d) II(h)
I(b) I(f) I(j)
I(d) I(h)
Map for Panels
3
1
Motifs used:
• Chikankari motifs are mostly derived from the environment and are stylized
versions of their natural and architectural inspirations.
• Motifs inspired by flora: Floral motifs are predominantly used in chikankari.
Common floral motifs include:
• Tree of life: It is made using combination of various other motifs of 4
chikankari and is also represented as creeper of jasmine or other flowers.
Later it took the shape of Akheri(paisley).
• Akheri: Or paisley is a representation of Mango.[Image 1]
• Peepal patta: Inspired by Peepal leaf which is a holy symbol for Hindus.
• Turanj: Is a stylized papal leaf from Himalayan foothills, sacred for both
2 Hindus and Buddhists.[Image 2]
• Lotus: Used in axis of circular patterns and used as bels in borders (gives
cosmic balance). It is also used as a solar symbol for Hinduism, while in
Buddhism, it is a symbol of Lord Buddha.[Image 3]
• Marigold and Lilly: Mostly used in repetitive patterns of bels.
• Other floral motifs include jasmine, lilies, grapes and fruit buds. [Image 4]
Motifs inspired by fauna: They are mostly used for
symbolic purposes.
1 Fish: Or Mahi represented both in realist as well as
symbolic form it is treated as goodwill and related
with water means a symbol of life.[Image 1]
Peacock: Symbolizes divine force.[Image 2]
2
Motifs inspired by other natural elements include: Mountains,
Rivers[Image 3] and Crescent Moon (a rare motif which has a
religious significance used for few outfits and prayer
caps).[Image 4]
3
4
Motifs inspired from Mughal Architecture:
Jalis: Revealed the underneath skin or coloured fabric to
give an accent of colour to alternate white of chikankari.
These jalis were also the parts of Islamic architecture. They
could be of various types like Tajmahal Jali, Phool Jali,
Bulbul chasm Jali etc.
Other forms of architectural designs(such as that of Mughal
style of Naqashi) are incorporated via motifs in forms of all
over patterns.
