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Thursday, 28 April 2016

Mekhela Chador- Assamese Handloom


Cotton Chaddar
Mekhela-Chador/chaddar is the traditional dressing of women of all age group, living in Assam(A state in north-eastern part of India). Mekhela-Chador is also known as Dakhona, Danka, khamlet, Phanek.  It consists of two parts mekhela and chador. Mekhela resembles sarong- a large piece of cloth wrapped around lower part of body and tucked at waist. It is worn over a petticoat or underskirt.  Chador is a wrap or dupatta. It is also a piece of cloth, wrapped around upper part of body, over shoulder.  A set of Mekhela and chador appears to be like a saree in two parts.
As per Third National Handloom Census Of Weavers  And Allied Workers 2010, Assam has largest concentration of  handloom worker households (21.7%) in country. Around 8.74 lakh(38.5%) handloom households produce Mekhla-chaddar, though most for domestic use(62%) rather than for commercial purpose. The North-Eastern states have a predominantly female (99%) adult work force and handloom weaving is part of the culture across all social groups. Major type of looms used in the region are Frame looms (78%) and loin looms (21%).
The yarns used are cotton, eri silk, muga silk and pat silk and their combination. Assam’s handloom industry is basically silk oriented as the climate of Assam is suitable for sericigenous flora and faunaFabric is woven in plain or twill weave with check or stripe design and is characterized by a border with extra wrap or weft design. Dying, complex weaving techniques and dense figural decoration are not features usually associated with handlooms of Assam.

References:
1.     Third National Handloom Census Of Weavers And Allied Workers 2010
2.     ARTS &  CRAFTS of North-East  http://ignca.nic.in/craft252.htm#Dyeing


Wednesday, 13 April 2016

Chikankari

Chikankari is the art of hand embroidery practiced in the city of Lucknow(India) and its vicinity. The history of chikan embroidery in India dates back to almost 400 years and is believed to be a Persian craft, that came to India with Noorjahan, the queen of Mughal Emperor Jahangeer. However, Chikankari flourished under the patronage of the Nawabs(rulers) of Awadh(Historical name for Lucknow and its environs).
Chikan embroidery has a repertoire of about 40 stitches of which about 30 are still being used. The main stitches with their traditional names are:

1.    Taipchi: Running stitch worked with six strands of thread on the right side of the fabric. It is usually done within parallel rows to fill petals and leaves . It's considered to be the simplest and the swiftest chikankari stitch  and is used as a basis for further embroidery.
2.    Pechni: In this stitch, taipchi is covered by intertwining the thread over it in a regular manner to provide the effect of something like a lever spring and is always done on the right side on the cloth.
3.    Pashni: Taipchi is worked to outline a motif and then its covered with minute vertical satin stitches over about two threads and is used for fine finish on the inside of badla.
4.    Bakhia: Or Herringbone Stitch also known as shadow-work is a very common chikan stitch, principally done from wrong side of fabric and is of two types:
(a) Ulta Bakhia: A string of criss-cross stitches is made on reverse / wrong side of the fabric underneath the motif. That appears as parllel rows of running stitch from right-side and beautiful shadow of underneath stitches can be seen from transparent fabric .
(b) Sidhi Bakhia: Back stitch with criss-cross Herringbone Stitches of  individual threads. The floats of thread lie on the surface of the fabric. 

5.    Khatao, khatava or katava is cutwork or appliqué - more a technique than a stitch.
6.    Gitti: Stem-stitch , A combination of buttonhole and long satin stitch usually used to make a wheel-like motif.
7.    Janjira: Chain stitch usually used as outlines in combination with a line of pechni or thick taipchi.
8.    Murri: A very minute satin stitch in which a knot is formed over already outlined taipchi stitches.
9.    Phanda: Or knot stitch is a smaller shortened form of murri. The knots are spherical and very small, not pear shaped as in murri. 
Chikankari at Shilphaat.com

10. Jaalis: Or Pulled-thread-work where holes / jaalis or trellises  are made by manipulation of the needle without cutting or drawing of thread. jaalis are created is by pulling apart wrap and weft threads of fabric in a fashion that minute openings are made in the cloth. Shape of openings and the stitches used distinguish one jaali from another.
Traditionally embroidered on muslin with a white thread, but at present all types of fabrics and all colors of threads are. The pattern is block printed on
Block printing 
de-starched fabric or on the semi-stitched garment with fugitive colors, and the embroidery of the garment is then begun. The embroidered piece is then washed, after which the garment is then starched and ironed. The whole cycle can take from one to six months.
Some stitches, ichikan embroidery, are worked from the wrong side of the fabric, while others are worked from the right side as shown in given image. Different specialists work with different types of stitches. 

Friday, 1 April 2016

Plight of Artists

History of art and craft in India is dates back to Indus valley civilization which is more than 5000 years old. Handicrafts are the true representation of changes in lifestyle and culture, India has witnessed, throughout centuries. Handicraft from various region are as diverse as the cultural diversity of India.  Artist Community, that enjoyed royal patronage once, is now living in a depleted condition.  Commencement of cheap and readily available machine made goods were a huge blow to handicraft sector.
Despite being one of major contributor to country’s economy, Handicraft sector is highly decentralized and disorganized. As per data from “Working group report on Handicrafts for the 12th Five Year Plan”, it is estimated that India has 74.17 lakh individuals employed in the sector (in 2010-11) and export worth Rs. 10,000 Cr. Even though, now people have started appreciating and buying handmade art-pieces, but the art and artist are disappearing fast. The reason being, strenuous work pattern, time taken to complete the piece and poor payment. Most of them are not even able to earn more than 30k-40K per annum. Despite of multiple steps taken by Government, to improve conditions of Handicraft and Handloom artists, the condition is far from better.
Only handful of those recognized as awardees or master-craftsmen, obtain maximum benefit from the aids or facilities provided by Government while most still continue living an unknown life. Various government run schemes, for upliftment, are focused on recognized artists. A large number still are not benefited from these schemes and have poor market penetration.
The insights provided, show that most of these unknown artists have to take up some other work also to earn their livelihood. The hands that have got the power to create something beautiful, farmers or as employees of middleman and other “known” artist. They still lack proper access to market. Finally, they have either to settle down selling their work, at much lower price than its market value, to middlemen or other known artists who have easy market access or have to work as bonded labourers .
In its quest to such lesser known or unknown artists, Shilphaat.com came across many such artist who have taken up the art just for their passion or to keep their lineage alive. Most of them have other profession also to support their family needs.