BY :ANSHU SWETA

HARLEEN KAUR
RITU ARYA
 KASHIDAKARI
 Kashmiri embroidery or
kashida is as colorful and as
beautiful as Kashmir itself..

Kashidakari is a style of
embroidery native to Jammu
and Kashmir. This art form
reflects the scenic and
natural beauty of the state.
STITCHES USED
 This embroidery uses various styles of stitches like

 darning stitch,
 chain stitch and
 the buttonhole stitch.
 The chain stitch, be it is in wool, silk or cotton, is done
by hook rather than any needle. The hook is referred
to as Ari.

 . All the embroidery is executed on white cotton fabric,

pre-shrinked by the manufacturers. The intrinsic
worth of each piece lies in the size of the stitches and
the yarn used.
 Tiny stitches are used to cover the entire area the
figures or motifs are worked in striking colors;

 the background in a single color, made up of a series

of coin sized concentric circles which impact
dynamism and a sense of movement to a design.

 Crewel is basically similar to chain stitch. Its also

Chain stitch done on white background, but here the
motifs, mainly stylish flowers, do not cover the entire
surface, and the background is not embroidered upon.
Inspiration
Embroiders often draw inspiration from the beautiful
nature around.

 The craftsmen draw inspiration from the landscape and

the embroidery is renowned for its beauty and richness.


. The main patterns in this region are chinar leaves,
cypress cones, the lotus and almonds.
MOTIFS
 The colors the motifs of flowers, creepers and chinar
leaves, mango etc. are the most common ones.
Fabrics used
 The commonly used fabrics are wool, tussah,
pashmeena (wool derived from the Pashmeena goat),
ruffle silk and cotton textiles.

 An array of colors, which range from the darker shades

to the lighter ones, is used in this work.
products
 Kashmir is known internationally for its style of
embroidery which is found on garments like the
phiran, tapestry, curtains, shawls and household linen.

 Kashida “ in a plethora of mesmerising designs on

chignons , crepes , silk and georgettes for suits , sarees
, dupattas and kurtis for the woman of today .And an
exotic collection of kurtas and sherwanis for the men.

ARI AND CREWEL WORK
 the thread is passed through the ari, hooked needle, and
is always held under the fabric to be embroidered and the
hok is used to pull a series of loops, each emerging from
within the previous, to the surface of the fabric.

 two versions of this technique,the first is used to

embroider on thin fabrics such as silk and fine cotton
cloth, used as stoles and shawls or made into pheran,
which is a loose over-garment, kurta and capes
 Crewel work, although similar, uses a thicker ari and is
normally done on unbleached fabric; its stitches are
bolder and it is used for embellishing yardages used as
upholstery and drapery.

 both cases, the patterns are usually linear abstractions

of the local flora, with the outlines worked first and
the embroiderers are usually men from the Sunni
Muslim Community.
Ari work
Crewel work
Crewel work
TILLA AND DORI WORK
 These embroidery techniques are executed with gold
or silver zari (tilla) or silk (dori) thread, and are used
to embellish pherans, saris and shawls.

 The decorative wire remains only on the surface while

and additional thin cotton thread of yellow or white is
stitched on top of it, thereby securing it by couching.
 Of the needlework in silver and metallic thread there
are two variations - moraskar (knot stitch), zalakadosi
(chain stitch executed in silver or metallic thread) -
which are used on the borders of shawls and choga,
royal gown, to create a raised or braided effect

 The most commonly used motifs are the pamposh

(lotus), chinar, badam (almond) . dacch gurn (grape
leaf) and duin (the flower of the chinar tree).
Tilla work
Dori work
SOZNI
 Sozni is a form of extremely fine and delicate
needlework done primarily on shawls - mainly
pashmina and high quality raffal.

 Designs are created as close as possible against the

ground, and individual threads of the warp are taken up
in the stitching and reinforced with smaller stitches.
 types
 Jamwara - an all over design entire surface is covered with
embroidery
 Jalidar- an all over design wherein the entire surface is
not covered. the design simply grows like a net
 Khatraash-any kind of lines, diagonal or vertical, in the
shawl body
 Dordar khurd- a broad border on the 2 ends of the
shawl, with the minimum width of 3 inches. This is the
broadest border to be found on the shawls.
 Meemdor- a slightly narrower border around 2 inches in
width.

Beldar-This is a narrower border minimum width is
about one centimeter.
Bootidar- any shawl with bootis on the ground.
Babbar-when there are checks in the weave of the
cloth.
Chaarbadaam-4 paisleys on the four corners of the
shawl.
Atthara bootis-18 motifs within the ground of the
shawl.
Hashidar-even narrower-having a minimum
width of about 1 inch.
 The stitch employed is not unlike stem stitch, and only
the outline of the design is embroidered. Only a single
strand is used and consequently, in skillfully executed
sozni, the motif appears on both sides of the shawl.
REZKAR
 This is a form of needle embroidery similar in technique
to sozni; the difference lies in its longer stitches and in
that these are not reinforced with additional stitches.

 Three or four strands of staple yarn are employed and the

fabric used for this ranges from raffal to cotton cloth.

 Rezkar is done on products such as shawls, garments,

table covers, and household linen.