Dissertation Final 1 PDF

DISSERTATION REPORT
ON
PHULKARI
B. Arch 1st Year
2018-2019
Submitted by
AAKARSHIT JAIN
Guided by
Prof. S.M. Akhtar
Dr. Qamar Irshad
Ar. Madiha Rahman
FACULTY OF ARCHITECTURE & EKISTICS

JAMIA MILLIA ISLAMIA
NEW DELHI-110025
Faculty of Architecture & Ekistics,

Jamia Millia Islamia, New Delhi
Certificate
In the partial fulfilment of the B. Arch (1st Year) degree program, this is to certify
that ‘Aakarshit Jain’ has worked on the Dissertation Report entitled “Phulkari”
under our guidance and supervision.
Prof. S.M. Akhtar Dr. Qamar Irshad Ar. Madiha Rahman

Dissertation Guide Dissertation Guide Dissertation Guide
Prof. S.M. Akhtar Prof. Hina Zia

Head of Department Dean
External Examiner 1
External Examiner 2
DECLARATION
I, Aakarshit Jain, hereby declare that the Dissertation entitled ‘Phulkari’ submitted
in the partial fulfilment of the requirement for the award of the degree of Bachelor
of Architecture (1st Year) is my original research work and that the information
taken from secondary sources is given due citations and references.
Aakarshit Jain
Date: 14/04/2019 Bachelor of Architecture (1st Year)
Place: New Delhi
2018-19
ACKNOWLEDGMENT
I would like to thank the F/o Architecture and Ekistics for providing me the opportunity to
undertake this dissertation.
I express my utmost gratitude to my guides for their constant guidance and encouragement that
made this work possible. I would also like to extend my thanks towards all my primary and
secondary sources of information, whether it was on the World Wide Web, or in public libraries,
or based on word of mouth. Due credit has been given.
Finally, I would like to thank my parents, all my comrades and classmates whose continuous
support was an enormous confidence booster in helping me carry out this research.
AAKARSHIT JAIN
B.Arch. 1st Year
F/O Architecture and Ekistics
Jamia Millia Islamia

LIST OF ILLUSTRATIONS
Title Page No.
Fig 1 ‘A craftsman from Ludhiana, practicing Phulkari’........................................09

Fig 2 ‘Heer of the famous tale Heer-Ranjha, wearing Phulkari ’…………….12
Fig 3 ‘Punjabi women in Phulkari Odhnis’…………………………………..14
Fig 4 ‘Mr. Vimalpreet Bhalla working on a Phulkari frame’………………...16
Fig 5 ‘Mr. Suman Kumar, owner of Navkar Creations,
working on a design’…….…………………………………..……….17
Fig 6 ‘Workers holding Base cloth’………………………………………….19
Fig 7 ‘Use of Frame and Needle’…………………………………………….20
Fig 8 ‘Simple Geometric patterns in Phulkari’………………………………21
Fig 9 ‘Minimalistic Floral Patterns’………………………………………….21
Fig 10 ‘Nature inspired patterns’…………………………………………….21
Fig 11 ‘Creative floral designs being stitched by a craftsman’………………22
Fig 12 ‘Meenakari’…………………………………………………………...24
Fig 13 ‘Satranga’……………………………………………………………..25
Fig 14 ‘Panchranga’………………………………………………………….25
Fig 15 ‘Kaudi Bagh’………………………………………………………....26
Fig 16 ‘Surajmukhi’…………………………………………………………26
Fig 17 ‘Chope’………………………………………………………………27
Fig 18 ‘Vari da Bagh’……………………………………………………….27

Phulkari Aakarshit Jain B.Arch 1st Year 2018-19
Fig 19 ‘Bawan Bagh’………………………………………………………..28
Fig 20 ‘Darshan Dwar’……………………………………………………....29
Fig 21 ‘Thirma’……………………………………………………………....29
Fig 22 ‘Bride wearing a Phulkari’…………………………………………....30
Fig 23 ‘Specialized needles for stitching’………………………....................31
Fig 24 ‘Evolution of stitches to work-heads’………………….……………..32
Fig 25 ‘Machine stitching in Phulkari’……………………………………….33
Fig 26 ‘Ironing in an embroidery factory’………………………....................34
Fig 27 ‘Future of Phulkari stitching’…………………………………………35
DISSERTATION | INDIAN ARTS AND CRAFTS | 6

CONTENTS PAGE NO.
Certificate
Declaration
Acknowledgements
List of Illustrations
1. Phulkari: The Forgotten Form of Art 9

1.1. What is Phulkari
1.2. Nomenclature
1.3. Fun Facts
1.4. Regions it is practiced in
2. Bloom of the Culture 11
2.1. Origin
2.2. Need
2.3. Cultural significance
2.4. Hindrances
3. Rewinding through the time-fabric 13
3.1. History
3.2. Historical patterns
3.3. Sikh Heritage
3.4. Influence on other cultures
3.5. Historical mentions
4. “Handwork”: A survey from the Streets 15
4.1. An account on the area to be surveyed
4.2. Faces behind the fabric
4.2.1 Brief interview sessions from practicing Craftsmen
4.3. Brief questionnaire
4.4. Observations
4.5. Current market scenario
5. Common Raw materials 18
5.1. List of commonly used materials
5.2. Availability
5.3. Detailed Accounts on each material
5.4. New adaptations
6. Threads behind the creativity: A study of design styles 21
6.1. Few examples of the patterns used
6.2. Study of the signature style
6.3. Inspiration behind the patterns
6.4. Freedom of creativity
6.5. Geometric motifs
7. Kala Pradarshani: An account on the types of the craft 23
7.1. Subdivisions in the art form
7.1.1. Meenakari
7.1.2. Satranga
7.1.3. Panchranga
7.1.4. Kaudi Bagh
7.1.5. Surajmukhi
7.1.6. Chope
7.1.7. Vari da Bagh
7.1.8. Bawan Bagh
7.1.9. Darshan Dwar
7.1.10. Thirma
8. Variety 24
8.1. Detailed Accounts on all the aforementioned varieties
8.2. Occasional and Seasonal significance
8.3. Specialized materials
9. Innovations and Adaptations 32
9.1. Modern position
9.2. Comparisons
9.3. Need of an alteration
9.4. Contemporary stand
10. Conclusive Account 34
10.1. Global Appeal
10.2. Maintenance
10.3. Future
10.4. Conclusions drawn
11. References to Illustrations 36
12. Bibliography 37
Chapter 1: Phulkari- The Forgotten Form of Art
1.1 What is Phulkari?

Phulkari is a traditional art form of embroidering clothes which are usually simple, rather
minimalistic and delicately embroidered.
This forgotten form of art was practiced on charkhas or manual pad, for the purpose of
stitching various apparels or attires of women.
1.2 Nomenclature
In the Gurumukhi script, on which the raw form of Punjabi is based, Phul means a flower.
While the word Kari literally translates to craft. Henceforth, the art form got its name from
the unification of the aforementioned words and finally being called Phulkari, a craft form
based on the embroidering of flowers or vaguely natural bounties.
1.3 Fun Facts
As interesting as its name may sound, the art form has a few fun facts related to its rich
tradition and history, as listed below:
 Phulkari had its initial mentions in the famous Punjabi folklore of Hir Rajha.
 A full-fledged Phulkari Salvar Kameez may take over 80 days span for completion.
 A traditional Phulkari chunni may cost as high as the world-renowned Banarasi sari.
 The patterns and motifs are directly executed on the fabric, i.e., they are not drawn
beforehand.
 The tradition was a favored pass time of the Punjabi women.
 The traditional silk thread used in one of the earliest forms of this art was known to
be straighter than a cast steel wire.
1.4 Regions it is Practiced in
The art form was practiced in the pre-independence (before 1947) state of Punjab, which now
forms the modern day Punjab state, all of the Haryana region, major parts of the state of
Himachal Pradesh and Southern parts of the northernmost state of India, Jammu and Kashmir.
The rich history of Punjab was woven with many threads of ethos, vibrancy, spirituality and
vision, and the craft of Phulkari was one of them. Majorly linked with the lives of Punjabi

women, the traditional art form was a reflection of the colorful and wholesome lives of
Punjabis, their social involvements and their rich tradition.
Figure 1: A craftsman from Ludhiana, practicing Phulkari

Chapter 2: Bloom of the Culture
2.1 Origin
There have been many undocumented mentions revolving around the origin of Phulkari, but
a rigid and believable account is yet to be discovered. When discussed with a few women
possessing some hand-embroidered Phulkari work, who live in the outskirts of Ludhiana,
Punjab, they mentioned some influence from the Jat immigrants, who were originally
peasants who migrated from central parts of the subcontinent.
There have been mentions of Persian influence in the evolution of Phulkari, while some say
the Persians brought the craft to the Indian lands altogether.
Phulkari reflected the round the clock routine of the women of Punjab. Even the designs and
patterns, the motifs used had a larger significance than the façade may look like. All of the
aforementioned were an adroit depiction of multitudinous vibrant values of the Punjabis.
Their values and perspectives were often highlighted via their handwork.
2.2 Need
Phulkari was an art that let the women enjoy the liberty to create. It was an expression of the
freedom and self-dependence of the empowered Punjabi women. It was essentially a
communal practice, and the exquisite work of the practicing women had essential impact on
the respective kingdoms.
2.3 Cultural Significance
Phulkari was an art that let the women enjoy the liberty to create. It was an expression of the
freedom and self-dependence of the empowered Punjabi women. It was essentially a
communal practice, and the exquisite work of the practicing women had essential impact on
the respective kingdoms.
2.4 Hindrances
Although the modern day Phulkari is a legit business putting many craftsmen to employment,
back in those days, it was still credited as merely a leisure activity. The dyeing pigments used

were not as color-fast either. Moreover, the technological hindrances were a major reason of
the steady pace of the practice.
Figure 2: Heer of the famous tale Heer-Ranjha, wearing Phulkari

Chapter 3: Rewinding through the time-fabric
3.1 History
In its days of bloom, Phulkari was treated as a folk art. The women practiced this craft for
their intrinsic creativity.
3.2 Historical Patterns
The form of embroidery picked up steam after 15th Century. Often called a folk art in true
sense, the Punjabis innovated minimalistic patterns by their accomplished manhandling of the
darn stitch.
Khaddar cloth in the Central and Western Punjab differed in feel. Bold colors were not a
preference in Western Punjab while white was not worn in the Eastern region. Base cloth in
Phulkari was ornamented by the threads and other embroidery elements whereas Bagh covered
the whole base cloth. This is the differentiating factor between Phulkari and Bagh.
3.3 Sikh Heritage
Phulkaris were adorned by the women of Punjab on special occasions like wedding days or
other celebrations like the festivities of crop-cultivating day of Baisakhi. Brides were expected
to carry themselves, covered in the mesmerizing wraps of a bright Phulkari sari. Men used to
carry themselves in Phulkari jackets or kurtas on outings or celebrations.
3.4 Influence on other Cultures
Gujarat is known all over the country for its huge Cloth Market. Comprising of multitudinous
showstoppers, Heer Bharat is one of the wonders. This style was inspired by Phulkari,
courtesy of its stitchery and intricate patterns.
The princely states or the then neighbors of Punjab, namely the current Pakistani cities of
Peshawar, Rawalpindi, Hazara, Jhelum and the Indian princely districts of Kapurthala,
Faridkot, Jind, etc. all had influences from Phulkari and their current fashion trends still show
shades of original Phulkari.
3.5 Historical mentions

The mention of this craft dates back to the time of the ancient holy texts like the Vedas. It had
mentions in the Atharvaveda for its stunning geometrical patterns. The Indian epic of

Mahabharata and the holy book of the Sikhs, Guru Granth Sahib had mentions of the craft.
Innumerable folk choirs and folklores of Punjab mention Phulkari.
Figure 3: Punjabi women in Phulkari Odhnis

Handwork: A Survey from the Streets

4.1 Phulkari in Ludhiana, Punjab
After surveying the streets of Bahadarke Road, Ludhiana, hub of the textile, hosiery
industry of Punjab, the influence of Phulkari on the commoners could be easily spotted.
Coincidently, my Father happens to run a factory comprising of multiple embroidery
units. The place deals with varied embroidery types and Phulkari is one of them. After a
walk past all the functioning units of the factory and a common understanding of the
circulation of work, I briefly interviewed some of the workers who have been loyal to the
profession since decades. The craftsmen were intrigued by the curiosity of students
towards the craft.
4.2 Brief interview Session
Interview of Vimalpreet Bhalla, a 53 years old veteran, who has been practicing the art of
Phulkari since his young adulthood, he had some interesting insights to share:
Q. Sat Sri Akal Paaji, you have been practicing Phulkari since years, can you throw some
light on the same?
A. Ji Puttarji. Phulkari is a traditional form of art, which I’d rather call another gem of
Punjabi culture. We usually did it on a hand spun cloth, but of course, times have changed
now.
Q. Did you have any inspirations from your bloodline or is it the other way around?
A. Yes. I still remember my mother embroidering clothes after preparing meals for us, not
to mention, with her Sahelis in our neighbourhood. She had a wooden wheel frame which
she used for embroidery. I really liked her work and slowly developed interest in it.
Q. I can see that you too practice manual Phulkari. How do you execute it?
A. In my mother’s days, a charkha was used to spin the yarn after which the weaver
followed to prepare cloth out of it. But now we have readymade fabric to process so we
have this frame on which we embroider designs precisely.
Q. Do you think the demand for manual craftwork, or Phulkari in general, has decreased?

A. Well honestly, the numbers aren’t really favouring us.
Q. Why do you think so?

A. There may be many reasons but what I think is that the factory tailored products with
brand taglines are more appealing to people nowadays than their cultural heritage. These
activities demand ample of time, which nobody is left with. Our works are usually
expected to be used during wedding seasons.
Figure 4: Mr. Vimalpreet Bhalla working on a Phulkari frame

4.3 Brief questionnaire for the owner of Navkar Creations, Mr. Suman Kumar,
regarding Market Trends
Q. Are the sales satisfying in this era of brands?

A. Only in the festive seasons or wedding season. Other months are not that much
profitable.
Q. What are these months usually?
A. Festivals like Diwali, Lohri, Navratras, Rakshabandhan show maximum sales. While
the wedding season differs from the previous, every year as per Hindu Calendar.
Q. How would you compare the sales of Machine-manufactured products with that of
handmade Phulkari?
A. Machine work-heads are much faster than manual embroidery. Manual work is
intricately designed hence is costlier. People usually prefer machine embroidered
products now.
Figure 5: Mr. Suman Kumar, the owner of Navkar Creations,
working on a computerized design

Chapter 5: Common Raw Materials
5.1 List of commonly used Materials
Serial No. Item Name

1. Yarn
2. Base Cloth
3. Frame
4. Needle
5.2Availability
The yarns used in embroidery is done with a silk yarn which is easily available and
accessible from villages to metros.
The base cloth used in original Phulkari was a Khaddar Cloth which was home-spun,
woven and dyed.
Wooden frames requires fine quality wood which is also easily accessible.
Needles of multiple sizes are also available everywhere.
5.3About the Materials
5.3.1 Yarn
Floss silk thread is used as yarn on the cotton fabric. The silk yarn threads are
called Pat. Pat is a well-known fluffy untwisted floss which clings to the fingers.
The embroidery was once done on the wrong side of the Khaddar. While silk being
costly already because of being imported, women were forced to directly
embroider on the first side to save as much silk. However, the place of silk has
been replaced by synthetic silk called kucha.

5.3.2 Base cloth

The embroidery was carried out on home-spun, home woven, and home dyed fabric
made out of cotton cloth or precisely called khaddar. It has good fabric strength, is
cheaper and keeps warmth retained. It can be easily worked upon.
Figure 6: Workers holding Base cloth

5.4 New Adaptations

As observed from the survey, the traditional form of Phulkari has evolved for good. The
darn doesn’t have to be embroidered on the wrong side of the base cloth now, thanks to
cheap synthetic silk-like fabric. In the similar way, Khaddar is also being replaced by better
options of textiles like Chiffon, Georgette, Cotton and more.
Figure 7: Use of frame and needle

Chapter 6: Threads behind the Creativity- A study of Design styles
6.1 The Patterns
Figure 8: Simple geometrical patterns in Phulkari Figure 9: Minimalistic floral patterns
Figure 10: Nature inspired patterns

6.2 The Signature Style
Phulkari embroidery possesses a special distinctive style that is more of minimalism rather
than extreme detailing. The styles show interesting geometrical patterns, simple shapes in
multiple orientations, or simple nature-related profiles.
6.2 Inspiration behind the patterns
As mentioned above, the motifs were embroidered in a geometrical matrix, usually, which
was a very clever stitching technique for coming up with a curvilinear piece of Phulkari. All
inspired by routine of the craftsmen, flowers, animals, landscapes or any mesmerizing bounty
of nature. Long and short darn stitch patterns were put to peculiar use to create patterns that
were unconventional, horizontal, vertical or diagonal.
6.3 Freedom of Creativity
The craftsmen cannot liberally create patterns on their own as they have to stick to the market
trends, but when talked about the raw, pure form of Phulkari, the practicing women were free
to create whatever they wanted. The reason being the activity’s lack of commercialization in
its earlier days.
6.4 Geometrical Motifs
The motifs embroidered were made out of untwisted silk floss, which as mentioned earlier is
known as Pat, are wisely fitted within the grids, depicting the everyday chores of the Punjabis.
Figure 11: Creative floral designs
being stitched by a craftsman

Chapter 7: Kala Pradarshani- An account on the types of the Craft
7.1 Types of Phulkari
S.No. Type Brief Description
1. Meenakari It is adorned by small lozenges of multiple colors,

referring to its enamel work.
2. Satranga Sat means seven, hence it comprises of chevrons of
seven colors.
3. Panchranga Panch means five, hence it comprises of chevrons of
five colors.
4. Kaudi Bagh Chains of little white squares depicting stylized
cowries.
5. Surajmukhi Surajmukhi translates to sunflower in English. The
design resembles a sunflower.
6. Chope Borders are usually embroidered, that too with a
single color.
7. Vari da Bagh A group of 3-4 concentric lozenges of maximizing
sizes are made on a vermilion Khaddar.
8. Bawan Bagh Bawan translates to fifty two, hence, a mosaic of 52
patterns is embroidered on the base cloth.
9. Darshan Dwar Darshan means to pay a visit. This piece of Phulkari
is made as an offering to the God on a visit to temple
as a vote of thanks for fulfillment of a wish.
10. Thirma It is usually worn by widows or elderly women, as
the color is predominantly white, as a symbol of
purity.

Chapter 8: Variety
8.1 Types of Phulkari in detail

8.1.1 Meenakari
Often embroidered in Gold and White shades colored darn stitches, this form of Phulkari
is also commonly called Ikka Phulkari. The khaddar or base cloth is adorned with tiny
multicolored lozenges, depicting enamel craft, or to the famous “Diamond playing cards”.
Figure 12: Meenakari
8.1.2 Satranga
True to its name, Satranga Phulkari comprises of bustling spectrum of colors in its patterns.
Satranga is generally preferred to be wore on usual days at home as the colors were
preventive of stains that would spoil a Phulkari sari. There were colors which included
red, orange, yellow, pink, blue, etc., where light colors represent purity, golden symbolize
desire and abundance, green for fertility, blue for passion and serenity, and red and orange
for divine and energy.

Figure 13: Satranga
8.1.3 Panchranga
Panch in Punjabi means five, while rang translates to colors. Therefore, Panchranga
Phulkari refers to the composition of five colored Phulkari embroidery. This type of
Phulkari embroidery is decorated with chevrons of five colors of silk floss. It closely
resembles the aforementioned Satranga style of embroidery.
Figure 14: Panchranga
8.1.4 Kaudi Bagh

This type of Phulkari resembles the profile of a sea animal which possesses a bright colored
shell, called cowries, with chains of white squares among its pattern. The presence of
cowries in its patterns has a special significance. The shells vaguely symbolize a profile of

a female or precisely, fertility. Therefore, Kaudi Bagh was often a preference of women
expecting a child, as per their belief system.
Figure 15: Kaudi Bagh
8.1.5 Surajmukhi
Surajmukhi is a Punjabi word for Sunflower. This style of Phulkari is called Surajmukhi
because of the influence of sunflower on the patterns of this design. Also, Surajmukhi
incorporates equal proportions of Holbein stitch and regular darn stitch, and it is the only
style of Phulkari to do so.
Figure 16: Surajmukhi

8.1.6 Chope
The base cloth is embroidered on the edges and borders in this style of Phulkari. Belief
says, a grandmother gifts a chope sari to her granddaughter on her wedding day. It
symbolized her care for her granddaughter for the upcoming life of the bride. Chope was
embroidered on red Khaddar to symbolize happiness and passion.
Figure 17: Chope
8.1.7 Vari Da Bagh

Vari is a gift to the bride from her in-laws. Small patterns in yellow are embroidered on a
red colored cloth. This denotes fertility and cheerfulness. The main design of this style
includes concentric lozenges in a group of 3-4, of a maximizing pattern included in each
other. These lozenges are revealed without much effort by the reflections of light.
Figure 18: Vari da bagh

8.1.8 Bawan Bagh

Bawan is a word from both Gurumukhi and Devnagri scripts of Indian origin which
translates to fifty two number. The mosaic of fifty two patterns that decorate the base cloth
with multitudinous designs. Bawan Bagh Phulkari is considered to be the best of all the
styles and is known to endorse designs of utmost prime. The craftsmen often show their
skills in the form of this style of embroidery.
Figure 19: Bawan bagh
8.1.9 Darshan Dwar

Literally, a temple is a place of worship and the gate of a temple that shows a clear
perspective of the idol is its Darshan Dwar. This type of Phulkari is specially embroidered
for the use of temple, or to decorate the place where the holy book of Sikhs, Guru Granth
Sahib is kept. It is based on the theme of a decorative entrance. Its use separates this
Phulkari from the other types as it was not for personal use but was an offering to the
temple deity after a wish has been fulfilled by God’s gratitude. This was made in limited
quantities as its use was limited.

Figure 20: Darshan Dwar
8.1.10 Thirma
Thirma Phulkari is well known among the Punjabis and even Hindus for its embroidery
on white Thirma Khaddar, a symbol of purity. Because of its simplicity, it was mostly
wore by elderly women or widows. However, this does not undermine its aesthetical
purposes. Bright pink or red color was generally the color of the Pat. Some of the very
common Thirma patterns included chevron darning stitch base and forehead covered by
wide triangles or a cluster of stitched flowers. The use of this type of Phulkari vanished
with years.
Figure 21: Thirma

8.2 Occasional and Seasonal Significance

During the Wedding season in India, which roughly falls in the months of October, November,
December and January, the sale trends of Phulkari reach its peak. In core cities of Punjab, the
demand is sometimes sonhigh that the workshops and factories fall short of embroidery
craftsmen. No wonder, machine operated Phulkari has taken over the market.
Figure 22: Bride wearing a Phulkari
8.3 Specialized Materials

As such, no special materials are used during peak seasons, but many people prefer the colors
in the way they were in the earlier times. These include red colored Khadi, or even henna
colors, ochre or brown base clothes. While in the festive seasons of summer, workers generally

prefer to work on pastel shades of light ochre, rust, peach and white, vermillion and green.
While winter festivities show trends of dark blue, Prussian blue, burgundy, red or dark violet.
Figure 23: Specialized needles for stitching

Chapter 9: Innovations and Adaptations
9.1 Modern Position
Phulkari has drastically evolved from being a leisure activity to an appealing global attire.
With the enthusiasm of everyone in Indian culture, Phulkari has found its right place at the
global shelves. Thanks to its comfort, versatility and style, it has been rated high among styles
worldwide.
9.2 Comparisons
As compared to other Indian styles, Phulkari has a distinctive style since its origin. It reflects
the lives and chores of its native, hence rightfully reflects its culture. From an economical
perspective, a Phulkari sari can cost as much as Banarasi sari. It is till preferred over any other
form of sari during wedding season in North India.
9.3 Need of an alteration?
Phulkari went smoothly well until late 18th century and 19th century because of the famines in
Punjab. Post that, commercialization of Phulkari began. When 20th century began, it started
dying. These hard blows shook the very core of Punjabi culture, hence Phulkari still struggles
to reach its former heights. Machine Phulkari has started impacting the market, and it isn’t as
amusing as it used to be but do they have a choice? Recognition is necessary at this stage.
Figure 24: Evolution of stitching to work-heads

9.4 Contemporary Stand

Phulkari continues to survive in the tough Indian Market. It has not reached the heights it once
reached but the modern innovations in the techniques are relieving the tensions steadily.
Figure 25: Machine stitching in Phulkari

Chapter 10: Conclusive Account
10.1 Global Appeal

The Global appeal of Phulkari is very pleasing to say the least. The Punjab Government,
Haryana Government and Jammu & Kashmir Government, mention Phulkari as cultural
prestige on their official websites. This has boosted Phulkari’s position in global market. Its
versatility has been commended worldwide.
10.2 Maintenance
Phulkari showcases some of the most intricately embroidered work of threads, hence it is
imperative for it to demand for careful handling. A Phulkari needlework is preferred to be
washed with hands delicately. It is also advisable to get it dry-cleaned occasionally to keep
the fabric lively. Ironing should be performed on the opposite side.
Figure 26: Ironing in an embroidery factory
10.3 Future
As years have passed by, Phulkari is not only confined to Odhnis or Dupattas, and have
made their way to suits and saris. Phulkari is now even showing its presence in the interiors
industry with curtains and covers spotting needlework of Phulkari. It also has paved its way

in the rural crafts market and has been trending in creation of handicrafts as well as
ornamental crafts. For a craft this versatile, sky is the limit.
Figure 27: Future of Phulkari stitching
10.4 Conclusions Drawn

The history and the tale of origin of Phulkari, its cultural significance, its distinctive style,
the mesmerizing intricacy- this all speaks volumes for the craft that dwelled on the Punjabi
soil. The art has still been spreading shockwaves of innovation and creativity among the
world of crafts and arts. With every Era it has lived in, be it the ancient times of Vedas, the
medieval periods of Jat immigrants, in times of revolution against the British incarnates, or
the modern era of commercialization, the craft has proved that it is much more than a leisure
activity. Phulkari has deeper layers to it, than the world once anticipated it had. From the
perfect darning stitches of silk to the imperfect stitching to reflect back an evil nazar,
Phulkari’s evolution has been astonishing.
Phulkari is not merely a piece of commercial embroidery, it is an epitome of sacredness,
serenity and resilience, precisely, it is a kaarigar’s dream and imagination stitched on a
canvas in disguise.

References to Ilustrations:
2. https://twitter.com/gleamberry/status/685726910014304256
3. https://www.ecosia.org/images?c=en&p=5&q=only+child+handicrafts
7. http://www.dsource.in/resource/phulkari /process/embroidery
8.https://strandofsilk.com/india-journey/punjab/phulkari-embroidery/motifs-and-
colours/dazzling-colours-and-diverse-motifs-used
9. https://docplayer.net/55592921-W-e-d-d-i-n-g-d-r-e-a-m-s-s-t-i-t-c-h-e-d-i-n-c-o-l-o-r-s-
by-sanaullah.html
10. https://wovensouls.com/products/546-antique-meenakari-phulkari
12. http://www.punjabonline.in/about/tourism/shopping-in-punjab
13. https://wovensouls.com/products/668-antique-indian-textiles-bagh-phulkari-wedding-
shawl-silk-embroidery-punjab
14. https://phulkariembroidery.wordpress.com/2017/02/24/types-of-bagh-phulkaris/
15. https://wovensouls.com/products/546-antique-meenakari-phulkari
16. http://www.dsource.in/resource/phulkari /process/embroidery
17. http://www.dsource.in/resource/phulkari/motifs
18. http://www.dsource.in/resource/phulkari/types-phulkari-0
19. https://www.rugrabbit.com/node/162679
20. https://strandofsilk.com/journey-map/phulkari-embroidery/motifs-and-colours
21. https://www.rugrabbit.com/node/124826
Remaining Illustrations are clicked by the Author himself.

Bibliography
 http://www.dsource.in [13/04/2019]
 http://www.utsavpedia.com [12/04/2019]
 http://en.m.wikipedia.org/phulkari [10/04/2019]
 http://strandofsilk.com/phulkari [14/04/2019]

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DISSERTATION REPORT

FACULTY OF ARCHITECTURE & EKISTICS

Faculty of Architecture & Ekistics,

Prof. S.M. Akhtar Dr. Qamar Irshad Ar. Madiha Rahman

Prof. S.M. Akhtar Prof. Hina Zia

taken from secondary sources is given due citations and references.

Date: 14/04/2019 Bachelor of Architecture (1st Year)

Place: New Delhi

undertake this dissertation.

or based on word of mouth. Due credit has been given.

B.Arch. 1st Year

F/O Architecture and Ekistics

Jamia Millia Islamia

Title Page No.

Fig 1 ‘A craftsman from Ludhiana, practicing Phulkari’........................................09

Fig 3 ‘Punjabi women in Phulkari Odhnis’…………………………………..14

Fig 4 ‘Mr. Vimalpreet Bhalla working on a Phulkari frame’………………...16

Fig 5 ‘Mr. Suman Kumar, owner of Navkar Creations,

Fig 6 ‘Workers holding Base cloth’………………………………………….19

Fig 7 ‘Use of Frame and Needle’…………………………………………….20

Fig 8 ‘Simple Geometric patterns in Phulkari’………………………………21

Fig 9 ‘Minimalistic Floral Patterns’………………………………………….21

Fig 10 ‘Nature inspired patterns’…………………………………………….21

Fig 11 ‘Creative floral designs being stitched by a craftsman’………………22

Fig 15 ‘Kaudi Bagh’………………………………………………………....26

Fig 18 ‘Vari da Bagh’……………………………………………………….27

Fig 19 ‘Bawan Bagh’………………………………………………………..28

Fig 20 ‘Darshan Dwar’……………………………………………………....29

Fig 22 ‘Bride wearing a Phulkari’…………………………………………....30

Fig 23 ‘Specialized needles for stitching’………………………....................31

Fig 24 ‘Evolution of stitches to work-heads’………………….……………..32

Fig 25 ‘Machine stitching in Phulkari’……………………………………….33

Fig 26 ‘Ironing in an embroidery factory’………………………....................34

Fig 27 ‘Future of Phulkari stitching’…………………………………………35

DISSERTATION | INDIAN ARTS AND CRAFTS | 6

1. Phulkari: The Forgotten Form of Art 9

11. References to Illustrations 36

Chapter 1: Phulkari- The Forgotten Form of Art

1.1 What is Phulkari?

DISSERTATION | INDIAN ARTS AND CRAFTS | 9

Figure 1: A craftsman from Ludhiana, practicing Phulkari

DISSERTATION | INDIAN ARTS AND CRAFTS | 10

Chapter 2: Bloom of the Culture

2.3 Cultural Significance

DISSERTATION | INDIAN ARTS AND CRAFTS | 11

Figure 2: Heer of the famous tale Heer-Ranjha, wearing Phulkari

DISSERTATION | INDIAN ARTS AND CRAFTS | 12

Chapter 3: Rewinding through the time-fabric

3.5 Historical mentions

DISSERTATION | INDIAN ARTS AND CRAFTS | 13

Figure 3: Punjabi women in Phulkari Odhnis

DISSERTATION | INDIAN ARTS AND CRAFTS | 14

Handwork: A Survey from the Streets

DISSERTATION | INDIAN ARTS AND CRAFTS | 15

A. Well honestly, the numbers aren’t really favouring us.

Q. Why do you think so?

Figure 4: Mr. Vimalpreet Bhalla working on a Phulkari frame

DISSERTATION | INDIAN ARTS AND CRAFTS | 16

Q. Are the sales satisfying in this era of brands?

Figure 5: Mr. Suman Kumar, the owner of Navkar Creations,

working on a computerized design

DISSERTATION | INDIAN ARTS AND CRAFTS | 17

Chapter 5: Common Raw Materials