The Overview

Indian embroidery, a fundamental aspect of Indian culture and art, is renowned for its
creativity and complexity. This ancient heritage is embodied in Bagh embroidery, a kind of
Phulkari known for its intricate artistry and symbolic meaning. Through vivid colors,
geometric shapes, and poetic storylines, Bagh, which dates back to ancient times, emerges as
more than just a decorative art; rather, it is a living witness to the ingenuity and cultural
history of Indian workmanship.

Introductory

Indian needlework, in particular, and Indian culture are renowned for their distinctiveness and
creativity. Embroidery is a creative means of self-expression and a tool to enhance the
aesthetics of objects. Stitching is a craft that may be seen as a kind of art in and of itself and
helps to preserve cultural identity in rural and semi-urban settings. For those who value and
admire them, these needlework items serve as a common link to the past and are frequently
perceived as nostalgic artifacts.

Conversation

Phulkari is one kind of bagh, which means literally "garden." Stitching produced in the
present-day Pakistani cities of Peshawar, Sialkot, Jhelum, Rawalpindi, and Hazara was
referred to as "Baghe." In contrast to Bagh, where the fabric is so densely stitched that the
silk threads cover nearly the whole surface, Phulkari cloth is adorned with embroidery,
allowing the base to be seen. Special ceremonial occasions are the intended use for bagh.

In the words of Bana Bhatt, who wrote "Harishcharitra" in the seventh century A.D., "some
individuals were embroidery leaves and flowers in the fabric from the reverse side." Because
Phulkari and Bagh's methods involve working on the reverse side of the cloth, this
description has similarities to their methods. It was completed without the use of any tracing,
drawing, pattern, or design, using an ordinary darn stitch needle. In technical terms, it's a
design created with "dhabh-taropa" (dorn stitch) in "pat" (silk floss) on "khaddar" (handspun
cotton cloth). "Suchcha Dhaga" is the name of the pat (pure thread). It is marketed as "lachi"
or "gutti," and due to its high cost, each tola—a customary South Asian unit of mass—is sold
separately.

An item of fabric, or wrap, was sewed together in two or three sections to create a "chadar."
The coarsely woven, loosely spun dakdar is incredibly robust and long-lasting. The fabric's
base color was consistently "Nabhi," a shade of red, which complemented all other colors
well. At the end of each piece of fabric was the name of a family member before it was sent
to "Rang-rez" (the dyer).

During Lavan, brides also wear Bagh Phulkari around their shoulders (a sacred discourse of
Guru Granth Sahib). The hand-spun fabric (khaddar), which shimmers when the bride walks,
is sewn on using silk thread. The primary fabric color, red, was primarily utilized to represent
wealth, love, passion, desire, and excitement. The color yellow, as well as its many
variations, is often used for Bagh, a sign of joy, vitality, prosperity, and fertility. Orange is a
hue that inspires amazement, happiness, and inventiveness. It also has a magical impact on
the psyche. The color green is associated with purity, harmony, freshness, nature, and
cleanliness. White is a color associated with simplicity, honesty, purity, and tranquility. It
was employed for a unique variety of Bagh base cloth known as "Thirma."

Their daily activities, possessions, beliefs, and creative abilities are all shown in the designs
and patterns. Geometric patterns like triangles, squares, and directional vertical and
horizontal lines, as well as a variety of darn stitches in vivid hues including pink, blue, red,
green, and golden were utilized to create Bagh. Phulkari and Bagh were often associated with
the flowers Genda (marigold), Surajmukhi (sun flower), Motia (jasmine), and Kol (lotus
flower). The Mughals are shown with other gardens in Shalimar, Charbagh, and Chaurasia
Bagh. Asharfi (mohur, or gold coin) Bagh was the name given to a bagh that was
embroidered with a red and yellow flower. Playing cards inspired other themes, such as
"Ike," or the ace of diamond design. There were also designs representing the sun, shadow,
Dhoop Chhaon, waves, Patedar, stripes, Chand, the moon, Patang, the kite, Saru, the cypress
tree, Pachranga, or five colors, Satranga, or seven colors, Dariya, or river, and Shisha, or
mirror.

Punjabi ladies formed a group known as "Trijan" to sing together while working on a
Phulkari. Here are some poems about Bagh:

Utte phulkari, main rahandi kuwari,

 Sassu put perdes nu toriya aye.

Kadhana a Bagh, sassu suti aye jag,

Sassu put perdes nu toriya aye.

Tandh nahi pani, meri ayhal jawani,

Sassu put perdes nu toriya aye.

Chamba, rawail, sassu bichade mail,

Sassu put perdes nu toriya aye.

Shrouded in a phulkari, I regret not staying as a maid. Her son has been sent abroad by my
mother-in-law! Oh, mother-in-law, get up! An entire "Bagh" awaits stitching! Her son has
been sent abroad by my mother-in-law! Look at my youth! O, I will not work a stitch! Her
son has been sent abroad by my mother-in-law! Let the divided meet, mother-in-law,
Jasmine, and Morning Glory! Why did you ever send him to a foreign land?

Eastern Punjab has a far more intricate and golden patina on its embroidered baghs. Western
Punjab's baghs were incredibly vibrant. Vari is the term used to describe the attire and jewels
that the bride's relatives gave her. Bagh, a representation of fertility whereby fresh life
blossoms into a garden full of beautiful flowers, was embroidered by the groom's
grandmother and given to the bride. The first residence of the newlyweds is referred to as
Vari da Bagh. This shawl's pattern is arranged such that, despite one side having a lot of
embroidery, that side only has one design unit. A fresh individual entering a new group of
people in her life is symbolized by the design's methodical split. It was traditionally cooked
on khaddar that was red and orange with one golden and orange pat. Three segments, each
with three sizes of concentric diamonds, can be found in really good specimens. The
outermost portion represented the year, the subsequent one the city, and the final one the
home of a family.

Bawan, which translates to "fifty-two," refers to the division of the foundation fabric into
fifty-two compartments with various geometric designs in Bawan Bagh. These boxes were all
embroidered with various brightly colored designs. It demonstrates the adaptable skill and
inventiveness of women. One of the most intricate types, Bawan Bagh predicts the
occurrence of difficult circumstances in a person's life in an impromptu manner.
The Kudi Bagh design included chains of tiny white squares that symbolized stylized
cowries. The shells resemble the genitalia of females. Women who wanted to become more
fertile frequently wore Kudi Bagh.
Women typically utilize Satranga Bagh for special occasions like childbirth, engagements,
and marriage ceremonies. The bagh is heavily embellished with zigzag designs that evoke
movement and are modeled after the rainbow's seven natural hues. Panchranga Bagh is also
embellished with chevrons in five distinct colors.
A unique kind of three-cornered shawl known as a "ghungat bagh" is used by brides to draw
veils, or "ghungat," when they are among the old. The needlework is done in multicolored
designs and golden yellow triangle patches.
It is common to see Meenakari Bagh or Ikka Bagh constructed with gold and white patina.
Little multicolored lozenges that symbolize meenakari (enamel art) or diamond shapes like a
deck of cards are used to embellish it.
Rolling pin rows are a feature of Velanian da Bagh's design, which is modeled after a
culinary gadget called a velan. Sometimes, little circular lozenges or successive rows of
zigzag lines are used to insert the rolling pins, creating the appearance or form of a rolling
pin.
Popular in eastern Punjab is Surajmukhi, also known as Sunflower Bagh. This bagh is
decorated in geometric patterns made of lozenges. Three little lozenges are stacked
diagonally in each composite lozenge. These lozenges have a second, smaller lozenge in the
middle, and the dark hue highlights the shape. Double running stitch is used to outline the
larger, outermost lozenge.
The literal translation of Darshan Dwar is "a gate from where one can see the god." This style
of bagh was stitched by someone who wanted to thank God in a religious setting after having
a desire granted. It was consistently stitched on a crimson background fabric. For Darshan
Bagh, human figures, plants, animals, birds, and floral patterns were frequently employed.

In summary
Bagh embroidery is a superb example of Indian workmanship's creative talent and rich
cultural heritage. Its intricate designs and vibrant colors, which have their origins in ancient
traditions, depict stories of spirituality, wealth, and love. Bagh is more than simply
ornamentation; it's a way to express ethnic identity and preserve familial ties. It mimics the
beliefs, manner of life, and innovation of earlier generations through its patterns and
metaphors. As it adorns brides during sacred ceremonies and develops into a prized part of
family heirlooms, bagh embroidery continues to weave together the threads of innovation and
tradition, ensuring its history endures through the years.