NIRMALA COLLEGE, RANCHI

Assignment on DSE-3
SESSION – 2019-2022

Submitted to:- Submitted by:-

Mrs. Uma Rani Deepshikha Jaiswal
H.O.D 19BA3310116
Fashion Designing Dept. Sem VI
 INTRODUCTION TO PICHWAI

These are the work of art that are used to adorn the walls
of temples, behind the idol. It originated over 400 years
ago, in the town of Nathdwara near Udaipur in
Rajasthan, India. Pichwai is a derived from a sanskrit
word. “Pich” means back and “wais” means hanging.
Intricate and visually stunning, Pichwai paintings,
made on cloth, depicts tales from Lord Krishna’s life.
The subtle designs which resonate the earthiness of Indian
art an craft make these saris a must have.
 HISTORY OF PICHWAI
During 16th-19th century, when the Shrinathji temple was established,
Vitthalnath the chief priest and son of the Pushitmarg, employed
artisans under the temple administration to create pichwais.
In the coming centuries, as the sect grew to various part of India such
as Gujarat and Mathura, the art styles reached those places as
well.
 To increase Pichwai demand, artisans started to make slight shifts in
their painting techniques. pichwais were made both in the
traditional style, but also started to incorporate western influences
such as using oil paints and using realism rather than the
traditional stylistic approach.
 Motifs of Pichwai
 The main image portrayed in Pichwai paintings is Shrinathji.

  Each festival and ritual showcases the adornment,

emotions, mood, music, food and dancing that
encompasses the worship.

 Today, many have deconstructed the Chowbees Swaroop by

turning them into individual paintings. These include
common Pichwai motifs like lotuses, cows, trees, peacocks
and gopis. 
Pichwai textiles and motifs
 The making of Pichwai
The making of a traditional Pichwai consumes a couple of weeks that can
even stretch to months.
Originally Pichwai was painted on the handspun starched
cotton fabric. The artisans would then sketch the art on that starched
cloth. Then the decorative and beautiful images were created. The images
were then ready to be painted with completely organic and natural colors,
paints and even natural brushes.
These colors were obtained from coals
indigo, gold, silver saffron, zinc, and other natural sources. in brilliant
colors or woven with hand blocks. The bright and intense colors like
yellow, green, black, red dominate the Pichwai. The ornate part would get
the pure Gold as color. The borders are enhanced with crystals and other
decorative elements.
Modernization of Pichwai
 Introduction to Chanderi
 Chanderi is a traditional ethnic fabric characterized by its
lightweight, sheer texture and fine luxurious feel.
  The fabric borrowed its name from the small town Chanderi
in Madhya Pradesh where traditional weavers practice the art of
producing textured saris in cotton and silk decorated with fine zari
work.
 This fabric can be classified into three types – Chanderi silk
cotton, pure silk and Chanderi cotton.
 Chanderi fabric is produced by weaving in silk and golden Zari in
the traditional cotton yarn that results in the creation of the
shimmering texture.
 History of Chanderi
 The weaving culture of Chanderi emerged between the 2nd and
7th centuries.
  But if epics are to be believed, Chanderi fabric is known to have
its origin way back in the Vedic Period and was founded by Lord
Krishna’s cousin – Shishupal.
 In the 1930s, Chanderi weavers in Madhya Pradesh
discovered Japanese silk. They began replacing the warps of
cotton saris with it and that’s how the Chanderi silk variety came
into existence.
  During the Mughal reign, popularity of this fabric reached
new heights and was the most favored choice of queens in India.
 Motifs of Chanderi
 The buttis or motifs on Chanderi fabric are primarily hand woven
on handloom, with the use of needles.
  Motifs created using Chanderi weaving are inspired from nature
and include Swans, gold coins, fruits, and heavenly bodies.
 From traditional motifs of flowers, peacock, lotus to modern
geometric patterns, today one can find strikingly beautiful motifs
like ‘Nalferma, ‘Dandidar, ‘Chatai’, ‘Jangla’, Mehndi wale
haath’ etc. adorning the Chanderi fabrics. 
  Color palette of Chanderi saris are predominately ruled by soft
pastel hues, however with changing times, vibrant
combinations of red and black, turquoise and navy blue,
fuchsia and white also exist.
Chanderi motifs
 Fashion connect
Traditionally, this fabric was used to weave the nine yard drapes. But now,
with fusion of traditional and modern weaving techniques, Chanderi fabric
is extensively used by fashion designers to create Indo-western dresses,
tunics and tops.
In the recent years, fashion designers have worked closely with
Chanderi weavers to design fashionable closet essentials.
Now, one can find
contemporary designs like dresses, jackets, shrugs and trench coats
woven in this handloom fabric with traditional motifs.  Creative
imaginations doesn’t settle here because designer Vijay Balhara’s
fancy for this fabric led him to showcased a line of resort wear
woven in Chanderi, at Lakme Fashion Week 2011.
 Maintenance of Chanderi
The sheer texture of Chanderi fabric needs special care.
It’s advisable to dry clean Chanderi fabric protect the
fine Zari work. Dry in shade, avoid drying in direct
sunlight.
 Wraps of North-East
North-east India occupies a unique and important place in the indigenous
textile culture of India.
Textiles and dresses are probably dominantly
identifiable cultural aspects which show the resemblances as well as the
differences among the ethnic groups that produced and used by them.
Traditional dress of an ethnic group plays a major role in showcasing the
ethnic identity.
Each ethnic group has its own designs and color
combination. Different motifs and designs of textiles have relationship
with the rituals and religious life of the people of North-east India. The
method of weaving also vary according to region and ethnic groups.
 Wrapper
It is a piece of Endi cloth having red and white stripes. Fringes are present at both
ends. It is used as wrapper by the Mikir/ Karbi ethnic group.
 Coat
It is a sleeveless, cotton coat having off-white and maroon vertical stripes. Woven designs
are present, just below the neck and on the lower end of both sides. Long cotton fringes are
present at lower end. It is used by the Mikir/ Karbi male.
 Kakat-bandha (cotton towel
cloth)
It is a narrow piece of yellow colored cotton cloth with
embroidery work and cotton fringes at the two sides. It is used
as waist band by the Bodo ethnic group.
 Phali / Bhunue Champa Ranga
(Open Cotton Drape)
It is a red cotton cloth having white narrow borders and beautifully woven designs on the
two ends. Plaited stripes, floral designs as well as human and animal motif are woven
with yellow, black and white cotton thread on the ends. Fringes of cotton thread having
yellow and black cotton balls, alternately hung from the ends. It is used by the Bodo and
Cachari ethnic group
 Shawl/chador
It is a piece of black cotton cloth used as a shawl, which is
decorated with multicolored embroidery work in geometric form. It
is used by the Mishing women.
 Engewina (women’s skirt)
It is a cotton skirt. The skirt is off-white in color. The body of the skirt is
decorated with red, black and white colored lines. Red and black
triangular designs are present in between the lines. It is used by
the men of Kabui Naga ethnic group.