INDIAN CULTURAL STUDIES

FST - 802
UNIT -2
NORTHERN HIMALAYAN REGION & NORTHERN PLAINS-1
JAMMU AND KASHMIR AND PUNJAB
NORTH INDIAN STATES

• North Indian states include

• Jammu and Kashmir, Punjab,
Haryana, Himachal Pradesh, Uttar
Pradesh, Uttarakhand, and two union
territories of Delhi and Chandigarh.
 JAMMU AND KASHMIR
ART AND CRAFT
The culture of the northern region of Jammu and Kashmir, often referred to as the Kashmir Valley,
is rich and diverse, influenced by its history, geography, and the various ethnic and religious
communities that inhabit the region. The art and craft of Jammu and Kashmir are rich and diverse,
reflecting the region's cultural heritage and craftsmanship. Here are some notable forms of art and
craft from the region:
• Kashmiri Language and Literature: The Kashmiri language, also known as Koshur, is the
native language of the Kashmir Valley. It has a rich literary tradition, with poetry being a
particularly important form of expression. Prominent poets like Lal Ded and Sheikh ul Alam
(Nund Rishi) have contributed significantly to Kashmiri literature.
1. Music and Dance: Kashmiri music has a distinct identity, with genres like Sufiana Kalam (devotional
music), Rouf (a traditional dance form performed by women during weddings and festivals), and Chakri (a
fast-paced folk music performed during celebrations).
2. Festivals: Festivals like Eid-ul-Fitr, Eid-ul-Adha, Muharram, Navroz, and Lohri are celebrated with great
enthusiasm in the Kashmir Valley. The Hindu festivals of Diwali, Holi, and Shivratri are also observed by
the Hindu community.
3. Cuisine: The cuisine of Kashmir is known for its rich flavors and unique ingredients. Wazwan, a multi-
course meal consisting of various meat dishes, is a hallmark of Kashmiri cuisine. Other popular dishes
include Rogan Josh, Yakhni, Dum Aloo, and Kashmiri Pulao.
4. Art and Craft: Kashmir is famous for its exquisite handicrafts, including hand-woven carpets, Pashmina
shawls, paper-mâché products, woodcarvings, and intricate embroidery work like the famous Kashmiri
'Aari' and 'Sozni' styles.
 CRAFTS FROM KASHMIR

•Arts & Crafts of Jammu & Kashmir

•Weaving
•Crewel Embroidery
•Wood Crafting, and Carving
•Silverware work
•Papier-Mache
Jammu & Kashmir is famous across the globe, in fact the union territory leaves one split for choice when it
comes to shopping. Amongst the top art & crafts items. There’s a wide variety of arts & crafts to be seen in
Jammu & Kashmir. Kashmir's Srinagar, Ganderbal, and Budgam districts are the prime contributors in the
state's handicraft skills that include:

• Weaving
• Crewel Embroidery curtains, bedsheets, table runners
• Wood Crafting, and Carving
• Silverware work
• Papier-Mache
• Pashmina Shawls and Stoles
• Walnut wood items
• Kashmiri Rugs and Carpets
• Papier-Mache items
• Phool Kari items
KASHIDA FROM KASHMIR
 KASHIDA FROM KASHMIR

Jammu & Kashmir boasts a rich heritage of art and craft. The valley of Kashmir alone is a haven for culture lovers
looking forward to witnessing varied art & craft in the state. A glimpse of the state’s rich art & craft heritage can be
seen in their lives. From their utensils to clothes to furniture to jewellery almost everything reflects the master skills
and dedication of the locals towards the traditional art & craft in Jammu & Kashmir.
• Kashida is a popular Kashmiri embroidery encouraged by the beautiful surroundings of the valley. This type of
embroidery style is practiced by men in the region. In the 15 th century, the Sultan- Zain-ul-Abidin introduced the art
of Kashidakari. Weavers were brought from Turkistan and Persia to introduce new styles of weaving techniques.
• This type of embroidery is very popular because of its color texture design and techniques. The motifs in Kashida
are inspired by nature including both flora and fauna of Kashmir. The most common themes of Kashida
embroidery are birds like Kingfisher, butterflies; fruits and vegetables like mango, almonds, cherry, grapes; and
flowers like lotus, blossoms, creepers, maple leaves. The best material for the embroidery is wool, Cotswold, or
silk wool and Cotton. Embroidery is often evident on shades of white and light shades and sometimes they are also
on pastel colors but nowadays they are using a variety of colors like blue, yellow, purple, red, green, black.
• Kashida embroidery is particularly practiced by
men and is a commercial craft revealed on shawls
as well as in cottage industries of Srinagar. The
stitches used in Kashida embroidery includes
Satin Stitch, Chain Stitch, Stem Stitch, Talibar,
Vatachik, Darning Stitch. Embroidery is
performed using cotton, silk, wool, and artificial
silk threads of white, green, yellow, purple, blue,
black, crimson, and scarlet colors.
• The fascinating feature of the embroidery is that it
is made of single thread offering a flat appearance
to the design. This embroidery enhances the grace
of Kashmiri shawl, saris, and other dress
materials.
CREWEL WORK FROM KASHMIR
CREWEL WORK FROM KASHMIR
MOTIFS
MOTIFS
PASHMINA SHAWLS OF KASHMIR

Traditional Pashmina Shawl Pattern Pashmina Stole

[Link]
Shawls:
Jammu and Kashmir
are renowned for their
exquisite Pashmina
shawls, which are made
from the fine wool of
the Pashmina goat.
These shawls are
known for their
softness, warmth, and
intricate embroidery
work.
• Pashmina refers to a term for cashmere wool of the Changthangi cashmere goat for fine Indian cashmere wool. The word
pashm means “wool” in Persian, but in Kashmir pashm referred to the raw un spun wool of domesticated Changthangi
goats. In common parlance today, pashmina may refer either to the material or to the variant of the Kashmir shawl that is
made from it. Both cashmere and pashmina come from the same goat but typical cashmere ranges from 12 to 21 microns in
diameter, whereas pashmina can also refer to a cashmere and silk blend (70 % / 30 %) that has a typical fiber range from 12 to
16 microns.
• Samples of wool fibres discovered from rotten copper artifacts from Harappa dating back to the Indus Valley
Civilization are extremely fine and resemble Pashmina and Shahtoosh. The material gained prominence through its use in the
Kashmir shawl. In Mughal times, this was used as an indicator of rank and nobility.
• In 1526, Babur (1483–1530) founded the Mughal Empire in India, and established the practice of giving khalat or "robes
of honor", typically made of expensive fabric, to members of their durbar to indicate high service, great achievement, or royal
favor. In his time, the Mughal khalat was a set of clothes, which could include a turban, long coat, gown, fitted jacket, sash,
shawl, trousers, shirt, and scarf. One or all of these could be made of pashmina and embroidered in gold cloth. In 1568,
Kashmir was conquered by Babur's grandson Akbar.
• A Kashmiri man sells a pashmina shawl from Kashmir in a market in Delhi, India. Goats used for pashmina shed their winter
coat every spring. One goat sheds approximately 80–170 grams (3–6 oz) of the fibre. In the spring the goats naturally shed
their undercoat, which regrows in winter. This undercoat is collected by combing the goat, not by shearing, as in other fine
wools.
• A traditional producer of pashmina wool is in the Ladakh region of the Himalayas are a people known as the Changpa. These are a
nomadic people and inhabit the Changthang plateau of Tibet, which has a minimum altitude of 13,500 feet (4,100 m) above sea level
and a winter temperature which can drop to −40 °C (−40 °F). The Changpa care for sheep in these harsh climates for meat, and
Pashmina goats for wool.
• Raw Pashmina is exported to Kashmir. All steps, from combing (removing impurities and guard hair, and aligning fibers) and
spinning, to weaving and finishing, are traditionally carried out by hand by specialized craftsmen and women. The major center of
pashmina fabric production is in the old district of the city of Srinagar. The approximate time put into producing a single traditional
pashmina stole (70x200cm) is 180 hours.

• China accounts for 70% of the world's cashmere production, Mongolia 20%, and the remaining 10% of production is in Afghanistan,
Australia, India, Iran, Nepal, Pakistan, the United States, the Central Asian republics and elsewhere. Only a small percentage of
this production is the ultra-fine cashmere known as pashmina.

• Pashmina accessories are renowned for their incredible softness and warmth. They are available in a range of sizes, from "scarf" 70 in
x 80 in (70 cm x 200 cm).
• Cashmere Pashmina full- sized shawl measuring 40 in x 80 in (100 cm x 200 cm), large shawls measuring 45 in x 90 in (114 cm x 228
cm), and XL shawls measuring 54 in x 108 in (137 cm x 274 cm).
• A craze for pashmina shawls, known as shahmina in Kashmir, in
the mid-1990s resulted in high demand for the raw material, so
demand exceeded supply. When these shawls rose into fashion
prominence during the era, they were marketed unsurely. In the
consumer markets, pashmina shawls have been redefined as a
shawl/wrap with cashmere and cashmere/silk, not with standing
the actual meaning of pashmina. Some shawls marketed as
pashmina shawls contain (sheep) wool, while other dishonest
companies marketed artificial fabrics such as viscose and others as
"pashmina" with illusory marketing statements such as "authentic
viscose pashmina".

• As with all other wool products, the fiber content of a shawl, scarf
or other item marketed as pashmina must be accurately disclosed.
For example, a blend of cashmere and silk might be labeled 50%
Cashmere, 50% Silk or 70% Cashmere, 30% Silk, depending
upon the actual cashmere and silk content. If the item contains
only cashmere, it should be labeled 100% Pashmina or All Hand Embroider Pashmina Shawl
Cashmere by the Wool Act or regulations.
PAPIER MÂCHÉ OF KASHMIR

Papier Mâché House Boat with Paper Mache

 PAPIER MÂCHÉ OF KASHMIR
Kashmir’s traditional papier-mâché artworks, which are closely associated with the advent of Islam in Kashmir, are a staple of the
ornamental market throughout the world. However, this art form is vanishing with only a handful of artisans left practicing it.

• Handicrafts, in which skilled people produce many types of creative pieces using various materials from paper to stone, are one of the
important ways of preserving and promoting cultural and artistic traditions along with the talents associated with the people's
history and lifestyle. And when it comes to handicrafts, the erstwhile (former) state of Jammu and Kashmir is widely known for its
artwork, cultural heritage and handicrafts. Kashmiri handicrafts include sophisticated products made manually or with the help of
hand tools.
• Papier-mâché, among these handicrafts, is an age-old craft that was introduced to the valley by Mir Sayyid Ali Hamadani, who arrived
from Persia with skilled craftsmen in the 14th century. The Sufi Muslim Mir Sayyid Ali Hamadani, also addressed honorifically
throughout his life as "Shah-e-Hamadan," meaning "King of Hamadan," was instrumental in spreading Islam in the region and
introducing many crafts and industries to Kashmir. With the advent of Islam, papier-mache became one of the core artistic professions,
holding considerable religious relevance in the valley.
• It is one of the oldest handicrafts, which is deeply interwoven with the culture and tradition of Kashmiri society and whose legacy has
been passed from one generation to another for centuries. Besides, it generates employment for hundreds and thousands of Kashmiri
households. The locally manufactured papier-mache products are brought to local retail shops and tourist attractions for sale and are also
exported to international markets, mainly in Europe.
 PAPIER MÂCHÉ OF KASHMIR

A 19th-century pen box made of papier-

Papier Mâché Articles
mâché with paint and gold leaf.
 MAKING OF PAPIER-MACHE

• Papier-mache is a French word that means chewed paper and the process of making it involves two steps: Sakhtsazi and
Naqashi.
• Sakhtasazi, the initial stage of preparation, includes the making of the figurine from the mixture of paper pulp with the help of
rice straw and copper sulfate. In the final step of Naqashi, several coats of paint are applied and the figurine is decorated.
Artists prefer to use organic colors to paint their mesmerizing products. The entire procedure, which is done manually,
requires much care and deliberation and is tedious and time-consuming.
• Also, papier-mache products feature a wide range of intricate designs and depictions of Kashmir flora and fauna in their
decorations. Birds, animals, wall clocks, photo frames, wind chimes and more recently, Christmas trees can be an ornament
for papier-mache products. Some common themes that artists use for their craft include flowers, jungle motifs, especially
Kashmiri symbols like the chinar leaf and almond shapes. Some artisans have built a lasting influence with papier-mache by
bringing life to the historical scenes from Mughal courts and depicting Persian poetry on them.
• Some artisans produce rahles, or small reading desks for reciting the Quran, and Quran boxes using papier-mache, inscribing
Quranic verses on them. These intricate designs appear to be of much touristic attraction with their sumptuous look, and their
appeal lies in their uniqueness and mystic style. When adorned on a wall or inside showcases, these decorative pieces add a
spark to it. Consequently, the prolific craft is not only traditionally, culturally or artistically important but aesthetically too.
 DYING ART OF PAPIER-MACHE
• The practicing artists of papier-mache have gained both fame and money but they are merely struggling to survive in the
present day. Once considered a lucrative business, papier-mache is now the dying art of Kashmir. In the past several years, the
unprecedented floods, abrogation of Article 370, which gave special status to Jammu and Kashmir, internet blockade, and now
the COVID-19 pandemic lockdown have severely hit traders and artisans from the valley.
• According to the Kashmir Chamber of Commerce and Industry (KCCI), a local union of traders, there is an estimated loss of
$7 billion during the consecutive lockdown. Many artists are not able to make ends meet with insufficient earnings of just 300
rupees ($3.9) per day. Artisans are forced to shut down their workshops and give up their work and look for other jobs.
• However, the recent lockdown is not the only reason behind this dying art. Kashmir insurgency that broke out in the 1990s has
majorly impacted local traders, which led to reduced artistic enrollment and a decline in employment due to consistent
turbulence. The only hope for the artists is e-commerce, through which they can sell their products directly into the
international markets.
• After the Kashmir floods, World Bank granted a 2.18 crore rupees ($287,140) to the valley. Several artists from the valley are
coming forward with their grievances and uncertain future of this ancient craft. These workers are highly disappointed with the
government and wish for better support regarding the handicraft industry. The Directorate of Handicrafts of Jammu and
Kashmir must take all necessary steps to preserve and revive this dying craft to full potential. More and more research must be
carried on the importance and promotion of the same before it is too late.
PINJRAKARI OF KASHMIR • Lattice Work

•Chipped

•Carved

•Mashrabiya
• Introduction: - Pinjrakari is the craft of latticework in Kashmir. Chipped and carved out of light deodar wood, these pieces
consist of strips of wood arranged in repeating geometric forms. These pieces are then joined to make the larger form. The
distinguishing fact of this woodwork is that it does not use any glue for sticking together the pieces. They are held in position
by precise joinery and the pressure they exert on each other.
• Usage: - It is widely believed that wooden latticework began with the making of ‘Mashrabiya’, in Central Asia during the
12th century. Mashrabiya is the Arabic term given to a type of projecting oriel window enclosed with carved wood
latticework located on the second storey of a building or higher, often lined with stained glass. The Mashrabiya is an
element of traditional Arabic architecture used since the middle ages up to the mid-20th century. Pinjira, a latticework on
wood has remained a novelty of decorations in Kashmir and is done on the fences, doors, railings, ventilators, room partitions,
screens and windows partitions in the prominent years of Islam as a veil screen for women as the religious beliefs prohibited
them to be directly seen by the public. All the existing buildings in wood have such work in different geometric designs.
• There are two theories for its name; the most common one is that the name was originally for a small wooden shelf where the
drinking water pots were stored. The shelf was enclosed by wood and located at the window in order to keep the water cool.
• Later on, this shelf evolved until it became part of the room with a full enclosure and retained the name despite the radical
change in use. It may have been introduced during the reign of Sultan Zain-ul-Abadin, for him being the founder and
architect of many such works in Kashmir and for which he introduced many craftsmen from Central Asia. It is also used to
adorn doors. The Pinjrakari pieces are also used to make ornamental partitions and screens.
• One common use of latticework is in a privacy screen. The openings in the lattice allow light and air through, which can be critical in
a climate where full enclosure would be roasting. The network of lathes prevent people from seeing inside the lattice, allowing for
privacy in the area surrounded by the latticework. Latticework can be seen surrounding compounds and yards, and it is also used for
things like window inserts so that people can enjoy fresh air while still feeling relatively private. A lattice also happens to make a
great trellis. People training climbing plants may install a lattice so that the plant has something to grow on.
• When lattice is being used for privacy, training plants on it can increase privacy, as the plants will cover the lattice to prevent
people from seeing in while still allowing air through. Plants can also make a privacy lattice more aesthetically pleasing, as people
may not enjoy looking at the raw lattice material. Pinjrakari work is a common feature now in most Kashmiri houses. Thick
hand-made and oily paper is used together on these panels. This shuts of chilly winter winds but lets in ample light at the same
time. These paper covers are washed off at springtime. This delicate wooden latticework adorns Sufi places of worship and house
fronts and creates the lace-like trim on balconies and houseboats, those floating ‘luxury hotels’ from old times. Such trim is also
found on wooden balconies that stick out from the main structure or may cover the entire front of a house.
• Significance: - It was during the Sultanate period that large worship buildings were made, where in wood was used
extensively. Thereafter, not only wooden structures were constructed either exclusively or in association of stone and brick masonry
(stone work) to raise huge monumental buildings that exist till date, but also these were decorated with wooden ceilings, walls,
doors, cornices and frontage on balconies. During the medieval times in Kashmir common houses were built of wood and were most
beautifully decorated as Mirza Haidar narrates: “In the town, there are many lofty buildings constructed of fresh-cut pine.
Most of these are at least five storeys high; each storey contains apartments, halls, galleries and towers. The beauty of their
exterior defies description, and all who behold them for the first time, bite the finger of astonishment with the teeth of
admiration”.
• Used as a veil screen for women, its design was such that it is see-through from inside the house but not see-through from outside. This
is based on the fact that any Jaali can be seen through only when someone is standing close to it and would be difficult to see through
from a distance. In Kashmir, wood was a material used by every layer – by peasants, kings and boatmen. In such a wide variety of
uses, specific methods were developed for the uses.
• Myths & Legends:- With the coming of Central Asian ruler into Kashmir, came with them, their customs, religion, traditions and culture.
Islam did not allow for women to come out in public without being fully covered and most of the times, they were not allowed to be
present physically for an occasion or celebration. It is widely believed that the king of Persia, in the 12th Century loved his queen to
the extent that he could not turn any of her requests down. The queen once told the king that she wanted to see the royal court hearing
like he does. Unable to turn her request down, the king spoke to his court and the best architect in the land was called upon. He was
offered a huge sum of money and built the king a window, covered with beautiful wooden latticework right above the court
hearing hall.
• The work was such that whoever was on the darker side of the window could see everything on the brighter side, but not vice-versa. The
people on the brighter side of the window could only make out a silhouette of the person on the darker side if he or she would be standing
very close to the window. The king could not be happier. The morale of his religion and the happiness of his wife were both ensure and
soon it became customary to have this work in the queen’s quarters wherever she went. The tradition was passed down and when his
lineage migrated to India from Persia, they got with them skilled carpenters who brought the craft of wooden latticework along
with them and it became widely prevalent in Kashmir as Pinjirakari.
• Pinjirakari is deeply embedded in the Kashmiri aesthetic. It appears in romantic folklore of Kashmir and in it’s verses. For example
– ‘Zaile pinjre tile nazar trav, Bali asimi tamblav’ translates to ‘Bestow upon me one glance from behind the Pinjira. Oh young beauty,
pray do not tantalize me’.
• History:- Woodwork was an essential part of lifestyle from time immemorial. The carpenter made
not only household items but also items for temples and royalty. The art of carpentry was recognized
as an essential part of community work. Ancient texts like the Brihat Samhita and Shilpa Shastra
provide detailed instructions on woodwork – how to work with the different kinds of wood and
even how to fell the various trees.
• Jammu and Kashmir is known for its woodwork, stemming from the wide variety of trees growing
in the region. It has a rich history of woodwork and carving, popularly seen in the
architecture of the place. History mentions 12-storeyed palace in Srinagar made of woodwork.
Woodcraft flourished post 1028, especially in architectural elements. The new palaces called the
Razdanis were set up on the banks of river Jhelum. These banks were close to the rich forests of
Tashwan where the wood could be sources easily.
• Although less known outside Kashmir, the region boasts numerous other acclaimed crafts, many of
Persian origin. In the 14th century a Sufi saint, Sayyid Ali Hamadani, from the ancient city of
Hamadan, arrived in Kashmir with a band of about 700 followers.
• He had a profound influence on the valley, convincing large numbers of people, including the king,
to convert to Sufi Islam, thus leaving a lasting imprint on the valley’s culture. With him came a
number of Hamadan’s famous artisans who brought many new handicrafts to Kashmir,
including fine woodcarving.
• The Kashmiris proved to be apt pupils and have practiced and refined those skills to the present day. There is one example
on stone at Srinagar’s 15th century Madin Sahib Tomb, which has carved lattice scrolls instead of the geometric designs.
This work on the tomb built during the reign of Zain-ul-Abadin indicates that the lattice craft was known at that time even
though there is no work left in wood of that era and it might have served as a ancestor to the wooden craft.
• During the reign of King Zain-ul-Abadin, woodcraft flourished and is said to have reached its artistic peak. Sultan Zain-ul-
Abadin also got built a palace for himself, all of wood, in Naushahr. It has twelve stories, some of which contain fifty
rooms, halls, and corridors. A golden dome surmounted it, and its spacious halls were lined with glass. This tradition of
wooden architecture and craft seems to have developed and flourished under the Sultans in particular under the
fostering care of Sultan Zain-ul-Abadin whose patronage attracted master artisans for various crafts from different
parts.
• During the Mughal times, stone architecture was reintroduced into Kashmir for monumental architecture and in their
buildings stone screens instead of wood have been used on the Mughal patterns as in the Madrassa and mosque of Mulla
Akhun. However, it seems that wooden screen works did not suffer as Bernier who visited Kashmir during the reign of
Aurangzeb makes a special mention of the latticed doors of the houses of kings and nobles, which screened from view the
beautiful ladies of the harem. The Jamia Masjid in Srinagar rebuilt on the earlier pattern during his time has retained the
lattice designs that existed earlier. Latticework is a highly developed craft in Kashmir.
• The Pinjira work of Kashmir is basically an intricate piece of Jaali made out of small pieces of wood held through
various joints inside a frame and mostly in traditional practices without the use of glue. Pieces are fixed only using
dowel joints, mortise, and tenon joint and halved joint with very rare use of wooden screws for larger pieces. The pieces are
so precisely made that they fit into each other perfectly. Though the pieces are not glued together, they stay in place and are
quite strong and can stand huge pressures. They are fixed in their place due to the stress, strain, weight and force they exert
on each other. An extra outer frame may also be used for further strength but traditionally made Jaali can stay together even
without the use of such frames. The precision and design of this latticework was passed from one generation to another
along with the knowledge of geometry and mathematics taught in Islam. Geometry, calligraphy and vegetation are used as
sources of ideas. Out of these, the artisans only used geometry as their knowledge of mathematics helped them to make
many complex designs which could be tessellated.”
• Classically, latticework is available in a diagonally crossing pattern. Pieces of lattice can be fitted together to create a
continuous pattern, or oriented in different directions to create more visual interest. It is also possible to find
checkerboard lattice, which uses a vertical and horizontal pattern of lathes. There may be some settings in which
checkerboard latticework is more aesthetically appropriate, depending on personal taste. Highly ornamental carvings may
also be referred to as latticework. In this case, instead of making a pattern with lathes or strips, a pattern is pierced or cut
into a solid sheet or wood or metal. The pattern may depict a scene, or take an abstract geometric form. In the Middle East,
floral privacy lattice is very common, and similar styles are also seen in India. Some very fine designs done in this style
can be seen on display in museums, which celebrate Middle Eastern and Asian art.
• Challenges: - These techniques were passed down
from generation to generation-in clan- based, closed
shops. However, in the mid- 90s rising costs and a lack
of interest from younger clan members threatened the
survival of these traditions. The craft has now almost
disappeared and even the existing works are vanishing
from the old houses. The ruined and neglected houses
of the old city of Srinagar exhibit a pathetic view of
these glorious screens. As the things stand, the revival
of the art in this modern age looks very difficult.
However, few spinners of the art visible on the Muslim
shrines and on traditional houses of old city could be
saved if required steps are taken. The shrines and olden
houses and building carrying these artifacts need to be
preserved and conserved on modern and scientific lines.
KHATAMBAND-THE ART OF INTRICATELY CARVED CEILINGS IN
KASHMIR
• Walking in the maze of narrow lanes and by-lanes of old city of Srinagar, meandering
(roundabout) through its exposed brick and wooden structures often shout for some
care and attention in silence. The old embellishments adorning the dwellings and
monuments with carved wood facades, intricate Pinjrakari on their exteriors,
beautiful lines of Khatambandh (wood carved ceiling) tell a story of the bygone days
about a beautiful bridge man has made with history- it is simply mesmerizing !
• Going back to the roots of the craft called Khatamband, the literal meaning of which
is Polygons combining together with the help of wooden beadings, it is an art of
making ceiling by putting together walnut or deodar wood pieces into geometrical
patterns. The uniqueness of this craft is that when the process of making is complete
it acquires a unique and beautiful geometrical pattern and most of the process is done
by hand- indeed a painstaking work. About its origin in Kashmir- some say this
beautiful art was brought to Kashmir in 1541 by Mirza Hyder Tugluq during Mughal
times while some believe that Khatamband was brought by Islamic Mystic and saint
Mir Syed Ali Hamdani who visited Kashmir in 14th century along with his followers
included Khatamband artists from Iran. These artisans passed on this art to locals
here.
• Khatamband is a specialty in the art of Kashmiri woodwork
and compromises the making of ceilings of rooms, from thin
panels of pinewood, cut into geometrical designs. The
ceilings are made by fitting small pieces of wood (preferably
walnut or deodar wood) into each other in geometrical
patterns. Brought to Kashmir in 1541 by Mirza Hyder
Doulat, the process is not done through machines but,
painstakingly hand crafted as the pieces are made to be held
together purely by the joinery and no glue or nails.
• Earlier, Khatamband was usually seen in shrines, Jamia
mosques, palaces, royal houses, or houseboats. However,
things have changed drastically and one can see that more
and more homes in Kashmir are now going for such wooden
ceilings, be it in the city or the villages.
• History: - Woodwork was an essential part of Kashmiri lifestyle from time
immemorial. The carpenter made not only household items but also items for
temples and royalty. The art of carpentry was recognized as an essential part of
community work. Ancient texts like the Brihat Samhita and Shilpa Shastra provide
detailed instructions on woodwork – how to work with the different kinds of wood and
even how to fell the various trees.

• Jammu and Kashmir is known for its woodwork, stemming from the wide variety of
trees growing in the region. It has a rich history of woodwork and carving, popularly
seen in the architecture of the place.
• Design: - There are more than 160 designs for the Khatamband in Kashmir, but
today’s artists can only reproduce about 100. Artists have however greatly
compensated the lost designs with newer ones, where they experiment with mirror,
colours combination and other things and there is no limit to their creativeness. The
meaning of Khatam translates to ‘incrustation’. These incrustation patterns are
usually star shaped. They are made with thin sticks of ebony, teak, ziziphus, orange or
rose wood. Brass was used for golden parts and camel bones for the white parts
WALNUT WOOD CARVING IN KASHMIR

• Wood carving is one of the oldest forms of art from the Stone Age
and because of its durability, availability and plasticity it has
remained common art form to every culture since then. Art of
wood carving includes sculpture in wood, from the decorative
bas-relief on small objects to life-size figures in the round,
furniture, and architectural decorations. The woods used for
carving vary in hardness and grain. Different types of woods are
used for carving according to availability in the region, the most
widely used type of woods include mango, deodar pine, pear,
walnut, willow, sandalwood, oak, and ebony. Wooden handicrafts
from India are famous all over the world for their beauty and
durability and wood carving in India has been around since
ancient times, started as a temple art and as a means to decorate
palaces. Various centres of wood carving emerged over the time
with its distinct style and patterns Kashmir is the most famous of
all.
KHATAMBAND-THE ART OF INTRICATELY
CARVED CEILINGS IN KASHMIR
KASHMIRI CARPETS
• Kashmiri
Carpets: Hand-knotted
Kashmiri carpets are
highly prized for their
beauty and craftsmanship.
These carpets are
intricately woven with
intricate designs and
motifs, often featuring
floral patterns or Persian-
inspired designs
• Jammu and Kashmir is world famous for its carpets.
They are an exquisite work of art, as they are
intricately designed and hand-woven. An important
part of Kashmir’s handicrafts, Kashmiri carpets (also
known as Kashmiri rugs) are popular across the
globe and have been exported to the United States
and many European countries. These carpets are
hand-knotted oriental rugs crafted by artisans from
the Kashmir Valley. They come in a wide range of
styles, colors, designs, and sizes. Carpet weaving is
mostly practiced in the Baramulla and Budgam
districts and in some colonies around the Dal Lake
and the Achar Lake in Srinagar.
 HISTORY OF KASHMIRI CARPETS

• It is said that a Sufi mystic Hazrat Syed Ali Hamdani came from Persia to Kashmir and brought with him some skilled
artisans who would train the locals in weaving carpets. This led to the introduction of a new business in J&K. According
to some records, King Badshah introduced carpet weaving to Kashmiris in the late 15th century when he brought
craftsmen from Persia and urged the people of Kashmir to learn the spinning and weaving techniques from them.
• During the reign of Emperor Jahangir, the field of carpet weaving did not see much progress. It is believed that saint
Akhun Mulla Rahnuma revived the carpet weaving industry in 1600 with the help of the then Kashmir Governor. During
the Afghan and Sikh rules, the carpet weaving industry again witnessed a decline.
• The carpet industry received a boost in the 18th century when carpets of a higher quality were woven in large numbers.
During the mid-18th century, Mughal carpets from Kashmir were displayed at the Crystal Palace exhibition in London,
and Europeans were impressed by these works. Soon, the Kashmiri artisans started designing carpets that appealed to the
taste of the Westerners. The carpet industry suffered again in 1902 due to the global recession and later due to the
partition of India. In the late 20th century, local manufacturers in the Kashmir Valley, with the support of the government,
took efforts to boost the carpet industry and generate revenue for the state.
 KASHMIR CARPETS: TYPES AND DESIGNS

• Usually, Kashmir carpets come in sizes of 2’x3′, 2 1/2’x4′, 3’x5′, 6’x4′ and 6’x9′. Commonly, they have 18×18 or 20×20 knots per
square inch. Silk carpets with 3600 knots per square inch are rarely created; however, they are mostly put up for displays in museums or
in exhibitions.
• Based on the materials used, Kashmiri carpets can be classified as follows:

1. Staple Carpets (STP): They are lustrous and woven using synthetic silk or merchandized cotton, which is not pure silk but has its
softness.
2. Silk on Silk Carpets (S/S): In these carpets, silk threads are used in the warp as well as the weft. 100% silk is used with no other material
blended with it.
3. Silk on Cotton (S/C): In these carpets, silk threads are used for the weft, while cotton threads are used for the warp. Thus, a blend of silk
and cotton is used.
• Wool Carpets: They are hand woven using pure wool yarn for the weft and the warp. A Kashmiri carpet that can be easily bought
online, or in a store, is a result of the collective efforts of the designer (called Nakaash), dyer (also called Ranger), weaver (called
Kalimba), who create this beautiful piece of art, and the trader who introduces it to the market. The first step in creating a carpet is Talim
(designing), in which motifs are decided, colours are selected, and the layout is finalized. Talim is the written code that weavers have to
follow; it is read out by the master weaver and assistants weave accordingly. In the next phase, the yarn is sent out for dyeing and the
dyed yarn is left to dry, exposing it to air and sunlight. Subsequently, the design and the yarns are given to the weaver who gets the
design into reality with his finesse and expertise.
• Kashmir carpets are woven by tying knots on warp strands. More the number of knots and more the knot density, higher is the
value of the carpet. Carpets with 200 to 900 knots per square inch are considered as the world’s finest. In the weaving of Kashmir
carpets, two horizontal wooden beams are used, and the warp threads are stretched between them. Short lengths of the thread are
tied to form a pile. What’s commonly called a knot is actually a loop. Farsi baff and Sehna (originating from Persia) are the
commonly used types of knots in Kashmiri carpets. The knots are threaded using a simple technique, wherein a wooden or metal
comb is used to push the knots and weft them tightly, and the pile of the carpet is cut to an even form using a pair of scissors.
• Some of the popular motifs used in the Kashmir carpet designs are:
• Gulabdar: The Kashmiri roses are depicted in this design.
• Lotus: Carpets using this design have lotus flowers as motifs or patterns inspired by the lotus flower.
• Bagdar: This design depicts gardens.
• All Over: In this design, floral patterns are seen all over the carpet.
• Tree of Life: This design includes a beautiful tree with birds.
• Khatam Band: Wood-inspired motifs are seen in the carpets with this design.
• Gumm: Kashmiri carpets with this design have a maze pattern.
• Dabdar: A box pattern is used in this design.
• Additionally, Kashmir rugs include some famous motifs inspired by Persian art. They are Hamdan, Ardabil, Kirman, Kashan,
Tabriz, Isfahan, Meshed, and Bokhara
KASHMIR SHAWL
 INTRODUCTION
• The Kashmir shawl, the predecessor (ancestors) of the contemporary cashmere shawl, is a type of shawl identified by its
distinctive Kashmiri weave and for being made of fine shahtoosh or pashmina wool.
• Contemporary variants include the pashmina and shahtoosh shawls (often anonymously referred to simply as
the pashmina and Shahtoosh). In the late 20th century, they evolved to middle-class popularity through generic cashmere
products (rather than the higher-grade pashmina), and raffal, shawls woven in the Kashmiri style, but using thicker Merino wool.
Originally designed as a covering for men in India, it has evolved in the popular cultures of India, Europe, and the United States
as indicators of nobility and rank, heirlooms giving on a girl's coming-of-age and marriage, and subsequently, as artistic elements
in interior design.
• Valued for its warmth, light weight and characteristic buta design, the Kashmir shawl trade inspired the global cashmere industry.
The shawl evolved into its high-grade, sartorial (relating to tailoring) use in the 13th century and was used in the 16th century by
Mughal and Iranian emperors, both personally and for honouring members of their durbar. In the late 18th century, it arrived in
Britain, and then in France, where its use by Queen Victoria and Empress Joséphine popularised it as a symbol of exotic luxury
and status. The Kashmir shawl has since become a toponym for the Kashmir region itself (cashmere, named after Kashmir),
inspiring mass-produced imitation industries in India and Europe, and popularising the buta motif, today known as the Paisley
motif after the factories in Paisley, Renfrewshire, Scotland that sought to replicate it.
 DEFINITION

• The principal aspects of the shawl are its distinctive Kashmiri weaving technique and fine wool. However, the Kashmir shawl's definition
has varied in time and place, depending on various factors such as the material used and its cost, the method of construction, the intended
use, and the status of the wearer. Today, shahtoosh shawls are no longer made because of a ban on the trade of products made from the
Tibetan antelope.
• The definition of the Kashmir shawl has differed in India and in the West. In India, the shawl was worn by men, with the fineness of the
shawl indicating nobility or royal favour. In the West, depending on the fashion of the moment, the Kashmir shawl represented different
types of commodities, originally worn by men, but thereafter by women and then as decorative items in interior design. The definition has
been confused through fakery and imitation. Scholars, vendors and journalists have sometimes mistakenly used the
words cashmere and pashmina synonymously, or assumed that they are the same because they derive from the same animal. In
reality, pashmina is a particularly fine form of cashmere, so all pashmina is cashmere, but not all cashmere is pashmina. In the late 19th
century AD, weavers who had migrated to Punjab set up an imitation industry, applying the Kashmiri technique to Merino wool. The
resulting shawls were called raffal, and have been classified by some as a species of Kashmir shawls, though the thicker wool means that
they lack the distinctive lightness characteristic of the traditional Kashmir shawl. More recently, in the late 1990s, western European and
American sellers adopted the more exotic word pashmina to sell plain-weave shawls made from generic cashmere. As a result, the
associations with pashmina went from exclusive high fashion to middle-class popularity in 2000.
 MATERIAL
• Pashmina goats in Ladakh Kashmir shawls are traditionally made either of shahtoosh or pashmina. Shahtoosh wool comes from the fine hairs on the
underbelly of the Tibetan antelope. Cashmere derives its name from the home of the Kashmir shawl, and is often incorrectly equated
with pashmina. Pashmina and cashmere both come from the Changthangi goat, but pashmina is made from a fine subset of cashmere ranging from 12–
16 microns, whereas generic cashmere ranges from 12–21 microns.
• Types of wool by fineness, and their Diameter (μm)
• Shahtoosh- 10–12
• Pashmina- 12–16
• Cashmere- 12–21
• Merino wool- 18–24
• A 19th-century Kani shawl Shahtoosh shawls are made from the hair of the Tibetan antelope which averaging 7–10 microns in diameter, is the finest
hair in the world. These derived only from wild animals, grown during the harsh winters and rubbed off on rocks and shrubs in the summer, from
where they were collected for weaving. As the fineness of a shawl in India was traditionally seen as a mark of nobility, they were historically reserved
for members of the Mughal aristocracy. In the mid-eighteenth century, they became popular after their use by Queen Victoria of the United Kingdom
and Empress Joséphine of France.
• In Mughal times, they became known as "ring shawls", for being extremely light, and fine enough that a one metre by two-metre shawl could be pulled
whole through a finger ring. They remain known this way today. They today serve as status symbol, valued on average between USD $2,000 and
$3,000, but for up to $15,000. Today, the export of shahtoosh shawls is banned under CITES and their production and sale banned under wildlife
protection laws in India, China and Nepal. Domestic laws in the US prevent their sale.
 DESIGN:

Kani shawl
• Main article: Kani Shawl
• The standard design of Kashmir shawl is the Kani shawl, named after the Kanihama village where it was originally produced. It is
distinctive for using a variant of the "twill tapestry technique", referred to as such because of its similarity to European tapestry
weaving techniques. However, it differs from tapestry weaving because the loom is horizontal instead of vertical, and its operation
is closer to brocading. Kashmiri weavers used a distinctive technique, passing a weft over-and-under two warps. Using
discontinuous wefts, it varied the weft colour and created distinct colour areas identical on both faces of the fabric. This also
facilitated the creation of complex patterns like the buta to be woven onto the shawls.
• The buta design on an 18th-century Kashmiri shawl Paisley shawl.
• Main article: Paisley shawls- The Kashmir shawl is closely associated with the Paisley shawl. The paisley design, originating in
the buta, derives its name from the town of Paisley in Scotland, which became famous in the early 19th century for its imitation
Kashmir shawls with the buta motif. After 1850, many English speakers used to refer to any shawl with the buta design, Kashmiri
or otherwise, as a Paisley shawl. Missing fundamentals of the craftsmanship, imitations such as the Angola were short-lived.
• Architecture: The architecture of Kashmir reflects its rich cultural heritage, with notable
examples like the wooden mosques, shrines, and intricately carved wooden houses known
as 'Khatamband'.
• Natural Beauty and Tourism: The stunning landscapes of the Kashmir Valley, with its
snow-capped mountains, lush valleys, and serene lakes, attract tourists from around the
world. Tourism plays a significant role in shaping the culture and economy of the region.
PUNJAB
 AN OVERVIEW OF CULTURE OF PUNJAB

• Mud Work

• Weaving

• Embroidery

• Wood Works

• Basketry

• Phulkari

• Phidis

• Traditional Ornaments
• Punjab Arts & Crafts is highly acclaimed the world over. Punjab is a culturally rich north western state of India. The Arts and Crafts
of Punjab include the variety of handiworks. The artisans of Punjab are skilled and handy. The women of the villages are mainly
involved in carrying out the Punjab Arts & Crafts.
• The Mud Works is an ancient practice in Punjab. Generally it is a trend in Punjab to plaster the walls of the house with mud and
then create different motifs and designs on them. These kind of works are generally performed by the rural women of Punjab. The
carpenters of Punjab are renowned for their skills in Wood Works. The carpenters generally make the comfortable beds. The carved
legs of these beds were known as the Pawas. The carpenters are apt in making Peeras or Peerians, decorative boxes, pidhis and
toys. The Metal Work is also very popular among the Punjab Arts & Crafts. The metal utensils are used in households and for
religious purpose. The Basketry were made mainly for household usage. The Basketry works are done by shaving the thin straws of
grass. These straws are used to weave mats, rugs, carpets, curtains and hand fans. The needle work or the Weaving and Embroidery
in Punjab is known by various names as they are associated with some of the nice aspects of life and they are skillfully made by the
beautiful village girls. The hand fans are made almost in the same way as the Phulkari. Phulkari is an intricate needle work. Often
the base cloth is covered entirely which is known as Bagh. The smaller the stitches, the Phulkari becomes finer and better. The
Juttis made in Punjab are world famous The motifs of The Juttis of Punjab are embroidered with threads of silver and gold.
MUD WORK
MUD WORK

• The Mud Works is an ancient practice in Punjab. It is a skill of the artisans of Punjab to
transfer dull objects into magnificent work of art. Generally it is a trend in Punjab to
plaster the walls of the house with mud and then create different motifs and designs on
them. These kind of works are generally performed by the rural women of Punjab. Earlier
the Mud Works were done due to certain superstitions to keep away the evil spirits from
the households. This art of painting mud walls is known as Chowk-Poorana in Punjab.
Mainly the Mud Works were done during the Festivals in the village, like Navratra
Poorna, Karva Chauth, Ahoi Ashtami and Diwali.
WEAVING
 WEAVING AND EMBROIDERY

• The weaving of durries are very common with the Punjabi women. Durries are actually made by
cotton used as floor or bed spreads. There are different motifs like stripes, squares, checks are
prevalent. Sometimes motifs of animals and birds are also made.
•
The needle work or the Weaving and Embroidery in Punjab is known by various names as they are
associated with some of the nice aspects of life and they are skillfully made by the beautiful village
girls. But in Punjab, Weaving and Embroidery forms the part of daily lives of the women of the
village. On certain auspicious occasions and festivals, these works of Weaving and Embroidery are
highly used. Some of the needle works are called Phulkari meaning flower works and Baghs meaning
garden. The needle work are mainly done on the scarves, bed spreads, salwars, shirts, and dupattas.
Thus a feminine touch in the weaving and embroidery of Punjab make it all the more special.
WOOD WORKS
 WOOD WORKS

• Among the Art and Craft of Punjab the Woods Works are very famous. It has been a long
tradition of the carpenters of Punjab to make different objects out of wood. The wooden works
made in Punjab are highly appreciated the world over. The tourists visiting Punjab collect a
memento of the handiworks of Punjab. The carpenters of Punjab are renowned for their skills in
Wood Works. They have been traditionally popular through the ages. It is also a much practiced
occupation among the villagers of Punjab. The carpenters generally make the comfortable beds
with back rests that are fitted with mirrors. The carved legs of these beds were known as the
Pawas. The carpenters of Punjab are also apt in making the comfortable low seats called Peeras
and Peerians. This piece of furniture are made in almost every village of Punjab.
BASKETRY
 BASKETRY
• Punjab Art and Craft includes the fascinating and indigenous work of Basketry. Mainly the women folk of the villages of Punjab are
engaged in the work of Basketry. Some of the Basketry works of Punjab is known world over. The weaving of baskets and similar
objects have been a traditional practice among the Punjabis.

The Basketry were made by the village people mainly for household usage. But in the recent days, it has become a trend to identify
these handicraft articles as show pieces or for decorative purposes in the urban homes.

The Basketry works are done by shaving the thin straws of grass. These straws are used to weave mats, rugs, carpets, curtains and hand
fans. These hand fans are known as Peshawari Pakkhe. The fans comparatively of smaller size is known as Kundaldar Pakkhi. These
fans are small and delicate and have beautiful curl ends. The fans made by weaving are object of fascination to the tourists in Punjab.

R> One of the most fascinating industry of the state, the "Dolls" portray the artistic caliber of the people of Punjab. The craftsmen
make dolls of various sizes and kinds. The Dolls have a great demand within and outside India. Almost all the districts of Punjab have
flourished in the art of Doll Making. However, the city of Chandigarh has become one of the important centers of "Doll" making. The
Dolls of Punjab have an internationally acclaimed status that are purchased by the tourist for their near and dear ones as a token of love
and appreciation.
 PHULKARI OF PUNJAB

• SUBAR &
Pulka CHOPE

ri

CHOPE BAGH
• Phulkari embroidery started in the 15 th century and continues till today. Phulkari is a Punjabi rural tradition of handmade
work derived from two Sanskrit word Phul means flower and Kari mean work. Among the Art and Craft of Punjab,
Phulkari is the most popular handiwork in India and abroad. Phulkari is mainly associated with flower embroidery.
Phulkari means the flower craft, floral work in which the entire surface of the shawl is decorated with floral designs.
Phulkari and Bagh were the traditional embroidery shawls from rural Punjab. The word Phulkari is common in East
Punjab and Bagh is a popular word for shawls in west Punjab. Phulkari is a shawl that is designed as embroidery to cover
women’s heads to be displayed in a Gurdwara. Phulkari is an integral part of the life of Punjabi girl and is considered to be
appropriate, symbolizing happiness prosperity, and Suhaag of a married woman.
• Phulkari is associated with embroidering over the dupattas and shawls. It is an intricate needle work. Often the base cloth
is covered entirely which is known as Bagh meaning garden of flower. It mainly depends on the size of the stitching. The
smaller the stitches, the Phulkari becomes finer and better. But the art of Phulkari is not very complicated. The needle
work gives rise to the different motifs and design on the piece of cloth. Originally Phulkari embroidery was done on back
covers but nowadays it is also done on cushion covers, bolster covers and saris. The Phulkari embroidery is done on The
Wrong side with the threads of floss silk called Pat. Pat is red, white, golden, green, blue, purple, and orange in color.
Nowadays cotton blended threads and rayon floss are also used. The motifs are made of horizontal, vertical, and diagonal
stitching producing geometrical patterns like square, rectangle, vertical, and horizontal lines.
• In the earlier days, the threads used for embroidery were of silk.

The bright colors that are generally used for Phulkari are red, orange, blue, green, crimson etc. For the
Phulkari of Punjab, only one single strand is being used at a time. The stitches in the Phulkari are done
vertically, horizontally and even diagonally to create a special effect of light and shade.

The designs of the Phulkari of Punjab vary from one village to another. The embroidery work is given
descriptive names of their own. The sainchi Phulkari are much in demand and it depicts the scenes from
the village life. The skill and emotions of the rural girls got associated with this embroidery work.
Phulkari often became a part of the bridal trousseau.

The Phulkari works are used in various occasions like festivals, marriages, religious ceremonies in
Punjab. It was made only for the personal usage by the rural women. But it has been so much in demand
that it is also exported to Middle East.

Types:- Bagh, Chope, Subhar, Sainchi, Tilpatra, Neelal, Ghungat bagh and chammas
PHULKARI
FROM
PUNJAB
 DARSHAN DWAR
SAINCHI
OR DARWAZA

VARI DA BAGH
THIRMA
MOTIFS
TRADITIONAL ORNAMENTS FOR
WOMEN
• Punjab has always been known for its culture and traditions. It doesn’t matter where they are going or settled, you’ll
always feel the essence of their roots. They like to enjoy their lives whether it’s their food habits, parties, or
their dress sense. They seem to possess distinguished taste altogether of them. Traditional Jewellery of Punjab has
always been an important part of Punjabi culture for both men and ladies.
• It is considered a symbol of wealth and prosperity. The variety of ornaments employed by Punjabi is endless and each
piece features a cultural and non-secular relevance attached thereto. Let’s have a glance at several of the
most Traditional jewellery of Punjab.
1. Mattha Patti / Maang Tikka:- Worn on the head and has a beautiful pendant hanging on the forehead. A Maang
Tikka may be a simple thread or a string with a pendant that rests on the temple of a woman’s face however a Mattha
Patti is more elaborate with two or more strings and tons of embellishments plus an enormous pendant there on.
• 2. Nath/Laung:- While to most a Laung may look like a fashion statement, in India, it’s an age-old tradition that’s
heads back centuries and has significance even today. Ranging from a little diamond stud to large round designs
and paisley shapes, nose pins vary in size and style from region to region. According to matrimonial traditions, a
Nath is additionally the symbol of a bride’s virginity. So much so, once a virgin deflowered, it symbolically
mentioned because of the removal of the ‘Nath’ in most parts of the Indian subcontinent. It is believed that nose
ornaments have scientific benefits for the ladies who wear them.
• Apparently, piercing the nose to wear nose studs or rings protects the women from myriad nasal
infections also. Sometimes it’s connected to the ear or the hair behind the ear (for additional support
just in case the ornament is heavy) and in some regions, both nostrils are pierced. Imagine a definite
stud to spotlight your visage – that is the great thing about the Punjabi laung.
• This bridal Laung design gets its name from the clove spice with a definite circular head to dot the
bride’s nose. Usually, gold or a silver nose accessory, the laung is as daily wear together gets in North
India. For a bride, however, this can be studded with precious or semi-precious stones.
• When it involves making a fashion statement, nothing does it better than a Punjabi laung. This is the
type of bridal Laung that you simply can flaunt albeit you are not in your full-blown bridal ensemble.
Here’s a fashion keep sake that you simply can incorporate even in your daily wear.
• 3. Bali:- Their ethnic version of earrings is Bali’s, these are hanging earrings, which can be either
crescent or round. These can often be made by different parts of metals like gold or silver and may be
embellished with precious or semi-precious stones.
• 4. Choker:- While the choker was previously a symbol of violence and control, over time, it developed
into a symbol of female ferocity and power. The choker dates back thousands of years and was first
worn by the world’s earliest civilization.

• The Sumer empire in Mesopotamia and Ancient Egypt, consistent within the National Jeweler. They are
a method that has skilled cycles of recognition since ancient Egypt, especially popular within the 18th
century, late 19th, early 20th, 1960’s-70’s, ’90s, and recently.

• That said, any band of leather or metal sitting up high on the throat within the 60s-70s could called a
‘slave collar’, but that was just a reference to what it seemed like and didn’t necessarily indicate that the
wearer was associating with slavery. It was a trend among high school girls once I was growing
TRADITIONAL ORNAMENTS FOR WOMEN
• 5. Haath Phool:- This haath phool has two faux pearl strands with large white stones that give it an
ethereal look, while the single faux pearl strand with an attached red ring adds in a traditional touch. It has
a lobster claw closure that permits the convenience of wearing and removing. This haath phool is
lightweight and can add a moment style boost to your overall look.

• Haath Phool may be a traditional Indian accessory that has a delicate chain or multiple chains connected
to bracelets or bangle with adjustable rings of comparable designs. Adorning yourself with this stunning
jewelry will certainly cause you to stand call at the crowd. Earlier it had been related to Indian Queens and
ladies from royal families later it was evaluated and styled by all Indian women for auspicious ceremonies
like Wedding, Sangeet and Mehndi.

• 6. Kada/ Chuda:- The kada has different design styles and is typically wont to honor a spiritual figure.
• 7 Kalire:- The significance is to supply good wishes to the
bride and to remind her of her cousins and friends whom she goes
to go away behind when she gets married. Also, the coconut shape
of the kalire is symbolic that she never runs out of food within the
new home, while the metal symbolizes wealth and prosperity.
They are golden or silver in color. The significance is to supply
good wishes to the bride and to remind her of her cousins and
friends whom she goes to go away behind when she gets married.

• Also, the coconut shape of the kalire is symbolic that she never
runs out of food within the new home, while the metal symbolizes
wealth and prosperity.
• 8. Chooda:- A choora (or chura; plural chooriyan) is a set
of bangles traditionally worn by a bride on her wedding day and for
a period after, especially in Punjabi weddings. Chooda is a crucial
part of a Punjabi bride’s solah shringar. This is one of the foremost
evident marks of a replacement bride. Not only that but it’s also
known to bring good luck to the newlyweds. Also, red may be a vital
important color for a wife because it is believed to strengthen the
bond between a few.

• Fertility and prosperity are two words which will be easily related to
the chooda, which worn for a minimum period of 40-45 days after
the marriage day. The chooda is amid the bridal lehenga, which in
many communities was presented by the maternal uncle
also. Chooda ceremony may be a Punjabi ritual, but an equivalent
can vary in names for various cultures round the country.
• 9. Angoothi:- A ring is a round band, usually made of
metal, worn as ornamental jewelry. The term “ring” by
itself always denotes jewelry worn on the finger; when
worn as an ornament elsewhere, the part specified within
the term, e.g., earrings, neck rings, arm rings, and toe
rings. A ring may be a small circle of metal that you
simply decline your finger.
TRADITIONAL ORNAMENTS FOR MEN
1. Sisphul, Chaunk or Choti Phul: - Sisphul, chaunk or choti phul is a round boss worn on the hair over the
forehead.

• 2. Mauli: - Mauli is a long chain made of rows of pearls separated by jeweled studs.

• 3. Sir Mang: - Sir mang is a pendant worn on the head by Hindus.

• 4. Bala: - Bala is though the trend of men adoring themselves has now faded away, heritage and history
are proof of the fact that men were not immune to the lure of jewels. Now hardly seen at jewelers or worn
at weddings, the bala was a large earring worn by the warrior clan of North India and Punjab – the Khatris,
Sikhs and Dogra’s.
• A single band or wire of gold – it had a pearl strung thereon and was one among the foremost basic jewels
that men folk wore.
THANK YOU