#Chikankari, #Lucknow's renowned textile art, traces its origins back to the Mughal era, attributed to the visionary Empress Nur Jahan. This exquisite #embroidery, characterized by its understated elegance, has transcended centuries, remaining a timeless emblem of Lucknow's heritage. Cherished by past monarchs and modern designers alike, Chikankari embodies a legacy of artistic expression, intricate craftsmanship, and enduring allure. Its delicate stitches intricately weave together aesthetic sensibilities and innovative techniques, reflecting the evolving tastes of generations. From royal courts to contemporary runways, Chikankari continues to captivate hearts with its timeless charm, preserving the rich cultural tapestry of Lucknow.
Embroidery akin to Chikankari finds mention in ancient Indian history as far back as the 3rd century B.C. Greek Ambassador #Megasthenes, documenting King Chandragupta Maurya's court, noted Indians wearing flowered muslins adorned with jewels. Cultural historian Kamala S. Dongerkery highlights King Harsha's affinity for simple white embroidered muslin in the 7th century A.D., laying foundational roots for Chikankari. Historians also believe that it was practised under a different name and form probably as 'anushtoop'.
Chikankari, originally crafted on undyed white Shazaada cotton or #Dhakai mulmul, sourced from the Ganges delta, began with embroidered prayer caps. Initially practiced by men and favored by women in harems, the exchange of goods was facilitated by eunuchs with access to both domains. From 1920, women behind the purdah took up embroidery, establishing a steady income stream. Passed down through generations, Chikankari remains primarily a female-driven craft, with around 90% of its execution attributed to women.
Revival of Chikankari: From Decline to Resurgence
Abdul Halim Sharar's "Guzishta Lucknow: Mashriqi Tamaddun ka Aakhiri Namuna" reveals that Chikankari faded from memory after Nur Jahan's era, only to resurge in the 1830s under Nasir-ud-Din Haidar, #Awadh's second king and an admirer of English culture. Haidar revitalized Chikankari, showcasing it in royal courts and popularizing it through lavish gifts to the British. The embroidery transcended mere dupattas, adorning evolving garments like the gharara for women and kurtas, and panels of the #dopalli topi for men.
Chikankari embroidery, known for its intricate white-on-white stitches on fine muslin, symbolized Nawabi and Lucknawi heritage. Its popularity surged during the #colonial era, with exported items to Britain including #muslin dresses, collars, table covers, runners, mats, napkins, and even tea covers, showcasing its versatility and appeal.
Flourishing Artistry: The Diversity of Stitches and Designs in Chikankari Embroidery
Chikankari embroidery is renowned for its intricate detailing, incorporating a myriad of stitching techniques that impart opacity, texture, and transparency to fabric. Drawing inspiration from beliefs, local culture, jewelry, botany, and faith, its motifs are rich in symbolism and tradition. Among the plethora of stitches employed in Chikankari are murri, bakhiya, phanda, teipchi, pechani, keel, and kangan. Initially comprising nine technical stitches, artisans have refined and expanded them over generations, resulting in thirty-nine existing stitches today.
Beyond surface adornments, Chikankari also utilizes pushed thread trellis techniques like Makra, Sidhaul, Chaitya, and bank jali. Enduring centuries with remarkable self-sufficiency, this art form exudes understated elegance and grace, captivating both Indian and international markets with its subtle allure and vibrant texture. While newer designs have emerged, the enchanting magic of white-threaded Chikankari remains undiminished, a testament to its enduring legacy and timeless appeal.
