The rulers of Awadh, particularly the Mughals were very fond of art and cultural activities such as music, poetry, architecture and handicrafts. Besides being famous for its hot summers and a glorious past, Lucknow is also known the world over for its many fine Handicrafts. Some of the most popular names in this list are Chikankari, Hand Block Textile Printing, Zari Zardozi, Ivory or Bone Carving, Terracotta and many others that are practiced by various artisans of Lucknow. Chikankari is considered to be the most popular amongst these and is recognized worldwide. . 2 HISTORY AND TRADITION OF CHIKANKARI The art of Chikan embroidery in India is about 400 years old and it is believed that this is a Persian Craft, which came to India with Noorjahan, the queen of Jahangeer the Mughal Emperor.. At that time it was designed and practiced by her and other begams (wives) of Mughal Emperors. Chikankari flourished under the patronage of the rulers of Awadh. Later when the capital of Awadh shifted to Lucknow from Faizabad, in the year 1722, the knowledge of the craft came to Lucknow.
It is informed that here the Mughals found the Hand Block Printing skills that made it easier for them to practice this embroidery, as earlier the tracing of design was very difficult. This availability of easy process of drawing of base design encouraged them to teach this fine embroidery-work to their Kaniz (servants), who in turn taught it to their other family members and gradually this embroidery become a part time earning source of many women of rural areas.
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The craft of Chikankari is quite distinctive and forms an integral part of life in Lucknow. The fine needlework adorned the garments made from gossamer silk fabrics and muslin for the ruling elite. The love and hard work of the artisans created delicate designs on fabrics that was reminiscent of sheer grace. 1 LUCKNOW CHIKANKARI CLUSTER They captured the beauty of intricate patterns of marble ‘jaali’ and inlay work of the Mughal period monuments and developed this indigenous form of artistic embroidery called Chikan.
The tradition of Chikankari has come down from families who served the ruling elite. The craftsmen with love and devotion worked on topi-palla or angarkha, for their masters, creating designs that were unmatched in beauty. With the decline in patronage, economic compulsions forced the men to look out for more lucrative employment and the craft passed on to the womenfolk of the community, as a source of subsidiary earning for the family. Gradually, it became the main source of earning for the family.
In the beginning, the Mughals and Persians who settled in Awadh practiced & patronized the craft but later on its touch and style were continued in Dhaka and Bengal, mainly Calcutta where Navab Wazid Ali Shah of Lucknow remain in captivity of British Rulers. Bengali work was mainly for the European market but no trace of it remains today; neither in Calcutta nor in Dhaka. In Lucknow, embroiderers used to work under the patronage of the local courts. When these declined in the mid nineteenth century Chikan-work changed from professional activity of men to a cottage industry for women.
Today, it is mainly in the hands of rural Muslim women and is still a significant Industry in Lucknow. 1. 3 THE UNIQUENESS OF CHIKAN-CRAFT Due to the variety of stitching-styles involved in Chikankari, it is claimed to be one of its kind hand embroidery that is impossible to imitate in any other part of the world Chikan embroiders claim a repertoire of about thirty-two stitches, to which they give delightfully fanciful names: Double-Star Earring, Peacock Feather’s Eye.
Some of the names in their local language are; Sidhual, Makra, Mandarzi, Bulbulchashm, Tajmahal, Phooljali, Phanda, Dhoom, Gol murri, Janjeera, Keel, Kangan, Bakhia, Dhania Patti, lambi Murri, Kapkapi, Karan Phool, Bijli, Ghaspatti, Rozan, Meharki, Kaj, Chameli, Chane ki Patti, Balda, Jora, Pachni, Tapchim Kauri, Hathkati & Daraj of various types. Closer analysis reveals that many of these are different combinations of the same few basic stitches. 1. 4 PROCESS OF CHIKANKARI CHIKANKARI is an art, which results in the transformation of the plainest cotton and organdie into flowing yards of magic.
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The word “Chikan” steps from a Persian word derived from Chic, which referred to the ‘jali’ work done on marble or wood. It is also famous as “shadow work” or “white embroidery work”, traditionally practiced in the city of Lucknow and its environs. Traditional Chikankari was embroidered on Muslin with a white thread. Gradually the work was started being done on other fabrics like Organdie, Malmal, Tanzeeb, Cotton and Silk. Presently all types of fabrics, namely Voil, Chiffon, Lenin, Rubia, Khadi, Handloom cloth, Terry Cotton, Polyester, Georgette, Terry voil etc are used in Chikan Embroidery.
After partition the main markets of Topi Palla of Chikan Embroidery were not easily accessible because they became foreign markets for Indians. It forced the manufacturers to develop new products and they started producing Gents Kurta and after that Saris. FROM 1970 TO 1990 Some manufacturers started manufacturing Ladies Suits (with or without dupattas) and even Luncheon sets. But this period is also seen as the worst period of Chikan embroidery. Because of producing only lower value products, consumers started using the products as night wear. FROM 1990 TO 1999 This period can be referred to as the Golden Period of this cluster.
New products, such as Suit lengths were developed and manufacturers started producing high value products. In this era new entrepreneurs with high ambitions entered the field and started manufacturing good quality products. Some reputed fashion designers also included Chikan Embroidery in their samples and catalogues which highlighted the Chikankari at national and international levels. FROM 1999 TO 2001 Introduction of work on Georgette has kept the manufacturers in business. An overall general business slump in the economy has been affecting this cluster also and a decline in turnover has been observed.
