Featured Textile: Phulkari

This is a vintage odini (shawl or veil) in the Phulkari style made by rural women in the eastern Punjab region of northern India and the western Punjab region, which is now Pakistan. The word Phulkari means "flower craft" or "flower making." Women create these things to be worn by themselves or loved ones, and they are never offered in the marketplace. On very special occasions and ceremonies, full-body phulkaris are worn, and they are called Baghs, which means "garden." How awesome is that?


Phulkari is unique in that the embroidery is done on the "wrong" side of the cloth. The motifs are traditionally  embroidered on a locally woven and dyed khaddar (cotton) cloth or Halwan cloth (a finer version of the khaddar). This particular example is embroidered on silk chiffon. Motifs were applied with soft, untwisted silk yarn, called "Pat." Pat was hand spun and dyed organically, using colours from vegetables and flowers. Later, silk thread in strands came from Kashmir, Afghanistan and Bengal. The best quality silk came from China. Mirrors, beads, sequins, and little jewels are frequently applied to the design.

Stitches are primarily long and short darning stitches, with satin stitch, chain stitch, running stitch, stem stitch, herringbone stitch etc. used as well, though less often.

From Sihkchic

Phulkari was a communal activity wherein, while telling each other stories of the days of yore, women used to depict the same on the cloth; that would eventually become part of a daughter’s trousseau.

The current form of phulkari has been popular since the 15th century. The origin of phulkari is disputed among scholars. Some feel the art came from Iran, where it is known as "Gulkari." Others argue that it originated with the Jat tribes that migrated from Central Asia to Punjab, Haryana, and Gujarat.

Different shades of red are the most favored color for phulkari, as the cloths are used in weddings and festivals. Red is considered auspicious by Hindus and Sikhs. Other colours are brown, blue, black, white. White was used in Bagh by elderly ladies. 

There is reference to phulkari in Vedas, Mahabharat, Guru Granth Sahib and folk songs of Punjab, although the motifs on these cloths were almost exclusively of a secular nature. Wheat and barley stalks are/were a frequent motif. No religious subject or darbar scenes were embroidered. This ancient art form was integral to village life and was used at many auspicious occasions including birth, marriage, and festivals. Different motifs and patterns were used for different purposes. The various forms of phulkari was very much a part of the wedding scene in Sikh, Muslim and Hindu households in Punjab. Sikhs, Muslims, and Hindus gifted phulkari vari-da-bagh to the bride by her in-laws when she was entering their house. Hindus offered phulkari Darshan duar (the gate through which the idol can be seen) to an idol or temple for having granted a wish.

To me, the phulkari seems to be on the borderzone between secular and spiritual, flowing into both realms. The creation of this cloth is very much in the domestic sphere, with mothers producing these items for their daughters with depictions referencing domestic life. Recurring motifs of agriculture and horticulture support this interpretation. These items are personal to the artist's family and immediate community. Their personal/individual importance seems to be reflected by the fact that they are not traded commercially. The use of this cloth appears to be in the ceremonial realm, particularly weddings and "joyous" occasions / festivals. (They are absent from any discussion of funerals that I have encountered.) They are worn in daily life as well, though this cannot necessarily be considered a secular use.  

The motifs deserve special mention, I think. I have only ever seen geometric motifs on these cloths, so can only comment on those. The "flower" part of "flower-craft" is evident in the many many many depictions of geometric flowers across almost every single phulkari. The flowers on this particular piece are radials with mirrored centers and sequin accents. Most of my regular readers can probably guess what I'm going to say about these! To me they are depictions of the vortex experienced during altered states of consciousness, and represent the access tunnel between the various cosmic realms (please see this post for a more thorough explanation). 

This example has two large chevrons pointing inward toward a large mandala in the center of the cloth. This, to me, also indicates the vortex between the realms. 



Although these cloths aren't used for funerals, clear journeys into another cosmic realm, they are used for transition ceremonies and occasions surrounding fertility such as births and weddings. The domestic affiliation seems to direct the attention of the spirits to the world of the living, perhaps asking for a blessing or expressing gratitude as the Darshan duar thanks the idol for having granted a wish. Look here into our garden! 

Maybe?


Traditional Punjabi song:
 

Maa(n) de hathaa(n) di ae phulkari nishani eh;
Isse naseebaa(n) walaa(n) ne ronde hansde payii eh

(The Phulkari is a token of a mother’s labour of love;
Fortunate are those who get this bittersweet pleasure).
 

MIRI