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Machine Embroidery Downloads For Scripture And Wise Sayings UPDATED

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Machine Embroidery Downloads For Scripture And Wise Sayings

Any of the various styles of embroidery ethnic to Republic of india

Showroom in Craft Museum New Delhi

Embroidery in Republic of india includes dozens of embroidery styles that vary past region and clothing styles. Designs in Indian embroidery are formed on the basis of the texture and the blueprint of the fabric and the stitch. The dot and the alternate dot, the circle, the square, the triangle, and permutations and combinations of these constitute the design.

Photo gallery [edit]

  • Bluish landscape embroidery, Udaipur, Rajasthan, Republic of india

  • Pink clothes with embroidery, detail, Crafts Museum, New Delhi

  • Mural embroidery, Udaipur, Rajasthan, India

  • Adult female's shirt from Kutch, Gujarat, Republic of india

  • Embroidered hanging, Kutch (western India)

  • Embroidered material from Nagaland, Honolulu Museum of Art

  • Greenish fabric with embroidery, particular, Crafts Museum, Delhi

  • Hanging from Republic of india, Honolulu Museum of Art

  • Sari from Bengal Republic of india, 20th century, Honolulu Museum of Art

  • Rajasthani clothes

  • Kutch absorber embroidery

Aari [edit]

Cotton wool tambour embroidery on net. 19th century. Los Angeles County Museum of Art.

Aari work involves a claw, plied from the top but fed by silk thread from below with the fabric spread out on a frame. This movement creates loops, and repeats of these lead to a line of chain stitches.[1] The material is stretched on a frame and stitching is washed with a long needle ending with a hook such as a crewel, tambour (a needle similar to a very fine crochet hook but with a sharp point)[two] or Luneville piece of work. The other manus feeds the thread from the underside, and the hook brings it upwardly, making a chainstitch, but it is much quicker than chainstitch washed in the usual way: looks like machine-fabricated and can too exist embellished with sequins and chaplet - which are kept on the correct side, and the needle goes within their holes before plunging below, thus securing them to the fabric.there are many types of materials used like zari threads, embellishments,siquins etc..

Aari embroidery is adept in various regions such as in Kashmir[3] and Kutch (Gujarat).[4]

Banjara embroidery [edit]

Banjara Lambani woman in traditional dress

Adept by the Lambada[5] gypsy tribes of Andhra Pradesh, Banjara embroidery is a mix of applique with mirrors and beadwork. Bright scarlet, yellow, black and white coloured cloth is laid in bands and joined with a white criss-cross stitch. The Banjaras of Madhya Pradesh who are found in the districts of Malwa and Nimar accept their own style of embroidery where designs are created according to the weave of the cloth, and the textured consequence is achieved past varying colours and stitches of the geometric patterns and designs. Motifs are generally highlighted by cross-stitch.

Banni or Heer Bharat (Gujarat) [edit]

The Banni or Heer India embroidery originates in Gujarat, and is practiced mainly by the Lohana community. It is done with silk floss (Heer ways "silk floss") and it is famous for its vibrancy and richness in color pallets & design patterns, which include shisha (mirror) work. Bagh and phulkari embroidery of the Punjab region has influenced Heer Bharat embroidery in its use of geometrical motifs and stitchery.[half-dozen]

Chamba Rumal (Himachal Pradesh) [edit]

Is originated in chamba kingdom of Himachal Pradesh in 17th century. This embroidery flourished in the princely hill states of Kangra,[7] Chamba, Basholi, and other neighbouring provinces. The chamba region has highly skilled craftsmen. Chamba embroidery has its own distinctive manner, minor squares or rectangles of clothe embroidered with untwisted silk threads.[8] While untwisted silk is near mutual some chamba embroidery make use of thin metal wires or metallic yarn.[9] While the chamba rumal originated in the 17th century it reached widespread popularity in the 18th century later on rulers in the Himalayan region patronized chamba rumal embroiderers.[ten] The original chamba embroideries were done by women or young children, the embroideries often depicted gods or goddesses.[viii] Original chamba embroideries were very important in marriages as the embroideries were kept as the brides dowry.[eight] Chamba embroideries often began by drawing an outline on the rectangular square of fabric, while originally embroidered by women at the summit of popularity in the 18th century many male painters drew the outlines and embroidered the clothe themselves to ensure high quality piece of work.[eight] Not long later its pinnacle of popularity in the 18th century the chamba rumal's popularity declined. The rumals began to lose their sacredness, today most rumals are made by families trying to sell them to survive, and the chamba rumals are non of the aforementioned quality as they were in the 17th and 18th century.[eight] While this art style has declined over the years and near been lost, in 2012 Lalita Vakil was given the Shilp Guru accolade for her ability and skill in chamba embroidery.[eleven]

Chikankari (Uttar Pradesh) [edit]

Chikan embroidery on a saree pallu

The present form of chikan (meaning elegant patterns on fabric) piece of work is associated with the urban center of Lucknow, in Uttar Pradesh. Chikan embroidery on silk is Lucknow's own innovation. The other chikan styles are that of Calcutta and Dacca. Notwithstanding, characteristic forms of sew together were developed in Lucknow: phanda and murri.[12]

Chikan embroidery is believed to have been introduced past Nur Jahan,[13] the wife of Jahangir. Chikan embroidery involves the use of white thread on white muslin (tanzeb), fine cotton fiber (mulmul), or voile, fine virtually sheer fabrics which showcases shadow work embroidery the best. Other colours can too be used.

The artisans usually create individual motifs or butis of animals and flowers (rose, lotus, jasmine, creepers). The designs are commencement printed onto the fabric non with chaulk, but with a mixture of glue and indigo.

At least 40 dissimilar stitches are documented, of which about thirty are nonetheless expert today and include flat, raised and embossed stitches, and the open up trellis-like jaali work. Some of the stitches that are used in Chikankari work include: taipchi, pechni, pashni, bakhia (ulta bakhia and sidhi bakhia), gitti, jangira, murri, phanda, jaalis etc. In English: chain sew together, buttonhole stitch, French knots and running sew, shadow work. Another is the khatao (also called khatava or katava).

Gota (Jaipur, Rajasthan) [edit]

Kota sari with gota patti

It is a course of appliqué in gold thread, used for women'southward formal attire. Modest pieces of zari ribbon are applied onto the fabric with the edges sewn down to create elaborate patterns. Lengths of wider golden ribbons are stitched on the edges of the cloth to create an effect of gilt zari piece of work. Khandela in Shekhawati is famous for its manufacture. The Muslim customs uses Kinari or edging, a fringed border decoration. Gota-kinari practiced mainly in Jaipur, utilising fine shapes of bird, animals, human figures which are cut and sewn on to the fabric.it is very famous in rajasthan besides as in many other parts of the world.[14]

Kamal kadai(Andhra Pradesh) [edit]

Is an embroidery from native Andhra Pradesh. Woven Trellis stitch is used to brand flowers and leaves and other stitches are done on fabric to complete the embroidery. [xv]

Kantha (Bengal) [edit]

Naksha is embroidery on many layers of fabric (similar quilting), with running sew. It is too known equally dorukha which mean the designs/motifs are equally visible in both sides: there is no right or wrong side so both side are usable. Traditionally, worn out wearing apparel and saris were piled together and stitched into quilts. Rural Bengali women still exercise this with cotton saris, the embroidery thread being taken from the sari border. It started equally a method of making quilts, merely the same blazon of embroidery can likewise be found on saris, salwar suits, stoles, napkins, etc. Themes include man beings, animals, flowers, geometric designs and mythological figures.[xvi]

Karchobi - Rajasthan [edit]

Information technology is a raised zari metal thread embroidery created by sewing flat stitches on cotton fiber padding.[17] This technique is ordinarily used for conjugal and formal costumes every bit well equally for velvet coverings, tent hangings, curtains and the coverings of animal carts and temple chariots.

Kasuti or Kasuthi (Karnataka) [edit]

Kasuti (Kai=manus and Suti = weave /wrap) comes from the country of Karnataka,[18] Kasuti is originated in Karnataka during chalukya period (sixth to 12th century) [v] and washed with single thread and involves counting of each thread on the cloth. The patterns are stitched without knots, then that both sides of the cloth look alike. Stitches like Gavanti, Murgi, Negi and Menthi form intricate patterns similar gopura, chariot, palanquin, lamps and conch shells, besides equally peacocks and elephants, in fixed designs and patterns.

Motifs of kasuti embroidery

Kathi (Gujarat) [edit]

Kathi embroidery was introduced past 'Kathi' the cattle breeders, who were wanderers.[19] This technique combines chain sew, appliqué work and mirror-similar insertions.

Kaudi(Karnataka) [edit]

Kaudi (ಕೌದಿ) is a blanket or bedspread and applique embroidery from northern parts of Karnataka. One-time Fabrics are cutting into pieces and stitched with simple running sew.

Kaudi: pride of Karnataka

Khneng(meghalaya) [edit]

Is an embroidery from meghalaya. Mustoh village is only known place for khneng embroidery and the embroidery is traditionally Washed on eri silk shawls. [6]

Kutch or Aribharat [edit]

The all-time known of the Kutch (Gujarat) embroidery techniques is Aribharat, named after the hooked needle which forms the chainstitch. It is also known equally Mochibharat, as it used to be done past mochis (cobblers).

Kutchi bharat/Sindhi stitch (Gujarat) [edit]

A variation of Kutch piece of work, this geometric embroidery starts with a foundation framework of herringbone stitch[20] [21] or Cretan sew together, and so this framework is completely filled with interlacing. It is said that this technique originated in far away land of Armenia and establish its style to Gujarat by travelling Nomads. Sindhi sew or Maltese cross stitch is too similar only the innovation of the Kutchi women accept taken information technology beyond the traditional designs meow Kutch work[22]

Kashmiri embroidery [edit]

Kashmiri Kashida [edit]

Kashmiri embroidery (as well Kashida) is originated during Mughal period and used for phirans (woollen kurtas) and namdahs (woollen rugs) as well as stoles. It draws inspiration from nature. Birds, blossoms and flowers, creepers, chinar leaves, ghobi, mangoes, lotus, and trees are the about common themes. The entire design is made with one or two embroidery stitches, and mainly chain stitch on a base of silk, wool and cotton wool: the color is commonly white, fair or cream but present one tin find stoles and salwar-kameez sets in many other colours such equally dark-brown, deep bluish, sky bluish, maroon and rani pink. Kashida is primarily done on canvass with crystal threads, but Kashida likewise employs pashmina and leather threads. Apart from clothes, information technology is found on domicile effects like bed spreads, sofa and floor cushions, and pillow covers.

The base cloth, whether wool or cotton, is generally white or cream or a similar shade. Pastel colors are besides frequently used. The craftsmen use shades that blend with the background. Thread colors are inspired by local flowers. Only ane or two stitches are employed on one fabric.

Kashmiri embroidery is known for the skilled execution of a unmarried sew together, which is frequently chosen the Kashmiri stitch and which may contain the chain stitch, the satin stitch, the slanted darn sew, the stem stitch, and the herringbone run up. Sometimes, the doori (knot) stitches are used but not more than than ane or two at a time.

Kashmiri stitches [edit]

Human being's Coat (Chogha) Kashmir 19th century

Boy's Frock Kashmir 19th century

The stitches include sozni (satin), zalakdozi (chain) and vata chikan (button pigsty).[23] Other styles include dorukha in which the motif appears on both sides of the shawl with each side having a unlike color; papier-mâché; aari (hook) embroidery; shaaldaar; chinar-kaam; samovar (the antique Kashimiri tea-pot) is a very typical and popular pattern used in Kashmiri embroidery. The samovar design is and then filled upwardly with intricate flowers and leaves and twigs; Kashir-jaal which implies fine network of embroidery, peculiarly on the neckline and sleeves of a dress material.

Further styles include naala jaal which involves embroidery peculiarly on the neckline and breast/yoke: naala means cervix in the Koshur dialect of Kashmiri language; jaama is a very dumbo embroidery covering the whole base fabric with a thick spread of vine/creepers and flowers, badaam and eye shapes, a variation of this form is neem-jaama, where neem means demi or one-half, considering the embroidery is less dumbo, allowing a view of the fabric underneath; and jaal consisting of bel-buti: a fine and thin cyberspace of vine/creepers and flowers. Variation of this form is neem-jaal, where again the work is less dense.

Mukaish Piece of work- (like to chikankari) -Lucknow [edit]

Pocket-size rectangular pieces of metal are squeezed shut effectually some threads of the fabric. Mukesh work (known likewise every bit badla or fardi), includes women making shiny stitches amid chikan embroidery using a needle and long, thin strips of metal.[24]

Phool Patti ka Kaam (Uttar Pradesh) [edit]

Flower embroidery of Uttar Pradesh,[25] especially in Aligarh.

Phulkari (Punjab and Haryana) [edit]

Phulkari (Phul=flower, Kari=work) is originated in the late 17th century in Punjab region. the near famous rural embroidery tradition of Punjab, mentioned in the Punjabi folklore of Heer Ranjha by Waris Shah. Its present form and popularity goes back to 15th century, during Maharaja Ranjit Singh'south reign[26] Phulkari too means headscarf, and it comes from the 19th century tradition of carrying an odhani or a head-scarf with flower patterns. Its distinctive property is that the base is a dull hand-spun or khadi cloth, with bright coloured threads that embrace information technology completely, leaving no gaps. It uses a darn stitch done from the wrong side of the fabric using darning needles, ane thread at a time, leaving a long stitch below to course the basic pattern.[27] Famous for Phulkari are the cities of [28] Amritsar,[28] Jalandhar,[28] Ambala,[28] Ludhiana,[28] Nabha,[28] Jind,[28] Faridkot,[28] and Kapurthala.[28] Other cities include Gurgaon (Haryana), Karnal, Hissar, Rohtak and Delhi. Bagh is an offshoot of phulkari and nigh e'er follows a geometric pattern, with green equally its basic colour.

Other styles [edit]

The embroidery styles of the Punjab region include kalabatun embroidery[29] using thin wires. Kalabatan surkh involves using gilded wires on orange coloured and blood-red silk. Kalabatan safed involves using silver wires on white material. In that location are ii kinds of gilded embroidery, 1 of a solid and rich kind chosen kar-chob and the other called tila-kar or kar-chikan utilising gilt thread. The former is used for carpets and saddle cloths whereas the latter is used for dresses. The Punjab region likewise uses mukesh embroidery: mukesh bati-hui, twisted tinsel, mukesh gokru, flattened gold wire for embroidery of a heavy kind, and waved mukesh, made by crimping mukesh batihui with iron tongs.[30] Ludhiana and Amritsar are known for embroidery using white, silver and gold threads on clothes such equally chogas and waistcoats (phatuhi).[7] Patchwork is as well a tradition of the region.

Pichwai (Rajasthan) [edit]

'Playful Gifts and other Gopi Scenes', 'pichwai' from Golconda, India, late 17th century, dyed cotton with polychrome and gold, Honolulu Academy of Arts

Colourful embroidered cloth-hangings made in Nathdwara, Rajasthan. The central themes focus on Lord Krishna.[31]

Pipli (Odisha) [edit]

Appliqué[32] or Pipli work originates from the Pipli[33] village in Odisha and some parts of Gujarat. It is chosen Chandua based on patchwork: brightly coloured and patterned fabric pieces are sewn together on a plain groundwork mostly velvet along with Mirror and lace work. Designs include Hindu gods, man forms, animals, flowers and vehicles. Originally Chandua work was done to built the chariots for Puri Rath Yatra and was as well used for parasols, canopies and pillows for the Rath Yatra. Nowadays different home décor items tin can be institute, such equally lamp shades, garden umbrellas and bed covers and utility products similar Hand bags, Wallets, Files.

Rabari (Rajasthan and Gujarat) [edit]

This embroidery way is made past the Rabari[34] or Rewari customs of Rajasthan and Gujarat. This very colourful embroidery way, using stark contrast was traditionally used only for garments, only now information technology can be plant on bags, accessories, home furnishings, etc. Mirrors of all shapes and sizes are incorporated in the embroidery, every bit a event of the belief that mirrors protect from evil spirits. Designs include not only flowers and fruit and animals such as parrots and elephants, but too temples, women carrying pots, and the ubiquitous mango shape.

Shamilami (Manipur) [edit]

Lai haraoba (Manipur festival) Manipur wearing apparel

A combination of weaving and embroidery and was in one case a high status symbol.[35]

Shisha or Mirrorwork (Gujarat, Haryana, Rajasthan) [edit]

Altar Cloth (Toran), Saurashtra, Gujarat, Republic of india, 20th Century, cotton, metal and mirror pieces. apparently weave with embroidery and mirror work, Honolulu Academy of Arts

India (Gujarat), adult female's costume, 1970s-1980s - Bunka Gakuen Costume Museum - DSC05309

This ornament method originated in Persia during 13th century and involves little pieces of mirror in diverse sizes which are encased in the ornament of the fabric first by interlacing threads and and so with buttonhole stitch.[ citation needed ]

Originally, pieces of mica were used equally the mirrors, simply later, people started using thin blown-glass pieces, hence the proper noun, which in Hindi ways "little glass".[ citation needed ] Until recently they were all irregular, made by hand, and used mercury, nowadays 1 tin can as well find them car fabricated and regularly shaped. Information technology's commonly found in combination with other types of stitches like cantankerous stitch, buttonhole stitch and satin stitch, nowadays not simply past hand but as well past machine. Mirrorwork is very popular for absorber covers and bedcovers, purses and decorative hangings as well as in decorative borders in women'southward salwar-kameez and sari. Thousands of women from kutch (Gujarat) and sikar, churu (Rajasthan) are engaged in doing manus embroidery work like tie, mirror work, beads on fabric.

At that place are diverse types of Chikan work: Taipchi, Bakhia, Phunda, Murri, Jaali, Hathkati, Pechni, Ghas Patti, and Chaana Patti.

Toda embroidery [edit]

Embroidery work Kotha Primitive Tribal Community, (PTGs) in Nilgiri, Tamil Nadu. Also known equally Cantankerous Stitches Embroidery

The Toda embroidery has its origins in Tamil Nadu. The Nilgiri Hills, inhabited past the Todu community accept their own way called pugur, means bloom. This embroidery, similar Kantha, is practiced by women.

The embroidery adorns the shawls. The shawl, called poothkuli, has red and black bands between which the embroidery is washed. Equally Todas worship the buffaloes, buffalo becomes an important motif in the Toda embroidery amongst mettvi kaanpugur, Izhadvinpuguti and others. Stylized sun, moon, stars and the centre of the peacock feathers are used in Toda embroidery.[36]

Zardozi or Zari or kalabattu [edit]

Shut Shot of the Zardozi (Zardouzi) Embroidery Cushion Covers

Sari from India (probably Benares), late 19th or early 20th century, silk with metal thread (Zari)

The nearly opulent grade of Indian embroidery is the Zari and the Zardozi or Zardosi, known since the late 16th century, brought in Republic of india by the Moghuls. The word Zardozi comes from the ii Western farsi words, Zar (gold) and Dozi (embroidery). This form uses metallic thread.

In one case real golden and silver thread was used, on silk, brocade and velvet fabric. Metal ingots were melted and pressed through perforated steel sheets to convert into wires, which so were hammered to the required thinness. Plain wire is chosen 'badla', and when wound circular a thread, it is chosen 'kasav'. Smaller spangles are called 'sitara' and tiny dots made of badla are called 'mukais' or 'mukesh'.

Zardozi is either a synonym or a more elaborate version of zari where the gold or silver embroidery is embellished with pearls and precious stones, gota and kinari, making this art only affordable by rich people. Nowadays Zardosi thread has a plastic cadre and a gilt-coloured outside. The thread consists of coiled metal wires placed on the correct side of the fabric and couched with a thinner thread.

References [edit]

  1. ^ Sajnani, Manohar (2001) Encyclopaedia of Tourism Resources in Republic of india, Volume two [1]
  2. ^ Wood, Dorothy (2008) The Beader's Bible
  3. ^ Mehta, Vinod (2006) Delhi and NCR city guide
  4. ^ HALI., Issues 117-119 2001
  5. ^ Ms. Jaslean Dhamija (2013) Asian Embroidery
  6. ^ Naik, Shailaja D. (1996) Traditional Embroideries of India
  7. ^ a b Mohinder Singh Randhawa. (1960) Punjab: Itihas, Kala, Sahit, te Sabiachar aad.Bhasha Vibhag, Punjab, Patiala.
  8. ^ a b c d eastward Badhan, Akanksha (2016). "Stitching Stories: Art of making Chamba Rumal, Focus: Himachal Pradesh".
  9. ^ Arora, Rohini (August 2017). "Metal Threads in Embroidered Coverlets of Chamba" (PDF). eastward journal. {{cite web}}: CS1 maint: url-status (link)
  10. ^ Aroro, Rohini (August 2014). "Chamba Embroidery: Stitch Analysis of Traditional Technique" (PDF). Academia . Retrieved 3 December 2021. {{cite web}}: CS1 maint: url-status (link)
  11. ^ "User account".
  12. ^ Trivedi, Madhu (2010) The Making of the Awadh Culture
  13. ^ Bhushan, Jamila Brij (1990) Indian Embroidery
  14. ^ Shailaja D. Naik (1996) Traditional Embroideries of India
  15. ^ "Kamal kadai-Indian Embroidery".
  16. ^ Indian Heritage
  17. ^ Knopf, 1996 Rajasthan
  18. ^ Karine Schomer, Due west. H. McLeod (1987) The Sants: Studies in a Devotional Tradition of India [ii]
  19. ^ Shailaja D. Naik (1996) Traditional Embroideries of Bharat
  20. ^ "Interlaced Herringbone Sew". Sarah'southward Hand Embroidery Tutorials.
  21. ^ Koll, Juby Aleyas (March 2021). Sarah's Paw Embroidery Tutorials—Paw Embroidery Stitches for Anybody. pp. 346, 359. ISBN978-93-5361-592-five.
  22. ^ Indian Heritage
  23. ^ Shailaja D. Naik (1996) Traditional Embroideries of Bharat
  24. ^ Clare K. Wilkinson-Weber (1999) Embroidering Lives: Women'south Work and Skill in the Lucknow Embroidery Industry [3]
  25. ^ Textile Trends, Volume 44 2001
  26. ^ "Archived re-create". Archived from the original on 2013-xi-twenty. Retrieved 2014-08-26 . {{cite web}}: CS1 maint: archived copy as championship (link)
  27. ^ "Archived copy". Archived from the original on 2013-09-24. Retrieved 2014-08-26 . {{cite web}}: CS1 maint: archived copy as title (link)
  28. ^ a b c d e f g h i Sukaadas (1992) Fabric Art: Heritage of Bharat
  29. ^ Ramananda Chatterjee (1939) The Modern Review, Volume 66, Bug ane-half dozen
  30. ^ Baden-Powell, Baden Henry (1872). Hand-volume of the Manufactures & Arts of the Punjab: With a Combined Glossary & Index of Vernacular Trades & Technical Terms ... Forming Vol. Ii to the "Mitt-volume of the Economical Products of the Punjab" Prepared Nether the Orders of Government
  31. ^ Naik, Shailaja D. (1996) Traditional Embroideries of Bharat
  32. ^ Indian and Foreign Review, Volume 23 (1985)
  33. ^ Shailaja D. Naik (1996) Traditional Embroideries of India
  34. ^ Ms. Jaslean Dhamija (2013) Asian Embroidery
  35. ^ D. North. Saraf (1991) D.N. Saraf in the Journey of Craft Evolution, 1941-1991: Reminiscences [4]
  36. ^ Ms. Dhamija, Jaslean (2013) Asian Embroidery

External links [edit]

  • A modern take on Kasuti
  • Indian embroidery types
  • Clarification and drawings of common embroidery stitches
  • Aari Work Conjugal Blouse Designs
  • Wedding Blouse Designs
  • Maggam Work
  • Aari Blouse Designs
  • Uncomplicated Aari Blouse Designs
  • Heavy Dewdrop Aari Piece of work
  • Pink color Blouse Desigsn
  • Paithani Blouse Designs
  • Paw Embroidery Work

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