Already in Vedic literature dating back to the 5th century. BC. Indian embroidery is mentioned. Numerous embroideries were found in the ruins of Mohenjo-Daro, as evidence of the creative activity of the people who lived here. The Ajanta frescoes depict people in richly embroidered clothes. The embroideries reflect the entire complex history of India.

Numerous nomadic tribes, raids by nomads and Muslim conquerors led to significant changes in the art and culture of the Indian population.

India's specialty still remains the ability to accept and assimilate new concepts and skills without losing core values ​​and fundamentals. This also applies to embroidery. To this day, embroidery from the most remote regions of India is especially popular. What gives it great demand is the magnificence of the patterns that are applied to the fabric in many magical shades; their beauty lies in the fact that all the dyes used in embroidery are of plant origin.

Embroidered products are a traditional gift. In some areas, the bride's entire family embroiders her wedding dress and items for her new home. And immediately after the birth of a girl, the grandmother begins to embroider a “bagh” - a wedding shawl, which takes years to complete, since it must be completely covered with embroidery.

RECEPTIONS AND TECHNIQUES

Buttonhole or blanket stitch, running stitch, cross stitch, satin stitch, chain stitch are some of the basic techniques in Indian embroidery. In the industrial era, machine embroidery appeared, but handcraft continues to exist to this day.

There are various embroidery techniques, you can embroider on the surface of the fabric or through the fabric, in such a way that a “mirror image” is obtained. Each style of embroidery is different from others and has its own beauty and great value. Touching upon the most interesting and fascinating, we can describe several types of this national handicraft.

SHISHA

SHISH - (shisha) or embroidery with mirrors - classic Indian embroidery. But this type of embroidery can be found in Pakistan and Afghanistan. Muslims call this embroidery Abla. The word “shisha” in Hindi means small glass. In ancient times, rich Indians wore clothes embroidered with gold and silver threads. The poor people embroidered shisha clothes, which sparkled and sparkled in the rays of the sun no worse than the expensive outfits of the nobility. At the time of the origin of shisha embroidery, pieces of mica were used. Mica was a fragile material, and mirrors easily broke if clothes were handled awkwardly. The rebirth of shisha embroidery occurred in India during the reign of Shah Jahan (1628 - 1658), who built the Taj Mahal in memory of his wife, Mumtaz Mahal. She, in turn, is considered the founder of the technique of using mirrors in embroidery, although before her this technique was familiar to poor peasants who used mica or shiny wings of bugs instead of mirrors. Shisha began to be made from glass, the reverse side of which was painted with silver. A large mirror was broken into small pieces. The edges of the pieces were filed, smoothing out sharp corners. It is believed that mirrors sewn onto clothes, reflecting sunlight and unkind glances, protect against evil spirits and the evil eye. Today it is quite convenient and practical to use a plastic shisha, which is durable and light in weight. You can use shisha in classical Indian embroidery of various interior items and accessories, in modern decorative gold embroidery. Small mirrors are quite affordable, and everyone can afford such embroidery. In addition, you can use glitter or sequins. They are very lightweight and available in many shades. You can also collect and trim coins.

For shisha embroidery, silk, cotton and wool fabrics with a dense weave structure of the fabric threads are used. Embroidery threads can be of different composition and quality depending on the type of embroidery (silk, cotton, metallic thread). And most importantly, before you start embroidering a product, you need to master the technique of shisha embroidery on a test piece of fabric. To prevent the shisha from sliding on the fabric while embroidering, it can be glued with a piece of double-sided tape.

There are a huge number of different seams. Embroidered items range from the finest delicate contour embroideries to dense “carpet” embroideries that completely fill the base fabric.

Factory-dyed threads are most often used, although in some parts of India embroidery is still done with threads hand-dyed with vegetable dyes. Instead of expensive precious stones and gold, widely used materials are used - glass beads, wires of various metals, mirrors. But, despite the replacement of materials, embroidery still remains colorful and attractive. The finished products amaze with their elegance and beauty.

CHIKANKARI

CHIKANKARI. No one leaves Lucknow without purchasing at least a few Kurtas Chikan. This ancient form of embroidery emerged under the patronage of the Mughals. Its beauty lies in its simplicity, although Chikankari is actually a very complex and delicate type of embroidery.

Chikankari is the art of embroidery using white yarn spun using a needle on a fine fabric. Although this embroidery was originally a courtly art, today it is a living tradition and a commercial activity. In addition to the traditional white fabric, colored fabrics and threads are used for embroidery. Silk and cotton threads are used for embroidery on sarees, dupattas, kurtas, and table linens. Cotton is the most preferred choice; muslin, voile, organza, chiffon, viscose, and georgette are also used. In addition to clothing, you can find embroidery on bed linen and tablecloths. Shopping in Lucknow is never complete without purchasing a few Chikans.

For chikankari embroidery, a design is first developed based on the fabric on which the work will be done. The selection of stitches is made based on the pattern chosen for the product. The embroidery pattern is then cut out onto a finished wooden block (printed form) or applied by hand. Once the printing plate is ready, the design is printed onto the fabric. Printing is done using a printing plate coated with paint that can be easily washed off from the fabric (for example, nil or safeda). The embroiderers then stitch the pattern using a variety of stitches. At the end of the embroidery, the fabric is washed, bleached, treated with acid and ironed.

KANTHA

KANTHA is an embroidery that was traditionally done during women's leisure time, especially during the rainy season or winter. Initially, kantha was made on canvas from several layers (from 3 to 8) of former saris, and the embroidery on them was done with old threads pulled from the borders of other saris. The stitch strengthened the fabric, making it stronger and more durable. Depending on the number of layers and size, the purpose of these works changed - from winter blankets (“nakshi-kantha”) to small prayer rugs. Pregnant women spent the last trimester of pregnancy creating a nakshi-kantha for their newborn baby, believing that wrapping them in such a blanket was the key to family happiness and protecting the child from illness.

Traditionally, kanthas were never intended for sale - they were made either as a gift or for personal use. Products with kantha stitching are distinguished by grace and skill. Almost the entire surface of the kantha is filled with a very fine hand stitch "forward with a needle", which Bengali women call "running". There are also many special stitches, some of which resemble the zig-zag stitch on a sewing machine. Stitches are made in the form of grids, straight or wavy lines, an echo contour around the main pattern, etc. The surface takes on a gently corrugated appearance. This work is very labor intensive. To make, for example, one nakshi-kantha took from several months to several years. Therefore, these products were highly valued in Bengali families and were passed on from generation to generation. Traditionally, embroidery was done on a light or white background so that it was clearly visible.

People of different religions live in Bangladesh. Among them there are a lot of Muslims, Buddhists, and Christians. And everyone contributes to the kantha patterns. But still, the main central design was most often a flower - a lotus, framed by a paisley or cucumbers pattern (India is the birthplace of this widespread pattern). Along the perimeter there were drawings depicting various animals, trees, leaves or flowers. Thanks to Muslim trends, geometric patterns were also used in kantha. Often the human figure was also the object of attention of kantha embroiderers.

In making kantha, threads of simple colors were used - brown, red, yellow, blue-black, blue and green. According to tradition, women used blue and blue colors in clothing for secret meetings with their lovers. Red means love, it symbolizes family harmony and happiness, which is why wedding dresses are predominantly red. The more intense the color, the stronger the love. Yellow - the color of mango, corn and mustard means fertility. And white is the color of purity. The embroidery is complemented by shells, sequins, shiny buttons, and small mirrors. It is believed that the mirror blinds the devil and protects against the evil eye.

Kantha embroidery is also used to decorate products by modern Indian craftswomen. But nowadays new elements are appearing. In addition to quilting, applique is often added to the works. Sometimes dense stitching in several rows surrounds the designs on the printed fabric. Transferring kantha embroidery to machine execution turned out to be very difficult. Decorating the entire surface with a parallel straight stitch or a slightly wavy line (essentially an echo outline with a distance between lines of 5 to 0.5mm) is very labor intensive. Therefore, the advantage still remains with manual work.

ZARDOZI

(Zar from Persian means “gold”, dozi - “embroidery”) is an embroidery style common in India and Pakistan, which has existed since the time of the Rig Veda, but the heyday of this style was the Mughal era and the reign of Emperor Akbar. This embroidery was used to decorate clothes, weapons, walls, imperial chambers, and covers for horses and elephants. Literally translated from Farsi as gold embroidery. Currently, multi-colored metal threads are also used in embroidery. Expensive high-quality fabric is suitable for zardozi - silk, corduroy, brocade. The art of zardozi embroidery requires a lot of patience and skill. It is noteworthy that zardozi is practiced exclusively by men.

In addition to metal threads, rhinestones, beads, as well as precious and semi-precious stones are used to create designs.

Zardozi embroidery is especially popular in wedding dresses. For example, the most expensive saris (from the south of India) are Kanchipuram silk zari with gold thread, which cost up to 40,000 rupees. About 5,000 families are engaged in their manual production, and the manufacturing tradition has been going on for 4 centuries. Traditional saris of Andhra Pradesh can still be found for 600 to 6,000 rupees; wedding saris of Bengal, which are woven for about six months using a special method of dense silk weaving, are less interesting. On the border of such a traditional sari there is a wide black stripe, in the middle of which there is a narrower red stripe. Tangai saris have a narrow border. The sari itself is decorated with geometric and floral patterns on a light background. Sarees from non-lambar craftsmen - with horizontal stripes all over the field. Sarees from Andhra Pradesh are dyed after production with a mixture of dyes and milk, and then the designs are hand-painted with a thin brush. Zardozi is also used to decorate bedspreads, pillows, curtains, tablecloths, bags, shoes, and embroider paintings. Work on a painting begins with a drawing on tracing paper. First, it is sewn to the fabric, indicating the contours of the image, and then embroidered, adding color and volume. Amethysts, sapphires, emeralds, jades, fine workmanship and elegance of design. Embroidery depicting animals is considered “aerobatics” - stitches or thread color need to convey the texture of the skin, the direction of the hairs, or, for example, fine hairs on the animal’s face. Zardozi embroidery is now widely used in the fashion industry.

Sonnets, paintings, boxes, medallions, pillows, footstools, bags, coasters for glasses, accessories for needlework (pincushions, pin cushions, scissor holders), wall panels, postcards, napkins, headscarves - all this and much more Indian embroidery adds special splendor and style. Stock up on good fabrics, threads, hoops, scissors, needles and, of course, patience and master this difficult, but such an exciting art.

Kantha embroidery, also called Lepkantha or Sujhi Kantha, is very popular in West Bengal and Bangladesh. Perhaps this is the most common type of embroidery among rural women. This embroidery is interesting because every woman embroiders as she sees fit. A kind of art craft made spontaneously by an embroiderer, where there are no special rules. This is the direction that practiced by women of different classes- Just as the wives of wealthy landowners embroidered their own intricate patterns on blankets in their free time, so rural women made carefully embroidered bedspreads equal in beauty and craftsmanship.

Kantha in Sanskrit means rags. This type of embroidery can rightfully be called the art of processing.

It was originally made by hand by stitching together layers of old and used sarees or fine cotton. If a garment has Kantha embroidery on it, then it can be called Kantha clothing.

Read also about the most expensive - Zardozi.

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This embroidery is not only used in clothing, but is also used in various other textile household items, such as blankets, pillows, bags, bedspreads, box lids, napkins for book covers, purses, wallets, etc.

Embroidery is fabric covered with flow stitches. A pattern in the form of beautiful motifs is also used flowers, animals, birds, geometric shapes, mythological subjects and scenes of daily activity. Such seams give a wavy, wrinkled effect. The threads and layers of fabric for Kantha embroidery are extracted from old clothes. Traditional colors: blue, green, yellow, red and black. The preferred fabrics are cotton and silk.

Nowadays Kantha embroidery is mainly used to create simple blankets.

Stitches used in Kantha embroidery:

• seam “forward needle”;
• "darning stitch";
• smooth surface;
• stalk suture;
• loop stitch.

Stitches are also used to highlight certain sections.

Women diligently embroider in the Kantha style even today, during their leisure time.. These Kanthas are richly decorated. Old and ornate Kanthas have now become collectible. It is also noteworthy that Kantha embroidery has become a major branch of folk art in Bengal and is done on all types of dresses by designer Kurtas sarees.

This art form is not limited to popularity only in India. Kantha embroidery has earned its place in the international design community.

For example, Tarun Tahiliani, a famous Indian fashion designer, has several clothing stores in London, Paris, Santa Fe and Washington.

There are seven different types of Kantha:

• Archilata Kantha are usually covers for mirrors or toiletries. Small in size, rectangular in shape and with colorful different motifs.
• Baiton Kantha is generally a square shaped embroidery which is used to cover books and other such valuable items. The borders of the drawing appear with several complex, colorful designs.
• Durjani/Thalia - This type of Kantha has thick embroidery which forms a lotus in the middle. It is found in the shape of a rectangle and the edges of the product are also folded into a rectangle to form a wallet.
• Lepa Kantha - This kantha is also rectangle shaped and has uneven, wavy designs all over but with simple embroidery work.
• Oaar Kantha are generally rectangular pillowcases that have decorative frames stitched around the corners and have a simple design in the middle.
• Sujani Kantha - This kantha is decoratively stitched and is generally used as a blanket on special occasions.
• Rumal Kantha - This kantha is used as an absorbent napkin or plastic covering. It has decorative borders and a lotus in the center.

The art of embroidery reached its peak under the patronage of the padishah from the Mughal dynasty Akbar. In the 17th century, Aurangzeb refused patronage, this led to the fact that art ceased to develop and could disappear altogether. Materials for embroidery were extremely expensive, and the craftsmen simply did not have the opportunity to do the work themselves.

Many craftsmen have left Delhi for Rajasthan and Punjab in search of work. From the end of the 18th century and in the 19th century with the advent of industrialization, the art of embroidery suffered another setback. It was only in the mid-twentieth century that the Indian government took steps to restore and promote the unique art, along with many other traditional embroideries. Zardozi was mainly made in Madras and Hyderabad for decades. Nowadays the main center of embroidery is in Lucknow. Bhopal, Delhi, Agra, Mumbai, Ajmer, Chennai and Kashmir are also among the places where artisans do embroidery using the Zardozi technique.

The main problem with the geographical limitation of the Zardozi was that gold and silver were not available on a large scale. The obstacle was overcome by combining copper thread and gold plating, and dyeing the silk thread with gold. No less a problem was the very small number of qualified craftsmen capable of passing on their knowledge.

I would like to start by introducing the zardozi embroidery technique and about the Great Master Shamsuddin from India.

Master Shamsutdin from the city of Agra in India not only mastered the art of zardozino to perfection and created his own completely unique embroidery technique. Shamsuddin, a thirteenth-generation embroiderer, has long been dead, but his paintings have immortalized his name forever: the embroidery is done in such a way that all the details appear three-dimensional, as if in a stereo image, giving the canvas a special expression. They are embroidered with such precision that it takes your breath away. When you stand nearby, it seems that you feel the breeze, the smell of flowers and the singing of birds. The work is done with a thread, a needle and nothing more. Starting with a simple design, he layered stitches with cotton threads one layer on top of the other to give the painting volume, movement, muscle. And on top, with the finest stitches, he embroidered the entire picture in silk. The bulk of his works are in a special museum in the city of Agra. Now these masterpieces are protected as strictly as the most expensive jewelry collections. After all, nothing like this can be found in the whole world!

Throughout his life, Shamsuddin, the famous master of embroidery called zardozi, had about five thousand students. But the best of them was his eldest son Raisuddin. It was to him that he handed over his work. Work on the painting begins with a drawing on tracing paper. First, it is sewn to the fabric, indicating the contours of the image, and then embroidered, adding color and volume. Amethysts, sapphires, emeralds, jades, fine workmanship and elegance of design. Embroidery depicting animals is considered “aerobatics” here - stitches and thread color need to convey the texture of the skin, the direction of the hairs, or, for example, the fine hairs on a horse’s face. Only the most experienced professionals are allowed to do such work. In the Presidential Museum in Los Angeles hangs a portrait of American President Ronald Reagan by Shamsuddin; his son presented an embroidered Abraham Lincoln as a gift to President Ford. Raisuddin is very proud that Lincoln's portrait hangs somewhere on a wall in the White House. But the heir of the Great Master is much more proud of his famous father: after all, he managed to perform a real miracle - to raise the art of silk embroidery to a new, unprecedented height

"Good Shepherd" The painting measures approximately 2.52 m by 1.90 m and took the artist 18 years to complete.

"Bouquet of Flowers", its size is about 2.30 m by 1.68 m. Shamsuddin spent 1000 hours creating this magnificent work, and he did it for 11 years.

Zardozi embroidery was used to decorate clothes, shoes, interiors, blankets for elephants, etc. To this day, Zardozi embroidery is used in India to create chic outfits, and every fashionista dreams of having an embroidered sari in her wardrobe.

Indian embroidery

Embroidery in India

Of the techniques that have survived to this day, there are saris from Hyderabad (India, Pakistan); "gota" from Rajasthan (state of India); "zardozi" from Delhi; "pulkari" in Punjab; embroidery of rumals (head scarves worn by Sikh men); “Kasuti” from Karnataka (state of India), etc. Here are just some of the significant classifications of Indian embroidery.

Kashmiri embroidery - satin stitch embroidery - is borrowed from China via Iran, and is clearly evident in this style. Chikankari embroidery from Uttar Pradesh is reminiscent of European shadow embroidery on linen. The Kasuti embroidery technique from Karnataka is very similar to Slavic, Austrian, Hungarian and Spanish embroidery. Sindh, Kutch, Kathyawari embroideries are similar to the bookbinding embroidery technique of Spain and Germany and Moti Kaam style - bead embroidery is similar to Mexican bead embroidery m.

Indian embroidery Shisha

Shisha () is a type of Indian embroidery that deserves special attention because it is original and unusual in itself. The “highlight” of Indian “shisha” embroidery is small pieces of mirrors covered with embroidery and sparkling under the sun’s rays

.

This type of embroidery can be found in Pakistan and Afghanistan.

The word "shisha" in Hindi means small glass.

The wife of Shah Jahan began using mirrors in embroidery. But even in ancient times, this technique was used by the poor, who, with the help of mica, achieved the same effect of sparkling fabric as the rich, whose clothes were embroidered with gold and silver threads.

Nowadays, various products decorated with Indian shisha embroidery are also embroidered; bags are especially common.

It is convenient and practical to use a plastic shisha. Sometimes they use old CDs, cutting and filing them (the edges must be smooth, otherwise the threads will fray).

Muslims call this embroidery Abla.

from the Linda Pastorino collection

Indian embroidery Chikankari

Traditional Indian chikankari embroidery involves patterns with white threads, most often on the same white and very thin fabric - for example, muslin. Now they embroider on silk or synthetic chiffon, georgette and other thin fabrics. It is most suitable for decorating outerwear, but these days Chikankari is used to decorate curtains, pillowcases, tablecloths, and bed linen.

Indian Chikankari embroidery originated thanks to Nurjehan, the wife of Emperor Jahangir: she masterfully embroidered floral motifs, spreading this activity everywhere, although there are still disagreements regarding the country of origin. She was a master embroiderer and drew inspiration from Turkish embroidery.

Stitches used in Chikankari

1. Tepchi (tepchi) long stitches forward with a needle, which are performed with 6 threads on the front side, usually four threads on the front side and one on the back side. Thus, a line is formed. Typically this type of stitch is used to outline the base of more complex embroidery or to make simple shapes.

Technique: It is performed by moving the needle from right to left (Fig. 2a). Stitches can be placed along the front and back sides of the fabric in two or more rows (Fig. 2b, c). The “forward needle” seam is sometimes performed along a curved line, for example in patterns with a random pattern.

2. Bakhiya (bakhiya), sewn from the wrong side with a figure eight seam. A contour in the form of a stitch is formed on the front side of the product; the figure-of-eight threads shine through the thin fabric, forming a beautiful “shadow”.

Technique: It is a continuous goat stitch, that is, crossing stitches are connected to each other.

On the front side, two rows of parallel stitches are formed with gaps in the form of a line. The angle of the stitches should be between 30 and 40 degrees. The figure-eight seam can be narrow, wide, frequent or sparse. It is performed in the same way as a goat stitch, only each subsequent puncture is made into the previous one. The figure eight seam can be used to fill various complex shapes. In this case, along a smaller arc, the distances between stitches will be smaller, and along a larger arc, larger (Fig. 9 c, d).

3. Hool is a stitch that is made like an “eye” or “hole”. This stitch can be made with six threads and is usually used to decorate the center of the flower.

Technique. We sew the pattern along the contour, then use a thick darning needle to pierce the fabric in the center of the circle and move the threads apart, gradually enlarging the hole with a rotational movement. We sew the edge of the hole with a satin roller using one thread of floss.

4. Zanzeera - small stitches in the form of a chain stitch (chain stitch), which are made with one thread along the front side. It is used for final edging of leaves, petals or buds, because This seam is very thin.

Technique: The needle is inserted into the place where the thread came from the wrong side of the fabric to the front. Next, the needle is brought to the front side so that it goes into the previous loop, and thus a chain of loops is made.

5. Rahet is a stem stitch made with six threads on the wrong side. This stitch forms a continuous line on the front side, usually used as a double dohra bakhiya line.

Technique: It can be performed with two hands or with one right hand. At the same time, hold the working thread with your left hand while sewing the seam. Having made the first stitch in the fabric, the needle is brought out at the middle of the stitch on the left side. The working thread is pressed to the hoop with the thumb of the left hand, not far from the place where it came out of the fabric, and the fabric is pierced above the first stitch. Bring the needle out at the middle of the second stitch. Thus, the seam is made by moving the needle towards you, laying the stitches away from you. Each new stitch, in this case, comes forward half of the previous one.

When making a stem seam, the working thread should always be on one side - right or left. You cannot change the position of the thread during operation. There are two ways to make this seam. With the first method (Fig. 4a), the seam turns out narrow and slightly convex, with the second - wide, in the form of a lace.

6. Banarsi (Banarsi) this stitch has no analogues among the stitches used in European embroidery. This is a twisted seam that is made with 6 threads along the front side of the fabric. Starting from the right, stitch to the left after about 5 threads, then stitch vertically through 2 threads. Then the needle is inserted in the middle of the first stitch about 2 threads below it and brought out to the right and above 2 threads of the horizontal stitch.

7. Khatau is similar in appearance to the Bakhiya stitch, but is thinner and is made in the form of an appliqué. The pattern elements are cut out of cotton fabric, then they are placed on the wrong side of the embroidery and sewn on with small satin stitches. On the front side this gives a “shadow” effect.

8. Phanda and Murri are the stitches that are commonly used to embroider the center of the flower in chikankari. They are performed like French knots. Murri has the elongated shape of a grain of rice, and fanda has round knots in the form of a millet grain.

Technique: The needle with the working thread is brought to the surface of the fabric, the thread is wound on the needle 1-2 times and the fabric is pierced at a short distance from the place where the thread came to the surface of the fabric. Then carefully pull the thread to the wrong side, pulling the resulting knot to the fabric

.

9. Jali, this is an embroidery technique similar to hemstitching, but the threads are not pulled out of the fabric, and are carefully spread out and secured with small stitches using a looped seam, thus creating an elegant mesh or pattern of holes, somewhat reminiscent of hemstitching or hardanger .

10. Turpai and Darzdari are also important types of stitches in the Chikankari technique. Turpai is used for embroidery with tonic threads. Darzdari has several varieties, the most commonly used are Kohidarz, Kamal darz, Shankarpara darz, Muchii and Singbhada darz.

11. A few more different stitches used in Chikankari: Pechani, Bijli, Ghaspatti, Makra, Kauri, Hathkadi, Banjkali, Sazi , Karan, Kapkapi, Madrazi, Bulbul-chasm, Taj Mahal, Janjeera, Kangan, Dhaniapatti, Rozan, Meharki, Chanapatti, Baalda, Jora, Keel kangan, Bulbul, Sidhaul, Ghas ki patti etc.

Indian Kantha embroidery

Kantha embroidery is an example of the skills and thrift of ancient Indian women.

The Indian dress sari occupied not the least place in the production of elegant embroidered capes - women used the fabric of the outfit that had fallen into disrepair, embroidering with old threads taken from other saris.

The secret of these works, which were distinguished by their particular skill, is that the fabric, fastened with many threads, became strong and durable, and pleased the eye for a long time.

Most often, in the center of the product, decorated with Indian kantha embroidery, there was a regal flower - a lotus. Since most of the women who make kantha are Muslims, their skillfully executed embroideries often served as capes on the tombs of saints and were used during rituals in mosques.

Soon the association of rebirth became attached to Indian kantha embroidery. Like the rebirth of threads that served their time in one form and became another

.

Depending on the number of layers and size, the purpose of the embroidered work also changed - from winter blankets to small prayer rugs. Pregnant women spent the last trimester of pregnancy creating a Nakshi Kantha (blanket) for the newborn, believing that wrapping the baby in such a blanket would ensure happiness in the family and protect the child from illness.

In some areas, the bride's entire family still embroiders her wedding dress and items for her new home. And another ancient tradition has been preserved. Immediately after the birth of the girl, the grandmother begins to embroider the "bagh" - a wedding shawl, which takes years to complete, as it must be completely covered with embroidery.

New women's saris and shirts for men and women were decorated with approximately the same embroidery.

Traditionally kanthas were never intended to be sold - they were

made either as a gift or for personal use.

Products with kantha stitch embroidery are distinguished by their grace and skill. Almost the entire surface of the kantha is filled with a very fine hand stitch "forward needle", which Bengali women call "running". There were also many special seams.

Some traditional kantha stitches resemble the zigzag stitch on a sewing machine. The seams were arranged in different orders: in the form of grids, straight or wavy lines, an echo contour around the main pattern, etc. The surface took on a gently corrugated appearance. This work is very labor-intensive. To make one Nakshi Kantha (blanket) it took from several months to several years of painstaking work. Therefore, these products were highly valued in Bengali families and were passed on from generation to generation.

Traditionally, embroidery was done on a light or white background so that it was clearly visible.

The motifs for kantha are varied. The fact is that people of different religions live in Bangladesh. Among them there are a lot of Muslims, Buddhists, and Christians. And everyone contributes to the kantha patterns. But the main central design was most often a flower - a lotus.

And it was framed by patterns that are now commonly called “paisley” or “paisley” (India is the birthplace of this widespread pattern), familiar to all of us in Rus'.

Along the perimeter there were drawings depicting various animals, trees, leaves or flowers. Thanks to Muslim trends, geometric patterns were also used in kantha. Often the human figure was also the object of the embroiderer’s attention.

Of course, the colors of the embroidery are of great importance. Blue and light blue are the colors of Krishna, one of the incarnations of the god Vishnu. Women wear clothes of this color for secret meetings with their lovers. Red means love. And in India, brides wear red wedding clothes, which symbolizes family harmony and happiness. The more intense the color, the stronger the love. Dark red and purple are the personification of the highest power of love. Yellow, the color of mango, corn and mustard, signifies fertility. The color saffron is associated with self-denial and martyrdom. And of course white is the color of purity, the color of the great Indian god Shiva.

The embroidery is complemented by shells, sequins, shiny buttons, and small mirrors. It is believed that the mirror blinds the devil and protects against the evil eye.

Kantha embroidery is used to decorate items and modern Indian and Bengali craftswomen. But nowadays new elements are appearing. In addition to stitching, applique is often added to the works. Sometimes dense stitching in several rows surrounds the designs on the printed fabric.

http://www.hnh.ru/handycraft/Indian_Kantha_embroidery

This type of needlework, like embroidery, appeared in India in ancient times. It is mentioned in Vedic literature, which dates back to the 5th century BC. The entire history of India is reflected in the embroidery found on ancient ruins or depicted in ancient frescoes. Embroidery is incredibly popular among Indians today. Even in the most remote areas of India, people are fond of embroidery, creating magnificent designs in a great variety of bright colors. A distinctive feature of Indian embroidery is the use of dyes exclusively of plant origin.
As the main techniques in embroidery, Indians use buttonholes or overlock stitch, running stitch, cross stitch and satin stitch, and chain stitch. Various embroidery techniques are also used. For example, to obtain a “mirror image,” embroidery is used through the fabric or on its surface. The different styles of embroidery are distinguished from each other by their unique beauty and great value. In India, there are several types of national embroidery, among which we can highlight such a type of needlework as shisha.
Shisha is a classic Indian embroidery. It is also called mirror embroidery. Note that this type of embroidery can also be found in Afghanistan and Pakistan. Muslims call this embroidery Abla. In Hindi, the word "shisha" means small glass. The first shisha embroideries used a rather fragile material – mica. But such mirrors could easily be broken if the clothes were handled awkwardly. Later, glass began to be used for shisha embroidery, covering its reverse side with silver. A large mirror was also broken into pieces. The edges of the mirror pieces were filed to smooth out sharp corners.
In India, it is believed that mirrors on clothes reflect sunlight and the views of ill-wishers, so they are an excellent talisman against the evil eye and evil spirits. In the modern world, plastic is used in shisha embroidery. It is characterized by high strength and low weight. It is possible to use light and multi-colored sparkles and sequins. Coins are also sheathed.
Shisha embroidery uses fabrics made of silk, cotton or wool. The fabric must have a dense weave structure. Threads for this embroidery are suitable for both silk and cotton, as well as metallized ones. In addition to fabric, thread, a sharp needle and shisha mirrors (sequins, sequins or coins), you will also need a hoop. In addition, you can use double-sided tape to prevent the shisha from sliding on the fabric while embroidering.

Before you start embroidering shisha on clothes, it is better to practice on a separate piece. So, tightly fix the fabric in the hoop, thread the needle and tie a knot at the end of the thread. The shisha is placed on the fabric and sewn using basic crossed stitches. They should be made tight. To prevent the shisha from falling out, the stitches should not be placed very close to the edge of the mirror. We repeat the basic stitches, turning them 45 degrees.
After sheathing with basic stitches, we move on to the next stage - creating a tight frame around the shisha mirror. The fabric is pierced with a needle from the wrong side to the front side next to the shisha. Next, the needle is threaded from the center to the edge under the basic stitches. Pull the thread through and tighten the stitch. We make the next stitch near the mirror. Then we pass the needle again from the center to the edge under the basic stitches. Make sure that when tightening the stitch, a loop is formed by the thread under the needle. We continue to sew our shisha sequin around the edge until the very end. At the end, you can embellish your embroidery a little, for example, with a chain stitch or ray stitches.