CRAFTS OF SINDH
Compiled by :Maha Salman, Iqra Lari, Warda Taqvi, Kanza Nasir
CRAFTS OF SINDH
Sub-continent, since before the partition has been the centre of origin of many crafts that reside in the world today. After the partition when territories were divided, so were the crafts. However, Pakistan being rich in cultures and traditions even after partition was still home to many different crafts despite the division. (Fig 0.1:Map)
Pakistan has held a great importance in the craft culture as it contains dessert lands and touches the coasts as well. Situated on the Southern part of Asia, it meets the Arabian Sea. It is bordered by Iran on the South, India to the East, on the West is Afghanistan and China towards the North. The prime location paved way from the most prominent trade route recorded in history known as “The silk route” which became the major source of trade from Asia to all the way to Europe around the 2nd century.
Sindh, the second largest province (population wise) is situated in the southeast of the country. It touches the border of Gujrat and Rajasthan and the East part of it touches the Arabian sea. This diversity in its geography gave birth to many different kinds of crafts like Sindhi embroidery, Khes, Sussi, Farasi and many others. From woven fabrics on the pit looms to densely embroidered garments, Sindh has a wide range of beautifully crafted fabrics and commodities. Since most of them were mostly made with gestures of love and care, there was purity and finesse in every piece.
Tharparkar is a desert region that meets with the border of Kutch (Gujrat) and Rajasthan. It has an extreme climate, hot during the day and cold at nights, in winters the temperature drops to extreme lows. Considering that it is a dessert area, the overall land is barren with little to no rainfall. Thar has an indigenous culture and there are tight knit groups of artisans, farmers, nomadic pastoralists that make up for most of its inhabitants predominantly Hindus and Muslims. As mentioned earlier, Thar is a dessert area so the brightly colored costumes of women stand out in the hot and dull climate and also helps in distinguishing females of different castes, class, status as well as occupations and a group’s identity.
Origin: Sindh
Date: Unknown
Article: Dowry cloth or coverlet (thalposh)
Material: Cotton fabric
Colour: black and purple
Technique: Embroidery (double buttonhole stitch (pakkoh), couching stitch and sequins along with cowrie shells and mirror work for ornamentation)
Source: Textile resource center from the textile departure at Indus valley school of art and architecture. Origin: Sindh
Origin
In South different costumes and cloths mark important traditions and milestones for example wedding, coming of age etc. to commemorate the moment. Uncut cloths are also traded as gifts and as symbols of respect, love and gratitude and have an important role in Hindu and Muslim traditions. Unsewn cloth also serves as coverlet, spread, canopy or wrap. Dowry cloths or ceremonial wraps vary in size and adornment and are mostly used for the presentation of gifts. Mahar groups in the desert regions of India and Pakistan embroider their coverlets and dowry wraps with exquisite embroidery along with floral and geometric patterns. As stated earlier the indigenous culture and the customs and traditions of the people of Thar also include exchange of gifts and goods
History and technique
The thalposh was used as a mark of respect and to cover the food when sending to some other household. People of Thar venerate almost everything that they use and to add beauty and enhance the things they hold close to them. They decorate and ornament it which is why something as simple as a thalposh is heavily ornamented (Fig1.1). With deeply rooted customs, traditions, beliefs and folklore as well as mythology being an important part of the Thar culture every single element that was added had a significance and meaning behind it. Home textiles like the thalposh along with the canopies (shamianas) and wall panels known as qanats in Urdu were put up along the length of the doors in order to adorn spaces. Toran is another embroidered doorway decoration with flaps and is supposed to ventilate good luck. Other decorative household like Pachipattis (embroidered frieze) are hanged to welcome visitors. These wall and door hanging have mirror work done on them which is believed to deflect evil.
About the piece
This piece is slightly rectangular shaped and is purple and black in color. The overall piece is very geometric in nature as the outer frame of the thal posh or the dowry cloth has been adorned with cowrie shells along with a couching stitch wrapped around with plastic (Fig:1.2).
Repeated lines of couching enclosed with cowrie shells are placed throughout the piece further dividing it into smaller rectangles. The divided rectangles are filled with mirror work embroidery that has been secured by a double buttonhole stitch with a black thread. There are sequins (sitara) present on the piece as well. The bottom part of the piece has multiple layers of couching wrapped around with mica along with thin silver lines of zardozi (Fig:1.3).Sub-divisions of the ThalposhThis Thalposh or dowry cloth is heavily ornamented with different types of stitches and embroidery i.e. the couching stitch, buttonhole stitch, mirror work, zardozi and sequins (Fig:1.4).
Couching is a technique in which laid threads are placed on the surface of the cloth and then fastened with a separate thread using small stitches. This form is used for an outline or border (Fig:1.5).
The buttonhole stitch has closely packed stitches and the needle is inserted at the top of the stitch and then made to emerge to the lower limit of the stitch and a loop is formed forming the letter L (Fig:1.6).
There is mirror work, also called sheesha, present which is a form of decorative needlework, the reflective material is laid onto the cloth and fastened with a buttonhole stitch (Fig:1.7)
Mirror work is also called Abhala bharat though it is the traditional embroidery of Kathiawar it is now being used all over the world as ethnic fashion. The mirrors are placed against a dark background as shown in the piece in order to create a glittering effect and is carried out on both family clothing and household textiles. Cowrie shells have been used as ornamentation and are believed to bring good luck. Couching of silver or gold threads of different thicknesses tightly stretched on to a fabric over a wooden frame is called Zardozi.
Cowrie is the common name given to marine gastropods belonging to the family Cypraeidae, a family of marine snails that are found in the tropics (Fig:1.8 & Fig:1.9).
They are found in the Indian Ocean. The cowrie shell was the first symbol of money and wealth known to mankind and was traded for goods and services. Reiterating what was mentioned earlier, the people of Thar were firm believers of mythology and so the cowrie shells were thought to represent Gods protection which is very powerful and connected with the strength of the ocean. As cowrie shells were used to symbolize great wealth we can assume that this dowry cloth or Thalposh must belong to a wealthy family as it is heavily ornamented and also symbolizes wealth, power and prestige (Fig:1.10).
According to the Jsotr article ‘The Rise and Fall of Cowrie Shells’, India was subdivided into local market economies based on cowries and trans market economies based on metal currencies. Sequins (sitara) has also been used as additional reflective material and are golden in color. Mica has been wrapped around the couching to add to the glistening and shining effect (Fig:1.11). The world’s main deposits of mica are found in Bihar, India and in the Nellore district of Madras. Over fifty percent of the mica used today comes from these two regions. In the attached picture mica has been used extensively to enhance the beauty of the cloth.
Origin: Sindh
Date: Unknown
Article: Gajj
Material: Cotton, mirror, thread, beads
Colour: Maroon, orange, yellow, green, purple, navy blue, Beige
Technique: Embroidery (Mirror work, Satin stitch, Running stitch, double running stitch, Applique, cross stitch, straight cross stitch, couching, pakko)
Source: Textile resource centre from the textile departure at Indus valley school of art and architecture.
Origin
Gaj is a top worn by women. It is designed in such a way that the backless top allows for some breathing space and slight relief from the extreme temperature of Thar during summers. This particular piece is from Tharparkar, Sindh. The surroundings, weather, culture and beliefs are reflected in the piece through play of colours (dark red, orange, blue and yellow) used in the embroidery. The Thar Desert stretches the length of the eastern border of Sindh and is known as the most fertile desert in the world. As the Thar Desert crosses the Indian border into Gujrat province, many cultures and traditions are shared between the two regions. Tribes not only have a strong connection in agriculture but also mastering a number of crafts that offer both functional purpose and decorative appeal.
Design strategy
A Gaj is a top worn by women which is backless and has heavy embroidery in front (Fig:2.0).
The back is covered by dupatta also helping women to breathe in the heat of Thar. The string at the back is also made out of leftover pieces of cloth . Hence, nothing is wasted (Fig:2.1).
The colors used in the embroidery like dark red, orange, blue, yellow are inspired by their surroundings, weather, culture and spiritual beliefs (Fig:2.2).
History and technique
Thari Embroidery:
Embroidery is an important craft of the sub-continent. The sub-continent consists of two countries, namely India and Pakistan. As these countries have the same border, the cross culture influence is evident through certain crafts. Tharparkar, the desert of Sindh province, connecting with Cholistan and Nagarparkar, and from the South of Haryana, down to Rajhastan in India, continues to produce the most incredible folk embroideries. Motifs, colors and composition signify an individual’s group identity, occupation and social status. Tharparkar is a part of a rambling desert, and is one of the most inhospitable areas of Pakistan which continues to produce some of its special folk embroideries (Fig:2.3).
Thari culture is a mixture of Gujrati, Rajistani and Sindhi Culture. However the Rajhistani culture overshadows the two. Also, the Thari embroidery seems to be inspired more from Rajistani traditional embroidery however having colors, compositions and motifs of its own. The embroideries of Sindh had been known and admired since the Marco Polo Days. Sindh and Punjab continued to be major textile producers throughout the 18th and 19th centuries. The costumes and textiles of the frontier herding groups of Tharparkar are among the most powerful because of the symbiosis over many centuries of Muslim and Hindu social and religious traditions. Amongst these, the Muslims attach a great deal of importance in girls to applique, quilting and embroidery skills, which helps them cater their desires as wives and mothers (Fig:2.4). Conventional thinking dictates that girls begin to learn and work on their dowries from a very young age which includes a variety of blouse fronts, skirts, bags, wraps and quilts etc.
Mirror Work and Embroidery
The origin of the mirror embroidery in the sub-continent is still in conflict. It is also suggested that the origin of the mirror embroidery cannot be accurately established. However, on the other hand, it is also suggested that this embroidery might have originated in the sub-continent; Asia. The Cultural importance of mirror work in Sindhi embroidery can be seen, showing their immense value for the craft. The mirror work on the cloth symbolizes for protection from the evil eye (Fig:2.5 & Fig:2.6).
It was their belief and are still accustomed to it. So many mirrors on the piece also reflects the sun rays and helps them in the hot climate.
Embroidered in the pakkoh style, using combinations of running stitch, double running stitch, cross stitch, straight cross stitch, mirror work, satin stitch, and also herringbone stitch.
Although these Gaj share a number of stitches, and are essentially in floral theme, their edges are more rounded. Mirrors used are the highlight of the top and have created an overall heavy look with a half drop mirror work jaal. Applique also is used at the bottom of the costume. Beads and tassels have also been used to accentuate the design (see image:2.7). The cloth beneath all the embroidery is tie & dyed with natural dyes.
Types of two kinds of mirror work done on the paper
French knots surround a mirror in placw while the row of cretan stitch surround it.
Cross stitch and couching is also seen, with cross stitch running between them (Fig:2.10)
Running stitches can also be seen on the applique done on the piece. (Fig:2.11)
Origin: Sindh. Tharperkar.
Date:unkown
Article: Gao takia cover (Bloster Cover)
Material: Cotton
Colour: Red color with hints of blue, yellow, pink and offwhite
Technique: Embroidery (There are different kinds of stitches in the piece such as chain, satin, cross stitch, square chain, couching and hurmurch with buttonhole stitch)
Source: Textile resource centre from the textile departure at Indus valley school of art and architecture.
Origin
Embroidery is an embellishment of cloth with design made by needle and thread, it is an art that stretches back to hoary antiquity. The embroiders piled their needles not only to create garments such as shawls, vest or suits but also created master pieces like curtains, cushions, hang bags, bedsheets and pillow covers. Like other form of art embroidery also reflects the cultural tradition of people. Traditional embroidery achieved its beauty and luminosity from not only the skilled craftspeople but also through the quality of the material that was used in the construction of the piece. This particular piece is made to cover the Bloster (Gao takiyas) that is embroidered by people of Sindh (see image:3.0)
History and technique
From the Mughals time traces of Blosters (Gao Takiyas) are present in miniature art. The same usage can also be observed by the people of Lucknow in their paintings.
The women of Kutch carry out embroidery on products that are used at home like wall hangings, quilts, wedding couture, skirts & blouses (ghahgra choli), for children’s clothes, on shirts (kurtas) worn by their husbands, on scarves and etc. Some handmade pieces take months to complete as they also need to do their household chores and farming.
Details
The Gao takiyas are long narrow pillows or cushions filled with cotton, down or fiber. They are used to provide support to neck or arm. They are not standard sized pillow and have zipper, hooks or dori for the stuffing (see image 3.1 & 3.2)
About the piece
This particular piece is from the region of Sindh which is used on the bed (Charpai), a traditional woven bed used across South Asia. Like most of the designs in Sindh this is also made on Khaddar fabric with twisted silk thread to enhance the quality of the fabric.
The motifs are geometric and stylized floral patterns. The motifs are traditionally first drawn with mud, and then worked in maroon or red, dark green, white, or yellow, often with buttonhole stitch. The stitches include chain, satin, cross stitch, square chain, couching with buttonhole stitch (see image 3.3). Outlining is visible in black, white or yellow, using a chain stitch. However, hurmurch a Balochi stitch is evident in the piece showing that the work is also inspired by the neighboring province. The presence of Balochi embroidery in this piece means that maybe there were interprovincial marriages.
The color for base is bright red which symbolizes sun. Red along with orange and yellow is mostly used in Sindh, this piece also reflects the same. Hints of light blue are also added.
Mirror work, also known as Sheesha work is a beautiful surface embellishment technique for fabric in which small mirrors in different shapes and sizes are affixed on fabric and embroidery work is done around the mirror (see image 3.4) This technique is also used in the piece but when the condition of mirrors is closely seen it can be said that the piece was made years ago. The shimmer of the mirrors can give a beautiful luxurious look to the fabric and things made with them. Mirror reflects evil eye that is why people of Sindh use that in their clothing however the mirror reflects light that is why it was used in houses in the desert.
There is an opening on the back of the piece which is used to fill the cotton to give shape to the pillow. However, many pillows have a long dori with a tassel of both the ends of it to close or open it.
Stitches used in the piece
Nasarpur is a small district 11 km from Tando Allahyar. The area usually has extreme weather. Before the partition its goods were traded to different parts of the world from Sindh. People belonging from various religions and from different communities reside in Nasarpur however, the central part of the city is widely covered by the Punjabi ‘Arain’ community. Due to its richness in handicrafts, artisan community and artefacts most of the finest craftsmen resided in here. Crafts such as Kashi Kari, Galeecha sazi (Carpet work), ceramics, Khes etc. are under supervision and special efforts are made to keep these crafts alive.
Origin: Sindh ( Pakistan ) Nasarpur, Gambat, Hyderabad and Hala
Date: Unknown
Article: Khes
Material: Cotton
Colour:Pink, purple, pistachio green, red, beige, black.
Technique: Double cloth
Weave: Plain weave
Source: Textile resource centre from the textile departure at Indus valley school of art and architecture.
Origin
The origin of Khes took place way before the partition of India and Pakistan the reason being was that it was a commodity of trade from Asia to all the way to Afghanistan.A commodity that travelled from region to region and with time vanished within the divided fields of the sub-continent.Due to lack of resources and exposure such as proper communication system and the supply of pure cotton.The poverty of the country highly effected the craft community and eventually they found different means of livelihood in order to make ends meet. Therefore, the craft rarely exists in today’s time. Yet some of the pieces still exist and are preserved in different parts of the world by people who want to keep their legacy alive (Fig:4.0)
History and technique
The early documentations from 1625 A.D shows that Khes was exported from Surat and was produced in Sindh and Punjab. Initially it was made in Nasarpur, Hala, Hyderabad and Gambat. The illustrious Khes centres were Derajat, Dera Ismail Khan, Jhang, Multan, Shahpur Kohat Peshawar, Muzzaffargarh,Lahore,Karnal,Ludhiana and Patiala.This intricately woven double cloth was generally made in extreme weathers which proved to be a good commodity for the locals. It was also a multi purpose commodity which was used as shawls, bedspreads and blankets and also backdrops for pictures.
Since crafts have always been used for utilitarian purposes they were made use of to the fullest because of the amount of effort and time put into making it, it was valued.
This craft has always been woven on narrow pit-looms in a few workshops (Kaarkhanas) (Fig:4.2)
The thread was spun on the warping wheel (Abroh) and the weaver is known as Kohri (Fig:4.3)
Generally it was made in two qualities which consisted on different thread counts. The thread that was used for the better quality Khes was 40/2 and the ones made for ordinary use was made using 20/2. The quality of the Khes could be identified by the width of it as the narrower the Khes was, the finer in quality it would be.
The fabric which is used in making this craft is mostly cotton, cotton silk and silk (Fig:4.4)
About the piece
This particular article is made using pure cotton. And the intricacy of the article shows that it is made on more than 16 frames with chevrons and diamonds (Fig: 4.5).
Weave
Simple designs in Khes are made on 16 frames. The weave that is used to make it is a plain weave which is also called the Tabby weave. One step of motif is heddle in 4 frames. Frames one and two have the same colour thread whereas three and four have the alternate colour (Fig: 4.6).
Colours
The colours used in the field of this article are dark blue and magenta pink. Whereas in the border red, orange, green, brown and beige are used respectively (Fig: 4.7).
Both the sides have alternate colours due to the unique weave of Khes
Since the Khes pieces are woven on a narrow pit-loom (kumbhal) so the width of it is 22.5inches. Hence, to make it wider two pieces were stitched together by hand so that the machine does not ruin the weave of the fabric (Fig:4.8).
Khes has been a special commodity since many years and it is sad that it only available in a few regions and has almost died. The revival of this craft will help us stay true to our roots and understand why slow fashion has always been an important part of this world. To help it grow in a much better way. In order to educate our generation about our craft culture we need to revive it and support our artisans to carry the legacy forward as it is a part of our identity and culture.
These exquisitely ornamented and crafted pieces are proof of the rich textiles as well as the culture of Thar. The varying compositions of the pieces accompanied by the embroideries and stitches add to the overall beauty of the products. They not only represent the culture of Thar but are also held in close importance both emotionally and physically. They are a source of pride for the craftspeople as great thought and meaning was put into every motif and symbol making the overall pieces more romantic in nature. As a result, it is important for us to make sure that the true meaning behind the products as well as their essence is not lost over the years and for us to carry this legacy and identity forward by supporting the craftspeople.
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