The conventional and traditional embroi-deries of North-West India have specific references to the style and the techniques which are clearly understood in their cultural framework. Thus an embroidered fabric is not an exclusive piece of skilled display of any individual embroiderer but the expertise of the several who worked on the piece following the trail of the sequence. Fundamentally, the embroidery styles of each of these states are regionally distinguished. The distributive character of these regional distinctions may be varied. Some of the embroidery styles elucidate the relationship between the people and their surroundings while others reverberate the historicity of the linkages, cultural affiliations, migrations and the settlements. Interestingly, each of these states has independent schools of needle work which have allured the native user for ages. Embroidery in these regions has been a commercial activity as well as a household activity. The finest examples of embroideries were produced for the court, temple, market and household. Embroidery patterns from the region The mountainous regions of Kash-mir and Himachal Pradesh have nurtured specific embroidery stitches in local stylised picturesque depictions. The styles practised in the Kashmir Valley include sozni, rezkar, tilla dori work, crewel embroidery, watchikan, and papier maché designs. The range of embroidered forms include wraps, costumes, furnishing items and accessories. The designs and motifs in Valley embroidery are mainly of the natural flora and fauna of the valley along with depiction of scenes of processions of the nobility. Sozni or the amlikar embroidery is the extension of the rafugar stitch practised in the 18th century to join the woven Jamavar shawls. This is the basic darning stitch employed to create very fine minute designs. Dorukha shawl in this stitch is one of the finest examples. nce of the subject matter. Pichvai of Rajasthan done in the fine chain stitch with silk thread are the back drops used for the Shrinathji Temple (Shrinath is another name for Lord Krishna). This is another localised tradition which depicts Krishna, the eighth incarnation of Lord Vishnu, with dark blue face. Meghavals, Rabaris, Raikas, Ahir, Mochi, Banni and several other groups have their distinctive embroidery styles. The powerful impact of religiosity and ethnicity is distinctly visible in the visual imagery of the embroiderers. Rabaris are a community spread in Rajasthan, particularly in the district of Kutch. The rulers of Kutch, the Jadeja Rajputs were the patrons of the mochi bharat kam also known as ‘ari work'. The shoe makers or the mochis worked with a small crochet-hook-like instrument called ari to decorate the silk garments and the decorative objects with the chain stitch. The lyrical compositions of peacocks, alternated with maidens and flowers with a typically graded colour scheme are some examples. Some of the settlers from other countries, when settled in these regions, continued to practise their indigenous styles of embroidery. Chinai is the type of Chinese embroidery practised by the descendants of the Chinese embroiderers settled in Surat, Gujarat during the nineteenth and twentieth century. These groups are making long borders in fine Chinese stitch even today. They are attached to saris or other dresses as borders. Today, Indian embroidery has been well taken into international haute couture. Consequently, various traditional embroideries have found a foothold in fashion houses. Hand embroidery is a time consuming art. Increased demand of this handiwork affects the quality. Therefore when designers think of adapting various traditional embroidery techniques in contemporary fashion usage, it is important for them to gauge the availability of the talent available for this kind of handiwork. Wall hangings
Indian walls are perhaps the brightest in the world, with a wide range of artwork available in a wider range of materials. As each state has a unique cultural identity, there is an incredible range to choose from. Wall hangings are made in jute, coir, cloth--- with appliqué work, thread work, embroidery, patch work etc. in wood, metal, papier mache, glass and a range of other things. The themes and designs vary from state to state. From geometric designs to floral to images of gods and goddesses, all are included. Wall hangings are symbol of welcome and hospitality in the Indian context, besides whetting the craving for the aesthetic. New!! Embroidered and beaded. This tapestry/wall hanging from India is skillfully handcrafted in the traditional ways usi ng beautiful vintage wedding saris and thick Rajasthan hand made cord. Cotton, silk & metallic gold & siver thread embroidery swirls in exotic patterns with beads and sequins scattered about. The metallic embroidery varies from brass, silver and tarnished silver. An amazing piece of folk art. The wall hanging displays a stunning blend of textures as well as colors. Deep, vibrant, luxurious colors with intricate handwork on patches from vintage wedding sarees. Hang it vertically or horizontally, or lay it on a table. No matter how you use, a sure thing to be admired and appreciated. Matching pillows also available. Truly a unique piece that will add richness and color to your home for years to come. Antique patches, excellent condition. Slight imperfections in the patches add to the character. Primarily for decorative purposes. Colors: Shades of red and burgundy, as appearing in the pictures. Size: 30" x 20" (76cm x 50cm) approx. Has black color cotton backing which is turned upwards to form a neat thin border and imparts a framed look to the wall hanging. Loops are provided at each corner for ease in hanging up on the wall. Matching pillows, bags, backpack also available. See matching pillows/cushions, bedspreads, table cloths, table runners, placemats, handbags and backpack as in our other auctions.