An art with confused origins and irresolute future; chikankari needs neither. The presence of the opulent craft in our times makes us fortunate to be witness. The name Chikan has been derived from the Persian word Chakin or Chikeen meaning a cloth wrought with needlework.
Popularly, the romance of the beautiful wife of Jahangir, Nur Jahan introducing it wins over the mentions of ‘flowered muslins’ being worn by Indians in 3rd century BC by Megasthenes. We believe the latter holds more ground but we don’t intend to fight over the origins, we’d rather fight for the resilient fingers that toil at making the existence possible.
It is tough to mark it on a geographical map, but the craft travelled with its Mughal patrons from Bengal to Uttar Pradesh where the art flourished with the opulent lives of ‘Nawabs’ of Avadh. The exquisite craft thrived in the hands of highly skilled Muslim men. I have witnessed unthinkably intricate and detailed chikankari mementoes in the Calico Textiles Museum in Ahmedabad. Each piece, each stitch has a story to tell. The artisans have lost their blood and sweat quite literally in the process of keeping this craft alive. Embroidered on white muslins, a weave detail that is difficult to see with the naked eye is worked upon pick by pick to make perfectly symmetrical geometric motifs. A simple scarf takes about 5-6 months to get made I’m told. Jaalis or ‘hool’ as it is locally called is just one of the elements of this technique where ‘bakhiya’ shadow work, tepchi, the running stitch outline, ‘murri’ the Indian (French) knots are used to make a plethora of intricate motifs. The motif language is usually inspired from the Mughal architectural works where florals are balanced and put in geometrical measured spaces.
White on White is how it originated but the current ‘trend’ is to make it colorful. I feel the immaculate white on white or the raw muslin color is the best way the shadow work is highlighted. And there is mystique, exoticism and a flirtatious boldness in white. That is how it should remain. The trends tend to dilute and confuse the artisans that take the path ahead quite without a choice as their livelihood depends on the sales. The craft needs patrons that are proud of and accept and endorse this craft as it is, who believe in the originality of white on white.
It’s a tough choice; whether to ensure comfortable livelihood for the artisans or to ensure the originality of the craft remains. Our lives may still continue as they do, sitting in our comfort zones, looking at the world through our computer and phone screens. We might talk a little, light a candle, maybe shed a tear or two but true action would be to buy from them, for gifting, wearing, building heirloom with these toils of love. Let’s test our bargaining skills at the Zara(s) and the H&M(s) of the world maybe.
“Spread the muslin, stencil a pattern and block print the outline
Tighten the frame and pick a pick.
Take the needle running, create some shadows, throw in some knots
And make the jaali. Wash it, bleach it and starch it crisp.
Dawn rays will pass through this, falling on someone’s beloved.
The romance must match bird’s chirp and the dust that dances.
Summer mornings must awaken to these ‘white lights’.”
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