ZARDOZI

EMBROIDERY

hodf
SAILEE BORKAR
GROUP B
BD/16/N274
 INTRODUCTION
Zardozi is form of embroidery that came to India from Persia. Its literal translation, “zar” meaning gold and
“dozi” meaning embroidery, refers to the process of using metallic-bound threads to sew embellishment on to
various fabrics. This heavy and intricate style of design is said to have been brought to India with the Mughal
conquerors.
It was also used to adorn walls of the royal tents, scabbards, wall hangings and the paraphernalia of regal
elephants and horses. Zardozi embroidery work involves making elaborate designs, using gold and silver
threads. Further adding to the magnificence of the work are the studded pearls and precious stones. 
It found a base with thousands of artisans who have passed on this trade among their families and local
communities. While the Indian city of Lucknow became a major center for this art form, its exact origin is
unknown. However, there are many romanticized stories that surround its origin. Till date there are numerous
micro enterprises that specialize in Lucknow Zardozi. It is particularly popular in countries like Iran, Pakistan
and India.
 ORIGIN AND HISTORY
Zardozi is a style of embroidery that has its earliest mentions in Vedic literatures,
the Ramayana, and the Mahabharata. The original process, known as “Kalabatun”,
used silk threads wrapped in real gold and silver wires to decorate satin and velvet
fabrics. Along with the threads, other opulent embellishments such as sequins,
beads, precious and semi-precious stones and pearls were also sewn on. At its
peak, it was used in the Mughal Era by the royalty to adorn tent walls in the form
of tapestries and wall hangings, as well as on accessories for elephants and horses.
Lucknow became a central hub for this embroidery technique during Aurangzeb’s
reign in the 12th Century, when this imperial art form was encouraged under
ruling Mughal beneficiaries.  Their patronage encouraged Zardosi artists to spread
throughout India. However, Lucknow remained the main center of production due
to the high demand from the city of Nawabs. However, over time, with the rise of
gold and silver prices, the use of such expensive materials became difficult and
artisans resolved to use synthetic threads or copper wires polished in gold and
silver. In doing so, Zardozi was commercialized as a technique, though some of
the glory of the traditional heritage of this craft was lost.

The Geographical Indication Registry has accorded all Zardosi textiles
manufactured in Lucknow and its surrounding districts with the GI tag. Cities like
Hyderabad, Delhi, Agra, Kashmir, Kolkata, Varanasi and Farrukkbadare are also
known as Zardozi specialty regions. This has differentiated the craft from
imitation products for shareholders and has also helped to retain one of the finest
and oldest art forms of Lucknow.
 SIGNIFICANCE

Zardosi was highly praised by the elites of all communities in India, including Hindus, Muslims and Europeans.
This fondness for ornate Zardosi work has not wavered with time. Several families in Hyderabad, Lucknow,
Jammu, Kashmir, Kolkata, Varanasi, Agra and Delhi are currently involved in reinventing this technique. Zardosi is
also combined with Dabka work to produce elegant hybrid creations. Initially zari work was done solely by men,
though this tradition is slowly changing with time and in several clusters, 10-15% of the workers are female.
Women have been encouraged to take up this skill as a means of further perpetuating the art of Zardosi.Today, the
Muslim community is one of the most actively involved in the production and innovation of Zardosi. They pass
their wisdom down through generations, training new craftsmen in the skill and the patience required. Nimble
fingers, concentration and an eye for intricacy are considered extremely favourable within these communities.
Zardosi work is applauded everywhere, and craftsmen continue to incorporate traditional techniques in the creation
of Zardosi pieces. There is an increasing demand for Zardosi and this creates availability of work, ensuring that
rural craftsmen are able to earn a living. It is common to see younger members of a family work alongside the elder
members in a craft where skills are passed down from one generation to the next. For some, it is helpful that work
can be commissioned on a full-time or part-time basis. Piece-work is also provided for a contracted amount of
embroidered workThe Geographical Indication Registry (GIR) confirmed the registration of Geographical
Indication (GI) for the Zardosi technique of Lucknow. These Zardosi products, produced in Lucknow and six
surrounding districts of Barabanki, Unnao, Sitapur, Rae Bareli, Hardoi and Amethi, have been authorised to carry a
registered logo to confirm their originality. This has proved to be a huge asset for these producer communities,
certifying the uniqueness of their crafts and making them distinct from imitators.
 MATERIALS
Tools: 

Different tools used are as below:

Adda (Wooden Frame):

It is a wooden adjustable frame consisting of four wooden bars. The cloth on which the embroidery is supposed to be done
is stitched on the two horizontal bars and stretched. It is then fixed tightly and locked on the other two vertically parallel
bars. This prevents the cloth to move while working and also enables clear vision and faster movement of the tools.

Aari  (Needle):

Needle is the main tool in the Zardozi embroidery. It has a hook at the tip and wooden handle at the back. For Zardozi work
10 no. needle is required. The cost of needles range from Rs. 5 - Rs. 10/-, depending on the quality of handle. The needles
are also available with plastic and iron handle.

Raw Material: 

The raw materials required for making Zardozi embroidery are procured from the local market in bulk and stored for later
use. The materials used are as following:

Gold and Silver Threads: 

Originally the embroidery of Zardozi was done by using real gold and silver threads. These threads were made by the
craftsmen themselves in the small workshops at their homes. The blocks of metals (gold and silver) were melted and pressed
through iron sheets having perforations to make thin wires.

The size of the perforations varied according to the requirement of the threads. Simple plain wire is called as Badla. These
Badlas are sometimes wrapped around a thread and is called Kasav. The twisted wire is called as Nakshi.

Metal Wires: 

In recent times the original gold and silver has been replaced by metal wire made out of copper and resham threads. Anchor
threads are also commonly used these days.

Dabka and Sitara :

Dabka and Sitara are used as embellishments in the Zardozi embroidery. These are spring kind of threads. They
are cut into small size and used as per the requirement. Sitara are small spangles, golden or silver color.

Kardana and Poot ki Mooti (Beads):

 Artisans also use beads as and when required. These beads come in different shapes and sizes and are named
accordingly. The glass beads with cylindrical structure are called Kardana and very small spherical beads are
called Poot ki Mooti.

Shiny stones:

 These stone which resembles like diamonds are used to embellish the product. These are available in different
shapes, sizes and colors. Fevicol is used to paste the shiny stone on the cloth. Tracing paper is used for tracing
the motifs.

Kadiya (Chalk Powder): 

It is used in the solution for tracing the motifs. Mitti ka tel (Kerosene Oil) is used to mix with chalk powder.
 TECHNIQUE
The Making
The techniques, tools and raw materials used to create Zardozi are the same across India and adhere very
closely to the original and ancient techniques.  The basic technique is 4 fold:
• Designing: This is the initial stage of the process, where the entire design is drawn on to a tracing sheet
and holes are made along the traced pattern using a needle. While the patterns from the Mughal period all
comprised of complex nature, floral and leaf motifs, contemporary patterns are more geometric stylizations
of similar motifs.
• Tracing: In order to trace the design on to a fabric, the papers with the patterns are placed on a flat table
with the fabric underneath. A kerosene and Robin Blue solution is made and wads of cloth are used to dip in
it, which are then wiped against the tracing sheet. This enables the ink from the sheet to seep in to the fabric.
• Setting the frame or “Adda”: The design imprinted fabric is stretched over a wooden frame. The size
of the frame can usually be adapted to the size of the fabric. Using bamboo or wooden spars, it is then
stretched out and tightly held to give the cloth a uniform tension. The artisans then sit around this frame
to begin the embroidery work.
• Embroidery: A crochet-like needle that is fixed to a wooden stick called “Ari” is used to carry out the
embroidery. As opposed to a regular needle and thread, the Ari greatly speeds up the work as the artisans
can pass the threads both above and below the fabric. Depending on the intricacy of design and number
of artisans working on a piece, this phase can take anywhere from a day to 10 days. So the ultimate tool
is a steady hand and nimble fingers.
 AESTHETIC
Done with metal wire and metal pieces or sequins on velvet, satin and heavy silk bases, Zari is one of the most
famous and elaborate techniques in metal embroidery. An ancient art, dating back to Rigvedic times, was used to
adorn the dresses of Gods and Goddesses.Zardozi uses Dabka (spring type of a thread), katori, tikena, and sitara
(sequins). Both methods are used to create fascinating designs.In Zardozi, the stitches are very close to each other
and they are elaborately done.In Zardozi, the design is with the twisted gold thread called Gijai. Gold and silver
embroidery is done using any type of stitch.
1) Laid stitch/ wouching stitch,Satin stitch,Chain stitch,Stem stitch and Running stitch.
The chain stitch resembles in counter part in Kutch work and is generally used in sarees.The stem stitch and the
running stitch are used for a miscellaneous type of work.The laid/ wouching stitch as it is called is important and
suited in gold thread. It is generally used on cushion/ masnads (small gaddis) gold and silver embroidery is
invariably done with cloth stitched over a wooden frame. Sometimes certain designs as leaves and petals of flowers
are padded to give a raised effect.
 EVOLUTION
The craft reached its zenith during the period of Akbar (a 16th century Mughal emperor). However, by the time of
Aurangzeb’s period (the 6th Mughal emperor) it registered a decline due to lack of royal patronage. Zardozi could not
flourish on its own since this ornate craft uses expensive raw materials like gold, silver and other expensive gems which
made it affordable only for the rich and the wealthy. Therefore, the opulence of zardozi was emblematic of the regal
gentry. With industrialization and the introduction of modern machinery, the art of Zardozi suffered another blow. The
British rulers of the country made India a supplier of raw materials and an importer of the finished product. The rich
handloom industry of India had to pay a heavy price.

After the craft was embraced by the fashion industry, it got a new lease of life. Its look of opulence and excess, which
made it fit to be worn by the royalty, also made it the perfect choice for bridal wear. Two famous designers who are
credited with the revival of zardozi and bringing it onto the ramp are Ritu Kumar and Abu Jani and Sandip Khosla.
In an article published in Verve magazine, Ritu Kumar describes the poor state of the traditional craft of zardozi when she
started working for its revival. One only had old traditional hand-me-down garments passed down from one generation to
another usually on the occasion of marriage, while the newer ones were inferior in quality and aesthetic.  “I did a project
of zardozi revival at a time when it wasn’t available in the country and the art had almost died. And bridal wear was
nothing but traditional attires. You would get bandhini sarees in Rajasthan, gota work in Punjab, and of course the
Benarasi sarees in Varanasi. Apart from a smattering of clothing and textiles, there was not much available,” said Kumar.

All this and a lack of customization at the time led her into the field of designing. Since then, Zardozi embroidery has
remained a favorite with the bridal designers of our fashion industry because of its intricacy and opulence.
Another label that loves the use of Zardozi is Abu Jani and Sandip Khosla. During the late 80s their woolen shawls
embroidered with zardozi were a great hit at Harrod’s. Other Indian designers who use zardozi work are Manish Malhotra,
Sabyasachi, etc.

Zardozi has also gone international with such prestigious brands as Chanel and Louis Vuitton.

The high fashion has certainly prevented this art from becoming history. But the demands of the modern
age pose several other challenges for the craft. Certain machine made works are tried to pass off
as zardozi.

While the original zardozi used to be made from gold and silver wires, the cost constraints have brought
in the use of copper wires plated with gold and silver. The art has adapted, as it should, to the needs of
the modern world. The style is freer and the embroidery lighter. The cost is also tried to minimize without
compromising the essence or aesthetic of this technique.