CHIKANKARI AND MUGHAL ARCHITECTURE

Submitted by - Nidhi Chauhan

(Based on a visit to Bada Imambara, Wajid Ali Shah Museum, British Residency, Old
Lucknow, and various shops around Lucknow)

History :Nur-Jahan was the first patron and inventor of chikan embroidery in 16th century .She
was the wife of the great emperor Jahangir. She was really inspired by the relief and
embossed decorative motif, which was already being used in the decoration of the
Mughal architectural buildings by her husband. Nur Jahan is credited with the invention
of various kinds of textiles and thus copied the architectural motifs in her chikan
embroidered garments.

Meaning of Chikankari:The word 'chikan is derivative from the Persian word which means a very fine.
Chikan embroidery is done with white cotton on a fine white muslin base using a variety
of stitches minutely worked together with knotted stitches resulting in designs with
raised surfaces.

Inspiration from Mughal Architecture:Chikans origin and highlight the reasons for a similarity between the decorative motifs
from Mughal architecture and the floral chikan motif.
Abu Jani & Sandeep Khosla ( Jani & Khosla, 1990) do point out the similarities between the
Chikan patterns and the architectural motifs seen all over the Mughal buildings.
A contemporary Chikan sari from the collection of Abu & Sandeep with the floral chikan
motifs which are inspired by the Mughal monuments.
The designers being the only people to state that the Chikan patterns reflect the Mughal
tradition as the floral sprays, petals, leaves, tendrils, dominant flower heads resemble
the floral motifs used on the jaalis, the edges of windows and doors, the carvings and
motifs on their pillars and walls, the bejeweled patterns on the ceilings and floors of the
Mughal buildings (Jani & Khosla, 1990).

Abu Jani & Sandeep Khosla collections with the floral chikan motifs which are inspired
by the Mughal monuments in1987.(Journal of south asian studies- wofflins concept by ankita
kapoor )

Rehana Begum takes her inspiration for her embroidery motifs from Mughal architecture
in 1976. She was given a State Award from the Uttar Pradesh government. In 2003 she
received the Shilp Guru award for her contribution to Chikankari (THE HINDU, Rehana
Begum)

Floral designs of Bada Imambaras interior as well in chikankari sari.

Jaali work on window as well on chikan.

Carve work of arches on Rani Mahal as well on chikankari handkerchief and sari.

Mahi-ye maratib motif in monument ( Bada Imambara) as well on chikankari handkerchief.

The form of the onion shaped dome in mughal architecture inspired the new design of the neck of kurtas.

How it has come into practice in Lucknow:The Mughal monuments from Aurangzebs era are crudely made and lack the fine
qualities of the earlier Mughal periods like that of 16th century. He only built a few
monuments during his rule and rarely encouraged any development of new styles of
arts and crafts.
Due to this, the arts declined in Aurangzebs reign and artists and Chikan craftsmen
sought refuge in the court of Nawab Asaf-Al-Daula (ruler of Lucknow) in 17 th century.
Asaf- Al- Daula was a patron of arts and architecture and promoted and developed the
Chikan embroidery extensively . The craft of chikan flourished and developed in
Lucknow during 1750-1880 under the patronage of Nawab Asaf-Al-Daula and other
patrons of Lucknow.

Different types of stitches in chikankari:Phanda , jaali , tepchi , bakhiya , murri , gol-murri , dhoom , janjeera , keel , kanganbangle , dhania patti , murri lambi , karan , bijli , ghas patti , rozan , meharki , kaj , phool
chameli , chane ki patti , gitti , balda , iora , penchni , kauri , sidhaul jaali , makra ,
mandrazi , bulbul chasham , phool jaali , bel .

Only few of them are practiced nows a days like Taipchi , jaali ,bakhiya (ulta & sidha
bakhiya) ,murri ,keel ghaas patti ,dhania patti , phool jaali.

Components of chikankari embroidery.

Steps of involved in chikankari embroidery :Fabric cut

Semi- stitched
Block printing
Doing embroidery
Washing (with rehe metti)
Chikankari embroidery

block
embroidery

block-printing

practicing embroidery

Conclusion:In order to understand the significance and cultural uniqueness of Chikankari, one
needs to explore the various aspects of Mughal Architecture. Mughal architecture has
always inspired the forms and designs of chikankari which over the years has been
produced, used and even transformed by the people of Lucknow, the birthplace of this
art form. But as mentioned above in the document, unfortunately it is dying. As a moral
responsibility to our countrys indigenous art forms, we as designers, must take pride
and attempt to preserve it or interpret it to todays modern world before it is lost forever.

Bibliography :

Ankita Kapoor, Article: Wolfflins concept of style and its relation to the Chikan Embroidery(1990),
Department of Art History University of North Texas,Denton,Texas, United States.

Abu Jani and Sandeep Khosla(from an interview by Ankita Kapoor,1990)

Rehana Begum, THE HINDU(2007)