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Art often transcends countries and cultures. One form of art can draw inspiration from another and use its style or motifs. This shows the dynamic nature of art and how it constantly evolves and transforms into various forms, enriching human lives. In this article, we’ll explore four examples of how certain Indian art forms have influenced and shaped one another.
Sozni and Kashmiri Papier Mâché
What is Sozni Embroidery?
Sozni or Sozan Kari is an embroidery originating from the Kashmir region of India. Sonzi arrived in Kashmir from Persia as early as the 14th century C.E. The word Sozan means needle in Persian, and Sozan Kari translates to intricate needlework.
Sozni on Pashmina shawl, image courtesy: Wikimedia Commons, By AG - Own work, CC BY-SA 4.0
Sonzi embroidery is characterised by its dense and intricate needlework. Silk or cotton threads are used to create complex designs. Sozni embroidery is traditionally used to embellish Pashmina shawls, but it’s also used to adorn other clothing items nowadays.
Sozni artisans use a unique way of imprinting the designs onto the fabric. First, the pattern is traced onto paper, and then it’s carved onto a wooden block, which is then printed onto a silk or woollen cloth. The central motifs of Sozni embroidery include paisleys, geometric designs, floral patterns, plants, and creepers.
What is Kashmiri Papier Mâché?
Papier mâché is a French term that refers to a pulp made from paper, glue, or flour that hardens when dried. Papier mâché now denotes the technique that uses paper pulp to create objects, and then embellishes them with intricate designs.
Wall Hanging in Paper Mache by Riyaz
Kashmiri papier-mâché is a unique handicraft technique that utilises Kashmir’s authentic motifs. Artisans create items such as jewellery boxes, flower vases, curios, and wall hangings using the traditional Kashmiri papier-mâché technique.
Relationship between Sozni and Kashmiri Papier Mâché
Sozni and Kashmiri papier mâché share the same heritage. It’s believed that both these art forms reached Kashmir from Persia in the 14th century. They are practised by artisans from the same geographic area, resulting in Kashmiri papier mâché closely following the Sozni style and motifs.
If we examine the motifs of Sozni and Kashmiri papier mâché, we can see that they use very similar motifs. The central motif of Sozni and Kashmiri papier mâché is flowers. Flowers like roses, irises, carnations, apple blossoms, poppies, daffodils, and chinar are often depicted in both Sozni and Kashmiri papier mâché. Sozni and Kashmiri papier mâché share unique motifs like the flower-within-flower and the thousand flowers. Other motifs of Sozni, such as geometric patterns and intricate vines, are also reused in Kashmiri papier mâché.
Jewellery Boxin Kashmiri Paper Mache by Riyaz Khan
Another similarity is in the level of detailing. Kashmiri papier mâché is inspired by the intricate needlework of Sozni embroidery. Sozni embroidery is a rich and dense embroidery style that uses intricate floral and geometric patterns. Kashmiri papier mâché also uses intricate brushwork, with similar patterns. The colour scheme of Sozni embroidery, which includes gold and vibrant red, green and blue, has also influenced Kashmiri papier mâché.
Madhubani and Sujani Embroidery
What is Madhubani Art?
Madhubani is an ancient tribal art form that originates from the Mithila region of Bihar, India. Madhubani is believed to be over 2500 years old, and was practised in the ancient kingdom of Mithila. It’s a rustic art form that draws inspiration from nature and village living. Traditionally, Madhubani art is painted on walls; however, in modern times, Madhubani paintings are made with media such as paper, canvas, and fabric.
The Fish Communion Madhubani Painting by Ambika Devi
Traditionally, Madhubani painting uses colours inspired by nature: blue, red, black, yellow, and green. Madhubani paintings feature intricate patterns and motifs that incorporate Hindu mythology, rural life, celebrations, nature, plants, and animals. Village scenes, such as temple festivals, farming, and women gathering at the well, are among the popular motifs in Madhubani paintings.
What is Sujani?
Sujani is an embroidery technique practised in Bihar, specifically in the village of Bhusra, which is just 100 kilometres away from Mithila. Compared to Madhubani art, Sujani is a relatively new form of embroidery that dates back to the 18th century. Sujani embroidery originated as a means to stitch together old and soft clothes to create quilts for the newborn baby. Su means easy, and Jani means birth, indicating the embroidery’s relationship with childbirth.
Makar Sankranti In Sujani Embroidery by Sanju Devi
Relationship between Madhubani and Sujani
Madhubani and Sujani originate from geographic areas in close proximity to each other. Madhubani has been practised for centuries, and it has definitely influenced the art forms that originate from Bihar.
Madhubani’s themes, motifs and colours have influenced Sujani embroidery. Just like Madhubani paintings, Sujani embroidery also depicts mythology and scenes from rural life.
Ram and Sita Swayamvar in Madhubani by Priti Karn
The life of rural women, their daily activities, rituals and festivals are main motifs of Madhubani paintings. Sujani also uses these motifs in the embroidery. Sujani has also adopted the storytelling style of Madhubani paintings. It’s quite natural that Madhubani, being an old, widespread artistic tradition, has influenced the style of Sujani artisans.
Both Madhubani paintings and Sujani embroidery have cultural significance. Madhubani is used in weddings, whereas clothes embroidered with Sujani are related to childbirth.
Depiction of garland exchange ceremony: Sujani art by Gudiya Devi
Kutch Embroidery and Lippan
What is Kutch Embroidery?
Kutch embroidery is an intricate embroidery technique that originates from the Kutch region of Gujarat. India. Unlike traditional embroidery techniques, Kutch embroidery utilises small mirrors, shells, and beads to enhance the embroidery. Kutch embroidery is characterised by its bold and vibrant colours, intricate patterns interspersed with tiny mirrors. Often, silk threads are used for this embroidery technique.
Cultural Mosaic: Kutch Embroidery's Intricate Odyssey Rakhi Soni Jayeshbhai
It’s a centuries-old art form, predominantly practised by various tribes in the region, especially women. There are many different styles of Kutch embroidery, practised by various tribes. Some of the Kutch embroidery variations are: Pakko, Rabri, Ari, Ahir, Mutwa and Suf. Each of these styles varies in the size of the motifs and the intricacy of the details. But all of them produce intricate and vibrant embroidery, embellished with mirrors.
The most distinct feature of all Kutch embroidery is the use of chain stitches. Sometimes the chain stitches are tight, and at other times, they’re sparse and elongated. The chain stitches are used to create motifs like flowers, animals and birds. This chain stitch is known as Cheereli saankdi. In many styles of Kutch embroidery, there would be a large, central motif, and then small motifs are placed around this central motif.
What is Lippan Art?
Lippan is a traditional mud work art that originates from the Kutch area of Gujarat. Lippan or Lippan kaam has been practised for centuries by the tribes in Kutch to adorn their huts. Originally, dung (lippan in the local language) was used to make bas reliefs adorned with paints and mirrors. But in modern times, artists use a mixture of clay and dung to create Lippan art, lending it the name the mud work of Kutch.
Echoes of Intricacy: Lippan Kaam Splendour by Nalemitha
The creation of a Lippan work begins by preparing the clay mixture to make the bas-relief. Then, the design or pattern is drawn onto the selected surface. The prepared clay mix is applied onto the prepared design. The design is then embellished with small mirrors.
Relationship between Kutch Embroidery and Lippan
Originating from the same Kutch region of Gujarat, and practised by the same tribal groups, Kutch embroidery and Lippan are highly interconnected. The use of mirrors is the most striking similarity between these two art forms. Kuch embroidery intersperses mirrors with stitches, whereas Lippan work embeds mirrors in clay to create reflective bas reliefs. The use of mirrors could be related to the beliefs of the tribes in Kutch. Mirrors are believed to have the power to ward off evil, and the use of mirrors in both these art forms serves a higher purpose than embellishment.
Brown Patchwork Lippan Kaam Wall Panel by Nalemitha
Both Kutch embroidery and Lippan kaam originate from the nomadic tribes of Kutch, and both these art forms share similar motifs, primarily plants, geometric patterns, and scenes from nature. Both Kutch embroidery and Lippan art use vibrant colours, characteristic of the tribal art forms from this area. Although Kutch embroidery and Lippan art use different media, when compared side by side, the designs appear very similar. Modern artists are exploring the possibilities of combining Kutch embroidery and Lippan art.
Kangra Miniature Painting and Chamba Rumal
What is Kangra Miniature Painting?
Kangra school of pahari miniature is a miniature painting tradition that originates from the Kangra region of Himachal Pradesh. Kangra style is an intricate painting technique executed on handmade paper known as Sialkoti paper.
While there are many schools of Pahari miniature paintings that originate from Himachal Pradesh, Kangra style stands out due to its precision and beauty. It originated during the 18th century C.E.
The Dreamy Contemplation In Kangra by Poonam Katoch
Kangra miniature paintings are famous for depicting picturesque landscapes in great detail. Lush green is used to depict trees, forests and turf, whereas bright colours are used for flowers, birds and animals. The themes of Kangra painting are often related to the Hindu religion, especially the Hindu God, Krishna. Kangra miniatures paint people as slender and graceful, with great detailing capturing their postures and emotions.
What is Chamba Rumal?
Chamba rumal is an embroidered handkerchief that originates from the Chamba region of Himachal Pradesh. Traditionally, Chamba Rumals are made of silk or muslin cloth. The Chamba Rumal embroidery is delicate and intricate, done using silk threads.
Poetry of Sorrow:Poetry of Sorrow Chamba Rumal Painting by Anjali Vakil
The main themes of Chamba Rumal embroidery are scenes from Hindu mythology, nature, festivals and rituals. This embroidery is very minute and detailed, so it’s often referred to as “painting in embroidery.”
Relationship between Kangra Miniature Painting and Chamba Rumal
The Kangra School of Pahadi Miniature and the Chamba Rumal both originate from the hilly Himachal Pradesh region. While they employ very different media, Kangra miniatures and Chamba Rumal art forms bear a striking resemblance.
Chandni Raat Mein Prem Milan in Kangra Miniature by Anshu Mohan
To start with, both art forms revolve around the same themes, primarily Hindu mythology, devotion, festivals, and rituals. Both the art forms uses the same style, flowing lines, beautiful landscapes, and slender, graceful human figures. Often, miniature artists drew the outlines for Chamba Rumal embroidery. This may be the reason why both art forms have the same themes, style and colour choices.
Raas mandal in Chamba Rumal Embroidery by Heena
Conclusion
India has a rich tradition of art forms. Often, art forms that originate from the same region tend to influence each other. Art is hardly a standalone entity; it’s constantly influenced by the culture, history, rituals and traditions of a region. The interconnectedness of art and embroidery technique suggests that artisans often draw inspiration from other art forms. It is through the mutual connection and inspiration that art evolves.
References:
- https://kutchcraftcollective.com/crafts-of-kutch/hand-embroideries-of-kutch/
- A History of Papier Mache Craft in Kashmir by Bashir Ahmad Maliyar
- https://www.memeraki.com/blogs/posts/sujani-as-a-craft
- A STUDY ON SUJANI EMBROIDERY OF BIHAR AND MODIFICATION IN ITS DESIGNS AND TECHNIQUE FOR REVIVAL Authors: Samita Gupta J.D. Birla Institute
- https://www.sahapedia.org/chamba-rumal-interplay-literature-and-paintings
- https://www.memeraki.com/blogs/posts/the-mud-work-of-kutch-lippan
