INTRODUCTION: Extract from Book "Phool Patti Ka Kaam: Reviving a traditional Indian Applique Embroidery" By Farah Usmani & Saleha Khan, 2009
The traditions of embroidery in India demonstrate the vitality of one of the world’s richest cultural expressions. Embroidery has been part of India’s unique textile tradition whether at the Mughal royal courts, for trade, as dowry or trousseau collections, tribal or folk art or as group identifier5. “Phool Patti Ka Kaam” is a traditional appliqué embroidery style from Aligarh in North India. Appliqué refers to a needlework technique in which pieces of fabric, embroidery or other materials are sewn onto another piece of fabric to create designs, patterns and pictures9. Phool-Patti is a delicate form of appliqué work, dating back to the Mughal period, and was originally done using fine cotton fabrics.
It is believed that phool-patti work, part of the court embroideries, was initially done on shalukas (blouses) worn by the begums of nawabs (see plate 1.3). The embroiderers were the “mughlanis” or housemaids working at the royal courts. The need for embellishment and the hot summer weather are said to have given birth to this embroidery. ‘Patti-ka-kaam’, comes from Aligarh district of Uttar Pradesh in North India and is also referred to as “Aligarh work”. The embroidery is typical of the state and the only other location in India where this is also practiced is Rampur(7). There is also reference to appliqué shamiana or tents from Aligarh (2) in the days of nobility. The embroidery reflects Persian influence and draws on mughal art and architecture designs.
As the name suggests, the embroidery motifs are in the shape of flower petals or leaves. “Phool” means “flower” and “Patti” means “leaf” in the local language spoken in the region. In this textile decoration style very small pieces of fine cotton fabric are cut by hand and dexterously folded and shaped into tiny petals, leaves and other geometrical and floral shapes. These are then appliqued on to the fabric to create a variety of intricate patterns. Stems are embroidered in ‘stem’ stitch. The entire embroidery is done by hand including the finish of the edging.
We know that with Emperor Jahangir’s infatuation with plants and flowers after a visit to Kashmir (in 1620)3, the motif of a naturalistic single flowering plant, often within an arched niche, influenced all Mughal decorative arts. It also finds its way in phool-patti designs. The traditional inspiration for this embroidery is primarily from the natural surroundings. Floral motifs dominate the designs as artisans sought inspiration from the beauty of flowers, leaves and fruits such as rose, lotus, grapes, mango, melon seeds, grains, others. Some dominant motifs are five and three petal flowers, branches and stems with leaves, tendrils, creepers, paisleys, bunches of grapes and others. In keeping with the Islamic traditions, human and animal figures are avoided.
Several thousands of women living in different parts of Aligarh are estimated to be involved in phool-patti work currently. This work has remained the domain of women and girls from entrepreneurs, designers, trainers, workers, seamstresses as well as launderers. Men however are sometimes involved in marketing and helping their artisan wives. The patti karigars or embroiderers in Aligarh are often the poorest women in the city and many are illiterate. Income from working on this craft provides a means of employment and wages in the security of their homes for many women from economically backward communities.
