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Chikankari doesn't just stand as a renowned stitching technique of northern India; it also weaves together a vivid narrative of the region's history.
If there is one place that brings me the sukoon (peace) of childhood, it’s my hometown Lucknow—the City of Nawabs—historically referred to as Awadh or Oudh. Its magnificent history, delicious food, architectural edifices, and heartwarming people attract travellers to this glorious north Indian city. A trip to Lucknow is incomplete without exploring the narrow lanes of Chowk from Purana Lucknow, and getting your hands on the intricate Chikankari of Awadh. To catch a glimpse of Awadh's traditional sartorial affinities, I visited a popular Chikankari boutique in Chowk, an experience that illuminated me about its historical significance.
I entered a Chikankari boutique that had a splendid array of kurtis, skirts, sarees, bed sheets, and more, embroidered in its style. The display not only captured my interest but also motivated me to delve deeper into its origins. I asked Mr. Shareef, the shop owner, about the origin of this beautiful craft, and his eyes sparkled with pride and enthusiasm. Delighted to have a listener, he put on his storyteller's hat and shared the fascinating tale of Chikankari. According to Mr. Shareef, Chikankari found its place in history—for the first time—in the 3rd century when the Greek philosopher Megasthenes made a mention of it in his records, of the people, in present-day India, adorning flowery muslins. Legend has it that a traveller passing through Lucknow taught the art of Chikankari to a local peasant in return for quenching the traveller's thirst. Mr. Shareef's art of storytelling reeled me into the world of Chikankari and made me thirsty for more.
Mr. Shareef mentioned other theories shared by his colleagues. They subscribed to Laila Tyabji, a social worker's view, that Chikankari was brought to Mughal courts by Persian nobles, who wore clothing adorned with Shiraz embroidery stitched on all white. This was a popular theory. Mr. Shareef himself believed that Chikankari was popularised by Noor Jahan, the Mughal queen and wife of Jahangir, who fell in love with the crafty white needlework. He also believed the decline of the Mughal Empire had brought about the decline of the art, causing a considerable loss to many Chikankari craftsmen. According to him, the craft was revived with the patronage of succeeding Nawabs of Awadh, who promoted it across the region. By the 18th century, the courts of Nawabs brimmed with Chikankari handicrafts, and people owned many products with intricate Chikankari patterns and floral motifs. For over 200 years, the essence of Lucknowi Chikankari has thrived and can be found on kurtis, bedding, linens, skirts, suits, and more. It is the patronage of art lovers like Noor Jahan and others who contributed to preserving this art that might otherwise have become extinct. However, this timeless art is well preserved and thriving. It was an a-ha moment, for me, as I looked back at its journey while surrounded by Chikankari oeuvres d'art.
As Mr. Shareef and I parted ways, I ran into one of his employees, Mr. Mohammed, who shared his rich wealth of knowledge. He mentioned that most of the Chikankari artisans were women artisans from the Muslim community. I expressed my appreciation to Mohammed for shedding light on this aspect. The dedication and contributions of these artisans stand as a powerful testament to their collective efforts that have preserved this art form. The intricate network of wrinkles adorning Mr. Mohammed's aged skin served as a poignant reminder that I was standing before a living institution. His wealth of knowledge promised to enhance my quest to understand the art form. As he held the fabric and rubbed it delicately, he gave me a crash course on the art of making Chikankari. Chikankari embroidery involves tracing intricate designs onto lightweight fabric, followed by skilled artisans using various stitches like "back stitch", "chain stitch", and "french knot" to create delicate patterns. The distinct "white-on-white" approach features white thread on light fabric. Motifs inspired by nature are meticulously embroidered, and the finished piece undergoes washing and inspection to ensure quality. This labour-intensive craft embodies a harmonious blend of skill and creativity, resulting in exquisite and timeless embroidered art. He advised me to keep in mind that lighter materials serve as the best canvas for Chikankari artwork. Chanderi, chiffon, viscose, semi-georgette, kota, and net, all make for excellent choices of fabric for Chikankari work. And that it takes about 80 to 100 stitches, probably more, to make the iconic floral designs or jaalis on a Chikankari kurti! I promised to put my mind to taking the legacy of Chikankari forward in my own way. Chikankari products would be my gift to loved ones, along with a handwritten note that would share my learnings. Before exiting the boutique, I thanked Mr. Mohammad for sharing his knowledge of the not-yet-forgotten art of Chikankari, and for keeping it alive.
The city's diverse heritage, patronage of Nawabs, and artistic atmosphere nurtured the craft's growth. Chikankari flourished as a significant part of Lucknow's identity, providing employment and adorning the city's history. This enduring connection has made Chikankari a cultural symbol of Lucknow, embodying its rich heritage and artistic spirit.
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