Photos: The Art of Lucknowi Chikankari — From Block Printing to Stitches
Chikankari Kadhai is a craft characterised by the delicate use of white cotton thread on fine cotton fabric.
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In a dimly lit room in Lucknow, an artisan begins the process by block printing cloth. The fabric then comes to life with rich blue dyes, highlighting the skill and craftsmanship that defines Chikankari.
(Photo: Mirza Shaina Beg and Saqiba Khan)
An up-close look at the chhapai. The wooden block is dipped in a blue dye made by mixing indigo and glue.
(Photo: Mirza Shaina Beg and Saqiba Khan)
The printed fabric is then ready for embroidery, and taken by the workers to the karkhanas.
(Photo: Mirza Shaina Beg and Saqiba Khan)
The fabric is tightly fixed within a wood frame called Adda. The embroidery (kadhai) is done over the printed design pattern with the use of a needle and thread.
(Photo: Mirza Shaina Beg and Saqiba Khan)
The karighars select their stitch based on the motif type, here Bakhiya - double back or shadow stitch is being done. Chikankari embroidery has about 32 types of stitches.
(Photo: Mirza Shaina Beg and Saqiba Khan)
A snapshot of Chikankari embroidery with Gota Patti work in a Karkhana located in Old Lucknow.
(Photo: Mirza Shaina Beg and Saqiba Khan)
Sakina, a 60-year-old resident of Daulatganj, Lucknow, is weaving stories with every stitch – a close-up capturing the hands that breathe life into Chikankari, each thread carrying a tale of tradition and love. She has been a part of the industry for more than two decades.
(Photo: Mirza Shaina Beg and Saqiba Khan)
After the embroidery work is completed, the fabric is sent to Dhobighat to have the block-printed blue color dye removed.
(Photo: Mirza Shaina Beg and Saqiba Khan)
Mohammad Imran, a 38-year-old washerman at the Dhobighat in Lucknow, has been doing the job for almost 15 years now. He continued with the work following his father's steps because it was the only way he could earn his livelihood. "Today, people prefer washing machines over dhobis and machine-made textiles which has resulted in shrunken income," said Imran. The washerman then soaks the fabric in water and washes the traces of the printed pattern.
(Photo: Mirza Shaina Beg and Saqiba Khan)
Later the fabric undergoes a dyeing process. An up-close look at the procedure when the cloth is taken out of the dye-water bath. Nusrat Khan, a 30-year-old man, shares his family's connection to the craft. "This isn't just a profession; it's a legacy. The sustenance of my family relies on the mastery of dyeing, a skill passed down through generations," said Khan. As Khan navigates the delicate balance of hues, he acknowledges the weight of responsibility. "In each swirl of color, I feel the essence of our heritage. This craft defines us – past, present, and future," he adds.
(Photo: Mirza Shaina Beg and Saqiba Khan)
The fabric is then starched and ironed to achieve stiffness.
(Photo: Mirza Shaina Beg and Saqiba Khan)
The cloth is hung up on bamboo poles for drying out in the sun at the Ghat.
(Photo: Mirza Shaina Beg and Saqiba Khan)
Bird's eye view of the Dhobighat, in Old Lucknow.
(Photo: Mirza Shaina Beg and Saqiba Khan)
The final masterpiece, is a testament to the synergy of human hands and artistic vision. This age-old process preserves the essence of Chikankari, ensuring that the livelihoods of humans involved are deeply connected to the very fabric of the art form.
(Photo: Mirza Shaina Beg and Saqiba Khan)
Chikankari Kadhai or embroidery is a craft characterised by the delicate use of white cotton thread on fine cotton fabric, which finds its roots in the City of Nawabs, Lucknow, Uttar Pradesh.
This legacy of Chikankari in Lucknow spans over two centuries and was nurtured under the generous patronage of the Nawabs. More than 5,000 families residing in and around the remote villages of Lucknow are deeply engaged in the Chikankari embroidery industry, and the process of creating these beautiful garments has remained largely unchanged since the Mughal period.
Through our lens, we attempt to capture a glimpse of these artisans, who commit their lives to the art form and get a bare minimum income for focusing and working in incredibly tough conditions for more than 10 hours every day.
(Mirza Shaina Beg and Saqiba Khan are students, pursuing Master of Arts in Convergent Journalism at AJK Mass Communication Research Centre, Jamia Milia Islamia.)
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