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invariably witnessed the ruling of Rajput dynasties and similar significant influences. These cholies stand apart amongst its popular counterparts from other Gujarat and Rajasthan; well applauded for their unique construction, designs, and stitches. Furthermore, to understand the socio-cultural significance of pahari cholies it’s important to study the additional garments worn along these cholies. 1.1. EVIDENCE of Courtly Costume of Pahari Region It’s
noteworthy that costumes are deeply rooted in folk culture of the region and
reflected in their traditions and practices. They are apparently studied in
arts and crafts of pahari region which is very well depicted by
miniature artists and embroiderers in their finest forms. Two different types
of costumes are seen in embroidery and miniature paintings. The traditional
costume seen in miniature paintings and embroidery is ‘peshwaz’ which is
full ankle length gown having tight bodice cut just below the breast to which a
full front opening skirt is attached along with long tight fitted sleeve. It is
made in very fine thin semi-transparent cloth like gauze, net, or muslin. This
is worn over short choli of a darker shade visible through the fine
fabric of peshwaz. The ensemble is completed with straight patterned paijamas,
visible through the transparent skirt and long trailing odhani. Some
miniatures show women wearing a fully lined peshwaz (Kumar, R, 1999, pp
246). One such peshwaz is available online with anthropology department
of National Museum, New Delhi (Figure 1) (http://www.nationalmuseumindia.gov.in/prodCollections.asp?pid=79&id=8&lk=dp8). According to the author, it
belonged to Rani Sahiba of Baji; it is a courtly garment of Mughal origin, was
widely adopted in the pahari kingdoms and frequently depicted in the pahari
miniature paintings .
The similar kind of richly decorated peshwaj is seen in embroidery with zari work and patterns. One of the examples is studied from Catalog of Chamba Rumal, acc no. 64.1, Bhuri Singh Museum, Chamba who depicts the splendor of these costumes in sumptuous way (Figure 2).
Apart from these courtly mughal influenced peshwaj another variation is also noticed which seems to be more adorned by common folk of pahari region. Two such rumals from Catalog of Chamba Rumal, acc no. 66.33.20 and 62.83 Bhuri Singh Museum, Chamba depicting socio cultural traditions; illustrates women wearing sleeveless peshwaj; underneath which different colored full sleeve blouse is worn (Figure 3, Figure 4).
In the field survey, the similar kind of peshwaz is seen, which is sleeveless and worn with full sleeve blouses or woolens underneath them. It is still worn by elder generations on auspicious days or religious ceremonies like tulsi vivah celebrated on last day of kartik month. It is also evident that there are variations seen in the traditional costumes according to communities residing in different places. Even today in Chamba and Bharmour women are wearing similar costumes in cultural events. The most recent is seen in tableau of Himachal Pradesh in Republic Day parade in 2017, where embroiderers are clad in their traditional attires (Figure 5).
1.2. Folk Costume of Pahari Region Other traditional costume popular with common folk seen
in embroidery and paintings is small length cholies covering breast area
in plain solid colors with ghagra and dupatta. The ghagras are
many times elaborately decorated with prints, stripes, or patterns at hem in zari
threads. The dupattas are usually plain with zari front borders
or pallu designs. However, these cholies are very different from
actual specimen of pahari cholies housed in various museum collections.
According to an author “In the miniature paintings, the cholies worn underneath the gossamer peshwaz seen on the
royal ladies and their attendants are of a different kind.” As opposed to the rich silk and satin blouses of the royal court, these
humble coarse cotton cholies, were hardly
seen in the painting . Two such rare paintings are seen in BN Goswamy and Eberhard Fischer ‘Pahari
Masters: Court Painters of Northern India’, pg. 201, pl 81 ‘Raja Shamsher Sen
with Companions in Female Garb’ (Figure 6) and ‘The Ballad of the Princess and Drummer Boy, pg. 234, pl 96 (Figure 7).
In both the paintings the choli is worn by common folk like in first painting it is worn by male servant and in other by female music player. This clearly indicates its popularity amongst the folk class.
The similar attire is housed in collection of Bhuri Singh Museum Gallery, Chamba (Figure 8). It also points that these cholies were worn along with dupattas and wide ghagras with surface prints in khadi printing. According to Museum of Kangra Art, Dharamshala, ‘These cholies were worn as matter of course by the ladies of Himachal Pradesh along with ghagra and dupatta’. https://somethingtodiscuss.wixsite.com/museumofkanraart/textile-gallery?lightbox=dataitem-ixypgcbt).
On the other hand, in embroidery cholies without waist flap (petia) along with different colored fabrics in breast area are seen. Silk cholies in mashru cloth are also observed with striped pattern. However, other style in cholies with petia is not noticed. In field survey it was told that pahari cholies are no longer worn but certainly lying with respondents who were interviewed. The cholies given below belong to grand mother of one of the respondents (Figure 9).
2. CONSTRUCTION, DESIGNS AND STITCHES The
most captivating features studied in pahari cholies are construction,
designs and stitches which set them apart from cholies of another
region. The spectacular masterpieces have been created using simplest of raw
materials and stitches. The designs and motifs used are very specific and
characterized by the selective treatment given to them. Further to analyse them
in detail three pahari cholies are studied from reserved collection of
National Museum, New Delhi (Accession no. 60.842/12, 64.197, 60.842/7) and
others from Philadelphia Museum of Art (PMA https://www.philamuseum.org/). They gave in depth insight to
their construction, designs and stitches used in embroidery. 2.1. Construction On the basis of construction two different categories of cholies are seen. They are as follows: 2.1.1. Cholies with petia with vertical dart or seam in breast pieces The construction of choli
is worthy to note as various pieces are joined together and embroidered
innovatively. In front part it has triangular shaped breast fabric pieces forming
deep ‘V’ neckline, short sleeves with gusset and rectangular waist flap called petia.
In front each triangular shaped breast pieces have
vertical seam in the center which passes from pivot point at breast as princess
line (Figure 10 and Figure 11). They are joined
first and then embroidered. In few samples however, only shoulder dart ending
just above the pivot point is seen (Figure 12). Below the breast, rectangular shaped flap is attached over
which cord is attached which is fastened at back. At back the sleeves extend
which are supported by narrow widths of fabric usually 2.5 inches or less. The
cords are attached for tying at neck and waist. The traditional sleeve pattern
has a straight (i.e., non-shaped) armhole. The gusset (chaubugla) between sleeve and upper front allows the wearer
comfort, ease of movement and lift of the arm. The most enticing part of choli is the tying cord at waist,
demarcating upper portion and lower waist flap (Figure 12). It is made from two
loosely twisted cotton threads attached with bodice using couching stitch or
fly stitch. In couching stitch, the straight stitch is laid over the cord which
is held in place by putting small stitch is the center. At back two diagonal
lines are seen. In fly stitch ‘V’ shaped stitches are seen with small vertical
stitch holding it in place over cord. In this stitch single row of diagonal
stitches is seen. The neck tying cord is made of fabric. The cords are finished
with fabric tassels in ends formed by giving slashes to triangular fold of
fabric The stitching is done with hand and seam allowances are
finished. Plain seam is made using running stitches where seam allowances are
rolled over one another which are then hemmed. This gave raised appearance to
the seams. Coarser cotton thread is used for construction. The hems are folded
and hemmed or tacked or many times finished using contrasting coloured piping’s
or facings.
2.1.2.
Cholies without petia with
horizontal seam in breast pieces Another variation is also seen where there is no petia
attached at the waist, it is small length choli covering breast area
having broad ‘V’ neckline. These cholies are comparatively simpler and
less elaborate. In this each triangular shaped breast fabric has horizontal
seam passing through breast point (Figure 13). The sleeve and
gusset are joined in same manner as discussed above. At back no extra width
fabric is joined but at shoulder where sleeve starts small triangular fold of
fabric is attached which holds the cord for tying at neck (Figure 14). The waist cord is
attached in same manner in couching stitch just below breast level.
2.2. Designs and Motifs in Pahari Cholies In
pahari cholies two different styles are discerned on basis of designs
and motifs i.e., free hand curved designs and geometrical patterns.
Conspicuously, similar styles are observed in other articles as well including
floral coverlets, headdress, or waist band, chaupar, patchwork
embroidered pieces etc. The free hand
curved designs and some geometrical patterns seen on pahari cholies are
documented by getting them redrawn from miniature artist Shri Prixit Sharma,
Chamba. The designs pictures are collected from various museums, literary sources,
and online collections. The images are scanned, and their prints are given to
miniature artist for redrawing. The hand drawn designs are documented in form
of design catalogue (Plate 1). Stylistic bold motifs depicting various
flora and fauna like elaborate pan buta, saru ka ped (cypress tree),
elephants, peacocks and doves are seen. Floral motifs are usually rounded with
concentric circles, which are further decorated with some foliage’s or narrow
borders to cover the leftover space. It is seen that different designs are
executed in different ways in terms of placement of design, materials, and
stitches. They are discussed in detail below:
2.2.1. Placement of design The embroidery is seen on triangular shaped breast
fabrics, petia and sleeves. The
size of main motifs seen on petia is comparatively bigger and same
motifs are adapted beautifully in other parts in choli depending on the
space available. For example, the motifs on petia are the main motif in
rectangular space which is beautifully adapted in triangular form in breast
area. The same motif is shown on the sleeves in broad rectangular shape to
cover the empty space. The free hand curved designs are firstly drawn
and then embroidered. Geometrical patterns are worked directly by counting
threads as in phulkari. The space is divided in small portions which are filled
in variety of patterns and directions of darning and pattern darning stitches.
2.2.2. Cholies with free hand designs These cholies can
be with petia or without petia. The free hand curved designs are
beautifully adapted in various components of these cholies. They have
some distinctive characteristics which are discussed below: ·
Materials: They are made on khaddar fabrics in madder
red, dark indigo, buff, and brown colour. For embroidery untwisted silk yarns
are used predominantly in off white, red, orange, light, and dark shades of
yellow and green. Major portions of design are worked in off
white; colors like yellow, green, red, and blue are marginally used to balance
dark background. This colour scheme lends distinctive appearance to pahari
cholies. ·
Stitches: Mostly these cholies are
worked in single sided stitches. The
stitches most frequently used are darning stitch (straight, brick and zigzag
arrangement), stem stitch, square chain stitch, double cross stitch, and
herring bone stitch. The most distinctive characteristic features apart from
stitches that add charm to the entire composition is the outline stitch i.e.,
square chain stitch in yellow color, finishing stitches and edgings. 1) Filling
stitch: The embroidery is worked in single sided stitches mainly using
darning stitch. These stitches are either laid in straight, brick arrangement
or zigzag lines. In straight filling of darning stitches, no fixed arrangement
is followed. The long and short darning stitches are laid in brick arrangement
and straight rows are formed but they are not continuous (Figure 16). The same length darning
stitches are taken in zig zag rows which lends very distinctive appearance (Figure 17). Many times, same motif is filled in with
these variations of darning stitches (Figure 18). Small nips of fabric
are taken as a result very small vertical stitches are visible on back side of
fabric (Figure 19). 2) Outline stitch: The outline of motifs is worked in basic chain stitch, square chain stitch or stem stitch. The outline is chiefly seen in yellow color in square chain stitch which is characteristic feature of pahari cholies (Figure 17). Besides, basic chain and stem stitch are also seen as outline stitch (Figure 18). Outline is used to define the outlines of motifs, highlighting some intrinsic parts within motifs, and forming stems. Occasionally, after outline the motifs are surrounded in laisy daisy stitches in white color. 3) Finishing stitches: These are essential narrow borders enclosing embroidery close to edges or separating areas within design as narrow borders. They are worked in single and double cross stitch or herringbone stitch in set of three stitches of red and white colour alternately (Figure 16 and Figure 17). 4) Edgings: the hems are finished using contrasting colour piping’s or facings (Figure 10 and Figure 11).
Straight Darning 2.2.3. Cholies with geometrical patterns These designs are seen on cholies with petia as well as cholies without petia. Cholies with petia show elaborate designs where triangular breast pieces show free hand curved designs while sleeves and petia illustrates geometrical patterns or vice versa. Other adaptation is relatively simpler in design and stitches. The geometrical designs are worked in different manner which is discussed below: · Materials: These cholies pertinently apply the concept of minimum utility, zero wastage in construction and sustainability. Many such examples have been studied which are created using small fragments in different colors for front breast pieces, sleeves and petia. Coarse khaddar and fine khaddar known as halwan both have been used for embroidery. The coarse weave of the khaddar helps in smooth counting of threads while embroidering unique designs seen on these cholies. For embroidery other than off white many other colors have been used for embroidery such as red, yellow, green, blue, violet etc.
· Stitches: The designs in embroidery are worked by counting threads and bear marked affinities with phulkari of Punjab. Cholies with petia, usually illustrates wide variety of textures created using creative use of darning and pattern darning stitches. The darning stitches are even laid in interesting arrangement which either created straight rows or zig zag rows as seen in free hand curved motifs worked in the breast pieces. In petia, the field is divided in small squares where some of the squares show minute patterns worked using pattern darning stitches interspersed with mirrors. The mirrors are attached in buttonhole stitch which is surrounded by white laisy daisy stitch. Floral repeats worked in darning stitches are used as border enclosing the square field design. No outline is seen in these designs. In petia and sleeves, the separations in embroidery are made using narrow border in black and white cross stitch. In breast pieces the embroidery is enclosed by narrow border in red and white cross stitch. Many times, narrow border of herring bone stitch in double colors are also used to enclose embroidery. They are finished using colored piping around neck, sleeves and petia. Cholies without petia are found to be simpler in terms of design and stitches. The breast pieces are divided in three parts where geometrical floral motifs are placed in each section which are worked in darning stitches as vertical stitches are observed at back side of the fabric. The waist cord is attached with fabric using fly stitch so diagonal stitches are seen at back side of the fabric. The embroidery is enclosed with narrow borders in two color cross stitch alternately. The designs are not outlined and edges at neck, sleeves and back are finished using piping.
3. CONCLUSION From the above discussion it can be concluded that apart from
mughal influenced courtly costumes, indigenous adaptations of these costumes
seem to be more prevalent with common folk. The sleeveless peshwaj with
fill sleeve blouses and pahari cholies with ghagra and dupatta
are befitting examples. The expansive variations of the pahari cholies
are discussed below: CONSTRUCTION 1)
CHOLIES WITH PETIA ·
Breast pieces: horizontal seam ·
Sleeve and gusset ·
Back: narrow widths of fabric are attached with sleeve; neck cord
attached is attached with this strip ·
Waist cord: attached using couching stitch or fly stitch 2) CHOLIES WITHOUT PETIA ·
Breast pieces: Vertical seam
or dart ·
Sleeve and gusset ·
Back: Triangular fold for shoulder extension at neck, neck cord
attached ·
Waist cord: attached using couching 3)
FREE HAND CURVED DESIGNS Base fabric: Dark coloured
background Embroidery threads: Major portions of
design were worked in off white and colours like yellow, green, red, and blue
are marginally used to balance dark background Stitches: Darning in straight,
brick and zig zag arrangement Outline: Square chain stitch,
stem stitch Finishing stitch: Double colour cross
stitch or herring bone stitch, laisy daisy stitch surrounds the motifs in white
colour Edgings: Piping or facings 4)
GEOMETRICAL PATTERNS Base fabric: Dark coloured
background with patches of fabric in different colors for sleeves, breast
pieces and petia Embroidery threads: other than off white
colors like yellow, green, red, violet, and blue etc. are used.
Patterns and textures are created using Stitches: darning, pattern
darning; buttonhole stitch for attaching mirrors Outline: no outline Finishing stitch: double colour cross
stitch or herring bone stitch Edgings: piping or facings Directory of stitches used in construction and stitches 1)
Stitch used in attaching waist cord Fly stitch or
couching stitch both are used to hold waist cord yarns with bodice. In fly
stitch at back diagonal and straight stitches are seen. In couching stitch
diagonal stitches are seen at back. 2)
Filling stitches Darning stitches: They can be worked
either in clear rows, brick arrangement, zig zag rows or no arrangement. In clear rows, same length darning
stitches are laid at same position following the preceding ones. In brick arrangement, stitches of each
row are evenly stitched so that they lie just below short spaces of row
directly above. In third category no arrangement of
stitches is followed long and short stitches are used to fill area. Zig zag darning stitches are filled in
equal length stitches in zigzag row pattern. These stitches are used in free
hand curved designs. Pattern darning: Along with darning
stitches pattern darning is seen in geometrical designs. They are worked in
small squares where small lozenges are embroidered. Buttonhole stitch is
used to attach mirrors. 3)
Outline stitches Square
chain stitch provides broad outline which is distinctive feature of pahari
cholies. It is used all over in design and highlights the intrinsic parts
within design. It is worked in yellow colour and most frequently seen in free
hand curved designs. Basic chain and stem stitch are also used. Outline is not
seen in geometrical patterns. 4)
Finishing stitches Cross stitch: Double colour
long armed cross stitch in red or black and white is characteristic features
widely used in pahari cholies. Single or double colour basic cross stitch is
also seen Herringbone stitch: Double herringbone stitch is two rows of
herringbone that interlace. Rows worked in black and white colors. These borders are outlined either in square chain stitch,
running stitch or stem stitch. Laisy daisy stitches: single chain stitches are used to
surround free hand curved designs in white colour. 5)
Edgings Contrasting colour piping and facing are used to finish hems
at front neckline, back, sleeve and petia. Fabric tassels are attached at ends of neck cord and waist
cord. A square is folded in triangular
shape and slashes are given in ends. RefErences Dhamija J., (2016), Woven treasures : Textiles from the Jasleen Dhamija Collection', Saffornart Mumbai, 52, 53. Goswamy, B.N., (1993) Indian Costumes- in collection of the calico Museum of Textiles, volume V, Historic Textiles of India at Calico Museum, Ahmedabad, 1993, published by D.S. Mehta on behalf of Calico Museum of Textiles, Sarabhai Foundation, Ahemdabad, 380004, India. Pathak A., (2017), Ramayana : poetic expressions on temple hanging, Technical Study, National Museum New Delhi, 68. Subhashini Aryan, (2010) Folk Embroidery of Western Himalaya. (New Delhi : Rekha Prakashan, 2010), 34-35. Textile Gallery (2020). Museum Of Kangra Art, Dharamshala. Woman's Blouse (2000). Philadelphia Museum of Art. chamba choli. (N.d.). https://www.etsy.com/sg-en/search?q=chamba%20choli sushmit (2016). Pahari Embroidery : The Bold Cholis Of Himachal Pradesh.
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