The first major American exhibition of Punjabi Phulkari textiles has opened at the Philadelphia Museum of Art; Phulkari: The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection. The exhibition showcases nineteen embroideries donated by Jill and Sheldon Bonovitz to the museum, together with Phulkaris from the museum’s own South Asian collection.
These exhibits span a period from the mid-nineteenth century until the 1947 Partition of India and Pakistan when the Punjab was effectively divided into two. This exhibition examines the devastation caused by the 1947 Partition on the Phulkari tradition of the Punjab. Also in the exhibition are contemporary haute couture that features Phulkari embroidery, suggesting a powerful revival of this textile art.
Phulkari textiles
Phulkari, in Punjabi literally means “flower-work” and refers to the Indian textile folk art of silk embroidered patterns and motifs on naturally dyed, hand-woven cloth (khadi). The Phulkari embroidery tradition is deeply rooted in Punjabi culture and was originally carried out by women in their homes. Traditionally, women would learn the art of embroidering from their mothers or grandmothers; a young girl would create embroideries for her dowry, which she would take with her to her new home on the day of her marriage. Grandmothers and mothers would also lovingly make Phulkari shawls for their granddaughters and daughters and present these on her wedding day or on the birth of a child. This hand-made process is very labour-intensive, a single shawl can take up to twelve months.
Dr Cristin McKnight Sethi, co-curator of the exhibition, said: “These works serve as a way to map a family’s or a community’s history. They are canvases upon which a woman could express her desires and worldview through needle and thread. By looking closely, we can study just how deeply these makers valued their cloth and how they invested them with meaning.”
In certain instances, wealthy patrons employed skilled embroiderers in their households to make fine Phulkaris. The finished product was never intended to be bought or sold in the bazaar. Instead, these exquisite embroideries would be worn by female members of the household on special occasions or presented as gifts on auspicious events. As such, these fine Phulkaris served as a symbol of wealth and status for an affluent Punjabi woman.
Ornamentation of everyday life
Both fine and everyday phulkaris are displayed at this exhibition which upon entering, project a dazzling kaleidoscope of colour. Phulkaris ornamented with geometric and abstract, floral motifs and patterns suggest they were made by Muslim weavers. To contrast, embroideries that feature lively folk images of daily life, with kushti fighters, dancers, birds and animals were made by Hindu and Sikh weavers. One is struck with the sheer imagination behind the designs; they imply a creative spirit and passion. Textile experts believe phulkari designs were inspired by the harmony of nature and everyday life, there were no pattern books as such to work from.
1947 Partition and the Phulkari tradition
Midnight on August 17, 1947 marked the end of the British Indian Empire and its subsequent division into two separate nations; India and Pakistan. The events of the 1947 Partition led to the tragic death and displacement of millions of people in what was to become one of the greatest migrations in history. Hindus, Muslims and Sikhs, young and elderly, caught on the wrong side of the border had to take what little they had and leave. There was no time to take lifelong belongings, most families had to leave everything behind. Coming from communities that had coexisted for centuries, migrating Indians were suddenly confronted with chaos, confusion and worst of all, sectarian violence. This was particularly felt in Punjab as armed vigilante groups, organized on the basis of religion and incited by local politicians, carried out murder, abductions and rape.
Phulkari production virtually ceased, trade routes carrying raw materials for this craft had been completely disrupted. The displacement of over 14 million people also saw a large shift from rural areas to urban centers as newly migrated Indians searched for work to sustain their families. The women, who had once carried out Phulkari embroidery, a technique as we have witnessed had been passed down through generations, were too traumatized by the events of Partition to continue this work. Phulkaris which were once cherished heirlooms and a reminder of happier times were lost forever.
In the year that Indian and Pakistan celebrate 70 years of independence from British rule, this exhibition is one of few in the West that addresses the chaos and disorder that the 1947 Partition created in the lives of the ordinary Indian. The exhibition features videos that examine the political and social upheaval created by the 1947 Partition. Rather than gloss over this episode and dazzle its viewers with exotica, this exhibition boldly goes one step further and lifts the veil to address an ugly chapter in world history. Credit must be given its co-curators: Dr Cristin McKnight Sethi, Dr Darielle Mason and Dilys. E.Blum for curating a thoughtful and timely exhibition.
Today the textile tradition in both countries are now going through a revival as a new generation of designers look back at India’s traditional craft as a source of inspiration with a dose of nostalgia. To demonstrate the continuing influence of Phulkari, contemporary couture created by one of India’s leading fashion designers, Manish Malhotra is also on display. Malhotra created a vibrant Phulkari based couture collection; ‘Threads of Emotion’ for Autumn/Winter 2013 which was a success in India and internationally. Entirely self-taught, Manish Malhotra is known for his intricate craftsmanship and glamorous designs which have adorned celebrities and graced many fashion magazines.
This is a world class collection of a unique genre of Indian textiles that are testimony to the creativity and ingenuity of their makers. These vibrant textiles hold immense historic significance; they are original art forms that document a bygone era and deserve to be seen.
Phulkari: The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection, Philadelphia Museum of Art
Article written for Scroll.in by Farida Ali in April 2017 to mark the 1947 Partition of India and Pakistan
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