S U R B H I S I N H A
THE CRAFT PROJECT
Visual reference created through secondary research.
The visual board is an amalgamation of the understanding of the chosen craft and connecting it with an object. The craft of chikankari is solely a representation of the amalgamation of the culture of Hindus and Muslims. The visual language of the craft focuses on the architectural structure from the city of Lucknow and indo-Islamic architecture. The architecture is recognisable by specific elements such as forms and shapes of arches and domes along with traditional geometric and interlaced floral ornamentations seen on floors, walls, and windows representing a history of its own. The object is chosen as an inspiration which relates to the form and structure with that of the monumental influence along with engraving resembling jaali or interlaced pattern over it.
After creating a visual board and generating certain keywords that relate to the craft, the next step was to derive a motif from the chosen object. I interpreted and decoded elements from my object such as the dual shape formation, the dome shape, and the inside design resembling jali like structure. I used the form and various stitches used in chikankari for my motif realization.
Source: Costumes and Textiles of Royal India Book
FABRIC SOURCING
FABRIC SOURCING
Kala Cotton
Gujarat
Hand Woven- Pit Loom
Dobi Cotton
Blue stitch fabric on jacquard loom
Thread Count 10*10
Hand Woven Cotton
Grey
Thread Count 60*60
Hand Woven-Pit loom
Brick Red
Different cotton fabrics sourced from Dastakar and Nehru Place for swatch development and further ideations. The majority of fabrics sourced are dyeable fabrics.
Different cotton fabrics sourced from Dastakar and Nehru Place for swatch development and further ideations. The majority of fabrics sourced are dyeable fabrics.
SWATCH DEVELOPMENT
Swatches developed as dyed fabrics and motif block placements through digital manipulation for design development.
RANGE
Craft has been inextricably linked to the culture and handicrafts remain an important part of Indian culture and society today. The project aimed at accomplishing the understanding of the craft as a traditional practice, its relevance to art, and its importance in today's time. Craft can be characterized from the perspectives of the creator, a process, a product, or a user. It is a process that includes emotional, mental, and physical processes in the act of making, shaping, articulating, and consciously experiencing materials. We started by focusing on the intimate relationship between hand and head, the relation between craft, craftsmanship, and communities, the relation between craft and luxury. Moving on towards finalizing a craft to be studied in-depth and finding a way ahead towards motif/ block development was followed through our visits session to the crafts museum and weaver's service center. They formed a crucial base for us as to how we can find inspiration in smaller and simpler forms existing around us. Further the development of motif and forming a range out of them wasn't a simple task. It had its complexities since it was important to make sure that in terms of evolution the craft doesn't lose its essence. I struggled a bit at this stage while choosing an object closer to the craft or relating it. Gaps and disconnections were happening altogether. Also, studying Indian garments and analyzing them closely with a sense of both functionality and aesthetics felt like a comprehensive approach towards addressing these traditional aspects. But as I found some path for myself, I enjoyed my block-making process. Overall the project was challenging.