New delhi: In Persian, zar means gold, while dozi means embroidery. Thus, the word zardozi can be interpreted as sewing with gold strings.
This technique was brought to India by Turkish-Afghan sultans in the 12th century. In fact, zari embroidery has been mentioned as adornment on attires of gods and goddesses in the Rig Veda too.
The art of weaving magic with a gold string is back-breaking and finishing even a small design takes up to 10 days. The more intricate designs stretch up to a year. Each piece is charged according to the design and material used.
Sadly, reports of the condition of artisans getting from bad to worse due to poor demand and low incentives has put the spotlight on whether the ornate and dressy embroidery will see a slow death or will it emerge as a survivor in this cusp state of Indian design where two contrasting curves (traditional and modern) meet at a pointed end to form a new evolved language of fashion.
“I would say that crafts from all over India are diminishing but not dying. However, I feel that zardozi, the beautifully opulent embroidery, has weathered a lot of storms yet it still is flourishing. It gets a lot of attention from the fashion fraternity and the wedding industry. So, I don’t think it can die,” says Laila Tyabji, an Indian social worker, designer, writer and craft activist.
She is one of the founders of Dastkar, a Delhi-based non-governmental organisation, working for the revival of traditional crafts.
Rimple from the Harpreet and Rimple Narula designer duo agrees. “I feel that it is diminishing because people these days don’t appreciate the effort that goes into making a hand embroidered piece.”
“They want something fast, like fast food. Whereas when we talk about zardozi ka kam, the beauty lies in its slow, detail-oriented haath ka kam. That’s why I feel designers have a big part to play in educating the masses about its essence and ethos,” she says.
Noted designer Anju Modi echoes the same sentiment. “Why would it die? It’s one of the most celebrated embroideries in India, which gets a lot of attention. It can’t die.”
Economics
But when e-rickshaws were introduced in Lucknow a couple of years ago, many skilled artisans facing hardships due to lack of employment took up driving. Lalia points out that it’s not the economics of low wages, less work, and poverty that’s making the new generation drift or switch or not take up the paramparic (traditional) profession but it is low social recognition.
“I don’t think it’s just the question of money anymore. More than the economic disadvantage, I think it is the social status that’s making them switch to another profession. We treat them as labours and not as skilled professionals. It’s not even about empowering them but it is solely about giving them the recognition as skilled professionals. If we start giving them that then I don’t see any reason why many people, especially the younger lot, would quit the art.”
Anju Modi, on the other hand, says, “Zardozi is an art but we don’t have many artisans nowadays. The newer lot of kaarigars are leaving or not willing to take their business forward because they don’t know how to make zardosi. It can be one of the reasons for them to switch their profession. I don’t think economics plays a role here. The art needs specialisation and clean hand work, which unfortunately not many can master.”
Visual language
Rimple who has been working with zardozi workers for the past 16 years says, “I believe that embroidery of any kind is like a language with syntax and vocabulary that gets represented by designs that mirror our culture and values. Most craftsmen, use this language to connect with one another as well as the world, to talk about their collective past and present vis a vis chronicling of folk history, tradition, myth and magic.”
