HIMACHALI SOJOURN

JOURNEY TO THE CRAFT HEART OF HIMACHAL

 NATIONAL INSTITUTE OF FASHION TECHNOLOGY

CRAFT CLUSTER INITIATIVE

FASHION DESIGN (2017 - 2021)

CORE TEAM MEMBERS

Amarpreet Kaur
Mridul Soparkar
MENTOR Ritika Khurana
Ms. Avani Pandya
Shreya Sharma
Udanya Natua
Vidushi Lal
UG Fashion Design

National Institute of Fashion Technology

This Craft Documentation has been written, edited, illustrated, designed and photographed by student researchers
Amarpreet Kaur, Mridul Soparkar, Ritika Khurana, Shreya Sharma, Udanya Natua and Vidushi Lal.

All rights reserved under international copyright convention. No part of this document may be reproduced or transmitted in any form
or by any means, electronic or mechanical, including photocopy, recording or any othera information storage and retrieval system,
without prior permission in writing from publisher.

Publication 2019

Processed by National Institute of Fashion Technology

AC K NOW L E D G E M E N T

A fter immense effort and diligence it was possible for the team to extract the
required data. This would not have been possible without the unsurpassed
guidance, valuable feedback and constant encouragement by our mentor,
Ms. Avani Pandya. We would like to thank all the artisans who very
enthusiastically indulged in sharing their knowledge with us. We extend our
gratitude to all the weavers with whom we have had the pleasure to work during
the cluster.

Also, we are grateful to Ms. Avani Pandya and Mrs.Paramita Sarkar for their
constant encouragement and involvement in making the endeavour successful.
Most importantly we would like to thank The National Institute of Fashion
Technology, Kangra for giving us the opportunity to document this mesmerising
craft. Without the support from the department of Fashion Design our efforts
would have been futile.
 P R E F AC E
T he National Institute of Fashion Technology, popularly known as NIFT, is one of the most
renowned fashion colleges in India. NIFT was established in 1986 under the guardianship of the
Ministry of Textiles, with a vision to fulfill a growing need for professionals specialized in the field of
fashion. With 16 campuses across the country, today, NIFT is considered as a leading institute in
providing benchmark performance in the Fashion industry.

The Craft Cluster initiative at NIFT, with the active support from the Ministry of Textiles, Ministry of
Rural Development, Office of Development Commissioner (Handlooms and Handicrafts) has been
developed and implemented to provide the students of NIFT systematic, continuous and regular
exposure every year to the diversely rich and unique handlooms and handicrafts of India, thus
providing an opportunity for creativity innovation and experimentation. Moreover, it exposes the
students to the realities of the craft sector from the grass-root level and gives insight into regional
sensibilities and diversities, resources and environment, making them the ‘young change agents’. It is
a unique opportunity in 4th semester, for the students, to visit and study the craft sector, the
socio-economic and cultural context, interact with the craftsmen and follow up action with appropriate
design and technology up-gradation in the 5th semester. NIFT has been successful in creating
widespread awareness and sensitivity in assimilating crafts into fashion and vice-versa. The artisans
and craftsmen get to learn about new motifs and techniques, according to the new market.Our project
is centered around studying the few crafts of Himachal Pradesh. Learning about their past, present,
and future by questioning the current design practices and their effects on modern industry.
 A B ST R AC T

T he purpose of this study was to analyse how the craft makers describe the meaning of their craft
as an activity as well as a discipline.
This document has been written based on the narratives of various artists and secondary sources of
information and includes the craft of Kangra Pattu & Kullu Patti practiced in the town of Kangra and
Kullu. It further includes the meaning and value of these crafts, the experiences and the holisticity
and intentions behind the craft.

The document sets out the context of craft which is bound to the sensibilities of material and material
understanding as well as the production of emotional values. It also sets to cover the intervention of
government in the handicraft family because of the problems that are making these beautiful crafts
endangered.

The outcome and contribution of the document is a better understanding of the relationship between
the craft & artisan and research, which explains the potential and value of these crafts both as a prac-
tice and a career and thus for advancing craft that is viable and relevant.
 3 6
KULLU PATTI
Art of Weaving

4 5
Strip Loom
Inlaying

1 2
INTRODUCTiON Warp Replacement
Colours & Motifs
About Himachal Pradesh Motif Study
Today’s Scenario

87
KULLU & KANGRA KANGRA PATTU
History Weaving
Geography & life - history Warping Process
Culture
How to Reach?
Fest & Festivals
ARTISAN PROFILE

CRAFTS OF HIMACHAL
Wood Carving DESIGN PROCESS
Stone Carving
Metal Work
Chamba Chappal
GLOSSARY
1 H I M AC H A L P R A D E S H
Athithi devo bhava

H imachal -‘Him’ in Hindi literally means snow and ‘anchal’ means lap and so the
literal translation of Himachal is ‘In the lap of snow’Himachal is situated in the heart of
the western Himalaya, and is identified as “Dev Bhumi” and is believed to be the abode
of Gods and Goddesses.The state is landlocked with the Tibetan plateau to the east,
Jammu and Kashmir to the north, Punjab to the west and Haryana and Uttarakhand at
the south.

The state is famous for its stands its topographical diversity and breathtakingly pure
natural beauty. The huge snow capped mountain ranges , shadowy valleys, the vast
tracts of picturesque deserts, glaciers and gigantic pines, roaring snow fed rivers and
exquisite apple orchards compose the symphony known to us as Himachal. The state
is also well known for its handicrafts-the carpets, leather works, shawls, metalware,
woodwork and paintings are unique to the state and the climate.Local music and dance
are integral in forming the cultural identity of the state. With each crossing of a valley
a different world, with its own culture, deities and even language is introduced.Villages
perched atop staggering slopes enthrall with their beautiful wooden architecture and
the natives enchant sorjourners with their easygoing warmth and friendliness.
 2
KANGRA
Headquarters: Dharamshala HISTORY
Altitude: 523 meters
Languages spoken: Kangri, Pahari, Hindi
Kangra district derives its name from
Location: Latitude 31°2 - 32°5 N,
Kangra town that was known as
longitude 75° - 75°45 E, lies on the southern spur of
Nagarkot in ancient times. A tract of
Dhauladhar in the valley.
land to the east of Sutlej that probably
Population: 1,510,075
is the area of Sirhind in Punjab also
Rivers: Beas
formed a part of Trigrata. Trigrata had
two provinces. One in the plains with
The Bird’s eye view of
Kangra District map headquarters at Jullundur and other in a valley in Kangra District.
the hills with headquarters at Nagarkot
(the present Kangra).
 GEOGRAPHY & H OW TO R E AC H ?
LIFE HISTORY
BY AIR: The nearest airport is at Pathankot and the
other is Gaggal Airport in Dharamshala.
It is situated on the southern escarpment of the
Himalayas. The entire area of the district is BY RAIL: The nearest railway station is at Kangra, 20
traversed by the varying altitude of the Shivaliks, KMs from Dharamshala connected to Pathankot through
Dhauladhar and the Himalayas from north-west narrow gauge line.
to south-east. It is surrounded in the north by the
districts of Chamba and Lahaul and Spiti, in the BY ROAD: The district is well connected by road,
south by Hamirpur a Una, in the east by Mandi and connects places such as Delhi, Shimla, Chandigarh,
in the west by Gurdaspur district of Punjab. It is the Solan, Kullu, etc.
The specialalities of Kangra
largest district in the state.

F A I R A N D F E S T I VA L
CULTURE
In Kangra, a lot of fairs and festivals are celebrated by
The culture has been developed in direct the people with great zeal and zest. The major folk dance
association with nature, serving as an inspiration of Kangra is known as Jhamakada which is
and as a beautiful backdrop to it, the folk songs, beautifully performed by women in groups. This
tales, dances, fairs and festivals of the people throw regional dance includes a number of instruments and
light on numerous aspects of their lives.The people folk songs to be sung during different festivals.
believe in celebrating in unison and by gathering in In the month of April and October, a number of pilgrims
large numbers. Kangri dham is the famous rush to Kangra to celebrate the Navratra festival at the
traditional food that is served on special ocassions famous Kangra Devi Temple and to pay homage to
such as weddings, baby showers, festivals, etc. Goddess Durga.
 KULLU HISTORY
The original capital of the state of Kullu
Headquarters: Kullu was at Jagatsukh where the early kings
Altitude: 1,279 meters ruled for twelve generations.
Languages spoken: Kullui, Pahari, Hindi
Location: latitude 31.8763 N and longitude 77.1541 E Raja Visudh Pal transferred the capital to
Population: 437,903 Nagar and later Raja Jagat Singh
Rivers: Beas transferred it to Sultanpur. Until 1960,
the tract of Lahaul & Spiti was part of the
Kullu tehsil. In the British times, all the
Kullu Valley
modern government buildings, hospital and
government bungalows were built around
the Dhalpur grounds (proximate to
Sultanpur, the old capital). Dhalpur
Kullu District map continues to be the nerve centre of the
district administration till date.
 GEOGRAPHY &
CULTURE
LIFE HISTORY
The fairs and festivals celebrated in the valley are an
It is situated on the southern escarpment of the Himalayas. indispensable part of the native ethos. These vibrant fairs
The entire area of the district is traversed by the varying carry great religious and economic importance for the
altitude of the Shivaliks, Dhauladhar and the Himalayas people here.The customs and rituals practiced in the
from north-west to south-east. It is surrounded in the north valley depict the simple lifestyle of the natives, living
by the districts of Chamba and Lahaul and Spiti, in the close to Nature. The people here worship deities who are
south by Hamirpur and Una, in the east by Mandi and in sages, snake gods and other powerful gods and goddesses
the west by Gurdaspur district of Punjab. It is the largest mentioned in ancient Indian. Every village has beautiful
district in the state. temples dedicated to these deities.

The Beas river.

F A I R S & F E S T I VA L S
H OW TO R E AC H ? Winter carnival is the most awaited event in the valley.
This gay festival has been declare a state level festiaval.
BY AIR: The closest airport to Kullu is Bhuntar airport
which is situated at a distance of around 10 km from the Kullu Dussehra is a renowned International festival that
heart of the city. is observed during the time of Dussehra in the valley, in
the month of October. It is celebrated in Dhalpur Maidan
BY RAIL: Jogindernagar is the nearest railway station in Kullu. These fairs and festivals are mostly held to
located near Kullu which is at a distance of around celebrate the victory of good over the evil. Stalls selling
125 km. readymade garments, toys, accessories, caps, shawls,
pattu, cane crafts, etc are put up in the mela along with
BY ROAD: State owned bus facilities are accessible stalls selling traditional delicacies like trout, chicken,
from Kullu connecting with the nearby cities. Kullu is kullvi dham etc.
linked to the national capital, Pathankot, Shimla, etc.
3 the

different

CRAFTS OF HIMACHAL
K ANGRA & K ULLU

Kangra and Kullu are well known centres for traditional crafts, varietes of crafts have been born here and are
here to stay. Learning about the various crafts of the country, we have come to realise that India has such a
varied rich culture and hertiage, even in the smallest of villages of the country, numerous artisans reside who
earn their livelihood through these crafts and it’s our time to support and uplift them.

No other country in the world understands Luxury the way we do, the talent, the techniques, etc are all born
here. Fashion truly starts here!
 Traditional craft of
Himachal. Wood is an easily The vital traditional craft
available resource. of the state.

The traditional occupation

of the Charnar caste in
Chamba.

WO O D M E TA L
C A RV I N G STONE
CRAFT CHAMBA
Wood has a special significance in the crafts C A RV I N G
traditions of Himachal Pradesh.
Besides Kerala, Himachal is another Stone is a durable material used for
Metal craft is one of the most vital traditions of
Himachal Pradesh.
Metal statues in the classical as well as rural
C H A P PA L
important producer of wood as a structural sculptures by sculptors to express their traditions were cast by the “lost wax” process and Chappal is the traditional occupation of men
material. Varieties of wood easily available artistic expressions and these sculptures both solid and hollow methods of casting were
The best material to be used belonging to the charnar caste who have been
here are deodar, walnut, teak, maple, for sculptures, these stone were used in olden days at temples. The used. The Himachal State Handicrafts practicing this for centuries.
shisham, ash wood and box wood. The carvings are more than a Laxmi Narayan Temple is a fine example Corporation has established metal craft training
hundred years old. All the family members work together; one cuts
artisans who work with wood are known as of the durability and the beauty of the centres at Bilaspur, Chamba, kupa in Kinnaur the leather, the other stitches it and the women
tarkhan, badhi, khatti, and thavi and refer to stone carvings. Kangra, Mandi, Bilaspur, district, rohru in mahasu district to impart training embroiderer the slippers with silk, silver and
themselves as dhimans, a professional caste Chamba and Kullu have been traditional to bronze casting and all metal crafts technique. gold threads. The Himachal Pradesh Industries
name. The villages renowned for wood craft centres for stone carving and due to The image is thoroughly chiselled with files to Department has its own unit at the Rang Mahal
are Chamba town, Bharmour, Kinnaur, urbanisation the stone carving is no more smoothen its sides and the necessary details are palace complex in Chamba whose entire output
Mandi, Bilaspur, etc. Tribes also make in demand.It depicted the life exploits worked out to give it a painstaking task and is marketed through the State Government
wooden utensils. of each deity in various incarnations and demands a high degree of skill. Emporia all over the country.
statues of horses and soldier, gods and
goddesses, etc were observed.
 the

tradition of kullu valley :

KULLU PATTI
W E AV I N G
A traditional strip (Patti) woven with wool fibre in various colours and designs using the strip loom. These patti’s are attached
to various items such as caps. shawls, stoles, etc to give it a traditional blend. These pattis are the speciality of the Kullu district
and many men and women earn their livelihood through these crafts.
 THE ART OF
W E AV I N G
Borders are narrow laces which are woven only on tiny handloom. these
are long stripes having varied widths depending upon design. Initially,
local weavers weave them to use for Kullu caps but now they are even
being used on the edges of shawls, jackets, ties, etc Pure wool is used for
weaving the borders. The designs are almost similar to those of woven in
the shawls.

The land of snowy mountains with abundant rainfall and rich forests, the
people there face climatic problems, topography and transportation but
still the people there are very active and creative.
Handloom weaving and handicrafts are cultural heritage of the Himach-
ali people. They do a number of crafts from carpet, shawls, paintings,
metalware, etc. Alomost every household in Kullu district owns a pit
loom and everyone known how to spin fibre on a spinning wheel. The
people weave for themselves as well as for
commercialization. Today a number of people weave sitting at the comfort
of their homes.
Patti being woven on the
Kullu shawl is one of the most famous products produced by the artisans, strip loom

they look elegant and vibrant when worn. Tribes from Kinnaur moved
towards Kullu and started their weaving business there.
 W E AV I N G L O O M
For making borders, weaving looms are used by the weavers of
the district in order to make these strips of borders.

The pattis are made on four shaft looms, these pattis are later
cut off from the main loom. They are made in different colours
and sizes depending on the product it is being used on.

A Four Shaft Loom Used to

Weave Patti
These craftsmen are the
true heirs to our
country’s tradition
 I N L AY I N G WARP
Inlaying is a technique of weaving where the
supplementary threads are inserted into the The process of inlaying
The trick used by
weavers when the warp
R E P L AC E M E N T
warp shed by hands to develop a design in helps create patterns. comes to an end.

the weave. Here, the mounted number of warp

Setting up a loom involves a number of compli-
threads is raised by fingers and an extra weft
cated procedures which includes loading warp
thread is inserted into it.
into warp beams, drafting and denting respective-
ly. When the warp on the loom comes to an end,
The warp thread which has to be raised is
another one needs to be mounted in the same way
counted as per the desired design. After the
and takes a significant amount of time. The weav-
insertion of a single block west, it is turned
ers have taken out an easier method of loading
to a backward direction and another thread
another set of warp on indentical drafting and
is introduced simultaneously into the same
denting pattern. This process is called “Bharti
pick. These two weft threads in a single pick
Karna”.
is crossed through each other so that they get
locked with each other. In this way, an entire
When one is about to end, the new warp with
pick is completed and then proper battening is
the same number of threads is taken and firmly
done so as to make the weave tighter.
twisted with the previous set of warps. The new
threads get attached to the exhausted warp by
In the Kullu weave technique, due to the lim-
using a mild resin Each new thread is attached to
itations of the traditional looms, this inlaying
the old one and is watchfully pulled forward.
technique helps them make input these
A lot of time and human effort gets saved.
intricate designs in the weave. Vibrant colours
are inserted into a monotone warp thus
enhancing the visual appearance.
This gives a motif focused design .
 The thought
&
The inspiration
C O LO U RS & M O T I F S
The colours used in Kullu wovens are vibrant and bright which
runs over contrasting background.

There are eight colours used in the costumes from Kullu. Among
these, seven are taken as a rainbow band that includes VIB-
GYOR. In addition is these hues black is added in the palatte for
a ground fabric onto which coloured inlaying is done.

Due to the supplementary weft technique, the motifs get bounded

to
geometric rectangular shapes. these motifs are inspired from the
Samples of Kullu Patti nature and surroundings.
 T O D AY ’ s
S C E NA R I O
The traditional craft of wool weaving is diminishing in Kullu.
The present condition reveals that the craft would die if necessary steps arent taken in order to
preserve it.

Everything has now come down to fashion and craftsmen are now
negating themselves and are thinking “contemporary” and are moving towards commercialization
and in the process losing the essence of the craft. They are also giving up ancestoral techniques
and skills and in order to produce higher quantitites are moving towards machines and then
towards the cities.

In 1996, there were 28,500 weavers in Kullu but 2016 census states that 11,000 weavers exist in
Kullu. Due to less wages, large section of the population has opted for other means of livelihood.

The migration of weavers has also added to the reduced number and their situation isnt getting any
better. The urban and rural living is now segregated by a very fine line of opportunity. In the
industrialised sector they are paid according to the number of hours they spend at work whereas in
Kullu they are paid basis on the level of intricacy of the weave and the product produced.

We as individuals and societies need to adopt measure and practices to invest in Fashion that is
sustainable, home - grown and artisan made instead of investing fast fashion and then throwing
clothes into land fills. We are Indians should be proud of the culture and tradition our land
carries and respect them, the way the western countries do.
These dying traditions of our
country need to be uplifted &
encouraged.
 the

tradition of Kangra district :

KANGRA PATTU
W E AV I N G
A traditional strip (Patti) woven with wool fibre in various colours and designs using the strip loom. These patti’s are attached
to various items such as caps. shawls, stoles, etc to give it a traditional blend. These pattis are the speciality of the Kullu district
and many men and women earn their livelihood through these crafts.
 W E AV I N G
In Himachal Pradesh, handloom industry plays a very important role in the state
economy.
The uniqueness and speciality in weaving makes them famous on the national and inter-
national levels. These products reach people through setting stalls in fair, exhibition and
through setting special shops in different district and states. This sector is contributing
towards export earnings also. The handloom sector is the most important earning sector
after agriculture providing direct and indirect employment to the weavers in district of
Himachal Pradesh.

Kullu Pattu are woven fabrics that are made of wool and are mainly produced in the
Kangra District. They are then either made into various items or used plainly as Shawls
and stoles.

Main handloom products made by Kangra weavers are – Pattu (in Kangra, it is used as
a shawl over clothes. Pattu can be plain, black and white or with patterned borders), Loi
(men’s shawl, which is usually bigger in size. It has many uses and is usually plain),
Muffler, Cap, Coat ki Laangh (plain brown, white or black fabric used to make coats
and vests.
W E AV I N G WINDING
P RO C E S S Yarns of different colour (as per requirement) are then
loaded onto the shuttle that will be used while weaving.
The yarns will be pushed from onr side of the loom to the
other in order to make various patterns and designs.

WARPING
The fibres after being spun into yarns are then warped. In
warping, hundreds of yarns drawn from individual
packages lie parallel to one another, and are wound over
a drum. They are set in a correct order and wound and
stretched out (like given in the image). This process halps WEAVING
to preserve the yarn elongation and maintain
uniformity. This also helps in giving a better performance. After the warping process, the yarns will be loaded onto the loom
during weaving. that will be used for weaving. The yarns will be carefully and
correctly passed from one side to the other through the heddles.
A pattern has to be set while warping the yarns in order to The warp beam and the cloth beam will be correctly set.
weave easily. This process is the most crucial while While weaving the yarns will be rolled out rom the warp beam
weaving and an incorrect warping pattern will lead to and the woven cloth will be loaded on the cloth beam.
defects in weaving. This process can either be done by a
machine or by human labour. The heddles will be lifted and dropped as per reqirement. the
shuttle will entangle weft yarns with the warp once and the reed
will beat the fabric tightly in order to make a well - woven fabric.
 The pandemic has taught us and made us do things that we couldn’t or wouldn’t have done if the
circumstances weren’t such. Every Craft Cluster the students would physically go to the artisans and get
their products or material made while learning and interacting with them but unfortunately this year it
wasn’t possible. We are very grateful to our very own faculty Ms. Avani Pandya of Yoshita Craft Studio who

DESIGN
very willingly helped us complete our cluster.

“Design Intervention” helps in the revival of dying craft with interesting and innovative ideas with creating
a new range of products or looks. The craft of Kullu Patti and Kangra Pattu are the main crafts of Himach-
al Pradesh that people are aware of but don’t buy products since they look old school therefore as fashion

I N T E RV E N T I O N
design students we had the opportunity of using the concept of patti and pattu and contemporarising them
in terms of design and products (The pictures of which have been added in the following pages).

We as a group had brainstorming sessions over zoom, we individually took up the responsibility of the
products we liked and worked over them, we made mood boards, colour boards product boards, etc and
together decided the ones we liked.
The patti and pattu designs were then made, after the design got finalised the main problem was of the
artisans who would make them and courier them to us in different parts of the country.

That is when Ms. Avani Pandya of “Yoshita Craft Studio” came to our rescue who helped us out with giving
the designs a real form. She being a design student herself could easily understand and interpret the
design language and translate it effectively in the way the artisans understand who in turn made our
beautiful pattis and hence made our work easier.
 Y O S H I TA C R A F T S T U D I O
It is located in Jia Valley, kangra and has completed over three years in
business. The speciality of the studio is the comtemporisation of the
traditional craft.
T.hey specialise in weaving shawls, stoles, scarves, himachali pattis, crochet
earrings, wall hangings, embroideries, tassel making, etc they also have their own
inhouse artisans who dedicatedly and tirelessly work for the studio.

A must - visit studio for people visiting the valley, its a visual treat watching the
artisans working and practising the traditional craft of our country, one could also
buy products off the rack or get them customised.

An initiative that helps in protecting

and promoting our Indian Tradition
and Culture.
 PINKY DEVI
Age : 40 yrs
Occupation : Weaving
Address : ward N3 post office jia, tehsil Palampur, dayala(19), jia, kangra.

A R T I SA N
P RO F I L E
S U LO C H NA D E V I
Age : 35 yrs
Occupation : Weaving
Address : ward no 2, vpo jia, tehsil
Palampur, jia, Kangra
W

The design process atarted with the data collection and research of the districts of both Kangra &

DESIGN
Kullu and went on to the Pattis and Pattus. We then decided on 3 looks in women’s wear to cham-
pion the crafts - Kullu patti and Kangra Pattu.

The season we decided was A/W since both the Patti and the Pattu were winter wear fabrics and
the colours are deep and rich which would suit the winter season well.

P RO C E S S Our chosen demographic was decided as - women of any race/culture/ religion from the age group
of 22 to 35 and from a middle to high income group so we decided to contemporize the silhouettes
and gave our products a more youthful chic vibe while still championing the crafts and keeping
them in the forefront of our designs.
W

A Line Short Dress

F L AT I L L U S T R AT I O N S
&
SPEC SHEETS
A Line Midi Dress C o a t & Pa n t
Re v e r s i b l e J a c ke t Corset Belt
Boots Beret Cap
Accessory (Neckpiece) Accessory (Earring)
Accessory (Earring) Accessory (Earring)
I L L U S T R AT I O N S

An A - line dress with a A semi formal Cropped

crop jacket paired, boots coat and straight pants
and a dhaathu inspired paired with a beret cap and
visor cap earrings.
 C O L O U R PA L AT T E

An A - line Midi dress paired with

a neckpiece and earrings
 FASHION
C O L L E C T I ON
 PAT T I PAT T U
PAT T E R N S PAT T E R N
We had the opportunity to design our own
motifs for the pattu and Patti and chose to For the Kangra Pattu which is
retain the traditional approach towards both traditionally checked, we also went
the crafts. So, for the Kullu Patti the tradi- for a black and white classic checked
tional motifs like- leheriya bel, tapsu, bulbul design with a twill weave.
chasham were taken as inspiration and the
colour palette was also very contrasting and
vibrant.
 W

A Line Short Dress

P RO D U C T S

Front Back
W W

A Line Midi Dress C o a t & Pa n t

Front Back Front Back

W W

Re v e r s i b l e J a c ke t Corset Belt

Front Back

Front Back

Reversible Front Reversible Back

W W

Boots Beret Cap

W W

Accessories
Vi s o r C ap
(Earring and Necklace)

Earring
Earring Necklace
W

A Amalgamation - combine

B Burnisher-a tool, usually with a smooth, slightly convex head, used for polishing

C Chaurapanchasika- a set of 50 verses written by a Kashmiri Pandit Bilhana in the 11th century

Cinnabar-red mercuric sulfide, used as a pigment

G LO S SA R Y
Collaterals- corresponding accompany

Conch-the spiral shell of a marine gastropod

D Dev bhoomi- The Land of God

E Elephant apple-species of Dillenia native to China and tropical Asia
Enrapture- delight beyond measure

Enthrall- to captivate or charm

 P Pat- untwisted silk floss
F Falconer-a person who trains hawks for hunting
Perch- to settle or rest in some elevated position
Frescos - . the art or technique of painting on a moist, plaster surface with colors ground up in water
Petticoat- a woman’s light, loose underskirt

G Ghagra - a long full skirt, often decorated with embroidery, mirrors, or bells
S Shellac - processed secretion of lac insect, used for making varnishes and polishes

Sialkoti - from city Sialkoti in Punjab, Pakistan

H Haggle - to bargain Silparatna- classical text on traditional South Indian representational performing arts

Sojourn - temporary stay

K
W
Khaddar-a handloomed plain - weave cotton fabric Synchronization- to occur at the same time

T
L
Tanka - a stitch
Levigate-to rub, grind, or reduce to a fine powder
Tarnish - to dull the luster of a metallic surface

Topographic - the detailed mapping or charting of the features of a relative area

M Muskrats-an aquatic, North American rodent with its thick, light-brown fur
V Vermilion - a brilliant scarlet red.

O Oxidization- to convert an element into an oxide (combine with oxygen).

W White earth- carbonated chalk or marble.
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