Zardozi banat flanked by broad gota from an old lehnga border (1900/1950) by UnknownLucknow Bioscope
Zardōzī, also known as kārcōb, is a generic term applicable to a broad range of metal worked embroideries that use a variety of metal wires of different shapes along with other materials such as discs, beads and stones which are filled into a pattern defined by zarī outlines.
The metal wires have a distinct identity and go by names such as salmā, sitārā, kōrā, dabkā etc.
Zardozi on a lehnga border (1950/1975) by UnknownLucknow Bioscope
Salmā is a zig zag coiled wire, dabkā and naqshī are tightly coiled thin wires, kōrā is a dull flexible coiled wire which is used to make curved designs. These wires are cut into small pieces as per the requirement of the design and stitched on the fabric by passing a threaded needle through them.
Ari embroidery on a chiffon dupatta. Floral vines make a jaal (lattice) on the entire length (1990) by UnknownLucknow Bioscope
A chain-stitch like embroidery, called ārī, provides the outline for contemporary zardōzī work and is also used as a standalone embroidery. The ārī form of embroidery uses an āri needle and the stitch is taken through the cloth as opposed to zardōzī where material is applied on the surface of the fabric. Ārī uses a long needle with a hook. With one hand the hook is pierced into the fabric and with the other under the fabric, the thread is pulled up, thus making a chain stitch.
Floral vines in ariwork with gold and silk thread on a chiffon dupatta (1980/1989) by UnknownLucknow Bioscope
The frequently used zardōzī motifs are floral vines and creepers, bouquets called būtā, diagonal stripes called chaṛī, circular designs called cūṛī and the ever- popular paisley pattern as well as geometric shapes. Birds of paradise, peacocks and parrots are also commonly used.
Zardozi craftsperson at work on an adda (2023) by UnknownLucknow Bioscope
Zardōzī is done with the cloth stretched out on an aḍḍā. This is a rectangular wooden frame made of sheesham or saku wood. The size of the frame can be adapted to the width of the fabric.
Zardozi craftsperson at work on an adda (2023) by UnknownLucknow Bioscope
The kārigars sit cross-legged opposite each other along the length of the frame. The height of the frame is such that the embroiderer can comfortably work on it by manoeuvring the thread and embroidery material with both hands, from above and below the cloth.
Zardozi on the gote of a farshi pyjama (1900/1935) by UnknownLucknow Bioscope
The design is drawn on a khākā (paper stencil) with tiny perforations outlining the design which is transferred onto the cloth by smearing neel or zinc solution. The blue/white colour seeps through the perforations onto the stretched fabric.
Ari jaal with gold thread and sitaras on a chiffon dupatta (1972) by UnknownLucknow Bioscope
The tools used are needles and curved hooks. A wooden hammer with a circular base and a giṭṭī, which is like a small wooden nugget, are used to beat down the embroidery or to level or flatten it.
Lucknow is famed for the neatness of its embroidery. There are no loose ends, or to use the term ‘bund’ used by the kārcobiās – the beginning and end of the coiled wires are fixed face down and fastened with dexterity so that no abrasions are created.
Scroll down to see some Ārī - Zardōzī pieces...
Zardōzī on ġarārā joints (dhanak) around the knee level.
Zardozi cutwork garland with a heraldic symbol (1900/1940) by UnknownLucknow Bioscope
Zardōzī cutwork garland with a heraldic symbol; early-mid 20th century
Border of a dulai in zardozi on green silk, with gota, banat and kiran (1900/1935) by UnknownLucknow Bioscope
Border of a dulāī in zardōzī on green silk, with gōṭā, banat and kiran; early 20th century.
Zardozi on the gote of a farshi pyjama (1900/1935) by UnknownLucknow Bioscope
Zardōzī on the gōṭ of a farshī pyjāmā; early 20th century.
Kurta with zardozi on red net fabric (1920/1929) by UnknownLucknow Bioscope
Kurta with zardōzī on red net fabric, from the 1920s.
Zardozi work on a kurta neckline (1970/1979) by UnknownLucknow Bioscope
Zardōzī work on a kurta neckline, from the 1970s.
Zardōzī combining coloured beads.
Zardōzī retains its richness and popularity. However, plated copper wire has now replaced silver wire and made it more affordable.
In this video, Parvez, a well known zardoz of Lucknow talks about the intricacies of zardozi work, its tools, and the different stiches that are used in this form of embroidery.
Curation: Noor Khan & Saman Habib
Photography: Ayan Bose, Tasveer Hasan
Team: Nagma Ehtesham, Nasreen Khan, Mariyam Imran, Saman Habib, Noor Khan
Text, Editing and Translation: Saman Habib, Noor Khan, Sabiha Anwar, Isha Priya Singh, Waseem Ahmed, Stuti Mishra, Divya Joshi
Video: Aisha Khatoon
Gracious Contribution by:
Amir Jamal
Bina Agarwal
Fatima Rizvi
Fauzia Yameen
Ragini Pandey Misra
Rana Hassan
Sahar Hasan
