Ārī - Zardōzī

Rich embroidery in gold and silver wire

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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 zardō motifs are floral vines and creepers, bouquets called bū, diagonal stripes called chaī, circular designs called cūī 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...

Zardozi on silk gharara, Unknown, 1940/1949, From the collection of: Lucknow Bioscope
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Zardozi on a gharara, Unknown, 1940, From the collection of: Lucknow Bioscope
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 Zardōzī  on ġarārā joints (dhanak) around the knee level.

Stole with silver and gold zardozi on net fabric, Unknown, 1900/1950, From the collection of: Lucknow Bioscope
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Zardozi on lehnga, Unknown, 2000/2010, From the collection of: Lucknow Bioscope
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Zardozi cutwork garland with a heraldic symbol (1900/1940) by UnknownLucknow Bioscope

Zardōzī cutwork garland with a heraldic symbol; early-mid 20th century

Part of a zardozi cutwork garland, Unknown, 1900/1940, From the collection of: Lucknow Bioscope
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Part of a zardozi cutwork garland with a heraldic symbol, Unknown, 1900/1940, From the collection of: Lucknow Bioscope
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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.

Delicate zardozi on a dupatta, Unknown, 1950/1975, From the collection of: Lucknow Bioscope
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Zardozi on a gharara, Unknown, 1950/1960, From the collection of: Lucknow Bioscope
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Zardōzī combining coloured beads.

Dupatta edging in zardozi on black velvet, flanked by chutki and silver crocheted lace, Unknown, 1900/1930, From the collection of: Lucknow Bioscope
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Lehnga border with zardozi on purple velvet, flanked by tatting lace, Unknown, 1900/1935, From the collection of: Lucknow Bioscope
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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.

Credits: Story

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

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