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 <head><title>Embroidery from the Northwest</title></head>
 <byline><persName key="Emmons, Zette" ref="http://viaf.org/viaf/51075391/" cert="low">Zette Emmons</persName></byline>
 In the 700,000 villages of <placeName key="India" ref="http://www.wikidata.org/entity/Q668">India</placeName>, the peasant woman is born into a set of prescribed rituals which she is responsible for maintaining and
 transmitting. Traditional art is one form these rituals take; in Northwestern India, an area historically rich in all kinds of textiles, peasant
 women embroider. A classification of textiles made in India for domestic use includes "skilled work of weavers and dyers, who work close to
 large market towns; articles of luxury made under court patronage or in the court tradition; folk embroidery; and fabrics of the aboriginal tribes."<note type="scholarNote">John Irwin, <title level="m">Textiles and Ornaments of India</title> (New York: The Museum of Modern Art, 1956), p. 29.</note> The first two forms of production are dominated by male weavers and craftsmen working in a commercial structure. The fourth is
 outside the mainstream of Indian village life, though folk embroidery draws upon many aboriginal antecedents which have become tangled
 with Islamic and Hindu influences.
 The depth of religious feeling and devotion that permeates Indian village life does not exist in the West in any comparable way, and it is from this regard for the deities that the impulse to create something beautiful and worthy seems to come. Outer and inner worlds are merged in a
 relationship kept flowing and harmonious by the constant application of visible symbols and signs. Everything is part of everything else; there
 is none of the "disconnectedness" that is so much a part of life in the West. When the woman embroiders, she is conscious of the decorativeness of what she does, but she also has the satisfaction of honoring the world of the spirits residing in the plants and animals which she imitates in
 thread. Even the poorest village woman is capable of making her life more bearable and secure by the application of decoration to her house on
 herself. A <persName key="Krishna" ref="http://www.wikidata.org/entity/Q42891">Krishna</persName> proverb which applies to village women at work is—"I take the form desired by my worshippers."<note type="scholarNote">Anand, Mulk Raj, “The Hand and the Heart,” MARG (Bombay: Marg Publications, 1969), p. 6. </note> Women wear blouses, full skirts and shawls, all heavily embroidered. They spend their spare time embroidering not only their own clothing
 or trousseaus for their daughters, but also <emph>natis</emph> (children's headdresses), <emph>toranas</emph> (wall hangings), animal trappings and small bags for carrying
 jewelry and other small items. To wear someone else's clothing would be unthinkable. When the wearer dies or when a garment is worn out,
 the old garment is cast off.
 Patterns to be embroidered are drawn onto cloth, which is worked in flat sections and sewn together when finished. Chain, cross and buttonhole stitches cover the surface with patterns; satin stitching fills large areas with color. Small mirrors or pieces of mica are used extensively,
 interspersed fancifully with the embroidery. Mirrors also decorate walls, furniture and even chicken coops. They are not only attractive, flashing in the sun, but also frighten away demons.
 In the designs of peasant women in all parts of India, the essences of the animals, flowers and gods are revealed, emphasized by repetition.
 Dots, triangles and lines are arranged in panels surrounding abstracted symbols and objects. Even buses, bicycles and airplanes may be incorporated into the work. The sense of color is more pronounced in the Northwest than in any other part of India. Traditional dyes have been
 derived from indigo, cochineal (red made from crushed insect bodies), iron filings (black), saffron and various other plants yielding yellows and
 oranges. <persName key="Pupul Jayakar" ref="https://www.wikidata.org/wiki/Q7260760">Pupul Jayaker</persName> of the <orgName key="All India Handicrafts Board" ref="http://www.wikidata.org/entity/Q111949695">All-India Handicrafts Board</orgName> describes the emotional content for peasant women of the colors they use.
 <quote>Red was the color of <emph>Chunari</emph>, a tie-dyed sari, and was the symbol of <emph>sohog</emph>, the first days of marriage and love-play. It was
 the garment worn by the <emph><orgName>Abhisarika</orgName></emph>, the young woman seeking in the darkness of night her waiting beloved. Saffron or
 <emph>gerua</emph> was the color of <emph>Vasant</emph>, of spring, of young mango blossoms, of swarms of bees, of southern winds and the passionate
 cry of mating birds. Maroon and black were the colors of mourning. Blue or <emph>nil</emph>, the color of indigo, was also the color of
 Krishna, the cowherd child-god who bore the name of <persName>Navjaldhar</persName>—he who is of that color, that of the newly formed cloud,
 dormant with the darkness that is rain. But there was another blue, <emph>Hari nil</emph>, or the color of water which is reflecting a clear
 spring sky.<note type="scholarNote">Irwin, p. 20.</note></quote>Daughters learn embroidery from their mothers who teach not only the techniques but the mythology that provides much of the subject matter for their images. Styles in the village gradually change according to the inclination of successive generations of artists and the impact of
 cultures. Islamic influence is seen in the geometric mazes and flower patterns; the bright colors and looser flowing lines are Hindu in origin.
 In the twentieth century industrialization has made inroads on every Indian village, no matter how remote. The survival of women's arts,
 especially embroidery is being threatened by the adoption of bright, mill-made cloth. Synthetic dyes have largely replaced traditional ones. Imitation printed or machine-sewn embroidery also appears now in place of the real thing. In recognition of this the All-India Handicrafts Board
 has provided incentives for maintaining quality by turning some previously noncommercial arts into quality-controlled commodities. This
 often has the opposite effect of the one intended, because the spark of life may go out of work produced for an unknown market whose needs
 are irrelevant to the rural craftsperson. <persName key="Mahatma Gandhi" ref="http://www.wikidata.org/entity/Q1001">Gandhi</persName> believed that it was possible and desirable for India to return to a village-centered economy in
 which the machine would be relegated to a minor role and the villager dictate the pace of life. Although his ideas are out of favor in present-day
 India, there is still a sentimental longing for that kind of simplicity in which the drive to create and survive comes out of the soil. The peasant
 woman holds on to the old ways for the time being, but there is no doubt that even she will become a victim, willing or not, of the changes that
 have afflicted the West since the industrial revolution.
 
 Zette Emmons was born in San Francisco and studied at the University of California at Berkeley. She spent 1971-1972 in India documenting folk art on a grant from Berkeley and
 presently lives in Kingston, R.I.
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