Embroidery of the Kharaks and their Region

Jalpesh R. Kagada

Assistant Professor, Sociology, Government Arts College, Talaja, Dist. Bhavnagar Gujarat.

*Corresponding Author E-mail:

ABSTRACT:

Among the various elements in Indian culture, arts are also an important element of culture, art has another importance in Indian culture. At the root of the diversity of art lies the cultural diversity of India.Copper needles have been found by excavating the tombs of the Aryans, the original inhabitants of India, as well as the inhabitants of Mohen-jo-dado, Lothal and Rangpurs etc. The needle has been an important tool for stitching, stitching, hemming and filling clothes. Also, since the three-petaled buti variety is worshiped on the outer garment of the idol excavated at Mohen-jo-dado, it can be inferred to be full Bharata. Kharak people have become famous in Bhavnagar district for their handicrafts. Hence, the saying “Kharak Kanjan Bharat Mein Samani” has become popular in the coastal villages and hamlets of Bhavnagar district. This saying is full of meaning because many aspects of Kharak people's life are also associated with embroidery in one way or another. Especially the various types of animal symbols used in Bharat show the creative style of Kharak women. His sensitive and creative skills are expressed in the 120 different varieties he performs in Chaniyas. Most surprisingly, animal motifs are found in earlier saddle and mochi embroideries. The embroidery of Kharak women expresses their imagination and often gives a pleasant surprise. Some figures are similar to the conceptual combination of two animals, while some figures are also found to be a combination of an animal and a bird. Kharak women are especially known for their colorful and distinctive embroideries. Their embroidery skills are highly appreciated in the region. The special type of animal symbols used in the embroidery of the Kharak people is not seen in the embroidery of other castes. There were no such symbols in the embroidery of these people about 100 years ago. The caste-symbols of the Kharak people are different from the caste-symbols of embroidery of other castes. Their embroidery can generally be divided into four main parts. Like, home decoration patterns, stuffed clothes (dresses), animal decoration, other patterns.

KEYWORDS: Embroidery, Kharak, Rice-symbols, Embroidery, Decoration, Art, Region, Decoration, Embroidery.

INTRODUCTION:

From the time of the Aryans, there were many foreign invasions of Gujarat by sea and land, some of them plundered and some settled in the region. The Aryas and other Aryatar castes enriched Gujarat from the various ranks of Bharata. In Gujarat, the categories of embroidery are Mochibharat, Mahajanbharat, Kathibharata, Kanbibharata, Ahirbharata, Charanbharata, Khatbharata, Kharakbharata etc. A modest attempt has been made through the present research article to obtain information about the handicrafts of Kharak caste living in Bhavnagar district.

OBJECTIVES OF THE RESEARCH:

The objectives of the present research are…

1. Getting information about embroidery.

2. To get knowledge of Kharak caste embroidery.

Meaning of art :-

The word kala is derived from the Sanskrit metal 'kal' - to know, to grasp, to know. In Sanskrit dictionary it means 'Kalpati kalte kalpete குத்தியை ய ரதி கல்லா' Thus, in the Indian tradition the word kala means 'knowledge' or 'means of acquiring knowledge'. The word used for art in the English language is 'ART' which also means 'to cultivate', 'to acquire knowledge', 'to learn'.

Meaning of embroidery :-

It is reported that the word 'Bharat' is derived from the word 'Bhoot' in Sanskrit. According to the Bhagavadgomandal Bharatakala means 'the art of filling; The skill of making velbutti etc. rice on cloth etc.' In Kotilya's Arthashastra, the word 'khachitam' refers to that needlework.

Meaning of Kharak :-

According to the Bhagavadgomandal 'a caste of cultivating people towards Ghoghabara.'

``Khar'' means mule or donkey, ``Hunk'' means one who drives or drives. One who drives or drives a mule or donkey is Kharak. Kharak people carry goods on mules or donkeys. Thus, the word "Kharak" came to be used from the word 'Kharhank'.

RESEARCH METHODOLOGY AND TECHNIQUE :

Qualitative research method has been used in the present research. The research work has been done through descriptive research design. Secondary data has been used as a source of data for this research. In which books, magazines, published literature and other research articles and websites have been used by visiting the library.

Kharak caste embroideries :-

Any country, religion, society or community has its own distinct culture and is identified by that culture. Folk culture is formed from the rituals of public life. The proverb “Kharak kana bharat mein samani” is prevalent in the coastal villages and hamlets of Bhavnagar district. This proverb has many meanings. Many aspects of Kharak people's lives are also associated with embroidery in one way or another. When choosing a bride for a young man, the elder asks the question that, does the bride know embroidery or not? Kharak people understand the value of the art of Bharata-Chitra. Kharak women are very interested in housework, child rearing and painting. They spend a lot on Bharat on weddings and occasions.

Kharak people have become famous throughout Bhavnagar district for their handicrafts. Especially the various types of animal symbols used in Bharat show the creative style of Kharak women. His sensitive and creative skills are expressed in the 120 different varieties he performs in Chaniyas. Most surprisingly, animal motifs are found in earlier saddle and mochi embroideries. The symbols of Kharak women's embroidery and murals express the imagination of women and often give pleasant surprises. Some of the figures resemble a conceptual combination of two animals. So some figures are also found to be a combination of animal and bird.

Kharak women are especially known for their colorful and distinctive embroideries. Their embroidery skills are highly appreciated in the region. The special type of animal symbols used in the embroidery of the Kharak people is not seen in the embroidery of other castes. About 100 years ago, these people's embroidery did not have such symbols. The caste-symbols of the Kharak people are different from the caste-symbols of embroidery of other castes. Their embroidery can generally be divided into four main parts.

1. Home Decoration Samples :-

The embroidery patterns for wall (wall) decoration for home decoration are ready and are hung on the walls of the house on various occasions. But the samples of such decoration are hung with a certain order. Like, the big arch on the main door of the house is a staple in the embroidery art of these people. It is applied from the main door to the inner room door as well. He welcomes guests. It is also considered a symbol of good omen. A pair of round-pillows are placed at the corner of the door on either side of the arch. Below it is a pair of breakers. A curtain hangs under a large arch. The place of chitriya is fixed on both sides of the 'frame' of the door. Barsakhia is placed on the vertical bars of the door. A leaf bag is hung on the window parallel to the large arch. Square tiles are arranged on the remaining part of the wall and some patterns are also arranged on top of each other where there is an empty part. Embroidery patterns are also applied on the wedding mandap. An arrangement of contrasting bright colors is a distinctive feature of Kharak people's embroidery. The figure of 'chicken' in paintings as well as in embroidery is characteristic of the Kharak caste. This rice symbol is not found in embroidery of other castes.

Present-day Kharak people's embroidery has undergone significant changes in its variety of symbols, concepts and tools used. However, its basic format has not changed. The embroidery (pearl work) of the Kharak people is seen to be very delicate and precise. Learned the trade from local women. Especially indhoni and loti-shrifal used on auspicious occasions were prepared by pearl work. The new embroidery lacks the traditional features and aesthetics. Ulech, toran, chakla, paddo, rumal etc. are the main ones that are popular in such embroidery. An approach to printed designs is seen in place of hand-drawn drawings. In which no better result is obtained. In which compounds contain spelling errors.

2. Filled Garment (Dress) :-

It is a custom to wear full in Kharak. Chania and kapada are seen full of carts for women and children. Red or vermilion colors are more preferred for chania of young women. Older women prefer dark red colored stones while older women are more likely to have maroon or brown colored stones. Young women's chinis are filled with brightly colored threads. The embroidery is so dense that there is very little space in between, small kachas (khamps) are filled in. Elderly women use Nakabharata and plain rice. The measure of chania is mainly divided into two parts. In which the upper thin cloth part called 'Choliyun' is of bright red colour, while the lower part is made of thick rough red cloth called 'Madharsida'. After the embroidery is done first, the tailor sews and the chaniyo is ready.

Kharak women wear embroidered kapadas, these kapadas are open at the back. These women wear cloth only in daily life and festivals. The cloths worn daily are of cotton cloth. Red, yellow, saffron, green, blue and pink cotton threads are used in cotton fabrics. While for special occasions or festivals, a lining of cotton cloth is placed inside the silk cloth. Silk thread is used for embroidery in this. Kharak women's kapadani rice consists of staple rice like flower-vel, cup-vel, runa kala, peacock, tree and scorpion.

At present, the consumption of embroidered cloths has started to decrease. However, it has not completely disappeared. As the prosperity of Kharak farmers increases, the impact of urban values and modern education on their lifestyle is visible.

3. Decoration of animals :-

Kharak farmers decorate their bullocks with 'kavar' stuffed with Bharat. It is also decorated on social occasions like weddings and other festivals. The bull decoration has animal shapes at the four corners of the square cloth. A zoohul (cover) is placed on the back. This Zoohool features a medium sized flower pad symbol. All around the Zoohool is full of flowering vines. The most interesting part of this Zoohool is its hood-shaped cover. An assortment of hills and trees fills the outside of the back cover. Finally the tailor further embellishes the edges by stitching. A small chakli made of cloth is also placed on the horns of the bull. Besides this the bull's forehead, nose and neck covers are decorated with beautiful embroidery. Sometimes the 'ghooghi' (neck cover) for a mare or horse is filled in a half or full circle shape. But at the present time the embroidery related to the decoration of animals is done in a very negligible amount in this caste, it may even have stopped!

4. Other Samples :-

In this caste, the embroidery patterns of household clothes like, Khoya, Theli, Chopat and Vawanio etc. were given to the daughter in marriage and as dowry. According to the custom in this caste, the first sowing is done in his pier after the semant, after which the rice is reaped every single month. A khoya filled with bharat is given to the child in this ceremony. Apart from this, full clothes are also provided for the baby and the mother. A cotton cloth bag containing embroidery designs known as 'Khalechi'.

CONCLUSION:

At the present time, embroidery has survived to some extent in the Kharak caste due to their orthodoxy and tendency to stick to their own culture. Even so, Kharak people could not escape the impact of modernization. In which the impact of migration to towns and contact, education etc., the embroidery and its various designs will disappear with the change if not preserved in some way.

REFERENCE:

1. Parmar Khodidas: 'Saurashta's Lokbharat', 1977, Rajkot.

2. Parmar Khodidas: 'Lokbharatni Sarjat', 1995.

3. Seth Suresh, translated by Trivedi Gayatri: 'Kharak Jati's Art-Culture' 2017, Gujarat Art Gallery, Surat.

4. Sedani Hasutaben Shashikant: 'Folk Culture of Gujarat', 2017, Univ. Bibliography Board, Ahmedabad.

5. Sheth Suresh & Sheth Renu: 'The Arts of the Kharak & Crafts of their region-Saurashtra', 2014.

Received on 17.01.2024 Modified on 12.02.2024

Int. J. Rev. and Res. Social Sci. 2024; 12(1):19-22.

DOI: 10.52711/2454-2687.2024.00005