Injiri is an initiative of Chinar Farooqui to give people a pure experience through the multi-sense of the Indian muslin, throughout its journey from the cotton field to its final destination at the loom. It was to draw the attention of the audience towards the intense process involved in the weaving of Indian muslin from the raw material to the craft of weaving, through the master craftsman and their everyday life who have preserved this knowledge over the century and how it is woven throughout the history and heritage.
Over the past decades, the textile has claimed space within the theoretical discourse of relational aesthetics- reminding audiences that the relationship between cloth and the weavers has long been robust, albeit not always diverse. It was a small step to contribute towards the revival of the long- lost fabric and its human heritage. It’s not only about bringing back the ages of legacy, skill and fineness of the muslin; perhaps it was also about bringing stories back to life.
Chinar’s fascination for reviving Muslin and Jamdani comes from a deep root within herself, the situation that Farooqui has undergone and wonders what others who found peace within this fabric have gone through too.
108in x 45in
Cotton, 100 yarn count
A traditional Indian embroidery from the city of Lucknow, Chikankari is a very fine and intricate needlework done with white threads on white muslin with a variety of stitches. The types of stitches in chikankari varies from one craftsperson to another. Some claim the existence of 75 different stitches for chikankari but, even the most skilled artisans today claim knowledge of 32-36 types of stitches only.
107 x 41in
Kora cotton, 100 yarn count
The Mughals were huge patrons of Jamdani and, under their patronage this weaving craft reached unprecedented standards of excellence. This panel has the Mehrab motif - which is a recurrent element of Islamic art and architecture under the Mughal rule.
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