Educational Galaxy

Textiles and Traditions — EG's own notes, in simple words

Book: Kriti (CBSE, Class 7)  |  Chapter 18  |  Medium: English

Section: Visual Art

Diagram (labels are printed on the image): Colourful textiles with woven, printed and embroidered patterns. A general teaching picture; it is not a picture from the book.

Hands block printing cloth. A general picture about textile craft; no book picture is copied here.

What the chapter is about

Just like you use a pencil and paper to create pictures, artists use cloth, thread and needle to create artwork. Indian textiles are known for a variety of motifs, each having symbolic meanings of their own. Motifs are decorative images that usually repeat and form patterns. They vary from region to region and are seen in many fabrics worn today. Explore some of the motifs and their meanings here, before you proceed to other activities in this chapter: dots and circles stand for wholeness and one’s energy; lines stand for movement and progress; the parrot stands for truth and knowledge; the peacock stands for royalty and love; and the mango (paisley) stands for fertility, life and eternity. The chapter also shows a patchwork quilt, and asks you to notice the elements of art in these motifs. Learn a few basic skills and techniques to create your own textile artwork.

The chapter tells a story, “Threading Stories”, about Dhaaga and Soodi. Dhaaga and Soodi had an argument one day. Dhaaga wanted the curtain open and Soodi wanted it shut. The curtain was being pushed around and it finally screamed, “Stop it! Both of you!” Hearing the curtain speak, Dhaaga and Soodi froze. “Look what you have done! You have hurt me and now I have a tear…”, the curtain said. Dhaaga and Soodi went closer and looked at the damaged curtain. Thread is called Dhaaga in Hindi, and needle is called Soodi in Telugu — and the chapter asks what they are called in the languages you know, inviting you to learn what these are called in other Indian languages. The curtain continued to speak and told them the story of how it was made: when their Aaji passed away, their parents kept a few of the special clothes she used to wear. “I am the patchwork they created using pieces of fabric from her clothes. Look at all the pieces that have been stitched together on my body. Each of these is from the clothes your Aaji wore. Here is a piece from the beautiful sweater she knitted herself. Next to it, is a piece from the yellow saree that had a big tea stain! Touch the design on it, your father took that stained portion and created this beautiful embroidery over it. Do you see the square window at the centre of this patchwork? It was made by a process called crochet. This piece was your Aaji’s favourite. Have you noticed the bottom edge of the patchwork? These are called tassels. You will see fine threads in it, arranged together and knotted in beautiful patterns. There are some loose threads even in my tear… see? You can clearly see the warp and weft of the weave. Remember, I am not just a curtain, I am a patchwork of stories. Each piece in me has its own story. They are all stitched together with many threads. When threads start fighting among themselves like you both just did, what do you think will happen?” Dhaaga and Soodi looked at each other and smiled, “Shall we repair the tear together?”, Soodi asked Dhaaga. He agreed and they got busy. The chapter asks: what would you do if you were Dhaaga or Soodi?

Activity 18.1 is a fabric journal. Look at the variety of objects in your home that are made of fibre or fabric. Collect a few samples from discarded clothes, bags, mats and rags. Visit a local tailor and ask them if they can spare small pieces of fabric of different thicknesses and textures. As you collect textile samples, remember to note down a few stories about each fabric: where you found it, who it might have belonged to, what kind of fibre it is made of, and a few lines about the patterns you see. Plan the pages of your journal. Work in pairs, gathering both your textile samples and stories. Discuss and identify the different materials you have managed to collect (cotton, silk, wool, jute, and so on). You can choose to organise them by material, colour, texture or pattern — for example, plain coloured fabrics together, printed fabrics together, all cotton together, and so on. Include your notes and stories to make your journal interesting.

Activity 18.2 explores embroidery traditions. Embroidery is the art of different kinds of stitches, patterns and needlework techniques on a fabric. There are several embroidery traditions in India. Some traditions also incorporate mirrors, beads and sequins into their designs. The examples given are: Chikankari from Uttar Pradesh, Chamba Rumal from Himachal Pradesh, Kasuti from Karnataka, Toda from Tamil Nadu, Ahir from Gujarat, Kantha from West Bengal, Khneng from Meghalaya, Gota from Rajasthan, and Kashida from Kashmir. The chapter asks what kind of embroidery you have seen on clothes and fabrics around you, and to find artists who embroider and talk to them about their art. It also suggests inviting local artists: organise a workshop to introduce some basic skills and techniques to students, exposing them to various vocations for the future. Pictures show Chikankari, Ahir and Toda work.

Activity 18.3 teaches basic stitches in embroidery. Embroidery can be done using simple materials and tools, and if you have never tried embroidery before, start by learning the basic stitches. Materials: card paper, discarded invitation cards or thick drawing sheet (approximately 20 cm × 15 cm), a medium-sized needle, and thread or wool. The process: take a thread approximately 50 cm in length; thread your needle and keep one of the ends short; make a knot at the end of the longer end; prepare your card sheet or cloth by marking lines and piercing holes with the needle; start stitching and follow the pattern for each stitch; at the end of your line, or when your thread is about to finish, make a knot on the reverse side of your work and cut the thread. Safety note: use needles carefully, and work with an adult nearby if you are new to needlework.

Activity 18.4 asks you to make your textile artwork. Textile artworks need not be made only on a flat surface; they can be three-dimensional too. You might have seen attractive toys made of cloth, yarn or fibre. There are many well-known artists inspired by textile arts and crafts traditions. Look at the examples of artwork created by students like you. What kind of textile artwork would you like to make? You may find inspiration from your local textile traditions. It could be weaving, knitting, crochet, macramé, fabric toys, painting, printing, tie and dye, and so on. Some art museums today have textile artworks which can be touched and enjoyed — these artworks can be experienced and enjoyed by visitors who are visually impaired.

What you should learn

• Define motif, and give the meanings of dots/circles, lines, parrot, peacock and mango (paisley).
• Retell the Dhaaga–Soodi patchwork story, and explain warp, weft, crochet and tassels.
• Make a fabric journal: collect samples, note their stories, identify fibres, and organise by material, colour, texture or pattern.
• Name nine Indian embroidery traditions with their regions.
• Do basic embroidery stitches on card or cloth, following the six-step process.
• Plan and make your own textile artwork, flat or three-dimensional, inspired by local traditions.

Try it — Activity 18.1: fabric journal

1. Look at fibre or fabric objects in your home; collect samples from discarded clothes, bags, mats and rags.
2. Visit a local tailor and ask for small pieces of different thicknesses and textures.
3. For each sample, note where you found it, who it might have belonged to, its fibre, and a few lines about its patterns.
4. Work in pairs; identify materials (cotton, silk, wool, jute, and so on); organise by material, colour, texture or pattern; add your notes and stories.

Try it — Activity 18.2: explore embroidery traditions

1. Learn the nine examples: Chikankari (Uttar Pradesh), Chamba Rumal (Himachal Pradesh), Kasuti (Karnataka), Toda (Tamil Nadu), Ahir (Gujarat), Kantha (West Bengal), Khneng (Meghalaya), Gota (Rajasthan), Kashida (Kashmir).
2. Find embroidery on clothes and fabrics around you; find artists who embroider and talk to them about their art.
3. Invite local artists: organise a workshop introducing basic skills and techniques.

Try it — Activity 18.3: basic stitches in embroidery

1. Materials: card paper, discarded invitation cards or thick drawing sheet (about 20 cm × 15 cm), medium-sized needle, thread or wool.
2. Take about 50 cm of thread; thread the needle, keep one end short; knot the longer end.
3. Mark lines on your card or cloth and pierce holes with the needle.
4. Stitch following the pattern for each stitch; at the end of a line, or when thread is about to finish, knot on the reverse side and cut. Use needles carefully.

Try it — Activity 18.4: make your textile artwork

1. Choose a form: weaving, knitting, crochet, macramé, fabric toys, painting, printing, tie and dye, or another local tradition.
2. Remember textile art can be three-dimensional — cloth toys are textile art too.
3. Look at student examples for inspiration, then make your own piece.
4. Think about touch: some museums show textile art that visually impaired visitors can touch and enjoy — could your piece be enjoyed by touch as well?

Chart / Table: Embroidery traditions in India

Embroidery	Place / region
Chikankari	Uttar Pradesh
Chamba Rumal	Himachal Pradesh
Kasuti	Karnataka
Toda	Tamil Nadu
Ahir	Gujarat
Kantha	West Bengal
Khneng	Meghalaya
Gota	Rajasthan
Kashida	Kashmir

Practice set — try it yourself

1. Define motif, and give the meanings of dots/circles and of lines.
   Hint: Hint: repeating decorative images; wholeness/energy and movement/progress.
2. What do the parrot, peacock and mango (paisley) motifs stand for?
   Hint: Hint: truth/knowledge; royalty/love; fertility/life/eternity.
3. What are Dhaaga and Soodi, in which languages, and what did they argue about?
   Hint: Hint: thread in Hindi, needle in Telugu; curtain open or shut.
4. Name three embroidery traditions with their regions.
   Hint: Hint: pick any three from the nine — but keep each name with its correct place.
5. What are the first three steps of the basic-stitch process?
   Hint: Hint: thread length, threading the needle, the knot.

Questions with Answers

1. What is a motif, and what do five motifs in this chapter mean?
   A motif is a decorative image that usually repeats and forms patterns, varying from region to region. In this chapter: dots and circles stand for wholeness and one’s energy; lines stand for movement and progress; the parrot stands for truth and knowledge; the peacock stands for royalty and love; and the mango (paisley) stands for fertility, life and eternity.
2. Retell the Dhaaga–Soodi story and explain what the curtain teaches them.
   Dhaaga (thread, in Hindi) and Soodi (needle, in Telugu) argued about whether the curtain should be open or shut, pushing it around until it tore and cried out. The curtain then told its story: it is a patchwork made by their parents from the special clothes of their late Aaji — a piece of her hand-knitted sweater, a piece of her yellow saree with a big tea stain saved by their father’s embroidery, a crochet square window at the centre (Aaji’s favourite), and tassels at the bottom edge; even in the tear, the warp and weft of the weave are visible. “I am not just a curtain, I am a patchwork of stories,” it says, asking what will happen when threads fight among themselves. Dhaaga and Soodi smile and agree to repair the tear together.
3. How do you make a fabric journal (Activity 18.1)?
   Look at fibre or fabric objects at home; collect samples from discarded clothes, bags, mats and rags; ask a local tailor for small pieces of different thicknesses and textures. For each sample, note where you found it, who it might have belonged to, its fibre, and a few lines about its patterns. Work in pairs, identify materials (cotton, silk, wool, jute, and so on), organise by material, colour, texture or pattern, and include your notes and stories.
4. Name the nine embroidery traditions and their regions (Activity 18.2).
   Chikankari — Uttar Pradesh; Chamba Rumal — Himachal Pradesh; Kasuti — Karnataka; Toda — Tamil Nadu; Ahir — Gujarat; Kantha — West Bengal; Khneng — Meghalaya; Gota — Rajasthan; Kashida — Kashmir. Embroidery is stitches, patterns and needlework on fabric, and some traditions add mirrors, beads and sequins.
5. Describe the basic-stitch process and the textile artwork activity.
   Basic stitches (Activity 18.3): on card paper, a discarded invitation card or thick drawing sheet (about 20 cm × 15 cm), with a medium needle and thread or wool — take about 50 cm of thread, thread the needle keeping one end short, knot the longer end, mark lines and pierce holes, stitch following each stitch’s pattern, and finish with a knot on the reverse side and cut. Textile artwork (Activity 18.4): choose a form such as weaving, knitting, crochet, macramé, fabric toys, painting, printing or tie and dye, inspired by local traditions; remember pieces can be three-dimensional, and that some museums show touchable textile art for visually impaired visitors.

Extension Questions — for deeper understanding

1. Why does the chapter tell the patchwork story before the activities, instead of starting with definitions?
   Because the story makes the chapter’s ideas felt before they are named: cloth carries memory, pieces with different pasts are stitched into one thing, and fighting threads tear what they should repair. The activities then let students live that idea — collecting, stitching and making — rather than only memorising it.
2. The father embroidered over the tea stain instead of throwing the saree away. What does that say about textile art?
   That textile art can repair and transform: a stain becomes a design, a worn garment becomes part of a new object. It is the same spirit as the fabric journal — old cloth is material and memory, not waste.
3. Why does the chapter ask what thread and needle are called in the languages you know?
   Because India’s textile vocabulary itself is multilingual — Dhaaga in Hindi, Soodi in Telugu — and learning the words in other languages shows that the same craft lives across many languages and regions, not one alone.
4. How would you tell Chikankari, Kasuti and Kantha apart if you only had their names and regions?
   You cannot tell their stitches apart from names alone — that is why the chapter asks you to find real examples and talk to embroiderers. The table gives you names and regions; observation and conversation give you the stitches, and the chapter is honest that the table is a starting point, not the whole knowledge.
5. A classmate wants to make a flat painting for Activity 18.4. Is that acceptable as textile art?
   Yes, if it uses textile materials or traditions — painting or printing on fabric counts among the chapter’s suggestions. But the chapter also nudges students to consider three-dimensional forms (toys, crochet, macramé), so a flat piece is one good option, not the only one.
6. What would you do if you were Dhaaga or Soodi — and why is there no single right answer?
   Any thoughtful answer works: apologise, repair the tear together (as they do), or ask an adult for help. The chapter ends the story with a question, not a moral lecture, because the point — threads should work together — is shown by the curtain’s story, and students are meant to reach it themselves.

How to use this page: Read the summary, say the Key Terms in your own words, then try the practice set without looking. Check your answers against Questions with Answers, and ask your teacher or parent to check your work.