Art of Phulkari

The word phulkari (ਫੁਲਕਾਰੀ) translates to “flower work.” Its origins are rooted in pre-partition Punjab, a region marked by its iconic five (punj) rivers (ab), which is now divided between India and Pakistan.

Phulkari holds a deep cultural significance, serving as a medium through which generations of women have told stories. Handed down from the women who came before, the art of Phulkari is much more than embroidery — it is a living testament to familial bonds and cultural heritage. Each piece tells a story, marking key moments in a woman's life, from birth to marriage to last breaths. Traditionally, Phulkari was practiced within the home, with women carefully embroidering long pieces of fabric often used as a shawl. These works of art were not created for commercial purposes, but were deeply personal and intimate and embodied a woman's familial narrative.

Upon the birth of a daughter, the women of the household would begin crafting Phulkari shawls, intended as cherished gifts for her wedding day. These hand-embroidered pieces, woven with love and care, represented not only her maternal wealth but also the enduring legacy of her foremothers. Phulkari thus became a symbol of both personal and cultural heritage, passed down through generations as a precious heirloom, binding women together across time.

Reimagining the Art of Phulkari through Letterpress

I use letterpress to honor the craft of Phulkari because it allows me to carry forward the tactile experience that is so integral to this art form. Phulkari is not just a visual medium; it is an embodied tradition where every stitch reflects the stories and skill of the embroiderer. Similarly, letterpress printing embraces the physicality of creation. The deep impressions left by the press on the thick cotton paper mirrors the textured embroidery of Phulkari on khādi (handwoven cotton fabric), providing a tangible connection to the craftship that defines both art forms.

Just as Phulkari is painstakingly hand-embroidered, each letterpress card involves the careful mixing of inks, precise arrangement of plates, and the right amount of pressure to create something unique. By using letterpress, my inspiration with this micro-collection of prints was to capture the heritage of Phulkari in a new tactile medium that respects its origins.

Duality in the History of Letterpress Printing

Letterpress printing holds a complicated place in history. It was both a tool to exert colonial power and also a tool of resistance. Colonizers used the printing press to produce materials that justified and glorified their expansionist efforts. Religious texts, especially Christian missionary tracts, were printed in large numbers to facilitate the conversion of colonized peoples, aligning spiritual conquest with territorial expansion. The press was also used as a propaganda tool that framed colonized peoples as "uncivilized" or "in need of development,” reinforcing imperialist narratives. It was also a tool of resistance used to spread revolutionary ideas. This duality highlights how storytelling and its tools can be used for both oppression and liberation.

When creating this project, this complicated history was not lost on me. Challenging its legacy as a colonial tool to control narratives and export European cultural norms, my use of letterpress to honor Phulkari is a nod to decolonizing the way stories are told. Just as Phulkari embodies the stories and resilience of Punjabi women passed down through generations, letterpress becomes a way to reframe and reassert those narratives. Through the tactile and intentional process of creating with letterpress, I actively reclaim a once-colonial tool to honor the motifs that tell stories from the hands and poetic language of Punjabi women. This convergence of craft and print serves as an act of resistance.

Thirma Phulkari Baagh

Thirma Phulkaris are a distinct style of phulkari embroidery, characterized by their use of finely woven white khaddar (handspun cotton) fabric, a feature that gives them their name, as thirma which translates to "white." The white khaddar serves as a canvas, much like the white cotton paper in letterpress printing. These phulkaris were traditionally worn by elder women, the matriarchs, the generational knowledge keepers and storytellers of families, whose wisdom and experience are intricately woven into the fabric of their communities. 

Baagh (garden) is the name given to phulkaris in which the embroidery covers the entirety of the cloth with intricate needlework. Capturing a Baagh on the letterpress posed quite the technical challenge. Using a Vandercook letterpress, each card is manually printed one color at a time, requiring precision and immense patience to achieve the tight registration of colors needed to recreate the complexity of a Baagh — carefully testing the alignment and approach each time. These cards have been my favorite creative challenge.

Playing with Phulkari Motifs

The below micro-collection of cards plays on the use of phulkari motifs. This was a small batch run I did 2017, and I am excited to bring them back to the ether.

Artisans of Punjab

Photos taken by Manpreet Kalra in 2017