Phulkari, which translates to “flower work” in Hindi and Punjabi, is a centuries-old embroidery tradition rooted in the Punjab region of present-day India and Pakistan. Historically practiced by women within the domestic sphere, phulkari was not simply an art form but a vital expression of lived experience, memory, and personal identity.
The earliest material records of Phulkaris date back to the mid-19th century, and since then, pieces have been classified by their intended use, designs, stitches, and colours. Interestingly, the term Phulkari is believed to have evolved from Gulkari, a similar style of embroidery from Iran, where gul means “flower” in Persian. This connection suggests that the technique may have migrated eastward to Punjab. Moreover, the characteristic darning stitch used in Phulkari closely resembles embroidery techniques found in regions such as Afghanistan, Turkmenistan, and Uzbekistan, hinting at a broader cultural and technical exchange across Central Asia.
Phulkari was never intended for commercial sale. Instead, it was a labour of love created for familial and cultural milestones, weddings, childbirth, and religious ceremonies. Completing a phulkari held deep symbolic meaning; in Sikh tradition, it even marked a girl’s transition into womanhood.
What makes phulkari unique is its deeply personal and observational nature. Women embroidered what they saw in their everyday lives—vegetables they cooked, animals they cared for, utensils they used. Each woman had her distinct way of interpreting the world around her, leading to a rich diversity of styles passed down through generations by word of mouth and example.
The motifs—whether real or imagined were born from this intimate engagement with the world. Common patterns include belan (rolling pin), kakri (cucumber), chandrama (moon), and satranga (seven colours), alongside depictions of flora, fauna, and folklore. Through these motifs, women also expressed emotion: a pair of peacocks with drooping feathers might signal emotional distance in a relationship, while ones with blooming plumage hinted at romantic joy. In this way, phulkari became both a visual diary and a poetic language stitched in silk.
Traditionally crafted on handspun, handwoven cotton fabric known as khaddar, phulkaris are embroidered using bright, untwisted silk threads. The dominant technique is the darning stitch, a form of single-sided running stitch, though other stitches such as chain, herringbone, and buttonhole are also used. These vibrant textiles served as wedding shawls, trousseau heirlooms, temple cloths, and wall hangings objects of devotion and legacy.
Despite its deep cultural roots, phulkari faced a significant decline after the Partition of India and Pakistan. The division disrupted communities and, with them, the thread of oral traditions. However, like many resilient folk arts, phulkari survived reviving in the latter half of the 20th century as a bold cultural statement in fashion and craft.
Today, phulkari embroidery continues to evolve. While industrialization and mass production have introduced quicker techniques, hand-embroidered phulkaris remain rare and treasured. More importantly, the tradition has transformed from a domestic necessity into a source of empowerment for rural women in Punjab. Through their embroidery, many now earn a livelihood, achieve financial independence, and support local economies.
Phulkari is more than textile art it is a window into the emotional, social, and creative life of generations of Punjabi women. In every motif lies a story; in every stitch, a memory. As modern India navigates its rapid transformation, crafts like phulkari remind us to pause, open old trunks and forgotten cupboards, and rediscover the heirlooms that hold whispers of love, resilience, and belonging.
Featuring Image Courtesy: The Heritage Lab
Minerva is a visual artist and currently serves as a sub editor at Abir Pothi.
