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Excerpt from the plaque:
Parade by Angela Aujla: This illuminated lantern is celebration of spring moving into summer. I often feature animals in my work to call attention to the importance of respecting, protecting, and creating wild spaces. The animals are inlaid with a traditional Panjabi Phulkari textile, a fold art that is used to stitch stories of community and culture.
Trade on the Silk Road was a significant factor in the development of the great civilizations of China, India, Egypt, Persia, Arabia, and Rome, and in several respects helped lay the foundations for the modern world.
"PHULKARI" is a traditional silk embroidery from the Punjab in India.
DEDICATED TO Simone de Beauvoir
As an existentialist, Beauvoir believed that existence precedes essence; hence one is not born a woman, but becomes one.
PHULKARI (an embroidery technique in India, literally means flower working) ON A HAND FAN
TODAY IS MY BIRTHDAY
FIRST GIFT I RECEIVED TODAY IS A TESTIMONIAL SENT BY EDMAPHOTOS (http://www.flickr.com/people/edmaphotos/). SO THIS PHOTO IS DEDICATED TO HIM. THANK YOU DEAR.
With jewel like workmanship, Jath traditional embroidery is the second best among older schools of embroidery found in Kutch. The embroidery of Sindh, 'Phulkari' of Punjab, and the needlework of the Jaths of Kutch are all considered classical forms of embroidery.
Danetah Jaths of Chaari Lake village do the finest patchwork. There are two schools of embroidery in the Banni region: Lohanas of Khavada and the Jaths and Mutwas. Both traditions show strong influences of Sindh, in motifs and stitches. Jaths are believed to be immigrants of Balichistan and Lohanas from Sindh. Both the groups now differ from Baluchistan and Sindh in the Banni traditional embroidery, which is ever so refined and eye-catching.
Dhanetah and Fakirni Jaths still share an embroidery tradition of tiny Bars of a tight padded satin stitch and radiating circles of a couched stitch. Gararasia Jaths have their own embroidery style, suggesting different origins. It completely covers the background cloth in tiny cross-stitch patterns outlines in white and studded with minute mirrors. This style is unique to Kutch and Sindh.
Phulkari
The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection.
Phulkari, meaning, “flower work”(phu. = flower, kari = work), is an embroidery originally made throughout Punjab, a region now straddling Pakistan and India. Traditionally, the base cloth was locally handspun and handwoven cotton called khaddar. The thread, called pat, was unplied silk usually imported from China. The dominant embroidery stitch is the darning stitch ( a straight stitch in parallel rows), although artists interspersed it with other stitches. Perhaps because of thread’s high cost, most pieces show embroidery only on one side of the cloth.
Phulkaris were a crucial part of the Punjabi woman’s material wealth. Young girls learned needlework from their older female relatives and friends. Often they made phulkaris for their own dowries, which they brought with them to their husband’s home when they married. Primarily intended as large shawls worn draped over the head, phulkaris could also function as bedding or wall hangings for special funtions. While each phulkari is unique, they may be grouped into types by designs and background colors with names such as thirma (white), sainchi (figurative), or bagh ( garden).
Highlighted here are nineteen superb phulkaris from the Bonovitz Collection, promised gifts to the Philadelphia Museum of Art. All were probably created before the Partition of Pakistan and India in 1947. Also included is a small selection of traditional phulkaris from the Museum’s permanent collection. The exhibition concludes with a creative twenty-first century reinvention of phulkari in the high fashion garments of Manish Malhorta, on of India’s leading designers.
The exhibition is made possible by Jill and Sheldon Bonovitz, the Coby Foundation LTD, and The Stell Kramrisch Indian and Himalayan Art Fund.
From the placard: The Philadelphia Museum of Art.
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Phulkari
The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection.
Phulkari, meaning, “flower work”(phu. = flower, kari = work), is an embroidery originally made throughout Punjab, a region now straddling Pakistan and India. Traditionally, the base cloth was locally handspun and handwoven cotton called khaddar. The thread, called pat, was unplied silk usually imported from China. The dominant embroidery stitch is the darning stitch ( a straight stitch in parallel rows), although artists interspersed it with other stitches. Perhaps because of thread’s high cost, most pieces show embroidery only on one side of the cloth.
Phulkaris were a crucial part of the Punjabi woman’s material wealth. Young girls learned needlework from their older female relatives and friends. Often they made phulkaris for their own dowries, which they brought with them to their husband’s home when they married. Primarily intended as large shawls worn draped over the head, phulkaris could also function as bedding or wall hangings for special funtions. While each phulkari is unique, they may be grouped into types by designs and background colors with names such as thirma (white), sainchi (figurative), or bagh ( garden).
Highlighted here are nineteen superb phulkaris from the Bonovitz Collection, promised gifts to the Philadelphia Museum of Art. All were probably created before the Partition of Pakistan and India in 1947. Also included is a small selection of traditional phulkaris from the Museum’s permanent collection. The exhibition concludes with a creative twenty-first century reinvention of phulkari in the high fashion garments of Manish Malhorta, on of India’s leading designers.
The exhibition is made possible by Jill and Sheldon Bonovitz, the Coby Foundation LTD, and The Stell Kramrisch Indian and Himalayan Art Fund.
From the placard: The Philadelphia Museum of Art.
Cartwright Hall is the civic art gallery in Bradford, West Yorkshire, England, situated about a mile from the city centre in the Manningham district. It was built on the former site of Manningham Hall using a gift of £40,000 donated by Samuel Lister and it is named after Edmund Cartwright. The gallery which opened in 1904 initially had a display of artworks loaned from other galleries and private collections until it was able to purchase a permanent collection of Victorian and Edwardian works using money raised by the 1904 Bradford Exhibition.[1]
Cartwright Hall stands in Lister Park and enjoys scenic views of the city. Cartwright Hall has been held to represent "Bradford Baroque", a style of architecture typical of Bradford. It is however designed by the same architects as Glasgow's Kelvingrove Art Gallery and Museum (Sir John W. Simpson and E.J. Milner Allen), also in the Baroque style.[2]
The purpose-built gallery is home to a collection of permanent works, from Old Masters to 20th century British paintings and sculpture.[3] Cartwright Hall also has a biennial open exhibition and contemporary and historical exhibitions by local, national and international artists.[4] Since the mid 1980s the Bradford museum group has collected works that are associated with the cultural background of many post-war migrants to the Bradford area.[5] Acquisitions include contemporary South Asian Art - Islamic calligraphy, phulkari style illustrated textiles and items of contemporary Sikh art, including a portrait of Guru Nanak.[6]
Cartwright Hall is the civic art gallery in Bradford, West Yorkshire, England, situated about a mile from the city centre in the Manningham district. It was built on the former site of Manningham Hall using a gift of £40,000 donated by Samuel Lister and it is named after Edmund Cartwright. The gallery which opened in 1904 initially had a display of artworks loaned from other galleries and private collections until it was able to purchase a permanent collection of Victorian and Edwardian works using money raised by the 1904 Bradford Exhibition.[1]
Cartwright Hall stands in Lister Park and enjoys scenic views of the city. Cartwright Hall has been held to represent "Bradford Baroque", a style of architecture typical of Bradford. It is however designed by the same architects as Glasgow's Kelvingrove Art Gallery and Museum (Sir John W. Simpson and E.J. Milner Allen), also in the Baroque style.[2]
The purpose-built gallery is home to a collection of permanent works, from Old Masters to 20th century British paintings and sculpture.[3] Cartwright Hall also has a biennial open exhibition and contemporary and historical exhibitions by local, national and international artists.[4] Since the mid 1980s the Bradford museum group has collected works that are associated with the cultural background of many post-war migrants to the Bradford area.[5] Acquisitions include contemporary South Asian Art - Islamic calligraphy, phulkari style illustrated textiles and items of contemporary Sikh art, including a portrait of Guru Nanak.[6]
Phulkari
The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection.
Phulkari, meaning, “flower work”(phu. = flower, kari = work), is an embroidery originally made throughout Punjab, a region now straddling Pakistan and India. Traditionally, the base cloth was locally handspun and handwoven cotton called khaddar. The thread, called pat, was unplied silk usually imported from China. The dominant embroidery stitch is the darning stitch ( a straight stitch in parallel rows), although artists interspersed it with other stitches. Perhaps because of thread’s high cost, most pieces show embroidery only on one side of the cloth.
Phulkaris were a crucial part of the Punjabi woman’s material wealth. Young girls learned needlework from their older female relatives and friends. Often they made phulkaris for their own dowries, which they brought with them to their husband’s home when they married. Primarily intended as large shawls worn draped over the head, phulkaris could also function as bedding or wall hangings for special funtions. While each phulkari is unique, they may be grouped into types by designs and background colors with names such as thirma (white), sainchi (figurative), or bagh ( garden).
Highlighted here are nineteen superb phulkaris from the Bonovitz Collection, promised gifts to the Philadelphia Museum of Art. All were probably created before the Partition of Pakistan and India in 1947. Also included is a small selection of traditional phulkaris from the Museum’s permanent collection. The exhibition concludes with a creative twenty-first century reinvention of phulkari in the high fashion garments of Manish Malhorta, on of India’s leading designers.
The exhibition is made possible by Jill and Sheldon Bonovitz, the Coby Foundation LTD, and The Stell Kramrisch Indian and Himalayan Art Fund.
From the placard: The Philadelphia Museum of Art.
Identify the Artist IX continues
Week 6 Psychedelic Furs Greatest Hits Heartbeat (876 -880)
begins tonight 5/07/2017 at 8:00 PM ET USA.
The Psychedelic Furs – Heartbeat
Status after week Five
Trish Mayo141
Madeleine 128
Viejito 26
Cornelis Verwaal 25
Mark Sobers 22
Melinda Stuart 10
Judi2 chen 8
Pete Huu 5
Defretnek 4
Ana-marija Veg 4
Anton Shomali 3
New Yorkled 3
Colleen Watson-Turner 2
Bob Dass 2
Mark 2
Ursazula 2
Jose Antonio romero 2
Sean O’Brien 2
Teena Wildman 2
Kevsonicist 1
Regis Muno 1
Sir.mehedi 1
Daniel Coyle 1
Phieu A 1
Rachel Brokaw 1
Keith Michael 1
Littlebird 333 1
Ron Anthony Bautista 1
azraviolet 1
Cartwright Hall is the civic art gallery in Bradford, West Yorkshire, England, situated about a mile from the city centre in the Manningham district. It was built on the former site of Manningham Hall using a gift of £40,000 donated by Samuel Lister and it is named after Edmund Cartwright. The gallery which opened in 1904 initially had a display of artworks loaned from other galleries and private collections until it was able to purchase a permanent collection of Victorian and Edwardian works using money raised by the 1904 Bradford Exhibition.[1]
Cartwright Hall stands in Lister Park and enjoys scenic views of the city. Cartwright Hall has been held to represent "Bradford Baroque", a style of architecture typical of Bradford. It is however designed by the same architects as Glasgow's Kelvingrove Art Gallery and Museum (Sir John W. Simpson and E.J. Milner Allen), also in the Baroque style.[2]
The purpose-built gallery is home to a collection of permanent works, from Old Masters to 20th century British paintings and sculpture.[3] Cartwright Hall also has a biennial open exhibition and contemporary and historical exhibitions by local, national and international artists.[4] Since the mid 1980s the Bradford museum group has collected works that are associated with the cultural background of many post-war migrants to the Bradford area.[5] Acquisitions include contemporary South Asian Art - Islamic calligraphy, phulkari style illustrated textiles and items of contemporary Sikh art, including a portrait of Guru Nanak.[6]
First in Asia to operate the popular 737-300, PIA took up 6 aircrafts in 1985/86 starting with Charlie-Alpha. They replaced the Boeing 720Bs on the domestic routes.
In early 2006 the airline launched four new tail esigns for its fleet. The tails represented the four provinces of Pakistan: Sindh, Punjab, North-West Frontier Province and Balochistan. The tails promote the cultures of the four provinces of Pakistan by applying motifs to the tails and adding a city name to the rear of the fuselage corresponding to the province. The "Frontier" tail as painted on AP-BCA represents the "Phulkari" (flowering) pattern that reflected a tradition of embroidery generally done on shawls, shirts and linen.
In 2008 management stopped the application of provincial tails deeming them too costly and decided to restore the flag tail design introduced on the first Boeing 777 in 2003. Since April 2009, A310s (AP-BEB and BEU) have been repainted with the flag, it is not known whether remaining fleet with get them, as some aircraft are carrying on with province designs despite having undergone heavy maintenance where the entire aircraft is repainted.
Cartwright Hall is the civic art gallery in Bradford, West Yorkshire, England, situated about a mile from the city centre in the Manningham district. It was built on the former site of Manningham Hall using a gift of £40,000 donated by Samuel Lister and it is named after Edmund Cartwright. The gallery which opened in 1904 initially had a display of artworks loaned from other galleries and private collections until it was able to purchase a permanent collection of Victorian and Edwardian works using money raised by the 1904 Bradford Exhibition.[1]
Cartwright Hall stands in Lister Park and enjoys scenic views of the city. Cartwright Hall has been held to represent "Bradford Baroque", a style of architecture typical of Bradford. It is however designed by the same architects as Glasgow's Kelvingrove Art Gallery and Museum (Sir John W. Simpson and E.J. Milner Allen), also in the Baroque style.[2]
The purpose-built gallery is home to a collection of permanent works, from Old Masters to 20th century British paintings and sculpture.[3] Cartwright Hall also has a biennial open exhibition and contemporary and historical exhibitions by local, national and international artists.[4] Since the mid 1980s the Bradford museum group has collected works that are associated with the cultural background of many post-war migrants to the Bradford area.[5] Acquisitions include contemporary South Asian Art - Islamic calligraphy, phulkari style illustrated textiles and items of contemporary Sikh art, including a portrait of Guru Nanak.[6]
Cartwright Hall is the civic art gallery in Bradford, West Yorkshire, England, situated about a mile from the city centre in the Manningham district. It was built on the former site of Manningham Hall using a gift of £40,000 donated by Samuel Lister and it is named after Edmund Cartwright. The gallery which opened in 1904 initially had a display of artworks loaned from other galleries and private collections until it was able to purchase a permanent collection of Victorian and Edwardian works using money raised by the 1904 Bradford Exhibition.[1]
Cartwright Hall stands in Lister Park and enjoys scenic views of the city. Cartwright Hall has been held to represent "Bradford Baroque", a style of architecture typical of Bradford. It is however designed by the same architects as Glasgow's Kelvingrove Art Gallery and Museum (Sir John W. Simpson and E.J. Milner Allen), also in the Baroque style.[2]
The purpose-built gallery is home to a collection of permanent works, from Old Masters to 20th century British paintings and sculpture.[3] Cartwright Hall also has a biennial open exhibition and contemporary and historical exhibitions by local, national and international artists.[4] Since the mid 1980s the Bradford museum group has collected works that are associated with the cultural background of many post-war migrants to the Bradford area.[5] Acquisitions include contemporary South Asian Art - Islamic calligraphy, phulkari style illustrated textiles and items of contemporary Sikh art, including a portrait of Guru Nanak.[6]
Cartwright Hall is the civic art gallery in Bradford, West Yorkshire, England, situated about a mile from the city centre in the Manningham district. It was built on the former site of Manningham Hall using a gift of £40,000 donated by Samuel Lister and it is named after Edmund Cartwright. The gallery which opened in 1904 initially had a display of artworks loaned from other galleries and private collections until it was able to purchase a permanent collection of Victorian and Edwardian works using money raised by the 1904 Bradford Exhibition.[1]
Cartwright Hall stands in Lister Park and enjoys scenic views of the city. Cartwright Hall has been held to represent "Bradford Baroque", a style of architecture typical of Bradford. It is however designed by the same architects as Glasgow's Kelvingrove Art Gallery and Museum (Sir John W. Simpson and E.J. Milner Allen), also in the Baroque style.[2]
The purpose-built gallery is home to a collection of permanent works, from Old Masters to 20th century British paintings and sculpture.[3] Cartwright Hall also has a biennial open exhibition and contemporary and historical exhibitions by local, national and international artists.[4] Since the mid 1980s the Bradford museum group has collected works that are associated with the cultural background of many post-war migrants to the Bradford area.[5] Acquisitions include contemporary South Asian Art - Islamic calligraphy, phulkari style illustrated textiles and items of contemporary Sikh art, including a portrait of Guru Nanak.[6]
Phulkari
The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection.
Phulkari, meaning, “flower work”(phu. = flower, kari = work), is an embroidery originally made throughout Punjab, a region now straddling Pakistan and India. Traditionally, the base cloth was locally handspun and handwoven cotton called khaddar. The thread, called pat, was unplied silk usually imported from China. The dominant embroidery stitch is the darning stitch ( a straight stitch in parallel rows), although artists interspersed it with other stitches. Perhaps because of thread’s high cost, most pieces show embroidery only on one side of the cloth.
Phulkaris were a crucial part of the Punjabi woman’s material wealth. Young girls learned needlework from their older female relatives and friends. Often they made phulkaris for their own dowries, which they brought with them to their husband’s home when they married. Primarily intended as large shawls worn draped over the head, phulkaris could also function as bedding or wall hangings for special funtions. While each phulkari is unique, they may be grouped into types by designs and background colors with names such as thirma (white), sainchi (figurative), or bagh ( garden).
Highlighted here are nineteen superb phulkaris from the Bonovitz Collection, promised gifts to the Philadelphia Museum of Art. All were probably created before the Partition of Pakistan and India in 1947. Also included is a small selection of traditional phulkaris from the Museum’s permanent collection. The exhibition concludes with a creative twenty-first century reinvention of phulkari in the high fashion garments of Manish Malhorta, on of India’s leading designers.
The exhibition is made possible by Jill and Sheldon Bonovitz, the Coby Foundation LTD, and The Stell Kramrisch Indian and Himalayan Art Fund.
From the placard: The Philadelphia Museum of Art.
Phulkari
The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection.
Phulkari, meaning, “flower work”(phu. = flower, kari = work), is an embroidery originally made throughout Punjab, a region now straddling Pakistan and India. Traditionally, the base cloth was locally handspun and handwoven cotton called khaddar. The thread, called pat, was unplied silk usually imported from China. The dominant embroidery stitch is the darning stitch ( a straight stitch in parallel rows), although artists interspersed it with other stitches. Perhaps because of thread’s high cost, most pieces show embroidery only on one side of the cloth.
Phulkaris were a crucial part of the Punjabi woman’s material wealth. Young girls learned needlework from their older female relatives and friends. Often they made phulkaris for their own dowries, which they brought with them to their husband’s home when they married. Primarily intended as large shawls worn draped over the head, phulkaris could also function as bedding or wall hangings for special funtions. While each phulkari is unique, they may be grouped into types by designs and background colors with names such as thirma (white), sainchi (figurative), or bagh ( garden).
Highlighted here are nineteen superb phulkaris from the Bonovitz Collection, promised gifts to the Philadelphia Museum of Art. All were probably created before the Partition of Pakistan and India in 1947. Also included is a small selection of traditional phulkaris from the Museum’s permanent collection. The exhibition concludes with a creative twenty-first century reinvention of phulkari in the high fashion garments of Manish Malhorta, on of India’s leading designers.
The exhibition is made possible by Jill and Sheldon Bonovitz, the Coby Foundation LTD, and The Stell Kramrisch Indian and Himalayan Art Fund.
From the placard: The Philadelphia Museum of Art.
Week 7 Hugs & Kisses ( 881 – 885) will be postponed one week. It will begin Sunday, May 21, 2017 rather then this Sunday. Regards to all. Regan
Decorative statue of a Punjabi Girl dressed in traditional clothes shown doing embroidery on a piece of cloth.
Phulkari
The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection.
Phulkari, meaning, “flower work”(phu. = flower, kari = work), is an embroidery originally made throughout Punjab, a region now straddling Pakistan and India. Traditionally, the base cloth was locally handspun and handwoven cotton called khaddar. The thread, called pat, was unplied silk usually imported from China. The dominant embroidery stitch is the darning stitch ( a straight stitch in parallel rows), although artists interspersed it with other stitches. Perhaps because of thread’s high cost, most pieces show embroidery only on one side of the cloth.
Phulkaris were a crucial part of the Punjabi woman’s material wealth. Young girls learned needlework from their older female relatives and friends. Often they made phulkaris for their own dowries, which they brought with them to their husband’s home when they married. Primarily intended as large shawls worn draped over the head, phulkaris could also function as bedding or wall hangings for special funtions. While each phulkari is unique, they may be grouped into types by designs and background colors with names such as thirma (white), sainchi (figurative), or bagh ( garden).
Highlighted here are nineteen superb phulkaris from the Bonovitz Collection, promised gifts to the Philadelphia Museum of Art. All were probably created before the Partition of Pakistan and India in 1947. Also included is a small selection of traditional phulkaris from the Museum’s permanent collection. The exhibition concludes with a creative twenty-first century reinvention of phulkari in the high fashion garments of Manish Malhorta, on of India’s leading designers.
The exhibition is made possible by Jill and Sheldon Bonovitz, the Coby Foundation LTD, and The Stell Kramrisch Indian and Himalayan Art Fund.
From the placard: The Philadelphia Museum of Art.