Bearys Group, Mangalore has been awarded the “Outstanding Performance in Construction OHS&E Excellence Award” by the World Safety Organization (WSO), India. The recognition was given for the group’s work on the “Microsoft Data Centre-HYD01” project in Hyderabad.
Syed Mohamed Beary, Founder and CMD of Bearys Group, expressed pride in the recognition and reaffirmed the group’s commitment to prioritizing safety and quality in all their projects.
“Today we have walked the talk and demonstrated our unwavering commitment to ‘Safety First – Project Best’ – ‘Quality First – Project Best’. We remain dedicated to promoting safety, health, and environmental stewardship across all our projects. This is a proud moment for Bearys and we rededicate ourselves to raise the bar further and make Safety & Quality the sine qua non of all our endeavors,” Syed Mohamed Beary said.
The award was presented at the 5th World Safety Organization OHS&E Professional Development Symposium held at Feathers A Radha Hotel, Chennai, on September 27.
source: http://www.radiancenews.com / Radiance News / Home> Awards> Latest News / by Radiance News Bureau / October 01st, 2024
Aamir Qutub, an India-born entrepreneur and CEO of Australian IT multinational Enterprise Monkey, has been awarded the 2024 India Australia Business and Community Alliance (IABCA) Young Professional of the Year Award. The accolade recognizes his exceptional contributions to entrepreneurship and social service in Australia.
Upon receiving the award, Qutub expressed his gratitude in a conversation with Radiance from Australia. “More than a decade ago, when I left my hometown for Australia, I never imagined standing in the grand Parliament Hall, receiving an international award in the presence of the Prime Minister. I am deeply humbled and honored to have received the 2024 IABCA Young Professional of the Year Award.”
Reflecting on his journey, Aamir shared, “This recognition is not just about my individual efforts but highlights the power of community support. From my early days in India to establishing myself in Australia, the backing of people around me has been crucial. This award is for my work as a founder and CEO, where we have created jobs and contributed to the local economy. Our initiative, Angel Next Door, played a key role in helping over 100,000 Australians during the COVID-19 crisis.”
Aamir also offered advice to emerging entrepreneurs in India, encouraging them to pursue their dreams, regardless of their background.
“I come from a middle-class family in a small Tier 3 city, but I dared to dream big. The journey was not easy, but persistence, adaptability, and continuous learning made it possible. Your background does not define your future – your determination does. Every small step you take today contributes to tomorrow’s success,” he said.
Reflecting on his journey, Aamir acknowledged the many people and institutions that played a role in his success.
“From the regional city of Aligarh and the nurturing environment at AMU, where I laid my foundation, to the vibrant city of Geelong, where Deakin University provided me with a platform to grow – this journey has been shaped by countless hands and hearts,” he added.
A proud alumnus of AMU, Aamir has received numerous accolades, including being a finalist for the Australian Young Business Leader Award. He was the youngest General Manager of ICT Geelong and also served as Digital Manager for Australian Sports Tech Network. In the early stages of his career, Aamir worked as a cleaner during the day and a newspaper delivery boy at night to fund his startup. He has also demonstrated his commitment to social causes by spending a night on the streets with other CEOs to experience the life of homelessness, raising awareness for Australians without shelter.
Aamir’s professional journey began with Honda Cars India as a Production Manager before he co-founded the Stand India Foundation, a not-for-profit social venture. He holds an MBA in Information Management from Deakin University and a Bachelor’s in Mechanical Engineering from AMU, where he served as General Secretary of the AMU Students’ Union.
source: http://www.radiancenews.com / Radiance News / Home> Pride of the Nation> Award> Markers of Excellence> Latest News / by Radiance News Bureau / October 07th, 2024
Many believed that the Azad Hind Fauj or the Indian National Army led by Subhas Chandra Bose during the Second World War was made of Indian Prisoners of War captured by Japan. This is a misconception, far away from reality.
A Slice Of History
The reality is that INA was a military unit of Arzi Hukumat-i-Azad Hind (The Provisional Government of Free India). Popularly known as Azad Hind Sarkar, this government led by Subhas Chandra Bose had all the working departments of a civilian administration as health, women empowerment, research, civil services, and banks. It also has its currency. The provisional government was recognised by several countries.
Initially, the government was being run on crowdfunding from the Indian Diaspora of Malaysia, Singapore, Burma, and other Southeast Asian countries. Soon, Bose felt the need to have a central banking system and currency.
An official notification from the Azad Hind Sarkar declared, “His Excellency Netaji Subhas Chandra Bose inaugurated the National Bank of Azad Hind Ltd., on Wednesday, the 5th April, 1944. His Excellency the Finance Minister of Burma, His Excellency the Ambassador of Nippon, and other distinguished members of the Burmese Government and high ranking Officers of the Imperial Nipponese Army were also present.
“The aims and objectives of the National Bank of Azad Hind Ltd., are primarily two-fold Firstly this Bank will help to mobilise the financial resources of Indians as a part of our programme of Total Mobilisation, and secondly this Bank will serve the interests of Burma where it is now established.
“The Bank will also render service to the Provisional Government of Azad Hind by acting as its Agents.”
In April 1944, Bose was discussing plans to establish a central bank of Azad Hind Sarkar. Everyone was worried about the money. A woman officer of the INA in her book Jai Hind: Diary of a Rebel Daughter noted, “Netaji was discussing finance problems with a Muslim multi-millionaire here in Rangoon. He suggested to him that we must have our own Bank because a Government without a bank is unheard of. Again as soon as Imphal falls, our Government would be issuing its currency, and a bank would be invaluable then. Netaji asked our friend, the multi-millionaire, for his suggestions for it.
“The reply came in the form of a question “Netaji, with how much capital do you wish to make a beginning?” Subhas Babu suggested that fifty lakhs would suffice for the purpose. Prompt was the answer ‘Oh-ho, is that all you want? Then, I myself shall give 30 lakhs, and the rest of the twenty lakhs I guarantee to present to you in a week. And within a fortnight our Bank had taken legal shape and opened its doors to business.”
The man in question was Abdul Ghani. He was an Indian businessman settled in Burma, who had donated his wealth to Bose and Azad Hind Sarkar.
Lt. M. G. Mulkar of the INA later recalled, “Ghani paid more than what he said. He gave a contribution of 63 lakhs of rupees in cash and goods for the maintenance of the Indian National Army. In addition to his princely donation, he also gave an estate called the Ziawari Estate, which is worth several crores of rupees.”
S. A. Ayer was appointed Chairman of the bank while Dina Nath was one of the directors. When the war ended, the bank had 5,343,946 Dollars deposit. Apart from this, jewelry and gold worth 86,310 Dollars were also in the funds of Azad Hind Sarkar.
The bank issued its currency notes which had Subhas Chandra Bose, Mahatma Gandhi, Jawaharlal Nehru, and Lakshmi Sehgal printed over them.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Story / by Saquib Salim / October 07th, 2024
‘Patent Man of India’ Prof Shamshad Ali so far bagged seven patents for his multifarious innovations. The professor of engineering at Aligarh Muslim University’s polytechnic is differently abled and keeps underscoring the need for innovation to achieve progress.
Professor of engineering Shamshad Ali at AMU
Aligarh:
Shamshad Ali, a professor of engineering at the polytechnic college of Aligarh Muslim University (AMU) has become popularly known as Patent Man of India for his multifarious innovations. Prof Shamshad Ali, who after taking classes keeps busy with his inventions, has over seven patents to his credit till now, granted by the Patent Office, Government of India, Delhi.
This differently-abled professor never loses heart and always strives for excellence. Be it teaching students or discovering something new, this physically challenged person’s hard work has become a source of inspiration for other teachers and innovators. Prof Shamshad Ali was granted three patents in 2022 alone.
The professor underscores the need for innovation to achieve progress. In his appeal to students and teaching faculty in the AMU, he said, “Innovation plays an important role in upping the university’s ranking. Discovering new things helps teachers and students. So they should keep on doing new research. I have bagged seven patents so far and two more patents will be granted soon.”
“When someone discovers new things. Then the innovator is supposed to apply and submit application online to Delhi patent office. Thereafter an exam is conducted. If you pass the test, they will grant you patent. If not, then you will have to work on it again. It all depends upon the examiner,” said Prof Shamshad.
source: http://www.etvbharat.in / ETV Bharat / Home> ETV Bharat> Bharat / January 07th, 2023
Hyderabad, TELANGANA / SAUDI ARABIA / California, U.S.A :
Hyderabad:
Syed Burhan Badshah Quadri alias Salik, a well-known media person in the Kingdom of Saudi Arabia, lost a five-year long and painful battle with cancer in Santa Clara, California, the USA, on Thursday (December 22).
Burhan, as he was known among most of his friends, came from a traditional and elite family of Hyderabad. He was 74 years old.
His father Syed Kaleemullah Qadri was the last Subedar of Hyderabad of the Nizam era. After the Police Action of 1948 he was arrested and released after some time. After he was reinstated he worked as head of several departments before his superannuation.
Burhan is survived by his wife Shahnaz and four children–two daughters and two sons.
Burhan after completing his bachelor’s degree with the Nizam College had joined Nizams Sugar Factor as a management trainee and moved over to the Kingdom of Saudi Arabia somewhere in the mid-seventies.
Within few years of him arriving in the Kingdom, he became one of the topnotch executives from India. He worked with several companies and finally began his own advertising agency Zee Ads which counted many major companies among its clients. He was one of the few Indian executives in the Kingdom at that time who owned a BMW and lived comfortable, if not luxurious, life. The company had to be closed down owing to some managerial issues. From there started the next phase Burhan’s life.
Among a host of his close friends who are deeply bereaving his loss are Mohammad Majid Ali, Nadir Yar Khan, Zahyr Siddiqi and Syed Inamur Rahman Ghayur.
Burhan a photographer by passion took keen interest in the political developments taking place in India and expressed his opinion without any hesitation. His talk which he considered free and frank was painful for many of his friends. Among his favourite personalities was Nawab Mir Osman Ali Khan, the last Nizam of Hyderabad. He would never keep quiet if he heard any negative comment about the Nizam. In his eyes the Nizam was a symbol of tolerance, development and Hindu-Muslim unity.
It is not yet known when and where he would laid to rest.
source: http://www.siasat.com / The Siasat Daily / Home> Obituaries / by Mir Ayoob Ali Khan / December 23rd, 2022
Mohammad Hanief Bhat at his workstation. Photo: Aatif Ammad
Srinagar:
In the early morning, as the streets of downtown Srinagar — known for its artisans and art forms — begin to buzz with activity, shopkeepers display their goods and autowalas wait for customers. Mohammad Hanief Bhat, 62, starts his day by opening a window in his workstation, located on the first floor of a 100-year-old building. As sunlight streams into his room, he begins assembling small pebbles, which he will set into a brass shell to create a necklace. This craft, known as Ferozi in Kashmiri and Turquoise in English, involves making jewellery with stones fixed in brass, and Hanief is its last guardian.
“This is a challenging art, but it is my identity. My father practiced it, and back then, this craft was well-recognized and loved by foreigners. They would come here and purchase items from us. In the 1970s, my father employed more than 30 artisans who worked under him,” he said.
Mohammad Hanief displays a variety of necklaces he has crafted over the past few years. Photo: Aatif Ammad
Hanief was young but the eldest in his family when he lost his father. Since this art form was their only source of income, he eventually had to take matters into his own hands and manage the small workstation where 30 artisans who had worked under his father taught him the craft.
He was just a child, a grade five student, when he lost his father. Being the eldest among his siblings, he had to take on the responsibility of managing the family’s turquoise art workshop, their sole source of income. Fortunately, the artisans working in their workshop were kind and taught him the craft very well.
Over time, Hanief mastered the art, but the demand for it mysteriously declined. Consequently, many artisans abandoned the craft as it no longer provided a sufficient income for survival. The number of artisans dwindled from 30 to just 5.
Hanief adding the finishing touch to a pendant. Photo: Aatif Ammad
Hanief’s father crafted hundreds of pieces of jewellery each week, which he would take in a large basket every Friday to a family with a showroom in Zainakadal, just 2 kilometers from Hanief’s home. This family would then sell the jewellery in their showroom. According to Hanief, they always managed to sell everything they made, despite never having any pre-orders, as everything they produced was sold to that business family.
The same trend persisted when Hanief took over; the demand remained steady, and he was able to sell everything he made. However, over time, the demand declined for reasons Hanief couldn’t understand. Consequently, many artisans abandoned the craft, leaving Hanief as the only one who continued it.
Aside from Hanief’s father, more than 60 families were involved in the craft of turquoise. However, over time, everyone abandoned the craft, leaving Hanief as its last guardian. As the artisans departed, Hanief also quit for a few months, leaving no artisans remaining, and he began selling carpets instead.
“In the 1990s, nearly everyone abandoned the art, and I also thought it was not worth continuing since there were no buyers. I eventually left it and started selling carpets. Although I earned more from selling carpets, I was never satisfied with that profession. I felt it would be a great injustice to the art that my father devoted his life to. So, I left everything else and returned to practicing the art of Ferozi,” Hanief explained.
When Hanief resumed making turquoise jewellery, he found that there were no longer any major buyers to sell it to customers, as the previous showroom owners had lost interest due to decreased demand.
However, his sister, whose family runs businesses in Bangalore, suggested he come to Bangalore for art exhibitions to sell his jewellery. There, he discovered that people were attracted to his art, with many NRIs and foreigners purchasing from him. This allowed him to sell a significant amount of jewellery, but the exhibitions only lasted a few days.
Hanief visited Bangalore every year and set up a stall at the exhibition, managing to sell a good quantity of jewellery. However, it wasn’t enough for him to sustain a livelihood solely from the craft.
“Bangalore exhibitions gave me a lot of hope and motivation to continue the craft,” said Hanief, adding, “People used to come and praise me there. It gave me a lot of confidence and recognition”.
New Innovations in the Craft
Traditionally, turquoise jewellery was exclusively blue and featured very simple designs. However, Mohammad Hanief introduced innovations after several buyers in Bangalore expressed a desire for more colours and designs. Upon returning to Kashmir, he thoughtfully incorporated new colourful stones and created different designs. He even added unique elements, such as breaking thin wires into small pieces to use in necklaces for a distinctive look.
Colourful necklaces from Hanief’s collection. Photo: Aatif Ammad
Hanief remarked, “I used to get bored making the same designs and colours every time, but I never thought of doing something new. It was only when some foreign buyers at an exhibition in Bangalore suggested that I introduce more varieties and colours. I then started creating jewellery in different colours that people would love and adore. I felt happy and satisfied making these new types of jewellery.”
He currently makes turquoise jewellery in almost every colour.
No Government Support
Despite the widespread appreciation for Hanief’s art of crafting turquoise jewellery, the local government has never recognized his efforts, even though he received accolades from states like Kerala.
Hanief remarked, “Although I have carried this art on my shoulders for years and I am the only one left practicing it, our government has never appreciated or recognized me. However, officials from Kerala and Karnataka have always praised me and assisted in setting up stalls in Bangalore.”
Mohammad Hanief’s artisan card, issued to artisans of various crafts, expired in 2022. Despite submitting it to officials for renewal, the process is still pending. Hanief believes that the officials do not take his art seriously, which is why they show little interest in his official matters.
Concern for the Art’s Survival
Mohammad Hanief, now in his sixties, is deeply concerned that his craft will perish with him, as he has no children to carry on his legacy as he did after his father’s passing.
source: http://www.twocircles.net / TwoCircles.net / Home> Art>Culture / by Muhammad Aatif Ammad Kanth, TwoCirlces.net / August 18th, 2024
Wajid Khan Artist with the portrait of Mahatma Gandhi he made with nails.
Few artists are as passionately obsessed with Mahatma Gandhi as Wajid Khan, whose love and reverence for Gandhi manifest in extraordinary ways through his art. Wajid’s devotion to the Father of the Nation is evident not only in the subjects of his artwork but also in the innovative techniques he uses to create them. Whether by assembling nails, arranging goggles, or using other unconventional materials, Wajid Khan’s portrayal of Gandhi is a testament to his deep admiration.
Wajid Khan a multifaceted artist—a portraitist, sculptor, inventor, and patent holder—known for pushing the boundaries of traditional art. He specializes in creating intricate works of art using unconventional materials such as iron nails, bullets, metal, stones, automobile parts, medical equipment, iron rods, and more. His passion for creativity is boundless, and his art often reflects his deep emotions and thoughts about the world and the figures who have shaped it.
Among his many talents, Wajid’s ability to carve canvases using iron nails has garnered international acclaim. His work has earned him places in prestigious records such as the Guinness Book of World Records, Limca Book of Records, and Asia Book of Records. His artistic prowess is admired from Mumbai to Dubai, captivating both art connoisseurs and the general public with his exceptional nail art.
Although Wajid has made portraits of numerous iconic personalities, including Indira Gandhi, Jawaharlal Nehru, Sardar Patel, Dhirubhai Ambani, and Nelson Mandela, his fascination with Mahatma Gandhi stands out. His first portrait, fittingly, was of Gandhi—a powerful expression of his love and passion for the man who led India to independence. Wajid meticulously used thousands of iron nails to craft this portrait, each nail symbolizing the unwavering dedication and perseverance Gandhi embodied throughout his life.
Wajid’s connection to Gandhi goes beyond artistic inspiration. His admiration for Gandhi stems from the values of patience and truth that Gandhi represented. “There are many qualities in Gandhiji that impressed me deeply,” Wajid shared in an interview. “His power of patience and his commitment to truth are what stand out the most. For me, those who hold onto patience and never lie are truly great individuals.”
One of the moments that left an indelible mark on Wajid was when he visited a museum and saw letters written by Gandhi in which the leader openly admitted his mistakes. “It takes a big heart to admit one’s mistakes in public,” Wajid reflected. “I greatly admire Gandhi’s patience and steadfastness.”
Wajid’s connection to Gandhi also has personal roots. He fondly recalls stories from his grandfather, who would attend Gandhi’s meetings during the freedom movement in India. “My grandfather used to tell us about the time when he was very young and would participate in Gandhi’s meetings. Enthusiastic crowds would gather to listen to Gandhi, and when they returned, they were always calm and composed,” Wajid recounted. The calm demeanor Gandhi inspired in his followers left a profound impact on Wajid, influencing both his life and his art.
In one of his most ambitious projects, Wajid demonstrated the extent of his dedication to honoring Gandhi. He organized an event where 6,000 people were gathered in a stadium, carefully arranged in a formation that created a massive portrait of Gandhi. This live depiction showcased not only Wajid’s artistic genius but also his ability to bring people together to celebrate Gandhi’s legacy.
Wajid Khan’s artistic journey is a remarkable blend of creativity, innovation, and an unyielding devotion to Gandhi’s principles. Through his portraits, sculptures, and inventive techniques, he continues to keep the spirit of Gandhi alive, inspiring others with the same values of patience, truth, and perseverance that Gandhi embodied.
source: http://www.muslimmirror.com / Muslim Mirror / Home> Indian Muslim> Positive Story / by Syed Zubair Ahmad / October 02nd, 2024
Father Muller Medical College is celebrating a landmark achievement as Dr Ashique K T, an esteemed alumnus of the Department of Dermatology, Venereology, and Leprosy, has been awarded a patent for his innovative medical device, the Dr Ashique’s Skin Clamp.
The patent, issued by the Controller General of Patents, Designs, and Trade Marks of the Government of India (Patent No. 548121, dated November 26, 2020), acknowledges the groundbreaking work of Dr Ashique, who is currently the medical director and senior consultant dermatologist in Perinthalmanna, Kerala. His invention holds far-reaching implications across multiple medical disciplines, including dermatology, dermatosurgery, dental and maxillofacial surgery, hair transplantation, ENT, emergency medicine, general surgery, and gynecology.
The Dr Ashique’s Skin Clamp is a sterilizable, metallic surgical tool designed for use in a wide range of medical procedures. Its versatility and effectiveness have already caught the attention of professionals across various medical fields. The device offers a practical solution to complex surgical challenges and is set to make a significant impact on clinical practices once commercial production begins.
Dr Ashique’s journey toward this patent was marked by close collaboration with his former professors and mentors from the Father Muller Medical College Dermatology Department. Throughout the development and research phases, he regularly sought their advice, leveraging their expertise to refine his innovative design. This spirit of partnership and academic support has been instrumental in transforming his idea into a patented reality.
In a statement, Fr Richard Aloysius Coelho, director of Father Muller Charitable Institutions (FMCI), expressed pride in Dr Ashique’s achievement. “It is a moment of great pride for our institution to witness one of our own making such a meaningful contribution to the medical field. His innovation is a testament to the excellence fostered within the walls of Father Muller Medical College,” said Fr Coelho. The administrative heads of both the medical college and hospital also joined in congratulating Dr Ashique on this remarkable accomplishment.
The Department of Dermatology, Venereology, and Leprosy at Father Muller Medical College continues to shine as a center of excellence, cultivating bright minds who contribute groundbreaking solutions to the medical world. Dr Ashique K T’s patent is just the latest example of how the institution empowers its students to innovate, achieve, and redefine the future of healthcare.
With plans to publish detailed research on the skin clamp’s many uses and the upcoming commercial production, Dr Ashique’s contribution to modern medicine is just beginning to unfold. The medical world is watching eagerly as this revolutionary device prepares to hit the global market.
source: http://www.daijiworld.com / Daijiworld / Home> Top Stories / by Media Release / September 26th, 2024
The annual Global Islamic Finance Conference 2024 was recently held in the Maldives, organized by the Maldivian government. The event was graced by the presence of former Maldivian President Mohamed Waheed Hassan and Finance Minister Mohamed Shafeeq, alongside representatives from various Muslim countries and Islamic banking institutions, reported the Siasat.
During the conference, Syed Moosa Kaleem Al-Falahi, Chief Business and Investment Officer of the Islamic Bank of Afghanistan, was honored with the Global Islamic Finance Award 2024 (GIFA). The award was presented by former President Waheed Hassan and Finance Minister Dr. Mohamed Shafeeq in recognition of his significant contributions to the field.
Hailing from Hyderabad, Syed Moosa is the son of the late Syed Yusuf, former Secretary of the Andhra Pradesh Legislature and former Hon. Editor of Radiance Viewsweekly. He has an impressive track record, having served in prominent roles at the Dubai Islamic Bank, the Islamic Bank of Afghanistan, and various other Islamic banking institutions.
Syed Moosa has played a pivotal role in promoting the concept of Islamic banking in Afghanistan, facilitating the establishment of new branches of the Islamic Bank of Afghanistan to enhance banking services. His extensive experience and commitment to advancing Islamic banking principles were acknowledged at the global conference.
The event was jointly organized by Cambridge IFA and the Maldivian government, where Syed Moosa’s contributions to small and medium enterprises and retail sectors through the introduction of Islamic products were particularly highlighted. His expertise has been instrumental in promoting the ideals of Islamic banking across multiple countries.
source: http://www.radiancenews.com / Radiance News / Home> Muslim World> Asia> Awards> Focus / by Radiance News Bureau / September 19th, 2024
Featuring the work of Asif Shaikh and his artisan studio
Mary Giles Gallery • April 18 – June 7, 2023
Textile Center is honored to host this special exhibit of work by Asif Shaikh, from Ahmedabad, India. As one of India’s most accomplished and acclaimed embroidery and textile artists and experts, Asif’s incredible embroideries, research, and writing create a bridge between East and West, old and new, tradition and innovation. His intricate and labor intensive artisan stitching “mends” a historic gap in Indian craft through his revival of Mughal (court) embroidery.
This collection of work from his studio highlights his leadership and influence in the revival of India’s textile heritage, focused on hand embroidery. Throughout his life, Asif’s work has developed with a highly refined and deeply held sense of aesthetics, steeped in detailed design and technical tradition. His dedication to the making of the ornate embroideries featured in the exhibition serves is testament to the social and cultural value of embroidery.
Born in Ahmedabad, a city renowned for its rich culture and textile heritage, Asif took up embroidery when he was about ten years old. At an age when embroidery was rarely pursued by young boys, Asif chose needle, thread and fabric over other interests. He explored a spectrum of traditional Indian embroidery techniques from different regions of India by learning the stitch himself, to build a sound technical foundation and fundamental understanding of stitch. Currently, his studio employs artisans who produce a range of embroidered yardage, which is transformed into garments and textiles. Showcasing a sophisticated juxtaposition of contemporary style and traditional textile techniques in stitch, motif, composition, and color palette, these textiles recreate the grandeur and fineness of India’s fabled royal textiles and attire, while reviving and preserving the tradition of Indian embroideries and supporting local artisans.
Reflecting on his sought-after works, Asif says, “Embroidery is what I live for. I will always immerse myself into this mesmerizing world because it gives me utmost satisfaction and happiness. No matter how fanciful, I love to give shape to an idea and bring it to life using timeless techniques with an innovative twist.”
Thanks to Mary Anne Wise for introducing us to Asif’s work and to Shelley Wells for delivering, curating, and installing this exhibition.
_____________________Art Speaks: Resurgence with Asif Shaikh_______________
In this virtual conversation in June 2023, Asif Shaikh joined Textile Center from Ahmedabad, where he presented his work and practice, including his most recent projects.
In this virtual conversation in June 2023, Asif Shaikh joined Textile Center from Ahmedabad, where he presented his work and practice, including his most recent projects.
____________________In the Gallery_________________
source: http://www.youtube.com / Art Speaks: Resurgence with Asif Shaikh
One of the most precious links between India’s ancient history and the present moment is the living heritage of her textile art – those rich and glorious traditions that effortlessly interlink the Maker, myths, human hands and time honored skills as weft meets warp and needle meets cloth. Manifest throughout this vast and varied country is a rich diversity of woven, embroidered, printed, resist dyed and embellished handcrafted textiles intended for use as attire for deities and mortals, as decorations for places of worship and homes and as items of trade. Today’s textiles still carry the history of early cargoes that set sail from India to the ancient Roman Empire, the Indonesian archipelago and courtly Europe.
Amongst those historic shipments were India’s highly sought after embroideries. Initially created to strengthen and join fabrics, embroidery has been finely crafted over time for its decorative effects, as an expression of the skill, creativity and belief of the needle worker and as a reflection of regional styles and variations. The rich repertoire of Indian embroidery includes a beautiful range of stitches and techniques worked on fabric with supplementary threads, as well as further embellishment with elements such as mirrors, metals, coins and shells. Drawing on the wealth of traditional techniques, 21st century needle workers are able to create a range of exquisite traditional and contemporary embroideries for garments and home décor.
________________________AARI on KARCHOB______________________________
The karchob is imperative in order to create fine quality embroidery. Basically two types of embroidery can be done on the karchob; Aari (chain stitch) with silk and metal thread (kasab / kalabattu) with a number of variations in the stitch and Zardozi with metal threadand other elements once again using a variety of stitches. Aari work is executed with the aari needle, a fine awl similar to the European tambour hook, while zardozi is executed with a regular needle.
The aari needle has a notch incised just above its point and this forms the hook. The thread is held under the fabric, the aari needle is pressed through the fabric to take up the thread and pull it through to th e upper surface thus forming a small loop. The tip of the aari needle is then inserted through the loop and into the fabric once again and the process is repeated to form a continuous line of chain stitch.
Chain stitch remains the most popular stitch worked with the aari needle and several stitches can be developed from this. Basic chain stitch can be worked with single, double, three and four ply threads which make stitches of varying fineness.
Stitches that can be worked with the aari needle are:
Bal taka – twisted chain stitch creating a knotted effect
Batt – close lines of chain stitch to fill shapes
Jali – a netting effect created by pulling threads with the aari (different effects are created by varying the stitches)
Lote – closely worked, long chain stitch similar to satin stitch
A variety of threads including cotton, silk, wool and metal are used to create embroidery with the aari needle. According to the thickness/fineness of the thread an aari needle of suitable thickness/ size of notch is selected for the work.
Pitta work is aari embroidery using metal threads. When the motifs are completed the metal thread is gently tapped with a small wooden hammer. A wooden dabber is held below the surface of the fabric to support the embroidery, to smooth the work and give it a soft sheen.
The aari needle is also used to secure beads and various elements such as sequins onto the fabric using fine stitches.
Ajrakh is a multi-layered resist block printing technique. This exquisite example is created with the use of natural dyes on a base of gajji silk.
In this piece, the all-over design is of a repeating star-like pattern and is embellished with aari embroidery. With the use of sequins and gold thread, the aari embroidery highlights a lattice pattern (jaali) seen at the top and bottom borders. The gold stitch work and sequins are also incorporated into the central field, emphasizing the star motif.
The ajrakh on the silk fabric is the work of Abdul Jabbar Mohammad Khatri of Dhamadka.
Bandhani is a resist tye-dye technique created by tying tiny knots on fabric. The detailing on the sleeves and base of the skirt show aari pitta embroidery using metal threads.
When the embroidered motifs are completed, the metal thread is gently tapped with a wooden hammer. A wooden block is held below the surface of the fabric to help support the embroidery. The tapping smooths the stitches and gives the work a soft sheen.
The observe of sash is embellished with parallel aari chain stitching and a smaller aari pitta motif on the reverse.
The bandhani on the silk fabric is the work of Abduljabbar and Abdullah Khatri and the artisans of SIDR Craft studios, Bhuj, Gujarat, India.
Chikankari is a subtle, sophisticated style of embroidery worked with white cotton threads on fine white cotton fabric using a round frame. This ethereal needlework, often referred to as ‘shadow-work’, was perfect for embellishing summer attire for royalty families.
The technique and skill of chikankari remains Lucknow’s forte, and is passed down through the female line. Chikankari was traditionally worked on very fine muslin, making the embroidery appear to be a part of the fabric. Motifs are stamped on the fabric with small wooden blocks dipped in colour that is washed off after the embroidery is completed.
The motifs are generally floral and paisley in design. Each pattern is designed in such a way that it seamlessly forms part of the garment in terms of size, shape and placement. Since the colour palette was traditionally limited to white on white, it was through the incorporation of different stitches that varied effects were created.
Chikankari comprises six main stitches – taipchi, bakhia, khatao, murri, phanda, jali, and their variations. Some on the reverse, while others pull the threads to create a ‘jali’ (net). A garment or textile frequently incorporates more than one of these stitches. To create a rich formal look, kamdani and fardi are added to chikankari.
The delicacy and fineness of chikankari is dependent on the care and patience of the artisan. One garment can take months to complete.
This work is stitched on fabric woven by the artisans of Bhairvis Chikan, a cooperative textile center founded by Mamta Varma, in Lucknow, India.
Danka embroidery is practiced in Udaipur by the Bohra community of Rajasthan and is named after the square pieces of gold plated silver foil used in its creation.
Danka squares are made from thin sheets of polished silver which are gold plated, cut into shape and then further hammered to obtain the curved surface typical of this embroidery.
The squares are arranged into motifs and multiple strands of metallic thread are couched on the edge of the danka using the tool called fatila. The tip of the motif is usually finished with a loop couched onto the fabric.
Danka embroidery can be further embellished with metal aari, sequins, dabka, nakshi, and beads.
The motifs used are inspired by nature and include paisley, flowers, peacocks and the sun and moon.
This embroidery, using floral and geometric motifs, is executed on thick fabrics including velvet. In past centuries, Dokh embroidery was mainly used in furnishings, carpets and flags.
Different metal threads including badla are used to create dokh. Essential to this embroidery, a foundation padding up to one inch in thickness is created by the use of soft thick cotton thread. The raised surface at the center of the floral motif gradually tapers down to its pointed edges.
These padded surfaces are then covered with thick metallic thread using a ‘fatila’. This one-inch square wooden bar measuring 6 inches in length is the exact size and weight required to prevent the threads from becoming entangled.
The edges of the shapes are finished with couching using an ‘S’ twist. The overall appeal of dokh embroidery is its elegant embossed surfaces.
Girah is a type of surface stitch commonly associated with Chikankari embroidery from the Lucknow community. Also known as pipal girah, the stitch is similar to what we in the West would know as the French knot.
To obtain the variation in the design, two types of girah are employed; traditional girah and chhalle girah. Traditional girah gives a tighter, more controlled stitch, as seen in the center of the flower, and chhalle girah gives a looser, more relaxed stitch, as seen in the petals.
Gota is a flat woven ribbon that uses thin strips of gold/silver wire in the weft and silk/cotton in the warp. It is mainly woven in Surat and in Ajmer (Rajasthan).
Gotta ribbon is used as a decorative element on textiles and is practiced mainly in Jaipur in Rajasthan. The motifs are mainly inspired by nature and include plant forms and stylized paisley.
To create the motifs, different shapes of cut pieces called ‘gota patti’ are sewn together. The cut ‘gota patti’ is first attached to the base fabric and then couched with multiple strands of metallic threads using the fatila. Further embellishment is created by the addition of various metal elements such as beads and sequins.
This type of embroidery is generally used to cover larger surfaces of textiles and thus giving a heavy look while remaining light weight.
Kamdani is one of India’s most beautiful and versatile embroideries worked with badla or flat metal strips to create a dressy and sophisticated look. While zardozi tends to be heavy with its metal threads and elements, kamdani is lighter as it is worked with only one element – badla.
In kamdani, the badla is used like a thread to create stitches.
To begin embroidery, the embroiderer threads a thick needle with a short length of thread making a small loop towards its end. One end of the badla is then attached to the loop. The needle is slipped in and out of the cloth in a continuous movement and the badla is pulled along with it. Only a small amount of the badla is then visible on the upper surface of the fabric. The end piece of badla is then turned under in order to secure it, while the needle is once again pierced into the fabric and stitch is continued.
Kamdani requires a high degree of skill, as after a few stitches the badla tends to get twisted.
Treating the badla as if it were a thread, embroiderers are able to work a variety of stitches. Traditionally, floral motifs were most popular in kamdani with few geometric motifs. Different types of jalis can be created using badla, including wave patterns, parallel lines, stars and diagonals.
Badla is also used for making ‘fardis’ (small dots). Fardi is created by knotting a short length of badla. The process is repeated to fill the space. For fardi a flat thick needle with two eyes is used to take the badla through the fabric.
Fardis are an effective way of embellishing a textile. Dots can be placed in patterns and combined with other textile techniques such as bandhani, chikankari, and printed or woven textiles to enhance their beauty. In this way badla can be used to create rich, formal and elegant work on clothing.
After the work is completed, the embroidery is placed against a hard surface and the reverse side is very gently rubbed with a cowrie shell to smooth the work and flatten the badla against the fabric.
_______________________KARCHOB – THE SCROLL FRAME__________________
The karchob, a traditional, horizontal, floor-mounted hardwood frame, is the tool that assists needle workers to create fine embroideries. In fact, this frame is so closely linked to the work itself that embroideries thus created – although very different in the use of materials, techniques and effects – are traditionally referred to as ‘karchobi’ meaning `worked on the karchob’.
The word karchobi instantly distinguishes an embroidered work as it conveys that it was created on this frame rather than by hand holding or using a small frame. While embroidery can be executed in various ways either with or without a frame, it is by working on a karchob that the art of embroidery is extended well beyond that which is otherwise possible. Furthermore, as it allows up to 20 embroiderers to work at the same time on one piece, the karchob permits working on a large scale as well as producing the volume required for commerce.
The karchob has four wooden bars; two short horizontal bars called Shamsheer and two long vertical bars called Adda that rest on wooden legs. These bars are fixed to each other on all four sides using nails. The fabric to be embroidered is stretched across the framework and affixed to the horizontal and vertical bars with the help of additional cotton fabric, cord and thread. This is the most important stage where the fabric needs to be attached with precision keeping the grain line of the fabric parallel to the bars of karchob.
The karchob helps in keeping the right tension of the fabric to be embroidered. As the fabric is stretched across the frame it becomes convenient to stitch, that is, to move the needle in and out of the cloth. The frame also provides much needed support for the hands/arms of the embroiderer who generally works long hours. Furthermore, both hands are free to work the embroidery. At the end of the day the embroidery in progress is wrapped around an arm of the karchob.
A karchob can vary in size – up to 3 metres in length and 1.5 metres in width. A small karchob is used when working on small textiles and this can be placed on any structure that supports each corner leaving the centre free for stitching. A large karchob is used when working on large textiles and the work is often divided between embroiderers who sit on the floor to work. Sections of large textiles such as saris, that are typically 5.5 metres in length, are worked on and then wrapped around an arm of the karchob to facilitate embroidery on the unworked section.
_____________________KUTCHI AARI EMBROIDERY, example 1____________________
One of the most fascinating historical and cultural inheritances of Kutch, a desert area located in the western most part of Gujarat, is its wealth of textiles. Kutch women traditionally create densely worked embroideries to beautify fabrics, create social wealth and express their skills and identities.
Kutchi embroidery features several stitches one of which is an adaptation of the cobbler’s stitch. This stitch, worked with an awl, was executed by ‘mochis’ (cobblers) to embellish leather goods such as shoes, bags, camel saddles and other articles. It is interesting to note that this technique was adapted over time for use on fabric and is now known as aari embroidery.
An entire spectrum of Kutchi embroidery is worked with the creative and skillful use of the needle without the use of frames. Exquisite and fine motifs inspired by nature, mythology and tradition are thus created.
Inspired by mochi embroidery motifs, Asif’s studio gives new dimension to this karchobi aari technique. Through the clever use of hue and shading, new looks and palettes are created. The most eminent aspect of this embroidery technique is the quality and depth created in the motifs which are further adorned with badla, beads and sequins thus creating contemporary and rich textiles.
Asif’s studio created a collection of Kutchi embroideries especially for the V&A Museum in London. This collection referenced motifs featured in antique aari embroideries exported to Europe in past centuries. The shapes, colors and proportions of the original motifs were refined by Asif to create the modern masterpieces.
_____________________KUTCHI AARI EMBROIDERY, example 2________________
One of the most fascinating historical and cultural inheritances of Kutch, a desert area located in the western most part of Gujarat, is its wealth of textiles. Kutch women traditionally create densely worked embroideries to beautify fabrics, create social wealth and express their skills and identities.
Kutchi embroidery features several stitches one of which is an adaptation of the cobbler’s stitch. This stitch, worked with an awl, was executed by ‘mochis’ (cobblers) to embellish leather goods such as shoes, bags, camel saddles and other articles. It is interesting to note that this technique was adapted over time for use on fabric and is now known as aari embroidery.
An entire spectrum of Kutchi embroidery is worked with the creative and skillful use of the needle without the use of frames. Exquisite and fine motifs inspired by nature, mythology and tradition are thus created.
Inspired by mochi embroidery motifs, Asif’s studio gives new dimension to this karchobi aari technique. Through the clever use of hue and shading, new looks and palettes are created. The most eminent aspect of this embroidery technique is the quality and depth created in the motifs which are further adorned with badla, beads and sequins thus creating contemporary and rich textiles.
Asif’s studio created a collection of Kutchi embroideries especially for the V&A Museum in London. This collection referenced motifs featured in antique aari embroideries exported to Europe in past centuries. The shapes, colors and proportions of the original motifs were refined by Asif to create the modern masterpieces.
Marodi, simply worked with twisted plied yarns, is one of the most eye-catching embroideries of North India.
The name ‘marod’ – meaning twist – explains the embroidery. The yarns are twisted manually to make a cord which is in turn used to create repeated loops that form a continuous line. The twisted cord is wrapped around a square 6-inch long wooden bar pointed at one end. Also known as fatila, this tool allows the cord to be uniformly tensioned and create loops of equal size. Furthermore, its pointed end shows the right direction for the loops to follow.
In marodi, couching threads are visible. The twisted cords are couched together with a contrasting thread to form ornate patterns. The cotton threads were traditionally dyed in saffron when used for gold and white cotton threads used for silver couching.
The motifs have a curved contour, usually forming a loop at the tip. Unlike zardozi, where the patterns are completely embossed, marodi features slightly open work. Badla, dabka, salma, and sitara are used for embellishment.
Marodi can also be executed with twisted silk cord.
Originating in China, Parsi embroidery was noted for the use of different kinds of minute knots, satin, chain and couched stitch worked with silk, metal and untwisted silken floss yarn with the addition of beads and sequins.
Asif’s studio has simplified the technique of ‘khakha’ knots by employing ‘palti taka’ (reverse chain stitch) with the aari needle on karchob.
This new technique was created for the textile chapter of the UNESCO Parzor Project.
____________________________TREE of LIFE____________________________
This exquisite piece of needlework can be viewed from both sides. Similar to the Chinese form of Su embroidery, this double sided embroidery depicts the Tree of Life, found in the stone fretwork of the historic Sidi Saiyyed Mosque (built in 1573) Ahmedabad, India.
In the piece, the ground cloth is handwoven fabric made of silk and linen. The aari stitch, seen throughout the exhibit, is seen here crafted in fine silk, half the thickness of traditional embroidery thread.
Vasli embroidery is named after the paper that is used in its creation.
Vasli, a special paper used in miniature painting, has high archival properties making it favorable for use in embroidery. Several layers of paper are glued together using a glue made of a cooking flour that is not only free of synthetic chemicals but is also insect resistant.
Cut paper shapes of the specially designed motifs are stitched onto the fabric. Metal thread embroidery is then closely worked on the paper pieces. Metallic thread is couched on the edge of the paper shapes in an ‘S’ twist leaving a well defined edge. Multiple strands of metallic threads are used for this embroidery. The tip of the motif is usually finished by a loop that is couched to the fabric.
After the couching is completed the metal thread is gently tapped with a wooden hammer which compresses the stitch and gives a soft sheen. Further embellishment is created by the addition of various metal elements.
Zardozi is derived from the Persian words ‘zar’ meaning gold and silver thread and ‘dozi’ meaning ‘karigari’ (craftsmanship). In zardozi, metal elements are threaded through a needle and the motifs are embroidered wholly or partially in different stitches such as satin, darning and stem stitches as well as couching.
As well as metal thread, metal wires of different shapes, size and thickness are cut into required lengths. Metallic elements such as kangani, dabka, badla, salma, and sitara are attached using fine stitches for embellishment.
The karchob is useful in creating zardozi embroidery. Metal elements to be stitched onto the work are placed on the stretched piece and thus easily taken up by the needle as the artisan embroiders the fabric.
Zardozi embroidery recreates the splendor of the textiles and garments created in imperial workshops during past centuries.
source: http://www.textilecentermn.org / Textile Center / 2023
