Sunaina Suneja, a well-known textile designer and revivalist, has put together an exhibition called Phulkari: A Lingering Presence at the India International Centre in Delhi. The exhibition will run until October 1, 2026, and it features a fascinating mix of vintage and modern phulkari works. It's a deep dive into the traditional embroidery techniques of Punjab, aiming to educate and inspire.
As you walk in, you're greeted by a standout piece displayed in reverse, showcasing the stitches and loose threads usually hidden from sight. Suneja explains this choice: it mirrors the traditional way phulkari was crafted, where emotions were imbued into the side now on display. This piece sets the stage for the rest of the exhibition, which charts Suneja's enduring relationship with this craft.
Suneja's journey with phulkari started back in 2008. She embarked on a project to help generate income for women in villages around Nabha. Initially, she assumed many women were using the traditional technique of counting threads. Instead, she found they were tracing or printing designs. This discovery spurred a two-and-a-half-year effort to bring back the authentic method, which needs a keen understanding of the fabric's weave.
An unexpected visit from an elderly woman during one of the early training sessions turned out to be a breakthrough moment. The woman showed stitches from the reverse side, offering insight into the traditional technique. Suneja then broadened her efforts to Tarn Taran in Punjab, where she not only learned the craft again but also took on the challenge of teaching it.
Her collection of vintage pieces became a crucial resource. Suneja carefully studied borders, central panels, and individual motifs, trying to pinpoint the pehchaan, or identity motif, of phulkari. This research involved meticulous observation and comparison, as the lack of documentation left much open to interpretation.
One major discovery was a sainchi, which led Suneja to a book showing a similar piece. The central panel, figures, placement, and even animals matched, suggesting a repertoire of forms that could be adapted. This finding strengthened her belief that phulkari isn't a fixed art form. Styles like chand bagh, pachranga, darshan dwāra, and sona chandni display varied combinations of color, geometry, and motif.
An unfinished piece in the exhibition provides a glimpse into the embroiderer's process, showing where she started and how far she got before moving to the filling. Suneja views such pieces as evidence of the creative process and the interaction between thread and fabric.
The textiles on show also carry personal narratives, especially those linked to women, marriage, and departure. A vari da bagh, on loan, was given to a friend's grandmother when she married at 13. Meanwhile, a chope is traditionally associated with a bride's wedding rituals. A darshan dwāra, however, is seen as an offering tied to a temple or gurdwara, though Suneja is careful about assigning fixed meanings to these items.
The exhibition's title, A Lingering Presence, captures the idea that phulkari isn't a single, definitive art form. It's a collection of fragments from a language that keeps revealing itself. Visitors are encouraged to explore these fragments and uncover the stories they hold.
The exhibition is open every day from 11 am to 7 pm at the Art Gallery, Kamaladevi Complex, India International Centre, 40, Max Mueller Marg, New Delhi.
