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Relevant bibliographies by topics / Indian embroidery

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Academic literature on the topic 'Indian embroidery'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 February 2023

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Journal articles on the topic "Indian embroidery"

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Kaur, Jasminder. "GANGAVATARAN THEME ON CHAMBA RUMAL." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 7, 2022): 224–31. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.83.

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The needle art or embroidery was the famous time pass of Indian woman folk. Many of these home-grown techniques have taken a place in the larger canvass of Indian art. Chamba rumal of Himachal Pradesh is one of them. It is narrative theme & technique, and commands a special place in the Indian embroidery world. Chamba rumal is embroidered on off white cotton cloth with untwisted silk threads. Although we find two styles of embroidery in the Chamba valley, the classical one is the style famous in the art world with the name of Chamba Rumal. The classical style of the embroidery was developed under the patronage of Royal families of the Himachal Pradesh. This embroidery style and Pahadi painting developed parallel to each other. This is the reason that the scenes depicted on these Rumals have striking similarity with Pahadi paintings. There are many examples showing the alikeness and similar theme between Chamba rumals and Pahadi Paintings. A Chamba rumal with Gangavartaran theme alike to the Pahadi painting is in the collection of Bharat Kala Bhavan museum in Banaras Hindu University. This has the depiction of the famous story of Holy river Ganga’s flow from heaven to the earth on the request of King Bhagirath who did much of penance & austerities to bring Ganga on earth to get salvation for his forefathers.

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Tyagi, Ruchi. "Meerut Embroidery Cluster: A Case Study." South Asian Journal of Business and Management Cases 1, no. 2 (December 2012): 185–202. http://dx.doi.org/10.1177/2277977912459445.

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This study tries to integrate marketing, backward–forward linkages and agency support to handicraft cluster in Meerut. The cluster has a large artisan base and opportunities of large domestic market and export potential. However, it lacks transportation facility, an organized infrastructure, networking, production line approach and designer input. There is a need for technological upgradation. The case throws light on the development of embroidery, presenting a broad view of Indian embroidery history with its diversity and the turning point in embroidery with the advent of new technology. The case takes up for study Meerut embroidery cluster with objectives of identification of areas of intervention for inclusive growth by integrating marketing with product development and designing.

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Pallathadka, Harikumar, Sanjeev Kumar, and Laxmi Kirana Pallathadka. "Geographical Indication and Traditional Wisdom: A Study with Special Reference to Chamba Rumal in Himachal Pradesh." Integrated Journal for Research in Arts and Humanities 2, no. 6 (November 20, 2022): 64–70. http://dx.doi.org/10.55544/ijrah.2.6.8.

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Geographical Indications and traditional knowledge associated with Chamba rumal in the state of Himachal Pradesh are the current research subjects. A visual art form characterized by characteristic embroidery, Chamba Rumal arose and flourished in Chamba, Himachal Pradesh, during the 17th and 18th centuries and is being practiced today. Rumal is a Persian name that refers to a square piece of cloth that is used as a handkerchief in traditional Persian culture. Paintings influence the fundamental structure and themes of Chamba Rumal; there is a prevalence of God depictions, notably of Vishnu in his numerous incarnations, which is a theme that runs throughout the collection of paintings. Dorukha-tanka embroidery is an extremely rare and one-of-a-kind stitch that has never been seen before in the history of Indian embroidery. The Dorukha-tanka stitch is a double satin stitch that is employed in Chamba Rumal embroidery. The present research attempted to determine the degree of public awareness of traditional knowledge connected to GI Chamba rumal in the state of HP. This study also sheds light on the historical context of Chamba rumal and the many topics and traditional knowledge associated with Chamba rumal, among other things.

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Kao, Diana, and James Higginson. "Quality Tailors, Textiles and Embroidery (QTTE)." Emerald Emerging Markets Case Studies 1, no. 4 (October 1, 2011): 1–11. http://dx.doi.org/10.1108/20450621111193743.

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TitleQuality Tailors, Textiles and Embroidery (QTTE).Subject areaInternational business, emerging markets, strategy.Study level/applicabilityYear 3 and 4 university level.Case overviewKevin, an Indian citizen living in Oman, is the founder and president of Quality Tailors, Textiles, and Embroidery (QTTE). He is faced with a number of questions, including whether or not to establish a new division, in what direction to take the three existing divisions, and how to work with an organization culture that is resistant to change and reluctant to make decisions without his involvement. Perhaps, most pressing is the fact that the company's sponsor is demanding increased payments, since under Omani law, a foreign‐owned company must have an Omani sponsor who is entitled to a share of the profits and, in the extreme, can take over ownership and control of the business.Expected learning outcomesUpon completing this case, students will practice: identifying and using proper tools (5‐forces, SWOT, VRINE) to analyze the external and internal environments of the company; identifying key issues in the case, both long‐ and short‐term; identifying feasible alternatives and evaluating each alternatives for its feasibility, pros, and cons; and proposing an implementation plan with a time line.Supplementary materialsTeaching notes.

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Villella, Peter B. "Indian Lords, Hispanic Gentlemen: The Salazars of Colonial Tlaxcala." Americas 69, no. 01 (July 2012): 1–36. http://dx.doi.org/10.1017/s0003161500001784.

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In 1773, a Mexico City expert in gold embroidery named don José Mariano Sánchez de Salazar Zitlalpopoca petitioned for a license to operate his own shop and take on apprentices. As handling precious metals was politically and economically sensitive, such professions were by law exclusive, open only to those of proven character, standing, and reputation—qualities understood to be inherited by blood. Thus, to establish his sufficiency for the license don José called forth witnesses to his family's honor, reputation, and good lineage.

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Villella, Peter B. "Indian Lords, Hispanic Gentlemen: The Salazars of Colonial Tlaxcala." Americas 69, no. 1 (July 2012): 1–36. http://dx.doi.org/10.1353/tam.2012.0060.

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In 1773, a Mexico City expert in gold embroidery named don José Mariano Sánchez de Salazar Zitlalpopoca petitioned for a license to operate his own shop and take on apprentices. As handling precious metals was politically and economically sensitive, such professions were by law exclusive, open only to those of proven character, standing, and reputation—qualities understood to be inherited by blood. Thus, to establish his sufficiency for the license don José called forth witnesses to his family's honor, reputation, and good lineage.

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Singh, Sukhvinder, and Vandana Gupta. "Luxury Brands Market in India: Recent Trends Challenges and Opportunities." Asian Journal of Managerial Science 8, no. 2 (May 5, 2019): 104–7. http://dx.doi.org/10.51983/ajms-2019.8.2.1521.

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Luxury Brands industry has undergone series of dynamic changes in last 20 years. India’s luxury market is set to grow USD 30 billion from USD 23.8 billion by the end of year 2020 attributing to growing influx and expose to international brands, high purchase power of Indian upper class consumer in tier II and tier III cities. According to study by Assocham, Indian Luxury market is expected to expand five folds in next three years and the number of millionaire expected to multiply three times. India, has rich fashion history of bright colours, exotic saris, elegant embroidery, and stunning jewellery, that has been an inspiration for designers around the world. Hence, many international luxury brands recognize the potential of the market of Indian owing to the growing number of billionaires and the rise of the urban elite class. The industry has faced challenges from technological advancements, high import duties and counterfeits products. The purpose of this research paper is to highlight the main areas of concern for the future of luxurybrand industry in Indian market with its challenges, trends and opportunities.

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Chanana, Sakshi. "PHULKARI131, SAMMI AND SAADA PIND – UNDERSTANDING PUNJABIYAT." ARTS ACADEMY 2, no. 2 (June 2022): 75–88. http://dx.doi.org/10.56032/2523-4684.2022.2.2.75.

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Punjab, one of the diverse states of India, is known for its composite culture, impeccable hospitality, delish food and incredible history; having been the site of great partition, it is also replete with the stories of loss, suffering and resilience. While Punjab can be seen and comprehended through various vantage points, the current paper proposes and focuses on the proposition that ‘Punjabiyat’- the essence and way of being a Punjabi, is reflected specifically through its attire-folk embroidery (Fulkaari and Baag), Folk-Dance and Music Art forms (Sammi and Jaago) and the focal point of hospitality (Saada Pind). Phulkari, literally translated as flower shape, is a folk-art embroidery that originated in 15th c by rural women in Punjab, and is popularly arranged on Dupattas135. “Many Punjabi women used phulkari (literally, “flower-work”) embroidery to decorate their daily garments and handmade gifts in the nineteenth century. Illustrations only partially convey the vibrant visual impact of phulkaris, and even color photographs fail to capture fully the sheen of the silk thread. The embroidery ranges from striking geometric medallions in reds, shocking pinks, and maroons, through almost monochromatic golden tapestry-like, fabriccovering designs, to narrative embroideries depicting people and objects of rural Punjab”.136 Initially intended to be given away to daughters in marriage and holding a strong emotional value, the use of Fulkaari has widened and transitioned in the recent past. This study asserts that it can now also be seen as a cultural symbol and an artefact, to convey the bright and cheerful attitude of Punjabis and their general happy disposition towards lifeCarpe Diem. Similarly, the folk-dance art form of Sammi- a dance performed originally by tribal women of Punjab, represents the true culture and spirit of Punjabiyat- the friendship, longing, celebration of love and a sense of optimism for life. While Bhangra and Giddha folk dance art forms have gained wide popularity; folk dance art forms like Sammi and Jaago too need representation and space in academic and historical discourse. This paper also intends to trace these two relatively lost dance art forms as signifying essentiality of ‘Punjabiyat’. Further ‘Saada Pind’- roughly translated as ‘my village’; conveys a sense of oneness, camaraderie, raw emotion and a place in time-space continuum where each stranger is welcomed with ‘Ji Aaayan Nu’137. This study would establish how ‘Punjabiyat’; and consequentially ‘Indian’ cultural art forms can be a possibility of re-looking at the lost values of friendship, camaraderie, connection with the outside real world rather than a disparate and robotic connect with the monotonous clicks on our smart devices.

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Negi, Monika, Anita Rani, and Anupriya Singh. "NEW HORIZON FOR AIPAN (FOLK ART OF UTTARAKHAND) MOTIFS THROUGH APPLIQUÉ." International Journal of Research -GRANTHAALAYAH 3, no. 9 (September 30, 2015): 36–48. http://dx.doi.org/10.29121/granthaalayah.v3.i9.2015.2944.

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The Indian folk arts with printing and embroidery play important role in creating new designs. Escalating demands of consumers requires modification in the fashion industry with respect to design, colour, style and technique.So an attempt was made to develop a design pool using folk art of Uttarakhand (aipan) for applique work. This also provides the opportunity to use the adapted traditional motifs on textiles and to preserve the beautiful traditional folk art. Aipan motifs were adapted for center design, border design, and buti design. Total thirty motifs / designs were developed keeping in mind their suitability for articles like bags, pencil purse and mobile holder. All the developed designs were subjected to visual evaluation for selection of two best designs in each category by the panel of thirty judges to find out the suitability of the developed designs for appliqué work. Thus total six motifs were selected for preparation of the five arrangements for each article. Four final selected arrangements with appliqué work were prepared using different embroidery stitches (slip hemming, couching, buttonhole and chain stitch). Plain red poplin and left-out fabrics were used to prepare articles. Finally articles were prepared by using selected arrangements and these prepared articles were highly appreciated by the consumers.

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Salomon, Frank. "Indian Women of Early Colonial Quito as Seen Through Their Testaments." Americas 44, no. 3 (January 1988): 325–41. http://dx.doi.org/10.2307/1006910.

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By the turn of the seventeenth century a generation of Andean natives, both Inca and aboriginal, had made lifelong homes within the strongholds of the European invaders. As they entered old age they inhabited an urban landscape whose “Indian” sector had become very diverse. In Quito and other colonial cities some of them dwelled in old pre-hispanic settlements whose closeness to new Hispanic centers had turned them into multiethnic “Indian” ghettos. Quito's Añaquito and Machángara are examples. Many others had settled illegally but permanently inside the Spanish nuclear city, so much so that in the 1580s Spaniards remarked on the growth of a “big shanty town” in its midst. Notarial records show, too, that center city streets housed colonies of “Indian” artisans specializing in European arts like iron working, embroidery, and tailoring. Rich enclaves of Inca and aboriginal nobles lived close to Spanish clerics and officials. Specialist traders delegated by native lords, and native entrepreneurs in the Spanish economy, rented permanent workplaces and dwellings downtown. Finally a large contingent, especially of women, lived as servants or concubines in Spanish houses or had usufruct of separate urban houses. In 1600 there were probably more different ways to be an urban Indian than there are today.

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Dissertations / Theses on the topic "Indian embroidery"

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Andharia, Janki B. "Women's experiences of a survival strategy : commoditisation of folk embroidery in Gujarat, India." Thesis, University of East Anglia, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357213.

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Varma, Anushree. "The embroidered word : using traditional songs to educate women in India." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29518.pdf.

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Wenzel, Abra. "The Grey Nuns Northwest Territory Collection: embroidery in the Mackenzie Valley." Thesis, 2016. http://hdl.handle.net/1828/7508.

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During the Indian Residential School period (1867-1960) in the Mackenzie River area of the Northwest Territories, Indigenous students at several schools administered by the Order of the Grey Nuns produced crafts and art items that were then exported to the Order’s motherhouse in Montréal. This collection of 275 pieces, ranging from garments and footwear to paintings and drawings, was repatriated at the request of the Fort Providence Métis Council to the Prince of Wales Northern Heritage Centre (PWNHC), in Yellowknife, Northwest Territories in 2001. While locationally repatriated, the Grey Nuns collection has to date remained in storage at the PWNHC until 2015 when, in cooperation of PWNHC staff, I was able to carry out a preliminary examination of the collection. The objective of this examination was to: (1) temporally and spatially trace the movement of the pieces across Canada, situating the PWNHC collection within the residential school history in Canada; (2) to explore if the making of these pieces by the children who attended residential schools in the Mackenzie River Valley perpetuated Indigenous artistic traditions; (3) to determine whether the materiality of the collection exposes the complex interrelations between children’s crafting knowledge and the colonial structure; (4) to explore the potential and challenges of reconnecting this collection now at the PWNHC with its source communities today. This thesis reports on the analysis of a small subset of the collection’s contents. This sample, consisting of two pairs of moccasins, one pair of mittens and a single souvenir object, was analyzed for information pertinent to my main objectives, and especially what they indicate about hybridity and materiality regarding the different cultural influences, Métis, Dene and Euro-Canadian, that met in the Indian Residential school setting. The objects, made at the behest of the Grey Nuns in order to meet the demands of the Canadian tourism industry, and provide badly needed income to support their Northwest Territories schools, exhibit a combination of two, and even three, of these influences, notably in the items’ styles, decorative motifs and the materials employed in their creation. Of particular note, these sample objects portray distinct Métis and Dene artistic knowledge and traits. Their making speaks to the continuance of important Indigenous women’s traditions, knowledge that did not disappear despite the often hostile institutional environment around their creators. The collections offers another window on student-colonizer relations within some Indian Residential schools in the Lower Mackenzie region in the early twentieth century.
Graduate
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abra.wenzel@gmail.com

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Petránek, Jan. "Hmotná kultura jako výraz životního stylu - výšivka indických Baňdžárů." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-342345.

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The embroidery of the Banjara people makes an important part of Indian culture, The Banjara are a previously migrating non-hinduistic ethnic, today mostly settled and merging with the hinduistic population which represents the majority. We still have very scarce information about this distinctive textile production. This theses is based on mostly Indian studies, as well as on field-work which was carried out in fourteen Banjara communities living in two Indian states, Maharashtra and Karnataka. Another source of information were several collections of Banjara textile in important European museums and a collection of more than 550items in the Czech Republic. The theses focuses on five subjects: 1. The typology of the fourty most common and traditional types of textile pieces made by Banjara women, 2. The description of the material and embroidery techniques, 3. The attempt of the iconography analysis of the Banjara embroidery, 4. The provenience of the Banjara traditional pieces, and 5. The description of the state of art of the mbroidery which still exists in the present day Banjara communities. Vast photodocumentation made during the field-work is included in the theses and a catalogue of typical examples from studied collections. A side product has evolved during the study of the Indian literature - an...

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Cristovão, Inês de Castro. ""A principal riqueza que dali vem": Os têxteis bordados indianos em Portugal nos séculos XVI e XVII." Master's thesis, 2017. http://hdl.handle.net/10362/35219.

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Desde o período em que ocorreram os primeiros contactos entre Portugal e a Ásia, que os têxteis bordados chegaram em quantidades significativas aos portos portugueses, com destino a Portugal e à Europa. Estes objectos foram alvo de maior interesse a partir do século XVII, tendo adquirido uma crescente preeminência no quotidiano português. Este entusiasmo não só encorajou a chegada de um vasta diversidade de tipologias, no que diz respeito à origem, estilo e técnica, mas também inspirou novos produtos portugueses ao “estilo da Índia”, os quais até agora têm recebido reduzida atenção. A distinção entre estes dois tipos de produções – indianas e portuguesas – é uma tarefa bastante difícil devido à circulação fluida de matérias-primas e corantes, modelos artísticos, conhecimentos técnicos, e até de artesãos, entre estas diversas regiões do globo. A presente dissertação adopta uma abordagem interdisciplinar, confrontando fontes históricas com evidências técnicas e materiais nunca antes consideradas. Um levantamento exaustivo das técnicas de produção permitir-nos-á identificar e caracterizar novos grupos de objectos, clarificando, deste modo, a complexa realidade da manufactura destes têxteis, o que inclui os métodos e organização do trabalho dos bordadores, bem como características técnicas que se podem relacionar com diferentes centros de produção. Com esta informação, será possível questionar e clarificar a sua proveniência, produção e consumo.
From the time of the first contacts between Portugal and Asia, embroidered textiles arrived in significant quantities in the Portuguese ports, destined for Portugal and Europe. Interest in these objects increased dramatically in the 17th century and they came to gain increasing prominence in Portuguese daily life. This enthusiasm not only encouraged the arrival of a wide range of types, in terms of origin, style and technique, but also inspired new Portuguese products in the “style of India”, which have received little attention until now. Distinguishing these two types of production – India and Portugal – is a very difficult task owing to the fluid circulation of raw materials, diverse dyestuffs, artistic models, technical knowledge, and even artisans, between these vastly disparate regions of the globe. This dissertation takes an interdisciplinary approach that confronts historical sources with new technical and material evidence never considered before. An exhaustive survey of manufacturing techniques will allow us to identify and characterize new groups of objects, and thus clarify the complex reality of the manufacture of these textiles, including the methods and organization of the embroiderers’ work and technical characteristics that can be related to different production centres. With this information it will be possible to question and clarify their provenance, production and consumption.

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Books on the topic "Indian embroidery"

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Bhushan, Jamila Brij. Indian embroidery. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 1990.

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Bhushan, Jamila Brij. Indian embroidery. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 2006.

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Crill, Rosemary. Indian embroidery. New Delhi: Prakash Books, 1999.

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Museum, Victoria and Albert, ed. Indian embroidery. London: V&A Publications, 1999.

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Pueblo Indian embroidery. New York: Dover Publications, 1995.

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Jaffer, Khan Mohammed. Indian embroidery: Ethnic & beyond. Mumbai: Super Book House, 2006.

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The techniques of Indian embroidery. Loveland, Colo., USA: Interweave Press, 1995.

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Morrell, Anne. The techniques of Indian embroidery. London: B.T. Batsford, 1994.

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Morrell, Anne. The techniques of Indian embroidery. London: Batsford, 1994.

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Denny, Ross. Glass seed embroidery. [Browning, Mont: US Dept. of the Interior, Indian Arts and Crafts Board, Museum of the Plains Indian & Crafts Center, 1998.

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Book chapters on the topic "Indian embroidery"

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Maitra Bajpai, Lopamudra. "The Tradition of Kantha Embroidery." In India, Sri Lanka and the SAARC Region, 35–41. 1 Edition. | New York : Taylor & Francis Group, 2020.: Routledge India, 2020. http://dx.doi.org/10.4324/9780429320514-8.

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Murayama, Mayumi. "Challenges for Inclusive Sustained Employment: An Attempt to Organize Female Embroidery Homeworkers in Delhi." In Inclusiveness in India, 210–40. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230304956_8.

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Iqbal, Uzma, Siddharth Bhardwaj, and Asma Iqbal. "Ergonomic Assessment Among Workers Engaged in Pashmina Embroidery Work in Kashmir, India." In Design Science and Innovation, 963–69. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-9054-2_112.

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"indian embroidery." In The Fairchild Books Dictionary of Textiles. Fairchild Books, 2021. http://dx.doi.org/10.5040/9781501365072.8024.

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Kuldova, Tereza. "2 Heads Against Hands and Hierarchies of Creativity: Indian Luxury Embroidery Between Craft, Fashion Design and Art." In Creativity in Transition, 61–85. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781785331824-005.

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"Colchas between India and Europe." In Embroidered Histories, 50–68. Wien: Böhlau Verlag, 2016. http://dx.doi.org/10.7767/9783205203605-007.

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Dhar, Bidisha. "Kaarigars, Karkhaanas and the Art of Embroidery." In Caste and Gender in Contemporary India, 68–94. Routledge India, 2018. http://dx.doi.org/10.4324/9780429434099-4.

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Srivastav, Gaurav, and Pankaj Singh Rawat. "Indian Handicraft and Globalization." In Designing and Implementing Global Supply Chain Management, 175–84. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-9720-1.ch009.

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Globalization has made the whole world one compartment and makes a single village a global village. Indian handicraft products have great opportunities both in the domestic and international markets. Main products of handicrafts consist of art metal wares, embroidered and crocheted goods, shawls and art wares, and Zari goods, woods wares, hand printed textiles and imitation jewelry. Indian Handicrafts, which constitutes a significant segment of the decentralized sector of the economy, its export has reached at a commendable height. Indian folk art and crafts which are the integral parts of the Indian culture and tradition are in high demand among the western consumers. A lot of manufacturing units are established in rural and small towns, which generate employment for a million of artisans. Indian exports are showing a growing trend. Like every coin has two sides, globalization is not separate from this point it also not only have positive impact on artisans industry but there are some negative consequences too on which this chapter is trying to put some light.

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Madan, Arwah. "Innovation and Craft Revival." In Advances in Media, Entertainment, and the Arts, 376–93. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0504-4.ch017.

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Protecting and preserving the knowledge and skills of traditional crafts is a growing challenge. Further, ensuring a sustainable livelihood to artisans working in these traditional crafts is a tall order. Section one of the chapter explores the traditional tribal art form widely practised among a semi-nomadic tribe in the north-west region of India. Section two of the chapter examines the role of a not-for-profit organization involved in the revival of the ancient Lambani craft. Sabala- an organization located in one of the districts in Southern India has been working on the revival and preservation of Lambani embroidery. At Sabala, crafts are designed to enhance the creative appeal of products for the local and global market, as well. The integration of both, the creative design and the execution of craft in the hands of the artisans can ensure ingenuity in the craft form and not reduce the craft worker to a mere labourer.

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"Noise along the Network: A Set of Chinese Ming Embroidered Thangkas in the Indian Himalayas." In Buddhist Encounters and Identities Across East Asia, 52–80. BRILL, 2018. http://dx.doi.org/10.1163/9789004366152_004.

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Conference papers on the topic "Indian embroidery"

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Vasanthi, S. "MARKETING OF THE HERITAGE PUGUR HAND EMBROIDERY ART IN INDIA." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.04.09.05.

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Reports on the topic "Indian embroidery"

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Bennur, Shubhapriya, and Laxmidevi Gavai. How did the Regional Traditional Indian Embroidery “Kasuti” Reach the International Markets? Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-625.

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Alexander, Theresa Christine. The Designer/Embroiderer Relationship: A Comparison between Europe and India. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1483.

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