PROBING THE BYGONE RICHNESS OF THE HAVELI NAU NIHAL SINGH
AIMAN IMTIAZ KHOKHAR
DEPARTMENT OF TEXTILE DESIGN INSTITUTE OF VISUAL ARTS AND DESIGN LAHORE COLLEGE FOR WOMEN UNIVERSITY, LAHORE 2019
PROBING THE BYGONE RICHNESS OF THE HAVELI NAU NIHAL SINGH
THIS THESIS IS SUBMITTED TO LAHORE COLLEGE FOR WOMEN UNIVERSITY IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF BFA IN TEXTILE DESIGN BY AIMAN IMTIAZ KHOKHAR ROLL NO. 15280 / REGISTRATION NO. (15-B/LCWU-1938) SUPERVISOR Ms. Mahrukh Khan Lecturer Textile Design Dept. LCWU CO-SUPERVISOR Mr. Ali Qambar Lecturer Textile Design Dept. LCWU
DEPARTMENT OF TEXTILE DESIGN, LCWU ______________________________________________________________________
DEPARTMENT OF TEXTILE DESIGN INSTITUTE OF VISUAL ARTS AND DESIGN LAHORE COLLEGE FOR WOMEN UNIVERSITY, LAHORE 2019
CERTIFICATE This is to certify that the research work described in this thesis submitted by Ms. Aiman Imtiaz Khokhar to Department of Textile Design, Institute of Design & Visual Arts, Lahore College for Women University has been carried out under my direct supervision. I have personally gone through the raw data and certify the correctness and authenticity of all results reported herein. I further certify that synopsis data have not been used in part or full, in a manuscript already submitted or in the process of submission in partial fulfillment of the award of any other degree from any other institution or home or abroad. I also certify that the enclosed manuscript has been prepared under my supervision and I endorse its evaluation for the award of BFA degree through the official procedure of University.
_______________ Ms. Mahrukh Khan
_____________ Mr. Ali Qamber
Supervisor
Co-Supervisor
Date: ___________
Date:__________
Verified By
________________ Dr. Samina Nasim Head of Textile Design Department, Institute of Visual Arts And Design, Lahore College for Women University, Lahore.
DEDICATION At first, I humbly dedicate this to my beloved parents Mr. and Mrs. Imtiaz Ali Khokhar with deepest gratitude and respect, whose love and prayers have always been a source of strength for me. Their selfless and tireless efforts allowed me to improve myself. I also dedicate this to my lovely siblings whose belief in my abilities, presented me with opportunities to grow and succeed, and were always available. They always remind me that “Nothing is impossible in this world, the word itself says I’m possible”.
ACKNOWLEDGEMENT Thanks to ALLAH Almighty for giving me strength and ability to understand and learn this course. I would like to express deep gratitude to my guide Supervisor Ms. Mahrukh Khan and Co-Supervisor Mr. Ali Qamber for their guidance, encouragement and gracious support throughout the course of my work, for his expertise in the field that motivated me to work in this area and for his faith in me at every stage of this course. Their advice, valuable knowledge and couragement have been priceless which helped me in completion of this course. I am highly indebted to LAHORE COLLEGE FOR WOMEN UNIVERSITY, for their guidance and constant supervision as well as for providing necessary information regarding this course and also for their support in completing this endeavor.
Contents
“Probing the Bygone Richness of The Haveli Nau Nihal Singh”
List of Figures……………………………………………………………………... (i) Abstract …………………………………………………………………………… (ii) Chapter 1- Introduction………………………………………………………….... 1 Chapter 2 –Literature Review ……………………………………………………. 7 Chapter 3 – Design Development and Research Methodology …………………. 9 Design: 1 (Moving To An End) ……………………………………………………. 10 Design: 2 (A Fair Bouquet) ……………………………………….……………….. 11 Design:3 (The Florals of Sheesh Mehal) .................................................................. 12 Design: 4 (Eminence)………………………………………………………………. 13 Design: 5 (Capsuled Beauty) ………………………………………………………. 14 Design: 6 (The Royal Mansion) ……………………………………...……………. 15 Design: 7 (Adorned) ……………………………………………...………………… 16 Surface: 1…………………………………………………………………………… 17 Surface: 2…………………………………………………………………………… 17 Surface: 3…………………………………………………………………………… 17 Surface: 4…………………………………………………………………………… 18 Surface: 5…………………………………………………………………………… 18 Surface: 6…………………………………………………………………………… 18 Surface: 7…………………………………………………………………………… 18 Surface: 8…………………………………………………………………………… 19 Surface: 9…………………………………………………………………………… 19 Surface: 10………………………………………………………………………….. 19 Chapter 4 – Survey………………………………………………………………… 20 Chapter 5 – Product Development ……………………………………………….. 26
Chapter 6 – Conclusion ……………………………………………………………. 28 Bibliography
List of Figures Figure: 1.1 (Entrance of Haveli )...…………………………………………………… I Figure: 1.2 (Ground Floor and Back side of Haveli)……………………………......... II Figure: 1.3 (1st Floor)…………………………………………………………………….… ..III Figure: 1.4 (Sheesh Mehal)……………………………………………….…………..……….IV Figure: 1.5 (Roof Top of Haveli)………………………………………………………………V Figure: 2.1(Haveli)…………………………………………………………………… ………VI Figure: 2.2 (Haveli’s Location)…………………………………………………………….... VI Figure: 2.3 (Rectangular view)……………………………………………………............... VI Figure: 2.4 (Bird’s eye view of haveli)…………………………………………………….. VII Figure: 2.5 (Haveli’s Entrance )……………………………………………………………... VII Figure: 2.6 (Jharoka-e-Darshan)…………………………………….……………………. VII Figure: 2.7 (Second Section of Haveli)………………………………………………...…. VIII Figure: 3.1 (Maria B fashion shoot for Bridal wear)……………………………………. .VIII Figure: 3.2 (Maria B fashion shoot for Bridal wear)…………………………................ VIII Figure: 3.3 (Souchaj Bridal shoot)…………………………………………………… …...IX Figure: 3.4 (Souchaj Bridal shoot)………………………………………………………..... IX Figure: 3.5 (shoot for Gul Ahmad)………………………………………………………….. IX Figure: 3.6 (shoot for Gul Ahmad)………………………………………....................…… X Figure: 3.7 (Bol Pakistani movie 2011)..........................................................................X Figure: 4.1 (Moving to an end)……………………………………………………………….XI
Figure: 4.2 (Moving to an end)…………………………………………………………….. .XI Figure: 4.3 (Moving to an end)…………………………………………………………….. XI Figure: 4.4 (A Fair Bouquet)………………………………………………………….……. XII Figure: 4.5 (A Fair Bouquet)……………………………………………………………..… XII Figure: 4.6 (A Fair Bouquet)………………………………………………………………...XII Figure: 4.7 (The Florals of Sheesh Mehal)……………………………………………..…XIII Figure: 4.8(The Florals of Sheesh Mehal)…………………………………………....…...XIII Figure: 4.9(The Florals of Sheesh Mehal)…………………………………………….......XIII Figure: 4.10 (Eminence)…………………………………………………………….…….....XIV Figure: 4.11 (Eminence)……………………………………………………........................XIV Figure: 4.12 (Eminence)……………………………………………………………….…......XIV Figure: 4.13 (Capsuled Beauty)………………………..……………………………………XV Figure: 4.14 (Capsuled Beauty)……………………………………………………………..XV Figure: 4.15 (Capsuled Beauty)……………………………………………………………..XV Figure: 4.16 (The Royal Mansion)……………………………………………………..…..XVI Figure: 4.17 (The Royal Mansion)…………………………………………………………. XVI Figure: 4.18 (The Royal Mansion)……………………………………………... ……XVI Figure: 4.19 (Adorned)………………………………………………….………..………....XVII Figure: 4.20 (Adorned)…………………………………………………………………….. XVII Figure: 4.21(Adorned)……………………………………. ……………………………XVII Figure: 4.22 ……………………………………………………………………………....... XVIII Figure: 4.23…………………………………………………………………………………. XVIII Figure: 4.24…………………………………………………………………………………. XVIII
Figure: 4.25…………………………………………………………………………………….XIX Figure: 4.26 …………………………………………………………………………………... XIX Figure: 4.27 …………………………………………………………………………………... XIX Figure: 4.28………………………………………………………………………………….... XIX Figure: 4.29……………………………………. ………………………………………...XIX Figure: 4.30 …………………………………………………………………………………….XX Figure: 4.31…………………………………… ………………………………………….XX Figure: 4.32……………………………………………………………………………………. XX Figure: 4.33…………………………………………………………………………………… XXI Figure: 5.1 (Panel Sketch)………………………………………………………………….. XXI Figure: 5.2 (Panel Sketch)……………………………………. ……………………...…XXII Figure: 5.3 (Panel)…………………………………………………………………………..XXIII Figure: 5.4 (Bead weaving shawl draft)………………………………………………….XXIV Figure: 5.5 (Bead weaving shawl)…………………………………………………....…. XXIV Figure: 5.6 (Bead weaving shawl)………………………………………………………. XXIV Figure: 5.7…………………………………………………………………………………...XXV Figure: 5.8………………………………………………………………………………..….XXV Figure: 5.9……………………………………………………………………….…………. XXV Figure: 5.10 ……………………………………………………………………….………. XXV
ABSTRACT When we talk about the history of Lahore, we get a glimpse of Lahore Fort, Gates of Lahore, food street and streets of old Lahore, Mosque Wazir Khan, etc. But we do not focus on other historical artworks that have been continuously ignored and are moving to an end day by day. In order to document one of these dying artworks I have chosen The Haveli of Nau Nihal Singh. It is a huge gem of a bygone of royal Sikh era’s classical times which has delivered the huge interest of people of those times in colours, designs inspired from nature, birds with some Turkish influence. The architecture I am narrating is a magnificent haveli located in the mori gate of Lahore. This haveli consists of 4 storeys that are fully embellished with colourful designs and elements of the various artworks. This thesis is aimed to explore and revive the faded beauty of haveli which has been endangered from decades. The research has been conducted through personal observation and visits. The findings reveal that haveli is a mash-up of the creative artwork of all the countries that surrounds sub-continent. This project will explore and revive the design elements of haveli by means of contemporary textiles. To enhance its elegance and prestige formal female clothing outfits and wall panels are proposed in a manner to preserve the forgotten beauty. Keywords: Beauty, creativity, richness, artwork.
CHAPTER 1 INTRODUCTION
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Chapter 1 Introduction The topic of my thesis is “Probing the Bygone Richness of the Haveli Nau Nihal Singh”. My ancestors belong to the Walled City of Lahore, so I am a person with a lot of interest within the antiques and history of Walled city Lahore. I loved when I heard the stories of my grandfather related to that citadel. When we talk about the history in Lahore, we get a glimpse of Lahore Fort, Gates of Lahore, streets of old Lahore, Mosque Wazir Khan, etc. But we do not focus on some other historical artwork that have been continuously moving to an end day by day. Haveli Nau Nihal Singh is a huge gem of a bygone era constructed in the royal Sikh era which has reflected the huge interest of people of those times in colors, designs inspired from nature, birds and florals with some Turkish influence. 1 The architecture I am narrating is not a fort but is not less than a fort, it's a house known as Haveli (fig. no. 2.1). The word Haveli relates to ‘mansions’ in India and Pakistan. This word is derived from the Persian word Hawli which means “an enclosed place”. Havelis were built by the wealthy nobles to house themselves and their extended family members and were often constructed several stories high with one or more courtyards in the interior2. Death of Maharaja Nau Nihal Singh This haveli belongs to Raja Nau Nihal Singh son of Maharaja Kharak Singh. The only legitimate grandson of Ranjit Singh, Prince Nau Nihal Singh was born in 1819. Nau Nihal Singh was an aspiring boy who was brought up with great care under the guardianship of the
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Khan Shehram Eusufzye, “For Haveli’s sake,” tns.thenews.com.pk, last modified 2018, http://tns.thenews.com.pk/havelis-sake/#.XOGoa8gzbIW 2 “Nau Nihal Singh, Lahore, Pakistan,” orientalarchitecture.com,last modified 2019, https://www.orientalarchitecture.com/sid/859/pakistan/lahore/nau-nihal-singh-haveli.
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famous Sikh army general, Hari Singh Nalwa. He excelled in many military campaigns. Nau Nihal Singh proved to be an intelligent, discerning and sincere person, free from sins of the royal court. But he surrendered to the influence of Raja Dhyan Singh. When Nau Nihal Singh was returning from the funeral ceremony of his father Maharaja Kharak Singh, the ceiling of the archway of Roshnai Gate near Lahore Fort came crashing down on the young prince. His head was badly crushed, and his arm fractured with his ultimate death, the Lahore Durbar gradually descended to a disorder, which in effect brought Sikh empire to an abrupt end in 1846.3 Haveli This haveli is renowned among the most significant buildings of the city of Lahore (fig. no. 2.1). It contains numerous spacious chambers, halls and balconies. The ceilings are decorated with paintings and mirror work is done in gold. The walls are richly and tastefully ornamented with glasses and artificial flowers. It is now government property and is used as the Zenana or Female school.4 Haveli Nau Nihal is located at the south of the Bhatti gate inside Mori Gali Bazar, on the few legendary Mughal Era gates of Lahore that exist till date (fig. no. 2.2). It is probably on the few remaining royal residences of the great grandeur pertaining to the Sikh period. It was built by Maharaja Kharak Singh for his son Maharaja Nau Nihal Singh as their private residence (although some source state that Nau Nihal Singh has built it) but in which year it was
3
Bobby Singh Bansal, Remnants Of The Sikh Empire: Historical Sikh Monuments In India &Pakistan(India: Hay House Publisher, 2015),Chapter1-Lahore. 4 Syed Muhammad Latif, Lahore: Its History, Architectural Remains and Antiquities(Lahore: New Imperial Press,1892),233.
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completed will remain unknown. However, this grand four-story haveli is extensive, rectangular and has its main entrance from west abundantly decorated throughout. 5 Location This Haveli is located inside walled city between Lohari gate and Bhatti gate (fig. no. 2.2). One reaches it through narrow winding passages and suddenly we come across a beautiful, heavily decorated and lofty colorful building.6 Paaiyan Wala Maidan In front of the Haveli, there is a huge courtyard or opening now known as the “Paaiyan Wala Maidan” in Punjabi which means “land of the brothers”. It is said that it was a garden before but now as the name says, the houses around the open land are most probably owned by brothers so this open space is called the land of the brothers.7 Facades of Haveli The base of the haveli is rectangular in shape (fig. no.2.3 and 2.4), with its entrance on the western side. The front façade of haveli is divided into two sections. One contains haveli's entrance which is decorated with frescoes painted in Kangra style while the other is simple having numerous fenestrations. 8 1. ENTERANCE The ground storey has the main entrance wooden carved door fixed in a beautifully decorated arch with colourful frescoes9 (fig. no.2.5).
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Bobby Singh Bansal, Remnants Of The Sikh Empire: Historical Sikh Monuments In India &Pakistan(India: Hay House Publisher, 2015),Chapter1-Lahore. 6 Bobby Singh Bansal, Remnants Of The Sikh Empire: Historical Sikh Monuments In India &Pakistan(India: Hay House Publisher, 2015),Chapter1-Lahore. 7 Ibid. 8 Ibid. 9 Ibid.
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2. JHAROKA-E-DARSHAN A large jharoka balcony with molded brickwork and a small bulbous half dome is above the haveli's entrance, which served as a Jharoka-e-Darshan from which the Maharaja could view his subjects gathered below. The Jharoka-e-Darshan is joined by two smaller jharokas. Each of the haveli's jharokas is decorated with a floral pedestal10 (fig. no. 2.6). 3. SECOND SECTION The second section of the front facade is fairly simple as compared to the first section with windows in simple decorated low relief arches and miniature columns and the wall is divided in rectangular panels and in top panels, we find reliefs of elephants. In the lower most portions we find wooden jalis/ventilators of the basement11 (fig. no. 2.7). 4. INTERIOR OF HAVELI The remaining floors of haveli were built with high ceilings, to exaggerate the height of the structure in order to give the appearance of a citadel, rather than a private residence.12 The ceilings of the haveli are made of decorated wood inlaid with glass and mirror. Walls within the haveli are decorated with false arches. The interior is also decorated with carved wood, brickwork, and floral frescoes. 13 Haveli has over forty rooms and a huge courtyard in the center, with most elements of its original ornamentation preserved on the two main elevations and the interior courtyard facades. The walls have blind arches. These rooms serve as classrooms now.14
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“Haveli of Nau Nihal Singh,” howlingpixel.com, last modified 2019, https://howlingpixel.com/ien/Haveli_of_Nau_Nihal_Singh#cite_ref-UA_5-4. 11 “Haveli of Nau Nihal Singh,” howlingpixel.com, last modified 2019, https://howlingpixel.com/ien/Haveli_of_Nau_Nihal_Singh#cite_ref-UA_5-4. 12 Syed Muhammad Latif, Lahore: Its History, Architectural Remains and Antiquities(Lahore: New Imperial Press,1892),233. 13 “Haveli of Nau Nihal Singh,” howlingpixel.com, last modified 2019, https://howlingpixel.com/ien/Haveli_of_Nau_Nihal_Singh#cite_ref-UA_5-4. 14 Maaria Waseem, “Naunehal Singh Haveli / Victoria School for Girls, Walled City, Lahore,” Lahore and more, https://maariawaseem.wordpress.com/2015/08/01/naunehal-singh-haveli-victoria-school-for-girls-walledcity-lahore/
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The third and fourth story rooms of Haveli are located on the corners of the roof. They still have the original wooden ceilings made of geometrical patterns and each one is fitted with a small mirror in the center. The rooms have windows and ventilators and balconies which are fitted with perforated jali work for light and privacy. There are blind arches in between the windows and ventilators which had miniature paintings in them but now most of them no longer exist.15 5. SHEESH MEHAL The building has four stories, and a basement level. The fourth level is made of a small room known as Rang Mahal ("Colour palace"), or alternatively as Sheesh Mahal ("Mirror palace").16 The ceiling of this room is wooden with geometrical patterns and a mirror in the center. And the walls of the room are divided into small niche kind of blind arches which are painted with miniature paintings.17 It consists of highly ornamented rooms with embellishments in forms of frescoes and mosaics18 (fig. no. 1.4). 6. BACK SIDE OF HAVELI The back side of the Haveli is not decorated with colored frescoes instead it is brick colored and is decorated with very fine cut brick work and stucco work displaying intricate floral motifs. The carving of the bricks is extremely sharp, precise and accurate. The lower portion
15
Maaria Waseem, “Naunehal Singh Haveli / Victoria School for Girls, Walled City, Lahore,” Lahore and more, https://maariawaseem.wordpress.com/2015/08/01/naunehal-singh-haveli-victoria-school-for-girls-walledcity-lahore/ 16 Ibid. 17 Maaria Waseem, “Naunehal Singh Haveli / Victoria School for Girls, Walled City, Lahore,” Lahore and more, https://maariawaseem.wordpress.com/2015/08/01/naunehal-singh-haveli-victoria-school-for-girls-walledcity-lahore/ 18 Staff Report, “Victoria Girls High School – Taught in heritage,” Pakistan Today, https://www.pakistantoday.com.pk/2010/12/05/victoria-girls-high-school-taught-in-heritage/
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of the facade has a huge entrance door in the middle and two large windows on the sides and the upper portion has a large dareecha style window19 (fig. no. 1.5).
FACTS ABOUT HAVELI NAU NIHAL SINGH This valuable jewel has lost its charm and character in terms of architecture especially the interiors of the lower sections which has been turned into school for over a hundred years.20 But still, This Haveli surrounded by densely populated residential area stands in the center of it all like a beautiful colored flower in its full spring blossom.21
19
Maaria Waseem, “Naunehal Singh Haveli / Victoria School for Girls, Walled City, Lahore,” Lahore and more, https://maariawaseem.wordpress.com/2015/08/01/naunehal-singh-haveli-victoria-school-for-girls-walledcity-lahore/ 20 Maaria Waseem, “Naunehal Singh Haveli / Victoria School for Girls, Walled City, Lahore,” Lahore and more, https://maariawaseem.wordpress.com/2015/08/01/naunehal-singh-haveli-victoria-school-for-girls-walledcity-lahore/ 21 Ibid.
CHAPTER 2 LITERATURE REVIEW
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CHAPTER 2 LITERATURE REVIEW Articles and Journals: In the youlin magazine, Shujrah Mahnaz wrote a cultural journal on the haveli Nau Nihal Singh named as “In the Heart of Lahore: Nau Nihal Singh Haveli”.22 Similarly, in WordPress Maaria Waseem wrote an article on the haveli named as “Naunehal Singh Haveli / Victoria School for Girls, Walled City, Lahore”.23 A very renowned magazine named as Pakistan Today wrote a beautiful article on the beauty of this historic architecture. Name of the periodical is “Victoria Girls High School – Taught in heritage”.24 Fashion Shoots: A number of fashion shoots were held in Haveli Nau Nihal Singh. It is mostly used for wedding shoots. Maria B shoot its Bridal Collection in the corridor of Haveli Nau Nihal Singh (fig. no. 3.1and 3.2).25 A latest Bridal Wear brand, known as Souchaj also made a promotional shoot for Mein Punjab Nahin Jaungi movie cast in the corridor of the haveli (Fig. no. 3.3and 3.4).26 Gul Ahmad made a shoot for their Chunri collection in 2017. This shoot was done by Khawar Riaz in haveli (Fig. no.3.6).27 Khawar Riaz also shoots for a
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Shujrah, Mahnaz. “In the Heart of Lahore: Nau Nihal Singh Haveli” A Cultural Journal. https://www.youlinmagazine.com/story/nau-nihal-singh-haveli-lahore/NjEy. 23 Maaria Waseem, “Naunehal Singh Haveli / Victoria School for Girls, Walled City, Lahore,” Lahore and more, https://maariawaseem.wordpress.com/2015/08/01/naunehal-singh-haveli-victoria-school-for-girls-walledcity-lahore/. 24 Staff Report, “Victoria Girls High School – Taught in heritage,” Pakistan Today, https://www.pakistantoday.com.pk/2010/12/05/victoria-girls-high-school-taught-in-heritage/. 25
“MariaB,” mariab.pk, 2018/10/09, https://www.mariab.pk/wedding-wear/bridals.html#/page/2.
26
“souchaj,” Instagram, 2018/10/09, https://www.instagram.com/souchaj/?hl=en.
27
“gulahmedfashion,” Instagram, 2018/10/09, https://www.instagram.com/gulahmedfashion/?hl=en.
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Designer Arslan Iqbal in haveli (Fig. no. 3.7).28 Bol movie which has been pictured in the Pakistani cinema was captured in this haveli (Fig. no. 3.8).29 Books: Several books have been written on the architecture and beauty of haveli Nau Nihal Singh. A book written by Syed Muhammad Latif describes detailed about the history of this haveli.30 Bobby Singh Bansal, a great historical writer wrote about Lahore in his book named as Remnants of the Sikh Empire, in which he explains in detail about this haveli.31
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“khawar_riaz_official” Instagram, 2018/10/09, https://www.instagram.com/khawar_riaz_official/?hl=en. “Bol (2011) Full Movie 720p HD - Pakistani Movie,” you tube,2018/10/09,https://www.youtube.com/watch?v=zaUGoY1bI2E. 29
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Syed Muhammad Latif, Lahore: Its History, Architectural Remains and Antiquities(Lahore: New Imperial Press,1892),233. 31 Bobby Singh Bansal, Remnants Of The Sikh Empire: Historical Sikh Monuments In India &Pakistan(India: Hay House Publisher, 2015), Chapter1-Lahore.
CHAPTER 3 DESIGN DEVELOPMENT
Chapter 3 Design Development I have chosen The Haveli of Nau Nihal Singh. It is a huge gem of a bygone of royal Sikh era’s classical times which has delivered the huge interest of people of those times in colors, designs inspired from nature, birds with some Turkish influence. In order to explore the bygone richness of haveli, I did photography of the haveli so that I can inspect the type of textures and designs inside it. As the haveli is a rich source of designs and patterns therefore, I categorized the research boards according to the number of floors and facades of the haveli. The design elements of the haveli are richly inspired by the Indian, Persian, Chinese and Muslim influence. I created a mood board in which I traced out those proportions of the design elements of haveli which I used in my compositions. In order to transfer those designs onto fabric samples, I used different techniques of textile printing, dying, fabric manipulation, embroideries, and embellishments. I signified the extinction of the designs/ornamentation on haveli with the burning and rusting techniques. I explored the variety of textures from the walls of haveli to enhance those distressed textures on fabric through manipulation, embellishments, etc. I also explored the material that helped my designs to enhance their look. The fabrics also matter in designs therefore, I moved for different types of fabric but limited to my color palate. I moved forward for market research that what was going on in the contemporary market and what additional role I could play to achieve a certain unique look. I used some natural and synthetic dyes.
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Design # 1: Title: Moving to An End Sketch: The size of this sketch is 12.5x12.5 inches. In this design, the Persian floral bucket is inspired by the huge corridor of haveli while the hexagonal pattern is taken from the rooftop of the haveli. In this design, the eye moves clockwise due to the focused floral motif. The size variation of hexagons shows that the motifs are going to an end (fig. no. 4.1). Painted: The size of this design is 12.5x12.5 inches. In the painted design I used coffee wash in the base. Some of the hexagons are completely painted while some of them are outlined in order to justify the title of design. The floral elements are painted in white and rendered with dull blue poster paint. The small leafy elements in the hexagons are painted in dark green. This whole color scheme is inspired by the doorways at the corridor of the haveli (fig. no. 4.2). Fabric Sample: In the sample, I have taken a part of my painted design. Cotton fabric is used as a base. The base dyed first with coffee and then block printing dyes are used in order to achieve the desired color. Applique technique is used in the hexagons with shamoz silk fabric. The rest of the hexagons are outlined by machine embroidery in filling stitch of silk thread. The leafy elements are machine embroided in the green color of silk thread in filling stitch. In vase motif, the filling stitch of machine embroidery is done in off white and dull blue (asmani) color(fig. no. 4.3).
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Design # 2: Title: A Fair Bouquet Sketch: The size of this sketch is 12.5x12.5 inches. In this design, the floral element of sheesh mehal is composed beautifully in a-symmetrical design. The linear and the circular shapes with size variation are used to make the bouquet a focal point. In this design, the eye moves from left to right making the focal area at the floral element (fig. no. 4.4). Painted: The size of this design is 12.5x12.5 inches.
In the painted design the
monochromes of green are taken from the haveli. A green pastel color is used in the base. The circles and lines are outlined with poster paints while some are filled with light green watercolor paint. The floral element is flat painted by poster paints in hues of green and maroon. Mustard color is used in contrast to green and maroon. The bird is painted in greens by watercolors (fig. no. 4.5). Fabric Sample: The size of this sample is 12.5x12.5 inches. For the base of this fabric sample, I have used two layers of green organza. In the vertical lines and the circular design, applique technique is used. For applique light, green organza is used and then heat gun manipulated for bubble texture. The outlines of the linear and circular design are done in filling stitch by machine embroidery. The floral elements are machine embroided in filling stitch and velvet stitch. The bird is embellished by seed beads and Cora in tones of green (fig. no. 4.6).
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Design # 3: Title: The Florals of Sheesh Mehal Sketch: The size of this sketch is 12.5x12.5 inches. In this design, every motif is used twice to balance itself. These motifs are inspired by the sheesh mehal. The borders are used at the top right and the bottom left the corner in order to balance. The geometrical pattern is inspired by the ceiling of sheesh mehal and is overall composed. Arch is the dominating part of haveli thus four arches are overlapped from right to left in a diagonal way. The floral motif is used here to make a focal point. The top left corner is balanced with the floral pattern. In this design, the eye moves from the bottom right corner to the top left and the birds are used to aid the eye to rotate (fig. no. 4.7). Painted: The size of this design is 12.5x12.5 inches. In the painted design the base is colored by pencil colors of yellow and brown. The arches are painted by poster paints of brown and mustard. The geometrical pattern is painted in maroon and greens. The borders are painted in maroon base with pastel shades of white, peach and green in floral elements of borders. The birds are colored in poster and watercolors in greens and skins. The floral motifs in the design are painted in peachy pink and maroon along with greens in the leaves. The top left floral pattern is painted in greens and off-white and rendered in peachy pink (fig. no. 4.8).
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Fabric Sample: The size of this sample is 12.5x12.5 inches. In this fabric sample, masuri base is used. I have used filling stitch of machine embroidery in arches. Patchwork is done in the borders. In borders, raw silk fabric is used in maroon shade upon this machine embroidery is done. The floral motifs are machine embroided. The body of the bird is machine embroided and the feathers are embellished with beads and bugle beads. The geometrical design is done in arr work and pearls, beads, and Sitara (fig. no. 4.9). Design # 4: Title: Eminence Sketch: The size of this sketch is 12.5x12.5 inches. In this design, the circular and the linear pillar is inspired from the entrance door of the haveli. Here four mandilions are used with size variation. The geometrical pattern is inspired from the ceiling of sheesh mehal and is composed in an enclosed space blocked by an arch. Persian floral motif is taken from the 1st floor of Haveli and is composed of different areas with size variation. Here the eye moves from right to left. The large mandilion is the focal point along with the floral motif (fig. no. 4.10). Painted: The size of this design is 12.5x12.5 inches. In the painted design the dusty peach color in poster paints is used as a base. The arche is painted in mustard and rendered in brown. The floral motifs are flat painted in blue and mustard and then rendered in sky blue and maroon, respectively. The mandilions are painted in maroon skin and pink. The pillars are
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painted in mustard, maroon, green and brown. The inside of the mandilion is painted in watercolors. The geometrical element is outlined in maroon (fig. no. 4.11). Fabric Sample: The size of this sample is 12.5x12.5 inches. In this fabric, sample cotton is used as a base and is dyed in dusty peach color. Arche and the geometrical pattern are machine embroided while the pillar is machine embroided on a patch of organza fabric. The floral motif is the first machine embodied on a different fabric and then de-attached from that fabric. That embroidery is then given a 3d look on the sample. Handmade Dori is used at the edges of the circular motif. The inner of the mandilion is done in reverse applique technique with ice dyed silk fabric (fig. no. 4.12). Design # 5: Title: Capsuled Beauty Sketch: The size of this sketch is 12.5x12.5 inches. In this design, the linear and horizontal brick design is inspired by the 1st-floor corridor of the haveli. The pillar is the focal element here. The linear and horizontal brick pattern is composed with the elongated arches and Persian floral motifs of 1st floor. The irregular brick pattern is used as a self-design. In this design, the eye moves from left to right (fig. no. 4.13). Painted: The size of this design is 12.5x12.5 inches. In the painted design the base is painted with watercolors in green. The brick pattern in this design is painted in self. The pillar
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is painted in maroon along with the detail of off-white, mustard, green and pink. The floral motif is painted in maroon and sky-blue with the rendering of mustard and blue, respectively. The arches are painted in mustard with the outline of maroon (fig. no. 4.14). Fabric Sample: The size of this sample is 12.5x12.5 inches. or the base of this fabric sample dull green net fabric is used as a base. The self-brick motif is hand embroided in back-stitch. The dominating technique here is kaviya. The pillar design is machine embroided on the maroon raw silk fabric and then after de-attaching sewed to the base fabric. The floral motif is also embroided on the other fabric and the de-attached and sewed onto the net fabric. The arches are embroided on the water dissolving sheet and sewed onto this fabric (fig. no. 4.15). Design # 6: Title: The Royal Mansion Sketch: The size of this sketch is 12.5x12.5 inches. In this design, a landscape inspired by the arches of sheesh mehal is used. The architecture is composed horizontally at the bottom overlapping each other (fig. no. 4.16). Painted: The size of this design is 12.5x12.5 inches. In the painted design the base is painted with coffee wash and then watercolors and poster paints are used for detailing (fig. no. 4.17).
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Fabric Sample: The size of this sample is 12.5x12.5 inches. The base of this fabric sample is dyed with coffee then patchwork technique is used to embroider the buildings. The architecture is beautifully enhanced with single color filling stitch detailing. Raw silk is used as a base fabric while for patchwork organza fabric is used. (fig. no. 4.18). Design # 7: Title: Adorned Sketch: The size of this sketch is 12.5x12.5 inches. In this design, I have used a-symmetrical composition. In this composition hexagonal pattern is used inspired by the rooftop of the haveli. These hexagonal patterns are fused with the botanical roses with realistic touch inspired from the entrance roof of the haveli (fig. no. 4.19). Painted: The size of this design is 12.5x12.5 inches. In the painted design the base is left white the hexagonal patterns are enhanced with off white color the florals are enhanced with the tones of the white poster and water paints (fig. no. 4.20). Fabric Sample: The size of this sample is 12.5x12.5 inches. The base of this fabric sample is of white organza. The hexagonal pattern is enhanced with the small size pearls and beads. The roses are made of white organza and pulachi fabric with 3d flower making technique. The rest
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of the flowers are machine embroided on white and peach color organza. The florals are enhanced with white pearls and square Sitara (fig. no. 4.21). Surface #1: The size of this sample is "8x8 inches". Two layers are used in the base of this sample. The lower layer is a simple square weaved net while the upper layer is fabric painted and textured by means of pleats. Irregular pleats are used to enhance the cracked elements of the haveli. Then in order to beautify those pleats, I used Sitara, petal, uncut beads, seed beads of different sizes. In order to ornament the pleats other techniques are also used i.e.: knot stitch by a silk thread, hooking by a wool thread and loose irregular machine embroidery in silk thread (fig. no. 4.22). Surface #2: The size of this sample is “8x8 inches”. K.T cotton fabric is used in this sample. The fabric is first dyed in chunri style with rust and pale-yellow color. Then pleats are overlapped in a regular symmetrical pattern inspired by the triangular pattern of pillars (fig. no. 4.23). Surface #3: The size of this sample is “8x8 inches”. The shamoze silk fabric in a dull brown color is used as a base fabric. The linear pattern is inspired by the pillars of the haveli. These lines are indicated by bugle beads in dull gold color. In order to enhance these linear pattern pearls of different sizes with limited color, palette is used along with the seed beads at the bottom of the lines (fig. no. 4.24).
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Surface #4: The size of this sample is "8x8 inches". In this fabric sample, lightweight golden rust organza is used. The strips of organza are torn and burned directly on fire then these are attached by means of sewing machine onto another fabric in an order to overlap each other forming a frill (fig. no. 4.25). Surface #5: The size of this sample is "8x8 inches". This surface is inspired by the cracks on the walls of the haveli. The color scheme lies between the maroon and rust gold etc. a variety of embellishment material is used to enhance and beautify the distressing element of the haveli. Bugle beads, seed beads, square Sitara of 2 kinds and pearls of different sizes are used in a different experimental way to ornament the cracks (fig. no. 4.26 and 4.27). Surface #6: The size of this sample is “8x8 inches�. The base of this fabric sample is of copper color shamoze silk. The base fabric is first painted with silk paints with salt technique. Upon the base fabric, dark brown colored velvet fabric is used as an applique technique in order to justify the cracked element of the haveli. Applique is done by hand. Different material is used to enhance the adverse element of the haveli. Seed beads, pearls, Sitara and cut dana of different colors and sizes are used to ornament these elements. Moreover, knot stitch with maroon and mustard silk thread is also done (fig. no. 4.28 and 4.29). Surface #7: The size of this sample is "8x8 inches". This surface is inspired by the ceiling of haveli's ground floor. Here I made a contrast of greens and browns. Seed beads, square Sitara, pearls, and bugle beads are used here in this sample (fig. no. 4.30).
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Surface #8: The size of this sample is "8x8 inches". This surface is inspired by the cracks on the walls of the haveli. Here wool threads in skin color are used on moongya green shamoze silk base in order to encounter the cracks. Different material is used to enhance the adverse element of the haveli. Seed beads, pearls, Sitara and cut dana of different colors and sizes are used to ornament these elements. The surface is embellished in a certain corner giving an asymmetrical composition (fig. no. 4.31). Surface #9: The size of this sample is "8x8 inches". This surface is inspired by the cracks on the walls of the haveli. Here I have used dark brown velvet fabric as a base and knot stitch and back stitch with mustard and maroon color silk thread are used to ornament the cracked element (fig. no. 4.32). Surface #10: The size of this sample is "8x8 inches". This surface is inspired by the cracks on the walls of the haveli. Here the cotton fabric is used as a base. A coffee stain is used to describe the old and forgotten walls of the haveli. This stain is then enhanced with the copper rust machine embroided crack element of silk thread (fig. no. 4.33).
CHAPTER NO. 4 SURVEY QUESTIONNAIRE
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Chapter No. 4 Survey Questionnaire Design Brief: The title of my thesis is “Probing the Bygone Richness of Haveli Nau Nihal Singh�. I chose this haveli for being the least known place and in its worst condition. My aim is to explore the beauty of the haveli existing for about 200 years. I used the adverse as well as the applauding elements, designs, motifs and textures of haveli then enhance and beautify them by means of embroidery, embellishment, 3d fabric manipulation, appliques, printing, and dyeing techniques. My innovation is to symbolize the unity of different cultures that is shown on haveli as existed by the old times. Name: Age: Gender: Do you think that the present condition of this architecture is satisfactory? Agree Disagree Strongly disagree What kind of depiction of heritage do you get while having a look?
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Have you ever seen Haveli Nau Nihal Singh? Yes No What kind of textile patterns do you like? Geometrical Floral Both Do you find the damaged elements on the walls add beauty? Yes No
Do you like reused products? Yes No Will you prefer a reused sitting in your TV lounge? Yes No Which color scheme will you prefer on your TV lounge? Tones of maroon
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Tones of beige Tones of green Will you prefer to hang a wall hanging in your Lounge instead of painting your wall? Yes No
Will you prefer to hang a 3d textured and embellished wall hanging? Yes No In your opinion what kind of fabric you will prefer for your sittings in TV lounge? Rexin Velvet Mixture of both What kind of surface of fabric do you prefer to have in your settings? Plain fabric Textured Printed What kind of fabric will you prefer in wall hanging? See-through fabric
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Plain fabric Textured fabric Printed fabric Do you think that recycling plays an important role in conserving nature? Yes No
Which other material should I use in my wall hanging and recycled sittings?
Which shape of wall hanging should I use? Vertical Horizontal Map-like Irregular A-symmetrical In your opinion should I make cushions for the recycled sittings? Yes No
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Will you prefer to have embroided and embellished cushions? Yes No Do you think that I am successful in documenting the sensitivity of haveli Nau Nihal Singh by means of wall hanging, and recycled product using a variety of techniques in embroidery, embellishment and 3d manipulation? Agree Strongly agree Disagree Strongly disagree Satisfactory
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SURVEY CONCLUSION The survey was conducted by the female of the age group 20-30 years of ladies. Most of them are students and working holics. Total 20 questionnaire survey was filled by them. It is noted that 90% of people have no knowledge regarding haveli Nau Nihal Singh (e.g: name, location, etc.) but 75% of people liked a mixture of geometric and floral designs. They loved the way I am enhancing motifs and textures through manipulation techniques. Most of the people were interested in buying new ideas related to this topic. They loved the way I introduced the distressing elements of a haveli in textiles by means of manipulation techniques. In the choice of fabric, 50% suggested jute fabric for reused sittings while 25% suggested velvet and other rexin respectively. In case of fabric for a panel, 90% wanted to see a panel with a see through fabric. Most of them preferred beige and maroon color schemes for the products. They loved to have a hanging panel and reused sitting in their lounge for decoration purposes. Mainly they liked the 3d fabric manipulation techniques for the panel and they preferred a digitally printed fabric for the settings. Most of them liked embroided and embellished and pannel and reused sitting with the embroided techniques. The result of my analysis shows that I am working in the right direction. People had appreciated it and want to see them in the future as an interior. 80% of people think that I am successful in enhancing and modifying the designs and textures of haveli Nau Nihal Singh.
CHAPTER NO 5 PRODUCT DEVELOPMENT
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Chapter No 5 Product Development My thesis topic is “Probing the Bygone Richness of Haveli Nau Nihal Singh.� The research started with brainstorming and then researching the all aspects, views, beliefs, opinions. I am using the motifs, designs and textures of Haveli Nau Nihal Singh. These motifs are taken from the walls, pillars and ceilings etc. I translate those designs and textures onto fabric by means of fabric manipulation, embroidery and embellishment techniques etc. I made five research boards (fig. no. 1.1-1.5) dividing the designs and motifs according to the facades and floors of the haveli. One research board includes the Entrance of haveli, the second one covers the 1st floor of haveli, third contains rooftop while fourth contains sheesh mehal and the last research board covers the back side and the ground floor of the haveli. After making the research board, I made pencil sketches. I drew 30 pencil sketches. Then I painted 28 designs with poster paints, pastel colors, pencil colors and water paints. I transformed these painted designs to fabric samples. This was achieved through different material and techniques, like embroidery and embellishment, 3d surface development, manipulation techniques, printing, dying, smocking etc. I chose different varieties of fabrics and different material. Mini-thesis Product: I started research for my mini thesis product and made different designs related to my topic. I customized my research into the research board which helped me figuring out that which product will justify my thesis topic. I chose a wall panel and bead-weaving shawl. A wall panel was made to translate the miniature elements of sheesh mehal. I stylized the kantha styled miniature artwork of sheesh mehal into Persian miniature layout on 6 by 2 feet long panel.
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Then I was supposed to trace and design the panel on tracing paper (fig. no. 5.1 and 5.2). I chose green karandi fabric for the base of the panel hung by the two wooden rods. This panel includes embroidery, embellishment, applique and 3d manipulation technique (fig. no. 5.3) .Moreover, the bead-weaving shawl was inspired by the hexagonal pattern on the rooftop (fig. no. 5.4). I used bugle beads of different shades and tones of maroon along with peals and beads (fig. no. 5.5 and 5.6).
Major-thesis Product: As my thesis topic is related to historical Haveli Nau Nihal Singh thus, I searched for such a product that could reflect the real image of the haveli. For this, I chose the process of reuse. For this purpose, I filtered to use two old thrown away leather briefcases and modify them into useable and decorative sittings having cushions on them (fig. no. 5.9 and 5.10). I use digital printed base of the sittings and embroided cushions along with different techniques on them. These sittings are done in beige and maroon color scheme. For the background of my majorthesis I made a see-through wall panel with an irregular shape identifying the distressing and cracked elements of the haveli by means of embroidery, manipulation and embellishments. This is also achieved in beige and tones of maroon (fig. no. 5.7 and 5.8).
CHAPTER NO 6 CONCLUSION
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Chapter No 6 Conclusion Haveli Nau Nihal Singh is a rich source of designs and motifs of different cultures inspired by the craftworks and artwork of Chinese, Indian, Persian and Islamic civilization. It depicts the grandeur and glory of the Sikh era. This architecture is being ignored for 200 years. Our mobile society and the fast-paced world have caused us to forget much of our heritage. If these pieces of heritage are not preserved, then what are we doing with heritage preservation? It is the duty of the relevant authorities to see where the heritage is being neglected. The locals are not aware of the expertise and importance of fresco and preservation. Talking about the present condition of haveli Nau Nihal Singh I experienced both the adverse and the applauding designs and textures. So, I decided to use both elements in my work to indicate the neglection of the present authorities. As the haveli is centuries old, therefore, due to many atmospheric changes it has lost its essence of beauty and richness and hence, it is forgotten nowadays. This project will make a part in exploring and reviving the design elements of haveli by means of contemporary textiles. To enhance its elegance and prestige wall panel and reused sittings are proposed in a manner to preserve the forgotten beauty.
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I
FIGURES
Figure no.1.1 Title: Entrance of Haveli Size: 50.8 cm by 76.2 cm Source: Photograph by the Author
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Figure no.1.2 Title: Ground Floor and Back side of Haveli Size: A3 size Source: Photograph by the Author
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Figure no.1.3 Title: 1st Floor Size: 50.8 cm by 76.2 cm Source: Photograph by the Author
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Figure no.1.4 Title: Sheesh Mehal Size: 50.8 cm by 76.2 cm Source: Photograph by the Author
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Figure no.1.5 Title: Roof Top of Haveli Size: 50.8 cm by 76.2 cm Source: Photograph by the Author
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Figure no.2.1 Title: Haveli Source: https://maariawaseem.wordpress.com
Figure no.2.2 Title: Haveli’s Location Source: www.googlemaps.com
Figure no.2.3 Title: Rectangular view Source: www.google.com
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Figure no.2.4 Title: Bird’s eye view of haveli Source: www.google.com
Figure no.2.5 Title: Haveli’s Entrance Source: Shoot by Author
Figure no.2.6 Title: Jharoka-e-Darshan Source: Shoot by Author
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Figure no.2.7 Title: Second Section of Haveli Source: Shoot by Author
Figure no.3.1 Title: Maria B fashion shoot for Bridal wear Source: https://www.mariab.pk/weddingwear/bridals.htmlno./page/2
Figure no.3.2 Title: Maria B fashion shoot for Bridal wear Source: https://www.mariab.pk/weddingwear/bridals.htmlno./page/2
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Figure no.3.3 Title: Souchaj Bridal shoot Source: https://www.instagram.com/souchaj/?hl=en
Figure no.3.4 Title: Souchaj Bridal shoot Source: https://www.instagram.com/souchaj/?hl=en
Figure no.3.5 Title: shoot for Gul Ahmad Source: www.instagram.com/khawar_riaz_official
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Figure no.3.6 Title: shoot for Gul Ahmad Source: www.instagram.com/khawar_riaz_official
Figure no.3.7 Title: Bol Pakistani movie 2011 Source: https://www.youtube.com/watch?v=6gKfRrZRIw0
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Figure no. 4.1 Title: Moving to an end Artist: Made by Author Medium: Pencil Sketch
Figure no. 4.2 Title: Moving to an end Artist: Made by Author Medium: Coffee textures with poster paints
Figure no. 4.3 Title: Moving to an end Artist: Made by Author Medium: sponged dyed base with embroidery and technique
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Figure no. 4.4 Title: A Fair Bouquet Artist: Made by Author Medium: Pencil Sketch
Figure no. 4.5 Title: A Fair Bouquet Artist: Made by Author Medium: Coffee dyed base along with Poster paints
Figure no. 4.6 Title: A Fair Bouquet Artist: Made by Author Medium: heat manipulated base along with applique and 2d flowers
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Figure no. 4.7 Title: The Florals of Sheesh Mehal Artist: Made by Author Medium: Pencil Sketch
Figure no. 4.8 Title: The Florals of Sheesh Mehal Artist: Made by Author Medium: Pencil colors and poster paints
Figure no. 4.9 Title: The Florals of Sheesh Mehal Artist: Made by Author Medium: Organza base along with applique, embroidery, embellishments
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Figure no. 4.10 Title: Eminence Artist: Made by Author Medium: Pencil Sketch
Figure no. 4.11 Title: Eminence Artist: Made by Author Medium: Poster and water paints
Figure no. 4.12 Title: Eminence Artist: Made by Author Medium: embroidery along with reverse and front applique technique
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Figure no. 4.13 Title: Capsuled Beauty Artist: Made by Author Medium: Pencil Sketch
Figure no. 4.14 Title: Capsuled Beauty Artist: Made by Author Medium: Poster and water paints
Figure no. 4.15 Title: Capsuled Beauty Artist: Made by Author Medium: Embroidery on net fabric with fabric with kaviya technique and hand embroidery
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Figure no. 4.16 Title: The Royal Mansion Artist: Made by Author Medium: Pencil Sketch
Figure no. 4.17 Title: The Royal Mansion Artist: Made by Author Medium: Water colors and Poster Paints and coffee wash at the base
Figure no. 4.18 Title: The Royal Mansion Artist: Made by Author Medium: embroideries with applique on the coffee dyed base
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Figure no. 4.19 Title: Adorned Artist: Made by Author Medium: Pencil Sketch
Figure no. 4.20 Title: Adorned Artist: Made by Author Medium: Water colors and Poster Paints and coffee wash at the base
Figure no. 4.21 Title: Adorned Artist: Made by Author Medium: embroideries with applique on the coffee dyed base
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Figure no. 4.22 Artist: Made by Author Medium: Fabric surface with pleats representing texture of cracks
Figure no. 4.23 Artist: Made by Author Medium: Fabric sample representing the triangular pattern of the pillars
Figure no. 4.24 Artist: Made by Author Medium: Fabric sample representing the linear pattern of the pillars
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Figure no. 4.25 Artist: Made by Author Medium: Fabric sample includes burn frill
Figure no. 4.26 and 4.27 Artist: Made by Author Medium: Fabric sample representing the cracks by different material
Figure no. 4.28 and 4.29 Artist: Made by Author Medium: Fabric sample representing the cracks by different material
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Figure no. 4.30 Artist: Made by Author Medium: Fabric sample representing the ceiling pattern of the haveli
Figure no. 4.31 Artist: Made by Author Medium: Fabric sample representing the cracks by different material
Figure no. 4.32 Artist: Made by Author Medium: Fabric sample representing the cracks by knot stitch
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Figure no. 4.33 Artist: Made by Author Medium: Fabric sample representing the cracks by means of machine embroidery and coffee dyed base
Figure no. 5.1 Artist: Made by Author Medium: Pencil sketch
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Figure no. 5.2 Artist: Made by Author Medium: Pencil sketch
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Figure no. 5.3 Artist: Made by Author Medium: 6 by 2 feet panel with applique embroidery and embellishment techniques
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Figure no. 5.4 Artist: Made by Author Medium: Pencil Draft
Figure no. 5.5 and 5.6 Artist: Made by Author Medium: Bugle beads shawl
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Figure no. 5.7 and 5.8 Source: https://www.suehotchkis.com/
Figure no. 5.9 and 5.10 Source: google.com
Bibliography “Nau Nihal Singh, Lahore, Pakistan.” orientalarchitecture.com. last modified 2019. https://www.orientalarchitecture.com/sid/859/pakistan/lahore/nau-nihal-singh-haveli. Bansal, Bobby Singh. Remnants Of The Sikh Empire: Historical Sikh Monuments In India &Pakistan. India: Hay House Publisher, 2015. Latif, Syed Muhammad. Lahore: Its History, Architectural Remains and Antiquities. Lahore: New Imperial Press,1892. Waseem, Maaria. “Naunehal Singh Haveli / Victoria School for Girls, Walled City, Lahore.” Lahore and more. https://maariawaseem.wordpress.com/2015/08/01/naunehal-singh-havelivictoria-school-for-girls-walled-city-lahore/. “Haveli of Nau Nihal Singh.” howlingpixel.com. last modified 2019.https://howlingpixel.com/ien/Haveli_of_Nau_Nihal_Singh#cite_ref-UA_5-4. Report, Staff. “Victoria Girls High School – Taught in heritage.” Pakistan Today. https://www.pakistantoday.com.pk/2010/12/05/victoria-girls-high-school-taught-in-heritage/. “MariaB.” mariab.pk. 2018/10/09. https://www.mariab.pk/wedding-wear/bridals.html#/page/2. “souchaj.” Instagram. 2018/10/09. https://www.instagram.com/souchaj/?hl=en. “gulahmedfashion.” Instagram. 2018/10/09. https://www.instagram.com/gulahmedfashion/?hl=en. “khawar_riaz_official.” Instagram. 2018/10/09. https://www.instagram.com/khawar_riaz_official/?hl=en.
“Bol (2011) Full Movie 720p HD - Pakistani Movie.” you tube. 2018/10/09. https://www.youtube.com/watch?v=zaUGoY1bI2E. 1
Khan Shehram Eusufzye, “For Haveli’s sake,” tns.thenews.com.pk, last modified 2018, http://tns.thenews.com.pk/havelis-sake/#.XOGoa8gzbIW