Needle and thread Lessons
My tryst with the needle
began quite early. The severity of the stings left by the sharp metal tip of
the slim contraption called the needle puncturing my fingers and my pride, not
before leaving a slim red trail behind, remains clearly etched in my memory.
The seamless progress of the slim devil, despite being thwarted, at times
sometimes by the fabric and the colourful strands of thread in their knotted, notoriety
continued undeterred transforming lifeless forms and shapes into works of art. Some
of my earliest memories of taming the needle still evoke strong memories of
desperation as most of my efforts to make it reappear as close to the point
where it had nose-dived ended with disastrous consequences.
Ma was my embroidery
tutor. It happened to be just one of the many arenas that she initiated me
into. One of the firsts things she taught me was to thread the needle without
licking the divergent tips of the skeins -a skill I could only master after probably
thousands if not million attempts. Her insistence to see me succeed paid off,
though the temptation to lapse into the easier option has not yet deserted me.
My initial catastrophes continued
to plague her, being bereft of any sense and sensibility. Their uncanny
resemblance with each other, be it flora or fauna from avian or to the canine variety
always managed to put even the most nonchalant viewer to shame. Only my ardent
supporters including lolta nani and narayani mausi never failed to pin their
flailing hopes on my capacities. Their optimism managed to keep my spirits
alive perhaps only to see each disaster
reappear with renewed vengeance.
My efforts continued in the
field and multiplied during the vacations. Primarily a leisure time activity, my
rendezvous with making handkerchiefs kept me busy. Graduating slowly into bibs
and clothing for neonates of the hospital especially for the ones who could not
afford even the bare minimum my creative pursuits became slightly better with
the passage of time .It felt good to see the delicate strands of colour surface
with astonishing alacrity adding to the dignity and grace of the fabrics they
intended to beautify.
The phenomenal use of crimson
in its brightest tinge for flowers of every genre complemented by an equally
shocking shade of green for the leaves continued in my early days as did the
knot at the end of the strand, adding to the terrible mess below, much to the
consternation of my nimble handed tutor. Ma always worked without knots. I
never did; which was just one glaring difference of the many that existed
between us.
The initial materials I
got to practice my embroidery skills on would invariably be wobbly and tinged
with a persistent shade of cream that replaces the original white due to
overuse and aging. After the design would be drawn or transferred through
carbon it had to be fitted onto a wooden frame first and then the chains would assist the lazy daisy, to continue gliding
undeterred before tapering as the stem.
The beautiful fly manifesting in its
complex avatar as the herringbone as it pitched
its might or the French knots jostling for attention with the complicated
strains refusing to play second fiddle to the more sensible long and short. Each stitch, I believe worked
with the same ethos; that of transforming the emptiness into a creative riot of
shapes colours and forms besides adding to the creative repertoire of the
creator. The wonderful feeling to see the delicate satin attain a degree of perfection, and equally vindicated by my steadily
improving grades in needlework and craft added to my confidence and providing
solace to my mother who thought that each button hole in my initial years was
only like the wobbly teeth of the aged. The shifting places of my craft
submissions from the rare corner to off the center in exhibitions in my final years
in school qualitatively stood up to match the stiff competition with a certain
èlan from the more dexterous ones in the class.
The Ondori Books Ma
brought from some of her patients just reflected her passion in needlework. She
would ask me to trace out designs from these books and safely file them in a
brown leather box adding to our design collection. Cuttings from Newspaper
Femina , Eves` Weekly were all kept in segregated manner with other slim books of
designs . I knew most of them. Some of the designs were recreated in our pillow
covers, in the runners or adorned the coffee or the central table. The Ondori books with the glossy umpteen offerings
of beautiful creations were in stark, contrast to the staid desi versions stored
in the box. Many a time she would learn a stitch or craft from a patient of
hers and then teach me. I must give her credit of teaching me tatting, an art I
could not have done without her and which till date never could become double layer
making me wonder of her extreme capacities.
I would know instantly of
Ma`s reaction which would be either of displeasure or one of happiness from the
deepening intensity of the creases on her forehead or the equally increasing
number of furrows lined above her brows or the clear absence of it clearly
reflecting her verdict and speaking volumes about my non-performance. Later Sister
Loretta ,Sister Anunciata and Sister Agapit at school too joined the tribe making
it a respectable number and adding to my challenges. Ma`s discerning eye would successfully
scan each lack of symmetry, each slip of tension, and each hasty approach. Her pronouncement
as an aftermath would never vary. ``Open the stitches and redo it``.
I understood that doing
it well was easier than opening each and then redoing it. I realized flitting
between fiction and embroidery and did justice to both. With my vacations becoming
artful and literary escapades to beat the scorching summers and soaring mercury
I became better in both reading and embroidery combatting effectively between
power failures, erratic water supplies, and the matchless mosquito blitzkrieg. My roses and pansies gradually assumed
distinct shapes and stood the challenge convincingly as did my ever-increasing
repertoire of stiches. I gradually mastered the kasuti ,kantha ,sindhi
embroidery and graduated beyond handkerchiefs and bibs to covers for the
drawing room shelves, pillows or covers for the few pieces of furniture in our
official accommodation which was blissfully nestled in the heart of the city yet
was miraculously shielded away from the hustle bustle and din that continued unabated
outside.
As I advanced into my
teens my fingers became more nimble as did my idea of using colours. Ma would
always say that my work could be much better had I been blessed with the virtue
of patience. I remember doing three bookshelf covers with Kasuti and the credit
again goes to Ma as she painstakingly drew the lines and the equally spaced
dots like a goldsmith carving intricate filigree. Later, when her vision
weakened I remember reading out the instructions to her step by step as she
completed a doily in white with a thin polished cycle spoke.
When I graduated to execute
drawn thread and cutwork a distinct influence of the convent education I had,
she would recount about the remarks of my late father, who questioned the
prudence of weakening the fabric by pulling and cutting the fabric or strands
heartlessly under the mantle of creativity. She would also reminisce about the
insensitivity meted out to her as a child while she was asked to draw out
threads during acute onset of glaucoma after a trip to Deogarh in her childhood
leaving her left eye weakened for life.
Another area that
continued to irritate her leaving her peeved was the amount of thread that I
would waste or throw –a far cry from the one that forced the needlework
community, in the days of yore known for its judicious use of the priceless
commodity. Threads always remained special to her as she recollected of times
when she, like many others had to draw the coloured threads out of the borders
of the saris that were worn out or lay unused. I still remember her narrations
where she would mention how she would embroider with threads that were
meticulously drawn from the coloured borders of Tant saris. Unbelievable, I thought,
yet the veracity of the claim gained a foothold when I saw an entire casket of the
fragile assortment of the deveined borders caringly stored by Dida in Ashirbad
Bhagalpur.
Ma would often show me her
creations. Generally delicate and done in whites, the fragile creations evoked a
strong resemblance to Dresden china strongly belying their tenacity. I still
treasure them for their beauty defying age, as do my memories. The fine pastel strands
outlining the summer blossoms on surfaces that were whiter than the virgin
stretches of snow shrouding virgin peaks always manage to mesmerize me. Magical
poetries of drawn thread, their lace edged
corners and borders speaking volumes of an art that is sharply declining
or has receded to one of the furthest corners of leisure activities in
contemporary times.
The ceremony or the
ritual of unwrapping them remained a magical event. Each creation was wrapped
in muslin with several naphthalene balls an opening them revealed the magic
inside also because of the intricate art of disrobing them layer after layer. They
would be carefully stored, aired and warmed out in the autumn sun and were only
used on only special occasions.
Washing them was another
ritual I remember distinctly. Ma had trained Noni in the fine art of washing
them. From being soaked in the bucket of cold soapy water to the detailed rinsing
she would take all possible precautions. Wringing them was forbidden and I
assisted her mostly for brushing the lace edging, before they were pinned on
thick wads of newspaper or old towels, but not before the delicate starch after
wash they received. Noni`s loving caresses
added to their longevity and they would finally be ironed before being
re-confined in their caskets tenderly till their reemergence.
Visitors never failed to
admire the creations. Comparing them with my flashy sojourns was nothing short
of blasphemy. Both of us would feel happy in our own perceptions she on passing
the legacy and I simply on being praised. Realization dawned only later about
the miniscule amount of vanity that might have crept in me because of the
deserved or undeserved praises by an entire community
of people whose fondness and love I soaked and crave for every day in my
present life.