Fashion & Textile Research Journal (한국의류산업학회지)

The Society of Fashion and Textile Industry (한국의류산업학회)
권호 표지
DOI QR코드

DOI QR Code

Traditional Embroidery in India based on Bourdieu's Cultural Theory

부르디외 문화이론으로 살펴본 인도 지역별 전통자수

  • Kim, Yi Rang (Dept. of Clothing & Textile, Pusan National University) ;
  • Kwon, Mi Jeong (Dept. of Clothing & Textile, Pusan National University)
  • Received : 2021.11.12
  • Accepted : 2021.12.09
  • Published : 2021.12.31
Download PDF
⟨ Previous Next ⟩

Abstract

The purpose of this study is to analyze the traditional embroidery in India by region based on Bourdieu's cultural theory. As the research methods for this study, literature and case studies were conducted. The results of the study are summarized as follows. First, India's regions could be divided into four distinct regions based on language and religion. The main concepts of Bourdieu's cultural theory, namely the sub-dimensions of field and habitus, were the field of social system, the field of goods & economy, the field of environment/region, culture, and ethnicity. Second, Eastern India's embroidery was influenced by Hinduism and traditional art. The embroidery used various fabrics such as the Applique work, and vivid colors and patterns were mainly used in the Hindu myths, animals, and flower patterns of the embroidery. Third, embroidery in Western India was influenced by exotic cultures like Persian due to geographical conditions, and embroidery via the use of gold threads and various ornaments was developed. Symbolized flower patterns and geometric patterns were used a lot in the respective embroidery. Fourth, embroidery in southern India was influenced by the Dravidian culture and their architectural style, which saw the emergence of an embroidery that used simple colored cross-stitch. Most of the patterns in this embroidery are geometricized. Fifth, Northern Indian embroidery has historically served as the center of power, resulting in an embroidery that uses various forms and materials. In this embroidery, flower patterns are mainly used. Finally, the characteristics of the traditional embroidery of India's each region is based on Bourdieu's cultural theory, which could be summarized as ethnic religiosity, exotic splendor, structural formality, and symbolic power.

Keywords

References

  1. Anh, J. H. (2011). An introduction to the comparative study about the public administration between the FRG and the GDR. Korean Public Administration Review, 45(2), 139-158.
  2. Bhandari, V. (2015). Jewelled textiles - Gold and silver embellished cloth of India. Uttar Pradesh: Om Books International.
  3. Bourdieu, P. (1999). Rule of art. (T. H. Ha, Trans.). Seoul: Dongmunsun. (Original work published 1979)
  4. Bourdieu, P., & Chartier, R. (2019). Sociologist & Historian. (S. J. Bae, Trans). Seoul: Kingkongbook. (Original work published 2016)
  5. 'Cap (Headgear)'. (n. d.). V&A museum. Retrieved October 25, 2021, from https://collections.vam.ac.uk/item/O476005/cap-headgear/
  6. 'Census of India 2011'. (2018). Office of the Registrar General & Census Commissioner, India. Retrieved September 13, 2021, from https://censusindia.gov.in/2011Census/C-16_25062018_NEW.pdf
  7. 'Chamba rumal with scenes of gopis adoring Krishna'. (n. d.). Google Art & Culture. Retrieved October 21, 2021, from https://artsandculture.google.com/asset/chamba-rumal-with-scenes-of-gopis-adoring-krishna-unknown/jAEJPmO08gFzzg
  8. 'Child's dress'. (n. d.). V&A museum. Retrieved October 15, 2021, from https://collections.vam.ac.uk/item/O455642/childs-dress-unknown/
  9. Choi, H. J. (2020). The formation process of French music "Jang" in the 1930s - Focusing on Bourdieu's "champ" theory. French Studies, 92, 217-238. doi:10.18812/refc.2020.92.217.
  10. Choi, H. W. (2018). The history and culture of India. Paju: Salrim.
  11. Crill, R. (1999). Indian embroidery. London: V&A publications.
  12. Dehejia, V. (1997). Indian art A&i. London: Phaidon incorporated limited.
  13. 'Development commissioner (handicraft)-Ministry of Textiles, Government of India'. (n. d.). GI Handicraft of India. Retrieved October 14, 2021, from http://www.handicrafts.nic.in/pdf/LIST_OF_CRAFT_REGISTRED_UNDER_GEOGRAPHICAL_INDICATION_HANDICRAFTSNew.pdf
  14. Dhamija, J. (2004). Asian embroidery. New Delhi: Abhinav publications.
  15. 'Dravidian language family is 4,500 years old: study'. (March 21, 2018). The Hindu. Retrieved September 13, 2021, from https://www. thehindu.com/sci-tech/science/dravidian-language-family-is-4500-years-old-study/article23314180.ece#:~:text=of%20Human%20History-,The%20Dravidian%20language%20family's%20four%20largest%20languages%20%E2%80%94%20Kannada%2C%20Malayalam%2C,back%20the%20furthest%2C%20researchers%20said.
  16. Eun, K. H., & Mun, Y. (2019). A study on the distinguishing characteristics of middle-aged male CEO's appearance management using class theory Bourdieu's. Fashion & Textile Research Journal, 21(6), 766-775. doi:10.5805/SFTI.2019.21.6.766
  17. Ha, J. H. (2010). The world of Indian art-combination of various painting styles - Indian fine painting. Chindia Plus, 46, 44-45.
  18. Han, Y. H. (2011). A study on India's traditional embroidery, mirror work. Journal of the Korea Fashion and costume design association, 13(1), 99-112.
  19. Hong, S. M. (2000). Culture and habitus: Bourdieu and European political thought. Seoul: Nanam.
  20. 'Indian embroidery'. (n. d.). V&A Museum. Retrieved October 25, 2021, from https://www.vam.ac.uk/articles/indian-embroidery
  21. Jho, J. Y. (2021, February 05). Trend- textile and clothing market trends in India. KOTRA. Retrieved October 25, 2021, from https://news.kotra.or.kr/user/globalBbs/kotranews/782/globalBbsDataView.do?setIdx=243&dataIdx=187055
  22. Jung, I. S., & Jung, T. S., (2017). The characteristic ideology of virtual reality cinema -Focusing on the theory of "Habitus" and "Champ". Journal of contemporary cinema studies, 13(4), 283-317. doi:10.15751/cofis.2017.13.4.283
  23. Jung, S. N. (2016). The homeless habitus and the logic of postcapitalism of welfare field. Journal of Democracy and Human Rights, 16(2), 241-300.
  24. 'Kantha coverlet'. (n. d.). Google Art & Culture. Retrieved October 14, 2021, from https://artsandculture.google.com/asset/kantha-coverlet-unknown-maker/pAE4_-QMew9ZuA
  25. Kim, B. H. (2007a). Rajasthan - The Lord who seeks black pearl in the desert. Chindia Plus, 9, 54-55.
  26. Kim, D. I. (2009). Danto vs. Bourdieu - Two different gazes on 'Artworld'. Culture & Society, 6(0), 107-159.
  27. Kim, D. I. (2016). Pierre Bourdieu. Seoul: Communication Books.
  28. Kim, D. Y. (2007b). Old Delhi - The home of history and the aorta of new prosperity. Chindia Plus, 14, 58-59.
  29. Kim, M. S. (2010). Development policies in northeastern India and opportunities for Korean companies. Chindia journal, 42, 40-48.
  30. Kim, S. H. (2016). An analysis of local arts worlds. The Korean Journal of Humanities and the Social Sciences, 40(4), 201-224.
  31. Kim, S. R. (2020). Characteristics of Paul Smith and fashion from the perspective of habitus. Journal of Fashion Business, 24(4), 99-116. doi:10.12940/jfb.2020.24.4.99
  32. Kim, Y. R., & Kwon, M. J. (2020). Transition and social-cultural values of goldwork embroidery in Europe. The Research Journal of the Costume Culture, 28(4), 544-561. doi:10.29049/rjcc.2020.28.4.544
  33. 'Kutch embroidery'. (n. d.). Wikipedia. Retrieved October 18, 2021, from https://en.wikipedia.org/wiki/Kutch_Embroidery
  34. Kwon, Y. S., & Cho, W. H. (1997). A study on the symbolism of religious costume of India. Journal of the Korean society of clothing and Textile, 21(4), 677-688.
  35. 'Lambani Embroidery'. (n. d.). Google Art & Culture. Retrieved October 21, 2021, from https://artsandculture.google.com/asset/lambaniembroidery-products-and-stitches/8QGo68mdZzMmJA
  36. Lee, G. L. (2017). A study on the cultural contacts between Garak kingdom and ancient south India - With special reference to 'fish worship'. Journal of Indian Studies, 22(1), 85-121. doi:10.21758/jis.2017.22.1.85
  37. Lee, G. S., Lee, S. C., & Kwon, G. C. (2010). Structural correlation between culture and economy in eastern India(Report No. 10-43). Sejong: Korea Institute for International Economy Plicy.
  38. Lee, H. S., & Kim, H. Y. (2020). Guy Bourdin's fashion photography as a practice of habitus. Bulletin of Korean Society of Basic Design & Art, 21(6), 505-521. doi:10.47294/KSBDA.21.6.37
  39. Lee, J. E. (2013). People who moved indian history - International trade prize in ancient Tamilakam. Chindia Plus, 81, 44-45.
  40. Lee, S. Y. (2011). A study of Bourdieu's cultural capitalism - education as a cultural reproduction. The Korean Journal of Philosophy of Education, 33(1), 129-159. https://doi.org/10.15754/JKPE.2011.33.1.006006
  41. Nag, P., & Sengupta, S. (1992). Geography of India. New Delhi: Concept publishing company.
  42. Naik, S. (1996). Traditional embroidery of India. New Delhi: A.P.H. Pub. Corp.
  43. Park, J. S. (2004). Festivals and goddess worship in India, Korean journal of Folk Studies, 14(0), 129-159.
  44. Park, Y. H. (2012). The 19th-century French bourgeoisie in Lady Bovary - Focusing on Pierre Bourdieu's intestines and habitus concepts. French Culture and Arts Research, 40, 153-183.
  45. 'Pebble stream sari'. (n. d.). V&A Museum. Retrieved October 14, 2021, from https://collections.vam.ac.uk/item/O1257159/pebble-stream-sari-sari-and-blouse-kalsi-swati/
  46. Pipili. (n. d.). Odisha Tourism. Retrieved October 14, 2021, from https://odishatourism.gov.in/content/dam/tourism/home/discover/about-odisha/glimpses-of-odisha/art-architecture.jpg
  47. 'Registered GIs'. (n. d.). Office Controller General of Patents, Designs & Trade Marks-government of India. Retrieved September 23, 2021, from https://ipindia.gov.in/registered-gls.htm
  48. Ryu, K. H. (2013). Religion and religious culture in India. Seoul: Seoul national university publication.
  49. 'Sari-chikan'. (n. d.). V&A Museum. Retrieved October 22, 2021, from https://collections.vam.ac.uk/item/O478966/sari-unknown/
  50. Sharma, G., & Bhagat, S. (2018). Revival of toda embroidery-needlecraft of Nilgiris. Jurnal Sosioteknologi, 17(1), 1-13. doi:10.5614/SOSTEK.ITBJ.2018.17.1.1
  51. 'Shawl (Kashmiri and Suzni embroidery)'. (n. d.). Google Art & Culture. Retrieved October 25, 2021, from https://artsandculture.google.com/asset/shawl-kashmiri-and-suzni-embroidery/GwGRTaXgcSjeA
  52. Shin, C. W. (2011). A study on the commercial development of the ritual painting - Focusing on the madhubani painting of Bihar in India. Journal of Religious Studies and Culture, 8, 75-108.
  53. Shin, H. S. (2012). The application and modification of costumes influenced by the spread of religion. The Research Journal of the Costume Culture, 20(3), 392-402. doi:10.7741/rjcc.2012.20.3.392
  54. 'The arts of the Mughal Empire'. (n. d.). V&A Museum. Retrieved November 5, 2021, from https://www.vam.ac.uk/articles/the-arts-of-the-mughal-empire
  55. Wearden, J. M. (2016). Decorative textiles from Arab & Islamic cultures - Selected works from the Al Lulwa collection. London: Paul holberton publishing.
  56. Wilkinson-Weber, C. M. (1997). Skill, dependency, and differentiation - Artisans and agents in the Lucknow embroidery industry. Ethnology, 49-65.
  57. Wolpert, S. (2003). India (H. S. Lee, & Shin, C. S., Trans.). Seoul: Garam.
  58. 'Zari Zardozi'. (n. d.). Google Art & Culture. Retrieved October 19, 2021, from https://artsandculture.google.com/exhibit/zari-zardozi/FwKCrx-kemIoKw