Punjabi clothing

Last updated
Punjabi clothing of Lahore, 1890s Street scene of Lahore, 1890s 2.jpg
Punjabi clothing of Lahore, 1890s

In the Punjab region, people wore cotton clothing. Both men and women wore knee-length tops. A scarf was worn over the tops which would be draped over the left shoulder and under the right. A large sheet would be further draped over one shoulder which would hang loose towards the knees. Both male and female wore a dhoti around the waist. [1] Modern Punjabi dress has retained the dhoti, but over its long history has added other forms of dress.

Contents

The Punjab region had a flourishing industry in cotton during the 19th and early 20th centuries, when various kinds of coarse cotton clothes. [2] This cotton industry added to the richness of Punjabi clothing which exhibits Punjab's rich and vibrant culture in its dresses. [3] [4] Various types of dresses are worn based on different Punjabi festivals, local events and ceremonies.

Along with different traditional dresses special types of ornaments are also very common. [5]

Suthan

The use of the Suthan in the Punjab region also called Suthana in Punjabi is a survival of the ancient Svasthana. [6] [7] [8] [9] Svasthana referred to a lower garment which can be described as a type of trousers. The Svasthana was in use amongst the rulers in the Mauryan era (322–185 BCE), [10] amongst the ruling classes in North India during the Kushan Empire between the 1st and 3rd centuries C.E, [11] during the Gupta Empire between 4th and 6th centuries C.E. [12] and during Emperor Harsha's rule during the 7th century C.E. [13]

The Punjabi suthan is a direct variation of the svasthana which can either be loose to above the ankles and tight around the ankles, or loose to the knees and tight to the ankles. The suthan is a male and female garment but its use is particularly important in the Punjabi suthan suit whereby it is worn by women with a kurti or kurta. It is also a part of the Punjabi ghagra outfit. [14] [15] Other variations include the choga (robe) and suthan combination. [14] [15]

Kurta

The kurta with its side slits in the Punjabi kurta can be traced to the 11th century C.E. [16]

The straight-cut traditional kurta is known as a panjabi in Bangladesh, West Bengal and Assam. [17] [18] The traditional Punjabi kurta of the Punjab region is wide and falls to the knees [19] and is cut straight. [20] [21] [22] The modern version of the regional kurta is the Mukatsari kurta which originates from Muktsar in Punjab. This modern Punjabi kurta is famous for its slim-fitting cuts and smart fit designs. It is very popular among young politicians. [23]

Multani kurta

The Multani kurta is crocheted using Sajarak prints of Multan. [24]

Phulkari kurta

A Phulkari kurta is embroidered using the Phulkari embroidery of the Punjab region. [25]

Bandhani kurta

Bandhani tye-dyeing is popular in the Cholistan desert area of Punjab, Pakistan. [26] Bandhani patterns are used on kurtas.

Bandhani kurta women

bandhani kurta Bandhani women kurta.svg
bandhani kurta

The bandhani kurtis were ideal for the warm weather because they were typically made of light cotton or silk. Bright, eye-catching hues like red, yellow, green, and blue were frequently used in the designs' dots, circles, and stripes. These kurtis were frequently worn with vibrant dupattas made of phulkari embroidery, which gave the ensemble an additional layer of traditional embroidery.

Salwar Kameez

Punjabi traditional Salwar in India Punjabi Traditional Fashion - Cultural Night - Wiki Conference India - CGC - Mohali 2016-08-05 7370.JPG
Punjabi traditional Salwar in India

A Punjabi suit that features two items - a qameez (top), salwar (bottom) is the traditional attire of the Punjabi people. [27] [28] [29] Shalwars are trousers which are atypically wide at the waist but which narrow to a cuffed bottom. They are held up by a drawstring or elastic belt, which causes them to become pleated around the waist. [30] The trousers can be wide and baggy, or they can be cut quite narrow, on the bias. The kameez is a long shirt or tunic. [31] The side seams are left open below the waist-line (the opening known as the chaak [note 1] ), which gives the wearer greater freedom of movement. The kameez is usually cut straight and flat; older kameez use traditional cuts; modern kameez are more likely to have European-inspired set-in sleeves. The combination garment is sometimes called salwar kurta, salwar suit, or Punjabi suit. [33] [34] The shalwar-kameez is a widely-worn, [35] [36] and national dress, [37] of Pakistan. When women wear the shalwar-kameez in some regions, they usually wear a long scarf or shawl called a dupatta around the head or neck. [38] The dupatta is also employed as a form of modesty—although it is made of delicate material, it obscures the upper body's contours by passing over the shoulders. For Muslim women, the dupatta is a less stringent alternative to the chador or burqa (see hijab and purdah); for Sikh and Hindu women, the dupatta is useful when the head must be covered, as in a temple or the presence of elders. [39] Everywhere in South Asia, modern versions of the attire have evolved; the shalwars are worn lower down on the waist, the kameez have shorter length, with higher splits, lower necklines and backlines, and with cropped sleeves or without sleeves. [40]

The Punjabi suit is popular in other regions of the subcontinent, [41] [42] such as Mumbai and Sindh. [43] It is also popular in Afghanistan, [44] where it is called the Punjabi. [45]

Punjabi tamba and kurta

Bhangra Dance performers in Punjab wearing Kurta and Tehmat. Bhangra Dance punjab.jpg
Bhangra Dance performers in Punjab wearing Kurta and Tehmat.

The Punjabi version of the Dhoti is known as tehmat/tamba or laccha. Whereas the tehmat is of one colour and has no border, the laacha has a border and is variegated so that it has more than one colour. [46]

Kurti

In modern usage, a short kurta is referred to as the kurti. However, traditionally, the kurti refers to upper garments which sit above the waist without side slits, and are believed to have descended from the tunic of the Shunga period (2nd century B.C.). [47]

In the Punjab region, the kurti is a short cotton coat. [48] Another style of Punjabi kurti is a short version of the anga (robe). [49] The kurti can be worn by men but women wear it along with the Punjabi ghagra or suthan.

Pothohari suit

Another style of the Punjabi suit is the use of the salwar which hails from the Pothohar region of Pakistan and is known as the Pothohari salwar. [1] The Pothohari salwar retains the wideness of the older Punjabi suthan and also has some folds. The kameez is also wide. The head scarf is traditionally large, [50] similar to the chador or Phulkari that was used throughout the plains of the Punjab region. [1]

Chola

The Sikh Chola is traditional dress worn by Sikhs. [51] [52] It is a martial attire which gives freedom of movement to a Sikh warrior. [53] There are preserved chola relics and artefacts that were worn by the Sikh Gurus. [54] A particular Khilka-type Chola believed to have belonged to Guru Nanak has garnered considerable attention and study. [55] A preserved chola of Guru Hargobind linked to the tale of his release from Gwalior Fort with fifty-two fellow prisoners is believed to be preserved at Ghudani Kalan village in Amritsar district of Punjab, India. [56]

Punjabi ghagra

The Punjabi ghagra was the traditional apparel for women before the advent of the Punjabi suit. In modern times, the ghagra is worn by women in parts of Haryana, rural parts of south West Punjab, [57] parts of Himachal Pradesh [58] and during performances of Giddha in East Punjab. [59]

The ghagra has its origin in the candataka, which had become a popular garment in the Gupta period. [60] The candataka was a men's half trousers [61] which eventually developed into the ghagra. The intermediate formation has been described as a shirt like dress for men and women from the neck to the thighs. [62] [63] Candataka continued as a popular female dress in the seventh century. [64]

Punjabi Juti

The Punjabi Jutti is the Punjabi version of the shoe. Local styles include designs from Patiala, [65] the Pothohari shoe with sharp pointed toes, and the Derawali shoe with silk embroidery and round tipped. [66]

Patiala salwar

The Patiala salwar was developed in Patiala and is very popular with women.

Saraiki shalwar suits

Saraiki shalwar suits are Punjabi outfits which include the Bahawalpuri shalwar suit and the Multani shalwar suit.

Bahawalpuri shalwar suit

The Bahawalpuri shalwar [67] originates from the Bahawalpur region of Punjab, Pakistan. The Bahawalpuri shalwar is very wide and baggy [68] with many voluminous folds. [69] The material traditionally used for the Bahawalpuri shalwar and suthan is known as Sufi which is a mixture of cotton warp mixed with silk weft and gold threads running down the material. [70] The other name for these types of mixed cloth is shuja khani. [71] The Bahawalpuri shalwar is worn with the Bahawalpur style kameez, the Punjabi kurta or chola. [72]

Multani shalwar suit

The Multani shalwar, also known as the 'ghaire wali' or 'Saraiki ghaire wali' shalwar as it is very wide around the waist, originates from the Multan area of the Punjab region. The style is similar to the Sindhi kancha shalwar as both are derivatives of the pantaloon shalwar worn in Iraq [74] and adopted in these locations during the 7th century A.D. [75] [76] [77] The Multani shalwar is very wide, baggy, [78] full and has folds like the Punjabi suthan. [79] The upper garments include the Punjabi kameez and the chola of the Punjab region. [80]

Fabric prints and embroidery

Block printing on cotton and other materials is popular in Multan which utilises local Sajarak prints. [81] [82] Cholistan, Bahawalpur and Multan are known for its tie-dyeing material which is popular in this region. [83]

The embroidery styles of the Punjab region include the styles of Multani embroidery which features kalabatun [84] patterns using thin wires. This type of embroidery is also common in the rest of the Punjab region. Kalabatan surkh involves using gold wires on orange coloured and red silk. Kalabatan safed involves using silver wires on white material. There are two kinds of gold embroidery, one of a solid and rich kind called kar-chob and the other called tila-kar or kar-chikan utilising gold thread. The former is used for carpets and saddle cloths whereas the latter is used for dresses. The Punjab region also uses mukesh embroidery: mukesh bati-hui, twisted tinsel, gokru, flattened gold wire for embroidery of a heavy kind, and waved mukesh, made by crimping mukesh batihui with iron tongs. [85]

Ludhiana and Amritsar are known for embroidery using white, silver and gold threads on clothes such as chogas and waistcoats (phatuhi). [1] Kangra is known for the patterns embroidered on its handkerchiefs known as Kangra rumal. The designs include representations of religious stories. [1] These rumals are also embroidered in Chamba.

Phulkari

The Phulkari is the traditional Punjabi embroidery used to embroider shawls and head scarfs in the Punjab region. Although Phulkari means floral work, the designs include not only flowers but also cover motifs and geometrical shapes. [86]

There is reference to Phulkari in ancient texts, folk legends, and literature of Punjab. In Harishcharitra , the biography of the Emperor Harshavardhana (590-647 CE), the last ruler of great ancient Indian Vardhana empire, the seventh-century chronicler Bana wrote, "Some people were embroidering flowers and leaves on the cloth from the reverse side," which is a technical description of Phulkari embroidery. [87] However, the earliest reference to the word Phulkari is in Punjabi literature in the 18th century Waris Shah's version of Heer Ranjha (a legendary Punjabi tragic romance) which describes the wedding trousseau of the female protagonist Heer and lists various clothing items with Phulkari embroidery. The first extensive English publication on Phulkari was by Flora Annie Steel in 1880 where she describes the various styles and exhibited the varieties in picture form. [88] In its present form, Phulkari embroidery has been popular since the 15th century. [89] Pal (1960) believes that no matter its origin, Phulkari work is distinctive and uniquely Punjabi. [90]

Luanchari

Luanchari is a full-dress made of two parts stitched together: the upper part is the choli and the lower is the lehanga. [91] It is traditional garment worn by Gaddis of Himachal Pradesh. [91]

Punjabi ghuttana

The Punjabi ghuttana was popular with women and men in the Punjab region, a type of pajama which is shorter than the full length pajama, and is tight and ends at the calf. [92] Its variation is still worn in Jammu.

Churidar pajama

The use of the Churidar is traditionally associated with the northern regions of the sub-continent. Although there is no consensus as to its origins, the churidar pajama was adopted by the former princely families. [94] In the Punjab region however, its use was amongst the general population. [95]

The Churidar is popular all over the sub-continent and was developed in the Punjab region, and is associated with the Punjab. [96] [97] The churidar pajama can be of any colour but traditionally is of sussi (cotton) material, in blue with vertical stripes. [98]

The churidar pajama is also known as the (full length) ghuttana. [99] When soldiers from Lucknow travelled to the British Punjab province, they saw the long ghuttana pajama and adopted its use in Lucknow during the 19th century.

Jama

The jama was worn by men in the Punjab region during the Mughal period. The phrase "jora jama" refers to the clothes given by the maternal uncle to the groom, [100] which points to the jama being part of Punjabi clothing (although grooms do not wear the jama now). A local style of shawl called the jamawar which was striped was used as a gown. [101] [102]

Anga/Angarkha

The anga (robe) also known as an angarkha [103] [104] and peshwaj) [105] is similar to a loose coat and wadded with cotton. [106] The anga can be worn by men and women. When worn by men, it falls to below the knees, is a loose tunic [107] and is fastened either to the right of the left. [108] An angarkha typically does not have front buttons. [109] Grooms traditionally wore the angarkha which has now been superseded by the achkan. The anga worn by women is a long robe.

Chamba angarkhi

The Chamba angarkhi of Himachal Pradesh is sewen tight at the torso, but below the waist it has an open fall like the modern skirt. The angarkhi is tied at the waist with a sash. [111]

Turban

Men traditionally wear the turban. In the past, large turbans were worn such as the type in Bahawalpur which could be up to 40 feet long. [1] Now the turbans are shorter of various designs.

Kalgi

A sign of royalty that is placed on the turban, in place of a jeweled crown.

Khes

Khes is a stout damask cloth used for winter wraps, [112] generally weaved with coarse yarns made of cotton. It is a simple clothing item to wear loosely. Khes is a comfort object used in bedding and also as like a shawl- wrap [113] by men in Punjab, India, and Pakistan to cover upper body parts. [114] [115] [116] [117] [118] Khes was an important cloth of Punjab province. [119]

Loyi

The Loyi is a lightweight fabric draped by men and women to preserve heat in cool/chilly environments. It is often worn with other desi wear.

Paranda

Punjabi girl wearing Paranda in her hairs Punjabi Traditional Fashion - Cultural Night - Wiki Conference India - CGC - Mohali 2016-08-05 7367.JPG
Punjabi girl wearing Paranda in her hairs

Paranda or parandi is hair accessory worn by women in Punjab. [120]

Saluka

The saluka is a tight fitting waistcoat which was worn in Sindh and the Punjab region. [121] It is also worn in Uttar Pradesh.

See also

Related Research Articles

<i>Kurta</i> Various forms of loose and long shirts or tunics worn traditionally in South Asia

A kurta is a loose collarless shirt or tunic worn in many regions of South Asia, and now also worn around the world. Tracing its roots to Central Asian nomadic tunics, or upper body garments, of the late-ancient- or early-medieval era, the kurta has evolved stylistically over the centuries, especially in South Asia, as a garment for everyday wear as well as for formal occasions.

The Punjabis are an Indo-Aryan ethnolinguistic group associated with the Punjab region, comprising areas of northwestern India and eastern Pakistan. They generally speak Standard Punjabi or various Punjabi dialects on both sides.

Clothing in India varies with the different ethnicities, geography, climate, and cultural traditions of the people of each region of India. Historically, clothing has evolved from simple garments like kaupina, langota, achkan, lungi, sari, to rituals and dance performances. In urban areas, western clothing is common and uniformly worn by people of all social levels. India also has a great diversity in terms of weaves, fibers, colors, and the material of clothing. Sometimes, color codes are followed in clothing based on the religion and ritual concerned. The clothing in India also encompasses a wide variety of Indian embroidery, prints, handwork, embellishments, and styles of wearing clothes. A wide mix of Indian traditional clothing and western styles can be seen in India.

<span class="mw-page-title-main">Dupatta</span> Cloth wrap worn as a shawl, scarf, or veil in South Asia

The dupattā, also called chunni, chunari,chundari, lugda, rao/rawo, gandhi, pothi and odhni is a long shawl-like scarf traditionally worn by women in the Indian subcontinent. Traditionally, in India, the dupatta is part of the women's lehenga or ghagra/chaniya choli. A lehenga is a three-piece outfit which is made up of a skirt, called a ghagra or chaniya; a blouse, called a choli, and a dupatta. The dupatta is worn over one shoulder, and traditionally, married women would also wear the dupatta over the head in temples or in front of elders.

<span class="mw-page-title-main">Phulkari</span> Folk embroidery of the Punjab

Phulkari refers to the folk embroidery of the Punjab region and Gulkari of Sindh in South Asia.

<span class="mw-page-title-main">Patiala salwar</span> Type of salwar (trouser)

A Patiala salwar is a type of female trousers which has its roots in Patiala City in the Northern region of Punjab state in India. The King of Patiala in earlier times wore a Patiala salwar as his royal suit. The Patiala Salwar has a close resemblance to the Pathani suit, which has loose layers similar to those of a salwar, and a long, knee-length top known as a kameez. The garment is no longer customarily worn by men, but has classically transformed itself with new cuts and styling into a women's garment.

<span class="mw-page-title-main">Punjabi culture</span> Arts, cuisine, dress, etc. of Punjab

Punjabi culture grew out of the settlements along the five rivers which served as an important route to the Near East as early as the ancient Indus Valley civilization, dating back to 3000 BCE. Agriculture has been the major economic feature of the Punjab and has therefore formed the foundation of Punjabi culture, with one's social status being determined by landownership. The Punjab emerged as an important agricultural region, especially following the Green Revolution during the mid-1960's to the mid-1970's, has been described as the "breadbasket of both India and Pakistan". Besides being known for agriculture and trade, the Punjab is also a region that over the centuries has experienced many foreign invasions and consequently has a long-standing history of warfare, as the Punjab is situated on the principal route of invasions through the northwestern frontier of the Indian subcontinent, which promoted to adopt a lifestyle that entailed engaging in warfare to protect the land. Warrior culture typically elevates the value of the community's honour (izzat), which is highly esteemed by Punjabis.

Churidars, also churidar pyjamas, are tightly fitting trousers worn by both men and women in the Indian subcontinent. Churidars are a variant of the common shalwar pants. Shalwars are cut wide at the top and narrow at the ankle. Churidars narrow more quickly so that contours of the legs are revealed. They are usually cut on the bias, making them naturally stretchy, which is important when pants are closefitting. They are also longer than the leg and sometimes finish with a tightly fitting buttoned cuff at the ankle. The excess length falls into folds and appears like a set of bangles resting on the ankle. When the wearer is sitting, the extra material is the "ease" that makes it possible to bend the legs and sit comfortably. The word churidar is from Hindi and made its way into English only in the 20th century. Earlier, tight-fitting churidar-like pants worn in India were referred to by the British as Moghul breeches, long-drawers, or mosquito drawers.

<span class="mw-page-title-main">Ghagra choli</span> Traditional clothing of women from Indian Subcontinent

Ghagra choli is a type of ethnic clothing for women from the Indian Subcontinent, notably in the Indian states of Rajasthan, Gujarat, Madhya Pradesh, Uttar Pradesh, Bihar, Haryana, Punjab, Himachal Pradesh, Uttarakhand, Jammu and Kashmir, as well as in the Pakistani provinces of Punjab and Sindh. In Punjab, the lehenga is traditionally worn with a kurti. It is a combination of the gagra or lehenga and the choli (blouse), however in contemporary and modern usage lehenga choli is the more popular and widely accepted term by fashion designers, trend setters, and boutiques in South Asia, since ghagra is synonymous with the half-slip (petticoat) worn as an undergarment below the sari.

Pakistani clothing refers to the ethnic clothing that is typically worn by people in the country of Pakistan and by Pakistanis. Pakistani clothes express the culture of Pakistan, the demographics of Pakistan, and cultures from Punjab, Sindh, Balochistan, Khyber Pakhtunkhwa, Gilgit-Baltistan, and Kashmir regions of the country. The clothing in each region and culture of Pakistan reflect weather conditions, way of living, the textiles and embroidery used and its distinctive style which gives it a unique identity among all cultures.

<span class="mw-page-title-main">Indian wedding clothes</span> Sets of clothes worn by the bride, bridegroom & others to weddings.

Indian wedding clothes are elaborate set of clothes worn by the bride, bridegroom, relatives & other guests attending the wedding.

<span class="mw-page-title-main">Shalwar kameez</span> Trousers and tunic worn in South Asia

Shalwar kameez is a traditional combination dress worn by men and women in South Asia, and Central Asia.

<span class="mw-page-title-main">Punjabi ghagra suit</span> Outfit worn by Women in Punjab, India

The Punjabi ghagra is a four-piece outfit known as tewar or 'ti-or' which was traditionally worn by Punjabi women throughout the Punjab region with the outfit comprising a head scarf (Phulkari), kurta or kurti, ghagra and either a suthan or the Punjabi salwar (trousers). In modern times, the ghagra is worn by women in parts of Haryana, rural parts of south West Punjab, parts of Himachal Pradesh and during performances of Giddha in East Punjab.

<span class="mw-page-title-main">Salwar</span> Traditional loose trousers in South Asia

Salwar or Shalwar is cloth worn from the waist to the ankles, covering both legs separately. It is the lower-garment of the Shalwar kameez suit which is widely-worn in South Asia. It is known for its lively hues, rich fabrics, and embroidery. It is also the national dress of Pakistan, and since the later 1960s with the salwar being used in government offices in Pakistan. The outfit has been a part of Punjabi tradition for centuries. Salwar can be distinguished from the Punjabi suthan which is shorter than the salwar.

<span class="mw-page-title-main">Pheran</span> Kashmiri traditional dress

Pheran or Phiran is the traditional outfit for both males and females in Kashmir.

<span class="mw-page-title-main">Sindhi clothing</span> Clothing style of Sindh

Sindhi clothing are a part of the Sindhi culture. Sindhi women and men wear the Shalwar Qameez or the Kurta with Pyjama. Women also wear Sari or ghagra. However, before the adoption of the Shalwar kameez, kurta, the Sari as well as other articles of clothing, Sindhis had their own traditional costumes.

The people of Jammu have the following traditional clothing:

<span class="mw-page-title-main">Khyber Pakhtunkhwa clothing</span> Traditional clothing worn in Khyber Pakhtunkhwa, Pakistan

The traditional clothing and accessories worn in Khyber Pakhtunkhwa varies according to the area of the region. The following outfits are generally worn in the area, starting to north to south:

<span class="mw-page-title-main">Saraiki shalwar suits</span> Saraiki shalwar suits from south Punjab, Pakistan.

There are two types of Saraiki shalwar suits which originate in the southern area of Punjab, Pakistan. These are the Bahawalpuri shalwar suit and the Multani shalwar suit. The two main suits from that area.

Pathani Suit is an ethnic outfit for men in the South Asian culture. Basically it is a Muslim dress similar to Salwar kameez. It comprises three garments Kurta, Salwaar, and a vest, which is optional. Pashtun suit is popular among men as formal wear and worn on special occasions such as marriages and festivals. It is also called Khan suit and Pashtun suit.

References

  1. 1 2 3 4 5 6 Mohinder Singh Randhawa. (1960) Punjab: Itihas, Kala, Sahit, te Sabiachar aad.Bhasha Vibhag, Punjab, Patiala.
  2. Parshad, Gopal (2007) Industrial development in Northern India: a study of Delhi, Punjab and Haryana, 1858-1918
  3. "Punjabi Dressing". Coloursofpunjab.com. Archived from the original on 2015-05-03. Retrieved 2015-05-17.
  4. "Baisakhi Dress,Bhangra Dress,Gidda Dress,Dress for Baisakhi Festival". Baisakhifestival.com. Retrieved 2015-05-17.
  5. "Traditional Dresses of Punjab | Traditional Punjabi Attire". Discoveredindia.com. Retrieved 2015-05-17.
  6. Catherine Ella Blanshard Asher, Thomas R. Metcalf (1994) Perceptions of South Asia's visual past
  7. A. V. Narasimha Murthy, K. V. Ramesh (1987) Giridharaśrī: essays on Indology : Dr. G.S. Dikshit felicitation volume
  8. Aniruddha Ray, Kuzhippalli Skaria Mathew (2002) Studies in history of the Deccan: medieval and modern : Professor A.R. Kulkarni felicitation volume
  9. J. J. Bhabha (1969) Mārg̲, Volume 23 Marg Publications (1969)
  10. Viishnu Asha (1993) Material Life of Northern India: Based on an Archaeological Study, 3rd Century B.C. to 1st Century B.
  11. Archaeological Congress and Seminar Papers: Papers Presented at the 4th Annual Congress of the Indian Archaeological Society and the Seminars Held at Nagpur on the 10th, 11th, and 12th Nov. 1970, Volume 4, Part 1970
  12. Mohapatra, Ramesh Prasad (1992) Fashion Styles of Ancient India: A Study of Kalinga from Earliest Times to Sixteenth Century Ad
  13. A. V. Narasimha Murthy, K. V. Ramesh (1987) Giridharaśrī: essays on Indology : Dr. G.S. Dikshit felicitation volume
  14. 1 2 Gupta, Sankar Sen (1969). Women in Indian Folklore: A Short Survey of Their Social Status and Position: Linguistic and Religious Study. Indian Publications. p. 283.
  15. 1 2 Gupta, Hari Ram (1939). History of the Sikhs, Volume 1. S.N. Sarkar. p. 291.
  16. Ghurye, Govind Sadashiv (1966) Indian Costume
  17. Fraser, Bashabi (2008). Bengal Partition Stories: An Unclosed Chapter. Anthem Press. p. 619. ISBN   978-1-84331-225-3.
  18. Redclift, Victoria (2013). Statelessness and Citizenship: Camps and the Creation of Political Space. Routledge. p. 178. ISBN   978-0-203-09687-1.
  19. Punjab District Gazetteers: Attock district, 1930. Printed 1932
  20. Asoke Kumar Bhattacharyya, Pradip Kumar Sengupta (1991), Foundations of Indian Musicology: Perspectives in the Philosophy of Art and Culture
  21. Yadava,Ganga Prasad (1982) Dhanapāla and His Times: A Socio-cultural Study Based Upon His Works
  22. Sharma, Brij Narain (1966) Social life in Northern India, A.D. 600-1000
  23. Puneet Pal Singh Gill (04.01.2012) The Chandigarh Tribune. "Muktsari-style kurta pyjama a fad"
  24. Official Journal of the European Communities: Legislation, Volume 30, Issues 248-256 (1987)
  25. Naik, Shailaja D. (1996( Traditional Embroideries of India
  26. Nasreen Askari, Liz Arthur, Paisley Museum and Art Galleries Merrell Holberton, (1999) Uncut cloth
  27. Dominique, Grele; Raimbault, Lydie (1 March 2007). Discover Singapore on Foot (2 ed.). Singapore: Select Publishing. p. 35. ISBN   978-981-4022-33-0.
  28. Fraile, Sandra Santos (11 July 2013), "Sikhs in Barcelona", in Blanes, Ruy; Mapril, José (eds.), Sites and Politics of Religious Diversity in Southern Europe: The Best of All Gods, BRILL, p. 263, ISBN   978-90-04-25524-1, The shalwar kamiz was worn traditionally by Muslim women and gradually adopted by many Hindu women following the Muslim conquest of northern India. Eventually, it became the regional style for parts of northern India, as in Punjab where it has been worn for centuries.
  29. Khandelwal, Madhulika Shankar (2002), Becoming American, Being Indian: An Immigrant Community in New York City, Cornell University Press, p.  43, ISBN   0-8014-8807-9, Even highly educated women pursuing careers continue to wear traditional dress in urban India, although men of similar status long ago adopted Western attire. The forms of dress most popular with urban Indian women are the sari, the long wrapped and draped dress-like garment, worn throughout India, and the salwar-kameez or kurta-pyjama, a two-piece suit garment, sometimes also called Punjabi because of its region of origin. Whereas the sari can be considered the national dress of Indian women, the salwar-kameez, though originally from the north, has been adopted all over India as more comfortable attire than the sari.
  30. Stevenson, Angus; Waite, Maurice (2011), Concise Oxford English Dictionary: Book & CD-ROM Set, Oxford University Press, p. 1272, ISBN   978-0-19-960110-3, Salwar/Shalwar: A pair of light, loose, pleated trousers, usually tapering to a tight fit around the ankles, worn by women from South Asia typically with a kameez (the two together being a salwar kameez). Origin From Persian and Urdu šalwār.
  31. Stevenson, Angus; Waite, Maurice (2011), Concise Oxford English Dictionary: Book & CD-ROM Set, Oxford University Press, p. 774, ISBN   978-0-19-960110-3, Kameez: A long tunic worn by many people from South Asia, typically with a salwar or churidars. Origin: From Arabic qamīṣ, perhaps from late Latin camisia (see chemise).
  32. Platts, John Thompson (February 2015) [1884], A dictionary of Urdu, classical Hindi, and English (online ed.), London: W. H. Allen & Co., p. 418, archived from the original on 2021-02-24, retrieved 2023-05-08
  33. Shukla, Pravina (2015). The Grace of Four Moons: Dress, Adornment, and the Art of the Body in Modern India. Indiana University Press. p. 75. ISBN   978-0-253-02121-2. You can buy an entire three-piece salwar suit, or a two-piece suit that consists of either a readymade kurta or a kurta cloth piece, each with a matching dupatta. For these, you must have the salwar pants stitched from cloth you buy separately. A third option would be to buy a two-piece ensemble, consisting of the top and pants, leaving you the task of buying an appropriate dupatta, or using one you already own, or buying a strip of cloth and having it dyed to your desire. The end result will always be a three-piece ensemble, but a customer may start with one piece (only the kurta) or two pieces (kurta and pants, or kurta and dupatta), and exercise her creativity and fashion sense to end up with the complete salwar kurta outfit.
  34. Mooney, Nicola (2011), Rural Nostalgias and Transnational Dreams: Identity and Modernity Among Jat Sikhs, University of Toronto Press, p. 260, ISBN   978-0-8020-9257-1, The salwar-kameez is a form of dress that has been adopted widely in Punjab and is now known in English as the Punjabi suit; J. P. S. Uberoi suggests that the salwar-kameez is an Afghani import to Punjab (1998 personal communication). Punjabi forms of dress are therefore constructs or inventions of tradition rather than having historical veracity.
  35. Marsden, Magnus (2005). Living Islam: Muslim Religious Experience in Pakistan's North-West Frontier. Cambridge University Press. p. 37. ISBN   978-1-139-44837-6. The village's men and boys largely dress in sombre colours in the loose trousers and long shirt (shalwar kameez) worn across Pakistan. Older men often wear woollen Chitrali caps (pakol), waistcoats and long coats (chugha), made by Chitrali tailors (darzi) who skills are renowned across Pakistan.
  36. Haines, Chad (2013), Nation, Territory, and Globalization in Pakistan: Traversing the Margins, Routledge, p. 162, ISBN   978-1-136-44997-0, the shalwar kameez happens to be worn by just about everyone in Pakistan, including in all of Gilgit-Baltistan.
  37. Ozyegin, Gul (2016). Gender and Sexuality in Muslim Cultures. Routledge. p. 222. ISBN   978-1-317-13051-2. What is common in all the cases is the wearing of shalwar, kameez, and dupatta, the national dress of Pakistan.
  38. Rait, Satwant Kaur (14 April 2005). Sikh Women In England: Religious, Social and Cultural Beliefs. Trent and Sterling: Trentham Book. p. 68. ISBN   978-1-85856-353-4.
  39. Shukla, Pravina (2015), The Grace of Four Moons: Dress, Adornment, and the Art of the Body in Modern India, Indiana University Press, p. 72, ISBN   978-0-253-02121-2, Muslim and Punjabi women—whether Muslim, Sikh, or Hindu—often wear the dupatta over the head to create a modest look while framing the face with color. When entering a temple, Hindu women might comparably use their dupattas to cover their heads. Though the dupatta is often made of flimsy cloth and does not actually cover the body, its presence implies modesty, like many of the outer garments worn by Muslim women that do not cover much but do provide a symbolic extra layer, ...
  40. Koerner, Stephanie (2016), Unquiet Pasts: Risk Society, Lived Cultural Heritage, Re-designing Reflexivity, Taylor & Francis, p. 405, ISBN   978-1-351-87667-4, The Pakistani National dress worn by women is Shalwar Kameez. This consists of a long tunic (Kameez) teamed with a wide legged trouser (Shalwar) that skims in at the bottom accompanied by a duppata, which is a less stringent alternative to the burqa. Modern versions of this National dress have evolved into less modest versions. Shalwar have become more low cut so that the hips are visible and are worn with a shorter length of Kameez which has high splits and may have a lowcut neckline and backline as well as being sleeveless or having cropped sleeves.
  41. Sorabji M. Rutnagur (1996) The Indian Textile Journal, Volume 106, Issues 9-12
  42. McGilvray, Dennis B. (2008)Crucible of Conflict: Tamil and Muslim Society on the East Coast of Sri Lanka
  43. Bakshi, SHri Ram (1992) Struggle for Independence: Vijaya Lakshmi Pandit
  44. Culture and Customs of Afghanistan By Hafizullah Emadi
  45. "Afghanistan Culture". Archived from the original on 2016-07-15. Retrieved 2015-06-22.
  46. Punjab District Gazetteers - Gujranwala District Year Published 1935
  47. Panjab University Research Bulletin: Arts, Volume 13, Issue 1 - Volume 14, Issue (1982)
  48. Punjab District Gazetteers: Rawalpindi District (v. 28A) (1909)
  49. Compiled and published under the authority of the Punjab government, (1939)Punjab District and State Gazetteers: Part A].
  50. Culture and Traditions of Kashmir
  51. Gill, Harjinder Singh. "ਚੋਲਾ - SGGS Gurmukhi-English Data". Sri Granth: Punjabi Dictionary & Encyclopedia (www.srigranth.org). Santa Monica, CA, USA. Retrieved 2022-09-05.
  52. "ਚੋਲਾ". Sri Granth: Punjabi Dictionary & Encyclopedia (www.srigranth.org). Retrieved 2022-09-07.
  53. "Sikh Chola Images". Archived from the original on 2023-03-04. Retrieved 2023-05-08.
  54. "ਚੋਲਾ ਗੁਰੂ ਕਾ - ਪੰਜਾਬੀ ਪੀਡੀਆ" [Cholas of the Gurus]. punjabipedia.org (in Punjabi). Retrieved 2022-09-05.
  55. Sarna, Jasbir Singh (2020-05-25). "Muslim savants fascinated with Guru Nanak's spirituality, gift the Arabic robe". The World Sikh News. Retrieved 2022-09-13.
  56. Kaur, Usmeet (2014-10-21). "Faith preserved, Guru Hargobind's sacred robe restored". Hindustan Times. Amritsar. Retrieved 2022-09-05.
  57. Chaudhry, Nazir Ahmad (27 February 2019). Multan Glimpses: With an Account of Siege and Surrender. Sang-e-Meel Publications. ISBN   9789693513516 . Retrieved 27 February 2019 via Google Books.
  58. Mehta, Parkash; Kumari, Anjala (1 January 1990). Poverty and Farm Size in India: A Case Study. Mittal Publications. ISBN   9788170991991 . Retrieved 27 February 2019 via Google Books.
  59. "Nrityabhakti Dance Academy - Supriya Puranik - Indian Classical Dance". Nrityabhakti.com. Archived from the original on 24 September 2017. Retrieved 27 February 2019.
  60. Subbarayappa, B. V. (1985) Indo-Soviet Seminar on Scientific and Technological Exchanges Between India and Soviet Central Asia in Medieval Period, Bombay, November 7–12, 1981: Proceedings
  61. Bose, Mainak Kumar (1988) Late classical India
  62. Gupta, Dharmendra Kumar (1972) Society and Culture in the Time of Daṇḍin
  63. Chandra, Moti (1973) Costumes, Textiles, Cosmetics & Coiffure in Ancient and Mediaeval Indi
  64. Uma Prasad Thapliyal (1978) Foreign elements in ancient Indian society, 2nd century BC to 7th century AD
  65. The Panjab Past and Present, Volume 36 (2005)
  66. Punjab District Gazetteers Mianwali District 1916
  67. 1 2 The Pakistan gazetteer, Volume 5 (2000)
  68. Current Opinion, Volume 25 (1899)
  69. Katherine Prior, John Admson (2001) Maharajas' Jewels
  70. Extracts from the District & States Gazetteers of the Punjab, Pakistan, Volume 2 (1976)
  71. The Pakistan gazetteer, Volume 3 (2000)
  72. 1998 District Census Report of [name of District].: Lodhran (1999)
  73. The All-Pakistan Legal Decisions, Volume 36, Part 1 1984
  74. Islamic Culture: The Hyderabad Quarterly Review, Volumes 41-43 (1979)
  75. Kumar, Raj (2008) Encyclopaedia of Untouchables Ancient, Medieval and Modern
  76. Sawindara Siṅgha Uppala (1966) Panjabi short story: its origin and development
  77. Chandra, Moti (1973) Costumes, Textiles, Cosmetics & Coiffure in Ancient and Mediaeval India
  78. Chaudhry, Nazir Ahmad (2002) Multan Glimpses: With an Account of Siege and Surrender
  79. Glossary of the Multani Language, Or, Southwestern Panjabi (1903)
  80. O'Brien, Edward (1881) Glossary of the Multani Language Compared with Punjábi and Sindhi
  81. Baden-Powell, Baden Henry (1872) Hand-book of the Manufactures & Arts of the Punjab: With a Combined Glossary & Index of Vernacular Trades & Technical Terms ... Forming Vol. Ii to the "Hand-book of the Economic Products of the Punjab" Prepared Under the Orders of Government
  82. Parliamentary Papers, House of Commons and Command, Volume 25 (1859)
  83. Sarina Singh, Lindsay Brown, Paul Clammer, Rodney Cocks (2008) Pakistan and the Karakoram Highway
  84. Ramananda Chatterjee (1939) The Modern Review, Volume 66, Issues 1-6
  85. Baden-Powell, Baden Henry (1872)Hand-book of the Manufactures & Arts of the Punjab: With a Combined Glossary & Index of Vernacular Trades & Technical Terms ... Forming Vol. Ii to the "Hand-book of the Economic Products of the Punjab" Prepared Under the Orders of Government
  86. "Origins - A cultural magazine of India - Jan 2021". Origins. Retrieved 14 Feb 2021.
  87. "The Fading Art of Phulkari". J'AIPUR Journal. Retrieved 2020-02-01.
  88. MeliaBelli Bose (editor) (2017) Women, Gender and Art in Asia, c. 1500-1900. Routledge
  89. "Phulkari embroidery". Archived from the original on 2007-06-04. Retrieved 2007-06-15.
  90. Rampa Pal Chapter Phulkari pp36-47 in Mohinder Singh Randhawa. (1960) Punjab: Itihas, Kala, Sahit, te Sabiachar aad.Bhasha Vibhag, Punjab, Patiala.
  91. 1 2 Handa, O. C.; Hāṇḍā, Omacanda (1998). Textiles, Costumes, and Ornaments of the Western Himalaya - Omacanda Hāṇḍā - Google Books. ISBN   9788173870767 . Retrieved 2013-10-25.
  92. Paintings and lifestyles of Jammu Region: 17th to 19th Century A.D Raj Kumar
  93. Kumar, Ritu (2006) Costumes and textiles of royal India
  94. Pakistan Quarterly, Volumes 8-9 (1958)
  95. Kehal, Harkesh Singh. Alop ho riha Punjabi Virsa. Unistar Books PVT Ltd ISBN   978-93-5017-532-3
  96. The Grace of Four Moons: Dress, Adornment, and the Art of the Body in Modern India (2013)
  97. Kumar, Raj. Paintings and Lifestyles of Jammu Region: From 17th to 19th Century A.D
  98. Macfarquhar, A. Punjab District Gazetteers - Amritsar District Year Published 1947
  99. Abdul Halim Sharar, Rosie Llewellyn-Jones, Veena Talwar Oldenburg (2001) The Lucknow Omnibus
  100. Hershman, Paul (1981) Punjabi kinship and marriage
  101. Sir Watt, George (1903) Indian Art at Delhi 1903: Being the Official Catalogue of the Delhi Exhibition 1902-1903
  102. Baden Henry Baden-Powell (1872) Hand-book of the Manufactures and Arts of the Punjab
  103. Rajaram Narayan Saletore (1974) Sex Life Under Indian Rulers
  104. Panjab University Research Bulletin: Arts, Volume 13, Issue 1 - Volume 14, Issue 1 (1982)
  105. B. N. Goswamy, Kalyan Krishna, Tarla P. Dundh (1993) Indian Costumes in the Collection of the Calico Museum of Textiles, Volume 5
  106. Punjab District Gazetteers - District Attock Year Published 1930 BK-000211-0160
  107. Punjab District Gazetteers: Ibbetson series, 1883-1884].
  108. Punjab gazetteers, 1883, bound in 10 vols., without title-leaves
  109. Hankin, Nigel B. (2003) Hanklyn-janklin
  110. Gupta, Hari Ram (1991) History of the Sikhs: The Sikh lion of Lahore, Maharaja Ranjit Singh, 1799-1839
  111. Kamal Prashad Sharma, Surinder Mohan Sethi (1997) Costumes and Ornaments of Chamba
  112. Mukharji, T. N. (1888). Art-manufactures of India. Gerstein - University of Toronto. Calcutta. p. 323.
  113. A. BISWAS. INDIAN COSTUMES.
  114. Baden-Powell, Baden Henry (1872). Hand-book of the Manufactures & Arts of the Punjab: With a Combined Glossary & Index of Vernacular Trades & Technical Terms ... Forming Vol. Ii to the "Hand-book of the Economic Products of the Punjab" Prepared Under the Orders of Government. Punjab printing Company. pp. 6, 16, 22.
  115. Rutnagur, Sorabji M. (1984). The Indian Textile Journal. Business Press. p. 139.
  116. Industries, Pakistan Ministry of; Yacopino, Feliccia (1977). Threadlines Pakistan. Ministry of Industries, Government of Pakistan.
  117. Askari, Nasreen; Crill, Rosemary; Museum, Victoria and Albert (1997). Colours of the Indus: Costume and Textiles of Pakistan. M. Holberton. pp. 12, 88, 142. ISBN   978-1-85894-044-1.
  118. "India"  . Encyclopædia Britannica . Vol. 14 (11th ed.). 1911. pp. 375–421.
  119. "The Lost Tartan Khes of India – Global InCH- International Journal of Intangible Cultural Heritage" . Retrieved 2020-11-30.
  120. Pereira, Dayle (2020-01-07). "Lohri 2020: 8 Parandi Hair Accessories To Give Your Look A Traditional Touch". Swirlster NDTV. Retrieved 2020-09-04.
  121. Govind Sadashiv Ghurye (1951) Indian costume: (bhāratīya vesabhūsā)
  1. A Dictionary of Urdu, Classical Hindi, and English: chāk derives from the Persian "چاك ćāk, Fissure, cleft, rent, slit, a narrow opening (intentionally left in clothes)." [32]