Tome And Plume: Bhopali Batua Byword For Elegance, Classiness

Bhopal (Madhya Pradesh):  Costly thy habit as thy purse can buy, But not express’d in fancy; rich, not gaudy: For the apparel oft proclaims the man – W. Shakespeare

Bhopal’s Batua and Lucknow’s Chikankari emerge from the same linguistic stalk. The bard says dress sense manifests a person’s sensitivity. It should be elegant but not costly.

A person, appareled in a chikan kurta with a Bhopali batua, presents a picture of elegance.  

Both the words batua and chikan have originated from the Persian language. Chikankari and Batua were available in ancient Iran. But they were in different forms.

The batuas and chikan kurtas we see today are of Indian origin.

Chikankari or Chikan work, means an intricate form of hand embroidery originating from Lucknow. Batua, originating from Bhopal, signifies a wallet. Artisans decorated its exterior with zardozi and beadwork.

The artisans used plain brocade velvet to make a basic batua. The word batua has originated from the Persian word Batoo, which means a small purse or bag.

Similarly, the word chikan has originated from the Persian word chakin, meaning a piece of cloth decorated with needlework. The people visiting Lucknow return home without a chikan kurta. Similarly, a trip to Bhopal remains incomplete without a batua.

As soon as outsiders arrive at the Bhopal railway station, they come across beautiful batuas selling at stalls.

Historical documents say once the members of the royal families, especially the princesses, used batua to keep Paan (betel leaves), Laung (cloves), Sikke (coins), and Itar (perfume). Besides being an item of daily use, batua is a byword for elegance and style.

Chikan work dates back to the 17th century when Nawabs were ruling Lucknow. Similarly, in the 1800s, the Begums of Bhopal brought batuas to the public and promoted it to generate employment among women. Women got training in zardozi work.

The Begums wanted women to be economically strong.

On those days, the batua-makers used golden and silver threads to beautify its exteriors. The needlework was so sophisticated that it took nearly a day and a half to finish one batua, as it had to pass through several stages.

They sewed a golden or silver string inside a batua to pull it tighter and make its opening smaller.

But silken threads have replaced the golden and silver ones with the passage of time. Besides, the modern gadgets have substituted for the old elegant fingers that used to craft these batuas.

A piece of batua reminds a buyer of the craftsmanship of the bygone era and cultural heritage of Bhopal. Nawab Sultan Jahan Begum of Bhopal started a zari zardozi art school in the Sheesh Mahal.

The Begum advised the women to sell the batuas and other items made of zari at Pari Bazar. The name signifies Parees (fairies or elegant women) who used to sell those items in the market that was exclusively for ladies. Gradually, the city became synonymous with batuas.

People from across the country used to visit Bhopal to buy a batua decorated with Persian artwork. The artisans used to give some local touches to make such wallets more attractive.

Bhopal was a hub of batuas. Yet there was little publicity to promote them. The city has numerous Zardozi artisans. Bhopali Batuas are a mélange of tribal and Nawabi cultures. Each batua contains practical appeal as well as aesthetic charm. The Bhopal gazetteer says once the batua-making was considered the only industrial art worth mentioning.

The batuas of royal families, kept in Gole Ghar, a monument of the Nawabi era, are a delight to the eyes of a visitor.

At the outset of the 20th century, the Western culture entered the city with leather bags. The charm of batuas began to wane. They are available only in traditional markets in the city. The government has taken several steps to promote batuas. Making batuas is also a source of livelihood.

Ergo, it is not surprising that the visitors to Bhopal return home with the maxim: Tofie Bhopal Batua, Chuneti aur Roomal.