Gota Patti: The Art of Royal Embroidery
Gota Patti is a spectacular and intricate embroidery technique that originated in Rajasthan, India. Known for its alluring gold and silver designs, it is traditionally crafted on ethnic garments such as sarees, dupattas, Ghagras, and turbans. Also known as ‘Aari tari’ or ‘Lappe ka Kaam’ has traditionally been used for a variety of garments and textiles used by the royalty, members of the court, temple idols and priests, as well as for altar cloths at shrines and prayer offerings. Worn during festivals, weddings, and special occasions, Gota Patti adds a luxurious, glittering touch to clothing, making it synonymous with celebration and grandeur. Considered to be shagan, a symbol of good omen and good will, gota may be used as kinari, edging, or cut and manipulated into motifs that are sewn onto garments and turbans worn during weddings and festivals such as Eid, Diwali, Dussehra, Sharad Purnima, Holi, Teej and Gangaur.
Jama (male garment) of red muslin with trimmings in silver-gilt gota (tinsel ribbon), crimped metal strips, and sequins made of clipped jewel beetle elytron (wing cases); a large flower on the right chest, a large teardrop shaped decoration at the back neck, and strips down the back and along the closure; Bikaner
Image courtesy – Victoria and Albert Museum
Historical Origins
Gota Patti embroidery traces its roots to the Mughal era, introduced in India by Emperor Humayun after his visit to Persia in the 16th century. Inspired by Persian art, Humayun brought skilled artisans to India, who collaborated with Rajput royals to refine the craft. During this time, the embroidery was created using pure gold and silver threads on opulent fabrics like silk and satin. Initially reserved for royalty, the motifs featured natural designs such as birds, animals, and human figures, often resembling intricate Kundan and Meenakari jewelry.
The decline of the Mughal Empire saw artisans disperse across the country, leading to a democratization of the craft. By the 20th century, metallic yarns like lurex replaced gold and silver threads, making Gota Patti affordable and accessible to the masses. This shift transformed the craft into a family enterprise, with artisans working from home, thus involving entire families in its creation.
An ornate bodice (choli/ aangi) with flat and flower shaped gota
Image courtesy – Victoria and Albert Museum
The colours gold and silver, used in the gota have their own significance. As it is believed that human beings emerged from a gold and silver womb.
- The gold is associated with the sun and Goddess Laxmi.
- The silver is associated with the moon and its light.
The Rajputs, after collaborating with the Mughals to refine the craft of Gota Patti, became its patrons and invited royals from various regions of the country to contribute to its development. It is believed that Gota Patti emerged from the spirit of competition among these royal households.
Costume dolls representing Indian natives from the 17th century, stuffing covered in cotton fabric, each represents with great intricacy and detail the way people dressed back in the age; adornments include laces, gota, ikat and brocade fabrics, embroideries and other trims
Image courtesy – Victoria and Albert Museum
Legend has it that a princess with a fondness for all things glittering desired an opulent wedding dress adorned with gold for her marriage. In response, the king summoned the finest embroiderers in the kingdom to create her bridal attire, marking the beginning of this embroidery tradition in wedding garments. Even today, traditional Gota Patti work is predominantly crafted on hues like red, pink, magenta, and green- colors deeply associated with Indian weddings.
Portrait of a lady attired traditional in a garment adorned by silver and gold gota work
Image courtesy - sotheby
The Craft and Technique
The art of Gota can be segmented based on the technique and design employed while making.
The common process involves a meticulous technique known as takaayi, where tapes or pattis(tapes cut into shapes) of the metallic ribbon are stitched onto fabric with chain stitch or hand hemming.
When these tapes are folded into rhomboid shapes, referred to as pattis (leaves), and combined to form elaborate motifs, the technique is called Gota Patti. Designs often draw inspiration from nature, featuring peacocks, parrots, sparrows, and flowers. Contemporary patterns like paisleys, geometric shapes, and checkerboards have also gained popularity.
In another twin technique, the gold ribbons are used as it is, often at the hems of Ghagras and odhanis. The ribbons come in a variety of sizes, textures as well as colours.
Dupatta (shawl), dark blue muslin embellished with applied gota (tinsel ribbon) and beetlewings, Jaipur, Image courtesy – Victoria and Albert Museum
Traditionally, pure gold and silver wires were used, but modern Gota Patti employs metalized polyester ribbons, which are more affordable and resistant to tarnish.
A traditional headgear adorned by flat, textured as well as shaped gota along with beetle wing embroidery and kiran lace; the tarnishing indidcates use of pure gota
Image courtsey – Victoria and Albert Museum
Design
The designs and motifs in Gota Patti are inspired by nature, featuring elements like birds (peacock, parrot, sparrow), human figures (such as Bani Thani), and animals (elephant, horse). These motifs are structured into butas and butties and cut into various shapes such as flower pots (Gamla), mangoes (Keri), and Champak flowers. They are stitched onto base fabrics using techniques like chain stitch or hemming.
Traditional gold and silver wires have been replaced by multi-colored polyester ribbons, making the craft more cost-effective, resistant to moisture, and free from tarnishing compared to metal-based Gota.
Ghaghra (skirt) and choli (bodice) adorned with gold and silver tinsel ribbons (gota); Bharatpur 1855
Image courtesy – Victoria and Albert Musuem
In the Gota Tukdi technique, Gota is cut into shapes like the lower, Keri, and Champak flower and appliqued onto base fabrics, often enhanced with embroidery techniques like Zardozi and Ari. Gota Patti involves folding tapes into basic rhomboid units, called patti or leaves, which are then combined to create intricate motifs and patterns. These are sewn onto various items such as turbans, garments, baskets, thalposh (platter covers), and hookahs.
Garland with links interlaced silk and metal ribbon (gota); teardrop-shaped padded pendant, backed with stamped gota covered card, with embroidered coat of arms of Datia State surrounded by tinsel
Image courtesy – Victoria and Albert Museum
Cultural Significance
Gota Patti holds immense cultural importance in Rajasthan. It is considered a symbol of good luck and prosperity, often featured in ceremonial clothing and wedding trousseaus. Married women frequently wear garments adorned with this embroidery, especially during festivals like Diwali, Holi, Teej, and Gangaur. The tradition of embellishing bridal outfits with Gota Patti continues, with timeless pieces passed down through generations.
Ghaghra (skirt) made of gulbadan (striped) Punjabi silk, red with white stripes. Embellished with large butas and flowers in gold gota (tinsel ribbon) applied over the body of the skirt. Ezarband (drawstring) of green silk sprang finished with elaborate ends of metal-wrapped thread.
Image courtesy – Victoria and Albert Museum
A Timeless Craft
Despite evolving over centuries, Gota Patti remains deeply rooted in its traditions. Artisans continue to pass down their skills within families, ensuring the craft's survival. The embroidery also retains its connection to Rajasthan's rich heritage, with its motifs and techniques reflecting the region's cultural and natural beauty.
The legacy of Gota Patti is further enriched by historical anecdotes, such as the use of jewel beetle wings for ornamentation in royal garments. While this practice is no longer followed, it highlights the opulence associated with the craft in its early days.
Gilded gold and silver fabric; textured gota
Image courtesy – Victoria and Albert Museum
Gota Patti embroidery is a testament to the artistic excellence of Rajasthan, blending tradition, innovation, and cultural significance. Its timeless appeal ensures it remains cherished in both its classic and contemporary forms.
Band of trimming, cotton embroidered with applied silver gota (tinsel ribbon), metal-wrapped thread, sequins, tinsel and beetlewings; Chennai
Image courtesy – Victoria and Albert Museum
An Adaptation
Gota Patti is also believed to have originated as a more affordable alternative to the Danka work of the Udaipur region, also known as ‘Korpatti ka Kaam.’ Danka work involved using sheets of pure gold and silver, making it extremely expensive. In contrast, Gota offered a similar luxurious golden effect while being more pliable and easier to work with, allowing for greater versatility in design.
Parts of a shawl embellished with appliqué of silk and gota; the reverse of the border is stamped in embossed gold ribbon. Fringed with gold thread
Image courtesy – Victoria and Albert Museum
Different decorative gold and silver fringe made for embellishing dress or textiles; bars of silver or gold leaf gilded bar were drawn through increasingly small holes in iron plates in a process called wire-drawing
Image courtesy – Victoria and Albert Museum
