Table of content
- Ajarakh
- Sanganeri
- Bagru
- Batik
- Dabu
- Kalamkari
- Bandhani
- Ikat
- Bagh
The block printing technique of India is interesting and relevant in many ways in India. It is a nexus of many professions such as Dhobis (launderers), rangrez (dyers), and chippa (printers) all come together to make a single printed textile. Secondly, motifs used in the block tradition of India come in numerous designs, sizes and shapes. Thirdly, the block printing technique is a longstanding testament to many cultural confluences and traditions. Along with the block printing traditions, numerous communities in India follow resist dyeing traditions. Let us uncover some of the block printing and resist dyeing traditions of India.
Ajarakh
The heavenly block printing technique of Ajarah gets its name from the Arabic word Azrak, meaning blue, hence its extensive use of blue. Historically, the craft of Ajarakh was practised along the banks of river Indus or Sindhu, a region now split between India (Kutch in Gujarat, and Marwar in Rajasthan) and Sindh in Pakistan. Many symmetrical patterns which form the Ajarakh designs that we see today are primarily inspired by Islamic architectural designs. Therefore a traditional Ajrakh textile has a fixed orientation, which has a middle piece replete with repetitive motifs, a border and end panels. The Khatri community are the main creators of this richly patterned textiles; these textiles are traditionally attired by the nomadic Muslim communities of Kutch and Marwar. Ajrakh textiles have always enjoyed a certain level of popularity in many parts of the world, including the Middle East. Some of the other characteristic features of a typical Ajrakh are, firstly, it comes in two types- ek-puri, which is printed only on one side and bi-puri, which is printed on both sides. Secondly, Ajarakh involves a skillful manipulation of two kinds of resists or Dabu (mud and lime-resist). Thirdly, indigo blue, deep red, white and black are main pigments that are the main colours that are utilised in the dying process. Lastly, the entire process of making Ajarakh textiles is complex and labour-intensive- Saaj na Marhalu, Kasanu/ Harda treatment, Rekh printing are some of the initial stages of Ajarakh printing.
navy blue Ajrakh print cotton fabric by yard Vegetable Dyed womens clothing Indian Fabric girls dress cotton napkin Blanket
Sanganeri
Rajasthan is a hub for a diverse range of arts and crafts, and this holds true for the Sangeneri hand-block printing technique as well. Sangeneri prints are not only highly sophisticated but also detailed. This craft which has long been a part of a village in the Southern part of Jaipur, is practised by a community of generational artisans, the Chippa community. The craft begins with the carving of intricate designs on the seasoned blocks of Sheesham or Sagwan woods. The motifs range from floral and animals to geometric patterns, folk scenes, and much more.Cotton, silk or a blend of the two, forms the canvas on which the repeated printing of designs is done. However, the process of making Sanganeri prints is not as easy as it sounds. It entails a culmination of steps and a considerable amount of labour. Washed and sundried clothes are turned into creamish yellow, the clothes are then stamped with black outlines of the chosen motifs, the fabric is dried again before treating it with another pigmented paste and another series of steps follow. Sanganeri motifs continue to be used in a range of fabrics, dupattas, odhinis and other dress materials.
Sangeneri hand-block printing
Bagru
There exists a multiple view regarding the origin of Bagru prints. According to one view, the art dates back 450 years, when some communities of Chippa migrated from Alwar, Sikkar, Jhunjhunu districts of Rajasthan and settled along the banks by the Sanjaria riverside. As per another opinion, some 400 years ago, the Thakur, on the rented land of the village decided to develop Bagru village and brought two families from Isarda, which caused the migration of more families from Chippas from different places. What is certain about Bagru hand block is that,like many of the block printing traditions in India, Bagru printing involves a synergy of multiple professions. A wide range of beautiful traditional motifs are utilised in Bagru, ilaichi buti (cardamom motif), bichu buti (scorpion motif), dhatura buti, genda buti (marigold motif), kamal buti (lotus motif), katar buti, neem pati ki bel (neem leaf vine), angoor ki bel (grapevine), hathi buti (elephant motif), ghoda buti( horse motif), to list a few. These butis printed in dhotis, sarees, rumal, angochha add a traditional charm. Off-white or beige backgrounds are considered perfect to impress Bagru prints. As varied as the motifs are, so too are the colours used in them:red, black, golden orange, dark brown, light pink, etc.
Bagru print
Batik
In India, Batik printing is done in several regions, namely Gujarat, West Bengal, Rajasthan, Andhra Pradesh, and Maharashtra. The Batik technique finds its origin in Indonesia, particularly on the island of Java. Indians have been using resist dyeing techniques in the making of Batik patterns. The reason why batik patterns are still very relevant is because they are used in making a variety of items, such as paintings, wall-hangings, scarfs, domestic linen, and upholstery. Three basic steps are involved in the creation of Batik- waxing, dyeing and scrapping. The first step involves creating designs in fabric with the use of wax, the wooden block is dipped in melted paraffin wax and compressed on the cloth. In the second step, the fabric is dyed using desired coloured dyes. The third and last step involves removing the wax by boiling the fabric. Wax is one of the main components in the entire process. Traditionally, the artisans from the Khatri community of Gujarat practised this unconventional art. The splash method, screening method, and hand painting method are some of the unique ways that go into their making. Indian Batik designs offer an endless array of patterns and motifs, it ranges from simple geometrical and floral patterns to full-fledged artwork encompassing deities and dancing scenes.
Batik printing
Dabu
Another eye-catching printing technique that has survived, patronised and developed in the land of Rajasthan is the Dabu print. Dabu developed centuries before the Mughals invaded India. Similar to Batik block printing, Dabu is a resist print technique, to put it simply, portions of cloth are covered using wax, mitti (mud), gum, resin and other resist to prevent the dyes from penetrating those areas and obtain a desired design. Chiefly, there are four types of Dabus: Kalidar dabu, dolidar dabu, gwar wali dabu, and mein ki dabu. Carved wooden blocks that serve as the printing tool are prepared by the local carpenters, who are locally addressed as batkare, meaning, which roughly means “those who give shapes to things”. This handicraft demands multiple workers and stages of printing, washing and dyeing. Resplendent with nature-inspired motifs like peacocks, mangoes, and leaves, Dabu prints are a mark of exquisite artisanship of Rajasthan.
Dabu Printing in Bagru
Kalamkari
Patronised by the Mughals as well as Europeans, this art reached its pinnacle between the 16th and the 19th century. While Masulipatnam, under the Golconda province, catered to the Mughal tastes with its Persian influence, Srikalahasti under Hindu rule took inspiration from Hindu mythology. Named after its technique of creation- ‘Kalam’ or ‘Qualam’ meaning pen, and ‘Kari’ meaning art. Kalamkari art of India with its timeless motifs, has stood the test of time. Traditionally, the principal tool of this art, kalam, is typically made out of bamboo, with wool or jute yarn tied around the end, just above the tip. This end is dipped in organic dyes and a symphony of trees, birds, and other etho-inspired imagery is splayed out in the fabric. Presently, Pedana town and its neighbouring villages of Machilipatnam, Polavaram, and Kappaladoddi in the Krishna district of Andhra Pradesh are renowned for their production of Machilipatnam Kalamkari. This involves carving designs on wooden blocks and using these to print patterns on fabric.
Kaamdhenu Devi: Kalamkari Painting by Harinath.N
Bandhani
The word Bandhani comes from the Sanskrit word ‘banda’, meaning ‘to tie’. Vivid shades of yellow, red, orange, green, red, and blue in one of the most imaginative fashions in Bandhani textiles. The traditional tie-dye technique is endearingly popular in Gujarat, Rajasthan and some parts of Uttar Pradesh and Rajasthan. The making process of Bandhani is very interesting; the fabric is tied into very tight knots at varied lengths and places. The knots are arranged in such a manner that they cater to the specific designs that the maker intends to integrate. As knots play a pivotal role in the making of Bandhani, one comes across a variety of knots here- ekdali (single knots), trikini (three knots), dungaree shahi (mountain pattern), Kodi (tear-shaped), to name a few. Dots, squares, paisley, peacocks, and elephants are some of the prominent patterns that are used in Bandhani block prints.
Did you know that the earliest evidence of Bandhani can be traced back to the cave paintings of Ajanta?
Bandhani
Ikat
Ikat textile is prepared using the yarn resist dyeing technique. These are mainly of two varieties: single ikat and double ikat. When either the vertical (warp) or horizontal (weft) threads are dyed, it is called single ikat. Double Ikat is more complex and labour-intensive, both the warp and weft yarns are resist-dyed before weaving. The term Ikat is extracted from the Malay-Indonesian expression ‘mangikat’, which means to bind or knot. While in Gujarat it goes by the name of Patola, which is a double ikat technique, in Andhra it is popular as Pochampally Ikat saree. Varieties of motifs ranging from abstract to mythological scenes are shaped and created in the making process. Integration of motifs inspired from Rudraksha (a sacred seed of trees that grows in the Himalayan region and is associated with Lord Shiva), lotus, Swastika (symbol of fortune, happiness, and health), elephant and other elements add richness to the Ikat textiles. The use of natural colours and eco-friendly methods of preparation makes it a sustainable product.
Ikat textile
Bagh
The Bagh print of Madhya Pradesh is yet another form of block printing practised across the regions of Sindhu or Indus valley. The Khatri Muslim community in the village of Bagh in the Dhar district of Madhya Pradesh use wooden blocks carved with intricate designs for the craft. The common motifs of this impressive craft include geometric, paisley, nariyal (coconut), lehar (waves) and floral designs. There are prints inspired by the jali work of the Taj Mahal, as well as the regional plants like jasmine, and mushrooms.The village of the Bagh was selected by Bagh printers because they believed that the rivers here have an optimal mineral composition that elevates the vibrancy of the colours in printing. In the present time, Bagh prints are not only a part of traditional garments like sarees, dupattas and kurtis, but they are also a part of domestic merchandise such as table covers, cushions, mats, and bed covers.
Bagh
Please note: This is not an exhaustive list of the block printing and resist dyeing traditions of India, and we will continue to incorporate more art forms as we come across them. Please contact us at misha@memeraki.com to suggest any additions.
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