DEGREE PROJECT AYURVASTRA: Exploring Textiles for Holistic Life Sponsor : AAVARAN, Udaipur
Volume : 1 of 2 STUDENT : ARCHI MODI PROGRAMME : Bachelor of Design (B. Des)
GUIDE : V SAKTHIVEL
2017 FACULTY OF TEXTILE, APPAREL AND ACCESSORY DESIGN (TEXTILE DESIGN)
National Institute of Design Ahmedabad
The Evaluation Jury recommends ARCHI MODI for the Degree of the National Institute of Design IN FACULTY OF TEXTILE, APPAREL AND ACCESSORY DESIGN (TEXTILE DESIGN)
herewith, for the project titled “AYURVASTRA: Exploring Textiles for Holistic life” on fulfilling the further requirements by*
Chairman Members :
Jury Grade : *Subsequent remarks regarding fulfilling the requirements :
Activity Chairperson, Education
Copyright@2017 Student document publication meant for private circulation only All rights reserved ARCHI MODI Bachleor of Design (B.Des) Textile Design (2013-2017) Email: archimodi@icloud Guide: V Sakthivel No part of this document will be reproduced or transmitted in any form or by any means electronically or mechanically, including Photography, xerography, photography or videography recording with written permission from the publisher, Archi Modi and National Institute of Design.
Processed at – National Institute of Design (NID) Paldi, Ahmedabad- 380007 Gujarat, India www.nid.edu
ORIGINALITY STATEMENT I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or final graduation of any other educational institution, except where due ORIGINALITY STATEMENT acknowledgement is made in this graduation project. Moreover I also declare that the intellectual content of this graduation project is the project of my own work, except to the extentdeclare that assistance from othersisinmy theown project’s and conception orsubstantial in style, I hereby that this submission work design and it contains no full or presentation and linguistic expression is it does not even contain copy of previously published material, or acknowledged. This graduation project (orhave partbeen of it)accepted was not and will award not beofsubmitted as substantial proportions of material which for the any assessed workorinfinal anygraduation other academic other degree of anycourse. other educational institution, except where due acknowledgement is made in this graduation project. Moreover I also declare that the intellectual content of this graduation project is the project of my own work, except to Student Name in Full : from others in the project’s design and conception or in style, the extent that assistance presentation and linguistic expression is Signature : acknowledged. This graduation project (or part of it) was not and will not be submitted as assessed work in any other academic course. Date: Student Name in Full : Signature : Date:
COPYRIGHT STATEMENT I hereby grant National Institute of Design the right to archive and to make available my graduation project/thesis in whole or in part in the Institute’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my COPYRIGHT STATEMENT document or I have obtained permission to use copyright material. I hereby grant National Institute of Design the right to archive and to make available Student Name in Full: my graduation project/thesis in whole or in part in the Institute’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of Signature: the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material. Date: Student Name in Full: Signature: Date:
ACKNOWLEDGEMENTS I want to acknowledge all those people without whose help and support my diploma project would not have been completed. First of all, I owe my deep respect and gratitude to my project guide, V Sakthivel. Without his guidance I would have never been able to go ahead with this project. He was the one to encourage me to go ahead with Ayurvastra concept. His guidance was always helpful at the required time and I hope I fulfilled his expectation during the course of my graduation project. More generally, the National Institute of Design and Textile faculties Swasti Singh Ghai, Aarti Srivastava and Vijai Singh Katiyar, deserves special thanks. Being a student of this institution, my learning has got a new path, shape and depth. It has inspired me to know the different perspective in designing, socially and creatively.
I do express my thanks to my sponsor, Ms. Alka Sharma for providing me the opportunity to do my project work in the friendly and competent environment of Aavaran and give all possible support and guidance especially when the atmospheric conditions were so bad for printing. I would also like to thank Dr. Mrs. Farida. P. Minocheherhomji , Associate professor, Microbiology Department, B.P. Baria Science institute, Navasari for sharing her notes, research paper and books on Ayurvastra “ A fabric for Natural Healing�.
I would especially like to thank Ms. Aditi Bavel, IDC graphic designer, who helped me with the necessary graphical input in order to finalize my inspiration.
A huge thank to Kedar Mogarkar, Deveshree and Abhishek Kumar Nirala for the great photoshoot, as well as everyone who modelled for the shoot.
My sincere thanks to Raju Bhai who helped me understand design repeats I am also grateful to Ms.Purnima Kamala, the Head of the Craft Council of India, for helping me with the saree layouts.
Thank you Manila, Aamrasha, Dharini, Shivani Singh, Saumya Goyal, Apurva, Surya, Soumya and Edwin for being there whenever needed.
I would like to mention Mr. Sanjay Garg the chairperson of Raw Mango who encouraged my print designs surfaces and even bought some of them.
My warm thanks to Dr. Pranav Dubey and Shripal Shah for giving me useful insights about Ayurveda principles and its applications, which further added to my research.
Ms. Sonal Chauhan, Apparel Design Faculty, National Institute of Design and Mrs. Priyanka Mathure Nift apparel Graduate for guiding me for the placement of prints on apparel.
To my post graduate, product design seniors Swati and Chandan Murty, I would say that they were always present when needed to discuss with them.
I am very happy to warmly thank all members of different teams in Aavaran for making my project excecuted.
Special Thanks to TDUG 16 batch and Studio Gaatha for helping me to organize photoshoot. Last but not the least, I would like to thank my parents and my two younger sisters whose blessing were the greatest strength for me. They supported me through my studies in NID, away from home and fulfilling my dreams and desire.
SYNOPSIS The curriculum at the National Institute of Design, culminates with the graduation project which is undertaken by student in the industry. It happened when I was admitted to an internship in Aavaran, to develop my graduation project.Aavaran as an organisation which works with the Dabu mud resist printing technique and is one of the few organization that works primarily with Indigo dyeing in the current market scenario in the domestic as well as the export market. The first step towards my project dates from the day when I discovered the term “Ayurvastra”, and then realised that it already existing under a concept linked to Ayurveda. I was initially given a brief to help developing a range of print design surfaces, using traditional techniques of Dabu printing, indigo dyeing and natural methods of dyeing and printing. After having worked a while on that basis, I began developing my own design brief,
discussing it with the Faculties in textile. In that context, I visited faculty of dyeing, Mr V Sakthivel, to discuss my graduation project with him. I asked him if he would accept to be my guide for that project. While talking about the project, he asked me: “do you know anything about Ayursvatra?” I must admit that I remained silent for a while. I had actually not heard this term before!Thus he suggested me to do some research about it. “Ayurvastra” is a term coming from old Sanskrit, constructed on the basis of “Ayur” (life, health and longevity) and “Vastra” or “Vastram” (clothes, clothing). It is a concept based on Ayurvedic knowledge. It is a complete healing science, including aiming at providing to persons a better health and healing. I was so moved and proud! That was precisely the idea I had in mind since the beginning of my studies in NID, and I was thus confirmed in my view that this was not a dream or an illusion! On the contrary, it was a concept well rooted in Indian history and traditions, and in particular to Ayurveda.
I was immediately further convinced that this was the subject I wanted to develop further, and became passionate with it. Actually, it was already before that “discovery”, exactly what I had always wanted to do as a textile designer: making textiles helping people to get a better health, but made with ecofriendly methods, sustainable and in the same time promoting Indian traditional craftsmanship. It was as if a dream became true and concretely feasible. To better link the concept to its historical context, I decided then to study its Indian roots in Ayurveda.The next phase of the project thus deals with the research on Ayurveda to build the context of Ayurvastra This document talks about my journey through the design process I followed from the on. Beginning from travelling to Udaipur, familiarizing with the organization, the technique and process, research on Ayurveda, defining Ayurvastra, till the selection of the designs, this document would provide a
holistic overview of entire project from start to end. The first phase of the document talks about the company profile, design language and visual identity of Aavaran. Furthermore, it presents the research carried out during the course of project; describing the company as well as other brands involved in similar Textile practices, who are also directly involved with the craft person. The next phase of the project deals with the research on Ayurveda to build the context of Ayurvastra. Through this project I have tried to connect the knowledge of Ayurveda to the art of dyeing and printing of textiles. The idea is to explore Ayurveda through clothes, textile techniques and processes that can infuse qualities and principles of Ayurveda in the textiles in form of dyes, treatments, print forms and approprite clothes for the women. This will enable the human body to heal through the act of wearing such medicine- infused textiles known as Ayurvastra.
The scope of this project is not just restricted to the field of aesthetics and design but it also embraces culture and tradition, technology, medicine, in making of the clothing. This project is an effort of conveying and interpreting the ancient science of Ayurvedic healing to our own modern needs. It is an attempt to preserve the integrity of Ayurvedic healing system with its creative application.. Seeking for inspiration was the following step. After studying Ayurvedic herbs, I decided to go ahead with the form of the Herbs as my Inspiration. Three majorly known herbs Neel/Indigo, Haridra or haldi and Manjistha/Indian Madder were worked upon. Name of the Collections are also derived from the herbs itself, Neel Vastram, Haridra vastram and Manjistha vastram.
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CONTENTS VOLUME I ACKNOWLEDGEMENT SYNOPSIS INTRODUCTION
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AAVARAN
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THE MARKET
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STUDY ON AYURVEDA
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CONCEPT DEVELOPMENT
97 119
SEEKING INSPIRATION
VOLUME II NEEL VASTRAM
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HARIDRA VASTRAM
227
MANJISTHA VASTRAM
293
COSTING
354
AYURVASTRA: Textiles for future
355
MARKET POTENTIAL CONCLUSION REFLECTION EXPERIENCE BIBLIOGRAPHY
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INTRODUCTION National Institute of Design Textile Design Graduation Project Project Brief by Sponsor Proposed Brief Scope of Work Project Timeline
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National Institute of Design Ahmedabad Campus
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NATIONAL INSTITUTE OF DESIGN NID, which has begun its 6th decade of design excellence, is acting as an autonomous institute under the aegis of the Department of Industrial Policy and Promotion, Ministry of Commerce and Industry, Government of India. It is active in education, applied research, services, Industrial Design, Communication Design, Textile, Apparel and Lifestyle Design, IT integrated (experimental) Design and interdisciplinary Design Studies. NID offers professional education programmes at Bachelors and Master level, with five faculty streams and 20design domains. NID has established exchange programmes and ongoing pedagogic relationships with about 55 foreign institutions. NID is playing a significant role in promoting design in India. While offering a wide spectrum of design domains, NID is also encouraging trans-disciplinary design projects. NID is a unique institution with many problem-solving capabilities, depths of intellect and a time-tested creative
educational culture in promoting design competencies and setting standards of design education. The rigorous development of designer’s skills and knowledge through a process of “hands on mind on” is what makes its excellence. The overall structure of all NID’s programmes is a combination of theory and practice, skills, design projects and field experiences, supported by cuttingedge design studios, skill and innovation laboratories and the Knowledge Management Centre. Sponsored design projects are brought in the classrooms to provide professional experience. Interdisciplinary design studies in Science and Liberal Arts widen the students’ horizons and increase their general awareness of contemporary issues. Its holistic education, curriculum and most importantly the environment gives the student the opportunity to explore new avenues in Design and grow as a person and as a competent professional through the intensive learning program.
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Textile weaving Studio at National Institute of Design
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TEXTILE DESIGN Textiles are one of the human beings’ oldest creations. They have today a wide range of functions and applications. Clothing and textiles have always been important in human history. They are the reflect of the materials available to a given civilization as well as of the technologies that it could master. The social significance of a finished product lies in the fact that it reflects the culture in which it has been created. Textiles, defined as felt or spun fibres made into yarns and subsequently netted, looped, knitted, or woven to make fabrics, appeared in the Middle East during the Stone age. Since the ancient times to present day, design and methods of textiles production have continuously evolved, and myriad choices of textiles available have influenced how people carried themselves, their possessions and embellished their surroundings. Textile design is an understanding and creation of textiles. It involves keen observation and assimilation of traditional techniques as well as modern
mass production methods. Textile design programme at NID takes inspiration from both art and craft tradition. It uses technology and lays emphasis on the production potential of -materials. The curriculum at NID offers a wide range of courses, such as textile fibre, colour, composition and basic textile design for printing and weaving. Along with these, the natural dyeing techniques, construction of fabric and surface design are some of the other discipline-specific modules. Moreover, design projects assigned to -students during their studies bring -them a critical understanding of user perspective, of the sociocultural context and of the market realities, so as to enable them to establish themselves as esteemed designers in the future. Throughout their studies, the students are furnished with actual exposure to craft and industrial production, so that they become familiar with the conventional as well as with the most modern techniques and trends in design and production. The culmination of the Design Course
is the Graduation Project undertaken by the “Nascent Designers”. It aims at giving them a first-hand experience, under an able guidance, to further enhance their skills, while taking into account the realities of the market trends. . Thereafter, the “Young Designers” will thus be able to begin their carrier, be it in design studios, export houses, textile manufacturing, craft centres, or alternatively set up their own entrepreneurial venture and enable the world to patronize their skills and talents.
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Natural Dyeing unit at Aavaran Udaipur
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GRADUATION PROJECT The end of the -academic studies at the National Institute of Design is culminating with a substantial investigation in the field of design, on a topic closely linked to the disciplineof the students. It is through the Graduation Project and the appropriate documentation to make its presentation that this investigation takes place. This is the final academic project for the student. A jury comprising faculty members evaluates the student’s performance in the graduation project, after which students may be awarded the NID’s professional Education Programme Graduation. The graduation project is an opportunity for students to demonstrate their expertise as an autonomous and professional practitioner in design. The project must be done with academic rigor, incorporating systematic inquiry and informed design decisions. The wording “ systematic inquiry” implies a structure and the description of the methods followed by the student to carry out his/ her project.
Graduation Project should reflect the thought leadership manifested through creativity and innovation. The project should lead to new broader objects of the Institute.. The graduation project should reflect the student’s ability to: -Apply his or her learning of current practices in the process of creating new forms of products, processes, services and system.,analyse and refine his or her ideas in an iterative manner with self-criticism. -Evaluate and reflect upon the creative processes she or he has followed. While the last point above represents a higher order of refinement than those usually expected in research, its significance in design cannot be understated, if the designer is also to be viewed as a reflective practitioner. The diploma project reflects the student’s competence to excel in her/his chosen profession..
also helps students to make an informed decision about which career path they would like to follow after their graduation. The diploma document is a lens through which the student’s project will be appreciated and assessed not only by his/ her peers, the guide, and the jury panel, but also the faculty, research scholars, and industry managers. The highest standard of quality while writing the diploma document is therefore imperative.
The project orients the student to the needs and demands of the industry; it
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PROJECT BRIEF BY SPONSOR To develop a range of print designs for apparels keeping in mind the traditional technique of Dabu (mud resist block printing). Inspiration should be anything preferably Indian as you have to do a thorough research on it. Both direct and indirect research. We cater to Premium brands and international buyer so the motifs developed should be inspired from traditional, cultural inspiration and yet fit the contemporary context. Right now we are majorly doing Indigo and kashish natural dye, we would like you to add more natural colours to your collection as the market for indigo is getting saturated. To keep in mind that all your blocks are fit for Dabu printing. Design should be appropriate for target audience, women of age 35 years and plus.
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Student Archi Modi Semester 8 B.Des,Batch 2013-2017
PROPOSED BRIEF
National Institute of Design email : archi_m@nid.edu : archimodi08@gmail.com Phone : 8347245212
GRADUATION PROJECT
To develop a range of prints design for women apparel. Collection would be made keeping in mind Health reviving traditional technique of Ayurvastra.
is predefined. Also, would provide me the platform to draw a balance among craft, health, environment and requirement of the client.
Collection will be made keeping in mind the traditional technique of Dabu (mud resist block printing) and natural dyeing.
This project would also give me exposure towards design in the rural context as Aavaran works directly with the craft people, and I would be working in close proximity with the production and will get a chance to overlook the production as well, the design process in put into practice industrially, starting from the conceptualisation to the execution..
The collection would be composed of therapeutic herbs such as Indigo, turmeric (haldi), Indian mulberry (aal ki lakdi), brazil wood (patang), Indian Sunflower (kusum phool), Catechue (Babul), red Sandalwood (laal Chandan), Pomegranate (anaar), Black Myrobbalam (harda) and many more.
PROPOSAL Design Proposal for Project sponsor Aavaran
Aavaran is a unit set up by Centre of the Study of Values a leading NGO, in Udaipur (Rajasthan) and is working for the development of the deprived tribal communities of southern Rajasthan
SCOPE Prepared for
Aavaran Echoes of Rural India 89/A, 80 Feet Road, Shyam Nagar, Chitrakoot Nagar Udaipur, Rajasthan- 313001 E-mail : aavaranudaipur123@yahoo.com Website : aavaranudaipur.com Phone : +91-294-2980129 + 91- 9829592424
Proposal Issued 12.2.2017 Proposal No. #0001
Graduation project proposal sent to Aavaran Udaipur
This project will allow me to discover Ayurvedic approach of natural dyes.
The challenge for me during the project will be to ensure to bring about certain design inputs which would not only introduce new concept, but also something which stays with them.
It will allow me to explore new avenues in terms in design, as it would provide me with freedom in terms of choice of inspiration, at the same time give me a certain structure as the market segment
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PROJECT TIMELINE MARCH
JUNE
SEPTEMBER
Understanding Organisation Infrastructure Information Collection Organisation working, Customers and Competitors Market Research
Final Design Development Co-ordinates Block Making (Collection I)) Layout for Saree Garment
Fabric Sampling (Collection III) Finalizing Designs (Collection III) Final Collection Production (Neel & Haridra Vastram)
APRIL
JULY
OCTOBER
Concept Development Research on Ayurveda Interviewing Ayurvedic Practitioners Redefining Project Brief
Fabric sampling of Natural Dyes Design Development (Collection II) Refining Design Final sets of Design (Collection II)
Final Sampling (Collection III) Final Collection Production (Collection III) Documentation
MAY
AUGUST
NOVEMBER
Building up Concept on Ayurvastra Inspiration Intensive Design Development (Collection I) Refining Designs
Block Making (Collection II) Mapping Prints on Garments and Sari (Collection II) Design Development (Collection III)
Documentation Photoshoot
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AAVARAN Introduction About Sponsor Organisation Infrastructure Product Creation Inhouse Production Product Range Process : Dabu Making Printing Block Making Single Dabu Double Dabu Indigo Other Natural Dyes
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Entrance at Aavaran Workshop
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AAVARAN Introduction
Aavaran was established in Udaipur (Rajasthan) by the Centre of the Study of Values (COS-V), a leading NGO. Aavaran is working for the development of deprived tribal communities of Southern Rajasthan, focusing on women and children development. It aims at helping them to get access to their basic rights and make them self-sustainable through skill development and economic empowerment. The key strategy is to create a system of values within the communities, as well as employments and economic opportunities for their selfreliance. The setting up of Aavaran was one of the initiatives taken by COS-V to provide livelihood and financial support to rural artisans, both women and men. Aavaran is first of all an outlet to sell the products made by these artisans. It serves as a market linkage for the crafts people. The net income generated by Aavaran is utilized in providing education, health and other benefits to the artisans involved. Aavaran offers a wide
assortment of apparels, home furnishing and accessories with a touch of Indian traditional art and creative designs developed by design students and executed by skilled women of the local rural areas. Actually, Aavaran has now moved ahead. It is not only anymore only an organization to help rural minorities. It is also a very active centre for production of fabrics and clothes, made primarily with organic fabrics, dyeing products and traditional printing methods. It is acting in favour of protection of environment. Besides, it has today developed its own brand and image around its name.
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Aavaran workshop at Udaipur
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ABOUT SPONSOR In 2009, after doing a survey in Akola, Ms. Alka Sharma established a samuh, named SHG (Self-Help Group) to help the artisans prosper and take their craft forward. As being also the chairperson of COS-V, Ms. Alka Sharma undertook a five years project under “Baba Ambedkar Hasthshilpa Yojna� (Ministry of Textiles) to give training to women. Since she has a textile background herself, being a graduate from IICD Jaipur, it was quite a normal step for her to continue as well as a designer. Many other people then successively joined her in Aavaran. There has been a huge contribution by Ms. Alka Sharma towards the development of the artisans in Akola because earlier they only made Phentiya (traditional hand block printed skirts) and only two units were practicing the craft of block printing and selling the products while the other artisans of the village made products just for themselves, unaware of their value in the outside market. Alka is very experimental minded and sponsors graduation projects for the young budding designers. She gives the students full freedom for their inspiration and supports them to explore their ideas.
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Alka Sharma Sponsor
Silhouette range of Aavaran
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ORGANISATIONAL INFRASTRUCTURE The infrastructure of Aavaran is organized in a way to be convenient for both designers and crafts people. Everything is produced inhouse. Inhouse facilities includes printing, dyeing, embellishment, as well as stitching. Everything is done under the same roof. This offers a unique platform for interaction between everyone and induces learning for both designers and crafts people. It is a small knit system with a well-connected network source of varied craft skills. Everyone in the organization helps each other in all possible ways. This is also contributing to the development and prosperity of the organization. The main production unit of Aavaran is in Udaipur, and it still is in a development stage. Both the production and the continuing development of the unit are currently going side by side. Aavaran is also working with three other training centres for women, owned by Hindustan Zinc in Debari, Kanpur and Matoon. These centres provide women with training in machine stitching, weaving carpets and handwork.
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Aavaran Retail store at Jaipur
AAVARAN UDAIPUR MAIN UNIT
PRODUCT CREATION
DESIGN
RAW MATERIAL STOCK
PRINTING
STITCHING
WASHING
DYEING
HAND WORK
QUALITY CHECK
ADMIN
Ordering raw material Making order sheet Washing Printing Rekh Single Dabu Dye Double Dabu Dye Wash Pattern Making Pattern cutting Stitching Handwork Finishing Quality Check Packing Ready Products
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INHOUSE PRODUCTION
Procured raw material stocked in store room
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Making order sheets for printing on fabrics
Washing fabrics to remove impurities.
Washed fabric is sent to printing unit for dabu printing.
Dabu fabric is dyed in Indigo vat
For mass production of garment are sent to stitching unit.
Stitched garments are sent for finishing
Finished garments are stored in the stock room.
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Aavaran Retail store at Jaipur
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PRODUCT RANGE WOMEN WEAR: Straight Trousers Straight Pajama Dhoti Pajama Sharara Long Skirt Tie-up Pajamas Wrap Around skirt Kurta Angrakha Anarkali Straight Kurta Shirts Tops Stoles Dupatta
SAREES: Mulberry Silk Kota Doria Kota Silk Tassar Silk Cotton HOME: Bed Linen Tableware Cushions Quilts Kitchen Apron
MENSWEAR: Shirts Kurta KIDS WEAR: Boys shirts Girls: Dresses Tunics. Ethnic wear.
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DABU MAKING Dabu is a mud resist process which requests the use of wooden blocks. The process of Dabu printing starts with the preparation of mud resist. The clay is prepared by finely sieving it. Calcium hydroxide (chuna), naturally pounded wheat chaff (beedan) and gum (gond) are the main ingredients to make the mud resist. Especially acacia or babul seeds have been used to make gum. This gum works like a binder. The dug out mud from the dry pond is soaked in water in separate tank overnight. The mud resist is freshly prepared before every printing. A mixture of beedan and ground along with mud is used to make a sticky paste.
The process may be repeated for double Dabu and triple Dabu. After every dyeing the fabric is thoroughly washed so as to remove the mud application. Finally, the non-dyed part where the resist has been applied is revealed after the washing. The final result creates beautiful and uneven cracks on the fabric.
The mud resist is applied on the fabric by using wooden blocks. Dabu printing is done either on a single table while the printer is sitting, or on a running table. This depends upon the space availability and comfort of the individual printer. A sawdust is applied to places where the mud resist is printed to quickly dry the paste. The sawdust also acts as a binder which prevents colour penetration while dyeing.
Five kilograms of Kali Mitti, two kg of lime and one kg of gond are mixed with water. Then artisans trample this mixture with their feet for two to three hours, until it becomes a smooth paste. Once this process is completed, the product is strained through, in order to become a fine net paste for printing.
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In Aavaran, on a daily basis, 50 kilograms of Dabu are made for production. ‘Lep’ is a specific fabric created by Aavaran. It is made by an overall layer of Dabu, forming a light coloured fabric with texture in indigo. Three kg of Dabu are necessary to make six meters of ‘Lep’.
Kali Mitti soaked in water over night
3 Kg Lime powder spread on the floor and Kali Miti and Lime are mixed well by hands.
The Mixture is again mixed well using Kuntna. This process is continued during three hours, to refine the mud
Gond is added to this mixture
This is now mixed into paste, which is trampled with feet for 2-3 hours, to make the paste smooth
The paste is strained using a nylon net and then using fine cotton fabric.
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PRINTING UNIT The Aavaran Printing Unit comprises eight tables of six meters each, which are running seven days a week, weather permitting. The Dabu technique of block printing with mud, which is the USP of Aavaran, is used primarily. This is what makes Aavaran products stand apart from the other Dabu printed fabrics in the market. Despite this focus, printing is also carried out in other natural colours, such as Syahi, Begar and Lal Kashish. However, the results of using natural colours is depending on good weather conditions. Consequently, in case of extreme monsoons, pigment colours are used for printing to make ends meet, which is also the case for finishing and fine outlines or else for specific orders. The output in the printing unit varies, depending upon the complexity of the designs. Some designs, which are single Dabu and simple repeating patterns, are faster than others which may need a more complex web, for instance designs which need two blocks running simultaneously
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Double Dabu printing is time consuming, as it requires precision, since the fabric shrinks after the first layer of mud dried. The daily production is about 250 meters, adding up to nearly 7000 meters in a month.
Printing table The printing table is a long and rectangular wooden table. Its height allows the printer to work while standing. It is covered with eight to ten layers of jute to loose texture, as well as with three layers of thick cotton fabric, called latha.
Gadi The gadi is a wooden trolley rack with two shelves. It has four legs made in iron with wooden wheels. The wheels allow the printer to change positions while working. The colour tray and the blocks required for printing are kept on the upper shelf, for handy use .
Saj Saj is a trough containing the printing paste. It was traditionally made in wood. For Dabu, an open earthen container was used. However, nowadays, troughs are usually plastic made.
Kambal ki gadi Kambal ki gadi is a piece of coarse handloom cloth of wool or felt of loosely wove structure. This is placed in two layers over the tatti and inside the tray which contains the printing paste.
Tatti Tatti is a frame which was generally made of bamboo. Metal is used nowadays, together with nylon thread. The nylon thread is used to bind the frame, which is placed inside the saj. It serves as a spring cushion and helps to spread the paste evenly.
Tari Making Dabu is poured on the tari and mixed well to apply it on the block for printing.
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BLOCKS AND ITS MAKING Wooden blocks are carved according to traditional techniques. They are used to print the fabrics following given designs. Blocks are made with shishami wood (teak). It is essential that crafts people have a perfect knowledge of the grain of the wood. They have to prevent the wooden block to be damaged during the carving process. They also need to ensure the longevity of the carved blocks when often used for production. The block makers are thus highly skilled. They carefully trace the designs onto the wooden blocks. They are able to carve even extremely small details with high precision, ensuring minimum scope of error. It is also essential for the block makers to see and ensure that the repeat is set right and that the blocks are conveniently repeating flawlessly. They also ensure to give some registration marks to help the printers to repeat the blocks and place them exactly right to create the larger design surface.
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Each design needs three or four blocks, depending upon the designs and the number of colours. In block printing, each colour requires a different block, namely Gad, Datta, Rekh, and Chaaha. 1.Gad: The Gad block is used to print the background, using the Dabu resist paste, allowing the dye to come onto the design motifs which are the leftover spaces.
Aavaran uses a variety of designs within the range of Indigo dye fabrics, varying in scale and intricacy. A series of seven collections were created so far in print design. They are mostly derived from Indian crafts, in order to ensure that all designs have an authentic Indian flavour.
2.Datta: The Datta blocks are carved in bold relief corresponding to the shape and size of the Rekh and Gad blocks. Datta blocks are used to apply the Dabu within the outline created by the Rekh, blocking the penetration of the dyes in the printed area. 3.Rekh: The Rekh is the outline block in the design, the one which gives the design finishing and makes it look complete in itself.
Design is traced on the wood using sharp tool and stamped using wooden stick
The impression of the tool is marked on the wooden block
Carving wood using apporpriate tool
Intricate carving on the wooden block
Negative space is further carved out
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SINGLE DABU
DOUBLE DABU
For fabrics made using a single block, the Dabu resist paste is printed only once. After that, the fabric is dyed in Indigo to obtain a deeper shade, creating a high contrast in the design.
Some designs need to be printed using the double Dabu technique, and indigo dye. In these designs, the part in white is achieved in the first stage, when the Dabu resist paste has been printed and dipped in indigo in the lighter shade..
Single Dabu designs have some advantages:The design turns out extremely clear, and allows a good degree of whiteness to be achieved; -The fabric dries quickly and involves only a single printing process, thus making the production process faster and cheaper.
Thereafter, once the white areas have been resisted, after the first dip in a light shade of indigo, the second block is used to printed areas in a lighter shade of blue. In the third stage, once the second layer of Dabu has dried, the fabric is dipped in the deeper shade of Indigo, which is the final dip, to achieve the colour to be seen in the fabric swatches. In this case, the white areas are printed using only a single layer of Dabu. The smaller design in the centre is printed using a pigment colour to achieve finer details and smaller print.
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INDIGO Aavaran takes pride in its specialization in indigo dyeing, despite the current scarcity of natural indigo on the market. Other natural colours are also frequently used, as to provide a few more colours to the customer, on top of indigo.
acetic, act as a catalyst during the fermentation. In its powder form, indigo is available with 80% purity and only 20% of ashes. The powder form is obtained by converting the cake into powder in order to obtain a purer quality of indigo.
Intending to carry forward the tradition of indigo dyeing as practiced in the village Aakola, Aavaran not only tried to retain that quality of indigo, but tried also to improve it, by focusing on the rubbing fastness of the indigo dye, experimenting with the aim to achieving multiple tonal indigo qualities. The dye vat is in process all year round, and is constantly restored to ensure that it is balanced to provide high quality indigo dyed fastness.
1.This powdered form of indigo has to be dissolved into water and boiled.
Natural indigo comes in two forms: cakes and powder. In its cake form, indigo is available in two qualities: 40% and 60% purity. These percentage defines the actual amount of indigo per kg, the rest being ashes from a local tree of this region, the babool. The ashes obtained from burning the babool wood, being
Indigo is added as per the requirement, depending on the amount of fabric to be dyed and how deep a blue colour one is aiming at. Printing with natural indigo Gond, a powdered resin from the babool tree, acts as a binder to thicken the solution, to make it thick enough to print with.
2.This solution must then be left to cool down for two or three days. 3.The dye bath is made by dissolving lime and jaggery into water and leaving it to rest for five or six days. 4.After these five or six days, the indigo solution is poured into the dye bath.
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OTHER NATURAL DYES Natural dyes are dyes or colorants derived from plants, invertebrates or minerals. The majority of natural dyes are vegetable, coming from plants, roots, berries, bark, leaves, wood, and other organic sources such as fungi and lichens, used for dying fabric directly or in the addition of some moderants. Aavaran buys and uses natural colorants such as acacia catechu, eucalyptus leaves, eupatorium leaves,lac, myrobalan, pomegranate skin, Indian maddder (roots and twings), turmeric, suralpatta creeper. Four mordant like alum, copper, sulphate, ferrous sulphate, and potassium dichromate are bought from vendors from Jaipur.. Naturals dyes have an affinity to cellulosic as well as protein natural fibres, but not to synthetic fibres.
or substantive dyes. The majority of plant dyes require however a mordant, which reacts with the dye and bring colours to the fabric. These dyes are called adjective dyes. By using different mordants, dyers can try and obtain a variety of colours and shades from the same dye. These mordants, or salts, help to fix or increase fastness of colours. Natural Dye stuff
Natural dyes stuffs may be classified in two classes: substantive ones and adjective ones.
Adjective dyes Babul Safflower Indian Madder Madder extracts such as alizarin, eco, red, eco orange Pomegranate Turmeric Sandalwood Al Brazil wood
Some dyestuffs, such as indigo and lichens, give good colours when used alone. They are called direct natural dyes
Substantive dyes Indigo .
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Essentials for Natural dyes Water testing the water PH: water is the most important factor in natural dyes, as the appearance of the colour totally depends upon the nature of the water and minerals added to it. For natural dyes the required water pH is 5-7. If its below that figure, then it is acidic; if it is higher, then it is alkaline or basic. So the water pH needs to be tested and balanced accordingly. Because of the difference in pH the same dye can give different shades in different regions. In Rajasthan water from the well is used, which has higher pH, where as in Kerala, natural spring water is used, which is more acidic. This is resulting in quite different colours in Kerala and in Rajasthan. Know your fabrics and prepare them properly : The fabric used for dying needs to be washed/ scoured/ de- gummed before dyeing. Fabric preparation makes the fabric more absorbent and increase its affinity with dyestuff.
The quality of ingredient: Good quality ingredients, like good quality dyestuff, are important as the intensity of the colour of the final product depends upon the colour content of the dyestuff. The mordants: The final colour depends upon the mordant used with adjective dyes .The water temperature: Some natural fabrics require particular temperature to absorb the colour. A little difference in the temperature may change the shades of the dyestuff.
Exploring Natural dyes at Aavaran
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THE MARKET Domestic Market of Aavaran International Market of Aavaran Study Competitors: The Shop Good Earth Anokhi The Shades of Cotton Bhane Fabindia Soma Hand loom Weavers Society Kerela Aura Herbal Asal
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DOMESTIC MARKET Aavaran supplies to various stores across India, some of which keep the garments under their own label eg Ajio while other stores keep it on consignment basis which sell under the Aavaran Label itself. eg Kilol Aavaran has managed to find a place in store widely spread across the various regions in India covering maximum number of metro cities, ranging from Delhi, Mumbai, Chennai and Kolkata to Hydrabad, Pune and Ahmedabad and Surat to new name a few. Beside these Aavaran also supplies to few stores at tourist spots such as People Tree Goa, Last Forest Coimbatore and their own flagship store in Udaipur itself. All year round Aavaran takes part in a series of exhibitions which make their products available in most cities.]
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MARKET SEGMENT
INTERNATIONAL MARKET
WEAVERS SOCIETY SASHA KOLKATA ANONYM Hydrabad THE VANITY BOX Chandigarh ANANTAM Gurgaon, Delhi CINNEMON Hydrabad SHILPI Chennai ARTISAN Mumbai EITHER OR Pune OPTION Ahmedabad LOST FOREST Coambatator KAMALA Delhi VAYU Jaipur FAWN TRADE NIMBRANA Delhi PEOPLE TREE Goa KILOL Jaipur SUGAR Surat TEJAL STUDIO Baroda AJIO JAYPORE REHWA SOCIETY Indore
TSOMORIRI Japan BAREFOOT Sri Lanka KOREA CRAFTMARK ANN THOMAS Dubai ARTIZAN Australia
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MARKET STUDY I conducted my market research in two stages. During the first stage, I studied brands which are using identical or similar techniques as does Aavaran, as well as similar aesthetics and design language. These brands are mainly uplifting craftsmen and craftmenship. They produce and sell under their brands a range of clothes and other products similar to those that Aavaran is producing and selling. I studied brands such as Good Earth, Soma, Anokhi, Fabindia and Aakola. The second stage of my research was directed to brands or craft clusters which are specifically working on giving healing properties to fabric, through processes of natural dyeing. I studied brands such as Vastra, the handloom weaver society Kerala, Aura, Ayurvastra and Asal.
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HANDLOOM WEAVERS SOCIETY Due to its fertile soil and temperate climate, the southernmost Indian state of Kerala is hub for medicinal plants used in the traditional medicine system of Ayurveda. The Handloom Weaver Development Society (HWDS) of Kerala, by concentrating on the project of dyeing fabric with medicinal plants as per Ayurvedic doctrine, has played a predominant role in the development of Ayurvastra. Twenty five years back, during the 1990’s, the weaving industry in Kerala went through a phase of economic crises. In order to stimulate the industry, a group of hand weavers in HWDS concentrated in reviving their ancestral practice of dyeing clothing with medicinal Ayurvedic herbs. The fabric thus prepared by HWDS workers was called Ayurvastra. HWDS began manufacturing the fabric for sale in some commercial shops and markets in Kerala. The project also received support from the local authorities and the Kerala government. Still, the overall demand
for their products from within India has had slow progress due to the absence of forceful marketing strategy. The general trend in the larger part of the Indian market was noticed in the adoption the western taste and ideas influenced by big name brand through the electronic media. In January 2011, collaboration emerged between HWDS and Washington-DCbased company Vastra to promote the Ayurvedic dyed products of HWDS in North America and Europe. Vastra initially offered shirts, bed sheets, apparel items and varied fabric qualities to cater to their customer in both retail and wholesale market. Due to this, Vastra project HWDA experts to provide employment to a large number of local workers by providing fair wages for their labour.
Dyeing unit at Handloom Weavers Society Kerela
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Dyeing unit at Handloom Weavers Society Kerela
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AURA HERBAL TEXTILES Aura’ is a dream venture of Arun Baid and Sonal Baid. At Aura, our only dream is to offer options to each and every user to choose a herbal dyed textile over chemical dyed one, with no limitations to design, quantity, and quality Aura Herbal Textiles Ltd is certified by Global Organic Textile Standard (GOTS) for all their natural/herbal dyeing process. Certified organic fabrics, textiles and yarns are used as the raw material. Dyeing, weaving, printing all is done under keen supervision to maintain quality standards. Dyeing of fabrics up to 120� width has been achieved. Even lengths of up to 1000 meters in different fabrics like voile, poplin, twill , flannel, corduroy, denim, knits, silks is now achieved at Aura. Aura Herbal Textiles Ltd has beautiful color palette of earthy shades and various prints ensuring no waste is generated. All the solid and liquid waste is used as manure and to irrigate farms Printing unit at Aura Naturals
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ASAL Asal started in 2001 to revive Traditional practices which are most sustainable and Renewable as its time tested. Nowadays, development means greater industrial production - by this standard, India has been labeled as poor and underdeveloped nation. Even today, every village in our country has eighteen “Varnas�, or categories, of different professions which makes each village economically sustainable. Individual development is at the cost of destroying natural resources, human relationships, and culture.] Asal store does not use any electricity. Lighting and ventilation are provided by large windows and castor oil lamps in the evening. The lime stone plaster on walls regulates room temperature and visitors are encouraged to walk bare feet to experience therapeutic effects of cow dung floors At present we are working with Farmers, Spinners & weavers to make Khadi & Handloom textiles, Some craftsmen who are making Bronze & Brass utensils, Wooden combs etc. Asala Organic store
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AYURVEDA The Manifestation of Consciousness Spiritual Background of Ayurveda The first life science The five Elements and human The Senses The human constitution Understanding Tridosha Determining the Individual Constitution Mental constitution Imbalance in Human Body Diseases process The Seven Dhatus Herbal Energetics Rasa/Taste Rasa, Virya and Vipaka Medicinals Therapy Methods of Herbal Preparation Routes of Administration Conclusion
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COSMIC CONSCIOUSNESS “Consciousness exists in all forms of life. It is the very basis of creation, the power of evolution. Life, creation, and evolution are the stages in the unfoldment of consciousness. There is nothing in existence that is unfeeling, nothing that is profane or spiritual, nothing without a unique value in the cosmos.�
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MANIFESTATION OF CONSCIOUSNESS “Evolution is a manifestation of latent potentials. Within each thing is contained all things. In the seed is the tree; in the tree is the forest.� by Dr David Frawley Therefore, intelligence is contained implicitly in the many worlds of nature, not only in our human-centered world. Another way of saying this is that consciousness exists in all forms of life. It is the very basis of creation, the power of evolution. Life, creation, and evolution are the stages in the unfoldment of consciousness. There is nothing in existence that is unfeeling, nothing that is profane or spiritual, nothing without a unique value in the cosmos. Life is relational, interdependent, interconnected Ayurveda, a system of mutual nourishment and care, not only physically, but also psychologically and spiritually. Consciousness, therefore, is not merely thought, much less intellect or reason..
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AYURVEDA THE FIRST LIFE SCIENCE Ayurveda is a holistic system of medicine that is indigenous to and widely practiced in India. The word Ayurveda is a Sanskrit term meaning “science of life.” Ayu means “life” or “daily living.” and Veda is “knowing.” Ayurveda was first recorded in the Vedas, the world’s oldest extant literature. This healing system has been practiced in daily life in India for more than 5000 years.
AYURVEDA AND HUMAN POTENTIAL Ayurveda teaches that man is a microcosm, a universe within himself. .He is a child of the cosmic forces of the external environment, the macrocosm. His individual existence is indivisible from the total cosmic manifestation. Ayurveda views health and “disease” in holistic terms, taking into consideration the inherent relationship between individual.
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According to the teachings of Ayurveda, every human being has four biological and spiritual instincts: religious, financial, procreative and the instinct toward freedom. Balanced good health is the foundation for the fulfilment of these instincts. Ayurveda helps the healthy person to maintain health, and the diseased person to regain health. It is a medicalmetaphysical healing life-science, the mother of all healing arts. The practice of Ayurveda is designed to promote human happiness, health and creative growth. Through studying the teachings of Ayurveda, the practical knowledge of self-healing may be acquired by anyone. By the proper balance of all energies in the body, the processes of physical deterioration and disease can be impressively reduced. This concept is basic to Ayurvedic science: the capability of the individual for self-healing.
HEALTHY AND HAPPY LIVING Health, from an Ayurvedic perspective, is defined as a gracious, tranquil, content, joyous, bright, and clear state of the body, senses, mind, and spirit, including the balanced state of one’s natural constitution. It is the holistic, traditional system of Indian medicine that aims to bring health and happiness to the individual. Simply put, health is when somebody is enjoying his/her own natural and unique state of balance.
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SPIRITUAL STUDY OF AYURVEDA Ayurveda encompasses not only science but religion and philosophy as well. The word religion to denote beliefs and disciplines conducive toward states of being in which the doors of perception open to all aspects of life. In Ayurveda, the whole of life’s journey is considered to be sacred. The word philosophy refers to love of truth and in Ayurveda. Truth is Being, Pure Existence, The Source of all life. Ayurveda is a science of truth as it is expressed in life. All Ayurvedic literature is based on the Samkhya philosophy of creation. (The roots of the term Samkhya are two Sanskrit words: sat, meaning “truth,” and khya, meaning “to know:’) The reader is asked to cultivate an open mind and heart toward the philosophy of Samkhya because of its intimate connection with Ayurveda. The ancient realized beings. rishis or seers of truth, discovered truth by means of religious practices and disciplines. Through intensive meditation. They manifested truth in their daily lives.
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Ayurveda is the science of daily living and this system of knowledge evolved from the rishis’ practical. Philosophical and religious illumination, which was rooted in their understanding of the creation. They perceived, in the close relationship between human and the universe. How cosmic energy manifests in all living and nonliving things. They also realized that the source of all existence is Cosmic Consciousness, which manifests as male and female energy — Shiva and Shakti. The rishi Kapila, who realized the Samkhya philosophy of creation, discovered twenty-four principles or elements of the universe ,of which Prakruti, or creativity, is the most basic. Purusha is the male, while Prakruti is the female energy. Purusha is formless. Colourless and beyond attributes and takes no active part in the manifestation of the universe. This energy is choice less. Passive awareness.
Prakruti has form, colour and attributes: it is awareness with choice. It is Divine Will, the One who desires to become many. The universe is the child born out of the womb of Prakruti, the Divine Mother. Prakruti creates all forms in the universe. While Purusha is the witness to this creation. It is primordial physical energy containing the three attributes or gunas, found in all nature, the evolving cosmos. The three gunas are satva (essence), rajas (movement) and tamas (inertia). These three are the foundation for all existence. They are contained in balance in Prakruti. When this balance is disturbed, there is an interaction of the gunas which thus engenders the evolution of the universe. The first manifestation from Prakruti is Cosmic Intellect. From Mahad, Ego (Ahamkar) is formed. Ego then manifests into the five senses (tanmatras) and the five motor organs, with the help of satva. Thus creating the organic universe. The same
Ego further manifests into the five basic elements (bhutas) with the help of tamas, to create the inorganic universe. Rajas is the active vital life force in the body which moves both the organic and inorganic universes to satva and tamas, respectively. So satva and tamas are inactive, potential energies which need the active, kinetic force of rajas. Satva is creative potential (Brahma): rajas is a kinetic protective force (Vishnu): and tamas is a potential destructive force (Mahesha). Creation (Brahma). Protection (Vishnu) and Destruction (Mahesha) are the three manifestations of the first cosmic soundless sound aurn, which are constantly operating in the universe.
TAMAS
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THE FIVE ELEMENTS Ayurveda evolved in the meditative minds of seers of truth, the rishis. For thousands of years their teachings were transmitted orally from teacher to disciple, and later they were set down in melodious Sanskrit poetry. Though many of these texts have been lost over time, an abundant body of Ayurvedic knowledge survives. Originating in Cosmic Consciousness, this wisdom was intuitively received in the hearts of the rishis. They perceived that consciousness was energy manifested into the five basic principles, or elements: Ether (space), Air, Fire, Water and Earth. This concept of the five elements lies at the heart of Ayurvedic science. The rishis perceived that in the beginning the world existed in an unmanifested state of consciousness. From that state of unified consciousness, the subtle vibrations of the cosmic soundless sound awn manifested. From that vibration there first appeared the Ether element. This
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ethereal element then began to move: its subtle movements created the Air, which is Ether in action. The movement of Ether produced friction, and through that friction heat was generated. Particles of heat-energy combined to form intense light and from this light the Fire element manifested. Thus, Ether manifested into Air, and it was the same Ether that further manifested into Fire. Through the heat of the Fire, certain ethereal elements dissolved and liquefied, manifesting the Water element, and then solidified to form the molecules of Earth. In this way, Ether manifested into the four elements of Air. Fire. Water and Earth. From Earth, all organic living body, including those in the vegetable kingdom such as herbs and grains, and those in the animal kingdom, including man, are created. Earth also contains the inorganic substances that comprise the mineral kingdom. Thus, out of the womb of the Five Elements all matter is born.
The five basic elements exist in all matter. Water provides the classic example: the solid state of water, ice, is a manifestation of the Earth principle. Latent heat (Fire) in the ice liquefies it, manifesting the Water principle: and then eventually it turns into steam, expressing the Air principle. The steam disappears into Ether, or space. Thus the five basic elements. Ether. Air, Fire. Water and Earth, are present in one substance. All five originated in the energy issuing from Cosmic Consciousness: all five are present in all matter in the universe. Thus, energy and matter are one.
EARTH
WATER
AIR
ETHER
FIRE
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The Senses The five elements manifest in the functioning of the five senses of man, as well as in certain functions of his physiology. Thus, the five elements are directly related to man’s ability to perceive the external environment in which he lives. They are also related, through the senses, to five actions expressing the functions of the sensory organs. The basic elements — Ether. Air, Fire. Water and Earth — are related to hearing, touch, vision, taste and smell, respectively. Ayurveda regards the human body and its sensory experiences as manifestations of cosmic energy expressed in the five basic elements. The ancient rishis perceived that these elements sprang from pure Cosmic Consciousness. Ayurveda aims to enable each individual to bring his body into a perfect harmonious re
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Fire, which manifests as light, heat and colour, is related to vision. The eye, the organ of sight, governs the action of walking and is thus related to the feet. A blind man can walk, but that walking has no definite direction. Eyes give direction to the action of walking.
Air is related to the sense of touch: the sensory organ of touch is the skin. The organ of action for the sense of touch is the hand. The skin of the hand is especially sensitive, and the hand is responsible for the actions of holding, giving and receiving. Fire, which manifests as light, heat and colour, is related to vision. The eye, the organ of sight, governs the action of walking and is thus related to the feet. A blind man can walk, but that walking has no definite direction. Eyes give direction to the action of walking.
Ether is the medium through which sound is transmitted. Thus, the ethereal element is related to the hearing function. The ear, the organ of hearing, expresses action through the organ of speech. which creates meaningful human sound.
The Earth element is related to the sense of smell. The nose, the sensory organ of smell, is related in function to the action of the anus, excretion.
Water is related to the organ of taste; without water the tongue cannot taste.
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THE HUMAN CONSTITUTION Ether, Air. Fire. Water and Earth, the five basic elements, manifest in the human body as three basic principles, or humors, known as the tridosha. From the Ether and Air elements, the bodily air principal called vata is manifested. (In Sanskrit terminology, this principle is called vata dosha.) The Fire and Water elements manifest together in the body as the fire principle called pitta. The Earth and Water elements manifest as the bodily water humor known as kapha. These three elements — vata - pitta - kapha - govern all the biological, psychological and physiopathological functions of the body, mind and consciousness. They act as basic constituents and protective barriers for the body in its normal physiological condition: when out of balance, they contribute to disease processes. The tridosha are responsible for the arising of natural urges and for individual preferences in foods: their flavours, temperatures and so on. They govern the creation, maintenance and destruction of
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bodily tissue, and the elimination of waste products from the body. They are also responsible for psychological phenomena, including such emotions as fear, anger and greed: and for the highest order of human emotions such as understanding, compassion and love. Thus, the tridosha are the foundation of the psychosomatic existence of man. The basic constitution of each individual is determined at conception. At the time of fertilization, the single male unit, the spermatozoon, unites with the single female element, the ovum. At the moment of this union, the constitution of the individual is determined by the permutations and combinations of bodily air, fire and water that manifest in the parents’ bodies. In general, there are seven types of constitutions: ( I) vats, (2) pitta, (3) kappa, (4) vata-pitta, (5) pitta-kappa, (6) vata-kapha and (7) vata-pitta-kapha. Among these seven general types, there are innumerable subtle variations that depend upon the percentage of vata-pitta-
kapha elements in the constitution The constitution is called prakruti in Sanskrit, a term meaning “nature.” “creativity” or “the first creation.” In the body, the first expression of the basic five elements is the constitution. The basic constitution of the individual remains unaltered during the lifetime, as it is genetically determined.. The combination of elements present at birth remains constant. However, the combination of elements that governs the continuous physiopathological changes in the body alters in response to changes in the environment. Throughout life, there is a ceaseless interaction between the internal and external environment. The external environment comprises the cosmic forces (macrocosm), while the internal forces (microcosm) are governed by the principles of vata-pitta-kapha. A basic principle of healing in Ayurveda holds that one may create balance in the internal forces working in the individual by altering diet and habits of living to counteract changes in his external environment.
ETHER
EARTH
AIR
FIRE
WATER
VATA
ETHER
PITTA
AIR
FIRE
WATER
KAPHA
EARTH
WATER
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VATA People of vata constitution are generally physically underdeveloped. Their chests are flat and their veins and muscle tendons are visible. The complexion is brown, the skin is cold, rough, dry and cracked. There usually are a few moles present, which tend to be dark. Vata people generally are either too tall or too short, with thin frames which reveal prominent joints and bone-ends because of poor muscle development. The hair is curly and scanty, the eyelashes are thin and the eyes lusterless. The eyes may be sunken, small, dry, active and the conjunctiva is dry and muddy. The nails are rough and brittle. The shape of the nose is bent and turned-up. Physiologically, the appetite and digestion are variable. Vata people crave sweet, sour and salty tastes and like hot drinks. The production of urine is scanty and the feces are dry, hard and small in quantity. They have a tendency to perspire less than other constitutional types. Their sleep may be disturbed and they will sleep less than the other types.
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Their hands and feet are often cold. These people are creative, active, alert and restless. They talk fast and walk fast but they are easily fatigued. Psychologically, they are characterized by short memory but quick mental understanding. They will understand something immediately, but will soon forget it. They have little willpower, tend toward mental instability and possess little tolerance, confidence or boldness. Their reasoning power is weak and these people are nervous, fearful and afflicted by much anxiety. Each constitutional type also exhibits certain patterns in interactions with the external environment. Vata people tend to earn money quickly and also to spend it quickly. Thus, they tend to remain poor.
PITTA These people are of medium height. are slender and body frame may be delicate. Their chests are not as flat as those of vata people and they show a medium prominence of veins and muscle tendons. They have many moles or freckles which are bluish or brownish-red. The bones are not as prominent as in the vata individual. Muscle development is moderate.. The pitta complexion may be coppery, yellowish, reddish or fair. The skin is soft, warm and less wrinkled than vata skin. The hair is thin, silky, red or brownish and there is a tendency toward premature gray of hair and hair loss. The eyes may be gray, green or cooper-brown and sharp: the eyeballs will be of medium prominence. The conjunctiva is moist and copper-coloured. The nails are soft. The shape of the nose is sharp and the tip tends to be reddish. Physiologically, these people have a strong metabolism, good digestion and resulting strong appetites. The person of pitta constitution usually takes large
quantities of food and liquid. Pitta types have a natural craving for sweet, bitter and astringent tastes and enjoy cold drinks. Their sleep is of medium duration but uninterrupted. They produce a large volume of urine and the feces are yellowish, liquid, soft and plentiful. There is a tendency toward excessive perspiring. The body temperature may run slightly high and hands and feet will tend to be warm. Pitta people do not tolerate sunlight, heat or hard work . Psychologically, pitta people have a good power of comprehension: they are very intelligent and sharp and tend to be good orators. They have emotional tendencies toward hate, anger and jealousy. They are ambitious people who generally like to be leaders. Pitta people appreciate material prosperity and they tend to be moderately well-off financially. They enjoy exhibiting their wealth and luxurious possessions.
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KAPHA People of kapha constitution have welldeveloped bodies. There is, however, a strong tendency for these individuals to carry excess weight. Their chests are expanded and broad. The veins and tendons of kapha people are not obvious because of their thick skin and their muscle development is good. The bones are not prominent. Their complexions are fair and bright. The skin is soft, lustrous and oily; it is also cold and pale. The hair is thick, dark, soft and wavy. The eyes are dense and black or blue: the white of the eye is generally very white, large and attractive. The conjunctiva does not tend to redness. Physiologically, kapha people have regular appetites, the digestion functions relatively slowly and there is less intake of food. They tend to move slowly. They crave pungent, bitter and astringent foods. Stools are soft and may be pale in colour: evacuation is slow.
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Their perspiration is moderate. Sleep is sound and prolonged. There is a strong vital capacity evidenced by good stamina, and kapha people are generally healthy, happy and peaceful.. Psychologically, they tend to be tolerant, calm, forgiving and loving: however, they also exhibit traits of greed, attachment, envy and possessiveness. Their comprehension is slow but definite: once they understand something, that knowledge is retained. Kapha people tend to be wealthy. They earn money and are good at holding on to it.
MENTAL CONSTITUTIONS On the mental and astral planes, three attributes, or gunas, correspond to the three humors that make up the physical constitution. In the Ayurvedic system of medicine, these three attributes provide the basis for distinctions in human temperament and individual differences in psychological and moral dispositions. The three basic attributes are satva, rajas and tamas. Satva expresses essence understanding. purity, clarity, compassion and love. Rajas implies movement, aggressiveness and extroversion. The rajas mind operates on a sensual level. Tamas manifests in ignorance, inertia, heaviness and dullness. People of satvic temperament have healthy bodies and their behaviour and consciousness are very pure. They believe in the existence of God and are religious and often very holy people.
prestige and position. They enjoy wealth and are generally extroverted. They may believe in God but they also may have sudden changes of belief. They are very political. Tamasic people are tend to be lazy, selfish and capable of destroying others. They generally have little respect for others and are not religious. All their activities are egotistical. The person of satvic temperament attains self-realization without much effort while rajas and tamasic types must make more effort to attain this state. These three subtle mental energies are responsible for behavioural patterns, which may be altered and improved through the practice of spiritual disciplines.
Individuals of rajas temperament are interested in business. Prosperity, power,
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IMBALANCE IN HUMAN BODY: Disease Process
Health is order: disease is disorder. Within the body, there is a constant interaction between order and disorder. The wise man learns to be fully aware of the presence of disorder in his body and then sets about to re-establish order. He understands that order is inherent in disorder and that a return to health is thus possible. The internal environment of the body is constantly reacting to the external environment. Disorder occurs when these two are out of balance. To change the internal environment in order to bring it into balance with the external environment, one must understand how the disease process occurs within the psychosomatic being. Ayurveda provides explanations of disease that make it possible to restore order and health from disorder and disease. In Ayurveda, the concept of health is fundamental to the understanding of disease. Dis means “deprived of.”
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and ease means “comfort.” Therefore, before discussing disease, we must understand the meaning of comfort or health. A state of health exists when: the digestive fire (agni) is in a balanced condition; the bodily humors (vats-pitta-kappa) are in equilibrium; the three waste products (urine, feces and sweat) are produced at normal levels and are in balance; the senses are functioning normally: arid the body, mind and consciousness are harmoniously working as one. When the balance of any of these systems is disturbed, the disease process begins. Because a balance of the abovementioned elements and functions is responsible for natural resistance and immunity, even contagious diseases cannot affect the person who is in good health. Thus, Imbalances of the body and mind are responsible for physical and psychological pain and misery.
THE SEVEN DHATUS The human body consists of seven basic and vital tissues called dhatus. The Sanskrit word dhatu means constructing element.� These seven dhatus are responsible for the entire structure of the body. The dhatus maintain the functions of the different organs, systems and vital parts of the body. They play a very important role in the development and nourishment of the body. The dhatus are also part of the biological protective mechanism. With the help of agni, they are responsible for the immune mechanism. When one dhatu is defective, it affects the successive dhatu, as each dhatu receives its nourishment from the previous dhatu. The following are the seven most important dhatus in serial order: I) Rasa (plasma) contains nutrients from digested food and nourishes all the tissues, organs and systems. 2) Rakta (blood) governs oxygenation in all tissues and vital
organs and maintains life. 3) Mamsa (muscle) covers the delicate vital organs, performs the movements of the joints and maintains the physical strength of the body. 4) Meda (fat) maintains the lubrication and oiliness of all the tissues. 5) Asthi (bone) gives support to the body structure. 6) Majja (marrow and nerves) fills up the bony spaces and carries motor and sensory impulses. 7) Shukra and Artav (reproductive tissues) contain the ingredients of all tissues and are responsible for reproduction. When there is a disorder in the balance of vata-pitta-kappa, the dhatus are directly affected. The disturbed dosha (vats, pitta or kappa) and defective dhatus are always directly involved in the disease process. Health of the dhatus can be maintained by taking steps to keep vata-pitta-kapha in balance through a proper diet, exercise and rejuvenation program.
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ENERGETICS: RASA / TASTE The element of water is the basis for the sensory experience of taste. The tongue must be wet in order to taste a substance. Try drying your tongue and then putting a small amount of sugar or pepper on it. You will not be able to taste it. A wet tongue is necessary for the perception of taste. There are six tastes: sweet, sour, salty, pungent, bitter and astringent. These six basic tastes are derived from the five elements. The sweet taste contains Earth and Water elements: sour, Earth and Fire; and salty, Water and Fire. The pungent taste contains Fire and Air; bitter. Air and Ether: and astringent, Air and Earth. People of Vata constitution should avoid bitter, pungent and astringent substances in excess which increase air and have a tendency to cause gas. Substances containing sweet, sour and salty tastes are good for individuals of vata constitutions.
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People of Pitta constitution should avoid sour, salty and pungent substances which aggravate bodily fire, However. sweet bitter and astringent tastes are beneficial for individuals of pitta constitution . Kapha individuals should avoid foods containing sweet, sour and salty tastes for they increase bodily water. They should choose food of pungent, bitter and astringent tastes.
RASA, VIRYA AND VIPAK Ayurvedic pharmacology is based upon the concepts of Rasa, Virya and Vipak. These concepts have to do with the subtle phenomena relating to taste and to hot and cold effects of foods. Organic and inorganic substances create different tastes and temperature sensations when they pass through the mouth, stomach, small intestine and large intestine. When a substance is placed on the tongue, the first experience of that taste is called rasa. When a substance is swallowed and then enters the stomach, the hot or cold experience that is felt immediately or later is called virya. The virya sensation or action, then, has to do with the heating and cooling properties of substances. Food also has a post digestive effect which is called vipak. For instance, most starchy foods become sweet after chewing and digestion, so their postdigestive taste. or vipak, is sweet.
The Ayurvedic pharmacology is based upon rasa, virya and vipak of substances. In daily observation it is found that there are numerous other substances which have a specific unexplained action in the body. To acknowledge this action, Charak has used the term prabhav which literally means specific action without regard to rasa, virya and vipak or, the exception to the rule.
These three directly influence the tridosha and also influence nutrition and transformation of the bodily tissues or dhatus. These qualities can only be understood through individual experience.
The concept of rasa, virya and vipak is not only applicable to foods and herbs but also to everything including gems, stones, minerals, metals, colour and even the mind and emotions. Thus, in general, sweet and salty tastes have sweet vipak: the sour taste has sour vipak, and the pungent, bitter and astringent tastes have pungent vipak. Thus, rasa and vipak are directly related to the tastes of substances, while virya is related to their hot and cold effects.
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MEDICINALS The pharmacology of Ayurveda is a vast science including thousands of medicines, many of them herbal preparations. In addition to these herbal cures, remedies less familiar are, such as the use of the healing properties of gems, metals and colours are recommended.
At majority of diseases are self-limiting: that is, if nothing is done to alter the disease process, the body’s own mechanisms will eventually restore the nervous system to a state of health.
The classic Ayurvedic texts state that all substances found in nature have medicinal value when used in the proper manner. The purpose of these remedies is not to suppress the effects of illness as is often the case in Western medicine, but rather to bring the out-of-balance factors in the body into harmony once more, thereby eliminating the cause of disease. The purpose and action of Ayurvedic remedies are to eradicate the disease itself, not just the symptoms of illness. Ayurveda is a very practical science and the advice that follows, suggesting simple treatments for minor ailments and utilizing herbs commonly found in the kitchen, is straightforward and effective.
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HERBS Ayurveda approaches herbs through a science of energetics. The properties of herbs are related systematically according to their taste, elements, heating or cooling effects, after digestion and other special potencies they may possess. As distinct from the complexity of chemical analysis, which often loses us in a maze details, this simple system of energetics clarifies the basis properties if herbs. This gives us a structure in which they can easily be identified and understood. Therefore they can be used for the individual constitution and condition. The kitchen can become the domestic clinic. Kitchen resources can be used to create herbal substance that may be employed in the home. Herbs like alfalfa, aloe, barberry, basil, bayberry, black pepper, calamus root, camphor, cardamom and many more are used to cure elementary diseases.
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HALDI
NEEM
AMLA
ALOVERA
CLOVE
JASMINE
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METALS In addition to the use of herbs as medicinals, Ayurveda utilizes the healing properties of metals and stones. Ayurvedic teachings hold that everything in existence is endowed with the energy of Universal Consciousness. All forms of matter are simply the outer manifestations of this energy, metals, stones are the outer manifestations of certain forms of energy and these materials contain prank energy reservoirs that may be drawn upon for healing purposes. Adverse influences upon the normal functions of the body, mind and consciousness is counteracted through the use of metals. When they are applied to the skin, they induce an electromagnetic influence that acts upon the physical cells and deeper tissues. For example, by wearing an armlet of silver and lead, one may avoid impending liver trouble. Physical health depends on cosmic influences as
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well as the spiritual and mental state of the individual. As a house is protected from lightning by a copper rod, so the body may be protected from electrical and magnetic radiation in the atmosphere through the use of metals. Pure metals emit an astral light that provides a powerful counteraction to the negative pull of the planets. All metals contain healing energy. The heavy metals, such as mercury, gold: silver, copper, iron, lead and tin are used in healing. However, even pure metals may contain certain impurities that are toxic to the vital organs, such as the kidney, liver, spleen and heart.. Therefore, the Ayurvedic teachings prescribe specific methods for their purification. The metal is heated and treated with oil, cow’s urine, milk, ghee, buttermilk or the sour gruel of grains. These ancient methods achieve subtler purification than mere chemical treatments and permit the human tissues to receive the metals’ influences without any toxic effects. The beneficial effects of several metals
Tin: is a natural rejuvenating element. The purified ash of tin is used in treating diabetes, gonorrhea, syphilis, asthma, respiratory infection, anemia, skin diseases, lung diseases and lymphatic obstructions.
Copper: alleviates excess kapha and fat. It is a good tonic for the liver, spleen and lymphatic system. It is especially useful for the person who tends to put on weight, retains water or has a lymphatic obstruction. It is also helpful in curing anemia.
Iron: is beneficial for bone marrow, bone tissue, red blood cells, liver and spleen. It increases the production of red blood cells and therefore the ash is used to treat anemia. It is effectively used as an antidote for enlargement of the liver or spleen. Iron strengthens muscle and nerve tissues and has rejuvenating properties.
Gold: is an effective nervine tonic. It strengthens the heart muscle and increases stamina. Gold is good for hysteria, epilepsy, heart attacks, weak lungs and spleen. It also will improve memory, intelligence and comprehension and stimulate awakening awareness. Gold has hot properties and therefore should be used cautiously if one has a pitta constitution. Some people will not tolerate gold and may break out in a rash if gold is applied.
Mercury: is a very heavy and potent metal. It helps to enkindle the enzyme system and transforms and regenerates the tissues. Mercury is considered the semen of the god Shiva in Indian mythology. It stimulates awareness. It should never be used alone, but always in conjunction with sulphur. The potency of certain herbs is increased many thousand fold when used in conjunction with mercury and sulphur. These two metals carry the actions of the herbs to the subtle channels and tissues of the body.
Silver: is another very important healing metal. Silver has cooling properties so it is beneficial for treating excess pitta. Silver promotes strength and stamina. It also may be used for the treatment of vata ailments: however, silver should be used with caution in treating kappa people. Silver is helpful for emaciation, chronic fever, weakness after fever, heartburn, inflammatory conditions of the intestines, hyperactivity of the gallbladder and profuse menstrual bleeding.
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COLOUR Ayurvedic treatments also employ the healing properties of certain colours. The seven basic natural colours, which are present in the rainbow, are related to the bodily tissues and the tridosha. Thus, the actions of the vibrations of these seven colours is used to help establish the balance of the three humors.
Yellow-green: This colour has the properties both of yellow and green. It helps to relieve vata and kapha and it may aggravate pitta. It has a calming effect upon the mind.
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Orange: The colour orange, like red, is warming and has healing energy. It helps the spiritual seeker to renounce the world. Overexposure to orange may aggravate pitta.
Green: This colour has a calming effect upon the mind and creates freshness. It helps to bring energy to the heart chakra. Green also soothes the emotions and brings happiness to the heart. It calms excess vata and kapha and aggravates pitta. Overuse of green stimulates the concentration of bile which may create stones in the gallbladder.
Purple (violet) This is the colour of Cosmic Consciousness which brings an awakening of awareness. It creates lightness in the body, and it opens the doors of perception. Purple relieves aggravated pitta and kapha but overuse may aggravate vata.
Yellow: Energy rises to the crown chakra when one is exposed to the colour yellow. This colour stimulates concentration and understanding. In spiritual terms, yellow is connected with the death of the ego. Overuse of this colour causes excess accumulation of bile in the small intestine and may aggravate pitta. Yellow relieves excess vata and kapha.
Blue: This is the colour of Pure Consciousness. It has a calming, cooling effect on the body and the mind. Blue relieves dispigmentation of the skin. It also helps to correct liver disorders and relieves aggravated pitta. Overuse of blue may cause aggravation of vata and kapha and may cause congestion
Red: This colour is related to the blood. It has a heating property, promotes the red colour of the red blood cells and also stimulates the formation of red blood cells. Also, the colour red creates heat in the body and stimulates circulation. It helps to maintain the colour of the skin and gives energy to the nerve tissue and bone marrow. Red relieves aggravated vata and kapha. However, overexposure to this colour may cause overabundance of pitta to collect in certain parts of the body, resulting in inflammation.
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METHODS OF HERBAL PREPARATION Ayurveda recommends many different methods and forms of herbal preparation. All are designed for different therapeutic effects, or to maintain the potencies of herbs in different manners. Indian standard methods of infusions, decoctions, powders, poultices, oils and liniments, are used in greater variety than generally used in western herbalism. They include herbal, wines, jellies, resin preparation, pills and tablets. Other special preparations include minerals, metals, ashes, salts, alkalis and sugars. .
Hot Infusion (Phant) For infusions the ratio of herbs to water is one to eight. For example, one ounce herbs per eight ounce cup of water. In the hot infusion, the herbs are added to boiling water and allowed to set for a period of up to twelve hours. The herbs are then strained and the liquid used. Infusion is better for more delicate plant parts; leaves and flowers, or more herbaceous (non-woody) plants. It is also better for aromatic herbs, like most spices,
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because boiling destroys and dissipates the aromatic oil. However, many of these herbs can be cooked below the boiling point over a low flame for a long period of time, this may be necessary in formulas that combine root herbs with flowers or leaves; otherwise the more delicate herbs can be added at a later stage of the decoction.
Decoction (Kvatha) Herbs are usually administered in the form of a decoction or a hot infusion. The difference is that a decoction involves boiling the herbs over a low flame, while a hot infusion involves cooking them below the boiling point, or steeping them, bringing them to a boil and then removing them from the heat. The herbs are then boiled over a low flame until the water is reduced to one quarter of its original amount; the herbs are then strained and the liquid is used as a prepared decoction.
Cold Infusion (Hima) Cold infusion requires letting the herbs stand in cold water. Usually more time is required for this than for a hot infusion— at least an hour It is also best to let the herbs stand overnight. This method is necessary for delicate and aromatic herbs, particularly those with cooling energy or refrigerant properties. Cold infusion is best for cooling therapy and reducing high Pitta conditions. Such herbs as hibiscus, jasmine, mint and sandalwood are prepared in this manner.
Fresh Juice (Svarasa) The fresh juice of an herb is obtained by taking the fresh plant, crushing or pounding it, then straining the liquid through a cloth
Herbal Paste (Kalka) The paste of an herb is obtained by crushing the fresh plant—but only to the point where it becomes a soft mass. It can be done with dried herbs, with the addition of enough water to create a workable paste.
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HERBS FOR EXTERNAL USAGE Many herbs have value in external usage—in washes, pastes, poultices and oils. These herbs are called vulneraries, for promoting healing of sores or wounds. It is important that we differentiate their function and their appropriate times of usage. Many astringents are vulneraries, because they promote the knitting of tissues by drying and contracting action. They also have anti-inflammatory properties because of their cooling energy. This is because they have a soothing and softening effect upon the skin and provide nourishment to damaged tissues. Again, they have some anti-inflammatory effects by their cooling energy. Many bitter herbs are used externally. This is because of their anti-inflammatory action, their cold nature, their refrigerant action on burns, their antiseptic or antibacterial action, and their power to reduce fever. A lot of pungent herbs are used externally because they promote local circulation, ripen boils and promote suppuration. They also provide a counter-
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irritant action that may be analgesic. Herbs for external usage: turmeric, yellow dock, calumus, neem, tulsi, sandalwood, barberry, manjistha.
ROUTES OF ADMINISTRATION The main route of administration for herbal medicines is through the mouth. Yet other places have their special value. Administration through nasal, eye, skin and time of administration.
Nasal Administration/Smoking of Herbs Problems rearing to Prana, to the nervous and respiratory systems, are often best treated through nasal administration (nasya), which includes application of oil to the ears. Snuffing of powders, application of oil to nasal membranes, inhalation of vapors/incense, and taking liquid preparations through the nose to clear the sinuses, are all ways of nasal application.
Eye Administration Problems relating to vyana, the wag that governs muscular movement and the circulatory system, may be treated through herbal medicine: applied to the `eyes (anjana). Herbs to restore a patient to consciousness can be given this way, as well as herbs for local eye problems. Under this are also included eye drops, oils for the eyes, and ointments applied in and around the eyes.
Skin Administration Application of herbs and oils to the skin is another major route. This is helpful not only for local skin problems, but can help in many other conditions, including different Sara disorders, weakness of the lungs and the nervous system. Massage with herbal oils is one of the best means of reducing high Vata.
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CONCLUSION We live in a special yet dangerous time, wherein a new global culture is taking place of our ancient roots. It is the challenge of our times to integrate human culture and knowledge. It is essential that this process occurs on the level of healing. Ayurveda is an eternal system that has integrates eight limbs of healing from herbs to surgery to psychology. As such it offers unification. Its basis is the spiritual knowledge of the ancient seers of India and the cosmic consciousness. Herbs, metals and colour therapy have been the prime medicinal agent in traditional and holistic therapies. Originating from the vision of men of spiritual knowledge, Ayurvedic medicine was then refined by thousands of years of experience. In this regard Ayurveda includes what is probably the oldest, most visionary, most developed science of herbal medicine in the world. Such a fully developed system does not need refinement but rather translation and adaptation. Some may be of the opinion that the Ayurvedic medicine of India is not relevant to us today. Since ihis medicine system is ancient and traditional, filled with religion and superstition, we may feel it does not apply. At the same time many of us realize the necessity of incorporating a spiritual/psychological approach with therapy. Just as physical ailments usually follow emotional imbalances, so we may find the spiritual use of the herbs, metal, in the Indian tradition of particular importance in our own unbalanced society. Far from being out of touch with today’s world, Ayurvedic Healing is needed now more than ever.
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CONCEPT DEVELOPMENT Relevance of my Project in context to Ayurveda Ayurvastra Studying Ayurvedic Herbs Herbal Extracts Herbal Dye Prepration Process of Making Ayurvastra Therapeutical Aspect of Ayurvastra
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Natural Dye stuff
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Relevance of my project in the context of Ayurveda Through this project I tried to connect the knowledge of Ayurveda to the art of dyeing and printing of textiles. The idea is to explore Ayurveda through clothes, textile techniques and processes that can infuse qualities and principles of Ayurveda in the textiles in form of dyes, treatments, print forms and appropriate clothes for the women. This will enable the human body to heal through the act of wearing such medicine- infused textiles known as Ayurvastra. The scope of this project is not restricted to the field of aesthetics and design but it also embraces culture and tradition, technology, medicine, in making of the clothing. This project is an effort of conveying and interpreting the ancient science of Ayurvedic healing to our own modern needs. It is an attempt to preserve the integrity of Ayurvedic healing system with its creative application.
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AYURVASTRA The knowledge of Ayurvastra was described in Ayurveda. Ayurvastra litterally means “Ayur” in Sanskrit for health,”veda” means wisdom, and “vastra” is cloth or clothing. Based on the principle of restoring balance and stability within the body and strengthening the immune system, the clothing is worn to treat a broad range of diseases. Ayurvastra clothing is made from organic cotton fabric treated with precise combination of herbs and oil aimed to promote health. In Ayurveda, yoga refers to the “right usage” and right combination of herbs. A special combination of substance designed to bring about a specific effect upon the body or mind, is thus called “yoga”. This coordination or integrated usage of herbs was based upon the ancient Ayurvedic energetics. In this is a system of determining the qualities and power of herbs according to the law of nature, so that herbs can be used objectively and specifically according to individual conditions.
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Ayurvastra, dyed and infused with these herbs and minerals, includes special effects of herbs upon the mind, and deeper psychological and spiritual aspects of healing. Herbalism is a part of broader context of healing and without addressing these deeper issues in human life, no healing process can be effective. Since immemorial times, Ayurveda uses herb like harda, barda, amla, raktachandan, sweta, kumkum, haldi, manjistha and many more for protecting skin from climate changes, thus keeping the body healthy. During the olden days, before the discovery of detergent soaps, the clothes were cleaned with Ayurvedic products like Rithav (soap nut), and chuna (lime). This method maintained good health of the people on one hand and also made the cloth strong and everlasting. People in many parts of India were still using various forms of natural dyeing, in which they repeatedly dipped their
clothing in an herb-based preparation after each wash. They also used flowers Kesuda for colouring fabric during the annual festival and colours, known as Holi, because the dye from these plants are hundred percent natural and toxicity free. Ever since the invention of synthetic fabric and chemical dyes, however, things have radically changed. Economic competition pushed to make clothes cheaper, and making them cheaper lead to reduce their quality and thus to endanger the health of the consumers. Ayurvastra which was completely forgotten, has a “new birth” today. The Indian textile industry is well placed to accelerate this movement, due to the ancient Indian roots of Ayurvastra and to the fact that India is lucky enough to have skilled craftsmanship as well as good knowledge of the complex techniques involved.
Time to react: Future clothing should be healthy and reflection of Indian spiritual and cultural roots. Ayurvastra can help to do that, preserve and restore balance in today’s lifestyle, thus leading to holistic living. Ayurvastra reinforces the importance of sustaining the planet for future generations and the well-being of the current generation using age old practices.
“Ayurvastra means “Ayur” in Sanskrit for health,”veda” means wisdom, and “vastra” is cloth or clothing. Clothing that promotes healthy and happy and holistic living”
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Botanical drawing of herbs
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STUDYING AYURVEDIC HERBS Ayurvedic approaches herbs through a science of energetics (rasa, virya and vipak). The properties of herbs are related systematically according to their taste, element, heating or cooling effect, after digestion and other special potencies they may possess. As distinct from the complexity of chemical analysis, which often loses us in a maze of details, this simple system of energetics clarifies the basic properties of herbs. It gives us a structure in which they can easily be identified and understood. Therefore they can be used for the individual constitution and condition. This system of herbal energetics is the main factor in Ayurvedic understanding of herbs. Understanding the principles of energetics is essential for herbal treatment..
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HERB name
GUNA (qualities)
RASA (taste)
VIPAKA (Digestion)
VEERYA (potency)
KARMA (Action)
Colour extract
Indigo/ Neel
Laghu(light to digest), Rooksha (dryness)
Tikta (bitter)
Katu (undergoes pungent taste conversion after )
Ushna (Hot potency)
Balance Kapha and vata Dosha
Blue
Turmeric/ Haridra
Tikta (bitter) Katu (pungent)
Rooksha (dryness), Laghu (lightness)
Katu (undergoes pungent taste conversion after digestion)
Ushna (Hot potency)
Balance Vata,khapha And Pitta
Bright Yellow, green, Mustard
Manjistha
Guru (heavy to digest), Rooksha (dry)
Tikta (bitter), Kashaya (astringent) Madhura (sweet)
Katu (undergoes pungent taste conversion after digestion)
Ushna (Hot potency)
Balance Kapha and pitta
Pastel pink, red
Anar
Laghu (light to digest), Snigdha (oily)
Madhura (sweet), Amla (sour), Kashaya (astringent)
Madhura (sweet) or Amla (sour)
Anusha (nor cold nor sweet)
Balance Vata,khapha And Pitta
Crome yellow
Neem
Laghu (light for digestion), Ruksha (dry in nature)
Tikta (bitter), Kashaya (astringent)
Katu (undergoes pungent taste conversion after digestion)
Sheeta (Coolant)
Decrease Pitta and Kapha, Increase Vata
Colourless
Mango
Laghu (light for digestion)
Kasaya (Bark and seed)
Katu (Undergoes pungent taste conversion after digestion)
Sheeta (Coolant)
Decrease Pitta and Kapha, Increase Vata
Babool
Guru (heavy to digest), Rooksha (dry)
Kashaya (astringent)
Katu (undergoes pungent taste conversion after digestion)
Sheeta (Coolant)
Balance Kapha Dosha
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Browns
HERB name
GUNA (qualities)
RASA (taste)
Harda
Laghu (lightness), Rooksha (dryness)
Five tastes except salt, Astringent dominant
Amla
Guru ( heaviness), Sheeta (coolant)
Red Sandalwood
Guru ( heavy to digest), Rooksha (Dryness)
Palash
Laghu (lightness), Rooksha (dryness)
Patang ki lakdi
Rooksha (Dryness)
Grapes
Marigold
Snigdha (unctuous, oily), Guru (heaviness) Laghu (light for digestion), Ruksha (dry in nature)
VEERYA (potency)
KARMA (Action)
Colour extract
Madhura (Undergoes sweet taste conversion after digestion.)
Ushna (Hot potency)
Balance Vata,khapha And Pitta
Yellow
sour, sweet, bitter, astringent and pungent
Madhura (sweet) Katu (undergoes pungent taste conversion after digestion)
Sheeta (cold)
Balance Vata,khapha And Pitta
Beige
Tikta (bitter), Madhura (sweet)
Katu (undergoes pungent taste conversion after digestion)
Sheeta (cold)
Balances Kapha and Pitta Dosha.
Red
Katu (Pungent), Tikta (bitter), Kashaya (Astringent)
Katu (undergoes pungent taste conversion after digestion)
Ushna (Hot potency)
Balance Vata And Pitta
Orange
Kashaya (astringent), Tikta(bitter), Madhura (sweet)
Katu (undergoes pungent taste conversion after digestion)
Sheeta (Coolant)
Balance Kapha and Pitta
Pink, purple
Madhura (sweet)
Mudhura (sweet taste conversation after digestion)
Sheeta (Coolant)
Balance Kapha and Pitta
purple, violet
Tikta (bitter) Kashaya (astringent)
Katu (undergoes pungent taste conversion after digestion)
Sheeta (Coolant)
Reduce vitiated Kapha and pitta dosha
brown
VIPAKA (Digestion)
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HERBAL EXTRACT: Ayurvedic dyes Ayurvedic herbs and minerals are used for dyeing and printing fabric. They are made with the extracts of the flowers, roots and leaves of plants like turmeric, pomegranate, manjistha, onion, manure, brazil wood. Minerals are extracted from the earth in raw form. These dyes have no petrochemical base, which is the main raw material in the production of synthetic dyes. Hence there is not any pollution in the environment. The waste obtained after the production of these natural dyes works very effectively as manure in farming. The Ayurvedic properties are acquired by the dyed or printed fabric which then works on the wearer for positive upkeep of health.
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Process
Ayurvedic dyeing process
Synthetic dyeing process
Bleaching
Cow Dung, Minerals, Castor oil, khar, Rita
Chemical
Scouring
Sunlight
Caustic Soda
Mercerizing
Minerals, Oil
Chemical
Printing
Guar gum , Minerals
Chemical, pigments, reactive, discharge
Dyeing and Dye Fixing
Ayurvedic herbs, Natural oil
Formaldehyde based chemical
Finishing
Rolls, Steam
Chemical
Washing
Rita, Khar, Natural soap
Chemical Detergents
Properties of Fabric
No chemicals are used, only herbs and natural resources are used.
Approximately 8000 chemicals are used with no medicinal properties
Ayurvedic properties are transmitted in cloth.
Some chemicals used are carcinogenic. Polyester clothing creates landfill, thus are harmful for environment
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HERBAL DYE PREPARATION: Ayurvedic Kashaya
Preparation of Ayurvedic herb to extract its energetics is called Kashaya. Herbal dyes can be prepared using three methods of extraction : Decoction (kvatha); hot infusion (phant); cold infusion (hima).
Decoction (Kvatha) Herbs are usually administered in the form of a decoction or a hot infusion. The difference is that a decoction involves boiling the herbs over a low flame, while a hot infusion involves cooking them below the boiling point, or steeping them, bringing them to a boil and then removing them from the heat. The general rule for decoctions: one part dry herbs to sixteen parts water; about half an ounce of herbs per cup or 8 ounces of water, The herbs are then boiled over a low flame until the water is reduced to one quarter of its original amount (for example, four cups would be boiled down to one); the herbs are then strained and the liquid is used as a prepared decoction. The decoction method is most suitable for roots, stems, bark and fruits – as harder portions of the plant require longer cooking to release essence.
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Hot Infusion (Phant)
Cold Infusion (Hima)
For infusions the ratio of herbs to water is one to eight. For example, one ounce herbs per eight ounce cup of water. In the hot infusion, the herbs are added to boiling water and allowed to set for a period of up to twelve hours. This again is longer than the required time used in western herbalism. Usually thirty minutes of steeping is the minimum required for an infusion. The herbs are then strained and the liquid used. Infusion is better for more delicate plant parts; leaves and flowers, or more hetbaceous (non-woody) plants. It is also better for aromatic herbs, like most spices, because boiling destroys and dissipates the aromatic oil.
Cold infusion requires letting the herbs stand in cold water. Usually more time is required for this than for a hot infusion—at least an hour It is also best to let the herbs stand overnight. This method is necessary for delicate and aromatic herbs, particularly those with cooling energy or refrigerant properties. Cold infusion is best for cooling therapy and reducing high Pitta conditions. Such herbs as hibiscus, jasmine, mint and sandalwood are prepared in this manner.
However, many of these herbs can be cooked below the boiling point over a low flame for a long period of time This may be necessary in formulas that combine root herbs with flowers or leaves; otherwise the more delicate herbs can be added at a later stage of the decoction.
The infusion method is usually best for powders, as they release their properties more quickly than raw herbs.
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AYURVASTRA PROCESS Pre-treatment of gray fabric Bleaching is the process used to remove the natural dull colour as well as impurities in cotton fabric. The gray fabric is soaked in soda, castor oil and khar water on the preceding night. Cow dung is then mixed to the water, in a quantity proportionate to the length of the cloth. Next day morning, cloth is thoroughly washed. Thereafter the fabric is soaked in “harda” powder for 30 minutes until it turns yellow. It is then dried in the bright sun till the fabric becomes hot. The side of the cloth exposed directly to sun rays absorbs the colour so well that it appears sharp and fast. After this treatment, the fabric is beaten to make it ready to be printed. Printing: Herbs and minerals are used for preparing printing dyes. The dyes are made from iron filling and horse-shoes and Alum and guar gum. The black dye is made through a long process: the iron filing, horse shoes and jaggery are placed in a mud pot (matka in local language)
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of water and kept for more than 15 days. The extract become the black dye and is used for six to ten days. Red colour is made from Alum and gyar gum mixed in water. Over all the dye for block printing are mainly obtained from herbs, roots, flowers, local minerals and iron pieces. Alizarine bath preparation Alizarin bath is prepared with Dhawde ke phool (wood fordia floribunda). It prevents the colour from spreading beyond the printed areas. About 50 gms of Alizarin and 250 gms Dhawda ke phool are used for treating nearly 40 metres of fabric. Water is boiled in a big copper vessel, Tamda and Dhawde ke phool are added to it. Once the water is slightly warm, the Alizarin in required quantity is put in a small piece of fabric, tied and dipped in the water and left in the vessel to boil with Dhawde ke phool. The printed fabric is then put into the Tamda to boil along with the Alizarin and Dhwade ke phool for the colour to develop. Once it comes to boil, the fabric
is removed and dried without washing. Once it dries, it is washed in regular water with mild Satta (beating of the fabric). Mordant Application: The next step is to apply mordant to enhance the staining property of the dye on the fabric. The preferred natural mordants are Alum clay, Iron clay and copper. Ayurvedic herb infusion: The organic cotton fabric is then immersed in carefully controlled mixture of “Ayurvedic herbs”. Particular herbs which balanced Tridoshas are mixed together. The preparation is referred to as “Phant Kashayas”or “Kavatha Kashayas”. The temperature of Kashayas, their time duration and number of Ayurvedic dye soaks, and equipment are carefully used in a controlled manner. The dyed fabric is allowed to cool and then washed to remove unfixed dye, followed by strictly drying in shades and kept in a shady space for a week for colour fixation.
Organic cotton fabric is washed with soda, castor oil and khar.
Then the fabric is kept in cowdung for overnight. This scouring process helps to remove impurities from the fabric and makes the fabric more soft and colour absovant.
Fabric from cowdung is removed and washed again fresh water.
Fabric is then soaked in natural modent Harda. Harda is a potential Ayurvedic herb and natural dye mordant.
Harda dyed fabric is kept outside for sunbath and sprinklled with water.
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Pretreated fabric is ready for printing now. Syahi/ begar can be applied to the fabric using blocks
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Printed fabric is then again kept under sun to fix the natural colour (syahi/ begar)
This printed fabric is again washed in harda water to remove the gluey substance of the print.
To fasten the printed colour, fabric is washed in hot water and Dhawde phool.
Dabu is applied on the syahi printed fabric for indigo resist dyeing. then the Dabu printed pabric is kept to rest for three days
Once the dabu (mud paste) is dried and stuck to the fabric, it is dyed in Natural Indigo Vat.
After dyeing indigo fabric is again washed in water to remove the mud resist.
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THERAPEUTICAL EFFECT OF AYURVASTRA
Herbal Therapy In Ayurvedic medicine the skin is believed to have seven layers, each with a distinct function and each related to the surrounding layers. Starting at the outermost, the layers defined by Ayurveda are: Avabhasini, Lohita, Sweta, Tama, Vedini, Rohini and Mamsadhara. The fourth, Tama, both supports the immune system and acts as a barrier. According to “Maharishi” Ayurveda, “Skin infections reflect an imbalance in the layers.” Ayurvastra clothing can correct any potential imbalance. Herbal energetics can be penetrate through clothing which can balance harmony among vata, pitta, kapha and seven dhatus. The herbal Kashaya clothing can easily absorb the Ayurvedic medical value of the herbs and minerals and therefore it has great effect on the ojas (vitality, individual immunity), tejas (inner radiance) and prana (vital life force).
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Ojas is the subtle essence that is responsible for life, radiant health, strong immunity, vigor, longevity and overall well being of an individual. Tejas is responsible for inner radiance, glow or aura, luster in one’s eyes, clarity, fearlessness, courage, intelligence, and understanding and comprehension at the cellular level. It is the subtle and positive essence or counterpart of pitta or fire element in the body. Prana is the vital life force or life breath and is the subtle essence of vata or air element. It is responsible for life in an individual. It is responsible for vitality and energy.
Colour Therapy
Placebo effect of Ayurvastra
COLORS can have a powerful effect on our moods. They can energize, inspire, calm or heal.
Ayurvastra can be effectively used for its placebo effect. Wearing Ayurvastra can help people deceive the user into thinking it is an active herbal therapy and can help people who suffer from insomnia, headaches, skin problems, given that a big proportion of these discomforts are due to psychosomatic problems.
Each color vibrates to a different frequency, and we can use this generated energy to our advantage. Red is hot, dense and powerful. Red is stimulating and balancing to Kapha, but it can aggravate both Pitt and Vata. Blue is cooling, and soothing. It is much too mellow for Kapha, but it wonderfully balances Pitta. Yellow, which is warm, but much less intense than red, is great for balancing Vata. Using Ayurvedic Color Therapy, we can choose clothes to wear to balance our Dosha and brighten our mood. Think about how you’re feeling in the morning before you get dressed, and keep in mind that the colors around you will influence your mood.
The simple fact that patients will think that Ayurvastra is an active herbal therapy, which will help them, might be sufficient to bring them balance and comfort. Whether these textiles actually have a physical therapeutic effect or not, or that this effect is strong or weak, it remains that the expectations of the patient about their efficiency can influence their better wellbeing. They might be less stressed and feel better and more relaxed which eventually leads to healthy and holistic living.
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ASPECT OF CONSTITUTION
FIND YOUR OWN CONSTITUTION ? These square is for those who wish to have a general idea of individual constitution make up. Mark V for Vata, P for Pitta or K for Kapha in each square according to the description best fitting each aspect. The Dosha marked most often will generally one primary constitution. The Dosha marked most frequently will generally indicates the secondary Dosha. It may happen that two will be relatively equal; that the constitution may be dual (i.e. Vata/ Pitta, Vata/Kapha, Pitta/Kapha). Occasionally all three may be relatively equal and a balanced or Tridosha type may exist.
VATA
PITTA
KAPHA
Frame
Thin
Moderate
Large
Body Weight
Low
Moderate
Heavy
Skin
Dry, Rough, Cool, Brown, Black
Soft, Oily, Warm, Fair, Red, Yellowish
Thick, Oily, Cool, Pale, White
Hair
Black, Dry, Kinky
Soft, Oily, Early gray, Red, Yellow
Strong, White, Full, Well- formed
Teeth
Protruded, Space,between, Crooked, Gums Emaciated
Moderate in Size, Soft, Bleeding Gums
Strong, White, Full, well formed
Appetite
Variable, Low,
Good, Sharp, Excessive
Slow but Steady
Disease Tendency
Nervous Disorder, Pain
Heat, Infection, Inflammation
Excess Water, Mucus
Variable
Excessive
Slight
Dry, Hard, Constipated
Soft, Oily, Loose
Thick, Oily, Heavy, Slow
Thirst Elimination
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ASPECT OF CONSTITUTION
VATA
PITTA
KAPHA
Physical Activity
Very active
Moderate
Lethargic
Mind
Restless, Active, Curious
Aggressive,, Intelligent
Calm, Slow, Receptive
Emotional Excess
Fearful, Insecure, Anxious
Aggressive, Irritable, Jealous
Greedy, Attached, Self- Contented
Faith
Wavering, Changable
Determined
Steady, Loyal
Memory
Recent Memory, Good, Remote, Memory Poor
Sharp
Slow but Prolonged
Dreams
Playing, Jumping, Running, Fearful
Fiery, Angry, Passionate, Fearful
Watery, Ocean, Swimming,
Sleep
Fast, Chaotic, Uninterrupted
Sharp, Clear, Cutting
Slow, Monotonous, Melodies
Spending Habit
Spend quickly
Spend moderately
Spend slowly
CHOOSE COLOUR ACCORDING TO YOUR CONSTITUTION Vata: Favor warm, muted, calming colors (yellows, oranges, greens, deep purple), avoid bright red and black . Pitta: Favor cool, soft colors (white, blues, greens, pastels), avoid bright colors and dark colors . Kapha: Favor warm, stimulating, bright and light colors (red, orange, yellow), avoid soft, muted colors like pink, white, blue.
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SEEKING INSPIRATION Inspiration Note Neel Haridra Manjistha Pomogranate Aamla Bibhataki Haritaki Neem
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Botanical drawing of herbs
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INSPIRATION NOTE When I began to study a number of Ayurvedic herbs, in order to understand what their potential properties were, I was struck by two thoughts. The first thought was more intellectually driven. It was the idea that I could try and convey the end users with the story which would be behind the fabric dyed and printed which they could buy. Therefore, both the colour and the design could be directly related to the herb or flower used for dyeing and printing. The second thought was more of an aesthetic point of view. Looking at hundreds of images and drawings of Ayurvedic plants on internet and books, I was impressed by their natural and simple beauty. The form of their leaves or their roots, the petals and colour of their flower were often very impressive. From that it followed that as a designer, using as a starting point for my inspiration the image of the very plant used in the garment or cloth I was designing was an obvious. Trying to symbolize the beauty of the Ayurvedic plants in the same time as showing that they were a part of the making of that garment or cloth was a must!
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Parts used for dyeing: Leaves and stem
NEEL Indigoferatinctoria Indigo, Neel,Nili
Ayurvedic Valu: Energetics: light, dry, bitter, pungent, hot K-PV+ Action: anti hyperglycaemic, antibacterial, anti-oxidant, antitoxin, anti-inflammatory Preparation: Hima, cold infusion purity, inspire, serenity, confidence, trust, creative Colour extract: Blue, For Vata:helps to balance Vata and reduce fear and anxity For Pitta: Blue and green has calming effect on fire of pitta Spiritual aspect: calm, peace,
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Action: anti hyperglycaemic, antibacterial, anti-oxidant, anti-toxin, antiinflammatory
NEEL Sanskrit name: Neel, Neelini English name: Indigo Scientific name: Indigofera tinctori Parts used: leaves, stem Energetics: light, dry, bitter, pungent, hot ,K-PV+ (in excess)/ KVP= Action: anti hyperglycaemic, antibacterial, anti-oxidant, anti-toxin, anti-inflammatory Preparation: Hima, cold infusion Colour extract: Blue, For Vata: helps to balance Vata and reduce fear and anxity For Pitta: Blue and green has calming effect on fire of pitta Spiritual aspect: calm, peace, purity, inspire, serenity, confidence, trust, creative
In traditional medicine Indigofera tinctoria is used to treat various diseases. As a preventive medicine for hydrophobia, its leaves juice is taken with equal amount of milk for three days. For treating spleen and liver enlargement, fresh leaves juice or pulverised powder is taken with honey. In treatment of some
Clothes dyed with Indigo are recommded for Pitta and Vata type of constitution.as it helps them reduce their Vata and bring them to perfect stage of harmony.
other diseases such as lung diseases, cough, asthma, heart palpitations, its leaves juice is orally administered. The decoction of its root is given for treating poisoning. The leaves has antiseptic and astringent action and used externally to cure cuts, wounds, ulcers, piles and similar skin conditions. The leaf powder of Indigo is natural hair dye. It can be mixed with henna powder for colouring hair. Indigo is also used in preparation of various hair oils.
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HARIDRA Sanskrit name: Haridra, haldi English name: Turmeric Scientific name: Curcuma Longs; Zingiberaceae Parts used: rhizome Energetics: bitter,astringent, pungent, heating, K-PV+ (in excess) Action: stimulant, carminative, alterative, vulnerary, antibacterial
TURMERIC is an excellent natural antibiotic, while at the same time it strengthens digestion and helps improve intestinal flora. As such it is a good antibacterial for those chronically weak or ill. It not only purifies the blood, but also warms it and stimulates formation of new blood tissue.
Spiritual aspect: happiness, joy, success, beauty, compassion, devotion
Turmeric gives the energy of the Divine Mother and it is believed to grants prosperity. It is effective for cleansing the chakras (nadi-shodhana), purifying the channels of the subtle body. It helps stretch-the ligaments and is, there-fore, good for the practice of hatha yogi.
Colour extract:Yellow For Vata: helps to balance Vata and reduce fear and anxiety For Kapha: Yellow colour Stimulate the Kapha to shake off lethargy and get invigorated.
Turmeric promotes proper metabolism in the body, correcting both excesses and deficiencies. It aids in the digestion of protein. Externally, it can be used with honey for sprains, strains, bruise or itch. It is tonic to the skin.
Preparation: Khavata Decoction Colour extract: yellow
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Parts used for dyeing: Rhizome
HARIDRA Turmeric, Haldi Curcuma Longs; Zingiberaceae
Ayurvedic Valu: Energetics: bitter,astringent, pungent, heating K-PV+ (in excess) Preparation: Khavata Decoction Spiritual aspect: happiness, joy, success, beauty, compassion, devotion Action: stimulant, carminative, alterative, vulnerary, antibacterial Colour extract: Yellow For Vata:helps to balance Vata and reduce fear and anxity For Kapha: Yellow color stimulate the Kapha to shake off lethargy and get invigorated.
Action: Stimulant, carminative, alterative, vulnerary, antibacterial
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Parts used for dyeing: roots
Manjistha
MANJISTHA Indian Madder Rubia cordifolia; Rubiaceae
Ayurvedic Valu: Energetics: bitter, sweet, pungent, cooling PK-V+ Preparation: Khavata Decoction Spiritual aspect: compassion, nurturing, love, openness, passion, mind calming
Colour extract: Patel pink, Red For Pitta: Favor cool, soft colors Balance Pitta
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Action: hemostatic, emmenagogue, astringent, diuretic, lithotriptic, antitumour vulnerary, antibacterial
MANJISTHA Sanskrit name: Manjistha English name: Indian Madder Scientific name: Rubia cordifolia; Rubiaceae Parts used: root Energetics: bitter, sweet, pungent, cooling, PK-V+ Action: emmenagogue, astringent, diuretic, lithotriptic, antitumour vulnerary, antibacterial Preparation: Khavata Decoction Colour extract: red, pink, Spiritual aspect: compassion, nurturing, love, openness, passion, mind calming Colour extract: Pastel pink, Red For Pitta: Favour cool, soft colours Balance Pitta MANJISHTA is probably the best alterative or blood-purifying herb in Ayurvedic medicine. It cools and detoxifies the blood, arrests
haemorrhagia, dissolves obstructions in blood flow, and removes stagnant blood. Good for all inflammatory conditions of the ‘blood (or the female reproductive system), its obstructiondissolving action extends to the liver and kidneys. It dissolves stones and helps destroy tumours, benign or malignant. It increases blood flow and promotes healing of tissue damaged by injury or infection. Manjishta even helps knit broken bones, it is, therefore, a good first aid medicine. An effective medicine for toxic blood conditions (such as genital herpes), it cleanses and regulates liver, spleen and kidney function. Externally, it can be used as a paste with honey for skin discoloration or skin inflammations. Or it can be made into a paste with licorice to soothe burned or damaged tissue. It is one of the main antiPitta herbs.
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POMEGRANATE Sanskrit name: Dadima English name: Pomegranate Scientific name: Punica granatum; Lythraceae Energetics: bitter, astringent, pungent, sweet, sour, calming sweet variety is said to alleviate all three doshas, the sour variety may aggravate Pitta; the common pomegranate is the sweet variety and may increase Ama Tissue Action: astringent tonic, haemostatic, alterative, stomachic, anthelmintic, refrigerant Preparation: Khavata Decoction Colour extract: Yellow For Vata: helps to balance Vata and reduce fear and anxity For Kapha: Yellow color stimulate the Kapha to shake off lethargy and get invigorated.
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Spiritual aspect: happiness, joy, success, beauty, compassion, devotion The POMEGRANATE tree is an excellent pharmacy in itself. The rootbark is a strong anthelmintic, taken as a decoction with a little doves, followed by a purgative every second or third day to dispel the worms (such treatment may continue for 10 days or more). The fruit rind is better for usage as an astringent and and-inflammatory herb for the mucous membranes. The fresh juice has stronger tonic proper-ties, particularly for the blood and for Pitta. The fruit rind powder may be used as a douche for letworrhea; the paste can be used externally for sores, ulcers, hemorrhoids. The juice is good for promoting digestion and all parts have stomachic properties, which can be augmented with small amounts of cinnamon and doves.
Parts used for dyeing: fruit rind, root bark, fruit
POMEGRANATE Dadima Punica granatum; Lythraceae
Ayurvedic Valu: Energetics: bitter, astringent, pungent, sweet, sour, calming sweet variety is said to alleviate all three doshas, the sour variety may aggravate Pitta; the common pomegranate is the sweet variety and may increase Ama Tissues Action: astringent tonic, haemostatic, alterative, stomachic, anthelmintic, refrigerant Preparation: Khavata Decoction Colour extract: yellow Spiritual aspect: happiness, joy, success, beauty,compassion,devotion
Action: Astringent tonic, haemostatic, alterative, stomachic, anthelmintic, refrigerant
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Parts used for dyeing: Fruit
Aambla Emblic Myrobalan Curcuma Longs; Zingiberaceae
Ayurvedic Valu: Energetics: all tastes but salty, predominately sour, cooling, sweet PV-K+ (in excess) Action: nutritive tonic, rejuvenative, aphrodisiac, laxative, refrigerant, stomachic, astringent, haemostatic Preparation: Khavata Decoction Spiritual aspect: longevity, fortune, love
Action: Nutritive tonic, rejuvenative, aphrodisiac, laxative, refrigerant, stomachic, astringent, haemostatic
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AAMLA or AMALAKA Sanskrit name: Amalaki or Dhatri, the nurse, as it is like a nurse or mother in its healing properties English name: Emblic Myrobalan Scientific name: Curcuma Longs; Zingiberaceae Energetics: all tastes but salty, predominately sour, cooling, sweet wwWPV-K+ (in excess) Action: nutritive tonic, rejuvenative, aphrodisiac, laxative, refrigerant, stomachic, astringent, haemostatic Preparation: Khavata Decoction Spiritual aspect: longevity, fortune, love AMALAKI is one of the strongest rejuvenative in Ayurvedic medicine. It is particularly effective as a rasayana for Pitta; for the blood, bones, the liver and
the heart. It rebuilds and maintains new tissues and increases red blood cell count. Anuilaki cleanses the mouth, strengthens the teeth, nourishes the bones, and causes hair and nails to grow. It improves the eyesight, stops bleeding of gums, and relieves inflammation of the stomach and colon. It is the highest natural source of vitamin C, with 3000 mg per fruit. It improves appetite, cleanses the intestines and regulates blood-sugar. It is the basis for CHYAVAN PRASH, an herbal confection or jelly that is the main general all-around tonic and restorative in Ayurvedic medicine. It is sattvic in quality and it is believed to gives good fortune, love and longevity it is itself a long-living tree. Five grams of the powder, mixed in one cup of warm water, can be taken twice a day as a general tonic. It is used as a paste to the head for mental disorders.
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BIBHATAKI Sanskrit name: Bibhataki English name: Beleric Myrobalan Scientific name: Terminalia belerica; Combretanceae Energetics: all tastes but salty, predominately sour, cooling, sweet PK-V+ (in excess) Action: astringent, tonic, rejuvenative, expectorant, laxative, anthei-mintic, antiseptic, lithotriptic Preparation: Khavata Decoction Colour extract: earthy beige Spiritual aspect: longevity, fortune, love BIBHITAKl is another powerful rejuvenative herb of the various trees which are widely used in India. It is tonic to Kapha, to the lungs; it improves voice, vision, and promotes the growth of hair. It is both strongly laxative and strongly astringent, cleansing the bowels and increasing their tone. Bibhitaki is effective for all stones and Kapha accumulations in the digestive, urinary and respiratory’
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tract; it liquefies and expels them, including removal of parasites. It astringes and tones the stomach and increases appetite. Though it is heating in energy, it does not aggravate Pitta. As a powder mixed with honey, it can be taken for sore throat and impaired voice; it may also be used as a gargle. Used externally, it is an antiseptic. Usually, it is used as part of the compound triphala (see haritakt).
Parts used for dyeing: Fruit
Bibhataki Beleric Myrobalan Terminalia belerica; Combretanceae
Ayurvedic Valu: Energetics: all tastes but salty, predominately sour, cooling, sweet PK-V+ (in excess) Action: astringent, tonic, rejuvenative, expectorant, laxative, anthei-mintic, antiseptic, lithotriptic Preparation: Khavata Decoction Spiritual aspect: longevity, fortune, love
Action: astringent, tonic, rejuvenative, expectorant, laxative, anthei-mintic, antiseptic, lithotriptic
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Parts used for dyeing: Leaves, stem and bark
HARITAK Combretaceae Chebulic Myrobalan Combreta
Ayurvedic Valu: Energetics: all taste but salty, predominantly astringent, heating, sweet VPK= Action: rejuvenative, tonic, astringent, laxative, nerving, expectorant, anthelmintic Preparation: Khavata Decoction Spiritual aspect: longevity, fearlessness, wisdom, intelligence trust, creative
Action: Rejuvenative, tonic, astringent, laxative, nerving, expectorant, anthelmintic
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HARITAKI Sanskrit name: Haritaki, because it carries away (harate) all diseases or because it is sacred to Shiva (hara), also called Abhaya as it promotes fearlessness English name: Combretaceae Scientific name: Chebulic Myrobalan Combretaceae Energetics: all taste but salty, predominantly astringent, heating, sweet VPK= Action: rejuvenative, tonic, astringent, laxative, nerving, expectorant, anthelmintic Preparation: Khavata Decoction Spiritual aspect: longevity, fearlessness, wisdom, intelligence HARITAKI, though its taste is very astringent and unpleasant, is one of—if not the most—important Ayurvedic herb. It is a rejuvenative for Vata, regulating Kappa and only aggravating Pitta in excess. It feeds the brain and the nerves and imparts the energy of Shiva (pure awareness). Haritaki is an effective
astringent and gargle for ulcerated surfaces and membranes. It regulates the colon and, according to dosage, corrects absorption, either constipation or diarrhea. It improves digestion and absorption, promotes voice and vision, and aids in longevity. Haritaki increases wisdom and intelligence. It raises prolapse of the organs and checks excessive discharges, including cough, sweating, spermatorrhea, menorrhagia, and leucorrhea. It reduces accumulated and congested Vata. Haritaki is the basis for triphala, the three fruits (haritaki, amalaki and bibhitaki), and is one of the main Ayurvedic compounds. Triphala is the best laxative and bowel tonic; a balanced rasayana, and an effective astringent for external use. Haritaki is rejuvenative for Vata; amalaki for Pitta; kibhitaki for Kappa. The conditions indicated under these three herbs can be treated by this compound.
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NEEM Sanskrit name: Nimba English name: Neem Scientific name: Azadiracta indica; Mediaceae Parts used: leaves, bark Energetics: better, cooling, pungent PK-V+ Action: bitter, antipyretic, alterative, anthelmintic, antiseptic, antiemetic Preparation: Khavata Decoction Spiritual aspect: pure, refreshing, heart opening NEEM is one of the most powerful bloodpurifiers and detoxifiers in Ayurvedic usage. It cools the fever and clears the toxins involved in most inflammatory skin diseases or those found in ulcerated mucous membranes. It is a powerful febrifuge, effective in malaria and other intermittent and periodic fevers (in which case it is usually used with black pepper and gentian).
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Neem can be taken whenever a purification or reduction program is indicated. It clears away all foreign and excess tissue, and possesses a supplementary astringent action that promotes healing. Yet it should be used with discretion where there is severe fatigue or emaciation. In a medicated oil, it is one of the best healing and disinfectant agents for skin diseases, and anti-inflammatory agent for joint and muscle pain.
Parts used for dyeing: Leaves, stem and bark
NEEM Nimba, Azadiracta indica; Mediaceae
Ayurvedic Valu: Energetics: better, cooling, pungent PK-V+ Action: bitter, antipyretic, alterative, anthelmintic, antiseptic, antiemetic Preparation: Khavata Decoction Spiritual aspect: pure, refreshing, heart opening
Action: bitter, antipyretic, alterative, anthelmintic, antiseptic, antiemetic
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NEEL Vastram
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HARIDRA Vastram
MANJISTHA Vastram
SELECTION CRITERIA With the help and guidance of my guide, I decided, after careful consideration, to choose three herbs i.e Neel, Haridra, Manjistha for design development I selected these three herbs with the aim to come up with three different collections of textiles and garments which I could develop during my internship in Aavaran, one collection based on each of them. The selection was based on three criteria •The first criteria was if the herb could be easily and quickly available, taking into account the cost to be involved. •The second criteria, very important for me, was the shape of the herb, of its roots or flowers, actually if it was able to inspire me to draw aesthetically good textile designs. •The third criteria was, of course, the quality of the Ayurvedic properties of the herbs. The idea founding the three collections is an effort to promote our craft, culture and tradition in a creative way.
National Institute of Design | Textile Design
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