Kalakari by Dhwani Chauhan

kalakari Tradition of Kutch

CONTENTS Preface Kutch Ajrakh Printing Rogan Painting Mashru Weaving Leather Craft Bandhani Batik Printing Acknowledgment Bibliography

4 5 7 21 35 45 53 61 71 72

Preface India is so rich and diverse in terms of crafts. Yet there has been a decline in the craft sector of the country. Hence in an attempt to revive the crafts of our country and give the new dimentions to match the current market people from various backgrounds like designers, architecture and especially students visit and try to study and understand the craft. So one such attempt was the trip to Kutch in which we focused upon Bhuj, Mandvi. Various crafts are been practised in Kutch district. In this book I have mentioned the crafts like Ajrakh print, Batik print, Bandhani, Leather craft, Mashru weaving, Rogan painting. I have given more stress upon The trends and techniques.

Kutch Kutch lierally means something which intermittently becomes wet and dry. A large part of this district is known as The Runn of kutch,which is a shallow wetland which submerges in water during the rainy season and bcomes dry during other seasons. Kutch is a district of Gujarat state in western India. The administrative headquarters is in Bhuj which is geographically in the center of district. Other main towns are Gandhidham, Rapar, Nakhatrana, Anjar, Mandvi, Madhapar,Mundra and Bhachau. Kutch district is inhabited by various groups and communities. One can find various nomadic, semi nomadic and artisan groups living in Kutch. Gujarati Ahirs comprise a comparatively large group in Kutch. The language spoken predominantly in the Kutch district is Kutchi language, Sindhi and Gujarati.

ajrakh printing

Ajrak printing is one of the unique technique of printing which is done by natural dyes like indigo and madder. Ajrak is one of the most complex and fine forms of block printing in the world. Ajrakprint consists of geometrical shapes because it is commenced by Muslims and they never worship any kind of idols so this printing has geometric shapes and motifs of natural elements. Every craft is associated with innumerable stories about its originAjrak textiles have existed for centuries, for example excavation sites of Indus valley civilization give evidence that ajrak was possibly one of the oldest printing method of India.The art is said to be originated in the 16th century CE. The origin of ajrak printing is Sind in Pakistan.Since in Arabic blue is known as ajrak so it is possible that the name is predominantly blue cloth as ‘Ajrak’. Over time the word Ajrak changed to Ajrak which means ‘keep it for today’ in Sindh.There are some interesting facts about the use of Ajrak including the Egyptians. They used to clothe their mummies with Ajrak, imported from Sindh which they called ‘Sindhin’. In 500 BC, the Ajrak was also presented to Persian King. The ruler of KutchRao Bharmalji-1 (15861631), invited the cloth-printing Khatri artisans from Sindh and gave gifts to settle down in kutch and earn money by their arts. 8

A bust of priest king excavated at MohenjoDaro, currently in National museum of Pakistan, shows him draped over the shoulder in a piece of cloth that resembles ajrak. Especially the trefoil shaped motif on his garment represents the three sun disk of the gods of sun,water and earth.Similar kind of motifs is seen in recent ajrak.

Over time the village Dhamadka and kha in Kutch became the primary centre of this craft, even some of the artisans settled down in Barmer in Rajasthan. The dyers were khatri Brahmins and after their two generation they converted themselves to Islam. In Kutch they settled in dhamadka for their close proximity of river in which they can wash their fabric. But after 400 years, in 1956 there was a severe earthquake and that destroyed so many houses in Anjar, so many houses in Dhamadka also get damaged but then the government helped to recover there houses. And in 1989 the Saran river dried and the water levels from well and tanks continued to fall and the level of iron was increasing which becomes the obstacle to dye the cloth properly so in 2001, the block printers were forced to relocate. So most of the artisans settled 15 kms far from dhamadka.That village was named as ajrakhpur as most of the ajrak printers settled down in that place.Today also ajrak traditions are maintained in Khavda,Dhamadka and Ajrakpur in Kutch and Barmer in Rajasthan. There are over 100 families living in Ajrakpur and 30 official block printing workshops, almost all the families in Ajrakpur generate there income from ajrak. Traditionally, ajrak is said to be the lungi of men. Generally the width of cloth is 1 meter, while its 9

width is 2.5 meters. The printing technique follows an ancient and fascinating system. Both

ends of the cloth are decorated with the beautiful borders. Only motifs are there in between. Motifs of ajrak printing is geometric as ajrak is originated by muslim and in islam they never worship any idol so even in there mosques we never see any human figures in there sculptures there is the motifs of the natural elements so in ajrak printing also the motifs of natural elemnts are used. But now a days the textile designers have changed that motifs and according to order they do the ajrak print. They believe that the real ajrak print is called to be the print with is done manually and print which is done by natural dyes. The traditional purchaser of Ajrak was animal keepers, a group Wthat still survives. In Kutch this community is referred to Maldharis. In Marwar(Rajasthan) the community is known as the Muslimpatels and their hereditary occupation is that of cattle headers.These two areas are desert area .

PROCESS There are 14 to 16 stages in this process. This process takes 20 days in complete .

1. CUTTING OF CLOTH

The cotton cloth is measured and torn by hand. Tearing by hand is the traditional way of cutting the cloth.

2. WASHING OF CLOTH The necessary length of cloth taken to river for washing. Washing is necessary for removal of starch and other impurities. Then the cloth is beaten by wooden washing bats. Then the cloth is dried.

3. REMOVAL OF STARCH The fabric is soaked overnight in a mixture of soda, castor oil, water and animal dung and next day it is washed in running water with beating, which removes the excess castor oil. This process is continued till the fabric is cleaned from starch and any other impurities.

4. DIPPING IN MYROBALAN SOLUTION (HARDE) This process is done for absorbing the colour. Myrobalan (harde) solution is made by using dry harde powder, castor oil and water. After washing process the cloth is been dipped in to the harde solution which give pale yellow colour to the cloth.

5. RESISTING WHITE To print white mainly outlines, lime is the main resist with whitening powder, which helps to ensure a smooth texture without any cracks. To make the resist paste the mixture of Arabic gum and lime and water is done. This thick paste is then applied in form of printing which gives white colour to cloth. This process can also be done on another side of cloth if it is to be done double sided.

6. PRINTING OF BLACK Iron acetate is made and used to print black colour. The making of dye includes fermentation of iron scrap with water, gram flour and molasses for 10 days, further boiled to make the thick paste by adding tamarind powder and edible oil. This gives dark black colour. Alum is added to give the greyish tone.

7. PRINTING OF ALUM A mixture of tamarind seeds, alum and water is boiled to make the printing paste of red. Alum is completely colourlessso red colour is added to it for printing. Even this is applied as background colour through brush.

8. RESIST PRINTING Millet flour is mixed with water and then it is boiled and made a paste. This paste is then mixed with clay, alum and molasses with water. Now this thick paste is printed to the fabric. And let it dry for few hours.

9. INDIGO DYEING This dyeing is done in deep earthenwarepot. Indigo, lime, soda and dates are the ingredients for making dye. The fabric is been dipped into that dye in segments and then it is squeezed slightly and spread on the ground for dyeing under sun. The fabric is then folded and rolled into a large bundle which is ready to wash next morning

10. WASHING After dyeing, washing is done to remove remaining starch, sawdust or excess amount of 14

colour which was may not be penetrated in thefabric. It is washed in running water and dried in sun.

11. BOILING OF RED

Alizarin, alum and water are boiled in a large container to make the solution. Fabric is dipped in thin boiled solution. The fabric is boiled in this container till the red colour is obtained and then wash, squeezed and dried in sun. To obtain green the red dyed cloth and resist print is done and after it dries the yellow colour is sprayed over that fabric so it catches green colour.Yellow is made by pomegranate skin which is boiled and sprayed on cloth andturmeric is also sprayed. After it dry it is soaked in alum and then washed in plenty of water.

MARKET VALUE OF AJRAK The demand for ajrak is endless. An ajrak is sold for Rs1000 to Rs2500 in small shops and in bigger shops Rs5000 depends upon design and quality. If the ajrak is done on machine then its price would be low as that donot include labour work. Ajrak is profoundly used by everyone not only nationwide but internationally. Ajrak has been exhibited in national exhibitions since many years but these days the scale has been enlarged and display of ajrak on expo centres has increase its fame internationally. Many fashion designers are using Ajrak moderately with differentornaments like sequences and gota work. They all are using the traditional customs by doing some of the evolution as the contemporary designs.

ARTISANâ&#x20AC;&#x2122;S PROFILE Ibrahim Khatri and his family used to live in Dhamadka but due to water scarcity and other geographical probles they shifted to Ajrakhpur. They are practising farming in Dhamadka. They are mostly using natural dyes , even he has worked with chemical dyes. In his workshop they uses boilers and many other equipments that help him to work faster. The raw materials which they use are available in nearby places. Maximum order which he get is from Fabindia.

Ibrahim Khatri Age: 35 years Working from: 16 years Place: Ajrakhpur 19

rogan painting

Roghan printing is an art of cloth printing practiced in the Kutch District of Gujarat. In this craft, paint made from boiled oil and vegetable dyes is laid down on fabric using either a metal block (printing) or a stylus (painting). The craft nearly died out in the late 20th century, with rogan painting begin practiced by only one family, but is now enjoying a resurgence. Roghan paint is produced by boiling castor oil for about two days and then adding vegetable pigments and a binding agent; the resulting paint is thick and shiny. The cloth that is painted or printed on is usually a dark color, which makes the intense colors stand out. In roghan printing, the pattern is applied using metal blocks with patterns carved into them. In rogan painting, elaborate designs are produced freehand, by trailing thread-like strands of paint off of a stylus. Frequently, half of a design is painted, then the cloth is folded in half, transferring a mirror image to the other half of the fabric. The designs include floral motifs, animals, and local folk art.

Rogan painting on fabric

History The word rogan comes from Persian, meaning varnish or oil. The process of applying this oil-based paint to fabric began among the Khatris, a Mulsim community who came to India from Sindh, Pakistan. Although the name, rogan (and some of the traditional designs) suggests an origin in Iran, there are no reliable historic records to prove this. Rogan painting was initially practiced in several locations in the Kutch region. The painted fabric was mostly purchased by women of the lower castes who wanted to decorate clothing and bed coverings for their weddings. Therefore, it was a seasonal art, with most of the work taking place during the several months when most weddings take place. During the rest of the year, the artisans would switch to other forms of work, such as agriculture.

Kutch district, Gujarat

With the rise of cheaper, machine-made textiles in the late 20th century, rogan painted products became relatively more expensive, the many artists turned to other occupations. Ultimately, only one family, the Khatris of Nirona, Gujarat, continued the craft.

Process The process is time consuming. First the rogan has to be prepared by heating castor oil to boiling point over 12 hours, cooling it and then as it thickens, mixing in appropriate amounts of colors. The pastes of yellow, red, white, green, black and orange are kept in earthen pots with water to keep them moist. A Thin iron rod, flat at both ends, is used to paint. The painting takes quite some time to be done on a small piece of cloth, depending upon the intricacy of the work and the type of cloth. If the work is very intricate, then a square foot piece of cloth could take around a month. The work takes time because first the outlining is done, then the work is filled, then after drying, the colors are added and then the work is done again. Drying generally takes two days. In case of symmetric patterns, to reduce the effort, the fabric is folded from the centre to get the impression on the other half, this also helps in creating effects like the background and the foreground. While Geometric patterns are perennial favourite, motifs such as â&#x20AC;&#x2DC;The Tree of Lifeâ&#x20AC;&#x2122; and Moghul paisleys that find expression in cushion covers, bedspreads, kurtas, curtains, table cloths, wall hangings, folders, paintings, purses , dress material and saris have also been experimented.

Ingredients Castor oil Color for dyeing

Making design on the fabric Design is painted on the cloth, with the support of left hand fingers placed beneath the cloth. Fingers of the hand move along the design lines from below while the roghan thread is being applied on the surface of the cloth and then dabbed with wet fingers. This dabbing makes the thread sink into the surface of the cloth and adhere to it. No major changes have been found in making design. Flattening of applied paste on fabric: The design is skillfully worked out using stylus on one half of the cloth, which is then folded very carefully on a central line, and pressed slightly with the palm thus effectively stamping the design on the remaining half of the cloth. This process is same as earlier. Rogan is done two ways. One, Rogan paste is made from castor oil & natural dyes like mud, leaves, and plants pounded by hands & heated on a slow fire. Resulting colour pastes are kept in earthen pots or plastic containers & mixed with water to keep them from drying. Then printer dips a thin iron rod into pot of coloured paste, takes pastes & places it on his left first. The cotton mulmul fabric is spread on his lap. Skillfully, he lifts the sticky paste in a thread like consistency, with the rod & paints the design on the cloth. During earlier times, a Natural source such as stone was used while later, plant sources

were also used to extract dyes. Colours such as white, red, yellow, blue, green, orange and black were used in pure form. Today, artisans have switched over synthetic dyes. Artisans were used napthol dyes for preparation of the colouring paste. The base fabric is of mulmul cotton.

Motifs Motifs in rogan were always had mirror image and significantly different than Tinsel Printing (done with metal blocks) which were more towards the nature. Rogan always had motifs painted in bold outlines with subdued base colours while Tinsel had motifs printed intricately, more finely and with sharp edges. Tinsel Printing is always done with gold and silver colours on dark coloured background. Traditionally the floral, geometrical and calligraphy motifs were used for the art of rogan paintings. During ancient period, the calligraphy motifs were used in Persian alphabets. The bird motifs were used only by Hindu Khatri craftsmen in Ahmedabad. These motifs were used as all over pattern. Mainly two layouts were used for motif placement i.e. border and all over. The motifs painted by Hindu Khatri craftsmen were large bird motifs with broad outline. They were incorporated bigger bird motifs which were not seen in rogan painted product of Kutch. 27

Prerequisite preparation Chula: Iron Chullas are used, which are available in market. By this, they are trying to compensate the time of digging and making chulla in field.

Vessel: Going through the history, to make bold and big motifs and design, large quantity of resin was made in big earthen pot vessels. Since the process of making resin is quite dangerous as temperature used is above 2000C, sometime it leads to accident where earthen pot at such temperature burst and the whole process of making resin was repeated. Due to this reason and availability of other metal vessel now the craftsperson has shifted to use Aluminum vessel; at least, it does not burst out of high temperature.

Stylus: The main equipment used for painting is the Kalam, an iron stylus . It measure about 6 inches- 7 inches in length and had a pointed working end .It was found that design created on fabric were bold and big. It indicates that stylus used was big and having a thick tip to apply the colour on fabric for making large 28

Chula

motifs, designs and patterns. But now the pattern has completely changed. To get fine and intricate design, small and pointed tip stylus has been used. Storage bowl: Once the Roghan gel is formed, roghan gel has to be stored in container filled with water to avoid air exposure so as to prevent from drying. On comparing the previous method of storage where big earthen pots were used due to large quantity of Roghan gel. Now due to small intricate design, small amount of resin was prepared and is stored in small plastic bowl containing water which is quite easy to store and consume less space.

Iron stylus

Products Products: Products made by the ancestors of Roghan artisanswere Ghaghara, Odhana and wall pieces. These were soldwithin the community and to the traders. Presently, roghan artisans make cushion covers, odhana, wallpieces, silk sari, bedcover, table cloth and some other dress materials.

Present Scenerio

Roghan becomes expensive because of the process it undergoes.The process of making colour motifs with hand is laborious and time consuming. Other than raw materials and labour cost,roghan artisans also add a cost for explaining the craft.Craftsperson from Kutch, practicing this art, has been forced totake up other occupations, due to almost negligible demand for Roghan painting. But artisans also feel that their work issustainable and do not want to stop or discontinue their work, asthey were aware of the history of the craft. Something has to be done to make process of making Roghan painting simpler,shorter and economical. People should make aware of this craft.

ARTISANâ&#x20AC;&#x2122;S PROFILE

Rizwan Khatri and his brother Munaf Khatri are the artisans of Rogan painting. There father and family used to work since 400 years. So for maintaining the craft and skill they are sustaining this beautiful art. There work is been displayed in Lakme Fashion Week.

Rizwan Khatri Working from:10 years Place: Nirona village, Bhuj

mashru weaving

Mashru weaving is an age old tradition in India. The textile evolved out of a desire to wear silk when it was prohebited for the Muslim men. An indigenous weaving technique was employed, which allowed the lower surface to be of cotton while the exterior had the sheen of silk. It was also traded to Arabian countries later. Mashru means “permitted” in Arabic and it is believed to be the source of the name of this textile. Gradually it was liked by Hindus and nomads of the region alike. This cotton-silk fabric is woven only in some selected patterns. While the small dotted mashru is preferred in Anjar, Kutch, the striped ones have a demand all over. Traditionally used in garments, Mashru is also used for making quilts, cushions and bags now. Craftsmen have developed new designs mixing other techniques like tie-dyeing or ‘Bandhani’. The Mashru fabric is a vibrant, handwoven mix of Silk and Cotton textiles. The word ‘Mashru’ means ‘permitted’ in Arabic and its Sanskrit variation ‘Misru’ means ‘mixed’. Mashru has a characteristic fine satin finish, bright contrasting stripes in vibrant colors and striped Ikat weave. The fabric is mainly manufactured in Patan and Mandvi in Gujarat, India. Mashru is an important part of the bridal trousseau in a variety of Hindu communities like Sarees and Lehengas. 36

History The weave is said to have originated somewhere from the West Asia around 19th century. The weaving of Mashru fabric is an old tradition in India and it was a popular trading textile to the Ottoman empire and Gulf countries. The word Mashru is said to have come from the Muslim community, where Silk fabric was banned since it was made by killing the cocoons and silkworms. This led to the production of Mashru fabric as it had a Silk exterior but the inner fabric which stays in direct contact with the skin was made of Cotton. Mashru became very popular in Turkey, Persia and many Mediterranean countries as it gave them the freedom of wearing Silk clothing without breaking their religious laws. The Mashru slowly found its place among the Hindu community as well and the fabric became an integral part of the wardrobe of Kutch Nomads.

Process The weaving of this fabric was practiced across the country in different forms; from Deccan to Lucknow to Bengal. Nowadays, only weavers from the small towns of Gujarat, mainly Patan and Mandvi practice this craft.The expert weavers have excelled in this exquisite craft by learning from their ancestors. Mashru fabric is made of silk and cotton where silk is used as the vertical yarn and Cotton makes the horizontal yarn. Each Silk weave goes under the Cotton yarn once and about five or eight times above the Cotton yarn.After complete weaving of the fabric, it is washed with cold water and beaten with wooden hammers for about one minute while it is still moist. Then a paste of wheat flour called glazing is applied on the folds of the fabric. The fabric is later beaten with wooden hammers and compressed with hard press. Finally, color is added to the fabric using natural vegetable dyes.This intriguing weave technique results in a shiny surface that resembles Silk fabric from the outside, with the comfortable of Cotton in the inner side of the clothing. The interweaving of Cotton and Silk makes the Mashru fabric more durable. Satin weave is done in Mashru fabric so the lusture is been reflected as the satin fabric but that is weave in such a way that the cotton is the inner part while the silk yarn is the exterior part of the fabric. 38

Tools and Equipments The main raw materials used in Mashru weaving are mill spun of 150 count or silk yarn. The cotton yarn is available from Ahmedabad and Surendranagar district while artificial silk and pure silk yarn are available at Surat. For dyeing the yarn, the colours are purchased from various markets of Ahmedabad. In ancient times, pure silk yarn was used as warp and the cotton yarn is used as weft, but after the invitation of the artifical silk yarn, it was taken as warp instead of pure one. Other tools used in the weaving process are spinning wheel, reed, heedles, shuttle, bobbins. All the tools are manufactured by local carpenters except for bobbins which are bought from Ahmedabad.

Patterns of Mashru

Mohini

mamul

Kankani and Khajuria

Katan

Danedar

Present Scenario

Nowadays, a few craftsmen use chemically dyed rayon instead of pure Silk to reduce the cost of the final product. Besides being economical, Rayon gives a better texture and shine than Silk. Although, the use of synthetic dyes make the fabric weak, unlike natural ones that grow richer with age. The Mashru fabric has a very practical utility as the Silk on the outer surface gives a beautiful, shiny appearance, the cotton yarns underneath make it perfect for the hot and humid climate. Mashru is traditionally used in the production of garments but it is also used in making wide range of home furnishings like cushions and quilts. The designs of Mashru have become simpler with time. The use of multi-hued Ikats and patterned stripes are not seen much. It is being replace by bright and vivid designs, along with solid colored fabrics. The craftsmen, nowadays also incorporate Bandhani saree designs along with Ikat. The expert weavers making this fabric are probably the last generation who will continue practicing this beautiful craft. Most of the weavers are 50 years of age and their children have moved to the urban cities in search for work opportunities.Mashru fabric is used by designers.

ARTISANâ&#x20AC;&#x2122;S PROFILE

Shamji bhai and his whole family are involved in this craft of weaving Mashru. They weave themselves and there art of weaving is showcased in Khamir organization and they even get orders of different places.

Shamji bhai Place: Hodka village

leather craft

Kutchâ&#x20AC;&#x2122;s leather craft is a means of business and livelihood for many villages in Kutch, Gujarat. It was traditionally used to make harnesses for camels aand horses, musical instrument, storage containers and footwear. Today, this craft is an importatnt supplement to the income from farming, for communities in Hodka, Bhirandiyaro and many other villages in Kutch.

History The Dalit Meghwals of Rajasthan migrated to Kachchh, bringing an artful leather craft with them. The trade was kept alive by a partnership with nomadic pastoralist Maldharis. When a Maldhari cattle died, the Meghwals converted the raw hides into leather. The work was tough, taking eighteen labor intensive days to treat and wash the hide. By recycling the dead cattle, the Meghwals gave new life to waste, transforming it into a product of utility. The Meghwalsâ&#x20AC;&#x2122; close relationship with the Maldharis resulted in a remarkable fusion of cultural customs which can be seen in the shared styles of dress and embroidery traditions of the various communities in the region.

Kachchhi leather was so well treated and durable that it could hold water. As such, it was made into long-lasting items like shoes, water bottles, horse saddles and water jugs. It is said that artisans once used real silver thread to bind pieces of leather together. 47

Process Using punches of a range of shapes and sizes; from geometrics like circles, triangles, squares, ovals and rectangles, to shapes like leaf, heart, moon and stars, the craftsmen make holes in the leather for a reverse appliquĂŠ like technique With a little less pressure on the punches, sometimes the craftsmen just give a low relief to the surface, for textured patterns. As the leather weathers, the punch engraved relief area becomes darker and appears like the tattoos that adorn the people of Kutch. It is one of the many instances where expressions of beliefs and expressions for livelihood merge at the juncture of creativity.With a little less pressure on the same punches, sometimes the craftsmen just give a low relief to the surface, for textured patterns. As the leather weathers, the punch engraved relief area becomes darker and appears like the tattoos that adorn the people of Kutch. It is one of the many instances where expressions of beliefs and expressions for livelihood merge at the juncture of creativity.The pieces of leather are hand stitched by passing thick thread through small slits made with a stitching awl. Craftsmen have also started using sewing machines to assemble the pieces together, thereby adding efficiency to the traditional craft.While the men are involved in the processes of cutting, punching, shaping and joining of the leather pieces, the women add the necessary colourful embellishment to the leather with embroidery in contrasting coloured threads. Golden and silver thread stitches and mirror work adds a touch of sparkle and multicoloured thread tassels make the piece 48 irresistibly charming.

Tools Punches Chisels Needle Threads Embelishing material Hammer 49

ARTISANâ&#x20AC;&#x2122;S PROFILE

The Products they produce are Sandals, Purses and many other decorative materials. There work is been showcased and saled in Khamir organization.

Place: Hodka village

Present Scenario Emerging, cheaper factory-made products in the local market have caused the local value chain to become fragmented. Meghwals are no longer converting raw hide into leather in Kachchh due to the social stigmas attached to this practice. Now, leather artisans are dependent on external markets for both raw material and trade. Traditional community linkages based on this craft are mostly broken because leather artisans cannot depend on their former market. Maldharis and farmers are no longer wearing traditional leather footwear, preferring more modern forms of dress. With no control on raw materials, artisans are not able to insulate themselves from the highly fluctuating market prices. The price of raw leather has risen 20 times since 2000, but the selling price of finished leather goods has only risen 3 times. Without proper training and linkages, artisans are not able to reach the right market segment nor able to understand the needs of the segment. Many artisans are leaving leather craft, opting to work in factories. Local leather craft is losing its high quality, adopting a cheapy, kitschy aesthetic that satisfies regional tourism. 51

bandhani

The art of Bandhani is highly skilled process. The technique involves dyeing a fabric which is tied tightly with a thread at several points , thus producing a variety of patterns like Leheriya, Mothra, Ekdali and Shikari depending on the manner in which the cloth is tied. Different forms of tie and dye have been practiced in India. Indian Bandhani, a traditional form of tie and dye, began about 5000 years ago. Also known as Bandhani and Bandhej, it is the oldest tie and dye tradition that is still practiced. Dyes were discovered by primitive man/woman in the form of extracts of various plants,flowers, leaves, bark, etc. It was simply a form of embellishment. What was considered dyeing was the art of using color to form a permanent bond with fiber in a prepared dye bath. Herbs and plants like turmeric and indigo were crushed to a fine powder and dissolved in water so that cotton material could be dyed into deep colours. The art of Bandhani is practiced widely in Rajasthan, with Barmer, Jaipur, Sikar Jodhpur, Pali Udaipur, Nathdwara and Bikaner being the main centers. Bandhani comes in a variety of designs, colors and motifs and these variations are regionspecific. Each district has its own distinct method of Bandhani which makes the pattern recognizable and gives it a different name. It is difficult to trace the origins of this craft to any particular area. According to some references it first developed in Jaipur in the form of Leheriya. But it is also widely believed that it was brought to Kutch from Sindh by Muslim Khatris who are still the largest community involved in the craft.

History It is the oldest method still in practice and is used to make sarees, odhnis, and turbans. “Bandhani” comes from the word “bandhan” which means tying up, the technique that is used to make different patterns. People often wear a unique pattern that identifies them as a member of a particular community. For more information on some of these groups and the history around them, check this out. The Bandhani techniques have been passed on from generation to generation as a form of art. The patterns are made in very particular ways, depending on how the cloth is tied. In early times, natural elements such as flowers, roots, leaves, bark, and berries were used to make the dyes. Today, both natural and man-made elements are used.

Process The process, though relatively simple, is very time-consuming. The tying of the fabric is mostly carried out by women or young girls. The material generally used is a thin loosely woven silk known as georgette or a cotton known as malmal. The area of the fabric to be dyed is outlined using fugitive colors. Then a clear thin sheet of plastic, which has been pierced with pin holes, is kept over this area of the fabric and using fugitive colours an imprint of the desired pattern is transferred onto the fabric. Next it is rinsed, squeezed, dried and then tied again and dipped in a darker color. This is kept for three to four hours (without opening the knots) to allow the color to soak in. During this process the small area beneath the thread resists the dye leaving an undyed dot. This is usually carried out in several stages starting with a light color like yellow, then after tying some more knots a darker color is used and so on. After the last dyeing process has been completed the fabric is washed and if necessary, starched. After the fabric is dried, its folds are pulled apart in a particular way releasing the knots and revealing their pattern. The result is a usually deep colored cloth with dots of various colours forming a pattern.

The area of fabric to be dyed is outlined lightly in the color of choice. Next, a thin sheet of clear plastic is placed on top. This plastic has pin-sized holes over the indicated area, and the color and pattern desired is transferred onto the fabric. The dyer then finds a spot with an imprint of the hole and pulls a small amount of fabric through, winding thread around the cloth and coming through the hole to form a small knot. After all knots are tied, the fabric is washed to remove the imprints left. After this, the cloth is dipped in a chemical called naphthol for five minutes, and then in a light color dye for another two minutes. The fabric is rinsed, excess liquid squeezed out, and then it is dried, tied, and dipped again in a darker color. The cloth is left alone for three to four hours as the colors soak into the desired areas, allowing the fabric beneath the threaded knots to remain undyed. Once completed, the fabric is washed and starched as required. Once dry, the makers pull apart the fabric in a very precise way to release the tied knots and reveal the unique pattern of blank dots beneath them.

Designs and Pattern The result of this Bandhani tie & dye technique is a beautifully dyed fabric with elaborate shapes and designs, such as flowers and bells. The most common clusters and patterns of knots made from clusters each have their own name. • Ekdali: single dot • Tikunthi: three dots that make circles and squares • Chaubundi: four dots • Satbandi: dots in groups of seven • Boond: small dot with a dark center • Kodi: tear or drop-shaped pattern • Dungar Shahi or Shikargah: a mountain?like pattern • Jaaldar: web?like pattern • Beldaar: vine?like pattern • Laddu Jalebi: swirling pattern • Leheriya: wave-like pattern

Colours Just as the patterns of Bandhani dyeing hold deep meaning, so do the colors. Traditionally, only two colors are used at a time. When this type of tie & dye began, the colors yellow and red, which are lucky in Indian culture, were used. In the Bandhani technique now, bright colors such as yellow, red, green, and pink are used in various shades. While the colors vary in modern times, certain ones still hold huge cultural meaning. Red represents a bride or woman who was recently married, and yellows are used for new mother.

batik printing

. The word batik actually means ‘wax writing’. It is a way of decorating cloth by covering a part of it with a coat of wax and then dyeing the cloth. The waxed areas keep their original color and when the wax is removed the contrast between the dyed and undyed areas makes the pattern. The word ‘Batik’ derivrd from the indonesian word ‘Mabatik’ which means ‘Wax writing’. Batik is 2000 year old art from predominantly practised in indonesi, maleshiya,japan and india. Batik is an acient from of handloom and fabric printing in which the fabric is printed with wax resist brfore being dyed. The beauty of batik lies in its simplicity and the fact that one need not be an artist to achieve results. Some of the best effects in batik are often achieved by chance. Batik is very often considered a craft like ceramics, pottery or even needlework. Batik print is an art and craft which is becoming more popular and well known as a wonderfully creative medium. The art of decorating cloth in this way using wax and dye has been practiced from centuries. Basically it is Wax Resist Dyeing.

History The revival of batik in India began in the 20th century. the well-known artistâ&#x20AC;&#x2122;s village of Chola-Mandal is where batik gets an artistic touch. Batik that is produced in Chennai is known for its original and vibrant designs. In present times batik printing is not associated with any particular caste or community. Earlier, in Gujarat though only Khatri caste was involved in the craft but now people have taken batik printing as a source of livelihood like any other skill.

Process Batik Blockprinting has a process that involves using wax as a resist material. The art of batik is a three-stage process of waxing, dyeing and dewaxing (removing the wax). There are also several sub-processes like preparing the cloth, tracing the designs, stretching the cloth on the frame, waxing the area of the cloth that does not need dyeing, preparing the dye, dipping the cloth in dye, boiling the cloth to remove wax and washing the cloth in soap. The characteristic effects of the batik are the fine cracks that appears in the wax, which allow small amounts of the dye to seep in. Batik wax exercises an important function in the process of batik printing. Proper usage of wax results into an impeccable batik work. 30 per cent beeswax and 70 per cent paraffin wax are generally applied. During application wax should not be overheated or it will catch fire. The common batik fabrics that make for excellent batik prints are cambric, poplin, voiles, and pure silk are used. Natural colors derived from barks of trees, leaves, flowers and minerals were used.

Splattering

BATIK TECHNIQUES Block Print Crackling Splattering Hand painting Block Print

Crackling

Free Hand Print

Tools and Equippments 1) A piece of white fabric The initial appearance, the fabric used as batik material is the result of homespun cloth. New imported white cloth known around the 19th century. Now you can easily get a white fabric with an affordable price. Type of fabric that can be used also varies the type of cotton, mori, and silk for batik. The size of the fabric need not be too wide, but enough with the small size. 2) Canting Such canting function pen, filled with liquid wax as an ink. Canting diverse forms, from which leads one to some end. Canting which has some edge serves to make the point in a single touch. While the lead single canting function to make lines, curves and so forth. Canting consists of three parts. Canting the handle made of bamboo.There is a bowl as a liquid wax, and the tip of the hole as the tip of a pen where the wax out. 3) Wax and Heaters Before use, the wax should be disbursed in advance by way of heating on the stove or other heater. Wax in batik making process serves to hold the color so as not to get into the fiber fabric in a part that is not desired. While the part that will not be left covered with colored wax. 66

4) Batik dye Batik dyes used in each different area. Dyes derived from materials contained in the area. Batik dyes made from synthetic dye (made from certain chemicals) and the natural color is the color of the material produced from certain plants for example, dye batik from tree tom, pace or mulberry tree that gives the red color of yellow artificiality.indigo, and timber soga. Raw Material i) Cotton or silk cloth is used for batik (synthetic materials are generally not used). ii) Paraffin wax is used in the process. iii) Dyes -Napthol, Direct and Vat dyes are all used in the dyeing process iv) Firewood and kerosene for heating the wax. Tools i) Wooden blocks for printing ii) Vessel to heat wax in iii) Plastic bucket or big bowls to mix colors iv) A frame/ table to fix the cloth (table has sand on it so the wax does not spread) v) Brushes for making free-hand designs. These brushes can be used only for waxing.

Products The striking beauty of batik bedspreads, curtains, tablecloths and placemats is indescribable. The colors are so vivid and the designs so stunning that itâ&#x20AC;&#x2122;s hard to believe they were made with wax and dye.

I went to one of the workshop of gorevali in bhuj. There I saw the detailed process of Batik printing. They were even having a shop and they have many orders on the basis of which the production of the final product was done.

Craft documented by Dhwani Chauhan

Acknowledgments I take this opportunity to the people who have been instrumental in the completion of this documentation Initially,I am very grateful to GLS Institute of Design who gave us opportunity to work upon the crafts of Kutch as a part of Degree Project. Apart from our efforts, the success of documentation depends upon the encouragement and guidelines by our Faculties. And a special Thanks to those artisans who gave us a great response and made our visit worthwhile.

Bibliography www.khamir.org www.rannutsav.com www.natgeotraveller.in www.kutchexpeditions.com www.ajrakhprinting.co.in www.letsexpresso.com www.dsource.in gaatha.com https://issuu.com www.studentshow.com craftroots.org

Craft documented by Dhwani Chauhan