Batik and Printing with natural dyes by Rishika Nema

GRADUATION PROJECT SUBMITTED IN THE PARTIAL FULFILLMENT OF THE GRADUATION REQUIREMENT OF BACHELORS OF TEXTILE DESIGN

SPONSOR: DC (H), MINISTRY OF TEXTILES SEMESTER VIII STUDENT: RISHIKA NEMA

FACULTY MENTOR: DR. DEBOJYOTI GANGULY

2015-2019 NATIONAL INSTITUTE OF FASHION TECHNOLOGY BHOPAL 1

JURY EVALUATION SHEET The evaluation recommends Ms. Rishika Nema for award for graduation from National Institute of Fashion Technology, Bhopal after fulfilling the requirements set by the institute and jury members.

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Ram Ghat, Ujjain (#001)

Graduation Project 2019 Tenure: 1st January 2019- 31st April 2019 Bachelor of Design- Textile Design Semester- 8 This document is originally submitted as a part of academic learning to NIFT, Bhopal and solely designed and assembled for academic purpose and research documentation. The opinion expressed in the document is of author and NIFT does not bear any responsibility for the nature of its content. Reproduction of any part of this document must acknowledge and seek permission of the author, NIFT, Bhopal and DC (H). All designs are subject to copyright of author and institute. Designed and edited by: Rishika Nema Batch: 2015-2019

Every craft has a story

Workshop of Rahim Gutti ji, master craftsman, Bhairavgarh (#002)

Acknowledgment In the accomplishment of this project successfully, many people have bestowed their heart pledged support and here I Rishika Nema would like to use this opportunity to thank all those people. I would like to thank DC (H) for sponsoring this research project and trusting me that I can complete this project I would like to thank Anupam Maâ&#x20AC;&#x2122;am (CC-TD) for getting approval of this project, and for providing constant support and answers to all queries since my selection till end of this project . I express my sincerest gratitude towards Mr. Rahim Gutti ji (Master craftsman, Bhairavgarh), for providing all the information and samples, Mr. Siddique Gutti, Mr. Hayat Gutti, for constant cooperation and experimentation in completion of the design collections. It is very important to respect each and every person responsible in successful execution of a project who works behind the stage and are not directly involved, I would like to thank Mohd. Aarif, Mohd. Rafik Mohd. Sharif and all other artisans working with them for showing me their work, for collecting the extinct designs and blocks without whose help this research would have been incomplete. There is always a need of mentor who can offer directions and driving tips from the backseat while you are learning to drive, I am very thankful to my mentor Mr. Debojyoti Ganguly (Proffesor NIFT, Bhopal) for guiding me through the project, for motivating me to keep experimenting and for teaching me the values essential for gradual development. I extend my gratification towards Mrs. Swati Vyas (SDAC), for sharing her research work based on Bhairavgarh and for inspiring me to keep digging deeper for the information. I would like to thank Mr. Arnab Sen for always inspiring me to do better. I would also like to thank each staff member of NIFT, Bhopal; Imran sir, Sandeep sir, Ankur sir, Sanjay Sir, Accounts Department and the staff of Resource Centre of NIFT, Bhopal. At last I would like to thank my family and friends for bearing me during thick and thins while I was doing this project, for always trusting me that I can do better and for providing constant support and encouragement to pursue my ambitions. Rishika Nema NIFT, Bhopal

Content 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36.

About Cluster History of printers Bhairavgarh Product range & motifs Timeline (Changes, destruction and innovation) Lugda types and layouts Neela Lugda- Recreated Similarities and differences between bhairavgadi neela lugda and sanganeri lugda Home furnishings History of Jajam Influence of Rajasthani Jajam Story of Chaupad Extinction and revival of jajams Bhairavgarhi Jajam Block construction Dyeing with natural dyes History of batik Batik in Bhairavgarh Printing Process Pre- treatment of fabric Preparing wax and printing table Block batik . Kalamkari Brush batikSponge batik Tzanting Coloring with indigo sols Indigo sols on cotton and silk Dyeing with napthol dyes Application and recipe Results on cotton vs silk Dyeing with Vat dyes Difference in dyeing between Indigo sols, naphthol and vat dyes Colors available for Batik in Bhairavgarh Batik with metallic block Batik with natural dyes

14 15 16 17 18 19 25 26 27 28 30 31 32 36 40 42 45 45 46 46 47 48 48 49 49 50 52 53 54 55 55 56 58 59 60 60

37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65.

Difference between Screen Batik and Indonesian Batik Dewaxing Recycling wax Client- Development commissioner (handicrafts) Brand research Analysis of brand study Existing product range in Bhairavgarh Objective Collection-1 Brief Trend analysis Color story Inspiration Initial concepts Initial sketching, planning and brain storming Specification Sheet Photoshoot Collection-2 Brief Trend analysis Color story Inspiration Initial Motifs CAD Files Specification Sheet Photoshoot Artisan Profile SWOT ANALYSIS Effect of design intervention Conclusion References

61 62 63 64 66 75 76 77 78 80 82 84 86 88 90 102 106 108 110 112 114 116 120 128 132 134 135 135 136

Rajasthani blocks similar to Bhairavgarhi blocks (#004)

Revival of Bhairavgarh block print & technique development in batik By: Rishika Nema

About Cluster

Map of Ujjain (#005)

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Ujjain is the religious capital of Madhya Pradesh and is one of the most famous city of the state. Situated in Malwa region near eastern bank of river Kshipra it’s culture speaks volumes about Malwa and Nimar. It is famous for its Dal bafla and poha jalebi. With more than 1000 temples and one of the jyotirlinga of Mahakal and famous kumbh mela held after every 12 years it is one of the important pilgrimage center of Hinduism.

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According to the 2011 census, Ujjain has a population of 515,215; 264,871 of whom were male and 250,344 female. Ujjain's population is 77% Hindu, 19% Muslim and 2.5% Jain.

•

Bhairavgarh or Behrugarh is a village situated 12kms from main city of Ujjain. It is named after Shree Kalbhairav temple who is said to be the army chief of Lord Shiva. Bhairavgarh is also famous for its printed fabrics in all over country.

•

Fabric embellishment is being done from older times, whose proof can be found in writings of Kalidasa. Many legends and myths of Hindu mythology are related to this place. History of fabric printing is quite uncertain but it was already developed during reign of Firozshah Tughlaq.

•

Many experiments with leather batik, kalamkari, Indonesian batik are done here by master craftsman Rahim Gutti.

History of printers Origin of printers of Madhya Pradesh can be traced from Rajasthan and Gujarat. Printers from Rajasthan and Gujarat migrated to border areas of Madhya Pradesh approx.400 years ago. According to the popular belief (as given in book “Saris of India”), hindu printers of Rajasthan got converted to Islam. This can be confirmed by the fact that printers and dyers of Bagh and other places still has their surname as “Khatri” and “Cheepas” which are hindu community in Rajasthan who belongs to Namdev sect. Printers used to practice dyeing with natural dyes which required lot of water and hence they had to move more often in search of running water which led to their establishment in Bagh near river Baghini, Ujjain near river Kshipra and Jawad near Neemuch. It is believed that printers of Bagh learnt the technique of dyeing with alizarin and indigo from the artisans of Bhairavgarh.

Bhairavgarh Story of Bhairavgarh is a classic example of downfall of a craft after industrialization. It is a very well known truth that when industry and mill made cloth was introduced in India, the worst impact was taken by craft clusters. Hand made clothing went out of fashion after 1950’s and till now it is fighting to survive. Many craft clusters managed to regain their importance such as Chanderi and Bagh but many are still struggling and some have lost their true identity. One such case is a story of Bhairavgarh. “It is a classic case of a traditional printing area that went out in search of a modern market, was picked up by it for about 8 to 10 years and then completely dropped, for it could not compete in variety and price with the prints of Rajasthan and other silk screen prints” as quoted in book Saris of India. Printers from Rajasthan came here during the reign of Ferozshah Tuglaq because of river Kshipra and the story of Bhairavgarh block prints started. The original designs and blocks had resemblance with Rajasthani designs since original printers belonged to Rajasthan. Traditional range of colours included Red from madder and alizarin, hirakasi black, indigo blue and non-fast colour that were made by mixing color with buttermilk. All these came to end in 1960’s. For every community there used to be a different type of fabric which used to be important to participate in religious and community affairs. Gujar – chunadi Anjane- neela lugda Rajput- bandhav chunri Bagri- lal lugda Kumhar and banjara nayak- kishangadi cheent Gaari- kala lugda Mali- makhi bhant lugda Bhamiyo- Kaval bhant lugda compulsory in marriages Bhil- bootidar lugda Brahman and baniya- bhairavgarhi dhoti abothiya Kulmi and anjana community- laasi and chunri

Neela lugda (#007)

Product range & motifs Fabrics were printed as per their end use. Some of them were lugda, bhairavgadi lugda, dhoti, burhani lugda, rehbari lugda, genda chunri, rajai khol, jaajam, safra/dastarkhan, palangposh/chaadar, jainamaz, jharia, kishangadi cheent/chintz etc. Originally there were approx. 1500 original blocks of bhairavgarh print. Out of these only 60â&#x20AC;&#x201D;70 blocks are left. Some of the blocks are bhairavgadi buta, burhani buta, dhoti buta, laggad, bela, gulli, narelia, chokhdi, dhoti ki kinar, kamal gatta, baadi bela, shahtoot, mandal, patashi, gaula, leheriya, aathiya, jawaariya, taakdaan, gaabla, khutri, chakri, phirma, chakri, kalash waali chakri, aam daal, peepal patta, haathi pagga, chunri border, phool chokhdi, kherala, keri, jaal waali keri, jabdaar, chaand, janjeri, kangura, haathi, titli, ghoda, buti, bataana, safre ka chaand, mehraab, minar, tota, moongphali, tiles, pharde, neem patti, haath-paan, paagdo and jhaaria. It is to be noted that blocks of animal and birds were quite popular even when all the printers belonged to Muslim community.

Bhairavgarhi blocks of lugda, jajam and bedsheets (#008, #009, #010 )

Timeline (Changes, destruction and innovation) 1930-40- Chemical indigo was introduced and became popular as palkiya or instant color which replaced natural indigo which took 15 days to mature. 1947- Madder was sold by Banjaras which was brought from the forests of Ratlam. In 1947 printers started using black sodium though after a period of time it ate into the cloth. 1957- Market for block prints decreased. 1958- earliest cooperative society was setup and printers came together to take matters in hand. 1960-73- bhairavgarh joined large scale export market. T.C. or Tin chloride was introduced as a resist and became very popular later came to be known locally as thanda katav. These fabrics over ran traditional prints in alizarin and black. Handicraft board became major client. Through this export phase a number of private traders of Ujjain and Indore increased but international market collapsed because of large variety of prints from Sanganer and Bagru. Eventually same T.C. prints that pushed out traditional prints brought the downfall of Bhairavgarh for they were responsible for cutting out the range and variety of its traditional prints. 1980’s- T.C. prints were further replaced by new craft Batik. Batik was done mainly through block but artisans like Rahim Gutti ji introduced techniques of Kalamkari which was done with coconut husk brush, tzanting i.e. an Indonesian batik technique. Craftsman shifted to napthol dyes from natural dyes. Present scenario- Original designs of blocks and technique of block printing is extinct. People are practicing block printing but with pigment dyes and the designs of motifs have completely changed. There is no uniformity in style of blocks that are being used. Now batik is the main craft through which this place is known and which sells with the name “Bhairavgarhi prints”. Most widely used technique in batik is Block batik followed by kalamkari and then tzanting which is done by only three craftsman. Family of master craftsmen of Rahim Gutti is the only family left who are still practicing printing with natural dyes at a very small scale.

Mangalnath Temple, Ujjain (#011)

Lugda types and layouts â&#x20AC;&#x153;Lugda were the social signaling device for numerous communitiesâ&#x20AC;?. Each community had a distinct pattern and motifs. Since the printers migrated from Rajasthan and settled here Bhairavgarhi lugda are very similar to the lugda from Rajasthan. Lugda were a veil which were worn over a skirt not a full length sari as it is considered nowadays. They were shorter in size and had a distinct layout. The most commonly used colors were blue from indigo, red from alizarin, black from iron and jiggery, sometimes green was also used. Other colors like yellow was used in accents but it used to be non-fast color which was made by mixing turmeric with buttermilk. 1. Neela lugda- One of the most popular kind of lugda, it was worn by anjana community and other people of lower caste community. It was printed in indigo blue and hence the name. layout of this lugda was quite similar to Bhairavgadi lugda whose similarity can be traced back from the lugda of Rajasthan and Gujarat. Few changes that were seen in this lugda was the type of buti that was used. Its size was 3.68*1.52 meters and it was printed on cotton fabric. 2. Chhidri/Bhairavgarhi lugda- This lugda is also known as abothiya. It had a fine dot pattern in the body with red colour as opposed to neela lugda which had a blue background. Black color in the form of band created a dramatic effect. It was worn by Brahmin and baniya community. Its size was 5.5*1.25 meters. It was printed on cotton fabric. 3. Kala lugda- it used less refined blocks as compared to above two lugdas. Rekh block means block used for outlining was not used giving it a bold but flat look. It was worn by gari or the mason community who builds mud houses in that area. As the name suggest it was black in color which sets apart tribal people who used to wear it from other communities. Its size was 2.12*1.8 meters.

19 Basic layout of a lugda (#012)

Lal lugda (#014)

Neela lugda (#013)

Bhairavgarhi kala lugda (#015)

Lugda types and layouts 4. Kamal gatta buti lugda- it had a background of red which was printed with gad block with black outline. It had a kamal gatta motif instead of bhairavgadi buti in its pallu. It is worn by bhamiyo community who would not conduct a marriage without it. It was also made in Bagh but the shade of red is different at both the places. Its original size was 5.5*1.25 meters. 5. Pomia lugda- it was used by Bhil and Bhilala communities.Motifs in this lugda are more curvilinear using the pointed bud on the edges of the border.it had a tassled end as in shawls.it had a red border with black ground and was ornamented with tribal jewellery, beads or coins. Actual size of the lugda is 5.5*1.25 meters. 6. Jowaria lugda- it was also worn by bhil and bhilala community and was used in marriages. It was one of the finest printed fabric once and was often embroidered. Jowaria means barley seeds which were used in field. Its actual size was 4.8*1.1 meters. It is also called jhariya in Sehore where it is worn by jat community. 7. Leheriya lugda- leheriya is the only gad ground color print with vine pattern in the body. Vine pattern is printed diagonally over the field of the sari which qualify it to be called as leheriya lugda. Border and endpiece were printed in black using phool butas and other lugda motifs. Border is composed of bel butti held between parallel lined and edged kangoora row of buti motifs. This is repeated as double row or bandish with a series of boldly joyous outward flowing phool butas between them. Entire section was printed with datta or filler block. Its size was 5.81m*75cm. Dhoti Jodi- These were worn by baniya (Mahajan) community. It had a border and field. Motifs that were used are patashi, mandal, shahtoot, chokdi phool, chokdi leheriya, peepal leaf and aam ki daal. Burhani lugda- As it can be inferred from its name it was worn by women of Bohra community. Its pallu had border and a motif that was called burhani buta. Inner part used to be black and color of motif was kept red, black or yellow. Border was strictly printed in black and yellow color. It was used during religious and social ceremonies. Other types of lugda like angocha, nandna lugda were also famous in other parts of Madhya Pradesh which differs in the motifs and field. Kamal gatta buti lugda (#016)

Kala pomia lugda (#018)

Leheriya lugda (#019) Lal pomia lugda (#017)

Tribal lugda with border in yellow and blue nonfast colors made with turmeric and indigo mixed with buttermilk. (#020)

Bandhani print saree famous during 1940-50â&#x20AC;&#x2122;s made using T.C resist technique. (#022)

Tribal lugda with border in yellow and blue nonfast colors made with turmeric and indigo mixed with buttermilk (#021)

(#025)

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(#024)

Motifs commonly in lugda: 1. Batana motif (#023) 2. Leheriya lugda with dhoti buta (#024) 3. Jowariya dana (#025) 4. Gggh (#026) 5. Khiraliya keri (#027) 6. Kamal gatta motif (#028) 7. Leheriya motif (#029)

(#029)

(#027)

(#030)

(#028)

(#031)

Neela Lugda- Recreated Khutri Buta

Band

Chukhaliya

25 Pallu of neela lugda (#032)

(#034)

Similarities and differences between bhairavgadi neela lugda and sanganeri lugda

26 (#033)

(#035)

Home furnishings Jaajam- It was used as floor covering and specialized blocks were used for its printing. They usually had light pink ground which was prepared with alizarin. Different blocks that were used for jaajam were haathi pagga or fitwaas, horse, elephant, tiles etc. usually they were printed in two colors but sometimes it had upto four colors. Nowadays these are printed with screen printing technique. Rajai khol- it was printed in two colors. Motifs used were laggad, bela etc were used. Gulli, narelia, moongphali, chakri, phirni, etc were used for field with blocks. Safra/ dastarkhan- these were the speciality of Bhairavgarh. These were square in shape and was used for sitting purpose during dining. They were mainly used by musim and bohra community. These were also printed in two colors. Center of the dastarkhan was printed with circular motifs. It was covered with border on all four sides while the ground was printed with plain and subdued print. Palangposh/ chaadar- its border was printed with kangura or jaali. Motifs like paisley were printed at equal distances. Another popular motif was key stamp. These motifs were printed in black with saffron, parrot green, dark green, purple, blue or yellow ground. Jainamaz- its size was 45 inch long and 20 inch wide. Its border had mehraab and minar. These were used by musim community for prayer. These were also used used by tribal people with different motifs instead of minar and mehraab. Kishangadhi cheent- it was same as nandna fabric. It was printed in red and indigo with the help of dabu technique.

Rajai khol (original dyed with alizarin and ferrous sulphate) (#36)

History of Jajam Jajam was one of the traditionally made textile in Bhairavgarh. These were “common people’s floor covering”. Jajam were thicker than bedsheets, made of coarser handloom cotton but thinner than handloom durries and rugs. The proof of jajams can also be found in regions of Saurashtra and Rajasthan. Jajams were also printed in Kashmir were they were commonly called masnads. (Ref: Arts and Crafts, Jammu and Kashmir: Land, People, Culture By D. N. Saraf). Where they were spread over cotton durries so that they do not slip and can hold jajam well. They traditionally have a pinkish- white background and red designs. A large number of motifs are used to compose the design and designs are grouped together and separated by black or dark red lines. The neempatti design for instance has a 24 petal flower surrounded by leaves and other flowers. Some jajams have geometric motifs but the border designs comprise mainly of leaves and flowers. Another variation was surajmukh design which was large sunflower. (Ref:https://asiainch.org/craft/dhurries-of-madhyapradesh-chattisgarh/)

On right- Jajam floor spread, late-19th-early 20th century, silk, plane weave, block-printing, Honolulu Museum of Art (used from wikimedia under creative common) (#037)

Recreated jajam by Wabi Sabi, Jaipur(#038) 29

Influence of Rajasthani Jajam Bhairavgarhi jajam has its root from Rajasthan where Jajams were popular floor covering. Apart from jajams other block print of Bhairavgarh are also highly inspired from block print of Rajasthan, such an example can also be seen in lugda, which is much similar at both the places. Jajam textile, was used during marriages, social events and even important community gatherings like village Panchayats. Jajam were called peopleâ&#x20AC;&#x2122;s textile as they were often communally owned and played a vital role in the social life of the village. They were also of exchanged as marital gifts or temple offerings. In rural households, they were a symbol of honour for the visiting guests as well as convenient seating at fairs and festivals. Dimension and size- Jajam was made to order in large sizes to accommodate community gatherings in a village or, for guests coming to a life ceremony. It was customized according to the space, for example, as big as a courtyard in a temple or a house. This floor covering could be as large as oneâ&#x20AC;&#x2122;s imagination. 10*15m the biggest jajam was found in a community temple. 3*2m jajam made for household purposes.

Recreated jajam by Wabi Sabi, Jaipur (#039)

Story of Chaupad Chaupad is a well known game in Indian mythology and the invention of chess and ludo was evolved from this game. It was played in between four people with the help of dice. People derived an interesting way to connect jajam with this game. Since, jajams were used during gatherings or any recreational gatherings many jajams came with layout of chaupad printed in its centre, where people can gather around and play the game or simply watch others playing it. It became one of the factor which made jajams interesting.

Complex diamond pattern with central chaupad by Bagru master printer Seduram Chhipa (#040)

Extinction and revival of jajams After 1960â&#x20AC;&#x2122;s artisans of Bhairavgarh started abandoning the original art of block printing which they helped in reviving in Bagh due to lack of water resources in Bhairavgarh and tedious process it involved, they discovered another craft of batik printing which was easy as compared to printing with natural dyes and moved towards batik printing with chemical dyes. Slowly and steadily as from 21st century proof of jajam printing with blocks became almost extinct and there is no proof which can be found online or in gazetted document of Ujjain that this craft has its existence in Bhairavgarh or even its birthplace Rajasthan where Mej river was the source of water. Revival- In 2016 an effort to bring this remarkable textile out of obscurity, Wabisabi Project was initiated with support from the Anokhi Museum. The project began with an objective of documenting the craft, stories and culture around Jajam. In due course, the research blossomed into an exhibition that explores the significance of jajam through old textiles and new experiments by wabi sabi.

Recreated jajam by Wabi Sabi, Jaipur (#041)

Jajam SIZE: 61" x 50" age: 100 years old approx. FROM: Gujarat NOTE: a small size traditional cotton Jajam from Gujarat block printed with traditional colors and designs (#042)

A page of book â&#x20AC;&#x153;Imprints of culture (Block printed textiles of India) written by Eiluned Edwards describing the types of textiles such as jajam and its famous chaupar design. (#043)

Reproduction of a multi-coloured jajam style once frequently printed in Jahota.Purushottam Chhipa, Jahota,

(#044)

Bhairavgarhi Jajam When jajam migrated from rajasthan to bhairavgarh, it came with few changes. Refinement and detailing in motifs decreased and sometimes four coloured jajam was printed with non-fast colour making the colour bleed whenever the jajam was washed. However the prominent colours used remained red and black. Number of borders that were used originally decreased from 10-12 to 4-6. craftsman started using motifs of lugda in jajam and other motifs like khiralia keri, chakri and dhoti buta became famous. Chaabi daat was also a famous motif. Some craftsman acknowledge the fact that chaupad was also the prominent motif that were used in jajam while others deny the fact telling that it was mostly craftsmans imagination what he wanted to print at that time. As for the photograph of a proper jajam there is none left. However, master artisan Mr. Rahim Gutti still had a sample book which has a good collection of motifs that were used in Jajam and later in bedsheets. Other blocks were also found from Mohd. Aarif and his father and Mohd. Raffiq who had some old blocks and impression of jajam motifs.

#045

#045- Chokhdi, nandna buta, #046- Sayeed Chakhri, #047- Keri, #048unknown, #049- Unknown, #050- Unknown, #051- Chakhri in body and T.C print bandhni motif in border, #052- Paan buta & unknown border #049

#046

#047

#050

#051

#048

#052

#053

#057

#054

#058- Khiraliya Keri

#059- Dhoti buta

#055

#060

#056

#061- Fitwas or haathipagga

Making of namda block (#062)

Like any other block print, making of jajam starts with block carving. Handcarved blocks brought from Jaipur and Ahemdabad were used in jajams. A special type of block called namda on which wool was attached was used in printing jajams which helped natural dyes to spread evenly on the fabric. Alizarin was mainly used in printing jajams. These were printed in two colors in a Bagru while in Bhairavagarh it had a light pinkish background because of alizarin and motifs were printed in other available colors of indigo, black and dark red. On right- Namda: The sheep wool waste generated from dhurries and decorative floor mats in many parts of Rajasthan is used in the making of jajam blocks.

Block construction Blocks used in Bhairavgarh are ordered either from Gujarat or Jaipur. It depends upon the vendor of the block from where he would like to manufacture those blocks. But there are few craftsman in Bhairavgarh who designs and make there own block with makeshift technique. Mohd. Sharif uses drilling machine, ply-board or wood blocks purchased from furniture store and prepare his own blocks. First he trace designs on wood block with pencil. He also uses resin to join blocks of wood if they break or design is too large to carve on a single piece. Though there are some limitations to these kind of blocks, the design forms cannot be intricate, they have to be bold of geometric, sometimes they break while printing and hence are not advisable for bulk printing.

41 and #064) Block making from drilling machine, Bhairavgarh(#063

Dyeing with natural dyes Earlier in Bhairavgarh fabrics were printed with only natural dyes. They used to use natural indigo for blue, alizarin for red and ferrous and jaggery for black. These three were the original colors that were used, green was introduced later but original samples for this are hard to find. Recipe and process that was followed to print with these colors are still known by some craftsman who practiced natural dyeing with their forefathers. Mr. Rahim Gutti ji and his family is still practicing this technique of dyeing after years of its extinction from Bhairavgarh. Samples dyed with natural dyes were also seen at Mr. Majid’s workshop who know this printing technique and take custom orders for it. One of the reason of extinction of this technique was long procedure involved with it. This process takes minimum 5-7 days to complete. • Process of natural dyeing starts with preparation of fabric. Fabric is first washed with detergent thoroughly. • After this, fabric is boiled in harda solution. For every 1m of fabric 50gms of harda is used. 10-20ml of milk is also added to the solution. Fabric is boiled in this solution for 20 minutes and then left to dry. It is advisable to dry fabric in sunlight. Fabric forms yellow color on the side of fabric exposed to sun and darker yellow on the back. • After fabric is dried printing start. First color that is printed is black. To prepare black color there are two tecchniques that are followed. First is to boil 10% of ferrous sulphate in water till it dissolves in water and cool it down for printing purpose. This paste gives darker shade with time as it gets older. It can be kept upto years. Second method is to use rusted nails and iron utensils with jaggery to make black color. Disadvantage of this technique is it takes minimum 20 days to make black dye and gives a foul odour. This dye can also be kept for upto years. • To prepare alum solution 15% of alum is boiled with water till it dissolves completely. This can be kept for days but it is feasible to boil it again to minimize chances of crystallization. A slight non fast pink color is added while printing alum so that it becomes easy to recognize the printed area since alum is transparent. • To make printing paste viscous, tamarind seeds are grinded and mixed with water. It is then cooked and water is added at proper intervals till proper consistency and cream color is obtained. It can be kept for maximum 1 year. • Black dye and tamarind thickener is added to obtain black printing paste. After black color is printed fabric is printed with alum at the places where red color is required. • After printing with alum and iron black it is advisable to keep fabric for at least a week but fabric can be treated further after two days of printing if higher concentration of color is used and fabric is absorbent. • Fabric is washed in running water till water becomes clear and fabric is dried before it can be dyed. After drying fabric is dyed in solution of alizarin and dhwadi flowers to obtain deep red shade. • Again fabric is left for drying in sunlight which give it more bright shade. It is again washed for one last time in flowing water and dried.

43 Dyeing with alizarin and dhawdi flower, Bhairavgarh(#065)

Tracing outline of a design with tzanting tool (#066)

History of batik History of batik can be traced back to 2000 years ago in India. People have different opinions about it origin. Some believes that it originated in Indonesia while others believe that it originated in India. Though Indonesia took this art form to another level to produce fabrics with much intricacy and detailing. In India batik was practiced with blocks or brushes. Major batik centers are Indonesia, Sri Lanka, Malaysia, Thailand, India and parts of west Asia. After Britishers came to these countries this art form went to some parts of Africa as well where it exists in the most crude form. In India some of the batik centers are in Gujarat, Rajasthan, Madhya Pradesh, west Bengal (Shantiniketan) and in South. In India batik was done with either block or brush but techniques evolved with time expanding the possibilities in design and colours.

Batik in Bhairavgarh When printers from Gujarat and rajasthan migrated to Madhya Pradesh along with the art of block print they also brought the art of batik with them. Although this art form evolved more during 1940â&#x20AC;&#x2122;s-1960â&#x20AC;&#x2122;s, after market for natural dyes and T.C. prints collapsed. Craftsman moved towards this artform since it took less time and it was easy to learn and produce as compared to original block prints. Batik was also practiced initially with blocks here. Some craftsman started using same blocks with more gad in batik. Major innovations in batik were done here by Mr. Rahim Gutti, who experimented and brought the technique of tzanting in Bhairavgarh. He along with others also made a pen out of capillary and coconut husk which can be used to produce more finer patterns of batik than block. In present scenario, there are three to four techniques that are being used in batik here. The most common being block printing which is done by almost every other artisan, followed by kalamkari done with coconut husk pen which is done by 6-8 artisans here, screen batik is practiced by 4-5 artisans and for tzanting there are 3-4 trained people out of which only two works on it. Napthol dyes, rapid sols and vat dyes are usually used for batik printing. Some of the clients of bhairavgarh batik are fab india, MPHSVN and local designers. Many artisans also sell their product through indirect marketing channels i.e. online e-commerce stores. They also sell products in local market of Madhya Pradesh or in exhibitions and fairs organized by ministry of textiles and DC (H).

Printing Process Pre- treatment of fabric Traditionally batik is done on either cotton or silk fabric, locally woven fabrics from Chanderi and Maheshwar are also popular choices among craftsman of Bhairavgarh. Before printing starts fabric is pre- treated or washed so that printing can be take place and an even colors are obtained. For pre-treatment fabric is first soaked in TR oil or turkey red oil for 10 minutes which is a kind of defoaming agent, after this it is washed in industrial textile detergent which removes all the dust and impurities from the fabric. Sometimes fabric is also bleached with hypochlorite to obtain superwhite sheen. In Bhairavgarh, there is one large unit whch has semi-automated machinery for scouring and bleaching otherwise small artisans prefer to wash fabric by hand, although for bulk order, machine is used. After washing, fabric is dryed and it becomes ready for printing.

Pre-treatment of fabric being carried out in jigger (#070, #071)

Preparing wax and printing table In Bhairavgarh, paraffin wax is used. A small amount of color is added in wax so it becomes easy to distinguish while printing. Sometimes either resin or beeswax is used to obtain desired texture. For block printing recycled wax is mixed with paraffin, sometimes beeswax is also mixed in ratio of 70:30. For kalamkari and tzanting only paraffin wax is used, sometimes resin is also added to it to easily melt wax and to prevent blockage in capillary. Beeswax is not used in these two techniques because it block capillary. Beeswax is soft and melt more readily as compared to paraffin and resin, it corrodes easily when treated in acidic pH. This is also one of the reason it is not used. New paraffin wax produce more cracks and as it gets older it produces less cracks. But there is a limit to use recycled wax, after certain period of time when it becomes almost black it is rendered useless and unfit for printing. Wax is heated on a heater either using LPG, electricity or kerosene oil. Thermometer is not used here to check temperature, although it is stopped heating when wax starts producing slight crackling sound or steam start coming out of it. Temperature of wax also depends on the thickness of fabric, more the thickness more the temperature of wax is required. For printing with wax a table has to be prepared. In case of block batik and kalamkari, a layer of sand about 1-2 cm thick is spread evenly on table. Water is sprinkled to set the sand. It is very important that layer of sand is even to obtain errorless printing. After every interval of 30-40 minutes again water is sprinkled and layer is made even. In case of tzanting, it is done by keeping fabric in lap. While using brush technique with wax, fabric is spread on a tenter hooks and frame which can be seen in picture.

Fabric stretched over a frame with help of hooks 47 (#072)

2. Kalamkari- Kalamkari is done with a pen which is made by local craftsman by winding coconut husk, yarns or hair over a metal capillary. It is dipped in melted wax where yarns absorbs wax and when designs are made it flows on a fabric through capillary action. (#074)

Fabric is printed with wax through many techniques. 1. Block batik- this is the most easiest and common technique in Bhairavgarh. Block is dipped in wax and printed on fabric which is spread over printing table layered with sand. (#073)

4. Sponge batik- it is a makeshift technique used when blocks of desired designs are not available. Design is traced on a sponge and cut. It is dipped in wax and and than printed on a fabric. (#76)

3. Brush batik- when a large area is to be resisted this technique is used. It is done with a help of paintbrush, brush is dipped in wax and fabric spread over hooks and frame is printed. In this technique it is important for fabric to be stretched otherwise error marks appears on fabric. (#075)

#077

Tzanting

#078

It is the most laborious technique done in batik. It also produces most aesthetically beautiful designs. This technique was introduced in Indonesia and hence it is also called Indonesian batik. Originally it is done with a metal pen but in Bhairavgarh this is done with a similar makeshift pen. This pen was made by master craftsman Mr. Rahim Gutti ji. Later few artisans from Bhairavgarh went to Indonesia to learn this technique. Makeshift pen is made with a PVC pipe attached to a metallic nozzle with a hole in which wax can be filled.

#077- Stencil for tracing, #078- design traced with wax

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Process of tzanting starts with making khaancha or a stencil. Design is sketched on a tracing paper or a thin plastic sheets and holes are punched over it. Design is traced over a pre- treated fabric using indigo-blue or neel. After tracing, design is outlined with tzanting tool and wax.

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Colors are filled in designs using indigo-sol dyes

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#079- Use of tzanting tool

Coloring with indigo sols After tzanting colors in individual elements are filled with indigo sol dyes. These are solubilized vat dyes which are identical for cotton fabric. These are readymade dyes which can be used directly by dissolving in warm water. In Bhairavgarh, these dyes are applied with brush on a fabric. • It is important to paint fabric in shade because indigo sols react in sunlight and develop at earlier stage. After painting fabric is dried in shade for 6 hours to 1 day. • Next day, fabric is dipped in a diluted solution of sulphuric acid and nitric acid. • One interesting quality of indigo sol dye is it do not develop its true shade before it is dipped in acid solution. Due to this it become difficult to predict the exact exact which will be obtained on fabric. • There are 10 to 15 shades that are available in market but other range of shades can be created by mixing two colors just like it is done with water colors. • After developing clor in acid bath fabric is thoroughly washed to remove traces of acid and than exposed to sunlight to obtain brighter shades. • These paints are not stable and hence are always prepared in small batches. • After painted fabric is dried in sunlight the painted area is covered with wax and later dyed with either vat or napthol dyes

#081- Indigo sols prepared in cups, #081- coloring with indigo sols

Indigo sols on cotton and silk Fabric plays a important role in the result obtained after dyeing. Indigo sols can be used on any natural fibre but it produces more bright shades on cotton with all round washing fastness. On silk it roduces bright shades at first but they become dull after 2-3 washing and with time. One more problem with dyeing silk fabric with indigo sols is the treatment of fabric with acid to develop color. When silk is treated with acid it looses its shine and texture rendering the fabric a rough and dull feel. So it is advisable to use indigo sols in Bhairavgarh on cotton or other cellulosic fabric thaan on silk.

#082- Wax applied after coloring, #083- Fabric dyed with indigo sol kept for exposure in sunlight 53

Dyeing with napthol dyes The most common dyes used in Bhairavgarh are naphthol dyes or azoic dyestuffs. These dye contain insoluble azo group and hence are known as azoic dyestuffs. These are not readymade dyes and involve three main steps. Color on fabric is produced by a reaction between two components. These components are coupling compound or naphthol and di-azo compound called base. The coloured substance formed from this colorless compound is insoluble in water and fastness to washing is excellent although rubbing fastness is fair to good. One of the main problem this dyestuff is different range f shades cannot be produced from this dyestuff. It is also difficult to predict the color that will be obtained. There is a very limited range of colors available in naphthol dyes which is given in a chart.

Naphthol dyes as pollutants Naphthol dyes are considered carinogenic in nature and hence are banned in many Europe and USA. This is one of the reason export market for these prints is very limited. There is an urgent need to shift to other type of dyes. Craftsman have started using vat dyes as an alternative to these dyes however, reason being availability of color shades and not carcinogenic nature of these dyes. Craftsman of Bhairavgarh are unaware about carcinogenic nature of these dyes and discard dyes freely into drains which pollutes whole ground water and soil of the area

Table I. Mixing different colors with Naphthol dyes. Base A Naphthol AS

Base B Naphthol AS.G

Base C Naphthol AS.GR

Base D Naphthol AS.LB

Base E Naphthol AS.BO

Salt "1" (Fast yellow GC)

red-orange

pink

red

bright blue

blue-violet

Salt "2" (Fast Scarlet R)

lemon

bright yellow

saffron

gold

ochre

Salt "3" (Fast Red B)

magenta

red-violet

purple

blue-green

green

Salt "4" (Fast Blue BB)

tan

chocolate

red-brown

purple

deep violet

Salt "5" (Fast Blue B)

bright red

deep red

maroon

blue

blue-black

Application and recipe First step is to prepare coupling compound. For this a slightly lukewarm water is used. For this dyestuff is added to 1 litre of water and few drop of TR oil (TR oil acts as a emulsifier) and a lump less paste is formed. After this, NaOH and common salt is added. 10gms of Naphthol is added to each 1 litre of water used. NaOH is used a little more than the quantity of Naphthol (65% approx.) and 20gm salt is added to every 1 litre of water used. Naphthol or coupling compound can be activated in basic pH hence it is important to add NaOH. After preparing naphthol fabric is dipped in this solution for 5 minutes and later squeezed. Next step is preparation of base. For preparation of base a slightly more amount is taken as compared to naphthol. It is dissolved in ice cold water and and HCl. Now, Sodium Nitrite, Sodium acetate and acetic acid is added to the solution. After it common salt is added. Solution is properly stirred and naphtholated fabric is dipped into it. It is taken out after 2-3 dips and washed with called water and left to dry. To obtain a darker shade fabric is again naphtholated and dipped in base after washing.

Results on cotton vs silk Naphthol dyes produce bright shades on cotton. They have excellent washing and light fastness. Wheares on silk result can be unpredictable. Shade obtained on silk can depend on various factors. It will give different result on different type of silk fabric. For a cotton/ silk blend or maheshwari or Chanderi saree naphthol dyes are suitable and a slight darker shade is obtained than obtained on cotton. On silk however it becomes a riskier case. It depends on the type os silk that is being used. On raw silk it gives a very dark shade sometimes the color totally change instead of blue it can produce a dark brown-black shade. On plain and light silk however it can produce true shades. Colors also vary because of mineral content of water. If hard water is used a slight variation in shade can be expected. .

#084- Dyeing with naphthol dyes (naphtholation & coupling)

Dyeing with Vat dyes Although vat dye is a hot dye but craftsman have found out a way to dye wax printed fabrics with it. These dyes are insoluble in water and cannot be used directly for dyeing, they can be converted to water soluble state or leuco state by using reducing agent which is known as vatting. They can be applied over natural fabrics like cotton or silk. They produce darker shades in silk. Colors available in vat dye are sea green, turquoise, indigo, grey, orange, violet, red, brown and black.

Process 1. Vat dyestuff is first dissolved in TR oil and hydrose and NaOH is added to it to make a smooth paste. Lukewarm water is added to it to help in making paste smooth. 2. Water is heated to 80 to 90 degree Celsius and the paste which is made earlier is added to it. Common salt is also added to the solution. 3. Since wax printed fabric cannot be dyed in boiling water because wax can disintegrate after that a small amount of water at room temperature is also added which lowers the temperature of vat by 20 degree Celsius. 4. When bath is prepared foam forms over it which can give the idea of color that will be obtained after oxidizing. 5. Fabric is dipped in this bath. While dipping it becomes important that fabric is dipped properly into it otherwise this dye can oxidize in air which results in patchy dyeing. 6. Fabric is taken out just after 1-2 minute and left to oxidize in air where it acquire its true color. 7. After this fabric is washed in called water to remove excess dye and left to dry. #085- Dyeing with vat dyes

#086- Oxidation of vat dyes in air

Difference in dyeing between Indigo sols, naphthol and vat dyes A comparative analysis is given below discussing various properties between these dyes

S.NO 1.

TYPE

INDIGO SOLS

VAT DYES

NAPHTHOL DYES

HARMFUL EFFECT

Solublized vat dyes

Insoluble vat dyes

Azoic dyes

WASH FASTNESS

Good

Excellent

LIGHT FASTNESS

Fair to good

Excellent

Fair to good

RUBBING FASTNESS

Good

Poor to Fair

COST

Expensive

Moderate

APPLICATION ON COTTON

Bright shades, excellent fastness

Excellent fastness

APPLICATION ON SILK

Poor fastness, destroy luster when treated in acid

Excellent fastness, produces dark shades than cotton

Not suitable for every type of silk, tone of color may change

COLOR RANGE

15 approx. readymade shades available

5-6 colors in dark shades are available

5-6 colors in bright shades are available

10.

PROCESS

Easiest

Moderately easy

Complicated and long

11.

AVAILABILITY

Yes

Not all colors

Yes

12.

EFFECT OF WATER

No effect

Hard water alters shade

No effect

13.

DYESTUFF REQUIRED FOR A BATCH

More amount of dyestuff is required

Average amount of dyestuff is required

Less amount of dyestuff is required

14.

SHADE PREDICTIBILITY

YES

15.

SHADE VARIATION

Possible

Not Possible

15.

SUITABLE FOR MASS PRODUCTION

YES

16.

EXPORT AUTHORIZED

YES

Colors available for Batik in Bhairavgarh

Batik with metallic block One more interesting technique of batik can be seen in the work shed of Mohd. Majid. This technique is also block printing but it is done with metallic block rather than wooden block. Very intricate designs can be produced using metallic bocks. It is not done on a base of sand as is the common practice in block printing but on a base of gelatin or sponge covered with glass sheet and banana stems which can help in cooling wax much quickly than sand, due to which designs do not spread and very fine lines are obtained.

Batik with natural dyes Master craftsman Mr. Rahim Gutti ji uses natural dyes instead of chemical dyes to produce batik fabrics. He uses pomegranate skins, manjistha, tesu, rose and alizarin to obtain colors. Although he only use this technique to print scarves and stoles it can be a major contributor to bring the essence of batik in Bhairavgarh. It can be another opportunity to increase export in western countries where napthol dyes are banned.

Batik with vat dye As it is well known colour range in napthol dyes is limited to very few shades of yellow, brown, crimson, navy blue. To diversify there color range craftsman of bhairavgarh have also started using vat dye for batik through which other shades of green, red, sea gree, blue, black can be obtained. They prepare hot bath and dip fabric in it for 40-60 sec and oxidise it which do not corrugate wax much and fabric is dyed.

Metallic block for batik and dyeing with vat dyes (#087, #088)

Difference between Screen Batik and Indonesian Batik It is difficult to produce desired figures and designs with the help of block batik or kalamkari. Restriction with kalamkari is that it is difficult to control the flow from capillary and hence only a certain kind of leaves and flowers are possible with kalamkari and for finer designs it becomes even more difficult to maintain flow with finer nozzle. In case of block batik only bold forms can be printed. Hence, to diversify the designs for batik tzanting or screen batik technique is used. For a layman it is difficult to tell difference between two sometimes but there are few aspects through which one can tell difference between two. First and the major difference between two is the outline of the figures. In artworks done by tzanting tool outline will be white often with small cracks which is created by applying wax on the other hand figures printed with screen batik will have black outline. Sometimes, only figures are printed with screen and colors are filled with hand which donâ&#x20AC;&#x2122;t give flat look to the artwork but when they are also printed with screen it gives a flat look to the artwork. Color shading is only possible with hand painted artworks. However, there are few advantages of screen batik over tzanting, screen batik doesnâ&#x20AC;&#x2122;t require much skills, it can be produced in bulk, minute details in figures such as eyes, hand gestures can be replicated accurately. But again screen batik cannot be called a true batik since wax is only applied in the end to produce crackled effect. Which is not in the case of tzanting.

Screen batik and batik done with tzanting tool (#089, #090)

Dewaxing After completion od dyeing last step is dewaxing. This the process where resist or wax is removed to obtain final fabric. It is a simple process. First water is boiled in a large container and soda is added in it. It helps in removing wax easily. Fabric is boiled in this water till wax is totally removed. After this fabric is again washed in cold water and dried.

#091 & #092- Dewaxing in boiling water and soda

#093- Recycling wax with a sieve like container

Recycling wax After dewaxing fabric, remaining water is not thrown away but stored in a large tank. When enough amount of water gets accumulated wax is extracted from it to use again. When water cools down, wax being lighter get accumulated on surface in a form of froth. This froth is separated from water with a help of a sieve. Approximately 40% of wax is recovered after this process. 63

Client- Development commissioner (handicrafts) Ministry of Textiles •

DC (H) Working with association and implementation being done with help of NGO’s, government agencies and state agencies. Some of the organizations include, Jaipur Rugs Foundation, craft council of india, indian institute of carpet technology and state agencies such as MP laghu udyog nigam and MPHSVN (Mrignaynee), Madhya Pradesh Khadi tatha gramudyog board.

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DC(H) is also working in association with empanelled designers of NIFT, NID, NCDPD to promote crafts and contemporary product diversification. As of now 64 designers are linked with DC.

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Other links of marketing with DC (H) are central cottage industries emporium, HHEC (handicrafts and handloom export corporation of india ltd.) and India handmade bazaar (direct marketing portal for handicraft and handloom products).

India handmade bazaar It is a direct marketing portal for handicrafts and handloom products. It organizes 65 (as of 2018) Gandhi Shilp Bazaars in 28 states & UT’s. It organizes 70 (as of 2018) craft bazaars in 27 states & UT’s. It also organizes 110 other exhibitions in 33 states & UT’s.

NCDPD It was setup in 1999 under DC. To fill gap between areas of design and product development. To create design oriented excellence in handicraft sector. Provide design and product development services.

Export promotion council for handicrafts It organizes and sees to the participation in fairs being organized internationally. Fairs of 2019-20- Fairs in Hong Kong, China, Denmark, Sweden, Malaysia, South Africa, Japan, Australia, Las Vegas, UK, Japan, Milan, Frankfurt (Heimtextile) and Turkey. It also organizes India’s major handicraft fairs. Another organization is Asia InCH (India, Bangladesh, Sri Lanka and Nepal), which is supported by UNESCO, Goodearth India and Craft Revival Trust, which provides encyclopedia of all craft clusters of Asia.

Central cottage emporium It has its store located in Delhi, Kolkata, Bengaluru, Chennai, Secunderabad, Patna and Varanasi. It has another label “cottage premium” serving exclusive garments and other products made with designer’s and master craftsmen intervention. Its services also include undertaking projects of interior designing for corporate offices, showrooms, art galleries, offices of senior government officers, residence of high officials etc. it also provide services of corporate gifting, event management (exhibitions and fairs).

Objectives: To produces, procure and sell quality handicrafts and develop market in India and abroad. To continue improve quality of Indian handicrafts and to upgrade and produce new designs. To strengthen and expand marketing network of organization. To generate adequate return on net worth. To manage trading activities so as to optimize sales and earning and reduce expenditure.

Brand research

Brand details OMYAA was founded by Aditi Gidh. Omyaa draws inspiration from the age old textiles and techniques of Indian and global craft. Unique designs are handcrafted by seamlessly blending contemporary designs with rooted traditions. Price range- 799 to 1700 Clients- Niche market Product range- Home furnishings

Brand details Brand curated by graduates of NIFT, concentrating on Hand.Crafted, sustainable collections while Contemporizing the crafts to sync with the coeval lifestyles. Works mostly on block prints or resist printing. Client- Urban middle class and upper middle class Product range- Yoga mats, accessories and cushion covers Price range- Rs 500- 800 for cushion covers, Rs.2000-3000 for yoga mats.

Brand details Fabindia is India's largest private platform for products that are made from traditional techniques, skills and hand-based processes. It links over 55,000 craft based rural producers to modern urban markets, thereby preserving India's traditional handicrafts in the process. Its products are natural, craft based, contemporary, and affordable. Product range- home furnishings, flooring and apparels Price range- 350 to 600 for cushion & pillow cases, 1000-4500 for bedding, 800-1400 for curtains, 600 to 3000 for flooring. Customer- Urban Upper middle class

Brand Brief Jaypore is a curated social commerce platform that allows artisans and independent producers from India to sell their products online. It provide platform to craftspeople to sell their products online. Product categories- floor coverings, apparels, home furnishings. Client- Urban middle class Price range- 350- 600 for cushions, 1200- 18,000 for floor coverings, 1000-5000 for bedding.

Brand details Good earth was founded by Anita Dalal and concentrates on producing luxury handcrafted products. It was started with products of bone china and later clothing and home furnishings. It promotes Artisanal communities and support craft legacies like Ajrak printing, Chikankari on Khadi and block printing. Product range- cushion, dohar, cutlery. Client- Urban upper class and luxury collections.

Organization details Dastkar is a NGO involved in design intervention is to provide ideas fo creativity and innovation in the craftspeople themselves, to help develop a range of products that incorporate different traditional skill levels in products with a contemporary appeal. HANDS ON Dastkar Artisan Development is a private limited company. The company aims to preserve and popularize the traditional arts and crafts . Client- Taj gateway resort, Victoria & albert museum, Indian embassies, Urban middle & upper middle class Products- wall hangings, floor coverings, home furnishings, apparel

Analysis of brand study •

After studying different brands of apparels and home furnishings this can be concluded that sustainable and craft- based products are in vogue this season. Indigo still can be seen as a prominent color being used by different brands after it came in trend in 2017-18.

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Although consumers are eager to purchase craft based products but are not aware of what exactly they are purchasing, if they are purchasing original ikat or reproduced, they are purchasing dabu or discharge or batik.

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There are many brands catering to the need of hand made apparels but variety decreases as we move towards home furnishings where the most popular craft remains block printing, dabu resist, embroidery, patchwork and tie dye. These variety further decreases as we move towards one craft i.e batik.

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There are very few brands which are using batik for their product development others are using it only as pseudocraft, not mentioning if they have used it.

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Although another resist print technique dabu can be considerably seen in home furnishings as well as floorings.

Existing product range in Bhairavgarh •

Artisans produce bed sheets and pillow cases mainly when it comes to home furnishings, in apparels they make fabrics for suits, sarees and running fabric. They sell their products to MPHSVN, local vendors or directly to customers. Some artisans are indirectly linked to online portals and export houses. Few artisans produce products for fab India as well as other small export and design houses.

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One major concern regarding this craft is limitations and repetition of designs, product range and use of dyes.

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Primarily artisans use napthol dyes which has a limited color range. These colors are mustard yellow, crimson, red, chocolate brown and green. To obtain darker shades they use vat dyes. They produce turquoise, indigo and black through it. They also use indigo sols to obtain range of colors. There are upto 15 pre prepared colors available in indigo sols, and other tints and shades can also be obtained from this. Indigo sols can be used in similar manner as watercolors to paint textiles and later color can be developed by treating painted fabric in acid.

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It is to be noted that fabrics produced cannot be sold or exported to western countries where naphtol dyes are banned because of its carcinogenic nature, so use of these dyes restrict the export of products to export markets closing chances for potentially larger market.

Objective •

One of the main objective of DC and other brands associated with it has been to diversify product range and innovation in each craft cluster. DC is continually doing so by issuing projects to master crafts person, associated designers and institutes. DC empanel designers every year for each craft cluster so they can provide their input on development of craft.

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Two collection to be designed will be based on these objectives of revival and development.

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First collection of Outdoor lower sitting area will be based on diversifying product range and development of existing techniques. It will majorly focus on batik.

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Second collection will be based on revival of Bhairavgarh block print and jajam (floor coverings) which became extinct after 1960’s-70’s.

Collection-1 Brief Brief- To design an contemporary lower sitting collection including table runner, bolsters, cushion covers, curtains etc. for â&#x20AC;&#x153;Cottage premiumâ&#x20AC;?, sub-brand of cottage emporium for Spring/ Summer-20, by using block batik and Indonesian batik. Theme- Collection is inspired from contemporary take on Indian motifs and designs as being done by brands like good earth and India circus in their collections. Inspiration- Paintings of Ajanta Objective- To introduce new product range and contemporary designs in existing craft so as to diversify its target market which can be taken to niche market while currently it is limited to middle class in Ujjain. Keywords- Indian architecture, florals, padma, gandhara school, swans, bulls, elephants.

Chitrakathi 79

Trend analysis Trend “Crafted impressions” is taken from WGSN from designing emotions- S/S- 20 with a different take. Original trend is interpreted by keeping Indian niche clientele and current trend and styles that are being followed by different design houses and designers.

Mood • • • • •

Handcrafted Inspired by nature For the love of travel History inspired Modern chic yet traditional

Setting and ambience Living room or patio sitting collection to create a cozy little space which can serve as reading space or dining space.

Product name and specifications • • • • • •

Cushion covers- 7 units (16*16 inches) Bedsheet- 1 unit (90*190 inches) Curtains-2 units (42*90 inches) Table runner- 1 unit (15*36 inches) Coasters- 4 units (5*5 inches) Bolsters- 2 units (26*6 inches)

Color story

Color Story This curated color palette is selected by studying color trends from nilaya and beautiful homes by asianpaints who are major player in domestic market in terms of colors for Indian market. Color stories of Serendipity, Good earth, Fab India, India circus was also studied who are major players in domestic market to design travel and history based collections. The idea behind this color palette was to select colors which can be readily available with local craftsman and suitable for batik while keeping in mind to keep it fresh, fun and romantic at the same time.

Inspiration Inspiration for the collection is taken from the cave paintings of Ajanta. These caves are famous for its illustrious ceiling paintings and sculptures which are related to Buddhism. Although there are many famous paintings in Ajanta, Padmapani, Vajrapani being prominent among them. These are also used by Good earth in their collection Gandhara. Although, for this collection mostly animal and floral motifs were chosen. Reason being the incorporation of batik, which comes with few restrictions. It is difficult to produce accurate facial expressions and minute detailing of a painting. Forms that are prominently used in this collection are lotus, leaf and fruit, elephant, lilies, swan and birds.

Initial concepts Some of the drawings were first traced on a paper and rendered on corel draw and illustrator. This provided ease in manipulating sizes and with visualizing the concept.

Initial sketching, planning and brain storming

Specification Sheet Collection name: Chitrakatha Product name: Cushion cover Category: Home furnishings Style no: #001

Product specification Product specification

Description

Size

16*16 inches

Fabric

80 count glazed cotton

Print and motif

Batik print/ tzanting, Motif- elephant and flower in half drop Dyes- Indigo sols and naphthol dyes

Colors

Ground color: Pantone 7485C Elephant motif- Pantone 7562C Flower- Pantone 281C & Pantone-364C Back fabric- Pantone 296C (Flap)

Stitch and trims

specification

Costing

1. Fabric cost

Rs.130 (For 1m fabric approx)

2. Printing cost (from pretreatment to finished fabric

Rs.200 (Rs.1000 per day, 5 cushions a day)

3. Stitching (including backing, zipper, trims)

Rs.80

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.70

Cost price

Rs.530

Piping, coil zipper(black 5mm),

Specification Sheet Collection name: Chitrakatha Product name: Cushion cover Category: Home furnishings Style no: #002

Product specification Product specification

Description

Size

16*16 inches

Fabric

80 count glazed cotton

Print and motif

Batik print/ tzanting, Motif-Lotus Dyes- Indigo sols and vat dyes

Colors

Ground color: Pantone 7724C lotus motif- Pantone 674C Flower & leaves- Pantone 281C & Pantone364C Back fabric- Pantone 296C (Flap)

Stitch and trims

Piping, coil zipper(black 5mm),

specification

Costing

1. Fabric cost

Rs.130 (For 1m fabric approx)

2. Printing cost (from pretreatment to finished fabric

Rs.200 (Rs.1000 per day, 5 cushions a day)

3. Stitching (including backing, zipper, trims)

Rs.80

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.70

Cost price

Rs.530

Specification Sheet Collection name: Chitrakatha Product name: Cushion cover Category: Home furnishings Style no: #003

Product specification Product specification

Description

Size

16*16 inches

Fabric

80 count glazed cotton

Print and motif

Batik print/ tzanting, Motif- Stripes with flowers Dyes- Indigo sols

Colors

Ground color: Pantone 7485C Stripes- Pantone 7724C, 674C, 7562C Flower- Pantone 281C & Pantone-364C Back fabric- Pantone 7724 (Flap)

Stitch and trims

specification

Costing

1. Fabric cost

Rs.130 (For 1m fabric approx)

2. Printing cost (from pretreatment to finished fabric

Rs.200 (Rs.1000 per day, 5 cushions a day)

3. Stitching (including backing, zipper, trims)

Rs.80

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.30

Cost price

Rs.490

Piping, coil zipper(black 5mm),

Specification Sheet Collection name: Chitrakatha Product name: Cushion cover Category: Home furnishings Style no: #004

Product specification Product specification

Description

Size

16*16 inches

Fabric

80 count glazed cotton

Print and motif

Batik print/ tzanting, Motif- Swans Dyes- Indigo sols and naphthol dyes

Colors

Ground color: Pantone 296C Swans- Pantone 7473C, 281C Flower- Pantone 674C & Pantone-364C, 7562C Back fabric- Pantone 7724C (Flap)

Stitch and trims

Piping, coil zipper(black 5mm),

specification

Costing

1. Fabric cost

Rs.130 (For 1m fabric approx)

2. Printing cost (from pretreatment to finished fabric

Rs.200 (Rs.1000 per day, 5 cushions a day)

3. Stitching (including backing, zipper, trims)

Rs.80

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.70

Cost price

Rs.530

Specification Sheet Collection name: Chitrakatha Product name: Cushion cover Category: Home furnishings Style no: #005

Product specification Product specification

Description

Size

16*16 inches

Fabric

80 count glazed cotton

Print and motif

Batik print/ tzanting, Motif- swan and fruits Dyes- Indigo sols and naphthol dyes

Colors

Ground color: Pantone 296C Swan motif- Pantone 7473C Flower- Pantone 674C & Pantone-364C Fruit- 7562C Back fabric- Pantone 7724 (Flap)

Stitch and trims

Piping, coil zipper(black 5mm),

specification

Costing

1. Fabric cost

Rs.130 (For 1m fabric approx)

2. Printing cost (from pretreatment to finished fabric

Rs.200 (Rs.1000 per day, 5 cushions a day)

3. Stitching (including backing, zipper, trims)

Rs.80

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.70

Cost price

Rs.530

Specification Sheet Collection name: Chitrakatha Product name: Cushion cover Category: Home furnishings Style no: #006

Product specification Product specification

Description

Size

16*16 inches

Fabric

80 count glazed cotton

Print and motif

Batik print/ tzanting, Motif- elephant Dyes- Indigo sols and vat dyes

Colors

Ground color: Pantone 7724C Elephant motif- Pantone 7562C Flower- Pantone 281C & Pantone-364C Back fabric- Pantone 296C (Flap)

Stitch and trims

specification

Costing

1. Fabric cost

Rs.130 (For 1m fabric approx)

2. Printing cost (from pretreatment to finished fabric

Rs.200 (Rs.1000 per day, 5 cushions a day)

3. Stitching (including backing, zipper, trims)

Rs.80

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.70

Cost price

Rs.530

Piping, coil zipper(black 5mm),

Specification Sheet Collection name: Chitrakatha Product name: Cushion cover Category: Home furnishings Style no: #007

Product specification Product specification

Description

Size

16*16 inches

Fabric

80 count glazed cotton

Print and motif

Batik print/ tzanting, Motif- fruit with leaves Dyes- Indigo sols and vat dyes

Colors

Ground color: Pantone 7724C Fruit motif- Pantone 7562C Flower- Pantone 674C & Pantone-364C Back fabric- Pantone 296C (Flap)

Stitch and trims

specification

Costing

1. Fabric cost

Rs.130 (For 1m fabric approx)

2. Printing cost (from pretreatment to finished fabric

Rs.200 (Rs.1000 per day, 5 cushions a day)

3. Stitching (including backing, zipper, trims)

Rs.80

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.70

Cost price

Rs.530

Piping, coil zipper(black 5mm),

Specification Sheet Collection name: Chitrakatha Product name: Bolsters (2) Category: Home furnishings Style no: #008

Product specification Product specification

Description

Size

26*20 inches

Fabric

80 count glazed cotton

Print and motif

Batik print/ tzanting, Motif- stripes Dyes- Indigo sols and vat dyes

Colors

Ground color: Pantone 7485C Stripes- Pantone 7562C, 674C, 7724C Side panel- Pantone- 7724C

Stitch and trims

specification

Costing

1. Fabric cost

Rs.165 (For 1.27m fabric approx)

2. Printing cost (from pretreatment to finished fabric

Rs.200 (Rs.1000 per day, 5 cushions a day)

3. Stitching (including backing, zipper, trims)

Rs.70

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

none

Cost price

Rs.485

String

Specification Sheet Collection name: Chitrakatha Product name: Coasters (4) Category: Home furnishings Style no: #009

Product specification Product specification

Description

Size

5*5 inches

Fabric

80 count glazed cotton & 60 count cotton

Print and motif

Block batik Motif- elephant Dyes- naphthol dyes

Colors

Motif color: Pantone 7485C Ground and back- Pantone 296C (Flap)

Stitch and trims

specification

Costing

1. Fabric cost

Rs.32.5

2. Printing cost (from pretreatment to finished fabric

Rs.20

3. Stitching (including backing, zipper, trims)

Rs.100 (4 units)

4. Overhead charges (Transportation)

Rs.20

5. Stencil/ block making

Rs.30

Cost price

Rs.202 (4 units)

Piping

Specification Sheet Collection name: Chitrakatha Product name: Table runner Category: Home furnishings Style no: #010

Product specification Product specification

Description

Size

22*63 inches

Fabric

60 count cotton

Print and motif

Batik print/ tzanting, Motif- elephant and flower in half drop Dyes- Indigo sols and naphthol dyes

Colors

Ground color: Pantone 7485C Elephant motif- Pantone 7562C Flower- Pantone 281C & Pantone-364C Back fabric- Pantone 296C

Stitch and trims

Piping

specification

Costing

1. Fabric cost

Rs.180

2. Printing cost (from pretreatment to finished fabric

Rs.600+100

3. Stitching (including backing, zipper, trims)

Rs.120

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.70+30

Cost price

Rs.1150

Specification Sheet Collection name: Chitrakatha Product name: Curtains (2) Category: Home furnishings Style no: #001

Product specification Product specification

Description

Size

40*90 inches

Fabric

120 count cotton/silk jacquard fabric

Print and motif

Batik print/ tzanting, Motif- Lotus and flower Dyes- Indigo sols and vat dyes

Colors

Ground color: Pantone 7485C Lotus motif- Pantone 674C Flower- Pantone 281C & Pantone-364C

Stitch and trims

specification

Costing

1. Fabric cost

Rs.1600 (For 5m fabric â&#x20AC;&#x201C; for 2 curtains)

2. Printing cost (from pretreatment to finished fabric

Rs.1500 (Rs.1000 per day)

3. Stitching (including backing, zipper, trims)

Rs.60

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.70

Cost price

Rs.3280

none

100

Specification Sheet Collection name: Chitrakatha Product name: Bedsheet Category: Home furnishings Style no: #002

Product specification Product specification

Description

Size

35*75 inches

Fabric

60 count cotton

Print and motif

Block batik Motif- elephant Dyes- naphthol dyes

Colors

Motif color: Pantone 7485C Ground color- Pantone

Stitch and trims

specification

Costing

1. Fabric cost

Rs.200 (For whole bedsheet)

2. Printing cost (from pretreatment to finished fabric

Rs.80

3. Stitching (including backing, zipper, trims)

none

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.70

Cost price

Rs.400

NONE

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Collection-2 Brief Brief- To design a collection of floor coverings taking inspiration from jajams i.e. original floor coverings of Bhairavgarh with natural dyes for â&#x20AC;&#x153;Cottage premiumâ&#x20AC;?, sub-brand of cottage emporium for Spring/ Summer-20, by using block printing technique. Theme- Revival of jajams Inspiration- Jajam motifs of Bhairavgarh Objective- To introduce new product range for DC (H) and revival of original craft of Bhairavgarh so as to diversify its target market which can be taken to niche market while currently it is limited to middle class in Ujjain. Keywords- chakri, fitwas, natural dyes, floor coverings, durries, wabi sabi jajam, syahi beghar

106

Pravartan 107

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Trend analysis Trend inspiration is taken from WGSN based on exploring natural dyes. Working with natural dyes is a growing craft: Instagram currently boasts 138K posts for #naturaldyes and more than 2.9m for #indigo. From small-scale studios to high-end labels, designers and makers are going natural to bring handcrafted colour and style to their collections. Consumers are increasingly investing their money and time in products that evoke an honest feel and sustainable approach.

Mood • Practicing sustainable methods, designers and entry-level makers are increasingly pursuing a conscious way of working • Water -based silk screening, low-impact dyes and domestic printers and dye-houses are key techniques and resources. • Natural dyes can also be used for printing and painting, offering a multitude of applications across hard and soft goods as consumer appetite grows.

Setting & ambience A collection of printed flatweaves which can be used as sitting mats or prayer mat and table mats.

Product specifications • Sitting mats (6)- 2*3 feet • Table mats (6)- 15*12 inches

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Color story Colors for this collection are inspired from the oldest natural dyes that were used for printing. Since this collection is based on revival of jajam. Only two colors that were originally used are taken. Red color was prepared from alizarin and dhwadi flower. Black was made from iron rust and jaggery. Alum and harda were used as mordants. Original jajams had pale pinkish background which was formed due to harda and alizarin.

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Inspiration For this collection, research was done to find original blocks and designs of Bhairavgarhi jajam. For reference jajam recreated by Wabi Sabi in Rajasthan were used. Based on its layout and motifs, craftsman were interviewed. Although, there is no original image or a sample of jajam that can be found but few old samples and broken blocks from old families were found. A sample book was found with Mr. Rahim Gutti Ji, which helped a lot in understanding the design and thought process behind these jajams. Based on all the findings few motifs that were recognized by most of the artisans were re- drawn and developed.a

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Initial Motifs

Border motifs: From upper left; Zig-zag, Bandhni TC print motif, TC print motif, unnamed Bhairavgarhi border, Border inspired from architecture, Floral border of Bhairavgarh

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From top left; Dhoti buta, haathi, sayeed chakhri, Chokhdi, Unnamed buta, Field block of lugda

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CAD Files

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Specification Sheet Collection name: Pravartan Product name: Sitting mats (2 units) Category: Home furnishings Style no: #001

Product specification Product specification

Description

Size

2*3 feet

Fabric

800 GSM cotton durrie

Print and motif

Block printing with natural dyes Motifs- Tile, dhoti buta, architectural and unnamed border

Colors

Pantone- 1815C Pantone Neutral Black

Stitch and trims

specification

Costing

1. Fabric cost

Rs. 100 (Rs.20 per square feet)

2. Printing cost (from pretreatment to finished fabric

Rs.500 (Rs.1000 per day)

3. Stitching (including backing, zipper, trims)

Rs.22

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.616.5

Cost price

Rs.1288 + Rs.1288

Fringing

120

Specification Sheet Collection name: Pravartan Product name: Sitting mats (2 units) Category: Home furnishings Style no: #002

Product specification Product specification

Description

Size

2*3 feet

Fabric

800 GSM cotton durrie

Print and motif

Block printing with natural dyes Motifs- Chokhdi, floral and architectural border

Colors

Pantone- 1815C Pantone Neutral Black

Stitch and trims

specification

Costing

1. Fabric cost

Rs. 100 (Rs.20 per square feet)

2. Printing cost (from pretreatment to finished fabric

Rs.500 (Rs.1000 per day)

3. Stitching (including backing, zipper, trims)

Rs.22

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.616.5

Cost price

Rs.1288+ Rs1288

Fringing

121

Specification Sheet Collection name: Pravartan Product name: Sitting mats Category: Home furnishings Style no: #003

Product specification Product specification

Description

Size

2*3 feet

Fabric

800 GSM cotton durrie

Print and motif

Block printing with natural dyes Motifs- architectural, dhoti buta and elephant

Colors

Pantone- 1815C Pantone Neutral Black

Stitch and trims

specification

Costing

1. Fabric cost

Rs. 100 (Rs.20 per square feet)

2. Printing cost (from pretreatment to finished fabric

Rs.500 (Rs.1000 per day)

3. Stitching (including backing, zipper, trims)

Rs.22

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.616.5

Cost price

Rs.1288

Fringing

122

Specification Sheet Collection name: Pravartan Product name: Sitting mats Category: Home furnishings Style no: #004

Product specification Product specification

Description

Size

2*3 feet

Fabric

800 GSM cotton durrie

Print and motif

Block printing with natural dyes Motifs- elephant, floral, TC print zig zag, tile motif

Colors

Pantone- 1815C Pantone Neutral Black

Stitch and trims

Fringing

specification

Costing

1. Fabric cost

Rs. 100 (Rs.20 per square feet)

2. Printing cost (from pretreatment to finished fabric

Rs.500 (Rs.1000 per day)

3. Stitching (including backing, zipper, trims)

Rs.22

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.616.5

Cost price

Rs.1288

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Specification Sheet Collection name: Pravartan Product name: Table mats (2 units) Category: Home furnishings Style no: #005

Product specification Product specification

Description

Size

12*15 inches (2.25 sq. feet)

Fabric

800 GSM cotton durrie

Print and motif

Block printing with natural dyes Motifs- zig-zag, dhoti buta and bandhni TC print

Colors

Pantone- 1815C Pantone Neutral Black

Stitch and trims

specification

Costing

1. Fabric cost

Rs. 45 (Rs.20 per square feet)

2. Printing cost (from pretreatment to finished fabric

Rs.225 (Rs.1000 per day)

3. Stitching (including backing, zipper, trims)

Rs.22

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.616.5

Cost price

Rs.958 + Rs.958

none

124

Specification Sheet Collection name: Pravartan Product name: Table mats (2 units) Category: Home furnishings Style no: #006

Product specification Product specification

Description

Size

12*15 inches (2.25 sq. feet)

Fabric

800 GSM cotton durrie

Print and motif

Block printing with natural dyes Motifs- Architectural and tile

Colors

Pantone- 1815C Pantone Neutral Black

Stitch and trims

specification

Costing

1. Fabric cost

Rs. 45 (Rs.20 per square feet)

2. Printing cost (from pretreatment to finished fabric

Rs.225 (Rs.1000 per day)

3. Stitching (including backing, zipper, trims)

Rs.22

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.616.5

Cost price

Rs.958 + 958

none

125

Specification Sheet Collection name: Pravartan Product name: Table mats (2 units) Category: Home furnishings Style no: #006

Product specification Product specification

Description

Size

12*15 inches (2.25 sq. feet)

Fabric

800 GSM cotton durrie

Print and motif

Block printing with natural dyes Motifs- floral, architectural and elephant

Colors

Pantone- 1815C Pantone Neutral Black

Stitch and trims

specification

Costing

1. Fabric cost

Rs. 45 (Rs.20 per square feet)

2. Printing cost (from pretreatment to finished fabric

Rs.225 (Rs.1000 per day)

3. Stitching (including backing, zipper, trims)

Rs.22

4. Overhead charges (Transportation)

Rs.50

5. Stencil/ block making

Rs.616.5

Cost price

Rs.958 + 958

none

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Artisan Profile

Master craftsman Mr. Rahim Gutti Gutti ji is the most familiar name one come across while visiting Bhairavgarh. If one has to ask stories related to this area, history and evolution of printing in Bhairavgarh or new experiments that can be done with batik or natural block printing, he is the man to ask for. He will engage you in his tales and one will not be able to realize when it has shifted to other story. He is involved in this craft for more than half a century. He has experimented with leather batik, natural dyes, kalamkari and introduced Indonesian batik in Bhairavgarh. He has won national award for his work. He is now 85 years old but enthusiasm for experimentation and innovation is still like a young man. One can still found old lugdas, sarees and imprints of original blocks with him. It was his passion for the craft that few fragmants of old age fabrics can still be retrieved. Although after every session he asks a single question â&#x20AC;&#x153;what is the meaning behind doing all this, it never bear fruit, do you think you can bring change here?â&#x20AC;? to which nobody has the correct answer.

Mr Siddique Gutti Elder son of Mr. Rahim Gutti who is trying hard to keep his fatherâ&#x20AC;&#x2122;s legacy alive. He works for NOVICA which is an online platform to sell his products. He sells around 30 batik art pieces every month. He is the most generous and helpful man and will never say no to your demands. He will give suggestions and will try to help you beyond his parameters just to give you your desired results. Many other artisans have tried to copy his hand-painted batik artworks but they have never succeeded in attaining the level of intricacy and accuracy.

Mr. Hayat Gutti

#094- Master craftsman Mr Rahim Gutti Ji

He the third generation artist of his family. Just like his grandfather he loves to experiment with natural dyes. He is one of the finest artist in Bhairavgarh who can do Indonesian batik or tzanting. He has worked on batik with natural dyes with his grandfather. His grandfather proudly says about him that he knows almost everything that I know about natural dyeing. He is trained in using software like corel draw and has even taken training for Ned graphics. If one is confused how modern technologies and age old craft can co-exist and develop he is the right man to visit once.

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#095- Mr. Siddique Gutti and Hayat Gutti

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SWOT ANALYSIS

Strength 1. 2. 3. 4. 5. 6.

Well recognized craft cluster Involvement of young generation Rich history in printing Connectivity to cities Established local market Govt. schemes and recent development in handicraft sector

Opportunities 1. 2. 3. 4. 5. 6. 7.

Weakness 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Most craftsman donâ&#x20AC;&#x2122;t want to experiment Lost printing history and knowledge of natural dyeing Shift to new and easy craft techniques from time to time No major development in batik techniques Use of low quality of raw materials like fabric and dyes No consistent buying source Proper recipe for dyeing being not followed Not skilled in intricate batik Primitive tools No proper drainage No intervention of large design houses or designer No available documentation

Revival of old printing technique Printing with natural dyes Intervention of design institutes like NIFT should be supported Tourist traffic of Ujjain can improve marketing areas. Intervention of fab india, MPHSVN, DC and e-commerce platforms like NOVICA. To increase reach to export markets and western countries Development of new product range and designs

Threats 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

Use of low quality of dyes. Difficulty in maintaining same quality throughout a large batch of fabrics. Use of excessive naphthol dyes without knowing its harmful effects Limitation to export markets because of use of naphthol dyes No proper shade card, catalogs available Limited product range and designs Repetitions of same designs over years Non- availability of fresh water Foul play of few craftsman against each other Rigid in sharing details about cluster Competition from other similar clusters

134

Effect of design intervention There were two projects that were completed as a part of GP. In these four months research on original block and traditional blocks of Bhairavgarh was done. It was found out that there is no detailed documentation that has been done on this craft. Most of the people are unaware that there was a kind of block printing that existed here. There were famous lugda, jajams among many other fabric that were printed here with natural dyes. The first collection â&#x20AC;&#x153;Pravarthanâ&#x20AC;? is based on revival of one such traditional fabric called jajams. Jajams were floor covering that were made in Bhairavgarh and became extinct. Layout of jajams, common blocks that were used were revived for this project. Instead of coarse cotton that was used earlier cotton durries were used, which are in trend, instead of large floor coverings, small floor coverings were made to make it affordable and suitable for small houses. Natural dyes were used to print durries. Although there was one limitation in producing durries that was related to their size. These durries cannot be printed in large enough size because of unavailability of clean running water resource. Kshipra being polluted produces patch during washing hence these durries are to be washed in tap water due to which larger sizes become difficult to produce, however this difficulty can be overcome by setting up large tanks as are done in clusters of Bagh and Tarapur, Javad. Second collection is based on development of new techniques in batik. As discussed in this document the most common batik technique used here is block batik in which it is difficult to produce variations, only new blocks can be developed and that too with limitations. To explore new design aspects another technique tzanting was used for this collection. This is tedious process but very fine designs with lot of variation can be produced with this technique. Inspiration for this collection was drawn from paintings of Ajanta. Usually butterflies, trees and images of Radha Krishna or Ganesha are produced from this technique that too are used as wall decors. A whole new product range of lower sitting collection was made with this technique for niche clientele for whom there is no such collection available in the market.

Conclusion Bhairavgarh has a rich history of printing. It has been a hub of printing for centuries, but the skills and history vanished somewhere in between seeking easier techniques, market oriented demands and competition from mill made clothing. Craftsmen of Bhairavgarh concentrates on producing product as cheap as possible so that it can be sold easily and can be made in bulk. But with this they are consistently lowering their quality. On one hand where the neighboring clusters like Bagh, Maheshwar and Chanderi are prospering by introducing new designs, maintaining their quality, by design interventions from designers Bhairavgarh is left behind. But since market for hand crafted clothing and fabric has increased since 2015, it can be a biggest opportunity for the craftsmen of Bhairavgarh to open their old trunks of blocks and dyeing techniques used by their forefathers to and revive the old age craft. As for batik, there is a need to broaden horizons and explore new designs and technique to keep this craft alive. There is an urgent need to find an alternative to naphthol dyes, and to maintain consistent quality. Market exploration and new product development can increase chances to tap new market and clientele. If these changes are done properly Bhairavgarh has the capacity to flourish like any major printing cluster.

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Image References: Self- clicked photographs • • • • • • • • • • • •

#001 to #006 #011 #063 to #066- self clicked #072 to #083- self clicked #085, #086- self clicked #088- self clicked #089- self clicked; work by Mr. Rafik #90- self clicked; self designed, made by Hayat Gutti #094 & #095- self clicked #009 & #010- Taken from collection of Mr. Rafik (Avantika Printers) #008, #007, #013, #017, #020 to #022, #034 to #036 #045 to #061 Taken from collection of Mr Rahim Gutti

Other Images • #033- clicked by Swati Sharma Vyas, Asst. Professor, NIFT, Bhopal • #032- recreated in guidance of Swati Sharma Vyas, Asst. Professor, NIFT, Bhopal • #037- used under license of Wikimedia Creative commons • #042 -Reference https://rugrabbit.com/node/158015 • #043Reference: https://www.exoticindiaart.com/book/details/im prints-of-culture-block-printed-textiles-of-indiaNAL757/ • #044Refhttps://anokhimuseum.wordpress.com/2018/04/ 01/rediscovering-jajam/

D’source (Link given) • • •

#067 to #071, #084, #091 to #093 http://www.dsource.in/resource/batik-printing-ujjain-madhya-pradesh/introduction dated, May 19, 2019, 6:40 PM http://www.dsource.in/resource/batik-printing-ujjain-madhya-pradesh/making-process dated, May 19, 2019, 6:40 PM

Book reference • • • • •

Saris of India: Madhya Pradesh 0th Edition by Martand Singh (Author), Rta Kapur Chishti (Author), Amba Sanyal (Editor) #012, #014 to #016 #018 & #019 #023 to #031

Wabi Sabi, Jaipur • • • • • • •

#004, #038 to #041, #062 https://wabisabiproject.com/jajam/ https://wabisabiproject.com/jajam-chaupad/ https://wabisabiproject.com/kwlogos-carousel/jajam-2/ https://anokhimuseum.wordpress.com/author/rachelbracken/ https://wabisabiproject.com/pre-treatment/ https://wabisabiproject.com/natural-dye-workshop/ Dated: May 18, 2019, 2:34 PM

Photoshoot for the collection done by: • Collection-1 Self- clicked • Collection-2 Sanskar Jain, NIFT Bhopal

Interviews in Bhairavgarh • • • • • • • •

Mr. Ibrahim Mr. Aarif Mr. Rafik (Avantika printers) Mr. Rahim Gutti Mr. Siddique Gutti Mr. Hayat Gutti Mohd. Sharif Mohd. Majid

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