Indian textile

GOSHAENUR: The Veil as Ghunghat & Purdah - a Hindu & Muslim d...

2012-02-10T16:04:00.000+05:30

GOSHAENUR: The Veil as Ghunghat & Purdah - a Hindu & Muslim d...: Ghoonghat or Ghunghat is a Hindi word which describes a type of veil or headscarf worn by Indian women to cover their head. The Sari grew ...

The Saree

2012-02-10T10:42:00.002+05:30

Dhurrie,Pattu(shawal) and floor coverings of Jodhpur

2012-02-09T17:23:00.000+05:30

PANJA DHURRIE WEAVING

THE WEAVERS OF the village of Salawas belong to the Prajapati caste.Although their main source of income was agriculture,they also practiced pottery and the weaving of jatpatti rugs.These plain weft faced dhurried woven with coarse goat or camel hair derive their name from jhat,literally meaning haste,with which they could be executed.The jatpatti were initially used as coverings for domestic animals during winters,as saddle bags,as filters for oil mills and for making tents.

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PATTU WEAVING

The meghwal community weave local wool into narrow strips,or patti,that are then stitched together to form wide shawls known as pattu that are worn by members of all communities in the region.There is however a sartorial code with regard to the type of pattu worn- the chequered pattu are worn by women while the highly decorative pattu are used by young men and the plain pattu by older men.

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CAMEL TRAPPINGS

Camels once the chief mode of transportation in the deserts of western Rajasthan,were adorned with several trappings including the tang(camel girth),the gorbandh (necklace),the godiya and sariya(ankle and knee bands),and the morka(bridle).Although the popularization of motorized transport inthese regions has led to the decreasing use of camels for personal transport,camels adorned with these trappings may still be seen in the desert regions of Jaisalmer where they cater to safaris orgnaized for tourists.

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Nomadic Raika/Rebari Tribe of Rajasthan - http://filmservicesinindia.com/ - Picasa Web Albums

2012-02-03T16:21:00.000+05:30

costume sand lifestyle of Nomadic Raika/Rebari Tribe of Rajasthan - http://filmservicesinindia.com/ - Picasa Web Albums:

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Lambani Embroidery

2012-02-03T12:32:00.000+05:30

Lambanis lead a gypsy life and mainly inhabit the western Indian states including Maharashtra and Andhra Pradesh. A part of this tribal community is also found in the northern region of Karnataka. The Lambani tribe of India speak a language which is believed to have been originated in the state of Rajasthan. Earlier, Lambanis used to supply grains to armies. In the olden days, the Lambani people carried grain, salt, bamboos and firewood. The tribal community used oxen to carry heavier commodities.
In the dry, rocky area of Maharashtra,Karnatka and andhrpradesh reside the Lambanis, dressed in their colourful embroidered dresses strewn with mirrors, coins and shells.

The Lambani woman's outfit consists of a skirt or phetiya made up of five distinct bands and secured at the waist with a drawstring tie which hangs down embellished with cowrie shells and tassels , a backless blouse or kaachadi with the characteristic square mirrors embroidered on the front and sleeves and the veil called the chaatiya or ghungato which is a length of commercially printed or woven fabric embellished with a wide band of mirror work and coins.
Lambanis, elsewhere known as “Banjaras”, who originally came from Marwar are semi-nomadic people who reside mostly in Southern and Middle India. As with many tribal groups, especially those with a nomadic heritage, there is a modern tendency to either isolate or assimilate. The Banjara women, however, are holding steadfast to their ancient mode of dress, which is perhaps the most colorful and elaborate of any tribal group in India. The Lambani women practice a unique mirror and embroidery craft, which they mostly use for making their own traditional dresses or for giving to their daughters for their weddings.

The Lambani embroidery is an amalgam of pattern darning, mirror work, cross stitch, and overlaid and quilting stitches with borders of “Kangura” patchwork appliqué, done on loosely woven dark blue or red handloom base fabric.

Lambani embroidery is commonly mistaken as Kutchi (Kachhi) embroidery because of mirror work, but shells and coins are unique to this type of embroidery. Also, the stitches used are different.

The 14 types of stitches used in Lambani embroidery are Kilan, Vele, Bakkya, Maki, Suryakanti Maki, Kans, Tera Dora, Kaudi, Relo, Gadri, Bhuriya, Pote, Jollya, Nakra. Products made with such embroidery have wonderful textures and a bohemian style, making them very popular with tourists.

A distinctive design range is its revival and use of local mud-resist handloom fabric, and the mirrors, shells and white ornamental trims that are a traditional part of Lambani as well as the Irikil saris of Dharwad-Hubli and other local fabrics.

There are 13 colours that are mostly used in Lambani embroidery, out of which; red and blue are most common. The base cloth used is either cotton khadi or power loom fabric and is also dyed locally, thus working in harmony with the local small scale industry. Although most of the fabric is dyed using chemical colours, vegetable dyes made from Kattha, Rathanjot, Chawal Kudi, Pomegranate peel etc are gaining popularity.

Lambani embroidery has now reached all over the world with the export of bed sheets and cushion covers in subtle colours but the heavily embroidered bags in flamboyant colours remain are a favourite among tourists.

Quilts of India

2012-02-01T11:10:00.002+05:30

Weaving on Fotopedia

2012-01-30T12:53:00.000+05:30

Weaving on Fotopedia:

'via Blog this'

2012-01-29T19:42:00.001+05:30

Narrative textile of India

2012-01-27T12:54:00.000+05:30

Some more on zardozi embroidery!

2012-01-26T17:39:00.000+05:30

In Zardozi, the design is with the twisted gold thread called Gijai. Gold and silver embroidery is done using any type of stitch.
1) Laid stitch/ wouching stitch,
2) Satin stitch,
3) Chain stitch,
4) Stem stitch and
5) Running stitch.

The chain stitch resembles in counter part in Kutch work and is generally used in sarees.

The stem stitch and the running stitch are used for a miscellaneous type of work.

The laid/ wouching stitch as it is called is important and suited in gold thread. It is generally used on cushion/ masnads (small gaddis) gold and silver embroidery is invariably done with cloth stitched over a wooden frame. Sometimes certain designs as leaves and petals of flowers are padded to give a raised effect.

In the Gota Kinari is in fine shaped birds, animals, human figures attached to the cloth and encased in wires of silver and gold while the space around is covered by coloured silk.

The overall effect is of enamelling. The most important feature in gota and Kinari work is the cutting of the woven gold border into various shapes and design, which are stitched on the cloth, thus creating a variety of textured patterns in the design.

Karchobi is divided into 4 types.

1) Kasab-Tiki:

Using gold and silver thread and spangles.

2) Jhik-Chalak: Using twisted thread called Jhick and zig-zag thread called chalak.

3) Bharat-Karachi: Using pieces of cardboard to provide a raised body for the design, the material being used as a padding.

4) Jhik-Tiki: Using twisted thread and spangles.

Gold and silver embroidery can be easily done on satin with a backruns lining. The design should be first traced on satin fabric and tracked to the backrun of the same size on the 4 sides. 7 inch needles and threads should be used to embroider the gold and silver work.

There are many types of Zari threads. The thicker Kalabatune is braided gold thread used in the border while a thinner variety is used at the thinner edges for batwas, tassels, necklace strings.

Tirora: It is a gold thread especially twisted using curves and complex designs. The dull Zari thread in 'Kora' and lustrous one in 'Chikna'. The design is first traced out on paper, pricked with pins, with fine powder lightly rubbed on it. Now-a-days, gold and silver embroidery is mainly done on sarees and choli pieces. The other articles embroidered are evening bags, slippers, belts.

More on Zari embroidery!

2012-01-24T17:54:00.001+05:30

Embroidery done with metallic threads is called kalabattu and forms the zari. The main zari production centres are Surat in Gujarat and Varanasi in Uttar Pradesh. Here the metal ingots are melted into metal bars called pasa from which lengths are got by beating it after treatment. This is then pulled through perforated steel plates to make it into wires, followed by the tarkashi process to make it thin with rubber and diamond dies. The last stage is called badla where the wire is flattened and twisted with silk or cotton thread to become kasab or kalabattu. This has uniform evenness, flexibility, softness, and ductility. Kasab can stand for real silver / gold, as well as for plated silver/gold or for an imitation in which a copper base is given a coat of silver or golden colour to make the product less expensive.

Zari thread is used widely in weaving but more selectively in embroidery. For intricate patterns gijai or a thin, stiff wire is used";" sitara, a small star-shaped metal piece is used for floral designs. This type of embroidery is called salma-sitara. The thicker kalabattu is a braided gold thread used for borders while the thinner variety is used at the end of the drawstring of purses or batwas, and in tassels, necklaces, and strings. Tikora is a gold thread spirally twisted for complicated designs. The dull zari thread is called kora and the more shiny one is called chikna. The equipment that is used for embroidery is a rectangular wooden-frame called karchob and a wooden leg called thapa used for sewing laces. Listed below are different kinds of zari work.

Zardozi : This is a heavy and more elaborate embroidery work which uses varieties of gold threads, spangles, beads, seed pearls, wire, and gota. It is used to embellish wedding outfits, heavy coats, cushions, curtains, canopies, animal trappings, bags, purses, belts, and shoes. The material on which this kind of embroidery is done is usually heavy silk, velvet and satin. The kind of stitches found are salma-sitara, gijai, badla, katori, and seed pearls, among others. The main centres are in Delhi, Jaipur, Banaras, Agra, and Surat. The old teach the young and the skill continues from generation to generation.

Kamdani : This is a lighter needlework which is done on lighter material like scarves, veils, and caps. Ordinary thread is used and the wire is pressed down with the stitching producing a satin-stitch effect. The effect produced is glittering and is called hazara butti (thousand lights).

Mina Work : This is thus called owing to its resemblance with enamel work. The embroidery is done in gold.

Kataoki Bel : This is a border pattern made of stiff canvas and the whole surface is filled with sequin edging. A variation of this border technique is lace made on net and filled with zari stitches and spangles.

Makaish : This is one of the oldest styles and is done with silver wire or badla. The wire itself serves as a needle, piercing the material to complete the stitches. A variety of designs are produced in this manner.

Tilla or Marori Work : This is the kind of embroidery where gold thread is stitched on to the surface with a needle.

Gota Work : The woven gold border is cut into various shapes to create a variety of textures in the patterns. In Jaipur the border of the material or sari is cut into shapes of birds, animals, and human figures, attached to the cloth, and covered with wires of silver and gold";" it is surrounded by coloured silks. The work resembles enamelling.

Kinari Work : A small variation is kinari work where the embellishments are done only at the edges in the form of tassels. This is done mainly by men and women of the Muslim community.

The areas in which zari embroidery is practised include Kashmir, Delhi, Agra, and Lucknow in Uttar Pradesh, Ajmer in Rajasthan, and Bhopal in Madhya Pradesh. The batwas (small purses) of Bhopal are very well-known and are used for storing small coins, betel nuts, scent bottles, and the like. The other centres are Mumbai, Hyderabad, and Chennai, along with other places in the southwww.rajasthantextiles.com

2012-01-24T16:41:00.001+05:30

Mukesh work

Silver embedded into the fabric is Mukesh work.Tine dots made of Bdala or plain silver strip is Mulesh.

Badla work

badla(nakki) is a very thin very flexible metalic strips approximately about 2mm wide..usually silver in color..but few bright colours are also available..
special needle is there for this work...
just stitch like cross stitch n cut the strips on wrong side of the fabric and press it...same should be done all along the design.

Dabka or Kora work

Badla with Kundan

Difference between Dabka and Salma or nakkashi

2012-01-24T15:40:00.000+05:30

Dabka is a very fine thread of metal that is coiled tightly, so it's hollow inside. It's then cut into the appropriate sized and stitched on the fabric by passing a needle through the middle. Skilled kaarigar's can even do french knots with the smallest size (diameter) of dabka.

Naqshi is a flat metal strip which is coiled in an angular way. It's not nearly as robust or firm as dabka. It does give a different effect though in terms of texture so sometimes they will use a mix of the two (Salma work). But work with mostly naqshi is definitely done because of a cost/skill factor involved.

In the picture I quoted, the long copper bits near the diamante in the middle of the flowers are dabka. All the pale gold stuff is naqshi.

Zardosi, Zardosi Gold Embroidery, Zardosi Silver Embroidery, Zardosi Work, Indian Traditional Embroidery, India

2012-01-24T15:04:00.000+05:30

Zardosi, Zardosi Gold Embroidery, Zardosi Silver Embroidery, Zardosi Work, Indian Traditional Embroidery, India

2012-01-22T14:10:00.001+05:30

Beautiful embroidery of kutch,Gujrat

2012-01-16T15:14:00.000+05:30

Baroda Print,My visit to Vadodara

2012-01-16T12:57:00.002+05:30

This video was taken by me during my visit to Baroda.There I got a chance to visit this small factory cum shop of Baroda Print.Baroda print has nothing to do with traditional craft but it is more of a contemporary version of Block printing.Nevertheless it is wonderfull.

Narrative textiles of India

2011-11-29T22:54:00.001+05:30

Phulkari - Ancient Textile of Punjab
Phulkari, a rural tradition of handmade embroidery, literally meaning " flower work ", was perpetuated by the women of Punjab (North-west India & Pakistan) during the 19th century and till the beginning of the 20th century.Probably brought to the Indian Subcontinent by the migrant Jat people of Central Asia in ancient times, phulkari was a part of every important moment of local life (weddings, birth, religious functions...).Generally fabricated by a family for its own use, the fact of having completed a phulkari signified an important step for a girl on her way to becoming a woman.

Techniques and patterns were not documented but transmitted by word of mouth. Hence, each regional group was identifiable by its unique embroidery work.The word phulkari usually indicates the shawl that was loomed and embroidered to cover women's heads or to be displayed in a gurudwara (Sikh temple).This tradition was often associated with the Sikh heritage but as it was also shared with Hindus and Muslims, it happens to be more geographically specific than religiously specific.

Threads
Embroidery work was invariably made on a plain cotton fabric (khaddar) whose thread was manually spinned, loomed and dyed with natural pigments.Its quality was evaluated according to the fineness and regularity of its surface.Khaddar could be of four colours, white being given to mature women or widows while red was associated with youth and was by far the most widespread tone. It is noteworthy that the most ancient fragments of red dyed (using madder) cotton fabric were found in Punjab and would date back to Harappa Civilization (Age of Bronze).

Black and blue colours were kept for everyday worn shawls as they prevented from revealing stains and dirt.The complete khaddar was always made of two or three stripes which were approximately 50cm wide. Depending on the region, these stripes were sewed before or after the embroidery work.It is important to notice that Punjab, known for its cotton cultivations, was a very appropriate area for a local production of khaddar.

Embroidery
A phulkari was at times made by one woman and at times by several ones who could even work simultaneously on different parts or stripes of khaddar.As written before, these pieces were usually made by the family of the bride. However, as in the rich families a dowry could include several dozens of phulkari, some professional embroiderers were occasionally employed.The choice of patterns was partly driven by the social class of the bride.
For instance, some flowers designs in cluster stitch were only worn by the low class families while the high class would prefer flowers made with darning stitch.

Most of the time, patterns to be embroidered were not drawn on the fabric beforehand, the embroiderer had to count each thread of the khaddar with meticulous care to build her designs.It is important to realise that a shift of one thread in the counting would have a visible impact on the final result...
As it was easier to count the threads of a light coloured khaddar than of a dark one, it happened sometimes that the fabric was dyed only after the embroidery work was achieved, thanks to certain preparations that would colour cotton but not silk.

If the fact of using floss silk was providing beauty to these pieces, it was also a heavy complication added to the artists' task as this brittle and inhomogeneous material was not easy to lead through the khaddar without creating clusters and knots.
As in most of the oriental countries, the embroidery work was always done pointing the needle's tip to the opposite of the embroiderer. This gesture, as well as the energy that was injected into the work, had to come from the heart and go towards others.

Darning stitch was the most commonly used technique to make phulkari and the quality of a piece could be measured according to the width of this stitch. The narrowest was the stitch, the finest was the piece.In order to create an unusual design or to border the khaddar, some other stitches like the herringbone stitch, running stitch, Holbein stitch or button hole stitch were occasionally used.

Phulkari was not exclusively meant for women; it served other purposes as well. Hindu and sikh scriptures, for instance, were kept wrapped in phulkaris. When a rare Janam-Sakhi manuscript on the life of Guru Nanak Devji was lent by the India Office Library, London, to the Government of Punjab for the inspection of the Lahore Sikhs, coverlets of phulkari were offered by the Sikh community with a petition that they might be employed to cover the sacred biography of the Great Guru.
When displayed in exhibitions held in Europe-the Great Exhibition of London in 1851, of Paris in 1855 and the Amsterdam International Exhibition of 1882-the beautiful phulkaris caught the fancy of Europeans, and demand for them grew in foreign markets. "Industrial and Mission Schools," observed J. L. Kipling, "began to produce Europeanised versions of phulkaris of quite astonishing hideousness."
A dealer once showed the pattern that had been furnished to him by a European trader and smilingly observed that it paid him to make such stuff, but he could not see what the people of the U.S.A. thought beautiful or found useful in those monstrosities in black, green and red. This is Self-explanatory. The craft was lost, never to be revived. Maybe the time has come to set up an exclusive museum of phulkari, the lost craft.

MEGHWAL EMBROIDERY

2011-09-09T17:39:00.001+05:30

DUE TO ITS location on the migratory routes from Central Asia,Africa,Afganistan and Pakistan to India,The Thar Desert has been subject to a variety of cultural influences that have shaped its crafts-notably embroidery,bandhej,(tie-dye),block printing and pottery.
Despite the later division of the Thar region through the creation of political boundaries,the crafts of the Thar continue to share a common vocabulary and sensibility,a phenomenon perhaps best exemplifiedd by the embroidery and applique of the Meghwal,an artisan community who proctice weaving,leather tanning and wood work.The Meghwal migrated from Pakistan to Kachchh and Rajasthan;a Significant number have settled in the villages of the Bajju region of Bikaner district.Embroidery forms a key component of their visual culture as it is executed on products that are worn or given during marriage and on dowry objects.Consequently, the embroidery make use of mirrors and is characterized by its refined craftsmanship,dense coverage, rich colours,and elaborated motifs and finished edges.Meghwal embroidery may be broadlyd classified as pako,or solid and permanent, and kacho,or temporary.

Detail of a bokani,headscarf embroidered for the groom.The peacoak is regarded as a noble bird and is symbolic of a bridegroom.Executed in suf embroidery consisting of triangular units done in surface darning stitch.Stitched from the reverse side over counted threads of the base cloth,with floss silk that rests on the face side,covering the entire surface of the unit and the back serves as an anchor.

Inset Wall painting:the peacock motif used in suf embroidery.

The pako tradition utilizes geometrical forms,densely covered embroidery of chain stitch variations and herringbone stitch,and block printed outlines for the embroidery.Kacho embroidery is distinguished by its use of counted thread work techniques such as suf,kharek,kambhiri and mucca.Suf has triangular forms executed in darning stitch;aggregates of triangles are used to create a variety of motifs such as the peacocks,tree of life,temple and hill.Kharek,a technique named after the date fruit,uses satin stitch filled in areas outlined by double running stitch.kambhiri has double running stitch,which is linear and grows in geometric progession.Mucca, a technique borrowed from Muslim embroidery,refers to the use of gold and silver thread which is couched on the fabric.
Fabric embroidered for making a kanchali,blouse.The Sleeves are to be attached on either side.A Typical and predominant motif of suf work,the gul flower is made up of 4 bitta units;a bitta is made of 2 triangular units of suf.

Percian impact on textile designs of India

2011-07-09T15:40:00.000+05:30

Indian and Persian textile design work has proved popular in Britain from the seventeenth century onwards. They were consistently used to such an extent that they could honestly be considered as an integral part of British decorative arts history. They were consumed as both costume and furnishing fabrics and were produced in prodigious amounts as printed and woven fabrics.

Although large amounts of textiles were imported directly from source in what is now Pakistan, India and Bangladesh, attempts were made in Britain by a number of companies to produce styled, though not necessarily copies, of textiles from the source nations and regions. Many of these if worked successfully, sometimes proved even as popular as the imported versions.

The example illustrating this article was produced by the English company Inglis & Wakefield in 1849. It is a block print supposedly based on an original Persian design, though could well have been constructed in England as a composite of various Indian and Persian examples. Interestingly it seems to be firmly based on a woven construct, even though it is most definitely printed. There were a number of critics of the period who were concerned that crossovers between woven and printed textiles did not always work as both disciplines arrived at textiles from very different start points. Henry Cole in his Journal of Design and Manufactures drew attention to the issue of printed and woven textiles. In an 1849 issue, the magazine openly questioned a group of Indian and Persian styled fabrics of which this particular Inglis & Wakefield design was a part.

'It is curious that these printed imitations of Persian or Indian patterns continue to have given to them the same regular treatment of lines necessary to the woven fabrics, for which they were first designed, where the form altars thread by thread, and it is worth while to consider whether this peculiarity conduces to their beauty or merely to their imitative association.'

Having said that, the magazine was also at pains to state that good design work could always be produced if certain elements were set in place. These design elements could give,

'...the same distributive treatment of the same rich full colours, added to the more flowing forms attainable by printing, would give much novelty, while the beauty resulting from the Indian principle of design would remain.'

The 'Indian principle of design' is an important point to be made when considering this particular design, but also that of the larger British textile design industry as a whole. Traditional Indian textile design work, whether printed, woven or embroidered, was considered to be consistently successful by many British design and decoration critics, particularly during this period of the mid-nineteenth century. It was often held up as a supreme example of the working virtues of the Design Reform movement. Many true examples of Indian work, rather than copies or re-imaginings, were praised in Britain as being probably the best contemporary examples of textile design then available. Compositional balance, harmony of colour, honesty to materials all were seen as essential to good design work. These were also seen to be core values of both the Design Reformers and later that of the English Arts & Crafts movement.

The issue of good design versus immediate novelty through fashion is a long argued one that derives directly from the mid-nineteenth century. This is an issue that still plagues us today over a century and a half later. If anything it is perhaps even more acute in our own contemporary world considering the accumulation of problems that we are having to at least address, if not solve. Many of these derive directly from the industrialization of craft in the late eighteenth and early nineteenth century, and the resulting industrialization of the retail market. More importantly, it also saw the industrialisation of the needs of the individual, creating an artificially constant consumer market that could never be satiated.

However, the fact that Indian textile pattern work was used directly, along with other more diverse and far ranging examples, both contemporary and traditional, is an important reminder of how intrinsically entwined Indian crafts, both decorative and ornamental, were in the more general world of the British decorative arts. It is also a reminder of the influence India had on the much more specific and pioneering worlds of the Design Reform and Arts & Crafts movements. Movements that were to fundamentally change many aspects of British design, decoration and craft, throughout much of the latter nineteenth century and well into the twentieth.

Banarasi Brocade

2011-05-08T14:19:00.001+05:30

India has a diverse and rich textile tradition. The origin of Indian textiles can be traced to the Indus valley civilization. The people of this civilization used homespun cotton for weaving their garments. Excavations at Harappa and Mohenjo-Daro, have unearthed household items like needles made of bone and spindles made of wood, amply suggesting that homespun cotton was used to make garments. Fragments of woven cotton have also been found from these sites.

The first literary information about textiles in India can be found in the Rig-Veda, which refers to weaving. The ancient Indian epics-Ramayana and Mahabharata also speak of a variety of fabrics of those times. The Ramayana refers to the rich styles worn by the aristocracy on one hand and the simple clothes worn by the commoners and ascetics. Ample evidence on the ancient textiles of India can also be obtained from the various sculptures belonging to Mauryan and Gupta age as well as from ancient Buddhist scripts and murals (Ajanta caves). Legend has it that when Amrapali, a courtesan from the kingdom of Vaishali met Gautama Buddha, she wore a richly woven semi transparent sari, which speaks volumes of the technical achievement of the ancient Indian weaver.

India had numerous trade links with the outside world and Indian textiles were popular in the ancient world. Indian silk was popular in Rome in the early centuries of the Christian era. Hoards of fragments of cotton material originating from Gujarat have been found in the Egyptian tombs at Fostat, belonging to 5th century A.D. Cotton textiles were also exported to China during the heydays of the silk route.

Silk fabrics from south India were exported to Indonesia during the 13th century. India also exported printed cotton fabrics or chintz, to European countries and the Far East before the coming of the Europeans to India. The British East India Company also traded in Indian cotton and silk fabrics, which included the famous Dacca muslins. Muslins from Bengal, Bihar and Orissa were also popular abroad.(Muslin-a very thin cotton material) (Chintz-cotton cloth, usually printed with flowery patterns, that has a slightly shiny appearance)

The past traditions of the textile and handlooms can still be seen amongst the motifs, patterns, designs, and the old techniques of weaving, still employed by the weavers.

BROCADES - THE TRADITION OF BRINGING SILK TO LIFE
Brocade weaving, especially with gold and silver, has been an age-old tradition in India. There are two broad classes of brocades. Brocades of pure silk or silk and cotton blends and zari brocades with gold and silver threads. The most important material in brocade weaving is silk. It facilitates lovely weaves, is durable, strong, fine and smooth. There are several varieties of raw silk of which the chief ones used for brocades are Tanduri, Banaka and Mukta. Tanduri is imported from Malda and other places in Bengal. Banaka is thinner and finer variety and is mostly used to weave soft fabrics such as turbans and handkerchiefs. Mukta is a coarse and durable silk used for kimkhabs, as fine silk would not withstand heavy gold patterns.

REFINING SILK FOR BROCADE MAKING
Raw silk is specially treated for brocades. It is first twisted (called 'silk throwing') after which the threads undergo reeling and checking for uniformity and roundness. When the yarn has been processed, it is bleached and "degummed", as raw silk has a gum-like substance (sericin) in its composition. This has to be removed in order to bring out the sheen and softness and to enable penetration of the dye. The task has to be done with great care as the fibers can weaken or get damaged. The silk is boiled in soap water for certain duration and then sent for dying.

IMPORTANCE OF COLOR
Color plays a vital part in weaving brocade. The charm and subtle beauty of the brocade depends upon color synchronization. Colors are surcharged with nuances of mood and poetic association in fabrics and weaving as much as in painting.
Red - the color of love. The three tones of red evoke the three states of love.
Yellow - is the color of versant (spring), of young blossoms, southern winds and swarms of bees.
Nila (indigo) - the color of Lord Krishna who is likened to a rain-filled cloud.
Hari Nila - the color of water in which the sky is reflected.
Gerwa (saffron) - the color of the earth and of the yogi the wandering minstrel, the seer, the poet who renounces the world.

Earlier, vegetable dyes were used during weaving. These produced fast colors, lasted for almost a generation, and remained as beautiful and vivid as ever. Nowadays aniline dyes have gained popularity as they are cheaper, less time-consuming and produce a larger variety of colors.

MAKING NAKSHAS (DESIGNS) ON BROCADES
Making of nakshas (designs) forms an important part of brocade weaving. Banaras is the main center where the nakshabandha (designer) tradition prevails. The skill and imagination of nakshabandha plays a prominent part in making of designs. Designs are associated with legends and symbolism. The most popular motifs are drawn from nature. In Banaras, it is said that nakshabandha families were brought to this country during the reign of Muhammed Tughlak (1325-1350 A.D.). They were supreme masters of the art of tying designs into the loom. Local artisans and weavers learned this art from these great craftsmen. Some of these craftsmen were also great poets-perhaps they wove their poetry into their designs. One such renowned poet was Ghias-I-Naqsband, mentioned in Abul Fazl's 'Ain-I-Akbari'. The nakshas are first worked on paper. This part of the work is called likhai (writing). The nakshabandha then makes a little pattern of it in a framework of cotton threads like a graph. This pattern gives guidance to the working of that design into weaving.

CHANGES IN DESIGNS THROUGH THE CENTURIES
Designs and motifs have undergone changes gradually and imperceptibly. These changes can be traced through paintings made during different periods. Ajanta and Bagh murals show the existence of different techniques of designs and textiles. During the Gupta period (14th century A.D.). Popular designs were formal floral motifs or scrolls entwined with hansas or sinhas -bird and animal depictions. In the 16th century, the old designs were replaced by Persian floral motifs. Akbari paintings show half-blooming flowers, the Jehangir period, full-blown blossom and the Shahjehan period, tiny blossoms with emphasis on the leaves. In the 19th century, with the advent of British rule, there was a drastic change in designs. Some brocades started depicting English wallpaper designs to suit the tastes of the British rulers.

Beauty of local textile traditions

2011-03-17T17:05:00.001+05:30

Bridal costume of Kumaun region

This image was taken during my trip to Pithoragarh district of Uttaranchal

Pride mother of the bride in traditional costume of Rajasthan in Jaipur

women in Rabari costume in Pushker fair (Ajmer)

Indian Textile History

2011-03-11T16:06:00.000+05:30

India

has a diverse and rich textile tradition. The origin of Indian textiles can be traced to the Indus valley civilization. The people of this civilization used homespun cotton for weaving their garments. Excavations at Harappa and Mohen-jo-Daro, have unearthed household items like needles made of bone and spindles made of wood, amply suggesting that homespun cotton was used to make garments. Fragments of woven cotton have also been found from these sites.

The first literary information about textiles in India can be found in the Rigveda, which refers to weaving. The ancient Indian epics-Ramayana and Mahabharat also speak of a variety of fabrics of those times. The Ramayana refers to the rich styles worn by the aristocracy on one hand and the simple clothes worn by the commoners and ascetics. Ample evidence on the ancient textiles of India can also be obtained from the various sculptures belonging to Mauryan and Gupta age as well as from ancient Buddhist scripts and murals (Ajanta caves). Legend has it that when Amrapali, a courtesan from the kingdom of Vaishali met Gautam Buddha, she wore a richly woven semi transparent sari, which speaks volumes of the technical achievement of the ancient Indian weaver.

India had numerous trade links with the outside world and Indian textiles were popular in the ancient world. Indian silk was popular in Rome in the early centuries of the Christian era. Hoards of fragments of cotton material originating from Gujarat have been found in the Egyptian tombs at Fostat, belonging to 5th century A.D. Cotton textiles were also exported to China during the heydays of the silk route.

Silk fabrics from south India were exported to Indonesia during the 13th century. India also exported printed cotton fabrics or chintz, to European countries and the Far East
before the coming of the Europeans to India. The British East India Company also traded in Indian cotton and silk fabrics, which included the famous Dacca muslins. Muslins from Bengal, Bihar and Orissa were also popular abroad.(Muslin-a very thin cotton material) (Chintz-cotton cloth, usually printed with flowery patterns, that has a slightly shiny appearance)

The past traditions of the textile and handlooms can still be seen amongst the motifs, patterns, designs, and the old techniques of weaving, still employed by the weavers.

BROCADES - THE TRADITION OF BRINGING SILK TO LIFE

Brocade weaving, especially with gold and silver, has been an age-old tradition in India. There are two broad classes of brocades. Brocades of pure silk or silk and cotton blends and zari brocades with gold and silver threads. The most important material in brocade weaving is silk. It facilitates lovely weaves, is durable, strong, fine and smooth. There are several varieties of raw silk of which the chief ones used for brocades are Tanduri, Banaka and Mukta. Tanduri is imported from Malda and other places in Bengal. Banaka is thinner and finer variety and is mostly used to weave soft fabrics such as turbans and handkerchiefs. Mukta is a coarse and durable silk used for kimkhabs, as fine silk would not withstand heavy gold patterns.

REFINING SILK FOR BROCADE MAKING

Raw silk is specially treated for brocades. It is first twisted (called 'silk throwing') after which the threads undergo reeling and checking for uniformity and roundness. When the yarn has been processed, it is bleached and "degummed", as raw silk has a gum-like substance (sericin) in its composition. This has to be removed in order to bring out the sheen and softness and to enable penetration of the dye. The task has to be done with great care as the fibers can weaken or get damaged. The silk is boiled in soap water for a certain duration and then sent for dying.

IMPORTANCE OF COLOR

Color plays a vital part in weaving a brocade. The charm and subtle beauty of the brocade depends upon color synchronization. Colors are surcharged with nuances of mood and poetic association in fabrics and weaving as much as in painting.

Red - the color of love. The three tones of red evoke the three states of love.
Yellow - is the color of vasant (spring), of young blossoms, southern winds and swarms of bees.
Nila (indigo) - the color of Lord Krishna who is likened to a rain-filled cloud.
Hari nila - the color of water in which the sky is reflected.
Gerwa (saffron) - the color of the earth and of the yogi the wandering minstrel, the seer, the poet who renounces the world.

Earlier, vegetable dyes were used during weaving. These produced fast colors, lasted for almost a generation, and remained as beautiful and vivid as ever. Nowadays aniline dyes have gained popularity as they are cheaper, less time-consuming and produce a larger variety of colors.

MAKING NAKSHAS (DESIGNS) ON BROCADES

Making of nakshas (designs) forms an important part of brocade weaving. Banaras is the main center where the nakshabandha (designer) tradition prevails. The skill and imagination of nakshabandha plays a prominent part in making of designs. Designs are associated with legends and symbolism. The most popular motifs are drawn from nature. In Banaras, it is said that nakshabandha families were brought to this country during the reign of Muhammed Tughlak (1325-1350 A.D.). They were supreme masters of the art of tying designs into the loom. Local artisans and weavers learned this art from these great craftsmen. Some of these craftsmen were also great poets-perhaps they wove their poetry into their designs. One such renowned poet was Ghias-I-Naqsband, mentioned in Abul Fazl's 'Ain-I-Akbari'. The nakshas are first worked on paper. This part of the work is called likhai (writing). The nakshabandha then makes a little pattern of it in a framework of cotton threads like a graph. This pattern gives guidance to the working of that design into weaving.

CHANGES IN DESIGNS THROUGH THE CENTURIES

Designs and motifs have undergone changes gradually and imperceptibly. These changes can be traced through paintings made during different periods. Ajanta and Bagh murals show the existence of different techniques of designs and textiles. During the Gupta period (14th century A.D.). popular designs were formal floral motifs or scrolls entwined with hansas or sinhas -bird and animal depictions. In the 16th century, the old designs were replaced by Persian floral motifs. Akbari paintings show half-blooming flowers, the Jehangir period, full-blown blossom and the Shahjehan period, tiny blossoms with emphasis on the leaves. In the 19th century, with the advent of British rule, there was a drastic change in designs. Some brocades started depicting English wallpaper designs to suit the tastes of the British rule.

Traditional dyeing and printing of rajasthan

2011-03-08T22:10:00.000+05:30

This is a document I got while searching for traditional rajasthani costumes…….looks beautiful.Have a look…….

Group of Mārwāri Bania women.

Hindu garb of a long white coat and a loin-cloth. He has not yet adopted the cotton trousers copied from the English fashion. Some Banias in their shops wear only a cloth over their shoulders and another round their waist. The kardora or silver waist-belt is a favourite Bania ornament, and though plainly dressed in ordinary life, rich Mārwaāris will on special festival occasions wear costly jewels. On his head the Mārwāri wears a small tightly folded turban, often coloured crimson, pink or yellow; a green turban is a sign of mourning and also black, though the latter is seldom seen.

Chipa family who are traditional dyers and printers,Look the blocks and the dyeing equipments they are having.............

2. Its origin and position.

The Rangāris say that when Parasurāma, the Brāhman, was slaying the Kshatriyas, two brothers of the warrior caste took refuge in a temple of Devi. One of them, called Bhaosar, threw himself upon the image, while the other hid behind it. The goddess saved them both and told them to adopt the vocation of dyers. The Rangāris are descended [430]from the brother who was called Bhaosar and the Chhīpas from the other brother, because he hid behind the image (chhipna, to hide). The word is really derived from chhāpna, to print, because the Chhīpas print coloured patterns on cotton cloths with wooden stamps. Rangāri comes from the common word rang or colour. The Chhīpas have a slightly different version of the same story, according to which the goddess gave one brother a needle and a piece of thread, and the other some red betel-leaf which she spat at him out of her mouth; and told one to follow the vocation of a tailor, and the other that of a dyer. Hence the first was called Chhīpi or Shimpi and the second Chhīpa. This story indicates a connection between the dyeing and tailoring castes in the Marātha Districts, which no doubt exists, as one subcaste of the Rangāris is named after Nāmdeo, the patron saint of the Shimpis or tailors. Both the dyeing and tailoring industries are probably of considerably later origin than that of cotton-weaving, and both are urban rather than village industries. And this consideration perhaps accounts for the fact that the Chhīpas and Rangāris rank higher than most of the weaving castes, and no stigma or impurity attaches to them.

5. Occupation.

The bulk of the Chhīpas dye cloths in red, blue or black, with ornamental patterns picked out on them in black and white. Formerly their principal agent was the al or Indian mulberry (Morinda citrifolia), from which a rich red dye is obtained. But this indigenous product has been ousted by alizarin, a colouring agent made from coal-tar, which is imported from Germany, and is about thirty per cent cheaper than the native dye. Chhīpas prepare sarīs or women’s wearing-cloths, and floor and bed cloths. The dye stamps are made of teakwood by an ordinary carpenter, the flat surface of the wood being hollowed out so as to leave ridges which form either a design in curved lines or the outlines of the figures of men, elephants and tigers. There is a great variety of patterns, as many as three hundred stamps having been found in one Chhīpa’s shop. The stamps are usually covered with a black ink made of sulphate of iron, and this is fixed by myrobalans; the Nīlgars usually dye a plain blue with indigotin. No great variety or brilliancy of colours is obtained by the Hindu dyers, who are much excelled in this branch of the art by the Muhammadan Rangrez. In Gujarāt dyeing is strictly forbidden by the caste rules of the Chhīpas or Bhaosars during the four rainy months, because the slaughter of insects in the dyeing vat adds to the evil and ill-luck of that sunless time.1[432]

1Bombay Gazetteer, Hindus of Gujarāt, p. 178.

http://www.gutenberg.org/files/22010/22010-h/22010-h.htm#d0e111

Kalamkari

2011-03-07T17:26:00.000+05:30

Kalamkari (Telugu: కలంకారి) or Qalamkari is a type of hand-painted or block-printed cotton textile, produced in parts of India. The word is derived from the Persian words kalam (pen) andkari (craftmanship), meaning drawing with a pen.

a. The craft made at Machilipatnam in Andhra Pradesh, evolved with patronage of the Mughals and the Golconda sultanate.

b. There are two distinctive styles of kalamkari art in India - one, the Srikalahasti style and the other, the Machalipatnam style of art. The Srikalahasti style of Kalamkari, wherein the "kalam" or pen is used for free hand drawing of the subject and filling in the colours, is entirely hand worked. This style flowered around temples and their patronage and so had an almost religious identity - scrolls, temple hangings, chariot banners and the like, depicted deities and scenes taken from the great hindu epics - Ramayana. Mahabharata, Puranas and the mythological classics. This style owes its present status to Smt. Kamaladevi Chattopadhayay who popularised the art as the first Chairperson of the All India Handicrafts Board. Only natural dyes are used in Kalamkari and it involves seventeen painstaking step

History

Kalamkari craft is very old. This art knew its apogee in the wealthy Golconda sultanate, Hyderabad, in the middle ages.

Kalamkari art has been practised by many families in Andhra Pradesh and has constituted their livelihood.

In ancient times, groups of singers, musicians and painters, called chitrakattis, moved village to village to tell the village dwellers, the great stories of Hindu mythology. Progressively, during the course of history, they illustrated their accounts using large bolts of canvas painted on the spot with rudimentary means and dyes extracted from plants. The first Kalamkari had been born. In the same way, one found in the Hindu temples large panels of Kalamkari depicting the episodes of Indian mythology, akin to the stained glasses of the Christian cathedrals.

Kalamkari had a certain decline, then it was revived in India and abroad for its craftsmanship. Since the 18th century the British liked the decorative element for clothing

Technique

The cotton fabric gets its glossiness by immersing it for an hour in a mixture of myrabalam (resin) and cow milk. Contours and reasons are then drawn with a point in bamboo soaked in a mixture of jagri fermented and water; one by one these are applied, then the vegetable dyes. After applying each color, the Kalamkari is washed. Thus, each fabric can undergo up to 20 washings. Various effects are obtained by using cow dung, seeds, plants and crushed flowers.

WASHING/SCOURING CLOTH

Methods for scouring and bleaching of gada cloth vary. Some artists simply immerse gada cloth in cool water over night then beat the wet cloth to remove further impurities.

-Gada cotton fabric is scoured by immersing it overnight in a sheep dung/water solution (1 lump of dung for 10 liters of water).

-The cloth is exposed to the sun for a day by spreading it on the banks of the river.

-Water is continually sprinkled on the cloth to prevent it from drying.

-In the evening the cloth is washed by folding it and slapping it against a washing stone, followed by rinsing in the flowing river.

-The cloth is then re-immersed in a freshly prepared sheep dung solution and the process is repeated.

-On the second day the sprinkling is stopped in the late evening to allow the cloth to dry.

GADA CLOTH & MYROBALAM SOLUTION

The first step in making a kalamkari painting is the treatment of gada, or unbleached cotton cloth in kaccha or myrobalam and buffalo milk solution. A desired size of gada cloth is scoured and bleached before it is treated with the myrobalam/ milk solution. A paste of powdered myrobalam fruit (karakkai, T. chebula) is mixed in fresh, unheated buffalo milk. For about 6 meters of cloth, 200 grams of myrobalam powder and about 2 liters of milk is needed. This solution is kept for 1 hour to extract tannic acid from the seeds. The cloth is then soaked in the myrobalam solution for 15 minutes, taking care to see that the entire length of cloth is sufficiently saturated. The cloth takes on a light yellow color. It is then squeezed/twisted to remove excess solution, and dried in the sun on a sandy riverbank for approximately 1 hour. The cloth is folded and can be stored in a cool dry place for up to 3 months. The high fat content of the milk prevents dye from spreading beyond the point of application. The immature myrobalam contains tannic acid that acts as the mordant component for the black dye (kasimi).

KALAM

The kalam, or bamboo pen, is the most important tool in painting kalamkari and gives the artform its name: kalam (pen)kari (work/action/agent). A kalam is made from bamboo splinters measuring about 4-6 inches in length, sharpened to a tip of desired thickness. A thicker point is preferred for filling in background color, while a finer point is used for outlines. About 1 to 1 ½ inches from the tip of the kalam, is a dye reservoir made from small rags of coarse wool that are wound around the bamboo and tied in place by cotton thread. This reservoir absorbs and retains the dye solution.

According to many artists, cotton cloth cannot be used for the reservoir as it has higher absorptive capacity, no resilience, and would release larger amounts of dye when squeezed. Artists regulate the flow of dye down the bamboo kalam to the point through deliberate and controlled squeezing of the reservoir.

In this manner an artist can vary the thickness of the lines s/he draws by skilfully moving the tip of the kalam over the cloth. Kalams with thinner points are sometimes slit from the tip to the dye reservoir, and filled with a few strands of hair or thread to facilitate the flow of black dye. The reservoir of thekalam is never allowed to dry. It is washed and dried thoroughly before storage.

CHARCOAL SKETCH

Most artists will sketch a charcoal outline on the prepared cloth before application of black dye (kasimi). Some artists use charred tamarind twigs to draw, while others use commercially manufactured charcoal or lead pencils.

The following steps are taken to prepare tamarind twigs (chinta boggo) for sketching:

· Dried twigs that have fallen around the tree are gathered and broken to a length of 3-7 inches.

· To char the twigs, a shallow circular pit is scooped out in dry soil and a heap of sand is kept besides the pit.

· The dry twigs are piled up to a height of 2-3 inches above the ground level. Some newspaper is also placed among the twigs to facilitate burning. The twigs and paper is set on fire.

· When the flame dies down, sand is thrown over the twigs, and they are set to cool in the pit for 3-4 hours.

· This slow cooling makes the pencils tough. The ash coloured twigs are then unearthed, rolled between one?s fingers to remove greyish bark until black color is revealed.The pencils so prepared can be stored until further use (do not remove bark before charring; else the twigs will turn to ash).

KASIMI (Black)

Black ink/dye or kasimi is at the basis of all traditional kalamkari paintings; it is used to outline all figures, write texts and narrative descriptions, and is the first ink to be applied to myrobalam-treated cloth. Kasimi is made from a fermented solution of rusted iron pieces and sugarcane jaggery. Scrap bits of iron are mixed with about 10 liters of water and jaggery until it is thin to the touch and sweet to the taste.? Keep the kasimi solution in an earthen pot, cover and let ferment for 12-15 days (longer if in a cooler climate). A brown/grey/blackish froth forms at the surface, indicating that the solution is ready. The iron acetate is strained through cotton cloth into another container (earthenware, plastic, stainless steel, glass). If stored in a cool place, the solution can be kept up to one year. Iron bits can be reused in later preparations of the solution. Kasmi solution is used for outlining of figures/motifs and for filling in larger areas in black color. When the iron acetate is applied to treated cloth, a chemical reaction takes place between the iron acetate and the myrobalam solution, causing the kasimi to first appear as a dull, brownish gray, and after a few seconds reach a deep black color. Artists use a cotton rag (or the reservoir ball on the side of the kalam) to dab/clean up any excess or unwanted ink that falls on the cloth. It takes about 5 minutes for the kasimi to fully dry on the cloth.

· When first applying kasimi to the cloth, the color appears dull, brown, gray and takes a few moments to turn a deep black-

CHAVALKODI & SURALPATTI (Pink, Red, Maroon)

Red shades are acquired through a lengthy alum mordant painting/dyeing process. Alum powder (50 grams) is dissolved in warm water (1 liter) until a thin and watery consistency is achieved. Artists paint alum solution on all portions of the cloth that should appear red. The cloth is allowed to dry for two days. It is then rinsed in flowing river water to remove excess alum, squeezed and dried in the sunlight. The alum solution can be stored in glass or plastic containers for several months. Once the alum solution is dried, water is brought to a boil in a large copper vessel. Chavalikodi root and Surulipatta bark is added to the boiling water. After about 20 minutes, artists submerge the alum-painted cloth and boil for about 40 minutes. The cloth is then removed, rinsed with cold water, and let dry. For a darker shade of red/multiple shades of red in a single piece, the entire process (treatment in myrobalam solution, alum painting and Chavalikodi root and Surulipatta bark dye vat boil) is repeated until desired color(s) is achieved. Some artists are also applying lime juice onto portions cloth that have already been dyed red, in order to obtain a light pink color. Typically lime juice is used to create pink line details on red figures or on floral motifs. At present it is important to note that most artists are using a synthetic form of alizerine for obtaining red colors on cloth. Typically the alizerine is mixed with alum and painted directly onto the cloth, however some artists maintain the two-step process of painting alum first then dyeing the cloth in a red dye bath (in this case alizerine).

BLEACHING

Preparation for lighter colors After the Chavalikodi root and Surulipatta bark dye bath, the cloth has a slight red tint. If the artist wishes to remove this red tint, the cloth needs to be bleached in a sheep dung and water solution and set overnight. The next day, the cloth is removed from the sheep dung solution, rinsed in flowing water, set on the banks of a sandy river bed, and sprinkled with water (until saturated) every hour for the entire day. In the evening the cloth is returned to the sheep dung solution and the process is repeated for 2-4 days, depending on the whiteness desired. Before yellow or additional colors are added, the cloth is again treated in the myrobalam-milk solution.

MYROBALAM FLOWERS (Yellow, Green, Brown)

A yellowish colored dye is obtained by mixing 150 grams of powdered myrobalam flowers and 4 liters of boiling water in an earthen or metal pot. The solution is stirred for some time and then set to cool for about 2-3 hours. Some artists have indicated that a better, darker shade of yellow is obtained if the solution is left to mature for a week in a glass (or non-absorbent) vessel. Before painting the yellow dye solution onto cloth, 10 grams of alum is added. All portions of a cloth that should appear yellow and green are painted with this dye solution. The dye can be stored up to 6 months in a cool place. Occasionally artists add a solution of aged mango bark and boiling water over the myrobalam yellow dye solution to obtain superior color fastness, or to create a slightly brownish color. The yellow solution, if set for several days, can turn a slight greenish tint. Otherwise, green can be obtain by painting portions with the myrobalam yellow solution, then treating the same portion of cloth with indigo dye. Once myrobalam yellow painting is completed, the cloth is dried in the shade. The next day, the cloth is washed well in flowing river water and dried in the sunlight. Sometimes pomegranate rinds are used to obtain a yellow color dye. About 200 grams of rinds are powdered and boiled in 3 liters of water. Once cooled, about 8-10 grams of alum is added to the solution. The pomegranate rind solution can then be painted directly onto cloth, creating a dullish yellow color.

INDIGO and NEELI MANDU (Blue)NEELI MANDU / AQUAMARINE ~Blue~

For the most part, the blue dye currently being used in Sri Kalahasti is a synthetic ultramarine blue. The solution, called neeli mandu, is made from about 10 grams of commercially produced ultramarine blue dye lumps dissolved in water. It is applied to the cloth on unpainted portions where a blue color is desired, or it is painted over existing yellow portions that should be green. Once dried, the cloth is then washed lightly in water and dried. Based on the existing method of using ultramarine blue, the color is not very fast, therefore the cloth is washed carefully.

INDIGO (Neel)
~Blue~

When indigo is applied by kalam / painting directly to the cloth, the dye is not fast. To insure fastness and stability of indigo, it is necessary to sumberge the cloth in an indigo vat, using a resist (like wax) to protect portions of the cloth that should not be blue. While indigo is used in limited situations by kalamkari artists in Sri Kalahasti, the following method has been cited for indigo painting onto cloth. If this technique for indigo application was used, it would likely fade easily and disappear if washed.

1) An earthen pot is buried in the earth, filled with powdered indigo cakes or nil (1/2 kg) and water (15 liters).

2) Another earthen pot is half-buried in the ground. The half that is left exposed outside is coated with lime. On top of this pot another earthen pot is placed, with a hole at the bottom. The upper pot is filled with paddy husk. Two solutions are then created, one a mixture of alkaline dirt (8 kg) and water (5 liters), the other a mixture of shell-lime (5kg) and water (5 liters). These solutions are poured over the upper pot, filtered through the husks, and drained into the lower pot. A lid is placed over the upper pot. The filtered alkaline-lime solution, collected in the lower pot, is called appala karam.
3) In a small pot, 2 kg thagarsa (cassia tora or tandipa ginjalu) seeds are boiled an aluminium pot with 3-4 liters of water for about 30-45 minutes until the seeds soften to a paste. The paste is cooled, and then mixed with the appala karam until a solution is obtained with the same consistency as that of the nil solution (step one). The two solutions (nil and thagarsa-alkaline-lime) are mixed together and left for 10-15 days (7-10 days in the summer, 15 days in the winter), stirring twice a day until a yellow-greenish color is obtained and the solution smells like mud. The indigo solution is then ready for painting, turning blue when exposed to air (through painting).

SHUTTLELESS LOOMS

2011-02-26T23:37:00.005+05:30

The fundamental principles of weaving are, SHEDDING i.e. dividing the longitudinal threads called 'warp' into two sheets; PICKING i.e. insertion of transverse thread called 'weft' into the space created by the division of warp sheets and BEATING i.e. pulling the inserted wefts one after the other to form cloth. There is no change in these principles whether it is Handloom, Powerloom. Automatic Loom or Shuttleless Loom technology.

Shuttleless looms have been developed to overcome the inherent problems created by the dynamics of the picking mechanism on the conventional Fly Shuttle Looms and make use of entirely different methods of weft insertion. Air Jet, Water Jet, Rapier, Gripper (Projectile) and Multi-Phase are the various types of Shuttleless Weaving Machines named after the method employed for weft insertion.

Shuttleless Weaving Machines are generally of wider widths enabling the simultaneous weaving of two or more widths; upto 400/420 cms. in the case of Air Jet and Rapier and upto 540 cms. in case of Gripper. The weft insertion rates achieved are 1560, 1480, 2850 and 2565 Mtrs./Mt. for Gripper, Rapier, Air Jet and Water Jet Weaving Machines respectively.Shuttleless Weaving Machines are sviitably designed to match the requirements of high insertion rates, shedding, beating and other auxiliary motions. Let-off and take-up mechanisms and weft monitoring are invariably controlled through microprocessors. The machines are equipped with features like automatic pick finding & repairing and weft accumulators. There are FOUR different type of shuttleless looms .They are

o Rapier loom (single and double type);

o Gripper or projectile loom;

o Water jet

o Air jet loom

· Except the weft yarn is placed at the side of the loom, the weaving processes (primary and auxiliary motions) of shuttleless loom is similar to shuttle loom

· Insert weft yarn by means of projectile, rapier, air and water jet Weft yarn is placed outside the weaving loom. The speed is faster, quiet and better fabric quality

Advantages and disadvantages of each shuttleless loom

1. The problems of shuttle loom are the weft yarns are placed inside the shuttle. The shuttle is big and heavy and the machine speed is low and noisy to operate. In addition, a new pirn must be inserted to the empty shuttle for continue operation.

2. Shuttleless looms eliminate these problems by placing the cone of yarn at the side of theloom.

3. Once the yarn is bought across the loom, the yarn is cut, often leaving a little fringe of the edges of the fabric

4. . Shuttleless weave 2 to 4 times as much as conventional looms per unit time.

5. . The cost of pirn winding is eliminated.

6. Strain upon the warp threads is reduced due to smaller depth of shed

7. Heavy cost of repairs and replenishment of worn out parts is reduced They can produce simpler tubes of fabrics on a large scale and provide opportunities for profitable exploitation in the long run.

8. The physical and mental strain upon the weaver is reduced

9. There is no risk of shuttle fly out owing to the absence of conventional shuttle and packing being positive

10. Quality of the fabric gets enhanced because of a positive control over the weaving process.

11. The looms are easier to work and manipulate

12. . Efficiency of the shuttle weaving shed is comparatively higher

13. 10. 5% reduction in value loss for a Rs. 60/- Metre fabric would ensure an additional profit of Rs. 3/- meter

14. Higher production per loom.

15. Speed is not the only criterion for the selection of shuttleless looms. Efficiency is also an important criterion.Efficiency advantage of 10-15% due to shuttle changes, Un weaving of damages, reduced time for warp changes canbe obtained from shuttlelesslooms. 5% higher efficiency would provide an additional profit of Rs. 1/- per meter.

Rapier Loom

A rapier loom uses a rapier to pull the weft yarn across the loom.

· It can be a single rapier or double rapier.

· For a single rapier, a long rapier device is required to extend across the full width of warp.

For a double rapier loom, two rapiers enter the shed from opposite sides of the loom and transfer the weft from one rapier head to the other near the centre of the loom

· The advantage of two rapier system is only 50% of the rapier movement is utilized in the weft insertion of single rapier loom

Projectile loom (I)

· The picking action is accomplished by a small bullet like gripper which grips the weft yarn and carries it through the shed.

· This is a more positive way of inserting the weft yarn without restoring to the heavy shuttle.

· Because the mass of gripper is low, the forces needed to accelerate it are less and the picking mechanism can be lighter.

In addition, the running speed of the looms can be increased significantly compared with conventional shuttle loom. Small bullet like gripper is passed from one side to the other inside the shed

Projectile loom (II)

· Several grippers are normally used in the loom.

· While one is crossing the loom with weft yarn, the others are returning to the starting position.

· The dragging of the weft yarn across a loom creates strain on this yarn, so projectile looms are not suited for weaving with very weak yarn.

· However, it is excellent for use with heavy and bulky yarns, as well as regular size yarns.

· It is the most versatile of the shuttleless looms in regard to the range of fabric it can produce.

Air Jet (I)

· Jet looms take the weft yarn across the loom by using a high speed of either air or water.

· The force of air or water carriers the yarn from one side to the other.

· Jet looms are faster than projectile or rapier looms (picks per minute).

· However, they cannot produce as great a variety of fabrics (no heavy or bulky yarns), nor can they produce as a wide a fabric (jets have less yarn-carrying power).

· Jet looms also do less damage to the warp since there is no abrasion of this yarn by the jets of air or water, unlike the projectile or rapier.

Multiple air nozzles are used to insert the weft yarn into the shed.

Air jet (II)

With the air-jet looms, the initial propulsion force is provided by a main nozzle.The fabric width of air-jet loom is normally narrower than rapier or projectile loom

Water jet (I)

· With water jet looms, there is only a main nozzle to provided the propulsion of the weft yarn.

· The loom is very efficient, with only a small amount of water required and is the fastest type ofshuttleless loom.

· Water-jet looms are capable of producing 700 picks per min (ppm) for 75-inch fabrics compared to about 180 picks per min for shuttle looms with 44-inch fabric.

Water jet (II)

· Since wet fabric cannot be stored in a roll, water jet looms are equipped

with efficient drying units.

· The units use vacuum suction and heat to remove the water from the fabric.

· Water-jet looms are best suited for weaving filament yarns made of hydrophobic fibres (water-resistance fiber) like nylon, or polyester/cotton.

· Yarns made of fibres that lose strength when wet (e.g rayon) should not be used.

http://www.bukisa.com/articles/309048_royal-footwears-of-rajasthanthe-mojari

2010-06-29T16:36:00.000+05:30

http://www.bukisa.com/articles/309048_royal-footwears-of-rajasthanthe-mojari

Magical Quilts of Jaipur (Jaipuri Rajai) | Bukisa.com

2010-06-14T15:32:00.000+05:30

Magical Quilts of Jaipur (Jaipuri Rajai) | Bukisa.com

Indian textile: http://www.bukisa.com/articles/288875_why-hindu-married-women-wear-sindoor-

2010-05-20T15:56:00.001+05:30

Indian textile: http://www.bukisa.com/articles/288875_why-hindu-married-women-wear-sindoor-

http://www.bukisa.com/articles/288875_why-hindu-married-women-wear-sindoor-

2010-05-20T15:56:00.000+05:30

http://www.bukisa.com/articles/288875_why-hindu-married-women-wear-sindoor-

Colors in Hindu Culture | Bukisa.com

2010-05-20T15:55:00.000+05:30

Colors in Hindu Culture | Bukisa.com

survival of Ilkal in the new economy

2010-03-23T17:00:00.000+05:30

Ilkal a small town famous for its ethenic sarres is in the northern district of Bijapur inKarnataka.Buthe the sound of the loom may belong to past as more and maore weavers leave this art to join more profitabel occupation. These Sarees are unique for their 4-6 inch broad reddish maroon borders with traditional ,distict designs.It is the families of dyers and weavers who togethe produce the Ilkal Sarees-a deep blue-black indigo body with red borders.It is woven in cotton or silk or a combinatiuon of both. The cotton ,before the advent of chemicl colores, was indigo dyed and the red border dyed with cilors derived from flowers.
Aweavers living room includ ea handloom Pit where the weaver works on loom at the same time entertaing guest and coustomer.The bed room is a storeroom for yarn and also doubles as the domain of women folk of the house.It takes around a week to complete a Saree.It is a tiresome work ."The wholesaler gives us the required raw materials, mainly yarn, and we weave the Saree on piecemeal basis",a weaver elaborates."We are then sure the saree is sold and we are not stuck with dead stock.This is how the system mostly works now."he added.
Traditionally Ilkal Sarees were made using natural indigo dyes then,in the 1970s the synthetic German indigo replaced this wet dyeing process.Today,this has given way to naphtha based dyes.the famed and centuries old indigo dyeing is now on the verge of extension as the new generation steps into more profitable avenues the skyline of Ilkal is fast changing too."The most profitable business in the area is now Granite,"states a weaver.With this stone being available in plenty here ,a number of granite selling agencies and chimneys of Granite processing units are proliferating all over. As more and more of town's younger citizen step into new ventures like that of selling stones ,the loom may become a mere memory.

The Indian textile industry

2010-03-08T18:32:00.005+05:30

The Indian textile industry

The Indian textile industry is one of the largest in the world with a massive raw material and textiles manufacturing base. Our economy is largely dependent on the textile manufacturing and trade in addition to other major industries. About 27% of the foreign exchange earnings are on account of export of textiles and clothing alone. The textiles and clothing sector contributes about 14% to the industrial production and 3% to the gross domestic product of the country. Around 8% of the total excise revenue collection is contributed by the textile industry. So much so, the textile industry accounts for as large as 21% of the total employment generated in the economy. Around 35 million people are directly employed in the textile manufacturing activities. Indirect employment including the manpower engaged in agricultural based raw-material production like cotton and related trade and handling could be stated to be around another 60 million.

Organization of the textile industry:

Unlike other major textile-producing countries, India’s textile industry is comprised mostly of small-scale, nonintegrated spinning, weaving, finishing, and apparel-making enterprises.

This unique industry structure is primarily a legacy of government policies that have promoted labor-intensive, small-scale operations and discriminated against larger scale firms.

Overview of the structure of Indian textile industry

• Composite Mills. Relatively large-scale mills that integrate spinning, weaving and, sometimes, fabric finishing are common in other major textile-producing countries. In India, however, these types of mills now account for about only 3 percent of output in the textile sector. About 276 composite mills are now operating in India, most owned by the public sector and many deemed financially “sick.”

• Spinning. Spinning is the process of converting cotton or manmade fiber into yarn to be used for weaving and knitting. Largely due to deregulation beginning in the mid-1980s, spinning is the most consolidated and technically efficient sector in India’s textile industry. Average plant size remains small, however, and technology outdated, relative to other major producers.

• Weaving and Knitting. Weaving and knitting converts cotton, manmade, or blended yarns into woven or knitted fabrics. India’s weaving and knitting sector remains highly fragmented, small-scale, and labor intensive.

This sector consists of about 3.9 million handlooms, 380,000 “power loom” enterprises that operate about 1.7 million looms, and just 137,000 looms in the various composite mills. “Power looms” are small firms, with an average loom capacity of four to five owned by independent entrepreneurs or weavers. Modern shuttle less looms account for less than 1 percent of loom capacity.

• Fabric Finishing. Fabric finishing (also referred to as processing), which includes dyeing, printing, and other cloth preparation prior to the manufacture of clothing, is also dominated by a large number of independent, small scale enterprises. Overall, about 2,300 processors are operating in India, including about 2,100 independent units and 200 units that are integrated with spinning, weaving, or knitting units.

• Clothing. Apparel is produced by about 77,000 small-scale units classified as domestic manufacturers, manufacturer exporters, and fabricators (subcontractors).

Public and Private sectors

Public Sector is an area where enterprises/ organization, investment and management of it are controlled entirely by Government. Majority of Board of Directors are Govt. Nominees/officials

Where as in private sector Manufacturing units or establishment has control entirely by private individuals. Their boards of directors do not include any govt officials, except one or two members from lending financial institutions.

Major Public and Private Sectors of textile industries

Cotton marketing (seed cotton and cotton lint) in India is predominantly handled by the private sector (traders and cooperatives). Although cotton trade is largely private, it is mostly regulated by the GOI and State governments. There are three groups in the marketing of cotton: private traders, state level cooperatives, and the Cotton Corporation of India (CCI).

The spinning sector is comprised of composite mills and independent mills. In 1994-95, production capacity in the spinning industry reached 30 million spindles, 70% of which was in the private sector.

Centralized and decentralized sectors

The Cotton/ Man-made fiber

The Cotton/ Man-made fiber textile industry is the largest organized industry in the country in terms of employment (nearly 1 million workers) and number of units. Besides, there are a large number of subsidiary industries dependent on this sector, such as those manufacturing machinery, accessories, stores, ancillaries, dyes & chemicals. As on 31.03.2008, there were 1773 cotton/ man-made fiber textile mills (non-SSI) in the country with an installed capacity of 35.01 million spindles,

4, 61,000 rotors and 56,000 looms.

Weaving

One of the most important segments of the value chain of the textile production that needs immediate and focused attention to provide the ‘competitive edge’ to the value added textile products is the ‘weaving segment’. The Cloth production in 2008-09 is 54966 mn. sq. mtrs.

The weaving activity is predominantly concentrated in the decentralized sector and thus suffers from attendant disadvantages and handicaps in terms of low quality and technology, limited ability to absorb technology up gradation etc. normally suffered by any activity carried out in the decentralized sector.

The two reasons for concentration of weaving activity in the decentralized sector are: (a) govt. policies restricting the capacities of organized industry in the pre-liberalization era and fiscal policies prescribed by the Govt. and (b) somewhat inward looking policies of the organized industry. Due to the Govt.’s restrictive policy in the initial years after independence, the mill sector was not allowed to expand and its growth was stymied.

Power loom

The decentralized power loom sector plays an important role in Indian Textile and Clothing Industry. The power loom industry produces a wide variety of cloth, both greys as well as processed. Production of cloth as well as generation of employment has been rapidly increasing in the power loom sector. There are 21.55 lakh power looms in the country as on 31st December, 2008 distributed over approximately 4.82 lakh units. The power loom sector contributes about 62% of the total cloth production of the country, and provides employment to about 54.00 lakh persons. More than 60% of the cloth meant for export comes from the power loom sector. The estimated number of power looms in the decentralized sector in the country till December, 2008 was 21, 58,362.

There are 21.55 lakh power looms in the country as on 31st December, 2008 distributed over approximately 4.82 lakh units. The power loom sector contributes about 62% of the total cloth production of the country, and provides employment to about 54.00 lakh persons. More than 60% of the cloth meant for export comes from the power loom sector.

Growth in the Powerloom Sector

The industry will have to prepare itself to face the challenges on account of globalization of trade and consequent competition, in order to survive and expand its market share.

The working conditions in the decentralized power loom sector are appalling. Weavers have no job protection, and wage rates are, by and large, pretty low. The technology level of the sector is also low as it is catering primarily to the quality insensitive lower end of the domestic market. Most of the weavers operate on plain looms obviating the need for specialised training. Furthermore, in many places power loom weaving is a family tradition. From a very young age such weavers

become acquainted with the operation of the looms and weaving activity. Modernization by way of installing modern looms is the need of the hour. However, the existing premises of powerloom weavers are not adequate to accommodate modern automatic/shuttles looms and such lack of appropriate space has been one of the reasons for slow pace of modernization.

The co-operatives

The co-operatives have been found to be the best form of institutional mechanism to carry and convey the Govt. assistance to the targeted people. The cooperative structure as such has served reasonably well. It was working admirably as long as its role was limited to input supply and output marketing. Notwithstanding the several steps taken, the coverage of weavers by co-operatives has been stagnant at

around 25 percent. The co-operative sector too, over the years, is becoming increasingly sick. Along with the co-operatives, other forms of organizations of weavers need to be recognised to carry and receive the govt. assistance.

Cooperative spinning mills

With a total installed capacity of 3.5 mn. Spindles and 18 thousand rotors spread over 150 mills; co-operative spinning mills constitute a significant component of the spinning sector. With the exception of a few units, the performance of cooperative spinning mills is in general found to be poor. Due to the poor commercial and operational efficiency, most of the cooperative mills have been incurring huge losses year after year. Poor management is another major cause of their poor performance. The wage cost relative to sales turnover in such industries is very high-in excess of 20 percent – as against the industry average of 10 percent.

Co-operative weaving sector

Though the khadi and Handloom industry is very much dependent on cooperatives, but these cooperatives are mostly dormant.

The financing is done by KVIC and cooperatives in Government sector.

The turnover runs into crores of rupees in private sector, in the traditional brands which are popular, but limited to lakhs only in Government sector. Most of the visitors to Government Khadi and Handloom outlets were middleclass people to avail the rebate offers in festival season, where as private Khadi and handloom outlets attracted high income groups also, in higher number.

Handlooms

The Handloom sector has a very characteristic supply chain which serves the low and the high ends of the value chain, as it produces and supplies both mass consumption products for use in countryside as well as niche products for urban & exports markets

· Handloom sector produces, primarily, textiles with geographical depiction like sungudi cotton and artificial silk sarees in Chinnalapatti, Aruppukottai areas and original silk sarees in kanchipuram, Thiribuvanam areas in small batches.

· More than 82 per cent of Handloom production is made by using cotton fiber through co-operatives. Handloom production is mostly pastoral employing about 10 million, mostly, household weavers and revolves around master-weavers who supply designs, stuff and often the loom.

· The greatest advantage of this sector has been identified as the inheritance of skills and capacities to the young next generation weavers, which is beyond the realm and reach of any modern training and educational institution

· One biggest advantage of this sector at this epoch is; Handlooms are Eco-friendly; without any energy consumption. A handloom is a self-governing technology.

There are over 3.6 million handlooms spread in various parts of the country. The majority of the handlooms are in the state of Tamil Nadu (600,000), Andhra Pradesh (550,000),Assam (500,000), Uttar Pradesh (500,000), West Bengal (300,000), and Haryana (150,000). It is estimated that this sector employs 6-7 million people. This sector caters to the fabric requirements of the rural population and in many areas also specializes in sarees (a woman's garment consisting of a long piece of lightweight material wrapped around the body and over the shoulder). Production in the handloom sector recorded a figure of 6947 million sq. meters in the year 2007-08, which is about 26.47% over the production figure of 5493 million sq. meters recorded in the year 2003-04. During 2008-09, production in the handloom sector is reported to be 6,677 million sq. meters.

The major reason for this decline is that the sector is unable to compete with the powerloom sector for mass consumption products such as sarees, shirts, suits, and dress materials. The GOI, through various schemes, has attempted to protect the handloom sector as it is labor intensive and also works as a supplementary wage mechanism in rural areas.
The Handloom industry mainly exports fabrics, bed linen, table linen, toilet and kitchen linen, towels, curtains, cushions and pads, tapestries and upholstery's, carpets and floor coverings, etc. The Handloom industry has adopted various measures and techniques to provide high quality and eco-friendly products to the world market.

In the world of handlooms, there are Madras checks from Tamil Nadu, ikats from Andhra and Orissa, tie and dye from Gujarat and Rajasthan; brocades from Banaras, jacquards form Uttar Pradesh. Daccai from West Bengal, and phulkari from Punjab.

The Surat tanchoi based on a technique of satin weaving with the extra weft floats that are absorbed in the fabric itself has been reproduced in Varanasi. Besides its own traditional weaves, there is hardly any style of weaving that Varanasi cannot reproduce. The Baluchar technique of plain woven fabric brocaded with untwisted silk thread, which began in Murshidabad district of West Bengal, has taken root in Varanasi. Their craftsmen have also borrowed the jamdani technique.

In the deportment of Woolen textiles, Woolen weaves are no less subtle. The Kashmiri weaver is known the world over for his Pashmina and Shahtoosh shawls. The shawls are unbelievably light and warm.

The states of Kashmir and Karnataka are known for their mulberry silk. India is the only country in the world producing all four commercially known silks - mulberry, tasser (tussore), eri and muga. Now gaining immense popularity in the U.S.A. and Europe Assam is the home of eri and muga silk. Muga is durable and its natural tones of golden yellow and rare sheen become more lustrous with every wash. The ikat technique in India is commonly known as patola in Gujarat, bandha in Orissa, pagdu bandhu, buddavasi and chitki in Andhra Pradesh.

Exports

Textile exports play a crucial role in the overall exports from India. With the objective of increasing exports to US $ 50 billion by 2010 from the present level of US $ 11 billion.Clothing sector contributes significantly to employment generation and export earnings besides meeting the domestic demand for clothing. Clothing exports constitute 40 percent of the exports of textile products. Direct employment in the apparel industry was estimated by IIFT in 1992-93 to be about 2 mn. With an estimated 68.7 percent employed by fabricating units, 21.8 percent by domestic manufacturers and 9.5 percent by exporters. Readymade Garments accounts for almost 42% of the total textiles exports. Apparel and cotton textiles products together contribute nearly72% of the total textiles exports. India’s textiles products, including handlooms and handicrafts, are exported to more than a hundred countries. However, the USA and the EU, account for about two-third of India's textiles exports. The other major export destinations are Canada, U.A.E., Japan, Saudi Arabia, Republic of Korea, Bangladesh, Turkey, etc.

Imports

The import of fiber, yarn and fabrics, made ups , RMG and other textile decreased by 29%, 15% and 13% respectively in terms of US$ during. 2009-10. The overall

imports of textile decreased by 18% in terms of US$.

Total textiles imports were of the order of US$ 3.33 billion (Rs.13418 crore). 49% of this was on account of import of yarn and fabrics and 45% was on account of import of raw material and semi-raw-material. The imports have increased by 17.39% during 2007-08 in dollar terms. However, import of textiles as percentage of total imports has been going down steadily and comprised only 1.39% in 2007-08. During April-December, 2008, the textiles imports amounted to US$ 2.78 billion registering an increase of 12.64% over the corresponding period of previous

year.

Generally Imported textile articles

· Raw Jute

· Raw Silk

· Raw Wool

· Raw Cotton

· Synthetic & regenerated fibers

· Silk yarn & fabrics

· Woolen yarn & fabrics

· Cotton yarn & fabrics

· Man made filament/ spun yarn

· Readymade garments (woven & knit.)

· Woolen & cotton rags etc

· Other textile yarn, fabrics, Made-up articles

References

http://business.mapsofindia.com/india-gdp/industries/textile.html

http://www.scribd.com/doc/16688873/Apkhadi-Handlooms

http://txcindia.com/html/mdo2007_2.pdf

http://texmin.nic.in/annualrep/ar_08_09_english.pdf

Complete Computer Aided Textile Design (Catd) System

2010-03-04T16:38:00.000+05:30

Complete Computer Aided Textile Design (Catd) System

Introduction

In order to remain competitive both in the global and domestic markets. The Indian textile industry must explore ways and means to upgrade overall productivity and quality as well as to develop a quick response strategy to meet the demands of fast changing markets. The Indian textile industry is broadly divided into the high-tech organised mill sector and the low-tech decentralised powerloom and handloom sectors. In India, few modern mills in organised sectors have started modernising their various departments to remain competitive. However, decentralised powerloom and handloom sector, which is the largest sector of the Indian textile Industry, growth rate and movement of modernisation is very slow.Designing textile samples in the traditional way is very time comsuming, tedious and costly affair. Consequently designers find difficult in keeping pace with the "quick response" trends of the market.

These are the driving forces behind the use of Computer Aided Textile Design (CATD) system in textile Industry. Invention of high resolution color graphics computer has opened its use in textile design all over the world and has helped in reducing the time required from design conception to sample production. Computer Aided Dobby and Jacquard design package and retrofit kit for automation of Jacquard Piano Card Punching Machine has been developed. Print design package has been added to it and now the complete CATD package is being offered CATD software provides a tool to designer to increase his creativity, productivity and efficiency to experiment with fresh ideas.

General Features :

Windows 95/NT based user friendly software
Menu driven with on line help by using mouse, digitiser and/or keyboard
Powerful editing tools
Data can be stored on storage media like floppy disk or hard disk
Hardcopy of designs on high resolution Dot Matrix, Laser or Colour inkjet printer
Plotter support for large design
3D Texture mapping
Production information in digital form for CAM support

The features in CATDVare reasonably comparable with the imported packages in terms of capabilities and price. Modern mills in organised sector have setup their own complete Design Studio with high end CATD systems. Many in the powerloom Industry have started using CATD system for woven and print designs.

Even individual designers have found the system quite useful and they have started using with low end configuration
Application in Textile Industry

Speed and ease of designing a pattern One can keep a large library of predefined patterns. As already stored patterns are used repetitively, a lot of time and labour is saved Variety can be in the form of same design with different colours or altogether different kind of designs

Taditional textile printing

2010-02-28T17:25:00.001+05:30

Sanganeri Printing
The Sanganer
Sanganer is situated about 8 kilometers south-east of Jaipur city. Prior to the 17th century, there is no mention of Sanganer as a centre of printing. At that time Sanganer was known as a centre of plain and dyed clothes. It was probably towards the end of the 17th century that this art form developed here. Probably due to war with Emperor Auranngzeb and the repeated invasions of the Marathas, many craftsmen (Printers) from the neighbouring state Gujarat came and settled in Rajasthan. By the end of the 18th century this industry was fully developed in Sanganer. There are at present, about 125 hand block printing units in Sanganer. Sanganer was renowned for its small decorative and delicate floral patterns, called, ‘boota-booties’ which was printed on fine cotton and silk.The dyers and block makers came from Sindh and Punjab and settled here.The printers belong to chhipa community. They are all Hindus and are followers of the renowned Marathi Saint Namdev. Almost every member of the ‘Chippa’ family is involved in the washing, dyeing and printing of clothes. While, the printers are predominantly Hindus, majority of dyers and block makers are Muslims.
Water of the Saraswati River that used to flow graciously through Sanganer, was known for its special quality that used to bring out radiance from the natural dyed fabric. This was major source of inspiration for the printing community.
In olden days, the fabric was printed mainly for use of royal families and rich traders but now it is used as part of clothing for urban families and also exported. The principal items printed here include sarees, dupattas, salwar-kameez, bed cover, curtains, scarves, and printed yardages (running cloth material), etc. Both local and imported cloth material are used. At present,’ mulmul’ (cotton voile), ‘latha’ (sheeting fabrics) and cambric etc. are sourced from Jaipur.
On Sanganeri ‘chintz’ (printed cloth) usually, yellow, green blue (with different tones) are used as the background. These days one rarely comes across the variety of shades that were found in the old Sanganeri ‘chintz’, but still the ‘chhipas’ for sanganer have the incomparable know-how of matching the back ground on base colour with colours of the prints.

Motifs of Sanganeri Printing
Finesse in flowers-petal designs, curves and delicacy are the prime specialties of Sanganer prints. The curvature of flowers in the’bootas’ is generally shown on the right side. Different types of flowers and plants are displayed in the form of ‘bel’ (a border) and ‘boota’ very naturally and in a really attractive manner.
Some of the flowers used in the prints are roses, rosettes, lotuses, lotus bud, sunflower, lily, ‘champa’ ‘canna’ ‘nergis’, marigold etc. Various other flower creations are also found in old Sanganeri prints. Other flowers used are locally known as ‘sosan’, ‘gainda’, ‘gulmehendi’, ‘javakusum’, ‘guldaudi’, ‘kachnar’, ‘jatadari lily’, ‘kaner’, ‘kanna’, ‘gullalla’, etc. ‘Sosan’ and ‘gullala’ prints are probably very suitable to sanganeri prints, therefore they are used in various forms.

In ‘booties’, generally, only one type of flower-petal and bud creations in the following forms : ‘badam, (almond)’, ‘paan’ (beetle leaf), ‘mukut of ‘kalanga’, While printing a saree, if the ‘booti’ is of ‘sosan’ flower or plant the ‘bel’ will also be of ‘sosan’ flower and the big’boota’ to be done on the ‘pallu’ (the end part of a saree) will also be of ‘sosan’ flower decoration. Hence, for printing one sari, a large number of blocks need to be made. In some ‘booties’ one finds a collection of more than one flower in the same product. Sometimes two different blocks of two different ‘booties’ are printed together to form a third type of ‘booti’ e.g. ‘Singhbal booti’. By printing different booties together, the Sanganeri ‘chhipas’ have portrayed excellent know how. Sometimes more than three flowers are fitted beautifully in a single ‘booti’ e.g. in ‘Latkan booti’ banana tree, sosan tree and saro tree collection in assembled beautifully in one pattern.Different ‘boota’ booti, and ‘bel’ have been named by the ‘chhipas’ according to their shape find according to the flowers and fruits used in those. These were very appropriate and interesting.
Many flowers used in Sanganeri prints are not found in Rajasthan, and whichever the craftsmen of Rajasthan have never seen. On this basis, Historian James watt has said, “Obviously many of the Sanganeri designs portray flowers that in not likely to have been seen by the calico printers nor by the block engravers of Rajputana. Inspite of these circumstances, however, there seems every reason to believe that the craft has been handed down for centuries and has come to use in all the purity of original inspiration. The nature, feeling and colour reciprocity, as also the technique in printing are all perfect while the absence of machine regularity gives a charm that place these goods above and beyond anything as yet accomplished in Europe.” Apart from flowers, fruit trees of banana, dates, grapes pomegranate etc. have also been recreated in a very attractive manner. In some old prints figures of parrots and fish are also seen. Since about fifty years, elephant. Horse, camel, peacock and human figures are also used. These are mostly seen on curtains, bed-covers, table clothes etc. The doo-rookhi style of printing is also popular in Sanganer. This is printing done on both sides of the fabric.

Bagru printing
Jaipur is perhaps one of the most culturally rich areas of Rajasthan. From this city, the Chippas moved to Bagru around 300 years ago. They made it their home, and one of Rajasthan's most important centers of hand block printing .The Sanganer and Bagru prints are very similar, but the latter employ a narrower range of colors. Moreover, unlike the Sanganer prints which are always on a white or off-white background, the prints of Bagru are mostly red and black and blue.
The Syahi-Begar prints are a combination of black and yellow ochre or cream. The Dabu prints are created by hiding them from dye, by applying a resist. Bagru prints are characterized by circular designs, as well as linear and floral patterns.In both the Sanganer and Bagru prints, the colors are picked carefully. Each has a separate significance. For instance, red is the color of love, yellow of spring, indigo of Lord Krishna, and saffron of the yogi (seer). The wooden blocks that are used are made of teak wood. And traditionally, vegetable dyes made of madder, pomegranate rind, indigo, and turmeric are used. These have now been largely replaced by chemical dyes. Often, the fabric is dyed before it is printed.

The Bagru
Bagru, a small village town in Rajasthan is situated at a distance of 32ksm east of Jaipur. It is known for its traditional processed of hand block printing of textile. The ‘chhipas’ of Bagru have assembled here from Sawai Madhopur, Alwar, Junjjhunu and Sikar districts of Rajsthan to settle in Bagru and make it their home some 300 years ago.
Bagru is derived from the word’ Bagora’ the name of an island in a lake where the city was originally built and is famous for its palm fan and ‘chintz’ (fadat) production pattern. The traditional ‘motifs’ of Bagru have however under gone change over the years. The entire population of ‘chhipas’ which were earlier engaged in production of all local varieties of printed fabrics mostly of ‘fadats,indigo fabric’, ‘angochha’ (small towel), ‘bichhauni’ (bed spread), rajai (quilt) etc. are now engaged in production of sophisticated ‘ kaftans’, ‘wraparounds’ (skirts), ‘midis’ etc.All the same, basic techniques and colours have remained unchanged and unaffected through these centuries, This makes the Bagru prints spectacularly different, distinctive and highly specialized.
The local people, particularly the women folk, mainly used the Bagru prints in the past. Patterns in rich colours like the indigo blue, alizarin, iron block and bright yellow were produced on coarse cotton cloth by indigenous processed of dyeing and printing. In building up patterns, geometrical forms were adopted along with floral, animal and bird forms. Everything seemed to be inspired from local sources. (Synthetic dyed have now replaced some natural dyes but their ‘resists *, and their application and processed and their sequences have hardly under gone any change. The styles and motifs have been adapted to some extent to the changing market pattern.
The Chippas community settled along the riverside, like any other nomadic settlement. The bank of the river provided then with clay which is an important ingredient in getting the base color of the famed Bagru prints. The artisans smear the cloth with Fuller’s earth got from the riverside and then dip it in turmeric water to get the beige colored background. After that, they stamp the cloth with beautiful designs using natural dyes of earthly shades.
Eco Friendly Colors used in Bagru Hand Block Printing
Bagru prints are done on off-white, ivory white, or beige background. The main colors used in Bagru printing are black, red and maroon. These three main colors are extracted from naturally occurring sources: black is derived from worn-out iron horse or camel shoes soaked in water, red comes from gum paste and phitkari, and maroon is a result of mixing the above two colors.
Apart from these base colors, natural vegetable dyes are used to add colorful patters and designs. These include madder, indigo, pomegranate rind, turmeric, etc. Pigment colors such as green, rust, blue, violet, brown, and pink are added to appease wider markets. There is also a traditional reason for picking a particular color in the designs, such as indigo for Lord Krishna, saffron for a saint or yogi, yellow for spring season, etc.
Difference between Sanganeri and Bagru styles
The main distinguishing feature between Sanganer and Bagru printing is that Sanganer print is usually done on a white ground, whereas Bagru prints are on an Indigo or a dyed background. Local water also has its effects. In Sanganer water, block comes out in its best dark shade, while at Bagru block comes with a reddish tinge. As water has always been abundant in Sanganer, the washing of cloth has formed the main basis of printing and dyeing there. In contrast at Bagru, where water in comparatively scarce, ‘Dhabu’ resist printing and indigo work is mostly done. Difference in motifs
Traditionally, motifs printed at Bagru are large with bold line, as compared to sanganer, where somber colours and fine lines, intricate detailing are practiced. Sanganeri motifs are naturalistically rendered, with motifs usually based on flowers i.e. iris, rose, poppy, marigold, sunflower, chrysanthemum etc. Bagru motifs are more geometric than the sanganeri motifs.
Traditional Designs
The patterns or designs/motifs which are traditionally made in Rajasthan can be classified as ‘boota’, bootie’ and ‘jal’.
‘Boota’: ‘Boota’ is normally referred to as design which is single and complete in itself. The word ‘boota’ is derived from the Persian word ‘Butteh’ which means complete tree. ‘Bootas’ depict the flora and fauna of the region and sometimes birds are also seen. Since it is a single unit the spacing between the two impressions can be varied normally a ‘boota’ is not bigger than 3”x5”.
‘Booti’: ‘Booti’ is a smaller form of ‘boota’ and the spacing between one ‘booti’ and another is predetermined. There could be up to 20 booties on one block *, depending on the size and space, Like ‘boota’ most of the ‘booties’ depict the flora and fauna and birds of the area. Sometimes the geometric forms like dots, circles, squares and lines are also used. Sanganeri ‘booties’ are classic, decorative delicate, refined and exquisite, which were basically used for royal families of Jaipur for clothing, whereas booties from Bagru are slightly folk.
‘Jaal’: ‘Jaal’ is pattern, which gives continuous interconnection surface. ‘Jaals’ were not very popular in Sanganeri prints but other centres have ‘Jaal;’ Patterns which are floral, paisley (‘keri’) and geometric. Narrow borders of 2”-4” width are also used in all the centers. The designs are similar to ‘booties’ in form and decoration.
Motifs of Bagru
The histories of development of motifs of Bagru are obscure. These are mostly derived form the flora and fauna and are natural in origin. A Comparative study of evolution and layout of motifs clearly reveal a change from old tradition and style. Initially the prints were primarily floral and vegetative. After the Persian influence they became more geometrical, for example a central round and motifs around it.
The motifs of Bagru may be classified into five types:
1. Motifs of flowers and birds : In this stem in the central motif. It balances a floral arrangement on it, usually used as sprays.
2. Motifs inter-twisted tendrils: These are motifs of flowers comprising of spiraling or inter-twisted stems, the flowers leaves and birds. Theses are used as ‘bels’.
3. Motifs of trellis designs: These are mainly the ‘jals’ intricate grid (connecting designs), which were formulated under the Persian influence.
4. Motifs of figurative designs: These are animal, bird and human motifs, e.g., ‘hiran’ (deer), mayur’ (peacock), ‘sua’ (parrot).
1. Motifs of geometrical designs: These are geometrical in shapes, e.g. ‘lehariya’ (wave), ‘chapad’ (check), ‘kanguras’ (triangular), ‘chatais’ (weaved) pattern etc
Traditional Printing process in Sanganer and Bagru
The traditional printing process in sanganer and Bagru can be descried as follows:
1. Scouring- locally called ‘Hari Sarana’
The fabric that comes from mills of handloom sector contains natural and added impurities such as starch, oil and dust. To get goods and even penetration of colours, the fabric is boiled with soap and desizing agents. Traditionally cow dung was used for scouring. Cow dung contains a lot of alkali, Cow dung and water are mixed together and the cloth (running cloth ‘than’cut in required length) is then left dipped in that paste overnight. The process of washing is a long one, generally carried out by the ladies. The next day, the clothes are washed and spread on large open grounds. Before the clothes dry completely, more water is sprinkled on them and thus they are made wet again. This process of sprinkling water and drying is repeated 5-6 times a day. This procedure is carried out unit the cloth becomes white and bright. Generally, as per requirement, this process in done for 3 to 6 days. After this the cloth is washed with pure water. Since it is tedious and time consuming, soaps have replaced the cow dung in this process.
1. Tannin- locally called ‘Peela Karana’ of ‘Harda’
Washed fabric is treated with myrobalan (harda) which contains tannic acid. Tannic acid attracts the mordants, which are applied with hand woodblock. ‘Harda’ powder is mixed with water, and the cloth is submerged in it, squeezed and dried flat on the ground. Once the fabric is dried, it is folded and beaten with a wooden mallet to remove excess ‘harda’ powder and open up the fiber to accept the dye. This process in known as ‘peela karna’. The tannic acid of myrobalam (harda) forms black colour with ferrous ( syahee )which is traditionally made by reaction of old rusted horse shoe nails with jaggery.
(iii) Printing (mordanting)- locally called ‘chapai’
The fabric is printed with two mordant- ferrous (‘syahee’) made out of rusted horse shoe nails, and alum (‘begar’). Usually ferrous is printed with the outline block (‘rekh’). As it immediately shows a black impression, it is easy for another printer to place the filler block (‘datta’) with beggar or alum. The background block (Gudh’) comes later.(
1. Ageing-locally called ‘Sukhai’
The printed fabric is left hanging at the printing areas for at lest three-four days so that the prints(mordant paste) penetrates into the fiber structure. Longer the ageing better is the result.
1. Washing- locally called ‘Dhulai’
The printed fabric is washed in running water. It is important to understand the need of running/flowing water. While washing the printed fabric in running water the excess mordants come out and get washed away with the flow of water without getting stuck back to the cloth. Water shortage has forced the printers to cut short this process due to which, the colours do not get fixed up properly and later “bleed” and people think that natural dyes are not fast.
1. Dyeing (fixing of colour) – locally called ‘Ghan Rangai’
Dyeing is a process in which the dye reacts with two mordants at two different locations on the same print giving two different shades of colours. As mentioned earlier ‘alizarin’ is used as the dye throughout Rajasthan. The colours obtained in conjunction with the two mordants are red (with alum) and block (with ferrous). Dyeing is carried out in large copper vessels (‘tambri’) which are heated by wood fire. Alizarin is filled in small cloth-bags (‘potali’) and dipped in the vessel. The quantity of alizarin dye is calculated by the experienced dyer. ‘Dhawadi phool’, a local flower is boiled along with alizarin to avoid patches and staining. Once the dyed fabric is ready (usually it takes half-an-hour), it is taken out of the copper vessel and left on the ground for drying.
1. Sun-bleaching- locally called ‘Tapai’
Alizarin often”over dyes” the unprinted area giving an off-white or yellow tinge all over the fabric which makes the print look dull. In order to make the ground look ‘white’ again the fabric is sun-bleached. In this process the fabric is laid flat on a river bed, a mild solution of cow dung and water is sprinkled over the fabric. This process is repeated again when the fabric is dried. The interaction of alkali (of cow dung) and thermal heat (sun ray) bleach the ground colour making it look white again. Sometimes this process in carried out before the tannin (‘harda’) treatment but due to shortage of water this process is cut short and these days the ‘off- white’ colour of the background has become a part of natural dyeing process.
1. Resist printing – locally called ‘Dhabu datai’
The special resist paste (clay-lime-gum-insect eaten wheat mixture) technique, a specialty of traditional printing of Rajasthan, is commonly known as ‘dhabu’. Dhabu’ acts as mechanical resist and prevents the penetration of dye during dyeing on areas covered with ‘dhabu’. This technique is used only for creating patterns with indigo blue. Since the resist paste ‘dhabu’ is thick and sticky no sharp definitions are achieved. It is applied with wooden block on the fabric and saw dust is sprinkled over it. Saw dust has two major functions at this stage-first to absorb water from the Dhabu paste and give additional layers of resist. After printing, the fabric is left outside in the sun for drying before dipping in indigo tanks. Small printing table- “patias” are used for dhabu printing and the printer applies dhabu sitting on the floor. It is done mostly by women and old printers, who cannot stand for a long time. The art of making ‘dhabu’paste is kept secret and the recipe is taught only to daughters-in-law. Every family has its own recipe to make the paste.
(viii) Indigo dyeing – locally called ‘Neel rangai’
It is the most interesting process of colouring the fabric blue. Indigo dyeing is done throughout Rajasthan. The process to start a new indigo tank is tedious and complicated but once the vat is ready for use, it is kept ‘alive’ by constant addition of indigo lime and jaggery. An expert indigo dyer can tell the state of dye by the colour of the vat. He adds the exact quantity of every ingredient required, having learnt it by experience. There is no written recipe with the indigo dyer and every family has its own way of handling indigo. The printed cloth is folded neatly like saree pleats and lowered gently into the indigo tank. When the cloth is totally submerged in the tank, the dyer still holding in under the liquid dye, opens each pleat to allow the fabric to have the indigo dye evenly. Since indigo does not react in the presence of air, any air trapped in the folds or pleats will give “patchy” dyeing. An experienced dyer will always unfold the pleats neatly and gently to avoid cracking of ‘Dhabu’. The fabric is then taken out of tank, gently squeezed and opened out to react with the atmospheric oxygen and turn the reduced indigo into oxidized indigo. Indigo has poor affinity to the fabric in the presence of water, so the first “dip” gives a pale sky blue shade. In order to get darker indigo blue, the fabric is again dipped in the tank, pulled out and oxidized. This process is repeated till the desired dark shade is achieved. The fabric is finally dried flat on the ground. Care is taken that while dyeing or drying, ‘dhabu’ does not get broken or cracked, and in ‘dhabu’ printing the crack effect is not considered good quality printing.
For turning the fabric green it is taken for further process of yellow dyeing but before this it is printed with dhabu to retain some blue areas.
1. Yellow dyeing- locally called ‘Haldi naspal putai’
The fabric is again printed with dhabu and taken out in an open area. Four persons hold it at each corner and fifth person dips a loose-woven woolen fabric fabric which acts as a sponge in the dye extracted out of haldi (turmeric) and naspal (pomegranate rinds) and rubs it gently all over the cloth to be dyed. The application of the yellow dye is like mopping the floor but it done gently so that the ‘dhabu’ does not come off. The idea of using loose woven fabric in the process of dyeing is to retain enough dye while applying it. Once the fabric is dyed evenly, it is taken for post mordanting or fixing of yellow dye.
1. Post mordanting with alum- locally known as ‘Fitkari Rangai’
The dye extracted from turmeric and pomegranate peals is very fugitive and in order to make is fast, post mordanting is done with alum (fitkari). In this process the fabric is dipped in a big copper vessel filled with water and diluted alum. After leaving it of a few minutes (long period of time will cause the dhabu to come off) it is taken out, gently squeezed and dried flat on the ground. When it is completely dry it is folded and stored in dark places of at least 3 to 4 days so that the yellow dye sets in. Finally it is taken out for washing.
1. Washing – locally called ‘Dhulai’
Washing of the fabric is done in order to take out resist paste and excess or unattached dye from the surface. In this process the fabric is left in big tanks for at lest 3 to 4 hours till the resist paste becomes smooth. The fabric is then beaten over a flat stone slab to remove the resist paste and excess dye. The beating of the cloth is generally done where there is a flow of water.
Block Making
The craft of block making came to Rajasthan along with printers from Sind-Punjab. Most of the block makers in Rajasthan are Muslims. The basic carving tools are made by block makers themselves form iron rods, bicycle spokes etc. The ‘design” is first drawn on paper and stretched out on smooth surface of wood. The motif or design is then pierced through the needles so that the “impression” is transferred on the smooth surface of wood, later the unwanted areas are carved out.
Iron nails and woolen-felt are also used to improve the quality of impression. Wooden block can be classified in three types viz ‘Rekh’- the outline block, “gudh”- the background block, and “Datta’- the filling block.
‘Rekh’: The key outline block (from the Hindi word “ rekha” which means line) defines the form of pattern. Normally rekh in considered the “key block” which gets printed first in order to give ‘clue’ to other block to fit in. In some cases rekh is split into two blocks in order to print two colours. This kind of block is known as ‘chirai’ (splitting) block.
‘Gudh’: The block which covers the background of patterns in called gudh. Gudh is sometimes treated as the key block and printed first.
‘Datta’: All blocks other than over above mentioned two become ‘dattas’ or filling blocks.
The handle: Once the block is carved, a handle, usually of cheaper wood, is nailed to the block to help the printer in registering the impression with the block comfortable. The handle is a very important part of block making, as it is this part which helps to trace the family who carved the block. One has only to look at the handle to identify the block maker as each family uses special effect in block handle. Some carve the handle out of the same piece of wood on which the design is carved and some shape the handle in a peculiar way.
The wood: Seesam, a kind of India teak is used for making blocks. Since it is tough wood the outline block which wears out most are made out of it. ‘Roahda’ and ‘Gurjan’ which are softer and lighter wood are used for making the rest of the blocks including mud resist blocks which generally need deep carving and light weight
Printing Tables
Traditionally printing tables were of 2 feet wide and 3 feet in length and 1foot high above the ground. These are known as‘patias’. Now-a-days bigger table 5 feet wide, 6 meters long and 4 feet high are used for faster production. Women and old printers prefer the traditional ‘patia’ for printing. The printing table are covered with 22 to 26 layers of Hessian cloth and finally covered with three-four layers of old fabric known as ‘acharas’. These ‘acharas’ are changed every time a fresh cloth is laid for printing. For better quality of workmanship the printers to have two separate tables for printing black and red colours.
Technological advancement – The present Story
Sanganer now is part of greater Jaipur. The River Saraswati is dried up completely and now waste water of the city flows through it. The main resource of water is the ground water which is also receding at alarming rate. Most of the printer’s families have converted their homes into small printing units where printers from Sanganer and nearby villages come and print fabrics. The transition from the traditional dyes to the modern chemical dyes four to five decades back forced the traditional dyers /printers to adapt the new technology with hit and trial method. Most of the printer’s families were uneducated and the dye manufacturing companies too were more interested in selling the products. Though the chemical dyes were manufactured for the organized textile sector, the cottage industries adapted them without much technical know how. At present the following dyes are been used at the printing units in Sanganer.
1. Discharge Style:
In this style, dyed ground is removed leaving white or coloured patterns on the original ground by using a various types of reducing agents. Following ground shades are commonly used for getting white and coloured patterns.
1. Direct dyed ground
2. azoic dyed ground
3. reactive dyed ground
4. Aniline black ground
5. Indigo sol ground
These all are only for cotton material Rangolite-c is used as reducing agents Rangolite-c is complex compound of formaldehyde and sodium hydro sulphite.
Chemically it is a sodium sulphenate of formaldehyde, chemically it is sodium. Sncl2 is also used as reducing agent for printing.
2. Pigment Style:
Pigments are the organic or inorganic substances insoluble in water and have no affinity for any textile materials. However they are fixed by using a synthetic binder which binds the coloured pigments and form a transparent thin film over the fabric. Thus pigment molecules are bound between the binder film and textiles. The rubbing fastness property depends upon the types of binder catalyst used.
3. IndigoSol & Rapids
These classes of soluble vat colours are the best in all round fastness properties. These dyes can be easily mixed with azoic (rapid) dyes and give complete range of colours.
4. Other Styles
1. Metal printing: Metallic powder is applied to produce a design in gold silver etc. they are printed with synthetic binders such as binder SLN.
2. Khadi Printing: Production of Khadi effect can be brought about by using Titanium dioxide and printing powder.
3. Batik printing: Various designs can be produced first with the molten wax which is the main mechanical resist after the wax become hard. The whole cloth is crumbed to produce crushed effect on the wax portion. The cloth is dyed with indigo sol vat or azoic colours. The wax is removed by boiling, though this is a very lengthy process but excellent marble effect of various hues can be obtained which is not possible by any methods of printing.
(d) Printing direct dyes on cotton and other synthetic rayon’s. These dyes come up much faster on viscose then cotton due to its higher swelling property. To prevent bleeding during washing of direct printed goods after steaming dye fixing agent is applied before the after wash so that the dye which is taken up by the fibers is bound by the dye fixing agent which of the opposite ionic nature. The use of cationic dye fixing agent not only or minimize the bleeding but also prevents the ground getting stained by the unfixed dye.
Difference between Dabu printing and Bagru Printing
Dabu printing is also a unique art form found alongside Bagru prints. In this, a design is sketched onto the background cloth. This sketched design is covered with clay on which saw dust is sprinkled. The saw dust sticks to the cloth as the clay dries. Thereafter, the entire cloth is dyed in select colors. The area where clay and sawdust mixture is present does not catch the dye and remains colorless. After dyeing and drying, the cloth is washed to remove the clay and the mixture. For additional color, this cloth is dyed again in a lighter shade to cover the patterned area. This unique form of printing is also environmentally non-toxic and uses no harmful or synthetic dyes.

Kalamkari
Kalamkari (Telugu: కలంకారి) or Qalamkari is a type of hand-painted or block-printed cotton textile, produced in parts of India. The word is derived from the Persian words kalam (pen) andkari (craftmanship), meaning drawing with a pen.
a. The craft made at Machilipatnam in Andhra Pradesh, evolved with patronage of the Mughals and the Golconda sultanate.
b. There are two distinctive styles of kalamkari art in India - one, the Srikalahasti style and the other, the Machalipatnam style of art. The Srikalahasti style of Kalamkari, wherein the "kalam" or pen is used for free hand drawing of the subject and filling in the colours, is entirely hand worked. This style flowered around temples and their patronage and so had an almost religious identity - scrolls, temple hangings, chariot banners and the like, depicted deities and scenes taken from the great hindu epics - Ramayana. Mahabharata, Puranas and the mythological classics. This style owes its present status to Smt. Kamaladevi Chattopadhayay who popularised the art as the first Chairperson of the All India Handicrafts Board. Only natural dyes are used in Kalamkari and it involves seventeen painstaking step
History
Kalamkari craft is very old. This art knew its apogee in the wealthy Golconda sultanate, Hyderabad, in the middle ages.
Kalamkari art has been practised by many families in Andhra Pradesh and has constituted their livelihood.
In ancient times, groups of singers, musicians and painters, called chitrakattis, moved village to village to tell the village dwellers, the great stories of Hindu mythology. Progressively, during the course of history, they illustrated their accounts using large bolts of canvas painted on the spot with rudimentary means and dyes extracted from plants. The first Kalamkari had been born. In the same way, one found in the Hindu temples large panels of Kalamkari depicting the episodes of Indian mythology, akin to the stained glasses of the Christian cathedrals.
Kalamkari had a certain decline, then it was revived in India and abroad for its craftsmanship. Since the 18th century the British liked the decorative element for clothing
Technique
The cotton fabric gets its glossiness by immersing it for an hour in a mixture of myrabalam (resin) and cow milk. Contours and reasons are then drawn with a point in bamboo soaked in a mixture of jagri fermented and water; one by one these are applied, then the vegetable dyes. After applying each color, the Kalamkari is washed. Thus, each fabric can undergo up to 20 washings. Various effects are obtained by using cow dung, seeds, plants and crushed flowers.

WASHING/SCOURING CLOTH

Methods for scouring and bleaching of gada cloth vary. Some artists simply immerse gada cloth in cool water over night then beat the wet cloth to remove further impurities.
-Gada cotton fabric is scoured by immersing it overnight in a sheep dung/water solution (1 lump of dung for 10 liters of water).
-The cloth is exposed to the sun for a day by spreading it on the banks of the river.
-Water is continually sprinkled on the cloth to prevent it from drying.
-In the evening the cloth is washed by folding it and slapping it against a washing stone, followed by rinsing in the flowing river.
-The cloth is then re-immersed in a freshly prepared sheep dung solution and the process is repeated.
-On the second day the sprinkling is stopped in the late evening to allow the cloth to dry.

GADA CLOTH & MYROBALAM SOLUTION

The first step in making a kalamkari painting is the treatment of gada, or unbleached cotton cloth in kaccha or myrobalam and buffalo milk solution. A desired size of gada cloth is scoured and bleached before it is treated with the myrobalam/ milk solution. A paste of powdered myrobalam fruit (karakkai, T. chebula) is mixed in fresh, unheated buffalo milk. For about 6 meters of cloth, 200 grams of myrobalam powder and about 2 liters of milk is needed. This solution is kept for 1 hour to extract tannic acid from the seeds. The cloth is then soaked in the myrobalam solution for 15 minutes, taking care to see that the entire length of cloth is sufficiently saturated. The cloth takes on a light yellow color. It is then squeezed/twisted to remove excess solution, and dried in the sun on a sandy riverbank for approximately 1 hour. The cloth is folded and can be stored in a cool dry place for up to 3 months. The high fat content of the milk prevents dye from spreading beyond the point of application. The immature myrobalam contains tannic acid that acts as the mordant component for the black dye (kasimi).
KALAM
The kalam, or bamboo pen, is the most important tool in painting kalamkari and gives the artform its name: kalam (pen)kari (work/action/agent). A kalam is made from bamboo splinters measuring about 4-6 inches in length, sharpened to a tip of desired thickness. A thicker point is preferred for filling in background color, while a finer point is used for outlines. About 1 to 1 ½ inches from the tip of the kalam, is a dye reservoir made from small rags of coarse wool that are wound around the bamboo and tied in place by cotton thread. This reservoir absorbs and retains the dye solution.
According to many artists, cotton cloth cannot be used for the reservoir as it has higher absorptive capacity, no resilience, and would release larger amounts of dye when squeezed. Artists regulate the flow of dye down the bamboo kalam to the point through deliberate and controlled squeezing of the reservoir.
In this manner an artist can vary the thickness of the lines s/he draws by skilfully moving the tip of the kalam over the cloth. Kalams with thinner points are sometimes slit from the tip to the dye reservoir, and filled with a few strands of hair or thread to facilitate the flow of black dye. The reservoir of thekalam is never allowed to dry. It is washed and dried thoroughly before storage.
CHARCOAL SKETCH

Most artists will sketch a charcoal outline on the prepared cloth before application of black dye (kasimi). Some artists use charred tamarind twigs to draw, while others use commercially manufactured charcoal or lead pencils.

The following steps are taken to prepare tamarind twigs (chinta boggo) for sketching:
• Dried twigs that have fallen around the tree are gathered and broken to a length of 3-7 inches.
• To char the twigs, a shallow circular pit is scooped out in dry soil and a heap of sand is kept besides the pit.
• The dry twigs are piled up to a height of 2-3 inches above the ground level. Some newspaper is also placed among the twigs to facilitate burning. The twigs and paper is set on fire.
• When the flame dies down, sand is thrown over the twigs, and they are set to cool in the pit for 3-4 hours.
• This slow cooling makes the pencils tough. The ash coloured twigs are then unearthed, rolled between one?s fingers to remove greyish bark until black color is revealed.The pencils so prepared can be stored until further use (do not remove bark before charring; else the twigs will turn to ash).
KASIMI (Black)

Black ink/dye or kasimi is at the basis of all traditional kalamkari paintings; it is used to outline all figures, write texts and narrative descriptions, and is the first ink to be applied to myrobalam-treated cloth. Kasimi is made from a fermented solution of rusted iron pieces and sugarcane jaggery. Scrap bits of iron are mixed with about 10 liters of water and jaggery until it is thin to the touch and sweet to the taste.? Keep the kasimi solution in an earthen pot, cover and let ferment for 12-15 days (longer if in a cooler climate). A brown/grey/blackish froth forms at the surface, indicating that the solution is ready. The iron acetate is strained through cotton cloth into another container (earthenware, plastic, stainless steel, glass). If stored in a cool place, the solution can be kept up to one year. Iron bits can be reused in later preparations of the solution. Kasmi solution is used for outlining of figures/motifs and for filling in larger areas in black color. When the iron acetate is applied to treated cloth, a chemical reaction takes place between the iron acetate and the myrobalam solution, causing the kasimi to first appear as a dull, brownish gray, and after a few seconds reach a deep black color. Artists use a cotton rag (or the reservoir ball on the side of the kalam) to dab/clean up any excess or unwanted ink that falls on the cloth. It takes about 5 minutes for the kasimi to fully dry on the cloth.
• When first applying kasimi to the cloth, the color appears dull, brown, gray and takes a few moments to turn a deep black-

CHAVALKODI & SURALPATTI (Pink, Red, Maroon)

Red shades are acquired through a lengthy alum mordant painting/dyeing process. Alum powder (50 grams) is dissolved in warm water (1 liter) until a thin and watery consistency is achieved. Artists paint alum solution on all portions of the cloth that should appear red. The cloth is allowed to dry for two days. It is then rinsed in flowing river water to remove excess alum, squeezed and dried in the sunlight. The alum solution can be stored in glass or plastic containers for several months. Once the alum solution is dried, water is brought to a boil in a large copper vessel. Chavalikodi root and Surulipatta bark is added to the boiling water. After about 20 minutes, artists submerge the alum-painted cloth and boil for about 40 minutes. The cloth is then removed, rinsed with cold water, and let dry. For a darker shade of red/multiple shades of red in a single piece, the entire process (treatment in myrobalam solution, alum painting and Chavalikodi root and Surulipatta bark dye vat boil) is repeated until desired color(s) is achieved. Some artists are also applying lime juice onto portions cloth that have already been dyed red, in order to obtain a light pink color. Typically lime juice is used to create pink line details on red figures or on floral motifs. At present it is important to note that most artists are using a synthetic form of alizerine for obtaining red colors on cloth. Typically the alizerine is mixed with alum and painted directly onto the cloth, however some artists maintain the two-step process of painting alum first then dyeing the cloth in a red dye bath (in this case alizerine).

BLEACHING

Preparation for lighter colors After the Chavalikodi root and Surulipatta bark dye bath, the cloth has a slight red tint. If the artist wishes to remove this red tint, the cloth needs to be bleached in a sheep dung and water solution and set overnight. The next day, the cloth is removed from the sheep dung solution, rinsed in flowing water, set on the banks of a sandy river bed, and sprinkled with water (until saturated) every hour for the entire day. In the evening the cloth is returned to the sheep dung solution and the process is repeated for 2-4 days, depending on the whiteness desired. Before yellow or additional colors are added, the cloth is again treated in the myrobalam-milk solution.
MYROBALAM FLOWERS (Yellow, Green, Brown)

A yellowish colored dye is obtained by mixing 150 grams of powdered myrobalam flowers and 4 liters of boiling water in an earthen or metal pot. The solution is stirred for some time and then set to cool for about 2-3 hours. Some artists have indicated that a better, darker shade of yellow is obtained if the solution is left to mature for a week in a glass (or non-absorbent) vessel. Before painting the yellow dye solution onto cloth, 10 grams of alum is added. All portions of a cloth that should appear yellow and green are painted with this dye solution. The dye can be stored up to 6 months in a cool place. Occasionally artists add a solution of aged mango bark and boiling water over the myrobalam yellow dye solution to obtain superior color fastness, or to create a slightly brownish color. The yellow solution, if set for several days, can turn a slight greenish tint. Otherwise, green can be obtain by painting portions with the myrobalam yellow solution, then treating the same portion of cloth with indigo dye. Once myrobalam yellow painting is completed, the cloth is dried in the shade. The next day, the cloth is washed well in flowing river water and dried in the sunlight. Sometimes pomegranate rinds are used to obtain a yellow color dye. About 200 grams of rinds are powdered and boiled in 3 liters of water. Once cooled, about 8-10 grams of alum is added to the solution. The pomegranate rind solution can then be painted directly onto cloth, creating a dullish yellow color.

INDIGO and NEELI MANDU (Blue)NEELI MANDU / AQUAMARINE ~Blue~

For the most part, the blue dye currently being used in Sri Kalahasti is a synthetic ultramarine blue. The solution, called neeli mandu, is made from about 10 grams of commercially produced ultramarine blue dye lumps dissolved in water. It is applied to the cloth on unpainted portions where a blue color is desired, or it is painted over existing yellow portions that should be green. Once dried, the cloth is then washed lightly in water and dried. Based on the existing method of using ultramarine blue, the color is not very fast, therefore the cloth is washed carefully.
INDIGO (Neel)
~Blue~
When indigo is applied by kalam / painting directly to the cloth, the dye is not fast. To insure fastness and stability of indigo, it is necessary to sumberge the cloth in an indigo vat, using a resist (like wax) to protect portions of the cloth that should not be blue. While indigo is used in limited situations by kalamkari artists in Sri Kalahasti, the following method has been cited for indigo painting onto cloth. If this technique for indigo application was used, it would likely fade easily and disappear if washed.

1) An earthen pot is buried in the earth, filled with powdered indigo cakes or nil (1/2 kg) and water (15 liters).

2) Another earthen pot is half-buried in the ground. The half that is left exposed outside is coated with lime. On top of this pot another earthen pot is placed, with a hole at the bottom. The upper pot is filled with paddy husk. Two solutions are then created, one a mixture of alkaline dirt (8 kg) and water (5 liters), the other a mixture of shell-lime (5kg) and water (5 liters). These solutions are poured over the upper pot, filtered through the husks, and drained into the lower pot. A lid is placed over the upper pot. The filtered alkaline-lime solution, collected in the lower pot, is called appala karam.
3) In a small pot, 2 kg thagarsa (cassia tora or tandipa ginjalu) seeds are boiled an aluminium pot with 3-4 liters of water for about 30-45 minutes until the seeds soften to a paste. The paste is cooled, and then mixed with the appala karam until a solution is obtained with the same consistency as that of the nil solution (step one). The two solutions (nil and thagarsa-alkaline-lime) are mixed together and left for 10-15 days (7-10 days in the summer, 15 days in the winter), stirring twice a day until a yellow-greenish color is obtained and the solution smells like mud. The indigo solution is then ready for painting, turning blue when exposed to air (through painting).
Ajarakh
Ajrakh prints were dominated by geometrical shapes and use intense jewel-like colours of rich crimson and a deep indigo, with black and white highlights. In Gujarat, the main centres of Ajrakh are Dhamadka, Khavda and Bhuj. The Khatri community has been engaged in this craft for centuries and the technique has been passed down and perfected through several generations. Now, however, only two such family units of Ajrakh printers still practice the craft in India.
Ajrakh blocks are also no longer easy to come by, as there are very few block-makers (or indeed, block-making families) left in Sindh
Origins of Ajrakh
The history of the Ajrakh can be traced from the times of the ancient civilizations of the Indus Valley, around 2500BC to 1500BC. A bust of the King Priest excavated at Mohenjodaro shows a shawl — believed to be an Ajrakh—draped around his shoulders, which is decorated with a trefoil pattern (like a three-leafed clover) interspersed with small circles, the interiors of which are filled with a red pigment. The same trefoil pattern has been discovered in Mesopotamia, as well as on the royal couch of Tutankhamen. This pattern, which symbolises the unity of the gods of the Sun, water and earth, survives as the cloud pattern in the modern Ajrakh
Cultural Significance of Ajrakh
The people of Sindh have a deep reverence for Ajrakh. From birth to marriage, until death, Ajrakh celebrates all significant events of the life cycle. Ajrakh is worn as a turban, a shawl, spread as a bed-sheet or tablecloth and when worn out, it is recycled as a hammock for babies, cover for a bullock cart and most commonly used as a backing to patchwork quilts. It is used and reused till threadbare. It is worn by the wealthy as well as the poor — the colours, patterns and design-format remain the same, only the quality of the fabric is different.
Ajrakh Blocks (pors)
These are hand carved from the wood of Acacia Arabica trees. Several different blocks are used to give the characteristic repeated patterning. Making the blocks is a considerable challenge since the pattern has to synchronize perfectly with the whole of the Ajrakh as well as cover various areas against dye. Block makers (orporegars) use the simplest of tools, and carve each block in pairs that can register an exact inverted image on the other side.
The Original process of Ajrakh printing involved as many as 23 laborious steps!
TOOLS
Making of The Blocks
From the seasoned wood, a block is cut to the required size and sanded on a stone to get a leveled plane surface which is then checked out by the edge of a steel ruler.
The surface of the block is dipped in water and then n wari (dry, powdered clay) and rubbed against rohi (granite). With the friction, a whitish layer is formed on the surface of the block. A base line is drawn with the help of a steel ruler; a compass is then used to verify right angles so that a square is constructed accurately.
Diagonals are marked and the square is quartered and then further sixteenth. The pattern drawn on the paper is transferred by etching fine lines on the surface of the block.
These blocks are now made in Barmer itself but the carvers are not native. Most of them are from Farukabad, Uttar Pradesh. They have set up their homes in Barmer (near this village) for the sake of their profession.
Colors
The Traditional Craft Of Ajrakh Uses Only Natural Colors (Vegetable Dyes) For Its Making. The Usual Colors Of The Craft Are Red, Yellow, Blue And Black. However Green And Some Other Secondary Colors Are Also Used Now-A-Days. They Are Generally Made By Mixing The Usual Colors.
The Colors Being Made From All Natural Materials Are Harmless To The Workers In All Ways. Whereas The Chemical Ajrakh Printing Which Has Come Up In The Recent Past Uses Chemical Dyes Which Are Very Harmful To The Health Of The Workers.
Color Material Cost
Black Gurrh Usual Amount
Bajri Ka Aata
Iron Piece 12 Rs/Kg
Fabric
• Fabric Used Is Generally Greige Cotton Fabric.(30s)
• Fabric Is Brought From Tripu
• Means Of Transportation Is Generally
• Cost Price Is Around
• The Fabric Is Brought And Washed On The Very First Day In Soda Ash To Remove Impurities.
• Then After Drying The Fabric It Is Again Washed In Harad.
Other Tools
A Wooden Table Is Used By The Workers To Place The Fabric For Printing. It Has Around 40-50 Layers Of Fabric On It So That It Becomes Easy For The Main Fabric To Absorb Color When It Is Printed. Babul Wood Is Used For The Making Of The Table As It Cheap. One Table Costs Around Rs. 300-400.
A Wooden Jaali Is Used In A Wooden Container Which Has The Resist Paste In It. It Helps The Thick Layer Of Fabric To Float Over The Paste So That The Block Picks Up Appropriate Amount Of Color.
A Needle Is Used To Carve Blocks. Thickness Of The Tip Of The Needle Depends On The Amount Of Intricacy Required In The Design
Process
Batna
Bhichala
First Indigo Dyeing
Gana
Harrah-Base
Indigo-Dye
Jhibri
Kharah
Kharh
Khirichi
Kunka Chekna
Kala Dutta
Meena and Watch
Wash
Steps Of Making Ajrakh:
Soda Ash Treatment
Material:
• 20 Number Of 5meater 30s Greige Cotton(100%) Fabric.
• (Fabric May Differ According To The Requirement But Cotton Is Mostly Used)
• Soda Ash
• Clean Water
Procedure:
From The Thaans Of Cotton Greige Fabric 20 Number Of Each 5mt Are Torn. These Fabrics Are Transferred To Huge Cemented Storage Where They Are Soaked In Soda Ash And Clean Water. This Is Done To Destarch The Fabric and Remove The Initial Impurities. Cloth Is Soaked In Soda Ash And Water For Around 14-15hours.
Batana
Material:
• Gondh – Glue Extracted From Tree.
• Chunna – Lime (Calcium Carbonate)
• Blocks
Procedure:
In A Mortar The Gondh Is Pounded Into Granules Then Dissolved In Water And Is Left To Soak Over Night. Meanwhile Chunna Is Soaked In Separately. Chunna Is The Main Resist The Whitening Powder, Which Helps To Ensure The Smooth Texture Of The Mixture, So It Does Not Crack And Make The Surface Impermeable. The Next Day Chunna Is Mixed With The Thickening Gondh.
This Mixture Is Then Transferred To A Container Which Is Covered With Layers Of Bamboo Sieve, Thick Cloth, And Thin Cotton Fabric.
This Provides Even And Required Amount Of The Mixture Over The Blocks In Order To Get Proper Design.
The Craftsman Thus Pound The Required Designed Blocks Over The Color And Prints On The Fabric. This Forms The First Outline Base Where Different Colored Dyes Are Filled.
After The Print, Craftsman Takes The Fabric And Lays It Down On The Sanded Ground In Open Air Under The Sun. He Covers It With Sand From The Edges In Order To Avoid Folding Or Flying Of The Fabric.
Bhichlana Is The Process of Indigo Wash.
The Dyed Fabric When Dried Is Taken For A Wash In Clean Water. The Craftsman Beats The Fabric Harshly, This Is Important As The Fabric Gives Out The Blue Color When In Contact With Water.
Material:
• Indigo Powder
Procedure:
Indigo Powder Is Mixed With Water And Stored. This Mixture Is Stored For Ages And Fresh Indigo Powder Is Added Constantly As Required. Fabric After All The Block Printing Is Now Ready For Dyeing. The First Dyeing Is In Indigo. The Fabric Is Folded Many Times; The Craftsman Wearing Cloves Dips The Entire Cloth Slowly Inside The Indigo Solution Waits For Few Seconds For The Cloth To Absorb The Dye Properly. He Takes It Out And Hands It To Other Craftsman Who Takes It For Drying In Open Air Under The Sun.
Gana
Material:
• Boiling Water
• Alizar
• Dhabri Ke Phul
Procedure:
The Craftsman Prepares A Bhatti For This Process. Over It Water Is Kept To Boil. Meanwhile Alizer Mixture Is Prepared. Alizer Brings Out The Red Color Of Imli Powder.
200grams Of Alizer Is Taken For 100meater Of Fabric. It Is Then Rapped Inside A Cotton Cloth And Immersed In 4-5 Cups Of Water.
The Cloth Acts As A Sieve And Allows The Alizer Powder To Mix Well In Water.
This Mixture Is Poured In The Boiling Water And Stirred Well. Fabric Is Dipped In It And Is Allowed To Soak The Color. After 15minutes Dhabri Flower Is Also Put In The Boiling Water.
Dhabri Flower Is Essential To Remove The Resist And Also Cleans The Fabric Of The Cow Dung Powder. The Fabric Is Kept In This Mixture For Over Half And Hour While The Water Boils Consecutively In Low Flame. The Craftsman Takes Out The Fabric And Let It Dry
Harrah Base
Material:
• 1kg Powdered Harrah
• 50 Gm Oil
• 100gm Water
Harrah Is A Fruit Which Is Powered To Give Yellow Color To The Fabric. This Is A Very Important Ingredient As This Forms The Base Of The Fabric And Oil Provides Proper Absorption Property. This Solution Also Removes Further Impurities.
Procedure:
Fabric Is Dipped In The Solution Of Harrah, Oil And Water. This Procedure Is Repeated Twice So That Every Portion Of The Fabric Absorbs The Solution Appropriately. The Fabric Is Then Put Inside A Machine Which Squeezes The Fabric And Drains Out The Water. This Fabric Is Carried And Beaten Harshly Twice On Stone By The Worker. This Is Done So That The Color Is Spread Evenly Throughout The Cloth. It Is Taken In The Sun To Dry.
Indigo Dye
Fabric Is Dyed In Indigo To Get Better Quality And Rich Color
Dip In Alum
After All The Process Of Block Printing And Dyeing The Fabric Is Dipped In Alum. This Makes The Color Stronger On The Fabric And Thus Increases The Quality. Fabric Is Washed Of The Alum And Kept For Drying.
Boiling
Fabric Is Put In Boiling Water To Give The Final Finish, Remove The Extra Impurities And To Give A Smoother Effect.
Jhibri
Material:
• Multani Mitti
• Gondh
• Alum
Procedure:
Multani Mitti Is Crushed Into Powder; The Craftsman Then Dissolves This Powder In Water Over A Cloth Sieve In Order To Avoid Lumps And Softens It By Hand Till It Forms A Smooth Paste.
This Paste Is Mixed With Gondh To Provide Fasten Quality And Alum Which Acts As A Colorant To Make The Print Visible. This Mixture In Particular Is Called ‘Kiriyana’.
Kiriyana Is Poured Into A Vessel And The Bamboo Sieve Is Kept Over It. No Cloth Is Used Here As The Amount Of Color Required On The Blocks Is More To Get Thicker Print.
Jhibri Print Is Done Over The Black Outline That Is Over Kirchi Print. This Overprinting Is Done As Kiriyana Acts As Resist.
A Brighter White Color Is Resumed After Dying As Compared To The First Outline Print ‘Batana’. After The Print, Craftsman Keeps The Fabric For Drying In The Similar Way As Mentioned Above.
Kharh
Material:
• Multani Mitti
• Turmeric
• Annar Powder
• Alum
• Gondh
Procedure:
The Five Ingredients Are Mixed Together. Turmeric And Annar Powder Provides Yellow Color; Alum And Gond Are The Resists. Khar Is The Third Color Fill Of Ajrak.
The Batana Outline Is Filled With Yellow Color According To The Design. Cow Dung Is Spread And Fabric Is Taken For Drying.
Khirchi
Material:
• Iron Rot
• Bajere Ka Aata
• Gurh
Procedure:
Iron Pieces Are Soaked In Water And Kept For Days To Rot. Meanwhile Bajere Ka Aata Is Mixed With Gurh And Kept Overnight.
The Rotted Iron Is Then Mixed With The Paste Of Gurh And Aata. This Mixture Is Put In The Container Layered With The Similar Materials.
Khirchi Print Is Done Over The White Base Print In Particular Places Which Forms The Required Design. Khirchi Print Only Defines The Outline Which Latter Is Filled With Black Color.
After The Print, Craftsman Keeps The Fabric For Drying In The Similar Way As Mentioned Above.
Kunka Chekna
Material:
• Imli Powder
• Alum
• Gondh
• Cow Dung Powder
Procedure:
Imli Powder, Alum And Gondh Are Mixed Together. Imli Provides Red Color And Alum And Gondh Acts As Resists. Kunka Chekna Is The Second Color Fill Of Ajrak. Blocks Of Kunka Chekna Are Separate As It Fills The Bale Design Of ‘Batana’ Print With Red Color.
Cow Dung Is Spread By The Craftsman Over The Print To Avoid Misprints. Fabric I Then Kept For Drying Under The Sun.
Kut Also Known As Kala Dutta
Material:
• Iron Rot
• Alum
• Gondh
• Cow Dung Powder
Procedure:
Iron Rot, Gondh And Alum Are Mixed Together. Iron Rot Provides The Black Color And Helps In Oxidation Which Further Darkens The Color. Alum And Gondh Acts As The Resist.
Kut Or Kala Dutta Is The First Color Filling Of Ajrak. This Print Fills Black Color To The Jhibri Outline Print.
The Craftsman After Finishing Each Frame Of Print Covers It With Dry Cow Dung Powder Which Sticks To The Wet Print.
As The Amount Of Mixture Of Color Used Is More The Powder Prevent Misprints. After The Print, Craftsman Keeps The Fabric For Dying Under The Sun.
Wash
Fabric Is Again Washed Harshly To Remove Dhabri Flower And To Let The Color Flow Off.
Meena
Meena Means Reapplication Of Resists Over The Fabric. Thus The Process Of Jhibri, Kut, Kunda Chekna And Kharh Block Prints Are Reapplied.
Wash
The Fabric Is Washed Two To Three Times Thoroughly With Clean Water. This Removes The Impurities And Cleans The Cloth Off Soda Ash.

Kota Doria

2010-02-04T11:08:00.000+05:30

Rajasthan is well known for the fine Kota Doria Muslin saris. Kota Doria as the name suggests is made in Kota city of Rajasthan. It is a type of cotton cloth that becomes special because of its weave. The weaving is done using pure cotton threads but the style is so varying that it makes the final cloth translucent and gives it cross pattern locally known as Khat.

It is traditional handloom from Kota in Rajasthan. This is the most open weave fabric woven in India. The weave is result of sufficient spacing between super fine warp and weft threads with slightly thick thread at regular counts to produce a very subtle check pattern. Also, the thicker threads makes the cloth strong and more durable. The thin fibers maintain its softness, delicacy and gives it translucency and gossamer appeal.
Kota Doria has always been a hot pick for the hot summer months in India. Its light and airy feeling makes it very comfortable and first choice for the hot summer days. Along with comfort, the softness and transparency makes this cotton cloth graceful and part of fashion. Sari is the most common wear made from Kota Doria, but now dress material and, Kurtas and other accessories are also hitting the market.
Kota saris were first made when weavers were brought to Kota (between 1707 and 1720) from the Deccan by Maharao Bhim Singh. The weaves originated in Mysore and surprisingly one could hardly find them now at Mysore. The workers settled there and passed down the art of weaving cotton in the open khat or check structure from generation to generation. Everything is done in the age old manner right from the setting of the patterns, to graph making, dyeing of the yarn and setting of the loom. Down South it is still called by name Kota Masurias.
Originally done in pure cotton, nowadays synthetic as well as silk threads are also woven along with cotton threads. This makes it cheaper and more durable. The traditional Kota Doria is found in white color only and one needs to get it dyed in different color. Single color dying, Shaded patterns, Bandhani pattern are common ones with new style coming up each day. Varieties as printed Kota Doria and silk embroidered borders has become very popular in last few years.
Bright colors like pomegranate red, purple, Bordeaux red, turquoise, lapis, turmeric yellow and saffron, besides the usual cream and gold are mostly demanded.. The range includes cloth embellished with gold thread and zari. The zari thread is woven or used for embroidery which makes this simple cotton very beautiful and festive. Heavily embroidered with silk threads is also used as party wear. The Kota Doria cloth has become an important include for summer collections done by various fashion designers. They have brought in accessories done in Kota, which include handbags, pouches and sashes embellished with Gotta Patti, Mukesh and Mirror work.

Jamdani and other traditional Indian sarees

2010-02-01T12:42:00.001+05:30

'Jamdani' is a heritage handloom products of Bengal handloom.
History
Word 'Jamdani' - derived from a "PERSION" word 'JAM' meaning a 'cup' and 'DANI' denotes the ‘container’.

The origin of the word Jamdani is uncertain. According to a popular version, it came from the Persian words jama (cloth) and dana (diapering). In other words Jamdani basically denotes diapered cloth. Another version holds that in Persian the word jam meaning flower and dani a vase or container.
The "Mughals" recognized this excellence, acknowledged its rarity. During the region of Emperor Jahangir and Aurangjeb, the manufacturer of finer Jamdani was a rare product and a royal monopoly . Trading accounts reveal how the Jamdani travelled to the courts of the Mughals in the 15th - 16th century period. For the Mughals it was fashioned into elaborate angarkhas (upper garment/shirt) worn by both men and women; it also travelled from Dhaka through Agra, to Bukhara, Samarkand and other parts of West Asia. After the "Mughals" Jamdanis were continued to develop under the patronage of 'Nawabs' Wajid Ali Shah of Tanda and Nawabs of Dacca (presently under Bangladesh)
The weavers of Dacca were expert in Jamdani known as 'Daccai Jamdani' for producing mainly sarees and dress materials. While the weavers of "Tanda" and "Varanasi" in Awadh were experts in weaving of 'Awadh Jamdani' for producing mainly sarees, dress materials, handkerchiefs, Ornas, caps, table cover etc.
The earliest mention of Jamdani and its development as an industry is to be found in Kautilya'sArthashashtra (book of economics) wherein it is stated that this fine cloth used to be made in Bengal andPundra (parts of modern Bangladesh). Jamdani is also mentioned in the book of Periplus of the Eritrean Sea and in the accounts of Arab, Chinese and Italian travelers and traders.
Fabric
The base fabric for Jamdani is unbleached cotton yarn and the design is woven using bleached cotton yarns so that a light-and-dark effect is created. Alexander the Great in 327 B.C mentions “beautiful printed cottons” in India. It is believed that the erstwhile Roman emperors paid fabulous sums for the prized Indian cotton.
The dominant feature of the jamdani is its magnificent design which is essentially Persian in spirit. The method of weaving resembles tapestry work in which small shuttles of coloured, gold or silver threads, are passed through the weft. The jamdani dexterously combines intricate surface designs with delicate floral sprays. When the surface is covered with superb diagonally striped floral sprays, the sari is called terchha. The anchal (the portion that goes over and beyond the shoulder) is often decorated with dangling, tassel like corner motifs, known as jhalar.

The most coveted design is known as the panna hazaar (literally: a thousand emeralds) in which the floral pattern is highlighted with flowers interlaced like jewels by means of gold and silver thread. The kalka(paisley), whose origin may be traced to the painted manuscripts of the Mughal period, has emerged as a highly popular pattern. Yet another popular pattern in jamdani is the phulwar, usually worked on pure black, blue black, grey or off-white background colours.
The traditional nilambari, dyed with indigo, or designs such as toradar (literally: a
bunch or bouquet) preserved in weaving families over generations are now being reproduced. The butis (motifs) across the warp, the paar (border) and anchal (the portion that goes over and beyond the shoulder) are woven by using separate bobbins of yarn for each colour. The fine bobbins are made from tamarind wood or bamboo. After completion the cloth is washed and starched.
Jamdani, because of its intricate patterns, has always been a highly expensive product. According to historical accounts, Jamdanis custom made for the Mughal emperor Aurangzeb in the 17th century cost over thirty pounds; evidently the jamdani fabric was essentially meant only for the affluent nobility, in those days.
The region in and around Dhaka (now in Bangladesh) became synonymous with this wonder fabric.

Baluchari saree

The most well-known Bengal Silk sari, which carry its legendary name, is the Baluchari sari - a product of exquisite design and fabulous weaving technique. Produced in the town of Baluchar in Murshidabad district of West Bengal, Baluchari sarees are nation and worldwide popular because of their artistic and unique design. 'Baluchari' is one of the most popular weaving techniques of Bengal. It is a popular ninteenth centruy figured silk saree. It is elaborately woven brocade known to have been made during 1850-1900 in the village surrounding Baluchar (Murshidabad Distt.)

Fabric in Baluchari Sari
Silk weaving of Baluchar continues to be an important landmark of Bengal's handloom tradition. Baluchari sarees are woven in Bengal silks which are much acclaimed in the world over, since ancient times. Like silk, cotton baluchari sarees are also woven in a fascinating and exquisite range. The cloth is very fine and transparent with a soft drape. These are created on draw looms, which contains a complicated mechanism for weaving multi-warp and multi-weft figured textiles.
Material is used as silk. The dimensions for a Baluchar Sari are in Cm (length=558, width=112, ends per cm=38, picks per cm =35)
Design and Colours
Baluchar Sarees are similar in appearance and in weaving techniques to many Banaras Brocades although they never contain Zari threads, only silk. They have intricate supplementary weft or warp borders and end pieces created in untwisted silk threads of colors that contrast with the ground, with elaborate floral borders. The figures are commonly involved in such activities as smoking a hooka, riding a train, or smelling a flower, and are often dressed in Mughal style or European cloths, the grounds of these saris are generally dark with purple, dark brown and red being common, while the wide range of colors found in the supplementary threads are always light, such as white, yellow orange of pink
The various designs depicting narrative folktales in the pallu of the sarees are as:
• A woman riding a horse holding a rose in one hand with her plait flying behind her.
• Pleasure boat, with two lovebirds on top.
• Traditional muslim court scenes.
• Women smoking hookah.
• Puranic tales or legends of Ramayana and Mahabharata are also depicted on the classic baluchari sarees etc.

The most distinctive feature of Baluchari sarees is their elaborate borders and pallu.

Paithani sarees

Among the most beautiful sarees made in India figures the Paithani sarees, woven exclusively in the Paithan region of the western state of Maharashtra. The gold embroidered Paithani sarees depict the blend of the aesthetic with the symbolic. The Rig Veda mentions a golden, woven fabric and the Greek records mention gorgeous Paithani fabrics from the well-known, ancient trading centre, Pratisthan or Paithan (in Maharashtra).

The Peshwas (political rulers of Maharashtra) in the 18th century had a special love for Paithani textiles and it is believed that Madhavrao Peshwa is believed to have asked for a huge supply of dupattas dotted with asavali prints, in shades of red, green, saffron, pomegranate and pink.
Interestingly, the Nizam of erstwhile princely state of Hyderabad too is believed to have nurtured a penchant for the Paithanis, which made him undertake several trips to the obscure town of Paithan to secure the fabric for personal use. His daughter-in-law, Niloufer, was instrumental in introducing new motifs to the designs on the borders as well as the pallav (the part that goes over and beyond the shoulders) designs.
A heavily brocaded Paithani sari will take anywhere from six months to one and a half years to get fully ready. Infact, even a plain and simple sari takes atleast one month for being completed. This is the main reason why the saree commands such a high price in the market. The pallu as well as the border of the saree is especially heavily embellished, with the help of the gold thread. The Maharashtrian bride is incomplete without a Paithani sari.
Specialty of Paithani sari
A pattan (Paithani) is a gold and silk sari. In the revival of Paithani weaving, the production was oriented towards export requirements, while saris were produced only for sophisticated buyers. Paithani evolved from a cotton base to a silk base. Silk was used in weft designs and in the borders, whereas cotton was used in the body of the fabric. Present day Paithani has no trace of cotton.
Motifs:
A) Sari
1) Due to proximity to the Ajanta caves, the influence of the Buddhist paintings can be seen in the woven Paithani motifs
2) The Kamal or lotus flower
3) The Asawalli (flowering vines), became very popular during the Peshwa's period
4) The Bangadi Mor, peacock in bangle

5) The Tota-Maina
6) The Humarparinda, peasant bird
7) The Narali motif, very common
8) Small motifs like circles, stars, kuyri, rui phool, kalas pakhhli, chandrakor, clusters of 3 leaves, were very common for the body of the sari.
B) Pallu

1) Muniya, a kind of parrot used in borders and always found in green colour with an occasional red touch at the mouth
2) Panja, a geometrical flower-like motif, most often outlined in red
3) Barwa, 12 strands of a ladder; 3 strands on each side
4) Laher, design is done in the centre to strengthen the zari
5) Muthada, a geometrical design
6) Asawali, a flower pot with a flowering plant
7) Mor, a peacocTraditional colours.
Traditional Colours:
The dominant traditional colours of vegetable dyes included:
Pophali - yellow
Red
Lavender
Purple
Neeligunji - sky blue
Magenta
Motiya - peach pink
Brinjal - purple
Pearl pink
Peacock - blue/green
Yellowish green
Kusumbi - violet red
Pasila - red and green
Gujri - black and white
Mirani - black and red

Manufacturing processes
A) Loom
It took approximately 1 day to set the silk threads on the loom. "Tansal" is used to put the "wagi". The "pavda" works like the paddle to speed up the weaving. The "jhatka" is used to push the "kandi" from one side to the other. "Pushthe" is used in designing the border of Paithani in which it is punched according to design application. "Pagey" are tied to the loom. The threads are then passed through "fani".
B) Weaving technique of Paithani saree:
It is a revival of hundreds of years tradition in weaving .But so far as its weaving technique is to filling the picks will not move directly from one end of saree to the other end, width wise, but the weft yarn returns being interlaced or interlocked with the threads of different weft colors. This procedure of returning of thread has no Indian technical name but still it is called brocade weaving.
Paithani saris are silks in which there is no extra weft forming figures. The figuring weave was obtained by a plain tapestry technique. There are three techniques of weaving. Split tapestry weave - the simplest weave where two weft threads are woven up to adjacent warp threads and then reversed. The warp threads are then cut and retied to a different colour.
Interlocking method - two wefts are interlocked with each other where the colour change is required. The figuring weft is made of a number of coloured threads, weaving plain with warp threads and interlocked on either side with the grounds weft threads are invariably gold threads which interlock with the figure weft threads, thus forming the figure. This system of interlocking weaves, known as kadiyal, is done so that there are no extra floats on the back of the motif thus making the design nearly reversible.
Dobe-tailing method - two threads go around the same warp, one above the other, creating a dobe-tailing or tooth-comb effect. Weaving could take between 18 to 24 months, depending upon the complexity of the design. Today there are many weavers who are working for the revival of this treasured weave.
Borders and the pallu
In the days of Peshwas, the borders and the pallu were made of pure gold mixed with copper to give it strength. The proportion was 1 kg of gold to 1 tola of copper. The combination was spun into a fine wire called the zari. In recent times, zari is made of silver, coated with gold plating. The borders are created with interlocked weft technique either with coloured silk or zari. In the border woven with a zari, ground coloured silk patterns are added as supplementary weft inlay against the zari usually in the form of flower or a creeping vine.
Two types of border are the Narali and the Pankha.
Even if a very good weaver has woven the main body, a master weaver is needed for the intricate inlay border paths. The borders and the pallu are woven in zari regardless of the colour of the sari.
Types of Paithani
Paithani can be classified by three criteria: motifs, weaving, and colours.
Classification by motif:
Bangadi Mor - the word bangadi means bangle and mor means peacock. So bangadi mor means a peacock in a bangle or in a bangle shape. The motif is woven onto the pallu, the design sometimes having a single dancing peacock. The saris using this motif are very expensive because of the design.
Munia brocade - The word munia means parrot. Parrots are woven on the pallu as well as in border. Parrots are always in leaf green colour. The parrots in silk are also called tota-maina.
Lotus brocade - lotus motifs are used in pallu and sometimes on the border. The lotus motif consists of 7-8 colours.
Classification by colour:

Kalichandrakala - pure black sari with red border.
Raghu - parrot green coloured sari.
Shirodak - pure white sari
Classification by Motif
• Bangadi Mor (Peacock in a bangle or in a bangle shape, woven in pallu)

• Munia brocade (Parrots woven on the pallu as well as in border)
• Lotus brocade (Lotus motifs used in pallu and maybe border)
Classification by Weaving
• Kadiyal border sari (Warp and weft of the border are of the same color, body has different colors for warp and weft)
• Kad/Ekdhoti (Single shuttle used for weaving of weft and colors of warp yarn different from that of weft yarn)
Classification by Color

• Kalichandrakala (Black sari with red border)
• Raghu (Parrot sari )
• Shirodak (Pure white sari)
Patola
Patola is an exquisite and wonderfully intricate silk textile of India, believed to have originated in the 7th Century AD. Three major Rajput clans the Chavadas (746 - 942AD), Solankis (942-1244 AD) and Vaghelas (1244 - 1304AD) — ruled from here. The Solanki rule is considered as the golden age; prosperity peaked during the reign of King Kumarpal. Patan became a centre of patola weaving during his reign (1143-1173AD).

Patola silk textiles are produced by resist dyeing of warp and weft threads before weaving, a complex process known as double ikat which is also practiced in other parts of India and abroad. However, Patola of Patan(Gujarat) is unique in its geometric floral and figurative patterns executed with precision of design planning, and meticulously accurate weaving alignment which results in precise outline of the patterns. This requires immense visualization and coordination skills. It is a marvel of weaving and precision, with its many coloured warp and weft matching perfectly at their designated places to create intricate motifs.The practitioners of this craft are the Salvis, who get their name from ‘Sal’ (Sanskrit for loom) and “Vi” (the rosewood sword used in a Patola loom).Patola saris continue to remain highly prized as festive clothing in Gujarat. The widespread opinion that they represent the traditional wedding sari, however, is not quite correct. The mothers of the couple and other older ladies will often appear in the colourful glow of these silks as a sign of their prosperity, religious feeling and traditional way of life. Patola are a matter of prestige. They are carefully preserved family heirlooms and are often presented as bridal gifts. A bridegroom may wear one over his shoulders as a lucky charm, or use it to drape his horse on his ride to the wedding ceremony.In some Hindu and Jain communities, patola play a major role in the simanta oragharni ceremony, which is celebrated in the seventh month of pregnancy. This phenomenon demonstrates that patola are auspicious and protect their wearer from sickness and misfortune.
Material- Traditionally pure silk and natural dyes were used.Since about last 100 years, tradition had given way to the use of fast to bleach and easy to dye chemical colours (dyes). Therefore the use of natural dyes in Patola is discontinued. But since last twenty years again the importance to use of vegetable dyes became the consideration of its eco-friendliness and to maintain the tradition of old natural dyes in Patola.
The re-introduced, vegetable materials are: Turmeric, Marigold Flower, Onion Skin, Pomegranate rinds, Madder, Lac, Catechu, Cochineal, Indigo along with different mordant like alum, tinchloride, ferrous sulphate, copper sulphate, Tennic Acid, Oxalic Acid, Potassium Dichromate etc.Dewelling on the fast colour of the patola, a Gujarat poet wrote; "Padi patole bhat faatey pan phite nahin" meaning the design laid down in the patola may be torn, but it shall never fade.
Warp and weft silk threads are tied separately with cotton thread on the portions already marked out in conformity with the proposed design in the fabric. This tied portion is meant to remain unexposed to the colour while dyeing. United portion which has absorbed one colour, may be tied while dyeing in another colour. Tyeing untying, retying and dyeing in different shades are the main features of this process.
Creating design by tyeing knots on warp and weft
After completion of dyeing work of warps & wefts, the threads of the warp of different repeats of a pattern are put together in a sequence on the loom, so that the design becomes visible. The threads of wefts are wound on to bobbins and kept in the bamboo shuttle for weaving process. The patola is woven on a primitive hand operated harness loom made out of rosewood and bamboo strips. The loom lies at a slant, with the left side being lower than the right side. The bamboo shuttle is made to move to and fro through warp shades. Each weft thread is thoroughly examined and matched with each part of the warp design pattern while weaving.
The tension of the warp threads are removed by the help of needle after every time weaving of 8" to 10" of fabric. Patola weaving is a highly accurate just a positioning of warp and weft of similar colour to obtain perfect design and harmony.The process is labour intensive, time consuming and requires high order of skill and dexterity.
Tyeing knots again after previous dyeing
It takes three to four months to prepare tie- dyed design on warp and weft threads for one sari of 6 yards length by 48" width. Two Salvis (weavers) working together weave just about 8" to 9" a day. It takes 40 to 50 days to weave a sari. Thus 4 to 5 persons take a periods of 5 to 6 months to complete a sari depending on the intricacy of the design.

Traditional Patola Loom
The patola was traditionally woven in a sari length of 5 to 9 yards by 45" to 54" width.The range now extends to include tablecloth borders scarves, handkerchiefs
Design Elements:
Essentially the design in a patola are based on traditional motifs called "Bhat". These designs include "narikunj", "paan", "phulwadi", "chowkdi", "raas", "chhabdi", "choktha", "navratana", "paanchphul", "sarvariya", "laheriya"etc. Flowers, animals, birds and human figures form the basic designs

Maheshwari sarees

The beautiful Maheshwari sarees are among the most popular sarees produced in India. These sarees are in demand not only in India, but also in international markets.
History of the Maheshwari saree
These sarees are largely produced in the town of Maheshwar in Madhya Pradesh. The origin of the Maheshwari sarees dates back to the 18th century, when the state of Indore in Madhya Pradesh was ruled by Queen Ahilyabai Holkar.
According to legends, Queen Ahilyabai ordered craftsmen from Surat and Malwa to design special 9-yard sarees to be gifted to royal guests and relatives. The sarees that were produced by these craftsmen became popular as Maheshwari sarees. It is believed that Queen Ahilyabai herself created the design of the first saree. These sarees were originally worn by the ladies of royal status, but nowadays, they are available in both national and international markets. .

The designs in the Maheshwari sarees were inspired by the detailing on the walls of the Fort of Maheshwar. The popular designs used in these sarees, which were inspired from the designs on the fort walls are the ‘Chatai’ pattern that is the ‘Mat’ pattern, the ‘Chameli ka phool’ pattern that is the ‘Chameli flower’ pattern, the ‘Eent’ pattern that is the ‘Brick’ pattern as well as the ‘Heera’ pattern that is the ‘Diamond’ pattern. These designs are found on Maheshwari sarees even today.

Material used

Originally, the Maheshwari saree was made of pure silk. Then in course of time, these sarees began to be made in pure cotton and with a mixture of silk and cotton (silk yarn in the warp and cotton in the weft). Nowadays, wool is also being used in the production of Maheshwari sarees. These sarees are extremely light in weight and present a sharp contrast to the Kanchipuram sarees of South India.

Colors

Maheshwari sarees were initially made only in dark shades like red, maroon, black, purple and green. Today, these sarees are also being made in lighter shades and gold and silver threads are being made use of. In local dialect, the most popular colors used in Maheshwari sarees are ‘Angoori’ (grape green), ‘Dalimbi’ (deep pink), ‘Gul Bakshi’ (magenta), ‘Jaamla’ (purple), ‘Tapkeer’ (deep brown), ‘Aamrak’ (golden), ‘Rani’ (deep pink), ‘Dhaani’ (green) and ‘Kaashi’ (light purple). Usually, vegetable dyes are used in the preparation of these sarees.

Varieties

These sarees usually have a plain body or have stripes or checks of different varieties. Some of these varieties are highly popular and are known by different names. The ‘Chandrakala’ and the ‘Baingani Chandrakala’ are examples of plain Maheshwari sarees, while the ‘Chandratara’, the ‘Beli’ and the ‘Parbi’ are examples of striped and checked ones.

Special features

The unique feature of a Maheshwari saree is its reversible border. The border is designed in such a way that both sides of the saree can be worn. This is locally known as ‘Bugdi’.
The cotton that is used in these sarees is brought in from Coimbatore in South India, while the silk is from Bangalore and the wool is imported from Australia. The processing of the raw material is undertaken in Kolkata and the saree is woven by the women of Maheshwar.
An original Maheshwari saree can cost anywhere between Rs. 1500 to Rs. 5000.

Banaras brocade
As in the History of the India Banaras is known since regveda about 1500 year 2000 year BC and also a period of Ramayana and Mahabharata come to know identical reference about the fame of Banarasi Sari and Fabrics as known Hiranya Vastra (Pitamber Vastra). In the ancient time Banaras was famous for the weaving of cotton sari and dress materials, but slowly switched over to silk weaving, during the Mughal period around 14th century weaving of brocades with intricate designs using gold & Silver threads was the speciality of Banaras.

The weaving craft of Banaras

Banaras, or Varanasi or Kashi is one of the rich weaving craft Centre of India, famous for Brocade saris and allover dress material. Exclusive varieties of the saris are Jangla, Tanchoi, Vaskat, Cutwork, Tishu, and Butidar which are made of silk warp and silk weft, on plain/satian ground base, brocaded with extra weft patterns in different layouts introducing Buties, Bells, creepers, Buttas in ground, border and Anchal for getting glamours appearance.
As in the History of the India Banaras is known since regveda about 1500 year 2000 year BC and also a period of Ramayana and Mahabharata come to know identical reference about the fame of Banarasi Sari and Fabrics as known Hiranya Vastra (Pitamber Vastra
In the ancient time Banaras was famous for the weaving of cotton sari and dress materials, but slowly switched over to silk weaving, during the Mughal period around 14th century weaving of brocades with intricate designs using gold & Silver threads was the speciality of Banaras.

Brocade refer to those textiles where in patterns are created in weaving by transfixing or thrusting the pattern-thread between the warp. In regular weaving the weft thread passes over and under the warp thread regularly. But when brocade designs in gold, silver silk or cotton threads are to be woven, special threads are transfixed in between by skipping the passage of the regular weft over a certain number of warp threads (depending upon the pattern) and by regularizing the skipping by means of pre-arranged heddles for each type of patterning. There may be several sets of heddles so arranged that on different occasions, they raise and depress irregular number of threads in turn, as required by the exigencies of the pattern.
Zari-brocades-When gold and silver threads are use along with or without silk-threads, thrust either as special weft or warp to create glittering raised ornamentation. We have the Zari brocade kind of fabrics. When we talk of gold or silver threads. It is to be under stood that the gold, threads are actually only silver threads with gold polish and that these threads are obtained by closely winding extremely fine gold or silver wire around a silk thread.

According to Sir George Watt, When the gold and silver threads were used so densely that the ground was hardly visible, the material was khinkhab proper and was too heavy for clothing, it was therefore used for trappings, hangings and furnishing. Only that material in which the Zari patterns were scattered was true brocade. This was used for clothing
Banarasi Silk Jamdani

The silk Jamdani, a technical variety of brocade or the 'figured muslin' ,traditionally woven in Banaras may be considered to be one of the finest products to come out of the Banarasi loom. Here silk fabric is brocaded with cotton and rarely with zari threads. Jamdani is woven by transfixing the pattern thread between a varying number of warp threads in proportion to the size of the designed then throwing the shuttle to pass the regular weft. By repeating this process, where in the size and placing of the cut-thread is in accordance with the character of the pattern, the Jamdani weaver produces arrange of intricate designs.

Some of the traditional motifs of Jamdani included Chameli (Jasmine), Panna hazar (Thousand emeralds) , Genda buti (Marigold flower), Pan buti (leaf form), Tircha (diagonally striped) etc. The most attractive design feature of the Jamdani sari was konia or a corner-motif having a floral mango buta.
It has own special character of (URTU) Binding in the figured designs on ground fabrics using extra weft designs thread dampatch technique for the or namentation of the sari. It is silk x silk base fabrics or-namented with extra looking and technique of weaving in karhuwan.
Jangala Sari
Brocade weavers of Banares have often endeavored to add a sense of gaiety and festivity by brocading patterns in colorful silk threads amidst the usual gold and silver motifs ;of the brocade convention. The present sari is an example in which muga silk motifs have been in laid. Jangala wildly scrolling and spreading vegetation motif is among the eldest in Banaras brocades. This old rose sari is embellished with beautifully contrasted gold-creepers and silver flowers of the Jangala motif. The borders have brocaded running creepers in Muga silk and gold and silver-Zari threads. The end panel is a combination of motifs of the borders and condensed Jangala of the field. Muga silk brocading enhances the beauty of the sari while reducing the cost. All over Jal Jangla design to get the stylish work of the saris and also used Mina Work for the decoration of the fabrics. The exclusive design sari has time taking skilled work, costly fabrics are widely accepted during the wedding occasions.
Jamawar Tanchoi Sari
Using a technique similar to that of brocade, weavers of Banaras weave saris using colorful extra weft silk yarn for patterning . This varieties known as Tanchoi. This maroon-colored sari in satin weave is brocaded with elaborate motifs from the Jamawar shawl tradition from Kashmir, the characteristic feature of which was paisley motif, often elaborated into a maze which would look kateidos-copic in character. The field has a densely spread minute diaper of Jamawar style paisley. The end panel has large motifs of multiple paisley forms-one growing out of the other. The border, as well as the cross-borders of the end panel, have miniature paisley creepers. Tanchoi fabric has remarkable fame in the India as well as all over in the world widely acceptable to all kind of the people.
Tissu Sari
The renowned Zari brocade weavers of Banaras has evolved a technique of weaving tissue material which looked like golden cloth. By running Zari in weft a combination of Zari and silk in extra-weft (pattern thread) and silk in warp, the weave of this sari has densely patterned with golden lotuses floating in a glimmering pond. The 'drops of water' are created by cut work technique. The borders and the end panel have a diaper of diamond patterns enclosed by a border of running paisley motifs. Tissue saris are most popular as wedding saris among the affluent. Tissue sari has glazed, shining character due to the use of real gold Zari/Silver Zari in weft on silk work ground are ornamented with the particulars traditional design such as Jangla Butidar, Shikargah Minadar etc.

Butidar Sari

The most striking feature of this dark blue silken sari is that it is brocaded with pattern threads of gold, silver and silk. Due to darker shade of gold and lighter of silver this variety of patterning in brocade is conventionally known as Ganga-Jamuna, indicating the confluence of these two river whose waters are believed to be dark and light receptively. The end panel has a row of arches, in each of which a bouquet of flowers is placed. A slightly smaller and variegated bouquet is diapered all over the field.

The butidar sari is a rich kind of the Banaras sari in high traditional pattern and motif of the design locally popularized such as Angoor Bail, Gojar Bail, Luttar Bail, Khulta bail, Baluchar bail, Mehrab bail, Doller butti,Ashraffi Butti, Latiffa Butti, Reshem Butti Jhummar Butti,Jhari Butta, Kalma Butti,Patti Butti, Lichhi Butti, Latiffa Butta, Kairy Kalanga Thakka Anchal, Mehrab Anchal, Baluchar Butta with the use of real gold and silver Jari and Katan silk in the weft.

Chanderi

Chanderi, a township having a very rich & glorious historical heritage and past is situated in the hills of Vindhyachal range having a population of 30,000. This township located close to Betwa river and which presently forms part of District Ashok Nagar (previously Guna) in the State of Madhya Pradesh, India. It had flourished a focal point of Central India with intensive economic activity. Phonetically Chanderi is linked with the Chandelas. Chanderi was first settled and fortified in the 11th Century by the Pratihara king Kirtipal.
The foundation of this township goes back to the Chandella King, Kirtivarma, Prince of Mahoba in the years 1060 – 1100 AD. The place of the city is also related to the name of “Chandella”. Historically speaking Chanderi, Chandrapuram, Chandragiri etc. are well known names in Indian topography. The first certain reference to Chanderi in a written source is found in Barani who relates the successful attack of Ghiyas al Din Balban against the city in 1251 AD. However, the Muslims did not settle in Chanderi before its Conquest in 1305 AD by Ala al Din Khilji. It is in 1305 AD around 20,000 people from a place called “Lakhnoti” in Bengal (presently in Dhaka) migrated to Chanderi as followers of Maulana Majibuddin Usuf and after migration these people started the production of Muslin/Malmal. Chanderi remained in the hands of Bundelas until 1811. The Craftsmanship and the weaving work were continued by all the Muslim rulers of the City. In the Government Gazetteer Chanderi has been mentioned as long famous city for the manufacture of delicate Muslins, an industry that is still carried on. The cloth/fabric manufactured here is of unusual fineness while the colored silk and gold borders are of great beauty. A common saying refers to this Industry:-
Shahr Chanderi mominwara , Tiria raj, khasam panihara
In Chanderi town ,a city of weavers ,The wives rule while husbands carry water

METHOD OF PRODUCTION:
1. Procurement of raw – material: the master weaver purchases the raw material from the yarn dealers who in turn get the silk from Karnataka. The silk yarn used is largely imported Chinese or Korean silk. The cotton yarn is procured from places like Coimbatore in southern India, and Jaipur and is usually pre-dyed. The yarn dealers of cotton also often get customized colors dyed as per the requirement of the master weaver. However the minimum quantity required for such dyeing is almost 25 kgs. or 10 hanks.
2. The dyeing in Chanderi is undertaken mainly for the silk yarn and by dyers many of whom have been in this skill since long. The silk yarn dying process takes about 45 to 60 minutes depending on the color.
3. After dyeing the yarn is loosened or wound on reels or swiftons. This is a prelude to the preparation of the warp and weft.
4. For the weft the yarn is wound on pirns with the help of a charkha and this activity is usually performed by the members of weavers family. Warping is a specialized process, which is performed by the warpers. The warp yarns are wound on bobbins, which are arranged across a wooden frame called reel. The yarns from these reels pass through a reed to be wound around a vertical drum. A warper in good times would warp 4 or 5 warps for 12 sarees each.
5. The next step is the task of passing the warp through the reed and the healds. The warp threads are then joined to the old war threads with a deft twist of the hand of the women folk. This process takes approx 3-4 days.
6. Before the actual weaving begins the weaver sets the design of the border and the pallav. The respective ends of the design are tied to the a vertical harness called jala and the process is called jala tyeing. This process takes anywhere between 3-4 days depending on the complexity of the design. The figured effects are produced with the help of an extra weft and the number of tillis (or the no of weft yarns will determine the time taken). That is higher the number more will be the time taken. However the time reduces if the number of ply in the weft yarn is more and consequently the weaver can move faster and cover more ground. However in this case the output is less fine. Similarly higher the reed count more is the production time.
7. The weaving is performed by one or two very skilled weavers of the same family. The looms being used are largely traditional pit looms with throw shuttle.
8. The Chanderi fabric does not require any post loom process and is cut off the loom to be packed and sold. It is packed as per the requirement of the buyer and of the trader by way of customized packing methods.

UNIQUENESS:
The Chanderi Fabric is known for the centuries for its transparency, Buttis and sheer texture

BUTTIS/ BUTTA "MOTIFS":
Since the inception of the Chanderi fabric and primarily ladies Sarees, the butiis on the Fabric are hand-woven and absolutely woven on Handloom. There is no use of any other process of manufacturing and it is Gold coated, Silver coated and as well as Copper coated. Now a days Tested Zari Butti are also common and in use. The Tested Zari is made with the use of Synthetic yarn. The Buttis are made by use of Needles. Number of Needles used depends upon the number of Buttis and its size. For each Butti/Butta separate Needles are used. All the weavers involved in this process are experts in it since they have been doing this for long time. The most popular and traditional kind of Butti is Asharfi Butti, which is in shape of Asharfi (woven in pure gold and silver Zari and now a day it is also woven in Tested Zari). This kind of Butti was in use in past only by the Royal families because it is very expensive as genuine Gold and Silver is used. The Butti which is big is size is popularly called as Butta with all other specifications. More so and it is there ancestral business and trade. The weavers involved in this process are long standing in trade and are well experienced. The handmade Buttis are at Chanderi permanent in its nature and its existence as well, inter laced and its original shape and structure always remain the same even after its long use. Whereas in comparison the Buttis created with the use of Power loom are not permanent and losses its shape and structure after some time. The thread used is of fine quality and even after long use its thread never comes out and its original shape and appearance is retained forever. It has no comparison anywhere else in the country or for that reasons in whole of the world. . It is easily distinguishable from the Buttis made outside Chanderi even with necked eyes because of its manner and process of manufacture and in this manner it is exclusive and this itself is requisite ingredient for legal protection and for exclusive recognition. Initially the use of this quality and products has been a matter of use by the Royal families, which for a long time is used by the common man.

TRANSPARECNY
The Chanderi Fabric is also well known for its transparency and sheer texture. The transparency is a unique feature, which is not commonly or found in any of the textile products all over the country. The transparency in Chanderi Fabric products is the consequence of Single Flature quality of yarn used. Flature yarn is the quality of yarn when the Glue of the raw yarn is not taken out. The none- degumming of the raw yearn gives shine and transparency to the finished fabric. This quality is not found in any other Fabric of the country and it is exclusive to the Chanderi Fabric. The special transparent yarn is used both in warp and weft of different varieties and configurations. The transparent yarn is cotton and as well as silk also.

The silk yarn used of 2/2's, 2/100's and 16/18 denier. The term Denier connotes the fineness of yarn. The cotton uses in Chanderi Fabric is 2/120's, 2/100's (plain yarn) and 2/120 and 2/100 mercerized yarns. The yarn used in Chanderi fabric is of high quality and extra fine. Because of non-degumming of the raw yarn, the finished fabric produced is extremely transparent and which in consequence result into sheer texture.
Over the last centuries Chanderi has evolved as a center for excellence for weaving gold embellished fabrics mainly, sarees, for the erstwhile royalty and elite.
Chanderi has been originally producing three kinds of fabric:
1. Pure silk – where the warp as well as the weft is woven in 13/15 and 16/18 denier silk.
2. Chanderi cotton – where the warp and weft are 120's to 200's cotton. The Chanderi muslins have been known to be superior to Dacca muslins because of the softness and feel; this was traditionally achieved through the use of koli kanda a local wild onion which was used for sizing. Today this quality has been discontinued.
3. Silk Cotton – the weaver deftly combines 13/15-denier warp with 100s/120s cotton in the weft.

Discharge Printing

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Discharge Printing is also called Extract Printing. This is a method of applying a design to dyed fabric by printing a color-destroying agent, such as chlorine or hydrosulfite, to bleach out a white or light pattern on the darker coloured ground. In color-discharge printing, a dye impervious to the bleaching agent is combined with it, producing a colored design instead of white on the dyed ground.
Discharge printing has been around for decades. But only in the past 7-8 years screen printers in the industry have recognized it seriously. In the early years of discharge printing, the finished discharge print needed to be steamed during the drying process. This discouraged the use of discharge systems in the finished garment arena. The newly developed discharge ink systems are chemically reactive and dont need to be steam-neutralized. This advancement opened the door to discharge printing for the average screen printer.
Discharge printing has the ability to make bright, opaque colors on dark fabrics with a soft hand. Years ago the idea of opaque colors on dark fabrics and soft hand couldnt co-exist.
Successful light-on-dark printing with plastisol relies on increased pigment loads, fillers and other additives to block out the color of the garment. Discharge inks modify the garment color by removing the garment color and replacing it with the new ink color. In simple terms, the discharge ink "bleaches" out the dye in the garment, thus allowing the pigment in the ink to absorb into the shirt fibers.
The real magic of discharge printing can be witnessed when printing four-color process on black 100% cotton shirts. The print before curing appears very transparent. One can barely see the print until the garment exits the oven chamber, where the results can be quite remarkable: bright, vivid colors with a soft hand.
The graphics on the casino gaming tables are printed with discharge inks to avoid the interference of the printed line with the roll of the dice. If the ink on these tables were printed with plastisol, the ink film (because it is a surface print) would change the speed and direction of the dice, thus changing the way the dice land. Discharge ink, on the other hand, provides a dyed-in-the-fabric result, keeping the playing surface smooth.
The decrease in the production time is the biggest bonus of all. The fact that you can skip flash curing completely saves hours of production time and eliminates registration problems between the designs colors and the white printer under base used in normal printing on blacks.
However, flash curing can be used in conjunction with discharge printing when printing discharge as an under base.
Cleaner and more transparent inks can also be printed onto dark garments with the help of discharge additives. Early discharge additives were designed only for water base inks, but plastisol additives are available.
Characteristics that indicate a garment will work with discharge ink
• The garment has to be made of natural fibers (100% cotton)
• The dye used in the garment must be dischargeable. The best results are achieved with garments that are 100% cotton and dyed with a reactive dye.
• The garment should not have been over dyed (when fabric is re-dyed to another color). This often happens because of a shortage of a certain fabric color or, in many cases, because quality control rejected the fabric color. These rejected colors are then over dyed with a black dye, which will bring nightmares to life when trying to use discharge inks. The discharge ink might discharge the black dye - only to reveal a phantom color underneath.
Always test your garment to see if it is suitable for discharge printing. If you are a major printer doing large-volume printing, be aware that the shirts you order from the mill are tracked by lot numbers and it is possible that a completely different dye may be used from one lot to the next. Let your sales representative know that you are doing discharge printing and mention in writing that you need a dischargeable garment.
Points to be noted
• Do not to overlap your separations if you want to print clean spot colors. Butt-to-butt separations are ideal for most discharge printing.
• Work with a negative background and allow the dark background of the garment to show through. If you choose to overlap the color separations, overlap the primary colors - red, blue and yellow - to achieve secondary and tertiary colors within the design.
• To create the screen for under-basing with discharge ink, sandwich all the color separations together (make a contact sheet or a mask) to allow the discharge ink to be printed under all subsequent colors. (Suitable plastisols can be printed over clear discharge bases. Consult your ink manufacturer for compatibility with plastisol.)
• Discharge printing is frequently used for all-over prints because of its soft hand.

kalamkari

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kalamkari

The kalamkari, handpainted cloths of Sri Kalahasti, Andra Pradesh, works of art drawn entirely by hand, were originally created predominantly for the temples as narrative murals.
These murals tell the stories of the great Hindu epics in picture form. Earlier this century, Christian missionaries commissioned artists to create murals telling the story of Christ.
In addition to the epic murals, the Tree of Life theme is very popular and comes in many forms. Artists are also branching out and using the medium for their purpose.
Kalamkari is an exquisite ancient craft of painted and printed fabrics. It derives its name from Kalam meaning Pen, and Kari meaning work, literally Pen-work. It includes hand painting as well as block printing with vegetable dyes. Kalamkari art has evolved through trial and error over the last 3000 years. Techniques of craftsmanship in Kalamkari were handed down within the families from generation to generation.
The Kalamkari art of painting undergoes a laborious, slow process of resist - dyeing and hand printing. Many stages have to be undergone before the final results are achieved. Unlike other styles of painting, Kalamkari painting demands a lot of treatment before and after the painting is completed on the cotton fabric. Depending on the treatment of cloth, or quality of the mordant, the colors change accordingly. Every step from soaking of the cloth, to sketching the outlines to washing and drying the cloth, is done carefully and correctly.
The world over, people are turning away from dangerous chemical dyes. The harmless, naturally dyed fabrics is used for Kalamkari paintings. The artists believe in using natural dyes, extracted from bark, flower and root. One would be stunned to know that the colour red is obtained by using the Indian madder root, yellow from the pomegranate seed or even mango bark, and black from myrobalam fruit. No chemical dyes are used is producing kalamkari colours!
The process used for both schools of Kalamkari painting is more or less the same. The only major difference is that Srikalahasti paintings depend entirely on the brush-like pen whereas the Masulipatnam style uses block-printing procedures. The process done in Srikalahasti is more tedious. The cloth is treated and washed twice, and is painted with alum for two to three times.
Stages
• Whitening the cloth by immersing in a solution of goat or cow dung and letting it dry in the Sun for a few days.
• The cloth is then treated in Myrobalan solution. Ripe fruits are used in Masulipatnam, raw ones in Srikalahasti. Milk is then added to the solution to prevent the colour from spreading in the next step.
• Then iron acetate solution is filled in, either for solid spaces or as outlines, with a brush-pen in Srikalahasti, and wooden blocks in Masulipatnam.
• All the areas meant to be red are painted or printed over with the alum solution as a mordant. Mordant is a substance that fixes the natural dye on the material.
• After applying alum, the cloth is kept for at least 24 hours. Then the excess mordant is removed by washing the cloth under flowing water.
• The dyeing is done for the red colour by boiling with the red coloring materials.
• All the portions that are not to be blue are covered with wax.
• The waxed cloth is immersed in indigo solution. In Srikalahasti, the blue is painted with the kalam. Then the wax is removed by boiling the cloth in water.
• The yellow is painted on to produce yellow and green.
• The cloth is finally washed again and dried before the final colours emerge.

Sanganeri & Block printing

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History of Block Printing

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History
Records show that as far back as the 12th century, several centers in the south, on the western and eastern coasts of India became renowned for their excellent printed cotton. On the southeastern coast the brush or kalam (pen) was used, and the resist applied by the same method. In the medieval age printing and dyeing of cottons was specially developed in Rajasthan. In Gujarat the use of wooden blocks for printing was more common. Tents were created from printed fabrics and became a necessary part of royal processions. The seasons largely influenced the integration of the highly creative processes of weaving, spinning, dyeing and printing. Festivals also dictated this activity. Block printing is a special form of printing first developed in China. The earliest known example with an actual date is a copy of the Diamond Sutra from 868 A.D (currently in the British Museum), though the practice of block printing is probably about two thousand years old
Trade in cotton cloth is said to have existed between India and Babylon from Buddha's time. Printed and woven cloths traveled to Indonesia, Malaya and the Far East. In the 17th century, Surat was established as a prominent center for export of painted and printed calicos, covering an extensive range in quality. Cheaper printed cloth came from Ahmedabad and other centers, and strangely enough Sanganer was not such a famous center for printing as it is today.
Block Printing in Gujarat
In Gujarat, this form of hand Printing has been practiced and perpetuated by the Paithapur families. They make intricate blocks, and print their textiles using the mud resist-Printing method. These prints are called Sodagiri (trader) prints. In Kutch, the popular patterns are black and red designs of birds, animals, and dancing girls. The saris of Ahmedabad and Baroda have large mango patterns against a red or blue background. The other well known centers for block Printing in Gujarat are Bhavnagar, Vasna, Rajkot, Jamnagar, Jetpur and Porbandar. Dhamadka a village in Gujarat has many printers using mostly madder root for printing red color, rusty iron solution for black color and indigo for blue color. These fabrics are known as Ajrakh. The designs made by block printing are geometric. Many states have block-printing workshops using chemical dyes. However there are only small pockets of areas still using natural dyeing with age-old recipes and local plant material.
Block Printing in Rajasthan
From Gujarat, the art of block Printing spread to Rajasthan. Here colorful prints of birds, animals, human figures, gods and goddesses are popular. The important centers are Jaipur, Bangru, Sanganer,Pali and Barmer.
Sanganer is famous for its Calico printed bed covers, quilts and saris. In form of hand Printing are Calico Printing, the outlines are first printed, and then the color is filled in. Bold patterns and colors are popular. They are printed repeatedly in diagonal rows. Doo Rookhi Printing is also famous here. In this technique, artists print on both sides of the cloth.
Bagru is famous for its Syahi-Begar prints and Dabu prints. The former are designs in a combination of black and yellow ochre or cream. The latter are prints in which portions are hidden from the dye by applying a resist paste.
Barmer is known for its prints of red chilies with blue-black outlines, surrounded by flower-laden trees. The other famous prints are of horses, camels, peacocks and lions, called Sikar and Shekahawat prints.
Block Printing in Punjab
The block Printing from Punjab is not as famous as its Rajasthani counterpart, but is still merit worthy. It was the art of a group of textile workers called Chhimba . The designs were usually floral and geometrical. Today, traditional designs have been displaced, and vegetable dyes have been replaced by chemical ones. The colors are light and pastel. The motifs are usually mangoes, peacocks and nets.
Block Printings of Andhra Pradesh
In Andhra Pradesh, the block Printing method is applied in the creation of the exquisite Kalamkari Printing . The two major centers of Kalamkari art are Sri Kalahasti and Masulipatnam. Masuliputnam in Andhra Pradesh is the main centre of block printing where the fabric is known as Kalamkari. The cloth used generally is mill made cotton, which is first bleached with cow dung and placed in the sun. The next step is to soak the cloth in a mixture of Myrobalan and milk. The Myrobalan contains tannic acid and acts as a mordant helping the dyestuffs to bond with the fibre. The buffalo milk, having high fat content, helps prevent the dye from running. Then the black outline is printed using a solution made with rusty iron soaked in sugar water and bran for several weeks. When the solution comes in contact with the myrobalan it turns black. The next step is printing on another mordant, alum.
This bonds the red dye, Madder Root, after boiling, to the areas that receive the alum. These steps continue until all colours have been printed or brushed on. It is crucial to have a good water supply for washing after printing. It takes weeks to complete all these steps.
Block Printing is also practiced in Madhya Pradesh, Uttar Pradesh and Maharashtra.

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The first step in block printing is the production of the original document. This is laid on a large, smooth wooden block and fixed into place, reversed. Next, craftsmen of various skill levels, ranging from master carvers for the fine work to less talented artisans for cheaper blocks or less important sections, carve the original painted, drawn or written image into the block of wood. The block can now be covered with ink and used in a press to create duplicates of the original.
In some ways block printing is superior to cast type or moveable type -- for a language such as Chinese which has a very broad character set, block prints are much cheaper to produce for the initial run. The process also allows greater artistic freedom, such as the easy inclusion of pictures and diagrams. However, printing blocks are not very durable, and deteriorate very rapidly with use, requiring constant replacement that limits the possibility of large-scale print runs. Printing blocks can, however, be made from a variety of materials such as wood, linoleum, rubber, or even potatoes.
Method and equipments used in Hand Block printing
This process, though considered by some to be the most artistic, is the earliest, simplest and slowest of all methods of printing.
The blocks may be made of box, lime, holly, sycamore, plane or pear wood, the latter three being most generally employed. They vary in size considerably, but must always be between two and three inches thick, otherwise they are liable to warping, which is additionally guarded against by backing the wood chosen with two or more pieces of cheaper wood, such as deal or pine. The several pieces or blocks are tongued and grooved to fit each other, and are then securely glued together, under pressure, into one solid block with the grain of each alternate piece running in a different direction.
The block, being planed quite smooth and perfectly flat, next has the design drawn upon, or transferred to it. This latter is effected by rubbing off, upon its flat surface, a tracing in lampblack and oil, of the outlines of the masses of the design. The portions to be left in relief are then tinted, between their outlines, an ammoniacal carmine or magenta, for the purpose of distinguishing them from those portions that have to be cut away. As a separate block is required for each distinct color in the design, a separate tracing must be made of each and transferred (or put on as it a termed) to its own special block.
Having thus received a tracing of the pattern the block is thoroughly damped and kept in this condition by being covered with wet cloths during the whole process of cutting. The blockcutter commences by carving out the wood around the heavier masses first, leaving the finer and more delicate work until the last so as to avoid any risk of injuring it during the cutting of the coarser parts. When large masses of color occur in a pattern, the corresponding parts on the block are usually cut in outline, the object being filled in between the outlines with felt, which not only absorbs the color better, but gives a much more even impression than it is possible to obtain with a large surface of wood. When finished, the block presents the appearance of flat relief carving, the design standing out like letterpress type.
Fine details are very difficult to cut in wood, and, even when successfully cut, wear down very rapidly or break off in printing. They are therefore almost invariably built up in strips of brass or copper, bent to shape and driven edgewise into the flat surface of the block. This method is known as coppering, and by its means many delicate little forms, such as stars, rosettes and fine spots can be printed, which would otherwise be quite impossible to produce by hand or machine block printing.
Frequently, too, the process of coppering is used for the purpose of making a mold, from which an entire block can be made and duplicated as often as desired, by casting. In this case the metal strips are driven to a predetermined depth into the face of a piece of lime-wood cut across the grain, and, when the whole design is completed in this way, the block is placed, metal face downwards in a tray of molten type-metal or solder, which transmits sufficient heat to the inserted portions of the strips of copper to enable them to carbonize the wood immediately in contact with them and, at the same time, firmly attaches itself to the outstanding portions. When cold a slight tap with a hammer on the back of the limewood block easily detaches the cake of the type-metal or alloy and along with it, of course, the strips of copper to which it is firmly soldered, leaving a matrix, or mold, in wood of the original design. The casting is made in an alloy of low melting-point, anti, after cooling, is filed or ground until all its projections are of the same height and perfectly smooth, after which it is screwed on to a wooden support and is ready for printing. Similar molds are also made by burning out the lines of the pattern with a red-hot steel punch, capable of being raised or lowered at will, and under which the block is moved about by hand along the lines of the pattern.
In addition to the engraved block, a printing table and color sieve are required. The table consists of a stout framework of wood or iron supporting a thick slab of stone varying in size according to the width of cloth to be printed. Over the stone table top a thick piece of woolen printers blanket is tightly stretched to supply the elasticity necessary to give the block every chance of making a good impression on the cloth. At one end, the table is provided with a couple of iron brackets to carry the roll of cloth to be printed and, at the other, a series of guide rollers, extending to the ceiling, are arranged for the purpose of suspending and drying the newly printed goods. The color sieve consists of a tub (known as the swimming tub) half filled with starch paste, On the surface of which floats a frame covered at the bottom with a tightly stretched piece Of mackintosh or oiled calico. On this the color sieve proper, a frame similar to, the last but covered with fine woolen cloth, is placed, and forms when in position a sort of elastic color trough over the bottom of which the color is spread evenly with a brush.
The modus operandi of printing is as follows: The printer commences by drawing a length of cloth, from the roll, over the table, and marks it with a piece of colored chalk arid a ruler to indicate where the first impression of the block is to be applied.
He then applies his block in two different directions to the color on the sieve and finally presses it firmly and steadily on the cloth, ensuring a good impression by striking it smartly on the back with a wooden mallet. The second impression is made in the same way, the printer taking care to see that it fits exactly to the first, a point which he can make sure of by means of the pins with which the blocks are provided at each corner and which are arranged in such a way that when those at the right side or at the top of the block fall upon those at the left side or the bottom of the previous impression the two printings join up exactly and continue the pattern without a break. Each succeeding impression is made in precisely the same manner until the length of cloth on the table is fully printed. When this is done it is wound over the drying rollers, thus bringing forward a fresh length to be treated similarly.
If the pattern contains several colors the cloth is usually first printed throughout with one, then dried, re-wound and printed with the second, the same operations being repeated until all the colors are printed.
Many modifications of block printing have been tried from time to time, but of these only two tobying and rainbowing are of any practical value. The object of tobey printing is to print the several colors of a multicolor pattern at one operation and for this purpose a block with the whole of the pattern cut upon it, and a specially constructed color sieve are employed. The sieve consists of a thick block of wood, on one side of which a series of compartments are hollowed out, corresponding roughly in shape, size and position to the various objects cut on the block. The tops of the dividing walls of these compartments are then coated with melted pitch, and a piece of fine woolen cloth is stretched over the whole and pressed well down on the pitch so as to adhere firmly to the top of each wall; finally a piece of string soaked in pitch is cemented over the woolen cloth along the lines of the dividing walls, and after boring a hole through the bottom of each compartment the sieve is ready for use. In operation each compartment is filled with its special color through a pipe connecting it with a color box situated at the side of the sieve and a little above it, so as to exert just sufficient pressure on the color to force it gently through the woolen cloth, but not enough to cause it to overflow its proper limits, formed by the pitch-soaked string boundary lines.
The block is then carefully pressed on the sieve, and, as the different parts of its pattern fall on different parts of the sieve, each takes up a certain color that it transfers to the cloth in the usual way. By this method of tobying from two to six colors may be printed at one operation, but it is obvious that it is only applicable to patterns where the different colored objects are placed at some little distance apart, and that, therefore, it is of but limited application.
Block printing by hand is a slow process~ it is, however, capable of yielding highly artistic results, some of which are unobtainable by any other means, and it is, therefore, still largely practiced for the highest class of work in certain styles.

Thickening Agents

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The thickening agents in most general use as vehicles in printing, are starch, flour, gum arabic, gum senegal and gum tragacanth, British gum or dextrine and albumen.
With the exception of albumen all these are made into pastes, or dissolved, by boiling in double or jacketed pans, between the inner and outer casings of which either steam or water may be made to circulate, for boiling and cooling purposes. Mechanical agitators are also fitted in these pans to mix the various ingredients together, and to prevent the formation of lumps by keeping the contents thoroughly stirred up during the whole time they are being boiled and cooled.
Starch paste
This is made by mixing 15 lb of wheat starch with a little cold water to a smooth creamy paste; a little olive oil is then added and sufficient water to bring the whole up to 10 gallons. The mixture is then thickened by being boiled for about an hour and, after cooling, is ready for use.
Starch is the most extensively used of all the thickenings. It is applicable to all but strongly alkaline or strongly acid colors. With the former it thickens up to a stiff unworkable jelly, while mineral acids or acid salts convert it into dextrine, thus diminishing its thickening power. Acetic and formic acids have no action on it even at the boil.
Flour paste is made in a similar way to starch paste. At the present time it is rarely used for anything but the thickening of aluminum and iron mordants, for which it is eminently adapted.
Gums
Gum arabic and gum senegal are both very old thickenings, but their expense prevents them from being used for any but pale delicate tints. They are especially useful thickenings for the light ground colors of soft muslins and sateens on account of the property they possess of dissolving completely out of the fibers of the cloth in the washing process after printing. Starch and artificial gums always leave the cloth somewhat harsh in feel unless they are treated specially, and are moreover incapable of yielding the beautifully clear and perfectly even tints resulting from the use of natural gums. Very dark colors cannot well be obtained with gum senegal or gum arabic thickenings; they come away too much in washing, the gum apparently preventing them from combining fully with the fibers. Stock solutions of these two gums are usually made by dissolving 6 or 8 lb of either in one gallon of water, either by boiling or in the cold by standing.
British gum or dextrine is prepared by heating starch. It varies considerably in composition sometimes being only slightly roasted and consequently only partly converted into dextrine, and at other times being highly torrefied, and almost completely soluble in cold water and very dark in color. Its thickening power decreases and its gummy nature increases as the temperature at which it is roasted is raised. The lighter colored gums or dextrines will make a good thickening with from 2 to 3 lb of gum to one gallon of water, but the darkest and most highly calcined require from 6 to lb per gallon to give a substantial paste. Between these limits all qualities are obtainable. The darkest qualities are very useful for strongly acid colors, and with the exception of gum senegal, are the best for strongly alkaline colors and discharges.
Like the natural gums, neither light nor dark British gums penetrate into the fiber of the cloth so deeply as pure starch or flour, and are therefore unsuitable for very dark strong colors.
Gum tragacanth, or Dragon, is one of the most indispensable thickening agents possessed by the textile printer. It may be mixed in any proportion with starch or flour and is equally useful for pigment colors and mordant colors. When added to starch paste it increases its penetrative power, adds to its softness without diminishing its thickness, makes it easier to wash Out of the fabric and produces much more level colors than starch paste alone. Used by itself it is suitable for printing all kinds of dark grounds on goods that are required to retain their soft clothy feel. A tragacanth mucilage may be made either by allowing it to stand a day or two in contact with cold water or by soaking it for twenty-four hours in warm water and then boiling it up until it is perfectly smooth and homogeneous. If boiled under pressure it gives a very fine, smooth mucilage (not a solution proper), much thinner than if made in the cold.

Surface active agents

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Surface active agents or surfactants have a distinct molecular structure that gives rise to their molecular properties. [extra background]
Soaps such as sodium oleate are examples of a class of molecules called surfactants. The name "surfactant" comes from somebody who we don't think would spell very well - it actually stands for SURFace ACTive AgeNT. Both detergents and soaps are classed as surfactants.
Surfactants are characterised by the essential features that we saw in sodium oleate. A surfactant molecule has a hydrophilic (water-loving) head and a long hydrophobic (water-hating or oil-loving) tail. For this reason, we often describe surfactants is being amphiphilic molecules - they love everything.

Surfactants are said to have a "head" and a "tail". The head is hydrophilic which means that it is water loving, and it is generally depicted as a circle. The tail is generally a long hydrocarbon chain and is hydrophobic, which means water-hating (therefore oil-loving). The tail may be depicted either as a straight line or a wavy tail.
Properties of Surfactants
The molecular structure of surfactants means that they have unusual properties, leading to both widespread and highly specialised applications. The properties of surfactants fall into two broad categories: adsorption and self-assembly.
Adsorption
Adsorption is the tendency for a surfactant molecule to collect as an interface. Adsorption is very different to absorption (don't get them confused!):
Adsorption
the taking up of a gas or liquid at the surface of another substance, usually a solid (for example, activated charcoal adsorbs gases). It involves molecular attraction at the surface.
Absorption
the taking up of one substance by another, such as a liquid by a solid (ink by blotting paper) or a gas by liquid (oxygen dissolving in water).
The adsorption properties of surfactants mean that surfactant molecules are usually found at the interface between an oil phase and a water phase or a water phase and an air phase. This molecular property leads to the macroscopic properties of wetting, foaming, detergency and emulsion formation.

Surfactant molecules tend to adsorb to the surface of oil droplets. The hydrophilic heads stick out into the water phase, while the hydrophobic tails happily stick into the oil phase.

Self-Assembly
Self-assembly is the tendency for surfactant molecules to organise themselves into extended structures in water. This includes the formation of micelles, bilayers and liquid crystals. These structures are formed by when the hydrophobic tails of the surfactants cluster together, forming small aggregates such as micelles, or large layer structures (bilayers) which are similar to a cell wall.
These properties make surfactants very interesting study, and are areas of current research.

Surfactants can aggregate to form micelles. Forming a micelle allows the hydrophobic tails to get out of the water but still allows the hydrophilic heads to stay in the water. There is usually between a few dozen to a couple of hundred surfactant molecules in a micelle.

Surfactants also aggregate to form extended structures in water, such as the surfactant bilayer depicted here.

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Detergent:
Detergents are surface active compounds which get orient at the interface (between water and air) and reduce interfacial tension. It removes dirt from the surface of the textile material by emulsification and suspends the dirt in cleaning liquid.

Classification of Detergent:
Detergents are classified mainly in two- 1. Ionic 2. Non-ionic.
Ionic detergent also divided into three – 1. Anionic 2. Cationic 3. Amphoteric.

1. Anionic Detergent: After being ionized, anion is the dominating ion. For example – Soap. The reaction is-
C17H35CooNa  C17H35Coo- + Na+

C17H35Coo- this portion is very large and dominating ion.

2. Cationic Detergent: After being ionized, cation is the dominating ion. Example- Catyl Pyridinium Chloride.
3. Amphoteric Detergent: Soluble in water and produces both cation & anion. This detergent –a) posses affinity to wool and cellulose fibres. B) Has lubricating properties. C) Behave like anionic in the alkaline solution.
4. Non-ionic Detergent: When dissolved, get oriented at the surface and reduce surface tension. Don’t get ionized and contains hydrophilic head and hydrophobic tail.
Here Hydrophobic means it does not attract the water and the Hydrophillic means it attracts the water

Digital Printing

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Due to the complexity of the printing with several so called dyes the printer are inclining to the pigment printing. Now a day, the percentage of using the pigment printing are increasing day by day because of the abundance of organic pigments and the binders that are used during printing textiles. There is always having a risk with using general dyestuffs as printing in case of the finishing treatment like fixing steam and washing that must have to be implemented. Dyes are selected for printing by following the ability of the dyes that they are reproducible or not in case of different variations or the fabric and color condition. Researchers found from a survey that, the Azoic dyes is used in textile printing industry about 3%, disperse dyes are used about 10%, Vat dyes are used about 9%, Reactive Dyes are used about 25%. And the extent of the using of pigments in printing is about 50%. Pigment printing has wide range of uses. The garments of the women which are made by cotton, polyester or viscose blends are printed by pigments if the medium color depths are needed. Decorative curtain, towels are printed by pigments. Pigment printing also used in bed linen, aprons, children’s garments, night wear dresses, various cottons and cellulose materials.

Some advantages of pigment printing:
1. The great advantages of pigment printing are, if any mistakes are found during printing process, it can be easily detected.
2. The process of pigment printing is very fast and economical as sampling can be done quickly and don’t need the washing.
3. If the pigment print paste are created by proper process by selecting materials than it will have exclusive light fastness and other basic fastness properties also.
4. Pigment print is very reliable and needs less labors and equipments.

Some disadvantages of pigment printing:
1. Handling properties of the pigment printing is rough because of having excessive cross linking agents.
2. Creates problem on the roller printing because of the bulky products and more engraved rollers.
3. It is not possible to apply it directly on the fabric. Binder must be used to apply the pigment dye on the fabric. Thus, a coat is created on the surface of the fabric.
4. During second time printing it has very low effect that is not desirable.

Dabu Printing

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Dabu Printing
"Dabu" a mud resist process by using wood block.

The Process of Dabu Printing starts with the preparation of mud resist the clay is prepared by finely sieving it. Calcium hydroxide (Chuna in Hindi), naturally pounded wheat chaff (Beedan in hindi), and gum (gound in hindi) are the main interdients to make the mud resist. The dug out mud from the dry pond is soaked in water in a separate tank overnight. The mud resist is freshly prepared before every printing. A mixture of beedan and gound are along with mud are doughed to make a sticky paste.

Application of mud resist onto fabric TThe mixture is now ready for dabu printing. The mud resist being applied onto the fabrics using wood blocks. Either the dabu printing is done ona single table while sitting or on a running table. This depends upon the space availability and comfort an individual printer. To quickly dry the paste, saw dust is being applied to places where the mud resist is printed. The saw dust also acts as a binder which prevents color penetration while dyeing. The application of mud resist onto the fabric is followed by dyeing the fabric in a cauldron of dye. The process may be repeated for double dabu and triple dabu and hence forth. After every dyeing the fabric is thoroughly washed so as to remove the mud application. Finally the non dyed part where the resist has been applied is revealed after the washing. some of the color penetrates onto the fabric caused by mud cracking. The result is veining which gives it batik like look to the fabric.

all about textile: Pichwai

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all about textile: Pichwai

Pichwai

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Pichhwais

Pichhwais represent a unique form of textile art which originated at Shrinathji temple in Nathdwara a little over three centuries ago. Nathdwara is some 48 km northeast of Udaipur in the Rajsamand district of Rajasthan.
The temple dedicated to Lord Krishna was named Nathdwara because Lord Krishna is also known as ‘Nath’ and ‘Nathdwara’ means ‘Gateway to God.’ Nathdwara is believed to be one of the richest Hindu temples in India next only to Tirupati Devasthanam in Andhra Pradesh.Pichhwais are large devotional cloth hangings which form the background for Lord Krishna’s icon in Pushti Marg temples. Pichhwai literally translates to ‘at the back.’ Traditionally, pichhwais were painted on woven cotton cloth. The cloth used to be coated with a mixture of gum Arabic and rice floor to create an even surface. Colour pigments obtained from vegetables and minerals were then applied on them with a brush
Pichhwais usually depict 24 scenes from Lord Krishna’s life related to some festival or holy day. At the centre of these pichhwais is either a stylized image or a symbolic representation of Lord Krishna. Dark clouds, dancing peacock, Kadamba tree etc. symbolize Lord Krishna in these paintings. The pichhwais are changed from time to time depending upon the day, season and occasion to create different moods and ambience.
Lord Krishna is the most loved of the nine incarnations of Lord Vishnu for his childhood antics and pranks; his stories of love, friendship and fight against evil forces during his adolescence as a cowherd; and, his philosophical discourses and political manoeuvres as the charioteer of Arjuna, one of the greatest warriors of Mahabharata fame.
Lord Krishna’s personality was so popular and powerful that everything associated with him has been immortalized in art, literature and culture of India. Butter, flute, peacock feather, cows, cowherds, milkmaids—literally everything associated with Lord Krishna has left an indelible mark on our culture.
Srinathji is the presiding deity of the Pushti Marg sect which worships Lord Krishna in the form of a child divinity. The Pushti Marg was founded in the sixteenth century by Vallabhacharya (1479-1531) who was also known a Mahaprabhuji. Pushti Marg means “The Path of Grace.” It is a vaishnavite sect whose cult figure is Lord Krishna. The Pushti Marg sect worships Lord Krishna as a living child divinity.
Together with Shankaracharya, Ramanujacharya, Madhavacharya and Nimbarkaracharya, Vallabhacharya was one of the five main acharyas of the Bhakti movement which led to the resurgence of Hinduism in India in the medieval period.
The black stone image of Shrinathji in Nathdwara was originally consecrated by Vallabhacharya in Mathura which is the birth place of Lord Krishna where decorative clothes were used as backdrop for the image.
Fearing vandalism by Aurangazeb in 1691, the Pushti Marg sect in Mathura decided to shift the image of Shrinathji to a safer haven. The image of Shrinathji was sent to Udaipur (the capital of Mewar in Rajashan) which was believed to be a safe sanctuary for the image. Mewar was the only region in northern India which did not yield to Mughal onslaughts.
However, the wheels of the chariot carrying the image sank into the ground at Nathdwara about 48 km northeast of Udaipur. No matter what the custodians of this image did, the wheels of the chariot would not move. Taking this as a divine signal, Srinathji’s temple was raised at the same spot where it stands to this day. Before construction of the temple this place was called Sihar.

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Sariज्ञानकोश: - The Indological Knowledgebase
Sari has two meanings:
• name of an Indian garment worn by women.
• the capital of the Iranian province of Mazandaran, see Sari (city).
{{This article largely deals with the sari as a clothing worn by women in the Indian subcontinent}}
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A sari (also spelled saree) is a garment worn in special folds by a large number of women in the India. It is usually 5-6 yard of unstiched cloth worn over a blouse that comes a little below the breastbone, and a petticoat as a lower garment beneath the drape.

Types of saris

The classic saree
The classic saree or ‘Nivi drape’ consists of a single strip of cloth, draped below the navel and around the hips to form the lower section of the clothing. More drapery is wrapped over this, with several folds of elegant pleats in the front, tucked over a petticoat. This gracefully accentuates the contours of the person wearing it. The word ‘nivi’ means or refers to, the flowering pleats of the saree that hangs below the navel held on by a knot in ancient saris. The Pallu or pallav is the portion of the saree which is draped diagonally in the front. It is worn across the right hip to over the left shoulder, along the navel and partially over the midriff, partly baring them. The long end of the pallu hanging from the back of the shoulder is heavily embroidered and intricately decorated. The term ‘nivi’ was brought into the mainstream by the researcher Kamla .S. Dongerkerry, in 1959, in her treatise on the Indian Sari. The saree is modestly sensuous and elegantly conservative. This balanced combination has led to its continuation for a very long time. .

Various types
There are various styles in making and wearing a sari. These are determined as much by geographical location in India as by tradition and taste. Different styles include, kanchivaram, patola, hakoba, zari, and others.
The French cultural Anthropologist and most extensive researcher of the saree, Chantal Boulanger, details several broad families of Sarees, in her seminal work, Saris: An Illustrated Guide to the Indian Art of Draping, (1997). These broad families of sarees are: the dhoti family (eg: Brahmin sarees from Tamil Nadu in South India), Dravidian saris (eg: Pinkosu saris from Tamil Nadu), nivi saris (sarees of Andhra Pradesh in South India), the tribal saris (eg: Coorg Saris of Madikeri), and the Gond related family of sarees (the saris worn by Maharashtrian women from Mul). The ‘Nivi style’ or the classic ‘Nivi saree,’ is today the most popular form of wearing the saree.
Styles
•Madisaar - 9-yard sari worn by Brahmin community [1]
Origins and history
The saree is probably the longest running and oldest apparel in the world. Its earliest depiction is perhaps the Indus valley figurine, showing a priest with saree with flower pattern, indicating the likely origins of the sari in the Indian subcontinent. The oldest South Indian Epic, the Silappadhikaram, describes the ethos of South Indian sari beauty. The Kadambari by Banabhatta, describes exquisite drapery of women in the region south of the vindhyas. The clothing of ancient Indian women in the age of the Mauryan dynasty and Gupta Empire did not cover their stomachs. The upper garment of women was a scarf like cloth called the Uttariya, along with a breast band called the Sthanapattam or stanapatta. This was a garment tied in a knot at the back, and the lower garment consisted of a dhoti like clothing. The word sari comes from the ancient Tamil term siri or seere. Several references indicate that during the sangam period in ancient South India, a single piece of clothing served as both lower garment and head covering, leaving the bosom and midriff completely uncovered. This ancient form of the pallu-less saree was almost completely preserved as traditional clothing in Kerala, in South India till the 1970’s. It was in the form of a two-piece mundum-neriyathum, with a gold-bordered shawl. The pallu was added much later to the saree.

The traditional philosophy
The saree is the finest expression of Hindu philosophy, which is essentially, the celebration of the eternal universe through the celebration of the beauty of the body and Femininity-motherhood (see Devi). In ancient Indian philosophy, as expressed in the Natya Shastra, the navel of the Supreme Being is considered as the source of life and creativity. Hence by tradition, the stomach and the navel is to be left unconcealed, though the philosophy behind the sari has largely been forgotten. This makes the realization of ‘sharira-mandala,’ where in ‘Angikam bhuvanam yasya’ (the body as the world) unites with the ‘sharira-mandala’ ( the whole universe). The Swiss psychoanalyst, Carl Gustav Jung, describing the sensuous beauty of the saree, said: "It would be a loss to the whole world if the Indian woman should cease to wear her native costume. India is practically the only civilized country where one can see on living models how woman can and should dress".
Customs
There are a few important aspects of a sari. The pallu which is the free end of the sari can be worn over the head, as a mark of respect for elders, as a custom, or for style, or be left to hang free at the back. The other important, and much looked for, part of the sari is the border. It is usually adorned by prints and designs which are different from the overall pattern on the sari. This adornment can sometimes take the form of intricate patterns handcrafted using delicate gold thread known as zari. In this way, the border of a sari is often a status symbol.
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Bibliography
•Ambrose, Kay (1950) Classical Dances and Costumes of India. A. & C. Black, London.
•Beck, Brenda. (1976) The Symbolic Merger of Body, Space, and Cosmos in Hindu Tamil Nadu. Contributions to Indian Sociology 10(2): 213-43.
•Bharata (1967). The Natyashastra [Dramaturgy], 2 vols., 2nd. ed. Trans. by Manomohan Ghosh. Calcutta: Manisha Granthalaya.
•Boulanger, Chantal; (1997) Saris: An Illustrated Guide to the Indian Art of Draping, Shakti Press International, New York.
•Craddock, Norma. (1994). Anthills, Split Mothers, and Sacrifice: Conceptions of Female Power in the Mariyamman Tradition. Dissertation, U. of California, Berkeley.
•Dongerkerry, Kamala, S. (1959) The Indian sari. New Delhi.
•Parthasarathy, R. (1993) The Tale of an Anklet: An Epic of South India- The Cilappatikaram of Ilanko Atikal, (Translations from the Asian Classics), Columbia Univ. Press, New York, 1993.