One more gem from the Indian Textiles..... Kalamkari

Kalamkari:

       Kalamkari had originated in India around 1000 B.C. Kalamkari is an ancient Indian art that got its name from Kalam meaning "pen," and Kari meaning "work." The name meant "pen work." The Moghuls patronized this craft in the Coromandel and Golconda provinces. Thus the name Kalamkari comes from the Urdu word Qualam meaning Pen. Muslim influence and therefore trade links were traced between Safavid Persia and Qutbshi Golconda around the sixteenth century.

        The graceful Kalamkari designs are symbols of skillful, talented craftsmen, who design them. Block making plays a crucial role, in printing a Kalamkari fabric, as it needs to be sharp. If the block is not good, the colours may spread around the cloth. The craftsmen who make these blocks take utmost care in carving them. Generally teak wood is used for engraving blocks. The wood selected should have no holes & cracks, and surface of the block is evened. The design to be carved is outlined on a paper sheet, which is stretched out evenly on the wood and gently tacked into place along the edges. A metal instrument, shaped like a pencil the sharp pointed edge, is lightly hammered along the lines of the pattern. This causes the transfer of the outline on to the wooden surface, and the block maker begins to sketch the design.

            The ancient art of painting in India mainly used organic colors and dyes. The majority of the colors were prepared by using the roots and leaves of plants and mineral salts of iron, tin, copper and alum. 

There are of three types of Kalamkari:

• Block Printed
• Hand Painted
• Combination of Block Printing and Hand Painting 

        Kalamkari mainly used to describe cotton fabrics patterned through the medium of vegetable dyes by free hand painting with the aid of Kalam or pen and hand block printing. Even where the fabric is block printed, the Kalam is still used to draw finer details and for application of some colours. A palette of many colours derived from vegetables, animal and minerals are used to paint and print the Kalamkari. 

      Varahmihira author of voluminous Hindu text Brihasamhita describes not only the dye but also the process of mordanting in fixing colours to cloth. The Kalamkari art of painting undergoes a laborious, slow process of resist – dyeing and hand printing - painting.

Masulipattanam (which is 200 miles east of Hyderabad), Shrikalahasti (which is 80 miles north of Chennai) and Ahmedabad are main three regions in India where kalamkari is practiced and each has its own characteristics. 

Process of Making Kalamkari:

       The Kalamkari art of painting undergoes a laborious, slow process of resist – dyeing and hand printing. Cloth was first whitened by immersing it in a solution of goat or cow dung and letting it dry in the sun for a few days. Cloth was then treated in myrobolan solution. Ripe fruits of myrobolan were used in Masulipattnam, while raw fruits were used in Shrikalahasti.  Milk was then added to the solution to prevent colour spreading in the next step.

      The iron acetate solution was filled in with wooden blocks either for solid spaces or as outlines in Masulipattanam. All the areas meant to be red were painted or printed over with the alum solution as a mordant. After applying alum, the cloth was kept for at least 24 hours. Then the excess mordant was removed by washing the cloth under flowing water. The dyeing was done for the red colour by boiling with the red colouring materials. All the portions which were not to be red or blue covered with wax. Then the wax was removed by boiling the cloth in water. The yellow was painted on to produce yellow and green. The cloth was finally washed again and dried before final colours emerge. 

Kalamkari of Masulipattanum:

     

     Kalamkari work is being carried out at Masulipatnam from time immemorial with block printing technique. Masulipatnam designs are Iranian in character with intricate and delicate forms. The Kalamkaris of Masulipattanam have been known as ‘Palampores’, which are considered amongst the most original printed textiles of the country.

        

       These painted - printed cloths were products of the careful blending of the use of blocks and the Kalam. It 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 colours change accordingly. Every step from soaking of cloth, to sketching the outlines to washing and drying the cloth, is done carefully and correctly.  

        Masulipattanam kalamkari was identified with printing as blocks were primarily used. The designs used in kalamkari were more towards Persian style included the tree of life, geometrical designs, flowers, foliage, birds and creepers and it had a secular and functional base. The craft was commercialized in Masulipattanam as they were used as curtain, bed sheets, canopies, prayer mats, pillow slips and table cloths.

  

 Samples of Masulipattanam Kalamkari:

Article: Napkin

Origin: Masulipattanam, Andhra Pradesh 

Fabric: Cotton

Fabric Colour:  Maroon, Black,  Beige and Green.

Style of Printing: Direct Printing

Class of Printing: Hand Block Printing and Hand Painting

    Masulipattanam Kalamkari was products of the careful blending of the use of blocks and the Kalam. It was identified with printing as blocks were used. Bird motif – Peacock was painted in the centre of the napkin. The Napkin had maroon colour as background. The borders of the napkin were hand block printed, as the characteristic feature of the Masulipattanam Kalamkari, with Persian motifs like flowers, creepers and leaves. 

Article: Napkin

Origin: Masulipattanam, Andhra Pradesh

Fabric: Cotton

Fabric Colour:  Maroon, Black, Beige and Green.

Style of Printing: Direct Printing

Class of Printing: Hand Block Printing and Hand Painting

      Animal motif – Camel along with its rider was painted in the centre of this napkin. The Napkin had maroon colour as background. The borders of the napkin were hand block printed, as the characteristic feature of this kalamkari with Persian motifs like flowers, creepers and leaves. 

Article: Napkin

Origin: Masulipattanam (Andhra Pradesh)

Fabric: Cotton

Fabric Colour: Maroon, Black, Green and Beige 

Style of Printing: Direct Printing

Class of Printing: Hand Block Printing and Hand Painting

        In this sample, Bird motif – Parrot was painted on the napkin in the centre with kalam. The Napkin had maroon colour as background. The borders of the napkin were hand block printed, as the characteristic feature of the Masulipattanam Kalamkari, with Persian motifs like flowers, creepers and leaves.

Yet more to come.........

* I do not own this samples. All this samples can be seen at 'Textile Art Museum', Department of  Clothing and Textiles, Faculty of Family and Community Sciences, The Maharaja Sayajirao University of Baroda, Vadodara - 390002, Gujarat, India.

Printed Textiles of India

Printing is the process of applying colour to fabric in definite patterns or designs. In properly printed fabrics the colour is bonded with the fiber, so as to resist washing and friction. Textile printing is related to dyeing but, whereas in dyeing proper the whole fabric is uniformly covered with one colour, in printing one or more colours are applied to it in certain parts only, and in sharply defined patterns.

Traditional textile printing techniques may be broadly categorized into three styles:

1)      Direct Printing such as Kalamkari, Rogan, Sanganeri printing, etc.

2)      Resist Printing such as Dabu, Ajarakh etc.

3)      Discharge Printing 

 Rogan Printing

    

      Rogan printing and painting is one such traditional textile craft of Kutch in Gujarat. It is a conventional art of hand printing and painting influenced by Persian art. The word Rogan literally means oil based painting in Persia. This art was originated in Iran and was brought to India about 200 years ago through there is no historical evidence or support to this statement.

     

     Rogan printing is on the verge of extinction as only two families in Nirona village of Kutch and three families in Viramgam, Wadhwan and Ahmedabad are practicing this craft. Due to lack of awareness regarding this craft amongst the Indian consumers, the younger generation is no longer interested in continuing with this craft. It requires not only skill but patience, concentration, a sense of proportion, an aesthetic appreciation and not to mention visual co – ordination.

      

       It’s still practiced as a traditional craft by ‘Chippas’, hereditary craft persons belonging to Hindu & Muslim communities in Kutch district in Gujarat. Stick or iron rods with tapered ends and metal blocks with wooden handle (Block is hollowed in which printing paste is filled) are used for Rogan printing or painting.

The art of rogan printing on cloth dates back to centuries. This art came into India from the Afridis, originated in Syria; the route was through Persia, Afghanistan and Pakistan. The craft concentrated in the Northwestern parts of India, and was practiced mainly by the Muslim descendents of Afridis. Later, it was found that rogan craft was practiced not only by the Afridis but also in Peshawar, Lahore and Pathan, where linseed oil was used where as in Kutch; castor oil was used for the preparation of rogan paste. The product came to be called as Afridi lac cloths or Peshawar lac cloths.

        During earlier times, a Natural source such as stone was used while later, plant sources were also used to extract dyes. Colours such as white, red, yellow, blue, green, orange and black were used in pure form. Today, artisans have switched over synthetic dyes. Artisans were used napthol dyes for preparation of the colouring paste.

        Rogan is done two ways. One, Rogan paste is made from castor oil & natural dyes like mud, leaves, and plants pounded by hands & heated on a slow fire. Resulting colour pastes are kept in earthen pots or plastic containers & mixed with water to keep them from drying. Then printer dips a thin iron rod into pot of coloured paste, takes pastes & places it on his left first. The cotton mulmul fabric is spread on his lap. Skillfully, he lifts the sticky paste in a thread like consistency, with the rod & paints the design on the cloth. 

          Another technique is embedded in a thick residue called Khadi, obtained from casting hot safflower, castor or linseed oil in cold water. This paste is mixed with chalk powder, colour pigment & a binder agent to form a thick dye.

        

         Application of the pattern is hand printed with small block of special pattern, in this ready paste is filled in the metal blocks which are hollow & pressed out the design area.

        Motifs of Khadi are floral, geometrical, birds and animals. Colours used are indigo, blue, red, yellow, orange, green white and black. Gold and silver dusts are used for richer effect. 

Difference between Rogan and Khadi:

   ‘Rogan’ is an ancient Persian word meaning ‘paste from oil.’ While Khadi is also known as Tinsel Printing. 

    Rogan was painting done by hand. Rogan painting printer dips a thin iron rod into pot of coloured paste, takes pastes & places it on his left first. The cotton mulmul fabric is spread on his lap. Skillfully, he lifts the sticky paste in a thread like consistency, with the rod & paints the design on the cloth.

    While in Khadi the pattern is hand printed with small block of special pattern, in this ready paste is filled in the metal blocks which are hollow & pressed out the design area.

    Motifs in rogan were always had mirror image and significantly different than Tinsel Printing (done with metal blocks) which were more towards the nature. Rogan always had motifs painted in bold outlines with subdued base colours while Tinsel had motifs printed intricately, more finely and with sharp edges. Tinsel Printing is always done with gold and silver colours on dark coloured background.

    Traditionally the floral, geometrical and calligraphy motifs were used for the art of rogan paintings. During ancient period, the calligraphy motifs were used in Persian alphabets. The bird motifs were used only by Hindu Khatri craftsmen in Ahmedabad. These motifs were used as all over pattern. Mainly two layouts were used for motif placement i.e. border and all over. The motifs painted by Hindu Khatri craftsmen were large bird motifs with broad outline. They were incorporated bigger bird motifs which were not seen in rogan painted product of Kutch. 

Rogan Painted Sample:  

Article: Rogan Textile

Origin: Gujarat

Fabric: Cotton

Fabric Colour: Navy Blue, Yellow, Light Yellow and Orange

Style of Printing: Hand Painted

         Rogan painting is totally done by hand on cloth. The printer dips a thin iron rod into pot of coloured paste, takes pastes & places it on his left first. The cotton fabric is spread on his lap. Skillfully, he lifts the sticky paste in a thread like consistency, with the rod & paints the design on the cloth, as mention earlier. In this sample, the background of the artifact had navy blue colour. Rogan was done on the fabric by hand painting. The field of the artifact had floral, leaves and bird motifs in yellow and orange colour. The border of the artifact was the combinations of several bands of interlace patterns in orange, yellow and light yellow. The border of the artifact created a scalloped effect.



Khadi Printed Textiles:

Article: Odhani

Origin: Gujarat

Fabric: Chiffon

Fabric Colour: Red, Yellow, Orange and Green

Style of Printing: Direct Printing

Class of Printing: Hand Block Printing

  In Khadi the pattern is hand printed with small block of special pattern, in this ready paste is filled in the metal blocks which are hollow & pressed out the design area. The background of the odhani had red colour. Khadi motifs were hand block printed on the Odhani in white, yellow and green colour. The floral motifs were printed in tiny dots. The pallav of odhani had two broad bands, one with rhombus shape and another with small floral motifs. Below the bands pan vel border was block printed in white and yellow colour.

                               
                                                                         

Article:  Khadi Printed sample

Origin: Gujarat

Fabric: Cotton

Fabric Colour:  Yellow and Golden

Style of Printing: Direct Printing

Class of Printing: Hand Block Printing 

        

        Khadi printing is done with metal blocks. While the Khadi is wet, gold or silver zari in powder form are sprinkled on the printing simultaneously by using the on cloth. The field of the sample was block (Khadi) printed all over with floral motifs in golden zari at half brick repeat on yellow background. The borders of the sample were also Khadi printed, had motifs flower creepers in scroll pattern. The triangular motifs were also printed just above the border with golden zari.

Article: Odhani (Tinsel)

Origin: Gujarat

Fabric: Polyester

Fabric Colour:  Dark Pink and Golden

       Style of Printing: Direct Printing

Class of Printing: Hand Block Printing 

    The roghan is also done with gold or silver foil. While the roghan is wet, foil is stuck on the roghan motif and then due to application of heat the design area takes up the foil. The field of this odhani was foil (roghan) printed all over across the width in the form of wavy lines at various intervals in golden foil on dark pink coloured background. 

Article: Odhani (Tinsel)

Origin: Gujarat

Fabric: Polyester

Fabric Colour:  Green and Golden

Style of Printing: Direct Printing

Class of Printing: Hand Block Printing 

        Golden or silver foil is also used to print Tinsel to give richer look to the fabric. It is done after the printing is complete with the paste, then foil is stuck on the motif and then due to application of heat the design area takes up the foil. In this artifact paste was first block printed in the form of small dots. Then foil was stuck on it and heat was applied, so the field of the odhani was foil +

printed all over in the form of small dots on green coloured background. The printing was done with golden foil. The gota patti was attached to the odhani on four sides as well as across the width just above the end to enhance the aesthetic appeal of it.

* All this samples can be seen at 'Textile Art Museum', Department of Clothing and Textiles, Faculty of Family and Community Sciences, The Maharaja Sayajirao University of Baroda, Vadodara - 390002, Gujarat, India.

          Culture in India or any where in world is knowledge, belief, art, morals, law, custom and any other capabilities and habits acquired by man as a member of society. It also denotes the way of life of people, a whole society or a particular group within it, which includes not only beliefs, values and rules of conduct, but also the material resources of a society or a group. It is socially acquired and is passed from one generation to the next. It is inherited and that makes it our heritage. The diversity of culture and heritage is an irreplaceable source of spiritual and intellectual richness for all civilizations. Throughout centuries, crafts have been embedded as a culture and tradition. Study of crafts gives an insight of the culture also and helps in gaining knowledge about the people. 

       Crafts of any given time and space reflect and preserve in them the result of centuries of patient experiment of man under varying circumstances; they carry on forms and techniques which remains relatively unchanged or unaffected over generations. The crafts of India are diverse, rich in history and religion. India is the only country in the world with an unbroken, living vibrant tradition of crafts. The crafts of India present both the widest canvas of creative activity and the broadest spectrum of development. The aesthetics of each state in India reflect the influence of different empires. Here crafts have an importance all their own. They express great tradition and cultural heritage of our country. As long as the masses of India retain their taste for superb workmanship, as long as they continue to delight in their real beauty, so long will the craft of India survive and forever flourish. The reason for their preservation and development lie in the fact that, they are the material symbols of country’s unique cultural ethos. 

          This blog is an endeavor to make the traditional art of printed and resist textiles known to even common man with respect to its characteristics details, regional names, identifying features such as its origin, shape, form, and significance.

India is a land abundant in textile crafts that have lent themselves to the creative hands of the Indian craftsmen. All the Indian handicrafts have an amazingly captivating beauty. Another thrilling factor is the numerous processes that these materials go through before they take final shape. Valued for their artistic excellence, these textile crafts pieces are a culmination of exquisite workmanship and artistic perception. Flawlessly crafted using different raw materials and designs, with great attention invested on intricacy and detail, the Indian traditional textiles are matchless in beauty and range. Indian art and crafts are truly fascinating; it is incredible how ancient practices and traditions have continued since time immemorial.