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Executive summary

India is a country of diversities. It is rich in various printing techniques. Indian tradition is even rich in paintings and we can see that from the paintings of Ajanta murals and miniature paintings. Each and every region has some special styles and they use the material which is locally available. The craftsmen use a blend of locally available and traditional material and when they do not have traditional material, they borrow it from other regions. Each region has its different style of patterns, designs, color combination, motifs and arrangement and presentation. Sometimes, some similarities are also found because of the nearness of the regions. The prints of Ahmedabad, Farukhabad, Pethapur, Sanganer and Bagru are quite similar because Gujarat and Rajasthan are neighbor states. It is very difficult to differentiate between Saganeri and Bagru prints and careful observation is needed for that. Bagru prints always have a light background while Sangaaneri prints are always on a white background. In Rajasthan, raised blocks are being used for designs. Farukhabad is well known for its artistic representation of designs. In Bangalore, blocks which suit silk fabrics are used, along with very rich colors, up to seven color blends.

In block printing, mainly motifs derived from nature and man-made objects which are part of the near environment of the artist are used. With the help of color blend and changes in width and length, the artist creates optical illusions. In hand block printing, repetition is needed. So, good skill of the artist in uniform repeat is a most-needed thing. The repeats in different styles make different designs like in line or in circle. With a creative approach, an artist can produce a number of designs with a single block.

Kalamkari is a style of textile printing indigenous to the southern Indian state of Andhra Pradesh. The name 'Kalamkari' is derived from the arabic words - 'qalam' (pen or stylus) and from 'kari' (work or craft). This refers to the pen-like instrument used to ink the motifs on the fabric. Some say that it was also called Vrathapani before the craft came to be called Kalamkari during the reign of the Golconda sultanate.

Kalamkari is distinct in its colour and choice of motifs and to understand the craft, it is essential to learn about the main centres of Kalamkari technique based in Srikalahasti.

The Srikalahasti school, focusses primarily on figurative art in the depiction of Hindu deities and mythology. In technique, the Srikalahasti style continues to rely on free-hand drawing even today. Kalamkari panels were used to adorn temples and temple chariots as well as visually supported folk narratives on epics like the Ramayana and the Mahabharata. Popular subjects include Dashavatara (the ten incarnations of Lord Vishnu), Bhagavad Gita (the charioteer Krishna's sermon to Arjuna) and Kaliyanartana Krishna (Krishna dancing on the hood of the serpent, Kaliya).

Over the course of kalamkari’s history the forms, designs, and techniques of the art have changed but the contemporary art of kalamkari is still widely available in India in the form of block printed Kalamkari.

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Contents

Chapter 1-Introduction 6

Chapter 2-Block Printing The Block printing process 7 The Dyes used 8 Techniques of printing 9

Chapter 3-Block Prints in India Block - Resist/Dabu Printing of Kala Dera, Rajasthan 13 Block Printing - Ajrak of Rajasthan 13 Block Printing of Jaisalmer, Rajasthan 13 Block Printing of Bagru, Rajasthan 14 Block Printing of Balotra, Rajasthan 14 Block Printing of Barmer, Rajasthan 14 Block Printing of Jahota, Rajasthan 14 Block Printing of Jaipur, Rajasthan 15 Block Printing of Udaipur, Rajasthan 15 Block Printing of Sanganer, Rajasthan 15 Block Printing of Nagaur, Rajasthan 15 Block Printing of Jodhpur, Rajasthan 16 Block Printing of Gujarat 17 Block Printing - Ajrak of Gujarat 17 Mata di Pachhedi/Kalamkari of Gujarat 17 Block Printing - Kalamkari of Andhra 18 Block Printing of Javad, Madhya Pradesh 19 Block Printing of Bagh, Madhya Pradesh 19 Block Printing of Uttar Pradesh 20 Block Printing of Punjab 20 Block Printing of Maharashtra 20 Wooden Block Making for Hand Printing 20

Chapter 4-Kalamkari History(Shri Kalahasti ) 22 Process of kalamkari(Shri Kalahasti )

Washing / scouring cloth 26 Gada cloth & myrobalam solution 27 Kalam 28 Chacol sketch 29 Kasimi(black) 30 Chavalkodi & Suralpatti (Pink, Red, Maroon) 31 Bleaching 32 Myrobalam flowers (Yellow, Green, Brown) 33 Indigo & Neeli Mandu (Blue) 34

Promotion(Shri Kalahasti ) 36 Places available(Block printed kalamkari) 40

Stores3

Designers Price((Block printed kalamkari) 45

Chapter 5-Conclusion 46

Limitations of the study 47

Bibiliography 48

Research Objective

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Hand-block printing is a reputed art and it has been handed down through generations. India is a country of diversities. It is rich in various printing techniques.

The main objective behind my research on this topic is To know about the rich heritage of Indian prints with special emphasis on kalamkari Throw light upon its present scenario of how the art of kalamkari is being preserved by the

country and how designers today are actually incorporating the rich art work in their designs.

Chapter 1-Introduction

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Textile printing is the process of applying color 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 colors are applied to it in certain parts only, and in sharply defined patterns.In printing, wooden blocks, stencils, engraved plates, rollers, or silkscreens are used to place colours on the fabric. Colourants used in printing contain dyes thickened to prevent the colour from spreading by capillary attraction beyond the limits of the pattern or design.

OriginWhere this style of printing originated – whether in India, Egypt, China or elsewhere – is not clear. Brunello states that an early variety of cotton dyed with madder around 3000 BC was found in jars in the Indus valley. Taylor gives evidence of madder on flax found in Egypt and dated at 1400 BC. In China the dyeing of silk was developed very early, and China is credited with the invention of paper printing and therefore may well have seen the birth of fabric printing.Textile printing was known in Europe, via the Islamic world, from about the 12th century, and widely used. However the European dyes tended to run, which restricted the use of printed patterns. Fairly large and ambitious designs were printed for decorative purposes such as wall-hangings and lectern-cloths, where this was less of a problem as they did not need washing. When paper became common, the technology was rapidly used on that for woodcut prints. Superior cloth was also imported from Islamic countries, but this was much more expensive.The Incas of Peru, Chile and Mexico also practiced textile printing previous to the Spanish Invasion in 1519; but, owing to the imperfect character of their records before that date, it is impossible to say whether they discovered the art for themselves, or, in some way, learned its principles from the Asiatics.During the latter half of the 17th century the French brought directly by sea, from their colonies on the east coast of India, samples of Indian blue and white resist prints, and along with them.

Chapter 2-Block Printing http://www.sashaworld.com/block/block.htm

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India has been renowned for its printed and dyed cotton cloth since the 12th century and the creative processes flourished as the fabric received royal patronage. Different styles of designs have evolved in different parts of the country and West Bengal is noted for it's bold and vibrant motifs.

The Block Printing process:

The fabric to be printed is washed free of starch and soft bleached if the natural gray of the fabric is not desired.

If dyeing is required as in the case of saris where borders or the body is tied and dyed it is done before printing.

The fabric is again washed to remove excess dye and dried thoroughly.

The fabric is stretched over the printing table and fastened with small pins. This is an important stage as there should be a uniform tension in the fabric and no ripples

Color is mixed separately in another room. Usually pigment dyes are used for cotton.

Color is kept in a tray on a wheeled wooden trolley with racks which the printer drags along as he works. On the lower shelves printing blocks are kept ready.

The tray of color rests on another tray which contains a thick viscous liquid made from the pigment binder and glue. This gives the color tray a soft base which helps to spread color evenly on the wooden block.

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Blocks are made of seasoned teak wood by trained craftsmen. The underside of the block has the design hand carved on it by the block maker. Each block has a wooden handle and two to three cylindrical holes drilled into the block for free air passage and also to allow release of excess printing paste. The new blocks are soaked in oil for 10-15 days to soften the grains in the timber.

The printing starts form left to right. The color is evened out in the tray with a wedge of wood and the block dipped into the outline color (usually black or a dark color).

When the block is applied to the fabric, it is slammed hard with the fist on the back of the handle so that a good impression may register. A point on the block serves as a guide for the repeat impression, so that the whole effect is continuous and not disjoined. The outline printer is usually an expert because he is the one who leads the process. If it is a multiple color design the second printer dips his block in color again using the point or guide for a perfect registration to fill in the color. The third color if required follows likewise. Skill is necessary for good printing since the colors need to dovetail into the design to make it a composite whole.The fabric, after pigment printing is dried out in the sun. This is part of the fixing process. It is then rolled in wads of newspapers to prevent the dye from adhering to other layers and steamed in boilers constructed for the purpose. Silks are also steamed this way after printing. After steaming, the material is washed thoroughly in large quantities of water and dried in the sun, after which it is finished by ironing out single layers, which fix the color permanently.

The Dyes used:

Pigment dyes

Pigment colors are mixed with kerosene and a binder. The consistency should be just right, for if it is too thick it gives a raised effect on the material, which spoils the design. Small plastic buckets with lids are ideal for storing the mixed colors for a few days. The motif is printed directly on white or light-colored ground with a variety of pigment colors.

Pigment colors are widely popular today because the process is simple, the mixed colors can be stored for a period of time, subtle nuances of colors are possible, and new shades evolve with the mixing of two or three colors. Also the colors are visible as one prints and do not change after processing. Colors can be tested before printing by merely applying it onto the fabric. The pigment color is made up of tiny particles, which do not dissolve entirely and hence are deposited on the cloth surface while rapid dyes and indigo sols penetrate the cloth.

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Rapid fast Colors

In this process, the ground color and the color in the design are printed on white and/or light-colored grounds in one step. The dyes once mixed for printing have to be used the same day. Standard colors are black, red, orange, brown and mustard. Color variation is somewhat difficult and while printing it is not possible to gauge the quality or depth of color.

Discharge Dyes

These dyes are used if you need to print onto a dark background. Medium to dark grounds are dyed on fabric with specially prepared dyestuff. The printing colors then used on the fabric contain a chemical that interacts with the dye. This interaction simultaneously bleaches the color from the dyed ground and prints the desired color on its place. Areas can also be discharged and left white. The primary advantage of this process is that vivid and bright colors along with white can be printed on top of medium and dark grounds.

Napthol / Reactive dyes

As the name suggests, these are two sets of chemicals which upon reaction produce a third chemical essentially colorful in nature. Fabric is dyed in one and later printed with the other. The chemical reaction produces a third color. However, the biggest drawback of this process is that there are just a few chemicals available which produce colors upon reaction.

Vegetable / Natural dyes

Historically of great importance, these dyes have acquired even greater importance now because of their eco-friendly nature.

Bagru Black

This is derived by mixing acidic solution of iron - often rusted nails/horse shoes etc. with jaggery (country sugar) allowed to rot for about 10-15 days. Many other natural substances used for producing dyes are pomegranate skins, bark of mango tree, vinegar, slaked lime etc.

Bagru Red

This dye is achieved by combining a source material such as alizarin with alum, the results ranging from pink to deep red.

Indigo Blue

The internationally famous Bagru Blue is obtained from the indigo bush found throughout India.

Techniques of Block Printing in India www.india-crafts.com

• Direct Printing: In this technique, the cotton or silk cloth is first bleached. Then the fabric is dyed, unless a light background is desired. Thereafter, the fabric is printed using carved blocks, first the outline blocks, then the ones to fill color.

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• Resist Printing: In the resist technique, areas that are to be protected from the dye are covered with a mixture of clay and resin. The dyed fabric is then washed. The dye spreads into the protected areas through cracks, producing a rippled effect. Block prints are then used to create further designs.

• Discharge Printing: In this technique, the fabric is dyed. Then, a chemical is used to remove the dye from the portions that are to have designs in a different color. These portions are then treated, so they may be re-colored.

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Chapter 3

Andhra Pradesh : Kalamkari of Andhra

Gujarat : Ajrak of Gujarat, Matani Pachhedi/Kalamkari of Gujarat

Madhya Pradesh : Printing of Bagh, Madhya Pradesh, Printing of Javad, Madhya Pradesh

Rajasthan : Resist/Dabu Printing of Kala Dera, Rajasthan, Ajrak of Rajasthan, Printing of Jaisalmer, Rajasthan ,Printing of Bagru, Rajasthan, Printing of Balotra, Rajasthan, Printing of Barmer, Rajasthan, Printing of Jahota, Printing of Jaipur, Rajasthan, Hand Block Printing of Udaipur, Rajasthan, Printing of Sanganer, Rajasthan, Printing of Nagaur, Rajasthan, Printing of Jodhpur, Rajasthan

Uttar Pradesh

Maharashtra

Punjab

Jammu & Kashmir

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Hand Block - Resist/Dabu Printing of Kala Dera, Rajasthan

The Resist Process called Dabu is used here involves using wax or gum clay mixed with resin. With the help of brush or block or by hand this is applied to the portions of the cloth. The color is then applied to it. The wax is then washed off in hot or flowing water and the applied colour moves into this area to give a diffused effect. This process is some what similar to the batik procees. Now Block printing is done on the portion of the cloth where the original colour is retained. The fabric is highlighted by printing Specific outlines and patterns against the contrast colour. Due to the use of wax the designs get a broken appearance like batik due to the leakage of colour once the resist is washed off. The small Chaubundi print in indigo is famous in Bagru.

The dyes used are Vegetable Dyes and Kashish Dye and the Products Available are Chanderi Stoles and Dupattas, Mangalgiri Salwar Suits and Sarees, Maheshwari Salwar Suits and Sarees, Tussar Salwar Suits and Sarees, Georgette Sarees, Chiffon Sarees, Printed fabrics in Khadi cotton and Khadi Silk, Printed Cottons in Voile and Sheeting.

Hand Block Printing - Ajrak of Rajasthan

In Rajasthan, there are sandy stretches of desert where a unique method of cloth-dyeing prevails. The technique is called Ajrakh and the print is in dark shades of blue and red with geometrical patterns on both sides of the fabric. The technique is a complicated one and the steps include preparatory washing, application of mordant, resist printing, de-gumming, and dyeing. The resist substances used are gach (a mud resist) and kariyana, which is a mixture of the gum of the babul tree and chuna or lime. The lime provides a smooth texture and prevents the resist from cracking.

After the final dyeing the cloth is sun-dried. It is dipped every night in a cow-dung solution and kept under a stone all night. Washing is done the next morning in the river and the drying is done on the sand. When half-dry, water is sprinkled on the cloth continuously. On the third day, the cloth is finally washed in the river, brought to the work-place and dried.

Hand Block Printing of Jaisalmer, Rajasthan

In the border town of Jaisalmer a kind of resist printing requiring very low temperatures is done. This can thus be processed only during the night and in winter. The resist used is wax, and the blocks have special raised surfaces so that the deep grooves are dipped well into wax. The wax is then washed off in hot or flowing water and the applied diffuses into the area. The main colour used is dark red, from which varying tones are obtained. A local ritual sari called the jarribhat is printed here. This has an unusual design made up of squares with the back-ground colours being black, red, and pink.

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Hand Block Printing of Bagru, Rajasthan

The block print in Bagru is done mainly in beige, red and black. Shades of blue with much use of indigo blue dyeing processes is a characteristic of this centre. Bagru is also famous for its mud resist process Dabu and direct printing. The motifs are simple and include floral and linear patterns.

Hand Block Printing of Balotra, Rajasthan

The traditional block-printing running in parallel lines technique of Ajrakh has attained a peak of excellence at Balotra. Although a desert climate but good water is one of the main reasons which impart good colors which is so important for hand-block printing. The speciality of the block printing of Balotra is that it is done on both sides of the cloth. This is very diffult technique because there should not be any imbalance in the design-transfer from the block to the cloth. The reverse side hand block printing is done simultenously even when the other side of the design print is wet. The hand-block printed fabric from Balotra is therefore very exclusive and relatively expensive.

Hand Block Printing of Barmer, Rajasthan

Barmer, is famous for it hand block print. The prints are inspired from the Sind region. Various items that are made in Barmer are turbans, sarees and traditonally worn lungis, Head gear and shoulder cloth made are worn by Sindhi Muslims. The designs in Barmer are bold, the popular one being the chirkala booti which is a flaming red chilli having a blue-black outline surrounded by flower-laden trees.

Hand Block Printing of Jahota, Rajasthan

Villages of Jahota in Jaipur are famous for the jahota hand block printing. It is believed that Maharaja Jai Singh and his wife uplifted this art amongst the local artists. They both took interest amongst the art and the people involved in this field.

Today also artists perform the work with all the inherited skills from the ancestors. These artists first carve the design on the wooden blocks with their fine tolls. Later using the natural and chemical dyes they print the motif on the fabric. In this fashion savvy world the artists have started designing to the demands of buyers and natural dyes have also been replaced by chemical dyes. Jahota is famous for its chilani print, tradtionally worn by brides in certain communities.

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Hand Block Printing of Jaipur, Rajasthan

Most of the Block Printing is done in Sanganer and bagru is Kalamkari Prints and floral motifs with pastel colors are done on the fabric. In kalamkari print normally four to five colors are used. jaipur not being the biggest centre for hand block print is a trading centre for the craft and you can find local shops in Bapu Bazar Nehru bazar and Johari Bazar all selling various hand block printed items.

Hand Block Printing of Udaipur, Rajasthan

Udaipur and Nathdwara, the temple city here the designs are mostly relegios in nature. These designs are linked with Srinathji, Lord Krishna. Block Printing here is a part of Pichwai, a traditional painting. Special blocks are also made using sandal wood which leave a perfume on to the cloth as well. The block prints are also done on saris, wraps, and quilt covers. The main technique involves placing the block directly on the fabric for the design-transfer to be made.

Hand Block Printing of Sanganer, Rajasthan

Sanganer, near Jaipur, is famous for its fine hand block printing in subdued colors. Hand block printing was patronised by the royal family. Sceen printing is also largely done here. Saganer has become a export hub for hand block print export. The Sanganeri Print is visible from small flower motifs like stylised sunflowers, narcissuses, roses, and other flowers of luxuriant foliage like daturas, rudrakshas, and arkas

Hand Block Printing of Nagaur, Rajasthan

The main tribal group here and at Kishangarh is the Banjaras. Costumes are printed here along with jajams and spreads. The spreads are usually in red and yellow, with the design motifs being scorpions, centipedes or chaupars. Red and yellow are also used for jajams. The prints on these include the chowki, singhara or mirchi (chilli) designs with motifs of creepers, kanwal or ladders along the borders.

Reja cloth is used for making floor spreads or padharnas. The motifs used are those of the elephant, cheeta, chaupar and soldiers, among others. Mill-made long cloth or pharad is also used along with fine cloth like cambric. Printing is also done on muslins and silks. Good printing is not obtained on fine cloth and is also visible on the reverse side. However intricate designs can be printed only on fine cloth, and not on coarse fabric. In traditional printing, animal motifs are not printed on cloth meant for costumes. Chemical colours and new printing methods and techniques are found in the hand-printing craft in modern times.

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Hand Block Printing of Jodhpur, Rajasthan

Odhnis / chunris from Jodhpur are highly prized though they are made all over the state now. The technique followed involves the use of wooden blocks with nails projecting from them. These nails are pressed on to the folded cloth. The required pattern is thus formed. The raised points of the cloth are tied tightly with strings coated with resist-paste and then dyed. This odhni is associated with many rituals and festivals in folk songs and lyrics.

The patterns are mainly geometrical, and dots, squares, and circles, coloured in brilliant greens, reds, yellows, and blues are used. The motifs include birds, flowers, and leaves, as well as depictions of women performing the garba dance. The chunri design is also found in Bhilwara and Ahar where the basic colours used are maroon and black. Small bird and flower motifs in pink, green, and yellow are found here. Nowadays synthetic dyes are being used more frequently than vegetable dyes.

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Hand Block Printing of Gujarat

Surat in Gujarat is the trade centre for Hand printed and mechanically produced textile material. Today Surat produces beautifully printed dress material, saris, wall hangings, table covers, cushion covers, bed spreads and many more home décor products. All these items carry the richness of traditional craft with the beautiful bright colours .The colours are bright like red, blue, green, black etc and the motifs are totally traditional. The use of teak wooden blocks continues along with the metal blocks by few printers. Today the use of natural dyes is accompanied by chemical colours also.The process involves many stages of printing by the printer and he has to be very alert while printing so that no stain falls over the fabric. The printing starts from left to right.

Hand Block Printing - Ajrak of Gujarat

The Ajrak resist-printing technique is found in Anjar and Dhamadka in Kutch. The painted Ajrak cloth has colours - blue, red, black and white, in several patterns --- resembling those found at Fostat. The printed red and block odhnis of Anjar carry motifs similar to those found on old pottery and stone carvings.

Mata di Pachhedi/Kalamkari of Gujarat

Devi ka Parda or pachhedi is the craft which is meant only for the devotees of goddess Durga. This is a combination craft done by women and the men folk. Artist first prints the panels of kalamkari with the help of wooden blocks using shade of maroon and black vegetable dyes against white setting.

This craft is practiced by Chitara community and men folk generally do the outline of the painting where as the women contribute towards the elaborate and intricate part of the painting. Durga’s picture is the main beside there are religious scenes which are done in the shades of maroon and white.

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Hand Block Printing - Kalamkari of Andhra

Kalamkari is the earliest and more complex techniques of block-printing on cloth using vegetable dyes. This flourished at Masulipatnam in Andhra Pradesh. The origin of the word kalamkari is from kalam or pen and kari or work. The kalamkari done here is a mixture of painting and hand-printing. This craft was started in the old city of Golconda after which it spread along the eastern coast up to Tamil Nadu. Originally known as Coromandel chintz, the textiles produced here are famous the world over.

The process followed is complex and intricate, and the blocks used are made by specialist artisans. These blocks have very detailed and elaborate designs carved on them. The fastness of the colours is ensured by washing, bleaching, and sunning. Mordants like alum are used to fix the colours onto the cloth. Wax is used as the resist agent when a combination of colours is used to embellish different parts of the design. The wax-resist is hand-printed on to the fabric with a kalam or pen made of an iron loop attached to a bamboo stick. This step is done before the application of indigo. After the wax is removed by boiling, other colours are applied. The detailed colouring is done with a brush. Running water is used for washing and the process takes several days, weeks, or months depending on the length of the cotton cloth.

This craft reached its zenith during British rule and was also in high demand as dress and furnishing material in Europe and Southeast Asia. The motifs used were floral and animal designs. The Persian influence on the designs is visible: ornamental birds, flowers, creepers, and mehrabs or archways found chiefly in Mughal architecture are common.

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Hand Block Printing of Javad, Madhya Pradesh

Javad prints in Indigo and Alizarine are mostly used. In the wax resist process done here the wax is applied using he block which is carved upto 10 cm in depth which can carry enough wax solution for no of imprints. Amba Butti or the mango motif is famous here. A very fine print known as Akola print where metal blocks designed with nails are used and is also prtaised in the area near javad. Akola is also famous for its discharge printing as well.

Hand Block Printing of Bagh, Madhya Pradesh

Bagh, which lends its name to the Bagh prints, is a small tribal town in Dhar district of Madhya Pradesh. The khatri community, who comprise the 'chhipas' or printers came here about 400 years ago from Larkana is Sind which is famous for its Ajrak prints. Bagh's proximity to the river was an important reason for its choice as flowing river water is vital to the process of printing. The design repertoire of Bagh prints covers geometrical and floral compositions and the blocks used for stamping are intricately and deeply carved by block-makers in Pethapur in Gujarat.

Bagh layouts are dramatic in the use of black and red alternately on a white background. The black colour is prepared with ferrous sulphate mixed with tamarind seed powder and glue which is cooked in water and stored for use. Each sari takes a minimum of three weeks to complete after the design is printed. During his period it is washed at last three times and sent to the bhatti or oven at least twice. Two persons stand knee deep in water to wash the fabric so that superfluous colour is removed. The fabric / sari is boiled in a cauldron of water on a bhatti with regulated heat for the colour to emerge. This is extremely painstaking.

The fabric used originally was cotton; though now saw tassar, crepe, and silk are being used with excellent results. Every process used is manual and though the techniques and designs are age-old they have a contemporary appeal.

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Hand Block Printing of Uttar Pradesh

Uttar Pradesh is an important centre for hand-block printing with the classical butis, paisley designs, and the tree of life as the main traditional motifs used in a range of shapes and in bold, medium, and fine patterns. Inspired by Muslim architecture, the tree of life motif carries an Indo-Persian influence. It has floral designs and bouquets in panels in crimson, rose, matte brown, soft yellow, blue, and green set against arches shaped like mihrabs, along with symmetrical trees and jali designs bordered with calligraphy and inlay design. A lot of paisley motifs can be seen in the hand block printed fabrics of Lucknow, while the chikan embroidery motifs are more popular in other printing centres of Uttar Pradesh. Jehangirabad, another printing centre, is known toned down colours and bold lines in the Indo-Persian tradition. Tanda in Uttar Pradesh is famous for its detailed printing. The main colours used are red and a dark blue blended with red against an indigo background

Hand Block Printing of Punjab

The local phulkari embroidery has inspired bold floral and geometrical designs, found on wraps and stoles. Due to commercial reasons, however, the focus has shifted to screen printing.

Hand Block Printing of Maharashtra

The practitioners of this craft in Maharashtra are mainly migrants from other parts of India. The painting is done with delicately carved wooden and brass blocks. The cloth on which hand-printing is done is either hand-woven silk or mill-made chiffon cloth. The results are multi-colour designs in traditional patterns. The 'Tree of Life' motif is very widely used.

Wooden Block Making for Hand Printing

Hand- block printing is practiced mostly all over India and every region has its own style and colour scheme. Pilakhua in Uttar-Pradesh has craftsperson’s making brass blocks and using it for outlining the design. In Jaipur the craftspersons carve the wooden blocks on sagoon wood.

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Chapter 4-History of kalamkari in Sri Kalahasti, Andhra Pradesh www.kalamkariart.org

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Kalamkari refers to a method of painting natural dyes onto cotton or silk fabric with a bamboo pen or kalam. The name kalamkari translates as pen (kalam) work (kari) in Hindi/Urdu, and was most likely derived from trade relationships between Persian and Indian merchants as early as the 10th century CE. European merchants also had names for this type of fabric decoration: the Portugese called it pintado, the Dutch used the name sitz, and the British preferred chintz. The name kalamkari is used prominently today, and is synonymous with both painted and hand blockprinted textiles that incorporate natural vegetable/organically-derived dye stuffs. While there are many forms of kalamkari throughout India and the world, the focus of this site is on extant kalamkari practice in Sri Kalahasti, Andhra Pradesh, in South India.

The exact nascence of kalamkari in Sri Kalahasti is unknown, however, textual resources indicate that the art form flourished throughout the Deccan plateau between the 13th and 19th centuries CE due to extensive textile trading that occurred along the Coromandel Coast. Sri Kalahasti was most likely established as a kalamkari center due to its close proximity to a constant supply of clean, flowing water (a necessary component to kalamkari production), found in the River Swarnamurki that runs through the town. It is possible that Sri Kalahasti also enjoyed local patronage from the Sri Kalahasteewara temple, a prominent Shiva temple that draws pilgrims from all over India each year. Other local patrons may have included nearby landowners and zamindars, and possibly the Vijayanagar rulers during the 13th to 16th centuries CE. Kalamkari from Sri Kalahasti reflects a predominately Hindu patronage, and artists in the area continue that tradition through the painting of a variety of Hindu narrative themes, including the Ramayana, Mahabharata and Shiva Puranas.

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The port, Masulipatnam in Northern Andhra Pradesh, was a prominent trading site along the Coromandel Coast, and one location where kalamkari from Sri Kalahasti would have been traded to merchants from around the world and ultimately shipped off to a variety of international locations. Masulipatnamï’s importance as a trade center was largely due to its connection with the Golconda kingdom as the port itself suffered from infrastructure. The Golconda ruler, Qutab Shahi, in particular was formative in establishing a strong trade relationship with the Persian Safavid Empire, which was particularly interested in acquiring kalamkari textiles for a variety of personal and domestic uses. Other trading ports along the Coromandel Coast included Pulicat and Fort St. George (present-day Chennai).

Merchants and traders from around the world used Indian textiles, the majority of which were kalamkari, as a currency in the Spice Trade. European and East Asian markets demanded spices like nutmeg, clove, and pepper as well as aromatic woods and oils, which were available almost exclusively in parts of Southeast Asia and Indonesia. The Southeast Asian and Indonesian markets, on the other hand, demanded Indian textiles particularly for ritual and ceremonial use. Thus a triangular trading system was established that implicated Indian textiles in a larger global exchange of goods and products. As time went on, Indian textiles were seen as luxury items in themselves, and a variety of textiles and textile-related products were sold to merchants throughout Europe, the Middle East and Asia. Relationships between India and parts of Europe through this exchange of textiles ultimately led to the imperialistic agenda of the British Empire through colonialism.

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Kalamkari textiles took many forms depending on their intended market. Prayer rugs, canopies and door covers painted with meharab designs, animal forms and floral motifs were made for the Middle-Eastern market, while tree-of-life bedcovers and dress material that resembled crewel work was painted for the European market. On the other hand, patterned hip and shoulder wrappers and narrative wall hangings were traded to the Southeast Asian market and material for robes and jackets were sent to East Asia.

The main artist families involved in kalamkari during the 19th century were members of the Balaji jatiï a community traditionally involved in agricultural work and small industry. Today, there are over 300 individuals in and around Sri Kalahasti involved in some aspect of kalamkari work from preparing cloth and dyes, to design motifs and format layout, to final painting and execution. Around

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the middle of the 20th century, the popularity of kalamkari in Sri Kalahasti waned to the point of near disappearance, with most artists focusing on agricultural work and other local occupations. At this point, around the late 1950s, kalamkari received government attention and sponsorship, through the intervention of art activist, Kamaladevi Chattopadyaya.

In 1957, Kamaladevi Chattopadyaya helped establish a government-run kalamkari training center that focused on teaching a new generation of artists the techniques and stylistic vocabulary of kalamkari. The ebb and flow of kalamkari popularity continues to plague the artistic community at Sri Kalahasti, however at the moment there is an upsurge in interest in the art form by designers, NGOs and entrepreneurs living and working in nearby cities. A range of products are now created using kalamkari cloth and are available for sale at craft exhibitions, small boutiques and from the artists directly. In addition to the traditional style narrative wall hangings artists also create hand painted saris, dupattas, personal items and home accessories.

The Intricate Process of Kalamkari25

Step 1

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. The following sheep dung treatment for bleaching has been described by some artists,.

-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.

Step 2

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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 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.

 

Step 3

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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 the kalam is never allowed to dry. It is washed and dried thoroughly before storage.

Step 4

CHARCOAL SKETCH

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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 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).

 

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Step 5

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.

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Step 6

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).

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Step 7

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.

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Step 8

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.

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Step 9

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 (Nil) ~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

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(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).

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Promotion of the Kalamkari Arts

DWARAKA (Development of Weavers and Rural Artisans in Kalamkari Art), Kalamkariart.org

DWARAKA

CHANGING WITH THE TIMES: A traditional Kalamkari narrative.

The art is going through a revival thanks to product diversification and by uniting the artists into a collective. Conscious attempts are being made to impart the skill to youngsters and those who are not traditional practitioners. The mood is upbeat among the craftsmen.

At the helm of the revival efforts is DWARAKA (Development of Weavers and Rural Artisans in Kalamkari Art), founded in Sri Kalahasti by the Ramanarpanam Trust of the industrialist Dwaraknath Reddy with his daughter Anita Reddy's initiative and commitment. DWARAKA is chiefly aimed at making women self-reliant. It came into being 16 years ago when Kalamkari was going through such a slump that its practitioners would walk the streets of big cities offering their pieces at throwaway prices, and a craftsman knocked on the Reddys' door in Bangalore. Traditionally, Kalamkari has been practised by men though women help in the colouring. But at this cooperative unit, you see scores of women bent over their work, adapting it to modern times in the form of aesthetically designed wraparound skirts, cushion covers, bordered mirrors, photo frames and tens of other articles for daily use which are exhibited by the organisation at its outlet in Bangalore.

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"DWARAKA supports more than 300 artists and the profits go to a community development fund ", says Anita Reddy, Project Director. Sarasabai, Vijayalakshmi and Kanchana are among those who tell you how the trust has helped change their lives by providing loans for the education of their children and for medical and marriage expenses.

Kalamkariart.org

Kalamkari art is promoted through Kalamkariart.org which is a non-profit site dedicated to the dissemination of knowledge about kalamkari art.

Kalamkariart.org began to initiate dialogue between artists, students, collectors and scholars on the rich traditions of Indian kalamkari textile arts.

Kalamkariart.org is based on collaboration with the kalamkari art community - particularly in and around Sri Kalahasti, Andhra Pradesh in South India. The goal of the site is to generate interest and dialogue surrounding kalamkari past, present and future.

Kalamkariart.org organizes kalamkari- and textile-related exhibitions in venues around the world, and maintains a gallery to promote the kalamkari art pieces.

Exhibitions held by kalamkariart.org

.

 

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Traditions-In-Use GALLERY INSTALLATION

Images from the Traditions-In-Use exhibition installation at Chitrakala Parishat, Bangalore, May 4 - 10, 2005

A few pieces from the Gallery

Tree-of-Life by J. Niranjan

Tree-of-Life kalamkari by kalamkari artist J. Niranjan of Sri Kalahasti. Niranjan is an award-winning kalamkari artist, and comes from a long lineage of kalamkari artists. His father, J. Gurappa Chetty, is also a renowned artist and Shilpa Guru, and his father before him was a teacher in the government-

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run Kalamkari Training Center. While NIranjan is fluent in painting traditional-style wall hangings, he has dedicated the last few years of work to developing a series of tree-of-life themed kalamkari. Typically small in size and highly detailed, these tree of life images are abundant with innovative floral forms and layers of color and pattern.

DasAvatarams by G. Krishna Reddy

DasAvatarams* is a popular theme in Hindu iconography and is depicted often in kalamkari paintings from Sri Kalahasti. The DasAvatarams shown here, painted by leading kalamkari artist G. Krishna Reddy, is particularly unique in part because of its enormous size - measuring a stunning 240 in x 50 in (c. 20 ft x 4 ft)! G. Krishna Reddy and his family of kalamkari artists are well-known not only for their execution of large-scale kalamkari hangings, but also for their superior painting and design skills.

New Kalamkari from G. Krishna Reddy

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This recent kalamkari by G. Krishna Reddy and his talented workshop of artists is an excellent example of traditional kalamkari patterns and motifs put to modern use. This beautifully hand-painted piece functions as a pattern for collar and  sleeve embellishment on a woman’s kurta, tunic, or blouse.

Place (Block printed kalamkari)

For hundreds of years kalamkari textiles were traded throughout the world. Prayer rugs and door hangings with floral and animal motifs were sent to the Middle East while the European market craved dress material and bedspreads depicting tree-of-life imagery.

Over the course of kalamkari’s history the forms, designs, and techniques of the art have changed but the contemporary art of kalamkari is still widely available in India in the form of block printed Kalamkari.

Anokhi stores:

AHMEDABAD BANGALORE CHANDIGARH CHENNAI DELHI GURGAON HYDERABAD JAIPUR JODHPUR KOLKATA MUMBAI NOIDA PUNE RANTHAMBHORE, SAWAI MADHOPUR UDAIPUR

Fabindia stores: AHMEDABAD AMRITSAR BARODA BHOPAL BHUBNESHWAR BANGALORE CHANDIGARH CHENNAI CALICUT COIMBATORE DELHI GURGAON HYDERABAD JAIPUR KOLKATA

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KANPUR KOCHI LUCKNOW LUDHIYANA MUMBAI MYSORE

A few designers using & promoting the art of Kalamkari:

SABYASACHI MUKHERJEE MEERA & MUZAFFAR ALI ASHISH, VIRAL & VIKRANT ASMITA MARWA KIRRAN UTTAM GHOSH ANAMIKA KHANNA MAMTA REDDY ROHIT BAL

Media report

Monday , March 30 , 2009, The Telegraph

Sabya shinning

Neela Aur Bagardandi emerged the two heroes of Day One of Lakme Fashion Week. Their creator Sabyasachi Mukherjee was a close third. The opening credits of Neela Aur Bagardandi Ki Kahaani introduced the lead roles — four new silhouettes — khadi tee, poshaak gilet, vizer dupatta and chotu sari. The show was more about Sabya the master stylist, than Sabya the master designer.

It all began with Nina Manuel walking down the ramp in a chotu sari, Swiss dotted pallu and long-sleeved blouse. The next 45-odd looks saw the easiest and breeziest separates come alive when played together. Dhoti pants, tube dresses (turned kurtas), gharara pants, asymmetrical skirts, trapeze tops, biker jackets, shrunken salwar pants… All in modest indigo and burgundy bagru prints, a splash of dasktari and kalamkari and some hand-painting.

We loved his little quirky details — gussets, bonnet dupattas and how sportswear lent itself to couture. We saw patchwork, mix-and-match sexy too — bare backs and lingerie-style clothes. Bandhni was replicated on some tops with French knots. There was some beadwork, stained glass detail, mirrors, borders but no bootis! The models wore wine lips, neat plaits, Goth nails and chunky silver jewellery with multiple wooden bangles.

Saturday, Sep 09, 2006 at 1124 hrs, Indianexpress.com

Something Old, Something New

As she walked out of Meera and Muzaffar Ali’s show at the recently-concluded Wills Lifestyle India Fashion Week

(WIFW), French buyer Maria Luisa made a point that initially eluded many designers. “Most Indian designers forget

that international labels do drapes and silhouettes much better than them. What we come looking for is craftsmanship.

This show was a perfect blend of both,” she said. Indian elements with a contemporary twist is increasingly becoming

the dominant narrative at fashion weeks in India.

Craft skills

At WIFW this year, Meera and Muzaffar Ali, who have used chikankari in a traditional manner before, gave it a new

twist by enlivening it with a dash of colourful kalamkari. But the high point of the show were the white keds to which

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they added a patch of kalamkari. Their line in black was inspired by the technique of Urdu calligraphy where the

ensembles in black got a makeover with rich gold calligraphic paint on it. “Whenever we are making clothes, we try and

make sure that there’s a bit of India in what we do. Otherwise, doing things by the book won’t really help us sell our

clothes abroad,” says Muzaffar Ali, who has now forayed in to benarasi saris with this WIFW.

Vogue.in fashion

Spring summer 2010: Clarity of vision and quality are the elements that magnetized Ashish, Viral and Vikrant's clientele. This season, the trio showed a spring collection that paid homage to Indian traditional textiles—linchpins of the country's artisanal heritage—without risking its sense of the present.

To accomplish this elusive feat, they sourced muslin, cotton, chanderi, silk, voile, georgette and even denim, pieced them with chikankari from Lucknow, block prints from Bagru and Kalamkari from Andhra Pradesh, and used natural dyed colours like rust, mustard, henna, beige, peach, maroon, red and indigo. What's interesting is that the collection has drawn inspiration from tourists in India, i.e. gypsy influences like beads and tassels. Dresses were all knee-length; elsewhere, there were shorts, jackets, jumpers, tunics, robes and bikinis—chic and young, this collection is bound to fly off the racks, come summer!

2 April 2008, the times of India

Asmita Marwa kickstarted Day 4 of the Gitanjali-sponsored Lakme Fashion Week with her collection inspired by the Kalamkari arts.

So her clothes were all hand-painted, no prints. The backs of the ensembles had images of large fishes, peacock motifs and a variety of Gods, a central theme of the Kalamkari arts. References to the ‘Tree of Life’ ran through her easy flowing garments as well. But she combined these with shocking pinks and lime greens and sneakers, so as to give the collection a younger look. Smart. Red borders and her line of saris stood out too.

Rimzin Dadu followed, emphasising on textures and structure. The highlight of her line she had developed her own fabric, complete with thick weaving and layering. Clean lines, collars with crochet work on them, threads and the herringbone look made her collection different, yet chic. She focussed on trench dresses (I’ve not seen much of those in this year’s Fashion Week; they are very fashionable now) made from heavy woollen fabric. Her flaired tunic dresses with grey and striped

tights underneath were appreciated as well.

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Vivek Kumar’s line was very different from the rest, and interesting at that. His theme was that of fantasy warriors, and he went the distance to make the gladiator/ conqueror look come alive. Metal headgear, use of gun-metal sequins, big cuffs with spikes on them, strips made from zari that gave the mesh metal look adorned his ensembles. The fantasy element was brought out by pom-poms as brooches. The pants were slim-fitted at the bottom and ruffled at the top, giving a war-like feel again.

And it wasn’t just the men, the fact that women can be warriors too was brought out in organza balloon skirts and flair dresses with tule underneath, the tule giving a romantic, feminine look

Mamata Reddy of Kalam Creations watches a Kalamkari artist at work.

Mamata Reddy is one of the lucky ones who has managed to realise her dream. What’s more, hers was in brilliant colours! A successful entrepreneur today, with a profitable turnover, Mamata began her sojourn with Kalamkari in 1991 with no prior training or expertise. A chance encounter with the languishing art stirred this maths graduate from Tirupati into action. With a tiny investment of Rs 500, Mamata ventured into the business with a team of traditional Kalamkari a rtists in Kalahasti. They began by producing wall hangings, cushion covers, coin purses and so on. Over time, after surmounting many initial difficulties in quality and supply, Mamata’s Kalam Creations is today a name to reckon with in the field of fashion and designer-wear.

Lakme Fashion Week 2007 saw her Kalamkari used by a Hyderabad-based designer. Designers from Delhi, Bombay and Ahmedabad regularly use her work, made to their specification. Besides the traditional Mangalagiri cottons, Kalamkari is today made on chiffons, georgettes, and even Kanchipuram silks, combined with embroidery. High-fashion wear like ghagras, skirts, stoles, cholis, saris and dupattas are individually designed by Mamata, who incorporates traditional motifs of birds and flowers as well as mythological themes from the Ramayana

Sari with Kalamkari work and block prints.

She incorporates ancient Indian embroidery styles through her work with 20 Muslim embroidery experts in Hyderabad who are originally from Lucknow. Pitta and badla work is done on the painted material — a unique, completely handmade effort that is prized by the customer.

Mamata travels to remote places like Bagh and interior Rajasthan, carrying with her Orissa ikats, southern cottons and Maheshwaris to be block-printed in those places in colours of indigo and red. These are later hand-painted at Kalahasti and, if required, embroidered too. A painted piece was recently sent to Lahore for the embroidery, on a particular order.

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Celebrity orders have started coming in too — recently, former chief minister Chandrababu Naidu ordered a specially made addu thara, a ceremonial cloth, for his son’s wedding. This was a rich red raw silk piece featuring Kalamkari motifs of gods, embellished with gold embroidery.

The wedding also brought orders for Kanchipuram silk saris with Ramayana borders and pallus, and ghagras with Kalamkari and embroidery.

The SAARC Chamber Women Entrepreneur Council (SCWEC) now conducts a three-month training programme in

Kalamkari work for women living below the poverty line.

Sunday , Sep 13, 2009 at 0425 hrs , Indianexpres.com

Fashion Designer , Rohit bal

Gentlemen with six packs lounging around in silk boxers and in peek-a-boo dressing gowns that could make you blush. Designer Rohit Bal’s autumn-winter collection, aptly titled Badmaash was like all his shows, full of histrionics and plenty of innuendo. Six sultry hunks lolled around on high back chairs placed on the ramp with Elvis Presley’s Are you lonesome tonight playing in the background. They strode out in quilted jackets, slim fit shirts with floral embellishments and kalamkari prints. But it was the mood of mischief that had the crowd cheering and squealing for Bal. The boys squatted on the lounge chaises, peered at the crowd, self-assured with slightly leery grins, even as Bal’s nephew former model Aditya cheered them on. When the show ended an energetic Bal danced and tottered on the ramp to Dhan te naan and called on to the models to follow suit

Designed by Rohit Bal

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Price of a kalamkari work in typical fabindia Store (Block printed Kalamkari)

Product Price

Kurti(Cotton) Between Rs 500 and Rs 2500

Skirts(cotton) Between Rs 800- Rs1,250

Bed spreads 580 onwards

Cushion covers 150 onwards

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Chapter 5-Conclusion

The name kalamkari was established through the relationship between Persian and Indian textile merchants around the 16th century to identify a type of hand-painted cloth found predominantly along the Coromandel or southeastern coast of India. This unique style of cloth, named literally from its technique (kalam = pen; kari = work) historically refers to methods of painting mordants and dyes onto cotton cloth using a handmade bamboo kalam. For hundreds of years kalamkari textiles were traded throughout the world

Over the course of kalamkari’s history,the forms, designs, and techniques of the art have changed the result of economic and market shifts, environmental factors, and design innovation. These changes call into question the identity or definition of kalamkari, and incite discussion as to whether kalamkari lends itself to a stylistic or formal interpretation. Does kalamkari refer to the technique of hand-painting on cloth using a bamboo pen or does kalamkari refer to the characteristic format, motifs and themes that have historically identified the art form? Is the use of natural vegetable dyes a defining factor of kalamkari? Or is kalamkari simply a blanket term to identify the array of painted and printed textiles produced on the southeastern coast?

Contemporary forms of kalamkari that have emerged in the last two decades serve to challenge historical notions of the art form, as artists assert their work as kalamkari even if they borrow only a few of the traditional characteristics. The artists at DWARAKA, for example, have moved beyond the traditional mythological themed wall-hanging format to create contemporary products like sarees, cushion covers, and handbags from kalamkari floral and bird designs. Other artists have stopped exclusively using natural vegetable dyes and have added synthetic dyes to expand their color palette.

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Limitations of the study

A few block prints of India are ancient and rarely used today,therefore accurate up to date data is not available on them.

The original art of Kalamkari is not widely practiced in India anymore and therefore there is not enough data available on its recent cost implications. Also because the original method of kalamkari print in a lengthy process involving a lot of steps, it is very difficult to calculate individual actual cost of each step involved.

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Bibliography

www.craftsinindia.com

www.telegraphindia.com

en.wikipedia.org/wiki/Printing

www.timesofindia.indiatimes.com

wapedia.mobi/en/Woodblock_printing

www.indianexpress.com

www.stayorg.com

www.fabindia.com

www.anokhi.com

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