BANDHINI

LEHERIA

BATIKSUBMITTED TO :-ASST, PROFFECERMRS . AMANDEEP KOUR

SUBMITTED BY:-TINA DHINGRA m.tech (FAE)

RESIST DYED TEXTILES In the resist technique, section of yarn or

cloth are reserved or prepared to resist dye penetration.

By tying, stitching, folding, rolling or the application of solid substances such as mud, wax or gum.

IMPORTANAT RESIST TECNIQUE:- Bandhini or chundari Leheria Ikat Battik

EFFECTS

BANDHINI The term bandhini is derived

from the Sanskrit  word Banda ("to tie") 

Bandhini is also known as Bandhej or Tie Dye or Bandhni or Bandana, etc.

Tie and dye internationally known by its malay- indonesian name, PLANGI

In fact all colors in Bandhini are dark, no light

color is used, and the background is mostly in black / red cloth.

Bandhini is the simple and inexpensive process.

This is one of the cheapest ways for women of the poor communities to dress in a colorful fashion.

The red and yellow bandhini odhani, or chunari as it is locally endures as the preferred apparel of women in many rular areas.

Some are elaborately patterned, often enriched with silver metal thread and used in weddings and others festive.

“Gharcholu” has served as an odhni for the bride in the wealthy Hindu and jain communities in Gujarat.

vibrant red fabric with white and yellow dotted figures of dancing women, elephants, peacock and flowers with in golden checks.

Many traditional centres such as jaipur, kota,Ajmer,Alwar,jodhpur,sikar,bikaner,

barmer,pali,udaipur and nathwara continue to produce bandhini.

Fabric used :- cotton, mull, georgette and chiffon are widely used.

TECHNIQUES Crush your piece of material to form a ball

and tie up tightly with string or elastic bands.

Place the tied ball in the dye bath and leave it for 60 minutes.

Take the ball out of the dye, rinse until water runs clear. If you want to dye the ball a second

color, follow Step 4, if not go to Step 5. To dye the ball a second color untie the

material. Crush into another ball and tie up tightly and place it into the second dye bath for 60 minutes. Rinse the excess dye off until water runs clear.

Untie the ball. Wash the fabric in warm soapy water, rinse and leave to dry. Iron the material.

LEHERIA This textile was inspired by a historic

leheria odhani from kota which had the figure of a tiger printed.

Although tiger was stencil-printed before the cloth was tie- dyed.

The colored, cotton safa (turban) has been an essential element of the

traditional costume of rajasthani men. “Lehar or wave” in two or more color

used. When worn overlapping layers create an interaction of color and stripe.

Apart from their use as turbans, prized greatly by rajput princes and nobality, leheria cloths were also fashioned into women’s garments

Women’s garments such as ghagharas (long skirts) kurtas (long shirts), kanchalis (short, tight-fitting, bodice-like garments for women

Angarkhas- thin, fitted men’s shirts with sleeves .

LEHERIA

STRIPES Pleat your material into a fan. Divide the

folded material into portions and tie up each division tightly.

Put the tied material into the dye bath and leave for 60 minutes.

Take the material out, rinse until water runs clear. You have two options at this stage:§ Leave the material as it is i.e. one color of stripes, follow Step 6.§ Add a second color of stripes, see Step 4

To dye a second color retain your ties and add new ones.

Put the material into the second dye bath and leave for 60 minutes. Rinse off the excess dye until water runs clear.

Untie the material. Wash in warm soapy water, rinse and leave to dry. Iron the material

BATIK BATIK was discovered in Indonesia. It was named as java printing in older time. The word batik is of Javanese origin. The word ambatik, derived from tik, means to mark with spots or dots. Batik is the word used to denote a particular method of applying colored design to fabric. This method involves covering certain

sections of the design with a substance, usually liquid wax.

The batik industry was at its peak in the 17th & 18th century when exports were made to many parts of the world including java, Persia & Europe.

The pen used for waxing is called a kalam. It consists of a metal needle set into a bamboo handle, wrapped in about 6 cm of absorbent fiber or hair which acts as a reservoir for the molten wax.

The principle of batik are the same, but the step-by-step procedures vary according to the region.

In central java the best known method is called soga kerokan.

BATIK DESIGNS

NITIK:- There are thousands of different batik

designs, particular designs have traditionally been associated with traditional festivals and specific religious ceremonies.

There are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free form designs, which are based on stylized patterns of natural forms or imitations of a woven texture.

Nitik is the most famous design illustrating this effect.

NITIK

Kawung:- Kawung is

another very old design consisting of intersecting circles, known in Java since at least the thirteenth century.The circles are sometimes embellished inside with two or more small crosses or other ornaments such as intersecting lines or dots

Ceplok:-Ceplok is a general name for a whole series of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent abstractions and stylization of flowers, buds, seeds and even animals.

Parang:- Parang was once used exclusively by

the royal courts of Central Java.

It has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'.

The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands.

Parang usually alternated with narrower bands in a darker contrasting color.

DESIGN PROCESS The outline of the pattern is blocked out onto the

cloth, traditionally with charcoal or graphite. Traditional batik designs utilize patterns handed

down over the generations. It is very seldom that an artisan is so skilled that he

can work from memory and would not need to draw an outline of the pattern before applying the wax.

Often designs are traced from stencils or patterns called pola.

Another method of tracing a pattern onto a cloth is by laying the cloth on a glass table that is illuminated from below which casts a shadow of the pattern onto the cloth.

The shadow is then traced with a pencil. In large batik factories today, men usually are in charge of drawing the patterns onto the cloth

WAXING Once the design is drawn out onto the cloth it is then

ready to be waxed. Wax is applied to the cloth over the areas of the design that the artisan wishes to remain the original color of the cloth. Normally this is white or cream

The most experienced artisans normally do first waxings. Filling in of large areas may be entrusted to less experienced artisans.

Mistakes are very difficult to correct. If wax is accidentally spilt on the cloth, the artisan will try to remove the unwanted wax by sponging it with hot water. Then a heated iron rod with a curved end is used to try and lift off the remaining wax.

Spilled wax can never be completely removed so it is

imperative that the artisans are very careful.

DYEING

After the initial wax has been applied, the fabric is ready for the first dye bath.

Traditionally dying was done in earthenware tubs. Today most batik factories use large concrete vats.

Above the vats are ropes with pulleys that the fabric is draped over after it has been dipped into the dye bath.

The waxed fabric is immersed in the dye bath of the first color. The amount of time it is left in the bath determines the hue of the color; darker colors require longer periods or numerous immersions.

The fabric is then put into a cold water bath to harden the wax.

When the desired color has been achieved and the fabric has dried, wax is reapplied over the areas that the artisan wishes to maintain the first dye color or another color at a later stage in the dying process.

If a marble effect is desired, the wax is intentionally cracked before being placed in the dye bath.

PEKALONGAN METHOD Old technique has been revived for

producing multicolored contemporary batik.

Painted-on-technique was introduced from India, but was replaced by the rewaxing and overdyeing processes to produce many- colored combinations.

The method is called ‘coletan’. Wax does not have to be removed after

each dyeing. The process is much quicker and more

predictable.

PROCEDURE 1. Prepare cloth and pencil in the design.2. Wax outlines of motif and cover areas that

will eventually be dyed brown.3. Select and brush in colors with in wax

borders.4. Wax colored areas.5. Immerse cloth in indigo or intended

background color.6. Remove wax by immersion in boiling water.7. Wax all areas except those to be dyed

brown.8. Immerse cloth in soga brown.9. Finally remove wax in boiling water.

BATIK

REFERENCES

1) INDIAN TEXTILES ETHNIC AND BEYOND (R.M LEHRI)2) HANDCRAFTED INDIAN TEXTILES (GENERAL EDITOR MARTAND SINGHL

TEXT RTA KAPUR CHISHTI/ RAHUL JAIN)3) INDIAN IKAT TEXTILE ( ROSEMARY CRILL )4) TEXTILE FROM INDIA (THE GLOBAL TRADE EDITED BY

ROSEMARY CRILL)

THANKU…..