BLOCK PRINTING RAJASTHAN
Introduction-
Rajasthan as the hub of craft and culture houses many traditional crafts and among them the most practiced and known craft is hand block printing. Printing is done at several places in Rajasthan and each place has historical, cultural and geographical impact and influences on the craft of hand printing. Regional variations do exist and each region has a distinctive style of its own. The region of Sanganer has emerged as one such centre for the age old craft of hand block printing. Sanganer is a small village situated around 30 km from the walled city of Jaipur and considered to be the most prosperous place in Jaipur. The village has been a major centre for very fine block-cutting and printing units accommodating more than 5000 block printers. The water of the river Saraswati flowing from Sanganer is considered to be having special quality that brings out the radiance from the natural dyed fabric. The village of Sanganer is also famous for its handmade paper industry and Jain temples. The prints of Sanganer have their own distinctive style and patterns. They are known for bright colors, delicate lines which are usually printed against a white background. The craft flourished under the royal patronage, and by the end of the 18th century this industry was fully developed in Sanganer.
The craft of printed textile is prevalent since olden days. In India it is believed to be dating back to 12th century. Since then the craft has been flourishing due to the royal patronages. Selected for its abundance of soft water and clay suitable for the process of sun bleaching fabrics, Sanganer was developed into a major printing centre under the patronage of the Jaipur royal family. The earliest mentioned centers for block printings were located in the states of Andhra Pradesh and Gujarat. During the regime of Maharaja Sawai Jai Singh in 18th century the craft started building its roots in Sanganer. The place was suitable for the craft as it had a river flowing through it which helped the artisans with constant water source for washing and dyeing the products. Maharaja Sawai Jai Singh invited printers from Andhra and Gujarat to settle in this newly developed block printing village.
PEOPLE AND PLACE-
The artisans practicing block printing belong to Chhipa community. Chhipas are predominantly Hindu and are believed to be the followers of the renowned Marathi Saint Namdev. They are engaged in the craft of block printing since ages. The traditional knowledge of craft skills is transfered from one generation to another. Every member in Chhipa community is involved in washing, dyeing and printing of clothes. However there are number of people who are indirectly involved in the craft as designers, block makers, dyers, tailors, suppliers of raw materials, dealers etc. The Chhipa community, which is engaged in this traditional craft, is settled in Sanganer and the inhabitants/craftsmen have come from various parts of Northern and Western India in different period of time. The dyers and block makers originally came from Punjab or Sindh. The printers are predominantly Hindus, while the majority of dyers and block makers are Muslims. Block printing is practiced all over India in different states with each area having its own particular local aesthetic and style of doing the craft. The main centers for block printing in India are:
• Andhra Pradesh (Kalamkari)
• Gujarat (Ajrakh)
• Rajasthan (Mud Resist and Sanganeri)
• Madhya Pradesh (Bagh Print)
• Uttar Pradesh
• West Bengal
The craft is highly dependent on water sources. Therefore the areas near water resource are much suited to prepare a beautiful hand block printed product. In Rajasthan block printing is done in Sanganer, Bagru, Jodhpur, Akola and Barmer. Each place has its distinctive design elements, color schemes and motifs. The final product can be easily differentiated in terms of region and origin.
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TOOLS AND RAW MATERIALS-
• Tools:
The main tools of the printer are wooden blocks which are available in different shapes and size as per the design and requirement. The block makers mainly make two types of block
1. Wooden Block
2. Metal Block
1. Wooden Block:
These blocks are usually made on teak or seesham wood. Artisans make sure that the wood is seasoned and then carve the motifs on it. The design are first printed on paper and stuck on the block of wood. Artisan, then start carving the wood with steel chisels, of different widths and cutting surface. The motifs are carved on the base while the top has a handle. These handles are either carved out from the same wood or by a low cost wood attached to the surface with the help of nails. Each block has two or more cylindrical holes drilled into the block for free air passage and also to allow release of excess color. Blocks made are of rectangular, square, oval, semi-circular, circular etc. shape. Once the block is made it is soaked in oil for 10-15 days to soften the grains. The life of these block are approximately 600-800 meter of printing. The outline blocks are called as rekh and the filler blocks are called as datta.
2. Metal Block:
For making intricate patterns and getting high level of clarity in prints metal blocks are used. These blocks are made by engraving thin sheets of evenly cut metal strips into the wooden blocks. The metal strips are beaten to make them thin and then strips are cut of even length. The design is drawn on the wooden block and the metal strips are pressed onto the design by gentle hammering. Filling of the designs is done from center to outside. Once made the blocks are checked to see the strips are of the same height from the wooden base. Metal blocks are costly, time consuming but long lasting.
Printing Table:
These are specially made tables measuring approximately 3 feet high, 3 feet wide and 9 feet long. The surfaces of the tables are covered with several layers of cloth, jute and canvas which help in better printing. These tables allow 3-4 printers standing and working simultaneously. Traditionally these tables were of low height approximately 1 feet high, 2 feet wide and 5 feet long. The printer used to sit on ground and print.
Color Plates:
Colors used for printing are kept in a wooded tray called as saaj. Once the color is poured into the tray wire mesh is placed inside. This mesh is covered with a piece of felt. Felt soaks the color and finally a fine cotton/malmal cloth is placed on the felt. This preparation helps in proper application of color on the block.
Tray Trolley:
These are wooden trolleys' accommodated with two shelves and wheels in the base for the easy movement. On the upper shelve the color tray is kept while in the lower rack required blocks. The height of the trolley is 3 feet suitable for working on the printing table. These are locally called as patiya.
Scale:
For marking the areas to be printed scales are used.
Chalk:
For marking chalks are used. These chalks have sharp edges which gives fine line.
Brushes:
Metal or nylon brushes are used to clean the wooden and metal blocks after use. This helps in maintaining the life of the block.
Tambadi (Copper vessels):
Traditionally copper vessels are used for dyeing and washing of cloths.
Mogari (wooden roller):
This a cylindrical wooden roller on which the cloth is kept and beaten.
Kotan (Wooden mallet):
This is used to beat the cloth over mogari, in order to remove the starch.
• Raw Materials:
The process of block printing is widespread due to its intricate process, motifs and vibrant colors. The main raw material is the color used in the printing. Traditionally the artisans used natural colors but today it has been replaced by chemical and artificial colors.
The main raw materials are Colors/ Dyes.
Different types of dyes are used for silk and cotton.
• Vegetable/ Natural dyes
• Discharge Dyes
• Pigment dyes
• Reactive dyes
• Rapid fast Colors
Vegetable/ Natural dyes:
Since ages artisans are using vegetable dyes for printing and dying. As they are extracted from the nature, vegetables, fruits etc., they are beneficial for the environment along with having traditional importance. There are few major colors produced naturally which are known internationally too.
- Indigo Blue:
Extracted from the indigo plant found throughout India.
- Red:
This is obtained by mixing alizarin with alum. The color ranges from pink to deep red.
- Black:
This is acidic solution of iron which is obtained by processing rusted nails, horse shoes, iron
scrap etc. with jiggery and salt. The mixture is buried under the ground and allowed to rot
for about 10-15 days. It is then taken out and the color is prepared.
- Green:
The skin of pomegranate is processed by boiling.
Apart from this artisans also use bark of mango tree, vinegar, slaked lime etc.
Discharge Dyes:
These dyes are used to print on dark background. The printing colors have chemical which react with the dark ground fabric and bleaches out the dark color from that particular place and prints the desired color. In this process a range of white and other light colors can be printed on a dark background.
Pigment Dyes:
These colors are readily available in the market and are easy to use. The mixed colors can be stored in plastic buckets after use. Pigment colors, brought from the market are further mixed with kerosene and a binder. The mixing has to be done carefully as the thickness of the material can give raised effects on the cloth while printing. These colors follow the direct printing technique. Colors applied are visible and do not change after washing. A number of colors can be obtained by mixing two or more pigment colors.
Reactive Dyes:
These are the chemical dyes which when mixed with second chemical produces a third color. Artisans therefore dye the cloth, to be printed, in one chemical and then print it with another chemical. These two chemicals react with each other and hence produce a different color. There are only few chemical dyes available in the market.
Rapid fast Colors:
These colors are difficult to store and has to be used the same day. In rapid fast color process the color in the design and the ground color both are printed in one go. Generally white or light background is used. There are only few colors available in this process.
Cloth:
Traditionally the printing was done on white or pale background of cotton cloth. Today the craft is practiced on any material ranging from cotton, silk, organza, jute, kotadoriya, chiffon, paper etc.
Kambli (Woolen Cloth):
A piece of woolen cloth is laid in the color tray. This helps in proper application of color on the block.
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Block Prints of Sanganer
Image Courtesy http://www.rikshawdesign.com
The beauty of the block print is heavily reliant on water sources; thus the commercial activities sprung near water resources- like Sanganer, Bagru, Akola, Barmer, Jodhpur, etc.
Goa collection from http://www.rikshawdesign.com
Sober, low toned colors and delicate lines, creating finer designs like the poppy, rose and lotus, usually against a white background, are well known characteristic of fabrics that are printed at Sanganer. While the motifs are conventionally big and bold in Bagru, with the dabu (resist-printing) and the dyeing process producing a reddish black shade- with wild flowers, buds and foliage providing inspiration to the printers of Bagru. In Jaisalmer, the printers use wax resists and create a dramatic wedding odhna called jajar bhat in red and black.
Sanganer
The village of Sanganer near Jaipur has been a major centre for very fine block-cutting and printing. Almost 500 years' old, Sanganeri printing gained high popularity in the 16th and 17th centuries in all European countries with its Calico prints and became one of the major exports of the East India Company.
Legend has it that it was probably towards the end of the 17th century that this art form developed here. Thanks to the constant wars with the Mughals and Marathas, many printers migrated from Gujarat to Rajasthan. Under the royal patronage, by the end of the 18th century this industry was fully developed in Sanganer.
Dyeing of Sanganeri Printed Cloth is by use of natural colors (vegetable colors) as such, the finished cloth often emits very pleasant odour. Sanganer is famous for its Calico printed bed covers, quilts and saris. In Calico printing, the outlines are first printed, and then the color is filled in. Bold patterns and colors are popular. They are printed repeatedly in diagonal rows. Doo Rookhi printing is also famous here. In this technique, artists print on both sides of the cloth. Sanganeri prints are famous for their delicate floral sprigs.
Motifs
This elaborate work needs expertly cut mirror images blocks to print the usually asymmetrical Mughal style designs. Although Sanganer is well known for producing fine block printed textiles on off white or pastel backgrounds, today a wide range of textiles are produced with both dark and pale grounds.
A strong Mughal aesthetic dominates the region's printed sari designs. Borders and end pieces consist of repeated bands of undulated twines (bel) of various sizes. Fields are often covered with a repeat design varying from small simple dots or geometric shape to large complex buta and kalga.
Usually, a motif that is a blend of flower, bud and leaves or other forms such as keri (mango), pan (betel leaf), katar (dagger) or jhumka (ear-ring) is created. Interestingly, never was an animal used on these fabrics meant for costumes. Patronized by royalty, exclusive and fine printing in subdued colors, are a characteristic of the Sanganeri Print.
The Sanganeri Print is visible from small flower motifs like stylized sunflowers, narcissuses, roses, and other flowers of luxuriant foliage like daturas, rudrakshas, and arkas. On Sanganeri ‘chintz’ (printed cloth) usually, yellow, green blue (with different tones) are used as the background.
Various floral designs, geometrical and God figures are included in its prints. Sometimes, folk designs are also found. Finesse in flowers-petal designs, curves and delicacy are the prime specialties of Sanganer prints.
The curvature of flowers in the ’bootas’ is generally shown on the right side. Different types of flowers and plants are displayed in the form of ‘bel’ (a border) and ‘boota’ very naturally and in a really attractive manner. Some of the flowers used in the prints are roses, rosettes, lotuses, lotus bud, sunflower, lily, ‘champa’ ‘canna’ ‘nargis’, marigold etc.
Various other flower creations are also found in old Sanganeri prints. Other flowers used are locally known as ‘sosan’, ‘gainda’, ‘gulmehendi’, ‘javakusum’, ‘guldaudi’, ‘kachnar’, ‘jatadari lily’, ‘kaner’, ‘kanna’, ‘gullalla’, etc.
Apart from flowers, fruit trees of banana, dates, grapes pomegranate etc. have also been recreated in a very attractive manner. In some old prints figures of parrots and fish are also seen. In the traditional Sanganeri prints, the ground is in white or pastel shades with floral cones and sprays scattered with in symmetrical borders. Cloth printing blocks are usually made of 'teak' or 'seesum'. These dyes are printed on a textile by means of a relief covered block( a different block for each color). In India, the blocks are usually 23-30 cm (9-12") square in size.
Present Situation
In earlier times, the royal family of Jaipur was the chief patron of the craft. After Independence, the craft almost died till it was revived in the 70s owing to the patronage of prominent exponents like Kamala Devi Chattopadhyay, the person behind the cottage industry movement, Prabha Shah, Laila Tyabji, Pupul Jayakar and Faith and John Singh of Anokhi.
But faces still look grim. Faced with pollution charges and that too, only because of the screen printing industry, life is still dark.
The good news is that, because of the persistent efforts, Under Geographical Indication of Goods Registration and Protection Act.1999, Sanganeri Hand Block Textiles and Furnishings have been recognized to have a unique identity in manufacturing and in belonging to the area of Sanganer. Consequently sale of hand block or screen printed product from any other area as Sanganeri will be punishable under the law, thereby giving a new e trade and some 1500 artisans and about 5000 families indirectly or directly dependent on block printing.
Image Courtesy http://www.rikshawdesign.com
The beauty of the block print is heavily reliant on water sources; thus the commercial activities sprung near water resources- like Sanganer, Bagru, Akola, Barmer, Jodhpur, etc.
Goa collection from http://www.rikshawdesign.com
Sober, low toned colors and delicate lines, creating finer designs like the poppy, rose and lotus, usually against a white background, are well known characteristic of fabrics that are printed at Sanganer. While the motifs are conventionally big and bold in Bagru, with the dabu (resist-printing) and the dyeing process producing a reddish black shade- with wild flowers, buds and foliage providing inspiration to the printers of Bagru. In Jaisalmer, the printers use wax resists and create a dramatic wedding odhna called jajar bhat in red and black.
Sanganer
The village of Sanganer near Jaipur has been a major centre for very fine block-cutting and printing. Almost 500 years' old, Sanganeri printing gained high popularity in the 16th and 17th centuries in all European countries with its Calico prints and became one of the major exports of the East India Company.
Legend has it that it was probably towards the end of the 17th century that this art form developed here. Thanks to the constant wars with the Mughals and Marathas, many printers migrated from Gujarat to Rajasthan. Under the royal patronage, by the end of the 18th century this industry was fully developed in Sanganer.
Dyeing of Sanganeri Printed Cloth is by use of natural colors (vegetable colors) as such, the finished cloth often emits very pleasant odour. Sanganer is famous for its Calico printed bed covers, quilts and saris. In Calico printing, the outlines are first printed, and then the color is filled in. Bold patterns and colors are popular. They are printed repeatedly in diagonal rows. Doo Rookhi printing is also famous here. In this technique, artists print on both sides of the cloth. Sanganeri prints are famous for their delicate floral sprigs.
Motifs
This elaborate work needs expertly cut mirror images blocks to print the usually asymmetrical Mughal style designs. Although Sanganer is well known for producing fine block printed textiles on off white or pastel backgrounds, today a wide range of textiles are produced with both dark and pale grounds.
A strong Mughal aesthetic dominates the region's printed sari designs. Borders and end pieces consist of repeated bands of undulated twines (bel) of various sizes. Fields are often covered with a repeat design varying from small simple dots or geometric shape to large complex buta and kalga.
Usually, a motif that is a blend of flower, bud and leaves or other forms such as keri (mango), pan (betel leaf), katar (dagger) or jhumka (ear-ring) is created. Interestingly, never was an animal used on these fabrics meant for costumes. Patronized by royalty, exclusive and fine printing in subdued colors, are a characteristic of the Sanganeri Print.
The Sanganeri Print is visible from small flower motifs like stylized sunflowers, narcissuses, roses, and other flowers of luxuriant foliage like daturas, rudrakshas, and arkas. On Sanganeri ‘chintz’ (printed cloth) usually, yellow, green blue (with different tones) are used as the background.
Various floral designs, geometrical and God figures are included in its prints. Sometimes, folk designs are also found. Finesse in flowers-petal designs, curves and delicacy are the prime specialties of Sanganer prints.
The curvature of flowers in the ’bootas’ is generally shown on the right side. Different types of flowers and plants are displayed in the form of ‘bel’ (a border) and ‘boota’ very naturally and in a really attractive manner. Some of the flowers used in the prints are roses, rosettes, lotuses, lotus bud, sunflower, lily, ‘champa’ ‘canna’ ‘nargis’, marigold etc.
Various other flower creations are also found in old Sanganeri prints. Other flowers used are locally known as ‘sosan’, ‘gainda’, ‘gulmehendi’, ‘javakusum’, ‘guldaudi’, ‘kachnar’, ‘jatadari lily’, ‘kaner’, ‘kanna’, ‘gullalla’, etc.
Apart from flowers, fruit trees of banana, dates, grapes pomegranate etc. have also been recreated in a very attractive manner. In some old prints figures of parrots and fish are also seen. In the traditional Sanganeri prints, the ground is in white or pastel shades with floral cones and sprays scattered with in symmetrical borders. Cloth printing blocks are usually made of 'teak' or 'seesum'. These dyes are printed on a textile by means of a relief covered block( a different block for each color). In India, the blocks are usually 23-30 cm (9-12") square in size.
Present Situation
In earlier times, the royal family of Jaipur was the chief patron of the craft. After Independence, the craft almost died till it was revived in the 70s owing to the patronage of prominent exponents like Kamala Devi Chattopadhyay, the person behind the cottage industry movement, Prabha Shah, Laila Tyabji, Pupul Jayakar and Faith and John Singh of Anokhi.
But faces still look grim. Faced with pollution charges and that too, only because of the screen printing industry, life is still dark.
The good news is that, because of the persistent efforts, Under Geographical Indication of Goods Registration and Protection Act.1999, Sanganeri Hand Block Textiles and Furnishings have been recognized to have a unique identity in manufacturing and in belonging to the area of Sanganer. Consequently sale of hand block or screen printed product from any other area as Sanganeri will be punishable under the law, thereby giving a new e trade and some 1500 artisans and about 5000 families indirectly or directly dependent on block printing.
Bagru Prints
Jaipur is perhaps one of the most culturally rich areas of Rajasthan. From this city, the Chippas moved to Bagru around 300 years ago. They made it their home, and one of Rajasthan's most important centers of hand block printing .
The Sanganer and Bagru prints are very similar, but the latter employ a narrower range of colors. Moreover, unlike the Sanganer prints which are always on a white or off-white background, the prints of Bagru are mostly red and black and blue. The Syahi-Begar prints are a combination of black and yellow ochre or cream. The Dabu prints are created by hiding them from dye, by applying a resist. Bagru prints are characterized by circular designs, as well as linear and floral patterns.
In both the Sanganer and Bagru prints, the colors are picked carefully. Each has a separate significance. For instance, red is the color of love, yellow of spring, indigo of Lord Krishna, and saffron of the yogi (seer). The wooden blocks that are used are made of teak wood. And traditionally, vegetable dyes made of madder, pomegranate rind, indigo, and turmeric are used. These have now been largely replaced by chemical dyes. Often, the fabric is dyed before it is printed.
Jaipur is perhaps one of the most culturally rich areas of Rajasthan. From this city, the Chippas moved to Bagru around 300 years ago. They made it their home, and one of Rajasthan's most important centers of hand block printing .
The Sanganer and Bagru prints are very similar, but the latter employ a narrower range of colors. Moreover, unlike the Sanganer prints which are always on a white or off-white background, the prints of Bagru are mostly red and black and blue. The Syahi-Begar prints are a combination of black and yellow ochre or cream. The Dabu prints are created by hiding them from dye, by applying a resist. Bagru prints are characterized by circular designs, as well as linear and floral patterns.
In both the Sanganer and Bagru prints, the colors are picked carefully. Each has a separate significance. For instance, red is the color of love, yellow of spring, indigo of Lord Krishna, and saffron of the yogi (seer). The wooden blocks that are used are made of teak wood. And traditionally, vegetable dyes made of madder, pomegranate rind, indigo, and turmeric are used. These have now been largely replaced by chemical dyes. Often, the fabric is dyed before it is printed.
SANGANER PRINTS
The block printed textiles of Sanganer became famous in the 16 th and 17 th centuries in Europe, when the East India Company began to export them in bulk. Today, there are over 154 block printing units in Sanganer, and these employ around 20,000 people. There are around 3000 families engaged in this Rajasthani craft.
The block prints of Sanganer are mostly executed on a white or off-white background, using screen printers or wooden blocks. They are colorful patterns of sunflowers, roses, geometric designs. Sanganer prints are known for their fine and intricate detailing. The artists of this region in Rajasthan use both vegetable and chemical dyes for their creations.
India is a house of the technique of block printing from ancient period. Over the years, artisans have improvised designs and motifs, as well as the blocks and colors that are used. Block printing inks or dyes have shifted from the traditional vegetable and mineral colors to chemical, synthetic colors.
The synthetic block printing inks have the advantage of being longer lasting as well as being available in a wider range of colors. Here is a look at some of the inks and dyes used in the process of block printing:
The block printed textiles of Sanganer became famous in the 16 th and 17 th centuries in Europe, when the East India Company began to export them in bulk. Today, there are over 154 block printing units in Sanganer, and these employ around 20,000 people. There are around 3000 families engaged in this Rajasthani craft.
The block prints of Sanganer are mostly executed on a white or off-white background, using screen printers or wooden blocks. They are colorful patterns of sunflowers, roses, geometric designs. Sanganer prints are known for their fine and intricate detailing. The artists of this region in Rajasthan use both vegetable and chemical dyes for their creations.
India is a house of the technique of block printing from ancient period. Over the years, artisans have improvised designs and motifs, as well as the blocks and colors that are used. Block printing inks or dyes have shifted from the traditional vegetable and mineral colors to chemical, synthetic colors.
The synthetic block printing inks have the advantage of being longer lasting as well as being available in a wider range of colors. Here is a look at some of the inks and dyes used in the process of block printing:
Vegetable or Natural Block Printing Inks
Black : This color is produced by mixing an acidic solution of iron (rusted nails/horse shoes etc) with jaggery (unrefined country sugar) that has been allowed to rot for about a fortnight.
Red : This dye is made by a material such as alizarin with alum. The resulting colors range from pink to dark red. The color red is also extracted from the madder root.
Blue : Is obtained from the indigo bush found all over India.
Pomegranate skins, the bark of the mango tree, vinegar and slaked lime are also used to make block printing inks.
Black : This color is produced by mixing an acidic solution of iron (rusted nails/horse shoes etc) with jaggery (unrefined country sugar) that has been allowed to rot for about a fortnight.
Red : This dye is made by a material such as alizarin with alum. The resulting colors range from pink to dark red. The color red is also extracted from the madder root.
Blue : Is obtained from the indigo bush found all over India.
Pomegranate skins, the bark of the mango tree, vinegar and slaked lime are also used to make block printing inks.
Block Printing Pigment Inks
These colors are first mixed with kerosene and binder before they are used. Once mixed, they can be stored for a few days. Pigment inks are popular because of this and also because they give a variety of hues. They can also be mixed with each other to create new shades. Moreover, they do not change color once they dry on the cloth. Therefore the artist knows exactly what shade he will get once the fabric is printed.
It must be kept in mind that it is vital that the consistency of this block printing ink be right; if too think it will stick out in lumps on the textile.
These colors are first mixed with kerosene and binder before they are used. Once mixed, they can be stored for a few days. Pigment inks are popular because of this and also because they give a variety of hues. They can also be mixed with each other to create new shades. Moreover, they do not change color once they dry on the cloth. Therefore the artist knows exactly what shade he will get once the fabric is printed.
It must be kept in mind that it is vital that the consistency of this block printing ink be right; if too think it will stick out in lumps on the textile.
Block Printing Rapid Fast Colors
These inks come in the standard colors: black, orange, brown, red and mustard. Unlike pigment inks that may be mixed to create unique colors, rapid fast colors are limited in color variation, and also it is not possible to know the final color from before. When using these colors, the ground color and the color in the design are printed in one step. Rapid fast colors cannot be stored.
These inks come in the standard colors: black, orange, brown, red and mustard. Unlike pigment inks that may be mixed to create unique colors, rapid fast colors are limited in color variation, and also it is not possible to know the final color from before. When using these colors, the ground color and the color in the design are printed in one step. Rapid fast colors cannot be stored.
Block Printing Discharge Dyes
If printing in white or other light color has to be done on a dark cloth, the block printing ink to be used is the discharge dye. This dye contains a chemical that reacts with the dark color and bleaches it, while at the same time coloring the bleached area with the desired light color.
If printing in white or other light color has to be done on a dark cloth, the block printing ink to be used is the discharge dye. This dye contains a chemical that reacts with the dark color and bleaches it, while at the same time coloring the bleached area with the desired light color.
Block Printing Reactive Inks
These dyes on reacting produce a third color. The cloth is dyed one color, and then the design is printed with another. The two react to produce a third shade.
These dyes on reacting produce a third color. The cloth is dyed one color, and then the design is printed with another. The two react to produce a third shade.
SANGANERI MOTIFS
Finesse in flowers-petal designs, curves and delicacy are the prime specialties of Sanganer prints. The curvature of flowers in the ’bootas’ is generally shown on the right side. Different types of flowers and plants are displayed in the form of ‘bel’ (a border) and ‘boota’ very naturally and in a really attractive manner.
Some of the flowers used in the prints are roses, rosettes, lotuses, lotus bud, sunflower, lily, ‘champa’ ‘canna’ ‘nergis’, marigold etc. Various other flower creations are also found in old Sanganeri prints. Other flowers used are locally known as ‘sosan’, ‘gainda’, ‘gulmehendi’, ‘javakusum’, ‘guldaudi’, ‘kachnar’, ‘jatadari lily’, ‘kaner’, ‘kanna’, ‘gullalla’, etc. ‘Sosan’ and ‘gullala’ prints are probably very suitable to sanganeri prints, therefore they are used in various forms.
In ‘booties’, generally, only one type of flower-petal and bud creations in the following forms : ‘badam, (almond)’, ‘paan’ (beetle leaf), ‘mukut of ‘kalanga’, While printing a saree, if the ‘booti’ is of ‘sosan’ flower or plant the ‘bel’ will also be of ‘sosan’ flower and the big’boota’ to be done on the ‘pallu’ (the end part of a saree) will also be of ‘sosan’ flower decoration.
Finesse in flowers-petal designs, curves and delicacy are the prime specialties of Sanganer prints. The curvature of flowers in the ’bootas’ is generally shown on the right side. Different types of flowers and plants are displayed in the form of ‘bel’ (a border) and ‘boota’ very naturally and in a really attractive manner.
Some of the flowers used in the prints are roses, rosettes, lotuses, lotus bud, sunflower, lily, ‘champa’ ‘canna’ ‘nergis’, marigold etc. Various other flower creations are also found in old Sanganeri prints. Other flowers used are locally known as ‘sosan’, ‘gainda’, ‘gulmehendi’, ‘javakusum’, ‘guldaudi’, ‘kachnar’, ‘jatadari lily’, ‘kaner’, ‘kanna’, ‘gullalla’, etc. ‘Sosan’ and ‘gullala’ prints are probably very suitable to sanganeri prints, therefore they are used in various forms.
Some of the flowers used in the prints are roses, rosettes, lotuses, lotus bud, sunflower, lily, ‘champa’ ‘canna’ ‘nergis’, marigold etc. Various other flower creations are also found in old Sanganeri prints. Other flowers used are locally known as ‘sosan’, ‘gainda’, ‘gulmehendi’, ‘javakusum’, ‘guldaudi’, ‘kachnar’, ‘jatadari lily’, ‘kaner’, ‘kanna’, ‘gullalla’, etc. ‘Sosan’ and ‘gullala’ prints are probably very suitable to sanganeri prints, therefore they are used in various forms.
In ‘booties’, generally, only one type of flower-petal and bud creations in the following forms : ‘badam, (almond)’, ‘paan’ (beetle leaf), ‘mukut of ‘kalanga’, While printing a saree, if the ‘booti’ is of ‘sosan’ flower or plant the ‘bel’ will also be of ‘sosan’ flower and the big’boota’ to be done on the ‘pallu’ (the end part of a saree) will also be of ‘sosan’ flower decoration.
BLOCK MAKING
The craft of block making came to Rajasthan along with printers from Sind-Punjab. Most of the block makers in Rajasthan are Muslims. The basic carving tools are made by block makers
themselves form iron rods, bicycle spokes etc. The ‘design” is first drawn on paper and stretched out on smooth surface of wood. The motif or design is then pierced through the needles so that the “impression” is transferred on the smooth surface of wood, later the unwanted areas are carved out. Iron nails and woolen-felt are also used to improve the quality of impression. Wooden block can be classified in three types viz Rekh’- the outline block, “gudh”- the background block, and “Datta’- the filling block.
Rekh’: The key outline block (from the Hindi word “ rekha” which
means line) defines the form of pattern. Normally rekh in considered the “key block” which gets printed first in order to give ‘clue’ to other block to fit in. In some cases rekh is split into two blocks in order to print two colours. This kind of block is known as ‘chirai’ (splitting) block
Gudh’: The block which covers the background of patterns in called gudh. Gudh is sometimes treated as the key block and printed first.
‘Datta’: All blocks other than over above mentioned two become ‘dattas’ or filling blocks.
The handle: Once the block is carved, a handle, usually of cheaper wood, is nailed to the block to help the printer in registering the impression with the block comfortable.
The handle is a very important part of block making, as it is this part which helps to trace the family who carved the block. One has only to look at the handle to identify the block maker as each family uses special effect in block handle. Some carve the handle out of the same piece of wood on which the design is carved and some shape the handle in a peculiar way.
The wood: Seesam, a kind of India teak is used for making blocks. Since it is tough wood the outline block which wears out most are made out of it. ‘Roahda’ and ‘Gurjan’ which are softer and lighter wood are used for making the rest of the blocks including mud resist blocks which generally need deep carving and light weight
Printing Tables
Traditionally printing tables were of 2 feet wide and 3 feet in length and 1foot high above the ground. These are known as‘patias’. Now-a-days bigger table 5 feet wide, 6 meters long and 4 feet high are used for faster production. Women and old printers prefer the traditional ‘patia’ for printing. The printing table are covered with 22 to 26 layers of Hessian cloth and finally covered with three-four layers of old fabric known as ‘acharas’. These ‘acharas’ are changed every time a fresh cloth is laid for printing. For better quality of workmanship the printers have two separate tables for printing black and red colors.
The craft of block making came to Rajasthan along with printers from Sind-Punjab. Most of the block makers in Rajasthan are Muslims. The basic carving tools are made by block makersthemselves form iron rods, bicycle spokes etc. The ‘design” is first drawn on paper and stretched out on smooth surface of wood. The motif or design is then pierced through the needles so that the “impression” is transferred on the smooth surface of wood, later the unwanted areas are carved out. Iron nails and woolen-felt are also used to improve the quality of impression. Wooden block can be classified in three types viz Rekh’- the outline block, “gudh”- the background block, and “Datta’- the filling block.
themselves form iron rods, bicycle spokes etc. The ‘design” is first drawn on paper and stretched out on smooth surface of wood. The motif or design is then pierced through the needles so that the “impression” is transferred on the smooth surface of wood, later the unwanted areas are carved out. Iron nails and woolen-felt are also used to improve the quality of impression. Wooden block can be classified in three types viz Rekh’- the outline block, “gudh”- the background block, and “Datta’- the filling block.
Rekh’: The key outline block (from the Hindi word “ rekha” whichmeans line) defines the form of pattern. Normally rekh in considered the “key block” which gets printed first in order to give ‘clue’ to other block to fit in. In some cases rekh is split into two blocks in order to print two colours. This kind of block is known as ‘chirai’ (splitting) block
means line) defines the form of pattern. Normally rekh in considered the “key block” which gets printed first in order to give ‘clue’ to other block to fit in. In some cases rekh is split into two blocks in order to print two colours. This kind of block is known as ‘chirai’ (splitting) block
Gudh’: The block which covers the background of patterns in called gudh. Gudh is sometimes treated as the key block and printed first.
‘Datta’: All blocks other than over above mentioned two become ‘dattas’ or filling blocks.
The handle: Once the block is carved, a handle, usually of cheaper wood, is nailed to the block to help the printer in registering the impression with the block comfortable.
‘Datta’: All blocks other than over above mentioned two become ‘dattas’ or filling blocks.
The handle: Once the block is carved, a handle, usually of cheaper wood, is nailed to the block to help the printer in registering the impression with the block comfortable.
The handle is a very important part of block making, as it is this part which helps to trace the family who carved the block. One has only to look at the handle to identify the block maker as each family uses special effect in block handle. Some carve the handle out of the same piece of wood on which the design is carved and some shape the handle in a peculiar way.
The wood: Seesam, a kind of India teak is used for making blocks. Since it is tough wood the outline block which wears out most are made out of it. ‘Roahda’ and ‘Gurjan’ which are softer and lighter wood are used for making the rest of the blocks including mud resist blocks which generally need deep carving and light weight
Printing Tables
Traditionally printing tables were of 2 feet wide and 3 feet in length and 1foot high above the ground. These are known as‘patias’. Now-a-days bigger table 5 feet wide, 6 meters long and 4 feet high are used for faster production. Women and old printers prefer the traditional ‘patia’ for printing. The printing table are covered with 22 to 26 layers of Hessian cloth and finally covered with three-four layers of old fabric known as ‘acharas’. These ‘acharas’ are changed every time a fresh cloth is laid for printing. For better quality of workmanship the printers have two separate tables for printing black and red colors.
The wood: Seesam, a kind of India teak is used for making blocks. Since it is tough wood the outline block which wears out most are made out of it. ‘Roahda’ and ‘Gurjan’ which are softer and lighter wood are used for making the rest of the blocks including mud resist blocks which generally need deep carving and light weight
Printing Tables
Traditionally printing tables were of 2 feet wide and 3 feet in length and 1foot high above the ground. These are known as‘patias’. Now-a-days bigger table 5 feet wide, 6 meters long and 4 feet high are used for faster production. Women and old printers prefer the traditional ‘patia’ for printing. The printing table are covered with 22 to 26 layers of Hessian cloth and finally covered with three-four layers of old fabric known as ‘acharas’. These ‘acharas’ are changed every time a fresh cloth is laid for printing. For better quality of workmanship the printers have two separate tables for printing black and red colors.
SANGANERI PRINTING
THE SANGANER- IT's HISTORY
Sanganer is situated about 8 kilometers south-east of Jaipur city. Prior to the 17th century, there is no mention of Sanganer as a centre of printing. At that time Sanganer was known as a centre of plain and dyed clothes. It was probably towards the end of the 17th century that this art form developed here. Probably due to war with Emperor Auranngzeb and the repeated invasions 
of the Marathas, many craftsmen (Printers) from the neighboring state Gujarat came and settled in Rajasthan. By the end of the 18th century this industry was fully developed in Sanganer. It is famous for dyeing and printing of colorful dresses, bed sheets, curtains, dress material and variety of other textiles. Bulk of the textile products of these industries is exported. The total area of Sanganer is about 635.5 Sq. km out of which, 12.9 Sq. km comprises the urban area. Most of the textile industries of Sanganer are concentrated in this urban area. There are estimated to be around 500 block and screenprinting units in Sanganer. There are at present, about 125 hand block printing units in Sanganer. Sanganer was renowned for its small decorative and delicate floral patterns, called, 'boota-booties' which was printed on fine cotton and silk.
The dyers and block makers came from Sindh and Punjab and settled here. The printers belong to chhipa community. They are all Hindus and are followers of the renowned Marathi Saint Namdev. Almost every member of the 'Chippa' family is involved in the washing, dyeing and printing of clothes. While, the printers are predominantly Hindus, majority of dyers and block makers are Muslims.Water of the Saraswati River that used to flow graciously through Sanganer, was known for its special quality that used to bring out radiance from the natural dyed fabric. This was major source of inspiration for the printing community.
In older days, the fabric was printed mainly for use of royal families and rich traders but now it is used as part of clothing for urban families and also exported. The principal items printed here include sarees, dupattas, salwar-kameez, bed cover, curtains, scarves, and printed yardages (running cloth material), etc. Both local and imported cloth material are used. At present, 'mulmu' (cotton voile), 'latha' (sheeting fabrics) and cambric etc. are sourced from Jaipur.On Sanganeri 'chintz' (printed cloth) usually, yellow, green blue (with different tones) are used as the background. These days one rarely comes across the variety of shades that were found in the old Sanganeri 'chintz' but still the 'chhip'; for sanganer have the incomparable know-how of matching the back ground on base colour with colours of the prints.
Sanganer is situated about 8 kilometers south-east of Jaipur city. Prior to the 17th century, there is no mention of Sanganer as a centre of printing. At that time Sanganer was known as a centre of plain and dyed clothes. It was probably towards the end of the 17th century that this art form developed here. Probably due to war with Emperor Auranngzeb and the repeated invasions of the Marathas, many craftsmen (Printers) from the neighboring state Gujarat came and settled in Rajasthan. By the end of the 18th century this industry was fully developed in Sanganer. It is famous for dyeing and printing of colorful dresses, bed sheets, curtains, dress material and variety of other textiles. Bulk of the textile products of these industries is exported. The total area of Sanganer is about 635.5 Sq. km out of which, 12.9 Sq. km comprises the urban area. Most of the textile industries of Sanganer are concentrated in this urban area. There are estimated to be around 500 block and screenprinting units in Sanganer. There are at present, about 125 hand block printing units in Sanganer. Sanganer was renowned for its small decorative and delicate floral patterns, called, 'boota-booties' which was printed on fine cotton and silk.
of the Marathas, many craftsmen (Printers) from the neighboring state Gujarat came and settled in Rajasthan. By the end of the 18th century this industry was fully developed in Sanganer. It is famous for dyeing and printing of colorful dresses, bed sheets, curtains, dress material and variety of other textiles. Bulk of the textile products of these industries is exported. The total area of Sanganer is about 635.5 Sq. km out of which, 12.9 Sq. km comprises the urban area. Most of the textile industries of Sanganer are concentrated in this urban area. There are estimated to be around 500 block and screenprinting units in Sanganer. There are at present, about 125 hand block printing units in Sanganer. Sanganer was renowned for its small decorative and delicate floral patterns, called, 'boota-booties' which was printed on fine cotton and silk.The dyers and block makers came from Sindh and Punjab and settled here. The printers belong to chhipa community. They are all Hindus and are followers of the renowned Marathi Saint Namdev. Almost every member of the 'Chippa' family is involved in the washing, dyeing and printing of clothes. While, the printers are predominantly Hindus, majority of dyers and block makers are Muslims.Water of the Saraswati River that used to flow graciously through Sanganer, was known for its special quality that used to bring out radiance from the natural dyed fabric. This was major source of inspiration for the printing community.
In older days, the fabric was printed mainly for use of royal families and rich traders but now it is used as part of clothing for urban families and also exported. The principal items printed here include sarees, dupattas, salwar-kameez, bed cover, curtains, scarves, and printed yardages (running cloth material), etc. Both local and imported cloth material are used. At present, 'mulmu' (cotton voile), 'latha' (sheeting fabrics) and cambric etc. are sourced from Jaipur.On Sanganeri 'chintz' (printed cloth) usually, yellow, green blue (with different tones) are used as the background. These days one rarely comes across the variety of shades that were found in the old Sanganeri 'chintz' but still the 'chhip'; for sanganer have the incomparable know-how of matching the back ground on base colour with colours of the prints.
SANGANERI PRINTING
THE STYLES
Sanganer now is part of greater Jaipur. The River Saraswati is dried up completely and now waste water of the city flows through it. The main resource of water is the ground water which is also receding at alarming rate. Most of the printer’s families have converted their homes 
into small printing units where printers from Sanganer and nearby villages come and print fabrics. The transition from the traditional dyes to the modern chemical dyes four to five decades back forced the traditional dyers /printers to adapt the new technology with hit and trial method. Most of the printer’s families were uneducated and the dye manufacturing companies too were more interested in selling the products.
Though the chemical dyes were manufactured for the organized textile sector, the cottage industries adapted them without much technical knowhow. At present the following styles are been used at the printing units in Sanganer.
:
In this style, dyed ground is removed leaving white or coloured patterns on the original ground by using a various types of reducing agents. Following ground shades are commonly used for getting white and coloured patterns.
- Direct dyed ground
- azoic dyed ground
- reactive dyed ground
- Aniline black ground
- Indigo sol ground
These all are only for cotton material Rangolite-c is used as reducing agents Rangolite-c is complex compound of formaldehyde and sodium hydro sulphite.
Chemically it is a sodium sulphenate of formaldehyde, chemically it is sodium. Sncl2 is also used as reducing agent for printing.
:
Pigments are the organic or inorganic substances insoluble in water and have no affinity for any textile materials. However they are fixed by using a synthetic binder which binds the colored pigments and form a transparent thin film over the fabric. Thus pigment molecules are bound between the binder film and textiles. The rubbing fastness property depends upon the types of binder catalyst used.
IndigoSol & Rapids:
These classes of soluble vat colors are the best in all round fastness properties. These dyes can be easily mixed with azoic (rapid) dyes and give complete range of colors.
- Metal printing: Metallic powder is applied to produce a design in gold silver etc. they are printed with synthetic binders such as binder SLN.
- Khadi Printing: Production of Khadi effect can be brought about by using Titanium dioxide and printing powder.
- Batik printing: Various designs can be produced first with the molten wax which is the main mechanical resist after the wax become hard. The whole cloth is crumbed to produce crushed effect on the wax portion. The cloth is dyed with indigo sol vat or azoic colors. The wax is removed by boiling, though this is a very lengthy process but excellent marble effect of various hues can be obtained which is not possible by any methods of printing.
Sanganer now is part of greater Jaipur. The River Saraswati is dried up completely and now waste water of the city flows through it. The main resource of water is the ground water which is also receding at alarming rate. Most of the printer’s families have converted their homes into small printing units where printers from Sanganer and nearby villages come and print fabrics. The transition from the traditional dyes to the modern chemical dyes four to five decades back forced the traditional dyers /printers to adapt the new technology with hit and trial method. Most of the printer’s families were uneducated and the dye manufacturing companies too were more interested in selling the products.
Though the chemical dyes were manufactured for the organized textile sector, the cottage industries adapted them without much technical knowhow. At present the following styles are been used at the printing units in Sanganer.
into small printing units where printers from Sanganer and nearby villages come and print fabrics. The transition from the traditional dyes to the modern chemical dyes four to five decades back forced the traditional dyers /printers to adapt the new technology with hit and trial method. Most of the printer’s families were uneducated and the dye manufacturing companies too were more interested in selling the products.Though the chemical dyes were manufactured for the organized textile sector, the cottage industries adapted them without much technical knowhow. At present the following styles are been used at the printing units in Sanganer.
:
In this style, dyed ground is removed leaving white or coloured patterns on the original ground by using a various types of reducing agents. Following ground shades are commonly used for getting white and coloured patterns.
In this style, dyed ground is removed leaving white or coloured patterns on the original ground by using a various types of reducing agents. Following ground shades are commonly used for getting white and coloured patterns.
- Direct dyed ground
- azoic dyed ground
- reactive dyed ground
- Aniline black ground
- Indigo sol ground
These all are only for cotton material Rangolite-c is used as reducing agents Rangolite-c is complex compound of formaldehyde and sodium hydro sulphite.
Chemically it is a sodium sulphenate of formaldehyde, chemically it is sodium. Sncl2 is also used as reducing agent for printing.
Chemically it is a sodium sulphenate of formaldehyde, chemically it is sodium. Sncl2 is also used as reducing agent for printing.
:
Pigments are the organic or inorganic substances insoluble in water and have no affinity for any textile materials. However they are fixed by using a synthetic binder which binds the colored pigments and form a transparent thin film over the fabric. Thus pigment molecules are bound between the binder film and textiles. The rubbing fastness property depends upon the types of binder catalyst used.
IndigoSol & Rapids:
These classes of soluble vat colors are the best in all round fastness properties. These dyes can be easily mixed with azoic (rapid) dyes and give complete range of colors.
Pigments are the organic or inorganic substances insoluble in water and have no affinity for any textile materials. However they are fixed by using a synthetic binder which binds the colored pigments and form a transparent thin film over the fabric. Thus pigment molecules are bound between the binder film and textiles. The rubbing fastness property depends upon the types of binder catalyst used.IndigoSol & Rapids:
These classes of soluble vat colors are the best in all round fastness properties. These dyes can be easily mixed with azoic (rapid) dyes and give complete range of colors.- Metal printing: Metallic powder is applied to produce a design in gold silver etc. they are printed with synthetic binders such as binder SLN.
- Khadi Printing: Production of Khadi effect can be brought about by using Titanium dioxide and printing powder.
- Batik printing: Various designs can be produced first with the molten wax which is the main mechanical resist after the wax become hard. The whole cloth is crumbed to produce crushed effect on the wax portion. The cloth is dyed with indigo sol vat or azoic colors. The wax is removed by boiling, though this is a very lengthy process but excellent marble effect of various hues can be obtained which is not possible by any methods of printing.
Th
SCREEN PRINTING
Th
SCREEN PRINTING
THE SANGANER
Hand screen printing
Hand screen printing is a slower method of flatbed screen printing, which is done commercially on long tables up to 100 yds. Printers move the screen with great care, one frame at a time, until the entire length of cloth is printed.
Flatbed screen printing
This is the modern version of hand screen printing and incorporates a flat bed, which moves with the fabric on top. Stationary screens automatically print the moving fabric.
Rotary printing
A rotary (roller) screen is a cylinder of thin flexible metal or plastic. The circumference of the roll determines the size of design repeat. Rotary screen printing is the fastest method of printing and gives the finest of designs which, at times, may be difficult to print by any other method.
Hand screen printing
Hand screen printing is a slower method of flatbed screen printing, which is done commercially on long tables up to 100 yds. Printers move the screen with great care, one frame at a time, until the entire length of cloth is printed.
Flatbed screen printing
This is the modern version of hand screen printing and incorporates a flat bed, which moves with the fabric on top. Stationary screens automatically print the moving fabric.
Rotary printing
A rotary (roller) screen is a cylinder of thin flexible metal or plastic. The circumference of the roll determines the size of design repeat. Rotary screen printing is the fastest method of printing and gives the finest of designs which, at times, may be difficult to print by any other method.
The Bagru Print
The traditional ‘motifs’ of Bagru have however under gone change over the years. The entire population of ‘chhipas’ which were earlier engaged in production of all local varieties of printed fabrics mostly of ‘fadats,indigo fabric’, ‘angochha’ (small towel), ‘bichhauni’ (bed spread), rajai (quilt) are now engaged in production of sophisticated ‘ kaftans’ ‘wraparounds’ (skirts), ‘midis’ etc. All the same, basic techniques and colours have remained unchanged and unaffected through these centuries, this makes the Bagru prints spectacularly different, distinctive and highly specialized.The local people, particularly the women folk, mainly used the Bagru prints in the past. Patterns in rich colours like the indigo blue, alizarin, iron block and bright yellow were produced on coarse cotton cloth by indigenous processed of dyeing and printing. In building up patterns, geometrical forms were adopted along with floral, animal and bird forms. Everything seemed to be inspired from local sources. Synthetic dyed have now replaced some natural dyes but their ‘resists, and their application and processed and their sequences have hardly under gone any change. The styles and motifs have been adapted to some extent to the changing market pattern.
The Syahi-Begar prints are a combination of black and yellow ochre or cream. The Dabu prints are created by hiding them from dye, by applying a resist. Bagru prints are characterized by circular designs, as well as linear and floral patterns.In both the Sanganer and Bagru prints, the colors are picked carefully. Each has a separate significance. For instance, red is the color of love, yellow of spring, indigo of Lord Krishna, and saffron of the yogi (seer). The wooden blocks that are used are made of teak wood.Traditionally,vegetable dyes made of madder, pomegranate rind, indigo, and turmeric are used. These have now been largely replaced by chemical dyes. Often, the fabric is dyed before it is printed.
The traditional ‘motifs’ of Bagru have however under gone change over the years. The entire population of ‘chhipas’ which were earlier engaged in production of all local varieties of printed fabrics mostly of ‘fadats,indigo fabric’, ‘angochha’ (small towel), ‘bichhauni’ (bed spread), rajai (quilt) are now engaged in production of sophisticated ‘ kaftans’ ‘wraparounds’ (skirts), ‘midis’ etc. All the same, basic techniques and colours have remained unchanged and unaffected through these centuries, this makes the Bagru prints spectacularly different, distinctive and highly specialized.The local people, particularly the women folk, mainly used the Bagru prints in the past. Patterns in rich colours like the indigo blue, alizarin, iron block and bright yellow were produced on coarse cotton cloth by indigenous processed of dyeing and printing. In building up patterns, geometrical forms were adopted along with floral, animal and bird forms. Everything seemed to be inspired from local sources. Synthetic dyed have now replaced some natural dyes but their ‘resists, and their application and processed and their sequences have hardly under gone any change. The styles and motifs have been adapted to some extent to the changing market pattern.
The Syahi-Begar prints are a combination of black and yellow ochre or cream. The Dabu prints are created by hiding them from dye, by applying a resist. Bagru prints are characterized by circular designs, as well as linear and floral patterns.In both the Sanganer and Bagru prints, the colors are picked carefully. Each has a separate significance. For instance, red is the color of love, yellow of spring, indigo of Lord Krishna, and saffron of the yogi (seer). The wooden blocks that are used are made of teak wood.Traditionally,vegetable dyes made of madder, pomegranate rind, indigo, and turmeric are used. These have now been largely replaced by chemical dyes. Often, the fabric is dyed before it is printed.
The traditional printing process in sanganer and Bagru can be described as follows:
Scouring- locally called ‘Hari Sarana’
The fabric that comes from mills of handloom sector contains natural and added impurities such as starch, oil and dust. To get goods and even penetration of colours, the fabric is boiled with soap and desizing agents. Traditionally cow dung was used for scouring. Cow dung contains a lot of alkali, Cow dung and water are mixed together and the cloth (running cloth ‘than’cut in required length) is then left dipped in that paste overnight. The process of washing is a long one, generally carried out by the ladies. The next day, the clothes are washed and spread on large open grounds. Before the clothes dry completely, more water is sprinkled on them and thus they are made wet again. This process of sprinkling water and drying is repeated 5-6 times a day. This procedure is carried out unit the cloth becomes white and bright. Generally, as per requirement, this process in done for 3 to 6 days. After this the cloth is washed with pure water. Since it is tedious and time consuming, soaps have replaced the cow dung in this process.
Tannin- locally called ‘Peela Karana’
‘Harda’Washed fabric is treated with myrobalan (harda) which contains tannic acid. Tannic acid attracts the mordants, which are applied with hand woodblock. ‘Harda’ powder is mixed with water, and the cloth is submerged in it, squeezed and dried flat on the ground. Once the fabric is dried, it is folded and beaten with a wooden mallet to remove excess ‘harda’ powder and open up the fiber to accept the dye. This process in known as ‘peela karna’. The tannic acid of myrobalam (harda) forms black colour with ferrous ( syahee )which is traditionally made by reaction of old rusted horse shoe nails with jaggery.
Printing (mordanting)- locally called ‘chapai’
The fabric is printed with two mordant- ferrous (‘syahee’) made out of rusted horse shoe nails, and alum (‘begar’). Usually ferrous is printed with the outline block (‘rekh’). As it immediately shows a black impression, it is easy for another printer to place the filler block (‘datta’) with beggar or alum. The background block (Gudh’) comes later.
Ageing-locally called ‘Sukhai’
The printed fabric is left hanging at the printing areas for at least three-four days so that the prints(mordant paste) penetrates into the fiber structure. Longer the ageing better is the result.
Washing- locally called ‘Dhulai’
The printed fabric is washed in running water. It is important to understand the need of running/flowing water. While washing the printed fabric in running water the excess mordants come out and get washed away with the flow of water without getting stuck back to the cloth. Water shortage has forced the printers to cut short this process due to which, the colors do not get fixed up properly and later “bleed” and people think that natural dyes are not fast.
Dyeing (fixing of color) - locally called ‘Ghan Rangai’
Dyeing is a process in which the dye reacts with two mordants at two different locations on the same print giving two different shades of colors. As mentioned earlier ‘alizarin’ is used as the dye throughout Rajasthan. The colours obtained in conjunction with the two mordants are red (with alum) and block (with ferrous). Dyeing is carried out in large copper vessels (‘tambri’) which are heated by wood fire. Alizarin is filled in small cloth-bags (‘potali’) and dipped in the vessel. The quantity of alizarin dye is calculated by the experienced dyer. ‘Dhawadi phool’, a local flower is boiled along with alizarin to avoid patches and staining. Once the dyed fabric is ready (usually it takes half-an-hour), it is taken out of the copper vessel and left on the ground for drying.
Sun-bleaching- locally called ‘Tapai’
Alizarin often”over dyes” the unprinted area giving an off-white or yellow tinge all over the fabric which makes the print look dull. In order to make the ground look ‘white’ again the fabric is sun-bleached. In this process the fabric is laid flat on a river bed, a mild solution of cow dung and water is sprinkled over the fabric. This process is repeated again when the fabric is dried. The interaction of alkali (of cow dung) and thermal heat (sun ray) bleach the ground color making it look white again. Sometimes this process in carried out before the tannin (‘harda’) treatment but due to shortage of water this process is cut short and these days the ‘off- white’ color of the background has become a part of natural dyeing process.
DABU PRINTING
Dabu is a mud-resist hand-block printing practiced in Rajasthan of India. The prints have a sublime quality and appearance. In making of the printed fabrics, a lot of manual process and hard work is involved and the process of uses lots of natural dyes and vegetable pastes. Here is a brief outline of the process. This unique form of printing is also environmentally non-toxic and uses no harmful or synthetic dyes
Prepration of Mud Resist
Preparation of Mud Resist
The Process of Dabu Printing starts with the preparation of mud resist the clay is prepared by finely sieving it. Calcium hydroxide (Chuna in Hindi), naturally pounded wheat chaff (Beedan in hindi,clay-lime-gum-insect eaten wheat mixture), and gum (gound in hindi) are the main ingredients to make the mud resist. The dug out mud from the dry pond is soaked in water in a separate tank overnight. The mud resist is freshly prepared before every printing.
Dabu printing is also a unique art form found alongside Bagru prints. In this, a design is sketched onto the background cloth. This sketched design is covered with clay on which saw dust is sprinkled. The saw dust sticks to the cloth as the clay dries. Thereafter, the entire cloth is dyed in select colors. The area where clay and sawdust mixture is present does not catch the dye and remains colorless. After dyeing and drying, the cloth is washed to remove the clay and the mixture. For additional color, this cloth is dyed again in a lighter shade to cover the patterned area.
The traditional printing process in sanganer and Bagru can be described as follows:
Scouring- locally called ‘Hari Sarana’
The fabric that comes from mills of handloom sector contains natural and added impurities such as starch, oil and dust. To get goods and even penetration of colours, the fabric is boiled with soap and desizing agents. Traditionally cow dung was used for scouring. Cow dung contains a lot of alkali, Cow dung and water are mixed together and the cloth (running cloth ‘than’cut in required length) is then left dipped in that paste overnight. The process of washing is a long one, generally carried out by the ladies. The next day, the clothes are washed and spread on large open grounds. Before the clothes dry completely, more water is sprinkled on them and thus they are made wet again. This process of sprinkling water and drying is repeated 5-6 times a day. This procedure is carried out unit the cloth becomes white and bright. Generally, as per requirement, this process in done for 3 to 6 days. After this the cloth is washed with pure water. Since it is tedious and time consuming, soaps have replaced the cow dung in this process.
Scouring- locally called ‘Hari Sarana’
The fabric that comes from mills of handloom sector contains natural and added impurities such as starch, oil and dust. To get goods and even penetration of colours, the fabric is boiled with soap and desizing agents. Traditionally cow dung was used for scouring. Cow dung contains a lot of alkali, Cow dung and water are mixed together and the cloth (running cloth ‘than’cut in required length) is then left dipped in that paste overnight. The process of washing is a long one, generally carried out by the ladies. The next day, the clothes are washed and spread on large open grounds. Before the clothes dry completely, more water is sprinkled on them and thus they are made wet again. This process of sprinkling water and drying is repeated 5-6 times a day. This procedure is carried out unit the cloth becomes white and bright. Generally, as per requirement, this process in done for 3 to 6 days. After this the cloth is washed with pure water. Since it is tedious and time consuming, soaps have replaced the cow dung in this process.
Tannin- locally called ‘Peela Karana’
‘Harda’Washed fabric is treated with myrobalan (harda) which contains tannic acid. Tannic acid attracts the mordants, which are applied with hand woodblock. ‘Harda’ powder is mixed with water, and the cloth is submerged in it, squeezed and dried flat on the ground. Once the fabric is dried, it is folded and beaten with a wooden mallet to remove excess ‘harda’ powder and open up the fiber to accept the dye. This process in known as ‘peela karna’. The tannic acid of myrobalam (harda) forms black colour with ferrous ( syahee )which is traditionally made by reaction of old rusted horse shoe nails with jaggery.
‘Harda’Washed fabric is treated with myrobalan (harda) which contains tannic acid. Tannic acid attracts the mordants, which are applied with hand woodblock. ‘Harda’ powder is mixed with water, and the cloth is submerged in it, squeezed and dried flat on the ground. Once the fabric is dried, it is folded and beaten with a wooden mallet to remove excess ‘harda’ powder and open up the fiber to accept the dye. This process in known as ‘peela karna’. The tannic acid of myrobalam (harda) forms black colour with ferrous ( syahee )which is traditionally made by reaction of old rusted horse shoe nails with jaggery.
Printing (mordanting)- locally called ‘chapai’
The fabric is printed with two mordant- ferrous (‘syahee’) made out of rusted horse shoe nails, and alum (‘begar’). Usually ferrous is printed with the outline block (‘rekh’). As it immediately shows a black impression, it is easy for another printer to place the filler block (‘datta’) with beggar or alum. The background block (Gudh’) comes later.
The fabric is printed with two mordant- ferrous (‘syahee’) made out of rusted horse shoe nails, and alum (‘begar’). Usually ferrous is printed with the outline block (‘rekh’). As it immediately shows a black impression, it is easy for another printer to place the filler block (‘datta’) with beggar or alum. The background block (Gudh’) comes later.
Ageing-locally called ‘Sukhai’
The printed fabric is left hanging at the printing areas for at least three-four days so that the prints(mordant paste) penetrates into the fiber structure. Longer the ageing better is the result.
The printed fabric is left hanging at the printing areas for at least three-four days so that the prints(mordant paste) penetrates into the fiber structure. Longer the ageing better is the result.
Washing- locally called ‘Dhulai’
The printed fabric is washed in running water. It is important to understand the need of running/flowing water. While washing the printed fabric in running water the excess mordants come out and get washed away with the flow of water without getting stuck back to the cloth. Water shortage has forced the printers to cut short this process due to which, the colors do not get fixed up properly and later “bleed” and people think that natural dyes are not fast.
The printed fabric is washed in running water. It is important to understand the need of running/flowing water. While washing the printed fabric in running water the excess mordants come out and get washed away with the flow of water without getting stuck back to the cloth. Water shortage has forced the printers to cut short this process due to which, the colors do not get fixed up properly and later “bleed” and people think that natural dyes are not fast.
Dyeing (fixing of color) - locally called ‘Ghan Rangai’
Dyeing is a process in which the dye reacts with two mordants at two different locations on the same print giving two different shades of colors. As mentioned earlier ‘alizarin’ is used as the dye throughout Rajasthan. The colours obtained in conjunction with the two mordants are red (with alum) and block (with ferrous). Dyeing is carried out in large copper vessels (‘tambri’) which are heated by wood fire. Alizarin is filled in small cloth-bags (‘potali’) and dipped in the vessel. The quantity of alizarin dye is calculated by the experienced dyer. ‘Dhawadi phool’, a local flower is boiled along with alizarin to avoid patches and staining. Once the dyed fabric is ready (usually it takes half-an-hour), it is taken out of the copper vessel and left on the ground for drying.
Dyeing is a process in which the dye reacts with two mordants at two different locations on the same print giving two different shades of colors. As mentioned earlier ‘alizarin’ is used as the dye throughout Rajasthan. The colours obtained in conjunction with the two mordants are red (with alum) and block (with ferrous). Dyeing is carried out in large copper vessels (‘tambri’) which are heated by wood fire. Alizarin is filled in small cloth-bags (‘potali’) and dipped in the vessel. The quantity of alizarin dye is calculated by the experienced dyer. ‘Dhawadi phool’, a local flower is boiled along with alizarin to avoid patches and staining. Once the dyed fabric is ready (usually it takes half-an-hour), it is taken out of the copper vessel and left on the ground for drying.
Sun-bleaching- locally called ‘Tapai’
Alizarin often”over dyes” the unprinted area giving an off-white or yellow tinge all over the fabric which makes the print look dull. In order to make the ground look ‘white’ again the fabric is sun-bleached. In this process the fabric is laid flat on a river bed, a mild solution of cow dung and water is sprinkled over the fabric. This process is repeated again when the fabric is dried. The interaction of alkali (of cow dung) and thermal heat (sun ray) bleach the ground color making it look white again. Sometimes this process in carried out before the tannin (‘harda’) treatment but due to shortage of water this process is cut short and these days the ‘off- white’ color of the background has become a part of natural dyeing process.
Alizarin often”over dyes” the unprinted area giving an off-white or yellow tinge all over the fabric which makes the print look dull. In order to make the ground look ‘white’ again the fabric is sun-bleached. In this process the fabric is laid flat on a river bed, a mild solution of cow dung and water is sprinkled over the fabric. This process is repeated again when the fabric is dried. The interaction of alkali (of cow dung) and thermal heat (sun ray) bleach the ground color making it look white again. Sometimes this process in carried out before the tannin (‘harda’) treatment but due to shortage of water this process is cut short and these days the ‘off- white’ color of the background has become a part of natural dyeing process.
DABU PRINTING
Dabu is a mud-resist hand-block printing practiced in Rajasthan of India. The prints have a sublime quality and appearance. In making of the printed fabrics, a lot of manual process and hard work is involved and the process of uses lots of natural dyes and vegetable pastes. Here is a brief outline of the process. This unique form of printing is also environmentally non-toxic and uses no harmful or synthetic dyes
Prepration of Mud Resist
Preparation of Mud Resist
The Process of Dabu Printing starts with the preparation of mud resist the clay is prepared by finely sieving it. Calcium hydroxide (Chuna in Hindi), naturally pounded wheat chaff (Beedan in hindi,clay-lime-gum-insect eaten wheat mixture), and gum (gound in hindi) are the main ingredients to make the mud resist. The dug out mud from the dry pond is soaked in water in a separate tank overnight. The mud resist is freshly prepared before every printing.
Dabu printing is also a unique art form found alongside Bagru prints. In this, a design is sketched onto the background cloth. This sketched design is covered with clay on which saw dust is sprinkled. The saw dust sticks to the cloth as the clay dries. Thereafter, the entire cloth is dyed in select colors. The area where clay and sawdust mixture is present does not catch the dye and remains colorless. After dyeing and drying, the cloth is washed to remove the clay and the mixture. For additional color, this cloth is dyed again in a lighter shade to cover the patterned area.
Dabu printing is also a unique art form found alongside Bagru prints. In this, a design is sketched onto the background cloth. This sketched design is covered with clay on which saw dust is sprinkled. The saw dust sticks to the cloth as the clay dries. Thereafter, the entire cloth is dyed in select colors. The area where clay and sawdust mixture is present does not catch the dye and remains colorless. After dyeing and drying, the cloth is washed to remove the clay and the mixture. For additional color, this cloth is dyed again in a lighter shade to cover the patterned area.
Hi,
ReplyDeleteThis is s very well detailed article. I am visiting Jaipur this december and i very much keen to take an half day workshop on block printing. I know there are few such workshops in Bagru. BUt it would be difficult to go there. Are there similar workshops in Sanganer? Could you guide me as to how i can well plan my day trip in Sanganer?
blue pottery and handmade paper is also made there. Keen to check out these workshops too.
Thanks a ton
Priyanka