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 INDEX

UNIT-I.................................................................... 3
Lesson 1: Kantha of Bengal .................................... 4
Lesson 2: Kasuti of Karnataka .............................. 21
Lesson 3: Phulkari of Punjab ................................ 37
Lesson 4: Embroideries of Gujarat ....................... 56
Practical Exercises ............................................... 73
UNIT-II ................................................................ 81
Lesson 5: Applique Craft of Orissa........................ 82
Lesson 6: Chikankari of Uttar Pradesh ............... 104
Lesson 7: Chamba Rumal of Himachal Pradesh .. 128
Lesson 8: Kasida of Kashmir .............................. 151
UNIT-III............................................................. 174
Lesson 9: Traditional Textiles of India ............... 175
UNIT-IV.............................................................. 196
Lesson 10: Printed and Painted Textiles of India 197
Lesson 11: Sanganer and Bhagru Printing.......... 201
Lesson 12: Kalamkari ......................................... 210
UNIT-V ............................................................... 227
Lesson 13: Ajrakh .............................................. 228
Lesson 14: Mithila Painting ................................ 243
Lesson 15: Patola, Ikat, Pochmpalli and Mashru 258
Lesson 16: Bandhini Work of Rajasthan and Gujarat
........................................................................... 272
References books ............................................... 284
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 UNIT-I

Lesson 1: Kantha of Bengal

Lesson 2: Kasuti of Karnataka
Lesson 3: Phulkari of Punjab
Lesson 4: Embroideries of Gujarat
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 Lesson 1: Kantha of Bengal
Objective:
After going through this unit you should be able
to ―understand the traditional embroidery of
West Bengal.‖

Structure:
1.1 Introduction
1.2 Styles of Kantha
1.3 Fabric Used
1.4 Stitches Used
1.5 Threads Used
1.6 Motifs Used
1.7 Types of Kantha

1.1 Introduction
The traditional folk art of Bengal is famous as
kantha, which means ‗patched cloth‘. The special
significance of kantha is quilting.
Kantha is embroidered using worn out textiles that
are to be thrown away. It is a treasured art in
Bengal where ladies irrespective of their castes,
classes and socio economic groups are expert at
the embroidery not only depicts the stitches
employed but also express the outflow of their
creative, resourceful, imaginary and patient
craftsman ship.
Kanthas are produced at Hugli, Patna, Satagaon,
Jessore, Faridpur , Khulan and other parts of East
and West Bengal. Kanthas were domestic and
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feminine are never prepared for sale. A kantha

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made by each individual is unique in itself. Each

woman make new fresh form of art on the fabrics.
The ideas themes, scenes and symbols are almost
common as they come from similar economical
background. Some basic traditional designs are seen
in each piece of work.

1.2 Styles of Kantha

Two kinds of style are adopted to produce kantha
a) Old discarded cotton saris or dhotis were piled on
top of each other, quilted and embroidered.
b) Discarded cotton bed covers were piled up or
folded, quilted and embroidered with pictorial
embroidery.

1.3 Fabric Used

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Base fabric used in the traditional kantha was

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always white cotton, as the saris of the Bengali

woman are mostly white and of cotton. Silk was also
used at times. Now tussar silk in black, beige, dull
orange are used. The colour of the base fabric of a
kantha is always neutral – black, white, beige, grey,
dull brown.

1.4 Stitches Used

Kantha embroidery is widely done by using the
running stitch; but stem and satin stitches are also
used.

1.5 Threads Used

White cotton threads and sometimes-silk threads
are also used. Sometimes the borders of the old
saris are stitched around the piece of embroidered
kantha. Colours of the threads used are red, black,
blue, green, and yellow/ mustard.

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1.6 Motifs Used
Portuguese and European traditions have a great
influence on the motifs of kantha. The first time the
kanthas were commercially manufactured was in
1875 in Patna. The motifs used are rotons, mandala,
trees, creepers, foliage, paisleys, animal, human
figures, spiral, birds, fish, shell, nutcrackers, mirror
comb, umbrella, chariot, palanquin, boats,
sceneries, mermaids etc.
There were also scenes from day to day life scenes
from the epics, peacock, temple, hukka, jewelery.
Come kanthas even had steeds of gods like bull,
swan, lion, elephant, Cat and swan. Lotus is the
most widely used kantha motif. Some other motifs
like thunderbolt and swastik are also used. The
spiral represent the eternal life cycle.
Do - rukha kantha is the one which appears
identical on both sides face and back of the fabric.

1.7 Types of Kantha

There are different kinds of kanthas named
according to its utility. According to Jasleen
Dhamija, there are seven types of kantha used as
wrapper in winter, for books, valuables, mirrors,
combs, wallets, pillow and bed spreads.
Arshilata is used as cover or wrap for mirror, comb
and other such toilet articles. It is a narrow
rectangular piece of eight inch wide and twelve inch
length. It has a wide border and the central motif is
taken from the scenes of Krishna leela or Radha –
Krishna raas. The lotus trees, creepers, spirals
inverted triangles, zigzag lines, scrolls are also some
of the commonly used motifs.
Bayton, a three feet square piece serves as a wrap
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for books and other similar valuables. It has a

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central motif, usually the lotus with hundred petals
called ‗satadala padma‘. This motif with hundred
petals is simply a figure, which does not signify
anything precisely. The traditional and folk design of
oldest style in Bayton is the Mandala whick
symbolizes the unity of all manifestations of life. The
core has Satadala Padma with two or three borders
on the sides. The other motifs commonly seen are
p\water pots, conch shell, kalkas, trees, foliages,
flowers, birds, elephants, chariot, human figures
etc, sometimes the figure of lord Ganesha and
Goddess Saraswati with their steed are also
observed. Special motifs on Bayton are worked with
w\wan as a book wrapper. In other words, the
designs often collaborate and this colourful
embroidery is made with yellow, green blue and red
coloured threads. This kantha is often carried while
travelling and also presented as gift to their kith and
kins.
Durjani (Durfani) is also known as Thalia. It is a
square piece kantha, covers the wallet, and has a
central lotus motif with a elaborated border. The
three corners of this piece are drawn together
inward to make the tips to touch at the centre and
sewn together like an envelop. It will have another
open flap to which a string, tussle or decorated
thread is either stitched or mechanically fixed which
can be wound and tied up when rolled. The other
motifs used are various types of foliages, snakes
and other objects taken from the natural
surroundings.
Lep kantha is relatively a thick quilted wrap padder
by more number of sari layers placed on top of each
other, to provide warmth during winter season. Lep
is also popular as ‗desired covering. Simple
geometrical designs are worked with running stitch
using coloured threads. The entire Lep piece is given
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a wavy rippled appearance by working simple
embroideries.
Oar (ooar), the kantha serves as a pillow cover. It
is rectangular piece whose size is about two feet by
one and half feet. Usually simple designs like trees,
foliages, creepers, birds or a liner design with
longitudinal border constitutes the ground base and
decorative border is stitched around its four sides.
The most popular and striking kantha is the Sunjani
(Sujni), generally large rectangular piece of three
feet by six feet, used as a spread during ceremonial
occasion. Its size has provided full scope for the
workers to express and exhibit her imaginary, self
created design. The rectangular piece is divided into
nine equal parts and the motifs are distributed in
these equal sized rectangular block. The lotus motif
with a whirl in the centre is the commonly used
motif in Sujani. The other motifs observed are the
scenes from Ramayana, Mahabharat, folk tales,
dancing girl, men riding, birds pecking the fruits,
prancing movement of the animals, bees sucking
the nectar, procession in motion etc. A moderately
thick, light weighed Sujani has either two or more
borders at the edge to strengthen the layers and to
prevent further tearing. The border stitched at the
edge to strengthen the layers and to prevent further
tearing. The border stitched at the edge of the
rectangular piece has geometrical patterns in single
colour, while the other is more ornamental and
colourful. The cover sometimes has large kalka laid
horizontally and separated by Vajra, the thunder
bolt or a broad band of circles, lotus in each circle
and heart shaped foliage between the circles.
Sarfani is also quilt used during ceremonies or
functions as a cover or wrap.
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Rumal is nothing but a handkerchief and is the
smallest among all the kanthas. A square piece
having a size about one square foot. Lotus is the
core and other motifs embroidered around it.
Sometimes plant and animal motifs are also
embroidered but invariably has a well decorated
border.

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Stepwise execution of a leaf in Kantha Embroidery

using simple running stitch
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 Lesson 2: Kasuti of
Karnataka
Objective:
―To understand the traditional embroidery of
Karnataka.‖

Structure:
2.1 Introduction
2.2 Fabric Used
2.3 Threads Used
2.4 Stitches Used
2.5 Motifs Used
2.6 Articles Made

2.1 Introduction
Kasuti is world famous embroidery of Karnataka
State, earlier known as Mysore State. The motifs
and the art speak about the traditions, customs and
professions of the people of Karnataka. The age of
learning and executing Kasuti was common to both
royals, aristocrats and peasant women.
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It is said that the Kasuti resembles the embroidery
of Austria, Hungary and Spain. The origin of Kasuti
is not known. The word Kasuti can be analysed as
'Kai' meaning hand and 'suti' meaning cotton
thread, i.e. a handwork of cotton thread in Kannad,
the language of Karnataka.
The lingayats, the follower of cult Shiva, also known
as Verrasaivas are expert in this art. Traditionally it
is a custom for the bride to possess a black silk
saree called the 'Chandrakali Sari' with Kasuti work
on it.
The embroidery of Kasuti was taught to children,
neighbours, daughters by the older ladies in the
family and was done on saris and blouses. The
motifs and stitches were sometimes tried out on a
piece of white cotton cloth which was preserved as a
model.
Other centres of production are Bilaspur, Dharwar
Belgam and Jamakhandi districts.

2.2 Fabric Used

Fine silk fabric of the sarees was used earlier in
addition to this, canvas or fine matty is used now.
The base colour is dark, usually black or dark blue.
2.3 Threads Used
Traditionally the thread was drawn from the tassels
of the pallav of the saris, to make the design appear
flat, rich and gorgeous, DCM, Anchor, Kohinoor.
Cotton threads are used. The colours most
frequently used are red, orange, purple, green-
yellow and blue. The commonly used combinations
are red-blue, red-yellow, red-white, blue-orange
and green-yellow. Bright contrasts are used to make
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a bold and clear design.

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2.4 Stitches Used

Stitches in Kasuti are always vertical, horizontal and

diagonal. The main speciality of this embroidery is
that never the design is traced in the material to be
embroidered and the embroidery starts without
knotting thread but with a tiny back stitch. The
stitches are simple, minute, intricate and pretty.
Kasuti is done always by counting the threads. The
four types of stitches are, Gavanti, Murgi, Negi and
Menthi. Different patterns and motifs are worked in
different stitches but some have mixed stitches. The
number of threads on the material forms a unit, two
to six threads for fine and coarse work respectively.
However, the unit should remain constant till the
design is completed.

'Gavanti' is the most simple and common stitch,

derived from the Kannada word 'Gantu' means
'knot'. It is a double running stitch, in which the first
running stitchs is filled in by the second running
stitch on the same line. The second running stitch
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works exactly opposite to the first one. Gavanthi

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may be worked in horizontal, vertical or diagonal
directions.

'Murgi' is a zigzag running stitch which appears like

steps of a ladder or staircase. It is same as gavanthi
stitch but works in a stepwise manner. The work in
both gavanthi and murgi stitches is neat and tidy,
where the design appears same on right and wrong
side of the material. However, the stitches should
be of uniform size. The distance between two
stitches is nothing but the length of each stitch.
Smallest motifs like square, triangle, hexagonal,
ladders, flower are to be practiced so that the
elaborate designs can be worked. A large geometric
design is produced by grouping the tiny designs on
regular intervals and sequences. 'Negi' is another
stitch in Kasuti. 'Negi' in Kannada means 'to weave'
i.e. the design with Negi design has an overall effect
of a woven design. Negi is nothing but ordinary
running or darning stitch. It is worked in long and
short straight lines or floats and therefore, the
design does not appear identical on either sides of
the cloth. Menthi' is the fourth type of stitch which
means the ordinary cross stitch. In Karnataka
'Menthi' means fenugreek seed but however, people
of Karnataka identify the cross stitch as 'menthi'
only. This cross stitch is usually appears heavy as is
used for filling purpose. This stitch requires more
length of thread than the other three stitches.
Similar to Negi, even this stitch does not give same
appearance on either sides of the Cloth.
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2.5 Motifs Used
The motifs used in Kasuti embroidery ranged from
mythological and architectural to the beautiful flora
and fauna, i.e., gopuras, palanquine, chariot, shiva-
linga, bull (Nandi), tiger, lamp stand, crown of Shiva
(Shivana Basinga), swastika, sun, surya mukhi,
conchshell, asanas, Rama's cradle, snake (Naga
devta), elephant, horse, tulsi vrundavan, Hanuman
etc. Apart from steeds of Shiva and Laxmi, squirrel,
parrot, sparrow, peacock, cock, duck pigeon, swan,
deer, are also seen. Various types of foliages
creepers, flowers are however, used in this
embroidery. The main ones are lotus,
chrysanthemum, jasmine, rui-phool (cotton flower),
cashew nut (Kalka), grapes, kevada, kalawar,
diamond, badam, berseed, black bead, maggihua,
marigold, coconut flower, sparrows eye, rudraksha,
tulsi leaf, brinjal seed, cardamum, chess square,
flower pot, etc.

2.6 Articles Made

In olden days Kasuti was done on Ilkal silk sari or
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Ilkal type village sari having broad pallav, called

'tope-teni' and simple border with plain body. In
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order to add colour and beauty to the sari, small
Kasuti motifs were worked in the pallav region and
many times the borders in negi and murgi stitches
were also worked in. However, this simple handloom
sari was made appear gorgeous by Kasuti
embroidery. The choli worn along with the sari is
known as 'khan', on which Kasuti was done with the
matching colour, motifs and borders of the sari. The
women folk used to decorate the Kunchagi kulai
(bonnets), used for children other women's regional
costume was embroidered. But now Kasuti is also
done on the household linen like, kerchiefs, bed
covers, sofa covers, cushion covers curtains,
shopping bags, carpets (Jute), plain saris of silk,
cotton or synthetics, salwar suits, yolkes, cuffs,
collars, belts, pockets, dupattas, caps, and used as
trimming for children's garments.

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Areas of Production - Kasuti Embroidery

1. Mysore 2. Bijapur 3. Dharwad

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 Lesson 3: Phulkari of Punjab
Objective:
―To understand the traditional embroidery of
Punjab.‖

Structure:
3.1 Introduction
3.2 Classification of Phulkaris
3.3 Fabric Used
3.4 Threads Used
3.5 Stitches Used
3.6 Technique Used

3.1 Introduction
Phulkari is the traditional embroidery of the land of
Punjab. It is the land of energetic
and vibrant people, colours and dances.
The exact history and origin of phulkari in not
known. It is in Wari Shah ‗Heer‘ and excellent social
document that the word phlukari appears for the
first time.
Banabhatta in his book Harshachartra (7C BC)
describes the wedding of Rajyashree and talks of
some people engaged in decorating the hems of the
garments from the wring side of the fabric (phulkari
is executed from the wrong side of the fabrics).
It is also said that the word phulkari came from
Iran, where gulkari resembling phulkari was
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prevalent. It is thought that the art was brought to

India by the gujjar nomads of central Asia.
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Phulkari is composed of 2 words ‗phul‘ means floral
and ‗kari‘ means work. When the whole fabric is so
embroidered that no part of the base fabric is
visible, it is called ‗Bagh‘ meaning a garden on the
fabric, making base fabric visible at certain areas.

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Phulkari

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Bagh
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West Punjab, India, late 19th century floss silk on
hand spun, hand woven cotton 135 x 275 cms.

Areas of production of phulkaris were Peshawar,

Jehlum, Rawalpindi, hazara all now in Pakistan; as
well as Amritsar, Jalandhar, Ambala, Ludhiana,
Patiala, Nabha, Jind, Faridkot and Kapurthala.
There was a considerable difference between Hindu/
Muslim
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 1. Base fabric Red or White Black

2. Colours of White, Green,

threads used. orange, magenta,
gold, brown, lemon
red, purple, yellow and
crimson some time
3. Patterns white.

Horal
designs, Strictly
human horal
arrival patterns.
figures

Uses
- Phulkaris were never prepared for sale
- Each piece became an heirloom and was passed
from generation to generation.
- It remained a domestic and feminine art made
out of love. This was specially true for the
wedding phulkaris which retained their original
designs.
- All festive occasions, weddings and child birth
were commemorated with a phulkari.
- Holy scriptures were kept wrapped in phulkaris.
- It was used as offering to temples and mazars.

3.2 Classification of Phulkaris

Phulkaris are classified on the basis of their design
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and application.
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1. Wedding Phulkaris:
These phulkaris form and irrespirable part of the
brides trousseau. Each ceremony was associated
with meaning of particular bagh.
a. Chope: Chope is embroidered by the maternal
grandmother for the girl. Stitch used in the
chope is double running stitch; the colour of the
thread used is yellow and the fabric used is red
khaddar large triangles are embroidered on the
edges along the length. Chope is identical on the
both sides of the fabric and is held on the head
during the ‗chura‘ ceremony.
b. Suber: This is worn during the ‗phera‘ ceremony
during the wedding, The base of the super is red
khaddar and is embroidered using green and
yellow thread. There are fine flowers on the
suber; one on each corner and one in the outer.
Each flower is 6 petalled.
c. Vari- Da- Bagh: This is given to the bride by
the groom‘s mother after wedding. The base
fabric is red, is embroidered with golden yellow
and green threads. The motifs on vari- da- bagh
one unconnected concentric square or lozenges
with a plant in the innermost square. This is a
bagh and the ground fabric is not visible.

2. Religious Phulkaris
This phulkari is called the ‗Darshan Dwar‘ meaning
‗Devine Door‘. It has religious motifs like the walls
of the temple and the people doing ‗parikarma‘. This
was used to make offering to the temples. The base
of the phulkari was red with yellow thread used for
embroidery.
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3.2.1 Classification of Phukaris According
to Motifs
Phulkari being a domestic feminine got its
inspiration from the day to day scene and objects
around the women.
1. Inspiration drawn from the kitchen gave
‗mirchi‘(chilli), ‗belan‘ (rolling pin), ‗kaniki‘
(wheat) and dhania bagh.
2. Floral motifs used to embroider baghs were of
surajmukhi, gulkerian.
3. Bird and animal motifs were ‗mor‘, ‗tota‘ and
serpents, peacock motifs gave rise to ‗moran di
phulkari‘.
4. Daily life objects were – patang, jewellery,
woman drawing water, woman churning
buttermilk.
5. Sun, moon and lightening were used to
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embroider suraj bagh, chand bagh and bijli bagh.

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3.2.2 Other Phulkaris
1. Sarpallo was used to draw a veil. It had a
triangular motif in the centre in such a way that
the base of the triangle. Such a may that the
base of the triangle tell on the forehead and the
apex point at the nape.
2. Nilok had a blue background. Embroidery was
alone with yellow and red silk thread. It was
used for the young girls to learn embroidery.
3. Tilpatra was dotted all over to give to the
servents on auspicious occasions.
4. Shishadar phulkari and geometrical designs with
mirrors embroidered alongwith the designs.
5. Sainchi phulkaris: Sainchi comes from the word
'Sangha' meaning together. This phulkari had
motifs of routine daily life, prized possessions
like jewellery, animals, pets, games (chess)
embroidered together. This phulkari had motifs
of routine dailylife, prized possessions like motifs
of routine daily life, prized possessions like
jewellery, animals, pets, games (chess)
embroidered together.
6. Bhawan Bagh' had fifty two squares embroidered
on it. Each squared a different motif inside it.
The motifs were always geometrical.
7. Phulkari with a black background was worn
during mourning. Simple motifs in yellow and red
were embroidered on it.
8. Thirma - Phulkari done on white khadder given
to a hindu bride by her parents.
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3.3 Fabric Used
Khaddar (a coarse, loose weave cotton fabric) was
used as the base fabric for almost all phulkaris and
baghs. In Rawalpindi and Hazara (now in Pakistan)
phulkari embroidery was done on very lightweight
fabric resembling cambric. These phulkaris were
called Halwan.

3.4 Threads Used

Dyed untwisted silk threads called 'Pat' were used.

Sometimes black and white cotton threads called
'bandi' were used.
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3.5 Stitches Used
Darning stitch, chope, running, herringbone run and
back, buttonhole, stem and chain stitches were
used.

3.6 Technique Used

- The base fabric i.e. the khaddar was woven by
the village weaver. This fabric was of narrow
widths. To make large widths phulakaris the
women used to join 2 or 3 widths together. The
joints were neatly and expertly done in herring
bone stitch.
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- Darning stitch was executed from the wrong side

of the fabric. The length of the stitch ranged
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 from ¼ of an inch to one inch. The motifs were
always symmetrical.
- The untwisted silk thread shown at different
angles giving it an exotic appearance. A small
buti in black was embroidered at times or the
motif was slightly distorted to wand off the evil.
This was called the nazar buti.
Areas of Production - Phulkari
1. Peshawar 4. Rawalpindi 7. Jalandhar
2. Sialkot 5. Amritsar 8. Rohtak
3. Jehhum 6. Faridkot

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 Lesson 4: Embroideries of
Gujarat

Objective:
―To understand the traditional embroidery of
Gujarat.”
Structure:
4.1 Importance of embroidery in Gujarat
4.2 Classification of Embroidery
4.3 Styles of Domestic Embroidery:
4.4 Moti - Bharat
4.5 Kutch Style

The western state of Gujarat is an arid region with

patches of small fields, bushes and acasia (kikkar)
trees. Because of the drill tones of nature, the
people of this region have a deep seated need for
colour in their daily lives, which reflects in their
clothes, houses and animal trappings.
This area has always been blessed with busy ports
of Surat, Broach, Cambay, Mandir and Kandla.
Because of this reason it has strong links for
centuries with the middle east, Arabian guld, Red
sea, Egypt, Africa and thus remained an important
centre for embroidery.
Today, Kutch, Saurashtra, North Gujarat, Thar
Parkar district of Sind (in Pakistan) are the world‘s
richest source of folk embroidery.
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4.1 Importance of embroidery in Gujarat
Gujarat is a state where many groups and sub–
groups stay together in each village. The
embroidery style, stitches, colours used identify the
group or sub–group and the relationship between
them. Embroidery is a leisure activity to be enjoyed
in groups and helps them to socialize and unite.

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 4.2 Classification of Embroidery
I. Professional Embroideries

a) Mochi Embroidery: The Gujarati Embroidery

tradition was maintained for many years by the
mochi embroiderers of Kutch and Saurashtra,
who worked for the court and for the merchant
and land owning castes.

- The embroiderers were traditionally cobblers and

leather workers
- Embroidery is done in fine chain stitch using silk
thread.
–

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- The device used to embroider is an ―ari‖. This is
a fine awl which has a notch incised to form a
hook.
- The fabric used is satin, usually in dark colours,
with black being the favourite.
- The motifs embroidered are buttis (flowers,
drived from Persian and Mughal influence). Often
with parrots perched on them, figures of women
call putli, elephants and saddled horses.
- Centers for embroidery are Bhuj, the capital of
Kutch and parts of Saurashtra.
- Articles embroidered are ghagra, cholis
(bodices), sari borders, children‘s chablas and
torans. They also embroidered the traditional
pichhavai hangings for temples, illustrating Lord
Krishna.
b) Chinai Embroidery: In the late 19th Century
and early 20th Century, there was a community
of Chinies embroiderers living in Surat, who
produced work that was chinies in design and
technique. Their embroidery was known as
―Chinai‖.

- The embroidery was done with either fine silk

floss or tightly spun 2 ply silk thread.
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- Multicolours were used on a white or sometimes
coloured silk background.
- Very fine chain and stem stitch is done with a
needle.
- Motifs embroidered are birds and flowers in
interconnected forms.
- Articles made are shawls, saris, cholis and long
narrow border strips.
- These were the favourite of the rich Parsee
community and are also known as parsee
designs.

II. Domestic Embroideries

Domestic embroideries are prevalent in Kutch,

Saurashtra and Western Rajasthan, and the
adjoining province of Sind in Pakistan. The
inhabitants of these places, reflect a cultural
diversity that has resulted from the influx of people
over the centuries through Iran and Central Asia.

- The display of embroidery takes place at

weddings and religious celebrations.
- Distinctive embroidered clothese are worn as a
proud batch of caste and cultural identity. Caste
and social status is indicated by the colours and
materials used.
- The merchant communities often work on silk
where as the farming and pastoral castes usually
use cotton and wool.
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4.3 Styles of Domestic Embroidery:
– The styles follow rules recognized and strictly
observed throughout a given group. For the
embroiderer, the style that she uses is understood
as a community.
– Embroidery style of a particular community
evolves over generations and reflects the cultural
and historical influences.

(a) Sindi Style

- This style is prevalent in the Thar Parpar and
adjoining districts of Sind and in western
Rajasthan districts of Barmer and Jaisalmer.
- Their work is of two types :
i. Profusely embroidered floral and disguised bird
designs mostly on a red background
supplemented by mirrors and beaded popoms.
ii. Couched metal and thread work on a black
background.
- The main feature is the lavish application of
mirrors. The main types done are chain stitch,
Abhla bharat, Heer Bharat and the interlacing
stitch of Sindi taropa.
- Chain stitch is similar to that of Kutch but is
done with a white thread and is accompanied
with lots of mirrors.
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- Heer bharat is the embroidery done using the
untwisted silk thread called the heer in red,
white, greed and yellow.

- Base fabric used is cotton of white or indigo

colour. The stitches used are elongated darning
stitch, which are worked according to the warp
or weft of the fabric, chain stitch and herring
bone stitch. The motifs used are geometric,
borders, eight pointed star patterns and regular
treatment of triangles and lozenges, mirrors are
used where the designs intersect.

- Abhla Bharat is the use of mirrors on a dark

background to produce a glittering effect. The
rest of the embroidery is completed with stem or
herring bone stitch using silken floss.
- Sindi Taropa
Sindi Taropa commonly known as interlacing stitch
practiced at Sindh, Kutch and Kathiawar. In Sindhi
Taropa, the movement of the needle and thread is
very important, does not bring any newness in the
texture but can simply be said that an impression of
the ingenuity of the women folk. Interlacing stitch
involves two steps of embroidering, where in the
first step, the long threads are stitched into the base
of the cloth to form base structure or skeleton and
in the second step, the thread is interloped through
the basic structure or skeleton in reverse direction.
The design is composed of small squares, lozenges,
chevrons, discs, sometimes interspersed with
flowers, birds, animals, etc. According to Jasleen
Dhamija, ‗Sindi Taropa‘ was prevalent in Germany
but it is really not known whether the Germans have
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introduced it into India or vice versa.

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4.4 Moti-Bharat
Gujarat in famous for the bead work or moti Bharat.
The beads are not stitched to a background but they
are stitched together with a needle and thread. The
background is of white beads with various patterns
created using coloured beads. She articles made are
stiff and non–priable and thus used for torans, wall
hangings, bags, purses, toys.

4.5 Kutch Style

This is practiced by Rabari shepherds, kaubi farming
castes, and Ahir herding castes.

(a) Ahir Bharat:

The word Ahir may be derived from the Sanskrit
word ‗Abhira‘ meaning milk man.

- The base material used was hand spun, hand

woven coarse khaddar. At present the
embroidery is done on silk or satin.
- Threads used are untwisted silk floss or twisted
silken thread. Colourful threads are used on dark
base.
- Stitch used is the chain stitch.
- Motifs used are birds, flowers, creepers, foliages,
parrots, peacock, bulbul, dancing doll,
karanphool (the flower shaped earring).
- Articles made are choli, pyjamas, jackets,
bonnets, caps and other children‘s garments.
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(b) Kanbi Bharat:
Kanbis are basically the cultivators; the Kanbi
women engage themselves in this beautiful craft.
- The thread used is of cotton of yellow, orange,
green, white and purple colours.
- Basic stitches employed are darning for outlining
and herring bone for filling.
- The designs in kanbi bharat have a distinct
Persian influence and specific ones are
sunflower, kevda and the cactus flower, parrots,
peacocks, foliages and creepers are also present.
- Articles made are covers for animals, conical
covers for their horns, embroidered veils and
muzzles. Other household articles like covers for
wooden boxes, pataras, blankets, quits are
commonly made.

(c) Rabari Work:

Rabaris belong to the tribe of the giri region of
Gujarat. Their embroidery is impressive and
attractive.
- Fabric used is hand woven hand spun khaddar or
khadi material which is usually maroon in colour.
The rabaris use patches of fabric of different
shapes and sizes to produce a bold effect against
a plain background. Sometimes patches of
patola, satins, bandhini and printed cottons are
also taken.
- Embroidery is done with double cross–stitch with
bird and floral motifs on the borders of the
articles.
- The threads used are white, yellow, green and
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red made of cotton.

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- The motifs used are action motifs such as
galloping horse, roaring lion, hopping deer;
sometimes composite animals like Gajasimha
(half elephant and half lion), kinnara (half human
and half horse), a swan with 2 heads.
- Articles made are chaklas, torans, bhitiya (wall
hangings, cushion covers for divans and bolsters
covers).

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 Classification of Gujarat Embroidery

Embroidery of Gujarat
Professional
Domestic Embroidery
Embroidery
Sindi Kutch
Mochi Bharat
Style Style
Heer Ahir
Chanai Work
Bharat Bharat
Abla Kaubi
Bharat Bharat
Sindi Rabari
Taropa Work
Moti
Bharat

Areas of Production of Gujarat

Areas of Production of Gujarat Embroideries

1. Thar Parpar,
2. Barmer,
3. Jaisalmer,
4. Kutch
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Motif of the Sindi Style of Embroidery

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Motif of the Ahir, Kanbi, Rakari of
Embroidery

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 Practical Exercises

Each student is required to maintain a research file.

This file will have fifty (50) motifs of each
embroidery. The motifs will be neatly drawn in
pencil. Each motif will be drawn in a square of 3‖ x
3‖.
The students will then pick out motifs and make
design compositions. There will be five (5) design
compositions for each embroidery, made on 8‖ by 8‖
of ivory sheet. For each composition the student has
to use three or more motifs of the traditional
embroi-dery. The placement of the motifs can be
done in the following ways to make different
compositions.

– One design composition will be selected by the

teacher, painted and then embroidered using
traditional colors.
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– The students are required to maintain the
compositions and samples in a file/folder.

– Each student is required to make 2 end products.

– The student can select this from the list of end

products or think of his/her creative product.

One end product has to be a combination of

any 2 embroideries.
Second end product has to be purely based
on one embroidery.

The traditional motifs can be stylised, trendy colours

can be used; beads, rope, dori, sequence, can be
used to enhance the work.

The layout or the placement of motifs on the end

product, techniques, colours and embellishments
have to be approved by the teacher before the final
execution on the end product.

The motifs on the end product need not be

necessarily embroidered. They can be painted,
machined embroidered or printed.
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List of end Products that can be made by
the students

1. Study Table Accessories – Paper Weight, Table

Lamp, Card Holder, Pencil Stand, Photo Frame, Soft
Board Frame, Book Rest.

2. Kitchen Articles – Aprons, Mittens, Pot Holders,

Mats, Napkins, Napkins Holder, Coasters.

3. Decorative Articles – Lamps, Furniture Articles,

Cushion Covers, Bags, Shoes, Belts, Jewellery
Articles, Tiles, Blinds.

4. Bathroom Accessories – Soap Case, Brush

Holder, Towel Ring, Set of Hand Towels, Mirrors.

5. The student can think of any other innovative

product and make it.

6. Wall Panels, rugs, partitions.

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Summary:
The special significance of kantha is quilting.
Running stitch is the main stitch of kantha
embroidery and cotton and silk threads are used for
it. Portuguese and European tradition have a great
influence on the motifs of kantha. Lotus is the most
widely used kantha embroidery. There are different
kinds of kanthas named according to its utility
like:Arshilata,Bayton,Durjani,Lep,Sujani,Oor,Rumal
etc.

Kasuti is the traditional embroidery of Karnataka.

Main stitches of kasuti are Gavanti, Murgi, Negi, and
Menthi. The motifs used in kasuti embroidery
ranged from mythological and architectural to the
beautiful flora and fauna.

Traditional embroidery of Punjab is known as

phulkari.when the whole fabric is so embroidered
that no part of the base fabric is visible,is called
Bagh. Darning stitch, chope, Buttonhole, Stem,
Herringbone, Running and Chain stitch is used for
phulkari

Kutch is the traditional embroidery of gujrat.this

embroidery is classified in 2 categories:
Proffesional and Domestic embroidery. The motifs
used are buttis (flowers derived from Persian and
mughal influence) parrots, figures of women called
putli, elephant, birds, creepers, pecock, bulbul etc.
The stitches used are chain stitch, mirror work,
herringbone, double cross stitch etc.
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Review points:

Kantha is the traditional embroidery of West-

Bengal. Which means patched cloth.
Base fabric used in kantha was always
cotton.silk was also used at times.
Main stitch of kantha is running stitch but
satin and stem stitches are also used.
White cotton threads and sometimes silk
threads are also used for kantha embroidery.
According to utility there is different types of
kanthas like: Bayton, Durjani, Lep, Oor,
Arshilata, Sujani, Rumal etc.
Fine silk,canvas or matty is used for kasuti.
Stitches in kasuti are always
vertical,horizontal and diagonal.
Phulkari is the traditional embroidery of
Punjab .

Phulkari

a.Wedding phulkari b.Religious phulkari.

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a.Chope b.suber c.vari-da-bagh

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 3.Untwisted silk threads called pat is used for
phulkari.
Kutch embroidery is the famous embroidery of
gujrat and gujrat is the world‘s richest source of
Folk embroidery.

Terminal questions:
1. What is meant by kantha and is the
traditional folk art of which place?
2. Art of which place?
3. What are the motifs used for kantha?
4. Name the different types of kantha?
5. What are the base fabrics used for kantha
and what are their colours?
6. What are the areas of production of kantha?
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7. Name the articles made using the kasuti

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embroidery?
 8. Name the mythological and the architectural
motifs used in kasuti?
9. What is the most popular colour
combinations made in the kasuti embroidery?
10.What is the difference between bagh and
phulkari?
11.What are the stitches used in Phulkari?
12.What are Darshan Dwar and Bawan Bagh?
13.Classify the Gujarat embroideries using a
flow chart.
14.What is the importance of embroidery in
Gujarat?
15.What is chinai embroidery and why is it
called so?
16.What is the characteristic of Sindi Style of
embroidery and what are its types?
17.What are the different types of embroidery
done in the Kutch style?

Intext Questions:
1. Explain the different types of Kantha in
detail?
2. Explain in detail the stitches used for Kasuti
embroidery.
3. What are the different types of phulkaris?
Explain in detail.
4. What is Gujrat embroidery? Write the
classification of gujrat embroidery in detail.
5. Explain Kutch-style in detail?
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Key words:
1. Manifest: Easily noticed, obvious.
2. Whirl:
3. Notch – V shaped or circular cut in an edge
or surface.
4. Incised – to cut into a design.
5. Influx - a lot of people arriving somewhere.
6. Profusely – in large amount.
7. Lozenges – a four sided figure like a diamond
shape and has 2 opposite angles more than
90 degree and other 2 less than 90 degree.
8. Ingenuity - the ability to invent things.

Assignments:
Students have to make 50 motifs of Kantha
embroidery in the Researh file.
Students have to make the painted and
embroidered sample of kantha embroidery.
Students have to make 50 motifs of each
embroidery in the Researh file.
Students have to make the painted and
embroidered sample of phulkari and kasuti
embroidery.
Students have to make 50 motifs of gujrat
embroidery in the research file.
Make painted and emroiderd sample of Kutch
embroidey and make a sample of Moti Bharat
also. Size should be 8‖x8‖.
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 UNIT-II

Lesson 5: Applique Craft of Orissa

Lesson 6: Chikankari of Uttar Pradesh
Lesson 7: Chamba Rumal of Himachal Pradesh
Lesson 8: Kasida of Kashmir

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 Lesson 5: Applique Craft of
Orissa
Objective:
―To understand the traditional embroidery of
Orissa.‖

Structure:
5.1 Introduction
5.2 Fabric Used
5.3 Threads and Stitches Used
5.4 Motifs Used
5.5 Production

5.1 Introduction

Orissa is situated in the eastern part of the country.

The world famous traditional craft of this state is the
appliqué craft, a French term exploring about the
technology of applying patches of colourful fabric
pieces on a base fabric .The row edges are finished
with a definite mode of stitchery.
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This is carried out in and around the Puri district,
with Pipli as its main centre. It is also called Pipli
work.Gangam and Baudh districts also carry out this
craft.

Pipli is the capital of applique craft in Orissa. Most of

the work sold on the street stalls of Pipli is produced
for a growing tourist market; however supurb
craftwork is still produced and available if you have
the time to look around.
The people of Orissa are religious and God fearing.
The applique craft of Puri is connected with religious
festivals and processions. It is done by the Darji
Community. The articles produced traditionally were
for the Lord Jagannath Yatra. These were canopies,
umbrellas, banners, coverings of dummy horses and
cows. Today other articles such as bedspreads
cushion covers, bags, garden and sea shore
umbrellas and lampshades are made. Many times
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the applique is combined with embroidery.

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5.2 Fabric Used
The base material has to be strong enough to take
the weight of the applique pieces. The fabric used is
always cotton usually in dark colours like royal blue,
turquoise blue and black. The materials used for the
applique is also cotton in bright colours. White is
also used for appliques.
Today white and cream base colours are also used.

5.3 Thread and Stitches Used

The appliques are attached to the base fabric by
using chain stitch (usually done in white or
yellow) and invisible hemming. The threads used
are twisted cotton threads. If motifs are
embroidered along with the applique, chain
stitches are used.
Blanket or buttonhole stitch is used to finish the
fabric from all around and attach mirrors.
Ruching stitch is used to gather up a strip of
cloth to make an applique motif
Rumming stitch is sometimes used on the
borders.
The stitches are known by some local names
such as
Chicken for chain stitch.
Ganthi for blanket stitch.
Taropa for invisible hemming.
Bakhia for running stitch.
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5.4 Motifs Used
The craft of Orissa is mainly connected with
religious festivals and processions, the motifs picked
up are from actual life, modified stylized forms,
nature, animals and plant kingdom, and of course
geometrical as per the shapes of the article. The
commodity used motifs are ,lotus, duck, peacock,
elephant, swan, parrot, fish, lion, betel leaf, bela
leaf, creeper, tree, (gachha), sun (Surya), moon
(Chandra), and rahu (the demon that swallows sun
and the moon during eclipses).

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A colourful display of Applique

5.5 Production
1. Selection of the design is the first step involved,
followed by cutting the motifs from the selected
appliques material. However, specially prepared
motifs are made separately.
2. These motifs are then placed on the base cloth in
predetermined layout and sequence.
3. The raw edges of the cut motifs are neatly and
evenly turned in and sewn on to the base or
sometimes embroidered without turning the raw
edges.
4. The layout of the motifs varies according to the
size and articles to be prepared since the shape
varies for each article, Canopy is a square piece,
umbrella is circular, trasa is somewhat circular,
having a small pointed part of the circumference
as neck. The motifs are encircled with number of
borders, inside and outside, many times it even
reaches the edges of the ground fabric For
example the square or circular motif, which later
is bound by several borders of different widths.
5. The size of applique piece varies from one metre
to a very small size of 1.5 cms. The small pieces
are for fine decorations and borders whereas the
large pieces of geometrical pieces are used as
central motifs for canopies and so on. The
natural and stylized motifs in the design through
medium size either reduced or enlarged
according to the size of the piece. Sometimes the
figured motifs are padded to bring about
embossed effect and make them more
naturalistic. The local market for these products
is limited. The Government is trying to make an
effort to enter the international market by
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improving the products and establishing

cooperative societies.
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Applique end-products

Applique wall-hanging

PAppliqué jhallar
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Applique Jhallar
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Areas of Production for Orissa Applique

1. Pipli 2. Gangam 3. Bandh

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 Lesson 6: Chikankari of
Uttar Pradesh

Objective:
Understand the traditional embroideries of
Uttar pradesh
Learn the stitches of Chikankari

Structure:
6.1 History of Chikankari
6.2 Fabric Used
6.3 Thread Used
6.4 Motifs
6.5 Stitches Used
6.6 Production
6.7 Metal Work of Uttar Pradesh

Uttar Pradesh is a land of overwhelming contrasts,

where extremes are normality. The Ganges
dominates the state, emerging from the foothills of
the Himalayas to the last expanse of plains, passing
though he holy city of the Varanasi.

Uttar Pradesh is famous for its finely woven

Brocades metal work and the delicate chikan work
also called white work.
Lucknow the capital of Uttar Pradesh is famous for
this work. Lucknow is an old city with its earlier
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name as Avadh. In 1775 it began to attract

craftsmen, artists and musicians, who were
patronised by the court. One of the crafts that
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developing during this time was the Chikankari a
kind of white work.

6.1 History of Chikankari

Chikankari work is thought to have organized in

Bengal and practiced in Dhaka and Calcutta. The
Jamdani weaving and European white work must
have been influential in giving rise to this work.

From 1850 onwards a very fine, white on white on

Jamdani was produced in Tanda, near Faizabad, to
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the East of the Lucknow. It is said that this marked

the beginning of Chikankari work in Lucknow.
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‗Chikan‘ means ―to raise‖ and ‗kari‘ means ―work
The name ‗chikan‘ seems to have been derived from
the Persian word, either ‗Chikan‘, ‗Chikin‘ or
‗Chikeen‘. It means a kind of cloth wrought with
needle–work. Although it originated as a court craft,
today it is a practiced tradition and an important
commercial activity.

Chikan work has a very light, gossamer – like

quality. This makes it very suitable for the
seemingly hot climate of the northern plain region.
It can be assumed that Chikankari, using sheer
fabrics evolved as a logical answer to the problem of
keeping cool and also providing adornment and
beauty to one‘s person or in the surroundings. it is
thought that Noor Jehan got inspired by the Turkish
Architecture (seen in Taj Mahal) and produced this
raised effect on white fabric with white threads to
show the carvings and trellis on the marbel.
Chikankari is thought to be her personal creation.

6.2 Fabric Used

Traditionally very fine cotton, or muslin was used,
generally white in color. Now all kinds sheer fabrics
like organdy, chiffons, georgettes, silk, jute are also
used. The colours used are all pastel colors of pink,
blue, peach, pista–green. Black is also used as the
ground color.

6.3 Thread Used

White untwisted cotton or sometimes twisted silk
threads were used.
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6.4 Motifs
Strictly floral motifs and paisleys are used. This
embroidery is done by the Muslim workers; thus no
animal and human figures.

6.5 Stitches Used

Six basic stitches are used. Some work from the
right and others from the wrong side of the fabric.

1. Taipchi: Running stitch worked on the right side

of the fabric. It is occasionally done within
parallel rows to fill petals and leaves in a motif,
called ghaspatti. Sometimes taipchi is used to
make the bel buti all over the fabric. This is the
simplest chikan stitch and often serves as a basis
for further ssssembellishment. It resembles
jamdani and is considered the cheapest and the
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quickest stitch.
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a) Pechni: Taipchi is sometime used as a base for
working other variations and pechni is one of
them. Here the taipchi is covered by entwining
the thread over it in a regular manner to provide
the effect of something like a lever spring and is
always done on the right side on the cloth.
b) Pashni: Taipchi is worked to outline a motif and
then covered with minute vertical satin stitches
over about two threads and is used for fine finish
on the inside of badla.

2. Bakhia: It is the most common stitch and is

often referred to as shadow work. It is of two
types:

(a) Ulta Bakhia: The floats lie on the reverse of

the fabric underneath the motif. The transparent
muslin becomes opaque and provides a beautiful
effect of light and shade.

(b) Sidhi Bakhia: Satin stitch with criss-crossing

of individual threads. The floats of thread lie
on the surface of the fabric. This is used to fill
the forms and there is no light or shade effect.

3. Katao: Khatao, khatava or katava is cutwork or

appliqué - more a technique than a stitch.
Rampur and Aligarh have special work when the
applique is done using invisible hemming. All
the patches are cut and folded to form lozenges.
A single lozenge works out as leaf and 4 to 6 are
put together to form a flower. Stem stitch is
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used to embroider stems.

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4. Gitti: A combination of buttonhole and long satin
stitch, usually used to make a wheel-like motif.
Button hole used for small circular flowers.
5. Jangira: Chain stitch usually used as outlines in
combination with a line of pechni or thick taipchi.

The bolder or knottier stitches include the following:

6. Murri: A very minute satin stitch in which a knot

is formed over already outlined taipchi stitches.

7. Phanda: It is a smaller shortened form of murri.

The knots are spherical and very small, not pear
shaped as in murri. This is a difficult stitch and
requires very good craftsmanship.
8. Jaalis: The jaalis or trellises that are created in
chikankari are a unique speciality of this craft.
The holes are made by manipulation of the
needle without cutting or drawing of thread. The
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threads of the fabric are teased apart to make

neat regular holes or jaalis. In other centres
where jaalis are done, the threads have to be
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 drawn out. In chikankari, this is not the case.
Names of jaali techniques suggest the place
where they originated from --- Madrasi jaali or
Bengali jaali ---- or possibly the place of demand
for that particular jaali. The basic manner in
which jaalis are created is by pushing aside wrap
and weft threads in a fashion that minute
openings are made in the cloth. Shape of
openings and the stitches used distinguish one
jaali from another.

6.6 Production
The commercial chikankari work is organized and
carried out by men. Men and women both carry out
the embroidery work. The designs are block printed
on the fabric. Temporary colors like geru in water or
ultramarine blue (neel) in kerosene are used for
block printing the designs. After the embroidery is
done, the products are washed, starched and
ironed.
The articles produced are sarees, salwar kurtas,
dupattas, shirts, bed and table linen. Lots of
variations are produced today. Chikankari work in
done along with sequins, and beads on brightly
coloured fabrics, to suit the modern taste.
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6.7 Metal Work of Uttar Pradesh
Banaras and Lucknow in Uttar Pradesh are famous
for metal weaving and embroidery. The metal wire –
kalabattun or zari as it is popularly called was a
finally drawn silver wire with of plating gold. To cut
down the cost, a copper wire was plated with gold.
Cheap immitations of zari are now–a–days
available; a synthetic golden or silver thread is
wrapped over a core of cotton thread.
Lucknow‘s zardoshi and kamdani are the most
popular. Different types of materials used are:

Zardosi
(a) Salma – Very thin twisted metal wire.
(b) Zari – Threads with gold or silver coating.
(c) Gajai – a cicular thin stift wire used for outline.
(d) Tilli/Sitara – Sequins.
(e) Mukaish/Badla – Thin small metal sheet which is
pressed into the fabric and folded.

(f) Moti – Beads (golden, silver or white) are used

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along with the work to fill up designs or empty

spaces.
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Salma and Gajai Moti

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Moti
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Sitara

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Zari
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Mukaish/Badla

Moti
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Area of Production - Chikankari

1. Lucknow
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Kalka (Kair Motif)

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Summary:
The world famous traditional craft of Orissa is
known as appliqué craft. In this art row edges are
finished with a definite mode of stitchery. The
threads used are twisted cotton threads. Stitches
used for appliqué are: Chain stitch, invisible
hemming, Blanket stitch, Running stitch, Ruching
stitch etc.
Chikankari is the traditional embroidery of Uttar
Pradesh. It is also known as White work. IT is done
on very fine cotton and main stitches used are:
Bukhia, Katao, Murri, Taipchi, Buttonhole and Jali
work.
Revision points:
Traditional craft of orissa is called ‗Applique
craft‘.
Pipli, in puri dist. Is its main center so it is also
called pipli work?
Fabric used is always cotton in dark colours.
The appliqués are attached to the base fabric by
using chain stitch and invisible hemming.
Motifs are picked up from actual life, modified
stylized forms, nature, animals and plant
kingdome.
Uttar Pradesh is famous for its finely Woven
Brocades, metal work and delicate chikan work .
Traditionally very fine cotton or muslin was used,
generally white in colour and white cotton
(untwisted) or sometimes twisted silk threads
were used.
Strictly Floral motifs and paisleys are used for
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chikankari.
Metal work of U.P. is also very famous.
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In text Questions:

1. What are the different steps involved in the

production of Appliques of Orissa?
2. What is Applique? What are the threads and
stitches used for Orissa Applique?
3. What kind of fabric is used for the base material
of Orissa Applique?
4. What are the threads and stitches used for
Orissa Applique?
5. What are the different steps involved in the
production of Appliques of Orissa?
6. What are the motifs and colours used for Orissa
Appliqués?
7. What are the different thoughts of origin for
Chikankari Embroidery?
8. What are the different fabrics used for
chikankari?
9. Why are there no human or animal figures in
chikankari?
10.What are the different stitches used for
Chikankari?
11.What are the articles produced in Chikankari?
12.What are the different types of materials used
for the metal work of Uttar Pradesh?
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Terminal Questions:
1. What are kind of fabric is used for the basic
material of Orissa Applique?
2. The motifs and colours used for Orissa
Appliques?
3. What are the different stitches used for
Chikankari ? Explain.
4. What are the different thoughts of origin for
Chikankari embroidery?
5. What are the different fabrics used for Chikankari
?
6. Why are there no human or animal figures in
Chikankari ?
7. What are the articles produced in Chikankari ?
8. What are the different types of materials used
for the metal work of Uttar Pradesh?

Assignments:
Students have to make 50 motifs of each
embroidery in research file.
Students have to make the painted and
embroidered sample of Applique
Students have to make painted and embroidered
sample of Chikankari.

Key Words:
1. Trellis – A light frame made of long narrow
pieces of wood that cross each other,used to
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support.
2. Immitation – Easy to copy with same effect.
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 Lesson 7: Chamba Rumal of
Himachal Pradesh

Objective:
To understand the traditional embroidery of
Himachal Pradesh - Chamba Rumal.

Structure:
7.1 Fabric Used
7.2 Threads Used
7.3 Stitches Used
7.4 Motifs used
7.5 Transfer of Design of Fabric
7.6 Main Themes in the Embroidery

Himachal, the term is derived from Sanskrit where

‗Him‘ means snow and ‗Achal‘ means lap, which
depicts that the state has abundant snowfall during
the winter. Himachal was ruled by brave and
chivalrous Ranas and Thakurs.
The existence of this embroidery goes back to the
15th Century. Buddhist literature mentions that
embroidery was practiced in Pathankot, Chamba
and other neighbouring remote villages like Basoni,
Nurpur, Kangra, Kullu and Mandi. The embroidery
depicted a fine, delicate, perfect manual work called
needle miniatures of Himachal or ‗Pahari Rumal‘.
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A legend says that a ‗rumal‘ (handkerchief), was

embroidered by Bebe Nanki, sister of Guru Nanak
Dev (1469–1539), and presented to him during his
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wedding in late 15th Century. This rumal had a
cream colour base with beautiful human figures,
evergreen trees and colourful blossoms. It is still
preserved in the Gurudwara of Gurdaspur.
In Jatoka tales, a mention was made about these
beautiful embroidery done in Pathankot, Chamba
and other surrounding places. During 1009 A.D. the
Kangra fort was captured by Gazani Mohammed
who looted all the splendid textiles of Himachal
Pradesh. The Romans describe the embroidery of
Chamba as ‗needle painting‘. The facial expressions
of the figures are vivid and lively and the bodies are
full of movement as it developed a style of its own.
In Chamba it is said that during 1750s Umed Singh
was a great lover of art, and his patronity continued
with Raja Jit Singh, during 1800. It was probably
during this era, the Pahari craft flourished in this
state. Since then Himachal embroidery is famous as
‗Chamba‘.

7.1 Fabric Used

Traditionally the ground fabric used was two types
of unbleached cotton cloth, first being the light
weight, fine, delicate, cambric like, semitransparent,
manufactured at Sialkot (presently in Pakistan),
Amritsar and Ludhiana. Second type being hand–
spun, hand–woven coarser, relatively heavier
khaddar. In later period the unbleached cotton
material was replaced by mill made cotton cloth.
However, cream or white coloured Tassar Silk
material was also commonly used for making
rumals. Today, according to the taste, demand
fashion trend and availability the ground fabric
employed being terycot, organdie, linen, poplin and
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muslin of either white or light colour.

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7.2 Threads Used
The threads used for embroidery were untwisted
pat, which gave rich effect against dull rustic cotton
ground. It produced an impression of smooth,
glossy, gorgeous surface enrichment. However, the
infinite shades and tints of bright, brilliant and
contrasting colours were used. Most commonly used
colours are red, yellow, green, blue, crimson and
purple. Blue colour is always used for Krishna,
whenever he is bear chested and crimson for feet.
Red, Blue and white colours are used for Brahma,
Vishnu and Maheshwara respectively. Gopis in vivid
colours or yellow and green or dark pink or crimson
combination. The outline of the motif is always
worked with black. At present, the embroidery is
done with twisted silk or chiffon threads. Pat has
been replaced because of its low strength and
difficulty in handling.

7.3 Stitches Used

Embroidery is done with double satin stitch done in

both right and wrong side, where the effect is
reversible. It is done so finely that not only the
background is hardly visible but very difficult to
identify the right side, since the work is never
started with a knot but with a back stitch and the
threads never been joined by knots. It was also
observed that in some of the old wall hangings,
chain stitch was used for both filling and outlining,
in which case right and wrong side of the work was
clearly identified. However, chain stitch was not
practiced on rumals. Gujjar women used darning,
sometimes even herringbome and satin stitches.
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7.4 Motifs used
Motifs, in Himachal embroidery consists of symbolic
animals like leaping tigers, running goats, cantering
horses, fleeting rams, jumping deer, along with
cows, calves, horses, elephants, snakes; bird motifs
comprised of peacock, parrot, used may be as
symbolic or purely as decorative. Sometimes these
motifs are used in single to fill up the empty places.
Single bird signified a sad, solitary one waiting for
the male, a couple symbolized union of two souls.

Rumals comprised of elliptical frame work, having

two to three inches of floral bodies on all the four
sides. Center of the rumal has creeper motif
guldasta in the corners, pointing either towards the
centre or towards the corner. Sometimes the
complete rumal has the motifs of animals, birds,
trees, creeper and foliages giving an impression of
Bagh, moreover, the cyprus tree is also widely used.
It is also observed that many musical instruments
such as flute, Tambura, Drums (Dholaks), Veena,
Sitar, Tabala are used in the art. Muslim Gujjar
women used geometrical motifs, included triangle,
squares, diamonds, rectangle, hexagonals and
circles. However, most of the figures and motifs
were simplified, i.e., the body of human figure is
cone shape with a face and the elephant appeared
like a rectangular, box moving steadily with a lotus
on the trunk.

7.5 Transfer of Design of Fabric

Hand drawing or free style mode was used for
outlining the motif, carried out exclusively by
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women. These women drew figures of their own

creations. Earlier charcoal was used to trace the
outlines, but oil method is used. Oil method consists
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of rubbing cotton wool dipped in blue dye (neel) and

kerosene oil on design sheets which are perforated.
The kerosene seeps on to the fabric and thus
transfers the design.

7.6 Main Themes in the Embroidery

There is a great influence of Mythology on the
themes of paintings and embroidery. Along with the
themes of Bhagawat Purana, Krishna Leela and
Mahabharat, it is observed that Raga Ragini and
Baramasa are also used abundantly, which is an
influence of Vaishanva cult. The dancing figures
appeared so vivid that they are rarely in motion. It
is to say that Krishna in all his various forms and
characters occupied the central figure of much of
Himachal embroidery.

The scene of Rasa Lila is another common theme

where the blue bodied Krishna leads the gopies in
circular dance posture. The Rumals display other
folk styles like marriage of Krishna and Rukmini,
Vishnu in a lotus, Ganesh, Vishnu-Laxmi, Pahari
women playing musician instruments, men smoking
hukka, the pipe and so on.

1. Rasmandala
Here the centre of the theme depicts Lord Vishnu
sitting in the Padma, the lotus has four arms, each
holding a padma, a Gada (lotus bud), a Shankh
(conch shell) and his weapon, the Sudarshan
Chakra. However, the figures were disproportionate
and many times the human figures have bird like
faces. The other empty part of the rumal is covered
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with floral and guldasta motifs, except the corners

which had human figures (Gopies) playing Dholak.
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2. Kaliya Damana
Krishna killing the horrified kaliya kalinga sarpa
(serpent), who lived in Jamuna river.

3. Samundra Manthana
The ocean was churned by Devas (Gods) and Asuras
(Demons) using a serpent, Vasuki as rope and
mountain Meru as the churning rod. Both nectar and
poison were the products of Samundra Manthana.
However, many more things emerged out of the
ocean due to the vigorous elaborate churning. And
this scene of Samundra Manthana has been taken
as a motif of embroidery of rumal and wall hanging.
Since, this being an elaborate scene, the motifs is
divided into several panels embroidered individually
and later joined all of them together. This miniature
style has some what proportionate human figures,
exhibiting delineated forms. A largest motif of
Samudra Manthana was eight feet wide and two feet
long.

4. Rukmini Harana
The elopement of Rukmini and her marriage is the
gist of the theme. It is an elaborate theme,
embroidered on rumal depicting the various
ceremonial activities performed on one part and
preparation of Rukmini‘s wedding on the other. The
scene exhibits, Rukmini grooming and decking up
for her wedding, women engaged in various
activities, musicians playing music, Sahelies
(friends) of Rukmini busy in carrying out various
chores, Rukmini praying, Lord Krishna taking
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Rukmini in his chariot, couple sitting in front of the

vedi, the place where marriage rites performed,
priest enchanting the mantras and performing
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marriage rites. Barat, the procession of marriage,

involving royal animals like, saddled horse,
elephants, drum beaters, musicians playing
Ransingha and so on. However these scenes were
more emphasised and beautified by use of various
flowers, foliages, birds and fruits, may be in
between to fill the empty gaps or as borders.

5. Battle of Kurukshetra
Mahabharat is one of the great epics of India and
many themes of this epic is chosen for the
embroidery. However, the most commonly found
ones are the battle of Kurukshetra and exile of the
Pandavas. This battle is elaborately depicted on a
five feet wide and one and a half feet long panel of
base material. Pandavas occupy the left hand side of
the panel along with Lord Krishna on his chariot,
Kauravas on the right hand side and Abhimanyu is
placed in centre of the panel, showing the picture of
being caught in the Chakravihu.

6. Raga Ragini
Raga, the tune of song and Ragini, the mode of
song expressing the base for songs sung in a
minimum of six versions. The Pahari painters were
greatly influenced by the Vaishnavas, the Kshina
cult, during eighteenth and nineteenth centuries and
adopted Ragmala (Sangeeta Mala) theme. The
popular Raga Ragini themes are Raga megha, Raga
hindola, Raga vasanta, Raga todi, Raga bhairavi and
so on. The themes expressed the mode, mood,
time, day, season, month during which the
particular Raga is being sung.
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7. Minjar Mela Jalus
‗Minjar‘ the tassels, ‗Mela‘ the fair, and ‗Jalus‘ the
procession, depicts the procession during the Mela.
Minjar Mela is very famous festival of the ‗Chamba‘
where the people of sacrifice Minja in the river Ravi;
to dive away the evil spirits and pray for their
prosperity.

8. The Gujjar Theme

The Muslim gujjar women usually carried out
embroidery locally, taking all the motifs from nature
expect, human and bird figures. However, it has the
resemblance of Phulkari of Punjab. An elaborate
gujjar work is divided into number of penels of
either square or rectangular for convenience,
treated as an important segment having geometrical
motifs. However, the most important and common
elliptical floral framework does not exist.

A large number of household textile articles are

prepared of Chamba embroidery. And the most
common is the rumal, almost synonymous with the
work, whose size ranged from twenty to thirty five
inches. Wall hanging with various themes from
Mahabharat, Purana ranged from two to feet
rectangular shapes. Sometimes even cholis are
embroidered.
Chamba rumal are versatile in their utility, used as a
cover while offering gifts in the Mandir, the temple,
either to deity or priest called ―Eathaparu‖; an
immensely decorated oval or circular rumal hung
behind the statue of deity is ―Chhabru‖; a
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rectangular or oblong wall hanging draped behind

the idol in the temples is ―Chandoa‖ are now
becoming rare. Though rumals are no longer used
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as covers, it is customary for the girl to possess at
least a rumal in the trousseau. Rumals were also
used to cover the gifts that were the exchanged
during weddings.
Unlike Punjabi girls being expertised in Phulkari in
their early adolescencehood, girls of Himachal do
start learning this art at an early teens and of
course their skill in handicraft was one of the
measuring sticks in selecting the bride and judging
her ability as a house wife during matrimonial
negotiations. Even now, it is a custom of Chamba
girls to prepare a rumal, exhibiting her art and skill
and a way of maintaining the traditional custom of
Chamba families.

Ras-lila
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Rasmandala

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Das Avtar, Chamba Rumal, c 19th century
A.D.

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Indian Ludo
"Gaddi-Gaddan"

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Area of Production of Chamba Rumal

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 Lesson 8: Kasida of Kashmir
Objective:
―To understand the traditional embroidery of
Jammu and Kashmir.‖
Structure:
8.1 History of the Kashmir Shawl
8.2 Technique Used
8.3 Types of Woven Shawls
8.4 Evolution of Embroidered Shawls
8.5 Floor Coverings of Kashmir

Jammu and Kashmir is the Northern most state in

India. The locality is embedded with enchanting and
beautiful flora and fauna, lakes, hills and streams all
around. This has inspired many writers, poets,
artists and craftsmen.
A legend reveals that a semitic tribe ―kash‖
including Herbews, Arabic Jews, inhabited Kashmir
much before 541 AD. This might be one of the
reason for the title Kashmir.

8.1 History of the Kashmir Shawl

The shawl industry in Kashmir was introduced by
Zair–Ul–Abidin, the ruler from 1420–1470 A.D. It
appears that he was taken into captivity at
Samarkand (Persia). He got interested in the
various crafts going on there. When he returned to
India, he sent people in search of talented
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craftsmen. Thus the shawl weavers from Persia

were brought to India.
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Reference to the kashmir shawl is made in Ain–I–
Akbari by Abdul Fazal where he says that the
Emperor Akbar was a keen admirer of the shawl. It
is Akbar who is responsible for introducing a new
type of shawl called the ‗Doushala‘ meaning twin
shawl.

The demand for shawls increased during the mughal

times. By the 18th century they were being exported
to Europe, where it became a fashionable wrap by
the elite.

By the end of 19th century the shawl industry

declined due to many reasons. Cheap versions of
exquisite woven shawls of kashmir were being now
made on the Jacquard loom in Europe.

8.2 Technique Used

Traditional woven shawls of Kashmir are called
―Kanihama‖ or ―kanihar‖ or ―Kani‖ or ―jamavar‖
shawls.

These were made by a labourers and a slow process

of weaving 2/2 twill tapestry weave. The raw
material used was the fleece of a wild goat called
capra hircus. This fleece locally called ―pashm‖;
another raw material called ‗toosh‘ was used, which
is the hair of dead chiru antelopoe. This gave rise to
Pashmina and Shatoosh shawls respectively, the
latter being very rare and more expensive shawl.
[Note : The chiru antelope is on the list of
endangered species and is thus illegal to process
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toosh.]
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8.3 Types of Woven Shawls
1. Pashmina Shawls : Majority of the Kashmir
shawls are made from the fleece of capra hircus.
2. Do–shala : Two identical shawls stitched
together with their wrong sides facing each
other, so that when dropped over the shoulder,
the wrong side was not visible.
3. Do–rookha : Double sided work in which there is
no wrong or right side.
4. Kasba Shawl: Square in shape and produced on
amount of European demand.
5. Jamavar Shawls : Woven wholly of wool or some
cotton mixed, but the floral designs and
brocaded parts are generally in the silk or pashm
wool.

8.4 Evolution of Embroidered Shawls:

An Armenian named Khawafa Yusuf came to

Kashmir from Constantinople in 1803 to purchase
shawls. He found that the price of the shawl was
exhorbitant and that there was heavy taxation on
the looms. He got the idea of producing a shawl
with the help of a ‗Rafoogar‘. The Rafoogars used to
actually stitch up 2 shawls of smaller width with tiny
stitches. These tiny stitches were so fine that it was
difficult to make out the joint. Thus with the help of
a rafoogar, the jamavar pattern was copied in
embroidery on a plain woven shawl. The cost of the
shawl was much less as they were exempted from
the taxes imposed upon the loom shawls. These
shawls came to be known as Amli Shawls.
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To begin with, the purpose of embroidery was to
imitate the designs of woven shawls; but later the
embroiderers created their own style.

Process: The plain shawl is placed on a smooth flat

surface and rubbed with a piece of polished agate
[Type of stone] till it becomes perfectly even. The
design is drawn on a paper and outlines are pierced
with a needle. Charcoal powder is rubbed on the
paper. It perforates through the holes to transfer
the design on to the fabric.
The design is them outlines with ‗kalam‘ the pen.

Fabric Used:
The base fabric used for embroidery is pashmina
either in its natural colours of beige to off–white or
dyed in dark colours of maroon, navy blue, dark
green, peach and orange. Silk–pashmina or
pashmina–wool blends are also used.

Threads Used:
Fine, single strands of silk and cotton threads are
used for fine embroidery. Wool is also used for
embroidering. Threads of white, green, purple, blue,
yellow, black, crimson, searlet colours are used.
Inexpensive artificial silk (rayon) thread is also
used.
Stitches Used:
Stitches commonly used in the Kashmir embroidery
are chain stitch, darning stitch, stem stitch and
sometimes a knot stitch called doori.
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Kasida has 3 main styles of needle work.
a) Sozni and Rezkari: Done on shawls and long
dresses. Very intricate work with its main
stitches as stem, Rumanian and satin stitches.

b) Ari Work: This is also called Zalakdozi which is

done with the help of an ‗ari‘ or rook. Floral
designs are worked in concentric rings in chain
stitch.

c) Kashmiri Couching: This is done in both

metallic and non–metallic threads.

Motifs used:
The designs in the embroideries are evenly
balanced. Animal and human figures are not seen in
the Kashmiri embroidery, because of the muslim
influence. Motifs used are parrot, wood–pecker,
canary, king–fisher, iris, lotus, lily, saffron, gopis,
plums, cherries, almonds and apple. The chinar or
the maple leaf is considered to be an important
design. Another important motif is the tear drop or
the cone motif. This motif has been found as early
as the Babylonian civilization and is believed to have
represented the growing shoot of the all nourishing
date palm. It is he symbol of the tree of life, one of
the oldest and most powerful of all motifs; and is
symbolic of growth. It was a popular element of the
Persian design designs and is thus seen in the
Kashmiri shawls. It is also called the almond mango
or the paisley motif.
The embroidered shawls are known by different
155

names, depending on the area where the shawl is

embroidered.
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a) Kashida – Border design which runs all along the
length of the shawl on both sides.
b) Phala – Embroidery is done both ends of the
article, popularly known as pallu.
c) Tangir or Zanjir – is the border done with chain
stitch.
d) Kunj buta – is the cluster of flowers in a corner.
e) Buta is the generic name for a floral design.

When buttas are in two rows its called dokad; in five

rows its called sehkad; in more than five rows its
called Tukadar. Matan Bagh consists of floral sprays.

8.5 Floor Coverings of Kashmir:

Numbdha : It is a piece of pressed felt made either
out of woollen or a wool–cotton blend. Wool fibers,
usually of a poor quality are washed and pressed for
felting. These are then dried, cut to desired shape
and embroidered. Shape of the Numbdha can be
square, oval, round, or rectangular. Chain stitch is
done in bright colours with the woolen yarn. The
base of the numbdha makes a warm, colourful and
inexpensive floor covering.
Gabba: It is an inexpensive floor covering prepared
from torn woolen shawls and blankets. This is a
household craft and done the members of the
family. Old pieces of blankets are stitched up, and
backing is done with waste cotton cloth; these are
then washed and dyed. Gabbas are of two types (a)
Embroidered, where bold and vivid embroidery is
done mostly in woolen yarn using chain stitch (b)
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Appliquéd, where pieces of dyed blankets, cut out in

designs are appliqued using the button hole stitch.
This is sometimes interspersed with embroidery.
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The ready gabba has bright flashes of design on a
dark and somber background.

Tapestry Work: is another kind of Kashmiri

embroidery where Dasuta the canvas cloth is
embroidered using a blunt tapestry needle.

The material is stretched on a wooden frame with

the tracing kept along its side. The woolen thread is
used to embroider the design with a whip stitch by
counting the threads. It is a labourious work and
takes nearly a month and a half to complete a
carpet of 3‖ x 5‖. Tapestry work is popularly done in
Srinagar and Anantnag.

Other articles produced are bed covers, teacosy

covers, cushions covers, sarees, fabric lengths and
stoles.

Kasida is a cottage industry. This commercial art is

done by the men folk (reason why no domestic
articles are seen as motifs, as in phulkari) and is
passed on from father to the son. Boys in the family
about seven to eight years learn simple stitches and
master the art by providing the cloth and design.
The craftsmen have a choice over threads and
colour combinations. Kashmir embroidery not only
provides employment and livelihood to thousands of
people but it depicts the rich century old tradition
and heritage of India.
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158
 Areas of Production

Areas of Production – Kasida of Kashmir

1. Srinagar
2. Anantnag
3. Jammu
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Motifs for Kashmiri Sozni & Rezkari

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Motifs for Kashmiri Sozni & Rezkari

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Kashmiri

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Kashmiri

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Summary:
The world famous traditional craft of Orissa is
known as appliqué craft. In this art row edges are
finished with a definite mode of stitchery. The
threads used are twisted cotton threads. Stitches
used for appliqué are: Chain stitch, invisible
hemming, Blanket stitch, Running stitch, Ruching
stitch etc.
Chikankari is the traditional embroidery of Uttar
Pradesh. It is also known as White work. IT is done
on very fine cotton and main stitches used are:
Bukhia, Katao, Murri, Taipchi, Buttonhole and Jali
work.
Chamba embroidery depicted a fine, delicate,
perfect manual work called needle miniatures of
himachal or ‗pahari rumal‘. It is also known as
‗needle painting‘. Traditionally unbleached cotton
and hand woven khaddar is used for chamba rumal.
Untwisted silk threads used for embroidery, which
gave rich effect against dull rustic cotton
background. Main stitches used are : Double chain
stitch, Darning stitch and sometimes herringbone
and satin stitches are also used. Motifs of chamba
embroidery are influenced by Indian Mythology.
Traditional embroidey of Kashmir is known as
kasida.Origanally kasida embroidey done on
kashmiri shawls, these shawls are known as
kanihama/jamavar shawls.these shawls were made
by 2/2 twill tapestry weave. Main types of woven
shawls are : Pashmina shawls, Do-shala, Do-rookha,
kosba shawls, Jamavar shawls.
The base fabric used for embroidery is pashmina
and fine, sigle strands of silk and cotton threads are
used for kashida embroidery main stitches used in
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kashmiri embroidery are chain stitch, darning stitch,

stem stitch and sometimes a knot stitch called
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doori. The designs in the embroideries are evenly

balanced. Animal and human figures are not seen in
the Kashmiri embroidery, because of the muslim
influence. Motifs used are parrot, wood–pecker,
canary, king–fisher, iris, lotus, lily, saffron, gopis,
plums, cherries, almonds and apple. The chinar or
the maple leaf is considered to be an important
design.

Revision points:
Traditional craft of orissa is called ‗Applique
craft‘.
Pipli, in puri dist. Is its main center so it is
also called pipli work?
Fabric used is always cotton in dark colours.
The appliqués are attached to the base fabric
by using chain stitch and invisible hemming.
Motifs are picked up from actual life,
modified stylized forms, nature, animals and
plant kingdome.
Uttar Pradesh is famous for its finely Woven
Brocades, metal work and delicate chikan
work .
Traditionally very fine cotton or muslin was
used, generally white in colour and white
cotton (untwisted) or sometimes twisted silk
threads were used.
Strictly Floral motifs and paisleys are used
for chikankari.
Metal work of U.P. is also very famous.
Chamba Rumal is the famous embroidery of
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Himachal Pradesh.
Traditionally unbleached cotton and hand
woven Khadder is used for chamba emb.
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The threads used for chamba embroidery is
untwisted silk thread.
There is a great influence of Mythology on
the themes of chamba Rumal.

Double satin stitch is mainly used for chamba

embroidery
Traditional woven shawls of Kashmir are
called ―kanihama‖ or ―jamavar‖ shawls.
These were made by 2/2 twill taestry
weave.
Types of woven shawls are : Pashmina
shawls, Do-shala, Do-Rukaha, Kosaba shawl,
Jamavar shawls.
Base fabric used for embroidery is Pashmina
in natural colours or dyed in dark colours.
Kasida has 3 main styles of needle work

o Sozni and Rezkari

o Ari Work
o Kashmiri Couching

Animal and Human figures are not used in

kashmiri embroidery because of muslim
influence.
Tapestry work is also a kind of kashmiri
embroidery where Dasuta the canvas cloth is
embroidered using a blunt tapestry needle.
Numbhda and Gabba are the floor coverings
of Kashmir.
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Terminal Questions:
1. What are kind of fabric is used for the basic
material of Orissa Applique?
2. The motifs and colours used for Orissa
Appliques?
3. What are the different stitches used for
Chikankari ? Explain.
4. What are the different thoughts of origin for
Chikankari embroidery?
5. What are the different fabrics used for
Chikankari ?
6. Why are there no human or animal figures in
Chikankari ?
7. What are the articles produced in Chikankari ?
8. What are the different types of materials used
for the metal work of Uttar Pradesh ?
9. What are the threads and their colors for
embroidering Chamba rumals ?
10.What are the base fabric and the stitches
used ?
11.What are the motifs used ?
12.How is the design transferred on the fabric ?
13.What are the motifs of Kasida embroidery ?
14.What are the different types of Kashmir
shawls ?
15.Explain the evolution of embroidered shawls.
16.What are Numbdha and Gabba ?
17.Why is the cone motif important to the
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embroiderers ? What else is it referred to

(different names) ?
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 18.What are the different styles of needlework in
Kashmir?

Intext questions:
1. What kind of fabric is used for the base
material of Orissa Applique?

2. What are the threads and stitches used for

Orissa Applique?

3. What are the different steps involved in the

production of Appliques of Orissa?

4. What are the motifs and colors used for

Orissa Appliques?

5. What are the different thoughts of origin for

Chikankari Embroidery?

6. What are the different fabrics used for

chikankari?

7. Why are there no human or animal figures in

chikankari?

8. What are the different stitches used for

Chikankari?

9. What are the articles produced in Chikankari?

10.What are the different types of materials used

for the metal work of Uttar Pradesh?

11.What are the threads and their colors used for

171

embroidering Chamba rumals?

12.What are the base fabric and the stitches

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used?
 13.What are the motifs used?

14.How is the design transferred on the fabric?

15.Name the main themes of embroidery in

Chamba rumals.

16.What are the motifs of Kasida embroidery?

17.What are the different types of Kashmir

shawls?

18.Explain the evolution of embroidered shawls.

Assignments:
Students have to make 50 motifs of each
embroidery in research file.
Students have to make the painted and
embroidered sample of Applique
Students have to make painted and
embroidered sample of Chikankari .

Students have to make 50 motifs of both the

embroideries in the research file.
Make painted and emroiderd sample of
chamba rumal and chikankari. Size should be
8‖x8‖.
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Key Words:

Trellis – A light frame made of long narrow

pieces of wood that cross each other,used to
support.
Immitation – Easy to copy with same effect.
Influential – To have an effect.
Dominate – To control or have a lot of
influence.
Chivalrous – Polite, kind, honoered,
respectable.
Vivid – Clear, very bright.
Solitary – Alone
Foliage – Leaves
Delineated – To describe, draw or explain in
detail.
Elopement – To run away with someone in
order to marry.
Gist - summary
Semitic – Connected with a family of
languages.
Captivity – The state of being kept as a
prisoner.
Exquisite – extremely beautiful or carefully
made.
Exorbitant – Too much ,too high.
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 UNIT-III

Lesson 9: Traditional Textiles of India

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 Lesson 9:Traditional
Textiles of India

Objectives:
To learn about the different famous traditional
sarees of India.
To learn about their different kinds, their
manufacture, their motifs & colours.
The areas of their production.
Structure:
9.1 Brocades of Benaras
9.2 Baluchar Brocade Saris
9.3 Jamdani Sais
9.4 Center of Production

Introduction:
India has a rich cultural heritage of tradition, art,
music, literature, sculpture and textiles. This exhibit
unity in diversity through variegated charms of
festivals, rituals, music costume and languages.

India is famous world wide for its magnificent

workmanship, exhibited in the beautiful hand spun,
and hand woven, dyed, printed and embroidered
textiles.
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9.1 Brocades of Benaras
Benaras is also known as Kashi or Varanasi and is
one of the oldest inhabited places of the world.
Alaipura is traditionally the district of Vara nasi
where the famous brocades are woven. Today they
are woven in another parts of Vara nasi also.

Brocades are textiles woven with the warp and weft

threads of different colours and often different
materials-The Benaras brocades are woven in silk
and metal threads.
– The saris and fabric up to 6-10 meters are
usually woven.

– The weavers are Muslims and are known as

‗Kari gars‘. Their workshops are called
‗karkhanas‘.

– The zari thread is known as ‗kalabattun‘

which is made of finely drown gold or silver
metals in yarns wound round a silk/cotton
thread core.
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– Traditionally, the design of the brocade was

first worked out on paper. An expert
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 called‘naksha bandha‘ rendered the design
into cotton threads or a ‗naksh‘-a thread
device that performs the same function as a
jacquard. Today the jacquard loom has
replaced the use of the naksha.

– The brocades of Benaras are divided into 3

types.

1. Opaque Zari brocades:

a) Kinkhab: heavy brocades with more Zari visible
than the silk. It is woven with a coarse but durable
silk known as ― mukta‖ which is heavy enough to
take brocading with gold or silver. Kinkhab was
often used for furnishing and rearly for clothing. It
was a proper trading article in the local market and
was also exported to Europe.

b) Bafta: A silk and zari work brocade with less then

50% of zari. The zari is used as a supplementary
weft in both kinkhab and bafta brocades.
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2. Amru brocades:
It is brocade without any metal thread work. The
supplementary weft woven for the design is silk and
not zari. One distinct type of Amru brocade is ‗
Tanchoi‘. This is a densly patterned heavy fabric.
Many times the ‗pallu‘ and ‗borders‘ of a tanchoi sari
are highlighted with zari. Fabric for other uses is
made without zari.

The tanchoi brocades originated in china. It is

believed that in the 19thC three Parsi brothers
called the Choi brothers learnt this art from the
Chinese settled in Surat (Gujrat). Hence the name
'Tan' meaning 'three' choi.

3. Abrawans:
ransparent silk or organza is woven with or without
zari.All over patterns are woven with a
supplementary weft. The weft floats on the backside
of the fabric are cut off after the weaving is
complete. For this reason the a brawns are also
called ‗cut brocades‘.
Another kind is the Tissue brocade. The warp is silk
and the weft is zari. This fabric gives a metallic
sheen.
The motifs used for brocaded fabrics are paisleys,
peacocks and horal patterns. The borders of the
sarees have a narrow fringe like pattern on the
outer edges. This is called the 'Jhalar' meaning frill.
The delicate designs of the past were replaced at
the end of the 19C by patterns taken from the
Victorian era.
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The Benarasi Saris are deep coloured, laden with
gold thread and form popular attire for the wealthy
Indian brides.
Centres of production
Apart from Benaras, brocades are woven at
Ahmedabad, Surat, Paithan, Hyderabad and
Murshidabad.

Silk Industry of Kanchipuram

Kanchipuram in Tamilnadu is a famous temple

around 50 Km south of Chennai. Kanchipuram as
the city is called, produces silks of superb texture,
colour and lustre.

Zari threads are also used for brocading.

The main items of production are silk sarees with
brocade borders called the kanchipuram or
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kangivaram or the kornad sarees. Silk yordage is

also produced.
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Sarees-kornad or kanchipuram borders are 4‖-16‖
wide. These are woven separately in silk. Two
narrow bands of supplementary warp patterning are
woven within 3 cm of each border edge.

The field or body of the sari is woven in checks,

stripes or is kept plain. The edges are woven in saw
tooth design, pointing towards the centre of the
field. This saw tooth design signifies the temple top
or the kalash. The end piece or the pallu is made by
tying or twisting a new set of warps usually the
same colour as the borders. The extra warp of the
field is then cut off from the wrong side. This
technique of joining the end piece is called "petni"
The end piece is decorated with supplementary warp
or weft. The borders are then attached to the
finished field and end piece by the inter lock weft
technique.
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The motifs used are floral (tiny patterns or creeping
vines for border design), elephants, peacocks,
double headed eagles and the kalash or the Khumba
motif.
The colours are loud and bright combinations like
Darkblue and magenta, parrot green and black,
turquoise blue and orange., green and mustard are
some of the favourite colour combination of the local
population.
Paithani Sarees

Paithan is a village near Aurangabad in

Maharashtra.

The borders are prepared separately and are of 2

types:
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1. Totally zari border with a different coloured silk
pattern.

2. A zari design on a silk border.

The field or the body: Earlier the field was made of

fine muslin having all over zari patterns but now silk
is used to prepare the field.

The end piece: silk warps usually the same colour as

the borders are tied or twisted to the warps of the
field (same as kanchipuram). The warps of the field
are then cut off from the wrong side. The end piece
has a weft zari to form the designs.
The borders are attached using the interlock weft
technique.
The motifs used are intertwining leaves and flowers,
parrots, peacocks and even horses. Paisleys are
rarely used.
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The colours used are bright combinations like
yellow-red and orange-green. The maharastrian
bride traditionally wears a green paithini saree.

The sarees, which are 9 meters long, are called the

Navwari sarees and the ones, which are 5 meters
long, are called pachwari

9.2 Baluchar Brocade Saris

Old undivided Bengal had ancient textile traditions,

of skilled weaving. This includes the jamdanis of
Dhaka and the Baluchar brocade saris of
Murshidabad.
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 – The brocades never contain zari.
– The borders are woven with supplementary
warp or weft.
– The motifs used in the borders are floral and
paisleys.
– The field is scattered with ‗buti‘motifs.
– The end piece is decorated using a
supplementary weft.

The motifs used for the end piece are large paisleys,
184

human figures, hunting scenes and scenes from the

epics. The motifs are placed in separate boxes.
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Which represent architecture.

The colour combinations used are-
a) Base colour of the sari is dark and the colour
of weft which forms designs is light e.g. black
sari with beige or dull orange designs.

b) The base is of light colour beige with dark

designs of any one of the colours-green, red,
black.

c) These saris always have only two colours.

9.3 Jamdani Saris

Dhaka, now is Bangladesh is famous for producing

one of the finest muslins. These were referred to as
‗air‘ or ‗mist‘ ‗by the English. Dhaka is famous for
producing the finest and most expensive muslin
saris called Jamdani Saris.

The borders are very narrow-1-1 ½ inches and are

made by placing different coloured yarns in the
warp.
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– The borders are also sometimes 3-4‖ wide with
some decoration on them.
– The field is scattered with small buti designs.
The end piece has 2 or 3 rows of motifs woven on it.
The Jamdani saris are woven using a
distinctive.Discontinuous supplementary weft
technique
Two weavers sit side by side on a simple handloom.
Each motif is woven separately by hand using
individual spools of threads called Tilis. The
supplementary weft is cut off when the motif is
complete. This produces an opaque pattern against
a transparent back ground.

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Before partition these were woven in Tangail, now in
East Bengal. The West Bengal Jamdanis are also
called Tangail Jamdanis because they use the typical
motifs of Tangail;

The motifs are strictly floral and geometrical. In

terms of colour and design the Jamdanis fall into 6
categories;

1. Natural unbleached base with bleached white

cotton thread motifs.
2. Pastel coloured grounds with white motifs.
3. Dark coloured grounds (black/blue/maroon)
with white motifs.
4. Any of the above base with coloured motifs.
5. Any of the above bases with zari motifs.

The Jamdanis are believed to have given rise to the

chikankani embroidery.
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9.4 Center of Production

– Benaras Brocades.
– Kanjivaram/Kanchipuram saree
– Paithini saree
– Baluchar Saree
– Jamdani Saree

1. Aurangabad (Paithaini Saree)

2. Kanchipuram
3. Dhaka (Jamdani Saree)
4. Murshidabad-(Baluchar Saree)
5. Benaras
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Jamdani Motifs

189
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Page
190
Kanchipuram Saree Border

Balachaur
191

Saree Motifs
Page
Balachaur Saree Motifs

Amru Brocades

192
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Summary:
The prestige of Indian textiles lies in the intricately
woven and rich sarees of silk and muslins.
Of all the Indian handicrafts, textiles form a class
by themselves over which the rest of the world went
into ecstasies from time memorial.
The hand-spun and hand-woven traditional fabrics
of India have justly been famous and much desired
throughout the world.
India‘s ‗fabric of dreams‘ is, of course, Banarsi
Brocade, known as khinkhab. With its interweaving
of coloured silk and golden thread, to form the most
attractive floral designs, the brocades are wihtout
doubt India‘s most gorgeous and most fascinating
silken fabrics.
The brocades of India have an ancient lineage. The
Indian khinkhab is literally a ‗cloth of gold‘.

Revision points:
1. Banaras Brocades are the famous Banarasi
silk sarees.
2. Brocades work is embroidery work or
weaving done with metal threads like gold
and silver.
3. Kinkhab sarees are where more of gold or
silver is visible than silk.
4. Tanchois are brocade sarees with extra silk
thread. There is no metal work.
5. Kanchipuram are South silk sarees from
Tamil Nadu.
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6. They are in loud colour contrasts like

blue/orange, dark blue/magenta,
green/mustard, etc.
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 7. Paithani sarees are from Aurangabad in
Maharashtra.
8. Baluchani sarees are from Murshidabad.
9. There is no zari work in these sarees.
10.These sarees are in two colours and have
epic scenes and mythological characters
depicted on them.
11.Jamdani sarees are from Dhaka from Bengal.
12.They have opaque patterns on transparent
background.

Intext questions:
Fill In The Blanks:
1. Paithani sarees sre produced in
_____________.
2. The real gold brocade is called
_____________.
3. ____________ is the technique of joining the
field and pallu of sarees with an extra set of
warp yarns.
4. Scenes from epics are shown in
____________ sarees.
5. Paithani sarres that are 9m long are called
____________ sarees.
6. Jamdani sarees were referred to as
____________ or ____________ by the
English.
7. The jamdanis are believed to have given rise
to ____________ embroidery.
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8. Dhaka sarees are commonly known as

____________ sarees.
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Key words:
Kalabattun- finely drawn gold or silver thread
wound around silk or cotton thread.
Kinkhab- sarees totally covered with gold or
silver thread and less of silk is visible.
Bafta- sarees where 50% silk and 50% zari
is visible.
Tanchoi- brocade sarees with no metal work.
Supplementary weft thread is used.
Abrawans- these are cut brocades.
Tissue brocade- the warp is silk and weft is
zari. Therefore, it has a metallic sheen.
Petni- the field and pallu of Kanchipuram
sarees are joined by tying or twisting new set
of warps as borders. They are then cut from
wrong side.
Pachwari sarees- it is a 5m long paithani
saree.
Navwari sarees- it is a 9m long paithani
saree.
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 UNIT-IV

Lesson 10: Printed and Painted Textiles of

India

Lesson 11: Sanganer & Bhagru Printing

Lesson 12: Kalamkari

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 Lesson 10: Printed and
Painted Textiles of India
Objectives:
To be able to discuss the questions based on-
Sources of natural dyes.
What are mordants and what are their
uses.
What are the different styles of printing?

Structure:
10.1 Sources of natural dyes
10.2 Styles of printing
10.3 Method of application of indigo dye

Introduction:
Traditionally dyeing and printing in India was done
using vegetable dyes only. These are dyes obtained
from different parts of plants.

10.1 Sources of natural dyes

1. Red: The substance which gives a red dye is
called alizarin. The common source of alizarin
lies in the
a) Roots of the madder plant, Rubia tinctoria
197

and its relative Rubia munjista.

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 b) Roots of the plants of mordina species-
known as ‗al‘,‘ach‘ and surangi.
c) Roots of oldenlandia umbellate (commonly
known as ―chay‖.

2. Yellow: a) Rhizomes of a well known

condiment-turmeric (uremic longa), yields a
substance called curcumas which gives a sharp
yellow colour.(b) Flowers of the myrobalan tree
known as Harar.c) flowers of the
safflower(carthanus tinctorious) yield a bright
yellow dye most suitable for silk.
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3. Blue: leaves of the indigo plant‖Indigofera
tinctoria.

4. Green: Achieved by coating blue own yellow

dyed fabric.

5. Black: alizarin (red dye) is mixed with iron

fillings and molasses-this ferment and gives a
dark shade of Blackish maroon.

Mordants: For a fabric to accept natural dyes.

Mordanting has to be done, or else the fabric is
unable to absorb dyes. Mordants are intermediary
substances which help the fabric to accept the dye
and ensure fast dyeing. It is derived from the Latin
word‖mordere‖ which means ‗to bite‘. The mordant
bites the fibre in combination with the dyestuff to fix
the colour.

Mordants are metallic salts like aluminium, tin,

copper, alum, chrome, salt, vinegar, and caustic
soda. By using different salts with the same dye,
one can achieve different colours e.g. iron gives
black with alizarin and alum gives red.

Natural dyes are classified into:

a) Substantive dyes: These do not need a mordant
to fix the colour to the fabric e.g. indigo.

b) Adjective dyes: Those that need a mordant for

fixation e.g. alizarin.
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10.2 Styles of printing:

1. Direct Style: The prepared dye pigment is

directly applied on the prepared fabric e.g.
Sanganer printing.

2. Resist Style: In order to resist the dye, the

design areas on the prepared cloth are printed
with improvable substances like wax, gum, rice
paste, mud, resin or starch. The fabric is then
dyed. The printed areas, & resist the dye to form
designs e.g. Bhagru printing.

3. Mordant Resist Styles: The fabric is prepared

and mordanted. The dye is painted or printed on
this fabric. The areas, which come in contact
with the dye, will show colour and thus form the
design.

Another way is to point or print the mordant and

then immerse the fabric in the dye bath. The printed
areas will show colour and thus form the design.
E.g. Ajrakh and kalam kari.

10.3 Method of application of indigo dye:

The leaves of the indigo plant are immersed in
water for 4-5 days. To this water, salt is added. This
gives a solution called indigo white. The fabric is
dipped in indigo white, which turns blue on
oxidation with the atmosphere. Repeated dipping
into indigo white, darkens the blue colour. This
200

dyeing is fast but tends to rules of on use.

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 Lesson 11: Sanganer and
Bhagru Printing

Objectives:
To learn about Sanganer and Bhagru printing-
their process, printing pastes, motifs & names of
blocks.

Structure:
11.1 Sanganeri printing
11.2 Bhagru Printing

Introduction

Sanganer and bhagru are on the out spirit of Jaipur,

the capital city of Rajasthan. Both cities now
produce much block printed cloth for the export
fashion trade. Bagru is a small village, located at a
distance of 30 kms from Jaipur, on Jaipur-Ajmer
road. They originally produced textiles for the local
market. Sanganer fabrics were more sophisticated;
Bhagru products were aimed mostly at the local
rural women. The designs in both places reflect the
Persian influences.
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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.

11.1 Sanganeri 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
202

printers or wooden blocks. They are colorful

patterns of sunflowers, roses, geometric designs.
Sanganer prints are known for their fine and
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intricate detailing. The artists of this region in
Rajasthan use both vegetable and chemical dyes for
their creations. Often, they employ the technique of
calico printing. In this, the outlines are first printed;
only after that, are the colors filled in. These
designs are then repeated in diagonal rows. The
doo-rookhi style of printing is also popular in
Sanganer. This is printing done on both sides of the
fabric.
This is a direct style of printing

1. Preparation the fabric:

a) The fabric is soaked in water to desize it i.e.

to remove the starch and dust.
b) This then dipped into Telkhar emulsion for 4-
5hrs, which is made up of castor oil and river
deposits. (Tel +khar). This envisions helps
the fabric to soften.
c) Peela karna: The fabric is put in myrobalan
solution giving it a creamish yellow tone.
d) It is dyed to a desired colour, which is light.
e) It is finally dried and ready to be printed.
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2. The fabric is fixed on a table, which has a felt
lined top. The fabric is tightly fixed on both sides
lengthwise i.e. on the selvedge. So that the warp
and weft are perpendicular to each other; or else
the fabric is printed off grain.
3. A printing paste containing dyestuff, mordant,
gum and urea is prepared.
4. A flat earthen plate called the tariplate is used.
Into this a bamboo grid called the ―Katli‖ is laid.
On the top of the Katli, is a felt fabric
called‖kambal or gaddi‖ is placed. The printing
paste is poured on the felt piece. The katli helps
the right amount of paste to seep through so
that the extra paste does not smudge the edges
of the block.
5. The design areas are printed after which the
fabric is left to dry in the sun, so that the colours
get baked.

11.2 Bhagru 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.
Bhagru printing is a combination of resists style of
printing and mordant resist style of printing.
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The resist style of printing is also called ―Dabu ―or
mud resist printing. It is done by the chippa
community of Bhagru village near Jaipur.

1. Preparation of the fabric Steps a, b,c, are the

same as Sanganeri printing. After step c the
fabric is ready for printing.

2. Two kinds of printing:

a) Dabu or the resist style of printing gives white

designs on a coloured back ground.
b) Mordant resist styles- give coloured designs
Red/black with a dark blue/green
background.

1. Dabu White designs on a coloured back ground.

A resist material called Dabu paste is used to
print the fabric after Peela karna. Dabu paste is
of 3 types: -
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2. Kaligar Dabu: made out of lime, kali mitti and
gum; it is least adhesive.

3. Dolidar Dabu: Wheat flour (infested and unfit

for consumption) lime and gum are used.

4. Gwarphali Dabu: The seeds of the gwarphali

are roasted and crushed to powder. This is mixed
with castor oil, lime and kalimitti to make the
paste. It makes a very good adhesive.

The above 3 pastes are good resist materials and

give defined outlines. In case a hazy effect is
required then cow dung or multani is added to the
paste.

The method of printing is the same as Sanganeri

printing. The printed fabric is then put into the dye
bath. After dyeing the fabric is washed to remove
the Dabu paste and then sent for Tapai. This is to
make the white designs whiter. Spreading the fabric
on grass in sunlight, and sprinkling it with water do
this. The grass and sunlight ensure natural
bleaching of the white areas and the water reduces
the damage that can be caused to the fabric
because of summer heat.

b) Coloured design on a dark back ground.

i. The fabric is pinned onto the printing table
after Peela karna.
206

ii. The mordants are printed onto the designed

areas using blocks (Rekh blocks and Gad
blocks). For black colour: Jaggery, ghoda
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 khurtal (horseshoe iron) are fermented for 15
days. For red colour- Begar paste, alum and
water are used.

iii. The fabric is then dipped in alizrine dye bath.

The mordanted areas will get Red or Black
colour depending on what paste is printed.
The fabric is then washed thoroughly to
remove excess alizarins dye. This gives a
pinkish tinge to the fabric.
iv. The fabric is dried. The designs are then
resisted with dabu paste using the data
blocks. Then the dabu paste dries, the fabric
is dipped into indigo for blue and indigo and
turmeric for green. The dabu paste is
removed by thorough washing.

v. Rekh blocks- used for outline.

Gad block- used for filling
Data blocks- cover the whole design.

Motifs used:
For Sanganeri and Bhagru are derived from Persian
prints and are as follows:
1. Flora and Fauna - flowers like sunflower,
Jasmine, small motifs like dhania, suraj kai
phool, tittli, gamla, angoothi and ambi.

2. Trellis - Jali designs - Mughal (geometrical)

designs like Lehriya, chaupad, lines, dots and
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chatai.
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3. Figurative animals, humans, elephant, deer, lion,
peacock, pigeon.

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Page
209
 Lesson 12: Kalamkari
Objective:
―To study the traditional method of kalamkari
printing‖.

Structure:
12.1 Introduction
12.2 Prepration of fabric
12.3 Prepration of mordants
12.4 kalamkari in Masulipatnam

12.1 Introduction

The coromandel coast of India stretching from

masulipatnam in the north and Nagapatnam in the
south was historically the source of some most
beautifully coloured and delicately worked cotton
fabrics exported by India in the 16th c. These cotton
fabrics were called pintado meaning ‗painted by the
Portugese and Chintz by the English‘.

The king of Golconda (near Hyderabad) had links

with the Persian king and these fabrics were
exported to Iran. Thus lot of Persian influence is
seen in the art of Kalamkari Kalam referes to pen
and ‗ kari‘ to art. This means the art of pen.
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The elegant tracings and delicate designs require

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that kalamkars attain a high level of skill before

they can make an entire piece of kalamkari fabric by
themselves; families typically work together, with
the experienced elders training the younger
members. The pen that is used for this process is
made from a bamboo or date palm branch, pointed
at one end with a bundle of fine hairs or cotton to
brush on the color. Most kalamkari cloth is made
with a combination of block printing, using hand-
carved wooden pattern blocks and freehand
brushwork.

Kalamkari Printed Fabric

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Today Kalamkari is done at 2 main centres- Sri
Kalahasti and masulipatnam in Andhra Pradesh.
Both these places have distinctive styles of their
own.
i. Sri Kalahasti: - Sri kalahasti has been ruled by
the Hindu rulers. Kalamkari here was done on
wall hangings for temples and shrines, scenes
from the Mahabharata and Ramayana were
depicted. Gods mainly Lord Krishna was done in
blue, women in yellow. And the demons in deep
red/black. Telegu script was written in between
the lines to describe the painting.

ii. Masulipatnam: the Muslim rulers ruled this

place. Hence they were forbidden to use any
human or animal designs. They used exotic
flowers from the Kashmiri shawls and carpets.
Mythical flowers and geometrical motifs were
also used. Tree of life, a very popular motif,
which originates from 1 point or a pot, is
proportionate and symmetrical and has exotic
birds and flowers was commonly used. Paislay is
another very common motif used.

12.2 Prepration of the fabric:

a) Cotton fabric is dipped in goat or buffalo dung
and repeatedly washed in the river or canal
water.
b) It is dipped in myrobalan solution to which
buffalo milk is added. This makes the fabric soft
and prevents the ink from spearing and makes
the fabric soft.
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c) The fabric is dried and is ready for drying.

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12.3 Preparation of mordants:
Mordant for black colour is made by fermenting iron
scraps and Jiggery in an earthern pot for 15 days.
This yields a substance called iron acetate. For red
colour alum and water are used.
1. The kalam is made out of a bamboo reed, which
is hollow. This is pointed at one end. And is 6-8‖
long. At the serpened end a felt pad is placed
which holds the dyestuff. Pressure applied by the
finger releases the dyestuff, which travels down
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to the point of the Kalam. More the pressure

applied, more dyestuff is released.
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2. Outlines are first drawn free hand with charcoal.
The black outline is painted by putting iron
acetate into the hollow area of the Kalam. If
certain lines in the design are red, Alum and
water are filled in the Kalam to draw them.
Filling of the designs is done by applying the
mordant with a brush. The brush is prepared by
flattening and softening a bamboo stick at one
end.

3. After the application of mordants, the fabric is

dipped in Alizarin. The red and black colours
develop. The fabric is thoroughly washed and
dried. At this stage, red designs with black
outlines are seen on white fabric.

4. Myrobalan solution (myrobalan flowers boiled in

water) with alum gives a yellow dye. This is then
applied with a brush where ever yellow is desired
in the design.

5. The blue areas are painted with indigo white and

left to oxidise.

In the above procedure, no blocks are used. This

style is followed in Kalahsti.

12.4 In Masulipatnam:

1. Blocks are used to print the mordants for black

and red colours. The fabric is dipped in the
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alizarin for the red and black designs to develop.

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2. The yellow designs are printed with myrobalan
and alum solution.

3. These red, black and yellow designs are resisted

by wax applied using a brush. When the wax
dries; it is dipped in indigo white and kept for
oxidation for 12-18 days.

4. The fabric is then washed to remove the wax.

This produces black yellow and red designs on a
blue background.
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Kalamkari is identified by its distinctive black
outlines in the design.

216
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Sanganer, Bhagru Printing & Kalamkari Centres of
production

Masulipatnam
1. Srikala hasti
2. Sanganer
3. Bhagru
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Three kalamkari paintings from Kalahasti in the
eastern Indian state of Andhra Pradesh.
Top: Befoe the battle of Kurukshetra, Krishna
recites the Bhagvad Gita to teach his hesitant
cousin, Arjuna, his duty.
Below: The avatars, or incarnations, of Vishnu, top
row, from left to right, Matsya, Kurma, Varaha,
Narasimha and Vamana; bottom row, Parashurama,
Rama Balrama, Krishna and Kalki, who is yet to
come.

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A Kalamkari vegetable dye print throws
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Summary:
The technique of dyeing & printing is common since
prehistoric times. Earlier only natural / vegetable
dyes were used but now chemical pigments are
available. There are different styles of printing ,
resist & mordant resist styles of printing.
Kalamkari is done on the coromandel coast of India
at Srikalahasti & Masulipatnam and is the paint work
done with a pen.

Revision points:
Traditionally vegetable or natural colours
were used for dyeing and printing 2. 2.
Sources were the plant parts, like- red colour
from roots of madder plant.
o Yellow from turmeric plant
o Blue from leaves of indigo plant
o Green- blue dyed after yellow
o Black from iron fillings
Mordants help to fix the dye onto the fabric.
Mordants are metallic salts like aluminium,
tin, copper, alum, salt, etc
Sanganer & Bhagru are on the outskirts of
Jaipur.
Sanganer printing is done by direct style of
printing.
Bhagru printing is done by resist & mordant
styles of printing.
Kalamkari is the art of pen..
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It is done in Sirikalahasti & Masulipatnam on

the Coromandel coast of India.
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Intext questions:

1. Write a note on the history of Indian Textiles.

2. What do you know about Shamanism? Explain.
3. Fill up the blanks:
a) Sanganer printing is a __________ style of
printing.
b) Bhagru printing is ____________ &
_______________ styles of printing.
c) Rhizomes of a well known condiment
_________ yields a substance called
curcumus which gives a sharp yellow colour.
d) Blue colour is obtained from leaves of
________ plant.
e) __________ dyes do not need a mordant to
fix a colour to the fabric.
f) Dabu printing is a ________ style of printing.
g) The art of pen is called ______________.

4. Distinguish between Kalamkari & Bhagru

printing.
5. Discuss in short about Sanganer & Bhagru
printing.
6. What is the difference between Srikalahasti &
Masulipatnam Kalamkaris?
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Terminal exercises:
1. What is the difference between kalahasti and
masulipatnam kalamkaris?
2. What are the types of pastes used in Bhagru
printing?
3. Classify the natural dyes? What are mordants
and what is their function?
4. How is the kalam of kalamkari prepared and
used.
5. What motifs are used in Bhagru and Sanganer
printing?
6. What is Tapai?

Key words:
1. Indigoferra tinctorial - Indigo plant , the leaves
of which give blue colour.
2. Mordants - Metallic salts that help to fix the
colour on to the fabric.
3. Substantive dyes - They do not need a mordant
to fix the colour to the fabric.
4. Adjective dyes - Those that need a mordant for
fixation of colour.
5. Direct styles of printing - The prepared dye
pigment is directly applied on the prepared
fabric.
6. Tariplate - The flat earthern plate in which the
dye pigment is prepared.
7. Bamboo grid to spread the colour on the
earthern plate.
8. Gaddi / Kambal - Felt fabric on the bamboo grid.
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9. Tapai - Spreading of moist fabric om the grass

under sunlight to make white designs whiter
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 Production Process of Kalamkari Textiles

Stage 1 Stage 2 Stage 3

Stage 1: Gada (grey) cloth

Stage 2: Gada washed cloth
Stage 3: Washed gada cloth treated with milk and
myrobalan

Stage 4 Stage 5 Stage 6

Stage 4: Outline sketch with tamarind charcoal

Stage 5: Kasima karam applied on the outline
Stage 6: Painted with patika (alum)
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 Stage 7 Stage 8 Stage 9

Stage 7: Washed in running water after stage 6

Stage 8: Red developed over alum
Stage 9: Treated again with milk and myrobalan

Stage 10 Stage 11 Stage 12

Stage 10: Painted with patika for the second time

Stage 11: Washed in running water after stage 10
Stage 12: Red developed over patika painted for
the second time
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 Stage 13 Stage 14 Stage 15

Stage 13: Treated with sheep dung after stage 12

Stage 14: Washed finally after repeated dunging
and washing for four days
Stage 15: Treated with milk after stage 14

Stage 16 Stage 17 Stage 18

Stage 16: Painted in yellow with myrobalan flower

extract
Stage 17: Washed after yellow painting in stage 16
Stage 18: Painted in blue and washed
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Hand-painting being done on the fabric using Pen
(kalam)

Block-printing being done Wooden Block

on the fabric

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 UNIT-V

Lesson 13: Ajrakh

Lesson 14: Mithila Printing
Lesson 15: Patola, Ikat, Pochmpalli and
Mashru
Lesson 16: Badhini of Rajasthan and
Gujarat
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 Lesson 13: Ajrakh
Objectives:
Discuss ideas and discussions such as-
What is Ajrakh?
Places where done in India & Pakistan.

Structure:
13.1 Introduction
13.2 Origin of ajrakh
13.3 Cultural Significance of Ajrakh
13.4 Process of ajrakh
13.5 maintaining ajrakh printed textile
13.6 future of ajrakh

13.1 Introduction
Ajrakh is one of the oldest types of block printing on
textiles still practised in parts of Gujarat ( Kutch)
and Rajasthan (Pipad and pali) in India, and in
Sindh in Pakistan. Textiles printed in this style are
hand-printed using natural dyes on both sides by a
laborious and long process of resist printing (a
method of printing in which designated areas in the
pattern are pre-treated to resist penetration by the
dye).

Ajrakh prints are dominated by geometrical shapes

and use intense jewel-like colours of rich crimson
and a deep indigo, with black and white highlights.
Ajrakh printed cloth has some magical properties
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-- with every wash, its colours became more

brilliant and luminous. In fact, old timers in
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 Barmer say that the fabric might finally wear
away, but its colours will still remain fresh.
The Original process of Ajrakh printing involved
as many as 23 laborious steps!

14.2 Origins of Ajrakh

The history of the Ajrakh can be traced from the
times of the ancient civilizations of the Indus Valley,
around 2500BC to 1500BC. A bust of the King Priest
excavated at Mohenjodaro shows a shawl —
believed to be an Ajrakh—draped around his
shoulders, which is decorated with a trefoil pattern
(like a three-leafed clover) interspersed with small
circles, the interiors of which are filled with a red
pigment. The same trefoil pattern has been
discovered in Mesopotamia, as well as on the royal
couch of Tutankhamen. This pattern, which
symbolises the unity of the gods of the Sun, water
and earth, survives as the cloud pattern in the
modern Ajrakh.

14.3 Cultural Significance of Ajrakh

The people of Sindh have a deep reverence for
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Ajrakh. From birth to marriage, until death, Ajrakh

celebrates all significant events of the life cycle.
Ajrakh is worn as a turban, a shawl, spread as a
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bed-sheet or tablecloth and when worn out, it is
recycled as a hammock for babies, cover for a
bullock cart and most commonly used as a backing
to patchwork quilts. It is used and reused till
threadbare. It is worn by the wealthy as well as the
poor — the colours, patterns and design-format
remain the same, only the quality of the fabric is
different.
In Sind, fine Muslin is used and in Kutch thick fabric
is used as the base fabric. It is done by the Hindu
and Muslim Khatri caste.

14.4 Process of Ajrakh

Ajrakh is derived from an Arabic word‖azrak‖
meaning blue.
The process by which the fabric is made is
considered intuitive to Ajrakh makers. Ajrakh
literally meant aaj ke din rakh, or 'keep it for today'
because that is what the process is. At every stage
of the tedious dying process, the fabric should dry
for three to four days. Nature plays an important
role in the making of Ajrakh. Craftsmen work in
total harmony with their environment, where the
sun, river, animals, trees and mud are all part of its
making.
Resist and mordant resist printing styles are used to
print Ajrakh.
1. Preparation of fabric
a) Desizing cloth is torn into sheets and taken to
the river to be washed. These are steamed in
copper vats for one night and a day to open the
pores of the cloth and soften it. This process is
230

called khumbh in Sindh.

b) The fabric is soaked in a mixture of camel dung
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or cow dung, seed oil/castor oil and water. The

 dung enables the cloth to become softer and acts
as a bleaching agent. This stage is very crucial in
determining the quality of an Ajrakh. The fabric
is then soaked in cow dung and castor oil to
soften it.
c) The wet cloth is then tied into an airtight bundle
and kept for five to 10 days, depending upon the
weather. A distinct smell of mango pickle
emanating from the bundle confirms that the
fibres have been well soaked with oil. This is
called the saaj.
d) The cloth is then sun-dried and soaked in oil that
has been curdled with carbonate of soda.
e) After a day, the cloth is washed and re-soaked in
a home-made mixture of dried lemons,
molasses, castor oil and water, amongst other
things. (The fabric is dipped in myrobalan
solution and gets a creamish tinge.)
f) It is dried and is ready for printing.
2. The fabric is fixed on Pathiya, which is a low
printing table and is covered with 10-15 layers of
jute and then a white cloth. The mordant-resist
paste is put into an earthen plate is called the
‗Chatti‘ and the bamboo grid is called the
‗chapri‘. The function of chapri is the same as
‗katli‘ of sanganeri printing.

3. Printing is done on the prepared white fabric

‗Tilli‘ a fine reed is used for measuring and
plotting the design areas. Areas which are to be
kept white are printed with a resist paste
prepared by mixing gum, lime and alizarin (very
little amount, just for a tinge). The resist paste is
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printed with blocks called ASUL-JO-PUR.

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4. This is followed by printing done with mordant
resist paste. Here the mordants for Red and
black colour are added to the resist pastes. For
black/deep blue-fermented solution of clay and
jaggery is mixed with clay and tamarind seed
powder. The blocks used for printing this are
called KOT-JO-PUR. For red colour, - alum, clay
and waste wheat flour are mixed in water to
make a paste which is printed using blocks called
KHOR-JO-PUR.
The purpose of the mordant resist paste is that,
the designed areas will absorb the mordants and
will also be resisted.

5. This printed fabric is dried and put in the indigo

vat. All the areas of the fabric gets a blue colour
except the ones printed with Asul, kot and khor
blocks.

6. The fabric is dried; the mordant resist paste is

carefully removed. By this time the fabric has
already absorbed the mordants for Red and
black. The fabric is soaked and boiled in alizarin
dye bath. The areas printed with kot and khor
get the black and red colour respectively. The
fabric is washed to remove excess alizarin.

7. Finally the fabric is washed in cow dung and soap

and beaten. This imparts sheen to the fabric. The
final fabric shows white, red and deep blue/black
designs on indigo background.
8. If the ajrakh is one sided i.e. printing is done
232

only on one side of the fabric, it is called Ekpuri

and if the printing is done on both sides it is
called Bepuri.
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For Bepuri the fabric is not dried after the final
washing. The wet fabric is over turned on the
printing table. And the printing is done on exactly
the same place. The blocks have pins on the edge.
The holes are matched and printing with all the
three blocks is done again from the wrong side.
If the fabric is left to dry, it may shrink and the
holes will not match.
Motifs used are – Badam (almond), Chakki, Phool,
and many intricate floral patterns.
The borders are called Hashiya,
Hashe-jo-ajrakh-Bordered Ajrakh
Be Hashe-jo-Ajrakh-2 Bordered Ajrakh
Thi Hashe-jo-Ajrakh- 3 Bordered Ajrakh
Bold geometrical designs are also used.

The Muslims use blue as their predominant colour

and the Hindus use red as their main colour. This
fabric with red background is called ―malir‖.

Ajrakh resist prints throws 233

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234
Ajrakh Block print

235
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236
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237
Ajrakh Motifs

238
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Ajrakh Motifs

239
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Ajrakh Motifs

240
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14.5 Maintaining Ajrakh Printed Textiles
Ajrakh prints require some extra care while
washing, like most Indian block printed fabrics. Here
are some tips --
Wash in cold water. If hand washing is not possible,
wash the textile in the gentlest possible cycle of
your washing machine. Wash with like colours.
In order to maintain the colour of the textile, add a
handful of salt to the first rinse. Do not use fabric
softeners or dryer sheets -- these could coat the
fabric with a whitish residue that would dull the
luminosity of the dyes.
Do not dry in the dryer -- line drying works best. In
case this is not an option, turn the textile inside out,
or place it in a protective cloth (a pillowcase will do
the trick) and tumble dry on low.

14.6 Future of Ajrakh

This ancient craft tradition is now on the decline as
it involves too much labour and the profit margins
are low. The younger generation is seeking more
lucrative work that is less labour-intensive and has
short-term gains. Many take short cuts by reducing
the number of essential stages in the making;
others have simply switched to printing cheap silk-
screen versions.
In Gujarat, the main centres of Ajrakh are
Dhamadka, Khavda and Bhuj. The Khatri community
has been engaged in this craft for centuries and the
technique has been passed down and perfected
through several generations. Now, however, only
two such family units of Ajrakh printers still practice
241

the craft in India.

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Ajrakh blocks are also no longer easy to come by,
as there are very few block-makers (or indeed,
block-making families) left in Sindh.

242
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 Lesson 14: Mithila Painting
Objectives:
Discuss ideas & questions such as-
What are Mithila / Madhubani paintings?
What is the origin & status as of today?

Structure:
14.1 Introduction
14.2 Procedure

15.1 Introduction:
In the Mithila region of North Bihar there is an old
tradition of painting the walls and the floor. These
traditions continued till the early 1960s till paper
becomes easily and cheaply available in Mithila.
These wall paintings were put on thick hand made
paper and were recognised as ‗madhubani painting‘
by the All India Handicraft Board. The printing press
form where the Mithila village got their paper is
situated in the town Madhubani. Thus the name
Madhubani painting.

The Mithila paintings are divided into

i. Wall Paintings - khobar-ghar-for weddings and

go-sain-ghar-for Durga Ashtami.
ii. Floor Paintings- called aripan
Motifs- for khobar-ghar are lotous; bamboo, snake,
243

birds, fishes, brides and wedding ceremony- for

gosain ghar are Goddess Durga, Goddess kali, and
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scenes from the epics. Motifs for the aripan are

large geometrical and floral motifs. Other motifs are
scenes from daily life, and ‗pan ka patta‘.

15.2 Procedure:

1. After consulting a ‗purohita‘ an auspicious day

and time are identified to begin the painting
work.
2. The main wall to be painted faces, the east and
is white washed and then covered with the rice
paste which is applied by a cloth dipped in the
paste.
3. The centre of the area to be painted is identified
and a dot is placed there. Growing outward from
this dot, the entire motif spreads to the
periphery of the space.

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 Women doing mithila painting

Traditionally, the women of Mithila used pigments

derived from natural substances.

- Vermellian powder (sindur) with mustard seeds

gave a bright red colour
- Cowdung and lamp black gave greyish black.
- Turmeric gave yellow ochre-indigo, green, red
clay was mixed with gum to provide blue and
Indian red.

Today chemical pigments are sourced from Calcutta.

245

These powder colours are mixed with goat milk to

produce the liquid paint instead of goat milk, gum or
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fevicol are also used.Thin bamboo twig is used to

make the outline. A thick bamboo with a rag tied at
one end is used for filling up larger areas.

Now Madhubani painting are also done on fabric and

Tassar silk is most commonly used as the base
fabric.

Centres of Production Ajrakh and Madhubani

1. Madhu bani
2. Anjar
3. Sind
4. Pali
5. Pipad
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Madubani Designs

247
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248
 249

These paintings are made with mineral pigments

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prepared by the artists. The work is done on freshly

plastered or a mud wall.
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255
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256
 Art works painted on walls

Art works painted on paper

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 Lesson 15: Patola, Ikat,
Pochmpalli and Mashru
Objectives:
Discuss ideas & questions;
Origin of the word Ikat.
Areas in India where it is done
Procedure & difference in motifs & styles
according to the place.

Structure:
15.1 Procedure
15.2 Telia Rumal
15.3 Mashru

The word Ikat is derived from a Malasian

word‘mengi ikat‘ which means, ―to tie‖.

The areas of production in India are Patan, Surat

and Rajkot in Gujarat; Pochampalli, Guntur and
Chirala in Andhra Pradesh; Sambalpur, Cuttack and
Balasore in Orissa.

The basic technique followed or used for the

production of ikats is the tie and dye of the yarns.
In Andra Pradesh and Orissa either the warp or the
weft yarns are tied and dyed to make the design.
This is called warp ikat and weft ikat respectively. In
Gujarat the designs is formed by tieing and dyeing
both warp and weft yarns. This is called double ikat
e.g. Patola.
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15.1 Procedure:

1. In Gujarat, silk is used but in Andhra Pradesh

and Orissa both silk and cotton yarns are used as
raw material. All the raw material is in the form
of undyed yarns.

2. The warp or weft threads or both are divided into

bundles, and tied with water proof material like
cotton threads, rubber strips, leaves etc to
correspond with a pre arranged design.

3. The bundles are then dyed; tieing threads resist

the colours of the first dyeing and the yarns are
redyed. More the number of colours, more are
the number of successive tieing and dyeing. The
lightest colour is dyed first and then darker and
darkest for successive dying. The ties are opened
after drying the yarns.

4. The warps are then arranged on the loom and

the pattern is aligned according to the design.
The wefts are wound on the shuttles. Once the
warp threads are put on the frames, the design
becomes visible. The warps are then sized, to
maintain their tension.

5. Weaving is done on a very simple horizontal

loom. The weave is always a plain weave. Any
other kind of weave will disturb the tie and dye
pattern of the threads. The weaving process is so
259

accurate that the warp design and weft design

overlap to form a motif.
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6. The final arrangement of warp and weft threads
is done with on iron needle, which is the size of a
pencil. The weaving progresses at the rate of 6-
8‖ per day. The whole procedure is labour
intensive and requires immense patience.

Motif from an ikat saree

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Motifs used in Gujarat are flowers, Jewellery,
elephant, tiger, parrot, dancing woman, beetle leaf.
Geometrical designs like squares with flowers or
jewels are made for the Muslim community.

Double Ikat is used to give definite outlines of the

design. The famous Patola sarees are made using
this technique. Only silk is used.

In Orissa cotton and tassar silk are used. Either

warp Ikat or weft ikat is done to make lungis,
dupattas, saris and blouse pieces, Bed covers,
cushion covers, and yardage is also made. The only
place where double ikat is done in Orissa is
Sambalpur, which produces the famous Sambal puri
sari. The motifs used are shells, fish, tortoise,
serpents, Chess board (called pasapalli, chaupad)
geese (Hansa), khumba (Kalash), flowers, rice
seeds and sun. The Orissa ikats have a white outline
around the design.

15.2 Telia Rumal

In Andhra Pradesh: Chirala, a coastal village is
famous for the production of ikat cloth known a
Telia rumals also called Asia rumal. These rumals
are used by the Muslim men to tie on their heads
and are exported to Middle East, Africa, Pakistan,
Bangladesh and Burma. The size of the rumal is
55X75 cm. There are eight rumals in one yardage
and is called ―thaan‖.

These rumals are dyed with traditional alizarin dyes.

This leaves an oily smell (sesame oil is used in
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dyeing) on the fabric and has hence got the name

Telia from ―Tel‖ (Oil).
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Telia rumals are also called chitkirumal (locally)
have a distinct colour scheme based on red,
blue/black and off white.

a. Outer borders are red; with blue or black centre

having off white designs.

b. Outer borders are blue/black with a red field

having off-white designs. Double ikat technique
when used for the central field makes the rumal
expensive. For lower classes single ikat
warp/weft is used.

The motifs used are geometrical and floral only.

Sometimes, Islamic, motif of moon and star is also
used. The patterns and colours of the telia rumals
have been adopted on saris, dupattas and lungis
called Telia saris, Telia dupattas, and Telia lungi
respectively.

Pochampalli is another place in Andhrapradesh

where cotton ikat. Sarees and lungis are woven the
motifs are again geometrical and floral with either
warp or weft ikat.

15.3 Mashru
Mashru is an Arabic word meaning permitted. Here
permitted refers to permitted by Islamic law. It is
also said that the terms mashru is derived from the
Sanskrit word ‗misru‘meaning mixed. Muslims are
not allowed to wear silk next to their skin therefore
mashru has a cotton weft and a silk warp. The silk is
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tied and dyed for the design. Satin weave is used

where the silk remains on top and cotton below.
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Motifs used are stipes or double stripes with arrows
in between.
Centre of Production of Ikat

1. Sambalpur.Chirala
2. Pochampalli
3. Surat
4. Rajkot.
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The Tortoise
Orissa ikat motif - (notice the while outline around
the design).

The Matysa or Fish

The fish is the first incarnation of Lord Vishnu. It is
also one of the 8 symbols of good augury and good
luck. The people of coastal Orissa are fish eaters,
hence the fish has come to symbolize prosperity.
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Conches were used as bugles in war and in ancient
India each warrior had his special famous conch.

Orissa Ikats 265

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Telia Rumals Cotton doubles ikat.

Cotton bedspread, single ikat, collection of weavers

service centre, Hydrabad
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Popat, Kunjar Bhat, silk Double ikat sari,
Woven by:
Kanubhai Patolawalla Patan

267

Popat Kunjar Bhat, silk Double ikat sari, Woven by:

Kanubhai Patolawalla, Patan
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Nari Kunjar Bhat Potolu sari, silk Double ikat,

268

Cotton Sari, Double ikat,

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Telia Rumals Cotton double ikat

Telia Rumals Cotton double ikat

269
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Mashru yardage, Cotton and silk Chevron design,
single ikat

Mashru Yardage Cotton and silk single ikat,

produced at a Mashru workshop in Patan.

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Detail from mashru Bed spread, Cotton and silk,
single ikat.

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 Lesson 16: Bandhini Work of
Rajasthan and Gujarat
Objectives:
Discuss ideas & questions:
What is tie n dye?
Areas where it is done.
Transfering the designs on the fabric,
tyeing n dyeing of fabric, and motifs.

Structure:
16.1 Introduction
16.2 Procedure

16.1 Introduction:
Bandhana or Bandha are Sanskrit words which
mean‖ to tie; the reason why Bandha work is called
Bandhini. Internationally, the tie and dye work is
known by a Malaysian name of ―plangi‘.‘Bandanna',
an English term is derived from Bandhana. It is a
spotted handkerchief used to tie on the head.
Jamnagar, Rajkot, Porbander, Kutch and An jar in
Gujarat and Bikaner, Sikar, Jodhpur, Jaipur, Udaipur
and Nathadwara in Rajas than are the main centres
of tie and dye work in India. The government has
identified 3000 centres in Gujarat and Rajasthan,
which are known to carry out this art. Both Hindus
and Muslims of the Khatri caste do it.
272

The earliest examples of Tie and dye textiles have

been excavated in Peru (South America) dating from
1-2 Century (BC) and in China of 4c AD. Sculptures
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of the Ajanta cave show the earliest tie and dye in
India (6-7cAD), though it is believed that advanced
techniques of resist dyeing were carried out in
Mohenjodaro and Harappa.
Tie and dye is a form of resist dyeing on fabric here
the designs are resisted by tieing threads on the pre
designed areas, after which the fabric is dyed; thus
called tie and dye.

16.2 Procedure
The fabric is desired by washing it in caustic soda
and water and dried.
The fabric used to tie and dye is very fine e.g.
mulmul, silk, chiffon. These fabrics are folded into 2
or 4 parts. The design areas are marked only on the
½ or 1/4th part of the fabric with the help of wooden
blocks. There are 2 methods of printing designs-(a)
water based solution of soot or geru is prepared and
a thick cotton thread is dipped into this. A rangara
(colourer) marks the design areas with the help of
this dyed thread. He then prints designs with geru
coated wooden blocks within the design areas.(b)
This method is faster and more popular. A thin
sheet of stuff clear plastic is pierced with pinholes
forming the designed pattern. The sheet is then
placed over the fabric to be tied. a sponge or a rag
dipped in geru is then rubbed over the sheet leaving
an imprint of the desired pattern on the cloth.

Tying:
Women and young girls in their houses do tieing.
The fabrics are tied with a cotton yarn. The material
is pushed up from beneath with along pointed nail of
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the little finger of the left hand, or a spiked metal

ring is used. The protruding fabric is wound 6-8
times. The thread is not cut and is led on to the
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next tie. This goes on till all the design areas to be
left white are tied.
Dyeing:
The fabric is always dyed with the lightest colour
first, usually yellow. It is rinsed squeezed and dried.
The pattern, which is to appear yellow is tied and
then dyeing, is done in a darker colour, such as
red/green. After drying, the fabric is again tied on
the designs, which are to show red/green. It is then
dyed in even darker colours like maroon, black, dark
brown and dark blue.
The parts of the cloth that are not to be dyed in the
darkest colour are wrapped up tightly in plastic to
resist the dying.

Many times, certain yellow and white dot designs

are opened up and green or blue/black colours are
dabbed with a small colour soaked pad e.g. to make
the eyes. This is called lipai.

It is also done by tying thread soaked in dark colour

when the fabric is still wet.

In Rajasthan, the tie-dye stuff sold in the markets is

not untied, to show that it is genuine bandhini and
not a print. The pimpled effect is appreciated and
left unironed.

In Gujarat the fabric ties is opened and the fabric is

starched and ironed.
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Techniques of tieing
Tieing the fabric in different ways can show various
interesting end results.
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1. A little fabric lifted with a fingernail and tied
result in a dot.

2. The fabric is knotted at the ends.

3. The fabric is crumpled with hands and rolled

haphazardly into a ball and tied with threads all
around. This is called marbelling.

4. Stitch resist or tritik: Any design is made and

running stitch is done on the outline of the
design and the thread is pulled tightly. Two rows
of running stitch gives a better outline. Most
common motif done in this way is the cowrie
shell or 'kodi'.

5. Lahariya: The fabric, usually on very fine mulmul

is folded and tied at intervals with threads and
dyed. This leaves a striped pattern on the fabric.
These stripes look like waves called ‗lehar‘in
Sanskrit and thus the term lahariya. It is
commonly used for turbans and dupattas.
Different effects can be achieved by folding the
fabric in different ways:

a. Straight stripes running diagonally from one

corner to the other called‘salaidar‘;
b. The fabric is folded like a fan to give the zig
zag pattern called ‗gandadar‘.
c. Held from the centre and tried to give a
circular effect called ‗chaki‘.
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Motifs need are-bindi (dot), Laddu (circle) dabbi
(rhombus), Ras mandala (women dancing in a circle
around a centre medallion),

The bindi is used to make elephants, peacocks,

flowers and geometrical shapes.

Centres of Production of Bandhini

1. Sikar
2. Bikaner
3. Nathadwada
4. Udaipur
5. Jamnagar
6. Rajkot
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277
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278
Summary:
Ajrakh is a resist & mordant resist styles of printing
done in Sind in Pakistan & Kutch in Gujrat and Pali &
Pipad in Rajasthan. It can be one-sided ajrakh
(ekpuri) or double-sided (bepuri). The blocks used
for printing double-sided ajrakh have pins on their
edges. Muslims use blue as their predominant colour
and Hindus use red Malir).

Mithila paintings are famous wall and floor paintings

of North Bihar. These are done for auspicious
occasions like weddings & pujas. Now it is also done
on paper, hand-made paper and fabrics like Tussar
silk.

Ikat is the tie n dye of yarns. In AP & Orissa warp /

weft yarns are tied & dyed to produce warp / weft
ikats. In Gujrat both warp & weft yarns are tied n
dyed to obtain double ikat like patola. It is done on
silk. In Sambalpur of Orissa, famous Sambalpuri
sarees are prepared. Orissa ikats have a white
outline around the design.
In AP‘s Chirala village, telia rumals are produced
that are used by muslims to tie their heads. Mashru
means a mixed fabricor fabric permitted by the
Islamic law. It has cotton wefts & silk warps & is
done with satin weave.
Tie n dye of fabrics is called bandhani.The dyeing is
done with the lightest colour first and then dyed in
darker colours. The designs formed are based on
the different techniques of tieing the fabric, resisting
it to avoid the colour wherever required and dyeing.
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Revision points:
1. Ajrakh is a block printed cloth, made in Sind
in Pakistan, Kutch in Gujrat, & Pali & Pipad in
Rajasthan.
2. Ajrakh means blue in Arabic language.
3. Resist & mordant-resist styles of printing are
used to print Ajrakh.
4. Mithila region of North Bihar is famous for its
paintings on floors & walls.
5. Paintings on walls are done for weddings (
Khobar ghar) & for Durga Ashtmi ( go-sain
ghar)
6. Traditionally pigments from natural
substances were used. Now chemical
pigments from Calcutta are used.
7. Printing press at Madhubani town provided
paper , therefore they were later called
Madhubani paintings.

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Terminal exercises:
1. Name the centres of production of Ajrakh
2. What are the 3 blocks used in Ajrakh and
what are their functions?
3. What is the style of printing used for Ajrakh?
4. What is ‗malir‘?
5. What are the main characteristics of
Madhubani paintings?
6. What are the motifs used for Madhubani
paintings?
7. What is double ikat?
8. What are Telia rumals? Explain the colours
and motifs used.
9. What motifs are used for Orissa ikats?
10.What is Mashru?
11.What are the 3 different kinds of lehariya?
12.How are the designs transferred on a fabric
for a tie and dye article?
13.What are the different typing techniques
used in tie and dye?

Intext questions:
1. Name the centers of production of Ajrakh.
2. Name the centers of production of Mithila
paintings.
3. Explain in detail about the features of
Madhubani paintings.
281

4. What is ikat? What are the types of ikat?

5. What are the differences between single &
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double ikats?
 6. Name the production centers of ikat fabrics.
7. What are the different tyeing techniques
used in tie n dye work of Rajasthan & Gujrat?

Key words:
Pathiya- the low printing table.
Chatti- the earthern plate in which the
mordant-resist paste is put.
Chapri- the bamboo grid
Tilli- affine reed for measuring & plotting
design areas.
Asul-jo-pur- blocks with which resist paste is
printed.
Kot-jo-pur- blocks for printing mordants for
black colour.
Khor-jo-pur- blocks fof printing mordants for
red colour
Ekpuri- one-sided ajrakh
Bepuri- double-sided ajrakh
Hashe-jo ajrakh- bordered ajrakh
Be hashe-jo-ajrakh- 2 bordered ajrakh
Thi hashe-jo-ajrakh- 3 bordered ajrakh
Malir- Ajrakh with red background
Khobar ghar- Mithila paintings made on the
walls at wedding times.
Go-sain-ghar- Mithila paintings made on
walls at time of Durga Ashtmi
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Aripan- floor paintings from Mithila.

Ikat- It is a Malaysian word means ‗to tie‘.
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Ikat is the tie n dye of yarns.

Warp ikat- When only warp yarns are tied n
dyed to form the design.
Weft ikat- when only weft yarns are tied n
dyed to form the design.
Patola- In Gujrat, the designs are formed by
tieing n dyeing both warp & weft yarns. This
is called double ikat eg. Patola.
Telia rumal- Chirala in Andhra Pradesh is a
coastal village is famous for ikat cloth called
telia rumals used by muslims to tie their
heads.
Mashru- It is a mixed fabric which means
‗Permitted by the Islamic law‘. It has cotton
weft and silk warps& is woven in satin
weave.
Bandhana / bandha / bandhani- It is the tie n
dye of fabric done in Gujrat & Rajasthan.
Rangara- colourer who marks the design
areas with a dyed thread.
Lipai- Many times yellow & white dot designs
are opened up and green / blue / black
colours are dabbed on it . this is called lipai.
Tritik- the stitch resist design is called tritik.
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 References books
1. Gillow J Bernard Nicholas, 1991,―Traditional
Textiles of India‖, Thames and Hudson
2. Naik Shalja, 1996, Indian Embroideries, APH
Publishing Corporation
3. Desai Chelna, 1996, ―Ikat Textile of India‖,
Chronicle books
4. Frater Judy, 1995, ―Threads of Identity‖,
Mapin Publication

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