INDIAN CULTURAL

STUDIES
FST - 802
UNIT – 5
WESTERN INDIA- THE BRIGHT SIDE
RAJASTHAN
AN OVERVIEW OF CULTURE OF RAJASTHAN

 Overview of crafts
 Meenakari
 Blue Pottery
 Lac Work
 Leather Craft
 Puppetry
 Tie & Dye
 Block Printing
 Quilt Making
OVERVIEW OF CRAFTS
POPULAR HANDICRAFTS OF RAJASTHAN ARE AS FOLLOWS:

• Blue Pottery- Blue pottery is a traditional handicraft famous throughout the world. Here intricate details are painted over
white glazed pottery with blue colour. It is a beautiful technique of adding vibrance and a vibrance of blue hues. Beautiful
designs are created on pottery, which vibrate with the soul.
• Meenakari- This craft involves a process of jewellery molding. In Meenakari, different colors are infused with gold in the
designed jewel. Red, blue, and green are popular colors used by artisans. Raja Man Singh of Jaipur was the one who
promoted this craft. He brought specialized craftsmen from Lahore and settled them at Jaipur. He made Jaipur a centre for
Meenakari.
• Lac Bangles- Bangles have been a big part of an Indian girl ensemble ever since. Rajasthan promotes ways to enhance one's
look. That’s where Lac Bangles comes into the picture. It is made out of natural material extracted from the tree by insects.
Artisans give it the form of bangles after molding it into different designs. Jaipur king Rai Singh recognized this craft. Jaipur
and Jodhpur are other major centers promoting this craft. Lac work is not limited to ornaments; for example, lac work is
done on wooden toys. Other regions where this intricate art flourished are Sawai Madhopur, Indargarh, and Sikar.
• Rajasthani Quilts (Rajai)- This form of textile is known worldwide for its feather-light features. It is light as compared to
normal bulky quilts. Its beauty lies in its prints, which are used to give it a royal look. Popular prints include Bagru prints
and Malir prints, to name a few.
• Mojaris- Mojaris has always been a major part of the Rajasthani lifestyle. Owing to the climate conditions,
Mojaris are comfortable as compared to other footwear. Mojaris is designed to provide proper ventilation
and comfort. Jaipur, Jodhpur, and Udaipur are some major centers of production. Hawa Mahal in Jaipur is
among the biggest markets dedicated to this craft.
• Kagzi Pottery- This famous handicraft of Rajasthan is born in the Alwar district of Rajasthan. This pottery
is paper thin and, thus, referred to as Kagzi pottery. Kagzi pottery can be classified into three types: Thin
biscuit colour pottery, polished and painted with white and red slips, and highly polished pottery decorated
with strong, deeply notched, stylized patterns of arabesques. It is polished pottery decorated with strong
motifs. It has cuts into stylized patterns.
• Bikaner Pottery- This pottery is found in the Nohar region of Bikaner. This pottery is created in distinctive
colours with the help of lac colors. The yellow colour represents the glory of Rajasthan. A good fusion of all
the colors, such as red, green, and blue, is also used. Bright colours are used to create beautiful masterpieces
of Bikaner pottery.
• Glazed Pottery- It is an intricate art of creating pottery. Glazed pottery is shiny and bright. It is painted with
bright colours to give them a refreshing look. It is famous worldwide.
• Kundan Work- This is the art of creating handcrafted jewellery. In Kundan's work, jewellery stones are set on a lacy
material. This art was developed during the Mughal era.
• Marble Work- Rajasthan is famous for its reserves of marble. The craftsmen here mould the marble into beautiful pieces
like vases and showpieces. Marble carvings of Jaipur are very popular. Jaipur is also home to Meenakari marble work. It
involves infusing Meena into the marble by carving it. Pacchikari work on marble has also gained popularity.
• Thewa Kala- It involves infusing 23 karats gold jewellery with multi-colour glasses. It enhances the look of gold and
gives it a unique beauty. It evolved in the Pratapgarh district of Rajasthan. It was identified as art by Maharawal Sawant
Singh in the year 1775.
• Terracotta- When soil is transformed into a product that can be used daily, it is called terracotta. While creating terracotta,
the soil is baked and given the desired shape and size. This handicraft is developed in Molela village of Rajsamand district.
The terracotta figurines of the Aihore region are very popular. The terracotta figurine found in Rajasthan has a special
characteristic. It is lightweight and hollow from the inner side. The clay used includes elements such as silica and lime
infused with soil. Terracotta toys are also a centre of attraction among the masses. Terracotta toys have been a trend since
the Harappan civilization and Kalibangangan civilizations. Toy figures such as camels, rabbits, and others are made for
recreational purposes.
• Carpets and Mats- This famous handicraft of Rajasthan began to be manufactured in the 17th century. It started
when weavers from Afghanistan started to settle in Rajasthan. This hand-knotted craft developed in modern times. It
is a centre of attraction among the masses. The colours used in this handicraft pattern are blue, green, yellow, purple,
etc. Designs available on this handicraft are beautiful mesmerizing bits of nature, such. Cotton and wool are the
prime fabrics used in developing these Carpets. The weavers of this craft ensure that thread and knots tied during the
carpet creation are thin. This ensures its durability.
• Malpura, Tonk, Bhilwara, Shahpura, and Kekari are the major areas. Another major place where this craft is created
is Salvas village in Jodhpur city. This handicraft of Rajasthan is playing a key role in reforming the society over the
years. The jail inmates in Bikaner and Jaipur jails also manufacture carpets.
• Tarakashi Work- This beautiful handicraft is created after embedding silver wire in wooden items. Silver wire is
embedded in the wood. It is then used to create different patterns and designs. Different categories of items are
created through this. Wires of silver and copper are used in this craft. Shri Ramdayal Sharma was awarded the
National Handicrafts Award in 2009. He made an exemplary contribution by taking this craft to a new height.
MEENAKARI
• Jewellery for an Indian bride usually means a lot of possible use of gem stones,
delicate moment detailing and meena work. An idea may be formed concerning the
influence of fashions and create. Rajasthan has influenced Indian jewelry with its
Meenakari works that are stunning and highly in demand among ladies who loves
traditional jewellery. Enameling is the artwork of decorating a metal area by over
or fusing pieces of mineral materials that are distinct, attaching it or coloring it.
Enameling is considered the most appealing and technical of all metal decorations.

• This art form requires technical ability to perfect the look of ornament. History
accredits (recognise) Raja Man Singh of Mewar as a supporter of this Meenakari
art in Jaipur. Meenakari was brought by Raja Man Singh of Amber in the turn of
the century into Rajasthan. Man Singh established them and brought minakars in
Lahore from the Mughal palace. Meenakari’s procedure necessitates a high level of
application and ability. The bit of metal on is fixed on a lac stick. Delicate designs
of flowers, birds, fish are imprinted or engraved on it. This leads to the production
of grooves or walls, to maintain color. Thus, Rajasthan became the center
specializing in Meena work across the world
 WHAT’S MEENAKARI?

• Meenakari designing entails the process of grooves or coating engravings in decoration with enamels. The
decoration can be of silver, gold, copper and brass. The designs on jewelry resembles motif or pictures or
animal and figures of gods and goddess.

• Dust of colour is poured into the grooves as well as every color is fired. The furnace’s (a enclosed structure in
which materials can be heated) heat melts the liquid and the color becomes spread to the groove. This process
is repeated with every color. Colors, that are resistant, are applied as they’re fired with each color, as every
color is fired. White is used the last, and the color is applied accordingly. Adhering to the colour, the object is
polished with agate or cooled and burnished. The depth of the grooves full of different colors determines the
play of light. Both Silver and Gold can be utilized as a base for Meenakari work. Whereas all colors can be
applied making it the medium of enamellers, a number of colors are mainly used, such as gold, blue, green to
silver.
• The idea is to present an image like quality of the set. The enamels are full of and this enriches
the renders and look clarity to the subject on which the grooves were designed based. The
Meenakari jewellery communicates topics and events. This is among the highlight of the
Meenakari technique which is used by traditional artisans of Rajasthan. The Meenakar (Artisan)
frequently works with a team of craftsmen. As Meenakari is usually performed on your reverse
side of kundan jewellery, your Meenakar has to work with your goldsmith, your engraver or
ghaaria, your designer or chitteria and jadiya that applies the gemstone on the kundan or gold.
The finished product is a marvel of the Artisan’s or craftsmen’s expertise and their techniques.
• The Meenakari functions are applied as two types – Panchrangi meena and khula rang. In Khula
rang, enamel of one color is used. In case the Meenakari jewellery is intended to Indian brides,
then Ek rang khula might be matched with the color of the wedding trousseau. This may lay
focus on the full appearance of this bride with matching earrings, armbands, necklaces, bangles
etc. Jaipur is your main center of Meenakari.
• Traditional Mughal colors such as red, green as well as white, dominate the art of enameling in
Jaipur. The rich, ruby red colour used here is extremely desired by the women from all over the
world. Nathdwara, Bikaner as well as Udaipur are also famous for their silver Meenakari Work.
BLUE POTTERY
 BLUE POTTERY

• Blue Pottery is widely recognized as a traditional craft of Jaipur of

Central Asian origin. The name 'blue pottery' comes from the eye-
catching cobalt blue dye used to color the pottery. Jaipur blue pottery
has strong influences of the Persian ceramic style but it has developed
its own designs and motifs. Some of this pottery is semi-transparent
and mostly decorated with Mughal arabesque (rhythmic linear patterns
and intricate geometric patterns to decorate intersecting motifs) patterns
and bird and other animal motifs. Thus, the semi-transparent pottery
has a gentle mix of Mughal arabesque patterns with bird and other
animal motifs forbidden in Persian art of Islamic origin
• Jaipur blue pottery, made out of ceramic material is glazed and low-fired. The
biggest advantage is that blue pottery does not develop any cracks, and blue
pottery is also resistant, hygienic, and suitable for daily use. Blue pottery is
beautifully decorated with the brush when the pot is rotated. Thus it has great
utilitarian as well as aesthetic significance.

• Being fired at very low temperature makes them fragile. The range of items is
primarily decorative, such as ashtrays, vases, coasters, small bowls and boxes
for trinkets. The colour palette is restricted to blue derived from the cobalt
oxide, green from the copper oxide and white, though other non-conventional
colours, such as yellow and brown are sometimes included. The products made
include plates, flower vases, soap dishes, surahis (small pitcher), trays, coasters,
fruit bowls, door knobs, and glazed tiles with hand painted floral designs.
Sometimes, designer pieces for display are also made. The craft is found mainly
in Jaipur, but also in Sanganer, Mahalan, and Neota.
LAC WORK
• Lac And Glass- The Lac art in Rajasthan has been around for centuries. The Lac work from Sawai, Jodhpur, Udaipur,
Madhopur are known for their charming colours and vibrant and flawless finish. The cities of Jodhpur and Jaipur have
several lac work centers which can be visited to see the artists at work. Lac work is not only popular for making jewellery
but is also known for building pieces of architecture and decorative items. Originally when Lac work was introduced it
was used for adorning doors and windows of houses. The work offers excellent finish to the doors and it is easy to make
different designs and carvings on Lac.

• Indian glass beads are also quite popular in designing fashion jewellery and customized jewellery. They are available in
different colour, pattern and variety that has made the glass beads popular across the world. Glass jewellery in the form of
glass bangles and glass earrings is also popular. In fact glass bangles are practically worn by almost every Indian woman.

• Over the centuries the art of making lac jewellery and items has evolved and today lac jewellery is available in various
shapes, forms and colours. The art of making Lac jewellery and decorative items is very intrinsic. It requires skilled
craftsmanship and a lot of precision to create lac jewellery and other items. The process of making lac items is quite
complex and tedious but it gives rise to some of the finest pieces of art that are difficult to take your eyes off from.
LEATHER CRAFTS
Leather craft in Rajasthan mainly constitutes of goods made of camel hide.
These are available in almost all parts of Rajasthan. Bikaner is popular as the
center where leather goods are manufactured. For tourist the leather goods are
of great interest and possessions. The leather goods are also exported to
different parts of the world from the state. In the past, leather was not only
used in making clothes and footwear, it was also used in making caps, bags,
saddles, armour etc. The present day leather craft of Rajasthan has become a
big industry and caters not only to local but foreign needs also. Utilitarian
items like shoes, jackets, lampshades, pouches, bags, belts, wallets etc made
from leather are exported from India in large quantities.

• Making- Even though one medium sized bag can be stitched in one day,
with the involvement of two people, the processing of hides for preparation
takes up one month and a lot of involvement. In the leather crafts industry
both the men and women participate. While the men do the tanning, cutting
and stitching, the women do the ornamentation and embroidery. The
outcome is sturdy leather, which lasts years and ages beautifully. While
some of the classic designs created at the beginning of Jawaja project are
still popular.
• Jawaja Leather- Jawaja leather is a flourishing craft now, with its unique identity and style, and is becoming known across
the world. The beauty of Jawaja leather work is the evenly stitched leather strips instead of threads. Two layers of leather are
first stuck together and then stitched by punching holes with awls, or large needle like tools, and leather strips are made to
pass through the layers, binding them together. The leather stitches have a characteristic diamond shape that adds to the
understated elegance of these leather products.

• Leather Products- The most popular Rajasthani leather goods are the "Jootis" or "Mojris" (Leather Sandals). Mojris are
made out of locally tanned leather. These shoes are generally decorated with silk or metal embroidery, beads. Sometimes one
can also find applique work done on them. Mojris are so soft and delicate, that they can be rolled up or folded
easily. Jaipur, Jodhpur, Barmer and Jaisalmer are traditionally known for this footwear. Bikaner and Jaisalmer produce
decorative saddles for horses and camels. Bikaner is also known for "Kupi", a particular type of leather bottle made from
camel hide. Rajasthan is also known for beautiful lamp and lampshades made from leather. "Nagra" sandals of Jaipur and
Jodhpur are traditionally known for such exquisite footwear. Besides these, leather is also an essential raw material for
making musical instruments such as Tabla and Dholak. These instruments are used by Rajasthani folk musicians.
Handbags, saddles, pouches, lampshades, hip flasks, water pots and perfume vases are also a part of Rajasthani leather craft.
Designer hand-bags, purses, belts, hats, stools and collapsible chairs with graphic embroideries made from leather at Tilonia
village near Ajmer is also example of good craftsmanship
PUPPETRY
• The literal Hindi translation for the word ‘puppet’ is kathputli, but this can be misleading. All kathputlis are puppets but all puppets are not
kathputlis, which is the name for the stylistically distinct, traditional string puppets of Rajasthan. Kathputli is a puppet made of kath or wood
and the puppeteers are called Nats or Bhats, a wandering community from Rajasthan who perform their khel during the dry season and return
to their villages to cultivate the fields after the rains. The puppeteers believe in the divine origin of their art and claim to have been the chief
performers during the reign of the legendary king Vikramaditya, whose life and achievements they extol (praise).

• Traditionally, the puppet performance comprised 52 puppets in the puppeteers’ range. Any less would be considered an incomplete puppet
performance. The story of Amar Singh Rathore would be told to small groups in localities within the four walls of the mohalla or
neighbourhood, ensuring the participation of the entire audience. The puppeteer would be an actor and also a puppet manipulator.

• Today, however, the puppet performance relegates (downgrade) Amar Singh Rathore to the background and tricks and turns once performed
for royal amusement take centre stage. There is the magician, the acrobat (circus artist), the dancer Anarkali, the drummer Khabar Khan, a
horse rider with lit torches in his hands, and a snake-charmer. Also among the cast of characters are the juggler and the Bahurupia, with two
faces either carved back-to-back or so devised that with clever manipulation, one face is covered while the other is exposed.

• The kathputlis’ heads and headgears are carved from mango wood with large, stylised eyes. They are up to 60cm tall, wearing costumes
made in the period Rajasthani style as seen in phad paintings. Their bodies are made of cloth and stuffed rags. With a few exceptions,
kathputlis are made without legs, and from waist down wear a long pleated skirt of light material.
• Traditionally, kathputlis were carved by craftsmen in Sawai Madhopur, Bassi and Udaipur, but the Bhats now make their own puppets. A
kathputli performance is presented by placing two charpoys (string beds) vertically and tying bamboos across them. The front cloth curtain
with scalloped arches is known as the tibara. It hides the manipulator’s body and feet during the performance. The puppeteer often improvises
his narrative on the spot to hold the attention of his audience, while his wit and comments enliven the performance. He speaks for
the kathputli characters in a squeaky voice with a bamboo whistle known as boli, thereby creating a unique puppet language. The dholak
player (drummer) converses with the kathputlis so that the audience can follow the course of the drama. This dialogue is cleverly coordinated
with songs sung by the women of the family to the accompaniment of the dholak.
• Kathputlis are usually manipulated with only a string, one end of which is attached to the kathputli’s head and the other to its back. Most
string puppet traditions around the world use a cross for manipulation; the weights in the puppet’s torso, feet and hands help the puppeteer to
create movement. The Rajasthani kathputli takes no help from gravity. It is the sheer skill in the manipulator’s fingers that create the
movements. The string is looped around the puppeteer’s fingers and all movements are Puppetry generated by a series of jerks on either end. A
bracelet of bells, or ghungrus, is usually worn by the puppeteer on his wrists. The dancing girl is a special type of kathputli—it has four
strings and its limbs are sewn in such a manner that a range of movements such as the swinging of the hips and the arching backwards during
a dance can be produced. The puppet has a needle concealed in its fingers that attaches itself to her pallu or her ghagra. Thanks to this device,
the puppet can coquettishly cover and uncover her face.
• For almost four hundred years now, the kathputli-wallahs have travelled far and wide throughout India, performing with their puppets and
leaving behind vivid memories of their dramatic performances. They may be the best known of the twenty or more traditional forms of
puppetry. Today, there is a museum and Centre for Puppetry at the Bhartiya Lok Kala Mandal in Udaipur. Once puppet performances could be
seen in every mohalla across India. Now, five-star hotel guests have replaced these audiences. The performances can also be seen on special
occasions. Even with the infusion of modern techniques, a kathputli show can be as heartwarming as it was centuries ago.
• The kathputlis’ heads and headgears are carved from mango wood with large, stylised eyes. They are up to
60cm tall, wearing costumes made in the period Rajasthani style as seen in phad paintings. Their bodies are
made of cloth and stuffed rags. With a few exceptions, kathputlis are made without legs, and from waist
down wear a long pleated skirt of light material.

• Traditionally, kathputlis were carved by craftsmen in Sawai Madhopur, Bassi and Udaipur, but the Bhats
now make their own puppets. A kathputli performance is presented by placing two charpoys (string beds)
vertically and tying bamboos across them. The front cloth curtain with scalloped arches is known as the
tibara. It hides the manipulator’s body and feet during the performance. The puppeteer often improvises his
narrative on the spot to hold the attention of his audience, while his wit and comments enliven the
performance. He speaks for the kathputli characters in a squeaky voice with a bamboo whistle known as
boli, thereby creating a unique puppet language. The dholak player (drummer) converses with the kathputlis
so that the audience can follow the course of the drama. This dialogue is cleverly coordinated with songs
sung by the women of the family to the accompaniment of the dholak.
• Kathputlis are usually manipulated with only a string, one end of which is attached to the kathputli’s head and the other to
its back. Most string puppet traditions around the world use a cross for manipulation; the weights in the puppet’s torso, feet
and hands help the puppeteer to create movement. The Rajasthani kathputli takes no help from gravity. It is the sheer skill
in the manipulator’s fingers that create the movements. The string is looped around the puppeteer’s fingers and all
movements are Puppetry generated by a series of jerks on either end. A bracelet of bells, or ghungrus, is usually worn by
the puppeteer on his wrists. The dancing girl is a special type of kathputli—it has four strings and its limbs are sewn in such
a manner that a range of movements such as the swinging of the hips and the arching backwards during a dance can be
produced. The puppet has a needle concealed in its fingers that attaches itself to her pallu or her ghagra. Thanks to this
device, the puppet can coquettishly cover and uncover her face.

• For almost four hundred years now, the kathputli-wallahs have travelled far and wide throughout India, performing with
their puppets and leaving behind vivid memories of their dramatic performances. They may be the best known of the
twenty or more traditional forms of puppetry. Today, there is a museum and Centre for Puppetry at the Bhartiya Lok Kala
Mandal in Udaipur. Once puppet performances could be seen in every mohalla across India. Now, five-star hotel guests
have replaced these audiences. The performances can also be seen on special occasions. Even with the infusion of modern
techniques, a kathputli show can be as heartwarming as it was centuries ago.
TIE & DYE
• Our diversely vast country showcases a variety of crafts and Indian tie and dye printed textiles are
one of them. Celebrated all over the world and applauded within the nation, the tie and dye
techniques of India are praise-worthy. Tie dye is a broad term, used to describe several different
techniques that involve tying tissues and immersing them in tinctures (slight traces of something).
Various regions boast great textures, styles, and techniques of tie and dye, each has a different
method along with a unique output. Each has a distinct style that is easily recognizable when worn.

• According to the design and the motif, each pattern has its special significance. The variety of
different colors coupled with intricate designs is a rich source of culture that has been handed down
and delicately preserved in the country. The art of tie and dye has been liberally used by the dyers
across the globe to render beautiful colors to the simple-looking fabrics.
 BANDHANI

• HISTORY- An Indian tie and dye technique that dates back to the Indus Valley Civilization, developed by the Khatri community of Gujarat in
India, the printing technique finds mentioned in historical texts of 7th-century ad literature- Harshacharita written by Banabhatta.

• The biography quotes the wedding of King Harsha’s sister, Rajyashri, and describes the tie-dyeing of the bride’s odhani. Its earliest presence
can be found in 5th-century murals pictures and Ajanta cave paintings that portray women wearing bodices with resist-dyed designs.

• POPULARITY- One of the characteristic Indian tie and dye techniques that have found international appeal, Bandhani is native to Gujarat and
Rajasthan. The most popular Bandhni-making centers are in Gujarat, Rajasthan, Sindh, Punjab, and in Tamil Nadu where it’s known as
Sungudi. A popular bandhani textile produced in Gujarat is called Ghar Chola or gharcholu, a traditional odhani for Hindu brides, which is
nowadays available as a sari worn on auspicious occasions.

• The word ‘chunari’ is a commonly used term that refers to patterns created by fine tie-dyed dots. Since the resist dyeing is done on head cloths,
chunari is also the name of the garment worn by women in Rajasthan. Bandhani print is often found on the men’s turbans from Rajasthan.
• TECHNIQUE- The name is derived from the word ‘Bandhan’ which means to tie, wherein several portions of fabric are
plucked by fingernails followed by tying around a pebble/grain and then dipping in dye (lighter colors first and dark colours
later), forming small knots. After the dye is completely dried, the nodes are unwound to reveal beautiful designs and
geometric patterns formed from dotted lines.

• DESIGN – COLOUR, MOTIFS, AND FABRIC

• Mostly the background colours chosen for Indian tie and dye are bright and cheerful such as green, red, pink, purple, yellow,
and blue are used in various shades and hues. However, the print can be adapted to any colour.
• Regarded for its fine resist dots and intricate designs, this technique of tie and dye features patterns like dots, stripes, waves
or squares, and diamonds. Other motifs created by outlining with tiny dots are animal and human figures, flowers, plants, and
trees.
• Traditionally the Indian tie and dye are done on silk, cotton, and wool. But various materials like cotton silk, chiffon,
georgette, and various other fabrics are also experimented with, inventing a beautiful riot of colours on cloth.
• The product range varies from odhani, sarees, and shawls to stitched garments like kurtas and skirts.
 2. IKAT

• HISTORY
• The term ‘ikat’ is derived from the Malay-Indonesian word ‘mangikat’ which means to bind or knot
• The ikat fabric’s earliest mention in history is in the Ajanta cave paintings (6th-century ad) – designs and patterns closely resembling Ikat are seen on
the dresses of the females portrayed in the murals of Ajanta.
• There is a mention of double ikat in the couplets of rani ranakdevi, Gujarati literature from the 11th-century ad as well as in the records of European
travelers from the 16th-century ad. During the 16th and 17th centuries, Patolas (category of ikat) were regarded as precious silks by Southeast Asia
and Europe and thus became an important trade item at that time. In the early 20th century, Telia double ikat rumals (category of ikkat) were exported
to the Middle East, Africa, and Burma.
• TECHNIQUE
• This Indian tie and dye style is a yarn resist technique wherein the yarns are tie-dyed, and on weaving, a pattern is created on the surface of the fabric.
Individual yarns or bundles of yarns are tied with a tight wrapping in the chosen design and then dipped in dye to bring out a unique pattern.
• Ikat technique of tie and dye can be classified into three categories according to the technique used:
• Single ikat: There are two kinds of single ikat namely warp ikat and weft ikat. as the name suggests, in warp ikat, the warp yarns are tie-dyed and
woven with plain solid coloured weft yarns, and similarly and in weft ikat, the weft yarns are tie-dyed and woven with plain warp yarns.
• • Double ikat: In double ikat, both warp and weft yarns are tie-dyed according to a pre-determined pattern and then woven to create clear designs on
fabric.
• • Combined ikat: In combined ikat, both warp and weft yarns are tie-dyed but they are present in selected areas of textile, to create interesting
patterns.
• SPECIALTY
• An ikat textile can be identified from the typical hazy patterning on the fabric due to the resist dyeing of the yarns prior to weaving. The
blurred print is the most essential characteristic of this textile as it requires immense skill on the part of the craftsman to line the threads in
place but the subtle blurriness in itself is a pattern. The less blurry it is, the more time, effort, and skill has gone into it and the more
expensive it is.

• POPULARITY- This technique of tie and dye is popularly woven in Gujarat and Andhra Pradesh, the other main production centers of
ikat in India are Odisha and Telangana. The ikat of each region known by different names can be identified from the motifs and the
patterns achieved by weaving the tie-dyed yarns. By the way ikat’s popularity is increasing among the younger people too.

• The ikat textiles of India can be classified into three categories on the basis of region as follows:
• Patola of Gujarat
• Bandhas of Odisha
• Ikat textiles of Andhra Pradesh: Telia rumal and Pochampalli
 3. LEHERIYA-

• HISTORY- This Indian tie and dye technique is named after the pattern it forms, that is, waves, which is called Leheriya in Rajasthan, and this
pattern is especially popular for clothing during the monsoon season. It is a simple dyeing technique popular worldwide and produces striped
textiles in a huge variety of bright colours.

• The earliest examples of the Indian tie-dye technique known as leheriya date from the nineteenth century. In earlier times, five different
colours were used, and natural dyes were the chosen in form of colours. The colourful textile that is considered auspicious is also offered to
goddesses on special occasions.

• TECHNIQUE- In leheriya a special variety of tie and die tricks is used to create diagonal stripes on various materials that enhance the effect
of the print. The fabric is rolled diagonally into a tight coil, tied with thread at regular intervals, and then dyed in a manner that the colour is
applied only in a particular pattern on the textile.

• The fabric may be rolled again and re-tied to resist the existing colour and add another colour in the leheriya pattern. The fabric when opened
fully the result is diagonally striped fabric – white and varied light coloured lines on a darker background.
• DESIGN – COLOUR, MOTIFS, AND FABRIC
• This technique of tie and dye results in diagonal or zigzag lines created by wrap-resist technique. Known for its lively aura Leheriya
fabric is available in multi-colours ranging from bright hues to pastel serene shades. Fine cotton or silk lehariya fabrics are used as head
cloth or safa by men, worn on special occasions like festivals and weddings. Leheriya designs can be made more complex and
multicolored with multiple dye baths.

• Piliya/Pilado(Version of Leheriya) is the traditional odhani in a red and yellow colour scheme is an important part of the costume for
young mothers. These textiles were dyed with turmeric to impart properties of anti inflammation. Hence it had social significance as they
were gifted to the mothers of new born boys. A typical piliya is largely yellow in colour with red appearing on borders, a big central
circular motif, and four smaller circles around it.
•
Mothra (Version of Leheriya) is a traditional leheriya textile that has a fine checkered pattern created by crisscrossing diagonal lines.
Mothara involves an additional step in the process. The lahariya is again rolled into a coil—this time at a 90-degree angle to the original
—tied and dyed again. Now when the fabric is unrolled, it displays the subtle plaid or checked design, which is the
defining characteristic of mothara.
BLOCK PRINTING
• Block printing is a slow, laborious process and is not suitable for high volume commercial use. It is a method still practiced in
the oriental countries where markets exist for the types of printed fabrics produced. The traditional process of hand block
printing on textiles with rich colors has been practiced in Rajasthan for around 500 years. Block printing was introduced to the
Jaipur region by the Chipa community, located in the village of Bagru, an area famous for vegetable dyes and mud resist block
prints. The art of block printing has been passed down for generations within families and communities.

• A print starts with the design, drawn on paper and carved by hand onto the wooden blocks which are approximately 18-24cm.
The physical block is the design for a single repeat, which is then stamped in rows across the fabric. Each element of the
design is carved into a separate block. Block carving in itself is a precise art requiring years of apprenticeship and done entirely
by hand.

• Each colour pattern is stamped individually onto the fabric; the process takes time and skill, as the pattern must be stamped
repeatedly across the fabric, colour by colour. The subtle gaps and overlaps are a beautiful reminder of the handwork and give
block printing its iconic look. Block printing villages are known for their rhythmic ‘knocking’ sound of the block printer
hitting the wood block to secure the pattern. The sound echoes through the village and reminds us of the artisans at work.
• The original Bagru style of printing traditionally uses floral, leaf and geometric motifs on cottons and silks. However in
recent decades, designers from the west have worked closely with these local artisans to create Indo-western patterns which
are inspired by art and nature. Block printing has provided an essential source of income to many village families.
Traditionally it was the men who created block prints but in recent years there has been a significant rise in women printers,
providing an income for the whole family.
• The skill of these talented artisans and the involvement of the community; men, women and children taking pride in their
beautiful hand-printed textiles, is keeping the tradition alive while also adapting to global tastes.

• Hand Block printing:

• It is the oldest and simplest way of printing
• In this method a wooden block with a raised pattern on the surface was dipped into the printing colorant and then pressed
face down on to fabric.
• The desired pattern was obtained by repeating the process using different colors.
• Generally the wooden block is carved out of hand.
• Printing is done manually.
• Used in cottage industry & cost of production is less.
• Procedure:
• The fabric is first laid flat on the table that has been covered by protective padding material.
• The dye stuff is applied in the paste form to the design on the face of the block or a roller is coated
with paste and then rolled over the block, depositing a layer of color on the raised areas.
• The block is pressed down firmly by hand on selected portions of the surface of the fabric, forcing
color in to the surface.
• To obtain variation of color in the same design as many additional blocks must be carved as there
will be additional color.
• The more color used, the more valuable and expensive the blocked print will be because of the
enhanced beauty as well as the labor involved in the hand printing.
• Each fresh portion of the cloth has to be printed by a separate application of the block and the
successive impressions have to be adjusted accurately to each other.
QUILT MAKING
QUILT MAKING
THANK YOU