Bagru: Hand Block Printing of Rajasthan

Bagru: Hand Block Printing of Rajasthan

Bagru: Hand Block Printing of Rajasthan A Case Study

Submitted to: Vishu Arora

Sumitted by:

Dhwani Mistry Ishani Limbkar Aditi Shroff Yash Shah

Contents Introduction

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History

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Materials

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Process

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SWOT Analysis

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Brand: Aavaran

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Artisan: Chand Derawala

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Contemprorary Developements

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References

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Introduction Bagru is a small village town in Rajasthan, situated at a distance of 32kms from Jaipur city Its traditional processes of hand block printing on textiles with rich natural colours have been known for many centuries. Resist pastes, natural dyes, khar earth from the bank of the river flowing nearby and the excreta of the animals were used. In building up patterns, geometrical forms were adopted along with floral, animal and bird forms. Everything seemed to be inspired from local sources. Even though centuries have gone by, the same processes in bleaching, resist printing, colour printing and dyeing continue. Bagru Printing is a kind of block printing, which is commonly called Dabu Printing or Mud Resisting. The blocks are mainly printed on coarse cotton cloth by indigenous processes of dyeing and printing in black and red over a ground of Yellow Ochre.

Dyeing in many colours, like yellow, blue, green, orange and violet, also brings various colouring effects in printed fabrics.

The textiles are resist, printed and dyed. The Bagru prints in the past have been mainly used by the local population, particularly by the females.

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History The name Bagru has been derived from Bagora, the name of an island in a lake where city was originally built. The hand printers, known as Chippas, came from Sawai Madhopur, Alwar, Jhunjhunu and Sikar districts of Rajasthan to settle in Bagru and made it their home some 300 years ago. They perhaps came for the then royal patronage but more for the abundant availability of water, which had excellent properties suitable for dyeing and printing The Sanjaria River with its constant water stream and stretches of sandy bed was aptly suitable for the purpose.

Before 1975, the work of craftsmen of Bagru went unnoticed as the cloth produced was not sold commercially but majorly for household purposes.. With the government aid, it gained popularity and during this period the samples of the hand printed textiles went to foreign lands. The small scale industries department of Rajasthan helped these printers in various ways by which the productivity increased and the quality improved gradually.

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Bagru Fort

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Materials Colors Bagru printing is done on off white background, where the prints have a slight reddish hue. The main colours used in Bagru printing are red, black, maroon and green and yellow colour as accents. These colours are extracted from naturally occurring sources.

1. Red- Gum paste + alum 2. Green- By boiling the skin of pomegranate 3. Black- Acidic solution of iron obtained by processing rusted nails, horseshoe, iron scraps, jaggery and salt for minimum of 15 days in plastic jars 4. Maroon- Black + Red 5. Yellow- Turmeric

Tools

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Wooden Block Carving.

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The main tools of the printer are wooden blocks in different shapes - square, rectangle, oval, round and semi-circular or crescent - and sizes called bunta.

Blocks are hand-carved of seasoned teak wood .

The motifs are engraved with steel chisels of different widths and cutting surface by the carver.

Each block has two to three cylindrical holes drilled into the block for free air passage and also to allow release of excess printing paste. The new blocks are soaked in oil for 10-15 days to soften the grains in the timber.

These blocks sometimes have metal over the wood.

Metal sheets are beaten by hand and made wafer thin and malleable. The thin sheets are then cut into strips of even length. The design of the block is drawn on the wooden block and the thin metal strips are pressed onto the design and gently hammered in. The designs are filled in from the center to the outside to allow maneuverings of the hand.

Brass blocks are used in case of very fine designs and for a high level of clarity in print. They also last much longer and are more expensive and time consuming to make.

Traditional Colors

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Bagru Printing Workshop

Emulsions and Resists

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Traditional Bagru Print

i) Telkhar emulsion: It is an emulsion for oiling and is used to desize and bleach the grey cloth to be printed. ii) Pila karna solution: Giving a primary creamish-yellow colour to the fabric, this solution acts as a mordant for the syahi paste. iii) Begar paste: This is the mordant of alum which, in combination with alizarine, develops a rich red colour. iv) Syahi paste: Syah is essentially a fermented solution of iron, the fermenting agent is jaggery and gurand this with the addition of gum becomes a paste ready for use in printing. Syahi in combination with the mordant harda develops into a deep black colour. v) Dabu(resist paste): Dabu is the local name of the resist paste which is applied on those parts of the printed motifs whose colour is sought to be protected and sealed off from the effects of further treatments that the cloth undergoes in subsequent processes.

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Types of cloth used for printing and dyeing: For Bagru printing and dyeing cotton cloth of various types is used, which includes: a) Mulls or mulmul b) Lattha c) Handloom fabrics d) Khaddar cloth: Thick coarse cotton fabric

Dye Vats and Solutions i) Alzarine Bath: This is a red colouring dye bath. This alizarine is extracted from the roots of madder plant (RubiaTinctoria) and used with mordants to dye yarns and fabrics. The synthetic alzarine, now available, is used here to develop the beggar prints to a dark red colour. The alzarine dye bath is prepared mixed with dhawai ka phool. Dhawai ka phool is used to prevent spreading of red colour, developed on the begar(alum) mordant, to other parts. ii) Indigo Blue (Nil) Stock Vat: Indigo blue or nil is a blue colouring matter extracted from nil plants (Indigoferatinctoria). The dye stuff is obtained from the leaves. Ready synthetic indigo granules are available in the market for use. iii) Potna Dye Solution: Anar ka chhilka(pomegranate), haldi(undried raw turmeric) powder and mithatel (til oil) are required to make the solution. From Anar ka chhilkaan orange colour is extracted to this haldi powder is added along with the mithatel and the solution is boiled developing into a rich golden yellow colour. After a thorough boil, the solution is strained through a cloth filter and kept in a vessel to cool down. This solution, cooled, is used for potna which literally means a wiping or smearing process applied on the surface of the cloth.

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Dye Bath

iv) Alum Water: A solution of alum (fitkari) water is is used as a fixing agent. Treatment with fixes and the colour tones of the prints as well as brightens it substantially.

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Indigo Dye Bath

Samples of Natural Dyes

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Process

1. Bagru prints are done on off-white, beige and light yellow background. First, a white cloth is dyed using Harda powder and water. This cloth is then dried and is ready for further printing.

2. The main colours used in Bagru printing are black, red and maroon. These three main colours are extracted naturally. Black is derived from the worn-out iron horse or camel shoes soaked in water, red comes from gum paste and Phitkari, and maroon is a result of mixing the above two colours.

3. Using unique wooden blocks, several designs are printed on the cloth. A certain amount of pressure is applied while printing these designs so that the designs come out evenly.

As the amount and number of colours increase on the print, the cost of the fabric increases.

Step 1: Fabric Scouring

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Ageing of Dyes

4. After printing, these clothes are dried in the sun for a day.

5. Once dried, these clothes are washed in plain water.

6. To make these colours stronger, these clothes are then dipped in warm water in a brass oven.

7. The cloth is again dried and is finally ready.

This intrinsic process has made block printing one of the slowest textile printing processes of the world.

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Step 2: Preparation of Dyes

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Step 3: Fixing the Dye on the fabric

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SWOT Analysis

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Last step: Washing of the Fabric after Dyeing

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Strengths

Weakness

1. Rich raw material base: Almost all the sources needed for the hand block printing is easily available within the industry. The engraved printing blocks are locally accessible. Similarly, natural dyes used in the process are made in house. In addition, obtaining synthetic dyes, which are being commonly used today is an easy job.

2. Skilled Manpower: Printing units are mostly based around families. All the members of family are engaged in the printing process. The womenfolk have a sharp colour sense and are expert in preparing dyes.

3. Reputed Designs: The ethnicity reflected in Bagru print is highly acclaimed in the domestic as well as global market.

4. Export Contacts: Extensive international demand for the industry’s product has encouraged ties between the trade and the export communities.

5. The Eco-factor-Dyes used in traditional Bagru printing are safe and eco-friendly.

1. Lack of educational and organizational skills: Most of the entrepreneurs of the Bagru industry are not well educated. Also, the industry operators rarely employ professional managerial services as the entrepreneurs themselves do most of the organizational activities.

2. Financial Crunches: Bagru printers generally have a poor financial backing.

3. Poor Marketing skills: The local marketing agents of Jaipur undertake the responsibility of supplying industry products in the domestic and the local market.

4. Absence of Research and Development: there is hardly any research done within the industry on the market as well as on the technological front. Similarly technical support to the cluster from the research institutes is also very rare.

Opportunities

Threats

1. Unexplored Markets: There are many more new potential export markets that could help this industry earn substantial share in foreign exchange earnings.

2. Product and Design Innovations: Development measures if taken up in the aspect, would help the cluster to achieve great appreciation from the domestic as well as global consumers.

3. Government Finance Schemes: Several government schemes with regards to finance, technology, marketing etc. could do wonders for improving printer’s financial health. Furthermore it would help to create a brand image for the industry’s products and thus increase sector’s global market share.

1. Scarcity of Water: Over the years with expansion of work and population in and around the cluster creates problem of space, water and other infrastructure facilities.

2. Pollution Control: The rising population in the industry has created pollution issues on the quantitative as well as qualitative levels. The synthetic and chemical dyes require treatment before discharge of effluents. This has been worsening the pollution problem in the cluster.

3. No quality Assurance Mechanism: To cater to wider consumer segments and compete against each other, Bagru printers use low to medium quality fabric to cut costs. However to put a stop to these practices there is hardly any quality assurance mechanism present in the industry.

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BrandAavaran: Echoes Of Rural India

“It is critical to keep alive the craft of Dabu as it is sustainable and environment-friendly. Our craftspersons are trained for zero-wastage production. Everything is made by hand,” Sharma explains. “It is not only important to understand crafts, but also to value them. We are taking Dabu printing to the next level,” she says.

Aavaran is a journey started to uphold rural indigenous communities and preserve their traditional craft.

Aavaran- Echoes of Rural India, aims to promote and evolve traditional crafts while economically empowering low income craftspeople and other stakeholders in the value chain, through education and income generation programs, they attempt to enable rural indigenous artisan communities become economically self-reliable as well as ensure the sustainability of traditional craft techniques and skills that they practice.

• Based out of Udaipur, Rajasthan, Aavaran was started by Alka Sharma, a textile graduate from Indian Institute of Crafts and Design, Jaipur.

• Aavaran’s attempt is to evolve the traditional ‘Dabu’, Mud resist technique of printing, specifically ‘Phentiya’ print, while consistently innovating on design and quality.

• Style, minimalism and comfort describe our range of hand dyed and hand block printed garments, home furnishings and accessories. The print draws from traditional motif repertoire while fabrics, cuts and silhouettes are contemporary and cater to all lifestyles. The essential character of the craft is retained and enhanced.

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Even before founding her company, Alka Sharma formed a self-help group under the aegis of “Baba Ambedkar Hasth Shilpa Yojna”, Ministry of Textiles, Government of India, to train women (2006).

“For me it was never only about fashion, I really wanted to do something to change the lives of the artisans – work towards their economic independence and also make them self reliant,” the 41-yearold entrepreneur Alka Sharma explains.

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It was not until 2011 that Aavaran was established in Rajasthan, and the label began by participating in various fairs and exhibitions across the country – the famous Dastakar and astrabharana being two of them.

After attaining craft mark membership in 2012, the brand went on to become a member of the Export Promotion Council of Handicrafts (EPCH) and the Udaipur Chamber of Commerce and Industry (UCCI).

The label continues to participate in exhibitions and showcases across India to enhance the visibility of the Dabu craft. A selection of Aavaran garments and accessories are now available internationally in stores in the US, Korea and Japan.

Today, Aavaran employs more than 100 people in its design and production departments and supports 200 women workers across four independently-run training centres in the villages of Debari, Matun, Kanpur and Zawar in Rajasthan,”

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Home Furnishing Products

Purse made using Waste Fabric

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Among the revivalists is Alka Sharma who launched Aavaran to preserve Dabu printing as well as carry forward the tradition of indigo dyeing practiced in Akola near Udaipur, Rajasthan. The business started its journey in 2008 and has been actively marketed since 2011.

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Aavaran Store in Udaipur

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Products

Future Target

• Ayurvastra that has been inspired by Ayurveda. Soft prints on organic cotton – the collection has kurtas, shirts, and dresses etc. But it’s not the beauty of the fabric; it is treated with Manjisthavastram, Haldivastram and Neelvastram – which are known to have healing properties.

• Aavaran’s festive collection ‘Neem e Jaal’, their very first embroidered line.

• Dresses, Tops, Bags, Pouch ,Pen holder, Clutches, Jutties etc • Its collections include women’s sarees, kurtas, shirts, tops, stoles, dupattas, pajamas and skirts.

• The brand also has a menswear line, a children’s range as well as home furnishings such as bed linens, durries, tableware, cushion covers, quilts, etc.

In the near future, Sharma wishes to grow Aavaran’s digital presence as well as its production capacity. “Digital mediums are helpful for having my story shared, and this way I am also moving out of my comfort zone,” she says. “We have already started promoting products on social media platforms such as Facebook and Instagram. We will also sell on ecommerce platforms very soon,” she adds.

“I also want to increase production capacity of items that are already in Aavaran’s catalogue,” she adds. “However, I do not want to expand our markets at the same time, because production quality might go down. We want to remain sustainable.

Limited expansion into certain cities is okay, so we ventured into Bengaluru because it will be a good market for us,” she says.

Aavaran has almost 280 people working with them, out of which 80 are skilled artisans. There are 200 ladies who with the support of Hindustan Zinc Limited and Aavaran by COS-V, have learned different skills like stitching, hand embroidery, rug making, accessory making etc. and work for Aavaran, which helps them to generate a livelihood for themselves. Rest of the 80 artisans work at the Aavaran production unit, where they are involved in the activities of Dyeing, Printing, Stitching and so on.

What you can do to sustain this industry?

1. Purchase the authentic hand prints only and avoid chemical and screen prints.

2. Try to buy the products directly from the artisans.

3. Meet these artisans and boost their morale so that they continue to make amazing products like these.

4. Spread the word about this art.

5. You can visit Anokhi Textile Museum in Jaipur to know about the traditional art of Block Printing.

6. There is also a need to spread awareness about authentic and original hand block prints so that customers can identify them.

7. The government should provide a trademark to this industry similar to the one provided for the handloom sector.

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Kurtas

Flatlay of Products

Aavaran Exhibition Stall

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Aavaran Workshop in Akola

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Artisan: Chand Derawala

In spite of several challenges, the original artisans are determined to take this art forward. They are trying to keep this 400-year-old skill alive. They believe, there is no replacement of original work.

“People who understand hand work and want only that will not compromise on quality. In spite of the high price and limited prints, they buy original products only. There is no limit to create cheap products, but we have to maintain the authenticity of our art,” said Lal Chand.

Gradually artisans are also trying to cope with the market and are seen experimenting with the new designs, colours and prints. Some of the artisans have thousand of wooden blocks in their collection and they keep buying new ones to remain relevant in the market.

Lal Chand, who earlier created long fabrics only has now started making sarees, dupattas, stoles, suit sets, etc. He has also collaborated with the students of NIFT (National Institute of Fashion Technology), who help him to come up with new designs and be ahead in the market. “Our mind is always stuck on old traditional prints, but these kids help us to come up with new designs and experiment with our work,” said Lal Chand.

Chand Derawala, an artisan from Bagru.

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Chand Derawala block printing a fabric

Companies like Anokhi and Mehera Shaw are working extensively to protect and market the authentic prints at large scale. Manufacturers like Lal Chand are also ensuring that the original prints are still relevant. Lal Chand’s fabrics are sold across the world. He even gave training at Prince of Wales Museum Mumbai about the natural hand block printing.

A company, Bagru Textiles, is bridging the gap between the artisan and the market. Aavaran- Echoes of Rural India, also aims to empower artisans and promote traditional art. Aavaran’s attempt is to evolve the traditional ‘Dabu’, Mud resist technique of printing, specifically ‘Phentiya’ print, while consistently innovating on design and quality.

Derawal’s workshop in Bagru

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Contemprorary Developements

Traditional printing was mainly done with black and red colors extracted from natural sources. Natural dyes madder, indigo, harada, pomegranate rind, dhawai and kesula flowers, turmeric, limestone, geru and clay were used as colouring, mordanting and resisting material.

The passage of time introduced changes in the traditional material and method of printing.

Printers now a day’s using synthetic alizarin and indigo in place of madder and natural indigo also for producing different hues, synthetic pigments are used in printing paste.

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Earlier Chippas only produced local varieties of printed fabrics, mostly fadats, lugdis, angochhas, bichhanunis, rezais, tehmat, dhoti, sarees etc.

Now they have shifted their production from traditional products to other products like dress materials, sarees, kaftans, scarfs, rumal, head gears. Home furnishing products like table covers, napkins, bed sheets or bed spreads and quilts etc.

Today printing on a number of different fabrics is also practiced i.e. malmal, silk sarees and silk blends which were not in used earlier. Similarly with time, few changes were made in the prints, the motifs were rearranged to give variety.

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Contemporary Bagru Products

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Diaries

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Storage Boxes

Stoles

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Bagru Saree

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Dupatta

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References 10. http://www.craftmark.org/sites/default/files/P004%20Block%20Printing_Bagru.pdf 1.https://maptia.com/nomadichabit/stories/block-printing-in-bagru 2.https://thekindcraft.com/bagru/ 3.https://www.jaipur.org.uk/excursions/bagru.html 4.https://www.ajio.com/indie-picks-handblock-print-bagru-cotton-rogandress/p/460207515_brown?gclid=Cj0KCQiA-8PjBRCWARIsADc18TIhFle_fQiuG78c8TrXXasmwpeQmDuujTb11txiFtt1YFoRR2OJ5Y0aApk5EALw_wcB

11. http://shodhganga.inflibnet.ac.in/bitstream/10603/70322/6/chapter-2%20f.pdf 12. http://eacharya.inflibnet.ac.in/data-server/eacharya-documents/53e0c6 cbe413016f234436ed_INFIEP_8/81/ET/unit-2%20Lesson%206.pdf 13. http://www.aavaranudaipur.com/home

5.https://www.rajasthandirect.com/tourism/activities/bagru-jaipur 6.https://www.studiobagru.com 7.https://www.rajasthandirect.com/tourism/activities/bagru-jaipur studiobagru//dabu.com 8.Susan Rosan Photographs 9. https://images.fibre2fashion.com/ArticleResources/PdfFiles/62/6198. pdf

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Image References 1-4

https://www.studiobagru.com/

4-8 https://thekindcraft.com/bagru/ 8-12 https://www.google.com/amp/s/www.fibre2fashion.com/ industry-article/6198/-bagru-a-traditional-printing-technique-ofrajasthan%3Famp%3Dtrue 12-16 https://colouriciousholidays.com/2017/11/15/bagru-block-printing/ 16-20 https://www.thebagruprints.com/ 20-24 https://luggra.com/2018/04/11/bagru-a-traditional-printing-technique-of-rajasthan/ 24-28 https://www.handblockprint.com/brief-history-hand-block-printing-bagru/ 28-32 https://www.chanchal.co.in/hand-block-printing 32-36 https://www.chanchal.co.in/hand-block-printing 36-40 http://eacharya.inflibnet.ac.in/data-server/eacharya-documents/53 e0c6cbe413016f234436ed_INFIEP_8/81/ET/unit-2%20Lesson%206.pdf

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