Bagru CRD

BAGRU

NATIONAL INSTITUTE OF FASHION TECHNOLOGY,
JODHPUR MINISTRY OF TEXTILES, GOVT. OF INDIA.

National Institute of Fashion Technology
Karwar, Jodhpur, Rajasthan, INDIA 342037
Tel: +91-291-2659551/52
Fax: +91-291-2640066
Website: https://nift.ac.in/jodhpur/
E-mail: [email protected]

© 2019 National Institute of Fashion Technology. All rights reserved. No part of
this publication may be reproduced or transmitted in any form or by ant
means, electronic or mechanical, including photocopy, recording or any other
information storage and retrival system, without prior permission in wrinting
from the publisher. Printed and bounded in Jodhpur, Rajasthan.

Craft Documentation Team
Ponnoju Sudhamshu, Pranav Jagtap, Priyanshi Kumar, Priyal Mehta, Ridhima
Arora, Ridhima Gangwani, Rishita Soni.

Mentor
Ms Usha Yadav, Course Co-ordinator of Fashion Communication, NIFT Jodhpur

ACKNOWLEDGEMENT

We would like to express my deepest appreciation to our
mentor and Course Co-ordinator of the Department of
Fashion Communication, Ms. Usha Yadav for her valuable
advice and relentless support for the duration of this
project. Her active participation in connecting us to the
artisan and in guiding us through the document was
invaluable. We also had a great pleasure working with the
artisan, Tanu Dosaya, who answered every question, query
or supplement without hesitance. A sincere thanks to the
team that worked together in this research and our
esteemed institute, National Institute of Fashion
Technology, Jodhpur for opportuning this research.

ABSTRACT

Documentation of the Craft Cluster study done by
students Ponnoju Sudhamshu, Pranav Jagtap, Priyal
Mehta, Priyanshi Kumar, Ridhima Arora, Ridhima
Gangwani and Rishita Soni of the National Institute of
Fashion Technology (NIFT), Jodhpur on the Craft of
Bagru in the academic year 2021-22.

Through an in-depth study of the processes, techniques,
current scenario of the crafts and the socio-economic
conditions of the craftsmen and interaction with the
crafts people, this cluster intervention sensitized the
student towards the craft and the artisans. It was also
aimed to give student an insight into regional
sensibilities, diversities, resources & environment. Further,
the intervention provided a window to the student on
methods to work in the crafts sector with artisans and
aid them to promote themselves through various
means of design & technology that they have learnt.

The visit to Jaipur kindled a sense of appreciation for
not just beautiful crafts but also those without whom our
country’s rich culture would merely be another chapter
in history. The most riveting part of travelling to
Rajasthan is the journey through rural Jaipur. Watching
craftsmen work sitting outside their mud-walled houses
decorated with delicate folk motifs, standing out in their
colorful attire in the arid land, yet fitting in perfectly with
the surroundings is a fascinating sight.

Keywords: Bagru, Jaipur, Dabu, Indigo dye, Block Print,
Chippa, Tanu Dosaya

TABLE OF CONTENTS

1. Background and Provenance
2. About the craft
3. Design
4. Product
5. About the Makers
6. Markets and marketing channels
7. Issues and Challenges
8. Database of Artisans

1.BACKGROUND
AND PROVENANCE

1.1 History
1.2 Mythical Relevance
1.3 Etymology of the Word Chippa
1.4 About the Chippa Community

HISTORY No authentic literature is available to indicate the beginning of
this kind of printing, but this art is said to have started around
img 1.1 a Women in their colourful attire in the Bagru Village. 450 years back. The village had a community of CHHIPAS, or
traditional crafts people who printed fabrics by hand. Bagru
chhipas came from Sawai Madhopur, Alwar, Jhunjhuna, and
Sikkar districts of Rajasthan to settle in Bagru and make it their
home outset around 450 years ago. They are known for their
unique designs of luxuriant trellises in sophisticated natural
colors.

The chhipas in their earliest days, were mostly making or
producing Ghaghras(skirts) and Odhnis(scarves) for women
near them and this was the sole market they relied on. Rough
Cotton of about 50cm in width with printed lengths were
typically sewn color.Various types of or prints served as an
identification mark or emblems for varied Hindi castes. In this
highly layered system of divisions, leather workers could wear
floral prints similar to the Blacksmiths, but the base colour i.e
dark green or red would be different for each of them. These
long uncut material were particularly made only by the chhipas
and were worn only by the hindus.

MYTHICAL RELEVANCE img 1.2 a Artistic depiction of Lord Parshurama killing kshatriyas to avenge his father's death
in the Bagru Village.
According to legend, Chhipa was originally a warrior or a Kshatriya. In the past,
they lived a lifestyle similar to the Rajputs, which included sporting activities
such as hunting and fighting. Once, according to the Indian epic
"Mahabharata", Lord Parshurama killed all Kshatriyas in order to avenge his
father. Two brothers of the clan fled to the temple, and one of them hid behind
the idol of the Supreme God, and was given a literal name “Chhipa" for the
Hindi verb "hide". The boy started working around textile printers and dryers , so
he was no longer considered a Kshatriya. This whole extraction of his life made
“Chippa” come into existence.

According to another account of the origins of Chhipa, it was Taimur, the Turco
Mongol conqueror, not Parshurama , from whom the chhipa Rajputs were
hiding. According to another source, the name comes from the root 'Chhapna'
or 'chhap', meaning print. This makes sense because it is in harmony with the
main business of the community.

ETYMOLOGY OF THE WORD This Rajput community was at first found in Nagaur in Rajasthan. After they settled
in rajsthan and Gujarat, the community started the work of dyeing and printing
"CHHI" + "PA" clothes. The community speak Marwari, and are found mainly in rajasthan
(jodhpur, bikaner, nagaur, kuchaman, kuchera, churu, hudas and etc..) and in north
Tthe Nepali words "chhi"(which means to dye) and Gujarat, in the districts of Ahmedabad, Nadiad, Baroda and Bharuch. Most Chhipa
"pa"( which means to leave something to bask in also speak Gujarati.[ Chhipa are also known as Chhimpa in Bikaner. In Punjab too,
sun) are believed to be the roots of the origin of the number of chippas live especially Bathinda, Malout, Muktsar, Moga and faridkot.
word Chhipa There are 800 houses of Chippa in Bathinda alone. They follow Sikhism. People from
There are a few Gujrathi literature books which are the chippa clan go to Ghuman Sahib to celebrate the birthday of Bhagat Namdev.
called as Balwa Pothy. In it, It is mentioned that Bhagat Namdev holy words are also in Guru Granth Sahib. Surnames or Gotras of
Nagaur Rajasthan has been the origin of the Rajput Chippa family are Battu, Taggar, Rai, Kamboh, Saggu, Sran, bagria, Hallan, Chahil,
community and then later they spread out in the Aulakh, Bedi, karir, Pharwaha, Neeraj, Sappal, garcha, Rattan, kainth, Jassal, vattu,
upper parts of Gujrat where they adopted or Virpal, Braha or Birha, Rakhra, Purba, Gill (they are also found in Jatt clan) and
inculcated the skills of dying. Rohilla. Some Kainth, Jassal, Rakhra, Birha and Vattu families live in Glasgow, Uk.
They are migrated from Punjab (Moga, Kotkapura and Malout cities).
Ranjitkar(Chippa or Ranjit) is a part of the many
castes in Nevar. The division of caste system of Nevar The community is divided into clans (ataks), the main ones being the Tak, Bhati,
is based on the profession of the people. The work of Deora, Chauhan and Molani,panwar ,rao,kukda Each of these clans hold equal
Dyeing clothes and other colour related work is status, and intermarry. But the community favours for cross cousin and parallel
associated with the Ranjitkar caste. cousin marriages. Surnames or Gotras of Chippa family are Battu, Taggar, Rai,
The word "Ranjitkar" has its roots from the Sanskrit Kamboh, Saggu, Sran, Bagria, Hallan, Chahil, Aulakh, Bedi, karir, Pharwaha, Neeraj,
language which means "people who deal with Sappal, garcha, Rattan, kainth, Jassal (they are also found in Jatt clan), Vattu,
colours." Whereas the word "Chippa" is a Virpal, Braha or Birha, Rakhra, Purba, Gill (they are also found in Jatt clan) and
amalgamation of Nepalese words which roughly Rohilla.
define to "colour and allow to dry."
ABOUT THE CHIPPA COMMUNITY

2.ABOUT THE CRAFT

2.1 Products
2.2 Raw Materials, Tools and Equipment,
Colours: Pigment colours and Natural
colours
2.3 Production Process
2.4 Some more facts about Bagru

PRODUCTS RAW MATERIALS

Bagru products are made from two different printing techniques Organic colours and vegetable pastes were once used exclusively
hand block print and screen-printing . in Bagru printed fabrics, which are eco-friendly, skin-friendly, quick,
The special method is wooden hand block printing , blocks of and retain their brilliance for the majority of the fabric's lifetime.
teak-wood are used . Required design is carved on the wooden Time and easy access have resulted in a change in colour usage,
block & then printing is done by using the wooden blocks. In screen which today includes the use of chemical or man-made dyes.
printing technique mesh is used to transfer Colours onto a
substrate, excluding areas that are impermeable by means of a Natural dyes or colourants obtained from plants and animals are
blocking stencil. used to print fabric. The different parts of the overall design are
represented by different coloured blocks. Bagru Prints are also
One process is conventional and another is modern known as "eco-friendly" prints because the majority of the natural
The major difference between screen printing and hand block dyes are derived from plants. The primary colours can be
printing is the use of different tools to print on cloths obtained from the substances listed below. Indigo produces blue,
The technique of screen printing results in prints that are smooth with the desired shade obtained by raising or diluting the
and uniform. Its prints are clean and cheap. But, because of the concentration. Green is obtained by combining indigo and
stamping method used in hand block printing, various prints are pomegranate juice. Madder Root provides the red, while turmeric
produced. Block printing is the most artistic, simplest, and earliest provides the yellow.
printing technique. This procedure takes longer and requires more The fabric is then dried and placed in vats of boiling water
effort because different wooden blocks are used to print different containing alum and other agents once it has been entirely block
colours. printed.To keep the cloth from attaching to any part of the jar, the
solution is constantly mixed. The process is completed by washing
the fabric one more to remove any remaining contaminants and
excess colour.

Hand-carved wooden blocks TOOLS AND EQUIPMENT

The printing was done with hand-carved wooden blocks and skilled
carpentry tools. Teak and Rorda are used to make these blocks (light weight
wood). With iron cutters of various widths and cutting surfaces, the artisan
shaped the hardwood blocks. Before to printing, these blocks are soaked in
oils for 10-12 hours to smooth out the grains.
Chhippas have gathered a large number of block collection over time, which
is considered their main riches.
The majority of the printing units had colour mixing (drums) and traditional
boiler (copper vessel mounted on bricks) tools, plus a long length quilted
printing table, printing paste tray and paste carrying tray, and a revolving
stool. Traditional boilers (copper vessels set on bricks) and steaming drums
were also present in a few units.

Iron cutters long length padded printing tables

revolving stool paste tray

COLORS

Colour is one way to differentiate Bagru prints from those made in
Sanganer nearby. In Bagru, the cloth has either a cream-coloured
or a dyed base, while Sanganeri prints have a white base (faded or
less bright).The colours for the Bagru prints are prepared from
natural dyes and the prints are essentially in two colours - Red and
Black. The base color of Bagru prints is off- white (grey fabric).
INatural colours such as madder, indigo, pomegranate rind,
turmeric, and others were utilised as colouring agents at first. For
the past seventy years Alizarine has been introduced as a
replacement of madder (manzeet), and synthetic indigo as a
replacement of natural indigo.

NATURAL COLORS PIGMENTCOLORS

The main natural colors that are prepared in the by Other than natural colors, pigment colors
the printers themselves are: are also used for printing purposes. Some
of the pigment colors that are are:
1. BLACK (Natural) 1) Green
For this, old iron horseshoes or camelshoes are 2) Pink
soaked in fermented water (ex: 10 litres of water for 3) Brown
10 kg of horseshoe) with molasses (gud) (1kg for 10 4) Violet
litres of water). For 15 days, this mixture is set away. 5) Blue
The process takes place in a matka or a separate 6) Rust
cement tank designed specifically for this purpose.
The water is decanted after 15 days and used as The basic colour combinations generally
the black pigment. used for Bagru printing are:
1) Cream, Maroon and Black
2. RED (Natural) 2) Black and white
To get this, first a gum paste solution in water is 3) Blue (indigo) and white
kept overnight and then sieved through a cotton
cloth. 100 grams of phitakari (boiled in water) is
then mixed in the gum solution. When this colour is
applied on the fabric with the help of blocks it
appears brown in colour, but after it is put in the
(bhatti) furnace, the color changes to red.

3. MAROON (Natural)
In order to get this color, red and black colors are
mixed in the ratio of 3:1 respectively i.e. 75% red and
25% black.

Natural dyes have a large number of sources that
are not only abundant but also safe and non-
polluting. The water from these dye baths is
commonly recycled to irrigate pea, wheat, and
other green vegetables and grains in vegetable
gardens.

PRODUCTION PROCESS img. 2.2 a. Clay used to creat a block.
img. 2.2 b. Carved out blocks
1.WOODBLOCK CARVING

A Chhipa printer decides how many blocks are to be used depending on the
number of colors and shapes in the print design.
Usually, a printer first stamps the background block (the gadh), followed by an
outline block (the rekh). The datta are the filler blocks which complete the entire
design.
On an average, a printer needs at least 4 to 5 blocks to create a hand printed
design on the cloth. It can take upto one to two days to carve and prepare a single
block as the selection and seasoning of local woods is an important and involved
process and is specific to each pattern design. All the motifs are first carved on
wooden blocks by Kharaudi who are craftsmen who specialize exclusively in the skill
of hand carving the designs on the blocks and do not use any electric machinery.
They work with their traditional tools which include a ruler, compass, saw and
wooden maller. A single colored block measuring around 5cms by 9cms, can cost
between Rs.350 to Rs.800 approx., depending upon the intricacy of the design. One
block lasts for a maximum of 800- 1000 metres of fabric.
In Bagru, carvers often make use of woods like Sagwaan (Teak), Sheesham (Indian
Rosewood), or Rohida (‘Desert Teak’ or ‘Marwar Teak’) when constructing blocks.
Sagwaan is favored when durability and softness is a priority while, conversely, the
relative hardness of Sheesham is best suited for the intricate or detailed motifs.
First the block’s design is sketched on paper and then the block is cut to size. After
that the pattern is directly drawn on the piece of wood.
The carver then uses various tools like drills, chisels, hammers, nails, files, etc. to
recreate the pattern on the block.

img. 2.2 c., img. 2.2 d., img. 2.2 e.
Carvers creating a block based on the provided design.

2.TREATMENT OF FABRIC img. 2.2 f. Grey Fabric.
img. 2.2 g. Fabric being treated with Harda.
The printing process always begins with raw, grey cotton cloth which is either hand-
woven or mill-made. First, the fabric is soaked for 1-2 days. It helps to remove any
stains, oil, dust, or starch present. This process is locally known as ‘Hari Sarana’
(scouring). Cow dung, soda ash and sesame oil was used for this processing, but
nowadays soap has replaced cow dung. And at last cloth is washed in running water.
The cloth is treated with several different subsidiaries to make it softer and more
absorbent in nature. The swelling of fibers and opening the pores is necessary in order
to absorb the printing paste uniformly, which ensures that the dyes will be colorfast
and bright.

After it is washed, it goes for Harda dyeing or 'Peela Karna", wherein the contaminated
free fabric is treated with Harda solutuion (harda powder and water, without any oil),
which has tannic acid in it. The cloth is then dried in the sun and is ready to start
printing.
This process involves the use of Harda and Alum (natural mordants) to capture the
natural colours that are printed on the fabric using the patterned blocks.
Harda is a natural ingredient which is extracted from the seeds of the Myrobalan of the
fruit and has been used in the Ayurvedic medicines for its healing properties. It gives a
yellowish cream tinge to the fabric and the tannic acid present gives black colour with
ferrous. This process is also known as Tannin.

The dyestuffs are mixed in a printing tray which usually has a fixed size of 25cms-
35cms. Tati, a bamboo frame is first put inside the tray. A layer of kamali, which is a
woolen cloth, is placed on top of that.
The dye solution is prepared by mixing the colour into the binder and is then poured
into the tray where in gets soaked up by the woolen cloth.
The dye is applied to the wooden block surface with the help of a ‘sieve’. After that the
wooden block is gently pressed onto the palette of dye before being applied against
the fabric.
After all these preparations, the printing process of the fabric is started.

img. 2.2h Trolley with dye trays and
other objects

3.PRINTING (CHAPAI) img. 2.2 i. Dye trays

If one happens to walk into a printer’s quarters in Bagru, then they’ll
often see a similar set up i.e.: a long, low printing table, the wooden
carved blocks, a rolling trolley which holds a dye tray and a few other
items.
There are mainly two types of printing done commonly in Bagru:
Direct dye printing and Resist printing.
First the blocks are soaked overnight in mustard oil/ refined oil and
then washed, in both the procedures. Then printing is done on a
wooden table, the size of which depends on the length of the fabric to
be printed (18 feet approximately). These printing tables have a layer
of ply above which there are 20 layers of tart and a sheet of cloth
above which comes the final layer of fabric.
Traditional Bagru prints generally use dark or colored patterns on
cream or dyed backgrounds. Another printing style, called Dabu
printing, creates light-colored motifs on a dark background using
mud-resist printing. There are also items that are made with
discharge printing which uses citric acid on grey alum dye.
The number of colours are equivalent to the number of blocks used
and the number of 'kaam'.
Bagru prints mostly use natural designs that are inspired from the
nature of their surroundings, but also incorporate geometric shapes
like-leher (waves), chaupad (checks), and kangura (triangles), and
jaali (trellis pattern).

.

img. 2.2 j. Printing tables

a. Direct Dye Printing
In the first process, the dye
solutions are poured into the tray.
The printer then presses the block
into the dye tray and then onto
the cloth until the pattern
becomes complete. For every
imprint the block is pressed into
the tray to get a fresh smear of
paste hence ensuring quality and
uniformity. The outline pattern for
the background and the
highlights is done in blocks, in
different colours. Once each and
every pattern is complete, the
cloth is then all set and ready for
the dye vat.
This type of printing is primarily
done by male printers.

img. 2.2 l. Printer pressing the block dipped in the
dye tray onto the cloth to make the pattern

img. 2.2 k. Pins on the sides to keep fabric in
place

b. Resist Printing
The second technique is mud resist printing, which is locally known as Dabu printing,
which involves the applicaton of a thick black mud paste onto the fabric with the help
of wood blocks.
Dabu is a mud resist mixture made from local black clay (kaali mitti), insected wheat
powder (bidhan), guar gum (which is of two types and is mixed with legs while
preparation for evenness and it is considered to be ready once it becomes sticky), and
lime water. Dabu is considered to be ready when the paste doesn't stick to the wall on
application and starts to spread instead. After the printer has applied the dabu print
pattern all over the fabric, a fine layer of sawdust (buradaal) is sprinkled over the it to
help it in prevention from sticking to itself during the dying process.
Therefore the motifs made with the mud resist remain uncolored while the rest of the
fabric gets dyed. Sometimes this process is repeated multiple times to achieve desired
tonal gradients and patterns.
To speed the drying process and to add strength to the resist paste, the dabu method
is generally used to fill in smaller or highlighted spots of the pattern.
Primarily women have traditionally been practicing the dabu printing, but men have
also started to get themselves involved in it these days.

img. 2.2 m. Printers printing on the fabrics in the factories

img. 2.2 n. Mud resist printing being done on the fabric

img. 2.2 o. Artisan carrying out mud-resist or dabu printing img. 2.2 q. Artisan doing dabu printing and her workspace

img. 2.2 p. Sawdust being applied after mud resist img. 2.2 r. Dabu printing forming various designs and patterns

img. 2.2 t. Gum and gum paste

4.DYEING

After the fabric is treated, printing is done and the dyes are ready, the dying
process takes place. The two main types of dying are: Direct dying and Indigo
dying.
"Blues are made from Indigofera tinctoria, stored in dye vats (math), 10 to 12 feet
deep. Different hues of red colors (begar) are created by mixing varying
proportions of alum (fitkari), madder (lal mitti) and acacia arabica (babul gond).
Alum is used for greys and syahi (fermented waste iron, jaggery, and water) for
blacks." (Justin Lancy, 2019)
Though most colors used in the Bagru processes are natural, the Chhipa
community occasionally likes to boost them with non-toxic chemical dyes as well
to create brighter hues.

a. Direct Dyeing

img. 2.2 s. Alizarin infused cloth in the vessel Once the cloth has been
printed upon, it is dried in the
b. Indigo Dyeing sun and is finally ready for
dyeing. In this method the
cloth is dyed directly in a hot
dye bath in a copper vessel .
For the hot dye, the copper
vessel or tamda, is filled with
various combinations of
Alizarin (a red dye
traditionally made from
madder root), mixed with
dabudiya flowers and other
vegetable and mineral
dyestuffs and fixations.

The cool sunken vat, called Indigo Math, is reserved for Indigo (neel) dyeing which
imparts shades of the colour blue. The vat is dug about 2 meters deep into the
ground and goes upto 1400 litres at it's maximum, which is filled with indigo soaps,
lime, molasses, soda and water, and is stirred and prepared over a span of
approximately 6 days. The dyer may dip the cloth several times for a deeper shade
of blue or dry it earlier for further dabu printing to retain light blue, depending on the
desired saturation, and then later re dye it.

img. 2.2 u. Indigo powder

img. 2.2 v. Indigo cakes

img. 2.2 x. black clay and lime paste.

img. 2.2 z. Artisan Tanu dying the fabric
in the Indigo Math

img. 2.2 y. Worker mixing all the raw materials with legs for even blending
(above) and paste after being mixed (below)

img. 2.2 aa. Dyed fabric is then dried out in the sun img. 2.2 ab. Then it's put in cold water again to wash off excess

5.DRYING (SUKHAI) 7.BOILING (GHAN RANGHAI)

After the process of printing and dying is completed, the fabric (printed Once the dhulai is done with, the fabric is then boiled in a large copper pot, to enhance
texture) is then dried for 3-4 days so that the colours get to penetrate well and strengthen it's colours, with water, alizarin (dye) and dhawadi flowers. This process is
and deep into the fabric. This process is called Sukhai (ageing) by the known as Ghan Ranghai (fixing of colours).
veterans of this craft.

img. 2.2 ac. Then it is left out in the sun and hung high for drying

img. 2.2 ad. The fabric being boiled
in a large pot above the furnace, to
darken the colour of the fabric.

6.WASHING (DHULAI) 8.SUN BLEACHING (TAPAI)

After sukhai (ageing) is done, Dhulai (washing) is carried out, in which the After Ghan Ranghai, the final process known as Tapai (sun bleaching) is
dried fabric is washed by hand and then under cold running water so that carried out- which means the fabric is once again washed to remove any
the excess colour comes off and does not stick to the garment. excess dust and dirt. Then the fabric is kept in the sunlight for drying.

img. 2.2 af. Then it is img. 2.2 ag. The fabric is then kept for drying in
washed under cold water the sun for 1-2 days
for one final time

img. 2.2 ae. After that it's again washed by hand

09.THE FINAL PROCESS SOME MORE FACTS ABOUT
BAGRU
Once Tapai (sun bleaching) is done with, the bagru fabric is ready to use.
This marks the completion of the whole process of bagru block printing. Bagru printed clothes are used both in a modern and traditional context for Indian
At this point, the finished material is folded, packed in burlap and twine, and and contemporary uses.
dispatched off to far- off places to customers. The natural environment of Bagru is a key factor in making the Bagru block
printing here so identifiable. Also favorable conditions like the weather, water, wind,
dust, soil, wood, plants, etc.
The seasons which drive maximum production here are natural, not industrial i.e.,
during the hot and dry months (almost all year), workers fill the courtyards with
fabrics, the workflow , productivity and yield is great, until monsoon season comes
which brings work to a halt (2-3 months on and off).
Water preservation and conservation in Rajasthan is crucial due to the scarce and
unpredictable rainfall it receives and since the dyes here in Bagru are mostly
derived from plants and minerals, villagers have lately started to reuse production
water to irrigate crops.

img. 2.2 ah. Packed and
ready garments

QUALITY ASSURANCE

A good product according to the artisan is one which is as evenly spaced
and printed with the same amount of saturation, all over the fabric, with
minimum splashes of colour here and there, so it becomes difficult to tell if
it's done by hand or not. Finishing and detailing is the key.

The product can become a failed one due to many reasons like poor quality
material or poor quality production process, and can happen very easily
because everything is done by hand. But mainly this happens due to
irregular printing and dying which leads to colour going outside the desired
area.

Whether a product is finished or not or if it has failed in any way can be
determined only by an artisan or a veteran of the craft, since a layman's
eyes cannot spot the difference.

The artisans usually evaluate the differences between a failed or a not so
upto the mark product and a perfect or finished product, by spotting white
spots or colour spread outside the print over the fabric, or the varied
saturation of prints on the same fabric, since a finished product according to
them, would not have it.

So if and when this happens, it does not mean that the fabric goes to waste,
infact the fabric is taken and treated all over again according to their instinct
and choice of print and colour to get the desired result and hence give it a
new life so that the flaws get covered up and the fabric becomes even
better.

One of the artisans in Bagru told us that it is all about one's instincts and
techniques of balancing it out with the experimentation in giving a new life to
the failed product, similar to balancing out the ingredients in a recipe of a
dish wherein sometimes we add something something else to make
everything in proportion and ultimately give the desired result.

3.DESIGN

3.1 Design over time
3.2 Motifs

DESIGN OVER TIME MOTIFS

Bagru with a history of over 450 The motifs of Bagru printing can be
years shows an elaborate style of divided into five different types:
motifs that are primarily inspired
from flora and fauna, the artisan's 1.Flowers and Bird motifs: Inspired
surroundings and the most common from different flowers, these are
motifs being those from flowers, often at the center of a leaf shaped
leaves, plants, trees and even buds. arrangement and help balance the
Upon interacting with the artisan, design.
Tanu Dosaya, the Dosaya name
initially printed and sold a simple set 2.Intertwisted trendril motifs: Also
of 20-25 designs and motifs which called as Bels, these are spiral
later evolved to over a 1000 new flower, leaves or bird illustrations at
motifs, each now numbered and the stem with circular lines around
arranged together numerically. The them.
difference between Bagru and its
close relative, Sanganeri designs is 3.Trellis design motifs: The Jaal which
that the Bagru designs show a more is an intricate grid of connecting
geometric shape and styling in lines are a form of this motif. It is
comparison due to the Persian slightly geometrical in nature,
influence. Designs such as Aath caused by Persian influence.
Kaliyan, Bamkadi, Bada Bunta, Hajura,
Bewada, Hara Dhaniya, Kamal, 4.Figurative designs: Animal, bird and
Chopad and Kel are some of the human motifs, for example, ‘hiran’
original motifs followed by Bagru (deer), mayur’ (peacock), ‘sua’
printing and designers. (parrot) are the different types of
figurative designs.

5. Geometrical notifs: It consists of
geometrical in shapes, for example,
‘Leheriya’ (wave), ‘chaupad’
(check), ‘kanguras’ (triangular),
‘chatais’ (woven) pattern etc.

4. PRODUCTS

FINAL PRODUCTS BAGS PANTS

Bagru printed clothes are used to produce a wide range of made ups, img. 4. i . panels of hand block printed img. 4. j .Handblock Bagru Print Cotton
garments and home furnishing articles. Clothing, mainly include fadat, bagru cotton fabric Elasticated Pants
lungi, angochha, tehmat, dhoti, sarees, whereas accessories like scrafs,
rumal and head gears are also made with exotic Bagru prints. Bhichhauni,
table covers, napkins, bed sheets or bed spreads and quilts are popular
furnishing articles prepared from Bagru prints. Traditional Bagru prints
were found mostly in cotton fabric but to meet the contemporary
demands of market sometimes cotton and silk blends are also being used
for Bagru printing. Following are the products where Bagru as a print is
commonly used:

SHIRTS SAREE

BAGS WOMEN’S WALLET img. 4. k . Blue Bagru Print Shirt img. 4. l .Hand Block Print Cotton Saree

. KURTHA CAP

img. 4. g . Bagru Print on bags img. 4. h .dark brown leather and indigo img. 4. m. Indigo-Ivory Bagru Printed img. 4. n .Bagru Hand Block Print caps
Bagru Dabu pure cotton fabric. Cotton Kurta

RUGS BEDSHEETS BLANKET QUILT

img. 4. a . Indigo Blue Dabu Hand Block img. 4. b . Bagru Print Double Bed img. 4. c . Bagru Hand Block Printed img. 4. d .Bagru Print Cotton Double
Sanganeri Bagru Printed Cotton Room Sheet With Pillow Covers Double Bed Dohar or Ac Blanket Bed Quilt

Rug SKIRTS CURTAINS PILLOW COVERS

GOWN

img. 4. o . Round tier bagru print gown

img. 4. p .Bagru Block Print Skirt img. 4. e . Bagru Print Curtain Pair img. 4. f . Bagru Hand Block Print Double
Bed Sheet with Pillow Covers

5.ABOUT THE MAKERS

"Artisans in Bagru have been hand-block printing for over 350 years.
Bagru is a small Indian town located thirty kilometers outside of Jaipur
– the capital of Rajasthan. While many Rajasthani villages have turned
to screen-printing as an alternative to block printing, Bagru has
remained loyal to its history, culture, and craftsmanship. This makes it
one of the last existing hubs for this niche process."

"Block printing is a community endeavor. The artisans are masters of
their craft, whether it be block carving, washing, printing, dying, or using
dabu (resist) paste. Their skills have been developed not over the
years, but through generations. Because block printing is such a
detailed process, it requires many hands and hearts to create a single
textile. In Jaipur, we bring together each segment of the supply chain.
The outcome is not simply a scarf, napkin, bed sheet or blanket, but
instead – a work of art. This 350-year-old tradition has seen little
variation since its inception. In a world where technology transforms,
we are transforming a business by maintaining its deep-rooted
traditions. These roots are the beating heart of what goes on at Studio
Bagru, and what we believe provides our company with so much
character.

Under the bright desert sun of northwest India, small things sometimes
cast long shadows. Take the town of Bagru, for example: Just a short
drive from Jaipur on the highway to Ajmer, this Rajasthani village has
developed a decidedly large influence on the art of Indian block
printing.

For at least 400 years, Bagru has been home to the Chhipa — a clan
whose name comes either from a Gujarati word meaning “to print” or
from combining two Nepal Bhasa words: ‘chhi’ (“to dye”) and ‘pa’ (“to
leave something to bask in sun”). The latter theory feels especially true
as you walk through the vast communal drying fields that connect the
Chhipa Mohalla —the village printers’ quarters. The air here is redolent
with the fragrance of drying fabric; The ground and the concrete walls
are covered in resplendent oranges, blues, and pinks."

6.MARKET

MARKET

International brands like Block Shop,
Beastly Threads, Molly Mahon, Penny Sage,
and Rekh & Datta use textiles of bagru. The
prints which were first introduced 400
years ago for people of Bagru and
surrounding areas is now beyond
purchasing power of those very people.”
Earlier, ghagra(skirts) for women and
odhnis scarves were the two products of
bagru. Nowdays, craft has expanded from
clothing and accessory to home décor
and furnishing. It has a global market as it
has a huge demand in india as well as
abroad due to its sustainability and
durability.
Bagru has found its place in the
metropolitan cities like Delhi and Mumbai
where people have more purchasing
power to pay for the luxury of hand block
printing instead of the locals. Many Indian
designers like Anita Dongre are also
intrested in the craft because of its luxury
and rarity.

7.ISSUES AND
CHALLENGES

7.1 SWOT Analysis
7.2 Challenges

SWOT ANALYSIS

STRENGHTS WEAKNESS OPPORTUNITIES THREATS

Easily available raw material- Almost all the Time Consuming- The process of Increased interest of Designers- Screen Printing- Screen printing
resources needed for block printing are easily block printing is extensively time Many Indian designers are unit sell products which are similar
available within the industrial area.The engraved consuming. It takes at least a day or interested to work in the craft as it in design, fabric,etc, at less
printing blocks are locally accessible and two to complete printing on one is considered a luxury due to its cheaper prices and is also less
natural dyes used in the process are made in fabric. Time also depends upon the rarity and is expensive because of labour intensive.
home. design that needs to be printed. the requirement of skilled labour, Scarcity of water- Expansion of
extensive process. work and population in and
Skilled Manpower- Printing process is learned by Chemical dyes are being used Requires less Capital- It is quiet around the surrounding area has
the experienced family members and printing extensively now days which are not easy and cheap to set up a block created a problem of space and
units are setup around the family. All members environment friendly. printing business as it requires less lack of infrastructure facilities. The
of family are engaged in the process.The capital. Majority of the tools for this water table has dropped due to
womenfolk have a sharp color sense and are Absense of Research and craft are readily available for ages insufficient rainfalls. It is very
skilled in preparing dyes. development- the printing process in the industrial area which result difficult to expand the market as it
is learned from the experienced in low capital investment. depends on the natural
Reputed designs- The ethnicity reflected in family members and the past Increased International Demand- environment of the place.
Bagru print is highly acclaimed in domestic as generation. There is no research and Bagru's international demand has Pollution Control- The rising
well as global market.•. The artisans have the upgrade on the printing process. increased due its sustainability, population in the industry has
knowledge of the current market and trends durability and distinctive designs. created pollution issues on
and hence make the necessary adaptations in Government Finance Schemes- qualitative as well as quantitative
the motifs and colours. Several government schemes levels. The chemical dyes require
related to finance and marketting treatment before discharging of
Export Contacts- Extensive international could help create a brand image effluents which increases the
demand for the industry's product has for the craft and improve financial problem of pollution in the area.
encouraged ties between trade and export health of the artisans.
communities.

Ecofriendly- Dyes used in traditional bagru
printing is eco friendly and safe. This craft uses
sustainable methods such as the use of natural
dyes by utilizing spoiled wheat and jaggery and
old rusted irons to make their dyes.

CHALLENGES CLIMATIC CONDITIONS
The long term production is at threat due to dropped water table because of
ECONOMICAL FACTORS insufficient rainfalls. Also, the rainy season brings work to hault.
It was found that majority of BAGRU artisans are dissatisfied with their work. The
main reason is that the income from this craft is not satisfactory to run their NGO'S
daily life . Now day’s bagru printed fabric face stiff competition with synthetic The government and NGOs have also not provided this cluster its necessary aid
screen printed products . The main causes of low income are lack of order, lack through subsidies or market opportunities. All these problems combined have
of job throughout the year. severely hit the craft practice and have forced many artisans to rely on their
savings or pension to sustain themselves.
COVID 19 PANDEMIC
Due to the pandemic, there is a rise in the price of raw materials as well as its COMPETITION
availability. Covid has affected the business to some extent but because of Now day’s Mendh printed fabric face stiff competition with synthetic screen
online facilities, the artisans are gradually adapting to newer modes for printed products. The main causes of low income are lack of order, lack of job
business. Some of the artisans of Bagru have made tieups with Fabindia and throughout the year, reluctance to do other jobs, The majority of the family’s
Taavi from Myntra. These companies have also helped the artisans to maintain income is equal to expenditure, thus there is very little savings in their hand and
a steady income during the pandemic. it becomes difficult to meet daily household expenses and other emergency
requirements like food, clothing, medical treatment, child’s education etc
GOVERMENT SUBSIDIES AND HANDICRAFT MARK
Government has not provided block printing a handicraft mark which can help
the craftsmen avail of different subsidies and benefits. The artisans are not
given adequate help from the government in terms of subsidies or schemes to
support the cluster during the covid pandemic.

8.DATABASE OF
ARTISANS

DATABASE OF ARTISANS

Name: Tanu Dosaya
Age: 18 years
Gender: Female
Qualifications: Senior secondary board of Rajasthan .
Work experience: Traditional working experience in bagru print and
Mud print,
Designation: owner
Current income: 1,80,000- 2,10,000 Rupees p/a
Family: 8 members
Language: English, Hindi and Gujarati , Marwari
Address: Dosaya farmhouse , Near Bus Stand . Bagru ,Jaipur, 303007

ARTISAN PROFILE Tanu Dosaya ji has been practicing this craft after she graduated in
2020 lockdown . she learnt its skills from her father and grandfather .
Her family is consumed in this craft. Her grandmother and her mother
still practices Bagru craft . Dosaya family only produces organic
colour bagru prints and are an expertise in it . Which is the reason they
are so loyal and ethical to their customers. Dosaya family have been
supplying brands like Anokhi Jaipur , Fabindia , Farida Gupta and many
more for decades.

Om Prakash Dosaya ji is the eldest member of the family and he is a
master in Bagru prints . He's been in this craft for more than 50 years
now . His devotion and hard work to this craft has made him spread his
business over cities and to exports. He is the most trained and well-
versed in this craft. He passed on this craft from generation to
generation . His 3rd generation is currently involving in this craft to keep
it alive and spread it worldwide as it is now there identification.

A Aana - is small money which is currently not in use anymore D Dhabu -Type of Mud resist printing which is practiced only in Rajasthan
Achara - is a essentially a fabric which is spread across the table before printing to provide a
support and a uniform print. Fadad -A skirt (Ghagra) material which is made of cotton fabric, printed and dyed in indigo and
Ageing - " Sukhai " is a process of natural drying of the fabric for effective penetration of natural green colour only. These were made only for specific communities which belong to Rajasthan.
colors. Fitakri - Hindi word for Alum
Ajrakh - is a type of printing technique which is practised in Gujarat, Rajasthan in India, and
Sindh in Pakistan. It is a mud resist printing technique which involves multiple stages of dyeing, Gad -a block which is used to fill the third or fourth colour in a multicoloured block design
washing, and printing. Gangauri Bazaar -A market in Jaipur.
Genda - Hindi word for Marigold flower
B Baandhani -a kind of resist dye technique, practised in Gujarat and Rajasthan. Small dots or small H Ghaat - is a washing area in the dyeing unit. In the past times, the clothes were taken to the river
areas of fabric are tied by taking a pinch of a fabric, using a very fine thread. edge for washing purposes, which is called Ghaat.
Bajaja - a name given to the textile traders of Jaipur. Ghaghra -A very wide long skirt, traditionally worn in India by women in most regions.
Baniya -a business communiy
Haat -a weekly market, In the past, It was a an important source of income for all the local
Berja -a flours used in resist techniques for making viscous print paste. producers to meet buyers, retail as well as wholesale.
Boota -a figure usually the designs are inspired from flowers or plants which is placed all over the Haldi -Turmeric ( Hindi word )
fabric using technique like printing, painting or Embroidery The size of a boota is bigger than the
booti. Jaal -is a geometric or floral pattern which is interlaced in some fashion, and printed or decorated
Booti -a figure again, which is usually placed all over the fabric by printing, painting or embroidery, all over the fabric and can also be used to cover a large portion of the fabric. Jaal is a Hindi word.
usually the designs are inspired from flowers or plants. Often smaller than boota. Jharokha -Balcony
Butteh -Boota Jota -A layer of fabric spread on the color tray used for printing.
Bagru - Bagru is a city, in Jaipur district in the state of Rajasthan, India. “Julaha” -a weaver

C Chapaai - Hindi word for printing Kaami ka Dupatta -a black cotton shawl having a double border separated by a line of butas(
Charkha - spinning wheel figures )
Chhaapakhana - printing department for the Jaipur Royal family Kaarkhana -Workshop or factory
Chhipa -Block printer Kachchwaha Raj puts -a tribe among the Rajputs
Chikankaari -shadow work, special embroidery done in Lucknow, Uttar Pradesh, Central India Kapas -meaning cotton in Sanskrit
Chitgars -painter, or block printer Khaadi fabric -hand spun and hand-woven cloth which was made very popular by Gandhiji during
Choti Chaupad -A market in Jaipur the fight for freedom in India.
Chuna - Hindi word for lime
Chunari - Shawl

Laal Chandan -Red Sandalwood
Lac -an insect found on various host trees, used for textile dyeing, to achieve colours from pink to

L purple, and red to maroon, shade variation can be found depending upon the host tree and the
variation of silk worm.
Laheras -Lac dyers were called Laheras
Likhai - is a process of drawing the design on the block
Lungi -a kind of Sarong usually worn by Men in various regions of India

Maali -Gardener( Hindi Word ) Saanganer -is bustling town on the outskirts of Rajasthan, famous in the past for its very fine
Mahajans - business community quality of block prints, now a major center for screen printing.
Malmal - is a very fine cotton material Saffron -Zaafran, a yellow coloured flower, found mainly in Kashmir and Iran, which is also one
Marwaadi -language spoken by inhabitants of Marwad, in Rajasthan of the most expensive spices, or herbs, has a unique flavor, scent and color. Mainly used in
Mern - is goat dung food, but can also be found which mention its use as a fabric dye for very special occasions.
Metallic prints -These kind of prints are produced by using print paste containing metallic powders like Sapoor -in Hindi and hakur in Marwaadi is a tree found in Madhya Pradesh, whose seeds were
used in Rajasthan very commonly for bleaching the fabric. The tree has very hard wood and the
MAluminum, bronze and copper powders are usually used. The intensity of this type of the print effect seeds are used for bleaching.
obtained depends on the metal powder used in the print paste. Sari -a 5.5 to 6m long fabric, ornamented in a certain way and worn by women in different
Muga silk -a wild silk parts of India. It can be draped in many fashions, A blouse and a petticoat is worn below the
Mulberry silk -a silk produced in southern India, where the silkworm feeds on mulberry leaves sari to complete the outfit.

Nakshi -is borders SSaudagar -is abusinessman or a trader
Nashphaal -is a dye solution made out of pomegranate skin Siwankhana -The stitching department for the Jaipur Royal family
Neel -Indigo Soot - is cotton
Neelgar - is a Indigo Dyer Sun bleaching - also called as ‘Tapai’: Sun bleaching of the dyed fabric to make the background look white as prior to
dyeing.
Paan -is Betel nut leaf Suti -made of cotton, or cotton
Paisleys -is Keri Syahi Begar -Red and black dyeing (Syahi is the black part and Begar is the red part ).
“Parat” -is a precise impression of the fresh block taken by the block printer before printing starts.
This remains in the records for the future reference as a reference for the block maker.

PPehchaan -Identity ( Hindi word ).

Pharcha (borders) - which is border deigns are usually narrow, but long, can be geometric or
floral, often are based on tendrils. Sometimes they have no design, but are only meant for printing
a separate flat color.
Pudina -is Mint
Puraani Basti -Purani means old and Basti means a place to live, old place.

RRajput -Warrior class based out of Rajasthan
Rajputana -is the entire area under the Rajputs
Rang -Color
Rangaai -Dyeing
Rangkhana -The department that produced the most precious textiles, created using crafts related
to dyeing for the royal family of Jaipur
Rangrez -someone who dyes fabric
Resham -Silk
Reza -hand-woven cotton fabric
Rogan -A kind of textile printing made in Gujarat and Rajasthan, using gold and silver powder

LIST OF IMAGES REFERENCES

img 1.1 a Women in their colourful attire in the Bagru Village. 1.Blocks and printing styles of Bagru and Saanganer. (2021). Hand Printing Guide Rajasthan.
img 1.2 a Artistic depiction of Lord Parshurama killing kshatriyas to avenge his father's death. http://www.handprintingguiderajasthan.in/hand-block-printing-the-block-and-the-printing-
img 1.3 a , img 1.3 b Some of the finished Block unit/blocks-and-printing-styles-of-bagru-and-saanganer/
patterned work.
img 1.4 a Artisans's Business front:- "Dosaya Bagru Textiles" 2. https://www.bing.com/images/search?q=bagruskirts&form=QBIR&first=1&tsc=ImageBasicHover
img. 2.2 a. Clay used to creat a block. 3. https://www.bing.com/images/search?q=bagru+gown&qs=n&form=QBIRMH&sp=-1&sc=0-
img. 2.2 b. Carved out blocks
img. 2.2 c., img. 2.2 d., img. 2.2 e. 0&cvid=7569B4F3052840259787B2CE4BE505E0&first=1&tsc=ImageBasicHover
Carvers creating a block based on the provided design. 4. https://www.bing.com/images/search?
img. 2.2 f. Grey Fabric.
img. 2.2 g. Fabric being treated with Harda. q=bagru+kurtha&qs=n&form=QBIR&sp=-1&pq=bagru+ke&sc=8-
img. 2.2h Trolley with dye trays and other objects 8&cvid=C3B41B26FB82464EB351A01E03112FAA&first=1&tsc=ImageBasicHover
img. 2.2 i. Dye trays 5. https://www.bing.com/images/search?
img. 2.2 j. Printing tables q=bagru%20saree&qs=n&form=QBIRMH&sp=-1&pq=bagru%20shirts&sc=1-
img. 2.2 k. Pins on the sides to keep fabric in place 12&cvid=1B1CF08088FF4F559E07E1B4B8316CB9&ajf=70&first=1&tsc=ImageBasicHover
img. 2.2 l. Printer pressing the block dipped in the dye tray onto the cloth to make the pattern 6. https://www.bing.com/images/search?
img. 2.2 m. Printers printing on the fabrics in the factories q=bagru%20shirts&qs=n&form=QBIR&sp=-1&pq=bagru%20shirt&sc=0-
img. 2.2 n. Mud resist printing being done on the fabric 11&cvid=389496C403C44E1D8982733B986132EA&first=1&tsc=ImageBasicHover
img. 2.2 o. Artisan carrying out mud-resist or dabu printing 7. https://www.bing.com/images/search?
img. 2.2 p. Sawdust being applied after mud resist q=bagru%20PANTS&qs=n&form=QBIRMH&sp=-1&pq=bagru%20pants&sc=011&cvid=28F1998C0DAC4E
img. 2.2 q. Artisan doing dabu printing and her workspace 70B4B97255CDD561B4&first=1&tsc=ImageBasicHover&ajf=100
img. 2.2 r. Dabu printing forming various designs and patterns 8. https://www.bing.com/images/search?
img. 2.2 s. Alizarin infused cloth in the vessel q=bagru%20bags&qs=n&form=QBIRMH&sp=-1&pq=bagru%20pillowcover&sc=1-
img. 2.2 t. Gum and gum paste 17&cvid=78B574A157DF47DC97CC8A094B89A4FF&first=1&tsc=ImageBasicHover
img. 2.2 u. Indigo powder 9. http://www.handprintingguiderajasthan.in/glossary/
img. 2.2 v. Indigo cakes
img. 2.2 x. black clay and lime paste
img. 2.2 y. Worker mixing all the raw materials with legs for even blending and paste after being mixed
img. 2.2 z. Artisan Tanu dying the fabric in the Indigo Math
img. 2.2 aa. Dyed fabric is then dried out in the sun
img. 2.2 ab. Then it's put in cold water again to wash off excess
img. 2.2 ac. Then it is left out in the sun and hung high for drying
img. 2.2 ad. The fabric being boiled in a large pot above the furnace, to darken the colour of the fabric.
img. 2.2 ae. After that it's again washed by hand.
img. 2.2 af. Then it is washed under cold water for one final time
img. 2.2 ag. The fabric is then kept for drying in the sun for 1-2 days
img. 2.2 ah. Packed and ready garments
img. 2.2 ai. Beautiful hand made bagru prints
img. 3.1 a. Motif inspired from flora and fauna.
img. 3.1 b. Motif inspired from flora and fauna.
img. 4. a . Indigo Blue Dabu Hand Block Sanganeri Bagru Printed Cotton Room Rug
img. 4. b . Bagru Print Double Bed Sheet With Pillow Covers
img. 4. c . Bagru Hand Block Printed Double Bed Dohar or Ac Blanket
img. 4. d .Bagru Print Cotton Double Bed Quilt
img. 4. e . Bagru Print Curtain Pair
img. 4. f . Bagru Hand Block Print Double Bed Sheet with Pillow Covers
img. 4. g . Bagru Print on bags
img. 4. h .dark brown leather and indigo Bagru Dabu pure cotton fabric.
img. 4. i . panels of hand block printed bagru cotton fabric
img. 4. j .Handblock Bagru Print Cotton Elasticated Pants
img. 4. k . Blue Bagru Print Shirt
img. 4. l .Hand Block Print Cotton Saree
img. 4. m. Indigo-Ivory Bagru Printed Cotton Kurta
img. 4. n .Bagru Hand Block Print caps
img. 4. o . Round tier bagru print gown
img. 4. p .Bagru Block Print Skirt