BAGRU - NIFT

BAGRU

HAATH THAPPA CHHAPAI

Stamped stories on off-white pages

Craft cluster documentation

Bagru Haath Thappa Chhapai 1

Copyright

NATIONAL INSTITUTE OF FASHION TECHNOLOGY , JODHPUR

MINISTRY OF TEXTILE , GOVT , OF INDIA

National Institute of Fashion Technology
Karwar, Jodhpur, Rajasthan, INDIA 342037
Tel: +91 - 291 - 2659551/52
Fax: +91 - 291 - 2640066
Website: www.nift.ac.in/jodhpur
© 2021 National Institute of Fashion Technology
All Rights Reserved. No part of this publication maybe reproduced or transmitted in any form or by any means, electronic or mechanical, including
photography , recording or any other information storage and retrieval system , without prior persmission in writing from the
publisher.
Printed and boubded in Jodhpur, Rajasthan.

Bagru Haath Thappa Chhapai 2

certificate

This is to certify that , we students of Fashion Designing department ( SEM V) of National Institute of Fashion Technology, Jodhpur,
persuing Bachelors of Design course , Batch 2019-2023 , have completed the research on the handicraft , Bagru Hand Block Printing , Jaipur .

Akshay Singh
Bhumika Khairajani
Nimisha Ramani
Prajakta Sontakke
Sahil Pillai
Spurha Prajapati
Tamanna Meghwal

Mentor : Ms. Anusha Arun, Assistant Professor
Year of Submission : 2021
Academic Department : Fashion Designing
Nift Campus : Jodhpur
Date : 17 Aug, 2021

Bagru Haath Thappa Chhapai 3

Acknowledgement

This document is a result of the total under- rections and help to us the whole while
takings of various individuals who gave us in our learning and understand process.
the truly vital motivation, reassurance, head- Our sincere appreciation to Mr Lalchand ji Der-
ing and receptiveness to make this report. awala, specialized craftsman of Block printing
Studying the craft of handblock printing of craft cluster, to share with us the details of
Bagru, Jaipur, Rajasthan, have been a great such a beautiful craft and to enlighten us with
experience for all of us. We would like to show their years of experience and knowledge, even
our gratitude to Dr. Vijaya Deshmukh, Director, during such difficult times of an online era.
NIFT Jodhpur. We would also like to thank Dr.
Madan Regar, CC-FD,for introducing us to such We would like to present our gratitude
a valuable treasure of the Indian craft society, to them for their significant help during
and helping us throughout our learning journey. the virtual presentation of the journey.
We thanks our institute NIFT for giving us this
Also forwarding our gratitude towards our opportunity so that we could meet such great
mentor, Ms. Anusha Arun, for her great di- artisans and gain knowledge about this craft.

Bagru Haath Thappa Chhapai 4

ABSTRACT

Documentation of the Craft Cluster study done preciation for not just beautiful crafts but also
by students of Fashion Design department, those without whom our country’s rich culture
Group-3 of the National Institute of Fash- would merely be another chapter in history. The
ion Technology (NIFT), Jodhpur on the block most riveting part of travelling to Bagru is the
printing craft of BAGRU block printing of Jai- journey through the rural area, exploring the
pur Rajasthan in the academic year 2021-22. lifestyle, the workshops and watching crafts-
Through an in-depth study of the processes, men carry out the laborious yet beautiful pro-
techniques, current scenario of the crafts and cess of printing using mesmerising wooden
the socio-economic conditions of the crafts- blocks with their colourful attires standing out
men and interaction with the crafts people, this in the arid land, yet fitting in perfectly with the
cluster intervention sensitised the students surroundings is a fascinating sight. The natu-
towards the craft and the artisans. It was also ral ingredients and organic process makes it a
aimed to give students an insight into regional wonderful craft to survive through the era of
sensibilities, diversities, resources and envi- industrialisation. The wide array of traditional
ronment. Further, the intervention provided a and contemporary products sing of the beauty
window to the students on methods to work of their making process in full glory.
in the crafts sector with artisans and aid them
to provide themselves through various means
of design and technology that they have learnt.
The visit to Bagru, Jaipur kindled a sense of ap-

Bagru Haath Thappa Chhapai 5

content

1. Introduction 8 9. Past Practices 54-55
10 10. Tools 56-71
2. Craft cluster initiative 14-21 11. Process 72-99
12. Ingredients 100-111
3. India 24- 39 13. Motifs 112-121
32- 35
- Handicrafts of India 38- 45 - Traditional Motifs 124
- Block printing crafts of India 46 - Classification of Motifs 126
50-53 - Contemporary Motifs 130-133
4. Rajasthan 134
- About Rajasthan 14. Role of Climate
15. Regional Authenticity
5. Jaipur 16. Contemporary Variation
- Pink City 17. Significant Products

6. Bagru Bagru Haath Thappa Chhapai 6

- Print City

7. Karkhana

8. Printing Blocks

18. Current Scenario 143
145
19. Covid-19 Effects 146
148
20. Market 150
154
21. Avaran 158
164-169
22.GI Certification 170

23. SWOT Analysis Bagru Haath Thappa Chhapai 7

24. Artisan Profile

25. Our Journey

26. Annexure

- Sketches
- Glossary
- Bibliography

INTRODUCTION

In the hard times of the COVID-19 pandem- tiful handicrafts practiced here, Bagru block
ic, when life felt stagnant and education printing being one of them. It takes account
switched to online mode, this craft documen- of the village cluster and its history, the
tation project came as an opportunity to learn families who live there and practice the craft,
and explore something new. their workshops and daily life. It goes deeper
into the roots of the craft, its colors, motifs,
Amidst the majestic grandeur of Rajasthan traditional essence, tools, textiles and the
and its culture, we landed on a gem, the craft complex yet mesmerizing process that gives
of Bagru block printing of Jaipur. The docu- birth to soulful designs and helps understand
ment is a detailed elucidation of our journey the factors and ways in which the craft has
through the colorful state of Rajasthan and developed over the years.
into its magnificent capital, Jaipur. It speaks
of India and its rich heritage of handicrafts The project sums up with an analysis of the
of which Rajasthan remains to be a big hub. strengths, weaknesses, opportunities and
It then proceeds on to the city of Jaipur, its threats associated with the craft and the
culture, food tradition, colors and the beau- people practicing it.

Bagru Haath Thappa Chhapai 8

Image 26

Bagru Haath Thappa Chhapai 9

NIFT with the support of the Ministry of tex- created a great awareness in the students CRAFT CLUSTER
tiles, office of development commissioner regarding the crafts and their today lives. Not INITIATIVE
(handlooms) and the office of development just that but it have helped the basic line arti-
commissioner (handicrafts) have started a sans to connect with the designers and these
useful craft cluster initiative program with an day trends and get exposure to different
aim to benefit both the artisans as well as the levels. Under this initiative the students work
students. closely with the artisans and craft persons.
They work together to develop and get knowl-
The craft cluster initiative program at NIFT is edge of something new and interesting under
made with the aim to provide new opportuni- the great guidance of the well experienced
ties to the craft persons and to introduce the artisans and the creative fresh minds of the
NIFT students to the realities of the craft sec- students, this providing exposure to the new
tor and give an idea about the diversities, re- world and understanding of the urban markets.
sources and environment. This initiative have

Bagru Haath Thappa Chhapai 10

Bagru Haath Thappa Chhapai 11

"Time spent in India has
an extraordinary effect
on one. It acts as a barri-
er that makes the rest of
the world seem unreal." ~

Tahir Shah

Bagru Haath Thappa Chhapai 12

Bagru Haath Thappa Chhapai 13

india

Stretching from the beautiful Jammu Kashmir mainland comprises of four regions, the great
in the north to Kanyakumari in the south, sur- mountain zone, the plains of Ganga, the des-
rounded by the Bay of Bengal, Arabian Sea and ert region and the southern peninsula. China,
the great Indian Ocean, the Indian peninsula Nepal, Bhutan, Pakistan, Sri Lanka are some of
is one of the oldest civilisations in the world India’s neighbouring countries.
with a rich cultural heritage. India is an amal- A dynamic country with a diverse culture
gamation of various cultures, religions, races, which is also evident in its history that goes
languages and so much more. Many ethnic back to the very beginning of human civiliza-
groups with different socio-cultural back- tion - The Indus valley,which is present day
grounds and beliefs reside here which contrib- Pakistan and western India. In the medieval
utes to the vastness in language, dressing, times, India was ruled by indigenous rulers and
celebration, food and festivities in the coun- kingdoms, followed by British rule and then
try. With a distinct geographical identity, it is emerged as a democratic nation in the mod-
the seventh largest country in the world with ern era.
an area of 32, 87,263 sq.kms. It is guarded by The spiritual nature and similar temperament
the great Himalayas in the north and covered of the people binds them together to proudly
by the tropical rainforests in the south. The make India a diverse but united nation.

Bagru Haath Thappa Chhapai 14

Precisely carved hall of Indian Fort Image 1

Bagru Haath Thappa Chhapai 15

Image 2 handicrafts of india

Bagru Haath Thappa Chhapai 16

The products created without the use of mod- and craftsperson and have gained recognition
ern machinery, purely by the skill of hand are worldwide.
called handicrafts. Nowadays, these types of To name a few, the categories of crafts prac-
products are considered a statement piece or ticed in India are weaving, woodwork, pottery,
an item of luxury. leather, shell, jute, brass work, bamboo work,
embroidery, carpet weaving and jewellery.
India has a vast variety of handicrafts prac- Among these many categories, one major
ticed all over the country. These handicrafts category is block printing. There are various
are a reflection of the community or the eth- techniques and styles of block printing prac-
nic groups that create them. Handicrafts are ticed in India. Majority of them are age old and
also the example of how a particular resource have been handed down as legacy, generation
present in the region can be used to create after generation. The artisans believe that it
such beautiful objects. It also represents the is their responsibility to carry on these crafts
characteristics of the region they belong to. as they are the identity and heritage of their
These crafts are exclusive work of artisans family. [ 20 ]

Bagru Haath Thappa Chhapai 17

Geometric block design

Bagru Haath Thappa Chhapai 18

Bagru Haath Thappa Chhapai 19 block printing crafts
of india

Bagh (Madhya Pradesh) : Practiced in the Bagh district of became popular in Rajasthan. It uses the technique of mud resist
Madhya Pradesh, it is a natural block printing technique which printing. The core patterns of this print are floral and abstract. It is a
is practiced by the Khatri community of this region. The colours time consuming and complicated process with various steps.
used in this technique are natural and the designs are inspired
by flowers, mushrooms and other natural objects in the region. Gold and Silver dust (Rajasthan) : This kind of print is done on fin-
The chemical composition of the water of the Bagh river is ished and treated textiles. A dust of metals and other shiny materi-
such that it enhances the shades of the natural dyes used in als is used to print on the surface of fabrics. Perforated blocks are
the process. used to squeeze an adhesive paste on the surface which is then
covered with metal dust.
Kalamkari (Andhra Pradesh) : It is a hand printing or block print-
ing technique which originated when singers, and poets used Sanganeri Print (Rajasthan) : Originated in Rajasthan, this type of
to paint to keep account of the stories from Hindu Mythology. block printing has developed over the years and produces products
It is a generations old craft with use of multiple colours and for both home and apparel sectors. It has intricate designs inspired
hand painting using a bamboo brush and wax as resist. The Hin- from natural objects like fruits, flowers, birds and animals. The sym-
du mythological epics like the Ramayana and the Mahabharata metry in the motifs and the layout of the designs makes this craft
are the primary themes in this printed textile. even more enticing.

Ajrakh (Rajasthan) : Counted among the oldest crafts prac- Batik : A 2000 years old craft, it is believed to have originated in
ticed in the country, Ajrakh is believed to have descended all Egypt, practiced in Indonesia and various states of India namely
the way from the Mohenjo-daro civilization. It is a block printing Gujarat, Rajasthan, Andhra Pradesh, Maharashtra, West Bengal and
craft which uses natural dyeing and printing methods. The Madhya Pradesh. The finest Batik in India comes from the state of
uniqueness of this craft is that the textile is printed on both Tamil Nadu. Batik uses the technique of wax resist printing and dye-
sides using geometric patterns. [24] ing on fabric to form splendid images and motifs. The uniqueness of
batik is the cracking texture on the parts resisted by wax. The resist
Dabu (Rajasthan) : Practiced in various villages of Rajasthan, allows many layers of colours on the fabric which result in the variety
this resist block printing craft originated from China and then of vibrant designs. [24]

Bagru Haath Thappa Chhapai 20

Image 27
Bagru Haath Thappa Chhapai 21

Bagru Haath Thappa Chhapai 22

“When I was travelling in
Rajasthan people were
waving hands, and it felt
like I was visiting my own
constituency.” ~ Kamla

Persad-Bissessar, Former Prime
Minister of Trinidad and Tobago

Bagru Haath Thappa Chhapai 23

Land of Rajasthan

Image 3

Bagru Haath Thappa Chhapai 24

Rajasthan

State named Rajasthan, is present in is its colorful fairs and festivals, vibrant col-
North-Western part of India .The kingdom of ored attires, ladies abode with jewellery, men
Rajasthan in India has a history courting again with colorful turbans.The moment we enter
for hundreds of years. It changed into the site the scene, we will see Rajasthan’s sculpture
of the Indus valley civilization. A place sur- depicted through handmade artifacts. The
rounded by sand reflecting its mesmerizing uniqueness of these kinds of articles is the
splendour through years. Images that come effort and suffering of the artisan . [6,7]
to thoughts while you speak about Rajasthan

Bagru Haath Thappa Chhapai 25

1. CLIMATE : har, have repaired and were the ones who im-
Rajasthan’s weather is varied, from extremely plemented agricultural importance amongst
arid to humid. June is the warmest, rising from community. Stupendous archers , of southern
the mid-80s F (about 30 °C) to almost 110 Rajasthan called as Bhil, is the oldest commu-
°F (low 40s C). The day-by-day maximum tem- nity in India. The Grasiaand Kathodi additional-
peratures in January vary from the upper 60s ly largely stay in the south, in most cases with-
to mid-70s F (low to mid-20s C), at the same in the Mewar place. Living in the west of the
time as minimum temperatures are in the mid- Aravallis are the, Rabari, the livestock breed-
40s F (approximately 7 °C). ers and Sahariya are southeast communities.
[7,31]
2. POPULATION :
Rajasthan’s populace consists of Indians of 3. LANGUAGE :
diverse social, occupational, and religious Hindi is the legitimate language of the nation,
backgrounds. Aboriginal (tribal) people consti- and to some degree, it has overshadowed the
tute a couple of-10th of the population of Ra- nearby languages of Rajasthan. The four fun-
jasthan. Farmers in eastern part of state are damental languages of Rajasthan are Marwari,
called Mina (and the related Meo). Dhundhari, Malvi and Mewati and a Hindi dia-
Traders and artisans are named as the Banja- lect called Braj Bhasha.
ra, migrates from place to place. the Gadia Lo-

Bagru Haath Thappa Chhapai 26

4. RELIGION : Jag Mandir: Udaipur
The religion of the full-size majority of the pop-
ulace is typically practiced via the worship of Image 4
Brahma, Shiva, Shakti, Vishnu, and different
deities. Islam, the nation’s second-biggest reli-
gious community, accelerated in Rajasthan with
the conquest of the city of Ajmer and the en-
compassing vicinity by way of Muslim invaders
in the late 12th century. Jainism is also crucial;
it has not been the faith of the rulers of Rajas-
than, however, has fans most of the buying and
selling class and the rich section of society.

5. CULTURE :
Starting from the typical brocade work on gh-
agra and cholis of the royal circle of relatives it
levels to the colorful tied and dyed outfit of the
locals of Rajasthan. The people of Rajasthan are
recognized for their way of life which is nearly
5000 years old which is a blend of culture and
history with the present cutting-edge lifestyle.
Various products of Rajasthan replicate tradi-
tion of the nation through both handloom and
handicrafts.[10]

Bagru Haath Thappa Chhapai 27

Folk Dance

Image 5

Bagru Haath Thappa Chhapai 28

6. DANCE : agra, woven fabrics like silk, georgette, khadi,
The traditional dance of Rajasthan is the cotton, etc is embellished with embroideries,
Ghoomar, which is finished on festive occa- bells and mirrors which is a long full skirt worn
sions by the ladies. Different dances consist by women with intricate jewellery. [9]
of the Geer that’s achieved by ladies and men;
the Panihari a swish dance for girls; and the 8. ART AND CRAFT:
Kacchi Ghori in which male dancers ride dum- Rajasthan abounds in objects of antiquarian
my horses. Performances of Khyal, a type of interest. Extraordinary princely palaces, many
dance-drama composed in verse with celebra- elaborately embellished with wall paintings,
tory, ancient, or romantic subject matters, is are scattered throughout the country. Those
also broadly popular.[8] and other ancient systems (e.g., temples) are
often inside numerous historical Rajput hill
7. COSTUMES : forts, six of which such as those at Chittor-
The Rajasthani men’s style of dressing could garh, Jaipur, Jaisalmer, and Jhalawar—have
be very classical and is quite distinct. The been collectively detailed a UNESCO interna-
turbans form the maximum traditional part of tional history site in 2013. Rajasthan is one of
dressing of the male which differs in keeping the richest states of India within the field of
with the diverse areas the people belong to. art and craft. The quantity of craft practiced
The turban is usually known as Pagris known in Rajasthan together with bandhani, leheriya,
as Jodhpuri Safa and Jaipuri Pagri . The Angra- batik, beadwork, blue pottery, meenakari, pup-
kha which is said to be the cover of the body, pet artwork, miniature painting, gesso work,
that’s typically made of cotton textile. Gh- handwork dhurries, and stone paintings. [8]

Bagru Haath Thappa Chhapai 29

“Resplendent in the hues
of its noble and magnif-
icent past, the historic
city of Jaipur stands out
as one of the most spec-
tacular and culturally vi-
brant destinations in the
world.” ~ Kate Smith, American

contralto

Bagru Haath Thappa Chhapai 30

Bagru Haath Thappa Chhapai 31

Jaipur

Jal Mahal : Jaipur

Image 6

Bagru Haath Thappa Chhapai 32

Jaipur, founded in 1927 by Rajput rulers
named Jai Singh, is the largest city of the
Indian State. UNESCO World Heritage Com-
mittee, named it Pink City of India amongst
the world heritage sites. Iconic architecture
like Jawahar Kala Kendra formed by Archi-
tect Charles Correa and Ravindra Manch is
well known and sited. Hawa Mahal has a gov-
ernment museum and Viratnagar has a his-
toric art gallery. The local flourished market
gives the tourist opportunities to have in-
sight into the antiques and handicrafts, like
Anokhi, which revived contemporary brands
through traditional methods and techniques
of arts and crafts which were patronized by
prior rulers. [11]

Bagru Haath Thappa Chhapai 33

Hawa Mahal : Jaipur

Bagru Haath Thappa Chhapai 34

pink city

Hawa Mahal, also known as the 'Palace of Breeze' are Hindi and English, the native dialect of the
is one of the main attractions of Jaipur whose city is called Dhundari with a pinch of Marwari.
magnificent façade peeps at the open market
place and streets with it's 365 jharokhas. To exhibit such talent of craftsmen and arti-
sans, Mughals and Rajputs invited them from
Being an authentic historic location, it comes with the Indian subcontinent and abroad to share
a large range of cuisine. Gatte ki Sabzi, Dal Baa- their abilities. Some settled back in Jaipur to
ti Churma, Missi Roti, Ker Sangri, Laal Maans, develop their interest and took part in this rich
Makke ki Ghat, Bajre ki Ghat, Bajre ki Roti, and art and craft. Talents like Block Printing, Band-
Lahsun ki chutney leave the essence of history hani, Stone carving, and Sculpting (Tarakashi);
while you visit them. In addition to such diversity in Zari, Gota, Zardozi, and Gotapatti; Ivory Carv-
food, comes dessert, like Ghevar, Mawa Kachori, ing, Miniature painting, Blue Pottery, Leather-
Moong Thal, Chauguni ke laddu, etc[34] ware, Meenakari, and Jewellery, etc blossom
Though the official languages of Jaipur currently ed.

Bagru Haath Thappa Chhapai 35

Bagru Haath Thappa Chhapai 36

"All these trusts to their
hands,
And everyone is wise in
his work,
Without these cannot a
city be inhabited."~

Ecclesiasticus

Bagru Haath Thappa Chhapai 37

A small village, 32 km South-West of the lifted over time. these 5 colors being used to their utmost
main city of Jaipur, on the Jaipur-Ajmer creativity, the combinations of colors
road, with a total of 31,229 of the popu- The production of print was limited for talked a lot about its value and liveliness.
lation according to the 2011 census, is community use only when it was started. Talking about the motifs, Stripes and 20-
400 years old block printing craft region. The dyed and printed textile was then 22 small buti motifs were the only de-
Around 200 to 250 families practice this loaded on the bicycle and sold in the local signs being printed. Patiya, a stone sur-
craft throughout their generation. It is the heat (local/regional market) every seventh face, which was 1.5ft by 2.5ft was used
ancestral legacy keeping their craft alive day. As known for the prints and process, to print textile.
through their hard work and love towards it used organic methods and processes to The process requires a lot of water, so
the craft. The region known for natural create vibrant art. Mal cotton fabric was Bagru was settled near a river called the
dyes and hand block printing flourishes very common, was used for production as Sanjaria River.
the craft through many colors.[5,13] . it was readily available and easier to dye The authentic wood used was Gunja, hand-
Initially, only running fabric was printed for on. crafted by the block makers, called Block
domestic purposes and sale in the local Masters. Some blocks in the library of the
area. When the craft was noticed by its Back in history, colors were limited to artisans are 2 to 3 centuries old.[13]
beauty and unique craft method, it got up- black, red, yellow, green, and brown. With

Bagru Haath Thappa Chhapai 38

bagru

Sun Bleaching process

Image7

Bagru Haath Thappa Chhapai 39

•ORIGIN which is 66.11%, rejoices the command over is closed. The temple of lord Laxminath, estab-
The artisans in Bagru worship Saint Naamdev the block printing process. lished in the community has a hymn gathering
and they believe that he was the one who first (Jagrata) organized at night of Basant Pancha-
introduced this process of block printing to •RELIGIOUS CUSTOMS mi. They commence the new work on Dev Uthan
their families. With their belief and faith in their The artisans belong to the Chhipa community Gyaras which is a prominent festival of Hindus.
community, Bagru Chhipas came from Sawai with a mix of both Hindu and Muslim religions. On Dev Uthan Gyaras, the artisans take out a part
Madhopur, Alwar, Jhunjhuna, and Sikkar (Rajas- Celebrating their particular religion with secu- of the Prasad in the name of Naam Dev, their holy
than). The Chhipas settled in Bagru and then larity, both communities glue the block print- saint. The artisans are preferably vegetarians .
started their luxury printing with their sophisti- ing process. The Hindu artisan celebrates Bhai
cated knowledge. Dooj and Rakshabandhan, on which they inau- •LANGUAGE
gurate a new set of blocks and gifts to their The artisans speak the local language of Rajas-
•DEMOGRAPHY workers. than called Marwari. There are regional variations
According to the Bagru Population Cen- in the language but the overall language remains
sus 2011-2021, with 16,259 males and Basant Panchami, a festival of harmony in the the same. Being Marwari the local language, they
14,970 females, lies the village of authentic community, worships their holy saint (aarad- can converse in both Hindi and English to the vis-
block-printing community, with 31.299 of the hya) Naam Dev. They organize a progression itors but only in limited words which are mostly
total population. With the literacy rate of the of Naam Dev on this occasion. On every full related to their craft.
city being 71.43%, higher than the state itself moon day (Purnima) each month, the workshop

Bagru Haath Thappa Chhapai 40

print city

Finest Bagru print

Bagru Haath Thappa Chhapai 41

FOOD : Due to vegetation being dry and who create the fundamental tool of this
hot, not many fresh and green vegetables craft, the intricate printing blocks. This
and fruits grow around in the region, so community is skilled in wood carving which
people depend more on the dishes made is their ancestral profession. They trace
out of flour and grains, mainly cereals and the design provided by the craftsmen and
pulses. Staple dishes served in Bagru: create the constituent blocks of a design
Chapatti (roti) of barley ( jau) .Curries are with total accuracy.
mainly called khata, besan mango, paalak
ki sabji, pua bhujiya, cheelde-sweet, and Block printers - The printers are the people
salty wraps. As block printing is a laborious who work on printing the textile. They work
concentrated work, it needs more energy, the blocks on the fabric laid on the table
requiring carbohydrates and heavy multi- and have specific knowledge about the
ple nutrient food. quantity of dye to be used, the technique
of stamping and the perfect placement of
WORKERS : The master craftsmen - The block on the fabric.They develop a speed
master craftsmen undertake the task of at printing overtime.
finalizing designs, looking into the market
demand and business operations and oth-
er top-level functions like sourcing of raw
materials and dealing with clients. They are
the most skilled and experienced person-
nel in the craft. They are the supreme su-
pervisors of the organisation. Block mak-
ers - These are a separate community

Woman at work

Bagru Haath Thappa Chhapai 42

ROLE OF WOMEN : Women, not only being TYPES OF BLOCKS : Blocks are created
supportive housewives, taking care of the with particular wood, carved with attentive
house, and encouraging livelihood, they and administered concentration. The pre-
also help in the process of creating,and cision of carving makes the print talk when
preparing the colors, washing and drying fabricated. There is a particular type of mo-
of the unfinished and finished products. tifs. BUTA – single motif block, BUTI – small
These processes are done by the woman motifs on one block arranged in a repeated
back at home, as it’s easier for them to set, JAAL – interconnected complex motif
look after the household as well. pattern, and BEL – border motifs. Constit-
uent blocks: gadh – background color mo-
tif, rekh- outline motif, datta- filling block.

STYLES OF PRINTING : There are two major SEASONS : Since the printing needs nat-
styles of printing that are done in the Ba- ural conditions of hot weather and atmo-
gru region, Dabu – resist and Bagru block sphere, the summer season is the best
printing – using block motifs only. Both for the printing. To avoid the conditions of
of the etch styles are laborious work and bleed outside the lines of the fabric, rainy
required skills and genuine knowledge to and humid type weather is not befitting for
fabricate the prints. [28] the printing process. [28]

Bagru Haath Thappa Chhapai 43

Drums of pigments

Bagru Haath Thappa Chhapai 44

COLORS : In the world of vibrant colors, Ba- of water]. For 15 days mixture is kept un- tively , are mixed together. Being non pol-
gru block printing uses natural dyes. The touched. Matka or separate-cement tank lutant and harmless to nature, leftover
print is usually of 2 main colors including , which is decanted every 15 days , is spe- mixture is also used in irrigation of crops .
black and red. With the base of off-white, cially made for creating black colour. [26,27]
natural dyes like madder, indigo, pomegran-
ate rind, turmeric, etc. are used. Madder 2. RED (Natural) : Overnight, the gum paste 4. PIGMENT COLORS
(manzeet) and natural indigo were replaced is kept which is later strained through a
by Alizarine and synthetic indigo. cotton cloth. A hundred grams of Phitakari Some known pigments used are :
(boiled in water) is then mixed in the gum
The main natural colors prepared are: solution. Though the outcome of this pro- Green – Hara Pink - Gulabi
1. BLACK (Natural) : Worn-out iron horse- cess is red when put in the furnace (Bhat-
shoes or camel-shoes(used in earlier ti) , but initially it turns brown when applied Brown - Bhura Violet - Baingani
times), iron scraps are soaked in water to the fabric.
(fermented) (for example 10 liters of wa- Blue - Neela Rust – Jung ka rang
ter for 10 kg of the horseshoe) to which 3. MAROON (Natural) : In the ratio of 3:1,
molasses (Gud) is added [1kg for 10 liters red and black, i.e. 75% and 25% respec- The color combinations common are:
· Cream, Maroon and Black
· Black and white
· Blue (indigo) and white

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Skilled workers karkhana

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The craft involves complicated, time-con- stored in this hall in small buckets or drums.
suming processes like vigorous washing, On the right side of the land, there are three
dyeing, printing, and drying which require a big tanks for washing, a setup of Bhatti for
lot of space and setup. Initially, the printing the steaming and boiling process followed
was done on small patiyas , generally of by a 14 ft. deep pit inside the ground which
the size 1.5 ft. By 2.5 ft., the washing was is called maat. This pit stores the indigo
done either in the river or in tanks, and for dye to prevent it from coming in contact
drying, the fabric was spread out on the with oxygen. Raw materials like fabric
open ground. But with development in the and material used for making colors and
rural area and the distribution of common big vessels for boiling are also kept here.
land, many artisans in the area set up their Other than this, there are three big rooms
workshops. The artisan’s workshop is built which are used as storage units to store
in an area of approximately 3 acres of land. and display the finished products and carry
It has a long hall with around 10 printing ta- out the business operations. The rest of
bles, 6 meters each. All the walls of the hall the land is left barren on purpose for drying
have built-in space, overflowing with thou- the length of fabric under the sun. As the
sands of different wooden blocks. The pig- workers and artisans spend most of the
ments used for printing, both natural and time in the workshop, a small kitchen and
synthetic are restroom are built on the premises.

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Glimpse of workshop

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printing blocks

Intricate Blocks

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