3. Embroidered Textile
Embroidery Home
Mochi Bharat
Heer Bharat
Moti Bharat
Applique Work
Jaisalmare Applique Work
Meo Eembroidery
The Rabari Embroidery
Jain Embroidery
Region-wise Embroidery
Gota Work
Salma Work
Sujani Work
Dabka Embroidery
Danka Embroidery
Aari Work
Badla Work
Zari Work
Knucklepad
Painted Textile
Phad
Pichwai
Quilts of Jaipur
Woven textile
Kota Doria
Dari, Shawls and Carpets
Split-Ply Camel Girths
Printed /Hand Block Textile
Sanganeri Print
Bagru Print
Dabu print
Screen Printing
Akola
Azrakh
Painted Textile
Phad
Pichwai
Quilts of Jaipur
Woven textile
Kota Doria
Dari, Shawls and Carpets
Split-Ply Camel Girths
Dyed Textile
Tie&Dye or Bandhani
Lehariya
Mothda
Rajasthan Textile
4. Textiles of Rajasthan
Textile is one of the most particular and specific expressions of that nations culture and
heritage. In villages of Rajasthan, textile traditions, learned via a costume tradition and
spanning countless generations.
The glory of Rajasthan, apart from the bravery of its Rajput rulers, forts, and royalty, is also
associated with the production of color fabrics in the Maru-Gurjar tradition since ancient
times. Their sense of color-aesthetics has led to the use of colors and motifs intended for
different occasions
.
There are regional variations too, in western Rajasthan, Garasia women wear Garasion ki
phag, a veil with a yellow ground and red border, and a large round in the centre. Mina women
wear dhaniya chunari while Gujar women prefer rati chunri, and a Malan wears a
ghaghara or skirt of asmani, dhani and chakari farad or yardage.
5. About Rajasthan
India’s westernmost state, created in 1949 formerly known as Rajputana is also one of the most
colorful part of India . The area is diagonally divided by the Aravali hills, the area to the northwest
is a largely taken up by desert where drought and famine are constant threats.Rajasthan
In spite of sterile land it is frequently described as ‘colorful’ or ‘vibrant’: epithets that spring not
from any natural luxuriance but rather from the traditional way of life and, in particular ,the
brilliant costumes of Rajasthanies, which enliven the desert landscape and relieve the monotony of
the sand, rock and scrubby trees.
In contrast to the predominant white clothing of the lush green areas of the southern and western
India, in Rajasthan the glowing red and yellow odanies or turban is valued as an affirmation of life
in the face of hardship and deprivation of the most basic kind.
In total the production of Textiles accounts 21.96 % in the state. Out of 862 spinning mills in India,
69 spinning mills are in Rajasthan.
7. Dyed Textile
Dyed Textile- Bandhani
History
Different forms of tie and dye have been practiced in India.
Indian tie & dye also known as Bandhani and Bandhej in
Rajasthan is a traditional form of tie and dye which began
about 5000 years ago. It is the oldest tie and dye tradition
still in practice. Dyes date back to antiquity when primitive
societies discovered that colors could be extracted from
various plants, flowers, leaves, bark, etc., which were
applied to cloth and other fabrics.
Even though color was applied they didn't consider this
dyeing. It was simply a form of embellishment. For them
dyeing was the art of using color to form a permanent bond
with fiber in a prepared dye bath. Natural colors have been
used in India since ancient times and are considered to be
the origin of the art of dyeing. Tie and dye cloths were the
part of the merchandise of the early traders.
8. Dyed Textile- Lahariya
Rajasthan is well known for its lehriya (waves) pattern. This is
one of the so many tie and dye patterns that results in wavy
pattern, which symbolizes water waves.
The stripes of different colors are usually arranged diagonally
and use two colors are common. The two colors alternate in
waves. Originally, the two colors used were the auspicious
colors of yellow and red.
Turbans, odhnis and saris with laheriya are liked and worn all
around year but carry a special meaning on and around the
time of Teej festival and monsoon. Lahariya is dyed in different
colours and Udaipur is famous for this craft.
9. Dyed Textile-Mothada
Another pattern in tie-dye is Mothra, in which the wave pattern is dyed twice, taking
diagonally opposite sides each time. The opposite ends of the length of the cloth are pulled
and rolled together. It is preferred and sold still tied to get the original look of the process.
Mothra showcases a check effect with opposite diagonals.
But Leheria, which means “waves” in Hindi, is a tie-dyeing technique from Rajasthan, the
fabric is rolled diagonally from one corner to the opposite selvedge, and then tied at the
required intervals and dyed. The result is a pattern of lines going across the fabric.
10. Printed /Hand Block Textile
SANGANERI PRINTING
THE SANGANER
Sanganer is situated about 8 kilometers south-east of Jaipur city. Prior to the 17th century,
there is no mention of Sanganer as a centre of printing. At that time Sanganer was known as a
centre of plain and dyed clothes. It was probably towards the end of the 17th century that this
art form developed here. It is famous for dyeing and printing of colorful dresses, bed sheets,
curtains, dress material and variety of other textiles. Bulk of the textile products of these
industries is exported.
Sanganer was renowned for its small decorative and delicate floral patterns, called, 'boota-
booties' which was printed on fine cotton and silk.
11. The dyers and block makers came from Sindh and Punjab and settled here. The printers
belong to chhipa community. They are all Hindus and are followers of the renowned Marathi
Saint Namdev. Almost every member of the 'Chippa' family is involved in the washing, dyeing
and printing of clothes.
In older days, the fabric was printed mainly for use of royal families and rich traders but now
it is used as part of clothing for urban families and also exported. The principal items printed
here include sarees, dupattas, salwar-kameez, bed cover, curtains, scarves, and printed
yardages (running cloth material), etc.
12. The Bagru Print
The traditional ‘motifs’ of Bagru have however under gone change
over the years. The entire population of ‘chhipas’ which were earlier
engaged in production of all local varieties of printed fabrics mostly of
‘fadats,indigo fabric’, ‘angochha’ (small towel), ‘bichhauni’ (bed
spread), rajai (quilt) are now engaged in production of sophisticated ‘
kaftans’ ‘wraparounds’ (skirts), ‘midis’ etc.
The local people, particularly the women folk, mainly used the Bagru
prints in the past. Patterns in rich colours like the indigo blue,
alizarin, iron block and bright yellow were produced on coarse cotton
cloth by indigenous processed of dyeing and printing. In building up
patterns, geometrical forms were adopted along with floral, animal
and bird forms.
Everything seemed to be inspired from local sources. Synthetic dyed
have now replaced some natural dyes but their ‘resists, and their
application and processed and their sequences have hardly under
gone any change.
13. The Syahi-Begar prints are a combination of black and
yellow ochre or cream. The Dabu prints are created by
hiding them from dye, by applying a resist. Bagru
prints are characterized by circular designs, as well as
linear and floral patterns.In both the Sanganer and
Bagru prints, the colors are picked carefully. Each has
a separate significance. For instance, red is the color of
love, yellow of spring, indigo of Lord Krishna, and
saffron of the yogi (seer).
The wooden blocks that are used are made of teak
wood.Traditionally,vegetable dyes made of madder,
pomegranate rind, indigo, and turmeric are used.
These have now been largely replaced by chemical
dyes. Often, the fabric is dyed before it is printed.
14. Difference:Sanganeri & Bagru
The main distinguishing feature between Sanganer and Bagru printing is that Sanganer
print is usually done on a white ground, whereas Bagru prints are on an Indigo or a dyed
background. Local water also has its effects. In Sanganer water, block comes out in its best
dark shade, while at Bagru block comes with a reddish tinge. As water has always been
abundant in Sanganer, the washing of cloth has formed the main basis of printing and dyeing
there. In Bagru, where water is comparatively scarce, ‘Dhabu’ resist printing and indigo work
is mostly done.
Difference in motifs-Traditionally, motifs printed at Bagru are large with bold line, as
compared to sanganer, where somber colours and fine lines, intricate detailing are practiced.
Sanganeri motifs are naturalistically rendered, with motifs usually based on flowers i.e. iris,
rose, poppy, marigold, sunflower, chrysanthemum etc. Bagru motifs are more geometric than
the sanganeri motifs.
15. Traditional Designs
The patterns or designs/motifs which are traditionally made in Rajasthan can be classified as
‘boota’, bootie’ and ‘jal’.
‘Boota’: ‘Boota’ is normally referred to as design which is single and complete in itself. The
word ‘boota’ is derived from the Persian word ‘Butteh’ which means complete tree. ‘Bootas’
depict the flora and fauna of the region and sometimes birds are also seen. Since it is a single
unit the spacing between the two impressions can be varied normally a ‘boota’ is not bigger
than 3”x5”.
‘Booti’: ‘Booti’ is a smaller form of ‘boota’ and the spacing between one ‘booti’ and another is
predetermined. There could be up to 20 booties on one block *, depending on the size and
space, Like ‘boota’ most of the ‘booties’ depict the flora and fauna and birds of the area.
‘Jaal’: ‘Jaal’ is pattern, which gives continuous interconnection surface. ‘Jaals’ were not very
popular in Sanganeri prints but other centres have ‘Jaal;’ Patterns which are floral, paisley
(‘keri’) and geometric. Narrow borders of 2”-4” width are also used in all the centers. The
designs are similar to ‘booties’ in form and decoration.
16. Printing (mordanting)- locally called ‘chapai’
The fabric is printed with two mordant- ferrous (‘syahee’) made out of rusted horse shoe nails,
and alum (‘begar’). Usually ferrous is printed with the outline block (‘rekh’). As it immediately
shows a black impression, it is easy for another printer to place the filler block (‘datta’) with
beggar or alum. The background block (Gudh’) comes later.
Ageing-locally called ‘Sukhai’
The printed fabric is left hanging at the printing areas for at least three-four days so that the
prints(mordant paste) penetrates into the fiber structure. Longer the ageing better is the result.
Washing- locally called ‘Dhulai’
The printed fabric is washed in running water. It is important to understand the need of
running/flowing water. While washing the printed fabric in running water the excess mordants
come out and get washed away with the flow of water without getting stuck back to the cloth.
17. Dyeing (fixing of color) - locally called ‘Ghan Rangai’
Dyeing is a process in which the dye reacts with two mordants at two different locations on the
same print giving two different shades of colors. As mentioned earlier ‘alizarin’ is used as the
dye throughout Rajasthan. The colours obtained in conjunction with the two mordants are red
(with alum) and block (with ferrous). Dyeing is carried out in large copper vessels (‘tambri’)
which are heated by wood fire. Alizarin is filled in small cloth-bags (‘potali’) and dipped in the
vessel. The quantity of alizarin dye is calculated by the experienced dyer. ‘Dhawadi phool’, a
local flower is boiled along with alizarin to avoid patches and staining. Once the dyed fabric is
ready (usually it takes half-an-hour), it is taken out of the copper vessel and left on the ground
for drying.
Sun-bleaching- locally called ‘Tapai’
Alizarin often”over dyes” the unprinted area giving an off-white or yellow tinge all over the
fabric which makes the print look dull. In order to make the ground look ‘white’ again the fabric
is sun-bleached. In this process the fabric is laid flat on a river bed, a mild solution of cow dung
and water is sprinkled over the fabric. This process is repeated again when the fabric is dried.
18. Dabu Printing
Dabu is a mud-resist hand-block printing practiced in
Rajasthan of India. The prints have a sublime quality and
appearance. In making of the printed fabrics, a lot of manual
process and hard work is involved and the process of uses lots
of natural dyes and vegetable pastes. Here is a brief outline of
the process. This unique form of printing is also
environmentally non-toxic and uses no harmful or synthetic
dyes
Preparation of Mud Resist
The Process of Dabu Printing starts with the preparation of
mud resist the clay is prepared by finely sieving it. Calcium
hydroxide (Chuna in Hindi), naturally pounded wheat chaff
(Beedan in hindi,clay-lime-gum-insect eaten wheat mixture),
and gum (gound in hindi) are the main ingredients to make
the mud resist. The dug out mud from the dry pond is soaked
in water in a separate tank overnight. The mud resist is
freshly prepared before every printing.
19. Process of Dabu
The mixture of beedan and gound are along with mud are doughed to
make a sticky paste. The special resist paste technique is commonly
known as ‘dhabu’. Dhabu’ acts as resist and prevents the penetration of
dye during dyeing on areas covered with ‘dhabu’. This technique is used
only for creating patterns with indigo blue. Since the resist paste
‘dhabu’ is thick and sticky hence finer definitions cannot be achieved. It
is applied with wooden block on the fabric and saw dust is sprinkled
over it.
After printing, the fabric is left outside in the sun for drying before
dipping in indigo tanks. Small printing table- “patias” are used for
dhabu printing and the printer applies dhabu sitting on the floor. It is
done mostly by women and old printers, who cannot stand for a long
time.
20. Post Mordanting with Alum and Washing
Post mordanting with alum- locally known as ‘Fitkari Rangai’. The dye extracted from
turmeric and pomegranate peals is very fugitive and in order to make is fast, post
mordanting is done with alum (fitkari). In this process the fabric is dipped in a big copper
vessel filled with water and diluted alum. After leaving it of a few minutes (long period of
time will cause the dhabu to come off) it is taken out, gently squeezed and dried flat on the
ground. When it is completely dry it is folded and stored in dark places of at least 3 to 4 days
so that the yellow dye sets in. Finally it is taken out for washing.
Washing – locally called ‘Dhulai’
Washing of the fabric is done in order to take out resist paste and excess or unattached dye
from the surface. In this process the fabric is left in big tanks for at least 3 to 4 hours till the
resist paste becomes smooth. The fabric is then beaten over a flat stone slab to remove the
resist paste and excess dye. The beating of the cloth is generally done where there is a flow
of water.
21. SCREEN PRINTING
THE SANGANER
Hand screen printing
Hand screen printing is a slower method of flatbed screen printing, which is done
commercially on long tables up to 100 yds. Printers move the screen with great care, one
frame at a time, until the entire length of cloth is printed.
Flatbed screen printing
This is the modern version of hand screen printing and incorporates a flat bed, which moves
with the fabric on top. Stationary screens automatically print the moving fabric.
Rotary printing
A rotary (roller) screen is a cylinder of thin flexible metal or plastic. The circumference of
the roll determines the size of design repeat. Rotary screen printing is the fastest method of
printing and gives the finest of designs which, at times, may be difficult to print by any
other method.
22.
23. THE STYLES
Sanganer now is part of greater Jaipur. The River Saraswati is
dried up completely and now waste water of the city flows
through it. The main resource of water is the ground water
which is also receding at alarming rate. Most of the printer’s
families have converted their homes into small printing units
where printers from Sanganer and nearby villages come and
print fabrics.
The transition from the traditional dyes to the modern chemical
dyes four to five decades back forced the traditional dyers
/printers to adapt the new technology with hit and trial method.
Most of the printer’s families were uneducated and the dye
manufacturing companies too were more interested in selling the
products.
Though the chemical dyes were manufactured for the organized
textile sector, the cottage industries adapted them without much
technical knowhow. At present the following styles are been
used at the printing units in Sanganer.
24. Discharge Style:
In this style, dyed ground is removed leaving white or coloured patterns on the original ground
by using a various types of reducing agents. Following ground shades are commonly used for
getting white and coloured patterns.
Direct dyed ground
azoic dyed ground
reactive dyed ground
Aniline black ground
Indigo sol ground
These all are only for cotton material Rangolite-c is used as reducing agents Rangolite-c is
complex compound of formaldehyde and sodium hydro sulphite.
Chemically it is a sodium sulphenate of formaldehyde, chemically it is sodium. Sncl2 is also
used as reducing agent for printing.
25. Pigment Style:
Pigment StylePigments are the organic or inorganic substances insoluble in
water and have no affinity for any textile materials. However they are fixed
by using a synthetic binder which binds the colored pigments and form a
transparent thin film over the fabric. Thus pigment molecules are bound
between the binder film and textiles. The rubbing fastness property depends
upon the types of binder catalyst used.
IndigoSol & Rapids:
IndigoThese classes of soluble vat colors are the best in all round fastness
properties. These dyes can be easily mixed with azoic (rapid) dyes and give
complete range of colors.
26. The Akola Print
Akola is a craft cluster in the Udaipur district of Rajasthan. The
Akola region is renowned for hand block printing. The dabu or mud
resist printing of this region is of two specific types namely phetia and
nangna. These are exclusive to this area. The former is worn
primarily by the women of the Jat and Chaudhury castes especially
after childbirth or during marriages while the latter were worn by the
Gujjar women.
The resist is made by a local gum/ bedja and oil and the previously
used resist by boiling for several hours. The napthol/alizarinedyed
cloth is stamped with the metal blocks. The ash dust is rubbed on the
surface to avoid hot resist to stick when folded.
Three types of mud resist are used;chuna/lime or kirana is the
weakest resist which is used for fine outlines. Mitti/mud is used when
the cloth needs to be immersed in indigo a few times and rait/sand,
the strongest of resist is used for most absorbent colours like
pomegranate and ferrous dyes. A range of products like
ghaghra/fabric, odhani-veil cloth, yardage and dupatta-stole
27. Ajrakh Printing
Reverse or resist Printing is the method where the pattern required is
made on the fabric and then dye repellent is applied where color is not
required. Then fabric is then immersed in the dye. After dying, the
material attached to the fabric to resist the dye is removed. The edges of
the resist areas get a tonal effect which is very light and soft. A paste is
made up of different materials and it is used for the printing areas, which
are required to resist the dye. Ajrakh prints were dominated by
geometrical shapes and use intense jewel-like colours of rich crimson and
a deep indigo, with black and white highlights.
The name Azrakh is derived from ‘Azrak’, which means blue arabic and
persian. This art has survived the passage of centuries. The making of
ajrakh is lengthy and tedious and technical. someone who is new to this
art needs to give ample amount of time to learn it and excel in its precise
details The Khatri community has been engaged in this craft for
centuries and the technique has been passed down and perfected through
several generations. Now, however, only two such family units of Ajrakh
printers still practice the craft in India.
28. Sequence of Ajrakh Printing Process
Soda Ash Treatment
Batana
Bhichalana
Gana
Harrah Base
Indido Dye
Dip In Alum
Boiling
Jhibri
Kharh
Khirchi
Kunka Chekna
Kut
Wash
Meena
Wash
29. Tools of Makng Ajrakh Printing
-Blocks
These are hand carved from the wood of Acacia Arabica trees. Several different
blocks are used to give the characteristic repeated patterning. Making the
blocks is a considerable challenge since the pattern has to synchronize
perfectly with the whole of the Ajrakh as well as cover various areas against
dye. Block makers (orporegars) use the simplest of tools, and carve each block
in pairs that can register an exact inverted image on the other side.
Block of Acacia
Block Making
From the seasoned wood, a block is cut to the required size and sanded on a
stone to get a leveled plane surface which is then checked out by the edge of a
steel ruler.The surface of the block is dipped in water and then n wari (dry,
powdered clay) and rubbed against rohi (granite). With the friction, a whitish
layer is formed on the surface of the block. A base line is drawn with the help
of a steel ruler; a compass is then used to verify right angles so that a square is
constructed accurately.
30. From the seasoned wood, a block is cut to the required size and sanded on a stone
to get a leveled plane surface which is then checked out by the edge of a steel
ruler.The surface of the block is dipped in water and then n wari (dry, powdered
clay) and rubbed against rohi (granite). With the friction, a whitish layer is formed
on the surface of the block. A base line is drawn with the help of a steel ruler; a
compass is then used to verify right angles so that a square is constructed
accurately.
Block
-Colours- Yellow Color
The traditional craft of ajrakh uses only natural colors (vegetable dyes) for its
making. The usual colors of the craft are red, yellow, blue and black. However
green and some other secondary colors are also used now-a-days. They are
generally made by mixing the usual colors.
The colors being made from all natural materials are harmless to the workers in
all ways. Whereas the chemical ajrakh printing which has come up in the recent
past uses chemical dyes which are very harmful to the health of the workers.
31. -The Fabric
Cutting of Cloth
Fabric used is generally greige cotton fabric.(30s). The fabric is
brought and washed on the very first day in soda ash to remove
impurities. Then after drying the fabric it is again washed in
harad.
-Other Tools
A wooden table is used by the workers to place the fabric for
printing. it has around 40-50 layers of fabric on it so that it
becomes easy for the main fabric to absorb color when it is
printed. Babul wood is used for the making of the table as it
cheap. One table costs around rs. 300-400.
Table
Wooden Jaali A wooden jaali is used in a wooden container
which has the resist paste in it. It helps the thick layer of fabric to
float over the paste so that the block picks up appropriate amount
of color.
A needle is used to carve blocks. Thickness of the tip of the needle
depends on the amount of intricacy required in the design.
32. MOCHI IS ANOTHER FORM OF EMBROIDERY
Mochi Bharat is a chain stitch prevalent in Barmer district
.The cobblers prepare leather footwear by chain stitch and
expertise in decorating these goods with embroideries
which gradually evolved into the textile decoration. Hand –
spun and hand woven khaddar is the base material for the
articles. Coarser fabric is used for having ghagras and
cholies and finer and lighter variety for odhanies .The base
colors were blue, red and black. Green color is very rarely
used as a base. Embroidery is worked with either cotton or
silk untwisted thread called ‘Pat’.
The needle used for Moch Bharat is Called Ari or Katharni,
Which is very fine awl, having a small notch just above the
point to form hook.The main motifs come from bird, animal
and, floral kingdoms.
33. Heer Bharat
Heer Bharat is embroidery where design is filled with
thread work. This filling is done either by button hole
stitch or long and short (double satin) stitch.
The art is very much similar of the embroidery of Kutch
and Kathiawar on one side and Haryana in the other.
The Jats, the migratory tribe of central Asia (who came
to India) were responsible for developing this embroidery.
This filling is done on Han-spun hand woven as well as
medium weight cotton and woolen clothes. The base
colors are blue red and a blend of both, brown.
Embroidery is done with cotton woolen or untwisted silk
floss of various color combinations white, black, red,
green yellow, blue, pink and purple. Mirrors of various
size and shapes are used with the Heer Bharat.
Geometrical motifs are common; however stylized birds
are also seen. Floral and animal motifs of geometrical
base are also evident.
34. MOTI BHARAT
Moti bharat is an art of Jalor district of Rajasthan.
This work is not done on the of fabric. The opaque
white beads form the base on which the transparent
beads are worked by stringing them together in various
shapes and forms of birds, animals, human figures and
other articles of day to day life,Traditionally blue, green
yellow and red colored beads were commonly used. Now
wide range of coloured beads is available locally for the
craftsmen to make use of.
Stylized human figures, geometrical designs, glimpses
of daily life, horse and camel riders, elephant with
haudha, horse with carriage, the famous love legend of
local hero Dhola and his lover Maru are the designs
repeatedly used. Various articles like, Purse, cap,
toran. play articles, cradle decoration, showpieces are
prepared by Moti Bhat.
35. APPLIQUE WORK
Marwari community of Rajasthan traditionally engaged in
Appliqué art. The work is similar to the path work of
Kathiawar the ‘Katab’. For this mill made medium weight
white cotton cloth forms the base on which Patches of various
tints ,shades ,sizes and shapes are arranged in a pictorial
pattern later trimmed, slip stitched ,whipped sometimes and
finished with running stitch and button hole. Now
commercialized the art has been prevalent in Jaipur Udaipur
and Barmer district.
JAISELMER APPLIQUE WORK
The quilts made by patchwork known as ‘Ralli’are the
traditional product of Jaisalmer ,The quilt is made by
sewing several layers of old fabrics ,where the upper most
layer being made of new cotton cloth. The colors used for
patch work are olive green, brown, maroon and black.
The corners are decorated with tassels of either cotton or silk
and Sequins called ‘Phuladi’ .Naval cholies, saddle cloth, bed
spreads, cushion covers and purses some of the products
decorated by Jaisalmer Appliqué art
36. Meo embroidery
The Meos of Alwar has again their unique style of
embroidering a rich pattern with chain stitch in contrasting
colours and the body is roofed with the `phulkar bagh` stich.
Dancing figures, Flowers and peacocks are the favorite motifs.
The base material is Khaddar, handspun & hand woven and
the embroidery is generally done on long skirts locally called
Ghagras and mantles or odhanis.
The main stitches used are chain and darning and thread
employed is silk floss.the background is worked with darning
stitches with golden yellow color and the motifs are worked in
either white or black colors by chain stitch .green ,red and
purple color are sparsely used.
Uniqueness of Meo embroidery lies in the balanced effect of
geometrical forms with circular movements. The swirling effect
is produced by using darn stitch along with chain stitch. The
embroidery is usually done on dresses, footwear, cloak draped
over the oxen.
37. Rabari Embroidery
The Rabari Embroidery depicts the creativity of women
belonging to the Rabari community in their daily life
and lifestyle. The Rabaris are a wandering community
known for their extraordinary capacity for survival and
adaptation in the arid regions of Gujarat and
Rajasthan. They are recognized for their distinctive
arts; especially embroidery, beadwork and mirrored
mud sculpture. They also traditionally spin the wool
from their sheep and give it to local weavers to make
the woolen skirts, veils, blankets and turbans Rabaris
use.
Rabaris embroider a wide range of garments, bags,
household decorations and animal trappings. Important
events and rites and values in their lives are
highlighted in the embroidery. Unmarried girls
traditionally embroider blouses, skirts, veils, wall
hangings, pillows, purses and Kothalo which are dowry
sacks, as their contribution for their dowryes.
38. In Bikaner and Jaisalmer the embroidered leather saddles
are very popular. The Jaisalmer embroideryBikaner
Leather Embroidery Jaisalmer Embroideryalso applies
mirror works sometimes to provide a visual impact.
Embroidery practiced in Bikaner is done by counting
threads.
Women of Sikar and Jhunjhuna make animal figures and
simple tree forms in their embroidery. In their work, all
these remain juxtaposed together to form a specific
pattern in the borders of their cotton skirts. These blue
and black striped handloom Ghagras have embroidered
borders. The Odhanis are also embroidered with animal
figures and vegetable patterns.
Barmer Embroidery
Women of Barmer use mirrors, thus enhancing the beauty
of the embroidered piece. In appliqué, different pieces of
cloth are patched together to make a multicolored mosaic.
The exotic colors, shapes and pattern combinations
against contrasting backgrounds catch the eye.
39. Gota Work
The metal embroidery of Rajasthan is known as Gota work. The embroiderers of Jaipur, Bikaner,
Ajmer, Udaipur and Kota are world famous for their uniquely styled Gota work. Gota is a band of
gold or silver ribbon of that varies with width, woven in a satin weave. The gold embroidery of
Jaipur, known as gota-work, is intricate. In Real Gota, Silver & Gold metals are used. But in
routine, the base metal is copper, coated by Silver etc.
The raw material comprised of a yarn of silver polished with gold and passed under 10 Calendars
to make into fine strand called "Kasab" and further drawn under a calendar to give it a flattened
effect known as "Badla". In recent years pure yarns are replaced by synthetic yarns.Various
types of gotta are Sikhiya gotta, Chaumasa, Panchmasa, Athmasa, Lappa, Thappa, Gokhru,
Lehru Gotta, Nakshi, Bijbel, Bijiya, Chiru, Kiran, Chatai and Chip gotta.
The work was previously done on pure Georgette, Chiffon, Velvet & Silk whereas as in recent
years synthetic fabrics are used for the production. The colors commonly used were Red, Orange,
Pink, magenta, Maroon & Yellow which are nowadays available in all possible shades as per the
customer demand.
41. Production Process
The Base fabric is tied on four sides with thick cords and is attached to a wooden frame known as
Khaat. For tracing design the tracing paper is placed on the Fabric. White paste made of safeda
or chalk powder is spread over it. The Design will appear on the fabric.
According to the outlines of the design Gotta is cut and folded into different shapes or it may be
stitched in a simple line. To create different designs Gotta is cut and folded and is attached in
various geometrical or in figured form with Hemming and Back stitch on the fabric.
Gota is woven on looms. It consists of cotton in warp and a metal in weft. Attractive designs
consisting of flowers, leaves and decorative motifs could also be made on gota by pressing it
under blocks
Gota is available in different width. With it different types of items are made like Champa,
Beejia, Phool, Patti, Gohkroo etc. (Defined in Glossary). Now- a-days different shapes in different
sizes are cut out of the Gota-Strip, manually or by dies. And using these and other materials like
Dori, Sitara, Kundan etc., artistic works are created by Rajasthani artisans. There is no better
choice than ‘Gota Work’ when rich & heavy look is desired in light weight. Lengths of wide,
golden ribbons are similarly stitched on the edges of the fabric to create an effect of gold zari
work.
42. The Gota method is commonly used for women's formal costumes. Khandela in Shekhawati is
best known for its manufacture. Kinari or edging refers to the art of fringed border decoration. It
is usually practised by the Muslim craftsm, Gota work is a form of fabric ornamentation that was
probably originated in Rajasthan.
It is also known as gota-kinari work and lappe-ka-kaam. These `Gota` and `Kinari` are golden
and silver coloured pieces and laces those are sewn on the cloth. The Muslim craftsman generally
prepares these.
The popular design elements like flowers, leaves, stylized mango motifs and heart shapes are
usually worked on various kinds of odhna and ghaghras. Checkerboard patterns are also quite a
favorite. Animal figures, like the parrot, peacock and elephant are some of the folk motifs. To get
a variation, floral designs are cut from Gota is embroidered on to the cloth with the help of a
string.
Gota can be cut into small pieces and folded in the shape of leaves.They are also twisted and
stitched on the cloth in the form of continuous triangles on the border. This work is mostly done is
Jaipur in remote villages by local people called khandani karigars as inherited art.
43. Some sections of the pattern are filled with colored
satin, thus resulting in a rich design that resembles
the enameled jewellery of the region. Men and
women of all communities wear garments of Gota
work or Lappe ka kaam, as it is auspicious and
indispensable during ceremonial occasions. The
work is mainly done on the costumes for women.
Khandela in Shekhawati mainly prepares these
items.
Married women wear the Gota ornamented attire in
religious, social and festive occasion’s men, and
children also dress sometimes in their finest clothes
that are often ornamented with Gota work. Gota
lacing is generally done on odhni and turban edges.
Printed or embroidered ghaghras are also trimmed
with gota. Traditional articles like Kurti, kaanchli,
Sari, Lehanga, Poshaak,Dress for idols are adorned
with Gota work.Contemporary articles included
Kurtis, Salwar suits and saris,decorative panels and
cushion covers are also in fashion.
44. Salma or nakshi is cheaper than dapka and
considered slightly less exquisite than dapka by some.
But a wedding skirt or lehanga or odhani or mantle
cannot be complete without nakshi as it shines much
more than dapka. Nakshi puts life in the art work. This
form of embroidery is also done by using prefabricated
golden thread on the chhapai.
At first the design is imprinted on the material with
the help of oil and ink.
For fixing the accessories, back, running, chain,
couching stitching stitch is employed. Meenakari the
enamel effect is bought about combining Salma work
with appliqué and other hand stitchery, which is an
exclusive work of menfolk.
The motifs comprised of either floral or geometrical and
are popular with distinctive names like Ganga-Jamuna
(blend of gold and silver thread), jamavar (overall
elaborate trellised pattern), Bel (trellised border),
Hazar butas (fine work with glittering thousands
butties), Katao kibel (scalloped trellis borde) and so on.
45. Sujani Embroidery
The sujani work of eastern Rajasthan is of a very fine
quality and is inspired by the original suzani art of
Biihar and Kanth of Bengal. An old cloth is folded three
or four times and stitched together and new cloth is
then attached over it for doing chain and running stitch
embroidery of creepers and flowers, and sometimes of
sakhi or peacock Sujani Kurtadesign.
The sujani style of embroidery is used for winter wear,
also especially for making sadaris (jackets). Embroidery
is also done in south Rajasthan where chain-stitch on
leather has gained a name for itself. In earlier times,
this work was done on scabbards, shield-cushions, and
on covers for gun-powder bags.
46. Dabka Embroidery
Dabka or Dapka is a very detailed type of needle work
which is done after the fabric has been put on the
adda and chhapai is completed.
At least three to four worker workers are required for
a detailed and fine work at the same time on the same
piece. First a thick cotton cord is stitched on the
pattern to be embroidered. Then on this cord
prefabricated zari thread is looped on with an
ordinary stitching needle. The patterns mostly made
are of flowers, leaves, or the national bird of India –
the Peacock. Skilled kaarigar's can even do french
knots with the smallest size (diameter) of dabka.
47. Danka Embroidery
‘Danke-ka-kaam’ is a kind of metal embroidery in Rajasthan that is a
decorative feature in Rajasthani fabrics. It’s a 400-year old embroidery
craft in Udaipur, Rajasthan. As of now there are just two practitioners of
the craft who does the embroidery. It's a craft that has primarily been
practiced by Udaipur's Bohra community. At a workshop held in Udaipur
this year, the practitioners was persuaded with great difficulty to train a
group of 20 youngsters in the art. When it ended, he proudly reported that
at least three had 'tremendous potential' and he would train them further
if enough business came his way. The 'danka' is a small square plate,
varied in size, but not bigger than 1.5 cm. Though originally it was made
of pure gold, now silver-plated with gold dankas are used.
To make the danka, thin, well-finished and polished silver sheets of 98
percent purity are electroplated in gold in strips of 30 cm X 2.5 cm. These
are washed in water and polished with fine sand. Then the strips are cut
into 1.5 cm squares and the squares hammered with a stone implement
till they resemble the tip of an ice cream cone.This method was earlier
also known as korpatti-ka-kaam. The cost of the Danke ka kaam is
calculated according to its weight. This decorative technique is usually
worked on fabrics like satin, chiffon or silk fabric.
48. The fabric is stretched tightly on a wooden frame before
it is embroidered and the craftsman sits on the floor.
Danka pieces are spread on the fabric as required by the
design. The danka is pierced with a sharp needle,
bringing out the thread through the fabric.
The most popular motifs used in danka work are inspired
by nature - the sun, the moon as well as the paisley
design in a stylised form.Round and flat metal braids
about one quarter of a centimetre in width that are used
to highlight the design. Additional stitches used include
the chain stitch, satin stitch for the design filling, while
stem and running stitches are for lighter work.
49. Arri
Arri work is a more delicate form of embroidery. It is
done with both colored and golden thread. The thread
is put on the tip of a pen-like needle which is passed
through the cloth giving chain-stitch-like
impressions.
The difference between Aari and Zardozi work is in
the method of embroidery and material used.
50. Badla
In this work, metal ingots are melted and pressed
through perforated steel sheets to convert into wires.
They are then hammered to the required thinness.
Plain wire is called badla, and when wound round a
thread, it is called kasav. Smaller spangles are called
sitara and tiny dots made of badla are called mukaish.
Rajasthan is also popular for `karchobi`, a form of zari
metallic thread embroidery done with needle. This kind
of embroidery is done by flat stitches on cotton stuffing
and can be found on bridal and formal costumes.
51. Knucklepad
There are several communities of Rajasthan, who are
involved in making leather products and embroideries
on them. In the `knucklepad` leather products,
miniature landscapes and festive scenes are
embroidered like in Rajput paintings.
In these embroidery works of Rajasthan, the minute
details of the embroidery are worked out and the group
compositions are done carefully. The scenes
embroidered here are mainly of human figures as well
as floral and bird designs.
52. Phad
Painted Textile
Phad is an audio-visual performance of folk narratives in Rajasthan. Phad or scrolls are painted
stories. It is a large cloth scroll on which the legend of Pabuji & Devnarayan or other folk heroes
is painted. The performance signifies Phad Bachna “Narration of the legend”. These folk
paintings on cloth are a part of rich cultural legacy of India.
The painters who traditionally engage themselves in the profession of Phad painting are known
as Phad painter. They are painted by the Chipa and Joshi castes of Shahpura, near Bhilwara
based on the subjects like Bhagavad purana or other popular folk stories. The origin of Phad
paintings is traced to western India.
The repertoire of the bhopas consists of epics of some of the popular local hero-gods such as
Pabuji, Devji, Tejaji, Gogaji, Ramdevji.The Phad also depict the lives of Ramdev Ji, Rama,
Krishna, Budhha & Mahaveera. The iconography of these forms has evolved in a distinctive way.
All Phads, no matter which hero-god they present, have certainly similarities.
Every available inch of the canvas is crowded with figures.
53. Pabuji Ki Phad
The Bhopas use paintings as visual aids
while singing and dancing to illustrate the
legend of their hero Pabuji.These paintings
have very strong religious and community
connotations.
They have a symmetrical composition, as
they are meant to be placed in the house
shrines for meditation. Pabuji ki phad
depicts incidents from the life of Pabuji, a
prince who lived in the early 14th century.
Dev Narayanji Ki Phad
A legend Devnaryan is eleven hundred years
old and this is a tradition of seven hundred
years of continuity.This oral epic, one of the
oldest living Indian traditions, narrates the
story of Devnarayan, a legendary king who is
believed to have been an incarnation of Lord
Vishnu. .
The epic and its recital are part of the lives of
the Gujjar community in Rajasthan and north-
western Madhya Pradesh, who worship
Devnarayan. The entire story of Devnarayan is
recited by Bhopas(singer priests) in the nights
during the months November to July.
54. Pichwai
Pichhwais represent a unique form of textile art which originated at
Shrinathji temple in Nathdwara a little over three centuries ago. Nathdwara
is some 48 km northeast of Udaipur in the Rajsamand district of
Rajasthan.The temple dedicated to Lord Krishna was named Nathdwara
because Lord Krishna is also known as ‘Nath’ and ‘Nathdwara’ means
‘Gateway to God.’
Pichhwais are large devotional cloth hangings which form the background for
Lord Krishna’s icon in Pushti Marg temples. Pichhwai literally translates to
‘at the back.’ Traditionally, pichhwais were painted on woven cotton cloth.
Pichhwais usually depict 24 scenes from Lord Krishna’s life related to some
festival or holy day. At the centre of these pichhwais is either a stylized image
or a symbolic representation of Lord Krishna. Dark clouds, dancing peacock,
Kadamba tree etc. symbolize Lord Krishna in these paintings.
Lord Krishna’s personality was so popular and powerful that everything
associated with him has been immortalized in art, literature and culture of
India. Butter, flute, peacock feather, cows, cowherds, milkmaids—literally
everything associated with Lord Krishna has left an indelible mark on our
culture.
55. Rajasthani Quilts
Rajasthan encompasses the Aravalli Mountain Range
and the Thar (Great Indian) Desert. This makes the
terrain inhospitable and the climate cold, especially at
night. The people need to cover them at night without a
lot of bulk or weight to carry with them during the day.
Over time, local quiltmakers developed techniques
which created a quilt that was lightweight, compact,
warm and durable, all at once.
The families have been carders for generations.
Initially these quilts were made only from the gossamer
light, world famous ‘Dhake ki malmal’ but now a days,
old, fine textured cotton and georgette saris silk and
Shaneel fabrics are used .The cloth of the Jaipuri
razais, are traditionally soft quality voile, mainly comes
from Bombay. A single quilt takes six meter and a
double quilt eleven meters of cloth .The cotton from
Ganganager is preferred .The quilts are quite durable
and are very comfortable in travelling.
56. Process of Making Quilts
Carding of CottonThe material of choice for a Jaipuri razai is cotton. The cotton fill of a Jaipuri
razai is finely carded to remove all the impurities. The worker places a ball of cotton on one
carder and combs through it with another carder. Carding separates the cotton fibers, allowing
the worker to draw out all of the dross, or waste material. In the process of carding, a dense
cotton ball becomes light and fluffy. To make a Jaipuri razai, a worker starts with a kilogram
(approximately 2.2 pounds) of cotton. After carding for a full week, approximately 100 grams (or
3.5 ounces) of cotton remain. Makers of this quilt are careful to draw out as much dross, and to
separate as many of the cotton fibers, as possible. Light, fluffy cotton fill is what makes these
quilts warm
Filling the Shell
Once the cotton is completely carded, the artisans go on to make the quilt. The shell of the
comforter can be velvet or silk, but the most common fabric is cotton. Often, the cotton will be
decorated in the traditional Indian art of block print before the quilt is put together. Layering
the cotton fill on the shell is an important step in making these quilts.
Sewing and Quilting
Once the fill is carefully layered on the shell, the quilt is stitched together and quilted. In
modern times, the stitching around the sides is usually done by machine in order to increase the
durability of the quilt.
58. Woven textile
Kota Doria
Rajasthan is well known for the fine Kota Doria Muslin saris. Kota Doria as the name
suggests is made in Kota city of Rajasthan. It is a type of cotton cloth that becomes special
because of its weave. The weaving is done using pure cotton threads but the style is so
varying that it makes the final cloth translucent and gives it cross pattern locally known as
Khat .Fine check pattern is locally known as Khat .This is the most open weave fabric
woven in India.
Kota Doria is a good choice for hot summer months in India. Its light and airy feeling
makes it very comfortable. Along with comfort, the softness and transparency makes this
cotton cloth graceful and part of fashion. Sari is the most common wear made from Kota
Doria, but now dress material, Kurtas, and other accessories are also hitting the market.
59. HISTORY
Kota saris were first made when weavers were brought to Kota (between 1707 and 1720) from
the Deccan by Maharao Bhim Singh. The weaves originated in Mysore and surprisingly one
could hardly find them now at Mysore
Originally done in pure cotton, nowadays synthetic as well as silk threads are also woven along
with cotton threads. This makes it cheaper and more durable. The traditional Kota Doria is
found in white color only and one needs to get it dye in different color. Single color dying,
shaded patterns, Tie dyed pattern are common with new style coming up each day. Varieties
as printed Kota Doria and silk embroidered border are becoming very popular.
Bright colors like pomegranate red, purple, Bordeaux red, turquoise, lapis, turmeric yellow and
saffron, besides the usual cream and gold are mostly demanded.. The range includes cloth
embellished with gold thread and zari. The zari thread is woven or used for embroidery which
makes this simple cotton very beautiful and festive. They have brought in accessories done in
Kota, which include handbags, pouches and sashes embellished with Gotta Patti, Mukesh and
Mirror work.
60. Working on Kota Doria
PRODUCTION PROCESS
Preparation of Fabric
The process of weaving is supported by a number of activities like
pirn, winding, warping, dyeing, sizing, etc.
Preparation of Yarn
Cotton and silk act as raw material for Kota Doria.Raw material is
obtained from Surat and other parts of the country in the form of
hanks (‘lachhis’). The yarn requires further processing before
being put on the loom for weaving.
Pirn Winding
Pirn winding is the process of transferring the yarns from the
hanks into spools of the shuttles used in the weft while weaving.
Pirn winding is also done for zari thread/ silk thread used for
value addition during the weaving process.
61. Warping
The warping method used in Kaithun is known as ‘peg warping’, since wooden pegs are used in
the process. These wooden pegs, locally known as ‘pinjras’, and are placed along the whole
length of the yarn so that a continuously criss-crossed set of two yarns may be obtained for the
weaving process. (The criss-crossing later on helps in finding out the broken yarn on the loom
during the course of weaving).
These wooden pegs are placed below a thick rope tied to a pair of iron pegs on each end and it
is the length of the rope that determines the length of the warp being prepared. Presently this
length is 30 yards, keeping in mind that at time 5 saris of 6 yards each are woven on a loom.
Thus, keeping a margin for wastage etc. the warp length is predetermined and yarns are
wound around the two iron pegs, dug into the ground fully stretching the rope.
Dyeing
Dyers dye the silk and cotton yarn. For certain colors, such as Red, Foam Green etc. mill dyed
yarn is also purchased, which is quite rare owing to the high costs of such yarns. Direct dyes
owing to their easy use and good retention on silk as well as cotton, are used by the dyers.
Dyeing is done of the readied warp as well as the hanks for the weft. The process of dyeing
involves the washing of the hanks/warps, then dipping them in a warm bath of dye, fixing of
the dye and thereafter further washing and final drying.
62. Preparation of Loom
Preparation of the loom for weaving involves the following activities:
Drafting:
The process of passing the warp yarn through the heald of the loom as per the design to be
woven is known as drafting. This helps in the further process of weaving when locating a
broken yarn becomes easy due to the heald and also helps in the designing processes.
Denting
Skilled craftsmen fill the reed, a comb like structure, locally known as ‘raanch’, with the
yarns on their own or through the men adept at this skill. The reed is made of a special
variety of bamboos found only near Benaras.
Piecing
Since the process of denting is quite laborious and time-consuming, it’s usually done either
on a new loom or in case if the design is changed. Otherwise, just new yarns are added to
the left over yarns in the reed to continue weaving. This process of joining the warp yarns,
with the help of the thumb and the index finger, using some ash in the process, is known as
piecing.
63. Design setting
The setting up of design on the ‘jala’ of the loom is also a specialized activity and so is that of
making of the graphs for the designs. The use of dobby of up to 16 plates and jacquards of up to
100 hooks are also being used in Kaithun, the total number of dobbys being about 25-30 while
about 50 odd jacquards are in operation. Dobby is mainly used for ground motifs and in some
instances for the pallu also. On the other hand, jacquard is being used for making exquisite
borders of the saris. The method of using small spindles, locally known as ‘tillis’ for making the
motif on the ground/pallu/border of the sari makes the designing process quite lengthy but at the
same time provides such a fine effect, which is not noticed in any other handloom sari easily.
Weaving
Weaving of Kota Doria involves a simple pit loom that can be erected by the local carpenters of
the villages and the technique of weaving is quite traditional, i. e. the throw shuttle technique
wherein no gadgets are used for the to and fro motion of the shuttles along the width of the fabric.
This provides a lot of flexibility to the weaver in controlling the design and also the beating of the
reed to achieve the ‘khat’ pattern.
64. Dari, Shawls and Carpet
Dari, Shawls and Carpet Rajasthan produces around 40% of the country's raw wool and this sector
supports nearly 30 lakh people. Sheep rearering is one of the major trade of Western
Rajasthan.Wool is traditionally used in carpet weaving but Rajasthan carpets and rugs are also
made out of silk and cotton fiber.Rich colors and exquisite designing are major attraction of the
hand-woven carpets and rugs.
The tradition of weaving carpets and daries dates back almost 2000 years. The darie, a simple rug
that was once used as an underlay, has now become one of the state's best known weaving
traditions. The art of carpet and rug weaving was actively promoted in the state under the
patronage of the Mughal monarchs and the Rajput royals.
Carpets first began to be manufactured in Rajasthan when weavers from Afghanistan were
installed in the royal ateliers in the 17th century. The Daries were used as carpeted padding or
underlay in olden days.
Unique themes and floral patterns provide the themes for these masterpieces and flowers and
leaves, buds and fruits are the essence of the designs
65.
66. Split-Ply
Camel Girths
Ply-split braiding has been found extensively in Rajasthan and Gujarat, North West India, where
it has been used to make camel girths and animal regalia. Perhaps the simplest form of textile
structure found within the subcontinent is that of the split ply camel girths of Rajasthan. Worked
by hand without a loom, these girths are simple, decorative and useful.
The technique is also used to make camel necklaces and pot carriers. The days of the absence of
automobile life was dramatic in Thar Desert region of western Rajasthan and would have been
insupportable without the domesticated camel
These girths are sometimes made up of cotton cord but more usually out of goat hair, using a
unique technique. The villager takes a bundle of specially prepared goat hair (either black or
white) and with a simple spindle spin out the yarn. The yarn is doubled to make it two-ply. Four-
ply yarn is required-for girth making, of which each ply is two-ply, and taking a length of two-ply
yarn, folding it in four and then twisting it into a four-ply cord makes it strong.
67. The four-ply yarn may be either black or white, although one method of split-ply girth-making
requires four-ply that is half black and half white, in which case two white two-plys are plied with
two black two-plys. In every case, the final four-ply yarn is twisted very tightly, as it will need to be
much manipulated, twisted and untwisted. After twisting, the four-ply yarn is soaked in water and
then stretched out in the sun to dry. This removes any kinks, opens up and thickens out the yarn,
and sets the over twist.
There are four basic pattern structures that can be formed using variations on this technique. The
resulting girths could be of a single color (usually black), have a black-and-white diagonally
checkered pattern, or alternating black-and-white (horizontal waves).
There are four basic pattern structures that can be formed using variations on this technique. The
resulting girths could be of a single color (usually black), have a black-and-white diagonally
checkered pattern, or alternating black-and-white (horizontal waves).
68. The three-day Rajasthan Heritage Week,
which saw a blend of traditional textiles
with modern appeal and techniques
Innovative designs in kota doria & traditional textiles
Khadi and traditional textiles and crafts of
Rajasthan dominated the Rajasthan Heritage
Week 2015, organised by the Rajasthan Khadi and
Village Industries
The revival of style
Designers-
Ritu Kumar’s collection ‘The Thar Desert’
Bibi Russell: collection ‘Fashion for Development’
Trend in current senarrio
