Textile heritage of india
apoljyotigogoi
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May 14, 2020
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About This Presentation
A brief documentation about Indian Textile .India is the second largest producer of fibre in the world and the major fibre produced is cotton. Other fibres produced in India include silk, jute, wool, and man-made fibers. 60% of the Indian textile Industry is cotton based.
Slide Content
TEXTILE HERITAGE
OF
INDIA -II
LEARNING DIARY
BY: APOLJYOTI GOGOI
TD- 4
FACULTY:
DR. ANUPAM SAXENA
OF
INDIA -II
LEARNING DIARY
BY: APOLJYOTI GOGOI
TD- 4
FACULTY:
DR. ANUPAM SAXENA
• NATURAL DYES OF INDIA AND WESTERN MARKET
• TRADITIONALLY USED NATURAL DYES IN INDIA
• COMMUNITIES THAT PRACTICE DYES
• RITUALISTIC TEXTILE
CONTEX
• TRADITIONALLY USED NATURAL DYES IN INDIA
• COMMUNITIES THAT PRACTICE DYES
• RITUALISTIC TEXTILE
CONTEX
ORIGIN
Fabrics in natural dyes have been with us since the earliest, ma-
jor civilizations were around. By this time, people in Egyptian,
Mesopotamian and Indus Valley civilizations were draping
themselves in single piece fabric, knotted, pleated or tucked
by belts. These were plain, white fabric (or in Hindi, “kora”)
etched in our imaginations by popular representations- dhotis
pleated and tucked, knee high with scrolls of white papyrus in
their hands. We don’t really know when people began to colour
their clothes, although we do have a date for the earliest record
of dyeing in history- 2600 BC.
What is clear though is that people discovered natural dyes
when scavenging and hunting- a berry that left a red stain on
someone’s dress, or a root that stained black, their hands. Natu-
ral dyes were extracted from common sense
TRADITIONALLY USED NATURAL DYES IN INDIA
Fabrics in natural dyes have been with us since the earliest, ma-
jor civilizations were around. By this time, people in Egyptian,
Mesopotamian and Indus Valley civilizations were draping
themselves in single piece fabric, knotted, pleated or tucked
by belts. These were plain, white fabric (or in Hindi, “kora”)
etched in our imaginations by popular representations- dhotis
pleated and tucked, knee high with scrolls of white papyrus in
their hands. We don’t really know when people began to colour
their clothes, although we do have a date for the earliest record
of dyeing in history- 2600 BC.
What is clear though is that people discovered natural dyes
when scavenging and hunting- a berry that left a red stain on
someone’s dress, or a root that stained black, their hands. Natu-
ral dyes were extracted from common sense
TRADITIONALLY USED NATURAL DYES IN INDIA
Bright yellows
and yellows oranges from turmeric, saffron and annatto; and pinks
and rose pinks from
safflower were undoubtedly used quite early. People used these dyes
directly, without any
chemical processing, as crude mixture of colors. As development
took place among the
civilization, man discovered several sophisticated procedures for
dyeing textile. Yet there is
a
great need of research to be done in this field.
Natural dyes are not
new especially for In-
dian culture. It is an
ancient craft rich in
history and
tradition. The first
colors used for textile
were probably little
more than stains.
and yellows oranges from turmeric, saffron and annatto; and pinks
and rose pinks from
safflower were undoubtedly used quite early. People used these dyes
directly, without any
chemical processing, as crude mixture of colors. As development
took place among the
civilization, man discovered several sophisticated procedures for
dyeing textile. Yet there is
a
great need of research to be done in this field.
Natural dyes are not
new especially for In-
dian culture. It is an
ancient craft rich in
history and
tradition. The first
colors used for textile
were probably little
more than stains.
TYPES OF NATURAL DYES
INDIGO DYE :
Indigo is a natural dye, but unlike most natural dyes, in-
digo dye penetrates clothes directly when heated. Indigo
dye and India are correlated because the country had been
using it naturally for centuries
Indigo has a special place in Indian textile history. This quint-
essential blue dye comes from the indigo plant native to In-
dia, Egypt and Peru. Varieties of the indigo plant also grew in
China, Japan and the African continent.
INDIGO DYE :
Indigo is a natural dye, but unlike most natural dyes, in-
digo dye penetrates clothes directly when heated. Indigo
dye and India are correlated because the country had been
using it naturally for centuries
Indigo has a special place in Indian textile history. This quint-
essential blue dye comes from the indigo plant native to In-
dia, Egypt and Peru. Varieties of the indigo plant also grew in
China, Japan and the African continent.
India was a major producer of indigo dye, soon discov-
ered by travellers and traders. With the rise of imperial-
ism, indigo became a major product of trade and eventu-
ally, conquest and the battle of power between European
rulers. In India, the tyranny of planters lead to a “blue
mutiny” between 1859-1862, in lower Bengal, wiping out
indigo plantations as indigo peasantry revolted against
European planters and their practices.
ered by travellers and traders. With the rise of imperial-
ism, indigo became a major product of trade and eventu-
ally, conquest and the battle of power between European
rulers. In India, the tyranny of planters lead to a “blue
mutiny” between 1859-1862, in lower Bengal, wiping out
indigo plantations as indigo peasantry revolted against
European planters and their practices.
HENNA – the leaves are
harvested from the shrub
Lawsonia inermis. Henna
produces a brown colour
tending toward a redorange
on protien fibres.
MADDER (Manjishtha)– Rubia tinctorium and Ru-
bia cordifolia. Madder is one of the oldest dyestuffs known. It
is most frequently used to produce turkey reds, mulberry, or-
ange-red, terracotta, and in combination with other dyes and
dyeing procedures can yield crimson, purple, rust, browns, and
near black.
The primary
dye compo-
nents are aliz-
arin and mun-
jistin which are
found in the
roots
harvested from the shrub
Lawsonia inermis. Henna
produces a brown colour
tending toward a redorange
on protien fibres.
MADDER (Manjishtha)– Rubia tinctorium and Ru-
bia cordifolia. Madder is one of the oldest dyestuffs known. It
is most frequently used to produce turkey reds, mulberry, or-
ange-red, terracotta, and in combination with other dyes and
dyeing procedures can yield crimson, purple, rust, browns, and
near black.
The primary
dye compo-
nents are aliz-
arin and mun-
jistin which are
found in the
roots
MARIGOLD - This
dyestuff consists of dried
and ground flower heads
of the Targets species. It
yields rich vibrant yellows,
green-yellows and orang-
es. Marigold is cultivated
all over the world for its
decorative flowers, for re-
ligious festivals and for its
colourant. Marigold has a
moderate light and wash-
fastness.
MYROBALAN - This
dyestuff consists of ground
nuts of the Terminalia cheb-
ula tree. This tree grows in
Nepal, India, Sri Lanka, Bur-
ma, Thailand, Indochina and
south China. It may be classed
as both a mordant and a dye,
giving a light buttery yellow
when applied. It is an import-
ant tannin based mordant for
cotton in India and southeast
Asia due to the light warm
colour it imparts to the cloth.
Myrobalan is a good founda-
tion for overdyeing.
dyestuff consists of dried
and ground flower heads
of the Targets species. It
yields rich vibrant yellows,
green-yellows and orang-
es. Marigold is cultivated
all over the world for its
decorative flowers, for re-
ligious festivals and for its
colourant. Marigold has a
moderate light and wash-
fastness.
MYROBALAN - This
dyestuff consists of ground
nuts of the Terminalia cheb-
ula tree. This tree grows in
Nepal, India, Sri Lanka, Bur-
ma, Thailand, Indochina and
south China. It may be classed
as both a mordant and a dye,
giving a light buttery yellow
when applied. It is an import-
ant tannin based mordant for
cotton in India and southeast
Asia due to the light warm
colour it imparts to the cloth.
Myrobalan is a good founda-
tion for overdyeing.
POMEGRAN-
ATE - An extract
from the rinds of
pomegranates (Pu-
nica granatum),
this dyestuff is high
in tannin and im-
proves the light and
washfastnes of any
dye with which it is
mixed.
In India and Southeast Asia it is used as both a dye and a
mordant. Pomegranate yields soft yellows to green-yellows.
SAFFLOWER – Carthamus tinc-
torious, is an annual thistle. This
plant is most known for the oil
that can be derived from it’s seeds,
however, the petals are a most
magical dyestuff. Yellows, surpris-
ingly sharp pinks, orange-reds,
and corals can be extracted from
safflower. Soaking petals in water
at room temperature gives a yellow
which can be collected and used to
dye any modanted natural fibre.
ATE - An extract
from the rinds of
pomegranates (Pu-
nica granatum),
this dyestuff is high
in tannin and im-
proves the light and
washfastnes of any
dye with which it is
mixed.
In India and Southeast Asia it is used as both a dye and a
mordant. Pomegranate yields soft yellows to green-yellows.
SAFFLOWER – Carthamus tinc-
torious, is an annual thistle. This
plant is most known for the oil
that can be derived from it’s seeds,
however, the petals are a most
magical dyestuff. Yellows, surpris-
ingly sharp pinks, orange-reds,
and corals can be extracted from
safflower. Soaking petals in water
at room temperature gives a yellow
which can be collected and used to
dye any modanted natural fibre.
BUTEA MONOSPERMA - Butea monosperma is a
species of Butea native to tropical and sub-tropical parts
of the Indian Subcontinent and Southeast Asia, Com-
mon names include flame-of-the-forest. The flowers are
used to prepare a traditional Holi color. It is used as a
yellow dye for fabric
LAC EXTRACT – a red
dye extract from the scale
insect Laccifer lacca which
is found throughout India,
south east Asia, Nepal, Bur-
ma, Bhutan and south China.
It is found both in the wild
and cultivated. The female
lac insects invade host trees
(mainly fig and acacia) and
the insect secretes a resin
that contains the red dye.
species of Butea native to tropical and sub-tropical parts
of the Indian Subcontinent and Southeast Asia, Com-
mon names include flame-of-the-forest. The flowers are
used to prepare a traditional Holi color. It is used as a
yellow dye for fabric
LAC EXTRACT – a red
dye extract from the scale
insect Laccifer lacca which
is found throughout India,
south east Asia, Nepal, Bur-
ma, Bhutan and south China.
It is found both in the wild
and cultivated. The female
lac insects invade host trees
(mainly fig and acacia) and
the insect secretes a resin
that contains the red dye.
GOLDEN ROD is a wild
flower found in North America
and Europe where it contin-
ues to be a well known source
of yellow. Add your goldenrod
flowers, being sure to have at
least an equal weight of flowers
to yarn. Simmer the flowers for
one hour, this will extract the
dye. Strain off the dye liquid
and return to a clean stockpot.
... After you achieve the desired
color, rinse the yarn under cold
running water until the water
runs clear.
DYER'S CHAMOMILE –
Anthemis tinctoria is part of the
daisy family. It grows through-
out North America, Europe and
throughout the Himalaya re-
gion. It is often used in Turkish
carpets for warm, strong yellows
and is mixed with madder for
tangerine colours. Chamomile
is best on protein fibres with an
alum mordant.
flower found in North America
and Europe where it contin-
ues to be a well known source
of yellow. Add your goldenrod
flowers, being sure to have at
least an equal weight of flowers
to yarn. Simmer the flowers for
one hour, this will extract the
dye. Strain off the dye liquid
and return to a clean stockpot.
... After you achieve the desired
color, rinse the yarn under cold
running water until the water
runs clear.
DYER'S CHAMOMILE –
Anthemis tinctoria is part of the
daisy family. It grows through-
out North America, Europe and
throughout the Himalaya re-
gion. It is often used in Turkish
carpets for warm, strong yellows
and is mixed with madder for
tangerine colours. Chamomile
is best on protein fibres with an
alum mordant.
Mordants are auxiliary dyeing substances that are able
to form complexes with molecules of dyes. This results
in increased exhaustion or low-affine dye from the bath
and thus improving the colour-fastness. This particu-
larly improves the wet fastness and sometimes the light
fastness.
The complexes are formed by reaction with mordant
salts where a metal ion exhausted into the fibre is simul-
taneously bound with dye by coordinate covalent bond
and these complexes induce bathochromic and hyper-
chromic shift in the colour.
MORDANTS
USE OF MORDANTS
Animal fibres like wool & silk, take up vegetable dyes
easily, but cotton is very resistant, because of presence of
waxes and resin in it. Soft absorbent textiles like hand-
spun and hand-woven Khadi have proved invaluable
for use with vegetable dyes. Soft cotton in its original
state, with minimum processing, is the ideal materi-
al for vegetable dyes. In the case of quite a few natural
dyes, chemical in the form of metal salt, tannin or oil
is needed to create an affinity between the fibre and the
pigmentThis is known as a mordant. .
to form complexes with molecules of dyes. This results
in increased exhaustion or low-affine dye from the bath
and thus improving the colour-fastness. This particu-
larly improves the wet fastness and sometimes the light
fastness.
The complexes are formed by reaction with mordant
salts where a metal ion exhausted into the fibre is simul-
taneously bound with dye by coordinate covalent bond
and these complexes induce bathochromic and hyper-
chromic shift in the colour.
MORDANTS
USE OF MORDANTS
Animal fibres like wool & silk, take up vegetable dyes
easily, but cotton is very resistant, because of presence of
waxes and resin in it. Soft absorbent textiles like hand-
spun and hand-woven Khadi have proved invaluable
for use with vegetable dyes. Soft cotton in its original
state, with minimum processing, is the ideal materi-
al for vegetable dyes. In the case of quite a few natural
dyes, chemical in the form of metal salt, tannin or oil
is needed to create an affinity between the fibre and the
pigmentThis is known as a mordant. .
Some of the common mordants are, chemical salts such as
alum, potassium dichromate, ferrous sulphate and copper
sulphate or tannins like myrobalan and sumach or oils like
Turkey red oil. Mordants can be applied before the dye, af-
ter the dye, both together, etc. In the case of cotton, in order
to make the yarn absorbent and obtain level dyeing, good
penetration of the dye and fast shade, impurities in the
yarn have to be removed by boiling the yarn in an alkaline
solution. However, mordants cause extreme pollution and
should be used only within manageable limits
India has a very rich tradition of using natural dyes. The art
and craft of producing natural dyed textile has been practiced
since ages in many villages by traditional expert crafts-persons
in the country. Natural dyes, when used by themselves have
many limitations of fastness and brilliancy of shade. However,
when used along with metallic mordants they produce bright
and fast colours. The use of metallic mordants is not always
eco-friendly, but the pollution problems created by metallic
mordants are of very low order and can be easily overcome.
Therefore, instead of using unsustainable technology for pro-
ducing colours one can use Mild Chemistry to achieve almost
similar results.
CURRENT USE
alum, potassium dichromate, ferrous sulphate and copper
sulphate or tannins like myrobalan and sumach or oils like
Turkey red oil. Mordants can be applied before the dye, af-
ter the dye, both together, etc. In the case of cotton, in order
to make the yarn absorbent and obtain level dyeing, good
penetration of the dye and fast shade, impurities in the
yarn have to be removed by boiling the yarn in an alkaline
solution. However, mordants cause extreme pollution and
should be used only within manageable limits
India has a very rich tradition of using natural dyes. The art
and craft of producing natural dyed textile has been practiced
since ages in many villages by traditional expert crafts-persons
in the country. Natural dyes, when used by themselves have
many limitations of fastness and brilliancy of shade. However,
when used along with metallic mordants they produce bright
and fast colours. The use of metallic mordants is not always
eco-friendly, but the pollution problems created by metallic
mordants are of very low order and can be easily overcome.
Therefore, instead of using unsustainable technology for pro-
ducing colours one can use Mild Chemistry to achieve almost
similar results.
CURRENT USE
Natural dyes are used in small quantities by artists and
craftspeople. Some commercial use of natural dyes is a re-
sponse to concerns about synthetic dyes and environmen-
tal pollution. Natural dyes are a renewable resource and
contribute to rural economic development. However, in
most commercial applications, natural dyes do not com-
pete with synthetic dyes that are available in more colors,
more uniform in composition facilitating color matching,
and of known ratings to fading agents. Contrary to common
assumptions, some natural dyes have excellent fastness to
light, cleaning agents, water, and perspiration.
craftspeople. Some commercial use of natural dyes is a re-
sponse to concerns about synthetic dyes and environmen-
tal pollution. Natural dyes are a renewable resource and
contribute to rural economic development. However, in
most commercial applications, natural dyes do not com-
pete with synthetic dyes that are available in more colors,
more uniform in composition facilitating color matching,
and of known ratings to fading agents. Contrary to common
assumptions, some natural dyes have excellent fastness to
light, cleaning agents, water, and perspiration.
MARKETING OF VEGETABLE DYE
PRODUCTS
Naturally dyed products are a little more expensive than
a similar product using synthetic dyes. It is purchased for
the sake of its aesthetic appeal to the connoisseurs. There
is really no competition for market between the natural
dye sector and the synthetic dye sector. Both have their
own clientele. Even if the natural dyes sector expands as it
must, still there will be a limit to it, because of constraints
of raw material availability, transportation, region spe-
cific varieties, types and designs. The availability of plant
sources for natural dyes is limited and cannot meet the
demands of modern textile industry. A large volume or
weight of the materials may be required to produce small
quantity of the dye. It is suggested that where a raw mate-
rial is not widely available in the country and is confined
to some remote pockets, the dyes derived there from
should be used only locally. It would not be economical
to transport raw materials over long distances. It should
be ensured that a balance is maintained between the
products of natural and synthetic dyes. Attention has to
be given to ways of bringing down the cost of natural dye
product by increasing the yield of the raw materials like
for instance indigo and also to the marketing side.
PRODUCTS
Naturally dyed products are a little more expensive than
a similar product using synthetic dyes. It is purchased for
the sake of its aesthetic appeal to the connoisseurs. There
is really no competition for market between the natural
dye sector and the synthetic dye sector. Both have their
own clientele. Even if the natural dyes sector expands as it
must, still there will be a limit to it, because of constraints
of raw material availability, transportation, region spe-
cific varieties, types and designs. The availability of plant
sources for natural dyes is limited and cannot meet the
demands of modern textile industry. A large volume or
weight of the materials may be required to produce small
quantity of the dye. It is suggested that where a raw mate-
rial is not widely available in the country and is confined
to some remote pockets, the dyes derived there from
should be used only locally. It would not be economical
to transport raw materials over long distances. It should
be ensured that a balance is maintained between the
products of natural and synthetic dyes. Attention has to
be given to ways of bringing down the cost of natural dye
product by increasing the yield of the raw materials like
for instance indigo and also to the marketing side.
COMMUNITIES THAT PRACTICE DYES
RANGREZ,
NEELGAR,
KHATRIS
Rangrez is a Persian word, which means dyer, or in general terms
a painter. They are different from other painters as they are not
the one who paints on canvas or walls but rather cloths, environ-
ment and soul.
Rangrez or Sabbag is a part of Sunni-Muslim community present
mostly in the northern part of India. Although majority migrat-
ed to Pakistan during and after the partition, but a major of them
remained in India. They are mostly present in Uttar Pradesh, Bi-
har, Madhya Pradesh, West Bengal, Rajasthan and Delhi. They
are important to our culture and society. During the British pe-
riod the majority of the community members were in Rajasthan,
but because of lack of water in the region, they migrated to other
parts particularly West Bengal and Uttar Pradesh. Even today
their presence can be felt at the ghats of almost all the big rivers.
They have special connection with Ghats.
RANGREZ,
NEELGAR,
KHATRIS
Rangrez is a Persian word, which means dyer, or in general terms
a painter. They are different from other painters as they are not
the one who paints on canvas or walls but rather cloths, environ-
ment and soul.
Rangrez or Sabbag is a part of Sunni-Muslim community present
mostly in the northern part of India. Although majority migrat-
ed to Pakistan during and after the partition, but a major of them
remained in India. They are mostly present in Uttar Pradesh, Bi-
har, Madhya Pradesh, West Bengal, Rajasthan and Delhi. They
are important to our culture and society. During the British pe-
riod the majority of the community members were in Rajasthan,
but because of lack of water in the region, they migrated to other
parts particularly West Bengal and Uttar Pradesh. Even today
their presence can be felt at the ghats of almost all the big rivers.
They have special connection with Ghats.
Uttar Pradesh
• In Uttar Pradesh, they is a landless community, involved in tex-
tile dyeing
and printing. Many have given up their traditional occupation,
and
recent surveys show only ten percent are still involved in their
traditional
occupation. Many have now become rickshaw pullers or are em-
ployed as
laundrymen. The community is found throughout Uttar Pradesh,
and are
entirely belong to schedule tribes. They live in multi-caste and
multireligious villages, but occupy their own distinct quarters.
Most speak local
dialects of Hindi, such as Awadhi.
• The Rangrez have their own council of elders to deal with mat-
ters relating
to the community. The caste council has an elected president,
secretary
and treasurer, and no longer operates as a traditional caste coun-
cil.
Traditionally marriages take place between the Lalgarh and Nil-
garh subgroups, excluding the Muslim Chhipi. These three sub-
groups are further
divided into biradaris, clans which claim descent from a com-
mon ancestor.
Marriages are preferred within the biradaris. Important biradaris
include
the saiyed, chipa, Chandelwal, Ghosi, Siddiqi, Usmani, Shaikh
and Khatri.
• In Uttar Pradesh, they is a landless community, involved in tex-
tile dyeing
and printing. Many have given up their traditional occupation,
and
recent surveys show only ten percent are still involved in their
traditional
occupation. Many have now become rickshaw pullers or are em-
ployed as
laundrymen. The community is found throughout Uttar Pradesh,
and are
entirely belong to schedule tribes. They live in multi-caste and
multireligious villages, but occupy their own distinct quarters.
Most speak local
dialects of Hindi, such as Awadhi.
• The Rangrez have their own council of elders to deal with mat-
ters relating
to the community. The caste council has an elected president,
secretary
and treasurer, and no longer operates as a traditional caste coun-
cil.
Traditionally marriages take place between the Lalgarh and Nil-
garh subgroups, excluding the Muslim Chhipi. These three sub-
groups are further
divided into biradaris, clans which claim descent from a com-
mon ancestor.
Marriages are preferred within the biradaris. Important biradaris
include
the saiyed, chipa, Chandelwal, Ghosi, Siddiqi, Usmani, Shaikh
and Khatri.
Rajasthan
• In Rajasthan, the community claim to have come from Delhi
during the rule of Mohammad Ghori. They are found
mainly in Alwar, Jaipur, Sikar and Sawai Madhopur districts.
The community is sub-divided into several clans, known as
gotras, the main ones being Lodhi, Chauhan,
Bagadiya,Singhania, Mandawariya, Khokhar, Solanki, Aarbi,
Salampariya and Sabuka,jajodia. They maintain a system of
clan exogamy, which a practice unique to the Rajasthan
Rangrez. The Rangrez are involved mainly in the dyeing of
clothes. Like in Uttar Pradesh, the Rajasthan Rangrez live in
multi-caste and multi-religious villages. the oldest Rangrez
gotra is behleem in India. They came with Mahmood
ghaznavi in his Indian campaign. Maximum Behaleem
rangrez migrated for Pakistan during Independence(1947).
In Bihar, they are found in almost all districts such as
Muzaffarpur, Patna, Siwan, Saran, Munger, Gaya,
Bhagalpur, Sitamarhi, Darbhanga, Bettiah, Motihari,
Chhapra, Samastipur, Gopalganj, Sasaram, Purnea,
Madhepura, Kishanganj, Khagaria apart from other
districts in Bihar. They speak Urdu, as well as Magadhi
and Bhojpuri. Their traditional occupation is textile
dyeing and printing. Unlike Uttar Pradesh, there is no
distinct caste of printers, both occupations being done
by the Rangrez. The majority of the Rangrez in Bihar
however no longer practice their traditional
occupation. Many Rangrez are now petty businessmen,
while some are cultivators.
BIHAR
• In Rajasthan, the community claim to have come from Delhi
during the rule of Mohammad Ghori. They are found
mainly in Alwar, Jaipur, Sikar and Sawai Madhopur districts.
The community is sub-divided into several clans, known as
gotras, the main ones being Lodhi, Chauhan,
Bagadiya,Singhania, Mandawariya, Khokhar, Solanki, Aarbi,
Salampariya and Sabuka,jajodia. They maintain a system of
clan exogamy, which a practice unique to the Rajasthan
Rangrez. The Rangrez are involved mainly in the dyeing of
clothes. Like in Uttar Pradesh, the Rajasthan Rangrez live in
multi-caste and multi-religious villages. the oldest Rangrez
gotra is behleem in India. They came with Mahmood
ghaznavi in his Indian campaign. Maximum Behaleem
rangrez migrated for Pakistan during Independence(1947).
In Bihar, they are found in almost all districts such as
Muzaffarpur, Patna, Siwan, Saran, Munger, Gaya,
Bhagalpur, Sitamarhi, Darbhanga, Bettiah, Motihari,
Chhapra, Samastipur, Gopalganj, Sasaram, Purnea,
Madhepura, Kishanganj, Khagaria apart from other
districts in Bihar. They speak Urdu, as well as Magadhi
and Bhojpuri. Their traditional occupation is textile
dyeing and printing. Unlike Uttar Pradesh, there is no
distinct caste of printers, both occupations being done
by the Rangrez. The majority of the Rangrez in Bihar
however no longer practice their traditional
occupation. Many Rangrez are now petty businessmen,
while some are cultivators.
BIHAR
Gujarat
• In Gujarat, they are found in many districts like,
Surat, Ahmedabad, Vadodara, Ankleshwar, Patan,
wagda. some of them are doing the old
traditional occupation. In vadodara they are
situated at the time of Sir Sayajirao
Gayakwad,Some of them are lived in Patan at the
time of Siddhraj Jaysing more them 200 years. In
Patan you can see the Place Name "Rangrej Ki
Khadaki." They are also called as "Anjuman Patni
Rangrez ".
• In Gujarat, they are found in many districts like,
Surat, Ahmedabad, Vadodara, Ankleshwar, Patan,
wagda. some of them are doing the old
traditional occupation. In vadodara they are
situated at the time of Sir Sayajirao
Gayakwad,Some of them are lived in Patan at the
time of Siddhraj Jaysing more them 200 years. In
Patan you can see the Place Name "Rangrej Ki
Khadaki." They are also called as "Anjuman Patni
Rangrez ".
Ajrakh is a traditional vegetable dyeing and resist block-print-
ing technique on cloth. It is estimated to be around 4,500 years
old. Sindh region (now in Pakistan) is said to be the birthplace
of Ajrakh. The Ajrakh artisans in India are originally from Sindh
and they migrated to Kutch in Gujarat and Barmer in Rajasthan.
Ajrakh is the traditional attire of the Maldhari pastoral communi-
ty of Bhuj. The men wear it as a lungi (wrapped lower garment),
as a turban, or put it on their shoulders.
Artifacts related to Ajrakh have been found in the excavated re-
mains from the Indus valley civilizations- Harappa and Mohen-
jo-Daro. Cloth artifacts with similar dyeing techniques have also
been found in the Al-Fostat excavations in the Nile delta near
Cairo, Egypt.
Ajrakh:The process of ajrakh
block printing
ing technique on cloth. It is estimated to be around 4,500 years
old. Sindh region (now in Pakistan) is said to be the birthplace
of Ajrakh. The Ajrakh artisans in India are originally from Sindh
and they migrated to Kutch in Gujarat and Barmer in Rajasthan.
Ajrakh is the traditional attire of the Maldhari pastoral communi-
ty of Bhuj. The men wear it as a lungi (wrapped lower garment),
as a turban, or put it on their shoulders.
Artifacts related to Ajrakh have been found in the excavated re-
mains from the Indus valley civilizations- Harappa and Mohen-
jo-Daro. Cloth artifacts with similar dyeing techniques have also
been found in the Al-Fostat excavations in the Nile delta near
Cairo, Egypt.
Ajrakh:The process of ajrakh
block printing
Origin
True origin for the name ‘Ajrakh’ is unknown. There is a story
about a King who loved to change his bed-sheets everyday. The
artisans were exhausted making new sheets everyday. One day
an artisan who had been working on a technique for many days
took this to the King. The king liked it so much that the next day
when they were changing the sheets he told his house-keeper to
let it stay for the day. Each time the house help tried to change
the sheets the King said ‘aaj rakh’. The artisans came to call the
technique Ajrakh. Another explanation given by Dr. Ismail Kha-
tri about the name is to do with the process. The process involves
many days and each layer of color is printed after a gap of time so
the cloth has to stay for the day
‘Aaj ke din rakh’ (Keep it for today) before the next process can
begin.
True origin for the name ‘Ajrakh’ is unknown. There is a story
about a King who loved to change his bed-sheets everyday. The
artisans were exhausted making new sheets everyday. One day
an artisan who had been working on a technique for many days
took this to the King. The king liked it so much that the next day
when they were changing the sheets he told his house-keeper to
let it stay for the day. Each time the house help tried to change
the sheets the King said ‘aaj rakh’. The artisans came to call the
technique Ajrakh. Another explanation given by Dr. Ismail Kha-
tri about the name is to do with the process. The process involves
many days and each layer of color is printed after a gap of time so
the cloth has to stay for the day
‘Aaj ke din rakh’ (Keep it for today) before the next process can
begin.
Stages of Dyeing and Printing
Ajrakh is printed as single sided (ekpuri) and double sided
(bipuri). Traditional 'Ajrakh' involves various stages of dyeing
and resist printing using natural dyes and mordants. Indigo
and madder are the primary colours that are used for dyeing.
The resist and some colours are printed on the cloth using
carved wooden blocks. These blocks are carved with intricate
symmetrical patterns so that the same block can be used for
both sides of the cloth. Earlier specialist wood carvers made
these wooden blocks. Now some of the artisans have learnt the
techniques and make the blocks themselves.
The process of 'Ajrakh' is a long drawn process with many
stages individually taking days to finish. The process is as fol-
lows:
Ajrakh is printed as single sided (ekpuri) and double sided
(bipuri). Traditional 'Ajrakh' involves various stages of dyeing
and resist printing using natural dyes and mordants. Indigo
and madder are the primary colours that are used for dyeing.
The resist and some colours are printed on the cloth using
carved wooden blocks. These blocks are carved with intricate
symmetrical patterns so that the same block can be used for
both sides of the cloth. Earlier specialist wood carvers made
these wooden blocks. Now some of the artisans have learnt the
techniques and make the blocks themselves.
The process of 'Ajrakh' is a long drawn process with many
stages individually taking days to finish. The process is as fol-
lows:
• Saaj
Cotton cloth is taken and washed to remove any finish applied
in the mill or workshop. It is generally the starch that is to be re-
moved from the cloth. The cloth is soaked in a solution of camel
dung, soda ash and castor oil. It is then wrung out and kept over-
night. The next day the cloth is semi-dried in the sun and then
soaked in the solution again. This process of Saaj and drying is
repeated for about 7-8 times until the cloth foams when rubbed.
It is then washed in plain water.
• Kasano
The cloth is washed in a solution of Myrobalan; which is the pow-
dered nut of the Harde tree. Myrobalan acts as the first mordant
in the dyeing process. The cloth is sun dried on both sides. The
excess myrobalan on the cloth after drying is brushed off.
White cloth washed and prepared for the printing stages
Cotton cloth is taken and washed to remove any finish applied
in the mill or workshop. It is generally the starch that is to be re-
moved from the cloth. The cloth is soaked in a solution of camel
dung, soda ash and castor oil. It is then wrung out and kept over-
night. The next day the cloth is semi-dried in the sun and then
soaked in the solution again. This process of Saaj and drying is
repeated for about 7-8 times until the cloth foams when rubbed.
It is then washed in plain water.
• Kasano
The cloth is washed in a solution of Myrobalan; which is the pow-
dered nut of the Harde tree. Myrobalan acts as the first mordant
in the dyeing process. The cloth is sun dried on both sides. The
excess myrobalan on the cloth after drying is brushed off.
White cloth washed and prepared for the printing stages
• Khariyanu
A resist of lime (used for whitewash) and gum arabic (Babool
tree resin) is printed onto the cloth to outline the design mo-
tifs that will be white. This outline printing is known as Rekh.
The resist is printed to both sides of the cloth using carved
wooden blocks. These wooden blocks have registration marks
in the design carved symmetrically to enable double sided
printing
Resist printed on one side of clothResist printed on other side of cloth
• Kat
Scrap iron, jaggery is mixed with water and left for about 20
days. This makes the water ferrous. This ferrous water is then
mixed with tamarind seed powder and boiled into a paste.
This paste is used for black printing. This paste is called Kat.
The paste is printed onto both sides of the cloth.
Black outlines printed on one side Black outlines printed on other side
A resist of lime (used for whitewash) and gum arabic (Babool
tree resin) is printed onto the cloth to outline the design mo-
tifs that will be white. This outline printing is known as Rekh.
The resist is printed to both sides of the cloth using carved
wooden blocks. These wooden blocks have registration marks
in the design carved symmetrically to enable double sided
printing
Resist printed on one side of clothResist printed on other side of cloth
• Kat
Scrap iron, jaggery is mixed with water and left for about 20
days. This makes the water ferrous. This ferrous water is then
mixed with tamarind seed powder and boiled into a paste.
This paste is used for black printing. This paste is called Kat.
The paste is printed onto both sides of the cloth.
Black outlines printed on one side Black outlines printed on other side
• Gach
Alum, clay and gum arabic are mixed into a paste used for
the next resist printing. A resist of lime and gum arabic is also
printed at this time. This combined stage is called as Gach. Saw-
dust or finely powdered cow dung is sprinkled on to the printed
Resist print
Sawdust is sprinkled to avoid smudging of clay
• Indigo dyeing
The cloth is dyed in indigo. It is dried in the sun and then
dyed again in indigo twice to ensure a uniform colour.
Indigo dyeing
Indigo dyeing
Alum, clay and gum arabic are mixed into a paste used for
the next resist printing. A resist of lime and gum arabic is also
printed at this time. This combined stage is called as Gach. Saw-
dust or finely powdered cow dung is sprinkled on to the printed
Resist print
Sawdust is sprinkled to avoid smudging of clay
• Indigo dyeing
The cloth is dyed in indigo. It is dried in the sun and then
dyed again in indigo twice to ensure a uniform colour.
Indigo dyeing
Indigo dyeing
• Vichharnu
The cloth is washed thoroughly to remove all of the resist
print and unfixed dye.
Thoroughly washed cloth after indigo dyeingThe yellow colour is the Alum residue
• Rang
The cloth is then boiled with Alizarine (synthetic madder) to
give the alum-residue areas a bright red colour. Alum acts as
a mordant to help fix the red colour. The grey areas from the
black printing stages get a deep shade. For other colours the
cloth is boiled with a different dye. Madder root (Sanskrit. Man-
jishtha root) gives an orange colour, Henna gives a light yellow-
ish-green colour, and Rhubarb root gives a pale brownish co-
lour.
The cloth is washed thoroughly to remove all of the resist
print and unfixed dye.
Thoroughly washed cloth after indigo dyeingThe yellow colour is the Alum residue
• Rang
The cloth is then boiled with Alizarine (synthetic madder) to
give the alum-residue areas a bright red colour. Alum acts as
a mordant to help fix the red colour. The grey areas from the
black printing stages get a deep shade. For other colours the
cloth is boiled with a different dye. Madder root (Sanskrit. Man-
jishtha root) gives an orange colour, Henna gives a light yellow-
ish-green colour, and Rhubarb root gives a pale brownish co-
lour.
The Community who practice Ajrakh The Khatris
The ajrak craft was practised by the khatri community, living in
the banks of river Sindh (Indus in present day Pakistan). These
families migrated to Kutch from Sindh in the 16th century, when
the King of Kutch recognized the craft and invited them to settle
in the barren uninhabited land, along with dyers, printers, potters
and embroiderers.The dyers were Khatri Brahmins. Two genera-
tions later they converted to Islam and settled in Dhamadka for
its close proximity to a river in which they washed their
fabric.
The Blocks
The printing blocks have to be very finely chiselled and by experts
in the field.
A set of three blocks create a dovetailing effect which finally re-
sults in the
design. They are carved from the Acacia Arabica trees, indige-
nous to the
Sindh region. The repeat pattern, which gives the design its char-
acter, is
determined by a grid system.
The ajrak craft was practised by the khatri community, living in
the banks of river Sindh (Indus in present day Pakistan). These
families migrated to Kutch from Sindh in the 16th century, when
the King of Kutch recognized the craft and invited them to settle
in the barren uninhabited land, along with dyers, printers, potters
and embroiderers.The dyers were Khatri Brahmins. Two genera-
tions later they converted to Islam and settled in Dhamadka for
its close proximity to a river in which they washed their
fabric.
The Blocks
The printing blocks have to be very finely chiselled and by experts
in the field.
A set of three blocks create a dovetailing effect which finally re-
sults in the
design. They are carved from the Acacia Arabica trees, indige-
nous to the
Sindh region. The repeat pattern, which gives the design its char-
acter, is
determined by a grid system.
The pattern is first transferred to the block and
then carved with great precision by the block-maker, who uses
very simple
tools. The blocks are carved in pairs that can register an exact
inverted image
on the other side. Today, there is
only one surviving member of a
family of block-makers whose
forefathers were skilled in this
craft.
then carved with great precision by the block-maker, who uses
very simple
tools. The blocks are carved in pairs that can register an exact
inverted image
on the other side. Today, there is
only one surviving member of a
family of block-makers whose
forefathers were skilled in this
craft.
NEELGAR
The Neeli community which are also called as Nelgar or Nirali are
one of the historic communities in Telangana, Andhra Pradesh,
Maharastra, Karnataka. They are spread all over the world, but
they became less visible due to the urbanization, industrial rev-
olution and manufacture of automatic weaving machines. This
community used to produces cloth from cotton and animate yarn
(silk). Caste communities involved in the leather and wool-based
household industries have an older history than cloth weaving
and they developed in production of raw material and its conver-
sion into commodities. But unlike them, the Neelis developed ex-
clusive cloth-weaving skills. They produce cloth as a marketable
commodity, without having any organic links or skills in the pro-
duction of the raw material. The Neeli men have no expertise in
ploughing and their women lack seeding and crop-cutting skills.
Thus, their skill structure, over a period of time, became one-di-
mensional.
By the time the British arrived, the Neelis were producing huge
quantities of cloth and controlled a leading cottage industry of
India. The cottage industry of India was actually in the leading
position at the time of British rule. The introduction of the rail-
ways in 1853 – by the colonial British government helped pene-
trate the self sufficient rural economy.
The Neeli community which are also called as Nelgar or Nirali are
one of the historic communities in Telangana, Andhra Pradesh,
Maharastra, Karnataka. They are spread all over the world, but
they became less visible due to the urbanization, industrial rev-
olution and manufacture of automatic weaving machines. This
community used to produces cloth from cotton and animate yarn
(silk). Caste communities involved in the leather and wool-based
household industries have an older history than cloth weaving
and they developed in production of raw material and its conver-
sion into commodities. But unlike them, the Neelis developed ex-
clusive cloth-weaving skills. They produce cloth as a marketable
commodity, without having any organic links or skills in the pro-
duction of the raw material. The Neeli men have no expertise in
ploughing and their women lack seeding and crop-cutting skills.
Thus, their skill structure, over a period of time, became one-di-
mensional.
By the time the British arrived, the Neelis were producing huge
quantities of cloth and controlled a leading cottage industry of
India. The cottage industry of India was actually in the leading
position at the time of British rule. The introduction of the rail-
ways in 1853 – by the colonial British government helped pene-
trate the self sufficient rural economy.
With the forced introduction of machine manufactured goods,
especially finished cotton goods from the factories of Birming-
ham (making use of advances from the Industrial Revolution)
etc., from imperial Britain, the domestic textile industry suf-
fered losses. Being an important node in the rural economy,
the Neelis community also naturally felt the impact. Today,
many urban Neelis have abandoned their ancestral profession
and have diversified into other activities. One can see an in-
creasing number of Neelis become engineers, doctors, politi-
cians, bureaucrats, businessmen, advocates, IT professionals
and also settled in trade and commerce etc.
especially finished cotton goods from the factories of Birming-
ham (making use of advances from the Industrial Revolution)
etc., from imperial Britain, the domestic textile industry suf-
fered losses. Being an important node in the rural economy,
the Neelis community also naturally felt the impact. Today,
many urban Neelis have abandoned their ancestral profession
and have diversified into other activities. One can see an in-
creasing number of Neelis become engineers, doctors, politi-
cians, bureaucrats, businessmen, advocates, IT professionals
and also settled in trade and commerce etc.
RITUALISTIC TEXTILE
• PABUJI KA PHAD
• PICHHWAI
• PATACHITRA
• MATA NI PACHEDI
• PABUJI KA PHAD
• PICHHWAI
• PATACHITRA
• MATA NI PACHEDI
Phad painting is a beautiful specimen of Indian cloth
painting which has its origin in Rajasthan. The Phad
paintings of Rajasthan are basically the cloth painting
which is done on scroll of cloth known as “Phad”.
The Rajasthani Phad (sometimes spelled Par) is a visual
accompaniment to a ceremony involving the singing and
recitation of the deeds of folk hero deities in Rajasthan, a
desert state in the west of india. Phad painting is a type of
scroll painting. The smaller version of Phad painting is
called
Phadhye. The oldest Phad painting available belonged to late
19th century or early 20th century
ABOUT PABUJI KA PHAD PAINTING
painting which has its origin in Rajasthan. The Phad
paintings of Rajasthan are basically the cloth painting
which is done on scroll of cloth known as “Phad”.
The Rajasthani Phad (sometimes spelled Par) is a visual
accompaniment to a ceremony involving the singing and
recitation of the deeds of folk hero deities in Rajasthan, a
desert state in the west of india. Phad painting is a type of
scroll painting. The smaller version of Phad painting is
called
Phadhye. The oldest Phad painting available belonged to late
19th century or early 20th century
ABOUT PABUJI KA PHAD PAINTING
The phad is a tradition of creating religious scroll paint-
ings, practiced by the Bhopa tribal community of Rajas-
than. They are primarily made for two folk deities, Pabuji
and Devnarayan. The creation of the phad is just one part of
the entire process—the cloth is actually the main prop of a
larger ritualistic performance. Singerpriests roam through
villages with the phad, and as the sun goes down, they open
their scroll out for a night-long performance of music,
dance and storytelling. The stories narrated are explanations
of the scenes depicted on the cloth, praising the miracles
and valorous deeds of Pabuji/Devnarayan. In a way, these
phads become mobile altars for a tribe constantly on the
move.
ings, practiced by the Bhopa tribal community of Rajas-
than. They are primarily made for two folk deities, Pabuji
and Devnarayan. The creation of the phad is just one part of
the entire process—the cloth is actually the main prop of a
larger ritualistic performance. Singerpriests roam through
villages with the phad, and as the sun goes down, they open
their scroll out for a night-long performance of music,
dance and storytelling. The stories narrated are explanations
of the scenes depicted on the cloth, praising the miracles
and valorous deeds of Pabuji/Devnarayan. In a way, these
phads become mobile altars for a tribe constantly on the
move.
It is a hereditary art form, which is passed on from father to son.
A Bhopa commission's this painting for religious purpose. The
painting is drawn on a cotton cloth. The cloth is first prepared
by applying a paste of flour and gum. It is then polished with a
stone. An auspicious date is chosen for starting the painting since
it is used for religious purpose by the Bhopa. A virgin girl only
has the privilege of giving the first stroke of the brush on the
Phad painting; normally the girl belongs to the painter's family
or to a high-caste. An outline of the painting is drawn by the art-
ist with light yellow colour paint; only earth colours or vegetable
colours or indigo are used. The colours are then mixed with gum
and water, and painted one colour after the other, in the order of
orange, yellow, and so forth. Black is the last colour paint used for
the border.
Again, on an auspicious day,
the painting is signed by the
artist at the centre of the
painting, close to the image of
the main deity. Signature of
the Bhopa who commissions
the painting is also included,
but it is optional. As a last act,
the artist is said to give 'life'
or "awaken the deity" of the
painting by opening the pupil
in the eyes of the main deity
at the centre of the painting.
It then becomes the Pabhu-
ji Ki Phad of the Bhopa who
has commissioned it.
A Bhopa commission's this painting for religious purpose. The
painting is drawn on a cotton cloth. The cloth is first prepared
by applying a paste of flour and gum. It is then polished with a
stone. An auspicious date is chosen for starting the painting since
it is used for religious purpose by the Bhopa. A virgin girl only
has the privilege of giving the first stroke of the brush on the
Phad painting; normally the girl belongs to the painter's family
or to a high-caste. An outline of the painting is drawn by the art-
ist with light yellow colour paint; only earth colours or vegetable
colours or indigo are used. The colours are then mixed with gum
and water, and painted one colour after the other, in the order of
orange, yellow, and so forth. Black is the last colour paint used for
the border.
Again, on an auspicious day,
the painting is signed by the
artist at the centre of the
painting, close to the image of
the main deity. Signature of
the Bhopa who commissions
the painting is also included,
but it is optional. As a last act,
the artist is said to give 'life'
or "awaken the deity" of the
painting by opening the pupil
in the eyes of the main deity
at the centre of the painting.
It then becomes the Pabhu-
ji Ki Phad of the Bhopa who
has commissioned it.
The earliest painting of a Phad or Par, as mentioned by John
Smith, a scholar of the "Epic of Pabuji", is dated to 1867. Colo-
nel James Tod, the British Lieutenant reported of a ceremony
that included a Par painting in 1819. With the emphasis on po-
etic narration of Pabhuji Ki Phad. to be on the decline in recent
times, painters of Pars or Phads are also making Phads as collec-
tor's items in smaller sizes, and with different religious and other
themes.
Smith, a scholar of the "Epic of Pabuji", is dated to 1867. Colo-
nel James Tod, the British Lieutenant reported of a ceremony
that included a Par painting in 1819. With the emphasis on po-
etic narration of Pabhuji Ki Phad. to be on the decline in recent
times, painters of Pars or Phads are also making Phads as collec-
tor's items in smaller sizes, and with different religious and other
themes.
PAINTING PROCESS
• The cotton fabric ground of the cloth is first prepared for
decoration with rice starch and then burnished with a
heavy stone. Gum-based gouache colors are painted on,
starting with the lightest.
• Quite often the figures do not quite match the original
outlines, but these will in any case be edged in black in a
final stage in the process.
• Traditionally the Chippas are supposed to paint the eyes
of Pabuji in the last. Once this has been done, Pabuji‘s soul
is considered to reside in the phad, which is then ready for
ritual use.
• There is always a little box for written information, painted
near Pabuji‘s head.The painters name, the place and date,
the bhopas name and the price he paid for it are all painted
in the box. This can be wiped out and painted again if the
phad is sold to another bhopa.
• The phad is immersed in the holy lake of Pushkar, near
Ajmer, whenever it is torn or is desecrated.
• The cotton fabric ground of the cloth is first prepared for
decoration with rice starch and then burnished with a
heavy stone. Gum-based gouache colors are painted on,
starting with the lightest.
• Quite often the figures do not quite match the original
outlines, but these will in any case be edged in black in a
final stage in the process.
• Traditionally the Chippas are supposed to paint the eyes
of Pabuji in the last. Once this has been done, Pabuji‘s soul
is considered to reside in the phad, which is then ready for
ritual use.
• There is always a little box for written information, painted
near Pabuji‘s head.The painters name, the place and date,
the bhopas name and the price he paid for it are all painted
in the box. This can be wiped out and painted again if the
phad is sold to another bhopa.
• The phad is immersed in the holy lake of Pushkar, near
Ajmer, whenever it is torn or is desecrated.
The paintings are shaped in all sizes from miniature to
middle and large sizes. A traditional Phad is approximately
thirty feet long and five feet wide and the material used is
khadi silk, cotton cloth and canvas. Primarily only vegetable
colours were used, which remained fast and fresh for a long
duration.
DETAILS OF PHAD:
Primarily, only vegetable colours and minerals colours
were used in Phad paintings which remained fast and fresh
for along duration. Scarcity of these colours, however, would
have ultimately led to a virtual stagnation of the craft, so the
artists were compelled to make innovations. Thus, the usage
of water-proof earthen colours evolved. These colours are
made by pounding the natural earthen colours with gum, water
and indigo. Though, in present time, synthetic colours have
also gained prominence
COLOUR USED:
middle and large sizes. A traditional Phad is approximately
thirty feet long and five feet wide and the material used is
khadi silk, cotton cloth and canvas. Primarily only vegetable
colours were used, which remained fast and fresh for a long
duration.
DETAILS OF PHAD:
Primarily, only vegetable colours and minerals colours
were used in Phad paintings which remained fast and fresh
for along duration. Scarcity of these colours, however, would
have ultimately led to a virtual stagnation of the craft, so the
artists were compelled to make innovations. Thus, the usage
of water-proof earthen colours evolved. These colours are
made by pounding the natural earthen colours with gum, water
and indigo. Though, in present time, synthetic colours have
also gained prominence
COLOUR USED:
Pigments are ground by hand and mixed with water and
gum light yellow (pilla, hartal) is made from yellow
orpiment, which fades away over time. It is used to sketch
all the figures and structures. The orange (mundo barno) or
saffron (kesriya) colour used to paint faces and flesh is made
by mixing red lead oxide (sindur) with same yellow powder
(orpimat hartal) available in the market. Green (hara) is made
from verdigris (jangal), acetate of copper. Brown (geru) is
purchased from the market in powder form. Vermilion
(hinglu, lal) is produced by pulverizing chunks of cinnabar
(mercury sulfide). Some times it is mixed with red oxide
(sindur) to cut costs. Black (kala, syahi) is used to outline
the detail of all figures. It is obtained either by burning
coconut or indigo that is commercially available.
The colour orange is used for limbs and torso, yellow
for ornaments, clothing and designs, gray for structure, blue
for water and curtains, green for trees and vegetation and
red prominently for dress. The subtle black for outline.
PREPARATION OF COLOURS:
gum light yellow (pilla, hartal) is made from yellow
orpiment, which fades away over time. It is used to sketch
all the figures and structures. The orange (mundo barno) or
saffron (kesriya) colour used to paint faces and flesh is made
by mixing red lead oxide (sindur) with same yellow powder
(orpimat hartal) available in the market. Green (hara) is made
from verdigris (jangal), acetate of copper. Brown (geru) is
purchased from the market in powder form. Vermilion
(hinglu, lal) is produced by pulverizing chunks of cinnabar
(mercury sulfide). Some times it is mixed with red oxide
(sindur) to cut costs. Black (kala, syahi) is used to outline
the detail of all figures. It is obtained either by burning
coconut or indigo that is commercially available.
The colour orange is used for limbs and torso, yellow
for ornaments, clothing and designs, gray for structure, blue
for water and curtains, green for trees and vegetation and
red prominently for dress. The subtle black for outline.
PREPARATION OF COLOURS:
PRESENT SCENARIO:
These paintings were traditionally used as cloth
hangings at Vaishnava temples by the nomadic group of
Bhopas, the Pichwais. The artist who works on them
considers himself to be the servant of the Lord and puts in
devotion on each Pichwai or Phad that he paints. Nowa-
days,
this art form is also done for commercial use.
These paintings were traditionally used as cloth
hangings at Vaishnava temples by the nomadic group of
Bhopas, the Pichwais. The artist who works on them
considers himself to be the servant of the Lord and puts in
devotion on each Pichwai or Phad that he paints. Nowa-
days,
this art form is also done for commercial use.
ABOUT PICHHWAI PAINTING
Pichwai or ‘pichvai’ is one of the most spectacular and ancient
forms of art with its origin being the land of culture ie India.
Pichwai paintings have their roots in Nathdwara Rajasthan. The
stunning art form is a 400-year-old art one which was created
depicting the beautiful life of Lord Krishna.
The wall art is created by depicting the story of Shrinathji, an-
other form of Lord Krishna holding the hill Govardhan. The
story contains a beautiful history which represents the power of
one of the most significant incarnations of Lord Vishnu. When
Lord Indra, showcased his control over the inhabitants of Vrin-
davan, with steady rains and thunderstorms; Lord Krishna lift-
ed the hill named Govardhan on his little finger and the people
of Vrindavan took refuge under the mountain. With this Indira
realized failure to disturb the people and his ego was broken.
Since then people are worshipping Govardhan hill.
SHREENATHJI 24 SHINGAR
Pichwai or ‘pichvai’ is one of the most spectacular and ancient
forms of art with its origin being the land of culture ie India.
Pichwai paintings have their roots in Nathdwara Rajasthan. The
stunning art form is a 400-year-old art one which was created
depicting the beautiful life of Lord Krishna.
The wall art is created by depicting the story of Shrinathji, an-
other form of Lord Krishna holding the hill Govardhan. The
story contains a beautiful history which represents the power of
one of the most significant incarnations of Lord Vishnu. When
Lord Indra, showcased his control over the inhabitants of Vrin-
davan, with steady rains and thunderstorms; Lord Krishna lift-
ed the hill named Govardhan on his little finger and the people
of Vrindavan took refuge under the mountain. With this Indira
realized failure to disturb the people and his ego was broken.
Since then people are worshipping Govardhan hill.
SHREENATHJI 24 SHINGAR
The contemporary paintings are used to embellish the walls of
the temples located in Nathdwara district, specialising as a back-
drop for the temples of Shrinathji. The making of a traditional
painting takes a considerable amount of time, ranging from a
couple of weeks to months. Great artists first sketch this conven-
tional art on hand spun starched cloth, and then the beautiful
image is created, painted and printed in brilliant colours or wo-
ven with hand blocks. The classic styles are generally made with
natural colours and even natural brushes. The base is mostly red
woven with yellow or any bright coloured embroidery. The focus
is mainly on using intense and bright colours such as red, yellow,
green, black along with a border beautified with a goat, dabka
work or Swarovski. The most beautiful ones are mainly filled
with pure gold.
The most exciting part about this contemporary wall art is that
they can be modified easily depending on the occasion. With a
significant focus on large eyes, big nose and fat belly; the paint-
ings symbolise different festivals of India. For example, the one
consisting of pink lotuses signify summers. On the contrary
winters are represented by jamawar patter. Raas Leela (dance
form of Lord Krishna) is made on the festival of Holi and Anna-
kut is made during the time of Govardhan puja.
This unique word Pichwai comes from the Sanskrit words, ‘pitch’
meaning back and ‘wais’ meaning hanging. It therefore means
traditional paintings are hanging behind the idol of Shrinathji.
the temples located in Nathdwara district, specialising as a back-
drop for the temples of Shrinathji. The making of a traditional
painting takes a considerable amount of time, ranging from a
couple of weeks to months. Great artists first sketch this conven-
tional art on hand spun starched cloth, and then the beautiful
image is created, painted and printed in brilliant colours or wo-
ven with hand blocks. The classic styles are generally made with
natural colours and even natural brushes. The base is mostly red
woven with yellow or any bright coloured embroidery. The focus
is mainly on using intense and bright colours such as red, yellow,
green, black along with a border beautified with a goat, dabka
work or Swarovski. The most beautiful ones are mainly filled
with pure gold.
The most exciting part about this contemporary wall art is that
they can be modified easily depending on the occasion. With a
significant focus on large eyes, big nose and fat belly; the paint-
ings symbolise different festivals of India. For example, the one
consisting of pink lotuses signify summers. On the contrary
winters are represented by jamawar patter. Raas Leela (dance
form of Lord Krishna) is made on the festival of Holi and Anna-
kut is made during the time of Govardhan puja.
This unique word Pichwai comes from the Sanskrit words, ‘pitch’
meaning back and ‘wais’ meaning hanging. It therefore means
traditional paintings are hanging behind the idol of Shrinathji.
Some interesting facts about these paintings are:
• The dominant figure of Shrinathji is the most manifesting
symbolization of seven-year-old Lord Krishna holding the
huge Govardhan hill on his little finger for seven consecutive
days in order to save the lives of the people of Vrindavan. This
posture is typically depicted on almost every Pichwai painting
with left hand raised and right hand on the waist.
• A miniature form of art. The typical Radha Krishna paintings
or the ones depicting ‘Raas Leela’ are made focusing on the
little art. Every minute detail is full of intricacies and canon-
ised with small studded diamonds. Once you scrutinise the
figure, you will realise the countless effort of the artists in
weaving different styles of embroidery.
• A complete set of adornments. As the Holy city, Vrindavan is
famous for the deity of Shrinathji with a diamond studded on
His chin, and similar is the style of the painting with a beauti-
ful, extravagant diamond studded not only on the button but
also on ring fingers. More and more use of adornments focus-
es on the detailing the artists to add to the masterpiece.
• Just the perfect creation are Pichwai paintings. There is no
scope for any possible error in this kind of picture as the in-
tricate designs are so minute that even the smallest mistake
gets noticed easily. Hence artists create the paintings by sit-
ting on the floor with a fixed posture and correct support to
the hand.
• True colours are the essence of this art form. The pathways
are made with full natural colours and even the artificial ones
are of supreme class. The showdown is made with pure gold
and other precious metals that are rich in value.
• The dominant figure of Shrinathji is the most manifesting
symbolization of seven-year-old Lord Krishna holding the
huge Govardhan hill on his little finger for seven consecutive
days in order to save the lives of the people of Vrindavan. This
posture is typically depicted on almost every Pichwai painting
with left hand raised and right hand on the waist.
• A miniature form of art. The typical Radha Krishna paintings
or the ones depicting ‘Raas Leela’ are made focusing on the
little art. Every minute detail is full of intricacies and canon-
ised with small studded diamonds. Once you scrutinise the
figure, you will realise the countless effort of the artists in
weaving different styles of embroidery.
• A complete set of adornments. As the Holy city, Vrindavan is
famous for the deity of Shrinathji with a diamond studded on
His chin, and similar is the style of the painting with a beauti-
ful, extravagant diamond studded not only on the button but
also on ring fingers. More and more use of adornments focus-
es on the detailing the artists to add to the masterpiece.
• Just the perfect creation are Pichwai paintings. There is no
scope for any possible error in this kind of picture as the in-
tricate designs are so minute that even the smallest mistake
gets noticed easily. Hence artists create the paintings by sit-
ting on the floor with a fixed posture and correct support to
the hand.
• True colours are the essence of this art form. The pathways
are made with full natural colours and even the artificial ones
are of supreme class. The showdown is made with pure gold
and other precious metals that are rich in value.
• The motive behind the making of these paintings is the joy and
happiness that spread over Vrindavan during the time of Lord
Krishna. The artists are the devotees of Shrinathji who were
happy to make these paintings. The pictures show love and
happiness as symbolised by dancing to the tunes of the flute.
• The best part about these paintings is they there are no rigid
rules on hanging them on the wall. Besides adorning the back-
drop of the walls of the temple, these paintings do not carry
any religious beliefs. Over the years, artists have started making
comparatively smaller versions of the pictures than the larger
ones. And now these newly created versions can be bought by
art lovers as home décor or for an art museum. This beautiful
journey from temples to homes shows the love of people for
Indian art, history and culture.
Pichwai was a forgotten art until it was noticed by the devotees
of Vallabhacharya sect for whom it has great importance. These
came into prominence when the Sect Vallabhacharya created
24 iconic poses of Lord Krishna against the backdrop of Nath-
dwara (about one hour drive from Udaipur). Every Pichwai
painting relates to a specific celebration of a festival.
Note that Shri Vallabhacharya is the founder of ‘Pushtimarg’,
belongs to the Vaishnav tradition and involves worship of Shri
Krishna. ShriNath Ji is the principal deity in Pushtimarg.
Every art form of India has emerged from its history, indepen-
dent of any connection except the ones that are another form
of reincarnation of great Indian Gods. They focus on their lives
and work.
happiness that spread over Vrindavan during the time of Lord
Krishna. The artists are the devotees of Shrinathji who were
happy to make these paintings. The pictures show love and
happiness as symbolised by dancing to the tunes of the flute.
• The best part about these paintings is they there are no rigid
rules on hanging them on the wall. Besides adorning the back-
drop of the walls of the temple, these paintings do not carry
any religious beliefs. Over the years, artists have started making
comparatively smaller versions of the pictures than the larger
ones. And now these newly created versions can be bought by
art lovers as home décor or for an art museum. This beautiful
journey from temples to homes shows the love of people for
Indian art, history and culture.
Pichwai was a forgotten art until it was noticed by the devotees
of Vallabhacharya sect for whom it has great importance. These
came into prominence when the Sect Vallabhacharya created
24 iconic poses of Lord Krishna against the backdrop of Nath-
dwara (about one hour drive from Udaipur). Every Pichwai
painting relates to a specific celebration of a festival.
Note that Shri Vallabhacharya is the founder of ‘Pushtimarg’,
belongs to the Vaishnav tradition and involves worship of Shri
Krishna. ShriNath Ji is the principal deity in Pushtimarg.
Every art form of India has emerged from its history, indepen-
dent of any connection except the ones that are another form
of reincarnation of great Indian Gods. They focus on their lives
and work.
• The temple hangings of Nathdwara, known as pichhavais are
large cloth
painting made in the traditional technique of Indian miniature
painting
• Used in daily worship in the central temple of Nathdwara,
near Udaipur in
Rajasthan, they are placed behind the deity of Shri Nathji (an
aspect of Lord
Krishna), acting as both ‘stage set‘ and yantra (a secred geomet-
ric form).
• Scenes from Krishna's life –his childhood pranks, trysts with
the gopis, the
raas Lila-are favorite subjects. • Portraits of the goswamijis
(priests) and historical events connected with the ‘pushti marg‘
of Vallabhcharya sect are also depicte
PICCHVAI- PAINTED TEXTILES
large cloth
painting made in the traditional technique of Indian miniature
painting
• Used in daily worship in the central temple of Nathdwara,
near Udaipur in
Rajasthan, they are placed behind the deity of Shri Nathji (an
aspect of Lord
Krishna), acting as both ‘stage set‘ and yantra (a secred geomet-
ric form).
• Scenes from Krishna's life –his childhood pranks, trysts with
the gopis, the
raas Lila-are favorite subjects. • Portraits of the goswamijis
(priests) and historical events connected with the ‘pushti marg‘
of Vallabhcharya sect are also depicte
PICCHVAI- PAINTED TEXTILES
PROCESS
Considering the details and the enormity of Pichwai, we can eas-
ily make out that it takes a loadsa time to be what it is. The mak-
ing of a traditional Pichwai consumes a couple of weeks that can
even stretch to months. Originally Pichwai was painted on the
handspun starched cotton fabric. The artisans would then sketch
the art on that starched cloth. Then the decorative and beautiful
images were created. The images were then ready to be painted
with completely organic and natural colors, paints and even nat-
ural brushes. These colors were obtained from coals indigo, gold,
silver saffron, zinc, and other natural sources. in brilliant colors
or woven with hand blocks. The bright and intense colors like
yellow, green, black, red dominate the Pichwai. The ornate part
would get the pure Gold as color. The borders are enhanced with
crystals and other decorative elements.
Shreenathji's image is given special features like a big nose, large
eyes, and fat belly. The distinct features and expressions of the di-
ety's face radiate the pleasant and divine feelings.
Considering the details and the enormity of Pichwai, we can eas-
ily make out that it takes a loadsa time to be what it is. The mak-
ing of a traditional Pichwai consumes a couple of weeks that can
even stretch to months. Originally Pichwai was painted on the
handspun starched cotton fabric. The artisans would then sketch
the art on that starched cloth. Then the decorative and beautiful
images were created. The images were then ready to be painted
with completely organic and natural colors, paints and even nat-
ural brushes. These colors were obtained from coals indigo, gold,
silver saffron, zinc, and other natural sources. in brilliant colors
or woven with hand blocks. The bright and intense colors like
yellow, green, black, red dominate the Pichwai. The ornate part
would get the pure Gold as color. The borders are enhanced with
crystals and other decorative elements.
Shreenathji's image is given special features like a big nose, large
eyes, and fat belly. The distinct features and expressions of the di-
ety's face radiate the pleasant and divine feelings.
In patchwork pichwai,
green,yellow,black
and white threads
are embroidered on
a red background,
the whole work be-
ing balanced with an
outline of white cord.
The designers worked
on pichwai select and
depict events from
the rasmandala,krish-
naleela and gokulva-
na,all epics on the life
of Krishna.
green,yellow,black
and white threads
are embroidered on
a red background,
the whole work be-
ing balanced with an
outline of white cord.
The designers worked
on pichwai select and
depict events from
the rasmandala,krish-
naleela and gokulva-
na,all epics on the life
of Krishna.
PATACHITRA
The patachitra are generally located as the earliest indigenous
paintings in the Indian state of Orissa. Word patachitra is derived
from Sanskrit language, pata means cloth and chitra means pic-
ture. It is a term given to traditional, cloth-based scroll painting,
of eastern state Orissa, in India. Patachitra is a traditional paint-
ing of Orissa. This old tradition still survives in the places like
Puri, Raghurajpur, Paralakhemundi, Chikiti and Sonepur. These
paintings are based on Hindu mythology and specially inspired
by Jaganath and Vaishnava sect. Earlier it was done only on cloth
canvas and known to depict Hindu mythology.
The patachitra are generally located as the earliest indigenous
paintings in the Indian state of Orissa. Word patachitra is derived
from Sanskrit language, pata means cloth and chitra means pic-
ture. It is a term given to traditional, cloth-based scroll painting,
of eastern state Orissa, in India. Patachitra is a traditional paint-
ing of Orissa. This old tradition still survives in the places like
Puri, Raghurajpur, Paralakhemundi, Chikiti and Sonepur. These
paintings are based on Hindu mythology and specially inspired
by Jaganath and Vaishnava sect. Earlier it was done only on cloth
canvas and known to depict Hindu mythology.
• These paintings were traditionally done only by males. How-
ever, in recent times, some women artists have also taken up
this artform.
• The ‘pattas’ are made from silk or cotton through an arduous
process that takes the women a minimum 5 days to complete.
• The adhesive if used any for these paintings are made in tam-
arind seeds. The tamarind seed powder is soaked in water over-
night and then boiled to provide it a gummy consistency.
• The paintbrushes used by the chitrakars are typically made
of the keya root. The finer ones have wooden handles and are
made of mouse hair. At the centre of the brush are about a doz-
en long mouse hairs, which, when dipped in paint, have a nee-
dle-point edge.
• The central colors used in Patachitra are red, brick red, yel-
low, white and lamp black. , all of which are derived from natu-
ral sources. Conch shells are used for white, black comes from
lamp soot, yellow from ‘Hartala‘ stone, red is made from ‘Hin-
gulal‘ stone, green comes from plants and blue from indigo.
FACTS
ever, in recent times, some women artists have also taken up
this artform.
• The ‘pattas’ are made from silk or cotton through an arduous
process that takes the women a minimum 5 days to complete.
• The adhesive if used any for these paintings are made in tam-
arind seeds. The tamarind seed powder is soaked in water over-
night and then boiled to provide it a gummy consistency.
• The paintbrushes used by the chitrakars are typically made
of the keya root. The finer ones have wooden handles and are
made of mouse hair. At the centre of the brush are about a doz-
en long mouse hairs, which, when dipped in paint, have a nee-
dle-point edge.
• The central colors used in Patachitra are red, brick red, yel-
low, white and lamp black. , all of which are derived from natu-
ral sources. Conch shells are used for white, black comes from
lamp soot, yellow from ‘Hartala‘ stone, red is made from ‘Hin-
gulal‘ stone, green comes from plants and blue from indigo.
FACTS
TOOLS AND MATERIALS
Tools and Materials-A
• Pencils & Erasers: - HB
pencils are used for rough
sketches and drawings on
the canvas
• Scissors are used for cutting the desired size of the canvas
• Rubbing Stones: - There are two types of stones which are used:
1. Khaddar stone is used for smoothening.
2. Chikna stone is used for shine.
• Treated cotton cloth canvas (Patas). Mainly practiced on treat-
ed cotton cloth, the patachitras are also done on tussar silk,
wood and other substrates. A tedious time consuming process,
known as ‘NiryasKalpa’, the preparation of the painting canvas
can take up to 5 days. The steps followed:
Tools and Materials-A
• Pencils & Erasers: - HB
pencils are used for rough
sketches and drawings on
the canvas
• Scissors are used for cutting the desired size of the canvas
• Rubbing Stones: - There are two types of stones which are used:
1. Khaddar stone is used for smoothening.
2. Chikna stone is used for shine.
• Treated cotton cloth canvas (Patas). Mainly practiced on treat-
ed cotton cloth, the patachitras are also done on tussar silk,
wood and other substrates. A tedious time consuming process,
known as ‘NiryasKalpa’, the preparation of the painting canvas
can take up to 5 days. The steps followed:
TOOLS AND MATERIALS-B
• Brushes:
Chitrakaar use brushes made of mongoose or mouse hair to
form the fine tip, fixed over a bamboo or wooden handle. The
coarser brushes are made from the hair of the buffalo neck.
The root of the Kiya plant is also popularly used to make the
brushes of varied thicknesses.
Tools and Materials-B
Tools and Materials-C
• Brushes:
Chitrakaar use brushes made of mongoose or mouse hair to
form the fine tip, fixed over a bamboo or wooden handle. The
coarser brushes are made from the hair of the buffalo neck.
The root of the Kiya plant is also popularly used to make the
brushes of varied thicknesses.
Tools and Materials-B
Tools and Materials-C
TOOLS AND MATERIALS-D
• Lacquer:
The painted Patis are given a uniform layer of lacquer coat-
ing (made from resin seeds). This process, called Jaulasa,
protects and gives a pleasing shine to the piece
The colors used are bright white, red, yellow, blue, green and
black and are prepared from natural ingredients. White is
prepared from powder of conch-shell, yellow from Haritala,
a kind of stone, red from geru (red oxide stone) and Hingu-
la or black from burning lamp and coconut shell, blue from
indigo and green from leaves. Natural gum of a fruit called
‘kaitha‘ is mixed with the colors along with water in coconut
shells while painting to ensure their fastness. The prepara-
tion of ‘pattis‘ or the canvas for painting involves binding
two layers of cotton fabric with a gum made from tamarind
seeds and then coating it with a white paste made of a pow-
dered limestone and tamarind seeds. Once this is dry, the
cloth is polished to make it smooth and suitable for painting
• Lacquer:
The painted Patis are given a uniform layer of lacquer coat-
ing (made from resin seeds). This process, called Jaulasa,
protects and gives a pleasing shine to the piece
The colors used are bright white, red, yellow, blue, green and
black and are prepared from natural ingredients. White is
prepared from powder of conch-shell, yellow from Haritala,
a kind of stone, red from geru (red oxide stone) and Hingu-
la or black from burning lamp and coconut shell, blue from
indigo and green from leaves. Natural gum of a fruit called
‘kaitha‘ is mixed with the colors along with water in coconut
shells while painting to ensure their fastness. The prepara-
tion of ‘pattis‘ or the canvas for painting involves binding
two layers of cotton fabric with a gum made from tamarind
seeds and then coating it with a white paste made of a pow-
dered limestone and tamarind seeds. Once this is dry, the
cloth is polished to make it smooth and suitable for painting
PATACHITRA PAINTING PROCESS
Making of Color
Ancient Method of Making Colors :
Black color is made out of lampblack; a burning lamp is
placed inside an empty tin, till a considerable amount of
soots collects on the underside of the tin. The soot is then
mixed with gum and water for use. The oil used in the
lamp is from polang tree seed, which are locally available.
Yellow from haritali stone and red from hingal stone,
White is obtained when conch shell is powdered and
boiled with kaitha gum, till a paste is formed. For use, lit-
tle of this paste is mixed with water.
Green Is made by boiling green leaves like neem leaves
with water and kaitha gum.
Brown is obtained from geru stone, whose powder is
mixed with gum and water.
Red comes from a stone hingual, which is a locally avail-
able stone. The stone is powdered and mixed with water
and gum.
Yellow is derived from yellow stone called hartal, which
is found in Jaipur. The stone is powdered and mixed with
water and gum for painting.
Ancient Method of Making Colors :
Black color is made out of lampblack; a burning lamp is
placed inside an empty tin, till a considerable amount of
soots collects on the underside of the tin. The soot is then
mixed with gum and water for use. The oil used in the
lamp is from polang tree seed, which are locally available.
Yellow from haritali stone and red from hingal stone,
White is obtained when conch shell is powdered and
boiled with kaitha gum, till a paste is formed. For use, lit-
tle of this paste is mixed with water.
Green Is made by boiling green leaves like neem leaves
with water and kaitha gum.
Brown is obtained from geru stone, whose powder is
mixed with gum and water.
Red comes from a stone hingual, which is a locally avail-
able stone. The stone is powdered and mixed with water
and gum.
Yellow is derived from yellow stone called hartal, which
is found in Jaipur. The stone is powdered and mixed with
water and gum for painting.
MATA NI PACHEDI
Mata Ni Pachedi is also known as the ‘Kalamkari of Gujarat’,
owing to its similarity to the Kalamkari technique practiced in
Southern India. The central theme of the Gujarati Kalamkari is
the goddess - Mataji/Shakti an avatar of the Goddess Durga.
This art form was fi rst brought about by the nomadic Devipujak
community (originally called Vaghari) from Gujarat, who later
settled in Ahmedabad on the banks of the Sabarmati River more
than 200 years ago.The people of the community belonged to a
lower caste and were labeled the ‘Untouchables'. Ethnographic
studies show that for a long time in history, the Devipujak com-
munity was denied entry into temples.
Mata Ni Pachedi is also known as the ‘Kalamkari of Gujarat’,
owing to its similarity to the Kalamkari technique practiced in
Southern India. The central theme of the Gujarati Kalamkari is
the goddess - Mataji/Shakti an avatar of the Goddess Durga.
This art form was fi rst brought about by the nomadic Devipujak
community (originally called Vaghari) from Gujarat, who later
settled in Ahmedabad on the banks of the Sabarmati River more
than 200 years ago.The people of the community belonged to a
lower caste and were labeled the ‘Untouchables'. Ethnographic
studies show that for a long time in history, the Devipujak com-
munity was denied entry into temples.
Though the textile’s theme may be represented in various forms,
the common central feature depicted on it is the bold and fierce
mother goddess Mata/Shakti sitt ing on her throne, or mounted
on an animal, brandishing in her hands the weapons needed to
kill demons.
Often when pushed to a corner, people find a new way out. This
is exactly what the Devipujak’s did. They found their solution
in the Mata Ni Pachedi, thus giving rise to a beautiful folkart
form. They painted an image of the Goddess on a piece of cloth,
hung it up behind the temple and directed their worship at the
painting of the Goddess. This Textile came to be known as Mata
Ni Pachedi, which translates into “ Behind the Mother God-
dess (temple)”. Although contemporary India has abolished the
terrible restrictive practices towards the Vaghari community,
with the changing of their name to Devipujak. However their
300-400 year old tradition of worshipping the Mata Ni Pachedi
continues even today and is admired by all.Typically the Pache-
di’s were made on large hand spun rectangular cott on sheets on
which the Chitaras (artists) of the Devipujak community hand
painted scenes and depictions of the goddess Mata.
Around her are scenes depict-
ed from mythology and usually
derived from Puranic Myths.
Some of the common motifs
are: Ganesha, Krishna, women
with flowers, trumpeters, an-
gels, animals and birds such as
peacocks, tigers, parrots etc
the common central feature depicted on it is the bold and fierce
mother goddess Mata/Shakti sitt ing on her throne, or mounted
on an animal, brandishing in her hands the weapons needed to
kill demons.
Often when pushed to a corner, people find a new way out. This
is exactly what the Devipujak’s did. They found their solution
in the Mata Ni Pachedi, thus giving rise to a beautiful folkart
form. They painted an image of the Goddess on a piece of cloth,
hung it up behind the temple and directed their worship at the
painting of the Goddess. This Textile came to be known as Mata
Ni Pachedi, which translates into “ Behind the Mother God-
dess (temple)”. Although contemporary India has abolished the
terrible restrictive practices towards the Vaghari community,
with the changing of their name to Devipujak. However their
300-400 year old tradition of worshipping the Mata Ni Pachedi
continues even today and is admired by all.Typically the Pache-
di’s were made on large hand spun rectangular cott on sheets on
which the Chitaras (artists) of the Devipujak community hand
painted scenes and depictions of the goddess Mata.
Around her are scenes depict-
ed from mythology and usually
derived from Puranic Myths.
Some of the common motifs
are: Ganesha, Krishna, women
with flowers, trumpeters, an-
gels, animals and birds such as
peacocks, tigers, parrots etc
The rectangular fabric is divided into seven to nine columns fol-
lowed by a narrative format which is made easier to interpret and
impart the stories within the space created through layout work
on the cloth. Maroon (red) and black were the only colors used
with the surface of the cotton material as the third color. Black is
majorly used as the outlines for the icons and the motifs meant
to repel malevolent spirits and intensify spiritual energy. White
considered being the color of purity that contacts with ancestral
spirits and deities. Maroon (Red) color of blood (rakta) associat-
ed with the goddess and believed to possess the healing powers.
Bhuvo or bhuva were the priest who performs the rituals, Jagorais
the singers who interpreted the pachedis and Chitaras the artists
who paint the shrine hangings. The Chitara community draws on
the fabric and fills the images by hand. Central image and sur-
rounding figures vary in size and position as per the artist‘s cre-
ative imagination.
PROCESS
lowed by a narrative format which is made easier to interpret and
impart the stories within the space created through layout work
on the cloth. Maroon (red) and black were the only colors used
with the surface of the cotton material as the third color. Black is
majorly used as the outlines for the icons and the motifs meant
to repel malevolent spirits and intensify spiritual energy. White
considered being the color of purity that contacts with ancestral
spirits and deities. Maroon (Red) color of blood (rakta) associat-
ed with the goddess and believed to possess the healing powers.
Bhuvo or bhuva were the priest who performs the rituals, Jagorais
the singers who interpreted the pachedis and Chitaras the artists
who paint the shrine hangings. The Chitara community draws on
the fabric and fills the images by hand. Central image and sur-
rounding figures vary in size and position as per the artist‘s cre-
ative imagination.
PROCESS
The grey fabric is unsuitable for dyeing or printing process in
the beginning and for this reason the cloth is soaked in water
for 24 hours to remove the sizes (starch). Fabric is then soaked
in the paste of harda powder (tamarind seed powder) and wa-
ter for about 10-15 minutes and dried in sun. The sketching of
the required pattern of any one of the form of Mata (Goddess)
is drawn at the center and surrounded by other images usually
derived from the puranic myths. Outlines of the drawings are
manually painted using bamboo stick/brush with black color,
which is prepared by heating a mixture of jaggery, scrap iron
metal (iron sulphate) and kachuka atta (tamarind seed pow-
der), the gaps are filled with red color made by heating the
mixture of the water, tamarind seed powder and alum. The fab-
ric looks yellow with black colored figures on it and then dried
under direct sunlight.
The fabric is boiled with alizarin which is a yellow powder
made from the root of the madder plant, traditionally used
as a mordant that reacts with alum to bring out the red color.
Dhawda ka phool (Dhawda flowers, Rajasthan flower locally
called) is added once it reaches the boiling point and checked
in intervals to maintain the white areas of the cloth where it is
not painted. The craftsmen wash the cloth at the banks of riv-
er Sabarmati in Ahmedabad so that excess color flows away
and doesn‘t stain on the fabric, then the fabric is spread on the
banks for sun bleaching and drying, where no foot of man or
animal is allowed to be placed on this sacred cloth. Work stops
completely during the rainy season as the damp wet weather
is not feasible for printing. One person can make about 2530
Mata ni pachedi‘s in a month.
the beginning and for this reason the cloth is soaked in water
for 24 hours to remove the sizes (starch). Fabric is then soaked
in the paste of harda powder (tamarind seed powder) and wa-
ter for about 10-15 minutes and dried in sun. The sketching of
the required pattern of any one of the form of Mata (Goddess)
is drawn at the center and surrounded by other images usually
derived from the puranic myths. Outlines of the drawings are
manually painted using bamboo stick/brush with black color,
which is prepared by heating a mixture of jaggery, scrap iron
metal (iron sulphate) and kachuka atta (tamarind seed pow-
der), the gaps are filled with red color made by heating the
mixture of the water, tamarind seed powder and alum. The fab-
ric looks yellow with black colored figures on it and then dried
under direct sunlight.
The fabric is boiled with alizarin which is a yellow powder
made from the root of the madder plant, traditionally used
as a mordant that reacts with alum to bring out the red color.
Dhawda ka phool (Dhawda flowers, Rajasthan flower locally
called) is added once it reaches the boiling point and checked
in intervals to maintain the white areas of the cloth where it is
not painted. The craftsmen wash the cloth at the banks of riv-
er Sabarmati in Ahmedabad so that excess color flows away
and doesn‘t stain on the fabric, then the fabric is spread on the
banks for sun bleaching and drying, where no foot of man or
animal is allowed to be placed on this sacred cloth. Work stops
completely during the rainy season as the damp wet weather
is not feasible for printing. One person can make about 2530
Mata ni pachedi‘s in a month.
Tools Used
. Bamboo Stick: Bamboo Stick is used as brush to fill the outlines
of the drawing.
• Dates Stick: Dates Stick is used as a brush to fill in the colors.
• Blocks: Designed blocks used to give the borders on fabric.
• Printing Pad: This is used to spread the colors evenly in wood-
en tray.
Raw Materials: Kachuka Atta (tamarind seed) Powder: Kachu-
ka Atta is used for making the fabric yellow.
• Alum: Alum is used as a mordant in making of red color. •
Dhawdi ka Phool (Dhawda flowers, Rajasthan flower): These are
used to make fabric surface whiter.
• Aligarin Powder: It is used to darken the colored parts.
. Bamboo Stick: Bamboo Stick is used as brush to fill the outlines
of the drawing.
• Dates Stick: Dates Stick is used as a brush to fill in the colors.
• Blocks: Designed blocks used to give the borders on fabric.
• Printing Pad: This is used to spread the colors evenly in wood-
en tray.
Raw Materials: Kachuka Atta (tamarind seed) Powder: Kachu-
ka Atta is used for making the fabric yellow.
• Alum: Alum is used as a mordant in making of red color. •
Dhawdi ka Phool (Dhawda flowers, Rajasthan flower): These are
used to make fabric surface whiter.
• Aligarin Powder: It is used to darken the colored parts.
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