AJRAK

SAURAV SINGH
BD/20/3413
 Acknowledgement
I am over helmed in all humbleness and gratefulness to acknowledge my depth to all those who
have helped me to put these ideas, well above the level of simplicity and into something concrete.
I would like to express my special thanks of gratitude to my teacher as well as our principal who
gave me the golden opportunity to do this wonderful project on the topic Craft Research AJRAK , which also
helped me in doing a lot of Research and i came to know about so many new things. I am really
thankful to Ragini ranjana maam .
Any attempt at any level can ‘t be satisfactorily completed without the support and guidance of MY
parents and friends.
I would like to thank my parents who helped me a lot in gathering different information, collecting
data and guiding me from time to time in making this project, despite of their busy schedules, they
gave me different ideas in making this project unique.
 CONTENT
INTRODUCTION 01
TYPES OF AJRAK 03
HISTORY OF AJRAK 05
PROCESS 07
LIFESTYLE OF COMMUNITY 09
CULTURAL SIGNIFICANCE 11
MOTIFS 13
APPLICATION 15
01 INTRODUCTION

01
Ajrak is one of the oldest types of block printing on textiles still practiced in parts of Gujrat and Rajasthan
in India, and Sindh in Pakistan. Textiles printed in this style are hand-printed using natural dyes on both
sides by a laborious and long process of resist printing (a method of printing in which designated areas
in the pattern are pre-treated to resist penetration by the dye.
Ajrak printing is wooden hand block printing that involves exquisite designs etched in the wooden block,
the difference suggested in the name from the extensive use of the pre-dominant color Ajrak, from the
Arabic word Azrak, meaning ‘indigo’ or ‘blue’. The design block is dipped in dye and the designs neatly
printed on cotton & silk fabrics.
Traditionally ajrak printing is a celebration of what Nature provides through raw materials and resources
and symbolized through colors and motifs. The colors of red from extracts of the madder plant and the
blue from that of the indigo plant are mostly the colors used in the prints on fabrics. Motifs generally
found are geometric jewel like shapes that contain the stars and flowers that Nature provides. The trefoil
of three sun discs fused together represent the inseparable unity of sun, water and earth.
More than fabric Ajrak is a Sindhi tradition found in daily usage such as hammocks and bedsheets to
dupattas, scarves, and even gifts as a token of respect. The highly valued Ajrak has also been made in
Kutch for the Maldharis or cattle herder communities since the time Khatris migrated from Sindh in 16th
century. The Khatri community, whose name means “one who fills or changes colors,” printed cloth with
the locally available natural dyes water from Dhamadka, the river that gave their village its name.
Ajrak is the name of a block printed cloth with deep crimson red and indigo blue background, bearing
symmetrical patterns with interspersed unprinted sparkling white motifs. An ancient craft, it can be
traced back to the civilizations of the Indus Valley that existed around 2500 BC-1500 BC
This craft has been on a decline because modern, quicker methods of printing and bright chemical dyes
are replacing the natural, muted colors and this slow and careful process of printing this traditional tex-
tile. But with the efforts of the master craftsmen and increasing awareness among urban people, this
craft is slowly gaining momentum. Because of being an environment friendly ancient craft, Ajrak, is slow-
ly gaining visibility among the cosmopolitan.
02
A similar ajrak type of shawl, Sajarak is found in South Punjab of Pakistan. Sajarak is mostly of cyan color
while the simple Ajrak is of red and black.
02 TYPES OF AJRAK

03
Ajrak is a type of block-print textile craft that has a special connection with the Sufi culture that domi-
nates the Sindh region. This is why there are numerous Ajrak makers close to the sacred shrines in the
interior parts of the Sindh. There are usually 4 main themes used for making Ajrak:
• Teli Ajrak – tre-harshe wali (ajrak with three borders)
• Do Rangi Ajrak- with two different colors (red- black, red- blue, etc.)
• Sabuni Ajrak – ajrak with distinct patterns on it.
• Kori Ajrak – ajrak with patterns and contrasting colors.

The Color Scheme of Ajrak

Moreover, the primary color dyes are red, white, black, blue, yellow, and indigo. However, there are more
than 20 colors used for the manufacturing of colorful Ajrak nowadays.

04
03 HISTORY OF AJRAK

05
It was in the 16th century that numerous Ajrak craftsmen moved to the Kutch region after they were in-
vited by the King of Kutch who was absolutely smitten by the art! In fact, he also invited printers, dyers,
embroiders and potters to the region in order to encourage the Ajrak craft. Ajrak flourished in Kutch and
began to be associated with the Maldharis in the region.
The craft remained unchanged till the Industrial Revolution began to penetrate the villages. The 1940s
saw the sudden bombardment of the market with synthetic fabrics and vibrant chemical colors and this
led to the fading away of Ajrak’s popularity for nearly 15 years. Fortunately, the persistent efforts of some
patrons and craftsmen helped revive the craft in the 1960s.
‘Ajrak’ is a word that has its origins in the Arabic language and comes from “Azrak”, meaning ‘blue’. The
word actually describes a cloth that stretches for about 2.5 to 3 meters and is highlighted primarily with
dark indigo and beautiful crimson (red) colors. But one can also notice hints of black and white on the
fabric as these are used for highlighting the classic geometric patterns. Ajrak is a very common printing
technique used in the Sindh and you will find several men adorning Ajrak turbans and women wearing
Ajrak shawls in this region.
More than a fabric, Ajrak is a Sindhi tradition; found in daily usage such as hammocks and bedsheets
to dupattas, scarves, and even gifts as a token of respect. The Khatri community, whose name means
“one who fills or changes colors,” printed cloth with the locally available natural dyes and water from the
Dhamadka, the river that gave their village its name.
Ajrak, as the form of textile printing is known, was originally practiced in the Sindh region till about
around 400 years ago when the Khatri community that worked on these textiles due to water shortage
in Sindh, moved to Dhamadka, 50 km east of Bhuj, in Kutch. The history of the Ajrak can be traced back
to the civilizations of the Indus Valley that existed around 2500 BC-1500 BC.

06
04 PROCESS

07
The key steps involved in making Ajrak include the following:

• ‘Churrai’ or Fabric Washing - Local communities used the word “Churrai” to describe the process of
cleaning the fabric for making Ajrak. The cloth is first washed and beaten to remove all dirt and im-
purities. This is followed by the soaking of the fabric in a special solution of soda bicarbonate and oil.
This is a slightly complex process and may take a couple of days.
• Printing - Printing is the next step in the Ajrak making process. The printers print real Ajrak on either
side of the cloth. This is also referred to as “resist printing”. Ajrak printing is done manually using
wooden hand-carved blocks.
• Bleaching - Finally, the Ajraks go through another washing process with water, soda and bleaching
powder. This last step lends a lovely vibrancy to the fabric colors.

The authentic Ajrak is printed on both sides by a method called resist printing. The printing is done by
hand with hand carved wooden blocks. Several different blocks are used to give the characteristic re-
peated patterning. Making the blocks is a considerable challenge since the pattern has to synchronize
perfectly with the whole of the Ajrak as well as cover various areas against dye. The Ajrak print is em-
ployed within a grid, the repetitive pattern creating a web-like design or the central jaal. Apart from this
jaal, border designs are also employed in the fabric. These borders are aligned both vertically and hori-
zontally and frame the central field, distinguishing one ajrak from another. The lateral ends are printed us-
ing a wider, double margin in order to differentiate the layouts of borders. Ajrak printing is a long process
involving many stages of printing and washing the fabric over and over again with various natural dyes
and mordants such as harda, lime, alizarin, indigo and even camel dung. The technique of resist print-
ing allows exclusive absorption of a dye in the desired areas only and prevents absorption on the areas
intended to be left uncolored. The raw fabric in full length is pulled exhaustively through the river many
times, scoured, beaten, steamed, mordanted, printed with resist mud pastes from the banks of the river,
covered with powdered camel dung and ground rice husks; dyed in deep madder and indigo.
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05 LIFESTYLE OF COMMUNITY

09
Ajrak printing in Sindh, Pakistan, the Kutch district of Gujarat and Barmer, Rajasthan are fairly similar in
regards to production techniques, featured motifs and the use of colors. This is primarily due to the fact
that artisans in these regions descend from the same caste - families of the Khatri community who mi-
grated from the Sindh province to the Kutch district and Barmer in the 16th century who are descendants
of the ancient Indus Valley Civilization. Today, the Khatri community are acclaimed for perpetuating the
traditional techniques of ajrak printing.
Before the devastating earthquake which struck Gujarat in 2001, the Khatri community practiced ajrak
printing in the village of Dhamadka in the Kutch district. Government and non-government organizations
relocated artisans to the relatively new village of Ajrakhpur, formed in commemoration of ajrak printing
and its master craftsmen. The Khatri community are not only known for their dominance in ajrak printing
within Gujarat and Rajasthan, but also for other traditional textile arts such as tie and dye, or, alternative-
ly, bandhani.
However, it is the Khatri families that reside particularly in Ajrakhpur, Gujarat and Barmer, Rajasthan who
have been known to excel at ajrak printing and, today, continue the traditional techniques of their ances-
tors. In recent times, master ajrak producers of the Khatri community have instructed members of the
Muslim Harijan community in the production of ajrak printed fabrics. This not only ensures that the art of
ajrak printing will remain strong into the future, but also exemplifies the versatility of India’s traditional
craftsmen and the integration of traditional textile techniques in contemporary fashion and home fur-
nishings.
Modern day improvements to the manufacture of ajrak printed fabrics, such as the use of eco-friendly
synthetic dyes and invention of machinery that reduces production time, jeopardize the traditions of the
textile art. However, the use of traditional natural dyes is resurgent, attributable to the global urban mar-
ket’s recognition and appreciation of the age-old textile art whereby designs and production techniques
have stood the test of time. Numerous government and non-government initiatives continue to contrib-
ute to the conservation and sustenance of ajrak printing’s traditions and the lifestyle of its artisans.
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06 CULTURAL SIGNIFICANCE

11
Ajrak can be called the identity of Sindh and Sindhi people.Ajrak is a symbol of pride and respect for men
and glory for women.Sindhi people also present Ajrak as gesture of hospitality to their guests.
The level of geometry on the garment comes from the usage of a method of printing called Woodlock
printing in which prints were transferred from geometric shapes etched on the wooden blocks by press-
ing them hard on the fabric.
The tradition still prevails centuries later, and people still use the same methods of production that were
used in the earlier days to create an ajrak. The garment has become an essential part of the Sindhi culture
and apparel of Sindhis. Men use it as a turban, a Kamar-bandh or wind it around their shoulders or simply
drape it over one shoulder. Women use it as a dupatta or a shalwar and sometimes as a makeshift swing
for children. Ajraks are usually about 2.5 to 3-meters long, patterned in intense colors predominantly rich
crimson or a deep indigo with some white and black used sparingly to give definition to the geometric
symmetry in design.
Ajraks are made all over Sindh, especially in Matiari, Hala, Bhit Shah, Moro, Sukkur, Kandyaro, Hyderabad,
and many cities of Upper Sindh and Lower Sindh.
The ajrak is an integral part of Sindhi culture. Its usage is evident at all levels of society, and is held in high
esteem, with the utmost respect given to it. According to Sindhi traditions, ajraks are often presented as
gifts of hospitality to guests and presented to the person who is utterly respectable. They are also worn
on festive occasions such as weddings and cultural events. Many prominent politicians from Sindh pub-
licly wear ajraks, including the deceased former Pakistani Prime Minister, Benazir Bhutto.

12
07 MOTIFS

13
Ajrakh is believed to have the sky as its theme. The sky is represented by the colour blue, evening by the
colour red and night by black. The white star-like motifs represent stars.
Ajrakh designs appear similar to kaleidoscopic patterns. The cloth used is usually about 3-5 meters long.
It is patterned with intense jewel-like colors. The symmetrical block prints transfer their patterns onto
fabric mainly in deep crimson and indigo. These patterns are peppered with imprinted, sparkling white
motifs. Following Islamic design principles, they do not depict human or animal figures.
This is a craft in which geometry steps in to render a divinely metaphoric quality to the design. It helps
the smaller patterns transcend into a harmonious whole. A central Jaal (web-like design) is created with-
in a grid by repeating the block print patterns. This grid becomes the base framework for the printer to
expand or constrict the design. Border patterns, both horizontal and vertical, frame this central design.
These separate one pattern from another. The longer laterals are printed with double margin borders.
Champakali, Raiya, Kharek, Nipad, Grinari etc are the famous traditional designs. Skilled craftsmen subtly
deviate from these to variations such as Amlaliya, Jalebiya and the famous Kakkar pattern. ‘Saudagiri
patterns’ in Ajrakh are the most highly documented genre. These are done with smaller grids. They con-
sist of more organic motifs within a symmetrical lattice. Riyal patterns are designs in Ajrakh, which are
built around circular motifs. Ajrakh prints also embrace new block patterns these days. They are custom-
ized designs handed in by stores or designers.
When the Ajrakh printing is applied to only one side of the cloth it is called Ekpuri. A double sided print
would be called Bipuri. Very few block printers still possess the skill to produce a natural dyed Bipuri
Ajrakh, which is a delight to the eye.

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08 APPLICATION

15
The fabric is traditionally worn by both; the members of the royal court and the pastoral Maldhari com-
munity. Vibrantly printed cotton fabric is comfortable for their work, nomadic lives, and the temperatures
they encounter. It is both a delight to the eye and the skin.
The men use it as cummerbunds, colorful lungis (garment to be draped around the waist, covering the
lower body), wrap it around their heads like turbans, or toss it across their shoulders as scarves. The
women drape this fabric as dupattas (a long scarf), chaddar (head covering or veil), and as shawls. Ajra-
kh printed skirts are also commonly seen in women. The semi-nomadic Maldharis also use the fabric as
‘bindles‘, in which they bundle up a few belongings while traveling.
The vibrant colors make it very endearing to use it as linings in cradles for kids. The fabric is used both
in daily necessities as well as on special occasions. These differences are decided by the quality of the
fabric. Patterns, color, and quality of cloth are used as markers for importance and hierarchy.
Its historical importance and intricacy of the design lend its great importance and therefore the fabric is
also used as honorary gifts. The general uses also spill over to bed covers and hammocks.
The beauty of the fabric does not fade even if it gets old. The fabric is even used in patchwork quilts when
it ages.

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THANK
YOU