COMPARITIVE AND VISUAL STUDY OF

MOTIFS: AJRAKH, BAGRU AND SANGANER

As we all see each craft has its own set of motif that they use but; do they have any common link?
Do they tell the same story? This research mainly focus on three craft ajrakh from the sands of
Kutch, bagru and sanganer from Rajasthan.

AJRAKH: Ajrakh is a unique combination of hand block printing and resist dyeing. The skilful
manipulation of two kinds of resist, or Dabu (mud and lime-resist) produces intricate, multi-
layered designs on treated cotton cloth.
The hallmark of the original Ajrakh textile, which typically uses blue or red vegetable dyes, is
double-sided printing, where the pattern on one side of the fabric is precisely replicated, line for
line, dot for dot, on the other, ‘reverse’, side.

ORIGIN: Ajrakh is an ancient block-printing method on textiles that originated in the present-day
provinces of Sindh in Pakistan and the neighbouring Indian districts of Kutch in Gujarat and Barmer
in Rajasthan. The word 'ajrakh' itself connotes a number of different concepts.

According to some, it comes from the Arabic word ajrakh, which means blue, one of the chief
colours in ajrakh printing. Other historians say the word has been coined from the two Hindi words-
“aaj rakh”, meaning, keep it today.

According to others, it means making beautiful. Although ajrakh printing is a part of the culture of
Sindh, its roots extended to the states of Rajasthan and Gujarat in India during the times of the Indus
Valley Civilisation, around 3000 BC. The Indus River was an important resource for washing fabric
and sustenance of raw materials like indigo dye and cotton, which were copious along the river.

Ajrakh printing thrived in India in the 16th century with the migration of Khatris from the Sindh
province to Kutch district. The king of Kutch acknowledged and recognized the textile art, and
indirectly encouraged the migration of Khatris to uninhabited lands in Kutch. Ultimately, some Khatri
printer families migrated to Rajasthan and settled in and around Barmer province of British India,
including present-day Gujarat, and excelled at the art of ajrakh printing. At present, the Khatri
community is engrossed in consistently producing Ajrakh printed fabric of supreme quality in
Ajrakhpur village in Kutch and also Barmer.

PROCESS: Ajrakh printing is a long and arduous process that requires a number of stages of printing
and washing the fabric repeatedly with different natural dyes and mordants. The technique of resist
printing is employed. This permits absorption of a dye in the required areas and prohibits absorption
on the areas meant not to be coloured.

The stages are elaborated below:

Saaj: The fabric is washed to remove starch and then dipped in a solution of camel dung, soda ash
and castor oil. Next, it is wrung out and kept overnight. The next day, the fabric is partially dried
under the sun and then dipped in the solution again. This process of saaj and drying is repeated
about eight times until the fabric produces foam when rubbed. Finally, it is washed in plain water.
Kasano: The fabric is washed in a solution of myrobalan which is the nut from the harde tree.
Myrobalan is used as the first mordant in the dyeing process. Next, the fabric is dried under the sun
on both sides. The extra myrobalan on the fabric after drying is brushed off.

Khariyanu: A resist of lime and gum Arabic (babool tree resin) is printed on to the fabric to outline
the motifs that are required to be white. This outline printing is called rekh. The resist is printed on
both sides of fabric using carved wooden blocks.

Kat: Scrap iron and jaggery are mixed with water and left for about 20 days. The water becomes
ferrous. Next, tamarind seed powder is added and the ferrous water is boiled to a paste known as
kat and is printed on to both sides of the fabric.
Gach: Clay, alum and gum Arabic are mixed to form a paste which is to be used for the next resist
printing. A resist of gum Arabic and lime is also printed at the same time. This combined phase is
known as gach. To shield the clay from smudging, saw dust or finely ground cow dung is spread on
the printed portion. After this stage, the cloth is dried naturally for about 7-10 days.

Indigo dyeing: The fabric is dyed in indigo. Next, it is kept in the sun to dry and then is dyed again in
indigo twice to coat it uniformly.

Vichcharnu: The fabric is washed thoroughly to remove all the resist print and extra dye.

Rang: Next the fabric is put to boil with alizarin, i.e. synthetic madder in order to impart a bright
shining red colour to alum residue portion. Alum works as a mordant to fix the red colour. The grey
areas from the black printing steps turn into a deeper hue. For other colours, the fabric is boiled with
a different dye. Madder root imparts an orange colour, henna adds a light yellowish green colour,
and rhubarb root gives a faint brownish colour.

In ajrakh printing, the fabric is first printed with a resist paste and then it is dyed. This process is
repeated several times with different kinds of dyes with the aim of achieving the final design in the
deep blue and red shade. This process consumes a lot of time. The longer the time span before
commencing the next stage, the more rich and vibrant the final print becomes. Hence, this process
can consume up to two weeks, and consequently results in the formation of exquisitely beautiful
and captivating designs of the ajrakh.

MOTIFS: Motifs printed on ajrakh are a combination of geometrical and floral ones. These cover
the whole area of fabric. Each motive signifies a particular aspect of nature and a classified into
overall patterns and borders.

The foundation of Islamic art is Mizan, which means Balance and order. This principle also governs
the design and pattern of ajrakh. The design square is perfectly divided into quarters and then
further divided into sixteen parts.

Even today people prefer ajrakh with its distinctive colours and design, with no specific change in
traditional motifs. Popular motifs are Kan kharek , riyal, ginni, mifudi , bodi riyal and Tavith while
motifs like sopari, nani jimardi, ekko, kuiyaro, hydro, Leemai and sitara are less often printed new
models like zigzag lines, motifs inspired from aquatic life and floral Motifs are also used. Motifs
generally found are geometric jewel like shapes that contain the stars and flowers that Nature
provides. The trefoil of three sun discus fused together represent the inseparable unity of sun,
water and earth.

Dates, figs, almonds, grains and a wealth of plant inspired motifs are combined into the
symmetrical geometry of the ajrakh designs

BAGRU: Bagru printing is one of the traditional techniques of printing with natural colour followed
by the chippas of a remote place of Rajasthan. The process starts from preparing the cloth to
finished printed fabrics through their indigenous methods. Motifs having some specialty are
transferred onto light coloured background with wooden blocks following two styles direct and
resist style.

ORIGIN: No authentic literature is available to indicate the beginning of this kind of printing, but this
art is said to have started around 450 years back. The village had a community of CHHIPAS, or
traditional crafts people who printed fabrics by hand. Bagru chhipas came from Sawai Madhopur,
Alwar, Jhunjhuna, and Sikkar districts of Rajasthan to settle in Bagru and make it their home outset
around 450 years ago. They are known for their unique designs of luxuriant trellises in sophisticated
natural colors.
Until about fifty years ago, Bagru prints were still used mostly for ghagras (skirts) and odhnis
(scarves) for women in surrounding communities, and the chhipas relied solely on this local market.
Printed lengths of rough cotton about 50 cms wide were typically sewn color, different prints served
as identifying emblems for various Hindu castes. In this highly stratified culture, leather workers, for
example could wear the same floral prints as blacksmiths, but the base color of dark green or red
distinguished the two groups. These lengths of uncut material were made only by the Chhipas and
were worn only by Hindus.

PROCESS: Hand block printing is a complex and labor- intensive craft that involves a variety of skills
at different stages: Carving the block (usually done by craftsmen) preparing the cloth, mixing the
dyestuffs, and finally the printing, dyeing, and washing steps, which may be repeated several times
to obtain a final color and design.

1. Carving the Block

The wooden blocks made by craftspeople called blocks. They are not using any electrical machinery,
but relying on their traditional tools; compass, saw, routers, rulers, chisels, and wooden mallet. Each
design usually requires a set of several different blocks, including an outline (rekh), a background
(gad), and a filler (datta).

2. Preparing the cloth

The printing process begins with raw, grey cotton cloth which is either hand-woven or mill-made.
The cloth is treated with several different auxiliaries (for example: bleaching) to make it softer and
more absorbent. The swelling of fibers and opening the pores in order to absorb the printing paste
uniformly, ensures that the dyes will be colorfast and bright. After this, the fabric is given a primary
creamish- yellow color (pila karma) by applying HARDA SOLUTION. This solution is invariably a
solution of harda power in water without any addition of oil. The cloth is then dried in the sun and is
ready to start printing.

3. Mixing the dyestuffs

The dyestuffs are mixed in a printing tray which has fixed size 25cms/35cms. First a bamboo frame
known as TATI is put inside the tray. On top of that we place a layer of KAMALI, which is a woolen
cloth. The dye solution, is prepared by mixing the color into the Binder, and is then poured into the
tray, where in gets soaked by the woolen cloth. After these preparations, printing of the fabric
starts.

4. Printing the Fabric

There are two main types of printing used commonly in Bagru: direct dye printing and resisting
printing. In both procedures, first the blocks are soaked overnight in mustard oil or refined oil and
then washed. Printing is done on wooden table, the size of which depends on the length of to be
printed (18 foot approx.). These tables have a layer of ply on which there are 20 layers of tart and a
sheet of cloth on which comes the final fabric.

a. Direct Dye Printing

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

b. Resist Printing

The second technique, known locally as DABU printing, involves the applying thick black mud paste
onto the fabric with the wood blocks. This dabu paste when printed on the cloth, often given a light
dusting of a material resembling fine wood dust. To speed the drying process and add strength to
the resist paste, the dabu method is generally used to fill in smaller, highlighted spots of the pattern.
Although, women have traditionally done the dabu printing, men are also involving themselves in it.

5. Dyeing

a. Direct Dyeing

Once the cloth has been printed, it is dried in the sun and finally ready for dyeing. The cloth is dyed
either in a hot dye bath in a copper vessel or a cool dye vat dug in the ground. For the hot dye, the
copper vessel or TAMDA, is filled with various combinations of Alizarin (a red dye traditionally made
from madder root) mixed with Dabudiya flowers, and other vegetable and mineral dyestuffs and
fixations.

b. Indigo Dyeing

The cool sunken vat, called MATH, is reserved for Indigo Dyeing which imparts shades of blue. The
vat is dug about 2 meters deep into the ground and is filled with indigo, lime, molasses and water.
The dyer may dip the cloth several times for a deeper shade of blue or dry it for further Dabu
printing to retain light blue and then later re dye it.

6. Washing

Once the printing and dyeing are complete, the cloth is again hand washed and sun-dried. This
completes the whole process of block printing.

At this point, the finished material is folded, packed in burlap and twine, and trucked off to far- off
places.

MOTIFS: The historical progress of the motifs of Bagru is difficult to understand. These are mostly
derived from the flora and fauna and are natural in origin. A Comparative study of the evolution and
layout of motifs clearly reveal a change from old tradition and style. Initially the prints were primarily
floral and from vegetation. After the Persian influence they became more geometrical.
One finds a central round and then motifs are placed around it. The motifs of Bagru may be classified
into five types:
1. Motifs of flowers and birds: These are often found in the stem or in the central motives which
helps to balance the floral arrangement.
2. Motifs of inter-twisted tendrils: These are motifs of flowers comprising of spiralled or inter-
twisted stems, with flowers, leaves or birds present on the same. These are used as ‘bels’.
3. Motifs of trellis designs: These are mainly the ‘Jaal’ intricate grid (connecting designs), which were
formulated under the Persian influence.
4. Motifs of figurative designs: These are animal, bird and human motifs, e.g., ‘hiran’ (deer), mayur’
(peacock), ‘sua’ (parrot).
5. Motifs of geometrical designs: These are geometrical in shapes, e.g. ‘Leheriya’ (wave), ‘chaupad’
(check), ‘kanguras’ (triangular), ‘chatais’ (woven) pattern etc.
Generally each design has 2-4 colors. Each color has a separate block. Sometimes as many as 5-8
blocks are used depending on the design. However the cost of block making and production goes up
accordingly.
SANGANER: Sanganeri is a method of hand-bloc printing, and it originated in the village of Sanganeri
Rajasthan. Though it is an almost ancient method of block printing, people use it even today and
holds a prominent place in the textile industry.

ORIGIN: Saganeri printing has been around for more than five centuries. This art first emerged
somewhere between the 16th or 17th century, when the constant wars being waged by the Mughals
and Marathas forced artisans to move to Rajasthan. Here, in a town called Sanganer, the printing
style of Saganeri emerged and gained great importance. The trademark dyes and designs used in this
Sanganeri printing was so popular that it became one of the major exports of the East India
Company.
Traditionally, artisans learned the art of Sanganeri printing through observing skilled artisans; there
was rarely any formal training to teach this art. As the Sanganeri printing usually focused mainly on
motifs from nature, it is only fitting that the traditional dye used for these prints as derived from
nature, such as using insects to get red and purple colors. The names of the colors used were
different than saying 'red' or 'yellow,' often the terms Kasumal and Toru Phooli were used instead.

PROCESS:

Washing:
The fabric brought from the market contains starch, dust etc. Therefore it goes through a pre-
printing treatment in order to get good results while printing. The fabric is therefore dipped in a
solution of water and bleach for 1-2 days. It is then boiled and washed with water. Finally the cloth is
stretched and spread on ground and left for drying. This process known as Hari Sarana takes 3-5 days
depending on the weather conditions.

Marking:
The cloth to be printed is spread on the printing table and fixed with the help of pins. With help of
scale and chalk areas to be printed are marked and proper gaps are left for cutting and stitching.

Printing:
Printer dips the block in the colour and stamps the design on the cloth. The blocks are then pressed
hard with the fist on the back of the handle so that registration/imprint of the colour is even.
Printing starts from left to right. Number of colours used in the design defines the number of blocks
to be used. Generally one printer handles one colour and application is done simultaneously. In the
case of sarees the pallu is printed first and then the border. First the outline colour is applied and
then the filling colours. Specific point in the block guides the printer for the repeat impression. The
process of printing is called as Chapaai.

Drying:
After the printing is completed the fabric is dried out in sun for the colours to get fixed. This is done
specially for the pigment dyes. The printed fabrics are handled with utmost care so that the colours
are not transferred to other areas. Therefore they are wrapped in plastic or newspaper after dying.
The process is called as Sukhaai.

Washing:
Fabric then goes through the process of steaming in the special boilers constructed for this purpose.
After steaming, the material is washed thoroughly in large quantities of water and dried in the sun.
Once the fabric is washed and dried ironing is done, which further fixes the colour permanently. This
final process of washing is called Dhulaai.
MOTIFS: Finesse in flowers-petal designs, curves and delicacy are the prime specialties of Saanganer
prints. The curvature of flowers in the ’bootas’ is generally shown on the right side. Different types
of floral patterns are displayed in the form of a ‘bel’ (a border), in a stylized manner.

Some of the flowers used in the prints are roses, rosettes, lotuses, lotus bud, sunflower, lily,
‘champa’ ‘canna’ ‘nergis’, marigold etc. Various other flower creations are also found in old
Saanganeri prints. Other flowers used are locally known as ‘sosan’, ‘gainda’, ‘gulmehendi’,
‘javakusum’, ‘guldaudi’, ‘kachnar’, ‘jatadari lily’, ‘kaner’, ‘kanna’, ‘gullalla’, ‘Sosan’ and ‘gullala’ prints
are probably very suitable to Saanganeri style of printing, therefore they are used in various forms.

In ‘booties’, generally, only one type of flower-petal and bud creations is found; for example:
‘Badaam, (almond)’, ‘Paan’ (beetle leaf), ‘mukut of ‘kalanga’. While printing a sari, if the ‘booti’ is of
‘sosan’ flower then the ‘bel’ will also be of ‘sosan’ flower and a big ’boota’ of the same flower is
usually done on the ‘Pallav’ (the decorative edge of the sari, which is displayed by the women, and
left hanging from the shoulders ). Hence, for printing one sari, a large number of blocks need to be
made. By printing different booties together, the Saanganeri ‘Cheepas’ have portrayed excellent
know how. Sometimes more than three flowers are fitted beautifully in a single ‘booti’ e.g. in ‘Latkan
booti’ banana tree, sosan tree and saro tree collection in assembled beautifully in one pattern. The
designs are named accordingto the flowers or plant pattern, from which the designs were originally
inspired.

Many flowers used in Saanganeri prints don’t originate from Rajasthan. On this basis, Historian
James watt has said, “Obviously many of the Saanganeri designs portray flowers that in not likely to
have been seen by the calico printers nor by the block engravers of Rajputana. In spite of these
circumstances, however, there seems every reason to believe that the craft has been handed down
for centuries and has come to be used in all the purity of original inspiration. The nature, feeling and
colour reciprocity, as also the technique in printing are all perfect while the absence of machine
regularity gives a charm that place these goods above and beyond anything as yet accomplished in
Europe.” Apart from flowers, fruit trees of banana, dates, grapes pomegranate etc. have also been
recreated in a very attractive manner. In some old prints figures of parrots and fish are also seen.
Since about fifty years, elephant. Horse, camel, peacock and human figures are also used. These are
mostly seen on curtains, bedcovers, table clothes etc.
DIFFERENCE BETWEEN BAGRU AND SANGANER:

You might be surprised to know that water has a significant impact on the results produced
by both printing techniques. For instance, the use of water in Sanganeri prints causes darker
tone effects to appear on the fabric. In contrast to this, water brings out a reddish tone in
the block prints in Bagru printing. There is a regional history behind why water use was
different in both styles of printing. Bagru opted for indigo and Dabu resisted work d ue to a
scarcity of water. In Sanganer, water was available in large amounts for both washing and
printing.
There is also a difference in the types of motifs produced on Sanganer and Bagru prints. The
traditional Bagru motifs are larger in size and have bold lines. In Sanganer motifs, finer lines
and more sober colours are used. As mentioned earlier, Sanganer mo tifs are popular for
their intricate detailing. Also, while Bagru motifs are usually geometric with hints of floral
and other natural patterns, Sanganer motifs are primarily inspired by a range of different
flowers.
Lastly, the backgrounds for printing are different in Sanganer and Bagru prints. While
Sanganer printing is typically done on an off-white or white background, a bluish or indigo
background is the printing base for Bagru prints.

CONCLUSION: With thousands of years of history and civilization, our country has profound cultural
deposits. The development of traditional culture and art has more and more influence on modern
society and modern art design. Traditional arts and crafts are treasures of traditional Indian culture
and art. And by analysis all the motifs they do share a common element that is nature, people use to
worship nature and appreciate its beauty. This can be seen in every craft where nature is always the
part of the stories they narrated.