Ajrakh: The Timeless Artistry Of Indian Block Printing
Ajrakh: The Timeless Artistry Of Indian Block Printing
Ajrakh prints stand as a testament to the artistic heritage of India. With its rich history and intricate designs, this ancient form of block printing has captivated hearts for ages with its vibrant colors and fine patterns.
Ajrakh is a block-printed textile that showcases traditional patterns and designs. This artisanal craft involves resist-dyeing using natural dyes by hand with hand-carved wooden blocks. Rooted in tradition and historical significance, this ancient craft displays the extraordinary skill and cultural richness of Indian textile heritage. Hence, at Label Saasha, our aim is to uphold this tradition and breathe new life into it for the modern era.
Let’s dive in to learn more about this exquisite print form.
History Of Ajrakh Print
The origin of ajrakh dates back to ancient times, when talented and skilled artisans used hand-carved wooden blocks and natural dyes to create designs on fabric. This woodblock printing technique originated primarily in Sindh, Pakistan, and the village of Ajrakhpur in the bordering Kutch district of India. Historians have found artefacts related to Ajrakh in excavations of the Indus valley civilisations, Harappa, and Mohenjo-Daro, indicating its ancient lineage.
The word “Ajrakh” has several meanings and interpretations. However, according to some historians, “Ajrakh” is derived from the word “Azarak,” meaning “blue” in Arabic and Persian. Hence, blue is one of the primary colors in ajrakh printing. Conversely, others suggest that the word “Ajrakh” comes from two Hindi words: “Aaj” and “Rakh,” meaning “Keep It Today.
More than a print form, ajrakh is a Sindh tradition, found even today in daily usage. From hammocks to bedsheets, every person in Sindh has a special place for ajrakh fabric. Kutch is another place where ajrakh has been highly valued and made by the Khatri community, ever since they migrated from Sindh in the 16th century. Today, the ajrakh print is made in Kutch, Gujarat, and Barmer, Rajasthan.
The Beauty Of Ajrakh Fabric
At Label Saasha, we use this textile printing technique to manufacture dresses for women, shawls for women, and other range of clothes. Ajrakh prints are usually expensive, and there are several reasons why. Ajrakh hand block printing is a labor-intensive printing method that requires skill and patience. The method involves around 14 to 16 different stages of dyeing and printing, which can take almost 15 to 20 days to complete. Hence, extensive time and effort contribute to the elevated cost.
Unlike other prints, where color is applied directly to the cloth, ajrakh printing involves a unique process. In arjakh printing, the fabric is printed with resist paste before dyeing begins. Further, artisans repeat this process several times with different hues to achieve the desired pattern or design. What sets ajrakh prints apart is the use of natural dyes. At Label Saasha, we use vegetable and mineral color dyes for clothes throughout the process. This commitment ensures that ajrakh printing at Label Saasha is 100% eco-friendly and sustainable, aligning with our environmental goals.
The primary colors used in ajrakh print are blue, red, black, white, yellow, and green. The natural dyes include indigo, Maati (Clay), Harde, Lokhand (Iron), Fatakdi (Alum), Baval nu gond (Gum), Haldi (Turmeric), Majith (madder), Dadam (Dried Pomegranate), Gud (jaggery), Tamarind, and Rhubarb.
Ajrakh printing usually has geometric and floral patterns, like peacocks, trees, and flowers. Fun fact: Ajrakh is printed on both sides by the resist printing method. Variations in the basic themes give rise to different styles, such as Sabuni Ajrakh, Do Rangi Ajrakh, Kori Ajrakh, and more. People say that nature plays an important role in the making of ajrakh fabric. The artisans work in total harmony with their surroundings and environment.
Making Of Ajrakh
Let us briefly go through the process of ajrakh printing to understand the complexity of the print form.
As mentioned earlier, ajrakh is a labor-instensive process with over 15 to 20 stages of production. Furthermore, no two centres will follow the same sequence of making ajrakh. The stages may differ between two Khatri lineages, and even the materials may have different names.
1. Saaj : The initial step involves the thorough cleaning and softening of the cotton cloth. The fabric is soaked multiple times in Neerani, made of castor oil, soda ash, and camel dung. The cloth is then sun-dried the next day, and this process is repeated several times until the desired white color is obtained.
2 .Washing : The saaj process leaves a thick lather on the cloth. Hence, clean water is used to thoroughly wash and remove all traces of foam.
3. Kasano : The cloth is now immersed in Harde, a yellow astringent paste containing tannic acid. The powder is mixed into a paste and applied thoroughly to soak the cloth fibres, section by section. The cloth is then sun-dried without rinsing off the solution. The solution enhances the adhesion of subsequent printed mordants to the cloth.
4. Khariyanu : Next, the outlines of the design that require the white color are printed using wooden blocks and resist paste made of lime and tree gum.
5. Kut : Areas where black color is required are printed with the kut paste. It is made from jaggery and fermented with scrap iron for 15 days. The liquid is then drained off and mixed with gum paste. When applied to the cloth, kut reacts with the tannic acid and develops a chocolate-black color.
6. Pa Mordant : Alum is mixed into a sticky paste made from the boiled powder of roasted tamarind seeds. This paste, Pa, is necessary for creating the red color. It is applied using an especially carved wooden block. These are carved in such a way that the raised portion prints only the necessary areas, known as Mavi.
7. Gach Resist : Gach, a smooth paste made from tree gum, water, clay, and millet flour with alum, is used to overprint the previous Pa. It helps enhance the red tones. The clay and millet flour also act as resists, which prevent the indigo from staining the cloth.
8. Dhori Gach Resist : The gach mixture without the alum is Dhori Gach. It is applied to the white, black, and Pa areas that did not receive the previous gach mixture. The clay and millet flour act as a resist, safeguarding areas where indigo is not required. Immediately after the paste, artisans sprinkle cow dung powder to prevent smudging of the clay.
9. Indigo Dip : To gain the blue color, the cloth is immersed in an indigo vat. Initially bright green, the color turns blue as oxygen interacts with the dye in the fibres. For deeper shades, a second dip is common.
10. Washing : Later, the cloth undergoes washing to remove resist paste and loose indigo dye.
11. Red Dyeing : To achieve a pure red color, artisans heat Alizarin crystals or Indian madder roost in a copper pot over a low fire. The cloth is then stirred continuously with two sticks for 2–4 hours.
12. Tapano : To bleach the white areas that turned light pink during the previous dyeing process, artisans soak the cloth in a solution of camel dung and sun-dry it near a sandy riverbank. This process may take up to 3 days.
13. Final Touch : At last, a final wash is mandatory to remove any loose dye. Water with alum and tin further enhances colors and gives the cloth a finished look.
Endnote
Ajrakh print is more than a technique; it is a tradition that has been passed down through generations. As we continue to practice the ajrakh print at Label Saasha, we aim to embrace sustainability while making a living testament to India's rich cultural heritage and artistic ingenuity relevant in contemporary times. Hence, join us in this enchanting journey to bridge the past with the present with textile artistry.
Label Saasha is proud to manufacture clothing from Indian handloom and all age old traditional artisan processes, love our Ajrakh and we invite designers from worldwide to start clothing brands with us.
Namaste
Label Saasha
labelsaasha@gmail.com
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