Bagru Hand Block Printing

Bagru Block printing

Bagru is a small city near Jaipur, Rajasthan, India, Known for its art of textile printing using natural dyes and handcarved wooden blocks. The tradition of bagru block printing is centuries old and has been kept alive by "Chippa community." Chippa is derived from word chapa which means impression. The community is concentrated in locality kown as "Chippo ka mohalla"

Carving wooden blocks

The process of block printing involves many steps starting from making of blocks. 

Patterns of flora, fauna and geometrical patterns are drawn paper and then traced on flat surfaced wooden pieces. The patterns are then hand-carved with high precision

Trolly with color and blocks

.  Printing single textile involves use of many block, sometimes upto 20 or more. The blocks have to be carved with such detailing and precision that one block fits and complements other to complete a pattern.

Most prominent colours are black, Madder Red, indigo, Yellow and Green. The dyes are prepared with natural things like turmeric for yellow and plant based indigo for blue,. Black is prepared by fermenting iron in jaggery mixture and so on.

Conditioning fabric for Block-printing

The undyed fabric is then soaked in muddy water and then sun dried. The process rids fabric of starch and other impurities and makes it more absorbent for colors too. The dried fabric is then laid on long table and an artist, with a trolly beside him carrying color soaked sponge and blocks, starts printing.

Bagru  is a painstakingly laborious and time taking process. 

One saree may take 2-3 days for printing. Due to the time involved and precision required, most families have moved to 

Awardee Bagru Artist Purshottam Chippa showing his work

Very few families are now involved in bagru handblock printing. Besides, fast and easy screen printing is also posing serious threat to industry. 
Shilphaat.com has brought Bagru block printed textiles from artist Mr. Purshottam Chippa at its store.

Shop Online Handblock -printed 

Dupatta, 

https://www.shilphaat.com/Hand-Block-Printed-catid-1277782-page-1.html

 Dress-material, 

https://www.shilphaat.com/Dress-Material-catid-890013-page-1.html

fabrics 

https://www.shilphaat.com/Precut-Fabric-catid-1184565-page-1.html

and sarees at:

https://www.shilphaat.com/Sarees-catid-1088208-page-1.html

Mekhela Chador- Assamese Handloom

Cotton Chaddar

Mekhela-Chador/chaddar is the traditional dressing of women of all age group, living in Assam(A state in north-eastern part of India). Mekhela-Chador is also known as Dakhona, Danka, khamlet, Phanek.  It consists of two parts mekhela and chador. Mekhela resembles sarong- a large piece of cloth wrapped around lower part of body and tucked at waist. It is worn over a petticoat or underskirt.  Chador is a wrap or dupatta. It is also a piece of cloth, wrapped around upper part of body, over shoulder.  A set of Mekhela and chador appears to be like a saree in two parts.

As per Third National Handloom Census Of Weavers  And Allied Workers 2010, Assam has largest concentration of  handloom worker households (21.7%) in country. Around 8.74 lakh(38.5%) handloom households produce Mekhla-chaddar, though most for domestic use(62%) rather than for commercial purpose. The North-Eastern states have a predominantly female (99%) adult work force and handloom weaving is part of the culture across all social groups. Major type of looms used in the region are Frame looms (78%) and loin looms (21%).

The yarns used are cotton, eri silk, muga silk and pat silk and their combination. Assam’s handloom industry is basically silk oriented as the climate of Assam is suitable for sericigenous flora and fauna. Fabric is woven in plain or twill weave with check or stripe design and is characterized by a border with extra wrap or weft design. Dying, complex weaving techniques and dense figural decoration are not features usually associated with handlooms of Assam.

References:

1.     Third National Handloom Census Of Weavers And Allied Workers 2010

2.     ARTS &  CRAFTS of North-East  http://ignca.nic.in/craft252.htm#Dyeing

Chikankari

Chikankari is the art of hand embroidery practiced in the city of Lucknow(India) and its vicinity. The history of chikan embroidery in India dates back to almost 400 years and is believed to be a Persian craft, that came to India with Noorjahan, the queen of Mughal Emperor Jahangeer. However, Chikankari flourished under the patronage of the Nawabs(rulers) of Awadh(Historical name for Lucknow and its environs).

Chikan embroidery has a repertoire of about 40 stitches of which about 30 are still being used. The main stitches with their traditional names are:

1.    Taipchi: Running stitch worked with six strands of thread on the right side of the fabric. It is usually done within parallel rows to fill petals and leaves . It's considered to be the simplest and the swiftest chikankari stitch  and is used as a basis for further embroidery.

2.    Pechni: In this stitch, taipchi is covered by intertwining the thread over it in a regular manner to provide the effect of something like a lever spring and is always done on the right side on the cloth.

3.    Pashni: Taipchi is worked to outline a motif and then its covered with minute vertical satin stitches over about two threads and is used for fine finish on the inside of badla.

4.    Bakhia: Or Herringbone Stitch also known as shadow-work is a very common chikan stitch, principally done from wrong side of fabric and is of two types:
(a) Ulta Bakhia: A string of criss-cross stitches is made on reverse / wrong side of the fabric underneath the motif. That appears as parllel rows of running stitch from right-side and beautiful shadow of underneath stitches can be seen from transparent fabric .
(b) Sidhi Bakhia: Back stitch with criss-cross Herringbone Stitches of  individual threads. The floats of thread lie on the surface of the fabric. 

5.    Khatao, khatava or katava is cutwork or appliqué - more a technique than a stitch.

6.    Gitti: Stem-stitch , A combination of buttonhole and long satin stitch usually used to make a wheel-like motif.

7.    Janjira: Chain stitch usually used as outlines in combination with a line of pechni or thick taipchi.

8.    Murri: A very minute satin stitch in which a knot is formed over already outlined taipchi stitches.

9.    Phanda: Or knot stitch is a smaller shortened form of murri. The knots are spherical and very small, not pear shaped as in murri. 

Chikankari at Shilphaat.com

10. Jaalis: Or Pulled-thread-work where holes / jaalis or trellises  are made by manipulation of the needle without cutting or drawing of thread. jaalis are created is by pulling apart wrap and weft threads of fabric in a fashion that minute openings are made in the cloth. Shape of openings and the stitches used distinguish one jaali from another.

Traditionally embroidered on muslin with a white thread, but at present all types of fabrics and all colors of threads are. The pattern is block printed on

Block printing 

de-starched fabric or on the semi-stitched garment with fugitive colors, and the embroidery of the garment is then begun. The embroidered piece is then washed, after which the garment is then starched and ironed. The whole cycle can take from one to six months.

Some stitches, in chikan embroidery, are worked from the wrong side of the fabric, while others are worked from the right side as shown in given image. Different specialists work with different types of stitches. 

References:

1.    https://www.shilphaat.com/Chikankari-catid-874640-page-1.html

1. http://www.craftclustersofindia.in/site/index.aspx?Clid=622

1.  Chikan Industry of Lucknow
2. http://shodhganga.inflibnet.ac.in/bitstream/10603/23080/10/11_chapter2.pdf
3. https://en.wikipedia.org/wiki/Chikan_(embroidery)

Plight of Artists

History of art and craft in India is dates back to Indus valley civilization which is more than 5000 years old. Handicrafts are the true representation of changes in lifestyle and culture, India has witnessed, throughout centuries. Handicraft from various region are as diverse as the cultural diversity of India.  Artist Community, that enjoyed royal patronage once, is now living in a depleted condition.  Commencement of cheap and readily available machine made goods were a huge blow to handicraft sector.

Despite being one of major contributor to country’s economy, Handicraft sector is highly decentralized and disorganized. As per data from “Working group report on Handicrafts for the 12th Five Year Plan”, it is estimated that India has 74.17 lakh individuals employed in the sector (in 2010-11) and export worth Rs. 10,000 Cr. Even though, now people have started appreciating and buying handmade art-pieces, but the art and artist are disappearing fast. The reason being, strenuous work pattern, time taken to complete the piece and poor payment. Most of them are not even able to earn more than 30k-40K per annum. Despite of multiple steps taken by Government, to improve conditions of Handicraft and Handloom artists, the condition is far from better.

Only handful of those recognized as awardees or master-craftsmen, obtain maximum benefit from the aids or facilities provided by Government while most still continue living an unknown life. Various government run schemes, for upliftment, are focused on recognized artists. A large number still are not benefited from these schemes and have poor market penetration.

The insights provided, show that most of these unknown artists have to take up some other work also to earn their livelihood. The hands that have got the power to create something beautiful, farmers or as employees of middleman and other “known” artist. They still lack proper access to market. Finally, they have either to settle down selling their work, at much lower price than its market value, to middlemen or other known artists who have easy market access or have to work as bonded labourers .

In its quest to such lesser known or unknown artists, Shilphaat.com came across many such artist who have taken up the art just for their passion or to keep their lineage alive. Most of them have other profession also to support their family needs. 

Madhubani Painting / Mithila Painting

Madhubani Wall Art at "Craft's Museum, New Delhi"

Madhubani painting or mithila painting is age old tradition of painting done on walls and floors of home by women of house. According to a myth, madhubani painting is associated with marriage ceremony of Lord Rama and Sita. Its said that the "kohbar" made in their marriage was the begining of  Mithila or madhubani painting.

Women selling paper-mache products with madhubani paintings

Now also this is a form of folk art is basically done to celebrate festivals and auspicious moment like, marriage and child birth. Every sect/caste of Hindu society had its own separate design of mural with set instruction for deities and objects to be drawn on particular occasion.  Originally it was drawn on wall or floor covered with mud, geru or cow-dung with the help of finger tips, twig and cotton  using natural colors made of rice, turmeric, lamp soots and various flowers and vegetable juices. These paintings are based on Hindu mythological characters, scenes from mythological stories and other regional flora and fauna. But, with commercialization, acrylic colours and other artificial colours have replaced natural colours and brushes have replaced finger tips & twigs. The medium also has changed to paper and cloth from floors and walls.

Madhunbani on Bhagalpuri tussar silk Sar

Madhubani on tussar silk dupatta

However, art is still an art, whatever may the medium be. 

In its meager effort to promote art and craft of India, Shilphaat.com has brought few products with Madhubani painting inscribed on it.

 Madhubani painting on stationary holder

Meenakari/Enamelling in India

Traditional Meenakari Jhumki

The history of meenakari or enamelling is more than 3000 years old. Various objects and jewelleries  have been discovered from Greece, Mycenae, Cyprus, Egypt and China. However, in India, rise of meenakari can be credited to Raja Man Singh of Amber, Jaipur who brought artist from Lahore to Jaipur. Since then, Jaipur has become the center of this beautiful artwork, called meenakaari, in India. Factually, meenakari is the art of ornamentation of metallic surface, preferably gold for jewellery and silver for wares and decorative pieces, as they hold enamel better and give it an additional sheen. But due to increased cost of precious metal now focus has been shifted to bronze, copper and steel too. 

The complete process is teamwork, requiring high level of precision.  First the design of product is designed out of metal by metalsmith, then design is etched on the surface (nacqashi) by artisan called Nacquash who is specialized for the process. On next stage, meenakar or enameller applies powdered enamel or meena, in the grooves of the object. The enamel is applied on account of its heat resistance, most resistant is applied first. Each color of enamel is then fired , which melts enamel and helps it to spread evenly and fuse with the surface. After setting all colors of meena, object is cooled and polished for final look.

Besides Jaipur, Lucknow and Banaras are also important centers of enamalling or meenakari, each region has its own specialized technique, style and color choice for meenakari.

Trendy enameled earrings

Just like every other art piece, meenakari is painstaking work that may take many hours or even days to complete. Meenakari works flourished during the Mughal and Rajput reign but now the craft is going through a rough phase as many Meenakars are leaving their professions in search of better options. Tough working conditions and low pay are to be blamed for this crisis. 

References

1.   http://cki.altervista.org/storia-smalto-eng.html

2.   http://www.britannica.com/art/enamelwork

3.  http://www.craftmark.org/sites/default/files/P037%20Meenakari.pdf

Handlooms Status in India

India, once known for its excellence in fabric weaving and related artistry suffered major setback during British regime. Every region, being characterized by its own style of handloom woven fabric, offer different type of fabrics based on design and yarn type. Cheap, imported, machine-made, artificial yarns and fabrics led to continuous downfall of Indian handloom industry. Rapidly depleting conditions of industry and changing customer preference led to weavers search for alternative employment opportunities.

Handlooms are important for India both culturally and economically. However, despite many efforts, the condition of industry and weavers is sliding only. As per Handloom Census 2009-10, most of the handloom households live in kutcha (54%) or semi-pucca (31%) houses. Average annual income for handloom households in purely commercial production is estimated to be Rs 30,747. Census also indicates that there are nearly 27.83 lakh handloom households in India with highest in North-east states. The total weaver household units recorded a decline from the first (29.9 lakh weaver households), to the second (25.3 lakh weaver households) and the third (22.6 lakh weaver households) handloom Census, indicating that the sector has exhibited a declining trend for over the two decades.

This census is a wake-up call to stop India from losing its one of its most admired heritage: its handloom products. In the global market, serving all machine made look-alike product, the handloom products can create marked difference and make one “stand out of world”.

Reference

·    http://handlooms.nic.in/Writereaddata/Handloom%20report.pdf

About Shilphaat.com

India, magical India, majestic India.  There's a Hindi saying illustrating diversity of Indian culture that goes:  Kos kos pe badale pani, char kos pe vani (the taste of water changes after one mile and the dialect of people changes after four miles). These regional diversities as well various cultural groups that entered India throughout history, have greatly influenced art, architecture and lifestyle of its people. The history of art and crafts of India is as old as the civilization itself. Indian art and craft are known for their intricate workmanship, delicate nature and exclusive designs. 

We, hereby, bring “www.shilphaat.com” to convey this exquisite collection of unique, Ethnic, Organic and Natural and handmade products from nooks and corners of Incredible India.

 Our reliable online shop would ensure you a hassle free and enjoyable shopping experience that are value for money. 

Visit Shilphaat.com now and immerse yourself in the world of Handcrafted, Natural and Unique collectibles that have the essence of Indian ethnicity in it.