sanganer craft documentation

Chaap IMPRINT & IMPACT







HAND BLOCK PRINTING OF SANGANER 1

Contributors: Aditya Kumar | Asmeet Kaur | Mrunalini Desai | Mugdha Kulkarni | Muskan Balyan | Ranjeet Pal | Riya Malhotra Faculty Guide/Mentor: Dr Neha Singh Year of Submission: 2021 Academic Department: Textile Design, New Delhi 2

Copyright© 2021 NIFT All rights reserved. No part of this document covered by the copyright hereon may be reproduced or used in any form or by any means- graphic, electronic or mechanical including photocopying, recording, taping and scanning without the permission of the copyright owner. National Institute of Fashion Technology, New Delhi. 3

Declaration We hereby declare that the STUDY ON THE HAND BLOCK PRINTING OF SANGANER was carried out by us for the CRAFT RESEARCH AND DOCUMENTATION under the guidance of Dr. Neha Singh, National Institute of Fashion Technology, New Delhi. We assert the statements made and conclusions drawn are an outcome of our research work. We further clarify that: 1.The work contained in the paper is original and has been done by us under the general supervision of our mentor. 2.The work has not been submitted to any institution for any other degree/diploma/certificate in India or abroad. 3.The information given in the document is authentic and the copyright to produce this document in any form is reserved for NIFT New Delhi. 4.Any outsourced material (i.e. data, picture and text) have been given the due credit and have been mentioned in the references. 4

R Photography credit: Kartikji- block-printing artisan, with due credits online resources Illustration credit: Mrunalini Desai, Muskan Balyan, Asmeet Kaur, Mugdha Kulkarni Text: Aditya Kumar, Asmeet Kaur, Mrunalini Desai, Mugdha Kulkarni, Muskan Balyan, Ranjeet Pal, Riya Malhotra Editing: Mugdha Kulkarni, Mrunalini Desai, Aditya Kumar Layouts: Aditya Kumar 5

ACKNOWLEDGEMENTThe craft cluster module by the National Institute of Fashion Technology gave us an in-depth understanding of the craft of hand block printing of Sanganer, a place situated 15km away from the city of Jaipur. The journey of research and documentation wouldn’t have been possible without the guidance of our mentor Dr. Neha Sigh. We would RDlike to give our sincere gratitude to Avdhesh Kumarji and the artisans working at Avdhesh Kumar Block Prints for taking out their precious time to interact with us. We would also like to extend our gratitude to Kartikji for further clearing our doubts and providing us with photographs. We acknowledge the artisans’ mastery, their knowledge of craft and the evolving market of block prints. 6

ABSTRACT Block printing as we know is quite a vast artform and an important tradition in various cultures dating back several centuries. Though every different region has their own speciality and mark in the block printing industry, Sanganer, a small town on the outskirts of Jaipur is one such region whose block prints are even internationally acclaimed. In order to understand this long standing traditional printing method and it’s interpersonal relationship with our heritage, the designers and NGOs are working for the upliftment of the crafts. The international as well as domestic market, the life of the craftsmen, historical impact and eventually the craft to the region itself, are critically analysed. The strengths and weaknesses along with opportunities and hindrances met along the way are compiled in this research document. From understanding the craft and in turn creating awareness, realising the demands and desires of the communities involved. documentation would help to lift up the craft that could be lost in history. 7

OVERVIEW Background & Province Tools and Raw Materials Making process Design and Motifs Significance & Impact Market & Products SWOT Analysis Artisan Profile References 8

TABLE OF CONTENTS 13 14 1.Culture of Rajasthan 15 2.About Jaipur 22 3.Culture of Jaipur 23 4.About Sanganer 25 5.Geographical Features 26 6. Ethnography 27 7.Introduction to Block Printing 30 8.Origin of Craft 31 9.Raw materials, Tools & Types of Equipment 32 10. Fabrics 33 11.Natural Dyes 34 12.Synthetics Dyes 34 13.Discharge Dyes 34 14.Pigment Dyes 34 15.Reactive Dyes 16.Rapid Colours 9

TABLE OF CONTENTS 17. Wooden Blocks 35 18. Metal Blocks 39 19. Dyes Procedures 42 20. Effects of Weather on Process 57 21. Design & Motifs 60 22. Market 70 23. Products 74 24. Characteristics of a good product 75 25. Failed Products 76 26. Export & Packing 27. Difference between Sanganeri block prints & Bagru block prints 77 81 28. Socio-Economic effect of block printing 83 29. Heath Hazards 84 30. Future of the craft 31. SWOT Analysis 88 32. Artisan Profile 92 33. Image Index 95 34. Glossary 100 35. References 104 10

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BACKGROUND & PROVINCE 12

CULTURE OF RAJASTHAN Rajasthan is as old as the Indus Valley or Harappan civilization. The traces of human settlements were first found in the Brahmavtra, Mehrangarh and Rewari regions dating back to more than 5000 years ago. It was also found that the land was inhabited by diverse tribal groups like Bhils, Minas, Lohras etc. However, the areas later came under the rule of the Rajputana clan. Since then, Rajput traditions and cultures are primarily being followed, but in some areas of the state, tribal practices still exist. 13

Being a diverse land, Rajasthan showcases vibrant cultures. Whether it be architecture, cuisine, art and craft, costumes or festivals, each one has its charm and beauty. A boundless land – where royalty is the way of living , where colours show emotions, where festivals are celebrated as a family , where craft is celebrated everyday at every household , the cultural capital of India – Rajasthan . 14

JAIPUR Jaipur’s affluent social legacy can be seen its traditions , way of life , construction of the city and workmanship. Pink city , as Jaipur is widely known as is because of the dividers in each architectural marvel . These dividers are in different shades of pink. Not only this , this city is also home to the most amazing cultural heritage and traditions. 15

Costumes Dance Language Food Fairs & Festivals Folk Song & Dance Art, Craft & Architecture 16

COSTUMES Men , women and even children , each one of them love to adorn themselves in colorful ways while still being rooted to their cultural values. Vibrant colors, intricate design, silver jewelry are the most important elements of the Rajasthani attire. As mentioned above, women in Rajasthan love colorful clothes paired with antique and classic Jewelry , they are seen wearing ghagras with matching cholis having block prints or hand prints. Whereas men wear dhotis or pajamas along with the colourful turbans . However some wear a traditional dress called angrakhas. 17

LANGUAGE Hindi is the preferred language with a little bit of local essence while some regions has its own dialect. 18

FOLK SONGS & DANCE History shows the region’s affinity towards it's folk music and dance. Be it ghoomar of Jaipur, kalbelia of Jaisalmer, kathputli Chang or Parth , all are integral part of the Rajasthan culture. Whereas folk songs are all about eternal love stories, heroic tales and devotional songs sung with the use of traditional instrument like dholak, sarangi , sitar etc . Ghoomar, the celebrated folk dance of the region is performed by lifting a lit pot-shaped Diya on the dancer's head. As part of the cultural heritage, it is performed on special traditional occasions like festivals, marriages etc. 19

ART , CRAFT & ARCHITECTURE Patronized by the rulers, Rajasthan has one of the richest architecture, art and craft in the country. Forts , metal work , intricate embroidery , mirror work, paintings, etc are the perfect example of how rich the state is in the art and craft . Miniature painting, zari work, block printing , tie & dye , puppetry are some of the indigenous form of traditional Rajasthani art and craft. 20

FAIRS & FESTIVALS Fairs and festivals which are the soul of the entire state and drives the culture of it. Be it region specific or religion specific , each and every one participates to make it a gala event. Teej, Makar Sankranti, Gangaur and Diwali are some of the most celebrated festival . State also hosts a no of events to celebrate people’s bond with camels . Not to forget, Pushkar mela, Jaipur literature fest and many other joyous annual celebrations which are held in this state. 21

INTRODUCTION TO BLOCK PRINT By using a number of blocks, each to print a different part of the print pattern, it is possible to produce sophisticated, multicoloured designs. Anything from 1-10 colours can be used on a single textile. More the number of colours, greater the time and labour intensive task for cutting blocks, printing and hence more expensive product. One colour at a time is printed to let it dry before the second colour printing starts off. To ensure perfect placing of blocks at every subsequent step, blocks have registration notches cut in their sides. Most efficient method is to put brass pitch pins on the sides for accurate alignment. India with the mastery of dyeing techniques and the use of mordants, has always produced the world’s most sophisticated polychromatic block prints. 22

Geographical The region of Sanganer falls in Features Jaipur, Rajasthan. Sanganer has a SANGANER population of 96,052. The male and female populaces are 50,556 and 45,496 individually. The size of the region is about 10.88 square kilometer. 23

SANGANER The area of Sanganer has arisen as one such community for the well-established specialty of hand block printers. Sanganer is a little town arranged around 30 km from the walled city of Jaipur and is viewed as the most prosperous spot in Jaipur. The town has been a significant community for exceptionally fine square cutting and printing units obliging more than 5000 printers. The water of the waterway Saraswati moving from Sanganer is viewed as having the extraordinary quality that draws out the brilliance from the regular coloured texture. The town of Sanganer is additionally renowned for its handcrafted paper industry and Jain sanctuaries. The prints of Sanganer have their particular style and examples. They are known for brilliant shadings, sensitive lines which are typically printed against a white foundation. The speciality prospered under imperial support, and before the finish of the eighteenth century, this industry was completely evolved in Sanganer. 24

ETHNOGRAPHY The craftsman rehearsing block printing have a place with Chhipa people group. Chhipas are overwhelmingly Hindu and are accepted to be the supporters of the famous Marathi Saint Namdev. They are occupied with the art of block printing since ages. The customary information on make abilities is moved starting with one age then onto the next. Each part in Chhipa people group is associated with washing, coloring and printing of garments. 25

There are number of individuals who are in a roundabout way associated with the specialty as planners, block makers, dyers, tailors, providers of crude materials, sellers and so forth. The Chhipa people group, which is occupied with this customary art, is gotten comfortable Sanganer and the occupants/skilled workers have come from different pieces of Northern and Western India in various timeframe. The dyers and square producers initially came from Punjab or Sindh. The printers are overwhelmingly Hindus, while most of dyers and square producers are Muslims. 26

Origin of Craft Sanganer hand block printing started in Sanganer, Rajasthan. However, it is a practically antiquated technique for block printing. But many individuals use it even today and holds a conspicuous spot in the material business. Sanganeri printing has been around for over five centuries. This craftsmanship originally arose somewhere close to the sixteenth or seventeenth century, when the consistent conflicts being pursued by the Mughals and Marathas constrained craftsmans to move to Rajasthan. Here, in a town called Sanganer, the printing style of Sanganeri arose and acquired incredible significance. The brand name colors and plans utilized in this Sanganeri printing was famous to such an extent that it became one of the significant fares of the East India Company. 27

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TOOLS AND RAW MATERIALS 29

RAW MATERIALS, TOOLS & EQUIPMENTS FABRICS- Mulmal, Cotton, Silk, Chanderi, Maheshwari WOODEN/ METAL BLOCKS- Rekh, Gad, Datta DYES- Vegetable, Synthetic- pigment, discharge, reactive dyes, rapid/fast colors WATER PRINTING TOOLS- Chalk, Brushes, Scale, Wooden trolly, Tables, Copper Vessels 30

Sourcing of Fabric Fabrics are sourced from Ichalkaranji and Devgiri. Mostly from Tamil Nadu. 31

NATURAL DYES Traditionally natural dyes were used in sanganeri block printing. These dyes were derived from natural sources like turmeric, indigo plant, geru powder, jaggery + rusted iron nail(horseshoe), Harda Powder, Babool and so on. These give Toru Phooli (yellow), blue and lal, Kasumal (mud red) syahi (black) colours respectively. They are the commonly used colours in Sanganer. The natural dyes would often transfer the smell to the cloth, but they are more resistant to fading and safer than chemical dyes. 32

SYNTHETIC DYES As synthetic dyes were introduced in the market, the process of using natural dyes became too expensive, cumbersome, and lengthy. The introduction of chemical dyes has allowed artisans to become more versatile with their designs and colour combinations. Natural dyes are mostly derived from vegetables and natural sources by boiling the ingredients to get a rich, vibrant colour, hence more energy is required. However, with synthetic dyes, the process of obtaining colour is made much less cumbersome. 33

TYPES OF SYNTHETIC DYES DISCHARGE DYES PIGMENT DYES REACTIVE DYES RAPID FAST COLOURS Discharge dyes are Pigment dyes are colour Reactive dyes are Rapid fast colours are mainly used when an chemical dyes that, when used the least because artisan needs to remove powders that are reacting with each other, it's challenging to store all the dye from the give out different them. For these dyes, fabric or paint on a combined with binders colours. While using this the ground colour, and dark background. First, dye a chemical is the block all are to be the desired pattern is and kerosene and applied to the fabric printed on the same made using bleaching first and the block is day. Usually, a pale or out the dye present on brought to a print dye soaked in another a lighter background is the fabric. Next, the chemical so that, when it used while using them. required dye is consistency. The is pressed over the Also, only a few rapid deposited on the fabric the reaction fast colour dyes are bleached area creating thickness of the mixture between the chemicals available in the market. contrast and interesting discharges a new colour. patterns. is important as it decides It's a tricky dye to work 34 with and only a few dye the effect of the dye on masters have the knowledge to use them. the fabric. We can mix two or more pigment dyes to create new colours. They are easy to store and give exact colour results after dying. They have good washing and colour fastness.

WOODEN BLOCKS 35

BLOCK MAKING PROCESS 1.Sketch of the motif 2.Tracing on the block 3.Carving out the negative spaces 4.Fishing the edges 5.Making registration marks for perfect alignment on the edges 6.Soaking the ready block in edible oil for 30 days 7.The block is ready for use 36

The wooden blocks are made out of Teak or Sheesham wood. The wooden blocks are made by the Kharawati community. After carving the wood, the artisan soaks the block in edible oil for a period of up to a month to help soften the grains of the wood. This helps ensure that the block will transfer the colour and the design onto the cloth evenly, with fine lines, and no rogue lines may appear. A wooden block always has two or more holes at the back to allow air to flow as well as to let out the excess colour. A woodblock usually lasts for up to 800 meters of printing. 37

Both wooden and metal blocks are available in different shapes and sizes. Depending on the requirements of the artisan as well as the cloth used, many different combinations of both wooden and metal blocks can be used to design a Sanganeri print material. 38

METAL BLOCKS 39

To get more intricate patterns and more delicate details with sharp lines, metal blocks are used. Metal strips are hammered and turned into thin strips that are engraved into a wooden block. The desired design is then drawn onto the woodblock, and then the metal strips are hammered into the design on the block. Once the metal strips have been hammered into the block, it is ensured that the strips are all of the same height from the block. While making a metal block is much more time consuming than making a wooden block of the desired design, they are much longer-lasting than wooden blocks. 40

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MAKING PROCESS 42

STEPS Washing & Pre-mordanting of the cloth Pining the cloth and marking the design Preparation of natural dyes Printing of the fabric Drying of the pigment Finishing of the fabric 43

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Washing & Pre- mordanting of cloth Hari Sarana- The fabric bought from the market goes through pretreatment by washing it multiple times to get rid of the dust, starch and things which might result in a compromised printed outcome. The fabric is soaked in water and bleach for 1-2 days and then boiled and washed thoroughly. After which it is then left for drying. This process takes up to 3-5 days depending upon the weather conditions. Pila Karna-The fabric is pre-mordanted with Harda powder, which gives the fabric a yellow tone. Zadna- washing the cloth to remove the Harda residue from the fabric 45

Cloth being stretched tightly to remove any kind of wrinkles. Stretched cloth is pinned using ball pins at regular intervals to obtain tightness. Marking is done to obtain accurate printing. 46