sanganer craft documentation

Pining the cloth and marking the design: The pretreated dried fabric is then pinned on the printing table with the help of pins to avoid any wrinkles. The printing table helps to accommodate multiple printers on the same cloth and thus increases the efficiency. The printing table has a Namda below the actual fabric to be printed. The marking is then done using chalk to obtain accuracy in the designs. 47

Preparation of the Natural Dyes The Syahi (black) colour is extracted through the burning of horse’s rusted hoofs. Rusted iron, water in 1:1 proportion along with jaggery are mixed together and kept for 30 days. This mixture is then later added with 2kg glue and stored overnight to get 10kg of black dye. The Begar (red) colour is obtained from Geru Mitti. 10kg of water, 2kg glue, Geru Mitti, 1kg alum powder, lal hirmich and moong ke daane are all mixed together and stored for a day and the red dye is ready. 48

49

Initially Jaali, mulmul cloth and The color is spread evenly woolen cloth is placed in tray and with the help of a metal plate. color poured on it. The surface of the block is dipped The outlines are printed in the color. with Rekh. 50

REKH OUTLINE ADDING PINK COLOR ADDING GREEN COLOR ADDING RED COLOR 51

Printing of the fabric A mulmul cloth or a jaali is placed on a tray on which the printing pigment is poured, after which a metal plate is used to evenly spread it. The carved woodblock is then dipped into the pigment and stamped onto the fabric. Initially, the outlines i.e the rekh is done after which solid colours are filled by datta to make more bold forms. Registration marks are done on the fabric in the form of pins to ensure the pattern lines up accurately. The printing is generally done from left to right and one printer handles only one colour and the application is simultaneously done. The number of colours in the design determines the number of blocks used as every colour has its carved block. The pallu is printed before the borders in the case of sarees. This process of printing the cloth is locally known as Chappai. 52

53

Drying of the pigment Sukhaai- The fabric is left out for drying in the sun for colour fastness after the printing process is done. This step is especially done for pigment dyes. The printed fabric is handled with utmost care to not transfer the colour to undesired areas. This is achieved by wrapping the printed fabric in newspapers or plastic. 54

55

Finishing of the fabric For the finishing, the fabric goes through a series of steams in special boilers for this step. Dhulaai- The fabric is then washed thoroughly left out to dry in the sun. The dried fabrics are then ironed which further fasts the colour onto the fabric. This craft of Sanganer block printing acknowledges equality and all the processes are done by the people of the community with no gender bias. 56

EFFECT OF WEATHER ON THE PROCESS 57

The weather plays a very critical role in the art of hand block printing. The increase in humidity and the lack of sunlight in the winters and monsoon in full swing results in slowing of the process. It takes longer for the dyes to dry as the nights are longer and the sunlight is limited, giving glimpses for a short period which in turn leads to bleeding and the runny of the dye. It also makes the pigment dry unevenly and the colour is not set correctly. The humid air and the moisture kindle the woodblocks to swell in the monsoon weather. Due to this, the woodblocks are stored in mustard oil to prevent swelling and warping of the block. This results in taking additional care and proper storage of the equipment, which slows the production in these seasons. Moreover, the resultant colours of the printed dyes are affected by sunlight, humidity and rain, and also water sources. 58

59

DESIGN & MOTIFS 60

Bolstered by the rulers, the motifs of Sanganer are unique and are intricately done on sun bleached white or cream fabric. The main inspiration of the motifs , designs and styles of the Sanganer block print are nature and the local sources . Motifs are known for their curves , fragility and their high quality . A Cloth with Sanganer print usually has yellow, blue or green background. 61

Flowers and plants , Fruits , Human figures and Animals, Geometrical patterns – are some of the broadly classified categories of the motifs. Each and every design of the print , their motifs and even their colours tell us about the specific community , their occupation as well as the season. 62

Buta and Buti – Composition of flowers, animals, birds , plants etc are called butta and butti. The smaller group of motifs is called buti and the larger group is called buta. Buti is derived from the Latin word ‘butia’ meaning composition of flower or a shrub. This term came into trend in the 16 th century due to the popular persian word ‘boot’ meaning small tree. Butas and butis are composed in two ways – natural and decorative. 63

MARIGOLD MOTIF NATURAL STYLE Flora and Fauna that are developed in their natural forms are called natural style bhant. For example – genda buti (marigold composition) , kamal buti (lotus flower composition), mor buti (peacock buti). 64

DECORATIVE STYLE Decorative style can also be called an artist’s fantasy. Here bhants are composed in such a manner that they all together form a different shape and give a new look. For example – bitchoo buti (flowers arranged in scorpio shape), Singh bal buti (composition that gives an impression of hairs on the lion’s face). 65

BEL Leaves and flower work done in a running pattern is called bel. Flowers , leaves and flower buds are used to make bel. They are composed and fit between two parallel running strips in an interlace manner. They are formed as a segment and then border is formed by repeating this segment. Borders have a very rhythmic character which looks very beautiful and attractive. Motifs of birds and animals along with botanical motifs were used to make these bels. Some examples of bels are keri bel, dakh bel, machali bel, morani bel etc. 66

JAAL Jaal is a floral net consisting of natural motifs in such a manner or pattern that compose floral all over. Bhants are so carefully placed that they not only cover the entire surface of the fabric but also gives an impression of the net. Traditionally only flowers and plants were used to make jaal, but now-a-days animals and birds are also used as bhants. For example – keri jaal (mango jaal), gulab jaal (rose jaal), patti jaal (leave jaal) hiran jaal (deer jaal), sher jaal (lion jaal). 67

KEY FEATURES The key features of the sanganer block prints are – perfection of the flower petal designs , curves and their elegance . Floral patterns are arranged in different manner to form bels (floral border) which are in stylized form. Earlier the prints were done only for the royal families and the motifs and designs were histrionic. Roses, rosettes, lotuses, lotus bud, sunflower, lily, ‘champa’ ‘canna’ ‘nergis’, marigold etc are some of the flowers used in the prints. ‘Sosan’, ‘gainda’, ‘gulmehndi’, ‘javakusum’, ‘guldaudi’, ‘kachnar’, ‘jatadhari lily’, ‘kaner’, ‘kanna’, ‘gullalla’ are locally known flowers which are also used in the Sanganer block printing. Sosan and gullala prints are used in various forms because they fit the Sanganer style of printing. 68

Other than flowers , fruit trees like banana , grapes , dates etc were also used to form bel , buti and buta. For example – dakh buti (grapes), kharbuja buti (melon ). In old bhants , parrots and fishes were also used. It was also found that, earlier, horses, peacocks, elephants, camels, human shapes were also used in Sanganeri block print but they came into trend later on. Generally these bhants are used for decorating bichhaunas (bed spreads), jajams (floor covers) curtains, table cover etc. which are used by the local communities. 69

MARKET & PRODUCTS 70

Traditionally block printing was done on Sarees, 3 piece suits, dupattas, phadak (ghagra). Now with the evolving era, scarves, stoles, cushion covers, curtains, wrap-around skirts, shorts, table napkins, kaftans and bandanas are also manufactured. The market for the hand block printing of Sanganer has changed gradually from bright, vibrant shades to sombre pastel colours. The traditional market prefers natural dyes, small intricate motifs with borders compactly fit onto the textiles. Only 30% of the market remains to be traditional. The rest 70% of the newer market prefers large butas and muted english tones. Earlier the designs were mostly made by the artisan units themselves and few were specifically provided by the buyers, but the market has changed and now the buyers give most of the designs. Also, the buyers do not have much awareness of the authenticity of products available in the market, and hence end up buying screen printed products. The market has to be educated with what is original hand block printed. Different brands selling sanganeri hand block prints are: Good Earth, Jaypore, Okhai, Fabindia, Farida Gupta, Mehera Shaw, Tokree Shop Jaipur, Itokri, The Anhad Shop, Napeansea, Lal10 and SeamsFriendly. 71

PRODUCT RANGE BLOCK PRINTED BANDANA BEDSHEET & PILLOW COVER TABLE NAPKINS SHORTS 72

SARE 3 PIECE SUIT DUPATTA STOLE & SCARVES 73

CHARACTERISTICS OF A GOOD PRODUCT Accurately printed areas with every filling block Experienced labour making the prints Blocks made out of the best quality wood are being used so that they don’t crack The rhythm of design is being maintained Cloth is washed, dried and mordanted perfectly Best quality fabrics used 74

FAILED PRODUCTS Products can fail because of the two major reasons: Print may get a little too out of shape, consistency of colour being made. The failed products are put to other use, and some products go through the whole process again. 75

EXPORT & PACKAGING The finished products are packaged in a 120mm plastic package then put into a cardboard carton and again wrapped in 120mm plastic. The wrapped carton is then packed in a jute bag and then exported. Then they are exported internationally to Australia, UK, Italy, the US, Spain, Poland, Germany, London and Singapore. 76

DIFFERENCES BETWEEN SANGANER AND BAGRU Major difference is between the process of printing. Bagru prints are a resist type of block print while sanganer block prints are direct block print type. Bagru block printing process first prints the motif with mud paste on the cloth for resist and then dyed later washed. Sanganer block printing directly prints the motifs on the mordanted surface then dried later washed. Bagru block prints are usually done on a indigo or fully dyed background, while on the other hand Sanganeri block prints are done on white, off-white background. 77

Sanganer fabrics were more sophisticated, while bagru products were aimed mostly at local, rural women. But both designs reflected 17th century Persian influence. In recent years Bagru has been more adventurous in its choice of block printed designs, whereas Sanganer has inclined more towards screens. The waters of Bagru bring out a reddish tone in the print, while on the other hand Sanganeri print colours become darker and vibrant by the washing cycle. Both of these are an effect of the water available in respective places. Sanganeri block print motifs are delicate, intricate florals and are filled with mute colours. Bagru block prints are large and geometric. 78

79

SIGNIFICANCE & IMPACT 80

SOCIO-ECONOMIC EFFECT OF BLOCK PRINTING 450 artisan families are dependent on this craft of hand block printing in the Sanganer region. Only 5-10 family units are continuing the traditional techniques of hand block printing and work with natural dyes completely. Most of the artisan units have shifted to screens and synthetic dyes. Also, the art of block printing is slowly being replaced by machine printing as it is an efficient way of printing. The use of dangerous chemicals and working round the clock are the two important drawbacks of the block printing industry. 81

Only a few printing units remain in the area of Sanganer as most of them have been moved to the neighbouring village Bagru. This is due to the verdict of the state pollution board as these textile factories were depositing 17-18 million litres of untreated water into the Dayawati river causing health and agricultural issues. Also, not all artisans are provided help. Only a handful get facilities like loans and schemes. Very soon the artisans will have to choose to leave Sanganer and switch to other jobs. Due to covid-19, many of these hand block printing units have endured heavy losses. The people of the region were just emerging from the after-effects of GST implementation in the year 2017-2018. Nevertheless, there might be some bright spots in the long run. Exporters are hopeful that post-pandemic when the markets pick up, textile buyers and manufacturers might diversify away from China towards countries such as Vietnam, Bangladesh and India. 82

HEALTH HAZARDS The art is slowly dying because of its long working hours and the health conditions in this field are very badly affected. Under the European commission SWITCH Asia project, a recent study by the Hazard Centre indicates that occupational health and safety issues are a major factor in the emerging discontent of workers. Also, another factor is that the increase in demand in the market has led to the growth of screen printing and the synthetic dyeing medium since it is a much cheaper replacement. The screen printing process is proving to be very harmful to the environment since it is washed in acidic water and this leads to skin problems. The same water is let into the farmland without any treatment and which in turn affects the soil quality, crop and hence the food artisans' consume. 83

FUTURE OF THE CRAFT 84

The block printing artisans in Sanganer and even all over India is the most prominent and demanded textile heritage in India. The intricate wood cutting work and the detailing of these blocks are implacable, and so the artisans claim that even the machines can’t do full justice to the detailing and beauty of block printing done by hand. The artisans involved in this craft have been doing this job for 20-30 years to improve their skills. Hand block printing has a 500-year-old history and all the printing is done by hand. Up to 20,000 people in Sanganer are dependent on this block printing for their livelihood. But we can see the art slowly dying since the artisans are not wanting their future generations to continue this further. These artisans want their children to not go into this labour-intensive work, rather they want them to study and make a secure future for themselves as doctors or engineers. On the other hand, the two sons of Avdhesh Kumarji have become designers and hence help the family business of hand block printing. Both the designers help analyse the varied requirements of foreign nations with regards to its colours and motif usage. 85

GI TAG FOR SANGANER HAND BLOCK PRINTING Due to lack of proper education and awareness about their rights as artisans the sanganer block printers are not aware of the GI tag. Geographical Indication of Goods (Registration and Protection) Act, 1999. The Geographical Indication (GI) certificate allows the producers of the Sanganer region to take legal action against the infringement of the name of their unique product. No other hand block and screen- printed textiles produced in other regions or countries can now be sold in India under the tag of Sanganeri print. 86

List of Crafts in Rajasthan that got the GI Tag 1.Bagru Hand Block Print 2.Blue Pottery of Jaipur 3.Kathputlis of Rajasthan 4.Kota Doria 5.Molela Clay Work 6. Phulkari 7.Pokaran Pottery 8.Sanganer Hand Block Print 9.Thawa art work GI tag for Sanganeri hand block printed textiles was granted on 19 March 2010. Unlike copyrights and trademarks, GI tag is publicaly owned by the artisans and producers of the specific craft of the particular region. With suitable marketing skills, GI tags can widely benefit the artisans and authentic hand block print makers. 87

SWOT ANALYSIS 88

STRENGTH Its peculiar procedure which includes a lot of the local natural resources helped this art to win the Geographical Identification mark. GI mark status is a boost for Sanganeri print, as only those prints which are made in this region will be recognized as Sanganeri Print. This will improve the financial condition of Sanganeri Chippas. Promotes natural dyes and mordants. WEAKNESS The craft is misunderstood as bagru printing. Health hazards- acid washes, synthetic dye chemicals, the workshops they work in, do not have proper ventilation and proper source of light. The basic tools and raw materials (fabric, wooden blocks, dyes etc) are a source of health issues like swollen hands. With lesser demand, the wages are on a decreasing day by day. 89

OPPORTUNITIES Getting a GI tag has given world recognition, hence collaborations with designers will help the craft grow and run with today’s fashion. More and more awareness of make in India, Indian handicrafts, hand block prints and Tribes India initiative will boost the craft. THREAT The present generation of the chippa community does not want their future generations to practice this craft. Growing demand for printed fabrics is increasing pressure on artisans, thus forcing buyers to shift to automated machines and screen printings for instant manufacturing. CHALLENGES Availability of experienced, skilled labour. Ban on the cutting of tree bark for natural glue. Procuring natural materials for making natural dyes from the forest department. 90

91

ARTISAN PROFILE 92

Avdheshji Name of the artisan: Avdhesh Kumar Pandey Age of artisan: 60 years approximately Contact details: +91 9414041325 Languages known: Hindi Highest level of education: B.Com, M.Com, C.S. (Company Secretary) Area of expertise: All-rounder, dye-making, printing The number of years of association with craft: 45+ years Skill taught by: Grandfather 93

Kartikji Name of the artisan: Kartik Age of Artisan: 17 years Contact Details: +91 8104791126 Languages Known: Hindi, English Highest level of education: 10th grade Area of expertise: Printing The number of years of association with craft: 3 years approximately Skill taught by: Father 94

IMAGE INDEX Cover Page A- Mrunalini Desai Cover Page B- Mrunalini Desai Pg.1. Women wearing printed Sanganeri fabrics- Mrunalini Desai Pg.2, 43, 45, 47, 48, 52, 54, 56, 58, 71, 85, 87. Buta in background- Mugdha Kulkarni Pg.5. People in frame- Mrunalini Desai Pg.6, 7, 31, 61, 78. Border- Mrunalini Desai Pg.8. Overview Image- https://adventure.com/wp- content/uploads/2018/05/Rajasthani-block-printing-Bargru-block- printing-community-Photo-credit-Lorna-Parkes-3.jpg Pg.8, 9, 10. Camel Border- Mugdha Kulkarni Pg.11,12. Section Divider- Muskan Balyan Pg.13 Culture of Rajasthan image- https://www.nyoooz.com/moxie_uploads/puppet.jpg Pg.14. Culture of Rajasthan 2- Mrunalini Desai Pg.15. Jaipur image- https://www.memphistours.com/India/india-travel- guide/jaipur-pink-city/wiki/hawa-mahal Pg.16. Culture pointers- Mrunalini Desai Pg.17. Costumes images- https://image.shutterstock.com/image- photo/india-rajasthan-march-08-2020-260nw-1801251418.jpg Pg.18. Language image- https://www.theindianwire.com/wp- content/uploads/2017/05/rajasthani-language-marwari.jpg Pg.19. Folk songs & Dance images- https://www.avis.co.in/blog/wp- content/uploads/2019/09/jodhpur-fort-600x293.jpg Pg.20. Art, Craft & Architechture images- https://5.imimg.com/data5/QJ/NM/MY-8086796/phad-painting- 500x500.jpg 95

Pg.21. Fairs & Festivals images- https://rajasthantourismbuzz.files.wordpress.com/2018/10/2018-10-23_15- 23_rajasthan-tourism2-e1540289229186.jpg?w=584, https://www.adotrip.com/public/images/events/5c3f09b412949- Winter%20Festival%20Mount%20Abu%20Sightseeing.jpg, Pg.22. Introduction to Block Print- Mrunalini Desai Pg.23. Map image- https://www.researchgate.net/profile/Kapilesh- Jadhav-/publication/315479176/figure/fig1/AS:738586446028800@155310 4139430/Map-showing-location-of-sampling-site-Samples-were-collected- from-Sanganer-industrial.ppm Pg.24. Sanganer Motifs- Mrunalini Desai Pg25. Ethnography- Mrunalini Deasi Pg.26. Ethnography 2- Mrunalini Desai Pg.27. Origin of Craft- Mrunalini Desai Pg28, 29. Section Divider- Muskan Balyan Pg.30. Wooden block image- https://cdn.shopify.com/s/files/1/1399/8591/files/Untitled1_large.png? 15652964870228193659 Pg.30. Tools Photograph- Kartikji, block print artisan Pg.31. Fabric image- Pg.32. Natural Dyes- https://images-eu.ssl-images- amazon.com/images/I/516fNn7bS8L._SX300_SY300_QL70_ML2_.jpg, https://2.bp.blogspot.com/-89ibvE6Hj0E/V4y_v91WK9I/AAAAAAAAHpU/ hDZt2oxG1ZUMaCfedEjsqOQ0e6qk2HILACLcB/s1600/indigo%2Bplant.j pg Pg.33. Synthetic dyes- https://dsource.in/sites/default/files/resource/sanganer-block- printing/downloads/file/sanganer-block-printing.pdf 96