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Daubed Textiles
As an expression of human
emotion and intellect ,we human
beings create images of colloquial
and special moments of life, invarious forms , mediums and
surfaces .
Prehistoric people created
images on walls on caves and
painted their primitive costumes
also on various subjects.
A region wise brief overview shows : Native American dress
material of buffalo-hide contained
crude paintings on sign-language
patterns as well as ceremonial
patterns.
One of the most striking of
all daubed textiles are theBogolanfinimud cloth of Mali.
These are decorated with geometric
patterns in white on a black
background. Mostly dyed cloths are
resisted by river mud patterns. The
exposed area is bleached with
natural bleaching agents to create
motifs.
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Painted Textiles
Painting on textiles is a stylemostly used to prepare pieces of
textiles for religious, educational,
documentation or publicity
purpose. Rarely this type of
fabric styling was used for dress
material traditionally.
The style of fabric paintingas a tradition is richest in India.
In Rajasthan painted textiles are
used as a backdrop and
supporting document for telling
folklores.
A Mata-ni-pachediis a
special decorative cloth for
temples in western India ,
depicting legends of Devi Durga.
Southern American
regions of Ecuador or Columbia
has heritage of painting textiles.
A painted bark cloth from Colum bia
A Mata-ni-pachedi from
Gujrat A Bhilw ara texti le pieceDepict ing Pabuji folklore.
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Pen Work (Kalamkari)
The Persian word kalamkari forthe pen-worked textiles from India
proves popular demand of these type
of textiles not only within India but at
abroad as well. These textiles were
exported as value added trade items
from south-east coast of India to
Persia and Europe since late 16th
century.
After Mughol empire and later
during European invasions this trade
was taken over by the foreigners.
A kalamkarifabric imported from India used
As persian prayer cloth with patterns inspiredBy Persian mythology.
An important event of Mahabharata depicted in a
Kalamkariwork from Andhra Pradesh
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Woodblock Printing
Taking impression of a natural
shape on the fabric surface with the
help of natural dyes, pigments or
mordant has been practiced all over
the world since early part of human
civilization.
Printing fabric with pre-curved
wooden blocks were mastered bycraftsmen in Indian subcontinent.
This is considered to be one of the
cheapest and quickest process of
fabric designing all over the world.
Though the traditional woodblock
printing has made way for mechanised
modern printing techniques , still in
parts of India and some pockets of
Africa , the process is still alive.
Bagh printing of Madhya Pradesh is
one such glorious wood block printing
heritage which is being rescued from
the brink of extinction by NIFT.
An woodblock printed yardage from Bagh, Madhya Pradesh
A piece of Adinkra cloth from Ghana
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Polychrome Woodblock
Printing
Basic art of woodblock printingwas developed in monochrome. Later
in various part of India and central Asia
the art of using multiple synchronised
blocks was mastered.
This multiple block technique
actually helped to introduce different
colours as can be seen in polychrome
woodblock printing.
This was one of the very few mass
production process successfully
developed in India until they were
overwhelmed by competition from
English and Scottish factories in the
18th and 19th centuries. Since then the
Indian woodblock printed cloth had
satisfied a global demand for cheap
printed cloth.
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Stenciling
Stenciling is a widespread techniqueused either to implant a design
directly, or to apply starch in the dye-
resist process.
The Japanese perfected this stenciling
technique as early as 8th century .
Their specialty of stenciling became
famous as katazome.This was the mother process of the
present day hugely popular screen-
printing process.
Some other parts of the world has also
seen some advent of this process, like
Afghanistan and India.
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Resist Printing
Resisting certain preselected
parts of the fabric from taking up
colour while rest of the fabric is
getting dyed and thus creating
patterns, is the basic principle of
resist printing.
This simple yet versatile
technique has fascinated human
imagination and has been widely
practiced all over the world.
To achieve desired resist
effect different types of
techniques are adopted at
different parts of the world; and
accordingly the processes are
known.
When certain portion of thefabric are tied by some kind of
thread or tape which wont allow
dye penetration while rest part of
the fabric is getting dyed is
known as tie and dye.
(continued)
A stenciled adire eleko, from Nigeria showing king George V & Queen
Mary
In 1935 when Silver Jubilee celebrations of their coronation took place all
over the world.
) i d
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a) Tie and Dye
The technique of resisting by tying
fabrics together in different patterns is
practiced all over the world in slightly
varying forms; giving rise to some
distinctive patterns of their own.
In (bandhni) India and (plangi)Indonesia the fabrics are gathered
around fingertips and tied where as in
(shibori)Japan vary delicate patterns
were produced by tying tiny bunches
with grains of rice inside the hold.
In west African region stones or sticks
were used to control shapes. By repeating tie & dye process a
number of times, using different dye
each time, a multi-coloured effect is
achieved. In Indonesia this is known as
plangi(rainbow).
Presently advent of information
spread and trade has seen techniquesbeing cross adapted all over the
places.
Indian Bandhnistyle of resist became
so popular that it has become
colloquial by the term bandanna,
which entered English language
dictionary as the word for spotted
kerchief.
A womans stole in tie-n-dye from
Tajikistan
A womans stole in tie-n-dye from
Rajasthan ( Bandhni)
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Stitched Resist
Stitched resist, like tie and dye,
prevents dye reaching parts of the
cloth. In Indonesia this techniqueis known as tritikand in Nigeria as
adire alabere. It is a commonly
used technique in Japan,
Indonesia and West African
countries of Senegal, Mali, the
Gambia, Sierra Leon, Burkina
Faso, Nigeria and Cameroon.
In some places of Indonesia
(Sumatra) effects are produced in
combination of some other resist
technique along with stitched
resist technique, the process is
called Selendangs.
A salendangfrom Sumatra, here the dot patterns have been
Tied but the egg shapes and the linear motifs are stitched.
An indigo resisted shirt from Cameroon, to produce such an
Elaborate pattern, the fabric has been embroidered with raphia
To resist the dye and the stitches then removed to exposeThe un dyed cloth.
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Leharia and Mothara
In the 19th and early 20th centuries,
the Marwaris , the dominant business
community of Rajasthan and India,
wore elaborately tied, brightlycoloured turbans as their
distinguishing mark. These turbans
were made by the leharia technique.
This process is continued to be
practiced in the dyeing quarters of
Jodhpur, Jaipur , Udaipur and
Nathdwara.
Long length or turban cloths are
folded first in usual width and across
fold . Then the folded fabric is rolled
diagonally, ties are placed at intervals
and the roll is dyed. This way wavy
resist lines are produced on the cloth,
known as leharia.
In case ofmothara the long turban
fabrics are folded diagonally from one
corner. Ties are placed at regular
intervals, dyed then unfolded and the
process is repeated from the opposite
corner, hence check patterns are
produced.
Mothara Leharia
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Starch-Resist
In Nigeria and Japan starch is usedas a resist medium for designs on cloth
to be dyed with Indigo.
In Nigeria the starch is applied by
hand. The starch is derived from
either cassava or cornflower and
known as lafun or eko. The starch is
applied on the whole cloth and after
drying the patterns are scrapped on
the surface of the fabric, then the
whole cloth is indigo died. Since the
starch applied is not completely
impermeable so the patterns assume
some amount of dye and the
appearance of the cloth is light blue
motifs on dark indigo background. Thetechnique has a similarity to
Indonesian batik because the motifs
are derived in negative.
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StarchResist
In Japan the starchresisting was very popular and the
application and patterning was
done either by hand or by
stenciling. The process is known
as tsutsugakiif the starch is
applied by hand . If the starch is
applied by stencil then the
process is known as katazome.
The starch used is made of rice
and known as tsutsu.
A Tsuts ugaki
A Katazome
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Wax Resist
The application of a wax-resist
before dyeing to form a pattern in
negative is most often referred to bythe Javanese word batik. Batik is
practiced in India, Srilanka, China,
South-East Asia, Turkey and West-
Africa, but in Indonesia, on the island
of Java, the craft has been brought to
an acme of refinement. Nowhere else
has wax-resist cloth been so finely
detailed.
The origins of batik are obscure, but
what is certain is that the Javanese
invention of the canting waxing
instrument enabled the finest hand
drawn batik to be produced.
In Java in the middle of the 19th
century a very new technique of waxresisting was evolved where engraved
copper plates in the line of early
European printing blocks were used to
create negative pattern before
resisting.
An Indonesian Batik
A Printed Wax Resist
From Java