i

H

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ft a

nd

Fab

rics

O

f Rajasthan

Prepared By: Manoj Ajmera Apparel Production Management Institute of Apparel Management, Gurgaon

Explore the Heart of

Rural Rajasthan

ii

DECLARATION

I hereby declare that all the work presented in the report entitled __Handicraft_and Fabrics_of

Rajasthan______________________________ in the partial fulfillment of the requirement for the

award of the degree of __Masters In_Apparel _Production

&__Management___________________________, Institute of Apparel Management, Gurgaon,

is an authentic record of my own work carried out under the guidance of ___Ms

Manka_Vasti_____________________

Name of the Student: Manoj Ajmera

Program Name: Apparel Production Managenemt

Date:22/12/2014

iii

CERTIFICATE

This is to certify that the report entitled _Handicraft_and

Fabrics_of_Rajasthan_____________________ which is submitted by

_Manoj_Ajmera___________________ in partial fulfillment of the requirement for the award of

the degree of _Masters_In_Apparel_Production_& Management________________________,

Institute of Apparel Management, Gurgaon, is an authentic record of the candidates own work

carried out by her under my guidance.

Date:22/12/2014

Ms. Manka Vasti

Assistant Professor, IAM, Gurgaon

iv

Abstract :

An attempt is to analyse cultural

heritage of Rajasthan and its

heartwarming handicraft

.Rajasthan, the land of Kings.

Drenched into royal grandeur

and soaked into glorious history,

Rajasthan is one of the most

charming and captivating states

of India. It has been globally

famous tourism destination with

lots of tourist attractions and

fabulous tourist facilities. This

historical state of India attracts

tourists and vacationers with its

rich culture, tradition, heritage, and monuments. It is also rich in its flora and fauna with some of

popular wildlife sanctuaries & national parks

The exotic spectrum of Rajasthan's handicraft heritage is a dazzling kaleidoscope of colors and

textures. The depth, range and inspirational intricacy of this heritage stems from its socio-economic

ethos, with whole village pursuing certain crafts, which are intrinsic to their survival or daily needs.

Rajasthan is famous for textiles, semi-precious stones and handicrafts, and for its traditional and

colorful art. Rajasthani furniture has intricate carvings and bright colours. Block prints, tie and dye

prints, Bagaru prints, Sanganer prints and Zari embroidery are major export products from

Rajasthan. The blue pottery of Jaipur is particularly noted.

Heart-warming textiles, dyed in the bandhani or tie & dye style reign supreme in Rajasthan.

Different methods are used to tie the fabric into small points producing different patterns like

Lahariya, Mothda,Ekdali and Shskari. The best bandhani work comes iikar and Jodhpur, while Jaipur.

Pali. Udaipur and Nathdwara are the other centres.

.

v

Table of Contents:

CHAPTER:1 INTRODUCTION ................................................................................................... 1

CHAPTER:2 TEXTILES OF RAJASTHAN: .............................................................................. 2

CHAPTER:3 WEAVING OF RAJASTHAN ................................................................................ 6

3.1 PATTU WEAVING: ...................................................................................................................... 7

CHAPTER 4 DYEING OF RAJASTHAN: ....................................................................................... 9

4.1LEHERIYA ................................................................................................................................... 10

4.2 BLOCK PRINTING: ................................................................................................................... 11

4.3 AJRAK PRINTING ..................................................................................................................... 14

4.4 KHADI OR CHAMKI WORK .................................................................................................... 15

CHAPTER 5 EMBRODIARY OF RAJASTHAN: ......................................................................... 17

5.1 QUILTING: .................................................................................................................................. 17

5.2.1 ZARDOZI ................................................................................................................................. 18

5.2.2 GOTA WORK: ......................................................................................................................... 20

5.2.3 DANKE-KA-KAAM: ............................................................................................................... 20

5.4 MUKKE KA KAAM: ................................................................................................................... 21

5.5 PAKKO BHARAT: ..................................................................................................................... 22

5.7 KARAK: ....................................................................................................................................... 23

CHAPTER 6 COSTUMES OF RAJASTHANI WOMEN: ............................................................ 24

vi

6.1 PUTHIA: ...................................................................................................................................... 25

6.2 KANCHLI: ................................................................................................................................... 27

6.3 KURTI: ........................................................................................................................................ 28

6.4 GHAGRA: .................................................................................................................................... 29

6.5 ODHNA: ...................................................................................................................................... 31

6.6 BANDI: ........................................................................................................................................ 32

CHAPTER 7 COUTUMES OF RAJASTHANI MEN: ............................................................... 34

CHAPTER 8 TRIVAL COSTUMES OF RAJASTHAN: ............................................................... 44

CHAPTER 9 COLOUR SYMBOLISM IN RAJASTHAN: ............................................................ 49

1

Chapter:1 Introduction

Rajasthan; literally, "Land of Kings" or "Land of Kingdoms"),[1] is India's largest state by area (342,239 square kilometres (132,139 sq mi) or 10.4% of India's total area). It is located on the western side of

the country, where it comprises most of the wide and inhospitable Thar Desert (also known as the

"Rajasthan Desert" and "Great Indian Desert") and shares a border with Pakistan along the Sutlej-

Indus river valley. Elsewhere it is bordered by other Indian states: Gujarat to the southwest; Madhya

Pradesh to the southeast; Uttar Pradesh and Haryana to the northeast; and Punjab to the north. Its

features include the ruins of the Indus Valley Civilization at Kalibanga; the Dilwara Temples, a Jain

pilgrimage site at Rajasthan's only hill station, Mount Abu, in the ancient Aravalli mountain range;

and, in eastern Rajasthan, the Keoladeo National Park near Bharatpur, a World Heritage Site[2] known

for its bird life. Rajasthan is also home to two national tiger reserves, the Ranthambore National Park

in Sawai Madhopur and Sariska Tiger Reserve in Alwar.[9]

The state was formed on 30 March 1949 when Rajputana the name adopted by the British Raj for its

dependencies in the region[3] was merged into the Dominion of India. Its capital and largest city is

Jaipur, located on the state's eastern side

Rajasthani Languag : Rajasthani (Devanagari: is a language of the Indo-Aryan languages

family. It is spoken by 20 million people in Rajasthan and neighbouring states of India and Pakistan, or

50 million if Marwari is counted as Rajasthani, as it often is. It is one of the languages descended from

old western Rajasthani, AKA Maru-Gujar or Maruwani, the other being modern LiteRajasthan

Porta.Most of the Rajasthani dialects are chiefly spoken in the state of Rajasthan but are also spoken

in Gujarat, Haryana and Punjab.

Rajasthan is culturally rich and has artistic and cultural traditions which reflect the ancient Indian way

of life. There is rich and varied folk culture from villages which is often depicted and is symbolic of the

state. Highly cultivated classical music and dance with its own distinct style is part of the cultural

tradition of Rajasthan Rajasthan is known for its traditional, colourful art. The block prints, tie and dye

prints, Bagaru prints, Sanganer prints, and Zari embroidery are major export products from Rajasthan.

Handicraft items like wooden furniture and crafts, carpets, and blue pottery are commonly found

here. Rajasthan is a shoppers' paradise, with beautiful goods at low prices .

The main religious festivals are Deepawali, Holi, Gangaur, Teej, Gogaji, Shri Devnarayan Jayanti, Makar

Sankranti and Janmashtami, as the main religion is Hinduism.

2

Chapter:2 Textiles Of Rajasthan: The textiles of Rajasthan are ornamented with outstanding

designs and vivid colours. The ancient art of textiles in

Rajasthan uses fibers like cotton, silk and wool to create

beautiful designs and textures.

In Rajasthan, as in other parts of India, the royal ancestry

encouraged master-craftsmen to create the finest fabrics.

The remarkable diversity of traditional textiles, both in

technique and style, has survived even to the present day. It

forms the foundation for further innovation in pattern and

design, thus defining the aesthetics of the region and

representing the evolving social and cultural values of its people. Rajasthani textiles explore

handmade textiles that are mainly used for apparel. Century-old skills continue to produce some of

the most artistic textiles in Rajasthan

which are admired and collected not

only by connoisseurs in India but are

popular all across the world.

Just like any other region of the world,

Rajasthani textiles also specializes in

emerging some excellent fabric and the

most precious one of the region is the

tie and dye work which is also called

`bandhni` in local language. Tie and dye

work, known as bandhej or bandhni is

popular all over Rajasthan in the form

of colourful odhnis and saffas.

Rajasthani textiles have developed an outstanding range of colours and have mastered another

technique in which the background is in light colour while the patterns are in dark colours. This is

done by dyeing sections of the fabric in the desired colour with the use of a piece of felt and then

tying. The cloth is bleached and only the tied sections hold back the colours. After this the

background colour is usually dyed and the completed bandhni emerges, with dark coloured doted

pattern on a light background. The red chunari, which is used as a veil by young married women in

rural areas, is never dyed in fast colour bandhnis. An attractive design dyed in a particular style is

the age old artistry that reigns supreme in Rajasthan. The art of bandhni is highly skilled process and

Rajasthani artisans have come a long way in developing new designs and patterns every time

fashion statement changed. Now the tie and dye clothes are one of the most exported fabrics of

India which also carries the legacy of Rajasthan along with it.

Figure 1.1 Different varities of printed,embroided sarees are available in Rajasthan

3

Different methods are used to make the textiles of Rajasthan attractive

and unique. Lahariya, Mothda, Ekdali and Shikari are the most popular

patterns amongst all the styles of `bandhni` and every design display a

unique look and nature. Lahariya and Mothra are very much alike

designs where Lahariya has long lines in various shades running

diagonally through the entire piece of cloth and Mothra showcases a

stunning checked effect with opposite diagonals. The human and animal

figures depicting neatly in the dazzling colours is the identity of Shikari

bandhni. Ekdali pattern displays small circles and squares in different

shades of colour and the cluster of three, four and seven multi coloured

dots make it even more gorgeous. Sikar and Jodhpur are the most

favoured destinations for excellent textile works while Jaipur, Barmer,

Pali, Udaipur and Nathdwada are still on their way to attain the best

market for Rajasthani textiles.

Rajasthan is the heartland of hand-block printing as well. Spectacular,

remarkable combinations of scarlet shocking pink, purple and orange,

turquoise and parrot green, saffron and crimson, incorporated with touches of gold and silver steal

the limelight in any gathering. Rajasthan textiles reflect the real core of block printing. Most of the

work is done by hand only. The art of block printing and dyeing is associated with home furnishing

and fabric for personal wear as well. The main centers for the block printing in Rajasthan are

Sanganer and Bagru. The process of hand block printing includes artisans to soak carved wooden

blocks in different colours and then paste them on the fabric thus creating some paranormal

wonder on the piece of cloth. Delicate floral prints and designs made in vegetable colour is the

specialty of Rajasthan block printing. The art of Khari or overprinting in gold is also widely practiced

in Rajasthan. This makes the traditional form of block printing even more charming and

contemporary in the region.

The women of Rajasthan have mastered the art of embroidering fabrics. In appliqu, different

pieces of cloth are set in patched form together to make a multi-coloured mosaic. The exotic

colours, shapes and pattern combinations against contrasting backgrounds make them unique

amongst other textile works. Inspired from the neighboring state Gujarat, the mirror work in

Rajasthan is also famous among the local women and people.

The main display season for Rajasthani textiles are during the fairs and festivals of the region.

Majority of the Rajasthani textiles are sold in the Pushkar Fair, Nakki Lake Fair, Baneshwar Fair,

Ramdeoji Fair, Janmashtami Fair and during the festivals of Teej and Gangaur. Tourists visiting

Rajasthan make it a point to buy some excellent Raajasthani textiles, which are going to make their

memory always colourful and bright. Rajasthan is a land of vibrant colours;. Rajasthani textiles are

the representative of that myriad hue woven in the cloth. Be it the multi coloured tie and dye work

or excellent block Printing, Rajasthan astonishes the entire world with its skill and efficiency through

its astonishing textiles and fabrics .

Figure 1.2

4

Textiles In different Regions Of Rajasthan : [10]

5

figure 1.2a women in traditional outfit[1]

Textile based

handicrafts:

Hand printed textiles

including block and

screen printing, batik,

kalamkari (hand

printing by pen) and

bandhani (tie and die)

are used in products

ranging from bed-

covers to sheets, dress

material to upholstery

and tapestry. The

famous embroidered

articles of silk and

cotton, often

embellished with

mirrors, shells, beads,

and metallic pieces are

also found in India.

Embroidery is done too

on leather, felt and

velvet etc. This

segment of the

industry accounts for

almost half a million

strong employment in

addition to a large

number of designers,

block makers, weavers

and packers involved in

the trade[5]

6

Chapter:3 Weaving Of Rajasthan

The art of weaving in Rajasthan has been practiced since ages and presently the art has acquired an

iconic status in the region. The art of interlacing yarns, the warp and the weft has been well known

in Rajasthan for centuries and hand-weaving is probably as old as civilisation itself.

Ancient terracotta spindles and fabric, excavated from the Indus Valley, are best evidences to the

familiarity of the crafts of spinning and weaving. Weaving in India is predominately a cottage

industry and in the state of Rajasthan, the village weaver has been the community`s sole source of

fabric. The loom has held a fundamental position in the social, economic and cultural lives of the

people.[1]

With the advent of modernisation and

industrialisation of the Indian textile

sector, mill-made fabrics have made

severe incursions into the village

weavers` traditional monopoly. The

unique beauty of the khaadi, reza and

fine Mathania mulmul from Rajasthan, is

becoming rare with the passing years.

Powerlooms are fast replacing

handlooms in most urban and rural

areas. However, hereditary weaving-

skills live on in many families in

Rajasthan and economically viable

products like Kota dona, pattus, durries, jajams and pile carpets, in traditional and contemporary

designs are still woven in the colourful state of Rajasthan.[5]

Weaving in Rajasthan, Costumes of Rajasthan Knowledge of the principles of weaving is found even

amongst the most ancient people of Rajasthan. The process itself is simple and consists of four basic

steps, irrespective of the kind of loom, level of technology or the pattern to be woven. The basic

steps of weaving in Rajasthan are shedding, picking, beating and taking up and letting off. Shedding

is the process of raising or lowering the warp yarn by means of harness and heddles to create a

shed. The weft is passed through this shed in a process that is known as picking. This process is

followed by beating, in which the weft or filling yarn is evenly packed and made compact with a

comb-like structure, called the reed. Once the primary motion is complete, newly formed fabric is

rolled on to the cloth beam and fresh warp is released from the warp beam. This taking up and

letting off is the `secondary motion` in the weaving process that is prevalent in Rajasthan.

Figure 2.1 Weaver In Rajasthan[1]

7

The village weaver in Rajasthan traditionally

produces two types of cotton cloth, the

khaadi and the reza. These are woven either

as yardage or a finished garment, like an

odhna or a dhoti. Using locally available

cotton yarn, the weaver plies his craft on the

khaddi or pit-loom. Khaadi is made from

hand spun yarn in a plain weave, while a

basket weave is employed for the thicker

reza fabric. These fabrics are then dyed and

patterned as required.

The art of weaving has been epitomizing the

culture of Rajasthan since decades. However, many modern mechanisms are slowly entering the

weaving market of Rajasthan, but the demand for khaadi and reza in original form has yet not

stooped low.

3.1 Pattu Weaving: Pattu weaving, famous in Rajasthan, is now a well known form of weaving in entire western India.

Western Rajasthan is famous for this particular weaving style of special shawls or blanket, the pattu,

which is a term derived from the word patti, meaning a narrow strip.[1]

This traditional wear pattu is mostly seen in the

areas of Jaisalmer, Barmer and surrounding villages.

Camel and sheep wool, available in natural colours

of cream, brown and black are extensively used to

weave the pattu. Of late, however, the introduction

of synthetic dyes and cotton fibre has added

colours like bright red, saffron, blue, green, pink

and orange to this time-honoured palette. The

fabric is worked upon in a twill weave on a pit loom

and countless patterns are created through the

methods of interlocking and extra weft figuring. In

the warping, vertical warp bands in complementary

colours are placed on the either sides of the loom

and the interlocking technique is used to get a pure

colour on these bands. A bobbin carries a weft in

the same colour as the distinct band, is used to

weave the restricted sections of the bands.

Figure 2.2 Weaved Products Of Rajasthan

Figure 3.1 Pattu Weaving[8]

8

Extra weft figuring brings about an embroidery-like effect on the loom. The extra weft is wound on a

small stick that is passed between a minimum of two and a maximum of twelve picks. The weaver

lifts the warp yarns and hands it to insert the extra weft yarn. The local Meghval community is

specialists in creating a multiplicity of beautiful pattus like the hiravali pattu, baladi check, and

kashida pattu. The two other famous designs from this region are the bhojsari and malani. Weavers,

in and around Rajasthan, employ the same process to make a woollen dhabla and other lower

garment of the Gujar and Kumhar women.

The motifs have a particular geometric course and are inspired from house. Different kinds of

articles and the wall and floor paintings called mandana also have similar motifs. Each pattu has a

characteristic joint in the central area. This is because the piece that is essentially woven on the

loom has a narrow width. Two strips are joined to create the pattu, which is worn by both men and

women. The bright, colourful pattu is warm and long enough to drape around the body. Farmers,

shepherds and others use it extensively in the rural areas of Rajasthan during the winters.

9

Chapter 4 Dyeing Of Rajasthan: Dyeing in RajasthanAlizarin is a red dye, most extensively seen on textiles. One of its natural sources

is the root of the madder plant, rubia tinctorum. The alizarin extracted from this root mixes with

alum to produce a rich red colour. Both

natural and synthetic alizarin is used on

fabric, which is dyed in a tamda (copper

vessel). The required amount of alizarin is

dissolved in water to obtain the desired

shade of red. The fabric is then immersed in

a heated dye bath. As the temperature is

raised, a red colour develops in the areas

printed with begar paste (alum mixed in

gum, which acts as the mordant). Eventually,

the fabric is washed and dried before the

next treatment.[1] Figure 4.1 dying on grey fabric

10

Neel or Indigo, the blue dye, is also frequently used in Rajasthan and surrounding region. It is

extracted from the leaves of the indigo bush, indigofera tinctorum, although synthetic indigo is now

readily available in the market. As both natural and synthetic indigo are insoluble in water, the dye is

first made soluble by reducing it during the treatment with an alkaline solution. The fabric to be

dyed is then dipped in the cold solution and on exposure to air oxidizes to a blue colour. Extended

and repeated treatment in the dye bath produces a fast, dark blue. A rich yellow hue comes from

the dye known as nashphal. This is obtained by boiling dry green rinds of the pomegranate fruit.

Another yellow dye is the pomegranate solution that is produced by boiling pomegranate rind,

turmeric and oil in water. The technique of application is known as `potna` which literally means `to

smear`. The solution colours the fabric to a rich yellow. The colour, black, comes from a dye

produced by fermenting scraps of iron with jaggery.

This, when thickened with a gum solution, attains a

suitable viscosity for printing and the paste that is

called syahi.

Each of these dyes combined with the various different

dyeing and printing techniques creates the variety of

designs and colours that are admired in the everyday

life of Rajasthan. Rajasthan has a number of dyeing

centers. The most prominent dyeing centres in

Rajasthan are at Jodhpur, Jaipur and Sikar. Sikar

produces some of the finest dyeing fabrics and they

produce a range of patterns, which are made for

different communities in Rajasthan, Haryana and even

Punjab.

4.1Leheriya: Leheriya is a widely known variation of design in fabrics that is produced using the basic technique

of tie and dye. The term Leheriya is derived from the Hindi word `leliai`; meaning `wave`. The dyer

creates wave-like patterns by

producing diagonal stripes on the

fabric. This process is practised in

Jodhpur, Jaipur and Udaipur. The

leheriya was patronised in the

nineteenth and early twentieth

centuries by the Marvari merchant

class of Rajasthan, who wore

turbans of brightly coloured

leheriya fabric.

figure 4.2 dying by taditional method

figure 4.1a Leheria Print

11

To create diagonal stripes, the craftsmen of Rajasthan uses a special method of resist-dyeing,

wherein the material is generally a turban or sari length that is rolled up diagonally across opposite

corners and then tied tightly at intervals before the actual dyeing process begins. Delicate, light

fabrics such as thin cotton voile, fine silk and chiffon are usually preferred, as they allow the colour

to penetrate through the rolled cloth. The fabric is wrapped around a wooden pole, usually while it

is still wet, though it may also be in a semi-dry or dry state. The thread that ties up the fabric acts as

a resist, yielding a pattern of diagonal stripes after dyeing. The thickness of the thread and the

distance between the ties may be varied to obtain snipes of different widths.

The dyer`s extraordinary talent allows him to create multi-coloured stripes after the first dyeing by

opening up some sections of the rolled fabric, leaving other sections still bound, and tying up fresh

sections, then dyeing the whole or part of the fabric in a different colour. A checkered pattern is

called `mothro` and is produced by the intersecting of diagonal stripes. To achieve this, the fabric is

unrolled and then rolled up from the opposite corner. The process of tying and dyeing the cloth is

then repeated.[4]

An astounding variety of leheriya textiles are produced using this simple process. A panchranga

(five-coloured) design is considered the most auspicious, since the number five has a special position

in Hindu mythology. Another beautiful pattern, `satranga`, flaunts the seven colours of the rainbow.

Stripes that follow in one direction and colour are known as `leheriya`, while, when diagonal stripes

intersect at right angles to form checks and the pattern is known as a `mothra`. Gandadar,

pratapshahi, rajashahi, samudralehar and salaidar are again variations of stripes created by this

similar technique.

4.2 Block Printing: Block Printing, Dyeing in RajasthanBlock printing has earned a reputation for itself in Rajasthan for

ages. Rajasthan has a long

legacy of its fine handprinted

cotton textiles. The craft has

been mastered over many

centuries and skills in block

printing, like dabu (resist-

printing); khadi and warak

printing are unparalleled. A

stability of tradition is

apparent in the similar design

styles of printing that are

found even today, despite the

accessibility of modern

techniques like screen-

printing. According to figure 4.2a Block Printing

12

tradition in Rajasthan, craft skills are passed down the generations, from b 9parent to child, the

expertise remains within the family and people engaged in this trade form an identifiable group

called the `Chhipa community`.

The craft of block printing is practised in almost every village in Rajasthan. As it is heavily reliant on

water sources; hence, initially, commercial printing centres began to rise near water sources, the

most famous centres being Sanganer and Bagru near Jaipur, Barmer, Jodhpur and Akola near

Udaipur. Over time, each centre for block printing in Rajasthan has developed its distinguished

design style and techniques-for instance, sombre and low toned colours and delicate lines, creating

finer designs like the poppy, rose and lotus, usually against a white background, are well known

characteristic of fabrics that are printed at Sanganer. In contrast, motifs are conventionally big and

bold in Bagru, where dabu (resist-printing) and the dyeing process produce a reddish black shade.

Wild flowers, buds and foliage have provided inspiration to the printers of Bagru. In Jaisalmer, the

printers use wax resists and thereby create a dramatic wedding odhna called jajar bhat in red and

black.

The Rajasthani craftsperson usually creates a motif that is a blend of flower, bud and leaves or other

forms such as keri (mango), pan (betel leaf), katar (dagger) or jhumka (ear-ring). A notable feature of

Rajasthan`s block printing tradition is that animal motifs are usually not used on fabric that is meant

for costume. Royal patronage in Jaipur and Jodhpur encouraged local printers to work exclusive

designs on various kinds of garments. Motifs in this region have been highly influenced by Islamic

culture and floral designs that are often associated with other crafts like silverware, brass, and

marble. Local art is also a strong inspiration, as in Udaipur where the art pichvai painting is reflected

in the printed textile. Another example is Nathdwara where dyers make their blocks from

sandalwood and also add perfume to the colour mixture to produce scented fabrics.

The unique motifs on fabrics serve as a mark of group identity and, hence, have remained unaltered

since generations. For example, women of different communities use different motifs on their

ghaghras. The Jat uses the motifs like teetri bhat and koyali bhat. Young, unmarried Jat girls, wear

the dhola-maru motif, while older women of the Kumhar community use the daabri bhat motif.

Even now, when polyester and mill-made warp-knitted fabrics have become the norm, people still

strive to wear traditional designs on new fabrics. Block printing is one of the most basic techniques

of printing by hand. It is a popular, low-cost technique that is used especially, for small yardages and

single pattern designs on cloth pieces. The colours are derived from vegetables and metals

depending on local availability. Wooden blocks are the main printing tools and are prepared by the

local carpenters. These blocks are usually hand-carved from locally available wood and may be

rectangular, square or circular. The blocks have cylindrical holes that are drilled in the back to enable

the release of air bubbles during the printing process. Registration notches arc cut on the side of the

blocks to ensure proper arrangement for each subsequent colour. This ensures that each block

registers on the fabric accurately.

13

The gad, rekh and datta are three types of blocks that are distinguishable by their different styles of

carving. The gad is carved in intaglio and is engaged to print large background figures, while rekh

and datta are carved in complete relief. Rekh blocks also mark the outlines of the motif and are

often used in conjunction with gad blocks, the rekh then forming the fine elaborate lines within the

impression made by the gad block. Datta is carved in bold relief and complements the designs of

both the gad and rekh blocks. Each of these blocks is used separately or together to produce endless

design variations.

Some of the pastes that are used in block printing of Rajasthan are syahi, begar and dabu. Adding a

gum solution to the paste thickens it and thus provides a viscosity that is suitable for printing. The

begar paste prepared with fitkari or alum, gum and geru produces the bright red colour. Alum acts

as a caustic and combines with the colouring substance alizarin to produce colours ranging from

pink to deep red on cotton fabric. The process of block printing begins with washing and desising the

fabric. The printing paste is poured into trays known as saj. A bamboo net, chipri is then placed in

the wooden tray and a coarse woollen clolh, kambal ki gaddi, is spread over it. This prevents excess

colour from rising to the surface and ensures that the block picks up the dye evenly. Dried fabric is

eventually spread out on flat, softly padded wooden tables and block printing is begun from one

end. The block is lightly pressed on the printing tray and then pressed on the fabric, transferring its

impression on to the material. The process is one more repeated, thereby taking care to ensure the

blocks` alignment with each other over the entire cloth. Each colour in the design requires repetition

with individual blocks. The printed cloth is dried and washed again to remove the gum that was

added while printing. Finally, as the last stage, the fabric is dried in the sun.

There are several other processes of block printing that are often used in Rajasthan. In the direct

method the block is dipped in the paste and then pressed directly on the pre-treated fabric. This

does not involve any resist and no dyeing procedures are necessary. Dabu or resist printing is

another method of block printing. In this method, the actual sequencing of the process and different

stages of dyeing and printing can differ depending on the desired final pattern. The fabric is printed

with a mordant (alum) or a resist (dabu) or both. When a cloth printed with mordant is immersed, it

reacts with the dye and colour develops only in those areas, which have been treated with mordant.

If the fabric is printed with resist, however, only the areas that are unobstructed will accept the dye.

The fabric is first washed and completely cleaned, then treated with harda solution. It is then

printed with the pastes like syahi and begar in two distinct steps. The dabu is applied to the cloth

using a `datta block`. The areas resisted with dabu will not absorb colour on further dyeing.

Following the application of dabu, sawdust is lightly sprinkled over the surface to facilitate quick

drying of the fabric. Dyeing with alizarin develops a rich red colour in areas printed with the begar

paste. The fabric is then washed and dried and, if needed, printed again with resist before being

immersed in indigo dye, which produces a deep blue colour. Sometimes, nasphal (yellow dye) is also

used on the respective fabric. This can provide it additional tones of yellow and green. In some

regions of Rajasthan, the material is eventually dipped in the nasphal solution, whereas in other

places the solution is smeared on the surface.

14

The Dabu paste is prepared with clay. This mud-resist is removed once the desired pattern has been

achieved. Different types of dabu solutions are used. Some of these are kalidar dabu, dnlidar dabu

and gawarbali dabu. The latter one is produced from roasted seeds and has the maximum adhesive

qualities. The most commonly used, however, is the kalidar dabu, which is made with kali mitti

(clay), chuna (lime), bidhan (wheat flour) and gaund (gum), a natural adhesive. The clay is soaked

overnight and to this is added wheat flour (soaked in water) and lime solution. This is thoroughly

mixed by the treading of feet and gum is periodically added to this mixture. The gelatinous paste

thus produced is strained through a fine muslin cloth to remove any particles. The solution is then

ready for use in resist printing.

Block printing developed in Rajasthan bears a special trait with colorful prints of birds, animals,

human figures, gods and goddesses. The demand for block printing fabrics in Rajasthan are

increasing with passing years and are often seen to be sold in fairs and festivals at local and national

levels.

4.3 Ajrak Printing: Ajrak printing has become famous in all the northwestern states of India. However, Rajasthan and

Gujarat are the major hubs for this kind of printing. The term ajrak may have evolved from the

Sanskrit word jharat, from which a-jharat or stable object was coined. This term could also be a

derivation of azrak, meaning

blue in Arabic, as traditionally;

blue happens to be one of the

principal colours in ajrak

printing.

This style of printing is

restricted to certain areas in

Rajsthan and Gujarat, like

Banner and Akola in Rajasthan.

The ajrak technique is used to

create various functional

garments, like the head

covering and the sarong-like

lungi, both of which are

popular with the men in this region. It is also used as a wrap, a carrying cloth or a floor sheet.

Meghval and Sindhi Muslim women wear ajrak printed ghaghra and odhni. The process of this kind

of printing is very interesting. The raw fabric in full length is pulled exhaustively through the river

many times, scoured, beaten, steamed, mordanted, printed with resist mud-pastes from the banks

of the river, covered with powdered camel dung and ground rice husks; dyed in deep, deep madder

and indigo.

Figure 4.3 Ajarak Printing

15

Ajrak fabrics are very precious in the world of textiles. Before the actual process of printing begins,

the fabric is washed and treated with a harda solution. Thorough washing and de-sizing is necessary,

as it improves the cloth`s capacity to absorb the colour.

Kariyanu is the first step in Ajrak printing. A resist paste of lime is imprinted on to the fabric. This

distinguishes the white outlines of the design. The borders are printed from left to right and always

before the main body of the fabric. Ajrak printing can be single or double sided. When the reverse

side is printed, the process is carried out; while the material is still damp, as fabric tends to shrink

when it dries. Syahi paste, which turns black on contact with alizarin, is used in the second stage of

printing. All areas to be resisted for indigo arc printed with gach, alum resist-mixed with mordant.

Dried rice husk is then speckled on the damp areas to fix the resist. The fabric is now immersed in an

indigo vat, then washed and finally dried. The next treatment applied is with alizarin. The cloth is

washed and dried, once again. It is then printed with fresh resist on all areas of the ajrak, except

those, which have been hued with indigo in the first immersion.

The fabric is dyed once again to develop its colour in a special process called mina. The deep, rich

shade of blue so obtained is characteristic of ajrak printing. Subsequently, the cloth is put through a

final washing and a special finishing thus gives the ajrak its characteristic lustre. In recent times, the

inclusion of nasphal in the dyeing process has added yellow and green to the ajrak palette. The ajrak

is clearly distinguished from other block-printed textiles not only due to its deep red and blue hues

but also in its structuring of motifs. Here, each of the motif`s quarters is produced by an identical

impression of the block, the four parts coming together forms the whole motif.

The Ajrak print is employed within a grid, the repetitive pattern creating a web-like design or the

central jaal. Apart from this jaal, border designs are also employed in the fabric. These borders are

aligned both vertically and horizontally and frame the central field, distinguishing one ajrak fabric

from another. The lateral ends are printed using a wider, double margin in order to differentiate the

layouts of borders.

Ajrak printing has recently gained great momemtum in the region and this form of prints is often

employed by the urban designers to give the garments a folk touch.

4.4 khadi or chamki work: Printing and dyeing works in Rajasthan has earned immense fame in the past decades. Khadi or

chamki work as it is popularly called enhances the glamour of the fabrics, even the plainest textile.

Khadi or Chamki work, also known as Tinsel Printing, has been a long tradition in Rajasthan and this

manner of decorating textiles was extensively applied to the costume of royalty and the articles they

used. Though practised all over Rajasthan, Jaipur, Jodhpur, Barmer, Ajmer and Udaipur are the most

popular centres for their elegant khadi prints. It is fascinating to watch the designer making

exquisite patterns on wedding odhnis, saris and turbans with magnificent deftness and speed.

Previously, artisans of Rajasthan used gold or silver dust for Tinsel printing.

16

This was lately replaced by flakes of crushed mica, or cheaper metal powders, called bodal.

Nowadays, granular and fine metallic powders, in different colours on a gold or silver base, are

widely used for this kind of printing.

Khadi work is primarily done on garments that are worn for ceremonial purposes. It is also created

on garments like the kanchli, ghaghra, angarkha, jama, odhna and turban cloth. A special bridal

chunri called phavri or phamri is an essential part of the Rajasthani bride`s trousseau and is worn on

festivals like Gangaur and Teej. This wedding chunri is usually red in colour and has a special design

called khaja, printed in its centre. This ancient tradition of ornamenting cloth in Rajasthan makes use

of a special engraved brass block called a sancha, one end of which possesses a design or motif

pierced on it. The sancha is coupled with a matching carved wooden datta, which fits its borders,

exactly. The two blocks are used together to stamp designs on to the cloth. The sancha comes in a

variety of shapes, such as round, oblong, square and rectangular.

The brass block or sancha is filled with rogan, which is a thick viscous paste that the craftsman can

either prepare himself or buy the readymade product locally. This mixture is heated briefly before it

is poured into the sancha. The wooden data is then inserted into the sancha and with a syringe like

action is pressed out through its perforated end. The paste is then stamped on to the evenly spread

cloth. The stamping action is rapid but firm to allow the paste to form an adhesive film on the fabric.

Before it dries, gold or silver powder is sprinkled on the fabric, which settles on the printed design

and is fairly permanent. Excess powder is thus collected and reused.

The procedure of Khadi or Chamki work is repeated till the whole cloth is printed over and the fabric

is then dried. The most common motifs, used in khadi printing, are the phul, mogra, chandani, buti,

mor, keri and khaja. The ground fabric can be of any colour and does not have to be washed earlier

as in other printing techniques. This technique of printing has gained immense popularity with time.

17

Chapter 5 Embrodiary Of Rajasthan:

5.1 Quilting: Quilting and patchwork are highly renowned textile crafts in Rajasthan. These techniques are

employed in the creation of a variety of articles,

starting from apparel to soft furnishings.

The ralli or quilt is best known of all these items that

involves patchwork and quilting. The ralli is made from

white material, the top layer of which comprises new

fabric. The lower folds that cannot be seen are made

with old garments, an excellent instance of the thrifty

nature of the artisans. The ralli is appliqud in

decorative designs with brightly coloured sections and

cutout patterns. A cutout border is taken along the

margins and delicately created tassels of cotton, silk

and sequins that are attached to the four corners. Vibrant colours are used for the ground fabric.

The inspiration for this craft comes from the standards of economy and cautiousness, taken up by

the people of Rajasthan. Here, every available bit of fabric is used and recycled to create objects

that are, at the same time, appealing and functional.

This craft mainly uses two techniques; the first is patchwork, where geometric pieces are joined

together with a running stitch. A plain fabric then supports the patchwork and it is quilted in straight

lines with a simple running stitch. Articles such as floor spreads and camel trappings are made with

this method. In the second technique, pieces of fabric are shaped in geometric, floral or animal

forms. They are cut, hemmed and appliqud to large pieces of brightly coloured fabric that are often

into contrast. The patchwork and quilting technique is used in the fabrication of article chandani and

canopy.

Figure 5.1 Quilting-Technique

18

5.2 Metal Embriodery:

Metal Embroidery, Embroidery of RajasthanMetal

embroidery, a popular embroidery style in Rajasthan,

primarily found its patrons in the royalty and the well-to-do

merchant classes who wore ornately adorned apparels. They

preferred gorgeous garments abundantly embroidered in

gold and silver because embroidery was thought to be

auspicious and also because it represented wealth, power

and importance. The royalty were so impressed by this style of

ornamentation that they often employed it on a wide range of

fabrics other than apparel, like footwear, belts, caps,

cushions and even on elephant caparisons and canopies. The embroidery on these garments is,

sometimes, so extravagant that the surface of the ground fabric cannot be differentiated.

Metal embroidery can be classified into three kinds, zardozi, gota work and danke-ka-kaam. Gold

and silver are strained through a series of dies to obtain a fine thread. This can either be hammered

flat or used as they are found. It could also be enveloped around a silken or cotton filament core to

manufacture the thread. Nowadays, electroplating with other metals also achieves a similar effect.

This process is widely used in Rajasthan.

Metal Embriodery further dived into:

5.2.1 Zardozi

Zardozi is the metal embroidery that uses pure gold and silver

wire or the zari. Therefore, this type of embroidery is known as

zardozi and was, probably, derived from the Persian word Zar

that means gold and Dozi meaning embroidery. Thus Zardozi

refers to sewing with gold string. Zardozi work is also known as

karchobi, which is derived from the word Karchob or

framework. The embroiderer stretches the fabric tightly on a

wooden frame, within which this style of embroidery coins to life

Zardozi is to be worked in two distinct styles. The first, karchobi,

is distinguished by the density of its stitches on a heavy base

material such as velvet or satin. It is usually seen on garments like

coats, tent coverings, furnishing and canopies.

figure 5.2 Metal Embroidery

Figure 5.2a Zardozi Embroidery

19

The second is kamdani, the

lighter, more delicate work,

which is well-known in

Rajasthan. Kamdani adorns

elegant fabrics like silk and

muslin. Although this kind of

work is considered to be most

suitable for scarves and veils,

these days it is most visible on

bridal wear.

figure 5.2a

figure 5.2b

Doing Embrioderd work is the intregal

part of the lifestyle of the people of

Rajasthan ,It can be seen eveywhwhere.

20

5.2.2 Gota Work: Gota work or Lappe ka kaam is also a form of fabric

ornamentation that was perhaps developed in Rajasthan.

It is also known as gota-kinari work and lappe-ka-kaam. On

religious, social and festive occasions, men, women and

children dress in their finest clothes that are often

ornamented with Gota work or Lappe ka kaam. Gota lacing

is extremely popular and odhni and turban edges of

Rajasthan are often worked with it. Many printed or

embroidered ghaghras are also trimmed with gota work.

5.2.3 Danke-ka-kaam: 2.3 Danke-ka-Kaam, Metal Embroidery in RajasthanDanke ka kaam is a specialty in terms of metal

embroidery of places like Udaipur and neighbouring areas. This craft is particularly distinguished by

the use of a small, metallic square around which the zardozi work is usually done.

figure5.2b Danka Embroidrey

Figure 5.2b Gota Embroidery 1

21

5.3 Surf Bharat:.

he Suf Bharat embroidery style bears a resemblance to the Phulkari of Punjab, Baluchi embroidery

of Iran and the needlework of Swat and Hazara in Pakistan. This embroidery work can, thus, be

identified as a style of embroidery common to the wider region of Southwest Asia. [1]

In Rajasthan, Rabari women are well known for embellishing many

household articles with suf bharat embroidery style. Among these

are articles of daily use like the rela, a type of odhni, the

thalphosh, which is an envelope for a plate and the bokani, which

is a long embroidered strip of the fabric that can be tied at the

waist or wrapped around the head. This embroidery is also popular

with Jat, Bishnoi, Meghval, Rajput and Sindhi Musalman women.

The distinguishing feature of suf bharat embroidery style is that it

is worked from the reverse side of the fabric in surface satin stitch,

forming superior geometrical motifs. The style is also known as

tantik that is derived from the word tantu (thread), since the

embroiderer works in the motifs by counting the warp and weft threads.

5.4 mukke ka kaam: Mukke ka kaam, a type of embroidery in Rajasthan extensively uses the gold and silver threads to

make the fabrics even more attractive. The gold and silver metal threads are known as mukke-ka-

kaam that produces stunning embroideries that are used widely in Rajasthan.

Mukka is the local name for metallic gold or silver thread that is wound around a core of cotton

fibre. Both golden and silver mukka is used in this embroidery work. This style is mostly done in the

Thar belt of Rajasthan, especially among the Sindhi Musalman and Meghval communities.

figure 5.3 Surf Bharat Embroidery

22

5.5 Pakko bharat: Pakko bharat is a style of embroidery, so called for its sturdiness and longevity. Pakko is derived

from 'pakka', which means, permanent. In this style of embroidery, a tight square of chain and

double buttonhole stitch is supplemented with the satin stitch and fly stitch that are used to create

a dense pattern on the cloth.

The motifs used in pakko bharat are both geometric and floral. These are

first shaped out with a chalk like substance and then worked mainly in

shades of red, dark green and gold or yellow with a characteristic black,

though sometimes yellow or white borders. Mirrors, called tika are used

as the centres of the flowers and to form border designs. Though

embroidery threads of silk may be employed, cotton is usually favored.

Trimmings like mirrors, beads, buttons and tassels enhance this style to

produce richly ornamented chadars, odhnas, and kanchlis.

5.6 Mochi Bharat:

Mochi Bharat or leather embroidery is a style of embroidery that is

common to most parts of this region. Mochi Bharat was actually

developed to ornament leather objects and is usually created on

shoes, animal saddles and trappings. In addition, gold and silver zari

is greatly employed on accessories like leather belts, bags and

walletsUsually, soft leather is used in this type of Rajasthani

embroidery as it is easy to work on. Lately, however, Mochi Bharat

style of embroidery has also found its way into the decoration of textiles like cotton, silk and velvet

figure 5.5a Pakko Bharat Embroidery

figure5.6 Mochi Bharat

23

5.7 Karak: Kharak, Embroidery of RajasthanKharak, another well-known

style of embroidery practiced in Rajasthan, derives its name

from the fruit of the desert, the date, and locally called kharak.

Its characteristic feature is its clusters of narrow bands or bars

of satin stitch. The embroiderer deftly counts warp and weft

threads on the ground cloth, producing the perfect geometric

patterns in which the bars are arranged. In case of pakka

embroidery, the design is first created on the cloth. The

needlewoman uses a black double running stitch as she

counts. The outlines are later filled in with multi-coloured

thread. Strange effects are produced using the satin stitch to form small rectangular designs.

Cotton threads in bright colours add vitality to the base fabric. The design is accentuated by green,

white, pink and yellow within a stark black outline. Often, mirrors are stitched onto the pattern and

set in a ring of blue, with embroidered white lines radiating from them, creating motifs that

resemble the sun. Kharak bharat motifs are limited and sometimes human figures are brought out in

chain stitch. Popular designs for Kharak embroidery include bewari kharak and ghinghro wall kharak

Figure 5.7 Karak Embroidery

24

Chapter 6 Costumes Of Rajasthani Women: Costumes for Rajasthani WomenThe costumes for Rajasthani women

are much like the region and culture itself that are equally colourful.

The status, moods, emotions and even the seasons are portrayed by

the costumes of the Rajasthani women. Probably, all the colour and

splendour of the state is reflected in the vitality of their dress and ornament.

For centuries, the costumes for Rajasthani women have featured a specific pattern of dressing that

is particularly unique to that very state. The most commonly worn by the women in Rajasthan has

been a combination of upper garment clothing that includes the puthia, or kanchli and kurti; and the

lower garment clothing that includes the ghaghra or skirt and the veil or odhni that is draped to flow

across the upper and lower parts of the bo dy. There are numerous variations and additions to this

ensemble across and within communities, depending on the wearer`s social position. However,

these three items of dress comprise the essential costume that is typically worn by women in

Rajasthan even today.

The most important factor that determines variation in a woman`s costume in Rajasthan, within a

community is her marital status. Bright colours, heavy ornamentation and rich fabrics that is

associated with marriage, fertility and the status of a woman`s life. In sharp contrast, a widow`s

dress, though similar in style, is dull in colour and lacks embellishment, emphasizing abstinence.

Figure 6.1 woman in traditional daily wear dress

25

Numerous variations in style, cut, colour and embellishment are clearly visible in the various

communities of Rajasthan.

The costumes of Rajasthani women are also an indicator of social status. For instance, the Rajput

women, who belonged to the highest social order, customarily followed the parda system where

women`s movements were, by-and-large, limited to the zenana. Their costume, in the privacy of the

women`s quarters, could be elaborately decorated and free of restriction. Their ghaghras were fairly

short exposing beautiful leg ornaments, as are portrayed in numerous paintings. However, as the

parda became outdated, Rajasthani women`s attire saw corresponding-changes to ensure the

preservation of feminine modesty in public places. Therefore, the length of the ghaghra was

increased to avoid exposing any part of the leg and feet. The present day Rajput ghaghra now trails

on the ground that however looks even more beautiful. In contrast, many women who work in the

fields wear ghaghras, which end about 10 cm. above their ankles, as dictated by their occupation.

They also wear leg and ankle bracelets that are not just for adornment, but also as protection

against brambles and bites as they walk through the fields.

In some parts of Rajasthan, a single coloured odhni tells that girl has not yet reached puberty, a

large bandhni circle on one corner of the odhni states that she is married; and a single large circle in

the centre, in bright red, tells that she now is a mother-and suddenly, the colour deepens, the circles

become shadowy that means she is a widow. These concepts of form, colour and ornament are an

integral part of the heartbeat of oral thought and tradition.

Costumes of Rajasthani women has been a dazzling piece of attire since ages and with the passage

of time many more process have been implemented to make these costumes even more beautiful.

However, the traditional style of Rajasthani attire still exists with few modern embellishments

6.1 Puthia: Puthia is the upper part of the attire of Rajasthani women. In Rajasthan, newborn babies, young

unmarried girls, elderly women and widows wear the puthia as their upper garment.

Puthia indicates the non-fertile, sexually inactive phase of a woman`s life. Therefore, this Rajasthani

costume is abandoned only after the girl attains puberty, even though she may marry in the tenure.

This is, especially so, in case of child marriages where the bride goes to her marital home only after

puberty starts. Puthia is worn among all Hindu communities with slight variations in style and

construction that are analytical of the community to which the wearer belongs.

The Puthia is very much alike to the angarkha, especially it is the shorter version, the angarkhi and is

similar in pattern. The antiquity and indigenous origin of these garments is derived from the roots of

the term angarkha, derived from the Sanskrit: anga or body and raksha or protection. Usually

unbleached, hand-woven khaadi cloth is used to create this garment though some communities may

also wear printed cotton, brocades and plain coloured fabrics. The Puthia is a double-breasted

garment with the higher flap crossing over the right side and tied with a cord under the left armpit.

The entire length of the garment is constructed from a single piece of fabric, thus there are no joints

26

at the waist and the garment ends gracefully at the hips itself. The sleeve-length may vary from

short, elbow, to full-length. Though the garment is usually white, contrasting piping or magazi,

usually in red poplin, is sewn along the edges.

The harsh landscape of the desert and scarce resources of the environment has taught rural

communities in Rajasthan to be far-sighted, a quality evident in their judicious use of cloth. For

instance, the pieces of the puthia are cut in geometric shapes-squares, rectangles and triangles-to

minimise wastage. These are the most economical shapes and the style is reminiscent of patterns

from the earliest times. The puthia is constructed of two front panels, one front extension, one back

piece, two sleeves, four side panels and two gussets. The opening is in the front (centre), with one

to three buttons or ties. The neck is deep, shaped like a horseshoe, with its widest portion over the

chest. An inner flap or the parda covers the chest with a high rounded neck, and thus fastens on the

inside of the right shoulder with a loop and cloth button. This flap is also held at the waist with cloth

tie-cords and is further attached to the ridge, which runs along the side.

The back has a plain and straight cut, with hardly any shaping. Defined contours are added to the

front and back by the addition of flared side-panels. These side-panels are left partly unstitched at

the lower ends of the side seams, to form slits for the ease of movement. The puthia sleeves

perfectly fit into a square or slightly circular arm-hole and taper towards the hem. The shape of the

sleeve at the armhole may be either slightly egg-shaped or straight. Fullness and shape under the

armhole come from the use of triangular gussets known as khankhi. The neck, centre-front, side-

slits, hemline and sleeve edges arc trimmed with bias binding, approximately 2.5 cm wide. This bias

is attached on the double. The fabric is turned, with the fold on the outside and the two unfinished

edges stitched into the garment. This type of facing is also used to distinguish the upper and lower

portions of a woman`s attire and is appliqued by topstitching at the chest area of the puthia. Most

of the joints are closed and finished with clean seams leaving no raw edges on the inside, which

makes this hand-stitched attire very comfortable.

The application of colour in a Puthia is also strongly indicative of the community and social order of

the woman. A newborn wears a red puthia with green piping but among most communities, after

the child`s first Holi, the festival of colour, the colour of the garment is transformed to white. An

unmarried Bishnoi girl usually wears the traditional white pichodi with red piping, while Jat girls

usually dress in printed red chhint with small floral designs. The unmarried Rajput girl wears a puthia

of satin, cotton, brocade or velvet fabric that are usually in yellow, pink and white and, sometimes,

red fabric with small bright green motifs.

Puthia is a traditional wear of women in Rajasthan and is distinguished for its simple elegance that

not only gives the wearer a sobre look, but also comfort in the scorching heat of the desert region.

27

6.2 kanchli: The Kanchli, often known as Choli or Angia, is an upper garment worn by married women in most of

the Rajasthani communities. Sculptural depictions of a stitched upper garment in western India

suggest that its

usage began

around the

beginning of the

Christian era. Until

then, the upper

part of the body

was probably

covered with a

simple, unstitched

piece of fabric.

Sculpture,

paintings and early

Sanskrit literature

has plenty of

references to a

piece of cloth of

varied description

and width that was

simply or artfully

tied around the

chest. In Hindu tradition, a stitched garment is usually considered impure even today, especially in

rural areas, the practice of draping unstitched cloth as an upper-body covering continues specially at

marriage ceremonies and religious occasions. Among some tribals of Rajasthan, the upper garment

is a contemporary addition to their costume. Until recently, the brides of the Maheshvari

community in Rajasthan wore a very simple wedding dress, where the body was wrapped only in a

white sari. It was called a kavaljoliya, like a kamal (lotus) flower, and no stitched garments were

employed for the marriage ritual.

The Gupta period saw the introduction of the kanchli in western India. It is actually a small bodice

with sleeves. In Sanskrit literature this garment is referred to as the kancuka, kan-culika, kurpasa,

kurpasaka, choli and angia. It was adopted by women in northern and western India and became a

usual feature of their attire, especially in the region that is now Punjab and Rajasthan. Kanchli

continued to be worn through the medieval era and is the upper garment of a married woman in

Rajasthan and neighbouring states even today.

figure 6.1b kanchli

28

Among most communities in Rajasthan, a girl alters her upper garment from puthia for a kanchli

only when she gets married. This is done after completing the fourth phera, the fourth of the seven

circles around the sacred fire in the traditional Hindu wedding ceremony. Although kanchlis are

sometimes made from other fabrics like silk, satin and even velvet; cotton is the most preferred

fabric for this attire throughout India. Western India with its scorching summers ensures this attire

to be the most comfortable one for the married women.

The fascinating choli or kanchli fits firmly on the curve of the womanly figure. It is the finest example

of the technical grasp of the moulding of a flat two-dimensional material, the fabric, to the

boundaries of a three-dimensional form, the human body. Like the puthia, it is produced employing

the geometric sections of cloth. The few scraps of fabric that are left over after the garment is cut

are used as trimmings, demonstrating, once again, the thrifty nature of these people. Together with

the borders that have no raw edges on the inside give the kanchli further strength and prevent

scratch of the tender skin at points of contact. The cutting and construction of the garment supports

the womanly figure and gives the body a pleasing silhouette. The garment is designed to enhance-

and thus draw attention certain parts of a woman`s body.

The cords attached to both sides at the back allow for minor changes in body proportions. Tying the

strings of the Kanchli loosely or tightly accommodates during periods of pregnancy, lactation or

changes in body weight. This makes kanchli extremely comfortable and user friendly. The tie cords,

made of wool, cotton, coloured thread or strips of fabric, are very attractive. They can often be long,

touching the hem of the ghaghra, with tassels at the ends. The tassels of the attire are decorative,

worked with beads, shells, gold and silver threads and mirrors. The cords sway with the movement

of the body, adding grace, beauty, motion and, sometimes, even music to the step.

6.3 Kurti: The kurti is an upper garment worn with a kanchli. Kurti is not seen in ancient paintings or

sculptures and seems to be a modern trend, perhaps, not more than 200 years old.

Kurti, Costume for Rajasthani Women In the earliest paintings, for example, of the Banni-Thanni of

Kishangarh, only the kanchli attire was seen. It was possibly under the increasing power and

influence of Mughal rulers that it came lo be considered immodest

to reveal so much of the upper part of the body of women started

wearing a kurti. However, in the passage of time the angia or

kanchli is still preferred for regular use. In Rajasthan, only married

women are required by tradition to wear a kurti. Amongst the

Rajput, a widowed woman rarely wears the kurti.

The kurti is usually a sleeveless garment with a deep, horseshoe

shaped neckline. Since the neck is expanded, most of the kanchli

worn underneath is clearly exposed. Bias binding is sewn around

the armhole, neckline, side plackets and hem, enclosing the raw

figure 6.3 Rajasthani Women In Kurti

29

edges and adding colour. Variations in the construction of the kurti exist among different

communities. For instance, the kurti worn by Bishnoi women has the slitted side and a deep neckline

that reveals almost all of the kanchli. The kurti has its front open, much like a jacket, where the left

side has an extension for an overlap over the right part. Piping is added at the edges with a string

holding the overlap at the side seam and the front is fastened with buttons and loops. On the other

hand, the Rajput kurti has no centre-front opening and is easily slipped over the head.

6.4 Ghagra:

Ghagra is one of the most gorgeous and feminine attire for

Indian women. Although Ghagra has been popularised all

over India, its origin is traced to be in western India,

especially Rajasthan.[1][6]

Ghaghra, Costume for Rajasthani Women Early Indian

literature, speaks of the bhairnivasini, a skirt like garment,

which originatedfrom the antariya, a simple tube-shaped

garment. This was stitched on one side, gathered and held

at the waist by a girdle. Women wore it as a lower garment.

It later evolved into a skirt with a drawstring called the

ghaghri. The ghaghri was a narrow skirt, made from five

and a half metres of fabric - the same length as the original

antariya. Representations of a similar garment can be seen

in Buddhist sculptures and paintings dating from the

Kushana or early Gupta period. This was probably the

prototype of the modern ghaghra.Ghagra in India is known by many different names, depending on

the regional style, the most popular, by far, being the ghagra. Other names in literature for the

woman`s lower garment are amsuka, ambara, antariya and jaghanamsuka. Another term used was

the lekanga, a compound of the Sanskrit words-lanka (waist) and anga (body or limb). The lehanga is

generally related to a panelled skirt that is narrower than the Rajasthani ghagra. However, there are

no stiff definitio ns and the terms have found a more generic usage. This and other styles of the skirt

are very popular in North India.

From the fifth to sixth century A.D., the ghaghra came into common use. It is now worn in all parts

of the country, but the ghaghra`s most prevalent and varied form is seen in Rajasthan and its

neighbouring states. It is almost always worn with a kanchli and odhni. Sometimes a patka or

phetiya is worn as a centrepiece over the ghaghra to control its volume and fabric. This prevents any

random movement of the ghaghra that might expose the body. It is distinct and bright in colour and

decoration than the ghaghra and indicates a high social status. It is seen in early Rajput paintings

and sculpture and was essential wear for women entering the royal zenana. The ghaghra is actually

a long skirt, which has the construction of a simple gathered skirt or a flared gored skirt. It wraps the

figure 6.4 Ghagra

30

legs fully or partially, depending on the norms of propriety among different ethnic groups, although

a long ghaghra usually relates to a more puritanical modesty.

Ghaghra, Costume for Rajasthani Women The flare of the ghaghra in Rajasthani custom has inspired

much romance and passion in the works of folk singers, poets and painters alike. Gherdar, assikali ko

ghaghro, ghumerdar ghaghra, kali kali ma gher are romantic expressions from folk songs, thus

describing the beauty of the ghaghra worn by the female protagonists. The central figure in

Rajasthani paintings is always shown wearing the most voluminous embroidered ghaghra. Expensive

fabric, beautiful embroidery and other ornamentation reflected the wearer`s high social status. Also,

the greater the volume, the more fabric the woman had to

contend with, so it was indicative of her physical strength and

affluence. To accommodate the fullness of the figure and the

flare of the skirt, a horizontal line was stitched along the hem.

This was known as the seva, a tuck in the fabric, so that the skirt

fell consistently to the ground. This also enabled its length to be

changed as and when required, keeping the garment in use for

long periods of time and probably even allowing it to be passed

down through successive generations.

The kalidar ghaghra is the most popular of these attires. It is a

long garment with numerous vertical pleats. It is like a gored skirt

in construction, each gore being a triangular section, known as a

kali. A large number of kali are sewn together to form a ghaghra,

which flares at the hem. The size of each panel ranges between

communities but is most commonly 5 cm. wide at the apex and 20 cm. at the base. When extra

fullness is needed at the waist, the panel is cut 10 cm. wide at the top. The number of panels in a

ghaghra may vary from 20 to 100. As much as two bales or 20 meters of fabric can be used in a

single ghaghra. Amongst Rajputs, a poshak or a three-piece ensemble was presented to the bride by

her mother-in-law during the wedding. This poshak had to include a 100-panel ghughravaat

ghaghra, which would have little gold bells that were sewn along its hem.

.A married woman`s ghagra in Rajasthan has two bindings, namely the broad strip, varying in width

from 2.5 to 10 cm. and finer strip of 0.5 cm piping. The broader piping is in different colours, red

being the most popular. Sometimes, it matches the colour of the ghaghra. Saffron is used for the

fine piping known as guna. Magazi was traditionally the choice of women in the upper class of

society. As one went up the social status, the magazi grew broader while the less privileged used a

narrow piping called got. A strip, cut 10 cm. wide on straight grain, is attached under the ghaghra all

along the hem. This edging is called the pherwaj and is made with red un-coloured cotton. It serves

to finish the two pipings and also adds weight and strength to the garment. The drape and fall of the

ghaghra is thus enhanced. Traditionally, the kalidar ghaghra is handstitched with plain seams.

The pat ghaghra is made of several rectangular panels of fabric, which are sewn together. Gathers or

knife pleats are sewn in at the waist to give the skirt fullness. The finishing of the skirt is the same as

figure 6.4a Ghaghra for weading

31

the kalidar ghaghra. Usually, silk or satin is used for the pat ghaghra, which is heavily ornamented

with metal embroider. Satin and silks are fabrics that tend to skirmish easily but are still used to

make pat ghaghra as the construction of this skirt requires larger pieces of fabric. Elderly women

and widows wear the pat ghaghra. This may be due to the fact that less fabric is required to make

them and they are less ornamental. Although among certain communities such as the Maheshvari,

pat ghaghra is the norm and used for festive, ceremonial and everyday wear.[8]

6.5 Odhna: The odhna is also called as odhni. It is a veil that represents the continuation of an unbroken

tradition of wearing unstitched lengths of fabric that was the favored style of clothing during ancient

India.

Odhna, Costume for Rajasthani Women The Vedic literature identifies the use of the stole as a

universally worn over-

garment called the

uttariya that is a length of

fabric draping the top half

of the body. Early Sanskrit

literature has a wide

vocabulary of terms for

the veil or stole, such as

avagunthana, mukhapata,

nimngika, sirovas-tra,

nirivigi, and yavanika.

The odhna is embellished

by many methods of

ornamentation. These

designs are usually

dictated by tradition.

Nevertheless, each woman contends with the other to wear a more beautiful odhna in Rajasthan.

Some of the practices used to bring these exquisite odhna to life include bandhani, block printing,

weaving and embroidery.. Block prints of Rajasthan also decorate the odhni-bhindi bhat, lalar,

morya, karna and jaaj bhat are some common patterns. A striking odhna, known as phavri or

phamri, is made of fine red voile, using a modified technique of block printing called tinsel printing.

Gold or silver flowers are printed all over the fabric that are outstanding in relief. Brides wear a

phavri as part of their wedding dress[1].

The most common form of surface ornamentation is the use of gota work on odhna. Woven bands

of gold and silver produce dazzling floral and geometrical patterns. These designs arc distributed

mostly around the head and the end pieces. All communities use this form of embroidery. Other

figure 6.5c women in Odhani 1

32

styles of embroidery such as mukke-ka-kaam, kharak, suf, pakko bharat, kaccho bharat and

khambhiri are also used to ornate the odhna. Certain weaves create exquisite designs on the surface

of the odhna. Among Rajput, Osval and some other communities, the brocade technique is used to

weave odhna, with silk threads in gorgeous colours, like bright pink and violet. The beauty of the

odhna lies in the variety of its patterns of draping. In one such style, Rajasthani women pleat and

tuck one end of the odhni into the left side of the ghaghra. The other end is carried under and

behind the left arm, over the head from the back, onto the right shoulder, and tucked back into the

ghaghra on the front left, covering the chest. Odhna, Costume for Rajasthani Women

Among the odhna, the chunri is the most frequently used. This is a tie-dyed odhni for the married

woman of Rajasthan and its loveliness is often extolled in folk songs and stories. It is usually red,

with designs like birds, flowers and leaves that are set in white. Another kind of odhna is the pila. It

has a yellow base, a red central motif and borders and is symbolic of the arrival of a newborn in the

family in Rajasthan. The lotus flower, a symbol of purity and fertility, lends its name to an odhna

called the pomcha, which is made in bandhej and is a combination of red and yellow or red and pink.

The borders and central flower are bright red on a ground of pink or yellow.

The odhna holds an important place in Rajasthani culture. Each element of the odhna alters to blend

with the corresponding changes in the age and status of a woman. The fabric of the odhna is also

firmly interwoven with the lives of the people. Particular colours and patterns symbolise various

milestones, from childbirth, adulthood and marriage to death. Brides wear odhni of specified

colours on their wedding day. Once married, the patterns and colours of a woman`s odhni reflect

her status. Different coloured odhni are worn on festive days such as Holi and Teej. For example, a

phaguniya with its traditional white base, red borders and red central design is generally worn for

Holi.

The odhna is considered as the symbol of a woman`s community, her social and marital status as

also her sense of modesty in Rajasthan. Greatly celebrated in literature, art and music, the odhna

remains as popular attire of Indian women and finds place even in the expressions of popular

culture of contemporary times

6.6 Bandi:

The bandi is a close fitting, sleeveless or, sometimes, short-sleeved inner garment that is very much

similar to the omnipresent vests of urban areas. It serves as a cool and comfortable garment, such

that in the privacy of his home, a man will often take off his kurta and relax in a bandi.

Most communities in Rajasthan use bandi as an inner or under garment, men of the Kumhar or

potter-community, choose to wear the bandi as their outer upper garment, though, occasionally,

they too wear the angarkhi. Comfort being its major function, the bandi is tailored from unbleached

white cotton khaadi, which is softer than the fabric used for outerwear. Fine cotton muslin is also

used, as in the case of the bandi worn by Maheshvari men. The garment is cut on a true bias or

diagonally across the warp of the fabric for maximum stretch. This makes the attire of bandi

especially comfortable, as it does not restrict the wearer`s movement in any way.

33

The bandi generally features a round neck in the front and the back. Different communities of

Rajasthan wear the bandi with variations in the neck openings. For example, a central placket with

buttons could be incorporated or an opening on the shoulder with ties. On festive occasions the

Kumhar bandi has five silver buttons that are linked by a chain. Often the garment has no opening

and some fall just a fraction below the waist, while others may completely cover the hips. A slit

pocket on the left side, about 20 cm. Wide is a feature of the bandi that is used for holding valuables

and money before wallets became commonplace and which in rural areas still serves the same

function.

34

Costumes for Rajasthani Men, Costumes of

RajasthanVibrant colours and patterns define the

regal state of Rajasthan. This predominant vivacity is

reflected in the costumes of Rajasthan as well.

However, it must be noted that a lot of significant

facts are closely related to the costumes for

Rajasthani men and women. In fact, the costumes

worn by the men of rural Rajasthan still reflect the

clothing style of those who lived in the olden times.

Amongst a host of garments worn, the big and

colourful turbans stand out in the dresses of

Rajasthani men.

Being a frontier state, Rajasthan`s people have been exposed to a sustained interaction with

outsiders who entered India in consecutive migratory waves. Consequently the men`s clothing is an

adaptation of numerous historical and foreign influences and is presently an amalgamation of

stitched as well as unstitched garments. While most items are of native origin, elements of a definite

foreign influence are also apparent. The apparel for Rajasthani men are somewhat more restrained

than the women`s clothes and are still quite varied in form and texture.

Traditionally, the lower garment of Rajasthani men is the unstitched dhoti, the truly native Indian

costume, or a stitched garment such as the pyjama, which is a type of trouser. Some garments

related to the pyjama include the suthan, izar, shalvar or salvor, survala or sural and ghutanna. The

upper garment of the Rajasthani men can include a bandi and a kurta or tunic that is commonly

worn. During formal occasions men dress in the angarkha and sometimes a garment called the

achkan or shervani. The turban and a draped piece of fabric around the shoulders complete the

ensemble. Shawls and blankets, usually made of camel and sheep wool, are seasonal additions that

are useful for warding off the biting cold of Rajasthan`s winters.

Two other upper attires for the men of Rajasthan are the jama and the choga that plays an

important role of the male ensemble in the Mughal era. Although superbly tailored and

ornamented, the jama and choga are now seen mostly in museums. However, it would be

inaccurate to say that they have disappeared completely. Some of the influential and royal families

still wear such garments, although only on ceremonial occasions. As formal wears are made of

comparatively light material to suit the local climate, the jama may well have developed a cut and

form of its own in the north Indian courts, especially in Rajasthan. The attire of the gentleman is

incomplete without a long stole that depends on the section of society that could be an angocha or

a dupatta.

figure 7.1 People Of Rajasthan

35

The two upper garments worn by the Rajasthani men are the bandi and the angarkhi, although

today the kurta is considered to be the traditional wear and takes precedence over all other

garments. Among royalty and the aristocracy, garments like the jama, achkan, shervani and choga

are also worn. Interestingly, the Rajasthani men have a wide range of upper garments to satisfy their

sartorial tastes.

Two other such Rajasthani men garments are the chapkan and the chasuble. In addition to these are

a large number of jackets like sadri, mirzai, jarji, and fatu. There are two categories of lower-

garments worn by the men of Rajasthan, unstitched and stitched. The unstitched garment is often

called the dhoti, while the pyjama, in all its styles and the Jodhpur-breeches are categorised under

stitched garments.

The men in Rajasthan wear colourful headgears called the pagri or the turban depending upon the

climatic condition of the particular region. The tradition of wearing bandhni clothes in Rajasthan,

north India has been going on for time immemorial. Tie-dye drapes, dupattas and turban are

common costumes for the men of Rajasthan.

7.1 Kurta: Kurta, Costume for Rajasthani MenKurta is the most common upper garment of Rajasthan that is

lately adopted as the casual wear for many Indian men. The development of the upper garment,

known as the kurta, probably began in the nineteenth century and it is, at present, a popular

garment among men of Rajasthan. The length and girth of the kurta may both differ from region to

region and it can be customized in a range of styles.

The kalidar kurta is made from several geometrical

pieces. It has two rectangular central panels in the back

and the front. The width of these panels is almost equal

to the shoulder size and the length varies from above

the thigh to below the knees. Four, flared-side panels

called kali, are attached on either side of the central

panels. Their shape is roughly triangular, narrow at the

top and wider at the bottom to achieve the desired

fullness. This ensures a snug fit around the chest, which

lends the lower part a loose-flared fall. Comfort is

further emphasized by deep slits at the side seam. The sleeves, which are generally full-length, are

also rectangular. They are cut square at the top and the armholes are set somewhat deep. Small

triangular gussets