Costumes and textiles of rajasthan

1. Costumes and Textiles of Rajasthan
Resist dyeing (resist-dyeing) is a term for a number of traditional methods of
methods of dyeing textiles with patterns. Methods are used to "resist" or
prevent the dye from reaching all the cloth, thereby creating a pattern and
and ground.
The most common forms use wax, some type of paste, or a mechanical resist
resist that manipulates the cloth such as tying or stitching. Another form of
of resist involves using a chemical agent in a specific type of dye that will
will repel another type of dye printed over the top. The most well-known
varieties today include tie-dye and batik. Physically preventing/restricting dye
preventing/restricting dye to enter in some portion of the textile in accordance
accordance with the design.

2. The distinguishing feature is that the ornamented motifs are produced
neither by weaving nor by applying them onto the fabric as in painting,
applique work or embroidery, but rather that they are left undyed on
coloured ground. The process can be repeated for producing multi-
coloured designs.
The resisting, screening or covering of pre woven yarn or finished cloth
with a removable yet impermeable substance is a common method of
textile decoration in the subcontinent. The placement of the dyestuffs in
the resist technique can be controlled by :

3.  Tie-and-die technique in which yarns or textiles are screened or partly
screened by being tied with impermeable threads.
 Creates patterns either by painting or printing with a substance that will
react with the dye to fix the colour (mordant resist dyeing)
 Applying an impermeable and removable substance such as mud, gum
or wax that will successfully resist the colour when the cloth is dipped into
a dye bath, yet may be removed by dissolving, washing or washing and
heating.

4. Basic methods
All types of resist-dyeing techniques are based on two elementary forms :
folding and screening. In the first case, parts of the fabric form the resists;
in the second additional materials are used for covering certain portions
of the textiles. These two basic forms were combined with each other in
many ways and developed into the following main types :
 Fold – resist – dyeing : The fabric is crumpled, knotted or pleated into
folds. Thus when dipped into liquid dye, the solution cannot penetrate into
the folds. As a result one gets a strongly blurred pattern corresponding
vaguely to the folding.
 Stich-resist-dyeing : Either folds or pleats are fixed by stitching
through them or leading threads through the material in simple running
stitches. Then the fabric is pushed or drawn together as close as possible
on the threads which are knotted on the ends. Folds and perforation
points, rarely the running thread itself itself, form the pattern. For this
technique, the Indonesian term tritik is now generally used.

5.  Wrap-resist-dyeing : Rolled or folded material is partially wrapped in
such a way that no dye can penetrate the reserved places. Simple
wrappings yield striped patterns. If the material is folded in a second
direction after the first dyeings, one gets a chequered design. In
Rajasthan and Gujarat, fabrics patterned in this way are called laheria,
meaning waves.
 Tie-Resist-dyeing : Individual parts of outspread fabric are lifted and
completely or partially tied in such a way that one gets spherical or mould
like forms. Once again the coverings act as resists. They decide the
patterns by their actual forms and sizes as well as by the way the thread
is wound around the part and tied. Variations are also possible by
different ways of folding the material. It is known as Bandhani in Gujarat
and Chundari in Rajasthan.

6.  Stencil-resist-dyeing : Stencils that prevent dyes from penetrating
into the fabric are fixed on it before the colour is applied. This method is
suitable for painting or for spraying the dye on the fabric than for dyeing
textiles.
 Paste or wax-resist-dyeing : Parts of the fabric are sprayed, painted
or coated with paste like wax, which when drying or cooling, become
hard. They then serve as reserves which can be removed after dyeing by
immersing in hot water, and by washing, dissolving or rubbing off. Batik is
generally used for the technique.

7.  Mordant-resist-dyeing : As against covering the fabric partially to
protect it against the dye, one prepares parts of the textiles for dyeing
with mordants whilst the unprepared parts do not take on the dye or act
as resists. In the most popular process of this kind, used on cotton,
mordants containing alum or iron are applied, as in the famous
kalamkari technique.
When a mordant is applied on a fabric it helps and improves in the
fixation of dye. The mordant bites the fibre in combination with the
dyestuffs to fix the colour. The fibre may not have the affinity for dyeing
unless it is mordanted prior to dyeing. The mordant makes a bridge
between the dye and the fibre and helps in dye fixation. Sometimes it
increases the size of the dye molecules that prevents them to come out
from the fabric after dyeing, which on the other hand decreases the
specific surface area per unit volume of the dye molecules which is again
being restricted to fade out from the fabric surface since fading is a
surface phenomenon.
Examples of mordants : myrobalan, cowdung, salts of transition metals,
alum etc.

8. Bandhani
Bandhani work is a type of dyeing practiced mainly in the states of Gujarat
and Rajasthan. Sometimes it is also referred to as Bandhani art or Bandhani art
work. The term “bandhani” derives its name from a Hindi word Bandhan which
means tying up.
Bandhani work involves tying and dyeing of pieces of cotton or silk cloth, The
main colours used in Bandhani are yellow, red, green and black. Bandhani
work, after the processing is over, results into a variety of symbols including,
dots, squares, waves and strips.
The main colours used in Bandhani are natural. In fact all colours in bandhani
are dark, no light color is used, and the background is mostly in black / red
cloth.

9. The Bandhani work has been exclusively carried out by Muslim Khatri
Community of Kutchh. Those Muslim Khatri women are the custodian of this
art from one generation to another. A meter length of cloth can have millions of
tiny knots known as "Bheendi" in local language ("Kutchhi"). These knots form
a design once opened after dyeing in bright colors. Traditionally, the final
products can be classified into "Khombi", "Ghar Chola", "Patori",
"Chandrokhani" etc. In modern days Bandhani is very popular not only in ladies'
wear but in gents' clothing, too.
The craft of Bandhani is practised at many places in Rajasthan, but the finest
bandhani is tied at Bikaner, and in Sikar district.

12. Material : cotton, silk, wool & even synthetic textiles, malmal (thin cotton
tissue), georgette, loosely woven silk, artificial silk etc.
Process :
Tie and dye process of resist dyeing fabric.
The material used is thin mill-made cloth, either a loosely woven silk (georgette)
or a cotton (mal-mal). Firstly the fabric is bleached, if necessary, then folded
into several layers, mostly four, which are carefully placed one above the other
and then fixed by stitches and borders.
The rangara / colourer first marks off the fields with a cord dipped in a fugitive
mixture, which in Kutch is known as ‘geru’. Then he stamps out with geru-
coated wooden printing blocks the individual patterns. Any gaps in this printed
pattern are made good by tracing over with a bamboo split.

13. Tying of the motif parts is done which have to remain in the original colour of
the fabric. The layers of the folded cloth are pushed from below with the pointed
nail of the small finger while the left thumb presses the material together. Thus
results an arching out of the material, which can now easily be wrapped. This
process is continued from one dot to the other.
The first dyeing is done in the lightest colour, mostly yellow. The fabric is
soaked in cold water, wrapped in a cloth to make sure that the ties will not open
and dyed in a hot solution of a synthetic dye, rinsed, squeezed and dried.
Probably with the use of modern fast dyes, which can be applied cold, it has
become popular to dye individual parts of the white pattern on the yellow
ground by hand, with pink and orange. All these dots, along with the ones left
uncoloured are now tied again.
It follows the dyeing with next darker colour, mostly red or green.
After dyeing, the fabric is washed and if necessary starched.

15. The centre of the bandhani is the white background colour and the five moons
forms are in black, with the red outline dominating. The centre is framed by
multiple tie and dye borders with the patterns emerging in red. The cloth is dyed
in sections by tying the edges before dipping it in red. The cloth is dyed in
sections by tying the edges before dipping it in red, section by section.
The tie and dye work is then executed of the fine motifs which will emerge in
red. The portions surrounding the rounds which are to remain red are also tied.
After this, sections of the cloth are dyed in black. The black borders and the
rounds are edged with red, producing a dramatic effect by this juxtaposition of
contrasting colours.

16. Bandhani work is used for saris, odhanis, dupattas as well as for turbans, shirts,
skirts and trousers. The main field of the cotton fabrics is divided in squares by
brocade work in gold thread while the squares are filled in with bandhani
design.
Another striking group is characterized by the incredible fine dots of the
geometrical and floral patterns on dark red, reddish blue or black ground.

17. The Laheriya or Ripple Effect On Fabric
The laheriya or the ripple effect literary means waves, is achieved by a
variation of this technique. Lengths of permeable muslin are rolled
diagonally from one corner to the opposite, bound tightly at intervals and
then dyed. The ties are then undone and the process repeated by
diagonally rolling the adjacent corner toward the opposite and repeating
the process.
Both Jaipur and Jodhpur are major centres of laheriya. Jaipur in
particular, as the state capital, has girt its loins to meet the extensive
demands of both the domestic and export markets.
Tie and dye cloth is never too expensive but be warned that the colours
always run. So if you’ve bought silk, it’s safer to get it dry-cleaned.

18. It is said that the best tie-dye work, with the finest single motifs, in
Rajasthan is done in Bikaner and Sikar to the north of Jaipur. Other
centers are Jaipur, Barmer etc produce traditional as well as well
modern uniform designs.
Laheria is a warp resist – dyed – fabric in Rajasthan. The fabric is rolled
up and tied tightly at intervals by threads and then dyed so that the
sections that have been tied remain undyed and the untied portions
take the colour of the dye bath.
Colour must penetrate right through the tightly rolled cloth, so the
laheria technique can only be applied to highly permeable, thin, loose
cotton or silks. For patterning, the fabric is rolled from one corner
diagonally to the selvedge and tied very tightly at intervals with strong
thread or string so that the sections that have been tied remain undyed
and the untied portions take the colour of the dye bath. Thus, after
dyeing the reserved portions appear as white diagonal stripes, for
turbans and sari lengths.

19. Only very thin, loose and not too wide cotton fabric are suitable for the
process. In thick material the dye would not penetrate properly. For every
new colour old ties must be opened and new ones applied.
If multicoloured stripes are required, they can be obtained after the first
dye-bath by opening up some sections of the rolled fabric, leaving other
sections still tied and tying up fresh sections, then dyeing the whole or
part of the fabric in a fresh colour. Over-dyeing is also possible.
Sometimes only individual parts between two ties are dipped into the dye
or the latter may be applied by hand.
After the patterning process has been completed in one direction,
striping in the opposite direction can be added. First the fabric is unrolled
and then rolled up again from the next corner along. The dyeing and
tying process is repeated and a chequered pattern of intersecting
diagonals results. Even greater variety is possible if, at the end of the
process, parts of the colouring are discharged, thereby breaking up the
stripes obtained in the first stages.

20. Laheria fabrics are mostly used as turban cloths and saris. Single-
coloured turban cloths are known as Rajasthani laheria, multi-coloured
ones as panyla. The variety of technical possibilities leads to a surprising
number of different patterns.
The laheria technique is probably quite old, but nothing definite is known
about its origin. Present centres of fabrication are Udaipur and Jaipur as
well as neighbouring villages and towns such as Nathdwara near
Udaipur.

21. Turban lengths from Jodhpur, Rajasthan, tie-and-dyed using the ‘leheria’method

23. Pabuji ka Phad
Pabuji Ki Phad is the traditional story-telling art of Rajasthan. Pabuji
Ramdeo was a Bhopra Hero of the 14th century whose exploits
provide the background for ballads sung against a painted scroll where
vignettes of his life are portrayed in comc-strip fashion.
Who is Pabuji?
Pabuji is a folk deity of Rajasthan in India. He lived in 14th Century in
Rajasthan. He has
four children of Dhadal Rathor of village Kolu, two boys (Buro and
Pabuji) and two girls (Sona and Pema). The historical Pabuji was a
mediaeval Rajput prince; he is now widely worshipped asa deity by
Rabari herdsmen and others throughout the Rajasthan countryside; and
he is served by low-caste Nayak priests.

24. Pabuji lived in a remote desert village of Kolu, and in that village are to
be found the only well known conventional temples to him -- two small
temples within a single compound, where puja (worship) is offered to the
deity. Small shrines, commemorative stones etc. abound, but, outside
Kolu itself, the absence of actual temples is conspicuous.
There are two reasons for it: first, Pabuji has yet to achieve sufficient
prestige as a god to warrant the construction of pieces of architecture;
and, second, many of his worshippers -- in particular, many Rabaris --
are semi-nomadic, and are thus not in a position regularly to visit a
temple in a fixed spot.

26. What is a Phad?
Bhopa community in Rajasthan are considered to be priest singers of
Pabuji. They depict the story of Pabuji on canvas and tell it to the public
through songs. This painted canvas is called Phad. The Phad is a 15
to 30 feet long sheet on which are painted (or sewn) miniature scenes
depicting the life of Pabuji on which his adventures are depicted.
Pabuji par by Jaravcand Josi of Bhilwara
This very fine par is dated 1938 A.D. and is the property of the Royal Tropical
Institute, Trope museum, Amsterdam.

27. Who paints them?
The Chipas or Joshis are famous phad painters. Dance is often part of the
musical tradition. As the Bhopa minstrel sings the ballad accompanied to the
music of the ‘ravanhatha’*, his wife holds an oil lantern to illuminate the particular
portion of the scroll where these deeds have been painted. Together they recite
the phad (a painted ballad). Performances are held at night. Entire village
communities gather to view the performances.
The Ravanhatha, the earliest form of strings, is crafted from homely things like
bamboo rods, animal gut, pumpkins and finally horse hair. With the help of a few
strands of this hair, a bamboo rod and an empty coconut shell, the earliest
known bowstring instrument was created. It is still in vogue among the folk
musicians and balladeers of the western state of Rajasthan. The folk artists who
still play and sing to this instrument attach a string a small brass bells to the bow
so that each beat of the rhythm of the song is underlined with a novel jingle. It
creates the feel of a delightful prance and lends itself gracefully to the pace of
folk music. One only has to watch the right hand of the musician dance in the act
of bowing the strings to comprehend the vitality of this raw form of music.

28. How is the Phad Painted ?
The painters apply colors one at a time to the entire cloth, starting with
the lightest; the black outline round each figure is added last.
The Bhopas are itinerant, and they carry their temple about with them. It
takes the form of the par, a cloth-painting about fifteen feet to thirty feet
in length and between four and five feet in depth. In transit the cloth is
kept rolled, rather than folded, presumably in order to avoid cracking the
paint; by unexplained custom, it is always rolled from left to right, with the
result that, after some time, the exposed right-hand edge begins to show
signs of wear.
The painting depicts the narrative of Pabuji's life, his various exploits,
and the vengeance taken by his nephew upon Jindrav Khici, who killed
him. Iconographically, it is extremely complex and intricate; its images
are organized according to a strict logic which has more in common with
a road-map than with a comic-strip.

29. How is it sung ?

30. When is it done?
The Bhopas carry this traditionally, and are invited by villagers to
perform in their areas during times of sickness and misfortune.

31. Pichwai
Pichwai are textiles designed as decorations for a particular type of
shrine: that of Krishna in his appearance as Srinathji, the form in
which he raised up mount Govardhan on his fingertip to shelter his
friends the cowherds from the rain brought down on them by Indra. It is
in this manifestation that devotees of the Vallabhacharya Sampradaya
or sect worship him.
Pichwai paintings are a specialty of Rajasthan. These paintings show
Lord Krishna [Srinathji] in his various moods on handmade paper, silk
and cloth painted with rich, dark colors made from stone. Sieved pure
gold is used to enhance the beauty of these gorgeous paintings.
Originally hung in temples as a bfor the idols of deities, they are now
used to adorn the walls of well-appointed living rooms

33. This unusually shaped rectangular hanging is not one of the usual range
of textiles used to adorn the shrine of Krishna as Srinathji. It was
probably hung on the wall rather than behind the image itself and hence
cannot technically be called a Pichwai, in spite of its iconography of
Srinathji attended by gopis in the classic poses associated with the
more frequently found large, vertically oriented Pichwais.
Srinathji is shown in the center of the hanging, in the form of
`Govardhannath’ or lord of mount Govardhan, in which he raises his left
hand to lift the mountain so that the cowherds may shelter from the
deluge of rain sent by god Indra. This is the form of actual stone image
of Krishna, which is worshipped at his Srinathji nathdwara, and is one of
the most common forms in which Krishna is depicted on Pichwais.

34. When did they originate?
The earliest evidence of schools of cloth painting for ritual use dates to
the later of Medieval period and becomes substantial only in the
Eighteenth and the Nineteenth century.
An important stream of production, for instance comprises ‘Pichwais’ or
ritual cloth hung behind the image of Krishna in the temples of
Vaishnavate Vallabhacharya sect founded in the late fifteenth century.
Most surviving ‘Pichwais’ are associated with the shrines in Rajasthan,
particularly in ‘Nathdwara’ the seat of Lord Vallabhacharya sect since
the late sixteenth century.

35. Why were Pichwais made?
Pichwai were made to hang behind a three-dimensional image of Krishna. A
striking 19th century photograph depicts not only the Pichwai in its place on the
wall, but also the considerable number of other accoutrements that embellish the
shrine. Textiles are used to adorn several of these items of shrine furniture, which
are basically stands on which to display images of the deity. The three stepped
thrones or sinhasan are decorated with painted or dyed textiles shaped to follow
the mitred back of the throne and the risers of the steps. The upper portion of
tsinhasan textile is frequently decorated with an image of Krishna’s presence
when the image itself is not instalin the shrine.
Hung behind the image of Srinathji, the Pichwai is the key textile of this carefully
coordinated set. The shrine hangings must reflect the deity’s disposition at the
festivals and during different seasons. Under the circumstances, the advantages
offered by cloth hangings are many, as opposed to some more permanent form of
wall decoration, are many. They can be removed and replaced with ease
depending on the festival and season at hand. Besides, they can be eventually
returned to the donor or to other devotees as an auspicious symbol.

36. What is the Procedure of painting a Pichwai?
A Nathdwara Pichwai is generally, worked on a thick hand woven cotton
cloth. A thin layer of starch is applied on the cloth and the painting is
done in tempera. The demarcation of figures is done with a safeda [zinc
oxide] or with charcoal if the background is white. Starch is applied to
prevent the bleeding of pigments.
‘Safeda’ is a pigment used for painting Pichwai.
The pigments stored in a dry solid form are ground, dissolved in water
and thickened with gum resin for painting. A broad brush called jara
made of goat hair or horse hair is used for large flat areas, while a thin
one called jhina made of squirrel tail hair is used for fine details.
For dry colors pure gold is sieved, heated and then mixed it in water and
used as a medium. On the painting all ornamentation and other metal
figures are painted in a yellow base and finally gold color is applied. After
drying gold painted areas are scrubbed with polished stone to give it a
shiny effect.

37. Themes for Pichwai
Raslila Pichwai
Annakut Pichwai
Seasons: Sharad Utsav Pichwai
Gopashtami Pichwai: Celebrating passage of Krishna’s youth as an
autumn festival
Padma Pichwai
Morkuti Pichwai