More about... Block Printing

For the negotiated study module, one of the aspects I have chosen to explore is block printing. Block printing is a form of dyeing and coloring fabric using wooden blocks. Even today, this technique is widely used in India, making it one of the largest manufacturers and exporters of block printed fabric. Block printing artisans use wooden, linoleum or metal blocks to create beautiful designs, which can be used again and again.

There are 3 main techniques that can be used:

Direct Printing

The cotton or silk cloth is bleached, then the fabric is dyed, unless a light background is desired. Thereafter, the fabric is printed using carved blocks, first the outline blocks, then the ones to fill color.

Resist Printing

Areas that are to be protected from the dye are covered with a mixture of clay and resin. The dyed fabric is then washed, the dye spreads into the protected areas through cracks, producing a rippled effect. Block prints are then used to create further designs.

Discharge Printing

The fabric is dyed, then, a chemical is used to remove the dye from the portions that are to have designs in a different color. These portions are then treated, so they may be re-colored.

The process in India

• The fabric is washed free of starch

• If tie-dyeing is required, it is done before the printing process, after which it is washed to remove excess colour. Then it is left to dry in the sun.

• The fabric is then stretched over the printing table and secured with pins.

• Colour is mixed separately and kept ready, as are the blocks. The blocks are made of teak wood and hand-carved. They are soaked in oil for 10-15 days to soften the timber.

• The colour is kept in a tray, which rests on another tray that contains a liquid made of glue and pigment binder. This gives the colour a soft base and permits even spreading of colour on the block.

• When printing begins, the colour is first evened out in the tray. Then the block is dipped in the outline colour.

• The block is pressed down hard on the fabric, to make a clear impression. Thereafter, other blocks are used to fill in colour.

• Once the fabric is printed, it is dried in the sun. It is then rolled in newspaper to prevent the fabric layers from sticking to each other.

• The fabric is then steamed, washed in water and dried in the sun.

• Ironing is the last stage

Centres of Block Printing in India

Block Printing in Gujarat

In Gujarat, the Paithapur families have practiced hand printing, by making intricate blocks, and printing their textiles using the mud resist-printing method. These prints are called Sodagiri (trader) prints. Dhamadka village in Gujarat is known for a block printed fabric called Ajrakh, the popular designs of block printing in this village are geometric, and the artisans use natural colours.

The other well-known centres for block printing in Gujarat are Bhavnagar, Vasna, Rajkot, Jamnagar, Jetpur and Porbandar.

Block Printing in Rajasthan

From Gujarat, the art of block printing spread to Rajasthan, where colourful prints of birds, animals, human figures, gods and goddesses are popular. The important centers for this form of hand printing are Jaipur, Bangru, Sanganer, Pali and Barmer.

Sanganer is famous for its Calico printed bed covers, quilts and saris. In Calico printing, the outlines are first printed, and then the colour is filled in. Bold patterns and colours are popular, they are printed repeatedly in diagonal rows. Doo Rookhi printing is also famous here, a technique where artists print on both sides of the cloth.

Bagru is famous for its Syahi-Begar prints and Dabu prints. The former are designs in a combination of black and yellow ochre or cream. The latter are prints in which portions are hidden from the dye by applying a resist paste. Barmer is known for its prints of red chilies with blue-black outlines, surrounded by flower-laden trees. The other famous prints are of horses, camels, peacocks and lions, called Sikar and Shekahawat prints.

Dabu Print Technique 

Block Printing in Punjab

The block printing from Punjab is not as famous as Rajasthani, however they do specialize in the art of a group of textile workers called Chhimba . The designs were usually floral and geometrical, but today, traditional designs have been displaced, and vegetable dyes have been replaced by chemical ones. The colours are light and pastel, and the motifs are usually mangoes, peacocks and nets.

Block Printing in West Bengal

The art of block printing is not traditional to West Bengal, and was introduced at the beginning of the twentieth century. Since then, Bengal's block printing artists have built on the traditional designs and created several of their own. In West Bengal, Serampur is the center of block printing, it is well-known for its bold and vibrant patterns.

Block Printing in Andhra Pradesh

In Andhra Pradesh, the block printing method is applied in the creation of the exquisite Kalamkari Painting. Kalamkari, as the name suggests, is artwork ( kari ) created with a pen ( kalam ). It is a combination of hand painting and block printing.

The two major centers of Kalamkari art are Sri Kalahasti and Masulipatnam.

The Masulipatnam designs are Iranian in character, with motifs of Persian origion, such as trees, creepers, flowers and leaf designs. In Masulipatnam, Kalamkari work is mainly done on bed covers, curtains and garments, using a combination of wooden block printing and hand painting.

In Sri Kalahasti Kalamkari work, temples are a major source of inspiration. It was because of the demand for scrolls and wall hangings with Hindu mythological stories, that drove Kalamkari to flourish in this village. These themes are painted in the panels, and there is a script painted along the border. The popular motifs are Hindu gods and goddesses. The work is done entirely with a brush-like pen.

http://www.india-crafts.com/articles/block-printing-in-india.html

Project Summary Posters

Negotiated Study Poster

Religion

Like many other countries in the world, each region in India has it's own dialect, dress code, culture and tradition. Yet they all share the same social systems, grounded on religious beliefs. Indian Art has developed within Hindu, Jain and Buddhist traditions, which share similar symbols and motifs. The statistics below shows the percentage of believers for each religion. 

Based on the 2001 census

Art in ancient India was a hereditary profession. Artists began as apprentices. Apprentices learnt by following instructions in art texts know as Shilpa Shastras. These texts were a starting point, and insured that a constant aesthetic was maintained. Artists were treated as paid workers, and belonged to the lowest caste (the hierarchical system), but paradoxically, had privlidged access to wealthy and influential patrons including the royal family. This also meant that many artists were anonymous and the accolades went to the patron who initiated the project.

The patronage of art was often inspired by spiritual merit. Indian belief systems (Buddhist, Jain, Hindu and Sikh) believe that humans are too impure to achieve closeness to the divine ina single life-time, and that’s why they believe in Karma, which states that deeds performed in this lifetime determine your future birth.  Indians believed that one certain way of achieving good karma was to support the construction of religious monuments and art.

In Hinduism, there are four steps to achieving enlightenment:

Dharma (Virtue, Righteousness)

Artha (Wealth)

Kama (Love, Sex, Desire)

Moksha (Salvation, Liberation)


We can see from the images below, that all three religions place the emphasis on their philosophical and religious concepts through a complex language of symbols and motifs. This explains why, even on religious monuments, opulent gods, curvaceous/sensuous women, and the themes of wealth and sex are present. 

Buddhist Art

Hindu Art

Jain Art

Statistics please :)

Hey Guys and Girls,
Could you pretty please with a cherry on top take a few minutes to fill out this questionnaire re. this project. I would very much appreciate it!!!!!!

http://www.stellarsurvey.com/s.aspx?u=C7E84B71-ED68-41DA-A37E-661324F5D1C2&

Thank you! 

Tutorial 1st March

Today we discussed how the project could be structured/approached, it was decided that this could happen in three phases:

Phase 1:
Research 
This is the pre-visit stage, consisting of researching and gaining knowledge about traditional techniques to be explored. Planning the visit i.e schedule in terms of which places need to be visited and how I will go about the trip and exploration. I will also conduct a series of “tests” (experiments) with what I have learnt thus far, in a foreign context.

Phase 2:
Learning
This is the visit stage, where I will be learning these techniques from local artists and artisans, creating a body of work in an authentic context, documenting the experience through photography, artworks, illustrations, sketches, experiments and a journal.

Phase 3:
Synthesis
This phase is in the final semester of my MA. Upon my return, the nature of work produced will be a “fusion” of old and new, the experiences and techniques learnt will influence a new approach to using traditional techniques in a modern context.