8.

KALAMKARI
After obtaining an overview of some of the painted textiles of India in the previous
lesson, now we will study in greater detail about Kalamkari, which is an important and
beautiful form of hand painted textile from Andhra Pradesh.

8.0 Objectives
After going through this lesson you will become:
• Acquainted with the historical background of Kalamkari.
• Understand the different styles of Kalamkari.
• Gain an understanding about the raw materials, preparation of colours and the
production process of Kalamkari.

8.1 Introduction
Kalamkari is a very important form of hand painted and printed textile from
Andhra Pradesh (Fig. 8.1). The word Kalamkari originated from the word kalam which
means pen and kari meaning work. Kalamkari paintings were done using vegetable
colours, depicting mythological scenes, floral motifs, tree of life, birds, animals etc. The
artists got their inspiration from temple architectures and its surroundings, the natural
beauty of mountains and natural resources of Andhra Pradesh.

Fig. 8.1 Kalamkari work

Tree Of Life Kalamkari outlining

Sri Kalahasti style

 Andhra Pradesh is a centre of the arts of Kuchipudi dance, melodious songs and
various crafts, of which Kalamkari (Vrathapani) is one of the most significant arts. It is
about three thousand years old. It took birth in a village called Masulipatnam, 200 miles
east of Hyderabad (Fig. 8.3). This form of art spread and settled down in the temple
town of Sri Kalahasti, 80 miles north of Chennai near Tirupati.

Fig. 8.3 Map of Andhra Pradesh showing

Masulipatnam and Sri Kalahasti centres of Kalamkari

8.2 Historical Background

The earliest fabric samples of this craft, found in the Mohenjo-daro, excavations,
date back to 3000 B.C. Some samples of Madder dyed cloth with traditional Indian
motifs have also been discovered in Egyptian tombs during excavations at Al Fustat
near Cairo (Fig. 8.2). These bear testimony not only to the antiquity of the craft but also
prove that it was well developed and formed a part of the flourishing export in ancient
times.

Block print Found at Al Fustat Block print Found at Al Fustat

th
during 15 century Fig. 8.2 th
during 16 century
 The popularity of Indian textiles in the ancient world may be attributed to the fact
that India had even at that time perfected the technology of fixing the colours found in
nature with a certain degree of permanence to fabrics. With the bounty and variety of
tropical vegetation available to the Indian craftsmen, they were able to make many
colours derived from vegetable, animal and mineral sources.

There are numerous references in ancient Hindu texts describing the colours and
patterns of the clothes worn by the people of the Vedic Age which reveal that more than
a hundred species of plants were known and used by the craftsman of those days.

Varahamihira, author of the voluminous Hindu text Brihasamhita belonging to the

6th century A.D., describes not only the dyes but also the process of mordanting in
fixing colours to cloth. The term Mordanting is derived from the Latin word Mordere (to
bite). This is a process in which a mineral salt like Alum, Tin or Chrome is applied to the
cloth, which "bites" the fibres and makes it receptive to the dye. By this method a
fugitive dye is fixed and forms a colour on the fabric which is fast to washing and light.

Kalamkari depicts stories of great moral value from the Mythological scenes from
epics of Ramayana and Mahabharata. The 15th century was considered the “golden”
period of the craft, during which the Vijayanagar emperors spread the art of Kalamkari.
The craft suffered a setback in the mid 16th century.

In the 17th century, stylized Persian motifs, the tree of life, roses, bulbuls and
pomegranate fruit were added to the design dictionary. When these pieces were
exported to Persia, the Persian demand for prayer mats, bolster and pillow covers, floor
mats without human images grew to such an extent that block printers took over the
work from painters and block-printed designs began to catch the fancy of people.

In the 17th century the Europeans were delighted with Kalamkari owing to its
colours and floral patterns. There was a great demand for dress material, bedspreads
and curtains, but they often called it calico or chintz, instead of Kalamkari.

The British East India Company established a flourishing trade in these fabrics in
the later half of the 17th century and special orders were placed on the Indian craftsman
for producing goods for the European market. The printed calicos of the Coromandel
Coast became so much part of the fashion scene that often embroidered samples of
garments were sent by the fashionable ladies of London and Paris for duplication in
print.

The Kalamkari designs were used for furnishings goods, known as Chintzes,
were extremely popular. Many European designs like the Tudor Rose were incorporated
into the Kalamkari tradition during this period. However, by far the strongest influences
were the designs from Iran and Persia, much favoured by the Muslim rulers of those
days.
 Cypress Tree Tudor rose Almond

Fig. 8.4 Kalamkari motifs

Persian motifs (Fig. 8.4) such as Cypress tree, Mihrab, Almond, Tree of life etc.
have ever since been an inseparable part of Kalamkari. Absorbing various traditions
and adapting them to the Indian idiom, the Kalamkari craftsman evolved a rich and
vibrant textile tradition.

8.2.1 Other centers

The work done in ‘Arava’ in a province of Tamil Nadu state is most similar to
Andhra Pradesh’s Kalamkari. Other centres of this type of fabric designing are in
Palakollu, Machilipatnam, Vijayawada, Guntur, Nellore, Sri Kalahasti, Ponneri, Arani,
Setwachari, Tanjore and in Pondicherry province.

Self-check Questions

1. Where did Kalamkari Originate?

2. Fill in the blanks:

The word Kalamkari originated from the word ________ which means pen and
________ meaning work. Kalamkari paintings were done using __________
colours, depicting ____________ scenes, ________ motifs, ______ of life,
______ and animals etc.
8.3 The Styles of Kalamkari
8.3.1 Sri Kalahasti style

There is little information on how and when the industry originated in Sri
Kalahasti. Locals believe that perhaps the Kalamkari printers of Machilipatnam, who
had specialized in Kalamkari printing for centuries, might have passed on their
knowledge to the Sri Kalahasti workmen, who developed their own designs to suit the
local demand and specialized in temple cloth painting (Fig. 8.5). The Sri Kalahasti
temple cloth painting is done entirely by Kalamkari process, i.e., only with the help of
kalam. The religious importance of the town led artists to focus on mythological themes.

Kalamkari Temple cloth

Fig. 8.5

In this style all work is done by the kalam. First the artist outlines the figures on
red background. The outlines of the motif are black and only natural colours are used.
This style is also known as Vrathapani.

8.3.2 Masulipatnam style

The town of Masulipatnam (now, Machhilipatnam), the birth place of Kalamkari

art was one of the well-known ports of ancient sea routes to the world. Due to the
contact with the outside world, the hand-printed cloth of Masulipatnam was popular with
the Greeks even before Christ. This also led to foreign influence on the art.

Due to changing fashions and increase in demand, kalamkari artists adapted

new techniques, which involved block-printing, followed by filling the colours with
kalams. With blocks, the artists were able to print the outline faster than drawing (Fig.
8.6). Artists started using chemical dyes also. This made their work easy. As chemical
colours gave a bright look, they caught the attention of the customers. The artists also
used molten bee-wax to block certain portions while dyeing in indigo blue. This style
was also known as Addhakamu.
 Natural dyes Fig. 8.6 Kalamkari blocks

Block printing before filling colours by kalam

Floral motifs

8.4 Raw Materials used by the Kalamkari Artists

1. Gada or Kora cloth. (These are cloth woven with unbleached yarn).
2. Vegetable dyes.
3. Alum or Phitkari
4. Tender Myrobalams (dried) or Harad in Hindi.
5. Buffalo milk.
6. Charcoal from burnt tamarind twigs.
7. Kalams made of split bamboo.
8. Large copper vessels.
9. Flowing water.
10. The work-benches, which enable the workers to squat by its side, do block
printing.
11. A three-legged low table for wax processing and other colour dyeing.
12. Printing blocks.
13. Stamping pads to hold the dye for block printing.
14. Bees wax.

8.5 Preparation of Colours

The vigour of the Kalamkari designs was due to richness of colours. The colours
used were deep red, black, indigo, green, yellow, dusty pink, brown and off-white.
Generally, the colour schemes were:
• Female figures were usually in yellow.
• Devatas or Gods were depicted in indigo or blue.
• Rakshasa or Demons were in red and green, and
• Some figures were left without any colouring at all.
 The colours are prepared as follows:

i) Black Dye: The basic black dye (Fig. 8.7) used by the
Kalamkari craftsman was iron liquor. This was
made by soaking iron pieces in a solution of
jaggery (molasses) and water in a mud pot. The
solution took about 20 days to mature. Brownish
foam on the surface indicated that the solution
was ready to use. In a cool place, the solution
could be stored for up to one year. The black Fig. 8.9
Fig. 8.7 Kasim solution was used for outlining of
figures/motifs and for filling in larger areas in
black colour.

ii) Yellow Dye: A yellowish coloured dye (Fig.

8.8) is obtained by mixing Myrobalam flowers
with boiling water in an earthen or metal pot. The
solution is stirred and then cooled. For a dark Fig. 8.10
shade of yellow, the solution is left for a week.
Before painting with the yellow dye solution onto
Fig. 8.8 cloth, alum is added to it. Once Myrobalam
yellow painting is completed, the cloth is dried in
the shade. The next day, the cloth is washed well in flowing river water
and dried in the sunlight.

iii) Green Dye: The yellow solution, if set for several days, can turn a Fig. 8.11
slight greenish tint. Otherwise, green colour can be obtained by painting
portions with the myrobalam yellow solution and then treating the same
portion of cloth with indigo dye (Fig. 8.9).

iv) Brown Dye: Sometimes artists add a solution of aged mango bark
and boiling water over the Myrobalam yellow dye solution to obtain
superior colour fastness, or to create a slightly brownish colour (Fig.
8.10). The printing paste is made of country gum, or powdered tamarind Fig. 8.12
seed or even common flour.

v) Red Dye: Alum or Phitkari is used on a Myrobalam-treated cloth for

developing dull red colour (Fig. 8.11).

vi) Red and Maroon: Chavalikodi root and Surulipatta bark (madder
plant) is added to boiling water. Alum or Phitkari-painted cloth is
submerged in the boiling water for about 40 minutes (Fig. 8.12). The cloth
is then removed, rinsed with cold water, and let dry. For a darker shade of Fig. 8.13
red or multiple shades of red in a single piece, the entire process is
repeated until desired colour(s) is obtained.

Fig. 8.14
vii) Pink Dye: Lime juice is applied onto portions of cloth that have already been dyed
red, in order to obtain a light pink colour (Fig. 8.13). Typically, lime juice is used to
create pink line details on red figures or floral motifs.

viii) Blue Dye: The blue colour (Fig. 8.14) is made by using colours obtained from
indigo plant. It is applied on unpainted portions of the cloth where a blue colour is
desired. Once dried, the cloth is washed in water and dried. However, the colour may
turn pale on repeated washing. The indigo dye is treated with alkaline and lime solution
to make it fasten on cloth. After treatment, the solution looks yellow-greenish in colour
and smells like mud. The indigo solution is then ready for painting, turns blue when
exposed to air. Charcoal pencils for drawing the outlines of motifs are made by burning
twigs of the tamarind tree.

The shade of a given colour can vary from one printing to another depending on
the plants age and even the weather. Colours are boldest when the dyed cloths are
dried under hot, sunny skies. During the rainy season colours are duller and in the
winter they are darker.

Self-check Questions

3. Which are the two important styles of Kalamkari?

4. Fill in the blanks

The colours used in Kalamkari were deep _____, _______, ________,

________, ________, dusty ______, ________ and _____-white.

8.6 Production process

8.6.1 Sri Kalahasti

The inspiration of work done at Sri Kalahasti as the name suggests are
Mythological. The scenes depict the epics of Ramayana and Mahabharata using
colours like golden yellow for a female character, blue was used to show the gods and
red for demons.

The cloth is painted. The kalamkari artist outlines the figures and designs on the
cloth with charcoal sticks made of tamarind twigs. Over this the final lines are drawn
with a black solution (Fig. 8.15), called the kasim.

The next stage is to give the cloth its background, red or pink. Whenever red
colour is needed on the cloth, the workman paints over those areas with an alum
solution. The cloth is spread over a woolen blanket and the artist applies the solution to
the cloth with the help of a kalam, which has a brush like end. The cloth is dyed,
washed in water and dried in the sun before it is dyed red (Fig. 8.16).

8.6.2 Masulipatnam

The work done at Masuliptnam is hand block

printed with vegetable dyes (Fig. 8.17). The cloth is
thoroughly washed and soaked for 5 minutes in solution
of a handful of sheep dung and water. The cloth is then
squeezed to remove excess water and kept overnight.
Next day it is washed in flowing water, spread out on a
flat moist surface sprinkled with water till it is bleached.
Fig. 8.17
The design is then block printed on to the cloth,
using kasim liquid (iron acetate) to which alum or phitkari has been added. The cloth is
then left for 2-3 days to dry. Excess of alum is removed by washing in flowing water,
and spread on a flat moist surface and sprinkled with water every two hours or
whenever dry. The Sprinkling must continue for 9 hours throughout the day, as this
prevents fading. The colours dark and light red, black and white are distinct. The cloth is
then dipped in rice starch to make it stiff. This makes it easier to print or paint the wax.

With the design on the block or kalam, all parts of the scroll or painting that are
not to be dyed blue are carefully covered with wax. Fold the cloth neatly and keep
dipping into the vat dye solution till all the unwaxed white portions have turned blue.
Spread the cloth out in the open to oxidize. Put the cloth into boiling water to remove the
wax. Clean the cloth thoroughly in soapy water and add salt. Apply yellow colour with a
block or kalam wherever needed. When yellow is painted over blue, it turns green.

Self-check Questions
5. In Kalamkari what colour is traditionally used for female figures?

8.7 Modern Designs on Kalamkari

In 1958, the All India Handicraft Board set up a training course and school for
Kalamkari workers, to train and upgrade their skill. Production was aimed for the
domestic market as well as the foreign market. In tune with market demand, the
traditional materials like jute, linen, heavy weight jute, silk blends, cotton lycra fabrics,
were used.

Traditional symbolic and floral designs were used for

the fashion conscious. The motifs included were mor
(peacock), hamsa (goose), tota (parrot), kamal (lotus), kalga

Fig. 8.18
(paisley), tree of life, gods and goddesses and narratives from the Ramayana and the
Mahabharata, geometric patterns and floral forms (Fig. 8.18).

The traditional colours of golden yellow female character, blue gods and red
demons, were being replaced by new vibrant colour schemes that dictated prevailing
fashion. One was able to see Kalamkari on bed-spreads, lamp shades, and dress
materials.

8.8 Assignments
8.8.1 Class assignments

i) Draw and sketch the various motifs used in Kalamkari.

ii) Make a replica of Kalamkari.

8.8.2 Home assignments

i) Collect pictures of Kalamkari work that you can find from magazines, shops, and
the internet, representing different styles we have covered in this class. Paste
them neatly on clear pages with labels under each photo or picture.

8.9 Summing Up
Kalamakari is a 3000 years old hand painted and printed type of textile. It was
born in Masulipatnam, a coastal city of Andhra Pradesh. From there it spread to various
other places of which Sri Kalahasti near Tirupati is very famous. Thus two types of
Kalamkari textile is recognized. Sri Kalahasti style and Masulipatnam style.
Traditionally, the painting and printing is done by hand, using vegetables dyes. The
colours used are very rich.

8.10 Possible Answers to Self-check Questions

1. Kalamkari originated in a village called Masulipatnam, 200 miles east of
Hyderabad.

2. The word Kalamkari originated from the word kalam which means pen and kari
meaning work. Kalamkari paintings were done using vegetable colours, depicting
mythological scenes, floral motifs, tree of life, birds and animals etc.

3. Sri Kalahasti and Masulipatnam style are the two important styles of Kalamkari.

4. The colours used were deep red, black, indigo, green, yellow, dusty pink, brown
and off-white.
 5. Yellow colour is traditionally used for female figures in Kalamkari paintings.

8.11 Terminal Questions

1. What are the characteristics of Kalamkari textile?

2. How old is the Kalamkari textile?

3. What is mordanting?

4. What prompted block printing in Kalamkari textiles?

5. How is Addakamu different from original Kalamkari?

8.12 References and Suggested Further Reading

1. Anonymous. 2005. Paramparik Karigar. Mumbai.

2. Bhatnagar, P. 2005. Decorative Design History in Indian Textiles and Costumes.

Abhishek Publications, Chandigarh.

3. Gillow, J. and Barnard, N. 1991.Thames &Hudson Limited, London.

4. Singh, M. 2000. Handcrafted Indian Textiles:Tradition & Beyond. Roli Books,

New Delhi.

8.13 Glossary
1. Madder Mentally deranged

2. Testimony Evidence affirmation

3. Excavations Unearth buried objects

4. Antiquity Great age, ancient times

5. Chintz Printed cotton fabric with glazed finish

6. Dictated Ruled

7. Prevailing Commonly present