EMBRODIERY

Vibrant, multihued, glittering, intricate embroidered textiles of Gujarat appeals and attracts all and sundry. Art of embroidery today enriches the speckled range of design possibilities and is popular amongst every field of creative expression. Embroidery, the art of embellishing fabrics, is one of the most time-honored medium of surfacial textile design. In Gujarat, the wondrous skill of using needle and thread on the surface of textiles is a glorious technique being used since the distant past. With the origins based in textiles, basketry, mat-making and weaving along with early sewing, embroidery in the state has rolled up a long way. Gujarat has been one of the most prime centers for textiles in the world, and embroidery both for commercial and domestic use has been the unique identity of this region. Regions encompassing Kutch and Saurashtra are considered the richest source of folk embroidery in Western India. Assorted array of products ranging from objects of home dcor to traditional attire for marriages, accessories for kids to animal trappings are all embroidered with the most vibrant hues and elements. Each pattern and design along with the techniques is handed down from mother to daughter and forms an intricate part of cultural ethos and social identity. Each community in Gujarat is identified by the kind of traditional attire, embroidery, jewelry and tattoos unique to their culture and way of living. Embroidery in Gujarat has been of significant social amplification and more than serving the commercial market, it has been personalized domain of the women, a medium to express and explore! The beauty and glory of the embellished textiles lied in the personalized attachment in the creation process. Embroidered textiles form an integral part of the trousseau which married girls take to her husbands place. Each piece of work created with care and imagination exhibits her skill and dexterity along with her capability of being an industrious householder. As soon as a girl reaches the age of 8 or 9, she starts learning the art of embroidery from her mother and other elder women. Within 2-3 years all the women in the house and specially the girl start working on the wedding trousseau. The exuberance and uniqueness of embroidered textile from Gujarat attracts and appeals people from all strata of society and communities. This increasing exigency has encouraged people of the state to share their art form through a commercial and professional translation of their ingenuity and is creating innovative and contemporary products to appease all segments of the society. Range of Techniques Counted thread technique Embroidery with a hook

Metal work

Mirror Work

Array of Embroidery Traditions in Gujarat Aari Bharat Ahir Bharat Jardosi Jat Bharat Panorama of Embroidered Products Home Furnishings Garments

Mutwa Bharat Paako and Kharek Bharat Rabari Bharat Suf Bharat

Accessories Home Dcor

DIFFERENT TYPES OF EMBROIDERIES

1. AARI OR MOCHI EMBROIDERY:

Aari or mochi embroidery of Gujarat is an outstanding craftsmanship exuding beauty for the beholder and artistic flair of the creator. Intricate and fine chain stitch flows in the most poetic fashion to create any kind of complex or simple pattern. The expressive flamboyancy of the technique adds in flavor of painterly attributes making the medium significantly favored and admired by all. Deriving its name from the aari or hook which was also used by the mochis or cobblers, the splendor of aari bharat is simply inimitable. The fabric is usually spread on a frame and the thread is held below the material and the pointed notch is pushed through the cloth, creating a movement forming series of chain stitches following one after the other. Traditionally executed on shimmering surface of gajji or silk, the embroidery is one of the most splendid forms of embellishment which was favored by people of all strata of society. The flexibility of the medium allows varied range of motifs to adorn garments and home accessories in vibrant rich colors. Butis or floral motifs, parrots and peacocks and figurative illustration of maidens embellish the fabric surface with realistic exuberance and verve of nature. Animals, birds and human figures created with detailed delicacy bring out the animated spirit of the depicted forms. Color gradations are created by using shades and tints of varied bright hues. The most eminent aspect of this embroidery technique is the quality of depth being created in each form, which is sometimes adorned with tiny mirrors or sequins. Traditional Trivia Mochi or aari bharat is one of the embroidery techniques which was done both for personal and commercial use. It is an adaptation of the cobbler's stitch which was executed by the mochis or cobblers on leather goods and later translated the medium to fabric. Traditionally the mochis in Kutch and Saurashtra region used this technique to create glorious textile products for the court, merchants and landowners. This style of embellishment which was meant for commercial purposes developed aestheticaly and had deep influence on the design psyche of folk styles in that region.

It was implemented on satin silk or gajji fabric with glossy silk yarns and the Jadeja ruler in Kutch commissioned the mochis to fashion garments embellished in this style. The motifs and colors were adapted by other local communities using coarse fabric and cotton yarn for needle work meant for their personal use. Bhuj in Kutch district remained the main center of aari production till the day and age of royal patronage continued. Eventually with time and lack of commission, the heydays of aari bharat came to a halt. At present it is being done in many parts of the state but the brilliance which was created for regal patrons has become quite difficult to achieve in the present circumstances as today contemporary patrons are no longer able to appreciate the delicacies, cost and time this textile art takes.

2. AHIR EMBROIDERY:
Ahir embroidery of Gujarat, an exuberant dexterity of ornately endowed circles following one another in a rhythmic row of embroidered patterns, enhances character and verve of contemporary textile pieces. Little circular mirrors encircled with chain stitch forming geometrical and abstract patterns, enriches any garment or home furnishing with the flavor and fervor of natural simplicity. Vividly colored repertoire of limited stitches amid glittering pieces of mirrors embellishing cotton, silk and wool fabrics appeal every soul and heart! Sankli or chain stitch used for outlining and vana or herringbone stitch utilized for filling along with bakhiya and dana serving the purpose of detailing or filling, encompasses the gamut of stitches which enriches the identity of Ahir embroidery. The needled embellished technique practiced by the pastoral Ahir community women reflects minimalism and is highly inspired by flora and fauna surrounding them. Flowers created by repetitive usage of circles, peacocks and parrots blending accordingly, Kanta stitch inspired by the local babool tree thorn and other nature inspired motifs mirror their alliance with nature. Traditional Trivia Ahir, the cowherd community inhabiting in Gujarat are considered to be the descendants of Lord Krishna and supposedly migrated along with him from Mathura centuries ago. Ahir, the name finds its origin in the Sanskrit word Abhira, literally meaning fearless. Historically a nomadic community which has now settled down, identifies themselves as the Gopas or herdsmen who came to Dwarka along with Krishna and follow the Gop culture. Ahir women usually wore black to mourn Krishnas death and Radha, Krishnas adored Gopi is also deemed to have been an Ahir woman. Embroidery plays a significant role in the Ahir household, chaklas, torans, godali quilts, cushion or pillow covers and other pieces of textiles are embroidered popularly by the Ahir women, making their living spaces a rich compilation of colors and forms. Embroidery in red, green, brown, orange and yellow colors with white used for contrasting highlights and lots of rounded embroidery predominate the costumes of young women in the community and sets them aside from the plain and simple attire of the older women. Traditionally Ahir embroidered textiles mainly used mashru as the base fabric for products like

ghaghras or odhanis. Colors and stripe pattern of the mashru fabric were harmoniously complimented with contrasting hues and distinctly circular patterns of Ahir embroidery. This trend seem to have been taken over by synthetic, gaudy fabrics available in local markets.

3. Kharek and Paako Bharat:

Dense, compact style of Paako bharat using a riot of colors, bearing aesthetical balance and contrast enhances the glory of any textile piece regardless of its functionality. The bold and constant patterns giving more emphasis to the created positive space defines Paako bharat, which literally means solid. Square chain and buttonhole stitches along with tiny pieces of mirror add an opaque veneer to the embroidery which is considered to be the most durable of its kind. The unique identity of this needled embellishment is the use of black color for outlining utilizing slanted satin stitch. Kharek, the name itself is reminiscent of the tactile textural quality of Dates tree and the Kharek bharat is an exultant inspiration of the form. It is a geometric style of needlework created by counting the structural make up of the fabric. The pattern is primarily executed with black outline of double running stitch and then the surface front is filled in with bar-shaped clusters of satin stitches along the warp and weft of the textile. Both the techniques of Paako and Kharek practiced by women of the same community create an elegantly impenetrable appearance on any product ranging from bags to home furnishings to garments. Traditional Trivia The origin of Paako and Kharek bharat goes back to Sindh and was brought to the regions of Banni by Meghwals and Islamic pastoralists who migrated from the region. Both these distinct styles of embroideries are traditionally being practiced by Meghwal and Sodha Rajput communities and though there is an ever-going debate on which community originally brought it in the country, a mutual influence of both on each other cannot be denied. Both these communities also specialize in Suf embroidery. All the embroidery styles practiced by these communities reflect their cultural temperament, including marriage and trousseaus traditions. Domestic embroidery styles of Suf, Paako, Kharek and many others fashioned richly embellished textile products which formed part of trousseaus. The preference of embroidery style always depends on the usability or functionality of the product. Delicate and fragile stitches of Suf and Kharek are always apt for wearable textiles or products which do not go through much wear and tear. Whereas Paako bharat with its sturdy and durable quality of execution are favored for firm functional products.

4: Kathi Bharat:
Kathi bharat or Kathipa style of embroidery with its long stitches and embossed designs executed all over the fabric in playful manner, brings out the joyous pleasure of fabrication experienced by the creator. Geometric patterns engulfed between borders constructing chequered forms,

illustrated by linear long stitches and contrasting colors define the design vocabulary of Kathi bharat. Repeating patterns of six to eight pointed stars, triangles and squares arranged to form a symphonic composition and glittering mirrors set amidst the forms adds in aesthetical splendor to this vibrant form of embroidery. Design patterns are emphasized by use of elongated darn stitch along with herringbone stitch accentuating the borders or outlines. The stitches in triangles run in parallel to the warp and weft creating interesting play of light and shade with single color of yarn or thread. Abhla or mirrors are inset with buttonhole stitches amid squares and triangles harmonizing the curves and even lines. Narrative and figurative elements like human beings, animals and birds along with landscapes also form an essential part of this style of embroidery. Kathipa style of embroidery is also locally known as heer, from the flossy silk yarn used for the creation. Bold motifs adorned in rich contrasting colors inset with mirrors create most colorful depiction in dark blue, orange, purple, indigo, black, deep red and little hints of yellow and green. Traditional attire of the kathi women flaunt the style and have become an intrinsic part of costumes worn by both rural and urban women during Navratri. Besides the garments, kathipa bharat is also used in creating range of home adorning textiles like chaklas, torans or the textile doorframes, cushion covers, mats and the like. Traditional Trivia Kathi bharat or kathipa style of embroidery is considered as one of the oldest form of embellishment in this part of the country. Kathis landlords find their origin going back to times of Mahabharata when Karna the famous warrior brought them to this region as cattle breeders. Along with them new concepts and repertoire of stitches got introduced to this area which continued for centuries. Tales of pathos and heroism of this community along with the topography around got depicted by their needle art. With growing opulence and authority of the community as landlords, the women stopped practicing and started exploring beadwork as well as commissioning aari work from mochis. Kathipa style got adapted by the Mahajans or bania merchant and is still practiced as a prominent form of embellishment by communities in Saurashtra.

5.RABARI EMBROIDERY:
Picturesque and vivid Rabari bharat eulogizes creativity and imaginative fervor executed on any piece of textiles. The spontaneous compositions, vibrant colors and graphical motifs add in vivacity to fashion products while amassing spirit and vigor in life style accessories. Symmetrical and asymmetrical motifs conceptualized based on surrounding topography and reflecting a lot of verve and pleasure in creation symbolizes their wandering lives. Rabari embroidery is a plethora of square, triangular, rectangular, circular patterns composing to form abstract motifs of birds and animals, flowers and fruits, landscape and seascape, insects and reptiles. Linear abstraction filled in with intricate stitches and mirrors are simply created reflecting the observant and exceptional nature of a Rabari woman. Chain stitch accompanied by an array of accent stitches adds in graphically illustrative quality

in their needlework. The bakhiya local name for the back stitch is one of the simplest stitches adding in a lot of emphasis to their creative work. The bright and vibrant color palette used on the contrasting background of white or black with sparkling mirrors is easily distinguished with other needle works in the region. One of the most distinctive characteristics of Rabari embroidery is the contrasting and non repetitive use of colors. Traditional Trivia Rabari, the nomadic pastoral community settled in various parts of the state trace their origin back to Marwar in Rajasthan. There are diverse contemplations about the time period when they migrated to Gujarat, but the Rabaris themselves believe to have come over in migrating groups over a period of centuries. Earlier the term Rabari was loosely applied to migratory camel herders having similar customs and beliefs due to their profession so different sub communities of Rabaris have their own legends of origin. While some call themselves the ancestral keepers of Shivas camels, others seem to have migrated in the recent past on account of Islamic invasions from the North. Due to their knowledge of the terrain and a community which dealt with dray animals they were often entrusted with the task of transporting goods, trade materials and even people. Each community and culturally linked group in Gujarat is distinctively identified by the kind of embroidered costuming, body tattoos and living settlements. Rabari embroidery is uniquely suited to their lifestyle and a young girl is initiated to the craft form by her mother in order to prepare for an absolutely elaborate bridal trousseau.

6: MUTWA BHARAT:
Mutwa Bharat is one of the most intricate and meticulous form of embellishment which intensifies the elegance and flamboyance of any textile product. Inlaid with tiny round shaped mirrors and adorned with minuscule stitches, Mutwa bharat is like a verse dedicated to skill and creation. This beautiful and exquisite form of embroidery which takes months to be created portrays chic spirit and is like a jewel in collectors reserve. Ornamental patterns encircling miniature mirrors and tiny dots edging patterns in a ring like shape create identity of this skilled technique. Diminutive variations of other local embroidery styles like Paako, Kharek, haramji and Jat form an intrinsic part of Mutwa repertoire of stitches. Mutwa embroidery quite often is recognized by the distinctive use of stitches like square chain to form three or five petal floral motifs and emphasized by the use of white outline created by running stitch. A similar style of technique is also practiced in the Arabian Peninsula which shows resemblance and association with Memon and Baluchi styles of embroidery. The varied collection of motifs used in Mutwa embroidery almost compliments the diverse stitches used in this art form. Star-shaped bhido with tiny mirrors, fuladi and chikan floral motifs, kucho, chopad etc are some of the traditional motifs which add in verve and beauty to Mutwa Bharat. Traditional Trivia Mutwas are a small group of Muslim herders inhabiting in the Banni areas of Gujarat. It is alleged that almost 500 years ago their ancestors migrated from Saudi Arabia to Sindh and then

moved to Kutch about 150 years back. This Arbistani origin community still follows Bedouin faith and is culturally quite dissimilar from the other communities belonging to Thar Parkar origin. The art of Mutwa embroidery is part of the wedding trousseaus, along with other goods like jewelry, utensils etc. Mutwa girls begin learning and preparing these magnificent work of art from the young age of 7-8. The fine gamut of stitches and aesthetic appeal of colors and composition, though an inherent quality is also handed down generations from mother to daughter. The vibrant and radiant colors of Mutwa embroidery offer a pleasing contrast amid the barren arid salt planes of Banni. The use of square chain stitching in orange along with white emphasis show a close resemblance between the Mutwa embroidery and a particular style of needlework practiced in Saudi Arabia.

7: GARASIA, DHANETA, FAKIRANI JAT EMBROIDERY:

Crisscross tiny patterns studded with tiny mirrors appear like bejeweled needlework created with uttermost minimalism and ingenuity. Jat embroidery from Kutch is considered a classical form of textile embellishment bearing strong influence to the embroidery style practiced in Sindh. The ethnic elegant embroidery style of the Jat community can be distinguished in different groups based on the three social sub sects, Garasiyas, Dhanetas and Fakiranis. Each community creates superlative variants of needle work establishing identity and distinctiveness of their community. The embroidery practiced by women for personal usage indicates the identity of the community along with giving away aspects like marital status and age. Dhaneta and Fakirani Embroidery Bold and dense embroidery created by both these communities form an integral part of their attire of daily wear. The distinctive identity of their embellishing style can be seen in form of tight padded chain stitch along with an array of other stitches creating geometric patterns used all over the yoke of their garment. Tiny blocks of stitches forming squares and triangles along with vivid circles created by couched stitches and inlaid with glittering mirrors define the exclusive design sensibility of the creators. The color palette used by the communities is akin to the hues and shades used in Paako bharat confirming their native alliance with Sindh. Garasia Embroidery Churi, a long gown worn by the Garasia women radiates the skill and ingenious imagination of the community women who fashion these for their personal use. Garasia Bharat is a counted thread work, in which crisscross patterns are embellished keeping in rhythm with the warp and weft of the fabric. Yokes of the gown are filled with an assorted range of geometric patterns created with these x shaped crosses and embedded with tiny mirrors. The unique aspect of the embroidery style is the application of colors complimenting the rich red of their traditional garment and use of white to emphasize and outline the patterns. White not only adds in sense of contrast to the color palette but also brings in an elfin playfulness to the entire design and the costume. Traditional Trivia The pastoral nomadic communities of Jaths residing in Kutch trace back their origins to Sind and brought along with them the cultural nuances of that region. It is believed that the community belonged formerly to Scythian origins and wandered down to Sind couple of centuries back,

from where in search of fertile land came and settled in Kutch. The community is socially sub grouped under three sects, Garasia , Dhanetah and Fakirani. Garasia Jaths are locally the landholder or agriculturalists whereas the Dhanetas and Fakiranis originally belong to one community are the cattle herders. Dhanetas are buffalo herders while Fakirani Jaths still herd camels. All the three sects are exclusively known for their embroidery styles which reflect a lot of similarity with the tradition practiced in their native origin yet is distinctively different from each other. The design sensibilities of these styles create a unique identity as well as a statement of style and elegance. Abstract designs balanced with flawless sense of color distinguish their embroidery as an inimitable skill. The distinctive style of embroidery which was practiced by the women for their personal use is now being translated into varied range of fashion and lifestyle accessories.

8; SUF BHARAT:
Arithmetically lyrical motifs, laid on the surface of textile products celebrating the intertwined effect of a fabric mark the identity of Suf embroidery. The name of Suf embroidery derived from the word saaf or neat and clean portrays the individuality of its brand. Another significance of the name lies in the angular formation of patterns which is inherent quality of the Suf technique. The intricately, delicate technique of Suf proves out to be a painstaking process in which the embroiderer, creates patterns with surface satin stitch used from the back of the material, while meticulously counting the warp and weft of the fabric. Each creator envisages a design and translates it into simple geometrical patterns and directly applies it in her embroidery without pre-drawing on the surface. Each and every thread is counted in reverse to create balanced, symmetrical, patterns with triangular minutiae. An array of motifs showcasing flowers, leaves, trees, fruits, birds and animals are created with this methodical process. This attribute of the technique also confines the range of fabrics compatible to the embroidery. Suf is comfortably applicable on fabrics whose structure is visibly countable, hence for all the handmade enthusiasts; Suf offers the delight of being stitched more than often only on handloom fabrics. Traditional usage of colors barred the embroiderers to use black and blue in their creations as they signified mourning. Though contemporary Suf encompasses all range of color palettes from bright to neutral, cool to warm and pastels to monochromes. Traditional Trivia Suf is traditionally practiced by women of the Sodha Rajput and Meghwal communities who migrated from Sindh, mostly during Indo-Pak war almost 40 years back. Originating from Thar Parkar in east Sindh these communities still bear the cultural ethos of that region. Soof which also bears a strong resemblance to phulkari of Punjab originated in Sindh and realtes to the embroidery styles found in Afghanistan and Pakistan. Suf Bharat, bears an intrinsic value in the social fabric of the communities practicing this craft

form. Embroidered products form the main component of a brides wedding trousseau and are also considered a proof of her skill and industriousness. Traditionally abla or mirror work was not part of the Suf technique, though contemporary products use small sizes of abla as part of embellishing accessory.

9: ZARDOSI:
Silver, gold and other metal wires along with rhythmic repetition of stitches dazzle and bedeck textiles products, providing the beholder with an overwhelming experience. Embroidery fashioned with metal wires or zari is in a class by itself and retains an extravagant appearance. Silk, cotton, velvet, satin and many other different kinds of fabric are embellished by cordial alliance of the opulent metal wires and textile and are popularly known as Zardosi. Linear wire outlines the patterns on fabric and is meticulously filled with textured details; glittering badla is sprinkled all over the fabric, circular stiff and thin wire known as gijai is used for intricate details, braided gold thread kalabattu is used in the borders creating the most splendid and incredible textile pieces. In complex design spirally twisted tikora is used to give curves and convolutions while dull zari known as kora or lustrous also known as chikna add in value and depth to the fabric. Mukaish or badla work done with flat silver wire reminds one of sparkling stars on a clear night sky. Complimenting the beauty and glory of illustrious bandhani or block print this technique is used as surface embellishment in many traditional types of attire. Kamdani, the lighter form of metal embroidery is utilized for delicate fine work on lighter materials for fabricating garments and the like. Zardosi is a heavier and elaborated form of embroidery created on heavy silk, velvet or stain. Tiny flowers created with badla to complex floral patterns with intricate detailing, heavy and elaborately textured work to delicate refined craftsmanship; zardosi artist of Gujarat fashion varied possibilities with metal wires and textiles. Traditional Trivia Art of metal embroidery goes back to many centuries in Gujarat, the inhabitants of the state have not only enjoyed the glory of this technique for personal use but also have been known for exporting it to other countries. Traditionally original gold and silver metals were melted and beaten to create wires which were used for embroidery and weaving. The oldest reference of this craft form goes back to the Vedic age and it continued to win hearts for centuries. Gold was considered the most sacred metal symbolizing sun and silver represented the moon. Embroidered or woven textiles which encompassed these metals not only verified the status level of the wearer but also worked as an asset. In situations of emergency these textiles were heated and the metal was melted to recover back the investment. The precious textile forms of garment or home furnishings were used for religious and social festivities. Gold and silver offered greater attraction to the embroiderer than any other material, its abiding character and its hold on popular imagination all made it one of the most favored techniques. Surat district of Gujarat has been known world over for its manufacturing of zari or metal wires

meant for embroidery and weaving. With time and introduction of cheaper metals, manufacturing of real gold and silver wires ceased and gave way to variety of new types of zaris created of synthetic or other metals.

10: PARSI EMBROIDERY:

Realistically pictorial, lyrically composed, aesthetically colorful and delicately embellished Parsi Gara embroidery is an emblem of style and elegance. The rich gara embroidery, originally considered a Parsi familys heirloom, has become rare, collectors items because of the intricate work and beauty. Gara motifs are drawn from the rich repertoire of traditional Chinese textile motifs, the smaller ones are selected for gara-embroidery, rather than larger more dramatic motifs such as the dragon. Some motifs are linked to the 'trade patterns' depicted on textiles exported from China and India to Europe. The peacock with a trailing tail appears to be an Indian motif adopted by Chinese embroiderers for gara-embroidery. Bamboos, birds, butterflies, blossoms fill in spaces and divide scenes. Some of the saris are so profusely embroidered that the birds and animals seem concealed in the meandering and flowering or fruiting vines that cover the field of the textile, and the details - slowly and delightfully - reveal themselves to the viewer. Gara motifs were generally embroidered in satin stitch, long and short stitch, and the tiny khakha or seed-pearl stitch akin to a minute French knot. The kha-kha stitch forms a delicate textured area - as if the cloth is covered with beads, and was worked for complete motifs or the centres of flowers. Being a small stitch, the kha-kha proved to be a strain on the eyes, and satin stitch was more frequently worked. The slant of the stitch was consciously worked to infuse fluidity and movement in the motif from the feathers of a parakeet in flight, a butterfly hovering over a flower, or flowers bobbing in the breeze - thus giving the entire composition a lyrical beauty. Most saris were red, black or purple and the embroidery was generally done with white or light silk threads using coloured highlights with striking effect. The subtle shading and lustrous silk strand created a natural effect in the motifs, and the dark textile provided a spectacular background for even the smallest kha-kha stitch. Embroidering a gara takes several months, depending on the intricacy, fineness and elaborateness of the design. Though expensive, they are likened to buying a piece of jewellery, which can be handed down through the generations. Fortunately with the efforts of dedicated designers, the fine art of gara embroidery - that originated in China and was refined to artistic realms by skilled Chinese embroiderers - has now been revived in India. Traditional Trivia The Parsis, followers of Prophet Zarathushtra (recent research dates his lifetime to 1200 B.C.), left Iran for India, and eventually settled in Sanjan, the western coastal state of Gujarat in 936 A.D. Over the centuries, while they retained their religious customs and beliefs, they gradually assimilated elements of local culture: Gujarati as their mother tongue, the sari draped in the Gujarati style as the woman's garment. By the early 19th century, Parsis owned shipping companies with Mumbai-built ships and plied a

profitable trade with China. Their assimilation of western culture, life style and education brought them closer to the British. Parsi traders travelled to the Far East, traded in China and Hong Kong, and returned with many beautiful Chinese artefacts, which are seen in Parsi homes even today. But perhaps the most coveted were the embroidered Chinese textiles brought by them. Appreciative of Chinese embroidery, Parsi traders bought embroidered silks for their families and placed orders for embroidered sari borders, saris, blouses and pantaloons to be readied by the time they finished their business and were to return to India. The embroidery was worked on a variety of Chinese silks. As Chinese textiles were originally woven on narrow looms, saris were composed of two separate lengths, stitched together to make-up the required width. These saris were referred to as do-patti or two-strip saris. On these lengths, borders, an endpanel and field would be embroidered. Over the time, the word gara (from the Gujarati word for a sari) was associated with the Chinese embroidered sari, and the embroidery referred to as garaembroidery.

HAND BLOCK PRINTING

Twinkling stars in an evening sky, dense tropical forests with color and gaiety, simple minimalist repetitive patterns of abstract imagery all of this and much more is the visual result of surfacial embellishment on fabric known as block printing. The variety of printed textiles is immensely wide and designs keep getting innovative and change according to market requirements, fashion trends, and influences of variegated forms of design being generated the world over. Todays artisan is conscious of market requirements and the kind of client he has to service. Block printed patterns are a series of bold, open ended designs with exciting color combinations and also intensely detailed work suffice to say the block printers of Gujarat have an entire range of repertoire for the perusal of a prospective client and are willing to experiment, innovate and change if need be. There are three main techniques in the making of a block printed fabric, direct printing where the dye is applied directly on the fabric with the block, resist printing which as the name suggests the process uses wax or lime to resist the dye and Discharge printing which uses repulsing material to open up areas on the dyed fabric wherever the block is applied. Over the years block printing has been exposed to a variety of techniques and dyes ranging from the natural to the chemical. Natural dyes and their mordants such as alum form quite an earthy palette of deep subdued shades in reds, greens, yellows, browns and the like and the ubiquitous Indigo. A wide range of colors are available in chemical printing and dyeing, varied range of shades and tints of a single color is created by the dyers.

Traditional Trivia The state of Gujarat along with Sindh and neighboring state Rajasthan are the oldest block printing centers in the world. With the discovery of a terracotta block at the Indus valley site, block printing is the oldest beautification technique used in fabric. Such was the local and later through trade foreign demand for block printed and dyed textiles that samples have been found in Egyptian tombs, fourteenth century Fostat collection and fortunes in Europe were made and broken over this trade. Each community in Gujarat has its own motifs and patterns on their traditional textiles which enmeshed with the jewelry, home embellishment and living style and therefore was a mark of recognition. Every community had their own distinct colors, and motifs identifying not only their origins but also their status within the community. It is interesting that the Khatri community of traditional dyers and printers are almost oral historians as they were commissioned to make fabrics by various communities for different occasions.

DIFFERENT TYPES OF HAND BLOCK PRINTING

 AJRAKH:
Ajrakh, enmeshed in folklore history legend, is a fabric which rightfully commands a design statement of our times. Ajrakh whose elaborately intricate making and ownership is a sense of pride, finds a place of admiration in the world of textile. The deep indigo and mesmerizing maroon highlighted with tinges of black and white of an Ajrakh product appeals the heart and soul of any beholder. The artisan works lovingly on the fabric with a sensibility enmeshed in years of tradition to produce finished products of cutting edge design with innumerable variations. Using resist and mordanting techniques on natural dyes coupled with the rhythmic placements of the blocks, the karigar(craftsman) presents a work of art, enmeshed in beauty and skill. The resist block printed designs on an Ajrakh draw the viewer in to a complex world of design juxtapositions in a sheer flow of mathematical poetry. The word Ajrakh can be interpreted as the twinkling positions of the stars in an evening sky. The sheer fluid complexity of mathematical configurations exemplifying the garment as a quantum fold in space belies its roots in the Persian Mizan or the single unifying theory of time a space linking the very elements of the cosmos. To achieve the high art on fabric, the Ajrakh dyer uses the deepest blue of indigo and the molten red of madder eulogizing the divinity of the twin opposing forces of creation. It is the sheer beauty of form and feel that makes Ajrakh a prized fabric to grace any collection. Traditional Trivia The patterned configuration of an Ajrakh print is a mirror interpretation of the trigonometric architectural symmetry in medieval Islamic structures encapsulating it with the singular binding theory of the universe. The artisan works lovingly on the fabric with a sensibility enmeshed in years of tradition to produce finished products of cutting edge, design with innumerable variations. Using resist and mordanting techniques on natural dyes coupled with the rhythmic placements of the blocks, the karigar(artisan) present a work of art enmeshed in beauty and skill. The resist block printed designs on an Ajrakh draw the viewer in to a complex world of design juxtapositions in a sheer flow of mathematical poetry.Ajrakh print shares a common link with the states of Gujarat, Rajasthan and Sind in Pakistan. Around 500 years ago the then Maharaval of Kutch invited a group of Khatri artisans to settle at Dhamadka near Bhuj in order to exclusively provide printed fabric to the nobility. These artisan branched out into a range of block printed and surfacial methods to serve the needs of various local communities, but the pride of their trade still remain Ajrakh. Master artisans extrapolate traditional design variations such as Amlaliya, Jalebiya, the famous kakkar pattern and a mirror of cloud formations traced back to archaeological evidences of costumes prevalent during the Indus valley civilization. The truly skill intensive process of creating an Ajrakh master price makes it all the more valuable. Ajrakh also has two interesting almost magical qualities. The stages of resist dye application and subsequent washing in the crystalline waters of flowing rivers ensure that the printing is not superficially surfacial but the dyes enamor the grid betwixt the warp and weft of the fabric making the finished item bloom in vibrancy and tensile strength with the passage of time. The other endearing quality of the product is that it has the inherent ability to keep the wearer warm in winters and cool in summers.

HANDLOOM WEAVING