“Ajrakh” – Harmonious handcrafted melody of prints and designs

The soft, luxurious and classy texture! All these so wanted feelings are passed on into a fabric with an environment friendly process, is AJRAKH!! Ajrakh is a block printing technique that involves layering of prints to create unique effects. Interplay of natural dyes and designs of hand-carved wooden blocks, bring themes like starry nights and seasons on the fabric.

Historic tales behind origin of Name- “Ajrakh”

It is believed that the fabric derived its name from the sanskrit word ‘A-jharat’ or ‘that which does not fade’. ‘Azrak’, the Arabic word for blue could have also played a role in its etymology because of extensive use of indigo in the process.

There is a well-known anecdote about Ajrakh. There was once an opulent King of Sindh. Like the other royal luxuries he enjoyed, he insisted about sleeping on a new bed sheet every day. One morning when the servant was about to change the sheets, the King commanded him not to take away the beautiful blue block printed sheet. “Aaj ke din rakh” (Keep it for the day), said the smitten King. It is believed that this enamored line of the King is what gave this magnificent fabric its name. It must have been a beautiful sleep for the King, to feel like he was sprawled on the changing sky, amongst twinkling stars, when he slept on Ajrakh.

History of Ajrakh fabrics–

The craft of Ajrakh was born in Sindh and is believed to have been in existence from as far back as 3000 BC. Ajrakh fabrics unearthed at sites like Fustat in Egypt are believed to be Ajrakh sourced from India. The craft was mastered by the civilizations, which flourished around the Indus River in Sindh area. The river provided both a site for washing the fabric and the water needed to grow Indigo. An idol of a King Priest, excavated at a site in Mohenjo-Daro shows him draped in this fabric, which depicts the earliest use of Ajrakh. It had a trefoil pattern printed on the garment believed to be the ‘Kakkar’ or cloud pattern in Ajrakh printing. Similar geometry of the trefoil is evident in the present Ajrakh patterns.

Theme, Patterns and colors

Ajrakh is believed to have the sky as its theme. Like a spread of colors with poetic richness.

• The sky is represented by the colour blue
• Evening Sky by the colour red
• Night Sky by the color black
• The white star-like motifs represent stars

Ajrakh designs appear similar to kaleidoscopic patterns. The cloth used is usually about 3-5 meters long. It is patterned with intense colors. The symmetrical block prints transfer their patterns onto fabric mainly in deep crimson and indigo. These patterns are peppered with imprinted, sparkling white motifs and do not depict human or animal figures. Geometry plays an important role. Jaal that is repeated throughout the design, features a centre motif. This results in a complex, layered print with intricate motifs.

Famous traditional designs and motifs are

• Champakali
• Raiya
• Kharek
• Nipad
• Grinari and so on

Skilled craftsmen subtly deviate from these to variations such as

• Amlaliya
• Jalebiya
• Kakkar pattern is most famous
• Saudagiri patterns’ in Ajrakh are the most highly documented genre. These are done with smaller grids. They consist of more organic motifs within a symmetrical lattice.
• Riyal patterns are designs in Ajrakh, which are built around circular motifs.
• Ajrakh prints also embrace new block patterns these days. They are customized designs handed in by stores or designers.
• When the Ajrakh printing is applied to only one side of the cloth it is called Ekpuri.
• A double-sided print would be called Bipuri. Very few block printers still possess the skill to produce a natural dyed Bipuri Ajrakh, which is a delight to the eye.

Ajrakh technique is an elaborate and painstaking process that boasts of ingredients that are all natural and environment friendly. The fabrics go through many stages of resist dyeing for the different colours. They are washed in flowing river water, the quality of which also influences the hues. These processes lend depth to the design, enabling the dyes to ooze into the warp and weft of the fabric. Thus, making the fabric blush with deep hues and great tensile strength.

Ajrakh prints are worn across all strata of society and status, with the same patterns and principles but different qualities of fabric. Predominant use of indigo and red in dyes lends it the ability to keep the wearer warm in winters and cool in summers. Panini, the sanskrit grammarian of 6th century BC, has also written about fabrics resembling Ajrakh. He has described names of clothes known by the colours in which they are dyed. ‘Nila’ – cloth dyed in Indigo, ‘Lohitaka’ was a cloth dyed red, ‘Laksha’ was Madar-dyed cloth and ‘Kalaka’ was the black cloth.

Main colors used in Ajrakh

• Indigo blue- Indigo is used to source deep blue color
• Madder Red- Madder roots are used to create vibrant Red hues
• Black- obtained from iron shavings, millet flour and molasses with tamarind seeds
• White- White is achieved by using resist techniques to prevent certain areas of the fabric from being dyed
•  Additional colors- Turmeric and other natural resources help in getting pallet of yellow

Products and Usage

The fabric is traditionally worn by both; the members of the royal court and the pastoral Maldhari community. Vibrantly printed cotton fabric is comfortable for their work, nomadic lives, and the temperatures they encounter. It is both a delight to the eye and the skin.

The men use it as cummerbunds, colorful lungis (garment to be draped around the waist, covering the lower body), wrap it around their heads like turbans, or toss it across their shoulders as scarves. The women drape this fabric as dupattas, chaddar and as shawls. Ajrakh printed skirts are also commonly seen in women. The semi-nomadic Maldharis also use the fabric as ‘bindles‘, in which they bundle up a few belongings while traveling. The vibrant colors make it very endearing to use it as linings in cradles for kids. The fabric is used both in daily necessities as well as on special occasions. These differences are decided by the quality of the fabric. Patterns, color, and quality of cloth are used as markers for importance and hierarchy.

Its historical importance and intricacy of the design lend its great importance and therefore the fabric is also used as honorary gifts. The general uses also spill over to bed covers and hammocks. The beauty of the fabric does not fade even if it gets old. The fabric is even used in patchwork quilts when it ages.

Contemporary Products

Ajrakh printing products that are famous in today’s date are sarees, dress material, stoles, dupatta, lehenga, kaftans, long jackets as well as designer clothing. One can find many varieties and color combinations that suit this generation’s likings. These ajrakh printed apparels are suited as office wear, casual wear, festive as well as party wear depending upon the fabric used like cotton, Mashru silk, Silk and so on. There is also innovation and amalgamation created by fashion enthusiasts like Ajrakh print on a pure silk kanchi saree or combining Ajrakh with zari border sarees and so on. At Parimal Ecohub we created a unique piece by combing Bamboo fibre saree and Ajrakh Print. It’s a wonderful creation in terms of soft soothing texture, amalgamation of colors and comfort wear for all seasons. Have a look at a stunning beauty

We love to turn our clients imaginations and ideas into reality. If you have that passion for designing your own clothes and wonderful ideas keep popping up but have no time, we are there for you! Let’s discuss to make it reality.

Wish to explore more and customize your clothing range in Ajrakh craft, please click here and we will be ever ready to serve you.

Regional Variations in Ajrakh

Ajrakh, the ancient craft of hand block printing, exhibits regional variations that reflect the diverse cultural and environmental influences of the areas where it is practiced. The three prominent types of Ajrakh are Kachchhi Ajrakh, Barmeri Ajrakh, and Sindhi Ajrakh, each with unique characteristics and techniques.

Kachchhi Ajrakh

Found in the Kutch (Kachchh) region of Gujarat, India, Kachchhi Ajrakh is known for its intricate patterns and multiple stages of printing and dyeing. The process involves the use of natural dyes such as indigo and madder, and it includes several resist printing techniques to create complex designs. The designs are typically geometric and symmetrical, often featuring motifs like stars, flowers, and various traditional symbols. The color palette is usually dominated by deep blues, rich reds, and blacks, achieved through the use of natural dyes. The craft is primarily practiced by the Khatri community, who have been preserving and passing down the techniques through generations.

Barmeri Ajrakh

Found in the Barmer district of Rajasthan, India, Barmeri Ajrakh is characterized by its vibrant colors and bold patterns. The printing process involves fewer stages compared to Kachchhi Ajrakh, making it slightly less intricate but more vibrant. The patterns in Barmeri Ajrakh often include floral and faunal motifs, reflecting the natural surroundings of the region. Bright reds, yellows, and greens are commonly used, along with traditional indigo and black. The use of these vibrant colors makes Barmeri Ajrakh distinctively eye-catching. Artisans in Barmer have adapted the traditional techniques to suit local tastes and resources, maintaining a balance between tradition and innovation.

Sindhi Ajrakh

Found in the Sindh region of Pakistan, Sindhi Ajrakh is renowned for its deep cultural roots and elaborate processes. The technique involves multiple stages of resist dyeing and printing, often taking several weeks to complete a single piece. The designs are typically highly detailed and intricate, featuring complex geometric patterns and traditional motifs that have been used for centuries. The color palette includes the traditional indigo and madder, with additional earthy tones such as browns and blacks. The use of natural dyes is a hallmark of Sindhi Ajrakh. The Sindhi craftsmen, often referred to as Ajrakhs, have maintained the authenticity and originality of the craft, ensuring that each step is followed religiously.

The massive 2001 earthquake in Gujarat caused immense damage not only to life and property, but also to the environment. The iron content of the river Saran had increased, rendering it unfits for Ajrakh printing. Only a few craftsmen decided to stay behind in Dhamadka while the rest moved to a new place. This place was closer to Bhuj and the water was more suitable. They built a village there and it came to be known as Ajrakhpur. The craftsmen understand the value of water for the craft and have built a water-harvesting plant in the village in collaboration with the government; thereby setting an example for others to follow.

In the next series we will detail about the intricate and painstaking process of making Ajrakh fabrics.

We are coming up with our Naturally Dyed Ajrakh Stole Collection soon…..Saty tuned!!