A spotlight on traditional print artisans of India

The New York Times has published a special report on traditional print artisans of India that lauds their craftsmanship and creativity.

Tracking the tradition, a special report by Amy Yee mentions, “In spite of the rich legacy of block printing in India, demand for it actually diminished in the early 20th century. This was owing to the advent of cheaper, mass produced and machine-made fabrics as well as usage of chemical dyes instead of earlier vegetables dyes. Even the market for fine Sanganer hand-block printed fabric had greatly declined by the 1950s. But in the late 1960s the tradition was revived when Western designers arrived in the country as part of the ‘hippie trail’ and started using hand-block print textiles to create modern, fashionable clothing mainly for export.”

One institution that has kept the tradition alive is the Anokhi Museum of Hand Printing in Jaipur. The magnificent museum opens with the craft’s history and progresses to display technique & contemporary clothing. A voluminous hippie caftan is one excellent example of how designers revived and reinterpreted the ancient tradition. Displays of tools also highlight the craftsmanship behind beautifying a simple piece of cloth.

There are engaging glass cases that showcase textiles and garments, with a particular emphasis on the meticulous production process and complex technique. For example, one case on display has a row of vests that document the various steps in a highly complicated printing & dyeing technique - one similar to that used in Ajrakh, in the state of Gujarat.

The museum also focuses on the wonderful work of several block-printing communities located in northern India. It brings to the fore their distinctive techniques and production styles. For instance, from the 18th century block printing greatly flourished in the town of Sanganer. As records testify, royal patronage then fueled domestic trade.

As is documented, Indian royalty acted as patrons of the finest block-printed fabrics even as ordinary folks preferred simpler designs. In the distant village of Bagru, patterns traditionally stood for a person’s marital status and caste.