Kalamkari

Kalamkari painting of Lord Vishnu lying on the serpent Ananta, displayed at the British Museum.

Kalamkari is an ancient textile printing art that finds its roots in the state of Andhra Pradesh, India. The ancient textile printing art form is believed to have evolved about 3000 years ago in Andhra Pradesh. Kalamkari gained popularity in the south of India during the reign of Vijayanagara Empire. Kalam implies 'pen' and Kari means 'art', a name given by the Mughals when they discovered the art during their reign over the Deccan region. Only natural dyes are used in Kalamkari, which involves twenty-three steps. ^{[1] [2] [3]} There are two main styles of Kalamkari. The block printed that is practiced in the town of Machilipatnam and the hand painted style that is largely practiced in the town of Srikalahasti, both located in the Indian state of Andhra Pradesh.

Srikalahasti style of Kalamkari, where the "kalam" or pen is used for freehand drawing of the subject and filling in the colors, is entirely hand worked. This style flourished in temples centered on creating unique religious identities, appearing on scrolls, temple hangings, chariot banners as well as depictions of deities and scenes taken from the Hindu epics (e.g. Ramayana, Mahabharata and Purana). The style owes its present status to Kamaladevi Chattopadhyay who popularized the art as the first chairperson of the All India Handicrafts Board. ^[4]

Machilipatnam style of Kalamkari or Pedana Kalamkari work involves vegetable dyed block-painting of a fabric. ^[5] It is produced at the town of Machilipatnam in Krishna district of the Indian state of Andhra Pradesh. It was registered as one of the geographical indication from Andhra Pradesh under handicraft goods by Geographical Indications of Goods (Registration and Protection) Act, 1999. ^[6]

Etymology

Historically, Kalamkari used to be termed as Pattachitra , an art form still found in neighboring Odisha and other parts of India and Nepal. ^{[7] [8]} The term "Pattachitra" (Sanskrit: पट्टचित्र) translates to "patta", meaning "cloth", with "chitra" meaning "picture". ^{[9] [8]} Paintings made on fabric and fabric scrolls are mentioned in ancient Hindu, Buddhist and Jain literature. ^{[10] [11]}

When Southern India was under medieval Islamic rule, the term Kalamkari was derived from the Persian words kalam, which means "pen", and kari, which means "craftsmanship". This term became popular under the patronage of the Golconda sultanate. ^[12]

History

Kalamkari textile depicting Lord Vishnu's dasavtaras as well as Ganesha and a Śiva lingam, at British Museum.

Kalamkari is an ancient textile printing art form that evolved about 3000 years ago in the state of Andhra Pradesh. ^[13] The discovery of a resist dyed piece of cloth on a silver vase at the ancient site of Harappa confirms that the tradition of Kalamkari is very ancient. Kalamkari style of architecture originated in machilipatnam. Musicians and painters, known as chitrakars , moved from village to tell the village dwellers the stories of Hindu mythology. They illustrated their accounts using large bolts of canvas painted on the spot with simple means and dyes extracted from plants. Similarly, the ones found in Hindu temples are large panels of Kalamkari depicting the episodes of Hindu mythology and iconography, similar to Buddhist Thangka paintings.

Kalamkari gained popularity as a temple art in the south of India during the reign of Vijayanagara Empire. It flourished around Hindu temples as supplements for murals in the interiors of temples. At that time the themes were mainly religious. Minstrels would paint mythological figures on cloth and wander from place to place singing and spreading the word of God. It was popular as it was representative of the grass root culture of India. The interconnection of the western and deccan styles took place only later in the early 16th century when the Mughals subjugated the Vijaynagar Kingdom. The painting tradition did not have a specific name until the Sultans of Golconda discovered the art. They gave it the name Kalamkari, 'kalam' meaning pen and 'kari‘ implying art. ^[14]

Kalamkari Rumal at Metropolitan Museum of Art

The Mughals who patronized this craft in the Coromandel and Golconda province called the practitioners of this craft "Qualamkars", from which the term "Kalamkari" evolved. ^[15] The Pedana Kalamkari craft made in Pedana nearby Machilipatnam in Krishna district, Andhra Pradesh, evolved under the patronage of the Mughals and the Golconda sultanate. Owing to the said patronage, this school was influenced by Persian art under Islamic rule. ^[12]

In the 17th century, Kalamkari saw a rise in demand from the Mughals, Persians, Dutch as well as the British. The Kalamkari fabrics of India with jewel bright colours, printed and painted in fascinating and intricate designs caught the fancy of women in England and France and became the fashion for daily wear. As early as 1670s complaints had started to be heard from English weavers about the influx of cotton from India, by 1696 dyers and linen drapers had joined the protest. 5000 English weavers mobbed the House of Commons in a mass protest against Indian imported goods. Finally in 1701 a law was passed forbidding the import of Indian dyed or printed cottons and silks into Britain, except for re-export. This was the beginning of the decline of Kalamkari. ^[14]

Styles

Srikalahasti Kalamkari

Main article: Srikalahasti Kalamkari

Kalamkari artisan painting in Srikalahasti style.

The Kalahasti style is produced in Srikalahasti of Tirupati district. A "kalam" or pen is used for freehand drawing of the subject and filling in the colors and is entirely hand worked. This style flourished in temples centered on creating unique religious identities, appearing on scrolls, temple hangings, chariot banners as well as depictions of deities and scenes taken from the Hindu epics. As a result it has a distinct religious identity and thrives on mythological themes. The attractive blend of colors on the fabrics usually portrays characters from the Indian mythology, with the divinity figures of Brahma, Saraswati, Ganesh, Durga, Shiva and Parvati as the main source of inspiration. The Kalahasti artists generally depict on the cloth the deities, scenes from the epic Ramayana, the Mahabharata, Puranas and other mythological classics mainly producing scrolls, temple backcloths, wall hangings, chariot banners and the like. In ancient times, the common man learned of gods and goddesses, and of their mythical character from these paintings. Groups of singers, musicians and painters, called chitrakattis, moved from village to village narrating the great stories of the Hindu mythology. Progressively, during the course of history, they illustrated their accounts using large bolts of canvas painted on the spot with rudimentary means and dyes extracted from plants. Thus, it is believed, was born the first Kalamkari. ^[13] It was registered as one of the geographical indication from Andhra Pradesh, under handicraft goods by Geographical Indications of Goods (Registration and Protection) Act, 1999.

MachilipatnamKalamkari(Pedana Kalamkari)

Main article: Pedana Kalamkari

Block used for Machilipatnam style.

Pedana is a small town just 13 km from Machilipatnam. The Machilipatnam paintings, on the other hand are Persian in character because of the patronage and proximity to the Mughals and the Golconda Sultanate. Hence they were forbidden to use religious motifs of Hinduism. The traditional block prints in this art largely use Persian motifs like interlacing pattern of leaves and flowers , the cartwheel, different forms of the lotus flower, creepers, birds like parrots and peacock, and other intricate leaf designs. One very popular subject with them is the tree of life. Their chief production is in the field of table and bed linen, curtain lengths, dress material, scarves, file and bag covers, cushion covers and wall hangings. With the advent of the Mughal Empire, after Aurangzeb conquered the region in 1687, a new style emerged in Machilipatnam work which represented personal portraits of the emperors along with panels depicting sagas of their rule and daily life, and the richness of their courts. ^[13]

Middle forms

In the Middle Ages, the term was also used to refer to the making of any cotton fabric patterned through the medium of vegetable dyes by free-hand and block-printing, produced in many regions of India. In places where the fabric is block printed, the kalam (pen) is used to draw finer details and for application of some colors. ^[16]

Technique

The first step in creating Kalamkari is steeping it in astringents and buffalo milk and then drying it under the sun. ^[17] Afterwards, the red, black, brown, and violet portions of the designs are outlined with a mordant and cloth are then placed in a bath of alizarin. ^[17] The next step is to cover the cloth, except for the parts to be dyed blue, in wax, and immerse the cloth in indigo dye. The wax is then scraped off and the remaining areas are painted by hand, ^[17] similar to Indonesian batik .

To create design contours, artists use a bamboo or date palm stick pointed at one end with a bundle of fine hair attached to this pointed end to serve as the brush or pen. ^[18] This pen is soaked in a mixture of jaggery and water; one by one these are applied, then the vegetable dyes are added.

In Iran, the fabric is printed using patterned wooden stamps. ^[19]

Color fixing

Dyes for the cloth are obtained by extracting colors from various roots, leaves, and mineral salts of iron, tin, copper, and alum. ^[18] Various effects are obtained by using cow dung, seeds, plants and crushed flowers to obtain natural dye. Along with buffalo milk, myrobalan is used in kalamkari. Myrobalan is also used to remove the odd smell of buffalo milk. The fixing agents available in the myrobalan can easily fix the dye or color of the textile while treating the fabric. Alum is used in making natural dyes and also while treating the fabric. Alum ensures the stability of the color in Kalamkari fabric.

Themes

Kalamkari specifically depicts epics such as the Ramayana or Mahabharata. However, there are recent applications of the Kalamkari technique to depict Buddha and Buddhist art forms. ^[20] In recent times, many aesthetically good figures such as musical instruments, small animals, flowers, Buddha and few Hindu symbols, like swastika are also introduced to Kalamkari.

Modern day

Contemporary kalamkari techniques show various departures from the past. In Masulipatnam, mordant is now uniformly printed with a block. Indigo dyeing has been given up and the application of the wax resist by kalam has also disappeared. The mordant for outlining in black remains unchanged, but iron acetate has replaced indigo for dyeing the larger areas black, despite its known corrosive qualities. Yellow dyes are made from dried flowers called aldekai (Telugu) or kadukai (Tamil) of the myrobalam, Terminalia chebula.

Nowadays, in India, silk, mulmul, cotton, and synthetic sarees are also sold with Kalamkari print. Printing is a much easier task than traditional Kalamkari work. Kalamkari dupattas and blouse pieces are popular among Indian women.

See also

• Palampore - bedcovers and wall hangings made using the kalamkari technique

References

1. "Kalamkari: An Ancient Style of Hand Painting". Utsavpedia (Circular reference). 12 June 2014. Retrieved 13 October 2020.
2. "Fine Craftsmanship: A crash course on 8 art and craft traditions from India". Architectural Digest India. 7 June 2019. Retrieved 17 October 2020.
3. Bajpai, Ishita (20 February 2020). "Watch: Learn About Different 'Lok Kalas' Of India". ED Times | Youth Media Channel. Retrieved 17 October 2020.
4. Abraham, David (16 September 2017). ". The revivalist woman behind All India Handicrafts Board and Central Cottage Industries Emporia". India Today. Retrieved 19 September 2020.
5. "Kalamkari back in demand". The Hindu . Tirupati. 25 October 2010. Archived from the original on 10 August 2011.
6. "Registration Details of Geographical Indications" (PDF). Intellectual Property India, Government of India. Retrieved 14 May 2019.
7. Roy Niranjan (1973), The Patas and Patuas of Bengal. Indian Publications Calcutta, Page number 54-55 (Annexure C,V)
8. "History of Kalamkari Fabrics". www.indianmirror.com. Retrieved 27 October 2020.
9. SenGupta, pp. 12.
10. Ray, Himanshu Prabha (2004). "Far-flung fabrics – Indian textiles in ancient maritime trade". In Barnes, Ruth (ed.). Textiles in Indian Ocean Societies. Routledge. p. 31. ISBN   113443040X.
11. Devare, Hema (2009). "Cultural implications of the Chola maritime fabric trade with Southeast Asia". In Kulke, Hermann; Kesavapany, K.; Sakhuja, Vijay (eds.). Nagapattinam to Suvarnadwipa: Reflections on the Chola Naval Expeditions to Southeast Asia. Singapore: Institute of Southeast Asian Studies. p. 185. ISBN   9812309373.
12. "Indian Painting". Indian Culture and Heritage (PDF). New Delhi: National Institute of Open Schooling. 2012. Retrieved 18 October 2017.
13. "Kalamkari, the Art of Painting with Natural Dyes" (PDF). Chitrolekha International Magazine on Art and Design.
14. "The Ancient Art of Kalamkari: Problems and Prospects with Special Reference to Pedana, Andhra Pradesh" (PDF). International Journal of Science.
15. Bhatnagar, Parul. "Kalamkari". Traditional Indian Costumes and Textiles. Retrieved 20 September 2011.
16. "Kalamkari Sarees and Their Evolution". Star of Mysore. 17 July 2019. Retrieved 27 October 2020.
17. Sardar, Marika (October 2003). "Indian Textiles: Trade and Production". Heilbrunn Timeline of Art History. Metropolitan Museum of Art.
18. "Paintings: Kalamkari Paintings". Indian Heritage. April 2006. Retrieved 3 April 2016.
19. Held, Colbert C. (2006). Middle East patterns: places, peoples, and politics. Boulder, Colo: Westview Press. ISBN   0-8133-4170-1.
20. Naidu, T. Appala (20 July 2015). "Techie's Twist to Kalamkari". The Hindu .

Further reading

• Kossak, Steven (1997). Indian court painting, 16th-19th century. New York: Metropolitan Museum of Art. ISBN   0870997831. (see index: p. 148–152)

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