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Kalamkari is an ancient textile printing art that finds its roots in the Indian state of Andhra Pradesh. 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 practised in the town of Machilipatnam and the hand painted style that is largely practised in the town of Srikalahasti, both located in Andhra Pradesh.
Srikalahasti style of Kalamkari, where the "kalam" or pen is used for freehand drawing of the subject and filling in the colours, is entirely hand worked. It is produced in Srikalahasti of Tirupati district of Andhra Pradesh. This style flourished in temples centred 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 popularised 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 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]
Historically, Kalamkari used to be termed as Pattachitra , an art form still found in neighbouring 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]
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.
The Mughals who patronised this craft in the Coromandel and Golconda province called the practitioners of this craft "Qualamkars", from which the term "Kalamkari" evolved. [14] 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]
Srikalahasti Kalamkari
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 colours and is entirely hand worked. This style flourished in temples centred 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 colours 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)
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]
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 colours. [15]
The first step in creating Kalamkari is steeping it in astringents and buffalo milk and then drying it under the sun. [16] 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. [16] 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, [16] 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. [17] 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. [18]
Dyes for the cloth are obtained by extracting colours from various roots, leaves, and mineral salts of iron, tin, copper, and alum. [17] 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 colour 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 colour in Kalamkari fabric.
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. [19] 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.[ citation needed ]
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.[ citation needed ]
Nowadays, in India, silk, mulmul, cotton, and synthetic saris 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.
A sari is a women's garment from the Indian subcontinent. It consists of an un-stitched stretch of woven fabric arranged over the body as a robe, with one end attached to the waist, while the other end rests over one shoulder as a stole, sometimes baring a part of the midriff. It may vary from 4.1 to 8.2 metres in length, and 60 to 120 centimetres in breadth, and is a form of ethnic wear in India, Sri Lanka, Nepal, Bangladesh, and Pakistan. There are various names and styles of sari manufacture and draping, the most common being the Nivi style. The sari is worn with a fitted bodice also called a choli and a petticoat called ghagra, parkar, or ul-pavadai. It remains fashionable in the Indian subcontinent today.
Clothing in India varies with the different ethnicities, geography, climate, and cultural traditions of the people of each region of India. Historically, clothing has evolved from simple garments like kaupina, langota, achkan, lungi, sari, to perform rituals and dances. In urban areas, western clothing is common and uniformly worn by people of all social levels. India also has a great diversity in terms of weaves, fibers, colors, and the material of clothing. Sometimes, color codes are followed in clothing based on the religion and ritual concerned. The clothing in India also encompasses a wide variety of Indian embroidery, prints, handwork, embellishments, and styles of wearing clothes. A wide mix of Indian traditional clothing and western styles can be seen in India.
The Sultanate of Golconda was an early modern kingdom in southern India, ruled by the Persianate, Shia Islamic Qutb Shahi dynasty of Turkoman origin. After the decline of the Bahmani Sultanate, the Sultanate of Golconda was established in 1512 by Quli Qutb Shah, as one of the five Deccan sultanates.
Machilipatnam, also known as Masulipatnam and Bandar, is a city in Krishna district of the Indian state of Andhra Pradesh. It is a municipal corporation and the administrative headquarters of Krishna district. It is also the mandal headquarters of Machilipatnam mandal in Machilipatnam revenue division of the district. The ancient port town served as the settlement of European traders from the 16th century, and it was a major trading port for the Portuguese, British, Dutch and French in the 17th century.
Chintz is a woodblock printed, painted, stained or glazed calico textile that originated in Golconda in the 16th century. The cloth is printed with designs featuring flowers and other patterns in different colours, typically on a light, plain background.
A palampore or (Palempore) is a type of hand-painted and mordant-dyed bed cover or hanging panel that was made in India for the export market during the eighteenth century and nineteenth century.
Cheriyal scroll painting is a stylized version of Nakashi art, rich in the local motifs peculiar to the Telangana. They are at present made only in Hyderabad, Telangana, India. The scrolls are painted in a narrative format, much like a film roll or a comic strip, depicting stories from Indian mythology, and intimately tied to the shorter stories from the Puranas and Epics. Earlier, these paintings were prevalent across Andhra, as also various other parts of the country, albeit flavoured with their distinct styles and other local peculiarities dictated by the local customs and traditions. In the same way, Cheriyal scrolls must have been popular across Telangana in earlier times, though with the advent of television, cinemas and computers it has been fenced into its last outpost, the Cheriyal town.
Embroidery in India includes dozens of embroidery styles that vary by region and clothing styles. Designs in Indian embroidery are formed on the basis of the texture and the design of the fabric and the stitch. The dot and the alternate dot, the circle, the square, the triangle, and permutations and combinations of these constitute the design.
Shisheh or abhla bharat embroidery, or mirror-work, is a type of embroidery which attaches small pieces of mirrors or reflective metal to fabric. Mirror embroidery is common throughout Asia, and today can be found in the traditional embroidery of the Indian subcontinent, Afghanistan, China, and Indonesia.
The culture of Andhra Pradesh embodies some very exclusive and special entities.
A Sambalpuri sari is a traditional handwoven bandha (ikat) sari wherein the warp and the weft are tie-dyed before weaving. It is produced in the Sambalpur, Bargarh, Balangir, Boudh and Sonepur districts of Odisha, India. The sari is a traditional female garment in the Indian subcontinent consisting of a strip of unstitched cloth ranging from four to nine meters in length that is draped over the body in various styles.
Pedana Kalamkari also known as Machilipatnam style of Kalamkari work which involves vegetable dyed block-painting of a fabric. it is produced at Pedana a nearby 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 Act, 1999.
Kappaladoddi is a village in Krishna district of the Indian state of Andhra Pradesh. It is located in Guduru mandal. It is renowned for its Kalamkari works and the traditional Handloom arts.
Bagh print is a traditional Indian handicraft originating in Bagh, Dhar district of Madhya Pradesh, India. The process is characterised by hand printed wood block relief prints with naturally sourced pigments and dyes. Bagh print motifs are typically geometric, paisley, or floral compositions design, dyed with vegetable colours of red and black over a white background, and is a popular textile printing product. Its name is derived from the village Bagh located on the banks of the Bagh River.
History of clothing in the Indian subcontinent can be traced to the Indus Valley civilization or earlier. Indians have mainly worn clothing made up of locally grown cotton. India was one of the first places where cotton was cultivated and used even as early as 2500 BCE during the Harappan era. The remnants of the ancient Indian clothing can be found in the figurines discovered from the sites near the Indus Valley civilisation, the rock-cut sculptures, the cave paintings, and human art forms found in temples and monuments. These scriptures view the figures of human wearing clothes which can be wrapped around the body. Taking the instances of the sari to that of turban and the dhoti, the traditional Indian wears were mostly tied around the body in various ways.
Mughal clothing refers to clothing worn by the Mughals in the 16th, 17th and 18th centuries throughout the extent of their empire. Much of them were already being used in the past centuries before their arrival in Indian subcontinent. It was characterized by luxurious styles and was made with muslin, silk, velvet and brocade. Elaborate patterns including dots, checks, and waves were used with colors from various dyes including cochineal, sulfate of iron, sulfate of copper, and sulfate of antimony were used.
Srikalahasti Kalamkari is a style of Kalamkari work which involves dyed hand-painting of a fabric. It is produced in Srikalahasti of Tirupati district in 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 Act, 1999. GI Application for Srikalahasti Kalamkari was filed by Kalamkari Artisans Revival and Upsurge for National Acclaim (KARUNA).
Odisha Ikat, is a kind of ikat known as Bandhakala and Bandha, a resist dyeing technique, originating from Indian state of Odisha. Traditionally known as "Bandhakala"', "Bandha", '"Bandha of Odisha", it is a geographically tagged product of Odisha since 2007. It is made through a process of tie-dyeing the warp and weft threads to create the design on the loom prior to weaving. It is unlike any other ikat woven in the rest of the country because of its design process, which has been called "poetry on the loom". This design is in vogue only at the western and eastern regions of Odisha; similar designs are produced by community groups called the Bhulia, Kostha Asani, and Patara. The fabric gives a striking curvilinear appearance. Saris made out of this fabric feature bands of brocade in the borders and also at the ends, called anchal or pallu. Its forms are purposefully feathered, giving the edges a "hazy and fragile" appearance. There are different kinds of bandha saris made in Odisha, notably Khandua, Sambalpuri, Pasapali, Kataki and Manibandhi.
Jonnalagadda Gurappa Chetty is an Indian painter, craftsman and writer, known for his contributions for the revival of the Indian textile art form of Kalamkari. He is a recipient of honours such as Shilpaguru, Rasthriya Samman, Tulsi Samman and Kamaladevi Vishwa Karigar Award. The Government of India awarded him the fourth highest civilian honour of the Padma Shri, in 2008, for his contributions to Kalamkari art.
Nelly Homi Sethna was an Indian weaver, textile designer, researcher, writer and a crafts activist. She worked on the crossroads of Scandinavian modernism and Indian crafts tradition, which shaped her guiding philosophy. Her close association with Kamaladevi Chattopadhyay played an important role in the revival and promotion of traditional Indian crafts.