Bagh Printing

The processes involved in Bagh printed fabrics

Dastkari Haat Samiti

Dastkari haat Samiti

Bagh Weaving and Printing: Hand block printing (2017)Dastkari Haat Samiti

Bagh printing

Bagh printing of Madhya Pradesh is a specialised form of wooden hand block printing, originally practised across the regions in the Indus Valley. Bagh printing follows processes established many centuries ago by the ancestors of the Khatri community.

Bagh Weaving and Printing: Blocks used together (2017)Dastkari Haat Samiti

A few minor modifications excluded, such as using red and black instead of indigo, the process that was followed earlier has not changed now.

Bagh Weaving and Printing: Preparing the colour (2017)Dastkari Haat Samiti

Making the colours

The two primary colours used in Bagh printing are red and black. The craftsmen mix their own colour solutions. 

Bagh Weaving and Printing: Preparing the colour (2017)Dastkari Haat Samiti

Red is made from alum, which acts as a mordant.

Bagh Weaving and Printing: Printer's workshop (2017)Dastkari Haat Samiti

The colour black is prepared from iron rust, which is prepared by fermenting iron with jaggery.

Bagh Weaving and Printing: Preparing black colour (2017)Dastkari Haat Samiti

Tamarind seeds are used to make the paste of the colours.

Bagh Weaving and Printing: Preparing black colour (2017)Dastkari Haat Samiti

The traditional Bagh colour palette is limited to red and black on a natural-coloured background of the cloth.

Bagh Weaving and Printing: Printing with iron-based black dye (2017)Dastkari Haat Samiti

Printing the designs

Once the craftsmen have completed the five stages of hard work, which requires more manual labor than skill, the cloth is ready for printing with wooden hand blocks and prepared colours. Designs and layouts are in black and white; fewer in red and white, while red, black and white combination is the popular one. 

Bagh Weaving and Printing: Blocks used for a layout (2017)Dastkari Haat Samiti

Blocks for borders, an end piece called a pallu in a sari, and larger body surfaces are selected for a planned layout.

The pressure applied on the block while dipping it in the colour tray and registering it on the fabric laid out on the table will determine the intensity of colour in the final piece.

Bagh Weaving and Printing: Ready to be printed (2017)Dastkari Haat Samiti

Printing is done on low printing tables, upon which the fabric is spread out.

Wooden blocks are used for printing.

Bagh Weaving and Printing: Block printing process (2017)Dastkari Haat Samiti

The block is dipped in the colour paste before it is imprinted on the fabric.

Bagh Weaving and Printing: Printing with alum-based red dye (2017)Dastkari Haat Samiti

Printing is done in stages, separately for red and for black.

Bagh Weaving and Printing: Printing with iron-based black dye (2017)Dastkari Haat Samiti

As the printed area is exposed to air, oxidisation causes the colour to darken.

Bagh Weaving and Printing: Printing process (2017)Dastkari Haat Samiti

The printer generally starts with the border blocks, working his way inwards.

Bagh Weaving and Printing: Blocks used together (2017)Dastkari Haat Samiti

Printing is done according to a planned layout.

Bagh Weaving and Printing: Printing process (2017)Dastkari Haat Samiti

Printing the fabric demands great concentration and precision.

Bagh Weaving and Printing: A sari being printed (2017)Dastkari Haat Samiti

Large products, like saris, require great care while printing to ensure that the freshly printed fabric does not smudge.

Bagh Weaving and Printing: Drying of fabric (2017)Dastkari Haat Samiti

The printed cloth is left for 10-12 days, which ensures that the intensity of the colours are well developed.

Bagh Weaving and Printing: The process of vichaliya (2017)Dastkari Haat Samiti

The process of vichaliya

Once dried, the printed fabric, is taken to the river for the process of vichaliya, in which is the cloth is washed in clear water to get rid of excess dye.

Bagh Weaving and Printing: Washing off excess dye (2017)Dastkari Haat Samiti

The Khatris believe that the clear water in the River Bagh and other water bodies in Bagh district have the optimal mineral composition to enhance the colours in printing.

Bagh Weaving and Printing: The process of vichaliya (2017)Dastkari Haat Samiti

The printed fabric is swished around in the running water of the river to wash off excess dye.

Bagh Weaving and Printing: The process of vichaliya (2017)Dastkari Haat Samiti

The fabric is also beaten on the rocks while being washed. This helps drain excess colours and make the fabric malleable.

Bagh Weaving and Printing: Washing process (2017)Dastkari Haat Samiti

Umar Faruk Khatri beats the cloth on the rock so that extra colour can come out.

Bagh Weaving and Printing: Squeezing out the water (2017)Dastkari Haat Samiti

Once the excess water is wrung out, the fabric is ready to be dried.

Bagh Weaving and Printing: Drying the fabric (2017)Dastkari Haat Samiti

Once washed thoroughly, the fabric is spread out on the river bed to dry.

Bagh Weaving and Printing: The alizerine process (2017)Dastkari Haat Samiti

Fixing the colour

The next step in the process involves boiling the printed cloth in a solution of alizarin and dhawda flowers. This step helps develop the red colour and fix the dyes. The fabric is boiled in this liquid for two to three hours, till the red colour develops.

Bagh Weaving and Printing: The alizerine process (2017)Dastkari Haat Samiti

The cloth is boiled in the solution in large haudis, or tankers.

The Khatris have a series of haudis, tanks, at different levels, where the various stages of washing can take place simultaneously.

Bagh Weaving and Printing: The alizerine process (2017)Dastkari Haat Samiti

Alizarin is the mordant used in Bagh printing.

Bagh Weaving and Printing: Washing process (2017)Dastkari Haat Samiti

The alizarin solution is heated in a large water tank, which is heated from below. The wood furnace heats the tank with the printed fabric.

Bagh Weaving and Printing: The alizerine process (2017)Dastkari Haat Samiti

This stage of the process requires both skill and hard labour.

Bagh Weaving and Printing: The alizerine process (2017)Dastkari Haat Samiti

The process of mixing the solution for dyeing is labour intensive since a large quantity of thick liquid has to be mixed well to dye many meters of fabric.

Bagh Weaving and Printing: The alizerine process (2017)Dastkari Haat Samiti

By boiling the printed cloth in the mixture of alizarin and dhawda flowers, the red colour develops and the dyes get fixed.

Bagh Weaving and Printing: Final wash (2017)Dastkari Haat Samiti

The final wash

The final stage of the printing process involves washing the printed fabric after it has been boiled in the alizarin solution.  Once the fabric is washed, it is laid out to dry on the pebbled surface of the riverbed. 

Bagh Weaving and Printing: Final wash (2017)Dastkari Haat Samiti

The printed cloth is then given a final round of washing.

Bagh Weaving and Printing: Final wash (2017)Dastkari Haat Samiti

It is important to wash the excess colour off thoroughly in clean water before laying the fabric out to dry.

Bagh Weaving and Printing: Final wash (2017)Dastkari Haat Samiti

A large pile of fabric has been washed clean.

Bagh Weaving and Printing: Final wash (2017)Dastkari Haat Samiti

The washing process is labour intensive as well.

Bagh Weaving and Printing: Washing process (2017)Dastkari Haat Samiti

Here, karigars are seen washing the printed fabrics.

Bagh Weaving and Printing: Drying of fabric (2017)Dastkari Haat Samiti

Once washed, the printed fabric is spread out to dry.

Bagh Weaving and Printing: Drying of fabric (2017)Dastkari Haat Samiti

The printed fabrics are dried on the pebbled surface of the riverbed.

Bagh Weaving and Printing: Drying the fabrics (2017)Dastkari Haat Samiti

Once ready, the fabric is sorted and separated to be sent to different destinations, for sale to local visitors, or to be packed for faraway bazaars or retail stores.

Bagh Weaving and Printing: New developments using indigo (2017)Dastkari Haat Samiti

Credits: Story

Text: Aloka Hiremath, Jaya Jaitly
Photography: Suleiman Merchant
Artisans: Ismail Suleiman Khatri, family and co-workers
Ground Facilitator: Charu Verma
Documentary Video: Suleiman Merchant
Curation: Ruchira Verma

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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