Sindhi Ajrak
The Ajrak is an essential
part of the apparel of a Sindhi person. Men use it as a turban, a
cummerbund and wound it around the shoulders. Women use it as a dupatta
and chaddar, as a shawl and sometimes as a makeshift swing for children.
The Ajrak is usually about 2.5-3meters. It is patterned in intense jewel
like colors. The dominant colors are rich crimson and a deep indigo. A
little bit of white and black is also used to give definition to the
geometric patterns.
The history of the Ajrak can
be traced from the times of the ancient civilizations of the Indus Valley.
These civilizations have been thought to exist at around 2500 BC-1500 BC.
A bust of the King Priest excavated at Moenjodaro shows a shawl draped
around his shoulders. It is decorated with a trefoil pattern (like a three
leafed clover) interspersed with small circles, the interiors of which are
filled with a red pigment. The same trefoil pattern has been discovered in
Mesopotamia. Also on the royal couch of Tutankhamen (of the ancient
Pharaohs). The trefoil is a symbol of three sun-disks fused together to
represent the unity of the gods of the Sun, water and earth. It is thought
that the trefoil pattern survives as the cloud pattern in the modern Ajrak.
be traced from the times of the ancient civilizations of the Indus Valley.
These civilizations have been thought to exist at around 2500 BC-1500 BC.
A bust of the King Priest excavated at Moenjodaro shows a shawl draped
around his shoulders. It is decorated with a trefoil pattern (like a three
leafed clover) interspersed with small circles, the interiors of which are
filled with a red pigment. The same trefoil pattern has been discovered in
Mesopotamia. Also on the royal couch of Tutankhamen (of the ancient
Pharaohs). The trefoil is a symbol of three sun-disks fused together to
represent the unity of the gods of the Sun, water and earth. It is thought
that the trefoil pattern survives as the cloud pattern in the modern Ajrak.
A UNIQUE PRINTING METHOD
The authentic Ajrak is printed on both sides by a method of printing
called resist printing. The printing is done by hand with hand carved
wooden blocks. Several different blocks are used to give the
characteristic repeated patterning. Making the blocks is a considerable
challenge since the pattern has to synchronize perfectly with the whole of
the Ajrak as well as cover various areas against dye.
The authentic Ajrak is printed on both sides by a method of printing
called resist printing. The printing is done by hand with hand carved
wooden blocks. Several different blocks are used to give the
characteristic repeated patterning. Making the blocks is a considerable
challenge since the pattern has to synchronize perfectly with the whole of
the Ajrak as well as cover various areas against dye.
The block maker uses the
compass and the ruler for precision in making the graphs for the patterns.
The balance or the mizan has to be perfect for the final result. Various
tools are used for carving the blocks (pors) There are very few poregars
left in Sindh and it is a highly specialized craft. The blocks are thrown
into the river when the craftsmen are done with a pattern. Block making is
a family craft and passed down from generation to generation.
compass and the ruler for precision in making the graphs for the patterns.
The balance or the mizan has to be perfect for the final result. Various
tools are used for carving the blocks (pors) There are very few poregars
left in Sindh and it is a highly specialized craft. The blocks are thrown
into the river when the craftsmen are done with a pattern. Block making is
a family craft and passed down from generation to generation.
The process by which the
Ajrak is made is considered intuitive to the Ajrak makers. It is part of
the existence of the craftsman and therefore not a 'job' but a form of
life.
Ajrak is made is considered intuitive to the Ajrak makers. It is part of
the existence of the craftsman and therefore not a 'job' but a form of
life.
The basic process is called
the Teli Ajrak. However, variations on the theme have emerged. Broadly the
main processes are:
1. Teli Ajrak
2. Sabuni Ajrak
3. Do Rangi Ajrak
4. Kori Ajrak
the Teli Ajrak. However, variations on the theme have emerged. Broadly the
main processes are:
1. Teli Ajrak
2. Sabuni Ajrak
3. Do Rangi Ajrak
4. Kori Ajrak
The Teli Ajrak
When worn and washed, the colors of the Ajrak become more brilliant and
luminous. This is the most tedious and time consuming process and very few
craftsmen today go through all the stages.
When worn and washed, the colors of the Ajrak become more brilliant and
luminous. This is the most tedious and time consuming process and very few
craftsmen today go through all the stages.
1. The fabric used is usually
Latha. (Pure Cotton/Calico). 40 pieces of 5 meter lengths are torn to make
one lot.
2. The pieces are washed in the river. The cloth is also soaked in a
solution of Soda Bicarbonate and water.
3. The fabric is then steamed to remove the impurities. (Chemical
finishing). This is on a special mud stove called Khumbh for about 16
hours.
4. It is washed again in the river and beaten to dislodge the impurities.
5. Camel dung is soaked in water and the fabric is soaked in it to make
the fabric soft and also acts as a bleaching agent (Alkaline). This helps
the printing of the fabric.
6. The fabric is then soaked in a solution of a special oil and Soda
Bicarbonate. This is quite a complicated procedure and takes several days.
The treatment is alternated and there are several steps to this. By the
end oil is completely impregnated in the fibre. This is what gives the
suppleness to the Ajrak as well as making it virtually indestructible.
7. The next stage prepares the fabric for the printing stages. Gurrh
(molasses), dried lemons, castor oil Sakun (tamarisk) and water are used
to make a dough. This dough is mixed in a big vessel with water and the
cloth is soaked in it.
8. Chapayi/Printing: Gum and Lime is mixed with Alizarine for Kiryana
(Printing of the white outlines) Blocks are soaked in the solution (brown)
and the white outlines are printed over. This will be washed later to give
the white outlines.
9. Kut: Printing of the black areas: Gum, Ferrous Sulphate, Fullers earth
and water are used to make the black outlines.
10. The fabric on which Kut and Kiryana have been printed are now
reprinted with the Kiryana mixture. This ensures that when the cloth is
soaked in dye these areas will remain sparkling white or black and the
color will not dye these areas.
11. The next step is printing over the red areas. Amongst the ingredients
used is Ata (wheat flour), Phitkari (alum), (Phitkari), Gurrh (molasses)
and Saunf (fennel). The areas to be dyed red are printed and while still
wet are dusted with ground cow dung or rice husk to protect against the
indigo dye to be printed later.
12. Indigo, Chuna (lime), Soda and Gurrh (Molasses) is used to dye the
Indigo parts of the Ajrak.
13. The dyed and dried Ajrak is taken to the river to be washed. The Ajrak
is submerged in water to dislodge the gums, alums and dung.
14. The Ajrak is then dyed with red dye which dyes the parts left over.
Care is taken that the white areas are not dyed inadvertently.
15. The Ajrak is treated with Camel dung and water to brighten the whites
and make the colors brilliant.
16. The Ajraks are again washed in soda water and in the river beaten to
remove the dung. After drying they are ready for meena.
17. All the areas except the ones dyed in indigo are covered by block
printing with a mixture of Alum, gum and wheat flour. The resist print is
then dusted with dry powdered dung to dry it.
18. The Ajrak is again dyed in indigo (natural or chemical).
19. The Ajraks are washed in Soda and water with bleaching powder to give
a sparkle to the colors. Viola! Finally the Ajrak is ready.
Latha. (Pure Cotton/Calico). 40 pieces of 5 meter lengths are torn to make
one lot.
2. The pieces are washed in the river. The cloth is also soaked in a
solution of Soda Bicarbonate and water.
3. The fabric is then steamed to remove the impurities. (Chemical
finishing). This is on a special mud stove called Khumbh for about 16
hours.
4. It is washed again in the river and beaten to dislodge the impurities.
5. Camel dung is soaked in water and the fabric is soaked in it to make
the fabric soft and also acts as a bleaching agent (Alkaline). This helps
the printing of the fabric.
6. The fabric is then soaked in a solution of a special oil and Soda
Bicarbonate. This is quite a complicated procedure and takes several days.
The treatment is alternated and there are several steps to this. By the
end oil is completely impregnated in the fibre. This is what gives the
suppleness to the Ajrak as well as making it virtually indestructible.
7. The next stage prepares the fabric for the printing stages. Gurrh
(molasses), dried lemons, castor oil Sakun (tamarisk) and water are used
to make a dough. This dough is mixed in a big vessel with water and the
cloth is soaked in it.
8. Chapayi/Printing: Gum and Lime is mixed with Alizarine for Kiryana
(Printing of the white outlines) Blocks are soaked in the solution (brown)
and the white outlines are printed over. This will be washed later to give
the white outlines.
9. Kut: Printing of the black areas: Gum, Ferrous Sulphate, Fullers earth
and water are used to make the black outlines.
10. The fabric on which Kut and Kiryana have been printed are now
reprinted with the Kiryana mixture. This ensures that when the cloth is
soaked in dye these areas will remain sparkling white or black and the
color will not dye these areas.
11. The next step is printing over the red areas. Amongst the ingredients
used is Ata (wheat flour), Phitkari (alum), (Phitkari), Gurrh (molasses)
and Saunf (fennel). The areas to be dyed red are printed and while still
wet are dusted with ground cow dung or rice husk to protect against the
indigo dye to be printed later.
12. Indigo, Chuna (lime), Soda and Gurrh (Molasses) is used to dye the
Indigo parts of the Ajrak.
13. The dyed and dried Ajrak is taken to the river to be washed. The Ajrak
is submerged in water to dislodge the gums, alums and dung.
14. The Ajrak is then dyed with red dye which dyes the parts left over.
Care is taken that the white areas are not dyed inadvertently.
15. The Ajrak is treated with Camel dung and water to brighten the whites
and make the colors brilliant.
16. The Ajraks are again washed in soda water and in the river beaten to
remove the dung. After drying they are ready for meena.
17. All the areas except the ones dyed in indigo are covered by block
printing with a mixture of Alum, gum and wheat flour. The resist print is
then dusted with dry powdered dung to dry it.
18. The Ajrak is again dyed in indigo (natural or chemical).
19. The Ajraks are washed in Soda and water with bleaching powder to give
a sparkle to the colors. Viola! Finally the Ajrak is ready.
The other three processes of
Ajrak are variations on the same theme except that some short-cut or
substitution is made. In the old days, only natural vegetable dyes were
used for the Ajrak. Now, chemical dyes have been substituted. Natural
Indigo is grown in Pakistan and is cheaper, therefore it is still used by
some craftsmen.
Ajrak are variations on the same theme except that some short-cut or
substitution is made. In the old days, only natural vegetable dyes were
used for the Ajrak. Now, chemical dyes have been substituted. Natural
Indigo is grown in Pakistan and is cheaper, therefore it is still used by
some craftsmen.
The craft is an art in
decline. Profit margins are low since the craftsmen are dependent on
wholesalers who keep large margins and pay very low prices for the Ajraks.
The cost of blocks is high in relation to the margins of the Ajrak making
new investment in blocks difficult. Of-course, no credit facilities are
available to the craftsmen. As a result, the younger generations are being
weaned away from the traditional source of livelihood. The original Ajrak
is disappearing; modern, quicker printing methods of copying the original
patterns are fulfilling local demand
decline. Profit margins are low since the craftsmen are dependent on
wholesalers who keep large margins and pay very low prices for the Ajraks.
The cost of blocks is high in relation to the margins of the Ajrak making
new investment in blocks difficult. Of-course, no credit facilities are
available to the craftsmen. As a result, the younger generations are being
weaned away from the traditional source of livelihood. The original Ajrak
is disappearing; modern, quicker printing methods of copying the original
patterns are fulfilling local demand