Hand Block Prints

Bagru and Akola, two tranquil towns in Rajasthan, are renowned for their exquisite hand block prints. These towns are home to the Chhipa community, who have been master dyers and printers for centuries. Over generations, they have perfected the art of textile decoration through dyeing and block printing, preserving a tradition that beautifully reflects the region's rich cultural heritage.

Bagru, located in the Jaipur district approximately 32 kilometers from Jaipur along the Jaipur-Ajmer Road, is known for its use of natural dyes and distinctive block-printed textiles, globally recognised as Bagru prints. In addition to its textile expertise, Bagru also exports semi-processed leather to major leather companies and manufactures leather goods such as boots, mojaris, and juttis.

Akola is a small village in the Chittorgarh district of Rajasthan, situated 52 kilometers west of Chittorgarh and 339 kilometers from the state capital, Jaipur. It is famous throughout India for its dabu prints. In fact, Akola boasts a self-sufficient system for dabu printing, supported by its unique resources. Skilled artisans carve the intricate blocks used in the process, while the arid desert region provides the essential mud for dabu paste. The nearby river supplies the water necessary for washing the fabric, and textiles are sourced from Jaipur. Additionally, natural dyes and pigments are bought from Udaipur, completing this harmonious cycle of production.

Bagru is renowned for two primary printing techniques: direct dyeing and dabu (or mud-resist) printing. Of these, dabu printing originated in Akola, where it is widely practiced by both men and women. The Berach River, a tributary of the Banas river, flows near Akola, providing water and ample washing grounds along its banks. Historically, the Sanjariya River near Bagru also once supported the repeated washing process, although it no longer exists. Though Bagru's clay-rich soil remains essential to the printing process, and the region's warm climate still allows fabrics to dry easily. In both techniques, the blocks are first soaked in oil overnight and then washed. Printing is done on a wooden table, typically about 18 feet long, with a layered surface consisting of plywood, 20 layers of tart, and a cloth sheet on top where the fabric is placed for printing.

In direct dye printing, the process begins with artisans preparing dye trays, where blocks are repeatedly pressed to absorb the dye for each imprint to ensure consistent application. This method follows a structured sequence, starting with the outline of the design using a rekh block. Once the outlines are printed, artisans move on to filling the background color with a gadh block. The final stage involves using the datta block to add detailed color accents, which can be applied multiple times to achieve intricate patterns and highlight finer elements. After the fabric has been fully printed, it is immersed in natural dyes, typically in earthy tones. This includes heating the fabric in a copper vessel over a wood fire, and is typically carried out by skilled male artisans, who also ensure precision in block alignment and layering while printing, to layout a seamlessly integrated design.

Dabu, or mud-resist printing, is widely practiced in both the charming villages of Bagru and Akola in Rajasthan. This intricate process of resist dyeing and printing involves several steps and considerable effort to achieve the final fabric. Initially, the fabric is pre-washed to remove starch, dirt, oil, and other impurities in a process known as scouring. Chippas prepare a paste from cow dung (which acts as a natural bleaching agent), soda ash, and sesame oil over two days. This mixture is then used to wash the cloth, effectively removing impurities and ensuring even and effective color penetration. Following this, the fabric is thus prepared for printing, often soaked in a mordant to help the colors adhere better. The fabric is smeared with Fuller's earth or mitti (a type of clay collected from the riverside) and then dipped into a solution made by mixing Harda powder (or Harad powder made from the dried fruit of the Terminalia chebula tree which has natural tannins and other properties that help in treating the fabric) with water. This process is often referred to as Peela Karna. Now the fabric is sun-dried and in the next stage, Chapai is done, which involves the actual printing. The fabric is laid flat on a printing table, supported by thick layers underneath. It is meticulously pinned to the table to ensure stability. 

To prepare dabu mud paste, a careful blend of natural materials is used. The process begins with mixing lime (calcium hydroxide) dissolved in water, which helps set and harden the paste. Natural gum, derived from trees or spoiled wheat flour, is combined with pounded wheat chaff to provide viscosity and adhesion. Black clay, which is locally sourced, adds texture and color to the paste. These ingredients are thoroughly mixed into a thick, consistent paste. After blending, the paste is left to rest overnight, allowing the components to meld together. The next day, the paste is strained to remove any coarse particles, resulting in a smooth, liquid form ready for use in resist printing. This dabu paste is then applied to fabric using wooden blocks, to create intricate patterns, acting as a barrier to prevent dye from penetrating the areas where it is applied. Interestingly, each family guards its own secret recipe for crafting dabu paste. Traditionally practiced by women, dabu printing now sees increasing involvement from men as well.

After printing, the fabric is sprinkled with sawdust to prevent the prints from sticking together during dyeing. It is then sun-dried, dipped into dye, and dried again. This process is repeated multiple times based on the complexity of the pattern and the desired colors. The final steps involve dhulai or washing wherein the fabric is beaten on a firm surface after leaving it in the water tank for a few hours, in order to remove excess paste and dye, revealing the printed design. Dabu printing often results in a cracked, batik-like appearance due to some color penetration through the mud paste cracks and leaks. Dabu prints are crafted by skilled dyers, traditionally known as rangrez, and nilagrs, who specialize in the art of indigo dyeing. Achieving the perfect color saturation often requires multiple rounds of dyeing, a process that showcases their expertise and precision, resulting in the distinctive double and triple dabu effect. Although natural dyes are generally durable, it is best to hand-wash Dabu fabric initially, as repeated machine washes early on can accelerate color fading.

Both Bagru and Akola prints are typically crafted on cotton and sometimes on silk. Bagru block prints (including Bagru dabu prints) showcase intricate Mughal-inspired floral motifs, like marigold, rose, almond, and lotus, either spread evenly across the fabric, or arranged in floral jaali patterns, or combined with geometric shapes like dots and lines for a beautiful block print spread. In contrast, Akola Dabu block prints draw inspiration from nature, featuring motifs like peacocks, cornstalks, sunflowers, and mangoes, which are deeply rooted in local traditions and natural surroundings.

A distinctive feature of Bagru prints is their dark-colored motifs, which stand out against light brown or cream backgrounds, offering a striking contrast to the white backgrounds of Sanganeri prints, known for their fine detailing (Sanganer is another block printing hub in Rajasthan). Sanganeri fabrics are considered more refined, while Bagru and Akola prints were historically crafted for the rural community, adorning garments like dhotis, saris, lungis, ghaghras (women's skirts), rumals (handkerchiefs), and home textiles such as jajams (floor spreads) and razais (quilts). These items were both practical and culturally significant.

In Akola, Jat and Gujjar women celebrate their traditional long ghagras, known as 'Phetiya,' crafted in exclusive Akola Dabu prints. Bagru is renowned for its red (from madder and alum) and black (from iron filings, jaggery, and gum) hues, along with indigo prints. Akola Dabu prints are traditionally made using natural dyes like Kashish for grey-brown (Kashish is a natural dye derived from plant sources), indigo, and colors such as yellow and red, derived from natural sources like myrobalan flowers and pomegranates. While natural dyes remain significant, some contemporary practices also include synthetic dyes.

Today, Bagru and Akola block prints are used in a diverse array of items, including apparel such as sarees, kurtas, shirts, dresses, and scarves, as well as home textiles like bedspreads, pillow covers, tablecloths, cushion covers, and curtains, adding a touch of elegance and cultural charm to interior decor. They also appear in accessories like bags, wallets, and handkerchiefs, and in decorative crafts like wall hangings and lampshades, showcasing the beauty of block printing. Both styles are increasingly incorporating new designs with bolder and abstract patterns, utilizing modern fabrics such as rayon, georgette, and crepe—known for their high dye absorbency—and exploring new color combinations to appeal to a broader audience both domestic and international, while adapting to evolving market demands and consumer preferences.