The word ‘Ajrakh’ (or ‘Ajarakh’) is derived from the Arabic word azrak, meaning indigo blue, which is the predominant color of these block-printed textiles originating from the Sind region, now part of Pakistan. Ajrakh holds a significant place in Sindhi culture, with the Sindhi cap, or Sindhi topi, featuring Ajrakh print and mirror or gemstone work, often given as an honorary gift to guests, allowing them to appreciate Sindhi culture.
Apart from Sindhi topis, garments adorned with Ajrakh—patterned in intense colors, such as rich crimson and deep indigo, with white and black often used as outlines or highlights—are popular within the Sindhi community, and include turbans, lungis and waist or shoulder sashes for men, and dupattas, salwars, and sarees for women. Ajrakh fabric is also used for household items such as makeshift swings for children and quilts. Sindhi Muslim men, in particular, wear Ajrakh garments during marriage and religious festivals. The Ajrakh craft form is also highly patronized by local nomadic pastoralist and agricultural communities, such as the Rabaris, Maldharis, and Ahirs, who prefer wearing the hand-crafted textiles as part of their traditional costumes.
Also the Hindu communities of western Rajasthan and the Tharparkar district—the largest district in the eastern Sindh region, known for its centuries-old interfaith harmony and peaceful coexistence, and home to the largest Hindu population in Pakistan—wear a similar type of block-printed fabric called Malir. While Ajrakh is renowned for its intricate geometric patterns, Malir features predominantly floral and nature-inspired designs, with red as the dominant background color and black patterns on it. Both Ajrakh and Malir prints are culturally significant, serving different communities within the region and reflecting the rich diversity of their traditions.
Ajrakh is produced in Sindh, Khavda, and Dhamadka in Kutch, Gujarat, as well as in Barmer, Rajasthan, by the Muslim Khatri community of dyers and printers, who migrated from Sindh to Kutch about 400 years ago. This migration was encouraged by Rao Bharmalji, the King of Kutch, who invited these craftsmen to meet the needs of the local community and royal court. He provided them with land grants and tax exemptions, allowing them to continue practicing their craft. The Khatris initially settled in Dhamadka, where the presence of the Saran River, with its saline water and alum, made it ideal for their craft. However, over time, the river dried up, and seismic activity in Kutch shifted water tables, reducing both the availability and quality of water, critical for dyeing and printing. The high iron content in borewell water in Dhamadka further affected the quality of vegetable dyes. As a result, Ajrakhpur was established in 2001, 12 kms from Bhuj, in search of better water quality to sustain their traditional art.
Ajrakh is a complex and laborious sixteen-step hand block printing process that demands a high level of skill and concentration, often taking up to a month to complete. It can be printed on one or both sides, with identical prints and colors on both sides achieved with exact precision. The shapes and motifs of Ajrakh follow Islamic principles, echoing architectural forms like intricate jali windows and trefoil arches. Human and animal figures are never depicted in Ajrakh prints. Instead, it features elaborate and symmetrical geometric patterns, repeated within a grid, incorporating border designs. These patterns are resist-dyed in shades of blue, crimson red, and black using mordant dye-fixing technique, with interspersed white motifs. Historically, Ajrakh was dyed using colors derived from non-toxic chemicals, minerals, and vegetable pigments, making it an eco-friendly and sustainable craft in harmony with nature. Some of the natural ingredients used include locally sourced wild indigo, pomegranate bark and seeds, harde powder, and alizarin. However, today chemical dyes have largely replaced natural dyes to withstand present day washing care and colourfast requirements.
Ajrakh dyeing and printing is a traditional hand block printing technique, renowned for its intricate patterns and deep, rich colors. This ancient craft, with roots in the Indus Valley civilization, is characterized by geometric designs in a repetitive pattern. And thus block carving became a crucial craft for achieving precision in block-printed textiles. Handed down through generations, skilled craftsmen adept in mathematical calculations use compasses and rulers to guide intricate artistic designs, ensuring the patterns achieve perfect balance and symmetry in the finely carved wooden blocks. The design is first traced onto smooth wood before the delicate carving begins. True Ajrakh blocks must be square, aligning on all four sides, and are designed to allow seamless printing on both sides of the fabric.
The process of making ajrakh begins with preparing the fabric, typically cotton or silk, to ensure it can effectively absorb the natural dyes. The raw fabric is thoroughly washed to remove any starch, grease, wax or any other impurities (some naturally present while others added during spinning and weaving processes to help lubricate the threads in the loom and prevent breakages) that may hinder dye absorption. It undergoes a process called Saaj, to bleach and clean the fabric of any impurities, where it is soaked in an emulsified mixture of castor oil, soda ash and camel dung (which acts as a bleaching agent). After the soaking, the fabric is washed multiple times to ensure it's clean and smooth. The fabric is then dried under the sun which helps soften the fabric and prepare it for further treatment.
Now, the fabric undergoes its first dye bath traditionally in a yellow dye created from a blend of myrobalan fruit (harda) and water. This yellow layer serves as the base for the upcoming dye applications and helps ensure that the subsequent colors adhere properly to the fabric. The myrobalan fruit is also a source of tannin. The fabric is soaked in this dye for a specified time and then dried in the sun without rinsing off the harde solution. The natural sunlight enhances the vibrancy of the fabric’s color and also aids in tannin permeating the fibers which acts as a pre-mordant and aids in the adhesion of subsequent dyes.
Ajrakh’s distinctive patterns are achieved using a technique called resist printing, where parts of the fabric are blocked or "resisted" to prevent them from absorbing the dye. Artisans use carved wooden blocks to stamp the fabric with a mixture of natural materials such as lime, gum, and fuller’s earth (or multani mitti). This mixture is applied to the areas where the artisans want to resist the dye, creating outlines of the designs or any other patterns as well that are to remain of the base color (or white color) of the fabric.
This stage is followed by the fabric’s immersion in indigo dye, a hallmark of Ajrakh printing. Indigo, derived from the Indigofera plant, gives the fabric its deep, rich blue color. The dyeing process with indigo is laborious, as the fabric is dipped repeatedly in the dye vat, and oxidation occurs with each dip, gradually deepening the blue color. The indigo dyeing process is repeated with multiple round of resist application and dye baths, depending on the desired pattern and shade of blue repsectively. Between each dip, the fabric is exposed to air, allowing the indigo to oxidize and intensify. Once the desired hue is achieved, the fabric is left to dry in the sun.
Now The resist process is repeated several times to create more intricate patterns and introduce additional colors. For example, areas that need to remain blue will be covered with resist, and the fabric will then be dyed in another color, such as red or black. Madder root is traditionally used to achieve red hues, while iron filings are mixed with jaggery and water to create black. This layering of resist and dye allows for the creation of complex, multi-colored patterns that are characteristic of Ajrakh textiles. Each dye bath brings out a new layer of color, and the resist printing ensures that no two areas overlap unintentionally. Notably, the colour compounds contained within the natural madder roots are much more complex than those of synthetic alizarin. As a result dying with madder often leaves a pinkish tinge to the white areas of the design. To counteract this, the dyed cloth is soaked in a solution of camel dung, then spread in the sandy banks of a river in the sun and regularly sprinkled with water to keep it moist throughout the day. This would be repeated over three days, by the end of which the sun, moisture and various compounds in the dung would have acted as a bleaching agent in the white areas of the design.
After all the dyeing and resist applications are complete, the fabric undergoes a final wash to remove the excess dye and the resist materials. This wash is crucial, as it reveals the final, crisp patterns that were hidden beneath the resist paste during the process. It also brings out the full vibrancy of the natural dyes used in the earlier stages. The fabric is washed repeatedly in fresh water to ensure that no residual dye or paste remains, and then it is laid out in the sun to dry. The sun enhances the brilliance of the colors and fixes the dyes to the fabric. For every stage in the process the quality and mineral content of the water affects the quality and fastness of the colours and the clarity of the design. Water enriched with alum, tin or chrome deposits will help brighten the colours, but the presence of iron in the water supply dulls and darkens the final result.
Once the fabric is fully dried, it is given finishing touches. Sometimes, the fabric is polished with a stone or wooden tool to give it a subtle sheen and smooth texture. This final step enhances the overall feel of the fabric, giving it a soft and luxurious touch. Additionally, the intricate geometries and rich color palette of Ajrakh designs evoke a captivating kaleidoscopic beauty.
Traditionally worn by men from the pastoral community of Kutch, Ajrakh has evolved into a fashionable choice for affluent buyers seeking organic and ethical clothing. While synthetic dye versions have become popular for their affordability and accessibility, many artisans maintain a balance by offering both naturally and synthetically dyed collections. The rising demand for eco-friendly fashion has sparked renewed interest in natural dyes and traditional methods. As consumers and designers embrace slow fashion, Ajrakh artisans are working to preserve their heritage while adapting to modern markets. This balance will be crucial for Ajrakh's continued success in the global textile landscape.
Ajrakh finds expression across a wide array of traditional clothing, including sarees, dupattas, shawls, and stoles, as well as in home textiles such as bedspreads and quilts. In contemporary fashion, it manifests in women's dresses, skirts and jackets, alongside men's shirts, kurtas, pocket squares, and scarves. Furthermore, the versatility of Ajrakh extends to home decor items like curtains and cushion covers, as well as accessories, including handcrafted diaries, photo frames, bags, and footwear. This seamless blend of tradition and modernity showcases Ajrakh's enduring appeal and cultural richness. Modern designers are elevating Ajrakh on global fashion stages by merging it with contemporary fabrics like denim, linen, and silk blends to create practical and visually stunning fusion pieces. Consequently, global fashion icons and influencers are embracing this craft, further enhancing its status.
Image Credits: Ajrakh Block print from Sindh, Pakistan | CC BY-SA 4.0
