RESIST DYED TEXTILES

Tie and dye of Rajasthan

• Bandhani' is a Sanskrit word which means 'to tie' . It is a traditional art of tying
the fabric first and then dyeing the fabric .Tie-dye is a process of resist dyeing
textiles or clothing which is made from knit or woven fabric, usually cotton;
typically using bright colors.
• This art is used to make simple and complicated design in different colours on
odhanas. Various patterns are made like round, square, wave, triangular, dott etc.
History
• In India Bandhani technique began around 5000 years ago. In the
14th century Jain Lord Mahavira was seen in a Bandhej fabric draped
around the waist. The well known centers for producing Bandhani
fabric are in Rajasthan, Gujarat, Maharastha, Tamil Nadu, Andhra
Pradesh and Madhya Pradesh.
• The art was practiced by a Muslim (Khatri) Community. Fabric was
worn by the tribes of Gujarat and Rajasthan mainly Bhils, Rathwa and
Rabaris, Bharwards respectively as their traditional clothing on the
Contrary the Bandhani clothing was also used by the Royal Clan of
Rajasthan.
• The art of Bandhani is practiced widely in Rajasthan, with Barmer, Jaipur, Sikar,
Jodhpur, Pali Udaipur, Nathdwara and Bikaner being the main centers. Bandhani
comes in a variety of designs, colors and motifs and these variations are region-
specific.
• Each district has its own distinct method of Bandhani which makes the pattern
recognizable and gives it a different name.
• The centers of tie and dye fabrics in Gujarat are Jamnagar in Saurashtra and
Ahmedabad.
• The craftsmen from Rajasthan are easily recognized because they grow the nail of
their little finger or wear a small metal ring with a point to facilitate the lifting of
cloth for tying.
• Rajasthan Marwar—Jodhpur
• Mewar—Udaipur
• Shekhawati--Sikar, Jhunjhunu, Churu
• Gujarat Jamnagar Bhuj Mandavi
• Uttar Pradesh Farukabad
Process
1-Selection of fabric to be dyed
2-Pattern making /designs – done by three methods
entire hand drawn ( oldest method), block printing and imprinting
using a stencils
3-Pinching / tieing – (Nakhil – artificial nail worn on ring finger)
4-Dyeing
5-Washing and drying
 Process
• The process, though relatively simple, is very time-consuming. The tying of
the fabric is mostly carried out by women or young girls. The material
generally used is a thin loosely woven silk known as georgette or a cotton
known as malmal.
• The area of the fabric to be dyed is outlined using fugitive colors. Then a
clear thin sheet of plastic, which has been pierced with pin holes, is kept
over this area of the fabric and using fugitive colours an imprint of the
desired pattern is transferred onto the fabric.
• The craftsperson then pulls on a small area of the fabric where each is
placed and winds thread tightly around the protruding cloth to form a knot
or bhindi. The thread generally used is nylon thread.
• In Bandhani, different colors convey different meanings. While red
represents a bride, a yellow background suggests a lady has become a
mother recently.
Process
-Selection of fabric to be dyed
-Pattern making /designs – done by three methods
entire hand drawn ( oldest method), block printing and imprinting
using a stencils
-Pinching / tieing – (Nakhil – artificial nail worn on ring finger)
- Dyeing
- Washing and drying
Tools

1-Nakhil – artificial nail worn on a meiddle or ring finger. It is made of

metal and plastic.
2- Perforated paper for design
3- Needle
4- Thread
5- Geru
Designs
• Some of the most common designs are dungar-shahi or the mountain-
pattern,
• boond that results in a small dot with a dark centre,
• tear shaped kodi, and
• the laddu-jalebi or the swirling.
• In Tikunthi, circles and squares appear in a group of three,
• in ‘Chaubasi’ in groups of four and
• in Satbandi in groups of seven.
• (Boond is a dot with a dark centre and ekdali just a dot- ) Also different
printers can call same design different names. Some names have become
famous and some are used for reference reasons with the dyers and
printers).
• Ekdali: single dot
• Tikunthi: three dots that make circles
• Chaubundi: four dots
• Satbandi: dots in groups of seven
• Boond: small dot with a dark center
• Kodi: tear or drop-shaped pattern
• Dungar Shahi or Shikargah: a mountain like pattern
• Jaaldar: weblike pattern
• Beldaar: vinelike pattern
• Laddu Jalebi: swirling pattern
• Leheriya: wave-like pattern
Designs – diamond, phooljalebi, baldaar, patti jaal, dunger shahi,kairi
buta,asth kairi chakra
LAHERIA
• LAHERIA- it refers to wavy pattern of a fabric processed in the tie dye techniques.
Leheriya is an art that imitates the wave pattern. Mothra is an extension of the
leheriya where two sets of diagonal lines cross each other creating small
rectangular spaces resembling moth(pulses), which are located between the
checks. Worn as turbans or veils, leheriya textiles are usually of very fine cotton
or silk, fabrics . In its earliest form, Leheriya was a style mainly used in head
turbans.
• Over the years leheriya was introduced in lehenga cholis, suits and sarees.
Nowadays, Leheriya is a part of both attire and accessories. It is now seen on
ethic and casual clothing, bags and shoes, as well as on scarves and cravats.
• The Leheriya was patronized in the nineteenth and early twentieth century by the
local traders and merchants who wore turbans of bright Leheriya fabric. For a
number of years, Leheriya was a style that belonged to the typical Marwari class
in Rajasthan. The pattern, harmoniously arranged diagonal stripes, were
originally, dyed in yellow and red.
• Udaipur is renowned for its leheriya turban cloths — the saafa is a continuous
stripe of fabric measuring 9.1 m (10 yards) in length and 45 inches in width, that
is worn mostly in Jodhpur; traditionally, the longer paag was worn in Jaipur and
the pagari by the Baniya community in the state.
• The paag and the pagari are tightly coiled before they are wrapped around the
head and therefore require a length of fabric that may be as long as 27.4 m (30
yards) and about 9 inches wide
• Although plain versions of all three are worn on a daily basis, those that were
leheriya patterned were reserved for special occasions and certain seasons —
• The pachrang in white, yellow, red, green and blues
• The samudra leher dyed in the colours of the sea
and the indradhanush, dyed in the seven colours of the rainbow were favoured
during the rainy season .
• Sombre occasions, including periods of mourning, were marked by duller colours
such as mauve and brown, often in tiny mothra; and deep indigo during Diwali.
• Leheriya and mothra are worn primarily during the festivals of Gangaur and Teej,
which mark the coming of the spring and the advent of the monsoon
respectively.
Mothra
• Mothra can be best described as a double-dyed leheriya and also
consists of a complex wave pattern. The method first involves tying
the fabric before dyeing it using the leheriya method. A variation
of leheria is called mothra (mothara) and is decorated with a small
checked pattern with diagonal lines in two directions.
• The mothra effect is created by rolling the cloth in one direction,
binding it and then dyeing it. The cloth is then un-rolled, re-rolled in
the opposite diagonal direction, re-bound and then dyed again. In the
centre of each square where the diagonal lines cross is a little undyed
spot. The little square has the size of a moth bean (vigna aconitifolia),
called a moth in Hindi, hence the name of mothra.
Tie and dye of Gujarat
• Tie and Dye is counted as a leader amongst the Handicrafts of
Gujarat.
• The rich and vibrant tradition of the state of Gujarat is reflected in
these beautiful materials that use the tie and dye techniques.
• The art of Tie and Dye is widely known as Bandhej in the various
areas of Gujarat.
• Anjar, Bhuj and Jamnagar are the key regions where artisans work
traditionally on Bandhej.
Process
• The process of tying and dyeing the fabric is very simple on principle
but actually it demands much experience and skill.
• It is also a very lengthy process.
• The fabric obtained from the dealer is bleached.
• In traditional methods, designs are first block printed on the
prepared fabric surface with geru, natural red clay in dotted lines. All
the dots are pinched and then tightly wound with fine threads. The
tie process is done by women.
• Tying, is mostly done by women and girls.
• The cloth is usually dyed with yellow or, very occasionally, another light
color. Once it has been rinsed, squeezed and dried the cloth is tied again in
the pattern that is to appear as yellow dots, and then dyed in darker colors
such as green or red.
• If darker colors like black, brown or dark red are required, the cloth is tied
again in the pattern that will appear as green or red dots. The parts of the
cloth that are not to be dyed by the darkest colors are wrapped tightly in
plastic, to stop them from absorbing the dye.
After the last dyeing processes have been completed, the cloth is washed
and, if necessary, starched.
Tie and dye
Gharchola
• A bandhani sari that is traditionally worn for Gujarati weddings, and
one that has become increasingly popular, is the `garchola`.
• The Garchola is patterned with a grid work of small bandhani squares
of yellow dots against a bright red background.
• A typical Gharchola sari is marked by the large zari checks, 12 section
patterns is known by the name of 'bar bagh' and the 52 square saris
are known by the name of 'baavan bagh'.
• These checks carry small golden motifs, the most common motifs
used in the Gharchola saris are those of peacocks, lotus, human
figures, floral patterns.
• When flowers motifs are used, the design is known as ‘phulwari’ or
garden and where animal motifs predominate it is known as ’shikari’
which means hunting scene.
• The main color used is red, with white and yellow dots, though
green Gharcholas are also fabricated based on personal request of
the client.
Gharchola weaving also is a special technique which was traditionally
hand woven in Porbandar and then sent to Jamnagar for Bandhani.
Panetar Sari
• The unique specialty of a Panetar sari is its white body with rich red
border and palav. Panetar, the wedding Sari which is gifted to Hindu
and Jain brides by her maternal uncle .
• The plain white body is woven in Gajji silk with linear stripes or checks
in gold zari. The Border and Palav which are dyed red are minimally
adorned by tie and dye embellishment. The motifs are simple abstract
motifs highlighted with white or yellow dots.
.
 Rasamandali:

• This name stems from ‘Raas’, which is the name of the conventional
dance form of Gujarat. The red backdrop and the distinct borders are
the specialty of this brand. The stuff will be beautified with designs of
‘Amba Dal (branches of mango tree)’, dancing ladies, elephants,
peacocks, etc.
• The traditional odhani for Chandrokhani: The traditional odhani for a
Muslim bride in red and black colour is called chandrokhani. It is a tie-
dyed textile with a big medallion in the center surrounded by four
smaller medallions and wide borders .Motifs created with small tie
dye dots are small paisleys, zig zag lines, sunflowers etc.
• Aba or Abo: The traditional upper garment for Muslim women is
called aba or abo. The kurta has an intricate tie-dye pattern shaped
like a yoke on the bodice front, which is identical in the front as well
as the back.