Motifs, Mastery and Makers of Bagh Print

I am a research enthusiast driven by a passion for connecting the dots and bringing interdisciplinary approaches to the study of art and history. My work is rooted in the belief that knowledge is happiness, and I strive to explore and share the rich narratives embedded within artforms. Using diverse methodologies, I seek to uncover the stories that often remain hidden, giving voice to the overlooked and underrepresented. This journey is not just about understanding art; it’s about bringing it to the forefront for better recognition and building a Subaltern perspective that redefines our understanding of cultural histories.

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BAGH PRINT is a traditional block printing technique originated in Bagh, Dhar district of Madhya Pradesh. It embodies a blend of creativity and cultural continuity as it has managed to survive for more than 200 years. Bagh print is recognized through its fine quality printing of repetitive geometric patterns in different variations to create a harmonious synthesis and bright vegetable colours, mainly red and black block printed predominantly on white base. The dynamism of the designs are derived by the ability of the artisans and it has changed with time to cater the need of the market demand.

A book of Bagh prints that the artisans use for reference

Story in the History

The exact date of the origin may be difficult to point out but some claim that the craft has come through migration from Rajasthan. But the characteristics differ in the design pattern and the usage of vegetable dyes with its extremely bright hue in Bagh which proves that the prints belong to this place.

Another school of thought is of the opinion that the Khatri community, comprising of the chhipas or printers and practice Bagh print are believed to have come to Bagh region – about 400 years ago – from Larkana in Sindh, which is famous for its Ajrak prints. They carried and brought the tradition of hand block printing. As water is one of the essential elements of the process, hence, the chippas settled along the Bagh river and with time, it became the center of hand block printing. However, since the river Bagh dries up for several months throughout the year, Narmada river is also used for continuation of the production process.

The community believes that their ancestors settled down together in the Marwar region before migrating to different regions in search of an economic network. According to Ismail Khatri, an eminent printer and national awardee, his ancestors moved out from Sind due to the terrors of a Brahmin raja there and settled down in Pali, near Jodhpur, Rajasthan. A terrifying famine forced them to travel and settle in the Malwa region, first in Gautampur and then in Nimar. It was the quality of water of the Bagh river that assured their stay and they formed settlement in the Bagh village.

The Baghini River

There is very little written record about this craft and its people. However, its reference can be traced back in the ancient texts and architectural motifs.

Dr. Sadhana Chouhan et.al (2018)opines that Bagh is a tiny tribal settlement in the Kukshi tehsil of the Dhar region of Madhya Pradesh, and it is from there that the Bagh prints get their name. According to folklore, the local baghs or tigers inspired the names of Bagh Village, the Bagh River, and the neighboring Bagh caves (3rd and 5th century AD, with beautiful sculptures and paintings devoted to both Hindu and Buddhist deities). About 12,000 people call this settlement on the Dhar–Kukshi route home. About a kilometer from the Dhar–Kukshi highway is where the Bagh River runs.

The book “1001 Saris of India” by Rita Kapoor and Amba Sanyal mentions the Bagh print saris as traditionally vegetable dyed and unique in appearance. Hence the integration of the artistic work of the Khatri community and the flowing water of the Bagh river has given rise to this unique handcrafted textile of the country.

Print of Heritage: Discovering the Meaning of the Motifs

Bagh print motifs are deeply intertwined with natural and cultural iconography. Each motif depicts a symbiotic relationship of the community drawn from the environment, mythology and other aspects of their lives. The design repertoire of Bagh prints covers geometrical and floral compositions mostly.

The border has leheriya designs and small geometric patterns while the body contains jaali work with flowers adorning the space

Geometric Patterns:

Origin: The geometric patterns are mainly derived from the Islamic architecture and designs present over the palaces and religious buildings. One of the most significant geometric pattern is the jaali or Lattice pattern. It is believed to be a creation through inspiration from the intricate stone lattice work in Mughal and Rajput architecture. Other patterns include leheriya motifs which are believed to have inspiration from rivers. The nariyal, a coconut shape; the trikona, triangle shape and gehwar, fan like shape form a parivar or family.

Significance: The geometric motifs represent balance and connection. They are used to create precision and showcase artistic skills, representing the traditional Indian thought about the cosmic harmony. The jaali motifs represent protection and the interwoven connection to the universe. This pattern is commonly used to indicate space separation and are mostly seen on the religious and ceremonial textiles. The leheriya motifs are used mainly to create borders and they are drawn with different colours to create a contrasting effect.

Paisleys:

Origin: A mix of geometric and floral patterns have created the paisley motif or ambi or butta. This has been a creation of Persian and Kashmiri influences that has integrated through trade and cultural exchanges. These motifs are classified as Nandana ka butta and Aabotcha butta mainly.

The paisley motifs with floral ornamentation is highlighted in the border

Significance: The paisley motifs are associated with spirituality, abundance and balance with nature. They symbolize of new beginning, fertility, rebirth and eternity. Hence, they are a popular choice of print festive wear and mainly bridal wear.

Flora and Fauna Motifs:

Origin: The flora and fauna motifs are created through the lens of the artists. They mainly use these motifs to depict the biodiversity of the region and often shape them differently to create their own style. The floral designs like jasmine, rose and marigold are inspired by the region’s rich flora and influenced by Mughal artistry, which emphasized naturalistic patterns. The fauna designs are mainly inspired by the local wildlife.

Significance: The floral motifs symbolize beauty and purity while the fauna motifs symbolize strength and grace. Both the motifs are used in all the textiles, however the floral motifs are used more for festive and ceremonial textiles.

Earlier the artisans used to make different prints and even different clothes for different communities and castes like Brahmin, Khatris, Harijans, Bhils, Jats, Bharurs, Mahajans and others. However, none of the differentiation remains are present now except for the Adivasis, only for particular occasions.

Behind the print: Techniques that Define Bagh Printing Art

Artisan making the colour

A. Colours of Legacy

The colours are derived from plants, fruits, flowers, and minerals. The four basic or natural colours are black – prepared with ferrous sulphate mixed with tamarind seed powder and glue, red – produced from alum, khaki and indigo are being utilized extensively in the printing process. Colours like grey is made using hirakayisha and for developing the colour, the cloth is passed through a chalk solution/lime solution or chune ka paani ka ghol. More colours like blue, ochre and salmon pink have also been made with the use of indigo and anaar ka chilka or pomegranate skin.

To make a paint-like solution, any material like hirakayisha or alum is mixed with imli ka chiya or seed of the tamarind along with hot water. The dramatic and vibrant colours of Bagh print is achieved by boiling it with dhavda flowers and alizarine. Shades can be obtained by increasing or decreasing the ratio of colouring materials.

B. Foundation of Perfection : Pre Printing Technique

Khara Karna – The cloth is thoroughly washed in the river water by first soaking it for two hours and then beating it on the riverside stones. It is then dried and brought back to the workshop only to soak it again for an hour and beat to remove the starch. It is finally washed in the clean water and dried to proceed to the next step.

Mengni Karna – In a mixture of arandi ka tel or unrefined castor oil, sanchara or rock salt and mengni, the cloth is soaked overnight and taken to the river the next day to wash in the flowing water. This process is repeated thrice to make the cloth soft.

Treating with Harara – After the day of mengni karna the cloth is treated with harara to give an off–white or off–yellow background and also aids in strengthening the tones of the black and red colours that are printed later.

Block used for creating the imprint

C. The Art of Transformation

Printing – The prepared colours are placed on a tray, from which the designed wooden block helps to transfer the printing paste on the fabric. The impression is taken with utmost care and repeated again and again to achieve the desired result. The fabric is then dried and folded and kept for eight to fourteen days for complete absorption of the colours. The uniqueness lies in the two hundred year old blocks with a repetitive geometric pattern of fine quality that are used in the printing process.

The artisan practicing the process of bichalna

Bichalna – This process involves taking the printed bundles to the river where it is pushed into the water and taken out swiftly to remove the extra colour. The chemical composition of this river water has proved to be good for the vegetable dyes used for printing at Bagh. This gives luminous tones to the clothes, making them very different from the other places in MP and Rajasthan. This process requires a lot of strength as two people need to stand in the running water and hold the fabric firmly ensuring that the fabric is under water, for at least 20 minutes. It is then beaten against the stone to remove residue.

Artisan has put the cloth in the bhatti

In the Bhatti – The cloth is put into the solution of dhavda flowers and alizarin in hot water where the cloth is shifted continuously using a long wooden stick. It is during this. process, the colour develops. The fabric is then rinsed in clean water and dried.

Artisans washing the bleached cloth

Tarai and Bleaching – After drying, the cloth is taken to the stream where it is washed three to four times and dried again. It is repeatedly moistened by spraying water on it with the hands which helps to set the colours permanently. The cloth is finally washed in the stream meticulously and dried and pressed to make the cloth ready for the next steps of cutting and stitching according to the requirements.

The Makers and Their Stories

The advent of synthetics, machine made alternatives and rapidly changing lifestyles threatened the existence of Bagh printing. It was kept alive and subsequently contemporised by the efforts of a few prominent Khatri families. Ismail Sulemanji Khatri was an Indian craftsman who revived and innovated Bagh print. He was introduced to the craft in his childhood as it was a part of his family business and he was trained by his father in the finer aspects. He introduced placing and formatting of blocks on the body and pallu of a sari and formulated many colours, out of which he was proud of the special mustard colour that was made out of pomegranate rinds. The revival was successful through printing on bed sheets, saris and fabrics. He won three state awards (Madhya Pradesh) as well as the President of India’s National Award for Excellence in Hand Block Printing. His wife Hajjani Jetun Bibi is another master karigar who has been credited with keeping the printing tradition alive in Bagh.

Sustainable practice of Bagh print

Their five sons are all acclaimed karigars who continue to practise and popularise the craft, adapting their designs to suit contemporary aesthetic sensibilities. Among them, Abdul Kadar Khatri bagged UNESCO and World Craft Council award for Excellence for Handicrafts 2018 for incorporating modernity in the wood blocks and colours. He was also awarded with several national and state level awards. His wife Rashida Be Khatri is another eminent artist who is famous for making Bagh block prints over bedcovers. Her designs are mainly inspired by ancient monuments of Dhar district including Mandu Nilkanth and other Mughal architecture. She has also received many state level and national awards.

Mohammed Yusuf Khatri has played a prominent role in preserving the craft and improving the local economy by training the local non–Khatri artisans in Bagh. He also experimented by crafting on bamboo mat, leather and jute. He was awarded with excellence for handicraft by UNESCO 2014 and seal of Excellence for Handicrafts by UNESCO 2007 and other other national and state level awards.

The Khatri brothers‘ effort made Bagh print reach different parts of the world and the expansion of the design repertoire in the form of sarees, stoles and home linen helped them reach a larger market. In 2008, Bagh prints from Madhya Pradesh received Geographical Indication (GI) status from the Government of India for their territory–specific production and characteristics. The craft continues to evolve and create a history even today for its adaptability and sustainability.