The name refers to a method of painting natural dyes onto cotton or silk fabric with a bamboo pen or kalam. The name kalamkari translates as pen (kalam) work (kari) in Hindi/Urdu, and was most likely derived from trade relationships between Persian and Indian merchants as early as the 10th century CE.
European merchants also had names for this type of fabric decoration: the Portugese called it pintado, the Dutch used the name sitz, and the British preferred chintz. The name kalamkari is used prominently today, and is synonymous with both painted and hand blockprinted textiles that incorporate natural vegetable/organically-derived dye stuffs
The themes are traditionally chosen from the Puranas or epics. These stories are depicted in the form of a series of horizontal panels with the narrative script running throughout. The distinctive temple wall hangings, chariot decorations and canopies of Srikalahasti typically feature Hindu stories, and the images are often identified with text in Telugu, the regional language. This specialization in figurative work continues today. The laborious process involved with each painting takes around 40 days; the designing takes about four days and the entire process of painting takes 30-35 days depending on the climatic conditions. Most of the raw materials are gathered from forests and processed by traditional methods.
The themes are traditionally chosen from the Puranas or epics. These stories are depicted in the form of a series of horizontal panels with the narrative script running throughout. The distinctive temple wall hangings, chariot decorations and canopies of Srikalahasti typically feature Hindu stories, and the images are often identified with text in Telugu, the regional language. This specialization in figurative work continues today. The laborious process involved with each painting takes around 40 days; the designing takes about four days and the entire process of painting takes 30-35 days depending on the climatic conditions. Most of the raw materials are gathered from forests and processed by traditional methods.
Who practices this craft?
Traditionally of Hindu castes, Kalamkari Paintings were traditionally made in a small temple-town called Kalahasti in the Chittoor district in Andhra Pradesh. The present generation of artists and students has recovered the tradition of Kalamkari Painting and are infusing the art with individual styles.
What materials and tools are used in this craft?
Tools: Charcoal pencil, tamarind twigs, pointed and round-tipped kalam (pen made of bamboo sticks);
Materials: Godha (unbleached cloth), rusted iron, alum, cow’s milk, cow dung, indigo, Alzarin, Anar, Rubia Cordifiolia, Pobbaku, Ventilago Madraspatana Gartan (Surudu Chekka), Myrobalan.
What is the Craft process?
Preparing the fabric
The cloth is washed to remove starch. Then, myrobalan paste is mixed with one liter of water and fresh buffalo milk. The cloth is loosely folded and slowly dipped into the solution. It is then soaked and pressed down with the hands. This type of pressing helps greater absorption. The cloth is removed, wrung, and opened out. The process is repeated again, but this time the twisting is done in the opposite direction to spread the fat content of the buffalo milk. The fat holds the colors on the surface and prevents color from spreading. Once all the pieces of cloth have been processed, they are spread out to dry in the sunlight.
The cloth is washed to remove starch. Then, myrobalan paste is mixed with one liter of water and fresh buffalo milk. The cloth is loosely folded and slowly dipped into the solution. It is then soaked and pressed down with the hands. This type of pressing helps greater absorption. The cloth is removed, wrung, and opened out. The process is repeated again, but this time the twisting is done in the opposite direction to spread the fat content of the buffalo milk. The fat holds the colors on the surface and prevents color from spreading. Once all the pieces of cloth have been processed, they are spread out to dry in the sunlight.
Drawing
The cloth is folded and pressed and straight lines are drawn in charcoal along the pressed creases, defining the decorative panel within which the main theme will be drawn. In outlining the main theme, the leading figures are sketched first, followed by the others. The charcoal drawing provides the basic layout. All details are subsequently filled in by pen.
The cloth is folded and pressed and straight lines are drawn in charcoal along the pressed creases, defining the decorative panel within which the main theme will be drawn. In outlining the main theme, the leading figures are sketched first, followed by the others. The charcoal drawing provides the basic layout. All details are subsequently filled in by pen.
Painting the outline
The cloth is placed onto a woolen blanket spread on a wooden table, which provides a smooth work surface and also absorbs color seeping through to the reverse side. The iron mordant is applied using the pointed kalam to make outline drawings and other details. The kalam with the broader tip is used for larger areas. The procedure followed is the same as for iron acetate. This operation has to be accomplished very skillfully so that there is no smudging of mordant.
The cloth is placed onto a woolen blanket spread on a wooden table, which provides a smooth work surface and also absorbs color seeping through to the reverse side. The iron mordant is applied using the pointed kalam to make outline drawings and other details. The kalam with the broader tip is used for larger areas. The procedure followed is the same as for iron acetate. This operation has to be accomplished very skillfully so that there is no smudging of mordant.
Cleaning:
The fabric is then taken to the river and held flat in the flowing water at either end with no overlapping fabric for five minutes. It is lifted out, shaken thoroughly, and dipped back into the water. By this time, the excess mordant has been swept away in the flowing river. The fabric is then squeezed. The dipping and squeezing procedure is repeated two to three times. All the impurities are removed.
The fabric is then taken to the river and held flat in the flowing water at either end with no overlapping fabric for five minutes. It is lifted out, shaken thoroughly, and dipped back into the water. By this time, the excess mordant has been swept away in the flowing river. The fabric is then squeezed. The dipping and squeezing procedure is repeated two to three times. All the impurities are removed.
Fixing
Prior to boiling, the fabric is opened out and inspected. If any spreading or blotching of iron or alum mordant is noticed, it is rectified by the application of raw lemon juice on the affected area. A large copper vessel is filled with sufficient water to soak the required quantity of cloth. Pobbaku (Narigama alta), as well as Powdered Chevalakudi (Rubia Cordifolia linn) and Suruduchakka (Ventilago madraspatana gartan) are mixed into the water. The cloth is slowly inserted into the boiling solution and delicately stirred. Once it has boiled over, the cloth is taken out, cooled with cold water, and rinsed again. After washing the cloth in the river, it is spread out for a few hours. At intervals water is sprinkled on it to keep it wet. It is squeezed and beaten on the stone to remove the fugitive colour, twice. It is then wrung out and dried. If a deeper shade of red is required, the process of myrobalan and alum application, washing in the river for removal of excess alum, boiling in madder and washing and drying in the river is repeated for a second time.
Prior to boiling, the fabric is opened out and inspected. If any spreading or blotching of iron or alum mordant is noticed, it is rectified by the application of raw lemon juice on the affected area. A large copper vessel is filled with sufficient water to soak the required quantity of cloth. Pobbaku (Narigama alta), as well as Powdered Chevalakudi (Rubia Cordifolia linn) and Suruduchakka (Ventilago madraspatana gartan) are mixed into the water. The cloth is slowly inserted into the boiling solution and delicately stirred. Once it has boiled over, the cloth is taken out, cooled with cold water, and rinsed again. After washing the cloth in the river, it is spread out for a few hours. At intervals water is sprinkled on it to keep it wet. It is squeezed and beaten on the stone to remove the fugitive colour, twice. It is then wrung out and dried. If a deeper shade of red is required, the process of myrobalan and alum application, washing in the river for removal of excess alum, boiling in madder and washing and drying in the river is repeated for a second time.
Bleaching
For bleaching purposes either sheep dung or cow dung is mixed into water in a clay pot. Sheep dung is more effective as it contains a higher proportion of sodium carbonate. The cloth is dipped in this solution, taken out, squeezed and kept aside over night. The following morning it is beaten, and washed in water. The fabric is exposed to the sun. This bleaching process continues for four to five days until the non-mordant portions become white.
For bleaching purposes either sheep dung or cow dung is mixed into water in a clay pot. Sheep dung is more effective as it contains a higher proportion of sodium carbonate. The cloth is dipped in this solution, taken out, squeezed and kept aside over night. The following morning it is beaten, and washed in water. The fabric is exposed to the sun. This bleaching process continues for four to five days until the non-mordant portions become white.
Painting
After the bleaching process, the cloth is dipped in a milk solution. This prevents the running of one dye color into other dyed areas of color. The yellow used may be the extract of either the myrobalan flower or pomegranate rind. It is applied with the round-tipped pen in the same way as in filling in the alum. After painting it yellow, the cloth is washed and dried. Surruduchakka, a basic brown color, is used to darken the shade of red from Pobbaku and Chevalikodi. The blue color is prepared with a solution of indigo mixed with a little alum. Blue is applied with a broad-tipped pen in the same manner as the alum. Painting red on blue yields violet, painting yellow on blue provides green. After the application of blue, the cloth is washed in the river as after boiling for Manjishta (madder). The excess blue is washed away and all the dirt is removed.
After the bleaching process, the cloth is dipped in a milk solution. This prevents the running of one dye color into other dyed areas of color. The yellow used may be the extract of either the myrobalan flower or pomegranate rind. It is applied with the round-tipped pen in the same way as in filling in the alum. After painting it yellow, the cloth is washed and dried. Surruduchakka, a basic brown color, is used to darken the shade of red from Pobbaku and Chevalikodi. The blue color is prepared with a solution of indigo mixed with a little alum. Blue is applied with a broad-tipped pen in the same manner as the alum. Painting red on blue yields violet, painting yellow on blue provides green. After the application of blue, the cloth is washed in the river as after boiling for Manjishta (madder). The excess blue is washed away and all the dirt is removed.
Information source: AIACA
The art of Kalamkari on Video
Thanks! I am really interested in the traditional arts of India! I am happy you have your blog and videos, please post more.
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