For almost two thousand years, people worldwide have been charmed by textiles from the Indian Subcontinent. There is an immense diversity of fibres, fabrics, and patterns in this area than in any other. Madhya Pradesh has a rich textile art tradition that has been practiced for centuries. Due to its abundant biodiversity, mineral wealth, and central location in India, the state has remained a melting pot for historical currents from the north, south, east, and west. While appropriately referred to as the “heart of India,” – Hindustan ka Dil, a culturally dynamic and rich in arts, crafts, and textiles.

Madhya Pradesh is a medley of ethnic groups and tribes, castes, and communities¹. The aesthetics of Madhya Pradesh, as shown by the skills found here, are virtually as diverse as the cuisines of the state. The region is well-known for its delicate handloom weaves, natural dyeing techniques, and block printing styles such as Chanderi & Maheshwari weaves and Bagh & Batik prints. From these various crafts comes a block print art form called the Bagh print, traditionally known as ‘thapa chappai’ or ‘Alizarin Print’; the print became more popular with its new name², manufactured with eco-friendly and non-hazardous natural colorants. To narrate the yarn of Bagh print of contemporary times, we first need to look back at the history and origin of the craft.

The Indian land, since ancient times, is familiar with the art of block printing, and Bagh print is part of an association of block printing techniques and community. In India, block printing is an ancient art dating back to the Indus civilization, according to some historians. Over time, block printing evolved and developed into different styles, such as Ajrakh, Bagh, and Sanganeri, which are associated with specific regions and communities in India. The Block printing technique was carried out by people known as ‘Chhipas’ or ‘Bhavsars’ who practiced block printing in locations including ‘Kukshi,’ ‘Dharampuri,’ and ‘Thikri.’

Legends have it that the village of Bagh, the Baghini River, and the nearby Bagh caves (3^rd and 5^th century A.D, with rich carvings and paintings dedicated to both Hindu and Buddhist deities) got their name from the Baghs or tigers that inhabited the region³. The reason to settle near the river is the required water usage in printing. It is enlightening to know how the name and fame of a small-town Bagh in the Dhar region reached as far as Europe⁴. It is due to Bagh art that this small village of Bagh has left its imprint in the field of art and Textiles.

Furthermore, it is supposed that the Khatri community of printers migrated from the Sindh region about 1000 years ago, first settling in Gujarat and Rajasthan, and presumed their tradition of printing and hand block making. Eventually, these communities had to scatter to other regions due to troubled periods and war situations. They went on to settle in Ujjain, Narsinghgarh, and Malwa regions. The places where these communities settled were known as Muhalla and Cheepa Bakhal; still, some places are known by these names only. Furthermore, they had spread to the towns of Bagh, Kukshi, Manavar, and Khandwa. Even as these communities move around, printing remains a sustainable source of living throughout generations.

The local tribal tribe had already established the art form when Ismail Suleiman, a craftsman from the Khatri community, went there in the 1950s. Even though the world is becoming increasingly mechanized, Ismail continues to practice this craft traditionally. By staying faithful to the style and process, he got 200 and 300-year-old blocks made based on traditional motifs inspired by the 1500 years old paintings found in caves in the region⁵. His improvements to the traditional Bagh print were just what the genre needed to take off. To standardize the production of two essential colors, he discovered additional vegetable dues, including yellow and green, while working to expedite the production of red from Alzarin and black from iron filings. A national award for a bed cover featuring 1400 separate block prints was given to him after he revolutionized the art form by stamping the Bagh pattern on sheets, saris, and fabrics.

Cotton and silk are significantly used as raw materials for bagh prints. Still, we find that even used on fabrics, Maheshwari, Chiffon, crepe, georgette tissue, Kosa silk, and mulberry silk are occasionally operated on. In addition, the wooden blocks are used to emboss designs onto the cloth. These blocks are often obtained from Pethapur, Gandhinagar, and Jaipur. Though earlier Bagh Prints were mainly used for ladies’ wear, now it is just one of the product lines that we find among a variety of product lines: cushions, bedsheets, bed covers, table covers, pillow covers, etc. But it still leaves scope for much more variety in which introduction to men’s shirts and shorts, notepad covers, lamp shades covers, and curtains are a category that could add a substantial audience for Bagh prints.

To identify a ‘Bagh’ print, look for many rows of little geometric patterns; typically, the colors used are red and black. Now, alizarin is used to get a red hue, while black is gained by placing pieces of iron, jaggery, and water in a container fermented for several days. Bagh graphics on a white backdrop are dramatic, using black and red alternately. The patterns take their cues from various sources, including ancient Cave paintings of Bagh, fauna, and architecture. The patterns included Chameli and jasmine, while maithir or makkhi (mushroom), leheriya (waves), and even tiny dots are examples of these motifs. Furthermore, we see the usage of genda (Marigold flower), keri (mango), saaj (border), nariyal Jaal (influenced by the Taj Mahal), tikoni (triangular), chaukdi (rectangular), dhaari (stripes), mitthu Boota (inspired by the parrot), and jurvaria (polka dots).

The bagh printing process involves washing, dying, and printing repeatedly. The production method is sluggish and labor-intensive. The first step, called Khara, is to wash and beat the fabric on river stones to get rid of dirt and starch. It is then left out in the sun for hours. The material is then put in a vat with castor oil, goat dung, raw salt, and water. After a good soak, it is taken to a part of the river called the Haudi and tossed around in the water for a few hours before being dried. This is done three times, and the cloth is trampled on to make a frothy scum that makes it softer and more permeable. 

The seven layers of jute on the dye tray are laid upon work like a dye pad for the design process. After the fabric is printed, it is dried in the sun for 10–15 days⁶. Then it is taken to the river and washed in the moving water, called “vichliya⁷.” Next, the cloth containing the flowery and leaf extract mixture is cooked in a copper pot. This causes the red, black, and white to develop and become visible. After washing, the fabric is chemically treated; the pigments are set after drying, and the printed cloth is ready for sale.

The usage of this art in their daily life makes them conscious about their attire; it is regarded as the central part because the prints on the different apparel define the occasion when to be worn by the tribe. This suggests that art initially catered to the needs of the native tribes but with many possibilities and addition to its form. It eventually became a source of livelihood for people; even today, about60% of the Bagh population is engaged in printing⁸. It exemplifies the tremendous potential of the art form to attract more viewers, and we live in a time when attitudes towards traditional crafts and cottage industries are shifting. People are returning to their roots; not only has the acceptability increased towards art and crafts. Also, the people are aware of the tedious process performed by the artist to procure the final product, from preparing fabrics to the Bhatti process, each stage requires caution and expertise, and this knowledge is passed down to the artists throughout the generations.

The handicraft sector is one of the largest decentralized and unorganized sectors of the Indian economy, with nearly 42 percent of artisans working out of their homes⁹. The craft industry of India faces a challenge, being majorly a home-based industry. They need a standard or even an e-market to sell their products directly to consumers. Eventually, the artisans move to urban areas in search of alternative livelihood due to the loss of demand and a stable and standard marketplace.

Today, Bagh prints are popular among traditional and contemporary fashion designers and are appreciated for their vibrant colors, intricate designs, and eco-friendly production techniques. The Khatris have instructed and encouraged more than a hundred artisans and villages to continue this craft; this unique history of printmaking was only recovered with their consistent effort. The art may be ancient, but the patterns and design remain relevant in contemporary times; by treading on this futuristic path, textile art can be preserved and sustain a decent livelihood for the artisans.

Footnotes:

1. Seth, Devika (ed). Chapp – the imprints of crafts. MPHSHVN: Bhopal. 2013.
2. Ibid
3. Chouhan, Dr. Sadhana, & Patil, Sunita. The art of Bagh prints traditional and eco-friendly aspects. International Journal of Engineering Sciences and Research Technology. 8 (3) March 2019. https://www.academia.edu/38509552/ THE_ART_OF_BAGH_PRINT_TRADITIONAL_AND_ECO_
   FRIENDLYASPECTS
4. Sarwate, Bharti. Print of Beauty on Fabric of time – Bagh. MPHEHVN: Bhopal. Pp 9.
5. The Bagh story. https://www.thehindu.com/arts/crafts/the-bagh-story/article2554935.ece
6. The not-so-easy process of Bagh printing. https://www.mptourism.com/not-so-easy-process-bagh-printing.html
7. Ibid
8. Sarwate, Bharti. Print of Beauty on Fabric of time – Bagh. MPHEHVN: Bhopal. Pp 13.
9. To the aids of crafts, https://www.thehindu.com/features/friday-review/art/to-the-aid-of-crafts/article5003961.ece