Traditional Pakistani Dress (Ajrak of Sindh)

Fashion, Beauty and Health

Ajrak is a name given to a unique form of block-printed shawls found in Sindh, Pakistan. These shawls display special designs and patterns made using block printing by stamps. Common colours used while making these patterns may include but are not limited to blue, red, black, yellow and green. Over the years, Ajraks have become a symbol of the Sindhi culture and traditions.

Ajrak of Sindh - A hallmark of the Indus Valley civilization, the province of Sindh....this ancient artwork is made from vegetable dyes with block prints in navy blue on maroon background traditionally. The vibrant patterns when added with some hand embroidered thread work, turn into pieces of art. These can be used as throws, bed sheets and table covers.

It is traditional in Pakistan to present it to their respected guests, a symbol of honour and prestige. This can be worn as the traditional head wear or as a shawl.

The region has known this particular work of art since ancient times, also called Ajruk.

The preparation of Ajruk in several stages, starting from the basic cotton cloth that is then bleached in a very rustic and ancient manner - using camel dung. The piece of cloth is then dyed in the traditional colors of navy blue and maroon using stamps made from wood to put patterns on the cloth.

The cloth is washed extensively till all residue of the processing materials is thoroughly 
washed out.

Embroidered motifs are added to add value and beautify this vibrant length of material. The pieces are further adorned with sequined work and beads to give it a more festive look. Golden threadwork is added for adding to trousseaux. Other than home textile, it can also be stitched as shalwar Kameez, the traditional wear of women of Pakistan - with a beautiful Ajruk dupatta (scarf) to match

Ajrak: The ajrak remains a popular Sindhi fashion and is traditionally used for bed covers, skirt material, men’s turbans and women and men’s chadars. Ajrak are available in yardage as well as stitched into table cloths and matching napkins, curtains and bedspreads with matching cushion and pillow covers.Shawls: One of the largest items of production is the chadar (Shawl), worn by both men and women. Its thickness the quality of its material and the patterns vary from region to region, depending on climatic conditions. The Sindhi khatha shawls are light-weight chadars, sometimes of cotton and woolen blend, and are most suitable for the temperate winters of the desert. They are usually white with multicolored horizontal and vertical patterned border stripes dominated by primary colors and black.

The history of the Ajrak can be traced from the times of the ancient civilizations of the Indus Valley. These civilizations have been thought to exist at around 2500 BC-1500 BC. A bust of the King Priest excavated at Moenjodaro shows a shawl draped around his shoulders. It is decorated with a trefoil pattern (like a three leafed clover) interspersed with small circles, the interiors of which are filled with a red pigment. The same trefoil pattern has been discovered in Mesopotamia. Also on the royal couch of Tutankhamen (of the ancient Pharaohs). The trefoil is a symbol of three sun-disks fused together to represent the unity of the gods of the Sun, water and earth. It is thought that the trefoil pattern survives as the cloud pattern in the modern Ajrak.

A UNIQUE PRINTING METHOD 

  The authentic Ajrak is printed on both sides by a method of printing called resist printing. The printing is done by hand with hand carved wooden blocks. Several different blocks are used to give the characteristic repeated patterning. Making the blocks is a considerable challenge since the pattern has to synchronize perfectly with the whole of the Ajrak as well as cover various areas against dye.

The block maker uses the compass and the ruler for precision in making the graphs for the patterns.
  The balance or the mizan has to be perfect for the final result. Various tools are used for carving the blocks (pors) There are very few poregars left in Sindh and it is a highly specialized craft. The blocks are thrown
  into the river when the craftsmen are done with a pattern. Block making is a family craft and passed down from generation to generation.

The basic process is called the Teli Ajrak. However, variations on the theme have emerged. Broadly the
main processes are: 

1. Teli Ajrak

2. Sabuni Ajrak

3. Do Rangi Ajrak

4. Kori Ajrak 

The Teli Ajrak 

  When worn and washed, the colors of the Ajrak become more brilliant and luminous. This is the most tedious and time consuming process and very few craftsmen today go through all the stages.

1. The fabric used is usually Latha. (Pure Cotton/Calico). 40 pieces of 5 meter lengths are torn to make
one lot.
2. The pieces are washed in the river. The cloth is also soaked in a solution of Soda Bicarbonate and water.
3. The fabric is then steamed to remove the impurities. (Chemical finishing). This is on a special mud stove called Khumbh for about 16 hours.
4. It is washed again in the river and beaten to dislodge the impurities.
5. Camel dung is soaked in water and the fabric is soaked in it to make the fabric soft and also acts as a bleaching agent (Alkaline). This helps the printing of the fabric.

  6. The fabric is then soaked in a solution of a special oil and Soda Bicarbonate. This is quite a complicated procedure and takes several days. The treatment is alternated and there are several steps to this. By the end oil is completely impregnated in the fibre. This is what gives the suppleness to the Ajrak as well as making it virtually indestructible.
7. The next stage prepares the fabric for the printing stages. Gurrh (molasses), dried lemons, castor oil Sakun (tamarisk) and water are used to make a dough. This dough is mixed in a big vessel with water and the cloth is soaked in it.
8. Chapayi/Printing: Gum and Lime is mixed with Alizarine for Kiryana (Printing of the white outlines) Blocks are soaked in the solution (brown) and the white outlines are printed over. This will be washed later to give
the white outlines.
9. Kut: Printing of the black areas: Gum, Ferrous Sulphate, Fullers earth and water are used to make the black outlines.
10. The fabric on which Kut and Kiryana have been printed are now reprinted with the Kiryana mixture. This ensures that when the cloth is soaked in dye these areas will remain sparkling white or black and the
color will not dye these areas.
11. The next step is printing over the red areas. Amongst the ingredients used is Ata (wheat flour), Phitkari (alum), (Phitkari), Gurrh (molasses) and Saunf (fennel). The areas to be dyed red are printed and while still
  wet are dusted with ground cow dung or rice husk to protect against the indigo dye to be printed later.
12. Indigo, Chuna (lime), Soda and Gurrh (Molasses) is used to dye the Indigo parts of the Ajrak.
13. The dyed and dried Ajrak is taken to the river to be washed. The Ajrak is submerged in water to dislodge the gums, alums and dung.
14. The Ajrak is then dyed with red dye which dyes the parts left over. Care is taken that the white areas are not dyed inadvertently.
15. The Ajrak is treated with Camel dung and water to brighten the whites and make the colors brilliant.
16. The Ajraks are again washed in soda water and in the river beaten to remove the dung. After drying they are ready for meena.
17. All the areas except the ones dyed in indigo are covered by block printing with a mixture of Alum, gum and wheat flour. The resist print is then dusted with dry powdered dung to dry it.
18. The Ajrak is again dyed in indigo (natural or chemical).
19. The Ajraks are washed in Soda and water with bleaching powder to give a sparkle to the colors. Viola! Finally the Ajrak is ready.

Ajrak is the famous traditional special skills of Kutch. The word ‘Ajrakh' means ‘keep it to day' and perhaps served as resources of advertising. It also means making beautiful and in Arabia, Ajrakh indicates the blue colour . Khatri community has been occupied in this craft for many centuries and the technique is controlled down from father to son. In recent times, Harijan craftsmen qualified under Khatri craftsmen are also capturing this craft

Process of Making is, Washed cloth is dipped in a solution of microbalances and dried. Then, spread on printing table topped with sack made stuffing. The fabric section required to maintain the original white colour is first printed with defend against prepared by using lime, gum and water. Wherever red colour is required that segment is printed with Alum solution. The Alum sees through the cloth while lime acts as refuse to
accept. Sometimes, sawdust or camel dung powder is spotted to strengthen the resist. The same process is repeated on the other side for both sides printing. Afterwards, the cloth is absorbed in mixture containing. Alizarine and Padvas in which the processed cloth gets a bright red colour on the portion provided with Alum. Again, resist print is repeated to maintain white and red colours. Then, the cloth is dipped in indigo solution prepared by mixing indigo cake, chajikar, lime and water by the exciting method. Even a type of yellow soil nearby identified as ‘Kaiya' is used for black colour. The cloth is washed in flowing water, dried, ironed and packed.