By Saima Shah
HISTORY
The Ajrak is an essential part of the apparel of a Sindhi
person. Men use it as a turban, a cummerbund and wound it
around the shoulders. Women use it as a dupatta and chaddar,
as a shawl and sometimes as a makeshift swing for children.
The Ajrak is usually about 2.5-3meters. It is patterned in
intense jewel like colors. The dominant colors are rich
crimson and a deep indigo. A little bit of white and black
is also used to give definition to the geometric patterns.
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 process by which the Ajrak is made is considered intuitive to the Ajrak makers. It is part of the existence of the craftsman and therefore not a 'job' but a form of life.
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.
The other three processes of Ajrak are variations on the same theme except that some short-cut or substitution is made. In the old days, only natural vegetable dyes were used for the Ajrak. Now, chemical dyes have been substituted. Natural Indigo is grown in Pakistan and is cheaper, therefore it is still used by some craftsmen.
The craft is an art in decline. Profit margins are low since the craftsmen are dependent on wholesalers who keep large margins and pay very low prices for the Ajraks. The cost of blocks is high in relation to the margins of the Ajrak making new investment in blocks difficult. Of-course, no credit facilities are available to the craftsmen. As a result, the younger generations are being weaned away from the traditional source of livelihood. The original Ajrak is disappearing; modern, quicker printing methods of copying the original patterns are fulfilling local demand.
With gratitude and respects to the author Ms Saima Shah
Sindhi Ajrak : Steeped in Antiquity