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THE STORY OF AJRAKH

Ajrakh gets its name either from the Hindi phrase ‘Aaj Ke Din Rakh’ (meaning ‘keep it today’) or the Arabic word ‘Azraq’ (meaning ‘blue’), which is the dominant colour in this craft. This ancient hand-block printing technique is practised in Ajrakhpur, Kutch, Gujarat. In the middle of the desert’s earthy landscape, Ajrakh stands out with its vibrant colours. For the artisans, it’s more than just a craft—it's a legacy passed down through generations.

Authentic Ajrakh is made using resist printing on both sides, carefully crafted by hand with carved wooden blocks. The tiny imperfections are what make each piece unique. It takes multiple blocks to create the intricate designs, with each set of blocks belonging to a specific motif. There are different types of Ajrakh, like ‘Teli Ajrakh,’ ‘Sabuni Ajrakh,’ ‘Do Rangi Ajrakh,’ and ‘Kori Ajrakh.’ To finish it off, artisans add detailed embellishments called ‘Meenakari,’ giving each piece its intricate charm.

SWOT ANALYSIS

STRENGTHS

1. Sustainable Practices

2. Labour-Intensive and Employment-Generating

3. Livelihood Potential for Semi-Skilled Workers

4. Readily Available Raw Materials

1

OPPORTUNITIES

1. Potential Income-Raising Industry in Rural India

2. Huge Consumer Market in India Itself

3. Make in India Initiative & Vocal for Local as Torchbearers

4. Rising Consumer Awareness for Sustainable and Handmade Products

5. E-Commerce Platforms as Key Drivers to Boost Demand

3

WEAKNESSES

1. Loopholes in Demand-Supply Chain

2. Poor/Non-Existing Marketing

3. Low Exposure to the Outside World

4. Absence of Up-Skilling

5. Unorganized and Poorly Represented Industry

2

THREATS

1. Increasing Availability of Cheap Screen Prints

2. Waning Market Demand

3. Demotivation Towards Picking Up the Craft as a Profession

4

The cloth is washed in a Myrobalan solution made from Harde tree nuts, serving as the first mordant. It is then squeezed, smoothed on a stone, stretched, and sun-dried on both sides before brushing off any excess Myrobalan.

A resist paste of lime and Babool tree resin is applied to outline motifs that will stay white. After seven days, the mixture is strained, creating Kirana. The design is then outlined (Rekh) and printed on one or both sides using wooden blocks.

KASANO

INDIGO DYEING

As the name implies, the cloth is dyed with indigo in this process, which is typically a blend of indigo, soda bi-carb, and jaggery. After several days, the indigo is ready for printing. Each piece of cloth is soaked in the indigo for 2-3 minutes, then spread upside down to dry. It is dyed in indigo twice more to achieve a consistent colour.

In this stage, scrap iron and jaggery are mixed with water and left to ferment for about 20 days, turning the water ferrous. This ferrous water is then combined with tamarind seed powder and boiled into a paste called Kat, which is used to print the areas meant to be black. The cloth is then printed using a Kat stamp. Additionally, printing is done with a mixture of tamarind seed flour and ferric alum (Fitakari).

KAT

GACH

Khor printing begins with a resist paste of alum, gum arabic, millet flour, and red clay applied using a filler block (Gadh). Next, a resist paste of lime and gum Arabic is stamped on the fabric. These steps together are known as Gach printing. To prevent smudging, sawdust or finely powdered cow dung is sprinkled over the printed areas.

A third resist, made from gum and Fuller’s earth mixed with an alum mordant, is then applied. This resist blocks indigo while the alum reacts with alizarine to create the signature Ajrakh red. The cloth is left to dry naturally for 3-4 days. Traditionally, dried Bakri Ni Lindi (goat excreta) powder was used to prevent smudging, but now, wood powder is used instead.

Next, the cloth is washed thoroughly to remove any remaining resist residue and unfixed dye. This deep washing process removes excess indigo and degums the fabric. The fabric is then boiled in a mixture of Dhawdi flower and Sakud oil and left to dry. A copper vessel is used for this step, as copper does not alter the colour of the fabric.

VICHHARNU

RANG

The cloth is boiled with Alizarine in a Rangchul for 2-3 hours, giving alum-treated areas a vibrant red colour. During boiling, each piece is lifted with a wooden stick. Alum acts as a mordant, enhancing the red, while grey areas from black printing deepen in shade.

Other colours are achieved by boiling with different dyes: Manjishtha for orange, henna for light yellowish-green, and rhubarb root for pale brown. After boiling, the fabric is washed and sun-dried. To give Ajrakh its signature shine, water is sprinkled before drying, repeated up to five times, ensuring a lasting glow and vibrant colours.

SAAJ

Ajrakh blocks are cut from Sagwan (teak) or Sheesham wood and sanded on stone for a smooth, level surface. They are soaked in water, coated with Wari (dry powdered clay), and rubbed against Rohi (granite) to create a fine layer. A baseline is drawn with a ruler, and a compass is used to form accurate right angles. The square is divided into quarters and then into sixteenths. The design, first sketched on paper, is then carefully etched into the block with fine lines.

Dr. Ismail was taught the family art by his father, and his work has received international recognition. In 2002, he conducted workshops and delivered lectures at the Iowa Color Congress, further establishing his expertise in the craft. In 2003, he was honoured with an honorary doctorate from De Montfort University in Leicester, U.K. That same year, Dr. Ismail participated in the Resurgence Exhibition organised by the Manly Council in Australia, presenting designs that reflected the resilience and recovery following the post-earthquake period.

In 2006, both Dr. Ismail and his brother attended the UNESCO Conference on Natural Dyes held in Hyderabad, India, contributing their knowledge and experience to a global discussion on sustainable dyeing practices.

DR. ISMAIL MOHAMMED KHATRI

Mr. Abbas is a master artisan who, with 30 to 40 years of experience, carries forward a family legacy that spans generations, rooted deeply in the art of Ajrakh. Trained in the craft from childhood, he never considered changing his profession, as the steady demand for Ajrakh has ensured its survival and growth to this day.

His workplace, located on his property in Ajrakhpur, reflects the rich heritage of this craft. He works alongside his son and four other artisans, maintaining a balance between tradition and the demands of modern-day customers. The blocks used in his designs are custom-made and sourced from Pethapur, with the option to create unique designs based on client requests. Through his dedication, Mr. Abbas continues to preserve and nurture the art of Ajrakh for future generations.

MR. ABBAS IBRAHIM KHATRI

Mr. Abbas is a master artisan who, with 30 to 40 years of experience, carries forward a family legacy that spans generations, rooted deeply in the art of Ajrakh. Trained in the craft from childhood, he never considered changing his profession, as the steady demand for Ajrakh has ensured its survival and growth to this day.

His workplace, located on his property in Ajrakhpur, reflects the rich heritage of this craft. He works alongside his son and four other artisans, maintaining a balance between tradition and the demands of modern-day customers. The blocks used in his designs are custom-made and sourced from Pethapur, with the option to create unique designs based on client requests. Through his dedication, Mr. Abbas continues to preserve and nurture the art of Ajrakh for future generations.

The inspiration for this project was the concept of impermanence, inspired by the lost city of Dwarka. Dwarka, an ancient city in Gujarat, is revered as the legendary capital of Lord Krishna's kingdom. Once a thriving and glorious city, it is believed to have submerged into the Arabian Sea, symbolising the impermanence of even the grandest human creations. Everything, no matter how indestructible, fades away over time. Hence, wisdom lies in enjoying and appreciating the beauty of things around us, even the littlest ones, rather than dwelling on the fact that they will eventually come to an end.