Introduction

Kalamkari is the craft of painting and printing on fabrics. It derives its name from kalam or pen
with which the patterns are traced. It is an art form that was developed both for decoration and
religious ornamentation.

History

The discovery of a resist-dyed piece of cloth on a silver vase at the ancient site of Harappa
confirms that the tradition of Kalamkari is very old. Even the ancient Buddhist Chaitya Viharas
were decorated with Kalamkari cloth. Little was known about printed Indian cotton before the
archeological findings at Fostat, near Cairo. The discovery unearthed a hoard of fragments of
printed Indian cotton supposed to have been exported in the 18th century from the western
shores of India. A study of some of these Fostat finds in 1938 by Pfisher, who traced them to
India, brought to light evidence of a tradition of those fabrics that were actually block printed and
resist-dyed with indigo. Before the artificial synthesis of indigo and alizerine into dyestuffs, blues
and reds were traditionally extracted from the plant indigofera tinctoria and rubia tinctoria.
alizerine, commonly used as a coloring agent, was found in ancient times in mudder. The
madder root, rubia, widely used in India and chay (chay is oldenlandia), the root of oldenlandia
umbellata, were highly estimated as fine sources of red in the south. The dye roots of morinda
citrifolia linn and morinda tintoria known as alizerine or cirang were found in southern, western
and central India. These were the main sources of traditional Indian dyes.

Regions:

In Andhra Pradesh, Kalamkari block printing is done in Machilipatnam. The main places are
Pedana, Kappaladoddi, Polavaram and many other small nearby villages. These places are
famous for their Kalamkari fabrics and furnishings.

Producer Communities

The main castes engaged in Kalamkari work in Andhra Pradesh are the Devangas, Padmasalis,
Kannebhaktulu and Senapathalu. These community groups weave as well as do the dyeing and
printing. The dyers and printers who did their respective jobs belonged to the Hindu or Muslim
faiths. The blocks for printing were made by specialist block makers, but sometimes the printers
also made their own blocks.Apart from Andhra, Kalamkari is also found in Rajasthan and
Gujarat. But their Kalamkari can be easily differentiated on the basis of design, fabric and dyes.

Raw Materials

1. The base on which Kalamkari printing and dyeing is carried out on is kora (unbleached) long
cloth of 20 or 60 counts. Hence it forms the chief material constituting the Kalamkari fabric.

2. Dyes–They are described in detail in the process.

3. Beeswax

4. Fuel

5. Cow dung used for bleaching process 6. Buffalo milk

7. Water

5. Tools

1) A workbench which is 63 inches long, 27inches wide and 18 inches high, to enable the
worker to squat by its side and attend to the block printing work, is required.

2) A three-legged low table 45 inches x 12 inches x 18 inches for wax processing and other
dyeing is required.

3) Printing blocks

4) Stamping pads to hold the dye for block printing

5) Kalams

6) Dyeing vat

7) Broken pots for melting wax

8) Larger copper pots for boiling

The following are the main stages in the production process:

1. Block making/Preparation of the Kalam

2. Initial preparation of cloth for Kalamkari process

3. Formulation of starch

4. Mordanting of cloth in myrobalan solution 5. Outline block printing

6. Filling in colors, printing pads

7. Bleaching and washing

8. Starching

9. Degumming and washing

10. Cleaning of the cloth and application of alum solution

11. Soaping and finishing (Final process)

Block printing is generally carried out in two stages namely:

i) Printing of the mordants (iron acetate and alum for outline or background or motifs).

Printing begins with the mordants being printed first. The mordants normally used are iron
acetate ( Kasim in Telugu) and Alum( Karam in Telugu).Iron acetate is a fermented mixture of
paddy husk , iron filings , salt and jaggery. Alum is prepared from alum powder and gum. First
the background is printed followed by the printing of the outline and the motifs.

Background being printed with alum

ii) Printing of the motifs

Outline being printed with iron acetate

List of Products

Especially in the olden days, Kalamkari prints were used for canopies, screen cloth, prayer
cloth, etc., but today their uses are diversified for different purposes. They are used as dress
material, saris, handkerchiefs, curtains, wall and frame hangings and also for upholstery,
curtains, bed sheets, pillow covers, mats, carpets, durries, caftans, bags, purses, etc. The prices
of Kalamkari per meter may vary from place to place. In Andhra the price of Kalamkari per meter
being sold in retail outlets ranges from Rs. 100 to 200 (as per August 2004).
Marketing:

In recent years, there has been a concerted effort to market Machilipatnam Kalamkari on a
global scale, leveraging digital platforms, exhibitions, and collaborations with designers to
showcase its unique appeal and heritage.

Semiotics:

The motifs and symbols used in Machilipatnam Kalamkari carry deep cultural and symbolic
meanings, often depicting scenes from mythology, but mostly nature, or everyday life. These
symbols serve as a visual language, communicating stories and traditions to those familiar with
the art form.

Musical instrument-Everyday life Butterfly-Nature

Modernization and changing consumer preferences have influenced the Udaygiri cutlery
industry, leading to innovations in design, materials, and marketing strategies. While these
changes present new opportunities, they also raise concerns about preserving traditional
techniques and supporting artisan livelihoods.

Outsider View vs. Designer View:

Outsiders often admire Machilipatnam Kalamkari for its intricate craftsmanship and cultural
significance. Designers, on the other hand, may view it as a source of inspiration, incorporating
its motifs and techniques into contemporary fashion and design.

Conclusion:

Machilipatnam Kalamkari stands as a testament to the rich cultural heritage and artistic prowess
of the artisans of Andhra Pradesh. As it continues to evolve and adapt to changing times, it
remains a cherished tradition, cherished for its beauty, craftsmanship, and timeless appeal.
INTRODUCTION:

Udaygiri – the cutlery of Nawabs

Believed to have originated in the 14th century, this wood-carving craft is native to Udayagiri
town located in Nellore district of Andhra Pradesh. The wooden spoons, forks, knives and bowls
from Udayagiri are renowned for their intricate hand carved patterns. The craft always enjoyed
royal patronage and its popularity surged in the 19th century. Artistic, aristocratic and utilitarian
in equal measure, it is a fine example of how creativity can turn even the most common aspects
of daily life into something exquisite. Rising awareness and appreciation of traditional arts and
crafts has lent Udayagiri a fresh breath of life. The eco-friendly articles have become
increasingly popular as house warming gifts and festive gifts around Diwali, as well as for self
use by aesthetes.

History and origins of Udayagiri

The first documented history of the town dates back to the 14th century and was ruled by the
Gajapatis of Odisha, at the time. Languja Gajapati, their Chieftan at the time, is credited with
commissioning the construction of the iconic Udayagiri fort. Later, it became a part of the
Vijayanagar Empire and subsequently, came under the rule of the Nawabs of Arcot who
controlled the region till 1839. It was under the rule of the nawabs and jagirs that the wooden
cutlery from Udayagiri gained widespread popularity. It was also the period when the cutlery’s
patterns, motifs and carvings got their Persian influence. The craft was developed by skilled
local artisans who shaped soft wood sourced from nearby forests, using mere hand tools, into
beautiful cutlery and serve-ware.

Process behind making of Udayagiri cutlery

Central to the craft’s origin and sustenance is the forest land on Durgam Palli hills located
nearby. The forest provides the supply of soft wood like nardi, deodari, bikki chakka, kaldi
chakka, and palabarki. Of these, nardi and bikki chakkaare relatively softer and hence are used
for small cutlery pieces. Larger cutlery pieces and bowls are made using the deodari or kaldi
chakka. Depending on the requirement, the artisans carefully select blocks of wood sourced
from the forest. The blocks are stored in a dry area for several days before being soaked in
water and redried. The entire exercise takes a few weeks, after which they are cut into smaller
sizes, based on the product to be made.

A unique pre-carving practice involves winding the smaller blocks with a jute string, which is
kept in place with a heavy stone on top of it. This removes any left over-moisture, and makes
the wood softer and more suitable for carving. Once the jute threads are removed, marking is
done on the blocks in the shape of the cutlery that would be made out of it. First the basic shape
is carved out of the block with the help of a chisel. It has to be done very skilfully and with a deft
hand as the soft wood can break easily. Thereafter, the artisans show their true creativity and
talent. Using simple tools, like a chisel, filer, drill and nails, they carve out beautiful intricate
patterns in the wooden article. Amini, khajuri, kangura and dargah ki jaali are some of the
popular patterns. Finishing of the small and delicate pieces is done with files, while a paper
finishing is used for the larger pieces.
Marketing:

In recent years, there has been a growing effort to market Udaygiri cutlery to a wider audience,
both domestically and internationally. This includes showcasing the craft at exhibitions,
collaborating with designers to create contemporary interpretations, and leveraging digital
platforms for promotion.

Semiotics:

The designs and motifs used in Udaygiri cutlery often reflect local traditions, mythology, and
symbolism,mainly PERSIAN MOTIFS . Each pattern and embellishment carries its own
meaning, serving as a visual language that communicates cultural identity and heritage.
Mythology Fish- As Udaygiri is a coastal region
Reflection of Tradition Persian Motifs
Reflection of Tradition Floral- Persian inspired
Persian Motifs Reflection of Tradition
Changes in Recent Years:

Modernization and changing consumer preferences have influenced the Udaygiri cutlery
industry, leading to innovations in design, materials, and marketing strategies. While these
changes present new opportunities, they also raise concerns about preserving traditional
techniques and supporting artisan livelihoods.

Outsider View vs. Designer View:

Outsiders often admire Udaygiri cutlery for its craftsmanship, historical significance, and cultural
value. Designers may view it as a source of inspiration, incorporating its unique aesthetics and
techniques into contemporary designs and collections.

Conclusion:

Udaygiri cutlery stands as a testament to the rich artistic heritage and craftsmanship of Odisha's
artisan communities. As the craft continues to evolve and adapt to changing times, it remains a
symbol of cultural pride and a source of inspiration for future generations of artisans and
enthusiasts alike.