Wishesh magazine january 2018 Wishesh magazine january 2018 | Page 20

INDIAN DIASPORA FINE ART
In
Machilipatnam,
the washing
of the cotton
fabrics is done
at the Kalia
Canal. Then
a process
similar to the
one described
above is used.
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the cloth, rises above the
sunken negative area. In the
printing sub-unit, the colouring
process usually starts with the
outlines and moves towards
filling-in of the inner portions of
the design. For polychromatic
printing, the black and red
portions of the design are
printed first and then the cloth
is washed and boiled.
Unlike the process at
Srikalahasti, alum solution
is not used here for the red
colour. All the colours are
stored in flat rectangular
wooden vessels and covered
with several layers of cotton
cloth or jute. After printing, the
fabrics are dried and taken
to the washing sub-unit. This
unit is usually open from all
four sides and consists of
one or more open ovens.
These ovens are, till today,
fuelled with rice husk and
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wood powder. Big semi-
circular vessels made of
iron are placed over these
ovens for boiling the fabrics.
While boiling, leaves from the
local forest, known as gaja,
are added to the water to
fix the colours. After boiling,
they are dried and sent for
further printing with yellow
and blue colours. After this,
the fabrics are washed again
in boiling water. Finally the
finishing touches are given,
which sometimes includes
embellishment by hand.
Conclusion:
The study of the history
and evolution of kalamkari
at both Srikalahasti and
Machilipatnam reveals an
amalgamation of a diverse
set of influences. The two
regions developed their
designs not only in response
to the visual traditions of the
region but also to the needs
of the market. A review of the
two kalamkari traditions also
reveals the similarities in their
techniques. Today, many
kalamkari artists continue to
produce items of furnishings
and fabrics for the modern
market. While these industries
cater to new markets with
ever-changing innovations,
at both Srikalahasti and
Machalipatnam the traditional
modes of production have
survived and are gaining
wider appreciation due to their
vibrant designs, use of natural
colours and as symbols of the
region’s heritage.