• There is a large group of Indian textiles,

which are patterened by means of resist

techniques. These dyeing methods serve
to decorate textiles in colours by partially
reserving or resisting the fabric before
dyeing and removing these afterwards.
• What distinguishes these patterning
methods from other is that the
ornamented motifs are produced neither
by weaving nor by appling them onto the
fabric as in painting, applique work or
embroidery, but rather that they are left
undyed on coloured ground. The process
can be repeated for producing multi-
coloured designs.
• Fold resist dyeing- the fabric is crumpled,
knotted or pleated into folds and then dyed.
• Stich-resist dyeing-Either folds or pleates are
fixed by stiching through them or leading threads
through the material in simple running
stiches.Then the fabric is pushed or drawn
together as close as possible on the threads
which are knotted at the end.
• Warp-resist dyeing-rolled or folded material is
partially wrapped in such a way that no dye can
penetrate the reserved places.
• Tie-resist-dyeing-Individual parts of the
outspread fabric are lifted and completely or
partially tied in such a way that one gets
spherical or mould-like forms. Once again the
covering act as resist.
• Stencil-resit-dyeing-Stencil that prevent dyes
from penetrating into the fabric are fixed on it
before the colouring is applied. This method
however, is more suitable for painting or for
spraying the dye on the fabric than for dyeing
textiles
• Paste or wax-resist-dyeing-parts of fabric are
spreyed, painted or coated with paste, like mud,
lime, gum or with molten substances like wax
which serves as reserves.
• Mordant-resist-dyeing-as against covering the
fabric partially to protect it against the dye, one
prepares parts of the textiles for dyeing with
mordents whilst the unprepared parts donot take
on the dye.
• Resist-dyeing of yarn to woven after
patterning.-Certain parts of the yarn for
warp, weft or both are made to resist the
dye by wrapping. This dyeing is carried
out on the yarn bundles from which the
wrapping is removed after the dyeing. The
process may be repeated if one wants to
produce multi-coloured patterns.
• If the design should show clear and
definite, not diffuse or blurred, patterning
the yarn has to be arranged before tying
and dyeing in the same way as it will be
used in the loom. Only then the motifs will
come out clearly. For the same reason
one must be very careful not to disturb the
arrangement of the yarn and to avoid
displacing it during the dyeing process and
later in the loom.
• With in the subcontinent the cloths
produced by this yarn resist work are
called
• Bandha,
• Patola
• Telia rumal
• chitka
• Patan Patola of Gujarat is the most
extraordinary woven saree woven
anywhere in the word.
• Here the technique is that both the wrap
and the weft threads are tied in areas
where the original is to be retained and
then dyed.
• They continue to tie the threads from the
lighter color to the darker color until the
final patter is dyed on to the un-woven
thread. After this both tied and dyed weft
and wrap threads are wove and design
emerges.
• Internationally this technique is known as
ikat, derived from a malay word
“mengikat”, meaning ‘to tie’ or ‘to bind’.
The finest example of ikat known in the
world is the patola of Patan, which is the
double ikat, where the wrap and weft is
the tied and dyed before they are woven.
The pattern emerges as the wrap is laid
out and then gets brilliantly delineated
when the weft is thrown across.
• Salvi communities, who weave the patola
in Patan, have perfected this technique
where double ikat is still practiced.
• Patan used to export patolas from ancient
times to the Far East. In Cambodia,
Thailand and Indonesia the patola played
an important part in rituals and
ceremonies and became integral part of
their lives.
• The sarees have patterns like the
• pan bhat, leaf pattern,
• the nari-kunjar-jhar, lady, elephant and
plant motif, in closed in a border or a jal,
trellis work pattern.
• Chhabadi bhat, basket design
• chowkdi bhat, square or lozenges, pattern
with flowers in each corner
• ratan chowk bhat, the jewelled square
• raas bhat, the circular dance design
• vohra gaji bhat, the design woven for the
Vohra community, and many others.
• Ikats created by dyeing the warp are the
easiest to make. Before the warp strings
are attached to the loom they are
arranged into bundles. Each bundle is tied
and dyed separately, so that a pattern will
emerge when the loom is set up. This
takes a good deal of skill
• The tightly bound bundles are sometimes
covered with wax or some other material
that will keep the dyes from penetrating.
The process is repeated several times for
additional colors.
• Ikat weaving is done in Andhra Pradesh
and Orissa. In Pochampalli, Andhra
Pradesh it is known as pagdu bandha
baddabhasi or chilka. The finer tie and dye
patterns earlier woven in Chirala were
woven in geometric patterns, known as
telia-numal. The origin of this style is not
known; some trace it to Gujarat, others to
Orissa.
• Yet another possibility is that it might have
been developed in Jalna, since the rumals
were used by the fishermen on the coast.
In rural areas people still use the rumal as
turban as and upper cloth called
baddabhasi. The telia rumal used to be
exported in large quantities the Gulf
countries and Africa.
• In 1955-56, Pochampalli was a poor
isolated village with not even a road.
Kamaladevi Chattopadhyay, who was the
Chairman of the All India Handicrafts
Board went by jeep to Pochampalli. They
persuaded the weavers to weave the first
cotton saree of 60 counts, which proved to
be very popular and the weaver seized the
opportunity to begin producing sarees.
• Later the Board sent two weavers to
Varanasi to study silk weaving and this
resulted in the production of ikat work silk
sarees, for which the demand has been
growing steadily.
• Today Pochampalli is a prosperous village
and a few master weavers are also
copying the Patan patola. The weaving of
ikat furnishing is now done in the entire
Nalgonda district and involves nearly
18,000 looms
• Orissa has a distinctive style of ikat known
as bandha. In this tradition the single ikat
is worked in the warp and the borders are
prepared separately.
• The Sambalpur Vachitraouri sarees has
an extra warp pattern on the body and an
Hand-Printed, Dyed and Painted Fabrics
extra warp pattern on the pallu, while the
shkarpara designs of squares of different
colors-white, red and black-are in double
ikat.
• The famous silk ikat sarees of Navapatan
combine woven patterns on the border
and pallu. They also wove calligraphic ikat
shawls with verses from Geeta Govinda,
which were offered to Lord Jagannath at
Puri.