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Text of the page (random words):
t sri kalahasti is not only famous for its temple but also for its dyed kalamkari kalamkari are naturally dyed hand painted fabrics that are richly decorated with stylized figures and decorative elements the subjects are the colorful myths of the telegu language of sri kalahasti the epics of the ramayana and mahabarata krishna on his chariot with arjuna as his passenger from the bhagavad gita this method of putting mordant on cloth then painting or printing dye and resist onto cotton has been practiced in india for centuries it is believed that the cloths were popular with the ancient greeks before christ samples of this type of decorated fabric have been found in fustat egypt from the 12 th and 13 th centuries and as far as japan from the nara period 649 794 from the middle ages the south east coast of india has been known for its beautiful cloth it is thought that extensive trade and contact with persia resulted in many technical and design influences the word kalamkari is persian kalam means pen and kari means work trade links during that time also popularized the word chinz to describe them chintz is a sanscrit word meaning spotted or bright and was used to describe the block printed cloths kalamkari was used to describe the painted techniques in the 15 th century the mughals used the painted and block printed fabrics for tents floor cloths palampores used for hangings snd bed cloths screens canopies cushions and bolster covers persian and indian paintings depict evidence of this type of fabric palampore of the tree of life aurangzeb holds court as painted by perhaps bichitr the canopy and the clothing are embellished with block printed and painted fabrics documented western knowledge of kalamkari and chintz goes back to the 16 th century ship s records of the merchant adventurers of the 16 th 17 th and 18 th centuries show ample evidence of trade as well as descriptions of the technical processes indian textile fragment circa 1545 indian cottons were imported for european use as well as for barter in the spice islands indonesia and moluccas and for sale and trade in north africa robe à la française third quarter of 18th century french ivory cotton printed in multicolored floral motif metropolitan museum costume institute block printed indian cotton textiles were imported into france during the second half of the 17th century the patterned cloth was all the rage in europe not only because of the designs and wear ability but also because of the richness of the colors there was nothing equal to it in the west the east india company sent pattern books to india so that the craftsmen could copy designs popular with europeans this fabric was used for garments bed cloths and furnishings the word chintz has come to describe any cotton or linen fabric with bright floral patterns hand painted scrolls existed alongside the fabrics that were made for european trade and those that were encouraged by the patronage of the mughals these scrolls made of cotton depicted stories of the great hindu epics and mythology these scrolls might have been folk recital scrolls and devotional cloths an itinerant storyteller would recite a tale using the scroll as a colorful background for his narrative kalamkari are also used for display on outer walls of houses and temples during festivals goddness mata ni pachedi the chitara community ahmedabad today in india the block printed fabrics are still being made in ahmedabad in the state of gujarat and in masulipatnam located about 200 miles east of hyderabad the painted kalamari are made in sri kalahasti there is not much information how and when the art began there in india where there is a legend for every event there is a story about 180 years ago a kalamkari workman from the nellore district who was addicted to drink happened to visit sri kalahasti he became drunk and while intoxicated revealed all the secrets of the kalamkari process posted by m joan lintault at 6 43 pm 2 comments labels chintz direct application of natural dyes kalamkari sri kalahasti friday april 22 2011 easter eggs dyed naturally of course when coloring eggs with natural dyestuffs the eggs are cooked and colored at the same time start the eggs covered with an inch of warm water and gradually raise the temperature this keeps the eggs from cracking cook for about 20 minutes let the eggs cool down in the liquid wrap the eggs in onion skins and tie with string add 1 tbs white vinegar the vinegar helps to keep the color on the eggs variations draw on eggs with crayons with turmeric and 1 tbs white vinegar to the water wrap the egg in tea bags fastened with string or rubber bands use regular tea or red zinger and 1 tbs white vinegar you can add chopped or sliced beets and 1 tbs white vinegar to the water use coffee grounds and 1 tbs white vinegar to the water add a tablespoon of vegetable oil to the dye and swirl the eggs in the color try other dyes such as cranberry juice grape juice wine and wrap the eggs in cabbage leaves the longer you leave the eggs in the water the better the results the eggs can be over dyed for more complex colors the eggs can be polished with some vegetable oil if you want a shine on them surprise surprise posted by m joan lintault at 11 24 pm 0 comments labels natural dyed easter eggs thursday april 21 2011 my natural dye research i can hardly remember why i became interested in natural dyes but it was certainly around 1960 when my father who always knew what i wanted before i even realized it gave me a booklet by margaret s furry assistant textile chemist and bess m viemont assistant textile specialist division of textiles and clothing bureau of home economics usda misc pub 230 december 1935 this publication was prepared by the department of agriculture for distribution to communities whose handicrafts provided extra income for rural families it was fascinating for me because in the 1960 s there weren t any dyes for home studio use except rit aljo and tintex these weren t very fast or beautiful i actually learned to practice the use of natural dyes on wool when i was in the peace corps in quinua province of huamanga department of ayacucho peru in 1963 the village was located in the second cordillera of the andes i was working on a program of crafts development i really loved the color quality and no matter how or what was combined they always looked well together the village ladies showed me how to dye with walnuts dahlia flowers and cochineal on wool from that time i began a quest to learn about them on the road to ayacucho and quinua our house in quinua on the ayacucho quinua tingo maria highroad i know that most of the dye knowledge was empirical and was handed down from one person to another i believe that it is a world wide human resource subject to extinction as more and more people use chemical dyes me in quinua during the festival of the virgen de cocharcas it all seemed so mysterious and i do love a mystery so more than 30 years ago i began serious research to study natural dyes that are directly applied or used with various resists wax resist paste resist shibori and ikat it was very important for me to see first hand and document the various processes by the original artisans i needed to go to a country where natural dyes were still being used so in 1979 i went to india posted by m joan lintault at 2 33 pm 3 comments labels bess m viemont margaret s furry natural dyes peace corps peru wednesday april 13 2011 indigo dyeing woodblock images from old sources there are several times during the process of dyeing indigo that are common to all cultures dippping wringing stretching and airing out the fabric or yarn here are some images that depict these processes dyeing with indigo from a mural by diego rivera 1924 ministry of education mexico city diego rivera mural aztec dye and textile works a hikifuda is a handbill used in the edo era 1603 1867 to advertise shops and products a close up shows a dyer dipping fabric into indigo that has been stretched on shinshi a close up of this hikifuda shows craftsmen wringing fabric that has been dyed with indigo wood block prints from unknown source posted by m joan lintault at 12 04 pm 3 comments labels indigo dye indigo dye from old images monday january 31 2011 block printing in india there are many block printing workshops in india these are photos from various dye studios and workshops the tables are padded this frame is used to hold the dye there is a bamboo rack inside that is covered with fabric it makes it easier to charge up the block with dye a block printed lungi a block printed sari posted by m joan lintault at 6 47 pm 1 comments labels block printing workshops india using natural dyes for block printing saturday january 22 2011 tanaka nao dye color charts sirius dye fabric sample card this is a dye originally made by bayer and now distributed by dystar syrius is a direct dye for cellulose fibers sirius color chart using both 5 and 3 0 dye strength click to enlarge color chart procion m dyestuff fabric sample card procion m are cold water reactive dyes they are commonly used in tie dye and other textile crafts they are were originally made by ici organics the brand name is now owned by dystar the patent on the dyes has expired many manufacturers around the world now make them procion m color chart using both 5 and 3 0 dye strength click to enlarge color chart natural dye color chart in these color samples on chirimen silk the following mordants were used from left to right click to enlarge color chart tin suzu ammonium acetate arumi sakusan do acetic acid chromium acetate potassium bichromate juchrome iron tetsu the dyes used from top left to the bottom left are shibuki wild peach bark enju japanese pagoda tree suo sappanwood brazil wood lac fustic chlorophora tinctoria quebracho tree quebrachia myroballun ground nuts of the terminalia chebula tree rhamnus japonicus japanese buckthorn logwood catechu natural dyes on wool yarn left hand page click to enlarge color chart tin mordant first row left to right top to bottom logwood sappan wood suo lac japanese pagoda tree enju japanese buckthorn rhamnus japonicus shibuki wild peach bark paeonia kogane zome unknown damar damarinto gambir or katechu katekyu quebracho aluminum acetate second row top to bottom logwood sappan wood suo lac japanese pagoda tree enju japanese buckthorn rhamnus japonicus shibuki wild peach bark paeonia kogane zome unknown damar damarinto gambir or katechu katekyu quebracho chrome third row top to bottom logwood sappan wood suo lac japanese pagoda tree enju japanese buckthorn rhamnus japonicus shibuki wild peach bark paeonia kogane zome myrobalan damar damarinto gambir or katechu katekyu quebracho i ron fourth row top to bottom logwood sappan wood suo lac japanese pagoda tree enju japanese buckthorn rhamnus japonicus shibuki wild peach bark paeonia kogane zome myrobalan damar damarinto gambir or katechu katekyu quebracho natural dyes on cotton the chart shows light medium and heavy concentrations of dye read the charts left to right and top to bottom click to enlarge color chart tin mordant first row logwood sappan wood suo japanese pagoda tree enju fustic gereppu shibuki wild peach bark golden dye paeonia kogane zome myrobalan baikal skullcap tamarind katechu quebracho tree quebrachia aluminum acetate second row logwood sappan wood suo lac rakkudai japanese pagoda tree enju buckthorn kuroumemodoki fustic gereppu shibuki wild peach bark golden dye paeonia kogane zome myrobalan baikal skullcap tamarind katechu quebracho tree quebrachia chrome third row logwood sappan wood suo lac rakkudai japanese pagoda tree enju buckthorn kuroumemodoki fustic gereppu shibuki wild peach bark golden dye paeonia kogane zome myrobalan baikal skullcap tamarind katechu quebracho tre copper fourth row logwood sappan wood suo japanese pagoda tree enju fustic gereppu shibuki wild peach bark golden dye paeonia kogane zome baikal skullcap tamarind katechu quebracho tree iron fifth row logwood sappan wood suo japanese pagoda tree enju fustic gereppu shibuki wild peach bark golden dye paeonia kogane zome myrobalan gall nut kibush baikal skullcap katechu asenyaku quebracho tree for information on how to extract natural dyes and the use of the different mordants used by japanese dyers please refer to my post on november 3 2009 these charts were made by tanaka nao and are no longer available i purchased these charts in 1985 when i was on a fulbright research grant to study kusaki zome japanese grass and tree dyes i post them here for all who are interested tanaka nao website a wonderful source for dyeing supplies fabric stencils brushes etc go visit when in tokyo or kyoto japan http www tanaka nao co jp tokyo and kyoto japan order by fax only tokyo tel 03 3400 4844 fax 03 3400 4969 posted by m joan lintault at 3 34 pm 4 comments labels extracting natural dyes kuzaki zome mordants used by japanese natural dye charts tanaka 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