International Journal of Arts, Culture, Design & Language Works Kambohwell Publishers Enterprises Vol. 6, Issue 05, PP. 01-10, May 2019 wwww.kwpublisher.com Block Printing in Sindh, AJRAK and other Contemporaray Products Asra Jan, Bhai Khan Shar Abstract— The purpose of the study is to record the oldest printing technique hand-block printing and preserve its evergreen product Ajrak 1 which is the traditional textile of Sindh. To find out the reasons of abandoning this traditional craft and to witness the difference in block printing done before and now. Different towns of Sindh were visited and eleven artisans (Ajrak-maker/block-printer and block-maker) were interviewed and a questionnaire was filled. The results illustrate that they are suffering from many problems but one of the major problem is lack of clean water which is badly affecting their business. It was also observed that traditional Ajrak formats and patterns are disappearing as only one or two patterns are mostly used nowadays. Whereas the machine block printing has somehow also affected the traditional craft. Despite all the problems they are still so passionate about this craft that they are training their children as well but there are certain evidences that Ajrak-making may not remain a family business anymore as it may be transferred to outsiders in future. However, they have also invented different contemporary products using various types of fabrics and patterns in hand-block printing according to the demand of the modern world. There may be a good contribution of this research to aware the people of the current situation of the ancient craft and a little effort can save the craft from further vanishing. It may also help the government to identify their problems and fulfill their basic needs so that the remaining centers can be saved. Keywords— Block printing, Ajrak, contemporary products, fabrics and patterns. I. INTRODUCTION Sindh is known for its rich traditional handicrafts. The craftsmen of Sindh are very passionate, hardworking, innovative and creative since ancient times. Due to their talent and skills they are well known all around the world for traditional arts & crafts. Women of Sindh have equally contributed in the rise of traditional crafts. The craftsmen with their inner sensibilities and intuitions gradually developed the printing techniques from simple resist patterning on one side of the fabric to the rich tonal two-sided resist printed fabric – Ajrak (Bilgrami 1990, p.22). One of the oldest techniques of printing patterns on textile is block printing. There are many assumptions related to its earliest examples as many people believe that it originated in China while some believe that the earliest block prints retrieved from Egypt. The ustos2 of Ajrak 1 2 Block printed shawl Masters printing firmly believe that the shawl draped on the figure of the priest-king is Ajrak and trefoil motif is actually kakar 3 pattern but this theory is debatable as no printing evidence has been discovered yet (Bilgrami 1990, p.19). Figure 1. Priest-king wearing a piece of cloth with trefoil motif resembles kakar pattern of an Ajrak It has been argued by the Bilgrami (2006, p.16) that the lack of repetition in the design of the cloak worn by the “priest-king” probably is not a block printed textile, but may have been made with large embroidered designs, appliqué or by tie-dying. This claim requires further investigation. With the period of time trends keep changing but block printing is one of the trends that are everlasting, although there is huge change in designs according to the demand of the modern world. The most intricate & mesmerizing product of block printing is Ajrak, which is the identity and a symbol of pride for Sindhis4 and is highly respected not only in Pakistan but all around the world. Though Ajrak-making is a very lengthy and time-taking process but it is worth all the efforts and energy. Hala, a place 30 km from Hyderabad is known as the hub of the traditional handicrafts as variety of Sindhi traditional handicrafts are made there and supplied in other cities. However, it is observed that the number of artisans is reducing day by day as they are facing many problems. The change brought in new concepts, new commerce and economy, new symbols in tastes and fashion; the clarity of form disappeared, the vision of the craftsmen became blurred, and that was the decline of the indigenous textile industry; the old centers gradually withered and perished (Bilgrami 1990, 3 4 Cloud like pattern used in Ajrak People of Sindh Copyright © 2019 KWP Journals. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. p.22). There were 70 Ajrak-makers in Matairi alone (Duarte 1982, p.32) while now there are only 15-16 Ajrak centers left in Matiari. Around 10 to 15 years ago, there were many Ajrak centers in Hala but now there is only one Ajrak center left. In Sukkur, there were more than 100 Ajrak centers but now there is only one left (Daily Kawish 30 July, 2018). Currently only 50-60 Ajrak centers are left all over the Sindh and among them few are about to shutdown, whereas only two poregar5 families are left all over the Sindh. In Sindh, nowadays Ajrak centers exist in Hala, Bhitshah, Sehta, Khyber, Matiari, Sann, Matli, Tando Mohammad Khan, Tando Adam and Sukkur. Some of them only make Ajrak while rests of them make other block printing products as well. II. METHODS To know the current situation of block printing and Ajrakmaking in Sindh the methods used for the research were field survey, interviewing the artisans and a questionnaire was filled by each artisan. First of all, a questionnaire was designed to get all the necessary information about the artisans and their work. The questionnaire was basically filled to know the difference in block printing and Ajrak-making done before and now and to search the reason of reduction in this craft day by day. Moreover, through a questionnaire it is easy to compare the information given by all the artisans with one another. Secondly, field survey was conducted. The workshops of artisans were visited to observe their condition, to see how they work and personally observe the steps which were taking place in each workshop during the visit. Lastly, the artisans were interviewed to know in detail about their family background, lifestyle, business, problems and threats that they are facing and the chances of continuing this craft in future generations. To get all the answers the places visited during survey were:  Bhitshah  Sehta  Khyber III. RESULTS Three places of Sindh were visited and nine Ajrakmakers/block-printers and two block-makers were interviewed. In Bhitshah, five Ajrak-makers/block-printers were interviewed. They all make Ajraks as well as other blockprinted products like ladies suit, scarves and bed sheets on various fabrics like silk, linen and khaddar. One of the respondent told that they are eight brothers all of them are Ajrak-makers and they make other block printing products as well. One of their brothers is block-maker as well. Blockmaking and Ajrak-making is their family business & currently their 8th generation is working on it. Basically they are from Matiari but around 19 years ago they moved to Bhitshah due to space and water problems. Their father was very wellknown Ajrak-maker. He died recently on 25th July 2018 a few 5 days before the survey was conducted. They told that their father taught 300 students in Matiari and they are now working in different areas of Sindh. In Bhitshah, three small shops are owned by them but their main shop is “Shah Abdul Latif Bhitai Ajrak Centre” located at Hunarmand Colony (also known as Artisans Colony), Bhitshah. He further stated that only few people are left who can recognize the original Ajrak and its worth and it saddens real artisan when people don’t see its worth and appreciate it. He also told that his father made Ajrak of worth Rs. 25,000 as a present for the President of Pakistan. However, despite the hurdles and negligence they strongly believe that it is Prophet Muhammad (S.A.W)’s duas6 and blessings that they are still getting rizq7. He further added that when Ajrak season is on its peak bulk of Ajraks are purchased by retailers in Hyderabad. Whereas in Sehta (a place between Bhitshah and Khyber), two artisans were interviewed. One of them only makes Ajrak whereas the other one makes huge variety of block printed products like suits, laces, male and female kurtas 8 , purses, male and female waistcoats, ralli9, table mats, handkerchief, buttons and pillow covers which were hand-block printed on jute fabric. Since two years he is working on such vast collection of block printed products. He showed an Ajrak design depicting Pakistan map which was gifted to former President of Pakistan. On the other hand, he also made American map on Ajrak which was sent to the Former First Lady of the United States, she accepted it and was mesmerized by the talent of the artisans. It shows that our amazing craft is appreciated all around the world but we being Pakistani don’t see its worth. Block-maker International Journal of Arts, Culture, Design & Language Works Figure 2. Naare-wari Ajrak as it consist narrow border naro (three lines) with central pattern chakki. However in Khyber, two Ajrak-makers were interviewed. Both of them only make Ajrak. Both of them are highly disappointed because of the problems they are facing. They stated that their off-springs will not continue this craft as they are not interested and because of increase in problems day by day they want them to focus on their studies rather than depend on this craft. One of them told that he is about to shutdown his business as they have no proper water facility in their area and he is now fed up of roaming here and there for 6 Prayers Provision 8 Loose shirts 9 Traditional quilts 7 Vol. 6, Issue 05, PP. 01-10, May 2019 completing each step of Ajrak-making process. While the other one said he will continue this craft till he can. Here are some glimpses of different type of Ajraks and other block printed products captured during survey: Middle line (left to right): Hand-block printed shirt border and ralli (quilt). Bottom line (left to right): Hand-block printed pillow cover on jute fabric, silk scarf and ladies shirt pattern. It was observed that majority of the Ajrak centers are owned by Soomra 12 community and they are related to one another. Following graphs show the result of questions that were asked by each Ajrak-maker/block-printer: Since how long you/ your family are working? 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Figure 3. Hashe-wari Ajrak as it consist of three rows of hasha10 borders on all four sides. 1-10 Years 11-20 Years 21-30 Years 30+ Years Figure 6. Figure 4. Kashi-wari Ajrak along with cherh-wari wat (border). All of the respondents told that it is their family business. 12% of the respondents are working since 1-10 years, 22% of the respondents are working since 11-20 years, whereas 33% of the respondents are working since 21-30 years & 30+ years respectively. Who initiated it? 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Father/Grandfather Great Grandfather/Even before Figure 7. Figure 5. Contemporary block printed products & patterns Top line (left to right): Handmade buttons made with block printed fabric, block printed dastarkhwan 11 and male waistcoat. 10 11 Name of pattern Tablecloth used for serving food International Journal of Arts, Culture, Design & Language Works 22% of the respondent told that their father & grandfather started this business, while 78% of them told that it was initiated by their great grandfathers & even before. 12 Sindhi tribe Vol. 6, Issue 05, PP. 01-10, May 2019 In future, is anyone in your family interested in continuing this craft? Was there any generation gap? 100% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% My Children Yes No My Nephew/Niece Any other None Figure 10. Figure 8. 22% of the respondents told that their business met a setback & remained closed for about 2 to 7 years due to crisis & expensive material. Whereas 78% of them told it is continued since it started. Who else help you in this business? 100% 56% of the respondents said that their children will continue this craft; 22% of them said that their nephews are interested in continuing this business. While 11% of the respondents told that their far away relatives or workers will continue, remaining 33% replied that none of their family member is interested in continuing this craft. Is there any difference in your Ajrak made before & now? 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Relatives Outsiders Both 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Yes No Figure 9. 66% of the respondents told that their relatives help them in this business, while 12% of the respondents told that only outsider workers help them, whereas remaining 22% said that they have relatives & outsiders both. International Journal of Arts, Culture, Design & Language Works Figure 11. 67% of the respondents said that there is difference in Ajrak as the material, fabric, patterns and colors used nowadays are different than before. Whereas 33% of them said that there isn’t any difference in their Ajrak made before & now. Vol. 6, Issue 05, PP. 01-10, May 2019 Which of the following Ajraks you make? How much time do you take for Ajrak-making? 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Teli Ajrak Sabuni Ajarak Kori Ajrak Do Rangi Any Other Ajrak 10-20 days 30-40 days Figure 12. Figure 14. 88% of the respondents told that they make Teli Ajrak13, 66% of them make Sabuni Ajrak14 & 22% make Kori Ajrak15 as well, whereas 12% of the respondents also make Do rangi Ajrak16 and other type of Ajrak known as Dhuri khar Ajrak17 respectively. 33% of the respondents told that they take 10-20 days for printing one Ajrak whereas remaining 67% respondents take 30-40 days for printing forty Ajraks. Which of the following Ajrak formats do you make? 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Which type of dyes you use? 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Naare-wari Ajrak Synthetic Dyes Natural Dyes 33% of the respondents only use synthetic dyes whereas 67% of them use synthetic & natural dyes both. Mostly they use natural dyes (basar ja pan 18 , nim ja pan19 , haidh20 , thoom21 etc) for hand-block printed ladies suit & other block printed products. Trey hashewari Ajrak Any other Figure 15. Both Figure 13. Hashe-wari Ajrak All of the respondents print Naare-wari Ajrak 22 as it is mostly liked by people, while 44% of them also print Hashewari Ajrak23 and 33% of them print Trey hashe-wari Ajrak24 as well. Whereas, 22% of the respondents told that they also make an Ajrak known as Kashi-wari Ajrak25. 13 Best quality Ajrak Type of Ajrak depending on material used 15 Inferior quality Ajrak 16 Type of Ajrak mostly made in Sukkur and Sann 17 Type of Ajrak depending on material used 18 Onion leaves 19 Neem leaves 20 Turmeric 21 Garlic 14 International Journal of Arts, Culture, Design & Language Works 22 Type of Ajrak depending on the design Three rows (borders) surrounding central pattern 24 Addition of corner motifs in a Ajrak 25 Type of Ajrak depending on the design 23 Vol. 6, Issue 05, PP. 01-10, May 2019 Which central patterns (jaal) & borders (wat) you mostly use in Ajrak? How much do you charge for Ajrak, suit or any other block printed product? 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% FOR AJRAK 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Figure 16. 900-1500 All of the respondents told that they mostly use central pattern “chakki 26 ” and borders “pai-wari wat 27 ” & “cherhwari wat28” as they are highly preferred by customers due to reasonable rates. They make other patterns only on order. Whereas only 12% of them told that they use “double wat29” also. Quality of Ajrak depends on? 1500-5000 Figure 18. 55% of the respondents sell Ajrak for Rs. 900-1500 (2018) for each piece of Chakki-wari Ajrak 30 whereas 45% of the respondents sell Ajrak for Rs. 1500-5000 (2018) for each Ajrak depending on the intricacy of Ajrak design. FOR SUIT 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 100% 90% 80% 70% 60% 50% Fabric Printing Dyes used 40% Any other 30% 20% Figure 17. All of the respondents told that Ajrak quality highly depends on the fabric that we use. Whereas according to 78% of the respondents printing also affects the quality of Ajrak and 67% of them also mentioned that Ajrak quality also depends on dyes while 23% of them stated two other factors i.e. nature & blocks that affect Ajrak quality as well. 10% 0% 1200-1500 1500-2000 Figure 19. 67% of the respondents sell ladies 2pc block printed suit for Rs. 1200-1500 (2018) whereas 33% of the respondents sell for Rs. 1500-2000 (2018). 26 A round pattern used in Ajrak Type of borders used in Ajrak 28 Type of borders used in Ajrak 29 Type of borders used in Ajrak 27 International Journal of Arts, Culture, Design & Language Works 30 Ajrak consisting chakki pattern Vol. 6, Issue 05, PP. 01-10, May 2019 In your opinion the involvement of machine made Ajrak has any negative impact on your business Other than Ajrak do you make other hand-block printed products? 100% 100% 90% 90% 80% 80% 70% 70% 60% 60% 50% 40% 50% 30% 40% 20% 30% 10% 20% 0% 10% Yes No Somehow 0% Yes Figure 20. 76% of the respondents said that machine-printed Ajrak has badly affected their business as it can make bulks of Ajrak in one day & it’s cheap in rates. While 12% of them said that it hasn’t affected their business and remaining 12% believe that it has somehow affected not much. Figure 22. 67% of the respondents also print other hand-block printed products such as ladies suits, scarves, bed sheets, male/female kurtas, laces etc., whereas 33% of the respondents only print Ajrak. In your opinion do people still prefer hand-block printed Ajrak? Which type of blocks you use? 100% 100% 90% 90% 80% 80% 70% 70% 60% 60% 50% 50% 40% 40% 30% 30% 20% 20% 10% 10% 0% No 0% Yes No Some of them Machine made Handmade Both Figure 21. Figure 23. 55% of the respondents believe that people still prefer handmade Ajrak as nothing can beat its delicacy whereas remaining 45% believe that only few people who know Ajrak’s worth prefer handmade Ajrak. 12% of the respondent told that they only use machinemade blocks as they are quite cheaper than handmade blocks, while 55% of them only use handmade blocks as they believe that they give more finishing than machine-made. Whereas, remaining 33% of the respondents use both type of blocks. International Journal of Arts, Culture, Design & Language Works Vol. 6, Issue 05, PP. 01-10, May 2019 What are the problems that you are facing to continue this traditional craft? 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% Water facilities Proper space High cost of material Any other Figure 24. All of the respondents are facing water problem as there is no proper facility of water in their nearby area, whereas 22% of them mentioned that they don’t have a proper space and 66% told that due to the high cost of material we hardly make our ends meet. However 55% of the respondents stated some other problems like low profit, transportation for carrying material, lack of support & facilities for old aged workers who cannot work anymore. Do you know other cities or villages of Sindh where hand block printing still exists? 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% One of the block-maker told that he is the only person in his family who makes blocks. His brothers are Ajrak-makers and block-printers. He is working since 10 years. He uses babur 31 (100 years old wood), nim 32 and sareh 33 wood for blocks. He charges Rs. 22,000 (2018) for Chakki pattern and Rs. 32,000 (2018) for paland 34 of Ajrak. Apart from Ajrak designs he can make any design whether it is a portrait, animal, truck, calligraphy or anything else. He also stated the main reason of reduction in number of poregars is the lack of interest among the people due to the invention of machineblock printing and machine-made blocks. The intricacy of this craft badly affects their eyesight and when after all this hard work no one appreciates they get dishearten and in result now only two poregar families are left in Sindh. Another block-maker in Bhitshah is working since 30 years. Block-making is their family business. His uncles are also block-makers. He told that he uses keekar 35 , nim and sareh wood for blocks and his blocks are supplied all over the Sindh. He charges Rs. 18,000-20,000 (2018) for blocks of chakki pattern whereas “Hashe wari Ajrak” blocks are expensive they are around Rs. 65,000-70,000 (2018). It requires one month completing one set (consists 7 blocks) of Ajrak. He has also worked in one of the famous clothing brand “Junaid Jamshed (J.)” for 3 years in Karachi. However, his children are not interested in learning this craft as it is difficult and it affects ones eyesight. According to him, machine-made blocks haven’t affected his business and he isn’t facing any problem as if the material is expensive than the cost of blocks is charged accordingly so it doesn’t affects his business. Handmade blocks are only made in Bhitshah, whereas in Karachi and Lahore machine-made blocks are made. IV. Figure 25. 77% of the respondents mentioned Hala & Tando Adam, whereas all of the respondents mentioned Bhitshah, Matiari, Tando Mohd Khan & other places like Khyber & Sehta where hand block printing still exists. 12% of them mentioned Sukkur & Sekhat respectively and 66% of them also mentioned Matli. In Bhitshah, two block-makers were also interviewed. During conversation it was known that unfortunately only these two block-maker families are left. International Journal of Arts, Culture, Design & Language Works DISCUSSION This study was conducted to know the problems that craftsmen are facing nowadays, find out whether cultural department or any other organization is helping out in preserving traditional textiles of Sindh, identify the difference in hand-block printing done before and now, analyze what are the effects of Cultural Day and finally to find out the impact of machine-block printing. Summarily, it was found that all the respondents are mainly facing water problem as they don’t have clean water available in their area, whereas 22% of them mentioned that they don’t have a proper space and 66% told that due to the high cost of material we hardly make our ends meet. 55% of the respondents stated some other problems like low profit, transportation for carrying material, lack of support & facilities for old aged workers who cannot work anymore. However, despite all the problems and no support from 31 Acacia farnesiana Neem tree’s wood 33 A type of wood used for blocks 34 End panels 35 Acacia arabica willd 32 Vol. 6, Issue 05, PP. 01-10, May 2019 government and cultural department it was observed that artisans are so passionate about their craft that 67% of them are not willing to quit and they are even preparing their future generations to continue this craft after them. Moreover, 67 % of the respondents stated that there is difference in hand-block printing done before and now as the material, fabric, patterns and colors used nowadays are different. Whereas 33% of them said that there isn’t any difference in their block printing. Despite 76% of the artisans said that machine-made Ajrak has affected their business but still 55% of them believe that people prefer handmade Ajrak more as during cultural celebrations bulks of Ajraks are purchased by retailers and wholesalers, whereas 45% told that only few people who know its worth prefer handmade Ajrak. Overall it was good to see the enthusiasm of the craftsmen and their unconditional love towards their craft despite all the hurdles. A little effort by us and the government can save this craft as they just need encouragement for keep going with the same spirit. The purpose of this research is to convey the message to our younger generations to love our traditional crafts as they just need our support so that they can afford the best education for their kids and can easily fulfill the basic needs of their families. No doubt they are poor people with great hearts and hospitality. CONCLUSION In this study it was concluded that Ajrak-making has remained a family business which is being transferred from generations to generations but there are certain evidences that the people outside the family are going to continue the business in future as stated by 11% of the respondents, whereas 56% of the craftsmen’s children will continue this craft while 33% told that none of their family member is going to continue their family business after them because of the lack of facilities and problems like lack of clean water, high cost of material and transportation for carrying goods. Although all of the respondents are working since different time periods but 33% of them are working since 21 to 30 years and 30+ years respectively and according to the 78% of the artisans their business was initiated by their great grandfathers and even before. Moreover, 67% claimed that there is difference in Ajrak made before and now as the fabric, material, patterns and colors are modernized, now it is not limited to cotton fabric and typical traditional Ajrak colors. It was observed that 88% of the artisans make Teli Ajrak as it is the best quality Ajrak among all other types which are also being made by some artisans. The dyes used by 67% of the artisans are natural as well as synthetic but they use natural dyes mostly for hand-block printed ladies suits which are sold for Rs. 1200-2000 (2018) and other block printed products whereas remaining 33% only use synthetic dyes as they only print Ajrak. Furthermore, different formats of Ajrak are also being printed but all of the respondents mostly print Naarewari Ajrak with central pattern chakki and borders pai-wari wat and cherh-wari wat as it is sold for Rs. 900-1500 (2018) only and according to them it is most liked by people as it is cheaper as compared to Hashe-wari Ajrak and Kashi-wari International Journal of Arts, Culture, Design & Language Works Ajrak which cost Rs. 5000 (2018) due to the intricacy of design and is made on order by only some artisans. It saddens to see that such dazzling Ajrak formats are vanishing day by day due to our negligence. Not only this but machine-made Ajrak has also badly affected their business as 76% of the respondents agreed to this but they also believe that somehow people who know traditional Ajrak’s worth prefer handmade Ajrak over machine-made. However, 55% of them only use handmade blocks and 33% use handmade as well as machinemade blocks because handmade blocks are quite expensive so they cannot afford using only handmade blocks while rest of them only use machine-made blocks. As Ajrak-making is a lengthy and time taking process it requires them 30-40 days for completing 40 pieces of Ajraks. Hence, it is concluded that modernized Ajrak has badly affected the traditional Ajrak as slowly and gradually traditional Ajrak is vanishing as everyone is moving towards shortcuts and contemporary things but it can be preserved if looked after properly. Due to the negligence towards the traditional craft not only Ajrak-centers are disappearing but the traditional patterns used in Ajrak are gradually ending day by day. SUGGESTIONS It is recommended that the government should provide them space, clean water facilities, transportation and reduce the cost of material as these are their main problems. Cultural Department of Sindh must visit and interact with them to hear out their issues personally. The old workers who are not able to work anymore they should initiate a scheme to support and fulfill their basic needs. A little effort by the Cultural Department will not only save the traditional craft from dying but many lives who are suffering due to loss in their businesses. The younger generation is requested to step forward to save their culture. Go and visit the towns of Sindh and see how talented the craftsmen are and how beautiful and mesmerizing products are being created. A visit can bring a huge change as it will boost them up and console them that people are here to praise and appreciate their work and dedication. REFERENCES [1] [2] [3] [4] [5] [6] [7] A Brief History of Block Printing. (2017). [online]. (https://www.toa.st/magazine/brief-history-block-printing.htm). Toast Magazine. Ali, K.K. (2016). Ajrak: Keeping Tradition Alive. [online]. (http://www.atlascorps.org/blog/ajrak-keeping-tradition-alive/). Ali, S. (2015). Ajrak- A Living Artistry of Sindh. [online] (https://www.sindhidunya.com/ajrak-a-living-artistry-of-sindh/). Sindhi Duniya. Askari, N. & Crill, R. (1997). Colours of the Indus. London: Merrell Holberton. Bilgrami, N.J. (1990). Sindh jo Ajrak. Pakistan: Department of Culture and Tourism Government of Sindh. Bilgrami, N.J. (2006). The Craft Traditions of Pakistan. Karachi: Trade Development Authority of Pakistan, Government of Pakistan. Daily Kawish, 30 July 2018. Vol. 6, Issue 05, PP. 01-10, May 2019 [8] [9] [10] [11] [12] [13] [14] [15] [16] [17] [18] [19] [20] [21] [22] Dawn, 26 September 2010. [online]. (https://www.dawn.com/news/882907). Duarte, A. (1982). The Crafts & Textiles of Sindh & Balochistan. Hyderabad Sindh: Institute of Sindhology. Qalbani, E. (2013). Ajrak: A Symbol of Sindhi Culture and Tradition. [online]. (http://www.arabnews.com/news/487096). Gillow, J. & Barnard, N. (1993). Traditional Indian Textiles. London: Thames & Hudson Ltd. JaipurHistory of Block Printing. (2017). [online]. (https://colouricious.com/colouricious-holidays/jaipur-history-blockprinting/). Nadiem, I.H. (2002), Portrait of Sindh, Lahore: Sang-e-Meel Publications Pakistan. Pradesh, M. (2017). Ajrak Printing: A Testimony to Ancient Indian Arts & Crafts Traditions. [online]. (https://www.researchgate.net/scientificcontributions/2127365329_Madhya_Pradesh). (accessed May 06 2018) Qazi, W.K. (2010). Handicrafts of Sindh. Karachi: Secretary to the Government of Sindh, Cultural Department. Shah, D. (2014). The Ageless Ajrak. [online]. (https://tribune.com.pk/story/699308/the-ageless-ajrak/). The Express Tribune Magazine. Shok, N.A.Dr. (1990). Sindh ja Hunar. Karachi: Department of Culture & Tourism Government of Sindh. Sindhi Ajrak: An Ancient Art Form. (2015). [online]. (https://defence.pk/pdf/threads/sindhi-ajrak-an-ancient-artform.395027/). Pakistan Defence. The Printing Process: Block Printing. (2012). [online]. (https://ohsobeautifulpaper.com/2012/01/the-printing-process-blockprinting/). Oh So Beautiful Paper. Yacopino, F. (1977). Threadlines Pakistan. Karachi: Elite Publishers Ltd. https://en.wikipedia.org/wiki/Woodblock_printing https://study.com/academy/lesson/block-printing-history-techniquesquiz.html#transcriptHeader ARCHITECT at M/S Rizki and Company, Karachi, from 1st May 1987 to 15th December 1988 and then as a LECTURER Department of Architecture, Mehran University of Engineering and Technology, Jamshoro from 17th December 1988 to 30th May 1992. In 1992 to 2005, he worked as ASSISTANT PROFESSOR in the Department of Architecture, Mehran University of Engineering and Technology, Jamshoro. Currently working as PROFESSOR and DIRECTOR at the Centre of Excellence in Art and Design, Jamshoro. Some of his publications are: Shah, Sabeen, , Shar, BK, Khoso, AR, Akhund, MA and Soomro, Mehwish, Universal Accessibility: A Tool for Safe, Sustainable and Friendly Environment- A Case Study, European Journal of Advances in Engineering and Technology, 2018. Soomro, Mehwish, Shar, BK, Soomro, GM, Akhund, MA, Khoso, A.R, Assessment of Energy Performance of Courtyard in Sustainable Architecture; International Research Journal of Innovations in Engineering and Technology (IRJIET), Volume 2, Issue 6, pp 5-9, August-2018. Arisar, U., Talpur, M.A.H., Shar, B.K., Ali, M., & Khoso A.R.(2018) Influence of Design Characteristics on Walkability A Study on MUET Campus Jamshoro; International Research Journal of Innovations in Engineering and Technology (IRJIET) Volume 2, Issue 9, pp 13-16, November-2018. Prof. Shar organised a 3-day workshop (Techo-91) on Renewable EnergyResources at the Mehran University of engineering and Technology, Jamshoro, in 1991. He also organised 3-day Exhibition and Parents Day (April 2006) at the Mehran University of Engineering and Technology, Jamshoro. He has also conducted research works at different levels such as: Dissertation/ Thesis Written at undergraduate level: Housing Society in Hot and Dry Climate of Sukkur, and at PhD Level: The title of the dissertation was: “Application of Information Technology to improve the design process in the construction sector of Pakistan”. He also supervised several thesis at undergraduate level including Revitalisation of Mohenjodaro, Designing and planning of office building, for a District Management Group. Asra Jan lives in Jamshoro, Sindh, Pakistan and was born on 3rd July 1994. She did her Bachelors in Textile Design from Centre of Excellence in Art & Design (Cead), Muet, Jamshoro, Pakistan and she secured 2nd position. She earned her degree in April 2016. Her major field of study is traditional textiles of Sindh. She was working as a VISITING FACULTY at Centre of Excellence in Art & Design, Muet, Jamshoro from September 2016 to March 2018. Currently she is working as a LECTURER (BPS-18) in the Department of Textile Design at the Centre of Excellence in Art & Design, Muet, jamshoro since April 2018. She has always been interested in traditional textiles of Sindh so she conducted her first research on one of the traditional textiles of Sindh, Ajrak. This is Ms. Jan’s first research paper and she is looking forward to write more in future. Bhai Khan Shar lives in Jamshoro, Sindh, Pakistan and was born on 24th April 1960. He did his Bachelors in Architecture from Mehran University of Engineering & Technology (Muet), Jamshoro, Pakistan. From 1997 to 2000, he did a 3 years training course from the University of Newcastle upon Tyne, England. In 2002, he did PhD from the Faculty of Social Sciences, University of Newcastle upon Tyne, England. He has served in various academic and administrative positions from BPS 17 to 21 for over 30 years. He has worked as an International Journal of Arts, Culture, Design & Language Works Vol. 6, Issue 05, PP. 01-10, May 2019