A craft cluster report submitted in partial fulfilment of the requirement for the

award of Degree under

Bachelor’s of Design(Fahion Designing)

“BHAIROGARH PRINT,UJJAIN”

Department Of Fashion Design

FOOTWEAR DESIGN & DEVELOPMENT INSTITUTE, ROHTAK

Submitted By:
SHRUTI JAIN

Under the guidance of:

Mrs. SARITA HOODA
 CERTIFICATE

“This is to certify that the project report titled “Bhairavgarh Print” is

based on Shruti’s original research work conducted under guidance of
Mrs Sarita Hooda towards partial fulfillment of the requirement for
award of Bachelor’s Degree in Fashion Designing of FOOTWEAR DESIGN
& DEVELOPMENT INSTITUTE, ROHTAK.
No part of this work has been copied from any other source, material.
Wherever borrowed has been duly acknowledged.

Head of Department Course Co-ordinator

 ACKNOWLEDGEMENT

I would like to express my deepest appreciation for all those people who
have been stimulating recommendations, encouragement & a well guided
helping hand in the entire process of the journey of documenting the prints of
Bhairavgarh.
Mrs Sarita, our guide has played a crucial role in a step by step guidance
right from pre-field study to the commencement of the document. This project
has given me the platform to broaden our horizons & enhance our subtle
sagacity not only in the field of traditional textiles but also the immense
knowledge of the lifestyle catering to the people involved in doing this rich
tradition & unwinding these beautiful threads of culture.

I would like to pay my sincere gratitude to FDDI for giving this opportunity,
Mr. Amit Sain, HOD of Fashion Department for sponsoring this project &
introducing us to thus wealthy of knowledge.

Most importantly the immense support & co-operation with myself & my
parents, family & friends.
CONTENT
• OVERVIEW
• HANDICRAFTS OF BHAIRAVGARH
• PLACES OF INTERESTS
• CULTURE & HERITAGE
• LOCATION & REGIONAL SETTINGS
• TEXTILE
• BHAIRAVGARH PRINT
• RESEARCH & OBJECTIVES
• Why BHAIRAVGARH PRINT?
• ORIGIN
• HISTORY
• How is it SUSTAINABLE?
• USES of BHAIRAVGARH PRINT
• DESIGNS of BHAIRAVGARH PRINT
• MATERIALS REQUIRED
• PROCESS
• PRODUCT
• EXPERIENCE
• SWOT ANALYSIS PROCEDURE
• CONCLUSION
• BIBLIOGRAPHY
 •

BHAIRAVGARH
Overview
Famous as a hub for Batik printing, Bhairogarh is a small village near Sidhawat that
served as a marketplace for the traders coming from Rajasthan and Gujarat during
the Mughal Rule. Furthermore, the ancient village still has remnants of structures
dating back to the 3rd and 2nd century BC. Even now, after 400 years, the charm
of the place has not faded, and bed sheets and apparels with beautiful prints keep
the name of Bhairogarh alive.
Textiles, painted and printed textiles at Bhairogarh are exported to many
countries. Besides, oudhnis, quilts, and jajams with exquisite designs can be found
here. The ancient village of Bhairogarh is, undoubtedly, one of the best Ujjain
tourist places who want to learn about the unique type of textile printing and
painting.
Bhairogarh falls under the must see places of Madhya Pradesh to witness some of
the skillsets of the people of the Ujjain city.
HANDICRAFTS of Bhairavgarh:
Bhairavgarh Prints – Bhairavgarh situated at the bank of river Kshipra, has
been the centre of attraction for craftsmen of colours for centuries, due to
favourable chemical composition of its soil and water .
Though from the historical angle the background of advent
of dying and printing i s not known, but the ” Tarunakaragam
” dressed heroin or the” Hansachinha “dukulwan” gladded hero of
the great poet kalidas, represent the colorful dresses
of the golden age. The
Bhagva cloak of Sanyasi (Hermit) or the Keshria apparel of the
gallant soldiers, is the symbol of correspondence relevance of the
colours.Number of evidences are available of the State patronage, provided to
the craftsmen of colours. That is the reason, why this tradition of Bhairavgarh
Print, which started with blocks, made of potatoes and Bandhej, has passed
through its long journey through the blocks of soil or wood and further
through alijarin chemical and screen printing process to provide livelihood to
about 150 families of Bhairavgarh. Mechanization of dying and printing, has
affected the work of the craftsmen, but they have kept their tradition alive by
fighting spirit, efficiency and adopting the methods of works, according to time
and market demand. Even in the presently ongoing trend of “Classic ” and ”
Exclusive ” the demand of traditional fabric has gone up among upper and
middle class.
Places of Interest
Shree Mahakaleshwar Temple
Out of the three sacredly worshipped Shivlingas of universe God Mahakaal of Ujjain has
the greatest importance. Aakashe Tarakalingum, Paatale Haatkeshrum | Mrituloke
Mahakalam , Sarvalingum Namostute || The Meaning is Tarakalinga is above the earth,
haatkeshwarlinga beneath the earth and Mahakaal on the earth.

Bade Ganesh Temple

A huge tall statue of Ganesh ji is situated near Mahakaleshwar. This is Modern and
attractive near to this statue is the statue of PanchMukhi Hanuman made of sapta (seven)
Dhatu (metal)

Shree Chintaman Ganesh Temple

It is situated 7 Kms away from the City on Ujjain-Fatehabad railway line. Road approach is
available. The Ganesh Idol is believed to be Self Created. As the Statue is Ancient one, on
every Wednesday of Chaitra Month, a large gathering of Pilgrims Come Here

Harsiddhi Temple
This Deity is the ever worshipped deity of King Vikramaditya. Harsiddhi has a specific
importance in the ancient and sacred places of Ujjain. One of the 84 Siddh Places as per
shiv Puran the Kohni (Elbow) of Devi Sati fell down here.

Siddhavat
5 Kms away from the city, this famous siddh place is also ranked as paapmochan (Sin
Purifier) teerth. As per purans,this vat(tree) was Planted by Parvati and she herself
worshipped it and place is as important and famous as the Akshay Vat of Prayag and Gaya,
Banshi Vat of Mathura and Vsindawan and Panchvati of Nashik

ISKCON Temple
Ujjain is one of the major Hindu pilgrimage centers in India. ISKCON Temple which is
located near Nanakheda Bus Stand in Ujjain district of Madhya Pradesh. The religious
significance of Ujjain is also that Lord Shri Krishna and h
is brother Balaram studied here at Guru Sandipani Ashram.

Kal Bhairava Temple

This very ancient temple is situated on the bank of Kshipra and 4 Kms away from city. This
place is one of the eight famous Bhairav places of Lord Shaiv cult. Traditionally Liquor is
offered to Bhairav in the form of Prasad. This Place has a special significance for the
Kapalik and Aughad Cult.
Culture & Heritage
Ujjain is ancient and historical city that is 5000 years old. It is described as the best city in Adi
Brahma Puran and it is called mokshda and bhukti-mukti in AgniPuran and Garuda Puran.
There was a time when this city had been a capital of a big empire.
This city has a glorious history. As per religious books this city has never seen destruction for
the god of destruction Mahakal himself resides here. As per Garuda Puran there seven cities
that can provide salvation and out of them Avantika city is considered the best as the
importance of Ujjain is little bit more than other cities.
Ayodhya Mathura, Maya, Kashi Kanchi Avantika |
Puri, dwaravatiChev Saptetaha: Mokshadayika: ||
This city has a Jyotirling out of 12 Jyotirlings, one city out of seven salvation providing cities,
Gadhkalika and Harsiddhi, the two Shakti Peeths, and sacred Kumbh that takes place in four
cities of India. The cave of king Bhartari is found here and it is believed that Ujjain has foot
prints of God Vishnu.
” Vishnaw: Padamvantika ”
God Rama himself performed his father’s last rites after his death at Ujjain and therefore the
place where the ritual took place called ‘RamGhat’. The ‘Shahi Bath’of Simhasta takes place on
this RamGhat.
As per Purans, Ujjain has many names 1. Ujjaini, 2. Pratikalpa, 3. Padmavati, 4. Avantika, 5.
Bhogwati, 6. Amravati, 7. Kumudwati, 8. Vishala, 9 Kushasthati etc. There was a time when this
city became the capital of Avanti Janpada and therefore it is known as Avantikapuri.
Great Scholars of varied fields like Kaalidas, Varahmihir, Banabhatta, Rajashekera,
Pushpadanta, Shankaracharya, Vallabhacharya, Bhartahari, Diwakar, Kattayayan and Bhas had
their association with Ujjain. Mughal emperor Akbar made this city his regional capital.
Marathas ruled over here prior to 18th century. Sindhiya Dynasty rulers worked for the
promotion of Hindu religion. In 1235, Iltutmish invaded and plundered this city. King
Vikramaditya made this city his capital the great scholar od Sanskrut Kaalidas was in this court.
In the years 1810, Sindhia shifted their capital from Ujjain to Gwalior. In this city itself king
Bhartari took the “Vairaagya Diksha”. In Naatha Tradition of religious sect through his teacher
Guru Gorakshnaath. For centuries, Ujjain has been a center of religion for Hindu, Jain and
Buddha religion.
Location & Regional Settings
Ujjain is situated on a unique geographical location from where tropic of cancer passes. It
isthe 'Greenwich Mean Time 'of India for Panchang. The tilting of earth at angle of 23½
◦
onits axis and geographical line of tropic of cancer has special cosmic influence making it
fit forabsolute time location. Situated on the bank of river Kshipra, the only river that
travelsstraight from South to North, Ujjain reflects distinct character of socio-religious
culturalethos.A broad delineation of Ujjain regionwould include the seven districts
ofIndore, Ujjain, Dewas, Mandsaur,Along with Indore and Dewas, Ujjain is among the three
most important centres in thisregion. Bhopal Ratlam broad gauge railway line passes
through it and the NH3 is only 35kms, away. Besides these national connections, there are
many state level highways linking itto the major regional and state centres.
Textile
Just beyond the high-walled old district prison, we strolled down the narrow alleys of
Bhairavgarh or Behrugarh, a suburb of Ujjain. It could pass off as a nondescript township
in the heart of India, but for its age-old legacy. Named after the powerful, alcohol-drinking
God Kaal Bhairav, Behrugarh is renowned for a traditional wax-resist dyeing technique
called dabu, known the world over as batik.

Mohammed Iqbal flaunts the beauty of Behrugarh’s bright batik printed bed sheets as they
dry in the town’s narrow alleys
Bright bed sheets, in shades of flaming orange, brown, and green, with fine lacy crackled
designs were left to dry on clotheslines. Strung outside humble homes, they fluttered gaily
in the breeze. From behind them, goats peeked out with bored curiosity as batik artist
Mohammed Iqbal Badawala led us down the cobbled alley to Sana Enterprises, his
workshop.
Behrugarh’s batik technique displays the freehand skill and creativity of craftsmen who
deftly paint wax directly onto the fabric
Abhinandita Mathur
The Greek chronicler Ptolemy, who travelled to this region in the second century A.D.,
wrote that Behrugarh’s “mallow-tinted cotton” was shipped as far as Rome, and was a
much-coveted export from “Ozene” (Ujjain), along with onyx, porcelain, and muslin.
Believed to have originated in India 2,000 years ago, batik travelled to Indonesia, China,
Japan and Africa where it gained popularity. Though local tribal communities have used
basic batik printed fabric forever, the art was introduced in Behrugarh 400 years ago
during Mughal rule, when craftsman from Rajasthan and Gujarat migrated to Madhya
Pradesh,.
Inside a small room with smoky grey walls splattered with wax in tones of clotted blood, a
huge vat of beeswax simmered on a gas burner. Behind it was a large table covered in
sand, with a clean white cloth stretched over it. Master artist Mohammed Tahir dipped his
stylus into hot molten wax, leaned over the cloth and applied fluid strokes like a mehndi
artist. There were no tracings or pre-drawn lines; only continuous freehand work dictated
entirely by his imagination. Flowers, creepers, mango motifs, dots, wavy lines, the design
evolved in minutes, until the sheet was riddled with apparently whimsical flourishes. The
wax (mome) worked like ink or paint and dried instantly. “Not all can draw using a wax
pen” Iqbal explained. “It requires a steady hand, tremendous skill and practice.” Though
they work with wood carved blocks too, the freehand style, using a stylus made with
coconut husk tied to a stick, gives the artisan room for greater creative expression.
Tahir was a self-taught artist, but that’s not the case for most. “Everyone in Malwa is an
artist. It’s an ancestral occupation. These crafts are an inherited tradition of our
forefathers. My shop was started by my grandfather, Haji Moosaji many decades ago,” said
Iqbal.

An artisan strains out the wax released by boiling the fabric in vats, after the dyeing is
completed
Abhinandita Mathur
After the wax drawing, the next stage was dyeing. We entered another godown lined with
large vats filled with different coloured dyes. Freshly dyed fabric dripped colour onto the
slick floor. A worker repeatedly dipped the fabric into a vat of deep green dye, as if it was a
giant teabag. If the design was to be multi-coloured, after the fabric had dried, the green
colour could be given another coat of wax design and dipped into a darker colour. Each
subsequent colour is masked with wax to retain its hue, always working from light to dark
shades.
After drying, the cloth is wrung or crumpled to achieve the delicate lacy veins of dye
bleeds. This signature feature of batik differentiates it from other printing and dyeing
techniques.
Finally, the whole fabric is immersed in boiling hot water to remove or melt the wax,
which is collected and reused. The fabric is rinsed thoroughly, washed with soap, and
dried, before being ironed and packaged for the market.

A stack of freshly dyed batik products ready for packing

Abhinandita Mathur
About 500 homes in Behrugarh are involved in the batik craft and trade. Down the
Kaliyadeh Maha Marg, small stores sell a wide range of rainbow-hued batik items. There is
plenty of choice and the prices are attractive: handkerchiefs and napkins (₹30), shirt
pieces (₹130), salwar sets, scarves, stoles and dupattas (₹450 upwards), saris, bed sheets
and bedspreads (₹350 upwards).
In the past, natural dyes were popular with local batik artists, but today they have moved
entirely to using chemical dyes. However they still tend to work mostly with shades of
they got from natural dyes, such as red, ochre, maroon , orange, green, and blue.
 BHAIRAVGARH PRINT
The town of Bhairavgarh is popularly known for the ancient art of Bhairavgarh
print, which is noted for its pe rfect symmetry. The technique is believed to
have been in use in India for more than 200 years now. The print uses melted
wax to create pretty motifs of leaves and flowers, spiralling creepers and
intricate doodles in shades of yellow and red.
In the process, vats of wax are slowly heated on gas, and then taken to sand -
covered tables where wax patterns are drawn on a cloth. With a stylus made by
tying coconut husk on a metal rod, craftsmen draw out wax patterns on the
fabric. In earlier times, the patterns were created with blocks made of
potatoes. These blocks were later replaced with wooden ones. Once the wax on
the fabric dries, it undergoes dyeing. All types of fabrics can be used for this
print. Natural dyes are used only rarely, usually for Kalamkari d esigns, but
other than that, the use of vivid chemical dyes is prevalent.
 RESEARCH & OBJECTIVES
A few kilometers from Ujjain, on the banks of river Kshipra, is the small town of
Bhairavgarh. Known for the temple of Kaal Bhairav, the fearful manifestation of Shiva,
also for tantriks who perform occult rituals in cremation grounds and the fables of
king Vikramaditya and vampire spirit Betaal, this town also holds within itself,
something not so dark and mystifying. Glowing yellows and intense hues of reds brighten
the streets of this town, with fluttering lengths of cloth printed with patterns of melted
wax. Batik, the ancient technique of wax resist dyeing, is believed to have been
practiced in Africa, China, Japan and India for more than 2000 years. Bhairavgarh
became the hub of Batik printing in Madhya Pradesh, when craftsmen from Gujarat and
Rajasthan came here during the reign of the Mughals, around 400 years ago.
Originally batik printed cloth was used by the tribals of surrounding areas for their
draped garments, but today, all sorts of dress materials, sarees and home furnishings are
made in with this technique and sold across the country.
In the workshops of Bhairavgarh, craftsmen are busy doing what seem to be swift doodles
on fabric, but what emerge are beautiful motifs of flowers and leaves, creepers spiraling
and twisting in perfect symmetry. Vats of hot wax slowly steaming on gas
burners stand alongside large sand covered tables, on which the animation of wax lines
would take place. Sand avoids melted wax from touching the table and sticking the fabric
along with it. With a stylus made by tying coconut husk on a metal rod, craftsmen draw
out perfect wax patterns on fabric, with no guidelines, no rough sketches. Spontaneous
images that come to their mind are immediately transferred on to fabric like improvised
harmonies.
Some also use wooden blocks for creating slightly more restraint designs, although the
melted wax gives even the crisp blocks a slight quirky flavour, with its slightly out of the
lines colouring.
Once the wax dries, the fabric is dipped in dye. Colour stains the exposed area and when
the wax is melted in hot water, white motifs can be seen on a coloured field. This
process of application of wax and then dyeing is repeated for as many colours as
required, starting from the lightest, and going to the darkest.
Large areas of the cloth are sometimes covered entirely with wax and once dry, the fabric
is crushed, to break the cooled wax. After dyeing, this gives the typical cracked effect
characteristic of Batik.
The base fabric is sourced from Rajasthan or Tamil Nadu, but craftsmen sometimes
use local Chanderi and Maheshwari fabric as the base for printing, combining two
handicrafts of the state for a charming fusion.
Natural dyes are used only rarely, usually for Kalamkari designs, but other than that, the
use of vivid chemical dyes is prevalent. Industrial candle wax has replaced natural
wax, due to which the proportion of wax that can be reused has decreased. These are
resultants of a demand for cheaper materials and faster processes.
Introduction:
A lot can be done with a few layers of wax. Batik, the ancient craft form of
wax-resist dyeing is practiced in various parts of the world. In this method of
printing, desired patterns are made on the fabric with wax and then dyed to
get the characteristic patchy patterns. The fabric is washed in hot water to
get rid of the wax and what remains is the printed fabric. Repeating this
multiple times gives desirable effects. It is one of the most innovative forms
of textile printing in the world.

Usage:
In India, Batik prints were the attire of the nomadic tribes who moved around the belt of
Gujarat, Rajasthan and Madhya Pradesh. This craft has now been honed by skilled craftsmen
to make various varieties of dress materials, garments and home furnishings for the
contemporary market.

Significance:
Batik is a craft versatile in its expression, fabric being its canvas. It is a craft form that is
encouraging, even for amateurs, to take it up, have fun with it and gradually develop their
skill on the way. The level of experience required is not much and some of the best
effects in Batik are achieved through serendipity. The facility for carrying about Batik
printing has also been improved over the years. This aspect has helped in conserving the
number of craftsmen practicing Batik. There is no dearth or difficulty in recruiting and
teaching either.
In this method, the color holds on to the fabric more strongly than printed fabrics. The
fabric absorbs the color during the dyeing process so well that it does not easily fade. Due
to the easy availability of raw materials and its adaptability, Batik has been introduced in
many areas as a source of income generation to bring about a sustainable livelihood. The
craft form has been revamped with the usage of brighter colors and new patterns,
which has lead to an increase in its market over the last decade. There is also an
upcoming demand for the traditional intricate designs.

Myths & Legends:

The exact place where Batik originated is still a hazy picture, but there exists a folk tale in
China about how this method of printing may have been discovered.
A very long time ago, there was a girl living in a stone village called Anshun, now a city in
Guizhou Province. She was very fond of dyeing cloth in her favored colors of blue and
purple. One day while she was dyeing, a bee buzzed around and sat on the cloth. When she
spotted the bee, the girl shooed it away. After dyeing, she noticed that there was a small
white dot where the bee had once sat. The girl found this very pretty and discovered the
reason for this was the residue of the bee’s wax. This serendipitous discovery of hers led to
the usage of wax in dyeing.

History:
The history of the Batik method of printing can be traced back to almost two thousand
years. Its exact point of origin is not known, but is said to have been an offshoot
of mordant resist dyeing which was discovered and extensively practiced in India
on cotton fabrics almost five thousand years ago.
The method of mordant resist printing spread to Indonesia through the Indian traders.
Indonesia took to the craft quickly and flavored it with the local myths and rituals.
Many influences of Hindu mythology can also be seen in the Indonesian Batik patterns. For
example, ‘Sawat’ is the decorative form of ‘Garuda’, the eagle vehicle of Lord Vishnu and
‘Sidomukti’ is a pattern derived from the Hindu principles of prosperity and sufficiency. It
then caught on like fire to Sri Lanka, Thailand and other countries in the west when
the Dutch travelers took the fabric along on their journeys for trade. Batik entered
Malaysia only in 1913. While in India, Indonesia, Malaysia and Thailand are known for
their block printing (tjab/stamping) method also to create batik on a large scale, in Sri
Lanka, Batik is still made by hand. Sri Lankan Batik is less intricate and more suited to
modern times. The Indonesian Batiks are highly evolved and the artists have
excelled in very complicated patterns. Many artisans from India are sent to
Indonesia for training in this craft form.
Batik production had dimmed in India gradually. It saw an uplifting revival in the 20th
century when introduced as a subject in the famed Shantiniketan University of West
Bengal. In the southern region of India, the Cholamandalam artists’ village in Chennai
has been a pioneer in encouraging and sustaining this craft. Though Batik is a widely
practiced craft, the designs and methods vary from region to region.
According to one of the Batik craftsmen in Behrugarh, Murshiji, the Chippas were
under the patronage of Raja Jaisingh of Rajasthan. Later, the Hindu Chippas converted
to Islam and spread out to wherever there were sources of running water were available
to aid their craft. They thus landed up in Behrugarh. Research says that Raja Sawai Jai
Singh had invited many craftsmen to settle in his land in Jaipur. This was done to meet the
clothing needs of the subjects and the royal court. Also to bring about a new aesthetic sense
by combining the art of different traditions. The outcome was a cluster of craftsmen practicing
various crafts like zari, block printing etc. They came from Gujarat and Malwa regions.
Batik production mainly catered to the tribal population of the north western regions of India.
Large open markets are set up from where the tribals or adivasis buy the materials
from. Earlier the resist dyeing was done using sand. This method was called ‘Dabu’. It later
developed into the Batik method when sand was replaced with wax. The prominent color of
Alizarine which is a characteristic of tribal drapery became a mandatory in the resist dyed
fabrics since they were the primary customers. Alizarin was made from the roots of the
Madder plant. Before the Alizarine dyes, prints by the name of ‘Jodhpuriya’ were made for
the Adivasis of Jhabua in Madhya Pradesh.

Design:
The wax resist dyeing gives a broken and marble-like appearance to the pattern. The
traditional designs were intricate abstracts of flowers, birds and animals. The common
names of the designs are Bhairavgari Buta, Haathi Baga, Naadna Buta, Kerala Keri,
Morsali, Jodhpuriya, Lehariya etc.
Over time, Batik patterns have embraced many innovations due to its flexibility.
Inspirations are derived from tribal art too. The motifs used can be broadly divided into
two categories: geometrical and elaborate. The elaborate motifs are generally natural,
such as flowers and buds, leaves, birds, fish, butterflies, vines, small animals and
insects. The geometric patterns include lines, squares and various tessellations.

Challenges:
Like the challenges faced by most crafts where time plays an important factor in
quality, Batik also is needing to succumb to synthetic raw materials and facilities to
mass produce the fabric. The shift to using industrial wax is making the recycling of
leftover wax difficult, thus increasing wastage.
Large quantities of water are required for washing the fabric during the
processes. Block printing is dependent upon clean, mineral fresh water to create colors
from natural dyes. The lowering water tables in the regions pose an upcoming threat for
the craftsmen, who now have to dig bore wells deeper than usual.
The pricing of the fabric is also becoming a challenge. With the amount of efforts involved,
the value is more, but increasing the price would also decrease the demand of the
fabric. The government taxes have also increased over the years.
When it comes to the hand-drawn designs of Batik printing, a certain level of
expertise is required in knowing how to spontaneously work with wax. It can
sometimes prove to be a difficult material to work with if the artist lacks speed and
dexterity. Like the challenges faced by most crafts where time plays an important factor in
quality, Batik also is needing to succumb to synthetic raw materials and facilities to
mass produce the fabric. The shift to using industrial wax is making the recycling of
leftover wax difficult, thus increasing wastage.
Large quantities of water are required for washing the fabric during the
processes. Block printing is dependent upon clean, mineral fresh water to create colors
from natural dyes. The lowering water tables in the regions pose an upcoming threat for
the craftsmen, who now have to dig bore wells deeper than usual.
The pricing of the fabric is also becoming a challenge. With the amount of efforts involved,
the value is more, but increasing the price would also decrease the demand of the
fabric. The government taxes have also increased over the years.
When it comes to the hand-drawn designs of Batik printing, a certain level of
expertise is required in knowing how to spontaneously work with wax. It can
sometimes prove to be a difficult material to work with if the artist lacks speed and
dexterity.
 ➢ Why have I chose bhairavgarh prints?

Bhairavgarh Prints belongs to a Bhairavgarh village which is located on the

outskirts of Ujjain, MadhyaPradesh.The reason for selecting this as my craft &
cluster project is the falling demand of it in the market. Batik is quite a time
consuming art and the fabric enjoys a high demand in the global fashion
industry. In order to fasten the process of making batik fabrics, a tool
called the ‘cap’ was developed in the 19 th century. This tool gave immense
boost to batik production, making it faster and more efficient than the
traditional technique which was extremely labour-intensive. A cap is
nothing but a block made of copper. It has copper stripes (approximately
1.5 cm in width) that are bent to form a design. An artist blocks out the
pattern outline onto a piece of cloth using graphite or charcoal. The life
cycle of the batik workers keeps turning, while their income is uncertain. Even
if the income is there, it will be priced low. They also have to find additional
income by becoming farm laborers, or working odd jobs. Often they have
difficulty meeting their food needs. They average condition of their house is
small, and already fragile. In the rainy season, their house gets wet in some
places. There are no chairs in the front corner of their house. At least their
condition is in the dimension of poverty. As Chambers said that poor
households have low income and asset ownership, even in meeting their food
needs they develop low consumption patterns both in quality and quantity .On
average, the economic condition of the batik worker family is near the poverty
line.
 ORIGIN
Batik is an Indonesian technique of wax-resist dyeing applied to the whole cloth.This
technique originated from the island of Java, Indonesia.[3] Batik is made either by drawing
dots and lines of the resist with a spouted tool called a canting,[n 2] or by printing the resist
with a copper stamp called a cap.[n 3][5] The applied wax resists dyes and therefore allows
the artisan to colour selectively by soaking the cloth in one colour, removing the wax with
boiling water, and repeating if multiple colours are desired.[3]
Batik is an ancient art form of Indonesia made with wax resistant dye on
fabrics.[6][7] Indonesian coastal batik (batik pesisir) made in the island of Java has a history
of acculturation, a mixture of native and foreign cultures.[8] It is a newer model compared
to inland batik, and it uses more colors, though the patterns are a lot less intricate. This is
because inland batik used to be made by select experts living in palace areas, while coastal
batik can be made by anyone. Batik is an ancient fabric wax-resist dyeing tradition
of Java, Indonesia.[17] The art of batik is most highly developed and some of the best batiks
in the world still made there. In Java, all the materials for the process are readily
available—cotton and beeswax and plants from which different vegetable dyes are
made.[18] Indonesian batik predates written records: G. P. Rouffaer argues that the
technique might have been introduced during the 6th or 7th century from India or Sri
Lanka.[19] On the other hand, the Dutch archaeologist J.L.A. Brandes and the Indonesian
archaeologist F.A. Sutjipto believe Indonesian batik is a native tradition, since several
regions in Indonesia such as Toraja, Flores, and Halmahera which were not directly
influenced by Hinduism, have attested batik making tradition as well.[20]
The existence of the oldest Batik activities came from Ponorogo which was still called
Wengker before the 7th century, the Kingdom in Central Java learned batik from
Ponorogo. Because of this, Ponorogo batik is somewhat similar to batik circulating in
Central Java, except that the batik produced by Ponorogo is generally dark black or
commonly called batik irengan because it is close to magical elements so that it was
developed by the kingdoms in Central Java and Yogyakarta.
Old Batik Techniques and Process
Batik comprise of a process where a pattern or design is created with liquid wax on the
cloth. This is done to protect the waxed area from being colored. So when the cloth is
dipped in the color, the color does not enter the patch area which is waxed. The wax
resists the colour and results into a surface which has dyed and un-dyed areas. This is how
a pattern is made.

The dyes used for batik process has to be made only in vessels made of steel, plastic or
enamel. This is because the properties of the material of the vessel can affect the dye. The
first time when the cloth is dipped in the dye, lightest tone of the color should be used. In
the old process of batik dyeing, artists were not allowed to use many colors in one go. But,
with the development of advanced technology, modern techniques have been invented
which makes the work of the artist easy. Now they can apply many colours using brush at
one go.

Next, the cloth is again covered with wax on areas that have to retain the first colour. This
process is carried out to get the darkest shade. The old Batik process involves many steps
to obtain a particular shade. After the last dyeing, the fabric is placed between two layers
of porous paper to dry. The wax has to be removed from the fabric onto the paper. This
will give out the design that has been dyed on the fabric.

The important attribute of Batik is the cracks that appear in the design due to the wax. As
the wax is frail, it cracks easy and the dye enters the waxed area. This creates a spider web
design on places where wax has been applied. Normally, fabrics in pure form like pure
cotton or silk is used for batik dyeing. This is because any mix in the fabric can hamper the
effect of the colour on the cloth after washing.
 ➢ How is it sustainable?

Batik is one of the works of ancient art in some countries. This art has become
closely associated with the identity of Southeast Asia particularly Indonesia.
We define sustainable batik production as a batik production process that is
non-polluting, conserving energy and natural resources, economically viable,
safe for workers and consumers. The purpose of this study is to outline the
results of a literature review on-field sustainability and batik production as
well as to provide a conceptual framework for future studies. This study was
conducted using a systematic review. The steps of systematic review process
were suggested by Cronin, Ryan, and Coughlan (2008) including selecting a
review topic, searching the literatures, analyzing and synthesizing the
literature, and writing the review. Eighty-two (82) articles were found on
sustainable batik production issues in the last ten years. Concerning the
dimension of sustainable batik production addressed, four categories were
formed: designing (17 papers), waxing (9 articles), dyeing (22 topics) and
wastewater treatments (34 papers). From the resume of literature analysis, we
found studies conducted in sustainable design (designing process) addressed
in batik pattern drawing and pattern storing. Few studies examined waxing
process, some studies conducted about utilize of natural dyes and numbers of
studies about wastewater treatment of chemical dye. Some suggestions are
also presented to stimulate future research of sustainability in batik
production.
 ➢ Use of Bhairavgarh Print
Modern Batik
Modern batik, although having strong ties to traditional batik, utilizes linear treatment of leaves, flowers
and birds. These batiks tend to be more dependent on the dictates of the designer rather than the stiff
guidelines that have guided traditional craftsmen. This is also apparent in the use of color that modern
designers use. Artisans are no longer dependent on traditional (natural) dyes, as chemical dyes can
produce any color that they wish to achieve. Modern batik still utilizes canting and cap to create intricate
designs.

Fashion designers such as Iwan Tirta have aggressively introduced batik into the world fashion scene.
They have done much to promote the Indonesian art of batik dress, in its traditional and modern forms.

The horizon of batik is continuing to widen. While the design process has remained basically the same
over the last century, the process shows great progress in recent decades. Traditionally, batik was sold in
2 1/4 meter lengths used for kain panjang or sarong in traditional dress. Now, not only is batik used
as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall
hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create
batik paintings which grace many homes and offices.

Fine quality handmade batik is very expensive and the production of such works is very limited.
However, in a world that is dominated by machines there is an increasing interest in materials that have
been handmade. Batik is one of these materials.

During your stay in Indonesia, take advantage of your time here to learn more about the fascinating
world of batik. Have a batik dress or men's business shirt made for you by a seamstress or tailor. Visit
batik factories in Jogjakarta, Surakarta or Pekalongan to see for yourself how the intricate process is
conducted or ask questions of batik artisans giving demonstrations in stores such as Sarinah or Pasaraya
in Jakarta. You will come away with sense of wonder over the time, effort and patience put into the
creation of each batik cloth. You too may soon grow to love the distinctive waxy smell of batik and your
batik acquisitions will provide many memories of your stay in Indonesia. Your support of the batik
industry will also ensure that this art form grows to even greater peaks.
Batik Home Furnishings
One of the distinct pleasures of living in (or visiting) Indonesia is the opportunity to
purchase some truly magnificent home furnishings made of batik. As the fabric is truly
unique to Indonesia, this is definitely the best place to purchase authentic batik! Batik
factories can product batik to your order, with custom colors and designs in large rolls,
ready to use for your home decoration projects. The 100% cotton fabric is usually
preshrunk in the batik dying process and other fabrics are usually available with the batik
design, should your design requirements warrant. Higher end shops also have design
consultants who can help you with the layout of the room you are planning to design with
your batik fabric and work with you on additional furnishings (pillows, bed covers, and
cushions) to complete your color scheme.
If you are unable to visit Indonesia, but are still interested in batik fabric, the best place to
start is by looking for batik prints in major fabric stores, or shop online for batik fabric.
With the beautiful batik designs available, you will be on your way to creating your own
batik creations for your home. The timeless designs of beautiful batik motifs have been
utilized by skilled fabric designers around the world who want to share the beauty of
batik with an even wider audience across the globe. You'll soon be getting compliments
from visitors to your home about the beautiful home furnishings made of batik, or your
new wardrobe pieces!
 DESIGN OF BHAIRAVGARH PRINT
Prada or Gold Cloth
For special occasions, batik was formerly decorated with gold lead or gold dust. This cloth
is known as Prada cloth. Gold leaf was used in the Jogjakarta and Surakarta area. The
Central Javanese used gold dust to decorate their Prada cloth. It was applied to the fabric
using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold
would remain on the cloth even after it had been washed. The gold could follow the design
of the cloth or could take on its own design. Older batiks could be given a new look by
applying gold to them. Gold decorated cloth is still made today; however, gold paint has
replaced gold dust and leaf.

Batik Designs
Although there are thousands of different batik designs, particular designs have
traditionally been associated with traditional festivals and specific religious ceremonies.
Previously, it was thought that certain cloth had mystical powers to ward off ill fortune,
while other pieces could bring good luck.

Certain batik designs are reserved for brides and bridegrooms as well as their families.
Other designs are reserved for the Sultan and his family or their attendants. A person's
rank could be determined by the pattern of the batik he/she wore.
In general, there are two categories of batik design: geometric motifs (which tend to be
the earlier designs) and free form designs, which are based on stylized patterns of natural
forms or imitations of a woven texture. Nitik is the most famous design illustrating this
effect.
Certain areas are known for a predominance of certain designs. Central Javanese designs
are influenced by traditional patterns and colors. Batik from the north coast of Java, near
Pekalongan and Cirebon, have been greatly influenced by Chinese culture and effect
brighter colors and more intricate flower and cloud designs.
High fashion designs drawn on silk are very popular with wealthy Indonesians. These
exceptionally high-quality pieces can take months to create and costs hundreds of dollars.

Kawung

Kawung is another very old design consisting of intersecting circles, known in Java since
at least the thirteenth century. This design has appeared carved into the walls of many
temples throughout Java such as Prambanan near Jogjakarta and Kediri in East Java. For
many years, this pattern was reserved for the royal court of the Sultan of Jogjakarta. The
circles are sometimes embellished inside with two or more small crosses or other
ornaments such as intersecting lines or dots. It has been suggested that the ovals might
represent flora such as the fruit of the kapok (silk cotton) tree or the aren (sugar palm).

Ceplok

Ceplok is a general name for a whole series of geometric designs based on squares,
rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent
abstractions and stylization of flowers, buds, seeds and even animals. Variations in color
intensity can create illusions of depth and the overall effect is not unlike medallion
patterns seen on Turkish tribal rugs. The Indonesian population is largely Muslim, a
religion that forbids the portrayal of animal and human forms in a realistic manner. To get
around this prohibition, the batik worker does not attempt to express this matter in a
realistic form. A single element of the form is chosen and then that element is repeated
again and again in the pattern.

Parang

Parang was once used exclusively by the royal courts of Central Java. It has several
suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'. The Parang
design consists of slanting rows of thick knife-like segments running in parallel diagonal
bands. Parang usually alternated with narrower bands in a darker contrasting color. These
darker bands contain another design element, a line of lozenge-shaped motifs call mlinjon.
There are many variations of this basic striped pattern with its elegant sweeping lines,
with over forty parang designs recorded. The most famous is the 'Parang Rusak' which
in its most classical form consisting of rows of softly folded parang. This motif also
appears in media other than batik, including woodcarving and as ornamentation on
gamelan musical instruments.
 MATERIALS REQUIRED:
Fabric
Fabric is an essential batik material. Fabrics made from natural fibres are often use
for this purpose. The dye is easily absorbed into these fabrics. Cotton, Silk, Linen,
and Wool are mainly used as fibres. In addition, other materials are used for this
batiks. Cellulosic fibres are also widely used for this batik industry. This is because
the selected fabrics are tight and smooth. These fabrics should be washed to remove
impurities after purchase from the market. These may have been bleached and
scoured, soak a little detergent powder in hot water and it will be easy to wash and
iron well.We previously published a detailed article about fabrics, read it below

Wax
Several types of wax are used for batiks. Of these, Beeswax and Paraffin wax are the
most commonly used.

• Paraffin Wax( petroleum wax)

What is paraffin wax: Paraffin wax is a soft, colorless substance obtained from
petroleum, coal or shale oil. Remains solid at room temperature. Paraffin is hard and
brittle; Dye penetrates anywhere where cracks occur. If a large number of cracks are
required in a batik design, the paraffin content of the wax mixture should be
increased

Paraffin Wax
• Beeswax
What is Beeswax: Beeswax is a natural wax produced by the honey bees of the genus
Apis. Beeswax is light yellow or tan and, it free of debris. Also these are flexible, soft,
no cracks and completely blocks the spread of dyes.

Beeswax Bars
The wax mixing ratios vary depending on the type of fabric selected.
(Beeswax: Paraffin wax: Rosin)

Binder resin (Rosin)

Rosin is brittle at room temperature but it melts at high temperatures. Binder resin
also a material used in making wax mixture. This melts when it melts and acts as a
binder to the wax mixture. Remains solid under normal condition, when used, it
turns into a powder.
How to use tjanting batik tool
Recommend Tools:
• Tjanting Tool (Set of 4)
• Hibiscus Handmade Indonesian Copper Tjap
• Fish Left Handmade Indonesian Copper Tjap
• Fish Right Handmade Indonesian Copper Tjap
Colors
Colors are an essential element of batiks art. People who are accustomed to these
batiks designs distinguish the color combination needed for a particular design.
Experience is essential for this. It is possible to color the invention with one or more
of these colors. If a second color is applied, the first applied color should be covered
with wax,

Azoic colors are commonly used. Azoic dyes are more popular as
naphthol.
Batik dyes are used for coloring.
• Vat dyes
• Procion dyes
• Naphthol dyes
• Remasol dye( remazol dye)
• Etc.
Recommendations:
• Tjanting Tools (Set of 4)
• Soda ash
• rubber gloves
Batik tools
Several tools are used to apply wax and dye. They are brushes, tjanting, tjaps, etc.further
more different tools are used to perform other functions in the batik process.
Metal pot
This is used to melt the wax. You can even use an electric frying pan for this. This process
should be done very carefully, and the wax should be overheated as it may cause a fire.
 STEP BY STEP:
Step 1: Transfer Your Design to Fabric

A
slow and steady hand is the way to go when tracing your design onto fabric.

The first step in how to make batik fabric is to transfer your design to your piece of cotton.
You’ll need your reference image, tape, scissors, and an HB pencil, as well as your fabric.

Start by pre-washing your fabric by hand (use a gentle fabric detergent like Synthrapol)
and hanging it to dry completely, then iron out any wrinkles and use your scissors to cut it
down to your desired size.

To transfer the design, lay your reference image on a flat surface and place your fabric
over it. Tape both the design and the fabric down so that they stay in place, then begin
gently tracing your design with your pencil. Use a light touch and steady hand, and remove
the tape—and your fabric—once you’re done.
Step 2: Wax the Fabric

As you work, keep your tjanting tools in the hot wax when not in use.

What kind of wax is used for batik? You’ll want a mixture of paraffin and beeswax, which you can either
combine yourself or buy pre-combined. Having the right wax is essential to how to make batik fabric,
since using the incorrect variety won’t provide you with the right amount of dye resistance.

Melt your wax and dip your tjanting tools in the hot wax to fill their basins. You’ll want to apply wax to
any area on your fabric that you want to remain un-dyed, which you’ll do by outlining the area with wax
applied by your tjanting tool and then using your small paintbrushes to spread the wax throughout the
rest of the desired area.

Step 3: Dye the Fabric

Make sure to wear glove while dyeing your fabric.

Choose the color that you want to use for your batik project and make a dye bath following
the instructions on the dye packaging. Again, you may need to mix in soda ash or salt to set
the pH balance, but not always.

With your rubber gloves on, dip your waxed fabric into your dye bath and allow to soak
for 30 minutes, using more or less time depending on how dark you want the color to be.
Make sure your fabric remains completely submerged, since any contact with the air will
begin to set the color. Use your wooden spoon to press the fabric into the dye bath, as well
as to give it the occasional stir.

When the time is up, take your fabric out of the dye bath and hang it to dry, being sure not
to squeeze out any of the dye as you do.

Step 4: Boil Out the Wax

Naomi recommends doing this step outside, which is why having a travel stove is key.

The last step in how to do batik is to remove the wax resist. Take your dyed and dried
fabric and place it between two pieces of blank newsprint. Iron it on the correct setting
recommended for the fabric. For cotton, that’s usually medium. It’s best to use an old iron
for this process rather than the one you use for your everyday clothes, just in case there’s
any transfer of dye.

Replace the top layer of newsprint as needed if it gets saturated. Once you’ve removed as
much wax as possible through ironing, take your fabric outside to boil out the rest of the
wax. You’ll want to bring your old pot of water, your small travel stove to get it to a boil,
and a bowl or bucket of cold water.

Place the fabric directly into the boiling water for three minutes to remove any lingering
wax, then remove it and transfer it immediately into a bucket of cold water. This will
solidify any wax that is still remaining, which you’ll then see floating in the water.

Repeat the boiling and cold water process again, then let your fabric dry and admire your
beautiful work!
SWOT ANALYSIS
1) Strengths The handmade batik products produced by Gumelem women are
of high quality, the scratches produced are next and of artistic value. The
motifs created are also unique which is a combination of Islamic Mataram and
Banyumasan Kingdoms. Their skilled hands can create diverse motifs, like the
Mrs. Risah who makes batik without seeing an example of a pattern first. Batik
workers Gumelem has had a decade of experience in making batik. This is the
strength of themselves to remain batik. And the main reason is they can work
at home while taking care of the household. The batik included in the category
of "adol batikan" (selling batik directly into the hands of consumers, without
intermediaries, and not having a boss) tend to set prices that are relatively
stable.
2) Weaknesses From the side of weakness can be seen from the colouring that
depends on other regions namely Sokaraja and Pekalongan. Like the Mrs.
Risah, Mrs. Sarinah, Mrs Misem, and Mrs. Siyem who left the colouring in
Sokaraja and Pekalongan (regions in other cities) so they had to increase
production costs. In addition, the colouring process takes at least three months
which they should have earned faster if the process is done alone. This is one
of the reasons why they are not able to receive many batik orders in a short
time. However, if the order is very urgent, they can turn to other colorants who
are not necessarily of good quality. Regarding the quality of colouring that is
not good, the government through the Indakop (Industry Service and
Cooperatives) once told his experience, that Gumelem batik dye quickly faded
and faded so that it is not durable if used. Colouring training for them is a mere
"lie" because the recipe given is not effective recipe, they still must trial and
error themselves. While tools and materials assistances are only temporary
and not sustainable. Batik makers also do not have a brand image that can
attract the attention of buyers, usually they only write "Gumelem Wetan" or
"Gumelem Kulon" on the edge of the fabric. Atter completion, they then market
it. Batik marketing is still done manually by word of mouth, they are not
familiar with information technology such as through social media so that
marketing becomes less varied. This is one of the reasons they are hampered
by network access and market access. Another weakness is that capital
ownership is relatively small, so they cannot produce more. Batik production is
carried out when there is an order. Sometimes they owe other people capital to
make batik. Mrs. Sarinah said that she was fortunate when she was previously
included in the micro-credit program from PNPM (Community Empowerment
Program) where she was given a loan of Rp 250,00000 and was paid in
instalments for one year. Regarding the results of the product from Batik
Gumelem itself in the form of a long cloth only. There are no variations in other
forms. Like the previous people the results of batik production are only used as
"tapih" (lower garment). In her story, Mrs. Risah tells us that she only made
long fabrics for decades. The long cloth is usually sold to people who are
members of a traditional institution called the Mataram Family Association.
3) Opportunities Batik requests from local and regional government officials as
promotional efforts are an opportunity for batik workers. Moreover, supported
by policies that support such as in 2003 in which the government provides a
policy regarding the obligations in the environment of civil servants (civil
servants) to wear Banjarnegara batik clothing. Government support in the
form of capital, batik equipment is also an opportunity. For batik workers like
Mrs. Sura, assistance in the form of cloth and batik equipment really helps
himself for a while.Batik demand from collectors is also an opportunity for
batik. The development of Indonesian fashion using batik cloth has become an
opportunity in the development of Gumelem batik. Banjamegara tourism
Advances in Social Science, Education and Humanities Research, volume 491
1299 development, especially in the annual cultural festival becomes an
opportunity for batik. Because cultural festivals usually involve a lot of people
wearing traditional clothes and Banjarnegara batik, Gumelem batik. Although
batik is not technology literate, at least the world of e-commerce has evolved,
and can be an opportunity for the emergence of online marketing.
4) Threats At least batik has a threat from outside himself, namely the
emergence of new entrepreneurs who have large capital so that it increasingly
marginalizes its position. In addition, there are artificial motives that were
created a masse. This has been experienced by Mrs. Risah in which the motive
she created turned out to be imitated by other batik workers, she could only be
annoyed and regretful of the person's actions. Because he realized that he did
not have a patent on the motives he created. Regarding patents themselves,
batik does not have the hope to make it because it takes a very high cost and
takes a long process. Competition from outside cities is also a threat. Because
entrepreneurs in Gumelem also provide batik products from outside the city.
 CONCLUSION
This study describes the SWOT analysis to determine the internal and external position of
batik. Government assistance can be sustainable if it is in accordance with what is needed
by batik, and vice versa. This study has limitations that allow further research to be
carried out, namely looking the characteristics of batik in detail and whereby looking at
these characteristics the study will be more comprehensive. Second, this research will be
more useful if it is equipped with further action plans for batik accompaniment. So that it
can compare further studies. This kind of research is expected to help identify problems.
Recommendation from this research is that increasing sustainable empowerment is very
important to be realized by involving batik as a subject not just an object. All efforts must
be directed to reduce the factors that weaken and threaten batik. In addition, policies that
support it are needed to be more empowered. Human resource development assistance
with empowerment strategies is more needed than physical assistance. The study is
expected to be sustained with community service. From this brief paper, it reflects that
made efforts to provide what they can do, and batik as well, improvement of knowledge
and skills in needed for sustainability more than just equipment assistance. For better
batik, batik workers establish relationships so that unfair competition does not occur
again.
PRODUCT
 BIBLIOGRAPHY
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uyOcputybuTlsJRBdZo-
wcHPaw%3A1684945435146&source=hp&ei=GzpuZOL0BoqC2roPk--
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=APwXEddaothbHgkiSDkUCW4U5ZqaMw6tkQ%3A1684947878300&ei=pkNuZPX6EczYh
wPWvKWQAw&ved=0ahUKEwj15YD
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uyOcputybuTlsJRBdZo-
wcHPaw%3A1684945435146&source=hp&ei=GzpuZOL0BoqC2roPk--
BgA4&iflsig=AOEireoAAAAAZG5IK8KsQ7RFK5GXgZ37htUWNZ2U435u&ved=0ahUKEwii7
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o https://www.fibre2fashion.com/industry-article/7428/contemporary-designs-of-batik
o LOCATION:SAJIDA BATIK ART,BHAIRAVGARH
Main RD,Badi Masjid,Ujjain
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