Of Rajasthan

Handicraft and Fabrics

Explore the Heart of

Rural Rajasthan

Prepared By: Manoj Ajmera

Apparel Production Management
Institute of Apparel Management, Gurgaon

DECLARATION

I hereby declare that all the work presented in the report entitled __Handicraft_and Fabrics_of

Rajasthan______________________________ in the partial fulfillment of the requirement for the

award
of
the
degree
of
__Masters
In_Apparel
_Production
&__Management___________________________, Institute of Apparel Management, Gurgaon,
is an authentic record of my own work carried out under the guidance of ___Ms
Manka_Vasti_____________________

Date:22/12/2014
Name of the Student: Manoj Ajmera
Program Name:

Apparel Production Managenemt

ii

CERTIFICATE

This

is

to

certify

that

the

report

entitled

_Handicraft_and

Fabrics_of_Rajasthan_____________________
which
is
submitted
by
_Manoj_Ajmera___________________ in partial fulfillment of the requirement for the award of
the degree of _Masters_In_Apparel_Production_& Management________________________,
Institute of Apparel Management, Gurgaon, is an authentic record of the candidates own work
carried out by her under my guidance.

Date:22/12/2014

Ms. Manka Vasti

Assistant Professor, IAM, Gurgaon

iii

Abstract :
An attempt is to analyse cultural
heritage of Rajasthan and its
heartwarming
handicraft
.Rajasthan, the land of Kings.
Drenched into royal grandeur
and soaked into glorious history,
Rajasthan is one of the most
charming and captivating states
of India. It has been globally
famous tourism destination with
lots of tourist attractions and
fabulous tourist facilities. This
historical state of India attracts
tourists and vacationers with its
rich culture, tradition, heritage, and monuments. It is also rich in its flora and fauna with some of
popular wildlife sanctuaries & national parks
The exotic spectrum of Rajasthan's handicraft heritage is a dazzling kaleidoscope of colors and
textures. The depth, range and inspirational intricacy of this heritage stems from its socio-economic
ethos, with whole village pursuing certain crafts, which are intrinsic to their survival or daily needs.
Rajasthan is famous for textiles, semi-precious stones and handicrafts, and for its traditional and
colorful art. Rajasthani furniture has intricate carvings and bright colours. Block prints, tie and dye
prints, Bagaru prints, Sanganer prints and Zari embroidery are major export products from
Rajasthan. The blue pottery of Jaipur is particularly noted.
Heart-warming textiles, dyed in the bandhani or tie & dye style reign supreme in Rajasthan.
Different methods are used to tie the fabric into small points producing different patterns like
Lahariya, Mothda,Ekdali and Shskari. The best bandhani work comes iikar and Jodhpur, while Jaipur.
Pali. Udaipur and Nathdwara are the other centres.
.

iv

Table of Contents:
CHAPTER:1

INTRODUCTION ................................................................................................... 1

CHAPTER:2

TEXTILES OF RAJASTHAN: .............................................................................. 2

CHAPTER:3

WEAVING OF RAJASTHAN ................................................................................ 6

3.1 PATTU WEAVING: ...................................................................................................................... 7

CHAPTER 4 DYEING OF RAJASTHAN: ....................................................................................... 9
4.1LEHERIYA ................................................................................................................................... 10
4.2 BLOCK PRINTING: ................................................................................................................... 11
4.3 AJRAK PRINTING ..................................................................................................................... 14
4.4 KHADI OR CHAMKI WORK .................................................................................................... 15
CHAPTER 5 EMBRODIARY OF RAJASTHAN: ......................................................................... 17
5.1 QUILTING:.................................................................................................................................. 17
5.2.1 ZARDOZI ................................................................................................................................. 18
5.2.2 GOTA WORK: ......................................................................................................................... 20
5.2.3 DANKE-KA-KAAM: ............................................................................................................... 20
5.4 MUKKE KA KAAM: ................................................................................................................... 21
5.5 PAKKO BHARAT: ..................................................................................................................... 22
5.7 KARAK: ....................................................................................................................................... 23
CHAPTER 6 COSTUMES OF RAJASTHANI WOMEN: ............................................................ 24
v

6.1 PUTHIA:...................................................................................................................................... 25
6.2 KANCHLI: ................................................................................................................................... 27
6.3 KURTI: ........................................................................................................................................ 28
6.4 GHAGRA: .................................................................................................................................... 29
6.5 ODHNA:...................................................................................................................................... 31
6.6 BANDI: ........................................................................................................................................ 32
CHAPTER 7 COUTUMES OF RAJASTHANI MEN: ............................................................... 34
CHAPTER 8 TRIVAL COSTUMES OF RAJASTHAN:............................................................... 44
CHAPTER 9 COLOUR SYMBOLISM IN RAJASTHAN:............................................................ 49

vi

Chapter:1 Introduction

Rajasthan; literally, "Land of Kings" or "Land of Kingdoms"),[1] is India's largest state by area (342,239
square kilometres (132,139 sq mi) or 10.4% of India's total area). It is located on the western side of
the country, where it comprises most of the wide and inhospitable Thar Desert (also known as the
"Rajasthan Desert" and "Great Indian Desert") and shares a border with Pakistan along the SutlejIndus river valley. Elsewhere it is bordered by other Indian states: Gujarat to the southwest; Madhya
Pradesh to the southeast; Uttar Pradesh and Haryana to the northeast; and Punjab to the north. Its
features include the ruins of the Indus Valley Civilization at Kalibanga; the Dilwara Temples, a Jain
pilgrimage site at Rajasthan's only hill station, Mount Abu, in the ancient Aravalli mountain range;
and, in eastern Rajasthan, the Keoladeo National Park near Bharatpur, a World Heritage Site[2] known
for its bird life. Rajasthan is also home to two national tiger reserves, the Ranthambore National Park
in Sawai Madhopur and Sariska Tiger Reserve in Alwar.[9]
The state was formed on 30 March 1949 when Rajputana the name adopted by the British Raj for its
dependencies in the region[3] was merged into the Dominion of India. Its capital and largest city is
Jaipur, located on the state's eastern side
Rajasthani Languag : Rajasthani (Devanagari:

is a language of the Indo-Aryan languages

family. It is spoken by 20 million people in Rajasthan and neighbouring states of India and Pakistan, or
50 million if Marwari is counted as Rajasthani, as it often is. It is one of the languages descended from
old western Rajasthani, AKA Maru-Gujar or Maruwani, the other being modern LiteRajasthan
Porta.Most of the Rajasthani dialects are chiefly spoken in the state of Rajasthan but are also spoken
in Gujarat, Haryana and Punjab.
Rajasthan is culturally rich and has artistic and cultural traditions which reflect the ancient Indian way
of life. There is rich and varied folk culture from villages which is often depicted and is symbolic of the
state. Highly cultivated classical music and dance with its own distinct style is part of the cultural
tradition of Rajasthan Rajasthan is known for its traditional, colourful art. The block prints, tie and dye
prints, Bagaru prints, Sanganer prints, and Zari embroidery are major export products from Rajasthan.
Handicraft items like wooden furniture and crafts, carpets, and blue pottery are commonly found
here. Rajasthan is a shoppers' paradise, with beautiful goods at low prices .
The main religious festivals are Deepawali, Holi, Gangaur, Teej, Gogaji, Shri Devnarayan Jayanti, Makar
Sankranti and Janmashtami, as the main religion is Hinduism.

Chapter:2 Textiles Of Rajasthan:

The textiles of Rajasthan are ornamented with outstanding
designs and vivid colours. The ancient art of textiles in
Rajasthan uses fibers like cotton, silk and wool to create
beautiful designs and textures.
In Rajasthan, as in other parts of India, the royal ancestry
encouraged master-craftsmen to create the finest fabrics.
The remarkable diversity of traditional textiles, both in
technique and style, has survived even to the present day. It
forms the foundation for further innovation in pattern and
design, thus defining the aesthetics of the region and
representing the evolving social and cultural values of its people. Rajasthani textiles explore
handmade textiles that are mainly used for apparel. Century-old skills continue to produce some of
the most artistic textiles in Rajasthan
which are admired and collected not
only by connoisseurs in India but are
popular all across the world.
Just like any other region of the world,
Rajasthani textiles also specializes in
emerging some excellent fabric and the
most precious one of the region is the
tie and dye work which is also called
`bandhni` in local language. Tie and dye
work, known as bandhej or bandhni is
Figure 1.1 Different varities of printed,embroided sarees are available
in Rajasthan

popular all over Rajasthan in the form

of colourful odhnis and saffas.
Rajasthani textiles have developed an outstanding range of colours and have mastered another
technique in which the background is in light colour while the patterns are in dark colours. This is
done by dyeing sections of the fabric in the desired colour with the use of a piece of felt and then
tying. The cloth is bleached and only the tied sections hold back the colours. After this the
background colour is usually dyed and the completed bandhni emerges, with dark coloured doted
pattern on a light background. The red chunari, which is used as a veil by young married women in
rural areas, is never dyed in fast colour bandhnis. An attractive design dyed in a particular style is
the age old artistry that reigns supreme in Rajasthan. The art of bandhni is highly skilled process and
Rajasthani artisans have come a long way in developing new designs and patterns every time
fashion statement changed. Now the tie and dye clothes are one of the most exported fabrics of
India which also carries the legacy of Rajasthan along with it.

Different methods are used to make the textiles of Rajasthan attractive

and unique. Lahariya, Mothda, Ekdali and Shikari are the most popular
patterns amongst all the styles of `bandhni` and every design display a
unique look and nature. Lahariya and Mothra are very much alike
designs where Lahariya has long lines in various shades running
diagonally through the entire piece of cloth and Mothra showcases a
stunning checked effect with opposite diagonals. The human and animal
figures depicting neatly in the dazzling colours is the identity of Shikari
bandhni. Ekdali pattern displays small circles and squares in different
shades of colour and the cluster of three, four and seven multi coloured
dots make it even more gorgeous. Sikar and Jodhpur are the most
favoured destinations for excellent textile works while Jaipur, Barmer,
Pali, Udaipur and Nathdwada are still on their way to attain the best
market for Rajasthani textiles.
Rajasthan is the heartland of hand-block printing as well. Spectacular,
Figure 1.2
remarkable combinations of scarlet shocking pink, purple and orange,
turquoise and parrot green, saffron and crimson, incorporated with touches of gold and silver steal
the limelight in any gathering. Rajasthan textiles reflect the real core of block printing. Most of the
work is done by hand only. The art of block printing and dyeing is associated with home furnishing
and fabric for personal wear as well. The main centers for the block printing in Rajasthan are
Sanganer and Bagru. The process of hand block printing includes artisans to soak carved wooden
blocks in different colours and then paste them on the fabric thus creating some paranormal
wonder on the piece of cloth. Delicate floral prints and designs made in vegetable colour is the
specialty of Rajasthan block printing. The art of Khari or overprinting in gold is also widely practiced
in Rajasthan. This makes the traditional form of block printing even more charming and
contemporary in the region.
The women of Rajasthan have mastered the art of embroidering fabrics. In appliqu, different
pieces of cloth are set in patched form together to make a multi-coloured mosaic. The exotic
colours, shapes and pattern combinations against contrasting backgrounds make them unique
amongst other textile works. Inspired from the neighboring state Gujarat, the mirror work in
Rajasthan is also famous among the local women and people.
The main display season for Rajasthani textiles are during the fairs and festivals of the region.
Majority of the Rajasthani textiles are sold in the Pushkar Fair, Nakki Lake Fair, Baneshwar Fair,
Ramdeoji Fair, Janmashtami Fair and during the festivals of Teej and Gangaur. Tourists visiting
Rajasthan make it a point to buy some excellent Raajasthani textiles, which are going to make their
memory always colourful and bright. Rajasthan is a land of vibrant colours;. Rajasthani textiles are
the representative of that myriad hue woven in the cloth. Be it the multi coloured tie and dye work
or excellent block Printing, Rajasthan astonishes the entire world with its skill and efficiency through
its astonishing textiles and fabrics .

Textiles In different Regions Of Rajasthan : [10]

Textile based
handicrafts:
Hand printed textiles
including block and
screen printing, batik,
kalamkari (hand
printing by pen) and
bandhani (tie and die)
are used in products
ranging from bedcovers to sheets, dress
material to upholstery
and tapestry. The
famous embroidered
articles of silk and
cotton, often
embellished with
mirrors, shells, beads,
and metallic pieces are
also found in India.
Embroidery is done too
on leather, felt and
velvet etc. This
segment of the
industry accounts for
almost half a million
strong employment in
addition to a large
number of designers,
block makers, weavers
and packers involved in
the trade[5]

figure 1.2a women in traditional outfit[1]

Chapter:3

Weaving Of Rajasthan

The art of weaving in Rajasthan has been practiced since ages and presently the art has acquired an
iconic status in the region. The art of interlacing yarns, the warp and the weft has been well known
in Rajasthan for centuries and hand-weaving is probably as old as civilisation itself.
Ancient terracotta spindles and fabric, excavated from the Indus Valley, are best evidences to the
familiarity of the crafts of spinning and weaving. Weaving in India is predominately a cottage
industry and in the state of Rajasthan, the village weaver has been the community`s sole source of
fabric. The loom has held a fundamental position in the social, economic and cultural lives of the
people.[1]
With the advent of modernisation and
industrialisation of the Indian textile
sector, mill-made fabrics have made
severe incursions into the village
weavers` traditional monopoly. The
unique beauty of the khaadi, reza and
fine Mathania mulmul from Rajasthan, is
becoming rare with the passing years.
Powerlooms
are
fast
replacing
handlooms in most urban and rural
areas. However, hereditary weavingskills live on in many families in
Figure 2.1 Weaver In Rajasthan[1]
Rajasthan and economically viable
products like Kota dona, pattus, durries, jajams and pile carpets, in traditional and contemporary
designs are still woven in the colourful state of Rajasthan.[5]
Weaving in Rajasthan, Costumes of Rajasthan Knowledge of the principles of weaving is found even
amongst the most ancient people of Rajasthan. The process itself is simple and consists of four basic
steps, irrespective of the kind of loom, level of technology or the pattern to be woven. The basic
steps of weaving in Rajasthan are shedding, picking, beating and taking up and letting off. Shedding
is the process of raising or lowering the warp yarn by means of harness and heddles to create a
shed. The weft is passed through this shed in a process that is known as picking. This process is
followed by beating, in which the weft or filling yarn is evenly packed and made compact with a
comb-like structure, called the reed. Once the primary motion is complete, newly formed fabric is
rolled on to the cloth beam and fresh warp is released from the warp beam. This taking up and
letting off is the `secondary motion` in the weaving process that is prevalent in Rajasthan.

Figure 2.2 Weaved Products Of Rajasthan

The village weaver in Rajasthan traditionally

produces two types of cotton cloth, the
khaadi and the reza. These are woven either
as yardage or a finished garment, like an
odhna or a dhoti. Using locally available
cotton yarn, the weaver plies his craft on the
khaddi or pit-loom. Khaadi is made from
hand spun yarn in a plain weave, while a
basket weave is employed for the thicker
reza fabric. These fabrics are then dyed and
patterned as required.

The art of weaving has been epitomizing the

culture of Rajasthan since decades. However, many modern mechanisms are slowly entering the
weaving market of Rajasthan, but the demand for khaadi and reza in original form has yet not
stooped low.

3.1 Pattu Weaving:

Pattu weaving, famous in Rajasthan, is now a well known form of weaving in entire western India.
Western Rajasthan is famous for this particular weaving style of special shawls or blanket, the pattu,
which is a term derived from the word patti, meaning a narrow strip.[1]
This traditional wear pattu is mostly seen in the
areas of Jaisalmer, Barmer and surrounding villages.
Camel and sheep wool, available in natural colours
of cream, brown and black are extensively used to
weave the pattu. Of late, however, the introduction
of synthetic dyes and cotton fibre has added
colours like bright red, saffron, blue, green, pink
and orange to this time-honoured palette. The
fabric is worked upon in a twill weave on a pit loom
and countless patterns are created through the
methods of interlocking and extra weft figuring. In
the warping, vertical warp bands in complementary
colours are placed on the either sides of the loom
and the interlocking technique is used to get a pure
colour on these bands. A bobbin carries a weft in
the same colour as the distinct band, is used to
weave the restricted sections of the bands.

Figure 3.1 Pattu Weaving[8]

Extra weft figuring brings about an embroidery-like effect on the loom. The extra weft is wound on a
small stick that is passed between a minimum of two and a maximum of twelve picks. The weaver
lifts the warp yarns and hands it to insert the extra weft yarn. The local Meghval community is
specialists in creating a multiplicity of beautiful pattus like the hiravali pattu, baladi check, and
kashida pattu. The two other famous designs from this region are the bhojsari and malani. Weavers,
in and around Rajasthan, employ the same process to make a woollen dhabla and other lower
garment of the Gujar and Kumhar women.

The motifs have a particular geometric course and are inspired from house. Different kinds of
articles and the wall and floor paintings called mandana also have similar motifs. Each pattu has a
characteristic joint in the central area. This is because the piece that is essentially woven on the
loom has a narrow width. Two strips are joined to create the pattu, which is worn by both men and
women. The bright, colourful pattu is warm and long enough to drape around the body. Farmers,
shepherds and others use it extensively in the rural areas of Rajasthan during the winters.

Chapter 4 Dyeing Of Rajasthan:

Dyeing in RajasthanAlizarin is a red dye, most extensively seen on textiles. One of its natural sources
is the root of the madder plant, rubia tinctorum. The alizarin extracted from this root mixes with
alum to produce a rich red colour. Both
natural and synthetic alizarin is used on
fabric, which is dyed in a tamda (copper
vessel). The required amount of alizarin is
dissolved in water to obtain the desired
shade of red. The fabric is then immersed in
a heated dye bath. As the temperature is
raised, a red colour develops in the areas
printed with begar paste (alum mixed in
gum, which acts as the mordant). Eventually,
the fabric is washed and dried before the
next treatment.[1]
Figure 4.1 dying on grey fabric

Neel or Indigo, the blue dye, is also frequently used in Rajasthan and surrounding region. It is
extracted from the leaves of the indigo bush, indigofera tinctorum, although synthetic indigo is now
readily available in the market. As both natural and synthetic indigo are insoluble in water, the dye is
first made soluble by reducing it during the treatment with an alkaline solution. The fabric to be
dyed is then dipped in the cold solution and on exposure to air oxidizes to a blue colour. Extended
and repeated treatment in the dye bath produces a fast, dark blue. A rich yellow hue comes from
the dye known as nashphal. This is obtained by boiling dry green rinds of the pomegranate fruit.
Another yellow dye is the pomegranate solution that is produced by boiling pomegranate rind,
turmeric and oil in water. The technique of application is known as `potna` which literally means `to
smear`. The solution colours the fabric to a rich yellow. The colour, black, comes from a dye
produced by fermenting scraps of iron with jaggery.
This, when thickened with a gum solution, attains a
suitable viscosity for printing and the paste that is
called syahi.

figure 4.2 dying by taditional method

Each of these dyes combined with the various different

dyeing and printing techniques creates the variety of
designs and colours that are admired in the everyday
life of Rajasthan. Rajasthan has a number of dyeing
centers. The most prominent dyeing centres in
Rajasthan are at Jodhpur, Jaipur and Sikar. Sikar
produces some of the finest dyeing fabrics and they
produce a range of patterns, which are made for
different communities in Rajasthan, Haryana and even
Punjab.

4.1Leheriya:
Leheriya is a widely known variation of design in fabrics that is produced using the basic technique
of tie and dye. The term Leheriya is derived from the Hindi word `leliai`; meaning `wave`. The dyer
creates wave-like patterns by
producing diagonal stripes on the
fabric. This process is practised in
Jodhpur, Jaipur and Udaipur. The
leheriya was patronised in the
nineteenth and early twentieth
centuries by the Marvari merchant
class of Rajasthan, who wore
turbans of brightly coloured
leheriya fabric.

10
figure 4.1a Leheria Print

To create diagonal stripes, the craftsmen of Rajasthan uses a special method of resist-dyeing,
wherein the material is generally a turban or sari length that is rolled up diagonally across opposite
corners and then tied tightly at intervals before the actual dyeing process begins. Delicate, light
fabrics such as thin cotton voile, fine silk and chiffon are usually preferred, as they allow the colour
to penetrate through the rolled cloth. The fabric is wrapped around a wooden pole, usually while it
is still wet, though it may also be in a semi-dry or dry state. The thread that ties up the fabric acts as
a resist, yielding a pattern of diagonal stripes after dyeing. The thickness of the thread and the
distance between the ties may be varied to obtain snipes of different widths.
The dyer`s extraordinary talent allows him to create multi-coloured stripes after the first dyeing by
opening up some sections of the rolled fabric, leaving other sections still bound, and tying up fresh
sections, then dyeing the whole or part of the fabric in a different colour. A checkered pattern is
called `mothro` and is produced by the intersecting of diagonal stripes. To achieve this, the fabric is
unrolled and then rolled up from the opposite corner. The process of tying and dyeing the cloth is
then repeated.[4]
An astounding variety of leheriya textiles are produced using this simple process. A panchranga
(five-coloured) design is considered the most auspicious, since the number five has a special position
in Hindu mythology. Another beautiful pattern, `satranga`, flaunts the seven colours of the rainbow.
Stripes that follow in one direction and colour are known as `leheriya`, while, when diagonal stripes
intersect at right angles to form checks and the pattern is known as a `mothra`. Gandadar,
pratapshahi, rajashahi, samudralehar and salaidar are again variations of stripes created by this
similar technique.

4.2 Block Printing:

Block Printing, Dyeing in RajasthanBlock printing has earned a reputation for itself in Rajasthan for
ages. Rajasthan has a long
legacy of its fine handprinted
cotton textiles. The craft has
been mastered over many
centuries and skills in block
printing, like dabu (resistprinting); khadi and warak
printing are unparalleled. A
stability of tradition is
apparent in the similar design
styles of printing that are
found even today, despite the
accessibility
of
modern
techniques
like
screenprinting.

According

to

figure 4.2a Block Printing

11

tradition in Rajasthan, craft skills are passed down the generations, from b 9parent to child, the
expertise remains within the family and people engaged in this trade form an identifiable group
called the `Chhipa community`.
The craft of block printing is practised in almost every village in Rajasthan. As it is heavily reliant on
water sources; hence, initially, commercial printing centres began to rise near water sources, the
most famous centres being Sanganer and Bagru near Jaipur, Barmer, Jodhpur and Akola near
Udaipur. Over time, each centre for block printing in Rajasthan has developed its distinguished
design style and techniques-for instance, sombre and low toned colours and delicate lines, creating
finer designs like the poppy, rose and lotus, usually against a white background, are well known
characteristic of fabrics that are printed at Sanganer. In contrast, motifs are conventionally big and
bold in Bagru, where dabu (resist-printing) and the dyeing process produce a reddish black shade.
Wild flowers, buds and foliage have provided inspiration to the printers of Bagru. In Jaisalmer, the
printers use wax resists and thereby create a dramatic wedding odhna called jajar bhat in red and
black.
The Rajasthani craftsperson usually creates a motif that is a blend of flower, bud and leaves or other
forms such as keri (mango), pan (betel leaf), katar (dagger) or jhumka (ear-ring). A notable feature of
Rajasthan`s block printing tradition is that animal motifs are usually not used on fabric that is meant
for costume. Royal patronage in Jaipur and Jodhpur encouraged local printers to work exclusive
designs on various kinds of garments. Motifs in this region have been highly influenced by Islamic
culture and floral designs that are often associated with other crafts like silverware, brass, and
marble. Local art is also a strong inspiration, as in Udaipur where the art pichvai painting is reflected
in the printed textile. Another example is Nathdwara where dyers make their blocks from
sandalwood and also add perfume to the colour mixture to produce scented fabrics.
The unique motifs on fabrics serve as a mark of group identity and, hence, have remained unaltered
since generations. For example, women of different communities use different motifs on their
ghaghras. The Jat uses the motifs like teetri bhat and koyali bhat. Young, unmarried Jat girls, wear
the dhola-maru motif, while older women of the Kumhar community use the daabri bhat motif.
Even now, when polyester and mill-made warp-knitted fabrics have become the norm, people still
strive to wear traditional designs on new fabrics. Block printing is one of the most basic techniques
of printing by hand. It is a popular, low-cost technique that is used especially, for small yardages and
single pattern designs on cloth pieces. The colours are derived from vegetables and metals
depending on local availability. Wooden blocks are the main printing tools and are prepared by the
local carpenters. These blocks are usually hand-carved from locally available wood and may be
rectangular, square or circular. The blocks have cylindrical holes that are drilled in the back to enable
the release of air bubbles during the printing process. Registration notches arc cut on the side of the
blocks to ensure proper arrangement for each subsequent colour. This ensures that each block
registers on the fabric accurately.

12

The gad, rekh and datta are three types of blocks that are distinguishable by their different styles of
carving. The gad is carved in intaglio and is engaged to print large background figures, while rekh
and datta are carved in complete relief. Rekh blocks also mark the outlines of the motif and are
often used in conjunction with gad blocks, the rekh then forming the fine elaborate lines within the
impression made by the gad block. Datta is carved in bold relief and complements the designs of
both the gad and rekh blocks. Each of these blocks is used separately or together to produce endless
design variations.
Some of the pastes that are used in block printing of Rajasthan are syahi, begar and dabu. Adding a
gum solution to the paste thickens it and thus provides a viscosity that is suitable for printing. The
begar paste prepared with fitkari or alum, gum and geru produces the bright red colour. Alum acts
as a caustic and combines with the colouring substance alizarin to produce colours ranging from
pink to deep red on cotton fabric. The process of block printing begins with washing and desising the
fabric. The printing paste is poured into trays known as saj. A bamboo net, chipri is then placed in
the wooden tray and a coarse woollen clolh, kambal ki gaddi, is spread over it. This prevents excess
colour from rising to the surface and ensures that the block picks up the dye evenly. Dried fabric is
eventually spread out on flat, softly padded wooden tables and block printing is begun from one
end. The block is lightly pressed on the printing tray and then pressed on the fabric, transferring its
impression on to the material. The process is one more repeated, thereby taking care to ensure the
blocks` alignment with each other over the entire cloth. Each colour in the design requires repetition
with individual blocks. The printed cloth is dried and washed again to remove the gum that was
added while printing. Finally, as the last stage, the fabric is dried in the sun.
There are several other processes of block printing that are often used in Rajasthan. In the direct
method the block is dipped in the paste and then pressed directly on the pre-treated fabric. This
does not involve any resist and no dyeing procedures are necessary. Dabu or resist printing is
another method of block printing. In this method, the actual sequencing of the process and different
stages of dyeing and printing can differ depending on the desired final pattern. The fabric is printed
with a mordant (alum) or a resist (dabu) or both. When a cloth printed with mordant is immersed, it
reacts with the dye and colour develops only in those areas, which have been treated with mordant.
If the fabric is printed with resist, however, only the areas that are unobstructed will accept the dye.
The fabric is first washed and completely cleaned, then treated with harda solution. It is then
printed with the pastes like syahi and begar in two distinct steps. The dabu is applied to the cloth
using a `datta block`. The areas resisted with dabu will not absorb colour on further dyeing.
Following the application of dabu, sawdust is lightly sprinkled over the surface to facilitate quick
drying of the fabric. Dyeing with alizarin develops a rich red colour in areas printed with the begar
paste. The fabric is then washed and dried and, if needed, printed again with resist before being
immersed in indigo dye, which produces a deep blue colour. Sometimes, nasphal (yellow dye) is also
used on the respective fabric. This can provide it additional tones of yellow and green. In some
regions of Rajasthan, the material is eventually dipped in the nasphal solution, whereas in other
places the solution is smeared on the surface.

13

The Dabu paste is prepared with clay. This mud-resist is removed once the desired pattern has been
achieved. Different types of dabu solutions are used. Some of these are kalidar dabu, dnlidar dabu
and gawarbali dabu. The latter one is produced from roasted seeds and has the maximum adhesive
qualities. The most commonly used, however, is the kalidar dabu, which is made with kali mitti
(clay), chuna (lime), bidhan (wheat flour) and gaund (gum), a natural adhesive. The clay is soaked
overnight and to this is added wheat flour (soaked in water) and lime solution. This is thoroughly
mixed by the treading of feet and gum is periodically added to this mixture. The gelatinous paste
thus produced is strained through a fine muslin cloth to remove any particles. The solution is then
ready for use in resist printing.
Block printing developed in Rajasthan bears a special trait with colorful prints of birds, animals,
human figures, gods and goddesses. The demand for block printing fabrics in Rajasthan are
increasing with passing years and are often seen to be sold in fairs and festivals at local and national
levels.

4.3 Ajrak Printing:

Ajrak printing has become famous in all the northwestern states of India. However, Rajasthan and
Gujarat are the major hubs for this kind of printing. The term ajrak may have evolved from the
Sanskrit word jharat, from which a-jharat or stable object was coined. This term could also be a
derivation of azrak, meaning
blue in Arabic, as traditionally;
blue happens to be one of the
principal colours in ajrak
printing.
This style of printing is
restricted to certain areas in
Rajsthan and Gujarat, like
Banner and Akola in Rajasthan.
The ajrak technique is used to
create
various
functional
garments, like the head
covering and the sarong-like
Figure 4.3 Ajarak Printing
lungi, both of which are
popular with the men in this region. It is also used as a wrap, a carrying cloth or a floor sheet.
Meghval and Sindhi Muslim women wear ajrak printed ghaghra and odhni. The process of this kind
of printing is very interesting. The raw fabric in full length is pulled exhaustively through the river
many times, scoured, beaten, steamed, mordanted, printed with resist mud-pastes from the banks
of the river, covered with powdered camel dung and ground rice husks; dyed in deep, deep madder
and indigo.

14

Ajrak fabrics are very precious in the world of textiles. Before the actual process of printing begins,
the fabric is washed and treated with a harda solution. Thorough washing and de-sizing is necessary,
as it improves the cloth`s capacity to absorb the colour.
Kariyanu is the first step in Ajrak printing. A resist paste of lime is imprinted on to the fabric. This
distinguishes the white outlines of the design. The borders are printed from left to right and always
before the main body of the fabric. Ajrak printing can be single or double sided. When the reverse
side is printed, the process is carried out; while the material is still damp, as fabric tends to shrink
when it dries. Syahi paste, which turns black on contact with alizarin, is used in the second stage of
printing. All areas to be resisted for indigo arc printed with gach, alum resist-mixed with mordant.
Dried rice husk is then speckled on the damp areas to fix the resist. The fabric is now immersed in an
indigo vat, then washed and finally dried. The next treatment applied is with alizarin. The cloth is
washed and dried, once again. It is then printed with fresh resist on all areas of the ajrak, except
those, which have been hued with indigo in the first immersion.
The fabric is dyed once again to develop its colour in a special process called mina. The deep, rich
shade of blue so obtained is characteristic of ajrak printing. Subsequently, the cloth is put through a
final washing and a special finishing thus gives the ajrak its characteristic lustre. In recent times, the
inclusion of nasphal in the dyeing process has added yellow and green to the ajrak palette. The ajrak
is clearly distinguished from other block-printed textiles not only due to its deep red and blue hues
but also in its structuring of motifs. Here, each of the motif`s quarters is produced by an identical
impression of the block, the four parts coming together forms the whole motif.
The Ajrak print is employed within a grid, the repetitive pattern creating a web-like design or the
central jaal. Apart from this jaal, border designs are also employed in the fabric. These borders are
aligned both vertically and horizontally and frame the central field, distinguishing one ajrak fabric
from another. The lateral ends are printed using a wider, double margin in order to differentiate the
layouts of borders.
Ajrak printing has recently gained great momemtum in the region and this form of prints is often
employed by the urban designers to give the garments a folk touch.

4.4 khadi or chamki work:

Printing and dyeing works in Rajasthan has earned immense fame in the past decades. Khadi or
chamki work as it is popularly called enhances the glamour of the fabrics, even the plainest textile.
Khadi or Chamki work, also known as Tinsel Printing, has been a long tradition in Rajasthan and this
manner of decorating textiles was extensively applied to the costume of royalty and the articles they
used. Though practised all over Rajasthan, Jaipur, Jodhpur, Barmer, Ajmer and Udaipur are the most
popular centres for their elegant khadi prints. It is fascinating to watch the designer making
exquisite patterns on wedding odhnis, saris and turbans with magnificent deftness and speed.
Previously, artisans of Rajasthan used gold or silver dust for Tinsel printing.

15

This was lately replaced by flakes of crushed mica, or cheaper metal powders, called bodal.
Nowadays, granular and fine metallic powders, in different colours on a gold or silver base, are
widely used for this kind of printing.
Khadi work is primarily done on garments that are worn for ceremonial purposes. It is also created
on garments like the kanchli, ghaghra, angarkha, jama, odhna and turban cloth. A special bridal
chunri called phavri or phamri is an essential part of the Rajasthani bride`s trousseau and is worn on
festivals like Gangaur and Teej. This wedding chunri is usually red in colour and has a special design
called khaja, printed in its centre. This ancient tradition of ornamenting cloth in Rajasthan makes use
of a special engraved brass block called a sancha, one end of which possesses a design or motif
pierced on it. The sancha is coupled with a matching carved wooden datta, which fits its borders,
exactly. The two blocks are used together to stamp designs on to the cloth. The sancha comes in a
variety of shapes, such as round, oblong, square and rectangular.
The brass block or sancha is filled with rogan, which is a thick viscous paste that the craftsman can
either prepare himself or buy the readymade product locally. This mixture is heated briefly before it
is poured into the sancha. The wooden data is then inserted into the sancha and with a syringe like
action is pressed out through its perforated end. The paste is then stamped on to the evenly spread
cloth. The stamping action is rapid but firm to allow the paste to form an adhesive film on the fabric.
Before it dries, gold or silver powder is sprinkled on the fabric, which settles on the printed design
and is fairly permanent. Excess powder is thus collected and reused.
The procedure of Khadi or Chamki work is repeated till the whole cloth is printed over and the fabric
is then dried. The most common motifs, used in khadi printing, are the phul, mogra, chandani, buti,
mor, keri and khaja. The ground fabric can be of any colour and does not have to be washed earlier
as in other printing techniques. This technique of printing has gained immense popularity with time.

16

Chapter 5 Embrodiary Of Rajasthan:

5.1 Quilting:
Quilting and patchwork are highly renowned textile crafts in Rajasthan. These techniques are
employed in the creation of a variety of articles,
starting from apparel to soft furnishings.
The ralli or quilt is best known of all these items that
involves patchwork and quilting. The ralli is made from
white material, the top layer of which comprises new
fabric. The lower folds that cannot be seen are made
with old garments, an excellent instance of the thrifty
nature of the artisans. The ralli is appliqud in
decorative designs with brightly coloured sections and
Figure 5.1 Quilting-Technique
cutout patterns. A cutout border is taken along the
margins and delicately created tassels of cotton, silk
and sequins that are attached to the four corners. Vibrant colours are used for the ground fabric.
The inspiration for this craft comes from the standards of economy and cautiousness, taken up by
the people of Rajasthan. Here, every available bit of fabric is used and recycled to create objects
that are, at the same time, appealing and functional.
This craft mainly uses two techniques; the first is patchwork, where geometric pieces are joined
together with a running stitch. A plain fabric then supports the patchwork and it is quilted in straight
lines with a simple running stitch. Articles such as floor spreads and camel trappings are made with
this method. In the second technique, pieces of fabric are shaped in geometric, floral or animal
forms. They are cut, hemmed and appliqud to large pieces of brightly coloured fabric that are often
into contrast. The patchwork and quilting technique is used in the fabrication of article chandani and
canopy.

17

5.2 Metal Embriodery:

Metal Embroidery, Embroidery of RajasthanMetal
embroidery, a popular embroidery style in Rajasthan,
primarily found its patrons in the royalty and the well-to-do
merchant classes who wore ornately adorned apparels. They
preferred gorgeous garments abundantly embroidered in
gold and silver because embroidery was thought to be
auspicious and also because it represented wealth, power
and importance. The royalty were so impressed by this style
of
figure
5.2
Metal
Embroidery
ornamentation that they often employed it on a wide range
of
fabrics other than apparel, like footwear, belts, caps,
cushions and even on elephant caparisons and canopies. The embroidery on these garments is,
sometimes, so extravagant that the surface of the ground fabric cannot be differentiated.
Metal embroidery can be classified into three kinds, zardozi, gota work and danke-ka-kaam. Gold
and silver are strained through a series of dies to obtain a fine thread. This can either be hammered
flat or used as they are found. It could also be enveloped around a silken or cotton filament core to
manufacture the thread. Nowadays, electroplating with other metals also achieves a similar effect.
This process is widely used in Rajasthan.

Metal Embriodery further dived into:

5.2.1 Zardozi
Zardozi is the metal embroidery that uses pure gold and silver
wire or the zari. Therefore, this type of embroidery is known as
zardozi and was, probably, derived from the Persian word Zar
that means gold and Dozi meaning embroidery. Thus Zardozi
refers to sewing with gold string. Zardozi work is also known as
karchobi, which is derived from the word Karchob or
framework. The embroiderer stretches the fabric tightly on a
wooden frame, within which this style of embroidery coins to life
Zardozi is to be worked in two distinct styles. The first, karchobi,
is distinguished by the density of its stitches on a heavy base
material such as velvet or satin. It is usually seen on garments like
coats, tent coverings, furnishing and canopies.

Figure 5.2a Zardozi Embroidery

18

The second is kamdani, the

lighter, more delicate work,
which is well-known in
Rajasthan. Kamdani adorns
elegant fabrics like silk and
muslin. Although this kind of
work is considered to be most
suitable for scarves and veils,
these days it is most visible on
bridal wear.

figure 5.2a

Doing Embrioderd work is the intregal

part of the lifestyle of the people of
Rajasthan ,It can be seen eveywhwhere.

figure 5.2b

19

5.2.2 Gota Work:

Gota work or Lappe ka kaam is also a form of fabric
ornamentation that was perhaps developed in Rajasthan.
It is also known as gota-kinari work and lappe-ka-kaam. On
religious, social and festive occasions, men, women and
children dress in their finest clothes that are often
ornamented with Gota work or Lappe ka kaam. Gota lacing
is extremely popular and odhni and turban edges of
Rajasthan are often worked with it. Many printed or
embroidered ghaghras are also trimmed with gota work.

Figure 5.2b Gota Embroidery 1

5.2.3 Danke-ka-kaam:
2.3 Danke-ka-Kaam, Metal Embroidery in RajasthanDanke ka kaam is a specialty in terms of metal
embroidery of places like Udaipur and neighbouring areas. This craft is particularly distinguished by
the use of a small, metallic square around which the zardozi work is usually done.

figure5.2b Danka Embroidrey

20

5.3 Surf Bharat:.

he Suf Bharat embroidery style bears a resemblance to the Phulkari of Punjab, Baluchi embroidery
of Iran and the needlework of Swat and Hazara in Pakistan. This embroidery work can, thus, be
identified as a style of embroidery common to the wider region of Southwest Asia. [1]

In Rajasthan, Rabari women are well known for embellishing many

household articles with suf bharat embroidery style. Among these
are articles of daily use like the rela, a type of odhni, the
thalphosh, which is an envelope for a plate and the bokani, which
is a long embroidered strip of the fabric that can be tied at the
waist or wrapped around the head. This embroidery is also popular
with Jat, Bishnoi, Meghval, Rajput and Sindhi Musalman women.
The distinguishing feature of suf bharat embroidery style is that it
is worked from the reverse side of the fabric in surface satin stitch,
forming superior geometrical motifs. The style is also known as figure 5.3 Surf Bharat Embroidery
tantik that is derived from the word tantu (thread), since the
embroiderer works in the motifs by counting the warp and weft threads.

5.4 mukke ka kaam:

Mukke ka kaam, a type of embroidery in Rajasthan extensively uses the gold and silver threads to
make the fabrics even more attractive. The gold and silver metal threads are known as mukke-kakaam that produces stunning embroideries that are used widely in Rajasthan.
Mukka is the local name for metallic gold or silver thread that is wound around a core of cotton
fibre. Both golden and silver mukka is used in this embroidery work. This style is mostly done in the
Thar belt of Rajasthan, especially among the Sindhi Musalman and Meghval communities.

21

5.5 Pakko bharat:

Pakko bharat is a style of embroidery, so called for its sturdiness and longevity. Pakko is derived
from 'pakka', which means, permanent. In this style of embroidery, a tight square of chain and
double buttonhole stitch is supplemented with the satin stitch and fly stitch that are used to create
a dense pattern on the cloth.
The motifs used in pakko bharat are both geometric and floral. These are
first shaped out with a chalk like substance and then worked mainly in
shades of red, dark green and gold or yellow with a characteristic black,
though sometimes yellow or white borders. Mirrors, called tika are used
as the centres of the flowers and to form border designs. Though
embroidery threads of silk may be employed, cotton is usually favored.
Trimmings like mirrors, beads, buttons and tassels enhance this style to
produce richly ornamented chadars, odhnas, and kanchlis.
figure 5.5a Pakko Bharat Embroidery

5.6 Mochi Bharat:

Mochi Bharat or leather embroidery is a style of embroidery that is
common to most parts of this region. Mochi Bharat was actually
developed to ornament leather objects and is usually created on
shoes, animal saddles and trappings. In addition, gold and silver zari
is greatly employed on accessories like leather belts, bags and
walletsUsually, soft leather is used in this type of Rajasthani
figure5.6 Mochi Bharat
embroidery as it is easy to work on. Lately, however, Mochi Bharat
style of embroidery has also found its way into the decoration of textiles like cotton, silk and velvet

22

5.7 Karak:
Kharak, Embroidery of RajasthanKharak, another well-known
style of embroidery practiced in Rajasthan, derives its name
from the fruit of the desert, the date, and locally called kharak.
Its characteristic feature is its clusters of narrow bands or bars
of satin stitch. The embroiderer deftly counts warp and weft
threads on the ground cloth, producing the perfect geometric
patterns in which the bars are arranged. In case of pakka
embroidery, the design is first created on the cloth. The
needlewoman uses a black double running stitch as she
Figure 5.7 Karak Embroidery
counts. The outlines are later filled in with multi-coloured
thread. Strange effects are produced using the satin stitch to form small rectangular designs.

Cotton threads in bright colours add vitality to the base fabric. The design is accentuated by green,
white, pink and yellow within a stark black outline. Often, mirrors are stitched onto the pattern and
set in a ring of blue, with embroidered white lines radiating from them, creating motifs that
resemble the sun. Kharak bharat motifs are limited and sometimes human figures are brought out in
chain stitch. Popular designs for Kharak embroidery include bewari kharak and ghinghro wall kharak

23

Chapter 6 Costumes Of Rajasthani Women:

Costumes for Rajasthani WomenThe costumes for Rajasthani women
are much like the region and culture itself that are equally colourful.
The status, moods, emotions and even the seasons are portrayed by
the costumes of the Rajasthani women. Probably, all the colour and
splendour of the state is reflected in the vitality of their dress and ornament.

For centuries, the costumes for Rajasthani women have featured a specific pattern of dressing that
is particularly unique to that very state. The most commonly worn by the women in Rajasthan has
been a combination of upper garment clothing that includes the puthia, or kanchli and kurti; and the
lower garment clothing that includes the ghaghra or skirt and the veil or odhni that is draped to flow
across the upper and lower parts of the bo dy. There are numerous variations and additions to this
ensemble across and within communities, depending on the wearer`s social position. However,
these three items of dress comprise the essential costume that is typically worn by women in
Rajasthan even today.

The most important factor that determines variation in a woman`s costume in Rajasthan, within a
community is her marital status. Bright colours, heavy ornamentation and rich fabrics that is
associated with marriage, fertility and the status of a woman`s life. In sharp contrast, a widow`s
dress, though similar in style, is dull in colour and lacks embellishment, emphasizing abstinence.

Figure 6.1 woman in traditional daily wear dress

24

Numerous variations in style, cut, colour and embellishment are clearly visible in the various
communities of Rajasthan.
The costumes of Rajasthani women are also an indicator of social status. For instance, the Rajput
women, who belonged to the highest social order, customarily followed the parda system where
women`s movements were, by-and-large, limited to the zenana. Their costume, in the privacy of the
women`s quarters, could be elaborately decorated and free of restriction. Their ghaghras were fairly
short exposing beautiful leg ornaments, as are portrayed in numerous paintings. However, as the
parda became outdated, Rajasthani women`s attire saw corresponding-changes to ensure the
preservation of feminine modesty in public places. Therefore, the length of the ghaghra was
increased to avoid exposing any part of the leg and feet. The present day Rajput ghaghra now trails
on the ground that however looks even more beautiful. In contrast, many women who work in the
fields wear ghaghras, which end about 10 cm. above their ankles, as dictated by their occupation.
They also wear leg and ankle bracelets that are not just for adornment, but also as protection
against brambles and bites as they walk through the fields.
In some parts of Rajasthan, a single coloured odhni tells that girl has not yet reached puberty, a
large bandhni circle on one corner of the odhni states that she is married; and a single large circle in
the centre, in bright red, tells that she now is a mother-and suddenly, the colour deepens, the circles
become shadowy that means she is a widow. These concepts of form, colour and ornament are an
integral part of the heartbeat of oral thought and tradition.
Costumes of Rajasthani women has been a dazzling piece of attire since ages and with the passage
of time many more process have been implemented to make these costumes even more beautiful.
However, the traditional style of Rajasthani attire still exists with few modern embellishments

6.1 Puthia:
Puthia is the upper part of the attire of Rajasthani women. In Rajasthan, newborn babies, young
unmarried girls, elderly women and widows wear the puthia as their upper garment.
Puthia indicates the non-fertile, sexually inactive phase of a woman`s life. Therefore, this Rajasthani
costume is abandoned only after the girl attains puberty, even though she may marry in the tenure.
This is, especially so, in case of child marriages where the bride goes to her marital home only after
puberty starts. Puthia is worn among all Hindu communities with slight variations in style and
construction that are analytical of the community to which the wearer belongs.
The Puthia is very much alike to the angarkha, especially it is the shorter version, the angarkhi and is
similar in pattern. The antiquity and indigenous origin of these garments is derived from the roots of
the term angarkha, derived from the Sanskrit: anga or body and raksha or protection. Usually
unbleached, hand-woven khaadi cloth is used to create this garment though some communities may
also wear printed cotton, brocades and plain coloured fabrics. The Puthia is a double-breasted
garment with the higher flap crossing over the right side and tied with a cord under the left armpit.
The entire length of the garment is constructed from a single piece of fabric, thus there are no joints
25

at the waist and the garment ends gracefully at the hips itself. The sleeve-length may vary from
short, elbow, to full-length. Though the garment is usually white, contrasting piping or magazi,
usually in red poplin, is sewn along the edges.
The harsh landscape of the desert and scarce resources of the environment has taught rural
communities in Rajasthan to be far-sighted, a quality evident in their judicious use of cloth. For
instance, the pieces of the puthia are cut in geometric shapes-squares, rectangles and triangles-to
minimise wastage. These are the most economical shapes and the style is reminiscent of patterns
from the earliest times. The puthia is constructed of two front panels, one front extension, one back
piece, two sleeves, four side panels and two gussets. The opening is in the front (centre), with one
to three buttons or ties. The neck is deep, shaped like a horseshoe, with its widest portion over the
chest. An inner flap or the parda covers the chest with a high rounded neck, and thus fastens on the
inside of the right shoulder with a loop and cloth button. This flap is also held at the waist with cloth
tie-cords and is further attached to the ridge, which runs along the side.
The back has a plain and straight cut, with hardly any shaping. Defined contours are added to the
front and back by the addition of flared side-panels. These side-panels are left partly unstitched at
the lower ends of the side seams, to form slits for the ease of movement. The puthia sleeves
perfectly fit into a square or slightly circular arm-hole and taper towards the hem. The shape of the
sleeve at the armhole may be either slightly egg-shaped or straight. Fullness and shape under the
armhole come from the use of triangular gussets known as khankhi. The neck, centre-front, sideslits, hemline and sleeve edges arc trimmed with bias binding, approximately 2.5 cm wide. This bias
is attached on the double. The fabric is turned, with the fold on the outside and the two unfinished
edges stitched into the garment. This type of facing is also used to distinguish the upper and lower
portions of a woman`s attire and is appliqued by topstitching at the chest area of the puthia. Most
of the joints are closed and finished with clean seams leaving no raw edges on the inside, which
makes this hand-stitched attire very comfortable.
The application of colour in a Puthia is also strongly indicative of the community and social order of
the woman. A newborn wears a red puthia with green piping but among most communities, after
the child`s first Holi, the festival of colour, the colour of the garment is transformed to white. An
unmarried Bishnoi girl usually wears the traditional white pichodi with red piping, while Jat girls
usually dress in printed red chhint with small floral designs. The unmarried Rajput girl wears a puthia
of satin, cotton, brocade or velvet fabric that are usually in yellow, pink and white and, sometimes,
red fabric with small bright green motifs.
Puthia is a traditional wear of women in Rajasthan and is distinguished for its simple elegance that
not only gives the wearer a sobre look, but also comfort in the scorching heat of the desert region.

26

6.2 kanchli:
The Kanchli, often known as Choli or Angia, is an upper garment worn by married women in most of
the Rajasthani communities. Sculptural depictions of a stitched upper garment in western India
suggest that its
usage
began
around
the
beginning of the
Christian era. Until
then, the upper
part of the body
was
probably
covered with a
simple, unstitched
piece of fabric.
Sculpture,
paintings and early
Sanskrit literature
has
plenty
of
references to a
piece of cloth of
varied description
and width that was
simply or artfully
figure 6.1b kanchli
tied around the
chest. In Hindu tradition, a stitched garment is usually considered impure even today, especially in
rural areas, the practice of draping unstitched cloth as an upper-body covering continues specially at
marriage ceremonies and religious occasions. Among some tribals of Rajasthan, the upper garment
is a contemporary addition to their costume. Until recently, the brides of the Maheshvari
community in Rajasthan wore a very simple wedding dress, where the body was wrapped only in a
white sari. It was called a kavaljoliya, like a kamal (lotus) flower, and no stitched garments were
employed for the marriage ritual.
The Gupta period saw the introduction of the kanchli in western India. It is actually a small bodice
with sleeves. In Sanskrit literature this garment is referred to as the kancuka, kan-culika, kurpasa,
kurpasaka, choli and angia. It was adopted by women in northern and western India and became a
usual feature of their attire, especially in the region that is now Punjab and Rajasthan. Kanchli
continued to be worn through the medieval era and is the upper garment of a married woman in
Rajasthan and neighbouring states even today.
27

Among most communities in Rajasthan, a girl alters her upper garment from puthia for a kanchli
only when she gets married. This is done after completing the fourth phera, the fourth of the seven
circles around the sacred fire in the traditional Hindu wedding ceremony. Although kanchlis are
sometimes made from other fabrics like silk, satin and even velvet; cotton is the most preferred
fabric for this attire throughout India. Western India with its scorching summers ensures this attire
to be the most comfortable one for the married women.
The fascinating choli or kanchli fits firmly on the curve of the womanly figure. It is the finest example
of the technical grasp of the moulding of a flat two-dimensional material, the fabric, to the
boundaries of a three-dimensional form, the human body. Like the puthia, it is produced employing
the geometric sections of cloth. The few scraps of fabric that are left over after the garment is cut
are used as trimmings, demonstrating, once again, the thrifty nature of these people. Together with
the borders that have no raw edges on the inside give the kanchli further strength and prevent
scratch of the tender skin at points of contact. The cutting and construction of the garment supports
the womanly figure and gives the body a pleasing silhouette. The garment is designed to enhanceand thus draw attention certain parts of a woman`s body.
The cords attached to both sides at the back allow for minor changes in body proportions. Tying the
strings of the Kanchli loosely or tightly accommodates during periods of pregnancy, lactation or
changes in body weight. This makes kanchli extremely comfortable and user friendly. The tie cords,
made of wool, cotton, coloured thread or strips of fabric, are very attractive. They can often be long,
touching the hem of the ghaghra, with tassels at the ends. The tassels of the attire are decorative,
worked with beads, shells, gold and silver threads and mirrors. The cords sway with the movement
of the body, adding grace, beauty, motion and, sometimes, even music to the step.

6.3 Kurti:
The kurti is an upper garment worn with a kanchli. Kurti is not seen in ancient paintings or
sculptures and seems to be a modern trend, perhaps, not more than 200 years old.
Kurti, Costume for Rajasthani Women In the earliest paintings, for example, of the Banni-Thanni of
Kishangarh, only the kanchli attire was seen. It was possibly under the increasing power and
influence of Mughal rulers that it came lo be considered immodest
to reveal so much of the upper part of the body of women started
wearing a kurti. However, in the passage of time the angia or
kanchli is still preferred for regular use. In Rajasthan, only married
women are required by tradition to wear a kurti. Amongst the
Rajput, a widowed woman rarely wears the kurti.
The kurti is usually a sleeveless garment with a deep, horseshoe
shaped neckline. Since the neck is expanded, most of the kanchli
worn underneath is clearly exposed. Bias binding is sewn around
the armhole, neckline, side plackets and hem, enclosing the raw
28
figure 6.3 Rajasthani Women In Kurti

edges and adding colour. Variations in the construction of the kurti exist among different
communities. For instance, the kurti worn by Bishnoi women has the slitted side and a deep neckline
that reveals almost all of the kanchli. The kurti has its front open, much like a jacket, where the left
side has an extension for an overlap over the right part. Piping is added at the edges with a string
holding the overlap at the side seam and the front is fastened with buttons and loops. On the other
hand, the Rajput kurti has no centre-front opening and is easily slipped over the head.

6.4 Ghagra:
Ghagra is one of the most gorgeous and feminine attire for
Indian women. Although Ghagra has been popularised all
over India, its origin is traced to be in western India,
especially Rajasthan.[1][6]
Ghaghra, Costume for Rajasthani Women Early Indian
literature, speaks of the bhairnivasini, a skirt like garment,
which originatedfrom the antariya, a simple tube-shaped
garment. This was stitched on one side, gathered and held
at the waist by a girdle. Women wore it as a lower garment.
It later evolved into a skirt with a drawstring called the
ghaghri. The ghaghri was a narrow skirt, made from five
and a half metres of fabric - the same length as the original
antariya. Representations of a similar garment can be seen
in Buddhist sculptures and paintings dating from the
figure 6.4 Ghagra
Kushana or early Gupta period. This was probably the
prototype of the modern ghaghra.Ghagra in India is known by many different names, depending on
the regional style, the most popular, by far, being the ghagra. Other names in literature for the
woman`s lower garment are amsuka, ambara, antariya and jaghanamsuka. Another term used was
the lekanga, a compound of the Sanskrit words-lanka (waist) and anga (body or limb). The lehanga is
generally related to a panelled skirt that is narrower than the Rajasthani ghagra. However, there are
no stiff definitio ns and the terms have found a more generic usage. This and other styles of the skirt
are very popular in North India.
From the fifth to sixth century A.D., the ghaghra came into common use. It is now worn in all parts
of the country, but the ghaghra`s most prevalent and varied form is seen in Rajasthan and its
neighbouring states. It is almost always worn with a kanchli and odhni. Sometimes a patka or
phetiya is worn as a centrepiece over the ghaghra to control its volume and fabric. This prevents any
random movement of the ghaghra that might expose the body. It is distinct and bright in colour and
decoration than the ghaghra and indicates a high social status. It is seen in early Rajput paintings
and sculpture and was essential wear for women entering the royal zenana. The ghaghra is actually
a long skirt, which has the construction of a simple gathered skirt or a flared gored skirt. It wraps the
29

legs fully or partially, depending on the norms of propriety among different ethnic groups, although
a long ghaghra usually relates to a more puritanical modesty.
Ghaghra, Costume for Rajasthani Women The flare of the ghaghra in Rajasthani custom has inspired
much romance and passion in the works of folk singers, poets and painters alike. Gherdar, assikali ko
ghaghro, ghumerdar ghaghra, kali kali ma gher are romantic expressions from folk songs, thus
describing the beauty of the ghaghra worn by the female protagonists. The central figure in
Rajasthani paintings is always shown wearing the most voluminous embroidered ghaghra. Expensive
fabric, beautiful embroidery and other ornamentation reflected the wearer`s high social status. Also,
the greater the volume, the more fabric the woman had to
contend with, so it was indicative of her physical strength and
affluence. To accommodate the fullness of the figure and the
flare of the skirt, a horizontal line was stitched along the hem.
This was known as the seva, a tuck in the fabric, so that the skirt
fell consistently to the ground. This also enabled its length to be
changed as and when required, keeping the garment in use for
long periods of time and probably even allowing it to be passed
down through successive generations.
The kalidar ghaghra is the most popular of these attires. It is a
long garment with numerous vertical pleats. It is like a gored skirt
in construction, each gore being a triangular section, known as a
figure 6.4a Ghaghra for weading
kali. A large number of kali are sewn together to form a ghaghra,
which flares at the hem. The size of each panel ranges between
communities but is most commonly 5 cm. wide at the apex and 20 cm. at the base. When extra
fullness is needed at the waist, the panel is cut 10 cm. wide at the top. The number of panels in a
ghaghra may vary from 20 to 100. As much as two bales or 20 meters of fabric can be used in a
single ghaghra. Amongst Rajputs, a poshak or a three-piece ensemble was presented to the bride by
her mother-in-law during the wedding. This poshak had to include a 100-panel ghughravaat
ghaghra, which would have little gold bells that were sewn along its hem.
.A married woman`s ghagra in Rajasthan has two bindings, namely the broad strip, varying in width
from 2.5 to 10 cm. and finer strip of 0.5 cm piping. The broader piping is in different colours, red
being the most popular. Sometimes, it matches the colour of the ghaghra. Saffron is used for the
fine piping known as guna. Magazi was traditionally the choice of women in the upper class of
society. As one went up the social status, the magazi grew broader while the less privileged used a
narrow piping called got. A strip, cut 10 cm. wide on straight grain, is attached under the ghaghra all
along the hem. This edging is called the pherwaj and is made with red un-coloured cotton. It serves
to finish the two pipings and also adds weight and strength to the garment. The drape and fall of the
ghaghra is thus enhanced. Traditionally, the kalidar ghaghra is handstitched with plain seams.
The pat ghaghra is made of several rectangular panels of fabric, which are sewn together. Gathers or
knife pleats are sewn in at the waist to give the skirt fullness. The finishing of the skirt is the same as
30

the kalidar ghaghra. Usually, silk or satin is used for the pat ghaghra, which is heavily ornamented
with metal embroider. Satin and silks are fabrics that tend to skirmish easily but are still used to
make pat ghaghra as the construction of this skirt requires larger pieces of fabric. Elderly women
and widows wear the pat ghaghra. This may be due to the fact that less fabric is required to make
them and they are less ornamental. Although among certain communities such as the Maheshvari,
pat ghaghra is the norm and used for festive, ceremonial and everyday wear.[8]

6.5 Odhna:
The odhna is also called as odhni. It is a veil that represents the continuation of an unbroken
tradition of wearing unstitched lengths of fabric that was the favored style of clothing during ancient
India.
Odhna, Costume for Rajasthani Women The Vedic literature identifies the use of the stole as a
universally worn overgarment
called
the
uttariya that is a length of
fabric draping the top half
of the body. Early Sanskrit
literature has a wide
vocabulary of terms for
the veil or stole, such as
avagunthana, mukhapata,
nimngika,
sirovas-tra,
nirivigi, and yavanika.
The odhna is embellished
by many methods of
ornamentation.
These
designs
are
usually
figure 6.5c women in Odhani 1
dictated by tradition.
Nevertheless, each woman contends with the other to wear a more beautiful odhna in Rajasthan.
Some of the practices used to bring these exquisite odhna to life include bandhani, block printing,
weaving and embroidery.. Block prints of Rajasthan also decorate the odhni-bhindi bhat, lalar,
morya, karna and jaaj bhat are some common patterns. A striking odhna, known as phavri or
phamri, is made of fine red voile, using a modified technique of block printing called tinsel printing.
Gold or silver flowers are printed all over the fabric that are outstanding in relief. Brides wear a
phavri as part of their wedding dress[1].
The most common form of surface ornamentation is the use of gota work on odhna. Woven bands
of gold and silver produce dazzling floral and geometrical patterns. These designs arc distributed
mostly around the head and the end pieces. All communities use this form of embroidery. Other
31

styles of embroidery such as mukke-ka-kaam, kharak, suf, pakko bharat, kaccho bharat and
khambhiri are also used to ornate the odhna. Certain weaves create exquisite designs on the surface
of the odhna. Among Rajput, Osval and some other communities, the brocade technique is used to
weave odhna, with silk threads in gorgeous colours, like bright pink and violet. The beauty of the
odhna lies in the variety of its patterns of draping. In one such style, Rajasthani women pleat and
tuck one end of the odhni into the left side of the ghaghra. The other end is carried under and
behind the left arm, over the head from the back, onto the right shoulder, and tucked back into the
ghaghra on the front left, covering the chest. Odhna, Costume for Rajasthani Women
Among the odhna, the chunri is the most frequently used. This is a tie-dyed odhni for the married
woman of Rajasthan and its loveliness is often extolled in folk songs and stories. It is usually red,
with designs like birds, flowers and leaves that are set in white. Another kind of odhna is the pila. It
has a yellow base, a red central motif and borders and is symbolic of the arrival of a newborn in the
family in Rajasthan. The lotus flower, a symbol of purity and fertility, lends its name to an odhna
called the pomcha, which is made in bandhej and is a combination of red and yellow or red and pink.
The borders and central flower are bright red on a ground of pink or yellow.
The odhna holds an important place in Rajasthani culture. Each element of the odhna alters to blend
with the corresponding changes in the age and status of a woman. The fabric of the odhna is also
firmly interwoven with the lives of the people. Particular colours and patterns symbolise various
milestones, from childbirth, adulthood and marriage to death. Brides wear odhni of specified
colours on their wedding day. Once married, the patterns and colours of a woman`s odhni reflect
her status. Different coloured odhni are worn on festive days such as Holi and Teej. For example, a
phaguniya with its traditional white base, red borders and red central design is generally worn for
Holi.
The odhna is considered as the symbol of a woman`s community, her social and marital status as
also her sense of modesty in Rajasthan. Greatly celebrated in literature, art and music, the odhna
remains as popular attire of Indian women and finds place even in the expressions of popular
culture of contemporary times

6.6 Bandi:
The bandi is a close fitting, sleeveless or, sometimes, short-sleeved inner garment that is very much
similar to the omnipresent vests of urban areas. It serves as a cool and comfortable garment, such
that in the privacy of his home, a man will often take off his kurta and relax in a bandi.
Most communities in Rajasthan use bandi as an inner or under garment, men of the Kumhar or
potter-community, choose to wear the bandi as their outer upper garment, though, occasionally,
they too wear the angarkhi. Comfort being its major function, the bandi is tailored from unbleached
white cotton khaadi, which is softer than the fabric used for outerwear. Fine cotton muslin is also
used, as in the case of the bandi worn by Maheshvari men. The garment is cut on a true bias or
diagonally across the warp of the fabric for maximum stretch. This makes the attire of bandi
especially comfortable, as it does not restrict the wearer`s movement in any way.
32

The bandi generally features a round neck in the front and the back. Different communities of
Rajasthan wear the bandi with variations in the neck openings. For example, a central placket with
buttons could be incorporated or an opening on the shoulder with ties. On festive occasions the
Kumhar bandi has five silver buttons that are linked by a chain. Often the garment has no opening
and some fall just a fraction below the waist, while others may completely cover the hips. A slit
pocket on the left side, about 20 cm. Wide is a feature of the bandi that is used for holding valuables
and money before wallets became commonplace and which in rural areas still serves the same
function.

33

Costumes for Rajasthani Men, Costumes of

RajasthanVibrant colours and patterns define the
regal state of Rajasthan. This predominant vivacity is
reflected in the costumes of Rajasthan as well.
However, it must be noted that a lot of significant
facts are closely related to the costumes for
Rajasthani men and women. In fact, the costumes
worn by the men of rural Rajasthan still reflect the
clothing style of those who lived in the olden times.
Amongst a host of garments worn, the big and
colourful turbans stand out in the dresses of
Rajasthani men.

figure 7.1 People Of Rajasthan

Being a frontier state, Rajasthan`s people have been exposed to a sustained interaction with
outsiders who entered India in consecutive migratory waves. Consequently the men`s clothing is an
adaptation of numerous historical and foreign influences and is presently an amalgamation of
stitched as well as unstitched garments. While most items are of native origin, elements of a definite
foreign influence are also apparent. The apparel for Rajasthani men are somewhat more restrained
than the women`s clothes and are still quite varied in form and texture.
Traditionally, the lower garment of Rajasthani men is the unstitched dhoti, the truly native Indian
costume, or a stitched garment such as the pyjama, which is a type of trouser. Some garments
related to the pyjama include the suthan, izar, shalvar or salvor, survala or sural and ghutanna. The
upper garment of the Rajasthani men can include a bandi and a kurta or tunic that is commonly
worn. During formal occasions men dress in the angarkha and sometimes a garment called the
achkan or shervani. The turban and a draped piece of fabric around the shoulders complete the
ensemble. Shawls and blankets, usually made of camel and sheep wool, are seasonal additions that
are useful for warding off the biting cold of Rajasthan`s winters.
Two other upper attires for the men of Rajasthan are the jama and the choga that plays an
important role of the male ensemble in the Mughal era. Although superbly tailored and
ornamented, the jama and choga are now seen mostly in museums. However, it would be
inaccurate to say that they have disappeared completely. Some of the influential and royal families
still wear such garments, although only on ceremonial occasions. As formal wears are made of
comparatively light material to suit the local climate, the jama may well have developed a cut and
form of its own in the north Indian courts, especially in Rajasthan. The attire of the gentleman is
incomplete without a long stole that depends on the section of society that could be an angocha or
a dupatta.

34

The two upper garments worn by the Rajasthani men are the bandi and the angarkhi, although
today the kurta is considered to be the traditional wear and takes precedence over all other
garments. Among royalty and the aristocracy, garments like the jama, achkan, shervani and choga
are also worn. Interestingly, the Rajasthani men have a wide range of upper garments to satisfy their
sartorial tastes.
Two other such Rajasthani men garments are the chapkan and the chasuble. In addition to these are
a large number of jackets like sadri, mirzai, jarji, and fatu. There are two categories of lowergarments worn by the men of Rajasthan, unstitched and stitched. The unstitched garment is often
called the dhoti, while the pyjama, in all its styles and the Jodhpur-breeches are categorised under
stitched garments.
The men in Rajasthan wear colourful headgears called the pagri or the turban depending upon the
climatic condition of the particular region. The tradition of wearing bandhni clothes in Rajasthan,
north India has been going on for time immemorial. Tie-dye drapes, dupattas and turban are
common costumes for the men of Rajasthan.

7.1 Kurta:
Kurta, Costume for Rajasthani MenKurta is the most common upper garment of Rajasthan that is
lately adopted as the casual wear for many Indian men. The development of the upper garment,
known as the kurta, probably began in the nineteenth century and it is, at present, a popular
garment among men of Rajasthan. The length and girth of the kurta may both differ from region to
region and it can be customized in a range of styles.
The kalidar kurta is made from several geometrical
pieces. It has two rectangular central panels in the back
and the front. The width of these panels is almost equal
to the shoulder size and the length varies from above
the thigh to below the knees. Four, flared-side panels
called kali, are attached on either side of the central
panels. Their shape is roughly triangular, narrow at the
top and wider at the bottom to achieve the desired
fullness. This ensures a snug fit around the chest, which
lends the lower part a loose-flared fall. Comfort is
further emphasized by deep slits at the side seam. The sleeves, which are generally full-length, are
also rectangular. They are cut square at the top and the armholes are set somewhat deep. Small
triangular gussets are then inserted under the arms and the sleeves taper very slightly towards the
wrist. The neck of the kurta is often round; although it may sometimes also have a Chinese collar
and most garments have a side pocket. The centre front opening has a placket with buttons and
buttonholes as closures. Sometimes, buttonholes are made on both sides of the placket, into which
silver or gold buttons are inserted, which are held together by ornamental chains.
figure 7.1a 1

35

Another type of the original kurta has two central panels, back and front, which bulge out at the
bottom. The armholes are also shaped and the sleeves are fitted into them with a gusset. A shorter
variation of the Rajasthani kurta is the jhulki. Interestingly, both the men and women of the Garasia
community in Rajasthan wear it. The men`s jhulki is essentially white in colour. It is a half-sleeved
garment that has three buttons on the front. It has a pocket stitched on the left side of the bodice.
More recently, men have also adopted a garment, which is a cross between the classic men`s shirt
and the traditional kurta. This pattern has been adopted as casual attire of urban men as well. It has
a shirt collar, cuffed sleeves and a kurta placket. It is as long as a kurta and its cut is the same but the
hem is shaped with short slits t the side seam.

7.2 Angarkha:
The angarkha is a part of the traditional male collection and is worn by
almost all communities in Rajasthan. While the angarkha is the longer
version, the shorter angarkhi is cut in a similar style.
The angarkha is actually the formal wear of the affluent class in Rajasthan.
Rajasthan`s pastoral and
tribal communities may also
wear the angarkha on
particular
occasions,
figure 7.2
however, for day-to-day
activities, men usually wear
the shorter version known as the angarkhi that is
also known as the puthia in the region. Styles and
lengths vary from region to region but the basic cut
of this garment remains the same. The unique
design element of an angarkha is the round-edged,
sametime, triangular opening at the front and the
inner pa nel known as the parda, which covers the
chest and is visible through the cut out portion of

the yoke. Some angarkha are made like a paneled

coat while others are tailored by joining the bodice
and skirt at the waist-although traditionally there was no seam at the waist. The fullness of the skirt
varies, and does the size and shape of the garment. To improve mobility of the wearer, slits are
occasionally made at the sides and also at the wrists. The angarkha is usually fastened at the neck,
underarm, chest and waist with fabric ties or cords. It is interesting to note that in the Muslim
tradition, the visible outer tie cords are positioned under the right armpit, while the Hindu angarkha
have the noticeable ties under the left armpit. The inner fastenings are on the opposite side. In fact
in Rajasthan and other parts of the country this style of tying still distinguishes the two
communities.
figure 7.2a Man in Angarkha 1

36

Conventionally, the angarkha is made of

plain silk or brocade, especially for wedding
occassions. Fine cotton voile is also used
and block printed cotton, with gold tinsel
printing makes for a more dramatic
angarkha. There are some impressive
examples of elegantly tailored and
handsomely embellished angarkha that are
on display in Rajasthan museums. Angarkha
made of thick and, sometimes, quilted
materials are worn in winter while fine
cotton is obviously preferred during the
summers. At many Rajasthani courts and in
figure 7.2b Angarkha
other parts of Northern India the popularity
of angarkha as a garment for formal wear
continued into the nineteenth century. Its length and flare swayed to the dictates of fashion and
varied over periods of time but its essential shape has survived unaltered.
In Rajasthan, even common people were said to wear a relatively light garment whenever they were
expected to be formally dressed. It was called a kamari or kamari angarkhi meaning-that which
reaches the waist. As mentioned before, the basic cut of the angarkhi is general among all the
communities of Rajasthan but differences are seen in the length and flare of the garment, the type
of fabric and piping used as well as the usage or absence of colour.
The length of the angarkha can vary from 5-7.5 cm. below the waist down to the ankles. The
Gaduliya Lohar`s angarkhi is waist-length and its full sleeves have 5 cm. wristbands cut on the bias
with no slits. The Gujar`s angarkhi ends and reaches the hipbone. The Jat angarkhi falls just a little
below his waist and the Meravat wears a long angarkhi.
Thus, the style of the garment seems to be mainly prejudiced by the wearer`s social status, the type
of work the community does and the circumstance on which it is worn. The Rajputs, who were
chiefly landowners and, therefore, wealthy enough to afford quantities of fabric, preferred a flared,
ankle-length garment. Similarly, the trading communities such as Maheshvari, Osval and Agarval,
who were thought to be of a high status in the society, wore a knee-length angarkha that was made
of soft cotton khaadi. Significantly, Rajasthani people who were traditionally involved in more
sedentary work would wear a garment like this at all times. A farmer, on the other hand, would
reasonably wear a shorter, close fitting attire.

7.3 Jama and Baga:

Jama is perhaps more Mughal in its style and has possessed the generic North Indian name. The
local name for a garment, less flamboyant, but of a similar cut and construction is the baga. The
37

jama has a tight fitting bodice, high-waist and a flared-skirt, which can vary from knee to ankle
length. It is an open-fronted garment with one panel crossed over the other on the front, to be tied
at the side just below the right or left armpit rather than the usual opening down in the middle. It is
kept in place by tie-cords, which hold back the inner panel on the inside at the waist or armpit.
Similarly, there are tie cords on the outside that are attached to the front cross panel. It is worth
noting that strings or tie-cords known as kasa were the usual device for tying the jama or angarkha.
The hidden tie-cords are simple and practical but the visible ones are heavily ornamented and
attractive. In Rajasthan, the jama was made of a variety of fabrics like fine cotton, silk, wool or
brocade. Used by the aristocracy, lengths of fabric were specially woven, printed and embroidered
to create the jama. Various kinds of floral designs were often scattered profusely over the bodice.
References to the jama are found in plethora in paintings, photographs and museum collections.
The use of the jama in Rajasthan remained limited to a section of society, which may be additional
proof that it was not native. Surviving Mughal and Rajput paintings show that the jama was worn in
a variety of styles. Perhaps, two of the most popular were the chakdar jama and the gherdar jama.
The chakdar jama had hanging, narrowing ends of the sort that one sees in many Mughal paintings,
while the latter had an even, round hemline and tended to be full. Until the late sixteenth century,
the takauchiya jama as the chakdar jama was also known, was a court-dress.

7.4 Choga:
Choga, Costumes for Rajasthani MenThe choga is a popular
garment amongst the Rajasthani men. It is described as a longsleeved robe that fits freely around the bodice and does not have
a noticeably tailored look. Conventionally, the choga has a deep
oval or heart-shaped neckline. A pair of loops and cloth-cased
buttons fastens the garment at the chest. It is worn as an outergarment over a kurta or angarkha and is generally made of fine
woven wool, though fine cotton is also used. Often, it was made
of brocaded material or velvet embroidered with metal
embroidery.
The word choga is from Turkish origin. The choga was worn as a n
outer garment in Central Asia. Ancient literature, Buddhist
figure 7.4 Choga
sculptures from Satavahana period and Gupta paintings signify
that the origin of the choga predates the Christian era. By the
medieval period, this coat-like garment had a very definite presence in India and was the preferred
garment of the nobility.
In the Rajasthani context, the choga was a much more splendid and formal garment than one would
gather from its usual description. Numerous museum-exhibits, portraits and paintings of royalty
show that the choga was made of ornate fashion like brocade and embellished with lavish
embroidery..
38

The choga made of muslin or woven in the jamdani (flowered muslin) style was worn in summer. It
was lightly embroidered with silks, befitting the season. It usually had a narrow floral border on the
edges and large floral sprays on its front, back and shoulder and on the lower edges. In winter,
woollen and quilted choga were preferred, which were embroidered with silk and zardozi. Often,
the embroidery was detailed and the choga was stitched with utmost care, sometimes, with a
double-lining of cotton and silk. Though rarely worn now, the garment choga has reappeared, of
late, in a more urban form and is occasionally incorporated in the collections of some contemporary
designers.

7.5 Achkan:
The Achkan is a full-sleeved tunic with a high round neck. This garment has a length, which falls
about 3-5 cm. above the knee. It has a full front opening in the centre and is fastened with buttons
and buttonholes.
Achkan is worn among all communities in combination with a churidar, especially on formal
occasions. The initial panels-the bodice and skirt-are cut from a single length and are flared at the
side-seams. The armholes of the achkan are a little curved, in contrast to the straight armholes of
garments like the angarkha and jama. The sleeves are tapered with a fitted effect, ending at the
wrist. The neck is finished with a small stand-up collar, known as the Nehru or Chinese collar. Slits
are made near the side of the hem and on the cuff of the sleeve. It is lined on the inside, giving it a
clean finish.
Another garment of similar pattern
like Achkan is the shervani. This is
worn in certain parts of Rajasthan and
that, too, mostly at weddings. The
shervani differs from the achkan in its
length and flare. It is longer and falls 35 cm below the knee and has a wider
flare.
Unlike the earlier outer-garments
worn by men, these fitted long coals
with closed-neck acquired a more
tailored-look. Instead of attaching the
square cut sleeves at right angles to
figure 7.5d
the main body of the fabric, as in the
puthia, the arm-holes were curved
and the sleeves structured to fit. The achkan became a fashion statement in most courts at the turn
of the last century. It was tighter fitting around the wrists, chest and waist, tapering out at the hips
to flare around the knees. As a result, the achkan was more streamlined than its predecessors.

39

Purely for purposes of ornamentation, embroidered borders were often added around the collar,
front edges and hems. It is still the most popular item of formal

7.6 Cummerband:
Cummerbund or Patka is a waistband made from a long, narrow, strip of cloth; it is extensively used
by Rajasthani men. Cummerbund in literal sense means `article that ties around the waist and
defines the function of the garment. The patka, on the other hand, is derived from the Sanskrit word
patta and describes its more physical aspect, the closest meaning to this word being `strip`.
The ornamental fabric of cummerbund is placed around the waist and the long length wrapped
several times around. It is then knotted, with its two ends falling gracefully down the front or on the
left side. The cummerbund seems to be more decorative than functional in nature and found favour
with royalty and nobility. A lavish yet elegant accessory, the cummerbund is ornamented on the
main body. Its borders and the ends of the width are the most heavily decorated. The sumptuous
garment is finely woven, often with gold and silver threads either in the patterning or worked into
its body to add to its extravagant beauty.
Fine block printing techniques and beautiful embroideries usually embellish the cummerbund.
Cotton, silk and, sometimes, wool are also used to make cummerbund, which was worn by most of
the Rajasthani royalty. Surprisingly where most garments are still used in some form or the other,
the cummerbund as an item of clothing has almost completely disappeared and is lately more often
seen in historical records. It is well represented in Mughal paintings and even the sculptures of
ancient India.
Beautiful
instances
of
cummerbund
grace
the
museums,
although
the
cummerbund can sometimes be
confused with the turban. The
elaborate decoration on the
end-pieces
gives
the
cummerbund its true identity.

7.7 Turban:
figure7.7a different types of turban
Turbans, Costume for Rajasthani
MenIndian turban is certainly
the most eye-catching feature of the Indian man`s ensemble. Evidence of its existence is found in

40

some of the earliest literary sources. It finds mention in the Vedas, where men are said to have
draped an unstitched garment, usnisa, elegantly around their shoulders or on their heads.
The turban is a cloth of varying length and width, usually rectangular or square. The length of a
typical turban is 8-9 meters, extending up to 18 meters in some cases. The width also varies, from 15
cm. to 90 cm. The square kind, known as the rumal may be from 1 to 3 meters across. This is a
useful size as it is wide enough to be worn on the shoulders or over the head. Often a piece of fabric
is draped on the shoulder, and serves a dual purpose of turban and shoulder scarf. The turban is
twisted or folded and turned or wound around the head in different ways, creating a range of styles.

figure 7.7b

The two most commonly worn headgear of Rajasthan

besides the turban are the pagadi and the safa. The pagadi
or pag is made from narrow width fabric about 15 cm. wide,
but is very long, measuring upto 6-7 meters. The safa, on
the other hand is created with a moderately broader fabric,
approximately 75-90 cm. wide and 6-9 meters long. The
safa is shaped by twisting pleats on the right side, generally
seven to nine in number, which rise up to form the muth.
The left side of the safa is characterized by the placement of
up to nine plain pleats. The short bit of fabric that fans out
at the top is called a turra. The safa is distinctive for its long
trailing end called the poonch or tail, the length of which
varies not only from community to community but in
accordance with the ensemble. This is seen among the royal
families of Rajasthan, where, with a Jodhpur coat, the tail
ends at the waist but reaches below the knees when worn

with a long coat or achkan.

There are a large number of regional variations as well. The Udaipuri pag is seen to be flat, while the
Jaipur pagadi is angular. The shape and size shows tremendous variety depending on the occupation
of the wearer and the climatic conditions of the geographic region in which he resides. Desert
turbans, like the gol safa, are big and loose. The safa is held such that it can be folded or gathered
width-wise in one hand, and then tightly wrapped around the head. Such turbans provide excellent
protection to farmers and shepherds who spend long hours in the sun. A tail left hanging from these
turbans would be an encumbrance. Thus, a long tail is suspended from the turbans of only those
who lead more sedentary lives.
In Rajasthan, the turban is a symbol of a man`s honour. Legends, proverbs, songs, stories and
traditions highlight its value. For instance, a turban is never placed on the floor, for that would lower
the prestige of the wearer. Similarly, it is a grave insult to step over a turban or take off another
man`s turban. The turban has several positive connotations. This can be seen in the tradition of
publicly honouring an individual with a turban or a stole. Turbans are also presented at the time of
weddings, as a mark of respect to close relatives and the bridegroom and his family.
41

A turban is so closely identified with the wearer and his standing in the community that it was, and,
in some cases, it still is, accepted as collateral on a loan. The understanding is that as the borrower`s
reputation is at stake, repayment is guaranteed. Conversely, the act of laying one`s turban at the
feet of another symbolizes submission and, therefore, is an expression of submission. In feudal
times this was a valid and common practice. The vanquished ruler was required to signify his total
surrender to the victor by placing his turban-and with it his honour-at the feet of the conqueror.
The turban could be used to communicate other messages as well. A warrior`s turban carried back
from the front, to be handed over to the warrior`s wife signalled that her husband had been killed in
battle. Other symbols included tying a pagadi displaying nine folds in all, which meant that the
wearer was associated with the royal durbar or court.
Turbans are an integral component of most ceremonies. They help forge relationships between
families. An exchange of turbans signifies a long relationship, friendship and brotherhood and or
even the end of a feud. On the twelfth day after the death of the head of the family, the Rasam
Pagari, or the `ritual of the turban` is observed. The father`s turban is formally passed on to the
eldest son, handing over the reigns as it were to the new head of the family. This investiture is a
ceremonial event attended by the whole clan. It is also a symbol of responsibility. A father may give
it to his grown-up, eldest son, indicating that he wishes to retire from worldly affairs.
The turban possesses denominational characteristics, as well. The community to which he belongs
dictates the designs of the turban. For example, a kesariya or saffron safa is the mark of the Baniya
community, the Osval and the Maheshvari. Priests prefer red turbans, and interestingly, so do the
wandering shepherds, the Rabari. The Bishnoi wear a white safa. Between some tribal and
agricultural communities, block-printed turbans are preferred. The Pushkarna Brahmin use a
kesariya and red pag tied together during their weddings in a special style, called the khirkiya pag.
The higher the social status, the more beautiful and intricate is the turban and its design. The finest
bandhani and leheriya were reserved for royalty and special dyers were employed to create them..
The turban, especially in the countryside, also has immense practical utility. It protects the wearer
from the harsh sun and doubles as a pillow, or a bed sheet. It can become a rope; a bundle of cloth,
and a cushion for a load carried on the head, a measuring tape, and a water strainer a storage place
and may also be used in lieu of a helmet. So striking is the turban`s appearance that it has come to
be recognised universally as the mark of the Indian man. Gaudy, functional or emblematic, truly,
turbans are India`s finest innovations in dress.

7.8 Juti:
Juti, Costume for Rajasthani MenThe footwear worn in
Rajasthan is unique to this region. The footwear is called
the juti, mojari or pagarkhi. They are the leather shoes
worn by both men and women of all communities.
These are mostly tight fitting and triangular at the front
42

figure 7.4a Juti

end though, in some rare cases, they may even be rounded. The people of the Mochi community
have practised the traditional craft of making the juti for centuries and continue to do so even today.
Other communities like the Regar and Bhambhi, prepare the leather, from which the juti is made.
The juti may be plain, but the more
decorative footwear is decorated with
heavy an-embroidery and, sometimes,
little pom-poms as well. The ariembroidery worked in chain stitch, is a
common style of ornamentation. The
tool used in this work is also called an
ari. Brightly coloured threads of wool,
silk an d, sometimes, zari are used for this stitch, creating colourful and vibrant footwear. The
quality and colour of leather employed is also quite varied. The footwear style, raw material and
ornamentation may be unique, depending on the profession. For those engaged in outdoor work
such as agriculture, jutis are made of tough leather with little decoration. Those who stay primarily
indoors, women, for instance, use footwear made of soft light-coloured leather, richly embroidered
in bright colours, with elaborate trimmings. The juti is still a matter of necessity in rural Rajasthan
though, in urbanised areas, it has gone the way of other traditional garments in the changeover to
western attire. The juti, however, dominates as the most popular footwear and has a charm and
grace of its own, much like the other traditional attire.

43

Chapter 8 Trival Costumes Of Rajasthan:

Costumes are the first impression that you have of the character before they open their mouth-it
really does establish who they are." This quote defines that each Indian tribal group has a distinct
characteristic of dress and ornaments and later it became symbols of recognition and identification
and served to establish common ancestry.
The people of Rajasthan are, by far, the most fascinating aspect of the region. Each community here
is distinct in custom, dwelling, occupation and dress. They cover a gamut of lifestyles, from
aristocratic to tribal, settled to nomadic and include farmers, camel-herders, shepherds, craftsmen

figure 8.1 Trival lady

and traders. These communities represent homogeneity in socio-economic and aesthetic

interrelationships. The tribal costumes of Rajasthan clearly demonstrate the two-way flow of
tradition, from the local folk ethos to the aristocratic and vice versa leading to a continuum of
identifiable aesthetic criterion. Costume then becomes a statement of identity and, hence, is very
rigid in traditional communities. With the advent of modernisation, however, change is inevitable.
Although garments, jewellery and other techniques of adornment may be broadly similar, each
tribal community has, over time, developed an individual and separate version of its costume.
Evident in their attire and jewellery is the history of an aristocratic tradition, the influence of its
vernacular ethos and a pervading aura of mythology and religion.
44

There are a huge

number of tribal
groups
in
Rajasthan and the
costumes of these
tribal groups in
some cases differ
from the designs,
fabrics and styles
according
to
difference of the
life style of the
groups. The Bhil
tribes of Rajasthan
8.1a trival dance performance
carry a special
dressing style that
distinguishes them from others. The costumes of women and men are different. The Bhil woman
wears an upper garment called the 'kapada', a 'ghaghra' and an 'odhna'. Earlier, the Bhil-women
used to wear a shorter knee length skirt to facilitate movement through the undergrowth. The fabric
used has a resist-dyed print called 'nandana', often greenish-blue, dark-blue or black. To the same
end, an ornament called the 'pejania' was worn on the hands, arms and legs offering protection
from thorns and animals. The women cover their torso and head with an 'odhna' or 'lugda', made of
hand-spun fabric that may be block-printed, resist-dyed or screen-printed.

Along with the costumes, the Bhils use jewelleries that suit their dress and ethnicity giving proper
definition to their style. Some of the most famous jewelleries of the Bhil women include 'dhimmna',
'oganiya', 'hansli', 'haar', 'tagli', 'kasla', 'kamkada', 'beenti', 'bidi', 'pejania', 'bichiya'. They use silver,
brass or white metal for their jewelleries. The costume of the Bhil men comprises a turban or 'feto',
an 'angi', tunic and a lower garment called 'potario'. The lower garment is knotted around the waist
and the entire length is drawn between the legs and tucked in at the back. Bhil men also keep a
'pacheri' or shawl on their person. Very young Bhil boys wear loincloths and after the age of ten they
start wearing dhoti. They usually do not wear upper garments or headgear until they marry. At the
time of marriage, the groom wears an 'ango', a shin length tunic, which follows the cut of a 'Rajput
angarkhi'. Tribal Costumes of RajasthanThis is worn with a turban and a dhoti. Not only the Bhil
women but the men also wear ornaments like 'murki', silver bracelets, necklace called hansli,
anklets or kada and silver belts around the waist.
The people of Bishnoi tribe also carry a particular tradition in case of their costumes. The most
important clothes of the unmarried girls of this community include 'puthia', 'pada' or 'pothdi' and
'odhna'. Bishnoi odhnis display a variety of prints, like the 'rati-chunri', a red printed 'chunri', the
'sundri pakodi' in cotton and the 'ludi', which is black. A married woman wears a 'kanchli' with a
'kurti', a 'dhabla' or 'ghaghra' as her lower garment and an 'odhna', which she drapes over her body.
45

Bishnoi-women wear a short 'kanchli' with a deep neckline revealing the upper part of their breasts.
The neckline is generally decorated with a small frill and small bells are attached just below the
'tuki', drawing attention to the garment and to the dcolletage. A kurti, also with a deep neckline, is,
sometimes, worn over the kanchli. The women of this tribe also prefer to wear 'lehanga' which is
also called 'ghaghariyo' and can be in satin, cotton or wool. The Bishnoi women wear a great variety
of 'odhna'. According to the tradition, the mother of the bride gifts her daughter the 'pir ki chunri'
and during marriage the bride wears this kind of chunri. Moreover, an embroidered red 'odhna'
called 'damini' is also popular among the local women. Sometimes, rickrack and gota are used for
ornamentation on the body of the 'odhna'. The older women of this tribal community commonly
wear a 'dhabla', 'lehanga', 'and petivali kanchli' and 'apakodi ckunri'. Women use the 'ludi' and
'lunkar' as shawls.
The attire of a Bishnoi man comprises the 'chola', the dhoti and the 'pagadi'. The 'chola' is worn as
an upper garment and is usually made of white cotton. The men of this community wear dhoti as
the lower garment. They also include headgear in their costumes which is known as the 'potiya'. The
men are also fond of jewellery and wear 'murki' in their ears as their preferred ornamentation.
Tribal Costumes of RajasthanThe women of Lohar tribe wear 'kanchli', 'kurti', 'ghaghra' and 'odhna'.
The upper portion of the 'kanchli' is profusely ornamented with tinsel, sequins, mirrors and silk
threads. The women use 'odhna' that covers the head and its borders are appliqud with tiny silver
'gota' flowers. The 'odhna' is either plain or patterned in floral designs. The ornaments of the Lohar
women include ivory bangles, nose ring called bhanvaria, a bichudi or toe ring, anklets called kadula.
The women also wear a tabiz, a pendant believed to ward off the evil eye and a necklace called the
kanthi. Their neck jewellery is made from old silver coins, much like gypsies in other parts of the
world.
Along with the costumes, the Bhils use jewelleries that suit their dress and ethnicity giving proper
definition to their style. Some of the most famous jewelleries of the Bhil women include 'dhimmna',
'oganiya', 'hansli', 'haar', 'tagli', 'kasla', 'kamkada', 'beenti', 'bidi', 'pejania', 'bichiya'. They use silver,
brass or white metal for their jewelleries. The costume of the Bhil men comprises a turban or 'feto',
an 'angi', tunic and a lower garment called 'potario'. The lower garment is knotted around the waist
and the entire length is drawn between the legs and tucked in at the back. Bhil men also keep a
'pacheri' or shawl on their person. Very young Bhil boys wear loincloths and after the age of ten they
start wearing dhoti. They usually do not wear upper garments or headgear until they marry. At the
time of marriage, the groom wears an 'ango', a shin length tunic, which follows the cut of a 'Rajput
angarkhi'. Tribal Costumes of RajasthanThis is worn with a turban and a dhoti. Not only the Bhil
women but the men also wear ornaments like 'murki', silver bracelets, necklace called hansli,
anklets or kada and silver belts around the waist.
The people of Bishnoi tribe also carry a particular tradition in case of their costumes. The most
important clothes of the unmarried girls of this community include 'puthia', 'pada' or 'pothdi' and
'odhna'. Bishnoi odhnis display a variety of prints, like the 'rati-chunri', a red printed 'chunri', the

46

'sundri pakodi' in cotton and the 'ludi', which is black. A married woman wears a 'kanchli' with a
'kurti', a 'dhabla' or 'ghaghra' as her lower garment and an 'odhna', which she drapes over her body.
Bishnoi-women wear a short 'kanchli' with a deep neckline revealing the upper part of their breasts.
The neckline is generally decorated with a small frill and small bells are attached just below the
'tuki', drawing attention to the garment and to the dcolletage. A kurti, also with a deep neckline, is,
sometimes, worn over the kanchli. The women of this tribe also prefer to wear 'lehanga' which is
also called 'ghaghariyo' and can be in satin, cotton or wool. The Bishnoi women wear a great variety
of 'odhna'. According to the tradition, the mother of the bride gifts her daughter the 'pir ki chunri'
and during marriage the bride wears this kind of chunri. Moreover, an embroidered red 'odhna'
called 'damini' is also popular among the local women. Sometimes, rickrack and gota are used for
ornamentation on the body of the 'odhna'. The older women of this tribal community commonly
wear a 'dhabla', 'lehanga', 'and petivali kanchli' and 'apakodi ckunri'. Women use the 'ludi' and
'lunkar' as shawls.
The attire of a Bishnoi man comprises the 'chola', the dhoti and the 'pagadi'. The 'chola' is worn as
an upper garment and is usually made of white cotton. The men of this community wear dhoti as
the lower garment. They also include headgear in their costumes which is known as the 'potiya'. The
men are also fond of jewellery and wear 'murki' in their ears as their preferred ornamentation.
Tribal Costumes of RajasthanThe women of Lohar tribe wear 'kanchli', 'kurti', 'ghaghra' and 'odhna'.
The upper portion of the 'kanchli' is profusely ornamented with tinsel, sequins, mirrors and silk
threads. The women use 'odhna' that covers the head and its borders are appliqud with tiny silver
'gota' flowers. The 'odhna' is either plain or patterned in floral designs. The ornaments of the Lohar
women include ivory bangles, nose ring called bhanvaria, a bichudi or toe ring, anklets called kadula.
The women also wear a tabiz, a pendant believed to ward off the evil eye and a necklace called the
kanthi. Their neck jewellery is made from old silver coins, much like gypsies in other parts of the
world.

47

figure 9 1

48

Chapter 9 Colour Symbolism in

Rajasthan:
Colour symbolism in Rajasthani costumes itself is a very interesting aspect of their dressing style.
The use of colour is widespread in almost all kinds of Rajasthani attire and ornamentation.
Throughout history, colour has held an important aspect in Indian culture and Rajasthani costumes
are no exceptions.
This extensive usage of colours in these garments has important cultural, religious, and climatic
associations. Each colour embodies complex and significant connotations in that particular time,
space and region. It is also derived from India`s ancient dyeing history and techniques. India has rich
resource of madder dyeing and thereby it gave birth to coloured textiles and a maturity of colours
that ripened in the Indian sun. Hence any attempt to understand the attire of the people of
Rajasthan would be in complete without understanding what each colour denoted and the
significance associated with it.
In India colours
are
closely
associated with
emotions. They
are
an
important
means
of
conveying
moods,
seasons,
religious values,
customs
and
ceremonial
occasions.
Rituals
and
ceremonies are
marked
by
9.1a women celebrating spring festival
varied
hues,
each
representative of particular traditions. Even to this day, colours in Rajasthan are used to identify
communities and social status of the individual. Apart from this colours used in attires also have
aesthetic, psychological and biological connotations.

49

The colours seen in Rajasthani costumes are divided into two categories depending on their end
usage. Kachcha or temporary colours are used by unmarried women and married while the widows
only use the pakka or permanent colours. Kachcha colours, thus, represent a temporary marital
phase, with widowhood being the permanent phase of a woman`s life. Red, yellow, parrot green,
and saffron are some colours which are considered to be kachcha, while the pakka colours are grey,
brown, dark green, dark blue and maroon. Red is a popular colour visible in Rajasthani costumes and
is considered auspicious, denoting well being and joy. Traditionally it is obtained from the root of
the manjit plant and is identical with blood or the force of human life. Red is also a sign of a
woman`s marital status. The married woman used red sindur (vermillion), on her forehead as
embellishment and also wears a `red chunri`. This colour also denotes erotic connotations and is
used at the time of marriage. The colour white on the other hand represents purity and is
considered to be an embodiment of light. It is also a very male colour and is worn extensively by
men. Married women never wear any white coloured garments. They often wear a combination of
red and white which is representative of both the aspects of masculine and feminine. White as such
is a negation of splendour and signifies simplicity. However men use pure white only at the times of
death. Priests use white for religious ceremonies, and may sometimes even use it in conjunction
with another colour.
Kesariya is the saffron colour and other shades of yellow that are extensively used in the attire of
both men and women and have since the primitive times been regarded as auspicious colours.
These are obtained from the precious saffron leaves and in earlier times was a classy and rare
colour. The Rajput made much use of kesariya in their clothes as well. This colour was used in their
wedding robes and was also associated with the brave warriors who died fighting on the battlefield.
When defeat was forthcoming, the Rajput warriors immediately would don saffron robes and
ascend the battlefield. They termed this as kesariya karna or a brave deed. Marriage was also
termed the same, especially, when it resulted in alliances to protect various land and kingdoms.
Yellow is a part of all religious ceremonies and also represents the sun God.
The symbolism of the above mentioned colours and their energies is apparent in the way they are
integrated in the everyday attire of the Rajasthani people, especially women. Certain colours and
designs are also favoured for certain months. Orange and golden are favoured for the occasion of
New Year, or the month of Chaith. In high summer colours of kapasi or light yellow, javai or light
peach and motia or pearl pink is worn for their cooling affect. Savan or the months of the rainy
season are greeted with green garments, which depict prosperity and joy. A green leheriya dupatta
is worn during this season. A kasuvud or red odhna is worn at the time of teej, a festival celebrated
by women to pray for the long life of their husbands. The festival of Diwali is also brightened with
colours of red and yellow. The Rajput women usually wear a deep purple odhni on Diwali. Thus each
colour has its own specific significance in Rajasthani costumes, meaning and is also worn depending
on customs, time of the year and occasion.

50

Colour symbolism in Rajasthani dress has deep significance in religious ceremonies and festivals.
This vast spectrum of colour on clothing and materials is accomplished through the well known
process known as dyeing. Dyeing is the technique of colouring fabric and yarn by immersing the
fabric in a solution of colouring substance obtained from vegetable, animal or mineral sources. As a
consequence of the vital status of dyeing in the Indian tradition, almost unrivalled skills were
developed, especially in the art of fixing colour on fabric. Mordants are chemical agents which react
with a fugitive dye and assist in fixing it to the fabric. In Rajasthan, through centuries, communities
have specialized in the production of specific crafts. This has led the dyers of the region, rangrez or
neelgar as they are called, to establish a special place in the social order. Many villages or their
surrounding areas are famous for their local textiles and textile designs. Dyeing is actually the art
that has made colours so important in Rajasthani costumes.
Colours denote various moods of a person and also the stages of his/her life. Colours that are
usually seen on Rajasthani costumes carry ample meaning to speak of the individual`s status. Thus,
colour symbolism in the costumes of Rajasthan has been carrying forward its marvelous tradition of
vivacity.

51

References:
1.wwwIndia NetZone.com
2. R.K. Gupta; S.R. Bakshi (1 January 2008). Studies In Indian History: Rajasthan Through The
Ages The Heritage Of Rajputs (Set Of 5 Vols.). Sarup & Sons. pp. 143. ISBN 978-81-7625841-8. Retrieved 30 October 2012.
3. Radhey Shyam Chaurasia (2002). History of Ancient India: Earliest Times to 1000 AD.
4. John Keay (2001). India: a history. Grove Press. pp. 231232. ISBN 0-8021-3797-0. ISBN
978-0-8021-3797-5. "Colonel James Todd, who, as the first British official to visit Rajasthan,
spent most of the 1820s exploring its political potential, formed a very different idea of
"Rashboots" [...] and the whole region thenceforth became, for the British, 'Rajputana"
5. Source : Rajasthan : A La Carte : A Product Manual, Jaipur : Department of Tourism Art
and Culture, 1999.
6.www.Indian-heritage.org
7.www.rajasthali.gov.in
8 www.craftsvilla.com/rajasthan emp
9.en.m.wikipedia.org/.../
10.www.mapofindia.com/maps/rajasthan/geography-history.html
11.www.Rajasthanexplored.com/rajasthan-tourism/art-handicraft.html

52

53