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Stories on a saree
- Updated: April 11, 2017
What to catch
Sufiyan Ismail Khatri uses a accumulation of healthy mixture to make his dyes
Ajrakh works by Sufiyan Ismail Khatri
A proprietor of Ajrakhpur encampment in Gujarat, one of a final remaining bastions practising a normal Ajrakh retard copy technique, 33-year-old Khatri is a 10th era retard printer. He learnt a art from his father, Dr Ismail Khatri, a target of titular grade from De Montfort University (UK) in 2003. A partial of Khatri’s collection is desirous by Asmaangiri, a square of handwoven weave that was used as a shade for Emperor Shah Jahan. “I use 400-year-old recipes for healthy dyes. For instance, shower rusted iron in jaggery-water brew for dual weeks gives we black a colour. Pomegranate peels and tamarind are used to emanate yellow.” He will also showcase designs on organic yarns sourced from tools of India.
Sagarika Sarangi and Rakhee Choudhary
Weaves from odisha
Rakhee Choudhary and Sagarika Sarangi from Odisha-based Palash Weaves will showcase a accumulation of sarees from a eastern state. These embody varieties of a counterfeit string bomkai saree done by weavers of a Ganjam district. They use charkhas from a Gandhian period.
Vishwakarma saree, a form of Bomkai
The collection also includes age-old Berhampur Pattu sarees, ornate by deities during a Jagannath Temple in Puri, along with Kotpad sarees, painted regulating Indian madder base powder, including verses from Indian epics in calligraphy designs. “We work with weavers opposite Odisha. Our concentration is to revitalise practice for small-time weavers,” says Sarangi.
A origination by Ghanshyam Sarode
Paithani and jamdani
Ghanshyam Sarode, Hyderabad-based weave designer, has been operative with Paithani weaves for a final 30 years. He will also showcase Jamdani and Ikat designs in excellent cotton, along with a collection of string and Assam’s Moga Silk fabrics, on that he has narrated Panchatantra tales of a Gond community.