This document provides information on various resist dyeing techniques used in Indian textiles, including bandhini, leheria, ikat, and batik. It describes the traditional processes for each technique, discussing how sections of fabric are tied, stitched or coated with wax to prevent dye from penetrating before dyeing. For bandhini, the fabric is tied in intricate patterns before dyeing. For leheria, the fabric is pleated and portions are tied to create striped effects. Batik involves using hot wax to coat areas of fabric before dyeing to create complex patterns. The document highlights important centers for producing these traditional textiles in states like Rajasthan and provides references for further reading.

1. SUBMITTED TO :-
ASST, PROFFECER
MRS . AMANDEEP KOUR
SUBMITTED BY:-
TINA DHINGRA
m.tech (FAE)

2.  In the resist technique, section of yarn or
cloth are reserved or prepared to resist dye
penetration.
 By tying, stitching, folding, rolling or the
application of solid substances such as
mud, wax or gum.
IMPORTANAT RESIST TECNIQUE:-
 Bandhini or chundari
 Leheria
 Ikat
 Battik

4.  The term bandhini is derived from
the Sanskrit word Banda ("to tie")
 Bandhini is also known as Bandhej or
Tie Dye or Bandhni or Bandana, etc.
 Tie and dye internationally known by
its malay- indonesian name, PLANGI
 In fact all colors in Bandhini are
dark, no light
color is used, and the background is
mostly in black / red cloth.

5.  Bandhini is the simple and inexpensive
process.
 This is one of the cheapest ways for
women of the poor communities to dress
in a colorful fashion.

6.  The red and yellow bandhini
odhani, or chunari as it is locally
endures as the preferred apparel of
women in many rular areas.
 Some are elaborately patterned,
often enriched with silver metal
thread and used in weddings
and others festive.

7.  “Gharcholu” has served as an odhni for the
bride in the wealthy Hindu and jain
communities in Gujarat.
 vibrant red fabric with white and yellow
dotted figures of dancing
women, elephants, peacock and flowers with
in golden checks.

8.  Many traditional centres such as
jaipur, kota,Ajmer,Alwar,jodhpur,sikar,bik
aner,
barmer,pali,udaipur and nathwara
continue to produce bandhini.
 Fabric used :- cotton, mull, georgette
and chiffon are widely used.

9.  Crush your piece of material to form a
ball and tie up tightly with string or
elastic bands.
 Place the tied ball in the dye bath and
leave it for 60 minutes.
 Take the ball out of the dye, rinse until
water runs clear. If you want to dye the
ball a second
 color, follow Step 4, if not go to Step 5.
 To dye the ball a second color untie
the material. Crush into another ball
and tie up tightly and place it into the
second dye bath for 60 minutes. Rinse

10.  This textile was inspired by a historic leheria
odhani from kota which had the figure of a
tiger printed.
 Although tiger was stencil-printed before the
cloth was tie- dyed.

11.  The colored, cotton safa (turban) has
been an essential element of the
traditional costume of rajasthani men.
 “Lehar or wave” in two or more color
used. When worn overlapping layers
create an interaction of color and stripe.
 Apart from their use as turbans, prized
greatly by rajput princes and
nobality, leheria cloths were also
fashioned into women‟s garments

12.  Women‟s garments such as ghagharas (long
skirts) kurtas (long shirts), kanchalis (short,
tight-fitting, bodice-like garments for women
 Angarkhas- thin, fitted men‟s shirts with
sleeves .

13. LEHERIA

14.  Pleat your material into a fan. Divide
the folded material into portions and
tie up each division tightly.
 Put the tied material into the dye bath
and leave for 60 minutes.
 Take the material out, rinse until water
runs clear. You have two options at
this stage: Leave the material as it is
i.e. one color of stripes, follow Step 6.
Add a second color of stripes, see
Step 4
 To dye a second color retain your ties
and add new ones.

15.  BATIK was discovered in Indonesia. It
was named as java printing in older time.
 The word batik is of Javanese origin.
The word ambatik, derived from tik,
means to mark with spots or dots.
 Batik is the word used to denote a
particular method of applying
colored design to fabric.
 This method involves covering certain
sections of the design with a substance,
usually liquid wax.

16.  The batik industry was at its peak in the 17th
& 18th century when exports were made to
many parts of the world including
java, Persia & Europe.
 The pen used for waxing is called a kalam. It
consists of a metal needle set into a bamboo
handle, wrapped in about 6 cm of absorbent
fiber or hair which acts as a reservoir for the
molten wax.
 The principle of batik are the same, but the
step-by-step procedures vary according to
the region.
 In central java the best known method is
called soga kerokan.

17. NITIK:-
 There are thousands of different batik
designs, particular designs have
traditionally been associated with
traditional festivals and specific religious
ceremonies.
 There are two categories of batik design:
geometric motifs (which tend to be the
earlier designs) and free form
designs, which are based on stylized
patterns of natural forms or imitations of
a woven texture.
 Nitik is the most famous design illustrating
this effect.
NITIK

18. Kawung:- Kawung is another
very old design consisting of intersecting
circles, known in Java since at least the
thirteenth century.
The circles are sometimes embellished
inside with two or more small crosses or
other ornaments such as intersecting lines
or dots
Ceplok:-
Ceplok is a general name for a whole series
of geometric designs based on
squares, rhombs, circles, stars, etc.
Although fundamentally geometric, ceplok
can also represent abstractions and
stylization of flowers, buds, seeds and even
animals.

19. Parang:-
Parang was once used exclusively by the
royal courts of Central Java.
It has several suggested meanings such as
'rugged rock', 'knife pattern' or 'broken
blade'.
The Parang design consists of slanting rows
of thick knife-like segments running in
parallel diagonal bands.
Parang usually alternated with narrower
bands in a darker contrasting color.

20.  The outline of the pattern is blocked out onto the
cloth, traditionally with charcoal or graphite.
 Traditional batik designs utilize patterns handed down over
the generations.
 It is very seldom that an artisan is so skilled that he can
work from memory and would not need to draw an outline
of the pattern before applying the wax.
 Often designs are traced from stencils or patterns called
pola.
 Another method of tracing a pattern onto a cloth is by
laying the cloth on a glass table that is illuminated from
below which casts a shadow of the pattern onto the cloth.
 The shadow is then traced with a pencil. In large batik
factories today, men usually are in charge of drawing the
patterns onto the cloth

21.  Once the design is drawn out onto the cloth it is then
ready to be waxed. Wax is applied to the cloth over the
areas of the design that the artisan wishes to remain the
original color of the cloth. Normally this is white or cream
 The most experienced artisans normally do first waxings.
Filling in of large areas may be entrusted to less
experienced artisans.
 Mistakes are very difficult to correct. If wax is accidentally
spilt on the cloth, the artisan will try to remove the
unwanted wax by sponging it with hot water. Then a
heated iron rod with a curved end is used to try and lift off
the remaining wax.
 Spilled wax can never be completely removed so it is
imperative that the artisans are very careful.

22.  After the initial wax has been applied, the fabric is ready
for the first dye bath.
 Traditionally dying was done in earthenware tubs. Today
most batik factories use large concrete vats.
 Above the vats are ropes with pulleys that the fabric is
draped over after it has been dipped into the dye bath.
 The waxed fabric is immersed in the dye bath of the first
color. The amount of time it is left in the bath determines
the hue of the color; darker colors require longer periods
or numerous immersions.
 The fabric is then put into a cold water bath to harden
the wax.
 When the desired color has been achieved and the fabric
has dried, wax is reapplied over the areas that the artisan
wishes to maintain the first dye color or another color at
a later stage in the dying process.
 If a marble effect is desired, the wax is intentionally
cracked before being placed in the dye bath.

23.  Old technique has been revived for producing
multicolored contemporary batik.
 Painted-on-technique was introduced from
India, but was replaced by the rewaxing and
overdyeing processes to produce many-
colored combinations.
 The method is called „coletan‟.
 Wax does not have to be removed after each
dyeing.
 The process is much quicker and more
predictable.

24. 1. Prepare cloth and pencil in the design.
2. Wax outlines of motif and cover areas that will
eventually be dyed brown.
3. Select and brush in colors with in wax borders.
4. Wax colored areas.
5. Immerse cloth in indigo or intended
background color.
6. Remove wax by immersion in boiling water.
7. Wax all areas except those to be dyed brown.
8. Immerse cloth in soga brown.
9. Finally remove wax in boiling water.

25. BATIK

26. 1) INDIAN TEXTILES ETHNIC AND BEYOND
(R.M LEHRI)
2) HANDCRAFTED INDIAN TEXTILES
(GENERAL EDITOR MARTAND SINGHL TEXT RTA
KAPUR CHISHTI/ RAHUL JAIN)
3) INDIAN IKAT TEXTILE
( ROSEMARY CRILL )
4) TEXTILE FROM INDIA
(THE GLOBAL TRADE EDITED BY ROSEMARY
CRILL)

27. THAN
KU…..