Exclusive motifs beckon

AS SOME designers will tell you, `God lies in the details'. And it is in perfection of details that master craftsman Raghunath Prasad's genius lies.

At a recent exhibition held at Amethyst, Raghunath Prasad's stunning dabu mud-resist creations - block printed cotton, crepe and tussar saris and dress materials - took the city's fashion aficionados by storm. Hand block printed in a fusion of traditional and contemporary designs and subtle vegetable hues, each sari was a statement of elegance.

Excerpts from an interview with the master craftsman, who has developed new concepts in block printing.

What is the `dabu' mud-resist technique all about?

`Dabu' comes from the Hindi word `dhabana' which means to press. A mixture of mud, gum and lime is combined with waste wheat to make the 'dabu' dye.

You have introduced the dabu technique on some unusual mediums, believed to be your trade secret...

The dabu printing is normally done on cotton. But I tried it out on tussar and crepe, a technique I've taught only my children.

Transferring the dabu technique onto new mediums such as tussar and crepe must have taken a lot of time and research...

Yes. Though I am a paramparic craftsman, I did many years of research in vegetable dyes and printing techniques at the Institute of Hand Printed Textiles in Jaipur. I also worked there.

Do you use only vegetable dyes?

I use only vegetable dyes in all my creations. I make the dyes myself out of bark, leaves and flowers such as kesna, tesu and kusumbal. For brown colour, I use katha, majishta for red, and lac for indigo etc. To make the colours fast we use minerals like alum and neelthota.

Your designs, colour and format are quite contemporary. How do you achieve this muted sophistication using a traditional art?

I have worked with designers from NIFT and NID. I've also worked for top fashion houses such as Weaver's Studio, Anuradha Vakil, Ritu Beri and India Broker. Suggestions from the designers have helped me evolve a contemporary design language. I am influenced by the designers I work with.

Tell us more about the vegetable dye colours you have developed, which are considered unique.

During a demonstration on vegetable dye in 1986 and 1987, I developed a muted but rich grey. This colour changed the history of block printing in Bagru and Sanganer. The art of block printing got a new life in 1987 with the introduction of grey.

Is help from the Government adequate?

We get a lot of help from the Government and government agencies also buy from us. But it is the craft persons who have to preserve the heritage.

Is there a danger of the craft fading into oblivion?

There was a polyester boom about 40 years ago when the middle class turned to easy-to-maintain synthetics. As fashion preferences changed, many block printers gave up their age-old profession. But slowly block prints, and now vegetable dyed block prints have caught the imagination of the urban educated, both in India and abroad. Markets are now opening up and there is enormous pride in our heritage. I am convinced that this craft will never die. Designs may change but the craft will go on...

PUSHPA CHARI

Send this article to Friends by E-Mail

Section  : Features
Next     : A refreshing combination