Motifs:
The history of the development of motifs adopted by the printers of Bagru is obscure.
These motifs were not very large in number in the olden days. But the fact that most of them are derived from the flora and fauna and are natural in origin is borne out by their very names or nomenclature, although such panorama does not generally exist in the locality.
There had been frequent migrations of the chhipa population from om one area to the other in the entire belt of Uttar Pradesh, Madhya Pradesh, Rajasthan. Gujarat and Punjab in those days. Natural calamities, search for better market and habitation may be the causes of such migrations.
The craftsmen brought with them the traditional techniques, styles and motifs to the new places of their settlement. Also, blocks of the motifs were being seldom made locally and were being obtained from different places inhabited by expert block-makers like Pethapur, Farrukhabad. Mathura, Jaipur, Kalol, Delhi etc.
These factors also perhaps explain as to how such motifs had come to be used at Bagru.
Bagru print motifs study
A comparative study of the evolution and lay-out of motifs clearly reveals a change from the old tradition and style. I
n the old style, the motifs, mostly floral and vegetative in character, were being arranged in a linear pattern and were comparatively smaller in size; whereas, in the later periods different geometrical motifs and forms of arranging motifs like circles.
semicircles, squares, cones etc., were introduced. Whereas the former was the need of the local populace. the latter style was required for the outside markets.
It will not be unreasonable to observe that the introduction of the geometrical form was due to the influence of the Persian style in the later half of the seventeenth century, considering that Rajasthan was strongly under the influence of the Moghul courts.
Although there has been some stylisation of the motifs under the Persian influence, yet many of the motifs retain their natural contours and forms.
In the old style, apart from printing the motifs in syahi begar and developing the same in the alizarine bath, greater emphasis was being laid on the application of the resist prints and dyeing the cloth so as to develop different colour effects on the ground and motifs.
Bagru print motifs
The old style and tradition catered to the agrarian markets to suit the tastes of the local rural agricultural population.
There has been a sweeping change in this practice as the markets have expanded far and wide and have become more sophisticated. This change is perceptible especially in the last decade. Very seldom. except in running chintz, linear arrangement of a single motif is adopted in the present days;
it is more common to find more than one motif printed on a single piece of cloth in different geometrical patterns.
Although the motifs that are in use for years bear some names by which they are identified, most of the motifs in recent use do not have such distinguishing names.
Even motifs bearing the same name as used by different printers in Bagru vary considerably in their linear dimensions and sometimes in shape and contours although their basic natural forms are retained.
The recent motifs have become large in number and their chief sources are the block makers and exporters.
The Bagru motifs (printed motifs of Bagru) may be arranged in five distinct groups, viz.
(1) Motifs Leaves and Buds (1) Motifs of Intertwisted Tendrils
(Ⅲ) Motifs of Trellis Designs
(iv) Motifs of Figurative Designs
(v) Motifs of Geometrical Designs
Motifs of Flowers, Leaves and Buds:
In this group there are either eit flowers with petals and spikes arranged in a circular form found a centre or a spray of the floral design with buds, leaves, shoots and stem.
The buds have pointed oval shapes. The leaves may be saw-edged. The shoots or broken twigs emanate from the stem with or without leaves, flowers or buds. The stem is the central cylindrical core supporting the entire arrangement.
The names of some motifs of this class are given below. The corresponding line sketches can be seen in figures 1 to 43.
The names are patashi, kachnar, chheonra, suraj ka phool, chakri, golab ka phool, tilak, laung, chhatri, divi ka chirai, nimsher, nathadi, bada phool, kel. dupatte ka bunta, supari, latti, makkhi, laddu, nargis. turhi, gobi, mugal, badam, am, dipak, mirchi, bankdi. bada bunta, chhota panja, seat, keri, pankhi, titli. gundi, hajura, bundoli, bewada, patti, gamla, dhania, anguthi, etc.
an The names of the motifs do not represent the natural objects as such, but the arrangements of leaves. flowers and buds etc. are made in such a manner so as to bear semblance to the shapes of the objects.
Motifs of Intertwisted Tendrils: Motifs of this class comprise spiralling or intertwisted
stems with flowers, leaves or buds. When repeated end to end, they give a continuous flowering pattern. Apart from the vegetative ornamentation, forms of birds, particularly that of mayur (peacock), are also to be found, which suggests a strong local influence. These motifs are seldom employed to constitute involute floral sprays throughout the body of the cloth: instead, they are used in bels and some of them have the characteristic border lines on both the sides. When such motifs are used in combination with other forms to cover the entire body of the cloth
they are also known under the common name jal. Most of these motifs have a common name ‘hel and do not bear any specific individual name. The older motifs have however such names as jhad, kesi. kamal kali, panadi and kanta.
The line sketches of some of the motifs of this class falling under the common ‘bel can be seen in figures 44 to 53.
Motifs of Trellis Designs:
These are popularly called jals in Bagru, and their forms definitely indicate Persian influence. Such motifs cover the entire body of the cloth. They are without borders. The line sketches of some of the motifs of this class are given in figures 54 to 60. The ornaments are generally vegetative; sometimes geometrical figures are also used.
Motifs of Figurative Designs:
Animal, bird and human figures are used in this class
of motifs.
Hathi (elephant), hiran (deer), sher (tiger), mayur (peacock), kabutar (pigeon), and sua (parrot) are among the common animal and bird figures. Human forms as pari (fairy), men and women are also used. Such motifs are either printed to cover the entire body of the cloth .
