Traditional work of Rajasthan

Art is the type of communication in all the societies. Indian designs and motifs are a synthesis of myths of various cultures, beauty of various folk arts, motifs and designs have unfolded possibilities poring the way to discover the wide range of symbols and patterns.Emotions are expressed through various media and their expressions are termed as art and the Gotta work is beyond the description.Indian frolic and traditional embroideries play an important role in fashion world but itself has reached the threshold of extinction of its pure form. Fragile and innovative changes in fashion trends has led to its extinction. d accessories.Traditional craft has been and shall be a reflection of cultural, socioeconomic, climatic and historic state of society at all times. So saying that it has to be preserved has two connotations, the first being the preservation from exploitation and commercialization, the other being from the change that the craft is going through with the influences of the current market environment. The latter is inevitable and the former is where we can exercise some degree of control. A craft is bound to absorb and reflect what it breathe, we can only filter some of what it breathes, which is motive enough for pondering, looking out and taking action. Gotta work is an embellishment that needs to be preserved. The preservation requires a detailed documentation of craft, its history, process, motifs, colors and products. Jaipur and Ajmer are the main centers of production of gotta. The raw material comprised of a yarn of silver polished with gold and passed under 10 Calendars to make into fine strand called “Kasab” and further drawn under a calendar to give it a flattened effect known as “Badla”. In recent years pure yarns are replaced by synthetic yarns.Various types of gotta are Sikhiya gotta, Chaumasa, Panchmasa, Athmasa, Lappa, Thappa, Gokhru, Lehru Gotta, Nakshi, Bijbel, Bijiya, Chiru, Kiran, Chatai and Chip gotta.

The work was previously done on pure Georgette, Chiffon, Velvet & Silk whereas as in recent years synthetic fabrics are used for the production. The colors commonly used were Red, Orange, Pink, magenta, Maroon & Yellow which are nowadays available in all possible shades.as per the customer demand.

Threads used to attach on the fabric are cotton and polyester and the color ranged between creme to yellow. Hand sewing needles are used of 9-10 number, in order to give neat effect to applique work “Ari” needle is used.

Production Process

Base fabric tied on four sides with thick cords

Fabric Attached to wooden frame known as Khaat

Pricked tracing paper placed on the Fabric for design

White paste made of safeda spread over it

Design Obtained on the fabric

Gotta cut and folded into different shapes

Gotta cut and folded is attached with Hemming and Back stitch on the fabric

Articles made- Kurt i, kaanchli, Sari, Lehanga, Poshaak,Dress for idols

Contemporary articles included Kurtis, Salwar suits and saris.

The various types of motifs used were Floral & Animal. Floral comprised of gamla, pan ke phool, jaali waala phool,kali ka phool and star phool. Animal and Bird motifs comprised of peacock, sparrow, elephants and horse and others comprised of kairi butti, human figures and palanquin. In the recent trends it comprised of motifs stylized with salma, sitara & sequince. The placement of these motives was in overall pattern, spot pattern, borders, bands & jaal work. The products made out of the crafted textile are Articles made- Kurti, kaanchli, Sari, Lehanga, Poshaak,Dress for idols. Contemporary articles included Kurtis, Salwar suits and saris.

Conclusion

Hence it can be concluded that the art needs to be preserved in the manner as it originated. Newer developments have resulted in the innovation and newness in this craft. By modification of designs, motives and embellishment techniques.

About the Author

Working in International college for girls, Jaipur,India. Author is a post graduate in clothing and Textiles from M.S.University of Baroda.

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