India’s hand block printing tradition offers a cornucopia of visual delights. The vast spectrum encompasses a profusion of styles each carrying the distinctive stamp of regional expression.
K. Dakshinamurthi, winner of the 2010 National award for Master Craftsperson (Handlooms), practices an art that is as ubiquitous as it is unsung.
“To my knowledge, this is the first time that two entries submitted by the same craftsperson have both been selected for the National award. The entries were two Kodali Karuppur saris dyed and hand block printed with natural vegetable colours by Dakshinamurthi of the Weavers’ Service Centre (WCS) Chennai, setting the highest standard of excellence. His contribution to natural dye printing is enormous,” says B.B. Paul, Director, WSC.
When you view the samples, the exquisite artistry and vibrant hues speak a language that transcends words. The delicate sprays of red and maroon flowers against a crimson background, embellishing the first sample and the stunning clarity of mustard and brown motifs in the second, constitute sheer visual poetry.
“Kodali Karuppur is located near Kumbakonam. For centuries, this small village was famed for its expert weavers who spun the finest cotton tissue sprinkled with gold zari butis and pallu motifs that graced the women of the Serfoji Royal family,” explains Dakhinamurthi.
“Sadly, with the passage of time, the weaver community dwindled and the knowledge of this highly skilled craft died with them”, he adds.
In 1980 the WSC team, set out to revive the forgotten weave. Once the fabric was ready, the tricky proposition arose of dyeing it using traditional techniques and block printing with true- to-original motifs.
“This is where my labour of love began. Backed by thorough homework after studying the original yardage, we began from scratch, from designing the two sets of printing blocks which were specially carved, one with floral and the other with geometric motifs. In the dyeing process, the fabric was bleached with cow dung paste, steeped in kadukkai infusion, block printed, washed in river water (flowing water ensures even distribution of dye), dyed in madder, again washed and dried. In the prints, red, black and maroon shades predominate. “Alum paste produces red, a mixture of iron, salt water and palm jaggery produces black and these two colours are combined to produce maroon. Attention to detail is the key to outstanding print design. Every feature should stand out in vivid relief”, says the artist. The completed oeuvre is a symphony in red that leaves one marvelling at each perfectly defined miniature petal, sepal, leaf and vine.
“None of this would have been possible without the initiative of WSC Director, B.B. Paul whose encouragement was equal to an award,” avers the artist. “Likewise, is the invaluable contribution of my colleagues D. Ravi and C. Rajasekar (designers), L. Sundar Raj (weaver) and V. Mahalingam (tech superintendant)”.
In team WSC, there is a sense of a close-knit family among artists that comes across as does the shared pride of achievement.
“This is a collective award for the WSC team and a fitting tribute to Dakshina’s 40-year career that has been marked by dedication, involvement and passion for his work,”, smiles Ravi.
Dakshinamurthi’s artistic journey was not an easy one. Born in Nellore district, among several siblings, he was forced by adverse circumstances and his father’s ill heath to discontinue his education. He had to go for a job to supplement the family income.
“I began my training in 1969 under the watchful eye of supervisor Srinivasan of Mohan Textiles, Madras. Not a single minute was wasted as apprentices lived and breathed the craft. Back then, Venkataswami Naidu, Pichuka Nageswara Rao and Pichuka Veerasubbiah were revered as the ‘pitamahas’ of natural dyeing, which flourished in Masulipatnam, Pedana and Polavaram in Andhra.
“These dyes are derived from natural colorants such as indigo, alizarine, catechu, manjista and moduga flower. Since dye formulation and procedures were kept secret and rarely shared, it was only through trial and error of constant experimentation that I honed my skills during a five-year stint in Vijayawada. After this, I joined WCS, which provided the creative space and the ideal platform for my craft”.
His sources of inspiration are…? “The flora and fauna abundant in Nature. Sometimes, ideas come flooding late at night and I jot them down. Many such creative concepts have been carried forward to fruition.” One such is an enormous bedspread measuring 234”x90”, block printed with 160 designs in 16 shades. Definitely one for the archives, this oeuvre is a pictorial directory that stands testimony to the artist’s creativity.
Dakshinamurthi’s work has won acclaim at the Sundarvana exhibition1996 in Bangkok and Thailand and at National Handloom expos and cluster exhibitions.
