I‘fi —. 7-4.
.2: .0 ...“.Hfll .r;.
.I o, '2‘. a) ...
3. . a I. .1
3. .. . I 3.. . .
.. . .. 14......” 3 .I-
_ r . . 33f 2.2.3.32...
.. . I I a .u h. a .....I...t_ . i
g. .. . III C p .a .. ... ...Iw ... (II I o.‘.t ... .. .. .5. ...->32 0. .I 0?. .
. ... .... .2... .. 3... 3.. . z .. . .. . .35.. .. .. ... -. ,1: I... 4. .I
. . . ... ..I .... .a a. .II‘ . .I . .. . . ..HI . . 93.. I .. I... .. y .62... .. ..uo
. . . _ p. . 0.... . J o . I .. . o . .
II 4;. of Co. ¢.‘o.'.0. . . .. g .n u . I 0.. I-v. ... Q 0 . o o . . . o o . . . 3 . a ..I. I I
. . . t . . . . . I I.
¢ . M . ..\ ol . . ... n I l . or . . ... ....v. 9.. . _ 2 . u . - .... I. _ .o . I 30.4.... 4! . I ». ul- .
.. I. o. o. .. J... 2.60.. ... ... . .3. I J . . u . x. . . . a . I OISI . .n
.I . . . I... .. on. “0...... 11.: ...! .M... .. . . o. . .. o.. ..I . ....‘..l.l...(3 4fl.‘h.§
I . .. 3 . . I I 3 . A l . o . .
.. I. w G . . .D I . . O .. . u .v .0. .‘I w, .:u
o . u I .. o q . _ a, . a I u. . - I v 0 . t I.
.3... 3. _ . .. _ . .... . .. .3 .. .. 515.33,?"31 . ..
I I . . . .. 3. o .I. .P- ._ I . a. .- JIII..-..._ p.
_ o I . . u . L. . . I . o 5 u u 0 O ...-I. ol‘V~‘/.9.
_ I . .. ... I... .' I.... . ... ..,I
~ _ I . . .. o... . I
, .. . .. .. . .. .-.. r.. . p. . .. . .p.
. .0. . ...-...... 3.. . ¢ . a... .I
o. .. . . . . o . . . . . j.
u . . I
o. . f . . . on. I .7 3f
c I .3.. a.uI I . I_.\ I a... .o .2I1...
I I . .u. .I ...
. o. . ..
o. .. . ...v I .Io. .- . :-
3 . .. p ... I. ... J .I
o-- I. . O. I v .
. o . a. . . 3
.. . I.... .. o .. r” II .
3 . 3...... . .. . ....... .9 ... IIIL
.. . I . é... \- .. ... o . t .. . .. , .
.. O.- .0 . . . _ . .1 .
, .0 . .. a .. . 9. §
. I _ . . . .. . .
. . ...u C.” I... u. I. I‘m».
A. ‘r . _. ... ._ _|I3 o
.. . .... .... .I .0 “P! r (H;
I. I I I o. ...—o... .... a . I
.u. o I . .. , t
.. : .. . . .5. . ...
.c .o . “......
9 . .....u. .|.. . 3 In a.
I O I u v , o .5
.t . . 3’... 3. 0.0 . v 3. .
I .0: . . .. ..IO. .
3 n... .1. . I I; :- .. .. .
c I I. _ 3 3. . . . . .l¢\ 9.
II. 2 . A. . 0: a . . . in“. .3 ._I_r ... 3 I .3 .1 “(mil-10..
II - .. a a o I h.‘ . .0 I . IH.O.I.' O ’0
I In ..1 . . .. . . . . 3 ...oo..... I, ... ..o
I . I v 3 . . . . . O
0 I I . I . n C I. I u
. I ... . _. ...: . .. . . 3 \. . I . . 2 ...L
O a . o . I ‘I a . .6; . OI . . . I I I . I . Q
.. . . ..- .I . a I . I I
I I . . I I ...:Q Jo. ..I .0. .VII.. ..
.o .. OI . I . . I ... ... .. .4. .d.
I. . . . on- f. . U. . . o. .
. ,0... I. O. I .. . o: o I II. ._ I . o ....03:
.... . .3 . 3. . % ...... . ., .
0! II. . I I o .r- O ..I . ...}
. I I I . .
. I I V: _ I . I c.
. .o 0' It
I . v. 0.0 v .
I. . . In. .
1. . ’. o I .. I .‘
. . I 2 . . .It. . o. 0.
I . I I .. I I o ..o,. 3 I o O .
o a.» . .. .I . I . I o, 3 . . v . ¥I
0.. .. .0 I . 'I. I .. a .> . 1.9: N
I ... I r . I.I. .... H... v . . ...... ”O. . 7“. T.“ . a}! II’... II. .IA‘WBQ .. In”. I
. . . . ....I .... . .....Y..._.#..:.n.34 .duLé.J-..I 5.. It
I C O '3 4. .
. I .... . . 3. . . . b‘ .
I - I . .... .. .
.. _ . . . . ... .. . ..- .. .n .,..r- "3.3.3.. ....vz... .
I . ... . . . . I I... I5.‘
I I u I ... . . , . . .3}... IAIOV Lin 0;“
. . . . . . 3 . .. 3 ...u. .m. 3...»? ......I 1.3...
. . . c .. _ 3 .. . . . .. . . . I .
. . _. . . .... I . 3. .3... : ; . . , _ _ . 3 . . 5.3.9:... I...
. . I . I . . a .. ... . I ... .. . .. . . _ .. .3 . . 3 . . _ . ”duo-53:! .u
o .. o .. ‘ ..I . . o. . I . . . . _ . . . . . . . . -.. 0' I00 ‘1’:Ouun.‘ .
. I . . 2.. . . .. . 3’50”; 7'24“ 20
. I .II . .V . .. .... . . . . . ..A ..'¢.DX0¢. . ,. .
. I .. ... . .... O. o . . . .o .r ... . . 59,033
. . I . . . .. ... X3; . .3le
o C 1 ... . I I. .. o a I I... . c . d.‘ .. 0-‘3 9"
I . o .. . I . .0 2, v. o I ...
. . . ... . . I. . , . . . r“ 04.2.4 .3
. . . x .. . . 3- . . ......Iic. Pb.
I - . . I... . . . . .. . ._ ..I»l..."'r.q
. o o , . . . . . . . .. . . .....C . £2... . . . . a; cry 0
I . I a c. . _ . _ .. ...... .I’ntfi3- J
. a. . . . . 3 _ 3 . . o . . a. .5“ N M
I. o . I .I I. I. . . . . . . . v. I . , .33.}...
II o O . . I . .- O . .. . . . . . . ¢.IJHII .. I
. .. . .u .o .u . . . . . . “.3 1. 3 [Dam
. I o I I 3. _ .Vp‘v’. _ _
_ I I . .. . O ..b
. I. I II. _ . .. ‘0 ‘ ..
y .. a o ' II‘
I I . .. I .053... .0 3r} 'Oon
. . . . II. I . 2. .
. . . . . _ .....I Jun 91
I 1 ... I . . . I ...! i
.0 o . I . O. . . o . .- 0. n 04"... v . 6. h
I I .0 3 . 3:10.. .
.. I I ... d . .l .17.!
O I . ... . .v. .3... ...TI 4.”; .ut. .33"th .- I”.
..I .3 . . . . «In. 32.3.3.9“: ”VJ. “8.9:...1....a. 9 “Pu.
. . I .u . .3 .o ...!l I .......'9‘l.t- 0.93.3... “:4;
. .. 9 .0 o . 3 .
. o . .. . .0-
‘. I - . . .4 . o. .
o . . . I u .
. I. o . . o . .. u. . .
_ . .I I I 0 . ..
. . I
. -

  

. ....g .
“II... In. no

. . ... X
n» ..v. 39.8
-

   

 

 

 

 

 

   

              

 

       
    

 

           

  

 

    

. . . . . I I. . I A
. . .. 3 .. . _. .. “:91... 1.
.. . . . 9.... O 'I
. . . _ In ('3. O ’A
. , . . I AIIO:
. I?“ It 'v .
I . no: .‘, v
o .. . \c I .
CI “.013."
. .. fr. . .
. . .. uIPVPR-fl”
. I II .. I .
.. _ .. ........m..... 3..-:
. .I t g 3 l . a a I .
‘I. . o I OIOIIIO’L s .10. I. “u
I I In I I
.. ... 339%.... .1}. I I:
.. .. . 5.3%.}. ......Iufifi
.. .3 . .. .h»fin...:v ..a . .. I...
. .. .3 .. ......-...I.,...3..%.?..
II . I . a 0101...! “of“... CNN. ..nw
. . 3 . I? 01..
- - .. . ......3.3...3.I.....n_...
- _ . V 7.4.5 .. neor
.I I. . i ‘Ifl:!.lool
I I aw“- i .5 .r
I "I... PD. 5. O
. - . 3 ...; «$333.. ......I.
I _ -..... . . .
O I . . a r!’ Iowflflur ofE o...
. .II .... o. .. I.I..Z l v — .
. I I .3. .
- ‘ .- . l .
. .o I. t O .
. . . .. . urduumvnawrlliu:
. . t. ....I...‘ .93. 1.»: In hr...”
. 3 .. . ......IIIN. I... IL:
. u -. O .
o
.0
. ... .
I n O .3
. . I
' O D II
.
II . I . .
_ I I
h .0
o . _ I
I .. . .
3 _ .
.
.o
. ..
I ... . . 3
o u . I . a I I. d O. . I
c . I. I . I .I.....I. ... . I. .. ... .
.I I I . . . . I A J .. . ... I 3 .. . ca... 6‘
- . . . . . -. . . . , .I. .3: ... ... ......;Ir.dul. ......»b:
1.. . . . . . .I.II.:hI... ... . 1...... -.. 3r
I : . I . I . . II . . . . . ...-1' I .I..~.‘oro .
v I . I ‘ o .u . I . I O A. ... to... c .
I u . I I o O . 0‘ o ..
n n u I I -0 0
. . I . I _ . I . II .
2 . I . . I .
I o . ..
. I I .I I In. . a I I I . I I .. I 0
u I . . .,I. III... . I . . . I . I . .
. . .. I I . . I .
ft. 3 o I I .
._ o 0 I u o. n I I o . . _
t. _ I . . I . . - 1 . .I
o I . _ . u . I . . .
. . I o I I o I o oi. . o . .v-“ZDIS :0. II
I . . I I. I ... . I 081‘...’ » I p .0 ...
I . . . . a o . .. 0 I .
4 . . . .. . . . . - I
U l . a: . I ... . . I . . I n 0.. o . .
o u 00 . .v 3 I . . . o o.
. . 3 . I . o I . ~ I
1. . I .3 . I I . o . . I . o . o < .. o .I .....I n
. ... .. I II iv: . Il . '2 . I I . .
. o. . . I _ .. Y .ovr o o O . I o I
. o I . ... . O
. II I u I I I I ... O . I . .v . .
... o I. o I . ... I .u t o . - 0 I I IQI I
. I I . . I
_ I . . I . .. . .. . . I n a. I hi... .I . .
I. I o I. . a. I I I I . .I I I . o. I. O o I II a I . 0 I. N II ..I to O .
, . . ...; I . . . .. . .. . . . .. . I. L. It; ...I...» .
. I . I I. I .0. I I I I I I. J . I . \atc
. . .. . . . . . . . . .. . . ...hz ...~.%1.;3.2$r
.- . .‘ . O 3 O. . .l X I _ I D ‘ I
. . 3 . ..I....?xfr . III...\o-II ..rII...O.%aP3. I up . .
I .. .. : II o I. , IQ. .
. 0 o . . . I II.|. -‘I‘
I O. 3 o I I I‘ -
v . I . 0 I u . I
I- .
n
..O‘.’ 0’?
....

 

 

Lam; .ih’
Macs-3263331 "“2380?
Uniwmny

 

 

PLACE IN RETURN Box to remove this checkout from your record.
TO AVOID FINES return on or before date due.
MAY BE RECALLED with earlier due date if requested.

 

DATE DUE DATE DUE DATE DUE

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

6/01 cJCIRCIDataDuesz-ms

 

 

MICHIGAN STATE UNIVLHSI‘I'Y
TEXTILES, CLOTHING AND RELATED ARTS
COLLEGE OF HOME ECONOMICS

/4 STUDY OF PAKISTANI DECORATIVE TEXTILE
DESIGN MOTIFS ADAPTED FOR USE IN

WESTERN-STYLE CONTEMPORARY HOMEj//

By

Surraya Wasi

//

A PROBLEM

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Textiles, Clothing, and Related Arts

1962

1’5?
6%
THE

ACKNOWLEDGMENT

The writer wishes to express her thanks and apprecia-
tion to her major professor, Mr. Robert Bullard, for his
sincere guidance in this study, and to Dr. Mary Gephart for
her advice and assistance in the writing of this problem.

Special appreciation is also expressed to Dr. Joanne
Eicher, Pat Klobe, and Mary Shipley for their suggestions
as members of her graduate committee, and for reviewing the

manuscripts.

ii

TABLE OF CONTENTS

ACKNOWLEDGMENT

LIST OF ILLUSTRATIONS.

Chapter

I.

II.

III.

IV.

VI.

VII.

INTRODUCTION.
Purpose of Study
REVIEW OF LITERATURE

Historical Background of Indo-
Pakistani Textiles

Ancient Block Printing Technique

Other Printing Techniques

Woven Fabrics . .

Process of Weaving.

METHODOLOGY .
TRADITIONAL DESIGNS

Geometric Architectural Design.
Flowered Pottery Design
Jamdani Design

Khes Design

Turanj Design

DESIGNS FROM URDU SCRIPT.

TECHNIQUES OF TEXTILE DECORATION USED IN
EXPERIMENTATION . . . . .

Weaving .
Linoleum Block Printing Technique.
Stenciling of Fabrics by Hand
Silk Screen Printing

APPRAISAL AND SUMMARY.

APPENDIX .

BIBLIOGRAPHY.

iii

Page
ii

iv

IO
11
12

,—.

lb
19

22
27
30
35
MO

45

Illustration
1.

2.

10.

11.
12.
13.
IA.
15.
16.
17.
18.
19.
20.

KOCDNmm-Il‘

L

Histori

Adapted
Motif

Adapted
Motif

Pottery
Adapted
Jamdani
Adapted
Adapted

Khes De
(Nega

KheS De
(Nega

Adapted

Adapted

IST OF ILLUSTRATIONS

c Muslim Architectural Design.

Design from Architectural
(Positive).

Design from Architectural
(Negative).

Design from Punjab

Pottery Design

Design from East Pakistan.
Floral Design from Jamdani
Geese Design from Jamdani.

sign from West Pakistan
tive).

sign from West Pakistan
tive).

Design from Khes (Postive)

Design from Khes (Negative)

Turanj Design from Kashmir

Adapted
Adapted
Arabic
Design
Design
Design

Design

Geometrical Turanj Design.
Turanj Design.
Inscripted Design.

from Urdu Alphabet-Letter Seen

from Urdu Alphabet——Letter Meem .

from Urdu Alphabet-~Letter Kaf
from Urdu Alphabet-—Letter Hay

iv

Page
24

25

26
28
29
31
33
3A

37
38
39
42
43
42+
46
217
1+9
SO

Illustration Page

21. Design from Urdu Alphabet——Letter Fay . 52
22. Woven Design. . . . . . . . . . 75
23. Block Printed Design . . . . . . . 76
24. Stenciled Design . . . . . . . . 77
25. Silk Screen Printed Design . . . . . 78

CHAPTER I
INTRODUCTION

Millions of yards are spewed from loom and presses
the world over. Once in a long while someone with
love for his crafts creates fabrics that sing, and
we all are breathless with astonishment and admira—
tion.

How well said are these words from the mouth of E. M.
Benson.2 In the Indo-Pakistan subcontinent, for centuries
people have been weaving, and have been producing fabrics
which did sing for the people. As time passed it brought
about new ideas, new techniques, and new tastes which went
on blending one with the other. These changes were slow
until the nineteenth century when a sudden spurt of develop-
ment came through new machine discoveries, then the whole
pattern of life began to change for mankind. Many men were
replaced by machines.

The Western World accepted these changes quickly and
easily, but the East with a strong traditional background,

could not easily change or adapt itself to new modern

mechanisms. The craftsmen in Indo—Pakistan, continued to

 

II

1E. M. Benson, ”Fabric International,

Craft Horizons,
vol.2l (September-October, 1961), p. 5.

 

2
Ibid.

2
produce fabrics that sang, but the song became stale and old.
In contrast, this old song did not appeal to the modern
machine—age man. Gradually these craftsmen began changing
their occupations to avoid starvation, because people no
longer appreciated the songs of their fabrics. Craftsmen
who could not find their hands fit for any other occupation
or manual labor literally starved to death and their tragic
deaths are recorded in the Governor—General Lord Bentick's
famous minutes. ”The bones of the cotton-weavers are
bleaching the plains of India."1 Thus remained the state
of affairs till the Second World War.

During this period the people of the Western World
and to a certain extent the Eastern World as well, became
accustomed to the amazing works of the machine. Realizing
the limitations of the machine in producing variety, most
scientists saw that something new and exciting was needed
for restless mankind, who is never content with one thing
for any length of time. The desire to create beautiful and
useful objects is an incentive for creating new things.

Alice Adams said at the Fabric International Exhibition,

The final challenge is put to the individual hand—
craftsman. That he is needed by the scientist is

an inevitability he cannot risk ignoring. And the
scientist cannot deny his own humanity. The artists'

insight binds him to his culture. If the two are
going anywhere, it will have to be together.

 

lJohn Irwin, ”Indian Textiles in Historical Perspective,”
Textiles and Ornaments of India, Monroe Wheeler, ed. (New York:
Museum of Modern Art, 1956), p. 29.

 

I

2Alice Adams, HThe Fabric as Culture,' Craft Horizons,

vol. 21 (September—October, 1961), p. 6.

 

3
Scientists can run the machines but they cannot create new
atmosphere, new ideas, to make the fabrics sing. The
scientist is not able to do the work of an artist.

This was the time when most of the hand craftsmen had
all but disappeared in the West and were gradually dis—
appearing in the East. At this time peOple like Gertrude
Whiting, along with other prominent eastern women encouraged

the women crafts workers.l

Some of them played an important
role in the revival of the crafts in the rural areas. Many
women's organizations aided this revival and small industrial
homes were opened for widows so that they could earn a living.
At the time of partition of the undivided India into
two countries, India and Pakistan, sorrow came along with
freedom. Thousands of people lost their lives and homes and
had to move to Pakistan from India. Among them were the
prominent craftsmen from different parts of India. Most of
the people were worried and hungry. The Pakistan Government
had the tremendous problem of rehabilitating the refugees,
and consequently, could give little attention at that time
to the arts and crafts. Gradually as the years passed, life
became normal once again. Besides the women's organizations
the Pakistan Government also started taking an interest in

the Cottage Industries, centering the arts and crafts activi—

ties in the villages and suburbs.

 

lPersonal correspondence from Edith A. Standen,
Associate Curator in charge of Textile Study Room, The Metro-
politan Museum of Art, New York, February 6, 1962.

4

In 1960, a Design Center was established by the
National Small Industries Corporation in Karachi, and now
it is beginning to grow in other cities of Pakistan.

Through this design center, the Small Industries Corporation
is sponsoring a design movement and is instructing the
artisans and craftsmen in their new role of placing acceptable
designs on the market. In other words, new products create
new markets.

Pakistan is in a very advantageous position; it
possesses a wealth of rich and varied old traditional
designs. With little or no adaptation these designs can
very successfully be available for the needs of our modern
contemporary homes. This can be evidenced in

the designs of the Indus Valley civilization, which
are very ancient and suit the modern cleanlined
furniture and architecture of today. These designs,
used cleverly and artfully in adapting themselves to
everyday life, will contribute greatly not only in
an economic manner but also in the historical and

cultural education of the Western World regarding
Pakistan and her neighbors.

Purpose of Study

 

As Pakistan has no lack of design and craftsmen, perhaps
this study will contribute to designers and craftsmen an even
stronger awareness of possibilities for adapting the old

traditional designs. Perhaps the craftsmen can revive their

 

lDorothy Habib, ”In Search of Design,” Contemporary
Arts in Pakistan, Vol. 1, No. 7 (July, 1960), p. 18.

 

 

5

songs with new themes and make the fabrics sing once again

for the benefit of modern civilization.

This study might also help indirectly in raising the
standard of living of the poorly paid craftsmen of Pakistan.
By helping them to adapt their designs for export to western
markets, they will increase their production and ultimate
remuneration. Moreover in lieu of a world market which
includes Europe and might include the whole world some day;
export in these markets would be easier if designs were
developed with the foreign consumer and his taste in mind.

The objectives of this study are:

1. To experiment with traditional Pakistani designs and
motifs in order to modify them for contemporary western
tastes.

2. To incorporate the principles of good design with tradi-
tional Pakistani designs in executing the modifications.

3. To adapt five traditional Indo—Pakistani designs to the
needs of the western markets.

A. To create five additional design motifs from Urdu script
to be used in contemporary homes for both eastern and
western markets.

5. To explore the weaving and printing possibilities and
to experiment with one of the designs, using weaving,

blockprinting, stenciling, and silk screen techniques.

CHAPTER II

REVIEW OF LITERATURE

Historical Background of Indo-Pakistani Textiles

 

The British Indian Empire was divided into two nations
on August 15, 1947, India and Pakistan. Later, Pakistan was
the smaller of the two nations. Unlike the new free India,
Pakistan had to build a completely new central government.
Pakistan consisted of two separate blocks of territory
hundreds of miles apart; it inherited neither a capital nor
an administrative machine as India did. However, since
present India and Pakistan were one dominion before 1947,
the historical background of these two countries is the same.

Arts and crafts of Indo—Pakistan today show the influ-
ence of the Indus Valley civilization of prehistoric times.
The Hindu culture, the Buddhist culture, and the Muslim
culture have influenced all areas of the fine arts, textiles,
sculpture, pottery, architecture, metals, and music.

The origin of art knowledge can be traced back two
thousand years. Excavations of two ancient cities Mohenjo-
daro and Harappa in the Indus Valley region have revealed a
civilization that existed in the Third Millennium B. C., or
perhaps earlier.

Among the most numerous artifacts were seals which
bore inscriptions in a still-undeciphered script and

6

7

representations of animals including the zebra, the
elephant, and the tiger, all fantastic animals and
demonic figures. Most of the representations are not
only organically convincing but they exhibit as well

a naturalism that is fully able to depict the subject
recognizably and which already is in the process of
selecting and eliminating fortuitous detail. Animals
are uniformly portrayed in profile, although the horns
are sometimes shown from the front view.

These seals are very popular at present with craftsmen in
Pakistan, especially in the field of textile printing.

The Aryans conquered northern India at about 1500 B.C.,

2

and brought nature worship with them. This soon took the

shape of a religion, and the Hindu religion emerged from
it. The basic philosophy of Hinduism is,

(1) that all existence comes from the ”sea of life,"
and everything including gods, return to it in order
to be born again, (2) that the condition in rebirth
is dependent upon the type of life spent in previous
existences and that merit is gained or lost according
to individual acts (Karma), (3) that the only release
from existence is in the destruction of pgrsonality,
and its union with the absolute. (Moksa).

Out of this religion came Buddhism, not too different
from Hinduism. The basic philosophy of Buddha was that
"one could escape his Karma by attaining release from all

earthly desires through enlightenment. (Nirvana)"2‘L

 

lLouis Homticq, at al., New Standard Encyclopedia of
Art (New York: Garden City Publishing Co., Inc., 1939;,
p. 181.

 

2Ibid.

3
Ibid.

4
Ibid.

8

Hinduism believes in many, many gods and goddesses;
each god has assigned roles and can deal with only that
aspect of life of which he is a god. Hindus made idols of
these gods and worship them; these idols could be in human,
animal, or any fantastic form related to human or animal
anatomy. Such engraved figures appear in many ancient
Hindu and Buddhist temples and monuments and the temple
cloths. In many textiles of today these figures appear in
either woven or printed form.
Muslim invasions started in India about the eleventh
century.
At the beginning of the sixteenth century the territory
was consolidated under the rule of the conquering
Moghuls, as these emperors styled themselves. Northern
India was ruled by various Moslem dynasties until the
art of the country became essentially the Mohammadan
art of the Near East.1

Geometric patterns and Arabic inscriptions were the decora-

tive motifs, which still are popular in architecture and

other decorative arts in Indo-Pakistan.

During the Moghul period the textile decorative arts
were under the patronage of the Moghul court. Textiles of
that period show both Hindu and Persian influence in design.
India learned many weaving techniques from Persia, especially
in rug making. The decorative motifs were the naturalistic
floral designs in both textiles and rugs.

Textile designs have been deservedly famous throughout

the ages in Indo-Pakistan. A study of ancient Indian

 

11bid., p. 182.

9

literature, painting, and sculpture shows that Indian
fabrics enjoyed undisputed supremacy all over the world for
nearly 2000 years. Even the Rig_ygdal refers to hiranya-
drag; or shining gold woven cloak, the Mahabharata2 to

manichira, probably a fabric with pearl—woven borders, and

 

Pall literature to kaseyyaka3 of Banaras,”r worth a hundred

 

thousand silver pieces.5 Cotton cloth dyed with madder

has been found in Mohenjo—daro. ”The numerous spindle
whorls and bronze needles discovered at Mohenjo-daro testify
to the wide popularity of the art of weaving and embroidery

in ancient India. The old sculptures and paintings depict
n6

brocaded and embroidered materials of exquisit patterns.

There are records of the export of silk and cloth
of gold to Rome in the reign of Tiberius. But the
knowledge of silk weaving is known to have come from
China, and the Sanskrit word for silk cloth is closely
linked with its Chinese origin. It was in cotton that
the genious of the Indian weaver, painter, and
embroiderer was to find its richest and boldest
expression.

 

1One of the religious books of Hinduism.

2
Hindu epic poem.

3Name of fabric.

Name of Indian city.

5Ajit Mookerjee (ed.), Designs in Indian Textiles
(Calcutta: The Indian Institute of Art in Industry, Artistry
House, 15 Park Street, Calcutta), p. 3.

6Ibid.

 

7Pupul Jayankar, ”Indian Fabrics in Indian Life,"
Textiles and Ornaments of India, Monroe Wheeler, ed. (New
York: Museum of Modern Art, 1956), p. 139.

 

10
One of the favorite techniques to express this genius
was printing with wooden blocks. This technique may have
originated in India; no prehistoric textiles have survived
to prove this assumption but indications of early block
printing are found in sculptures and paintings. Some Egyp-
tian printed cottons and textiles dating from the Roman

1
Period also seem to show Indian influence.

Ancient Block Printing Technique

 

Block printing today is a very popular technique and
was certainly known in the days about which the Greek
scholar, Airian, wrote and probably in the days of Mahab—
harata as well.2

Ever since the period of the Crusades, Europe had been
somewhat aware of the printed cottons in India and Java. It
has even been said that America was discovered because
Columbus was searching for the block printed fabrics of
the Far East.3

Calicos are the most ancient and popular block prints.
Beauty of design and color and the fastness of the dyes
contributed a great deal to their popularity in the European

countries. "The prevailing motifs are the Kalka or flame

 

lAnand K. Coomaraswamy, History of Indian and Indone—
sian Art (New York: E. Weyhe, 1927; London: E. Goldston,

1877), p- 139-

2Mookerjee, o . cit., p. 5.

 

3Verla Birrel, The Textile Arts (New York: Harpers
and Brothers, 1958), p. 432.

 

ll
pattern, floral sprays or butis arranged diagonally, diapers
and birds, especially the peacock. The border usually con-
sisted of a continuous floral pattern or bel.”l

Nowadays many traditional design motifs are being
block printed on machine woven textiles with successful
effects.

The same technique of block printing was used in the
old days as is used today. The design is engraved on the
wooden blocks according to the detail and size of the
printed pattern. The thickness of the block varies in size
from one—fourth to one-half inch. Metal or brass strips
are also used for details and fine lines. To print, the
block is charged with color. It is slightly pressed over
a leather covered with color-impregnated paste, then the
block is stamped on the fabric and pressure is applied.

The number of blocks used in a design is determined by the

color scheme.2

Other Printing Techniques

 

Other ancient techniques applied to textiles are hand
painting, resist dyeing, and tie dyeing. In painting, dyes

are applied directly on the cloth by the craftsman with a

 

lMookerjee, o . cit., p. 5.

2Richard Glazier, Historic Textile Fabrics (London: B.
T. Botsford, Ltd., March, 1921), p. 95.

l2

stick or brush. This technique is very expensive and requires
a great amount of skill. The present tendency is to limit the
use of the stencil printing method to designs requiring great
accuracy and an exact repeat in the design.

Another method of hand painting, or dye painting, or
wax resist drawing is called ”galmdar,” which is equivalent
to Javanese batik. Sometimes block printing is also used in
combination with qalmdar.

In the tie-dyeing technique the design which is made
up of small dots is tied tightly with a thread. The portions
of the fabric which are tied do not absorb the dye thereby
producing the design. To get several color effects the
dyeing process is repeated again and again.

Another very interesting technique which is most ef-
fective is achieved by dyeing separately the warp and weft

before weaving; the design develops in the weaving process.

Woven Fabrics

 

The history of the Muslim weavers goes back to the
reign of the Muslim monarchs of India. The great Mohammed
Tughlak (1310-1348) had four thousand artificers who wove
gold brocades, zarakisl for the sultan and his wives. He
also presented these gold brocades to his ministers as robes
of honor.2

In 1663 Francois Bernier wrote to the great French

Minister about the workshops maintained by Emperor Akbar in

 

1Name of fabric.

2Zahida Amjad Ali, ”Cloth of Gold,” Pakistan Quarterly
Vol. 8 (March, 1958), p. 39.

 

13
Delhi. "In a sixth (work), manufacturers of silk, brocades
and those fine muslins of which turbans are made, girdles
with golden flowers, and drawers worn by females, so
delicately fine as frequently to wear out in one night."
Travernier tells about the astonishingly large silk
output—~22,000,000 livers or two and a half million English
pounds yearly in Bengal in 1666. One-third of this was used
by the weavers themselves, one—third was consumed by the
other weaving centers of the Moghul Empire, and one-third
was purchased by the Dutch for trade in Europe.2
A record dated October 3, 1684, of an order sent by
the India Company to Dacca read, "to send a good quality
of flowered Mulmuls, ye floweres to be wrought upon ye
finest Mulmuls, and 5 to 6,000 pieces to be wrought variously,
some with silk and silver, some with silk and gold, some
with gold and silver.”3
John Ovington, writing in 1689, said, ”In some things,
the artists of India outdo all the ingenuity of Europe, viz.
in the painting of Chites . . . the gold stripes in their

sooseys,4 and the gold flowers in their atlases5 are

 

llbid.

2lbid. Quote from same periodical; original source
not known.

3Ibid.

 

4

Name of fabric.

5Name of fabric.

14

imitated with us but not to perfection.”1

These weavers were the great Muslim craftsmen of India,
who were a product of their traditions, and whose skill was
passed to them from one generation to another. Sir George
Watt, Director of the 1903 Great Art Exhibition of Delhi,
said,

In Benaras, the writer was enabled through the
enthusiastic cooperation of the Collector, Mr. Radice,
to visit all the leading kinkhab2 weavers at their
factories and to discuss with them the origin of the
designs in use. It then transpired that there are
usually three persons concerned in the ”Kinkhab”
trade--the designer who is invariably a Mohammadan,
the weaver who may be either a Hindu or a Mohammadan,

and the vender or trader who is almost invariably a
Hindu.3

These Muslim designers and weavers are now refugees
from India and have settled in Pakistan. Most of the other
woven fabrics in the country are the simpler forms of weaving
based on the same techniques, whether they are jamdaniesu of
Dacca, either in silk or cotton, 1ungies5 or turbans and
handkerchiefs of Peshaar, tie-dyed chunries6 of Sind or the

daryai7 or khes8 of Multan. These fabrics are all different

 

lAmjad Ali, 0 . cit., p. 39.
2Name of a fabric.

3Amjad Ali, o . cit.
a

Name of a fabric.

6

5Name of a fabric. Name of a fabric.

7Name of a fabric. 8Name of a fabric.

15
varieties of silk and cotton weaving. The refined and devel-
oped version is called "banarsir cloth, usually made with
gold and silver threads.

There are two kinds of banarsi weaves, ”3k tara" and

 

"pathg," a loosely woven and a closely woven cloth. Bk
taga gives the effect of gauze and fine muslin; it was
called "abfefraw§g” or flowing water in the olden days.

Now it is used to make scarfs, dupattas,l and turbans. The
other variety, pathaj is used to make garments like blouses,

kamees, shalwar, saris, or ghararas; draperies, upholstery,

 

 

and shoe covers. The name of the material normally is kinkhab
or pgath_if it is woven with gold thread. The gold thread
used in Pakistani banarsi is always gag; or ”kasal.” The
history of this gilded silver thread goes back to the tenth
century or perhaps earlier in Iraq. The technique of weaving
in present—day Pakistan is almost the same as it was in

these earlier days.

Process of Weaving

 

The steps in the preparation of yarn for weaving are
as follows:

1. The silk yarn is unwound on a large spool made of
bamboo strips. One composite yarn is produced by winding
five strands of yarns from the spools, on one ”charkhi‘l or

reel.

 

1This and other Pakistani garments are described in
Appendix, p.

l6

2. The yarns are bleached by boiling in soap solution.

3. After dyeing yarns a variety of colors, the yarns
are ready for weaving.

The steps in weaving most fabrics include:

1. The warp yarns are first spread out on a vertical
structured warping machine, similar to one used in tapestry
weaving.

2. The warp is beamed.

3. For the weft yarns silk or gold threads are wound
on three-inch pieces of wood lengthwise and are hung on

either side of the frame to serve as bobbins.

4. The design is worked out on the acguard” machine.

It is then fixed on the loom and weaving proceeds.

The fineness of the cloth differs according to the
quality. In ”gk_tarafl or gauze variety fabric there are
normally 2,000 yarns in a 45 inch warp, although they may

range from 900 to 2,500. In ”patha_ or close woven fabrics
of the same width there are usually 5,200 warp yarns, but
the number vary from 3,200 to 6,200. In satin cloth these
warp yarns range from 8,000 to 15,000 yarns for 45 inch wide
material. The filling yarn count is normally 85 per inch in
all weaves, though it may range from 54 to 135 per inch.
Gold yarn is used in the warp only in areas where the
design occurs; the balance of the weaving is done with silk

filling yarns; when gold thread is used in the weft it is

added only in the design area. The former is called ”lachha"

l7

' which is superior and is actually

and the latter is ”nagshi,‘
real brocade. Brocading means to add extra weft yarns to be
woven with the weft for design effects, and cutting off the
ends where the design finishes, thus saving the valuable
gold thread. It is a kind of embroidery done on the loom.

When the gold design is enhanced by extra colored
silk yarn the technique is very appropriately called "megngf
or enamelling work. When only one color is used along with
the gold, the process is called ”alfi,” and when a third
color is introduced in the design, it is called "tghra"
meaning that a third process is used in the weaving.

Color effects are produced (1) by dyeing the yarn in
a variety of colors; (2) by using different color yarns in
warp and weft; (3) by employing two colors in warp and weft
to achieve a two-tone effect called ”thunder and lightening";
(4) by using entire weft of gold yarn, either woven over the
warp when it shows on the surface, or using a satin weave.
131 saris these color effects are produced by using differ-
ent colors for border, pgtli, and pgllg,

The brocade designs can be categorized in three styles:

(1) Booti-—sma11 separate designs scattered all over the

fabric or when big they are called "boota"; (2) Jaali-dar-—

 

the over—all trellis design; (3) Bel-daar-—border designs
and braids.
Popular designs for weaving are the flame or cone

design formed either by line or by flowered motifs; vase

18
design with separate nosegays of flowers; turang or tree of
life with branches turning and twisting all over forming
interesting shapes; the flying geese; and the trefoil
design from the bust of the bearded men of Mohenjo—daro

dating 5,000 years ago.1

 

1
Amjad Ali, op. cit., p. 43.

CHAPTER III

METHODOLOGY

This study is an experimental study based on the
possibilities of applying different hand craft techniques
of textile decoration for use in furnishing today's contem—
porary interiors. American interest in the Indo—Pakistan
textile craft is proved by glancing at the pages of current
American textile and craft magazines. The names of period-

icals to which the author refers include American Fabrics,

 

Craft Horizons, Handweavers and Craftsmen, and Ciba Review.

 

 

 

Since the link between Western and Eastern culture is
coming closer and closer each day, a study of this nature
should help to bring about a better understanding of the
arts and crafts industries of the two countries, Pakistan
and the United States of America. It may help indirectly
in raising the standard of living of the poorly paid crafts-
men of Pakistan by providing a foreign market for their
crafts.

The contemporary trends in the Western as well as
Eastern interiors demand the emphasis on simplicity and
utility of the design within reasonable cost. The skill

and the pool of designs of the East can be very easily

19

2O
utilized to satisfy or fulfill this need. Hence the author
has experimented with the traditional, intricate Pakistani
designs and motifs, redesigning and simplifying them and at
the same time incorporating the principles of good design.

In the review of literature an historical background
with different cultural influences on the textile arts in
Indo-Pakistan is discussed. The five traditional designs
for this study were selected from a variety of sources. One
design is selected from an architectural motif, since the
trend today is to bring unity between exterior and interior
of the home. The second design is selected from ancient
pottery. If similar design motifs are used in drapery and
upholstery as well as in accessories, a feeling of unity in
design detail will help to create harmony. The third design
is selected from an old traditional but still popular design
of a saris from East Pakistan. The motif is stylized flowers
and geese. The fourth design is taken from a handwoven
fabric used as a bedspread from West Pakistan. This is a
geometric design and has many printing possibilities. The
fifth design is the famous tree of life design taken from a
Kashmir hand embroidered scarf. Kashmir shawls with this
design are very popular with Americans.

In addition to these five traditionsl Pakistani designs
modified for use in contemporary interiors, five designs were
created from Urdu script, by stylizing some of the alphabets.

"Urdu” is one of the national languages of Pakistan and the

21
script resembles the Arabic script. All these original
designs have been photographed; the modifications have been
executed by making graphical sketches which in turn have
been photographed.

In the later chapters, some of the designs based on
the Urdu script are experimented with block printing, silk
screening, stenciling, and weaving techniques. The contem—
porary techniques for making these designs are also dis-
cussed in detail in Chapters V and VI.

The last chapter deals with a discussion of the four
techniques of textile decoration, and the execution of the
modified designs in the light of books written on contem-
porary trends by the modern authorities and designers on

arts and crafts today.

 

CHAPTER IV

TRADITIONAL DESIGNS

Geometric Architectural Design

 

The first design was taken from the book Art_Aggs,
edited by Pedro J. Lemous. In the early Saracenic art no
symbols or figures of human and animal anatomy appeared;
most writers agree this was according to the preachings of
Prophet Mohammad. The main reason why the Prophet was
against the drawing of these figures was to help people not
to become idol worshipers. In the very early days of the
Muslim art and architecture, no human or animal figures
appeared; the designs were mostly geometric with a combin-
ation of the Arabic inscriptions. Their designs were
enhanced through brilliant, strong colors with gold and
silver combinations. This art was brought into Indo-
Pakistan by the Muslim monarchs who made India famous
through their architecture and crafts. The famous Taj Mahal,
one of the Seven Wonders of the World, is a proof of their
artistry and skill.

These geometric designs of the old architecture can
be a very good source of inspiration for contemporary
designs; they can lead a designer to create many interesting
and simple designs for interiors. By combining and

22

23
coordinating the architectural motif in textiles and crafts,
for use in the interiors, unity in design throughout the
home may be achieved without a monotonous feeling.l

Today there is a tendency to combine and bring unity
between the exterior and the interior of the house. Marianne
Strengell has said that,

In my opinion the most interesting and progressive
change in handweaving over the last ten years are
two-fold, and fundamentally divergent. One is ap—
proval and use of textiles by architects and designers,
as another and functional building material, utilizing
room dividers, light diffusing fabrics, wall and
ceiling treatment. The other is weaving used as an
expression ofrnuxeart, not necessarily functional, but
equal in importance with an abstract painting or
beautiful piece of sculpture.

The photographic print shown in Illustration 1 is a
traditional architectural design; the two designs showing
adaptations in Illustration 2 can be effectively printed
in any desired scale in one or two colors. Illustration 3
shows the negative View of the same designs. Draperies
printed with a negative and positive color scheme in these
designs and used as panels in a room might prove interesting.

Architectural grills could also be made effectively from

this design.

 

1"The House as a Work of Art,” House Beautiful, vol. 102
(February, l960),pp. 89-177.

2Marianne Strengell, Handweaver and Craftsman, Vol. 10—
11 (Spring, 1960), p. 11.

 

A

 

mbv

\

 

 

 

Illustration 1. Historic Muslim Architectural Design

{$0, {‘0’

5502 <02 ,
20> 10‘);

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“”<
0‘"

€02
(42 {M2
9%:

 

27

Flowered Pottery Design

 

The original design1 of glazed pottery in Illustration
4 comes from the ancient Punjab, the Kutcha area of Indo -
Pakistan; it is simple and beautiful and has many adaptive
possibilities for textile decoration. Prehistoric and
archaic epochs and the folk art can be of great help in
bringing related art impulses to the surface, especially for
those who are in search of new looks in fabrics. To satisfy
this craving, these ancient designs can be most rewarding in
the search for new artistic expressions.

George Nelson thinks fabric is a structure.3 To blend
this structure in the interior one has to think of the whole
room as a single entity. The similar motifs or related
colors in the fabrics and ceramics in a room can be very
interesting and soothing to the eye, thereby producing
harmony, balance and rhythm.

Because ceramics play an important part in interior
designs, collaboration of the pottery designer with the
architects of interiors is important for functionalsim and
beauty.

The center design of the pottery plate in Illustration
5 can be very effectively printed on fabric as designed in

the two top left and bottom designs. The center part of the

 

lOtto V. Falke, "Prefatory Notes,"0rnament in Applied
Art, Introduction and Catalogue by H. T.’Bossert (New York:
Gotham Book Mart, 1924).

 

 

2Ibid.

3Geor e Nelson, ”Structure and Fabric,” American Fabrics,
vol. 37-40 August—November, 1956), p. 34.

 

28

 

Illustration 4. Pottery Design from Punjab

30
design itself can be used separately, or a spray of the
center of the flower pattern from the plate can be designed
for fabric with various mingling of hues to create interest-
ing pattern and color effect in a room, Illustration 5, top
left. Or by using the petal detail of the central motif,
petals of varying sizes showing progression of size from
small to large give a very different appearance to the
bottom design in Illustration 5.

The border flowers also have many possibilities. To
emphasize their simple shape a third dimensional quality
might prove very effective, Illustration 5 top right. They
can also be used in a border or stripe form either vertically
_or horizontally to change the proportions of a piece of
furniture, or to emphasize the length or the breadth of a

I’OOITI.

Jamdani Design

 

The design for Illustration 6 is taken from the border
of an old Jamdani saris of Dacca, East Pakistan; it consists
of three rows of stylized roses, with geometrical foliage
patterns, interspersed with large stylized geese. The name

II

of this pattern is golapchhar.” The Jamdanis of Dacca have

 

been famous since Nero's reign in Rome. Delicately trans-
lucent muslins were fashionable in Rome under such names as
nebula and venti textiles (woven winds) which is an exact
translation of the technical name of the Dacca muslin in

Bengal.l These muslins are still famous today, though they

 

lIrwin, o . cit., p. 25.

31

' " "3!. With”

 

 

Illustration 6. Jamdani Design from East Pakistan

32
are not as fine nor are they called ”woven air" today, as
they used to be.

Jamdani technique is a kind of loom tapestry with the
stylized design added to the fine fabric as the weaving
proceeds. Simultaneously two weavers are required to work
on the loom as the pattern is drawn on paper and is placed
below the warp. A number of cut length yarns measured
according to the design requirement are arranged along the
filling track. In the working of the design two fine
pointed bamboo sticks are used to draw each of the warp
yarns between as many filling yarns as the size of the
design demands.l

This design has many printing possibilities. The
mere expansion of the stylized floral motifs will give a
very interesting and gay atmosphere as shown in Illustra-
tion 7. Some simplification of the stylized geese and
their rearrangement in block or in checkered form as executed
in Illustration 8 could create an effective design for drap—
eries. The design is versatile and simple making it
possible to use the various techniques of printing, block
printing, silk screening, or stenciling.

Neutral background colors with little accents of dif-
ferent hues emphasize the pattern and form of the fabric in
the original; for contemporary use this color pattern could

be used for inspiration or a new one developed for the design.

 

lMookerjee, op. cit., p. 42.

33

 

 

 

 

Illustration 7. Adapted Floral Design from Jamdani

 

34

 

   

 

 

I
II

 

 

.n
I
I
0

Illustration 8. Adapted Geese Design from Jamdani

 

 

 

35

Khes Design

 

Khes is the name of the fabric; the design is from
Multan in West Pakistan and is used mainly for bedspreads
or bedding. The original Khes is usually a double length
bedspread. In weaving, a complicated technique is employed
using double warp. By setting up the loom with two colored
warp yarns, the color scheme on the face and back of the
fabric can be made different creating a reversible bed-
spread. Two designs are used in the Khes photographed,
Illustrations 9 and 10; it has different color schemes on
the two sides. One of the double warp yarns is usually
black, the other white; or the white may be replaced by
yellow, brown, red, or a green for the second warp yarn° In
black and white, which is most popular and least expensive,
the filling is also of the same colors. With other hues in
the warp, the filling yarns are also different on either
side.

Designs are usually geometric with a bordered design
along the selvages and at both ends of the Khes. They are
always woven in cotton. This technique can be very success—
fully used for upholstered fabric at reasonable cost.

These geometric designs have many possibilities for adapta-
tions in printing (see Illustrations 11 and 12). Simplicity
in line and frequent repeats of the motif can be utilized

through printing for unusual drapery fabrics.

36

figgwflm

figfifl

rl£a£¥iliiili

“iiiixaauuuisui

ifliifliiiaauaflfii

iii
.fliuiflflflflflfliaflflfliiiflflfliiifliuflflfl.

fifign

.ufluflfllifliiflu

 

viiiflflflfiflflfliufliifliifliifliiiflfliflii

figfiw

vflfliflflflflflflil“

“:flfiflflflflflfluflflfil

Eggafigfigin

aiiaflflfliflfliifl fliflflflflflflifluflflflfl

fififiznfififiis

.5:a:a:asuuuxua#bM4fluaiiuusfluayau

”ICICOIIIIHIII'.

 

 

‘33!

«mag
sawing“

any:
issuing

.ߣ.#
iii

BBBHB

3%
B.BB ,
Bfifiii
BBflBB

“......“ "nu

iflifl
:: #9

atflB

§fi#####

 

§######

#####

fifififlfi
fi@###

1
i

#####

1‘ fliifl

“Fifisst
awnings

Khes Design from West Pakistan (Negativefi)

Illustration 9.

37

 

 

 

 

 

5 Emma" in a... “n a

wwwwrvmwirrwxsbwuw rrrrreeenpeeewrunwsrccsrvtrscusr pr"

é" Mm» ”an" # ”a "a

wur.
firwmwnsswxnrsenuvcfi nun»."" ;n our

 

R:r¢rkr.trrer:

vs" .
l .wrnw r. c ks km vs a
.‘flaflllfliiiflflfl " . 5" K. .F 5 ‘ I
. Itrfit'fl.

..II. vs! Ivan. wr...iwr:£t tr. ”4
Ki EWW$T¥Wfiw$F rmrv swxrrsrwwwwwwrrrwwm: mt: r:w Fr: 3

. ;;. . i 2 It
it xx x. 5..
s z; w v.

. w "w" ms nu w

[VIIIIFFFUFFFFIC $f' $IF"" Q: #FF

wt:
v cry:
.r n as: s s t. J a
is 9 vs: s g : ¢
I"??.F...F:'. M. . ”n"..‘_flf."."u¥..n"u¥ .‘."'..F..

II it Inf; t
IlquvfirrwwrrsfiwrKIVIEKI¢333FVrs:VIII? ....... I fi'f.’ ...

"3 xfififlfi

SF F. If"!
kursnnvwksrenkvanstu r:cr ""wrn «wruw ww-

Emm he. aw” WW... am...

In #3! 3‘
pr: rwrswswswngsrmucic .....

"n... flan"???

«asasflaauaasa r

 

   

Khes Design from West Pakistan (Negative)

wa¢lusklw¢swsu

cnunwwrrsww—ss

in:

‘3' I
Inwosvswcuruct-u .vuwunnnwlrcstprsstrunflklnw It": "333's: 3..

in» Ewan fig". .n. ..

 

Illustration lO.

 

 

 

 

 

 

 

S

e

h

K

m

—- —‘ O
E r
f

n

co

.1

S

e

D

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

40

Turanj Design

 

Turanj or the western version paisley design is more
than two thousand years old. This design is still very
popular in Indo-Pakistan and also with the American fabric

designers. The Spring issue of American Fabrics, 1951, is

 

devoted to this "Authentic Kashmiri design which after five
thousand years have come to be known as Paisleys.”l

According to them, turanj or paisley is an answer to creative
starvation. Even today it is not difficult to find a fabric
with paisley design in the American markets. In Pakistani
markets this design is always, and has always been,present,
especially on Kashmir shawls.

In Kashmir the designer, called a Naquash, after
spending months in composing a pattern, gives the design
to the Kahan wool or key writer, who after drawing and
writing symbolic directions, gives it to the weaver. The
weaver then weaves the design.

Unsuccessful attempts were made by many European
countries to copy these shawls until 1800 when Mr. Paterson
in Paisley,town in Scotland,wove the first Indian shawl.2
Hence the name paisley originated for this particular design.

The turanj or paisley design used to be woven into the
fabric in the early days, but now embroidery has replaced

weaving. The first embroidered shawls appeared in the

nineteenth century.

 

1”Portfolio of Paisleys," American Fabrics, vol. 17-20
(Spring, 1951), p- 2°

2Ibid.

 

Al

The original turanj design for this study, Illustration
13, is taken from a hand embroidered Kashmir scarf made in
Pakistan.

This design has thousands of adaptive possibilities,
both for hand and machine weaving as well as printing. The
pine cone with its delicately turned and twisted branches
sometimes can lead to many other imaginative designs. The
outline form of this simplified motif when repeated in dif—
ferent directions and interesting positions on the entire
field of the fabric can create many new designs.

Many geometrical designs can be developed from this
motif if it is Joined intelligently, thereby giving it an
architectural effect which can be used in grills as well as
in the printing of fabrics.

Paisley designs can be stylized with simplicity and
functionalism in printing and weaving; they can be printed
with equal success, as an over—all repeat, as a border, as
horizontal, vertical, or diagonal stripes, and in combina—
tion with other harmonious shapes. The combined floral and
foliage design can be stylized and used with the pine cone
motif to produce a stylized border design. Related color
schemes inspired by the traditional Kashmir shawls are also
handsome for printing purposes.

For this study two methods of stylizing this motif are
used. The one in Illustration 14 is rigid and geometrical,
and the other, Illustration 15, has movement and flowing

lines with a traditional touch yet with a contemporary feeling.

 

Illustration l3. Turanj Design from Kashmir

 

 

 

 

 

 

 

 

 

 

43

Illustration 14. Adapted Geometrical Turanj Design

 

 

 

I .2
r\ r\
I I
as Is

p ?  

 

 

 

 

§§ d §b d
WK§ ”Kg

 

 

 

All

Illustration 15. Adapted Turanj Design

CHAPTER V

DESIGNS FOR URDU SCRIPT

Illustration l6 and other Arabic inscriptive designs
are a source of inspiration, whichlnnnagiven birth to the
idea of textile designing from Urdu alphabet which is
actually based on Kufic scrip. Islamic art and architectural
design forms show numerous examples of inscriptions from the
holy book, Quran, which appears in almost all the historical
Muslim monuments and tombs of the monarchs. These inscrip—
tions were also woven in textiles used for the tomb cloths.

Urdu is a very popular language of Pakistan and is
one of the national languages; it is also spoken in many
parts of India.

The alphabet is beautiful and has very interesting
forms, shapes, and line quality. These letters can be
stylized into many unique shapes for decorative purposes in
different arts and crafts.

The first design in Illustration 1? is based on the
letter ”Seen” or ”0‘" which is equivalent to the letter ”s"
in the English language. This letter is stylized in Illus-
tration 17, with the block printing technique, and by using
a two—color process a three dimensional quality has been

achieved. The design can be produced by weaving, silk screen,

45

46

‘ --- “N. . ”ix ' ,I
. fine: 0% $2 fies;
g‘ka %\ :C- 5’ AL ' . 4

0".9

    
   

 

        
  

          

L3.” _ ... . .. _ .
r. ...,._.,;;;2~ 4e. 9, ...».
a? Mean. 7253 B «fit» .

V

 

 

Illustration 16. Arabic Inscripted Design

47

 

 

 

 

 

 

 

 

 

 

 

Illustration 17. Design from Urdu Alphabet-Letter Seen

48
or stenciling techniques. Also, architectural grills can
be made in this design.

The second design, Illustration 18, is taken from the
letter " F ” "Meem," which sounds like the letter ”M” of
English. The letter is stylized in a traditional style, yet
it possesses all the qualities for suitability in a contem-
porary home. This design could be very successfully used
as a room divider when printed on sheer fabric.

The third design, Illustration 19, is taken from the
letter "‘—fm ”Kaf‘I or ”K.” This can be printed in stripes
for draperies to give length to a room, or an over-all print
of this design could be very effective. The stenciling
technique was used for experimentation using this design.

The fourth design, Illustration 20, is from the letter
” D ” ”Hay” or ”H,” and the fifth design, Illustration 21,
is taken from the letter ”“—5,” "Pay", or "F.” These designs
can be easily woven and have possibilities for adapting to
any printing technique effectively.

The motifs can be applied in stripes either
vertically, horizontally, or diagonally. They can be used
in borders or an all-over spray on the entire field of the
fabric. To give a personal touch an individual could have
draperies with the design based on the first letter of his

or her name.

50

 

 

I I i

   

    

 

   

 

 

 

‘
.

 

 

 

 
 

Design from Urdu Alphabet—-Letter Kaf

Illustration 19.

 

 

 

 

 

 

 

 

 

 

 

 

 

CHAPTER VI

TECHNIQUES OF TEXTILE DECORATION USED

IN EXPERIMENTATION

Weaving

The meaning of weaving as described in Webster's Dic-

 

tionary is (a) "to make (a fabric) by interlacing threads
or yarns; make on a loom, (b) to form (threads) into a

fabric.”

Although the origin and development of this skill
is a subject on which authorities differ, the skill of
weaving has been developed since remote antiquity. According
to some authors felting was the first method used by man.
The fact that the wool of animals became matted together
with dampness, body heat, and pressure probably suggested
this process. Other authorities believe that weaving or
braiding originated first, as man perhaps imitated the inter—
laced palm leaf plants. Many anthropologists feel that the
weaving technique was invented and developed independently
in various parts of the world, because in the archeological
excavations all over the world spindle whorls and other
weaving tools have been discovered.1

The skill of weaving is very ancient in Pakistan;

craftsmen still using the most primitive looms are producing

 

lBirrel, op. cit., p. 14.
53

5A
fine, beautiful, and useful fabrics. The Industrial Revolu-
tion and the advent of the machine affected the Indo-
Pakistani peOple as it did the craftsmen in many European
countries. Many professional weavers left their hand
looms in order to earn more by working in factories.

The Pakistan government is taking an interest in the
revival of this craft. To accomplish this great task much
concrete work and planning is being carried on.

The author is interested in improving the weaving
equipment and physical conditions of the work areas, to
arouse interest of the younger generation and to facilitate
learning of this art.

Weaving can be defined as a method of fabric construc-
tion in which two or more sets of yarns are interlaced at
right angles. The basic weaves are plain, twill, and satin
which have been known to mankind since before the Christian
era. These simple weaves require only two sets of yarns;
many more complicated developments are modificationscfl‘these
basic weaves.

Other old methods of fabric construction still used
and worth mentioning, include felting, braiding, and knitting.
The method used for experimentation in this study was weaving,l
which is discussed in detail in the following pages.

The criterion for the selection of a loom is often the

number of harnesses which may vary from two to thirty or more.

 

lRuth Overman and Lula Smith, Contemporarngandweaving
(Ames, Iowa: The Iowa State College Press, 1958), pp. BA-AS.

55
A larger number of harnesses improves the pattern possibili—
ties of the loom. For beginners a four harness loom is
adequate for fulfilling creative desire. The most important
considerations in selecting a loom include the following
points:

1. The loom should be constructed of sturdy seasoned
wood to prevent warping and to withstand the impact of con-
stant beating during the weaving procedure.

2. Tie ups or cords, chains, or wires should be
easily connected without stretching or tangling, and should
also be disconnected easily.

3. For threading ease the treadles should have suf-
ficient leverage.

A. The beater should be heavy and adjustable to ac-
commodate different heights and lengths of reeds, and for
extra force.

The different parts of the loom are:

l. The frame supports the two revolving rollers, the
warp beam and the cloth beam. Warp is wound on the warp
beam located at the back. (Larger diameter warp beam prevents
the excessive piling up of warp yarns.) The cloth beam at
the front of the loom receives the fabric as weaving proceeds.

2. The harness includes the heddle frames, the lams,
and the treadles. This mechanism creates the shed. It is
suspended in between the front and back of the loom by means
of cords or chains. The harnesses support the heddles, and

are used to elevate or depress selected sections of the warp

56
in sequence. The harnesses may consist of a frame or two
sticks, one placed directly above the other. They are con-
trolled by the lams and the lams are actuated by the treadles.

3. The heddles are suspended between the harness
sticks. They have a center eye made of strong cord, wire,
steel or aluminum strips, through which the warp yarns are
threaded.

A. Lams are the wooden arms which run parallel to
the heddle frame; they are attached to the frame on the left
side and act as connecting links between the harnesses and
the treadles. More than one harness can be connected through
lams to a treadle.

5. Treadles lower and raise the harnesses and are foot
controlled. They create the shed and control the warp yarns.

6. The beater or batten can be either suspended to
form an overhead framework which swings as a pendulum, or
is attached to the base of the frame from where it pivots.

7. The reed consists<1fanmtal.frame with a series of
metal strips called dents equally spaced throughout the frame.
The reed is held in place by the beater.

The equipment required for preparing the warp includes:
(1) A spool rack for holding the spools of yarn. (2) Swift
for winding the yarns from the skeins. (3) The reel which
will wind three or more yards per revolution. The pegs for
making the cross can either be at the top or the bottom.

The cross is made by winding the yarns alternately over and

under the pegs to form a figure eight. This is done to keep

57
separate warps in an orderly sequence, and to insure proper
arrangement when the warp is wound on the beam. (4) A paddle
made of wood, metal, or plastic is used when weaving with
more than five yarns. The holes are numbered and each color
thread can be passed through these holes, so that no entangle—
ment results.

The spreader is a long,soft wood stick about three
inches wide with nails placed one inch apart. To install
the warp on the loom, the spreader is attached to the back
of the frame with masking tape. The warp yarns are distri-
buted between the one inch nails according to the width of
the warp desired. The base sticks which maintain the cross,
also rest on the same loom frame stick. These sticks are
inserted in the openings on either side of the cross, and
both ends are tied with strings. These should be kept in
place until the warp is threaded.

The warp beam sticks which are normally one—fourth inch
thick and one or one and a half inches wide, are inserted as
the warp is wound around the beam to prevent piling of warp
and maintain warp tension. The reed hook which is similar
to a crochet hook, is used for pulling each warp through the
heddles and the reed.

The warp yarns are tied evenly with equal tension onto
the stick attached to the cloth beam to ready the loom for
weaving.

The filling yarns are wound on the bobbins neatly and

evenly with the help of bobbin winders. These bobbins are

58
then placed between the warp yarns according to the design

and the color scheme, and weaving proceeds.

Linoleum Block Printing Technique

 

The block printing technique is believed to have been
first invented by the Chinese in about the eighth century,
A.D.; the Chinese used it for paper printing. Early
Egyptians and Indians of the Indus Valley civilization are
believed to have used block printing on fabric before or
about 400 A.D. Wooden blocks are still used for commercial
block printing in Indo—Pakistan but linoleum blocks are used
by the beginners and the hobbiests. Lionoleum blocks were
used for experimenting in the study.1

Required equipment included the linoleum block, a set
of linoleum carving tools, oil base paint or block printing
ink, a sheet of glass about twelve inches long, a brayer, a
mallet, clean rags, newspapers, and paper towels. Normally
cotton fabrics are recommended for block printing, but silk,
and rayon mixed with cotton also yield satisfactory results.

The design for block printing should conform to the
size of the block. Bold, simple, and direct designs with
interesting contours give better results. Patterns varying

in sizes, textures, hue, light and dark values add sparkle

and variety to the finished product.

 

1Francis J. Kafka, The Hand Decoration of Fabrics
(Bloomington, Illinois: McKnight and McKnight Publishing

CO., 1959), p. 67.

59

Linoleum blocks used for block printingeumzmade from
heavy battleship linoleum free from blemishes; they are out
according to the desired size, andeuxaglued to pieces of
plywood. The cover of the block should always form a right
angle position for stablized printing. Surface wax and other
foreign material should be removed with alcohol or light-
weight sandpaper, and a coat of white casein paint applied
to the surface.

The design is traced on the block with the help of a
carbon paper. Another way of tracing is to blacken the
reverse side of the design with a pencil then treating this
with lighter fluid making a carbon paper. Under strong
light the outline of the design can be reproduced on the back
side of the paper and then traced onto the block.

The block is then ready to be carved with sharp
assorted knives and veiners. Carving should be done very
carefully in order not to break or chip design edges. The
pattern should be outlined with the tip of a sharp knife,
working a little outside the actual outline to avoid narrow-
ing the pattern too much. For larger areas a gouge is used
and for smaller areas the veiner. Then the troublesome
corners and high background projections are peeled off. A
trial print on paper should be made to correct errors.

The block is then flocked to ensure better printing;
this is done by applying several coats of varnish made of
oil and gold size, and dusting with fine wool flock. The

block is now ready for printing.

60

Before stamping the blocks on the fabric, the fabric
should always be washed to remove sizing and to shrink it.
For printing, the fabric should be ironed and stretched over
a cardboard sheet. When a padded surface is needed, rugs
and carpets protected with newspapers and muslin give a
springy resilient surface for printing. The areas desig-
nated for the placement of the block should be marked
accurately with masking tape in order to help in the place—
ment of the block on the fabric.

Adequate paint for the entire printing of the design
is mixed to the desired color. By mixing it in a jar
fitted with an airtight lid, the operator is assured that
sections printed at a later time will be exactly the same
color. The consistency should neither be too thin or too
thick. Some of the paint is placed on the glass plate.

The brayer should make a humming sound when rolled back and
forth over this paint. Then the block is covered with the
paint from the'brayerbyrolling it over the block until the
paint is distributed accurately. To test the consistency
of the paint and for practice several trial prints should
be made. If the paint is too thick, the print will appear
painted on the fabric; if too thin the lines of the design
will not be clean cut. Turpentine or a commercial thinner
can be used if the paint is too thick.

The block should be held firmly on the material and
tapped with a mallet, first in the center and then on the

corners. Pressure can be applied with more success and less

61
noise by stepping on the blocks either barefoot or with soft
buckskin moccasin type shoes.
The stamped material should stand in the air for a
few days. To set the color it can be steam pressed by using
a presscloth soaked in white vinegar solution, with propor-

tions of four tablespoons of vinegar to one cup of water.

Stenciling of Fabrics by Hand

 

Stenciling was developed into an impressive art form
by the Japanese during the early stage of their cultural
history. It can be called a mechanical resist technique.

The stenciling device is a sheet of paper or metal which
prevents the penetration of the dye into certain areas of the
design.1

The design motif is cut out of a thin material, either
stencil paper or metal sheet. The stencil is then placed on
the material and dye is applied to it. The fabric in the
cut—out areas takes the dye freely and the areas covered by
the uncut stencil or solid areas are not exposed to the dye.

One limitation with this process is the need for all
areas of the design to be connected. When whole areas are
cut out of the stencil this area drops out of the design.
All design areas have to be connected together with ties to

keep them from falling apart, thus causing interruptions in

the design. The Japanese craftsmen by using human hair have

 

l"The Printing of Textiles," American Fabrics, nos. 49-
52 (Spring, 1961), p. 62.

 

62

been able to make almost invisible ties, thus being able to
produce stencil designs with more open areas.1

In Pakistan stencil printing is used by some craftsmen,
although it is not a very popular commercial printing tech-
nique. It is an old technique in one sense but is relatively
new compared to block printing and other forms of textile
decoration. The designer often has to simplify the design
due to certain limitations of this technique, thus avoiding
intricacy, which suits the objective of this study.

The stenciling procedure2

is described in the following
pages. The required materials for stenciling can be pur-
chased commercially or can be improvised. They are: stencil
cutting knife, or single edge razor blade carefully broken
with pliers and mounted on a pen holder; waxed stencil board
which can be made by coating a good quality bond paper with
shellac or melted paraffin and thoroughly drying before use,
or discarded film negatives can also be used as stencil
paper; stencil brushes and fabric paints.

For colorfast and washable colors, mordants are mixed
with printer's ink. To make this mordant twelve parts of
turpentine, one part acetic acid, and one—half part of oil

of Wintergreen are combined.3 A water soluble mordant can

be made by straining egg white through cheesecloth, and then

 

lIbid.

2Kafka, op. cit., p. 8.

3The bottle should be marked ”poison.”

63
adding it to tempera colors.

Other supplies needed for stenciling are clean rags,

a supply of old newspapers, and cleansing solvents, either
turpentine or benzine.

The stencil design should be simple, and the ties
should blend gracefully. The design is traced onto the
stencil paper, either directly or with the help of carbon
paper, then using a stencil knife or razor blade, the design
lines should be cut with clean, sharp cut edges. Fuzzy
corners and edges will print an imperfect outline of the
design. The paint is mixed on a glass sheet. A very small
quantity of the paint should be taken with the stencil brush
and smeared well on the clean area of the glass. The fabric
should be free of starch and stretched flat on a cardboard
before starting to stencil on the design.

After placing the stencil on the desired location on
the fabric, the paint is applied to the cloth in the cut out
areas of the stencil. Firm strokes are used from outer edge
of the design outline toward the open area to avoid penetra—
tion of paint under the edges. For solid area technique the
paint is brushed in until the entire open area of the design
is colored uniformly. For shading techniques a color free
highlight area is achieved by brushing the paint toward the
center of the design, leaving irregular brush strokes.

The stencil is cleaned on newspaper by wiping the color
off with rags moistened in solvents. Wiping should be done

in the same directions as the brush strokes. Small,

62+
delicate bridges must be carefully cleaned. Brushes can
also be cleaned in solvent and then washed in soap and warm
water.
After air drying for at least twenty-four hours, steam
pressing the fabric will help in the colorfastness of the

painted area.

Silk Screen Printing

 

Silk screen printing is a modification of the
stenciling technique. Some limitations of the stencil can
be overcome in this method, for example, the bridges or ties
to hold the various components of the design together are
not required. Fine silk fabric, nylon or metal thread is
stretched on a wooden or metal frame. The cut out stencil
with the design is attached to the fabric on the frame by
means of an adhesive. This frame is then laid on the fabric
and the color is squeezed through the open areas of the
screen onto the surface.

This fairly new technique was started in the early
part of the twentieth century. The first patent for silk
screen was issued to Samual Simon of Manchester, England in
1907. The following year in the United States a patent was
issued to the New York Reproduction Company. At first the
process was used for making posters and signs, twenty-five
years later experiments were carried on to adapt this process

for other commercial purposes.

65

It is not known when this process was first applied
to textile designing, although France is thought to be the
first country to use this technique on textiles. Not many
silk screen printed fabrics were seen before 1940.

James and Leslie Tillett, originally from England,
started a small factory in Mexico in 1940 using Mexican
colors. They printed gay skirts and blouses for tourists
using silk screen printing techniques along with hand and
block printing methods. The popularity of these fabrics
resulted in opening another factory by the two brothers in
New York. Later many other factories were opened in the
United States and many other countries.

Silk screen printing techniques have not reached
Pakistan to date. However, the introduction of this method
would be very interesting and rewarding for the craftsmen.
Many commercial methods have been invented for employing
this technique with the help of automatic machinery, but
the author is interested in the simple hand printing method
for the benefit of the craftsmen. The following discussion

of this method is largely being based on The Hand Decoration

 

ngabrics.2

Supplies and equipment required for printing are: a

stretched frame, a squeegee, a supply of textile paints,

 

lBirrel, op. cit., pp. 438-439.

2
Kafka, op. cit., pp. 102-127.

66

stencil paper, cleaning materials and cutting tools for
stencil. A squeegee can be purchased ready made; they are
sold by the inch and should be one inch shorter than the
width of the inside frame. Window cleaning squeegee can
also be used as a substitute. The mesh fabric always
called silk regardless of the fiber content, is also avail-
able in cotton organdy, taffeta, nylon, and Dacron. Thread
count of the fabric is the criteria for selection; the finer
the mesh the lighter will be the pain deposit on the fabric.
For textile printing heavier deposit of paint is required.
Number 12.x.x. mesh fabric is recommended for the beginners.

The frame can be either purchased or constructed at
home. One and one-half inch square wood or any convenient
lengths, preferably 10 by 14 inches, can be joined with butt
joint using ordinary nails. All four corners should make
exact right angles. The mesh cloth is then attached either
by a stapling gun or by using aluminum or copper tacks which
will not rust. The weave of the material should run parallel
to the frame and the cloth should be stretched as tight as
possible, like a drumhead. The fabric or screen as it is
now called, should then be washed to get rid of sizing.
Strips of gummed tape are attached to all four inside edges
and the inside corners to seal the edges of the frame before
it is dried. Gummed tape is then attached to the outside of
the frame to protect the raw edges of the mesh cloth and to

cover the staple or the tacks.

67

After the frame is dried a coating of shellac is applied
to the paper surfaces to keep the tape intact over the wooden
frame. When the shellac has dried the frame is ready for
printing.

The design is traced on the waxed stencil board to be
cut out with a razor blade or stencil knife later. Small
pieces of the design can be adhered directly to the screen
with a thin glue, but large areas are cut out of a full
stencil sheet. The cut out sheet is attached to frame with
the help of adhesive tape.

For many printings a shellac stencil is more suitable.
This can be prepared by applying an even coat of shellac to
bond paper or sturdy wrapping paper. The sheet is dried in
a hanging position (excess shellac that runs to the lower
edges can be trimmed off with scissors). After cutting the
design from this paper, the sheet is adhered to the screen
frame by ironing it on the screen. The edges are secured by
adhesive tape.

The frame with the design thus adhered to the screen is
then placed on the fabric which has been washed and ironed.

A small amount of paint is poured on one end on the inside
of the screen and with the help of a squeegee it is squeezed
through the mesh cloth onto the fabric. Before each repeat
the screen should be cleaned with a solvent to remove all
traces of paint, thus avoiding clogging of the mesh cloth.

The method used for experimenting purposes in this

study was similar to the one discussed above, but instead of

68
waxed stencil board, a special stencil material called
"lacquer film" was used. A thin sheet of lacquer is
attached to a slightly oiled backing paper, sold under such
trade names as Nu—Film or Pro-Film. These sheets are slightly
transparent and are available in amber, green, and blue.
The cutting technique is similar, except that the lacquer
only is cut with a stencil knife.

The lacquer is then attached to the screen by using a
specially prepared lacquer thinner which adheres the lacquer
film onto the screen. The backing paper is peeled off care—
fully, and the printing procedure is carried out in the same
way. The printed fabric after complete drying is heat—set
with a warm iron and later is laundered in lukewarm water
and mild soap.

To use the same screen again for another design the
lacquer film should be very carefully dissolved with lacquer
thinner. To preserve the screen for later use it should be
cleaned thoroughly by moistening in either turpentine or
kerosene and removing all color with a soft cloth. The
squeegee also should be cleaned immediately after use, other-
wise there is danger of the screen and the squeegee being

damaged and made unusable.

CHAPTER VII
APPRAISAL AND SUMMARY

Textile history reveals man's expression of creativity
from remote antiquity through textile design. There is a
great versatility in this art. No two artists wish to
repeat either their own or copy each other's designs. This
desire to create something new has led to high attainments
as artists have reached peaks of creative endeavor. For
these reasons it is not difficult to identify the textile
fabrics of a designated reign or period belonging to a
particular area or part of the world.1

The historic textiles of Indo-Pakistan have an out-
standing place of their own. Today they enjoy superiority
and individuality in design quality while offering a very
wide variety of design. History also reveals the borrowing
of designs by one culture from another, with adaptations and
new interpretations which have given rise to other new
expressions. This has been particularly true of the Indo—

Pakistani textiles since the Indus Valley civilization. In

 

l
Birrel, op. cit., p. 13.

69

7O

spite of many, many different cultural influences and
assimilations expressed through the arts and crafts of Indo-
Pakistan, the textile arts along with other arts have re-
tained their individuality. In fact, these cultural
assimilations have enhanced beauty offering a wide variety.
Even today they can serve as a source of inspiration in
creating new designs to suit the needs of contemporary taste.

The theoretical approach to this study is supported
with a review of the historical development of Pakistani
designs. Several Pakistani design motifs have been
selected and adapted by looking at them from a different
angle and giving them a new look for use in western countries.

Textile designing like any other designing should come
within the boundaries of the principles of good design.
These design elements and principles are essential qualities.
In the machine age not only the aesthetic but also the func—
tional design, suited to a definite purpose, is most important.

In this experimentation with the traditional designs,
care has been taken to achieve these qualities in the adapta-
tion. The motifs are repeated in such a way that the
observer's eye tends to look all over the surface and not
focus on one spot. In this way the fabric is treated as a
whole and the design becomes part of the fabric. Another
important consideration is the scale of the design motifs;
they should look appropriate when observed from a distance

as they are arranged in panels, rows, borders, isolated

71
areas, and in all—over patterns.1

The printing techniques restrict the develOpment of
designs. Printing by the stenciling method is a relatively
simple process which can be used on plain or on textured
fabrics for variety. Interest can be achieved through
variation of shape and color, and at the same time light
and dark areas can be achieved through shading.

In block printing a more detailed design can be used
for printing, though it does not offer any possibility of
acquiring fine line quality, unless metal strips are
attached to the block. Contrast of light and dark value
can be achieved by stamping the block a second time, or
slightly moving the position from the first, giving the
print a third dimensional quality.

In contrast, the silk screen technique has many advan-
tages over block printing and stencil printing. Line quality,
variation of shape, color and texture, all can be achieved
by using this technique which is new and has not been intro-
duced to the Pakistani craftsmen.

Weaving, on the other hand, needs an altogether differ-
ent approach. Difficult compositions require versatile
weavers to handle the design. The skill of Pakistani crafts—
men makes it possible for them to weave any designs; they

only need some guidance in the adaptation of their designs

 

1Kenneth F. Bates, Basic Design (New York: The World
Publishing Company, 1960), p. 71.

72
to weaving new forms. Pakistani weavers should be encouraged
not only to weave very fine silks, but to use a variety or
a combination of coarser yarns to give a textured quality to
their fabrics. In this way they would be fulfilling one
requirement for drapery and upholstery fabrics for contem-
porary interiors.

Pakistani craftsmen need to experiment with the loom
and learn how to produce designs for mass production on power
looms. When the craftsmen and the machines come closer to
each other, and these craftsmen learn to mass produce good
contemporary designs, better products will be available for the
international market. In order to arouse interest and
facilitate the learning of this art, the working conditions
of the work areas and equipment has to be improved. The
scattered craftsmen in Pakistan should be brought under one
roof, so to speak, in order that they could produce crafts
which would be interrelated and suitable for use in contem-
porary homes: for example, one design idea to be used in
weaving, printing, tiles, or grills. By combining and co—
ordinating the architectural motif in textiles and crafts
for use in the interior, unity in design throughout the home
may be achieved without monotonous feeling.

In summarizing this study, it seems appropriate at
this point to quote Alexander Girard who writes: "Designs
that are fresh, interesting, and different are not achieved

if fresh, interesting and different is the prime objective."

 

73
He further states, "Good design derives from the wish to do

just that."1

He thinks that the Indian textiles are the
best example of this urge to create good designs and that
they reflect a powerful delight and understanding of the
problem.

The enormous wealth of the Indo-Pakistani designs is
not enough for artists. The mere copying of the past does
not solve their creative impulses, because the present has
changes. The past was conditioned with many factors that
are vanishing due to industrialization and other important
factors like ease in world communications, development of
technology, and freedom from traditional bondage.

Human beings are never satisfied with one thing for
a long time. They must be creative. This is an inner
urge; they want to forget the burdens of life by finding
liberation in art.2 Creativity can be defined as the
ability to relate things which were not related previously,
or to look at things with a fresh eye. One has to be broad-
minded in order to do that. Many people are afraid to put
two ideas together for fear of explosion.3 And that is
exactly what is needed, an explosion of new designs from

the old ones full of melodious songs.

 

lAlexander Girar , American Fabrics, vol. 37-40,
(August—November, 1956 , p.735.

 

2Nicholas Berdyave, The Meaning of Creative Art (New
York: Harpers Brothers, May, 1956), p. 225.

3Paul Smith, Creativity (New York: Hastings House
Publishers, 1959), p. 19.

 

 

 

74
Not much has been done or written on this topic.
Extensive research and study is required on the traditional
Indo-Pakistani designs in order to explore the possibilities

of the contemporary expression of design based on old ideas.

 

APPENDIX

DESCRIPTION OF PAKISTANI COSTUMES

Shalwar Kameez

 

Shalwar.--Loose trousers with stitched bands at the
ankles worn by both men and women mostly in West Pakistan;
they are full at the top and are tight at the ankles. For
women the fullness of the bands at the ankles often fluct—
uates. They are snugly fitted to the ankles according to
the present day fashion. Westerners often call them baggy

trousers.

Kameez.--Over the shalwar is worn a calf length tunic
called kameez or jumper. Women's kameez is well fitted and
has two slits at the sides for ease in walking, somewhat
like the present day Chinese dress. The hemline of this

garmet goes up and down according to the fashion.

Dupatta.——0ver the shalwar-kameez Pakistani women
wear across the shoulder or over the head a long scarf
measuring two to two and a half yards in length called a
dupatta. This is either made with the same fabric used for
kameez or with some sheer fabric.

The shalwar-kameez is a very popular dress of the
teenagers in Pakistan. It is very practical and does not

“hinder movement. Nurses and air hostesses also wear the

79

80
same costume but in the form of a uniform. If the three
garments are matched in color then they are called Shalwar-

kameez suit.

QEEEEEE
An ankle length divided skirt (basically similar to
culottes) worn with a kameez and dupatta is called a gharara.
The kameez made for gharara is shorter in length. This is
a more formal dress and is worn at weddings and other social
and family gatherings. The bridal dress normally is a

gharara kameez made in a combination of gold and red colors.

Churidar
Tight fitted trousers worn with kameez and dupatta

are called Churidar.

Sari

 

A popular costume of Pakistani women especially in
East Pakistan is the sari. It is a light weight, forty to
forty-five inches wide and five to six yards long. The
material is draped around the body with one end over the
shoulder or head. A waist length blouse is worn along with
other normal undergarments. The petticoat is ankle length

and the sari is tucked into it as it is draped.

Salim Shahi

 

Pakistani flat heeled, pointed toe shoes worn by both

men and women. One of the styles of typical Pakistani shoes

81
is called Salim Shahi. This style is a closed shoe with
pointed toes slightly curled upwards. Normally the heal
is flat and may be worn by both men and women, but for

fashionable women they are also made with high heels.

Chappals
Pakistani flat heeled sandles or slippers are called

chappals.

BIBLIOGRAPHY

Books

Bates, Kenneth F. Basic Design. New York: The World Pub-
lishing Company, 1960.

 

Beitler, Ethel Jane and Lockhart, Bill. Design for You.
New York, London: John Wiley and Sons, Inc., 1961.

 

Berdyave, Nicholas. Translated by Donald A Laurie, The
Meaning of Creative Art. New York: Harper and
Brothers, May, 1954.

 

Birrell, Verla. The Textile Arts. New York: Harper and
Brothers, Ptblishers, 1959.

 

Coomaraswamy, Anand K. History of Indian and Indonesian
Art. New York: E. Wehye, 1927; London: E. Goldston,
1877.

Dimand, M. S. A Handbook of Mohammadan Art. New York:
The Metropolitan Museum of Art, 1958.

 

 

Falke, Otto V. Ornament in Applied Art. New York: Gotham
Book Mart, 1924.

 

Glazier, Richard. Historic Textile Fabrics. London: B.
T. Botsford Ltd., 1923.

 

Homticq, Louis and Others. New Standard Encyclopedia of
Art. New York: Garden City Publishing Co., Inc.,
1939-

Kafka, Francis J. The Hand Decoration of Fabrics. Bloom—
ington,Illinois: McKnight and McKnight Publishing
Company, 1959.

 

 

Mookerjee, Ajit. Designs in Indian Textiles. Calcutta:
The Indian Institute of Art in Industry, Artistry
House, 15 Park Street.IlJi.

 

Overman, Ruth and Smith, Lula. Contemporary Handweaving.
Ames, Iowa: The Iowa State College Press, 1958.

 

Smith, Paul. Creativity. New York: Hastings House Pub-
lishers, 1959.

 

82

83

Wheeler, Monroe (editor). Textiles and Ornaments of India.
New York: The Museum of Modern Art, 1956.

 

Periodicals

 

Adams, Alice. "The Fabric as Culture,” Craft Horizon, vol.2l
(September-October, 1961).

 

Amjad Ali, Zahida. ”Cloth of Gold,” Pakistan Quarterly,
vol. 8 (March, 1958).

 

Benson, E. M. "Fabric International,” Craft Horizon, vol. 21

(September-October, 1961).

 

Habil, Dorothy. "In Search of Design,” Contemporary Arts
in Pakistan, September, 1961.

 

 

Nelson, George. "Structure and Fabric,"

vol. 37-40 (August—November, 1956).

American Fabrics,

 

"Portfolio of Paisleys,” American Fabrics, vol. 17-20
(Spring. 1951)-

 

Strengell, Marianne. Handweaver and Craftsman, vol. 10-11
(Spring, 1960).

 

"The House as a Work of Art,” House Beautiful, vol. 102
(February, 1960).

 

"The Printing of Textiles," American Fabrics, nos. 49-52
(Spring, 1961).

 

Other Sources

 

Personal correspondence from Edith A. Standen, Associate
Curator in charge of the Textile Study Room. The
Metropolitan Mtseum of Art, New York, February 6,
1962.

Personal correspondence from National Small Industries Corp—
oration, Karachi, Pakistan. Design Centre-Administra—
tion Note, dated February 10, 1962.

 

109 ....
3873638 ..

 

MICHIGAN STATE UNIvEnSI‘i'I'
TEXTILES, CLOTHING AND RELATED ARTS
COLLEGE OF HOME ECONOMICS

 

III/IIIIIIIII/IIIIIIIIIIIIIII’IIIIIIIIII

1293 02237 2340