The Enduring Journey of Block Printing: Tracing Migration Through Design

Block printing is not merely an artistic tradition; it is a living testament to the movement of people, ideas, and craftsmanship across regions and generations. The story of block printing in western India is intricately woven with the histories of migration, trade, and cultural exchange that have shaped this arid landscape over centuries. From the bustling centers of Marwar to the silent remnants of once-thriving print towns in Kachchh, the journey of block printing speaks of resilience, adaptation, and continuity in the face of change. This essay is about Madan Meena’s research into the different traditions of block printing, being conducted by Shri Madan Meena through Kota Heritage Society and funded by the Center for Embodied Knowledge, INDICA.

Origins and Migration of Printing Communities

Madan Meena’s research journey begins in Marwar, the heart of western Rajasthan, where two primary communities have long upheld the tradition of block printing: the Hindu Bhramkshatriya Khatris and the Muslim Chippas. While the Chippas are more concentrated in Bikaner, Nagaur, Jodhpur, and Pali, the Khatris have historically settled along the borders of Rajasthan and Gujarat, particularly in Kachchh and Barmer. The Khatris, originally from Sindh that now fall within Pakistan, migrated to India after the Partition, though some have lived in these regions for centuries.

Ayyub Chhipa showing some rare blocks of Pipar which got damaged in a fire few years ago.

Kachchh, though officially part of Gujarat, has always maintained a distinct identity. Much like Andhra Pradesh is divided into different cultural zones, Gujarat consists of Saurashtra, southern Gujarat, and Kachchh, each with its own dialects and traditions. Kachchh and Sindh, now separated by national borders, once shared seamless cultural and economic ties. The similarities in block printing traditions across these regions are evidence of the deep historical connections among their artisans, says Madan.

 

A Hindu Khatri printer (Tirath Ji Bichra) sharing old, printed textile samples. This as printed by his family some 50 years ago in Jaisalmer for the local communities.

Rediscovering Lost Centers of Block Printing

Says Madan, “As I traced the path of these communities, I began my journey in Gujarat with the Khatris (both Hindu and Muslim) of Kachchh. I found that four or five printing centers once flourished here, producing textiles strikingly similar to those of Rajasthan. However, these centers have long since disappeared. Even their third-generation descendants have moved to cities like Ahmedabad and Disa, abandoning their traditional craft for industrial occupations. These villages, located in the northeastern part of Kachchh near the Chota Rann (Little Rann of Kachchh), once pulsed with the rhythmic stamping of wooden blocks onto fabric.”

He adds that despite this decline, he was able to document a remarkable find—a block printer from Bella (Mansukh Bhai Khatri), a village on the Pakistan border. He had been revived by the organization Khamir, which has been working to sustain various crafts in the region. Now part of Khamir Resource Centre, he still possesses old blocks and continues to print, keeping a fragment of history alive. Madan has also found many old blocks with Dr. Ismail Khatri’s brothers in Dhamadka and acquired a large collection of non-Ajrakh prints recently printed by Dr. Ismail Khatri.

“Beyond the artisans themselves, I explored old textile shops in these villages, uncovering rare pieces that bore the distinct motifs of these once-prolific centers. One of my most significant discoveries was in Kachchh itself, where I met Salim Wajir, a renowned dealer and son of the late A.A. Wajir, a respected figure in the textile trade. From his collection, I acquired several antique textiles, adding another layer of documentation to my research.”

Pipar blocks not in use since last five decades

The Interwoven Geographies of Kachchh, Sindh, and Rajasthan

Migration among artisan communities has always been dictated by environmental and economic factors. Kachchh and Barmer, both arid regions bordering Pakistan’s Sindh province, form a continuous cultural landscape. Historically, migration flowed westward, with artisans from Marwar moving to Sindh, where water sources and trade routes promised economic stability. Similarly, Kachchhis never fully identified as Gujaratis. Before Independence, Kachchh existed as a distinct region, separate from both Gujarat and Rajasthan. Within this vast, dry terrain, the traditions of printing, music, and language blurred across borders. The Manganiyar singers, for example, perform songs in Kachchhi, Sindhi, Dhati, and Marwari, much like the block printing motifs that transcend regional distinctions.

Trade further bound these regions together. Before Mumbai became India’s economic hub, Karachi was the dominant port of the west. Sindh’s major trading towns, such as Hyderabad, played a crucial role in the silk route. Jaisalmer, a prominent stop on the trade circuit, had strong ties to Sindh. During Partition, the Raja of Jaisalmer was even offered the choice to join Pakistan, as most of his wealth lay in Sindh. His thousands of camels, once central to desert trade and economy, embodied the historic connections between these regions.

 Documenting Designs Across Generations

Madan says the research has allowed him to trace the history of migration through designs. “Over time, I have documented 200 block designs found in textiles and wooden blocks, preserving a visual record of patterns that might otherwise have been lost. My primary interest in Kachchh has been in non-Ajrakh prints, distinct from the globally recognized Ajrakh of Kachchh.”

While Muslim Khatris have become synonymous with Ajrakh, they historically produced a variety of prints for different patron communities. They created textiles for skirts, odhani and angocchas (shoulder cloths), floor and bed covers, and turbans. Dr. Ismail Khatri, a key figure in the study of Ajrakh, provided invaluable insight into these lesser-known traditions. “He had previously collaborated with researcher Judy Frater, whose work documented Kutch’s textile heritage. For the first time, his research extended beyond Ajrakh to include prints made for pastoral communities, such as the Rabbari, Ahir and Meghwal, who traditionally did not wear Ajrakh. Through him, I obtained 27 rare textile pieces that illuminate an overlooked aspect of Kachchh’s printing history.”

Indigo and the Archaeological Connection

An unexpected but significant discovery during this research was the presence of indigo plants (Indigofera Tinctoria variety) at the Indus Valley Civilization archaeological sites of Dholavira, Satokda, and Kanmer. These findings suggest that indigo has been a natural plant of this region’s landscape for millennia, rather than being a crop introduced for commercial purposes. “Following my research, the Central Arid Zone Research Institute (CAZRI) has initiated discussions with the Ministry of Textiles to explore the possibility of cultivating indigo for use by contemporary weavers and printers in Kachchh,” says Madan.

The Shift from Printing Centers to Industrial Hubs

His journey also took him through the key centers of Marwar, including Phalodi, Pipad, Balotra, Jaisalmer, Pali, Kakani, Shaitrawa and Jodhpur. Of these, only Pipad, Balotra, and Barmer remain active in block printing. In Pipad, four Muslim Cheepa printer familes continue to supply fabrics to major brands such as Anokhi and Fab India. Meanwhile, Pali and Jodhpur have transitioned almost entirely to screen printing, phasing out traditional block printing. Jaisalmer, once a hub for exquisite printed textiles, ceased printing over 60 years ago.

Rare old block (more than 100 years) old found in Pipar.

“Through a textile dealer in Jodhpur, who had previously worked in Jaisalmer for 35 years, I uncovered 25 unique prints that had remained hidden from public knowledge. Additionally, I traced the legacy of Ranamal Khatri, a printer now based in Barmer, who helped me source old blocks from relatives in Jaisalmer and Phalodi. To ensure the preservation of this heritage, I engaged a student from NIFT Jodhpur in a four-month internship to document blocks from these three locations.”

Khatri printer showing an old piece of printed fabric in Phalodi. He has donated some two dozen blocks for this project to Ranamal Khatri.

The research covered nine traditional printing centers in Western Rajasthan: Pipad (Still active), Jodhpur (Converted to screen printing), Phalodi (Historical significance, but limited activity), Balotra (Still active), Pali (Converted to screen printing), Jaisalmer (Printing ceased 60 years ago), Barmer (Limited traditional printing remains), Kakani (ceased printing some 10 years ago), Shetrawas (Ceased printing three generations ago, but the water body in name of the Khatri community still exists).

In Pipad, four active printers, primarily Muslim Cheepas, continue working for brands like Anokhi, Vrajbhoomi and FabIndia. Hindu printers have largely disappeared from the trade in this region.

Blocks from Pali in collection of Dr. Suman Pandey collected six years ago.

The Road Ahead

Madan says that so far, his research has resulted in the documentation of nearly 200 unique blocks, many of which have never been published or reproduced. The goal is to compile a comprehensive book featuring 500 extinct block designs from two dozen centres, ensuring that this remarkable artistic legacy is not lost to time.

“What emerges from this study is not just a chronicle of textiles, but a larger story of migration, trade, and adaptation. The patterns stamped onto fabric are more than ornamental—they are a living archive of history, carrying with them the imprints of the people who created, wore, and traded them across generations and borders.”

This research traces the migration patterns of artisan communities and their impact on block printing traditions across Gujarat, Rajasthan, and Sindh. Through extensive fieldwork, historical documentation, and interactions with local artisans, a wealth of information has been gathered on the evolution, decline, and preservation of traditional block printing techniques.