Innovative people have used it in distinct approaches and now kurtis and bed linen are being marketed across the world the usage of the traditional Ajrak pattern. Its use may be traced to the historical Indus Valley civilisation (3500-1500BC). A king priest figurine that has been unearthed in Mohenjodaro indicates him draped in a shawl, which is thought to be Ajrak.

The system of creating an Ajrak is exceptionally complicated and contains 21 levels. The traditional craftsmen used indigenous, regionally produced materials for the printing of Ajrak. Though the manner is technically the same, natural dyes had been changed, to a positive volume, by industrial dyes.

The material is reduce and washed and the damp fabric is coiled and located on a copper vat; the bundle is protected with a quilt to save you steam from escaping and left thru the night time. The cloth is then soaked in Eruca Sativa oil after which knotted in a package and kept for two weeks so that the oil can permeate every fibre. This level is important in determining the satisfactory of the Ajrak.

The moist material is then dried before the printing process begins. For printing, the design is first mentioned the usage of a paste of lime, acacia gum and rice paste. This system is known as kiryana. Then the regions to be published black are stamped with a filler block.

The use of natural herbs and uncooked materials used within the making of the Ajrak is awe inspiring because the subsequent stage of printing uses rice paste, alum, molasses, Fuller’s earth, fennel and gum to shape the dust face up to-paste, referred to as the Kharrh. It is carried out on the white, black and the quantities which might be to be dyed red. This step ensures that the material is covered towards the indigo dye so that after sooner or later the fabric is dipped inside the alizarin dye, the alternative areas turn pink.

The next step is dipping the fabric in an earthenware vat for the primary indigo dye. After that, through a very painstaking method, the dyed material is taken to the river and thrashed till the gum and extra dye has been washed off and the white areas turn out to be clean. Camel dung is used to get rid of extra tanning and make the white clear.

In a large copper vat the Ajraks are dyed with alizarin. Heated by using log hearth the craftsman diligently lifts and immerses the fabric repeatedly for more than one hours until the preferred crimson shade is reached.

Ajraks are unfold on river banks and sprinkled with water intermittently as quickly as they dry. This drying and drenching bleaches the white regions and deepens the other colorings.

Once the craftsmen are happy with this step, the Ajrak is printed once more with Kharrh combination i.E. The mud resist-paste and sprinkled with sifted dried cow dung earlier than taking them for the very last indigo dye.

The Ajraks are then taken for the very last wash. The craftsmen fold the Ajraks whilst slightly damp and stack them. The Ajraks for that reason receives nicely pressed and there is no need for ironing. The result is the awesome piece of artwork.

Source: DAWN

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اجراک سندھی سیکرٹری کی ایک روایتی حصہ ہے. یہ عام طور پر انتہائی رنگوں میں منفرد بلاک چھپی ہوئی ڈیزائن اور پیٹرن کے ساتھ 2.5 سے تین میٹر کا اطلاق ہوتا ہے، اور بڑے امیر کرمسن اور گہری انڈگو کے ساتھ سفید اور سیاہ کے ساتھ ڈیزائن میں جیٹیٹک سمیٹری کی وضاحت کرنے کے لئے گہری نگہداشت. سندھ میں، یہ میلوں کو زائرین کے احترام کا ایک نشان قرار دیا گیا ہے؛ مرد اسے اسے پگڑی کے طور پر استعمال کرتے ہیں یا اسے اپنے کندوں کے ارد گرد ہوا کرتے ہیں، جبکہ خواتین اسے دوپتا کے طور پر استعمال کرتے ہیں یا موسم گرما کے موسم میں شال کے طور پر اسے پھینک دیتے ہیں. اسی طرح ایک تابوت پر منایا گیا ہے. جدید لوگوں نے اسے مختلف نقطہ نظروں میں استعمال کیا ہے اور اب کورتیس اور بستر کے کپڑے دنیا بھر میں روایتی اجرت کے پیٹرن کے استعمال میں مارے جا رہے ہیں. اس کا استعمال تاریخی سندھ وادی تمدن (3500-1500 بی بی سی) سے ملتا ہے. ایک بادشاہ کا پادری انجور ہے جو موہنجدوارو میں نکال دیا گیا ہے اس سے اشارہ کرتا ہے کہ اسے ایک شال میں پھینک دیا جاتا ہے، جسے اجراک سمجھا جاتا ہے.

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