Machilipatnam Kalamkari: The Timeless Art of Block Printing

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By Neeyati Rometra

10 min read

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    • Introduction

    Kalamkari is a mesmerising textile art form with a legacy that stretches back more than 3,000 years. Its name combines the Persian word kalam (pen) and the Urdu word kari (craftsmanship), a fitting reflection of its pen-based technique. Kalamkari originated in the region that now includes Andhra Pradesh and Telangana, but it is most strongly associated with Andhra Pradesh, particularly Srikalahasti and Machilipatnam. The art had flourished across the area long before the states were divided.

    Kalamkari is renowned for its intricate, hand-drawn designs, created using a bamboo pen, as well as motifs applied with carved wooden blocks. This traditional craft is wholly rooted in natural processes: artisans rely exclusively on vegetable dyes and metallic salts, avoiding chemical additives and mechanised methods. Each piece showcases remarkable skill and a deep commitment to sustaining one of India’s oldest handicraft traditions. Typically practiced on cotton or silk, the fabric is first treated, boiled, and scoured to remove impurities, allowing it to fully absorb the natural dyes before being hand-drawn or block-printed.

    Two Distinct Styles of Kalamkari in Andhra Pradesh

    Kalamkari is practised mainly in two regions of Andhra Pradesh, each known for its own distinctive approach:

    Srikalahasti Style:

    Centred in the Tirupati district, this style is characterised by fully hand-drawn work. Using a bamboo pen (kalam), the artist sketches the outlines—typically in black kasami—and then fills in the design with plant-based dyes such as yellow, indigo, red, and green. The fabric is pre-treated with a mordant to help it absorb the colours. Because the entire process is done freehand, every piece is one of a kind.

    Machilipatnam Style:

    The Floral World: Tree of Life in Machlipatnam Kalamkari by Varun Kumar Pitchuka

    Originating in the Krishna district, this style relies on intricately carved wooden blocks. Although also called Kalamkari, it is block-printed rather than pen-drawn. Artisans use these blocks to apply both outlines and main motifs, often within collaborative workshops known as karkhanas. The blocks are durable and can be reused by multiple artisans over many years.

    In 2013, the Government of India awarded the Machilipatnam Kalamkari style a Geographical Indication (GI) tag, a designation that has boosted its recognition and growth both nationally and internationally.

    Origins and History of Machilipatnam Kalamkari

    The name Machilipatnam is thought to come from a town gate once adorned with fish motifs—machli meaning “fish” in Hindi. The area was historically home to many members of the Telaga community, who played a central role in developing and sustaining the Kalamkari craft.

    During the 16th and 17th centuries, the art form prospered under the Golconda rulers, who introduced Islamic-influenced patterns such as entwined foliage, floral motifs, and the iconic “tree of life.” Machilipatnam’s prominence as a thriving port fostered active trade with the French, British, and Dutch, creating a robust market for Kalamkari textiles and supporting entire artisan communities.

    After the Mughal Empire took control of the region in 1687, the style evolved once again. Artisans began incorporating imperial portraits and scenes from courtly life. Iran emerged as a major patron during this period, prompting the establishment of new Kalamkari workshops to meet growing demand. Historical records indicate that neighbourhoods like Rustambada, Nizampet, and Balaramunipet were completely devoted to this craft.

    A Machilipatnam Kalamkari Karkhaana

    The adoption of block-printing made wider production possible and expanded the themes beyond traditional religious narratives. Designs came to include a fusion of local, Persian, and European motifs—stylised flora, geometric patterns, and various human and animal figures—reflecting the multicultural exchange that defined this bustling port town. Over time, Kalamkari transitioned from a temple-related art into a versatile craft used for everyday textiles such as wall hangings, bedspreads, garments, and household furnishings.

    Machilipatnam Kalamkari’s historical importance is evident in museum collections worldwide. For instance, a 15th-century bed cover or wall hanging is preserved at the Victoria & Albert Museum in London, while 17th-century examples are housed in the Salar Jung Museum in Hyderabad.

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    Materials and Process

    Although Srikalahasti and Machilipatnam differ in style, both rely on similar materials and traditional methods. The process for creating Machilipatnam Kalamkari can be understood under three broad stages:

    • Block Making
    • Preparation of Dyes and Print Pastes
    • Block Printing on Fabric

    Block Making: The Foundation of Kalamkari

    Machilipatnam Kalamkari begins with the age-old craft of woodblock carving. Artisans carve designs in relief so that the raised areas receive dye and transfer the motif onto cloth. Each colour in a pattern requires its own block, typically made from durable teakwood.

    Different Patterns in Wood Blocks used in Machilipatnam Kalamkari

    Materials and Tools

    • Materials: Teakwood; a white base mixture of titanium dioxide and Fevicol (for tracing); groundnut oil for seasoning; sandpaper.
    • Tools: Randa (smoother), Tipni and Tapi (hammer) for tracing, chisels (kalams) for carving, a compass for geometric forms, and a panna for refining edges.

    Stages of Block Making

    • Cutting and Levelling: The teak block is cut to size—often 6×6 inches for jaal patterns—and smoothed with a randa.
    • Surface Preparation: The block is sanded and coated with a white base paste (cheo) to make the design easier to trace.
    • Tracing the Motif: The design is transferred using a tipni and tapi. This painstaking step, known as tipai or guiyan (when a compass is used), may take several hours.

    The Process of Carving

    • Carving: The design is carved in relief using chisels. An outline block (masa) generally takes 2–3 days; filling blocks (tapki) and background blocks (kappu) each take 1–2 days.
    • Finishing: A handle is attached and the edges refined with a panna.

      Seasoning: Finally, blocks are soaked in groundnut oil for nearly a week to strengthen the wood and ensure longevity.

    Preparation of Natural Dyes and Print Pastes

    Machilipatnam Kalamkari is renowned for its reliance on natural dyes, many of which require careful fermentation and handling.

    Key Dyes and Their Preparation

    • Black (Kasim): Created by fermenting iron scraps, jaggery, and water for about three weeks, then mixing the solution with gum arabic.
    • Indigo (Neelam): Produced in a dye vat using indigo cakes, lime, water, and crushed seeds or flour.
    • Yellow (Pasupu/Haldi): Made by boiling pomegranate rind or myrobalan flowers, followed by the addition of alum.
    • Red (Karam): Prepared from alum, gum, and water; the printed colour develops into red when boiled with madder root.

    Additional Colours

    • Chocolate: red + black (3:1)
    • Pink: diluted red
    • Green: yellow printed over indigo

    Mordants

    • Alum: Enhances brightness and colourfastness.
    • Myrobalan (Harada): Enhances dye absorption and is particularly important for fixing black dyes.

    Tools Used in Dye Preparation and Printing

    Earthen pots, plastic drums, copper vessels, brushes, colour trays, squeezes, printing tables, kalams for touch-ups, and hammers for applying uniform pressure during printing.

    The Kalamkari Printing Process

    The creation of Machilipatnam Kalamkari involves meticulous fabric treatment, printing, washing, and finishing.

    1. Fabric Preparation

    Raw cotton—often in long lengths—is cut and allowed extra size to compensate for shrinkage.

    2. Bleaching

    Traditionally, cloth is bleached with a buffalo-dung solution and sunlight for 4–5 days, yielding a bright white base.

    3. Myrobalan Treatment

    The cloth is soaked in myrobalan solution to act as a mordant, ensuring dyes adhere well.

    4. Block Printing

    Block Printing on the Fabric

    Artisans stamp the cloth using outline, filling, and background blocks. Natural dyes are applied section by section.

    5. Washing and Boiling

    Once printed, the cloth dries for several days. It is then washed in flowing water to remove excess gum and boiled with ingredients like jajji leaves, flower petals, and bark to develop and fix the colours.

    6. Starching and Secondary Printing

    Secondary Painting and application of secondary colours

    A rice-water-and-milk starch strengthens the cloth and prevents bleeding. Secondary colours—yellow, pink, blue, green—are added. In Srikalahasti, these are applied with a kalam; in Machilipatnam, touch-ups are done by hand.

    7. Alum Treatment

    Alum is brushed onto the textile to permanently fix the colours.

    8. Final Washing and Finishing

    Final Washing of the Block-printed Cloth

    The cloth undergoes a final wash, is sun-dried, pressed to restore crispness, and folded for sale. Larger units may use stitching machines to convert the fabric into garments or home furnishings.

    Drying of the Final Printed Cloth

    Each piece of Machilipatnam Kalamkari embodies an intricate, labour-intensive process—uniting traditional craftsmanship, natural materials, and generations of expertise to create textiles that are both artistic and enduring.

    Traditional Motifs (Local Names)

    Machilipatnam Kalamkari is renowned for its fine, detailed motifs, many of which reflect strong Persian artistic influences. The designs often feature graceful trees, curling creepers, and elaborate floral and leaf patterns—elements that lend the textiles their signature elegance and delicacy. Over time, artisans have developed a rich vocabulary of motifs, many known locally by traditional names.

    Common Kalamkari Motifs and Their Local Terms

    Floral and Vegetal Forms

    • Kobbari Aku – Coconut leaf
    • Kedi Teega – Cashew creeper
    • Nalugu Puvulu – Four-petal flower
    • Chinna Mamidi Kayalu – Small mango
    • Pandu – Fruit
    • Potlakaya – Snake gourd
    • Padmala Teega – Floral vine
    • Nachu Mamidikaya – Olive mango
    • Badam Puvu – Almond flower

    Animal and Bird Motifs

    • Kodipetta – Cock
    • Onte – Camel
    • Enugu – Elephant
    • Gandaberundam – Two-headed eagle
    • Sarpam – Snake
    • Nemali – Peacock
    • Udutha – Squirrel
    • Pakshi – Bird

    Architectural and Symbolic Elements

    • Doni Stombham – Pillar
    • Persian Teega – Persian-style vine
    • Ambari – Palanquin
    • Chokram – Wheel

    These traditional motifs—ranging from stylized plants to birds, animals, and symbolic forms—reflect the fusion of local artistic traditions with Persian aesthetics, creating the intricate and visually rich identity of Machilipatnam Kalamkari.

    What Makes Machilipatnam Kalamkari Unique?

    Machilipatnam Kalamkari stands out for its strict adherence to age-old techniques, natural materials, and a refined aesthetic shaped by centuries of cultural exchange.

    Materials and Dyes

    The craft uses only natural fibres and a restrained palette of vegetable dyes—mainly black, red, blue, yellow, and green—derived from barks, leaves, flowers, seeds, and roots. These dyes give the textiles their warm, organic colours.

    Technique

    This style is defined by its detailed hand block-printing, supported by a long sequence of preparatory steps such as bleaching, washing, boiling, and mordanting. Many artisans believe the distinctive depth and vibrancy of the colours are influenced by Machilipatnam’s local water quality.

    Motifs

    Designs show strong Persian influence, featuring intricate and stylized depictions of flora and fauna. Popular motifs include lotus blossoms, parrots, the cartwheel, and graceful interlacing vines and flowers.

    Revival and Legacy

    Kalamkari has faced several periods of decline. Attempts to reproduce the craft outside India were unsuccessful, and competition from cheap, machine-made textiles—along with heavy export duties—led to reduced demand. Yet, committed families such as the Vinnakotas continued the tradition, earning formal recognition for their contributions.

    A significant revival began in 1939 with the establishment of the Balyalagudem Cooperative Society under the leadership of Vinnakota Venkataswamy Naidu. Even after the cooperative’s decline in the 1990s, dedicated artisans—including Rekapalli Partha Saradhy, master block carver Balakotaih, and Ponnuru Purushotham—played a vital role in sustaining the art.

    Today, Machilipatnam Kalamkari thrives mainly in Pedana, Polavaram, and Machilipatnam itself. Families from the weaving community, trained in the craft during the late 1960s, continue to uphold the tradition. Contemporary masters such as P.B.L. Nagendra Rao, P. Mukkanteswar Rao, and Bhatta Mohan Rao remain key custodians of the craft, producing work for both Indian and international markets through artisan associations.

    Contemporary Times

    In recent years, Machilipatnam Kalamkari has continued to evolve. While artisans remain committed to traditional block-printing methods, they are also exploring modern design sensibilities—experimenting with new motifs, updated colour schemes, and a wider range of fabrics—to appeal to contemporary audiences while preserving the essence of the craft.

    NOTE: All images are the intellectual property of Memeraki. Please request proper citation or permission before using them.

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