Black and white close-up of intricate hand-printed Charcoal Jasmine pattern on fabric, showing the detailed craftsmanship that defines narrative textile art like Kalamkari

Block Printing

Kalamkari ~ THE PEN & THE BLOCK

Where mythology meets textile ~ Kalamkari is India's great narrative art on cloth, telling the stories of gods, heroes, and the natural world through hand-drawn lines and block-printed patterns in a process that can take twenty-three steps to complete.

CRAFT & HERITAGE

STORIES DRAWN on cloth

The word Kalamkari tells you everything you need to know about its essence. Derived from the Persian words kalam (pen) and kari (work), it means, simply, "pen work" ~ the art of drawing on cloth. Yet this simple definition conceals extraordinary complexity. Kalamkari is a fully developed artistic tradition with its own iconographic conventions, its own palette, its own chemistry, and a production process so intricate that it can involve twenty-three distinct steps.

Kalamkari is, above all, a narrative art. While most Indian block printing traditions produce repeating patterns, Kalamkari tells stories. Its panels and scrolls depict scenes from the great Hindu epics, the Ramayana and the Mahabharata. They illustrate the lives of gods and goddesses ~ Krishna lifting Mount Govardhan, Rama battling Ravana, the cosmic dance of Shiva. They depict the Tree of Life, surrounded by birds, animals, and flowering vines.

In later periods, they incorporated Persian and Mughal motifs ~ cypress trees, paisley forms, hunting scenes ~ reflecting the cross-cultural exchanges that have always characterised Indian art.

Black and white photograph of Kyra Maxi pattern being hand block-printed, showing the detailed craftsmanship of narrative textile traditions

Steps in the Srikalahasti process

Distinct traditions (pen & block)

500+

Years of documented history

TWO traditions ~ ONE NAME

Srikalahasti ~ the pen

The Srikalahasti tradition, named after the temple town in Andhra Pradesh, is the older and more labour-intensive of the two. It is a purely freehand art ~ every line, every colour, every detail is drawn directly onto the cloth by the artist's hand using a pointed bamboo stick or reed pen dipped in natural dyes and mordant solutions. Inseparable from its religious context, the tradition developed in service to the great temples of South India, producing narrative panels, temple hangings, and processional banners illustrating Hindu mythology.

Machilipatnam ~ the block

The Machilipatnam tradition, centred on the port town of Machilipatnam on the coast of Andhra Pradesh, uses carved wooden blocks rather than freehand drawing. As a major port on the Coromandel Coast, Machilipatnam was a centre of the Indian textile export trade from at least the fifteenth century. Its Kalamkari cloth was traded to Persia, the Arab world, Southeast Asia, and eventually to European markets. This commercial orientation influenced both the motifs and the production methods.

Technique comparison

Srikalahasti is entirely hand-drawn with a bamboo pen ~ each piece a unique, one-of-a-kind artwork. Machilipatnam uses carved wooden blocks for primary patterns, allowing consistent repetition across lengths of fabric. Srikalahasti focuses on Hindu mythological narratives; Machilipatnam features broader motifs including Persian-influenced florals and paisleys.

Historical context

Srikalahasti developed in the context of South Indian temple culture, serving religious and ceremonial functions. Machilipatnam developed as a trade craft, driven by demand from Persian, Arab, Southeast Asian, and European merchants. Both traditions historically used natural dyes and mordants, drawing from the same palette of alizarin red, indigo blue, iron black, and myrobalan yellow.

Artisan pressing a carved wooden block onto cloth, demonstrating the precise hand-printing technique that connects block printing traditions across India

Every line drawn is an offering. The cloth is the temple, and the story is the prayer.

THE twenty-three STEPS

Preparation (steps 1-5): The cotton cloth is treated with cow dung and bleach to soften it. It is then soaked in a mixture of myrobalan (Terminalia chebula) and water ~ rich in tannins, serving as a base mordant. The treated cloth is dried, potentially repeated, then smoothed and stretched for drawing.

Drawing and outlining (steps 6-10): The artist sketches the composition in charcoal, then begins permanent outlining using a kalam pen dipped in a solution of iron filings, jaggery, and water ~ a black mordant that becomes the defining lines. This stage requires absolute confidence, as there is no way to erase or correct once the mordant is applied.

Mordanting and colouring (steps 11-18): Alum mordant is applied to areas that will become red, using the kalam pen. The cloth is immersed in alizarin (from madder or chay root), producing red on alum and fixing black outlines. Resist paste is applied, then the cloth enters an indigo vat for blue tones. Each colour requires its own mordant application, dyeing, and washing cycle.

Finishing (steps 19-23): The resist is washed away, the cloth is sun-bleached to brighten whites, and final colour adjustments are made. The artist may add final details and highlights using the kalam. The finished piece is washed a final time and dried.

Artisan carefully applying colour to fabric during the multi-step dyeing and mordanting process used in traditional Indian textile craft

Did you know?

The multi-step Kalamkari process is not complexity for its own sake. Each stage serves a chemical function ~ mordanting ensures colour permanence, sequential dyeing prevents colours from contaminating each other, and the alternation of wet and dry stages allows for the precision required in a freehand medium. The twenty-three steps represent centuries of accumulated knowledge about how to make colour adhere to cloth permanently and beautifully.

Black and white photograph of hand-carved textile printing tools in Sanganer, showing the artisan craftsmanship behind pattern-making traditions

KALAMKARI AND the world

Kalamkari textiles were among the most sought-after trade goods in the pre-modern world. From at least the fifteenth century, Machilipatnam's cloth was exported to Persia, the Mughal courts, Southeast Asia, and eventually to Europe via Portuguese, Dutch, and English trading companies.

The European appetite for Indian painted and printed cloth was so voracious that it provoked trade wars and import bans. The famous chintz that swept through European fashion was, in large part, a response to the beauty and colourfast quality of Indian Kalamkari.

Read About the Chintz Trade

Artisans at the Daughters of India facility working together on hand-crafted textiles, demonstrating the collaborative craft process behind each piece

Kalamkari tells stories ~ its panels and scrolls depict scenes from the great Hindu epics.

THE modern MOMENT

Like many Indian textile traditions, Kalamkari experienced severe decline during the colonial period. The Srikalahasti tradition suffered as traditional temple patronage structures weakened. The Machilipatnam tradition was undercut by machine-printed imitations.

Portrait of a Daughters of India artisan, one of the skilled makers preserving traditional textile craftsmanship for future generations

Revival efforts, supported by government agencies, craft organisations, and individual champions, have stabilised both traditions, though the number of practitioners ~ particularly of the more demanding Srikalahasti style ~ remains small. Contemporary Kalamkari artists navigate a creative tension between preserving traditional techniques and finding new applications and audiences.

The integration of Kalamkari into contemporary fashion has been one of the more successful examples of traditional craft meeting modern design. Indian fashion designers have embraced Kalamkari's rich visual vocabulary, applying its motifs to saris, kurtas, dresses, and accessories that bring the tradition to a new generation. When done thoughtfully ~ with respect for the craft's origins and fair compensation for practitioners ~ this represents a genuine path forward.

THE PEN has not CHANGED

The pen has not changed. The cloth has not changed. The dyes are the same ones used by my ancestors. What has changed is the world that receives the work ~ and perhaps, in changing, it has come to appreciate what was always there.

~ A Kalamkari master artist

Black and white photograph of traditional hand-carving tools and workspace in Sanganer, where artisans craft the intricate patterns used in Indian textile art

Elderly master block printer seated among carved wooden blocks, representing generations of textile printing knowledge passed through artisan families

Cloth can be more than a covering. It can be a canvas, a narrative, a prayer.

KALAMKARI and the LIVING THREAD

There is something deeply moving about a textile tradition that began as an act of devotion ~ drawing sacred stories on cloth for the walls of temples ~ and that continues, centuries later, to produce work of extraordinary beauty and technical accomplishment. Kalamkari reminds us that cloth can be more than a covering. It can be a canvas, a narrative, a prayer, a record of cultural exchange across continents and centuries.

Whether created by the patient freehand strokes of a Srikalahasti artist or the rhythmic block impressions of a Machilipatnam printer, every piece of Kalamkari cloth carries within it a story ~ not just the mythological narrative depicted on its surface, but the deeper story of a craft tradition that has survived colonial disruption, economic marginalisation, and the relentless pressure of industrial production. That it survives at all is remarkable. That it continues to evolve and find new audiences is a testament to the enduring human need for beauty that is made slowly, by hand, with meaning.

Explore Further

NARRATIVE, DYE and trade

Artisan working on fabric construction at the Daughters of India facility, demonstrating the handmade process behind each textile piece

The Chintz Trade

The fabric so beautiful it was banned ~ and its Indian Kalamkari origins.

Rich red alizarin-dyed fabric showing the warm crimson tones produced by natural madder root pigment

Madder & Earth Pigments

The red that gives Kalamkari its warmth ~ alizarin from the roots of the madder plant.

Black and white photograph of artisan Premlata hand-printing Jasmine pattern, showing the precise hand technique used in traditional textile printing

Textiles Through History

From the Indus Valley to independence ~ the story of Indian cloth.

Hand-printed Kyra dresses drying at the artisan facility, showing finished textiles in the final stage of the handmade production process

Bagh ~ Printed by Nature

Another endangered tradition that relies entirely on natural dyes and river washing.

Explore All Craft Pages

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Final sale items and intimates are not eligible for returns or store credit.

You can find our full returns policy here.

Shipping & Returns

All prices include VAT and import duties — no hidden fees at delivery. Our slow fashion garments are handcrafted in India and shipped directly to you.

We are a small team however we endeavour to process your order within 1–2 business days. Orders are shipped via DHL Express. You’ll receive a tracking number by email once your order ships.

Delivery	Cost
Standard · 5–8 business days	€15
Express · 3–5 business days	€25
Orders over €250	Free

All prices include Dutch VAT (21%) and any applicable import duties — the price you see at checkout is the price you pay.

You can find our full shipping policy here.

Items must be returned in original condition — unworn, unwashed with tags attached, folded neatly in the Daughters of India tote bag provided.
To lodge a return, visit our Returns Portal. Return shipping is at the customer’s expense — we recommend PostNL for affordable tracked returns.
Refunds are processed within 5–7 business days of receiving the return.
Final sale items and intimates are not eligible for returns or store credit.

You can find our full returns policy here.

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