The fabulous Indian weaving industry has a history of 5,000 years and till the 1850s depended only on natural dyes, extracted from plants, herbs and barks. Historical references to natural dyes range from the indigo Ikat fabric found in a Pharoah’s tomb to the rose madder scrap dug up at Mohenjodaro, and 17th century Europe’s fascination with Machilipatnam ‘painted’ cloth.

The colour palette was born with basic primary colours. While nila tinted the cloth indigo blue, lac provided the red, iron shavings combined with vinegar gave black, and turmeric was used for yellow. Dark green was derived when pomegranate rind was combined with indigo.

Then came the onslaught of chemical dyes, which were introduced in the middle of the 19th century and by 2004, the grand episode of natural dyed fabrics was almost over. Among the affected communities were the famous indigo dyers of Ilkal in the Karnataka-Maharashtra border area, the Bhotiya artisans of Kumaon, who use local plant material for dyeing woollen clothes (traded with Tibet) and the Panikka tribal folk living on the border of Madhya Pradesh and Orissa, best known for dyed gamchas (bathing napkins), sarees and shawls.

In some folk painting forms like Kalamkari and Patachitra, artists had altogether stopped using organic extracts and switched to bottled chemicals as colouring material. “Who has the time and patience to extract lamp black or soot when black poster paints are available?” says  a Patachitra artist and adds, “Where do you find tribal or folk artists painstakingly preparing paints from different plants, flowers, fruits or even rocks? They are getting their paints off the rack or delivered at their homes.”

Whatever survives today of ancient dyeing methods is thanks to the “return to the natural dye movement” by pioneers like Kamala Devi Chattopadhyaya and Rukmini devi Arundale. So, what are the advantages of natural dyes when compared to chemical dyes? Textile expert Ramani of  Kalakshetra weaving centre Chennai says, “Natural dyes develop a patina and mellow over time like a favourite pair of blue jeans. The colour itself will not change completely over time but becomes a softer, muted version of the same. Synthetic colours never improve with age.”

The problem however, has deeper roots and is more economic in nature than of mere convenience or easy availability. As any textile dyer will point out, the difference in prices between natural dyes and synthetic ones, is between Rs 250 and Rs 400 per kilo. For instance, it takes Rs 600 for a farmer to grow and process indigo (in present market conditions), for which he gets around Rs 800 from the retailer. Against this, synthetic German indigo is available at Rs 500 a kilo and other varieties of chemical dyes, even cheaper.

But there is a price to be paid for materials produced using chemical dyes. In the famous Kalamkari textile centre of Pochampalli in Andhra Pradesh, the weavers using chemical dyes complain of the water from the borewells in the village being polluted by the chemicals in the dyes. So they have to buy water for their drinking needs. It is also more difficult and time consuming to weave with these threads coloured with natural dyes, than the chemical dyed ones as they are rather sticky. Vegetable dyes, on the other hand, do not cause allergy. What’s more, usage of vegetable dyes solves water problems.

It is a paradox that the return to natural dyes has been ushered in by the same Western nations that had a role to play in wiping them out. Following bans imposed by European governments on synthetic colours, the West has again turned its eye towards India.

In India too, the same textile weavers who had given up on natural dyes are now scrambling to  get back to their charms, as chemical dyes mean that the products will be rejected. Also, a group of pioneers, both foreign and Indian have jointly worked out schemes to revive old dyes in India. In 2004, French archaeological textile specialist Dominique Cardon, and President of the Natural Colorants Federation in Europe held a six-day event on natural dyes, organised by Unesco and the Crafts Council of India in Chennai.

This conference  brought 800 delegates, including 200 craftspersons from 65 countries together at the Shilpa Kala Vedika. Another important group is the Punjab Durrie Weavers' (PDW) Association founded by Ann Shankar, an Englishwoman married to an Indian.

Among the Indians who have worked for the revival of vegetable dyes are the late K V Chandramouli, who was associated with Kalakshetra for many years. With his immense knowledge of batureal dyes and Toofan Rafai, he popularised the use of vegetable dyes worldwide through his lectures and demonstrations.  However, the pendulum has started to swing to the other extreme.

In the words of Krishnappa, a textile expert, “ We need to tread cautiously, for attempts to industrialise the natural dye craft could be counter-productive. Because of the high demand for natural dyes, several corporate companies are already trying to make powder extracts to make the process easy. .”

(Maharaja Features)