Kalamkari – an Indian art form that goes back 3,000 years – refers to an ancient textile printing process that includes both free-hand drawings and hand-blocked designs. The word kalamkari has etymological roots in Persian: kalam (or ghalam) coming from the word for “pen” and kari coming from the word for “work” or “craftsmanship.” This textile style originated in present day Andhra Pradesh and Telangana during the Mughal era. 

In its early days, Kalamkari prints were more than just decorative, but a way to record history. Back when religious traditions and cultural folklore were passed down through word of mouth, kalamkari prints often accompanied oral storytelling with images depicting Hindu mythology and epics. Today, Kalamkari art is often used for sarees or ceremonial wear. Other common motifs are flowers, peacocks, and paisley. 

The history of Kalamkari prints is closely interwoven with the history of trade between India and Western Europe. In the late 17th century, the British discovered kalamkari, and began to favor it for it’s bright colors and affordability. The textiles became widely sought after in France and Britain under the name “chintz,” which came from the Hindi word cheent, meaning spotted or speckled. In fact, Indian chintz became so popular in Western Europe that India’s textile industry threatened to put British and French weavers out of business. In the early 18th century, England passed the Calico Acts, which banned most imported textiles from Britain, including chintz imported from India. 

Without access to India’s textile market, French and British weavers tried to replicate Indian chintz, resulting in textiles largely inspired by Kalamkari, such as Toile de Jouy. However, weavers in Europe disregarded traditional Kalamkari practices, and implemented cheaper and faster methods to produce the textiles. Facing an industrialized market and importation bans, India’s Kalamkari industry was unable to compete with that of Britain and France and declined significantly, threatening the traditional artform and the livelihood of the artisans.

Creating Kalamkari-style fabrics is a long and tedious process, with upwards of twenty different steps. Techniques include treating the cotton with bleach, cow dung and buffalo milk; printing, painting and dipping the fabric with natural dyes; and repeatedly washing and drying the fabric. The dyes used to create kalamkari art are natural, made from plants and minerals. Colors most commonly used are indigo, mustard yellow, rusty red, green, and black. Pens made of bamboo or tamarind are used when applying dye by hand.  

Today, there are many styles of kalamkari practiced throughout India and beyond. Two of the more prominent styles are Srikalahasti and Machilipatnam, each named after the city they originated in. Srikalahasti print is drawn and painted completely by hand, and primarily focuses on illustration inspired by Hindu mythology. Machilipatnam prints, on the other hand, use a combination of hand-blocked and hand-drawn designs, and tend to use more muted colors than the srikalahasti style.