It was Ismail Khatri Who gave the Bagh saree its current form by staying in the tradition of the art and experimenting with layouts.
In a courageous move he altered the idea, the procedure and the appearance of these printed materials and attracted the turnaround of a self indulgent art. He happened for 200 and 300 year old cubes that were based on traditional themes that were inspired by the 1500 year old cave paintings of neighboring regions.
The Nariyal zaal, Ghevar zaal themes, and many others such as Saj, Dakmandwa, Chameli or Jasmine blossom, Maithir or the mushroom, Leheriya or Jurvaria were experimented as block printing designs. He had blocks made dependent on the Jaali work located in the Tajmahal and local forts. Initially he made use of Red and Black colours from alum and corroded iron and found yellow and green from vegetable dyes.
Until then it was an Art of drawing and designs on paper. With his move of the block layouts to cloths he revolutionized the art.
Never before had such Beautiful, exotic and attractive designs been seen on cloths and by using the fast colors he got Bagh Prints to be noticed and recognized as a new sort of adorning fabrics. To prove his point that handloom cloths were well-suited for these prints, he published 1230 unique blocks on a single bed cover with creativity and logic.
This fetched him the National Award and then, on appreciation nationally, for the Bagh Printed sarees too. Today Bagh side by Side incorporates modern day designs, including geometrical patterns, attractive bootis, floral scapes and other present day popular themes, to keep in the race.
Bagh Prints got their Name from their source in the village of the same name. Regardless of the artwork being from another area brought by travelers who happened to settle in Manawar, the current design of Bagh printing is thought to be in the early 60s when some Muslim Khatris migrated from Manawar to settle in this village named Bagh.
Bagh, the printing Artwork, was practiced by these tribal Muslims and the printing subjects were mainly geometrical prints and floral compositions. There was a lull in between that contributed to many of those conventional practitioners deserting the artwork and being lured away into the creation of synthetic fabrics that also came up in the moment.
The process of Bagh Printing on printed linen saree is complicated. The cloth is soaked overnight in water and dried. Following a glue of goat droppings, raw salt, castor oil and water is made and the cloth is put inside, and stamped upon until it is totally soaked. The cloth is laid out on a layered slope surface so the water runs down and it dries. Again washed by water it is about to be printed upon.
A wooden tray with a Bamboo’Jaali’ fitted has black and red glue applied on it. Length of thick wet cloth placed on these colours soak them up. The block is dipped in the colours and put lightly on the stretched out cloth on a flat surface such as a smooth rock slab table with seven layers of jute on it.
Printing of the Designs done similarly through the length of the cloth, the sari is dried and Kept aside for a few days. Then it is washed in the nearby flowing Baghini River, dried, add a cauldron containing a mixture of Dhawadi blossoms, Alzarin, And Tapai and permitted to soak, then again dried one final time. The Bagh Printed fabric is complete.