To modernise the method or the minimize is usually to erase the historical past embedded within the drape
The author is a Lahore-based tutorial at the moment related to Forman Christian School, a chartered college
Expensive Noorjehan Bilgrami,
I’m writing to specific my profound admiration to your lifelong dedication to the preservation and revival of crafts, with block printing utilizing pure dyes being one notable instance. In a recent panorama usually dominated by the “cult of the brand new”, your work serves as a important intervention – a masterclass in what we would time period the “Aesthetics of Continuity”.
The historical past of block printing in South Asia is an intricate tapestry of ethnobotany and chemistry. Not like artificial dyes that coat the floor of a fiber, pure dyes like Indigo and Madder require a chemical “marriage” with the material. That is the place mordanting is available in. A mordant “bites” into the fiber and the dye concurrently, making a everlasting bond. With out this chemical mastery, the “fugitive” colors would merely wash away. The “recipes” for fermentation vats or the precise timing for sun-bleaching are hardly ever written down; they’re handed via statement and contact.
The scent of the indigo fermentation and the color variations attributable to the hardness of the river water are all a part of the “soul” of the material. By refusing to “contemporarise” these methods, you’re performing an act of Ontological Design: you’re guaranteeing that the method defines the product, slightly than permitting market-driven “developments” to hole out the soul of the craft. I consider we design our world and our world designs us again. After we design a fast-fashion machine-printed shirt, we’re designing a world of “disposability” and “velocity”. This, in flip, “designs” us to be impatient, disconnected shoppers.
Not like the economic “Quick Vogue” complicated, which prioritises velocity and homogeneity, your work at Koel embraces the “thump” of the wood block as a rhythmic heartbeat of resistance. There’s an inherent ethics of care in your refusal to change custom. By sustaining the integrity of the silhouette, you honour the ergonomics of the physique and the geometry of the material, rejecting the Western-centric “modernisation” that always strips indigenous clothes of their cultural semiotics. Within the South Asian context, you might have elevated the Ajrak and the hand-block print from mere commodities to websites of reminiscence.
To modernise the method or the minimize is usually to erase the historical past embedded within the drape. Your consistency is just not a “nostalgia” for the previous, however a radical Traditionalism — a perception that some varieties are already excellent and that the artist’s function is to behave as a bridge, not a disruptor.
In modern exploration of artwork and politics, your trajectory is a reclamation of sovereignty over the senses. By reintroducing the scent of the indigo vat and the tactile aid of the hand-carved block, you drive the wearer to have interaction with a historical past that predates the colonial and industrial eras. You could have confirmed that essentially the most “fashionable” act one can carry out in a digital age is to stay unyielding within the face of the machine.
Relating to my desire for a similar previous white kurta with a contact of gold and silver from Koel, I might say that I favor the whisper of the thumbprint to the silence of the manufacturing facility. To put on “the identical previous” is to reject the hole glitter of the ‘novel’ and as a substitute discover a quiet, enduring consolation in cloth, type and patterns which have traveled via time. It’s an aesthetic of belonging slightly than trending, the place the material turns into a bridge to the previous slightly than a disposable artifact of the current.
Thanks, Noorjehan ji, for appearing because the custodian of our collective visible vocabulary — a language of kind and color that defines our very id. Your work stays a beacon for these of us who consider that the way forward for artwork in South Asia doesn’t lie within the frantic pursuit of novelty, however within the deep, uncompromised roots of our personal previous. You could have proven us that the artisan’s legacy, the company and dignity of human hand, is extra valuable than the manufacturing facility’s precision, and that true solace is discovered within the rhythmic repetition of motifs which have anchored our souls for hundreds of years. By rejecting the economic clock, you say that South Asian tradition is just not a commodity to be rushed, however a ritual to be honoured.
With profound respect and conceptual alignment,
Bano
March 2026
