Fine gold and silver leaf sheets, known as Varaq, have been extensively used for decorative purposes. One of its popular uses is in food decoration, where silver foil is applied to sweets like barfi and mithai. In addition, Varaq is often used to adorn statues and temples. Gold foil, in particular, is used to create Hikari, a type of gold paint used in intricate miniature paintings. Ayurveda also mentions the use of Varaq for its medicinal properties. The most fascinating application is in textiles, where Varaq is used in a traditional printing technique known as chandi ki chappai (silver printing). This method involves block printing with thin sheets of gold and silver leaf on fabrics. Varaq prints are often used on tent cloths, hangings, canopies, saddlecloths, book covers, and garments like sarees and kurtas.

The Spread of Craft in India

Mostly believed by people that this craft originally came from Persia. The Mughals, known for their patronage of arts and crafts, are often credited with introducing it to India. When the Mughal Empire came to India during the 18th century, the craft began to spread through their skilled artisans. In India, Jaipur holds the earliest evidence of this craft. It was prominently used by kings and rulers for hand-printed flags, tents, canopies, book covers, and other symbols of power to showcase their prestige.

Royalty of Gold and Silver

Gold Varaq has long been a symbol of wealth, power, and divinity. It was used to create visual splendor and enhance the beauty of various crafts. Traditionally, pure gold varaq was made from 22-carat gold. However, due to its high cost, the use of pure gold has decreased, with lower-cost alternatives containing only 2% gold now being more common. Gold varaq is especially popular in Usta work. On the other hand, silver varaq, while less associated with wealth and beauty, was frequently used for ceremonial objects, religious manuscripts, and royal furnishings. It is believed that over time silver varaq tarnishes and becomes black.

Method of making Varaq

The process of preparing varaq (gold and silver leaf) is an intricate and delicate craft. Thin sheets of gold or silver are placed inside a leather pouch, which is then laid on a smooth stone. The pouch is hammered continuously, with silver taking around 2-4 hours to beat, and gold requiring up to 12 hours. To ensure evenness, the pouch is rotated regularly. Once the metal reaches the desired thinness, the sheets are carefully trimmed to size. The varaq is then transferred onto butter paper using a specialized knife called a falwa. During this transfer, artisans tie a leather covering, known as a bandi, around their index finger to prevent the delicate metal leaf from sticking to the skin. This step requires extreme precision, as even a slight breath could blow away the fragile sheets. After the transfer is complete, the papers holding the gold or silver leaf are folded in half for safekeeping.

Process of Printing Varaq

Varaq is meticulously applied to textiles through a detailed process that varies based on the binding agents used. Traditionally, a gum extracted from the Saresh tree, known as saras, is utilized. The process begins with stamping this gum onto the fabric using intricately carved wooden blocks. While the gum remains moist and tacky, a layer of varaq is applied, pressing it down with a muslin cloth to ensure it adheres properly. After the varaq has been applied, the surface is smoothened and burnished using an agate stone, which enhances the sheen and achieves a smooth finish. To protect the varaq from tarnishing, a waterproof lacquer is then applied as a final protective layer.

In contemporary practices, various binding agents are used. For example, enamel paint mixed with chalk powder and turmeric creates a base layer on the fabric. Multiple coats of this paint ensure a smooth and even surface. Once the paint is still sticky but partially dry, the varaq is pressed onto it. After the varaq has fully adhered, the excess is gently removed with a paintbrush. The varaq is then burnished with an agate stone to achieve a polished look. This modern approach allows for a durable and aesthetically pleasing finish on the textile.

Applications of Varaq

Many photographs of Gods and Goddesses showcase the intricate application of micro-thin hand-beaten precious metal leaves, in gold and silver. This traditional technique is employed for gilding icons, deities, and decorative objects crafted from stone and wood. It also applied to wall murals and interior designs, enhancing everything from detailed miniatures to ritual-painted textiles like the Pichwais of Nathdwara, Rajasthan. Its extensive use in textiles includes applications in embroidery, cushions, and Pooja cloths. Skilled artisans from the Pannigrahi community are often sought by luxury hotels, homes, and places of worship to gild walls, ceilings, furniture, and other objects with varaq.

In Conclusion,

Due to its intricate craftsmanship and high cost, Varaq printing is only exclusive to the rich and royal. Most buyers of these crafts are high-end designer brands or affluent individuals. In Jaipur, a handicraft showroom specializes in Varaq-printed garments such as dupattas, stoles, skirts, and traditional outfits like Anarkali and Angarakha. The city Palace Museum shop was opened by the princess of Jaipur in order to revive various Jaipur handicrafts in which one craft is varaq printing.

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By Shrushti Patel