Artisan hand-pressing a carved wooden block onto cotton fabric to create an olive floral pattern

Block Printing

A living HISTORY

From the ancient cities of the Indus Valley to the workshops of modern Rajasthan, hand block printing has endured for over four millennia ~ surviving empires, bans, industrialisation, and neglect to remain one of the world's great textile traditions.

Block printing is one of the oldest methods of textile decoration known to humanity. Archaeological evidence from Mohenjo-daro, part of the Indus Valley civilisation, suggests that printed textiles existed in the Indian subcontinent as far back as 2500 BCE.

4,500 YEARS OF CRAFT

FROM THE INDUS VALLEY to today

The story of block printing begins in the dust of the Indus Valley. At Mohenjo-daro, the great planned city of the Harappan civilisation in what is now southern Pakistan, archaeologists have uncovered fragments of cotton cloth bearing traces of printed patterns. These textile remnants, dating to approximately 2500 BCE, represent some of the earliest evidence of decorative textile printing anywhere in the world.

Alongside these cloth fragments, excavations have revealed tools that appear consistent with textile decoration ~ small carved implements, dye residues, and the remains of mordant substances used to fix colour to cloth. While the exact techniques used by Harappan artisans remain a subject of scholarly discussion, the evidence strongly suggests that the people of the Indus Valley had already developed methods for printing patterns onto cotton fabric more than four thousand years ago.

This places block printing among the oldest continuously practised crafts in human history. The cotton plant itself was first domesticated on the Indian subcontinent, and the desire to decorate that cloth appears to have followed almost immediately. From the very beginning, Indian civilisation has been a textile civilisation.

Master block printer seated at his printing table with carved wooden blocks in a Rajasthan workshop

An artisan creates the Sky colourway for the Ria collection ~ a living link to four millennia of Indian textile craft.

THE classical PERIOD ~ CRAFT TAKES ROOT

In the centuries following the decline of the Indus Valley civilisation, textile arts continued to develop across the subcontinent. Ancient Sanskrit texts make reference to printed and dyed fabrics, and Indian textiles appear in accounts from Greek and Roman writers. Pliny the Elder, writing in the first century CE, described with astonishment the Indian technique of mordant dyeing ~ applying metallic salts to cloth before dyeing so that different colours could be achieved from a single dye bath. He found it remarkable that cloth could emerge from what appeared to be a single-coloured vat in multiple hues.

By the early centuries of the Common Era, Indian printed textiles were already being traded across the Indian Ocean. Fragments of Indian block-printed cloth have been found in archaeological sites in Egypt, dating to the Fustat excavations that revealed textiles from the medieval period. These finds confirm that Indian printed cottons were reaching Africa, the Middle East, and Southeast Asia long before European maritime trade began.

During this period, block printing traditions began to develop their regional identities. The particular qualities of local water, the availability of different dyestuffs, the preferences of local rulers and communities ~ all of these factors shaped the distinct printing traditions that would eventually become known as Sanganer, Bagru, Ajrakh, and others.

MUGHAL patronage ~ THE GOLDEN AGE

Imperial Workshops

The arrival of Mughal rule in India in the early sixteenth century ushered in what many scholars consider the golden age of Indian textile arts. The Mughal emperors were passionate patrons of craft, and their courts created an enormous demand for fine printed and embroidered textiles. Under rulers like Akbar (reigned 1556-1605), Jahangir (1605-1627), and Shah Jahan (1628-1658), royal workshops ~ known as karkhanas ~ were established to produce textiles of extraordinary quality. Block printers, dyers, weavers, and embroiderers worked under imperial patronage, with access to the finest materials and the freedom to develop their skills to the highest possible level.

The Mughal Aesthetic

The Mughal aesthetic, with its love of naturalistic floral motifs, flowing vines, and delicate botanical detail, profoundly influenced block printing design. Many of the floral patterns still printed today ~ the butis (small repeated motifs), jaal (lattice patterns), and flowing bel (vine borders) ~ have their roots in Mughal design language. The integration of Persian artistic traditions with Indian craft techniques created a visual vocabulary that remains central to block printing four centuries later.

Rajasthan Flourishes

Rajasthan, with its proximity to the Mughal heartland and its established traditions of textile production, became a major centre of court-quality printing. Towns like Sanganer and Bagru, already home to communities of printers and dyers, flourished under Mughal and later Rajput patronage. The printing communities received royal commissions and, in return, developed ever more refined techniques and designs.

“The Mughal period did not invent block printing ~ it had existed for millennia. What it did was elevate the craft to an art form of the highest order, creating a standard of excellence that Indian printers still aspire to today.”

Daughters of India

Artisans block printing at long tables inside a sunlit Rajasthan workshop

Inside a Daughters of India artisan workshop ~ where centuries-old techniques meet contemporary craft.

THE EUROPEAN trade ERA ~ CHINTZ MANIA

When Portuguese, Dutch, English, and French traders began arriving on Indian shores in the sixteenth and seventeenth centuries, they encountered textiles unlike anything produced in Europe. Indian block-printed and painted cottons were lighter, more colourful, more washable, and more beautiful than European textiles of the period. European wool and linen could not compete.

The textiles Europeans called "chintz" ~ from the Hindi chint, meaning speckled or variegated ~ became objects of intense desire. They were used for clothing, bed hangings, wall coverings, and upholstery. By the mid-seventeenth century, the demand for Indian printed cottons had become so overwhelming that it threatened the domestic textile industries of several European nations.

Explore the Chintz Trade

THE BANS and COLONIAL DISRUPTION

France Bans Indian Textiles

France was the first to act. In 1686, Louis XIV's government issued a decree prohibiting the import, manufacture, and wearing of printed Indian cottons. The penalties were severe ~ fines, imprisonment, and for persistent offenders, the galleys or even death. Despite these extraordinary measures, the ban proved almost impossible to enforce. The French appetite for Indian textiles was too strong. Smuggling was rampant, and the ban was not fully lifted until 1759 ~ seventy-three years of prohibition that failed to extinguish demand.

England Follows Suit

England followed with its own Calico Act in 1720, which prohibited the use or wearing of printed calico. Like the French ban, it was widely evaded and eventually repealed. The very existence of these bans ~ laws designed to suppress the popularity of a fabric ~ remains one of the most remarkable testimonies to the quality and desirability of Indian hand block-printed textiles. Explore this extraordinary chapter in full on our Chintz Trade page.

Colonial Disruption

The industrial revolution transformed the relationship between India and Europe from one of trade to one of extraction. The development of mechanical textile printing in Britain in the late eighteenth century allowed European factories to produce printed fabrics at a speed and cost that hand printers could not match. Under British colonial rule, India was increasingly relegated to the role of raw material supplier. Indian cotton was exported to British mills, processed into machine-made cloth, and then sold back to Indian markets ~ often at prices that undercut local handcraft production. Punitive tariffs and trade policies further disadvantaged Indian artisans.

The Impact on Craft Communities

The impact on block printing communities was devastating. Royal patronage had already declined with the weakening of Mughal and Rajput courts. Now, the economic foundation of the craft was being eroded. Many printing families abandoned the craft for other livelihoods. Entire printing communities shrank or disappeared. Skills that had been passed down for generations began to be lost. This was not merely an economic disruption. It was a cultural one. The British colonial project sought to redefine India as a source of raw materials rather than a producer of finished goods ~ to deny the sophistication and artistry that had made Indian textiles the most sought-after in the world for centuries.

A TIMELINE OF trade AND BANS

1498

Portuguese Arrival

Vasco da Gama reaches India; Portuguese textile trade begins.

1600

East India Company

English East India Company founded; Indian textiles become major commodity. Dutch East India Company (VOC) established in 1602, competing for Indian cloth trade.

1686

The French Ban

France bans import and wearing of Indian printed cottons. The ban would last 73 years.

1720

The Calico Act

Stricter English Calico Act bans wearing or using printed calico. First Act passed in 1700 restricting imports.

1759

France Relents

France lifts its ban after 73 years. England repeals its Calico Act in 1774.

Artisan hand-pressing a carved wooden block onto blue floral cotton fabric

An artisan in a Daughters of India production facility ~ the latest chapter in a tradition of resilience and renewal.

REVIVAL AND resistance ~ THE KHADI MOVEMENT

The revival of Indian handcraft became, almost inevitably, intertwined with the movement for Indian independence. Mahatma Gandhi's promotion of khadi ~ hand-spun, hand-woven cloth ~ was as much a political act as a textile one. By encouraging Indians to make and wear their own cloth, Gandhi challenged the colonial economy at its foundation.

The spinning wheel became the symbol of the independence movement, and the broader message ~ that Indian handcraft was a source of dignity, self-sufficiency, and cultural pride ~ extended to all textile arts, including block printing. The Swadeshi movement, which called for the boycott of British-made goods in favour of Indian-made alternatives, created new demand for handcrafted textiles.

After independence in 1947, the Indian government established institutions to support and promote traditional crafts. The All India Handicrafts Board, the Crafts Council of India, and various state-level organisations worked to revive declining traditions, provide training, and create markets for handcrafted goods. Block printing, with its deep roots and its capacity to provide employment in rural communities, was a particular focus of these revival efforts.

THE MODERN landscape

Today, hand block printing in India exists in a complex and sometimes precarious balance between tradition and modernity, between craft preservation and economic pressure. The craft has not disappeared ~ far from it. India remains home to tens of thousands of working block printers, concentrated primarily in Rajasthan but also present in Gujarat, Madhya Pradesh, Andhra Pradesh, and other states.

Several factors have contributed to the craft's survival and, in recent decades, its renewed vitality. The global slow fashion movement has created new markets for handcrafted textiles, connecting Indian artisans with consumers around the world who value the authenticity and sustainability of handmade goods. Organisations like Daughters of India play a role in this ecosystem, providing consistent work and fair wages to artisan communities while bringing their craft to an international audience.

Government initiatives, including Geographical Indication (GI) tags for specific regional traditions, have helped protect and promote distinct printing styles. Sanganer printing, Bagru printing, and Ajrakh printing have all received recognition that helps preserve their unique identities.

Yet challenges remain. The economics of handcraft are difficult in a world of machine production. Younger generations in artisan families sometimes choose other careers, drawn by the perceived security of urban employment. The skills of master block carvers and master printers, honed over lifetimes, are not easily replaced. Climate change and water scarcity affect the availability of resources essential to the craft. And the global fashion industry's demand for speed and low cost continues to put pressure on traditions that operate at a human pace.

THE CRAFT continues

What makes the history of block printing remarkable is not simply its age, though 4,500 years is extraordinary by any measure. It is the craft's resilience ~ its capacity to absorb influences, survive disruptions, and emerge, again and again, as a living tradition rather than a museum piece.

The blocks carved in Rajasthan today are made from the same Shisham wood, using essentially the same tools, as blocks carved centuries ago. The printers working at long tables in workshops near Jaipur are practising the same fundamental technique as their ancestors. The colours may have changed ~ eco-friendly AZO-free dyes have replaced some of the traditional dyestuffs ~ but the human gesture at the heart of the process remains the same: a hand, a block, a strike, an impression.

Every hand block-printed textile is, in this sense, a living piece of history. Not a reproduction or a reference, but a continuation ~ the latest expression of a craft that has been passed from hand to hand across more than four thousand years.

“Block printing has survived empires, bans, industrialisation, and globalisation. It survives because the human desire for beautiful, handmade things is as old as the craft itself ~ and just as enduring.”

Daughters of India

KEY dates IN BLOCK PRINTING HISTORY

~2500 BCE

Indus Valley Origins

Textile fragments bearing printed patterns found at Mohenjo-daro, alongside tools consistent with textile decoration. Cotton was first domesticated on the Indian subcontinent.

1st century CE

Roman Trade

Pliny the Elder describes Indian mordant-dyeing techniques with astonishment. Indian textiles reach Mediterranean markets via Indian Ocean trade routes.

16th-17th century

Mughal Golden Age

Royal patronage under Akbar, Jahangir, and Shah Jahan elevates block printing to a courtly art. Imperial workshops (karkhanas) produce textiles of extraordinary refinement.

1686-1774

Chintz Trade and Bans

Indian printed cottons flood European markets. France bans them in 1686; England in 1720. The bans persist for decades, testimony to the irresistible appeal of Indian handcraft.

18th-19th century

Colonial Disruption

Industrial revolution and British colonial policies devastate Indian handcraft. Machine-made textiles undercut artisan production. Many printing communities decline or disappear.

Early 20th century

Khadi and Independence

Gandhi's promotion of hand-made cloth links textile craft to Indian independence. The Swadeshi movement creates new demand for handcrafted goods.

Post-1947

Institutional Revival

Independent India establishes craft boards and councils to preserve traditional skills. Government support sustains block printing communities through economic transitions.

21st century

Slow Fashion Renaissance

The global slow fashion movement creates renewed international demand. Brands like Daughters of India connect artisan communities with conscious consumers worldwide.

WEAR THE history

Every Daughters of India garment carries 4,500 years of craft tradition. Explore our collection and become part of the story.

Artisan block printing the Kyra in Jade ~ layering colour with carved Shisham wood blocks

Explore Further

CONTINUE THE journey

Black and white photograph of a carved wooden block used in traditional Sanganer hand block printing

What is Block Printing?

Discover the ancient art of pressing carved wooden blocks onto fabric ~ one impression at a time.
Black and white photograph of a paint tray used in traditional hand block printing

The Chintz Trade

How Indian printed cottons conquered Europe ~ and were banned for being too desirable.
Black and white photograph of artisan Gaurav hand block printing the Kyra pattern onto cotton fabric

Textiles Through History

The broader story of India's remarkable textile heritage across the centuries.
Black and white photograph of artisan Premlata hand block printing the Jasmine pattern

The Sanganer Tradition

The delicate, floral printing style behind every Daughters of India garment.
Explore All Craft Pages
Shipping & Returns

Our slow fashion garments are handcrafted in India and shipped directly to you.

We are a small team however we endeavour to process your order within 1–3 business days. Orders are shipped via DHL Express. You’ll receive a tracking number by email once your order ships.

Delivery Cost
Standard Shipping · 5–8 business days $25
Express Shipping · 3–5 business days $35
Orders over $400 Free


All prices in SGD. You can find our full shipping policy here.

We want you to love your Daughters of India piece. If it’s not quite right, we offer exchanges and store credit within 30 days of shipment.

  • Exchanges: Need a different size? We’re happy to exchange for the correct size. Lodge your exchange through our Returns Portal.
  • Store credit: If you’d prefer a different style, we’ll issue a Daughters of India Gift Card for the full value. Your credit never expires and can be used on any piece, including new collections.
  • Items must be returned in original condition — unworn, unwashed with tags attached, folded neatly in the Daughters of India tote bag provided.
  • Returns are accepted within 30 days from shipment. Unfortunately we are unable to honour a return outside of the 30 day return period.
  • Return shipping is at the customer’s expense. We recommend using SingPost with tracking for a safe return.
  • Refunds are processed within 5–7 business days of receiving the return.
  • No returns, store credits, or exchanges on final sale items.

You can find our full returns policy here.

Shipping & Returns

Our slow fashion garments are handcrafted in India and shipped directly to you.

We are a small team however we endeavour to process your order within 1–3 business days. Orders are shipped via DHL Express. You’ll receive a tracking number by email once your order ships.

Delivery Cost
Standard Shipping · 5–8 business days $25
Express Shipping · 3–5 business days $35
Orders over $400 Free


All prices in SGD. You can find our full shipping policy here.

We want you to love your Daughters of India piece. If it’s not quite right, we offer exchanges and store credit within 30 days of shipment.

  • Exchanges: Need a different size? We’re happy to exchange for the correct size. Lodge your exchange through our Returns Portal.
  • Store credit: If you’d prefer a different style, we’ll issue a Daughters of India Gift Card for the full value. Your credit never expires and can be used on any piece, including new collections.
  • Items must be returned in original condition — unworn, unwashed with tags attached, folded neatly in the Daughters of India tote bag provided.
  • Returns are accepted within 30 days from shipment. Unfortunately we are unable to honour a return outside of the 30 day return period.
  • Return shipping is at the customer’s expense. We recommend using SingPost with tracking for a safe return.
  • Refunds are processed within 5–7 business days of receiving the return.
  • No returns, store credits, or exchanges on final sale items.

You can find our full returns policy here.

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