This Jajam was printed by Usman Alarakha Chhipa, who later gifted it to his neighbor. Its possession is a testimony that Jajams cut across lines of religion, caste, community, hierarchy and welcomed everyone. A careful observation reveals that the motifs lays emphasis on intricate geometrical shapes over figures. However, the central Chaupad was retained to engage the gathering audience. Khan-saab’s family used it for community gatherings, recreation and a game of Chaupad. The gathering occasionally consumed Afim, a practice not despised in this part of Rajasthan.

This Jajam is now owned by Askok Tak, an antique textile collector.

This Jajam belongs to the testing times of the artform. Post the decline in local demand, ritualistic symbolism in life ceremonies kept the culture of Jajam textile alive. With dwindling demand, while most printers switched to alternate jobs, printer Chagganlal Khatri continued to take commissioned Jajam work. Khatri switched to synthetic (chemical) dyes from traditional natural dyes. Multiple colors were used on a reduced Jajam size to increase its visual appeal. Jajam’s reduction to mere token of marital rituals diminished the emotional connect it long enjoyed.

This Jajam helps connoisseurs recognize the evolution of Indian textile motifs. Earlier Jajam motifs were flat and had minimal angular variations. Eventually the monotony was broken with this floral design. As the viewer takes a position, closer petals appear larger than the farther ones. This perspective motif introducing depth, elevated the motif to 3-D design. The new stylisation draws inspiration from nature and Western techniques making flowers on textile prints appear realistic. A local temple in possession of this Jajam spread it out for temple fairs, cultural gatherings and get-togethers.