Handmade in India

First published in India in 2007 by :

Council of Handicraft Development Corporations

(COHANDS)

New Delhi

Printed and produced by:

Mapin Publishing Pvt. Ltd.

10B, Vidyanagar Society Part 1, Usmanpura, Ahmedabad

380014, India

T | 91-79-2754 5390 / 2754 5391 F | 91-79-2754 5392

E | mapin@mapinpub.com www.mapinpub.com

Conceived, researched, edited and designed by:

National Institute of Design (NID), Ahmedabad

Text, photographs and graphics - 2007 National

Institute of Design (NID), Ahmedabad and

Development Commissioner (Handicrafts), New Delhi

All rights reserved under international copyright

conventions. No part of this book may be reproduced or

transmitted in any form or by any means, electronic or

mechanical, including photocopy, recording or any other

information storage and retriveal system, without prior

permission in writing from the Council of Handicrafts

Development Corporations (COHANDS), New Delhi

Project funded by

Office of the Development Comissioner Handicrafts,

Ministry of Textiles, Government of India

Crafts of India Series ISBN :978-81-88204-49-6

Handmade in India ISBN:978-81-88204-57-1

LC:2005929526

Editors:Aditi Ranjan, M P Ranjan

Designers:Zenobia Zamindar, Girish Arora

Printed at :Tien Wah Press, Singapore

Cover photo by Ramu Aravindan.

An artisan finishing diyas, terracotta lamps, made for

rural and urban markets for festivals, in Nawrangpur

district, Orissa.

Back cover photo by Deepak J Mathew.

Carved and painted wooden toys of Kondapalli, depicting

various craft processes, occupations and household

activities. The toys resemble the 19th century Company

paintings of vocations and craftspersons at work in India.

Front flap photo by Sandeep Sangaru.

Kashmiri craftsman refining a high value walnut wood

carving in Srinagar.

Back flap photo by Purvi Mehta.

Detail of a dowry bag appliqued by embroidered by a

Rabari woman in Kachchh, Gujarat.

Page 1 : photo by Jogi Panghaal.

Detail of a contemporary cotton kantha, quilted and

embroidered textile made by craftsperson in West Bengal.

Pgaes 2 & 3: photo by Farah Deba.

Detail of the carved and painted wood work inside a

prayer hall in Thiksey Monastery, Ladakh

Stuatory notes on Map of India on page 006:

The external boundaries and coast lines of India agree with the Record / Master Copy

certified by Survey of India.

Government of India, Copyright 2006

The responsibility for the correctness of internal details rests with the publisher.

The territorial waters of India extend into the sea to a distance of twelve nautical

miles measured from the appropriate base line.

The administrative headquarters of Chandigarh, Haryana and Punjab are at

Chandigarh. The interstate boudaries between Arunachal Pradesh, Assam and

Meghalaya shown on this map are as interpreted from the North-Eastern Areas

(reorganization) Act 1971, but have yet to be verified.

The state boundaries between Uttaranchal and Uttar Pradesh, Bihar and Jharkhand

and Chhattisgarh and Madhya Pradesh have not been verified by the Governments

concerned.

Messages

Web Message - Dayanidhi Maran (Hon’ble Minister of Textiles)

Web Message - Panabaaka Lakshmi (Hon’ble Minister for State of Textiles)

Web Message - Rita Menon (Secretary (Textiles))

Contents

006 Map of India

007 List of Crafts

010 How to Use the Book

017 Preface

018 Introduction

024-5 Zone 1 : N / - NORTH

026 Jammu And Kashmir

048 Himachal Pradesh

062 Punjab

073 Chandigarh

074 Haryana

080 Rajasthan

124 Delhi

130-1 Zone 2 : C / - CENTRE

132 Uttar Pradesh

168 Uttaranchal

178-9 Zone 3 : E / - EAST

180 Bihar

194 Jharkhand

204 Orissa

236 Sikkim

240 West Bengal

266-7 Zone 4 : S / - SOUTH

268 Andhra Pradesh

298 Tamil Nadu

336 Pondichery

340 Kerala

362 Karnataka

390-1 Zone 5 : W/- WEST

392 Goa

402 Dadar and Nagar Haveli

406 Daman and Diu

408 Gujarat

442 Maharashtra

458 Madhya Pradesh

480 Chhattisgarh

492-3 Zone 6 : NE/- NORTHEAST

494 Assam

504 Arunachal Pradesh

514 Nagaland

520 Manipur

526 Mizoram

532 Tripura

540 Meghalaya

545 Sponsors

546 Technical Glossary

551 Annotated Bibliography of Archival

Documents

556 Bibliography

558 Acknowledgements

561 Acknowledgements: Museums and

Collections

562 Credits

564 Craft Categories

567 Index of Places

572 Index of Subjects

Please enter the name of state or craft

Submit

North : N/

1.0 JAMMU AND

KASHMIR

Kashmir

N/JK

026

N/JK

028

1.1 Papier Mache N/JK

029

1.2 Kaleen - knotted carpets N/JK

030

1.3 Kashidakari - Kashmiri

emboidery

N/JK

032

1.4 Namda - felted rugs N/JK

033

1.5 Gabba - embroidered rugs N/JK

033

1.6 Walnut wood carvings N/JK

034

1.7 Pinjrakari and

Khatumband - wood work

N/JK

035

1.8 Wicker work N/JK

035

1.9 Copper ware N/JK

036

Jammu

Ladakh

N/JK

037

N/JK

038

1.10 Thangka Painting N/JK

039

1.11 Ritual cloth installations N/JK

040

1.12 Khabdan - pile carpets N/JK

041

1.13 Tsug Dul and tsug gdan -

woolen pile rugs

N/JK

042

1.14 Challi - woolen textiles N/JK

043

1.15 Hand Spinning N/JK

043

1.16 Paabu - stitched boots N/JK

044

1.17 Thigma - tie-resistingdyeing

N/JK

044

1.18 Metal work N/JK

045

1.19 Wood carving N/JK

046

1.20 Painted wood N/JK

047

1.21 Basketry N/JK

047

2.0 HIMACHAL PRADESH N/HP

048

Chamba

N/HP

050

2.22 Lost wax metal casting N/HP

050

2.23 Silver jewellery N/HP

051

2.24 Chamba rumal N/HP

052

2.25 Chamba painting N/HP

053

2.26 Embroidery on leather N/HP

053

Kangra

N/HP

054

2.27 Thangka painting N/HP

055

2.28 dras-drub-ma applique

thangka

N/HP

055

5.68 Gota Work N/RJ

095

5.69 Tarkashi - metal inlay in wood N/RJ

095

Ajmer

N/RJ

096

5.70 Phad painting N/RJ

097

5.71 Miniature painting of wood N/RJ

097

5.72 Leather work N/RJ

098

5.73 Marble carving N/RJ

098

Bikaner

N/RJ

099

5.74 Usta kaam gesso painting N/RJ

100

5.75 Gangaur idol making N/RJ

101

5.76 Meghwal embroidery N/RJ

101

5.77 Bhitti chitra - wall painting N/RJ

102

5.78 Miniature painting N/RJ

102

5.79 Sandalwood carving N/RJ

103

5.80 Silver ware N/RJ

103

5.81 Meenakari and kundan

jewellery

Jodhpur

N/RJ

104

N/RJ

105

5.82 Mojari leather footwear N/RJ

106

5.83 Wood work N/RJ

107

5.84 Dabu - mud resist painting N/RJ

108

5.85 Bandhej - tie resist dyeing N/RJ

109

5.86 Seep ka kaam - mother of

pearl work

N/RJ

110

5.87 Bone work N/RJ

110

5.88 Musical instruments N/RJ

111

5.89 Wrought iron work N/RJ

111

5.90 Pattu weaving N/RJ

112

5.91 Panja dhurrie weaving N/RJ

112

5.92 Maati ro kaam - terracotta and

pottery

N/RJ

113

5.93 Paatra kaam - utensil work N/RJ

113

Jaisalmer

N/RJ

114

5.94 Camel trappings N/RJ

115

5.95 Terracotta of Pokharan N/RJ

116

5.96 Stone carving N/RJ

116

Udaipur

5.97 Pichhwai - painted temple

hangings

N/RJ

114

N/RJ

118

5.98 Kawad - mobile shrines N/RJ

118

5.99 Terracotta of Molela N/RJ

2.29 Metal work N/HP

056

2.30 Wood work of

Dharamsala

Kullu

N/HP

057

N/HP

058

2.31 Basketry N/HP

059

2.32 Doll making N/HP

059

2.33 Thakkar ka kaam sheet

metal work

N/HP

060

2.34 Knitted socks N/HP

060

2.35 Pula chappal - grass

footwear

N/HP

061

2.36 Kullu shawls N/HP

061

3.0 PUNJAB N/PB

062

Amritsar

N/PB

064

3.37 Khunda - bamboo staves N/PB

064

3.38 Galeecha - knotted

carpets

Hoshiarpur

3.39 Carved and turned wood

work

N/PB

065

N/PB

066

N/PB

066

3.40 Punja dhurrie N/PB

067

3.41 Wood inlay of hoshiarpur N/PB

068

3.42 Wood and lac turnery N/PB

068

Patiala

3.43 Phulkari and bagh -

embroidered textiles

N/PB

069

N/PB

070

3.44 Nala - drawstrings N/PB

072

3.45 Tilla jutti - traditional

footwear

N/PB

072

3.1 CHANDIGARH N/CH

073

4.0 HARYANA N/HR

074

Haryana

N/HR

076

4.46 Palm leaf work N/HR

076

4.47 Sarkanda work N/HR

077

4.48 Brass ware N/HR

078

4.49 Jutti - leather footwear N/HR

078

4.50 Surahi - pottery N/HR

079

5.0 RAJASTHAN N/RJ

080

Jaipur

N/RJ

082

5.51 Blue pottery of Jaipur N/RJ

083

5.52 Kundan jadai - gem setting N/RJ

084

5.53 Meenakari - enamal work N/RJ

084

5.54 Lac ware N/RJ

119

5.100 Damascening N/RJ

120

5.101 Metal engraving N/RJ

120

5.102 Koftgiri - weaponry N/RJ

120

5.103 Thewa - gold leaf work N/RJ

121

5.104 Silver jewellery N/RJ

121

5.105 Meenakari - enamel work N/RJ

122

5.106 Dabu printing of Akola N/RJ

122

5.107 Leheriya - tie resist dyeing N/RJ

123

6.0 DELHI N/DL

124

Delhi

N/DL

125

6.108 Naqquashi - engraving N/DL

126

6.109 Zardosi - gold embroidery N/DL

126

6.110 Terracotta ware N/DL

127

6.111 Papier-mache N/DL

127

6.112 Wood inlay N/DL

128

6.113 Carved wooden furniture N/DL

128

6.114 Chik making N/DL

129

6.115 Sandalwood carving N/DL

129

CENTRE : C/

7.0 UTTAR PRADESH C/UP

132

Saharanpur

C/UP

134

7.116 Wood carving C/UP

135

7.117 Tarkashi - metal inlay in wood C/UP

136

7.118 Ebony wood carving C/UP

136

Moradabad

C/UP

137

7.119 Brass ware of Moradabad C/UP

138

Bareilly

C/UP

139

7.120 Bamboo flutes C/UP

140

7.121 Cane furniture C/UP

140

Aligarh

7.122 Pottery of Khurja and

Chinhat

Agra

7.123 Pacchikari - stone inlay of

agra

C/UP

141

C/UP

142

C/UP

143

C/UP

144

7.124 Marble Carving C/UP

145

7.125 Soft stone carving C/UP

145

7.126 Knotted carpets C/UP

146

7.127 Glass work C/UP

085

5.55 Razai - quilt making N/RJ

085

5.56 Bandhej and leheriya - tie

resist dyeing

N/RJ

086

5.57 Block making N/RJ

088

5.58 Block printing of bagru

and sanganer

N/RJ

089

5.59 Mojari - leather footwear N/RJ

090

5.60 Handmade paper N/RJ

091

5.61 Felt products N/RJ

091

5.62 Bahi - clothbound books N/RJ

091

5.63 Sanjhi - paper stencils N/RJ

092

5.64 Terracotta of Sawai

Madhopur

N/RJ

092

5.65 Stone work N/RJ

093

5.66 Kalputli - puppets N/RJ

094

5.67 Wood and lac turnery N/RJ

094

147

7.128 Sanjhi - paper stencils C/UP

147

Lucknow

7.129 Chikankari - embroidery of

Lucknow

7.130 Kaamdani and fardi ka kaam -

metal work embroidery

C/UP

148

C/UP

149

C/UP

150

7.131 Silver work C/UP

150

7.132 Zardosi - gold embroidery C/UP

151

7.133 Varaq ka kaam - gold and

silver foil work

C/UP

151

7.134 Sheet metal work C/UP

152

7.135 Terracotta and pottery C/UP

152

7.136 Quitabat - Calligraphy C/UP

153

7.137 Bone Carving C/UP

153

7.138 Clay toys C/UP

154

7.139 Basketry C/UP

154

7.140 Tharu applique C/UP

155

7.141 Applique C/UP

155

Gorakhpur

7.142 Black pottery of

Nizamabad

C/UP

156

C/UP

157


157

Varanasi

C/UP

156

7.144 Wood and lac turnery C/UP

159

7.145 Repousse C/UP

159


160

7.147 Carpets & dhurries C/UP

161

7.148 Meenakari - enamel

work

C/UP

162

7.149 Block printing C/UP

163

7.150 Zardosi - gold

embroidery

Allahbad

C/UP

163

C/UP

164

7.151 Moonj basketry C/UP

165

7.152 Papier mache C/UP

166

7.153 Shazar stone jewellery C/UP

167

7.154 Date palm craft C/UP

167

8.0 UTTARANCHAL C/UT

168

Almora

8.155 Aipan - ritual floor

painting

C/UT

170

C/UT

171

8.156 Ringaal - basketry C/UT

172

8.157 Nettle fibre craft C/UT

173

Cuttack

11.203 Chandi tarkashi - Silver

filigree

E/OR

225

E/OR

226

11.204 Stone carving E/OR

226

11.205 Sikki - craft E/OR

227

11.206 Katki chappal - leather

footwear

11.207 Brass and bell metal

ware

11.208 Katho kaam - wood

carving

Koratpur

E/OR

227

E/OR

228

E/OR

228

E/OR

229

11.209 Kotpad sari E/OR

230

11.210 Dongaria scarf kapda

gonda

11.211 Dhokra - lost was metal

casting

E/OR

230

E/OR

231

11.212 Tribal ornaments E/OR

231

11.213 Bamboo craft E/OR

232

11.214 Paddy and root craft E/OR

232

11.215 Lac products E/OR

233

11.216 Terracotta and pottery E/OR

233

Mayurbhanj


casting

E/OR

234

E/OR

235

12.0 SIKKIM E/SK

236

12.218 Ku Buddhist figurines E/SK

238

12.219 Choktse tables E/SK

239

14.269 Crochet work S/AP

289

Cuddapah

S/AP

290

14.270 Stone carving S/AP

291

14.271 Wooden cutlery of

Udayagiri

S/AP

292

14.272 Raja-rani dolls S/AP

292

14.273 Palm leaf work S/AP

293

Chitoor

14.274 Kalamkari dye painted

textiles

S/AP

294

S/AP

295

14.275 Bronze casting S/AP

296

14.276 Terracotta S/AP

296

14.277 Wood carving S/AP

297

15.0 TAMIL NADU S/TN

298

Kanyakumari

S/TN

300

15.278 Palm leaf work S/TN

301

15.279 Kora mat weaving S/TN

302

15.280 Seashell craft S/TN

303

15.281 Bobbin Lace S/TN

303

15.282 Kavassam - sheet metal

cladding

S/TN

304

15.283 Stone carving S/TN

304

15.284 Stucco work S/TN

305

Cuddalore

S/TN

306

8.158 Likhai - wood carving C/UT

173

8.159 Copper ware C/UT

174

Dehradun

8.160 Rambaans - natural

fibre craft

C/UT

175

C/UT

176

8.161 Lantana furniture C/UT

176

8.162 Tibetan carpets C/UT

177

EAST : E/

9.0 BIHAR E/BR

180

Madhubani

E/BR

182

9.163 Terracotta E/BR

183

9.164 Madhubani painting E/BR

184

9.165 Sujuni painting E/BR

186

9.166 Sikki Craft E/BR

187

9.167 Papier Mache E/BR

188

9.168 Lac Bangles E/BR

188

Patna

E/BR

189

9.169 Stone Carving E/BR

190


190

9.171 Khatwa - applique E/BR

191

Bhagalpur

E/BR

192

9.172 Tribal jewellery E/BR

193

9.173 Jute work E/BR

193

10.0 JHARKHAND E/JH

194

Ranchi

E/JH

196

10.174 Bamboo work E/JH

197

10.175 Dhokra - lost wax

metal casting

E/JH

198

10.176 Musical instruments E/JH

199

10.177 Tribal jewellery E/JH

200

10.178 Wall painting of

Hazaribagh

Dumka

E/JH

201

E/JH

202

10.179 Jadupatua painting E/JH

203

10.180 Black Terracotta E/JH

203

11.0 ORISSA E/OR

204

Ganjam

E/OR

206

11.181 Ganjappa cards E/OR

207

11.182 Flexible fish - brass

and wood

E/OR

208

13.0 WEST BENGAL E/WB

240

Darjeeling

E/WB

242

13.220 Wood carvings E/WB

243

13.221 Beaten silver engravings E/WB

243

13.222 Hill painting E/WB

244

13.223 Carpet weaving E/WB

244

13.224 Konglan stitched boots E/WB

245

13.225 Terracotta E/WB

246

13.226 Cane furniture E/WB

246

Cooch Behar

E/WB

247

13.227 Sheetalpati reed mats E/WB

248

13.228 Gambheera masks E/WB

248

Murshidabad

E/WB

249

13.229 Shola pith craft E/WB

250

13.230 Metal ware E/WB

251

Birbhum

E/WB

252

13.231 Leather craft E/WB

253

13.232 Terracotta jewellery E/WB

253

13.233 Kantha - patched cloth

embroidery

E/WB

254

13.234 Wooden toys E/WB

255

13.235 Sherpai measuring

bowls


casting

13.237 Clay work of

Krishnanagar

Bankura

E/WB

255

E/WB

256

E/WB

256

E/WB

257

13.238 Terracotta of Bankura E/WB

258

13.239 Patachitra - scroll

painting

E/WB

259

13.240 Ganjufa cards E/WB

259

13.241 Conch shell carving E/WB

260

13.242 Coconut shell carving E/WB

260

13.243 Wood carving E/WB

261

13.244 Stone carving E/WB

261

13.245 Maslong - grass mats E/WB

262

13.246 Chhau masks E/WB

263

13.247 Lac coated toys E/WB

263

Kolkata

E/WB

264

13.248 Beaten silver work E/WB

265

SOUTH : S/

15.285 Wood Carving S/TN

307

15.286 Silk garland making S/TN

307

Auroville

S/TN

308

15.287 Handmade paper products S/TN

309

15.288 Pottery S/TN

310

15.289 Crochet and bead work S/TN

310


311

15.291 Leather work S/TN

311

Kanchipuram

S/TN

312


313

15.293 Wood carving S/TN

314

Chennai

S/TN

315


316


316

15.296 Thanjavur glass painting S/TN

317

15.297 Doll making S/TN

317

Thiruchirapalli

S/TN

318

15.298 Bronze casting S/TN

319

15.299 vilakku brass lamps S/TN

320

15.300 Brass repousse S/TN

320

15.301 Bell metal ware S/TN

321

15.302 Thanjavur kalamkari - dye

painted textiles

15.303 Pallagai padam Thanjavur

painting

S/TN

321

S/TN

322

15.304 veena - string instrument S/TN

323

15.305 Nadaswaram - wind

instrument

S/TN

323

15.306 Root Carving S/TN

324

15.307 Pith work S/TN

324

15.308 Cut glass work S/TN

324

Madurai

S/TN

325

15.309 Terracotta and pottery S/TN

326


327

15.311 Applique S/TN

328

15.312 Sungadi - tie resist dyeing S/TN

328

15.313 Muthangi - pearl studded

attire

S/TN

329

15.314 Brass ware S/TN

329

Salem

S/TN

330


331

15.316 Soapstone utensils S/TN

331

15.317 Bhawani dhurries S/TN

332


ware

E/OR

208

11.184 Cowdung toys E/OR

209

11.185 Coconut shell carving E/OR

209

11.186 Betal nut carving E/OR

209

Bhubaneshwar

11.187 Talapatra khodai palm

leaf engravings

11.188 Pathar kaam - stone

work

E/OR

210

E/OR

210

E/OR

211

11.189 Papier Mache E/OR

211

Puri

E/OR

212

11.190 Patachitra painting E/OR

213

11.191 Pipili applique E/OR

214

11.192 Shola pith craft E/OR

214

11.193 Seashell craft E/OR

215

11.194 Coir craft E/OR

215

11.195 Wood carving E/OR

216

Dhenkanal

11.196 Dhokra lost wax metal

casting


ware

E/OR

217

E/OR

218

E/OR

220

11.198 Brass Ornaments E/OR

220

11.199 Straw craft E/OR

221


221

Sambalpur

11.201 Bandha yarn tie resist

dyeing

11.202 Kumbhar kaam

terracotta and potter

E/OR

222

E/OR

223

E/OR

224

14.0 ANDHRA PRADESH S/AP

268

Hyderabad

S/AP

270

14.249 Bidri ware S/AP

271

14.250 Paagdu bandhu yarn tie

resist dyeing

S/AP

272

14.251 Banjara embroidery S/AP

273

14.252 Lac bangles S/AP

273

Warangal

S/AP

274

14.253 Dhurrie weaving S/AP

275

14.254 Painted scrolls of

Cheriyal

S/AP

276

14.255 Nirmal painting S/AP

277

14.256 Lace making S/AP

278

14.257 Silver filigree S/AP

278


casting

S/AP

279

14.259 Sheet metal work S/AP

279

Vishakhapatnam

14.260 Wood and lac turnery of

Etikopakka

14.261 Veena - string

instrument

S/AP

280

S/AP

281

S/AP

281

14.262 Jute craft S/AP

282

14.263 Metal work S/AP

282

Machilipatnam

S/AP

283

14.264 Block printing S/AP

284

14.265 Telia rumal - yarn tie

resist dyed textile

S/AP

286

14.266 Knotted carpets S/AP

287

14.267 Leather puppets S/AP

288

14.268 Wooden toys of

Kondapalli

S/AP

289

15.318 Woolem druggets S/TN

332

15.319 Rayon dhurrie S/TN

333

15.320 Bamboo flute S/TN

333

Coimbatore

S/TN

334

15.321 Toda embroidery S/TN

335

16.0 PONDICHERRY (Union

Territory)

Pondicherry

S/PY

336

S/PY

337

16.322 Terracotta and pottery S/PY

338

16.323 Soapstone sculpture S/PY

338

16.324 Kora mat weaving S/PY

339

16.325 Seashell craft S/PY

339

17.0 KERALA S/KE

340

Thiruvananthpuram

S/KE

342

17.326 Bell metal utensils S/KE

343

17.327 Marapani - wood carving S/KE

344

17.328 Palmyra basketry S/KE

345

17.329 Ramacham root products S/KE

345

17.330 Horn carving S/KE

345

Ernakulam

S/KE

346

17.331 vallam - boat making S/KE

347

17.332 Aranmula kannadi - metal

mirror

S/KE

348

17.333 Stone carving S/KE

348

17.334 Coconut based crafts S/KE

349

17.335 Coir work S/KE

350

17.336 Bamboo crafts S/KE

350

17.337 Natural fibre crafts S/KE

351

17.338 Laminated wood

work and inlay

Thrissur

S/KE

351

S/KE

352

17.339 Pooram crafts S/KE

353

17.340 Bronze casting S/KE

354

17.341 Wood carving S/KE

355

17.342 Cane and bamboo

craft

S/KE

355

17.343 Kora mat weaving S/KE

356

17.344 Screw pine craft S/KE

356

Kannur

S/KE

357


358

22.401 Kachchhi embroidery W/GJ

412

22.402 Rogan Painting W/GJ

413

22.403 Bandhani - tie resist

dyeing

W/GJ

414

22.404 Applique W/GJ

416

22.405 Namda - felted rugs W/GJ

417

22.406 Leather work W/GJ

417

22.407 Wood and lac turnery W/GJ

418

22.408 Wood carving W/GJ

418

22.409 Ajrakh painting W/GJ

419

22.410 Silver work W/GJ

420

22.411 Bell making W/GJ

420

Betul


metal casting

Gwalior

W/MP

472

W/MP

473

W/MP

474

24.469 Stone carving W/MP

475

Mandla

W/MP

476


477

24.471 Wood carving W/MP

477

24.472 Terracotta and pottery W/MP

478

24.473 Gond Chitrakari -

tribal painting

W/MP

479

25.0 CHHATTISGARH W/CT

480

17.346 Ship building S/KE

359

17.347 Kathakali and

Theyyam headgear

17.348 Nettur petti -

jewellery boxes

17.349 Symmetric wood

stringing

S/KE

360

S/KE

361

S/KE

361

18.0 KARNATAKA S/KA

362

Bangalore

S/KA

364

18.350 Metal casing S/KA

365

18.351 Stone carving S/KA

365

18.352 wood carving S/KA

366

18.353 Wood and lac turnery

of Channapatna

Mysore

S/KA

367

S/KA

368

18.354 Sandalwood carving S/KA

369

18.355 Rosewood inlay S/KA

370

18.356 Soapstone carving S/KA

370

18.357 Mysore painting S/KA

371

18.358 Ganjifa cards S/KA

371


372

18.360 Sheet metal

embossing

S/KA

372

18.361 Terracotta S/KA

373

18.362 Tibetan carpets S/KA

373

Mangalore

S/KA

374


375

18.364 Rosewood carving S/KA

375

18.365 Terracotta and

pottery

S/KA

376

18.366 Bhoota fitures S/KA

377

18.367 Yakshagana costume

making

S/KA

377

18.368 Bronze casting S/KA

378

18.369 Areca palm leaf craft S/KA

379

18.370 Mooda - rice

packaging

Bellary


pottery

S/KA

379

S/KA

380

S/KA

380

18.372 Banjara embroidery S/KA

381

18.373 Sheet metal

embossing

Bijapur

S/KA

381

S/KA

382

18.374 Surpur painting S/KA

383

18.375 Bidri ware S/KA

383

18.376 Sheet metal work S/KA

384

18.377 Banjara embroidery

and quilts

S/KA

385

Rajkot

W/GJ

421

22.412 Bullock cart making W/GJ

422

22.413 Wood with metal

embossing

22.414 Pathar kaam / Sompura

kaam

- stone carving

Ahmedabad

W/GJ

422

W/GJ

423

W/GJ

424

22.415 Kite making W/GJ

425

22.416 Block making W/GJ

425

22.417 Mata ni pachedi - ritual

cloth painting

W/GJ

426

22.418 Patola weaving W/GJ

427

22.419 Mashru weaving W/GJ

427

22.420 Ari embroidery W/GJ

428

22.421 Bohra caps W/GJ

428


429

22.423 Silver ornaments W/GJ

430

Vadodara

W/GJ

431

22.424 Sankheda furniture W/GJ

432

22.425 Pithora paintings W/GJ

433


434

22.427 Agate stone work W/GJ

435

22.428 Bead work W/GJ

435

22.429 Terracotta and pottery W/GJ

436

22.430 Brass and copper ware W/GJ

437

Surat

W/GJ

438

22.431 Marquetry W/GJ

439

22.432 Mask making W/GJ

439

22.433 Patku weaving W/GJ

440

22.434 Sujuni weaving W/GJ

440

22.435 Vaaskaam - bamboo

crafts

W/GJ

441

22.436 Devru - embossed metals W/GJ

441

23.0 MAHARASHTRA W/MH

442

Kolhapur

23.437 Kolhapuri chappal -

leather footwear

W/MH

444

W/MH

445

23.438 Ganjifa cards W/MH

446

23.439 Wooden toys W/MH

446

23.440 Chandi che kaam - silver

ware

W/MH

446

23.441 Sitar - string instrument W/MH

446

Pune

W/MH

448

23.442 Terracotta and pottery W/MH

Sarguja and

Raigarh

W/CH

482

25.474 Painted clay relief W/MP

483


metal casting

W/MP

484

25.476 Bamboo basketry W/MP

486

25.477 Brass vessels W/MP

487

25.478 Bronze ware W/MP

487

Bastar

W/CH

488

25.479 Iron craft W/MP

489


490

25.481 Pata weaving W/MP

491

NORTHEAST : NE/

26.0 ASSAM NE/AS

494

Nalbari

NE/AS

496

26.482 Bamboo craft of assam NE/AS

497

26.483 Bamboo nesting

baskets

NE/AS

498

26.484 Coiled cane work NE/AS

498

26.485 Brass ware NE/AS

499

26.486 Eri silk spinning NE/AS

499

Silchar

NE/AS

500

26.487 Sheetalpati - reed mat NE/AS

501

26.488 Flattened bamboo mat NE/AS

501

26.489 Cane furniture NE/AS

502

26.490 Coiled cane craft NE/AS

503

27.0 ARUNACHAL

PRADESH

Bomdila

27.491 Bamboo and cane

bridges

27.492 Flatenned bamboo

containers

Ziro

27.493 Apa Tani bamboo

products

Along

NE/AR

504

NE/AR

506

NE/AR

507

NE/AR

507

NE/AR

508

NE/AR

509

NE/AR

510

27.494 Cane haversacks NE/AR

511

27.495 Coiled cane hats NE/AR

511

Khonsa

NE/AR

512

27.496 Wood carving NE/AR

513

28.0 NAGALAND NE/NL

514

Kohima

NE/NL

516

18.378 Wood carving S/KA

385

Belgaum

18.379 Gold jewellery and

silver ware

S/KA

386

S/KA

387

18.380 Navigund dhurrie S/KA

388

18.381 Kasuti embroidery S/KA

389

WEST : W/

19.0 GOA W/GA

392

Goa

19.382 Kashta kari wood

carving

19.383 Crochet and lace

work

19.384 Menawati candle

making

W/GA

394

W/GA

395

W/GA

396

W/GA

396

19.385 Otim kaam brass ware W/GA

397

19.386 Boat making W/GA

398

19.387 Terracotta W/GA

398

19.388 Coconut based crafts W/GA

399

19.389 Dhaatu kaam copper

ware

19.390 Shimpla hast kala

seashell craft

19.391 Maniche kaam

bamboo craft

W/GA

400

W/GA

400

W/GA

401

19.392 Fibre craft W/GA

401

20.0 DADAR AND

NAGAR HAVELI

(Union Territory)

W/DNH

402

20.393 Bamboo fish traps W/DNH

404

20.394 Bamboo baskets W/DNH

404


pottery

W/DNH

405

20.396 Fishing nets W/DNH

405

21.0 DAMAN AND DIU

(Union Territory)


work

21.398 Tortoise shell and

ivory carving

W/DD

406

W/DD

407

W/DD

407

22.0 GUJARAT W/GJ

408

Kachchh

W/GJ

410

22.399 Clay relief work W/GJ

411

22.400 Painted terracotta W/GJ

411

23.443 Tambaat kaam - copper

and brass ware

23.444 Uthavache kaam - metal

embossing

449

W/MH

450

W/MH

450

23.445 Bidri ware W/MH

451

23.446 Metal dies and metal

casting

W/MH

451

23.447 Dhurrie weaving W/MH

452

23.448 Ambadi - sisal craft W/MH

452

23.449 Taal, jhaanj, ghanta -

brass musical

instruments

W/MH

453

23.450 Banjara embroidery W/MH

453

Mumbai

W/MH

454

23.451 Warli painting W/MH

455


456

23.453 Bamboo work W/MH

456

23.454 Patua kaam - jewellery

stringing work

W/MH

457

23.455 Stringing of flowers W/MH

457

24.0 MADHYA PRADESH W/MP

458

Jhabua

W/MP

460


461

24.457 Pithora painting W/MP

462


462

Indore

W/MP

463

24.459 Block printing of Bagh W/MP

464


dyeing

W/MP

465

24.461 Leather toys W/MP

465

Ujjain

W/MP

466


467

24.463 Papier Mache W/MP

468

24.464 Bohra caps W/MP

468

Bhopal


embroidery

W/MP

469

W/MP

470

24.466 Jute craft W/MP

470

24.467 Wood and lac turnery W/MP

471

28.497 Wood carving NE/NL

517

28.498 Kophi - cane baskets NE/NL

518

28.499 Loin loom weaving NE/NL

519

29.0 MANIPUR NE/MN

520

Imphal

29.500 Traditional bamboo

products

NE/MN

522

NE/MN

523

29.501 Thongjao pottery NE/MN

524

29.502 Bell metal work NE/MN

524

29.503 Kauna phak - reed

mats

NE/MN

525

30.0 MIZORAM NE/MZ

526

Aizwal

NE/MZ

528

30.504 Bamboo basketry NE/MZ

529

30.505 Cane stool NE/MZ

529

30.506 Mizo puon weaving NE/MZ

530

30.507 Gourd craft NE/MZ

531

31.0 TRIPURA NE/TR

532

Agartala


products

NE/TR

534

NE/TR

535

31.509 Bamboo crafts NE/TR

536

31.510 Bamboo furniture of

Katlamara

31.511 Pressed clay work of

Melaghar

NE/TR

537

NE/TR

537

31.512 Bamboo fences NE/TR

538

31.513 Tripuri textiles NE/TR

539

32.0 MEGHALAYA NE/ML

540

Meghalaya

NE/ML

542

32.514 Bamboo rain shields NE/ML

543

32.515 Bamboo carrying

baskets

NE/ML

543

32.516 Garo bamboo house NE/ML

544

Gorakhpur

7.142 Black pottery of

Nizamabad

C/UP

156

C/UP

157


157

Varanasi

C/UP

156

7.144 Wood and lac turnery C/UP

159

7.145 Repousse C/UP

159


160

7.147 Carpets & dhurries C/UP

161

7.148 Meenakari - enamel

work

C/UP

162

7.149 Block printing C/UP

163


embroidery

Allahbad

C/UP

163

C/UP

164

7.151 Moonj basketry C/UP

165

7.152 Papier mache C/UP

166

7.153 Shazar stone jewellery C/UP

167

7.154 Date palm craft C/UP

167

8.0 UTTARANCHAL C/UT

168

Almora

8.155 Aipan - ritual floor

painting

C/UT

170

C/UT

171

8.156 Ringaal - basketry C/UT

172

8.157 Nettle fibre craft C/UT

173

8.158 Likhai - wood carving C/UT

173

8.159 Copper ware C/UT

174

Dehradun

8.160 Rambaans - natural

fibre craft

C/UT

175

C/UT

176

8.161 Lantana furniture C/UT

176

8.162 Tibetan carpets C/UT

177

EAST : E/

9.0 BIHAR E/BR

180

Madhubani

E/BR

182

9.163 Terracotta E/BR

183

9.164 Madhubani painting E/BR

184

9.165 Sujuni painting E/BR

186

9.166 Sikki Craft E/BR

187

9.167 Papier Mache E/BR

188

9.168 Lac Bangles E/BR

188

Cuttack

11.203 Chandi tarkashi - Silver

filigree

E/OR

225

E/OR

226

11.204 Stone carving E/OR

226

11.205 Sikki - craft E/OR

227

11.206 Katki chappal - leather

footwear


ware

11.208 Katho kaam - wood

carving

Koratpur

E/OR

227

E/OR

228

E/OR

228

E/OR

229

11.209 Kotpad sari E/OR

230

11.210 Dongaria scarf kapda

gonda


casting

E/OR

230

E/OR

231

11.212 Tribal ornaments E/OR

231


232

11.214 Paddy and root craft E/OR

232

11.215 Lac products E/OR

233

11.216 Terracotta and pottery E/OR

233

Mayurbhanj


casting

E/OR

234

E/OR

235

12.0 SIKKIM E/SK

236

12.218 Ku Buddhist figurines E/SK

238

12.219 Choktse tables E/SK

239

13.0 WEST BENGAL E/WB

240

Darjeeling

E/WB

242

13.220 Wood carvings E/WB

243

13.221 Beaten silver engravings E/WB

243

13.222 Hill painting E/WB

244

13.223 Carpet weaving E/WB

244

13.224 Konglan stitched boots E/WB

245

13.225 Terracotta E/WB

246

13.226 Cane furniture E/WB

246

Cooch Behar

E/WB

247

13.227 Sheetalpati reed mats E/WB

248

13.228 Gambheera masks E/WB

248

Murshidabad

E/WB

249

13.229 Shola pith craft E/WB

250

13.230 Metal ware E/WB

251

14.269 Crochet work S/AP

289

Cuddapah

S/AP

290

14.270 Stone carving S/AP

291

14.271 Wooden cutlery of

Udayagiri

S/AP

292

14.272 Raja-rani dolls S/AP

292

14.273 Palm leaf work S/AP

293

Chitoor

14.274 Kalamkari dye painted

textiles

S/AP

294

S/AP

295

14.275 Bronze casting S/AP

296

14.276 Terracotta S/AP

296

14.277 Wood carving S/AP

297

15.0 TAMIL NADU S/TN

298

Kanyakumari

S/TN

300


301

15.279 Kora mat weaving S/TN

302

15.280 Seashell craft S/TN

303

15.281 Bobbin Lace S/TN

303

15.282 Kavassam - sheet metal

cladding

S/TN

304


304

15.284 Stucco work S/TN

305

Cuddalore

S/TN

306

15.285 Wood Carving S/TN

307

15.286 Silk garland making S/TN

307

Auroville

S/TN

308

15.287 Handmade paper products S/TN

309

15.288 Pottery S/TN

310

15.289 Crochet and bead work S/TN

310


311

15.291 Leather work S/TN

311

Kanchipuram

S/TN

312


313


314

Chennai

S/TN

315


316


316

15.296 Thanjavur glass painting S/TN

317

15.297 Doll making S/TN

317

Patna

E/BR

189


190


190

9.171 Khatwa - applique E/BR

191

Bhagalpur

E/BR

192

9.172 Tribal jewellery E/BR

193

9.173 Jute work E/BR

193

10.0 JHARKHAND E/JH

194

Ranchi

E/JH

196

10.174 Bamboo work E/JH

197


metal casting

E/JH

198

10.176 Musical instruments E/JH

199

10.177 Tribal jewellery E/JH

200

10.178 Wall painting of

Hazaribagh

Dumka

E/JH

201

E/JH

202

10.179 Jadupatua painting E/JH

203

10.180 Black Terracotta E/JH

203

11.0 ORISSA E/OR

204

Ganjam

E/OR

206

11.181 Ganjappa cards E/OR

207

11.182 Flexible fish - brass

and wood


ware

E/OR

208

E/OR

208

11.184 Cowdung toys E/OR

209

11.185 Coconut shell carving E/OR

209

11.186 Betal nut carving E/OR

209

Bhubaneshwar

11.187 Talapatra khodai palm

leaf engravings

11.188 Pathar kaam - stone

work

E/OR

210

E/OR

210

E/OR

211

11.189 Papier Mache E/OR

211

Puri

E/OR

212

11.190 Patachitra painting E/OR

213

11.191 Pipili applique E/OR

214

11.192 Shola pith craft E/OR

214

11.193 Seashell craft E/OR

215

11.194 Coir craft E/OR

215

11.195 Wood carving E/OR

216

Dhenkanal

E/OR

217

Birbhum

E/WB

252

13.231 Leather craft E/WB

253

13.232 Terracotta jewellery E/WB

253

13.233 Kantha - patched cloth

embroidery

E/WB

254

13.234 Wooden toys E/WB

255

13.235 Sherpai measuring

bowls


casting

13.237 Clay work of

Krishnanagar

Bankura

E/WB

255

E/WB

256

E/WB

256

E/WB

257

13.238 Terracotta of Bankura E/WB

258

13.239 Patachitra - scroll

painting

E/WB

259

13.240 Ganjufa cards E/WB

259

13.241 Conch shell carving E/WB

260

13.242 Coconut shell carving E/WB

260

13.243 Wood carving E/WB

261

13.244 Stone carving E/WB

261

13.245 Maslong - grass mats E/WB

262

13.246 Chhau masks E/WB

263

13.247 Lac coated toys E/WB

263

Kolkata

E/WB

264

13.248 Beaten silver work E/WB

265

SOUTH : S/

14.0 ANDHRA PRADESH S/AP

268

Hyderabad

S/AP

270

14.249 Bidri ware S/AP

271

14.250 Paagdu bandhu yarn tie

resist dyeing

S/AP

272

14.251 Banjara embroidery S/AP

273

14.252 Lac bangles S/AP

273

Warangal

S/AP

274

14.253 Dhurrie weaving S/AP

275

14.254 Painted scrolls of

Cheriyal

S/AP

276

14.255 Nirmal painting S/AP

277

14.256 Lace making S/AP

278

14.257 Silver filigree S/AP

278


casting

S/AP

279

14.259 Sheet metal work S/AP

279

Vishakhapatnam

S/AP

280

14.260 Wood and lac turnery of S/AP

Thiruchirapalli

S/TN

318

15.298 Bronze casting S/TN

319

15.299 vilakku brass lamps S/TN

320

15.300 Brass repousse S/TN

320

15.301 Bell metal ware S/TN

321

15.302 Thanjavur kalamkari - dye

painted textiles

15.303 Pallagai padam Thanjavur

painting

S/TN

321

S/TN

322

15.304 veena - string instrument S/TN

323

15.305 Nadaswaram - wind

instrument

S/TN

323

15.306 Root Carving S/TN

324

15.307 Pith work S/TN

324

15.308 Cut glass work S/TN

324

Madurai

S/TN

325

15.309 Terracotta and pottery S/TN

326


327

15.311 Applique S/TN

328

15.312 Sungadi - tie resist dyeing S/TN

328

15.313 Muthangi - pearl studded

attire

S/TN

329

15.314 Brass ware S/TN

329

Salem

S/TN

330


331

15.316 Soapstone utensils S/TN

331

15.317 Bhawani dhurries S/TN

332

15.318 Woolem druggets S/TN

332

15.319 Rayon dhurrie S/TN

333

15.320 Bamboo flute S/TN

333

Coimbatore

S/TN

334

15.321 Toda embroidery S/TN

335

16.0 PONDICHERRY (Union

Territory)

Pondicherry

S/PY

336

S/PY

337

16.322 Terracotta and pottery S/PY

338

16.323 Soapstone sculpture S/PY

338

16.324 Kora mat weaving S/PY

339

16.325 Seashell craft S/PY

339

17.0 KERALA S/KE

340

Thiruvananthpuram

S/KE

342

17.326 Bell metal utensils S/KE

343

11.196 Dhokra lost wax metal

casting


ware

E/OR

218

E/OR

220

11.198 Brass Ornaments E/OR

220

11.199 Straw craft E/OR

221


221

Sambalpur

11.201 Bandha yarn tie resist

dyeing

11.202 Kumbhar kaam

terracotta and potter

E/OR

222

E/OR

223

E/OR

224

Etikopakka 281

14.261 Veena - string

instrument

S/AP

281

14.262 Jute craft S/AP

282

14.263 Metal work S/AP

282

Machilipatnam

S/AP

283

14.264 Block printing S/AP

284

14.265 Telia rumal - yarn tie

resist dyed textile

S/AP

286

14.266 Knotted carpets S/AP

287

14.267 Leather puppets S/AP

288

14.268 Wooden toys of

Kondapalli

S/AP

289

17.327 Marapani - wood carving S/KE

344

17.328 Palmyra basketry S/KE

345

17.329 Ramacham root products S/KE

345

17.330 Horn carving S/KE

345

Ernakulam

S/KE

346

17.331 vallam - boat making S/KE

347

17.332 Aranmula kannadi - metal

mirror

S/KE

348

17.333 Stone carving S/KE

348

17.334 Coconut based crafts S/KE

349

17.335 Coir work S/KE

350

17.336 Bamboo crafts S/KE

350

17.337 Natural fibre crafts S/KE

351

17.338 Laminated wood

work and inlay

Thrissur

S/KE

351

S/KE

352

17.339 Pooram crafts S/KE

353


354

17.341 Wood carving S/KE

355

17.342 Cane and bamboo

craft

S/KE

355

17.343 Kora mat weaving S/KE

356

17.344 Screw pine craft S/KE

356

Kannur

S/KE

357


358

17.346 Ship building S/KE

359

17.347 Kathakali and

Theyyam headgear

17.348 Nettur petti -

jewellery boxes

17.349 Symmetric wood

stringing

S/KE

360

S/KE

361

S/KE

361

18.0 KARNATAKA S/KA

362

Bangalore

S/KA

364


365


365

18.352 wood carving S/KA

366

18.353 Wood and lac turnery

of Channapatna

Mysore

S/KA

367

S/KA

368

18.354 Sandalwood carving S/KA

369

18.355 Rosewood inlay S/KA

370

18.356 Soapstone carving S/KA

370

18.357 Mysore painting S/KA

371

18.358 Ganjifa cards S/KA

371


372

18.360 Sheet metal

embossing

S/KA

372

18.361 Terracotta S/KA

373

18.362 Tibetan carpets S/KA

373

Mangalore

S/KA

374


375

18.364 Rosewood carving S/KA

375


pottery

S/KA

376

18.366 Bhoota fitures S/KA

377

18.367 Yakshagana costume

making

S/KA

377

22.401 Kachchhi embroidery W/GJ

412

22.402 Rogan Painting W/GJ

413


dyeing

W/GJ

414

22.404 Applique W/GJ

416

22.405 Namda - felted rugs W/GJ

417

22.406 Leather work W/GJ

417

22.407 Wood and lac turnery W/GJ

418


418

22.409 Ajrakh painting W/GJ

419

22.410 Silver work W/GJ

420

22.411 Bell making W/GJ

420

Rajkot

W/GJ

421

22.412 Bullock cart making W/GJ

422

22.413 Wood with metal

embossing

22.414 Pathar kaam / Sompura

kaam

- stone carving

Ahmedabad

W/GJ

422

W/GJ

423

W/GJ

424

22.415 Kite making W/GJ

425

22.416 Block making W/GJ

425

22.417 Mata ni pachedi - ritual

cloth painting

W/GJ

426

22.418 Patola weaving W/GJ

427

22.419 Mashru weaving W/GJ

427

22.420 Ari embroidery W/GJ

428

22.421 Bohra caps W/GJ

428


429


430

Vadodara

W/GJ

431

22.424 Sankheda furniture W/GJ

432

22.425 Pithora paintings W/GJ

433


434

22.427 Agate stone work W/GJ

435

22.428 Bead work W/GJ

435

22.429 Terracotta and pottery W/GJ

436

22.430 Brass and copper ware W/GJ

437

Surat

W/GJ

438

22.431 Marquetry W/GJ

439

22.432 Mask making W/GJ

439

22.433 Patku weaving W/GJ

440

Betul


metal casting

Gwalior

W/MP

472

W/MP

473

W/MP

474


475

Mandla

W/MP

476


477


477


478

24.473 Gond Chitrakari -

tribal painting

W/MP

479

25.0 CHHATTISGARH W/CT

480

Sarguja and

Raigarh

W/CH

482

25.474 Painted clay relief W/MP

483


metal casting

W/MP

484

25.476 Bamboo basketry W/MP

486

25.477 Brass vessels W/MP

487

25.478 Bronze ware W/MP

487

Bastar

W/CH

488

25.479 Iron craft W/MP

489


490

25.481 Pata weaving W/MP

491

NORTHEAST : NE/

26.0 ASSAM NE/AS

494

Nalbari

NE/AS

496

26.482 Bamboo craft of assam NE/AS

497

26.483 Bamboo nesting

baskets

NE/AS

498

26.484 Coiled cane work NE/AS

498

26.485 Brass ware NE/AS

499

26.486 Eri silk spinning NE/AS

499

Silchar

NE/AS

500

26.487 Sheetalpati - reed mat NE/AS

501

26.488 Flattened bamboo mat NE/AS

501

26.489 Cane furniture NE/AS

502

26.490 Coiled cane craft NE/AS

503

27.0 ARUNACHAL

PRADESH

Bomdila

NE/AR

504

NE/AR

18.368 Bronze casting S/KA

378

18.369 Areca palm leaf craft S/KA

379

18.370 Mooda - rice

packaging

Bellary


pottery

S/KA

379

S/KA

380

S/KA

380

18.372 Banjara embroidery S/KA

381

18.373 Sheet metal

embossing

Bijapur

S/KA

381

S/KA

382

18.374 Surpur painting S/KA

383

18.375 Bidri ware S/KA

383

18.376 Sheet metal work S/KA

384

18.377 Banjara embroidery

and quilts

S/KA

385

18.378 Wood carving S/KA

385

Belgaum

18.379 Gold jewellery and

silver ware

S/KA

386

S/KA

387

18.380 Navigund dhurrie S/KA

388

18.381 Kasuti embroidery S/KA

389

WEST : W/

19.0 GOA W/GA

392

Goa

19.382 Kashta kari wood

carving


work

19.384 Menawati candle

making

W/GA

394

W/GA

395

W/GA

396

W/GA

396

19.385 Otim kaam brass ware W/GA

397

19.386 Boat making W/GA

398

19.387 Terracotta W/GA

398

19.388 Coconut based crafts W/GA

399

19.389 Dhaatu kaam copper

ware

19.390 Shimpla hast kala

seashell craft

19.391 Maniche kaam

bamboo craft

W/GA

400

W/GA

400

W/GA

401

19.392 Fibre craft W/GA

401

20.0 DADAR AND

NAGAR HAVELI

(Union Territory)

W/DNH

402

20.393 Bamboo fish traps W/DNH

404

20.394 Bamboo baskets W/DNH

404


pottery

W/DNH

405

20.396 Fishing nets W/DNH

405

22.434 Sujuni weaving W/GJ

440

22.435 Vaaskaam - bamboo

crafts

W/GJ

441

22.436 Devru - embossed metals W/GJ

441

23.0 MAHARASHTRA W/MH

442

Kolhapur

23.437 Kolhapuri chappal -

leather footwear

W/MH

444

W/MH

445

23.438 Ganjifa cards W/MH

446

23.439 Wooden toys W/MH

446

23.440 Chandi che kaam - silver

ware

W/MH

446

23.441 Sitar - string instrument W/MH

446

Pune

W/MH

448


449

23.443 Tambaat kaam - copper

and brass ware

23.444 Uthavache kaam - metal

embossing

W/MH

450

W/MH

450

23.445 Bidri ware W/MH

451

23.446 Metal dies and metal

casting

W/MH

451

23.447 Dhurrie weaving W/MH

452

23.448 Ambadi - sisal craft W/MH

452

23.449 Taal, jhaanj, ghanta -

brass musical

instruments

W/MH

453

23.450 Banjara embroidery W/MH

453

Mumbai

W/MH

454

23.451 Warli painting W/MH

455


456

23.453 Bamboo work W/MH

456

23.454 Patua kaam - jewellery

stringing work

W/MH

457

23.455 Stringing of flowers W/MH

457

24.0 MADHYA PRADESH W/MP

458

Jhabua

W/MP

460


461

24.457 Pithora painting W/MP

462


462

Indore

W/MP

463

24.459 Block printing of Bagh W/MP

464


dyeing

W/MP

465

24.461 Leather toys W/MP

465

Ujjain

W/MP

466


27.491 Bamboo and cane

bridges

27.492 Flatenned bamboo

containers

Ziro

27.493 Apa Tani bamboo

products

Along

506

NE/AR

507

NE/AR

507

NE/AR

508

NE/AR

509

NE/AR

510

27.494 Cane haversacks NE/AR

511

27.495 Coiled cane hats NE/AR

511

Khonsa

NE/AR

512

27.496 Wood carving NE/AR

513

28.0 NAGALAND NE/NL

514

Kohima

NE/NL

516

28.497 Wood carving NE/NL

517

28.498 Kophi - cane baskets NE/NL

518

28.499 Loin loom weaving NE/NL

519

29.0 MANIPUR NE/MN

520

Imphal


products

NE/MN

522

NE/MN

523

29.501 Thongjao pottery NE/MN

524

29.502 Bell metal work NE/MN

524

29.503 Kauna phak - reed

mats

NE/MN

525

30.0 MIZORAM NE/MZ

526

Aizwal

NE/MZ

528

30.504 Bamboo basketry NE/MZ

529

30.505 Cane stool NE/MZ

529

30.506 Mizo puon weaving NE/MZ

530

30.507 Gourd craft NE/MZ

531

31.0 TRIPURA NE/TR

532

Agartala


products

NE/TR

534

NE/TR

535

31.509 Bamboo crafts NE/TR

536

31.510 Bamboo furniture of

Katlamara

31.511 Pressed clay work of

Melaghar

NE/TR

537

NE/TR

537

31.512 Bamboo fences NE/TR

538

31.513 Tripuri textiles NE/TR

539

21.0 DAMAN AND DIU

(Union Territory)


work

21.398 Tortoise shell and

ivory carving

W/DD

406

W/DD

407

W/DD

407

22.0 GUJRAT W/GJ

408

Kachchh

W/GJ

410

22.399 Clay relief work W/GJ

411

22.400 Painted terracotta W/GJ

411

467

24.463 Papier Mache W/MP

468

24.464 Bohra caps W/MP

468

Bhopal


embroidery

W/MP

469

W/MP

470

24.466 Jute craft W/MP

470

24.467 Wood and lac turnery W/MP

471

32.0 MEGHALAYA NE/ML

540

Meghalaya

NE/ML

542

32.514 Bamboo rain shields NE/ML

543

32.515 Bamboo carrying

baskets

NE/ML

543

32.516 Garo bamboo house NE/ML

544

Preface

Traditional Crafts are innovations of yesterday. Crafts define not only the cultural moorings but also the search for economic sustenance. The

craftsment derive their inspiration, innate wisdom and skills not from books but from nature and their surroundings. Crafts reflect the immense

creativity of ordinary people and their quest for self-expression and fulfillment. Jist as human evolution, crafts also evolve over time by mixing and

churning influences and events. A country`s creative history is decipherable from the metal, pottery, textiles, and scores of other crafts, which were

prevalent in its different regions. India is seen by the discerning not just as a country but as one that produced a rich civilization. Despite the ruptures of

history, invasions and foreign occupation, Indian crafts continued to lead the way in many respects. The innovativeness and cretive expressions in

textiles, stones nd jewellery have captured the imagination of the world.

The vicissitudes of history and the tides of time have not robbed the enchanting diversity, rich landscape and beauty of Indian crafts. The aesthetics of

India, reflected through the crafts and its forms, shapes and its colour palette are almost like the cuisines of India reflecting the great diversity and

tastes. The nultitude of hues and forms seen in the shandys and the melas of India tell the stories of hundreds of crafts that belong to a vast country with

18 major and 1600 minor languages and dialects, 6 major religions, 6 major ethnic groups, 52 major tribes, 6400 castes and sbcastes, 29 major festivals

and over 1 billion people, 50 percent of them in rural areas, spread over coast lines, valleys, hils, mountains, deserts, backwaters, forests and even

inhospitable terrain. It is not easy to grasp the breadth and depth of Indian craft. There are more than 23 million craftsment engaged in different craft

sectors and it is estimated that there are over 360 craft clusters in India.

`Living` culture and èvolving` crafts are required to preserve both culture and crafts. The laudable endeavour by the Development Commissioner

(Handicrafts) to present, in a directory, authentic information and visual images of handicrafts from every nook and corner of India is a herculean

endeavour. The National Institute of Design has been studying and sustaining craft related design interventions for over four decades as part of its

education, outreach and services. This is perhaps the reason that the Development Commissioner (Handicrafts) decided to engage NID in preparing this

magnum opus on the world of handicrafts. NID`s mandate for searching indigeous solutions and an Indian idiom in design have often led to linking

yesterday`s innovations with today`s. Thus for NID, this task, tough arduous, has also been very edifying and fulfilling.

The team and NID, consisting of many field researchers, editors, designers and copy writers, have all passed through moments of despair and delight.

After toiling hard and struggling with resources and time over nearly three years, the dedicated team led by Mrs. Aditi Ranjan our senior faculty

member has succeeded in celebrating crafts in a publication which has both the magic of hands and creative spirit of the unsung heroes of crafts. As

Aldous Huxley said, "Culture is like the sum of special knowledge that accumulates in any large united family and is a common property of all its

members". We can replace the word `culture` in this csae with `craft` and in the context of the book, it would be just right.

Handmade in India represents the sum of the special knowledge from India`s united family and it captures vividly the intellectual property which has

created wealth for generations and which will continue creating it and multiplying it in the times to come. Many of the crafts clusters have the potential

of linking the product range from a geographical indication and branding perspective under the WTO regime. In the emerging arena of world

competition led by the frameworks of WTO, this book will be a repository of heritage and inspiration for all those seeking wealth, from India as well as

from all parts of the world. In a globalizing and increasingly digital world, which is searching for emotional and cultural connections, crafts can bring

forth harmony. In the emerging knowledge economy, crafts and folklore will form the foundations for the nation`s wealth, especially in countries like

India, which has a magnificent heritage and a glorious future. I am truly delighted to present this book to the readers on behalf of the National Institute

of Design, to provide inspiration and sustenance to the generations ahead.

Dr. Darlie O. Koshy

Executive Director, NID

Ahmedabad

Introduction

Handmade in India is a tribute to the Indian craftsperson. His or her uncanny understanding of materials is combined with mastery of the tools, techniques

and processes that have evolved over the centuries through social and cultural interactions. Today this craft continuum constitutes an enormous resource

that can be harnessed for the future development of our society.

This volume provides a geographic organization of craft distribution across the length and breadth of our country and shows how craft permeates even the

remotest corner of India. In this introduction we have tried to summarize the enormity of craft variety and the significant role that it plays in the day to day

lives of both rural and urban people.

The panorama of Indian crafts is a patchwork quilt of many hues and shades of meaning, reflective of interactions with social, economic, cultural and

religious forces. And the craft world is full of contrasts, a universe of utility products and sacred objects, articles for ritual use and ephemeral festival crafts,

representing many levels of refinement - from the simplest to the most technically advanced. Likewise there are many perceptions of the term `craftsman`,

ranging from a manual labourer to a worker of high artistic excellence. Craft, then, is situated in a complex milieu, a dense matrix of many strands and

elements. To understand this, our study undertook many months of fieldwork and research. Throughout, or research was guided by the conviction that the

context informs the structure, language and form of crafts.

The aim of this three-volume publiction is to showcase the creative potential of Indian craftsperson and make available a directory of resources - skills,

materials, capabilities and products. The products embody the craftsperson`s understanding that is structural, conceptual and aesthetic, just as craft is also

an interrelation between function, form, material, process and meaning. The directory unveils the product not only as an end but also as a seed for new

possibilities and directions, a creative potential and palette of resources. The crafts of India are at the threshold of massive change and it is a hoped that this

publication will help capture the many facets of the current scenario and promote a better understanding of the milieu, issues and resources that it offers for

designers and layman alike to influence economic change at the grassroots level.

The range and diversity of Indian crafts is staggering. To understand this diversity one would need to look at numerous dimensions that include all the

historical processes that shaped the transformations of our society over time. Social and cultural diversity has multiplied particular forms of artifacts, each

shaped by a multitude of forces leading to the vast canvas of variety that can be witnessed today. Modernity tends to have universal forms that homogenize

cultures across continents that are seen as an outcome of communication and globalization. On the other hand, the prolific variety was a result of each

regional or sub-regional group asserting its own identity in the objects and cultural expressions. Therefore the vast array of artifacts, implements, built

environments, ornaments, clothing, headgear and personal body decorations all showed the deep need for holding on to their unique identity as distinct

from that of their neighbours.

India is a land of extreme variety, a land of vast biodiversity and climatic zones from the sea level coastal settlements to the extreme habitats built on top of

lofty snow covered mountains. Similarly regions of very heavy rainfall and abundant vegetation are contrasted with dry deserts, each with appropriately

evolved housing and other built forms that find a resonance with the particular climatic zone in which it has evolved. Much can be learnt from the manner

in which local connumities have invented solutions to tackle the diversity of climates. These solutions are both a creative response for survival and

celebration alike - the bamboo rainshields of Assam, Tripura and Meghalaya are worn by farmers as headgear while the palm leaf sunshades of Andhra

Pradesh are carried as umbrellas by shephards or used as shelters in open-air weekly markets. The jhappi, bamboo rainshield of Assam, is decorated with

red appliqued forms and transformed into a votive offering that symbolizes a good harvest. These creative community responses represent the triumph of

the human spirit over the forces of natures. Community response mark many craft developments, initiated when sensitive craftsment

and their clientele interact in the bazaars and at points of exchange. These interactions have a collective impact on the

form of the craft offering that no single craftsman could have produced, a perfect fit with the environment and with the

social mores that the community aspires to. The climate helps determine the nature of material availability, in some

places in abundance and in others as an extremely scarce commodity, which in turn influences the value attributed to

that material in the given context. We see examples of non precious materials treated like royalty in zones of scarcity,

sometimes preserved for many generations to mature before it is put to use. On the other hand the response to

abundance could be seen in the free abandon with which materials are crafted into objects of function or celebration.

Stories unfold in material with the skillful wielding of tools and applications of intellect and the product is a mirror of

the society that produces it. It is uncanny how we see traces and signs of culture frozen in stone or clay and metal and

wood, all of which echo the roots of a particular cultural system that produces or uses the craft object. The belief

systems that determine that form could be from the religious source of from some body of ancient fold wisdom. Thus,

the huge terracotta Ayyanar horses stand as watchful village guardians in Tamil Nadu and are revered by the

community at large. The temple, the mosque, the church and the tribal gods have all contributed to the shaping of

artifacts of worship and the votive offerings that are part of the rites of passage in so many communities in India. Birth

and death, marriage and adolescence are all occasions for community joy or sorrow, and these create the context for the

release of creative energies and the demand for the highest degree of skill that the craftsperson can bring to the

occasion.There is a variety of expressions: some are elaborated with decorative motifs and surface ornamentation and

in some others a pristine sense of peace with the material and subliime proportion that evokes soft feelings even when

the object is made of metal, like in the massive cast charakku, vessel, from Kerala. As a secular nation India has been

liberal in the interpretation of religion and this has in turn created a multitude of expressions that resopnd to the

philosophy of the particular religion that is represented and served by the crafts. The simplicity of the Jain turned wood

paatra, utensils, and the elaborate and ornate meenakari, enamelled metal ware container, from the islamic north stand

in stark contrast, each reflecting the ethos of the community and the purpose that it serves - one to collect alms and the

other to offer gifts to a gust of honour. In the hills of Nagaland the baskets, headgear and other accessories of the

wearer tell us about hisor her world view and the connunity to which they belong, and these objects are signs of their

identity, carried with a pride of belongings that unfolds a universe of meaning to the initiated. Tattoos on the body and

forehead markings too are signs of belonging that speak volumes about the aspirations and status of the wearer.

India has been at the crossroads of civilization for over 5,000 years and in some parts of the country time has stood still

while in others it has churned at an incredible pace of change while absorbing threads of other cultures and imbibing

the essence of these. The various waves of interactions from the Northwest and the subtle trade interactions with the

South and the East have brought in new ideas and practices, skills and applications. Within the country too block

printers have migrated in search of water sources suitable for their craft, or people have fled from their settlements in

the face of many pressures, manmade or natural. These internal migrations and trade transactions took skills from one

location and planted them in new and alien settings, assuming subtle new hues of the chosen location, creating another

variation. The bandhani textiles of Gujarat find new expression in the sungadi of faraway Madurai, to single out just

one of the many threads that stand out in this long list of transformations. The arrival of the Mughals brought in the fine

Iranian artistry in metal, silk and carpet weaving. The coming of the British and the Portugese in South India introduced

the carved wooden traditions of the West and these are integrated in the churches and houses of the coastal settlements.

In addition, the hot humid climate called for a sensible design of shaded

varandahs and the response was the unique form of settlement types found in Goa,

Pondicherry, coastal Kerala and Tamil Nadu.

The craft landscape is made up of numerous types of applications : from the varnacular

objects of daily use that are rough - hewn from local materials to the celebrated objects of

symbolic value that are used on special occasions and for religious functions. In some cases

the same object may be used in different settings but in each case the value assigned to the

object is substantially different. The lota, or brass container for liquids, is one such multi

purpose and multivalent object that can be at home in the kitchen, the bathroom and the

prayer room and in each case be held in a different spiritual or physical plane, each reflecting

the state of the object in the particular context. Objects are thus imbued with value and spirit,

which are respected by all users in that society. New categories have emerged that respond to

trade and professional needs of the crafts men and now designers have joined hands to create

new objects for new markets that provide economic value to the community of makers and

satisfaction to a whole new community of users , some in distant lands. The commercial and

the spiritual are both crafted with great pride and care by sensitive hands that use centuries of

tradition to inform current practice.

The forms and treatment of objects of everyday use differ widely from objects of celebration or worship. While the one is almost devoid of any

ornamentation, it should not be seen as less cared for or less venerated. The observation of the process of making and of its use in the household setting as

well as closer examination of the object will reveal the subtle lines that have been left to stand as testimony of the process or the marks of the tool, none of

which may be considered functionally necessary. The sanabul from Manipur and the terracotta pots from many parts of India delibrately bear the mark of

the hands and tools as signs of process. These marks have subtle meanings : as a means of expression, as an interplay of structure with form, and material

with process, and of the culture with the process of signification. The gradient of elaboration is incremental : from the plain and honest craftsmanship to

many degree of elaboration of both form and surface decoration that attempts to elevate the object from mere functionality to a higher status.

The range and manner of using materials reflect the enormous ingenuity of the local mind in discovering appropriate applications. Some are processed

through many iterations while others are used raw, in response to an immediate need. Bamboo culm cut off with a sharp blade is an instant container to

store water or cook rice, and banana leaf plates are cut, trimmed or stitched to form disposable biodegradable containers. The same bamboo may be

processed through many stages of splitting and weaving to produce a dowry gift fit for a queen in Nagaland and the leaf too may be processed into a

durable fibre that is crafted into bags or puches for storing valuables. Thus the materials and techniques respond to a variety of needs, some immediate and

of less value while some may be of great value involving either elaborate processing or the spiritual upliftment through the production of myths ad votive

meaning in response to particular contexts. The range of materials is matched by a bewildering array of fine tools, many fashioned with great care and

knowledge by the craftspersons themselves, imbibed through many years of evolutionary community learning called traditional wisdom. Tools and

processes are diverse to include earth, water, fire and air, elements that transform materials in many ways, each extracted from a pool of knowledge that is

fast disappearing with the so called advance of modernity. Traditional wisdom needs preservation and needs to be nurtured and used to unfold new values

in a contemporary setting. Each culture has much to ffer and India is full of such precious nuggets of traditional wisdom that can be applied to local users or

even global exchange.Indian handicrafts are a storehouse of classical motifs and patterns that have evolved over centuries, many of which have been passed

on from trading cultures over eons of interaction. The motifs and patterns once absorbed by a culture get disseminated across a variety of media, from stone

to wood, to metal to cloth; from weaving to print and from painting to inlay; each technique bringing to the pattern its unique signature, an amalgam of

material and tool limitation. The floral motifs and the creeper, the bel, can find as many expressions as there are materials and contexts to be served as

witnessed in the huge variety in the expression of popular motifs such as the keri or aam, the stylized mango, depending

on the language that it is being expressed in. The human form too has been depicted in great variety. The upright man or woman has been represented in a

host of auctions. The rough and ready whittled shapes of the Naga warrior contrast strongly with the elegant statuettes of the Chola bronzes while the

wrought iron tribesman from Chhattisgarh differs from the expressive occupational toys from Kondapalli in Andhra Pradesh. Moreover, when a human

form enters the sanctum of the temple it takes on a whole new sacred meaning and significance.

Several crafts are a form of pure service and the craftsman plays the role of facilitator of some critical function of form giving or repair. The mochi or

cobbler and the potter, the tile maker and the carpenter fall into the category of those who work to serve the community with their skills and knowledge. In

the age of mass consumption, it may be a good idea to bring back some of the values of this service to ensure that our products are recycled and repaired

rather than used and thrown away long before their active life is over. Craft and the use of craftsmanship could bring in new values for a sustainable future

and a new attitude towards the proper use and abuse of materials in the coming years.

Craft objects come in a vast array of product categories, each in tune with its purpose. The selection of wood for the keel of a boat or for the main post of a

small local dwellig would show a deep understanding of material properties and the shapes that they are found in nature, the wood being appropriately bent

or with that presense of a branch fork to support the beams in each case of application. The products would range from the production of miniature animals

and dolls for play to animal harnesses and objects for functional use in daily life. Yet other categories are the gifts for numerous occasions such as festivals

and mariages as well as religious offerings at the temple or for honouring a leader in the community or to celebrate the arrival of a child. These objects

carry signs of their purpose and are specially treated for the particular occasion. Containers, baskets, tools, implements , domestic products and objects of

agricultural use represent great concern for efficiency and convenience while objects of celebration have a vast repertoire of decorative processes to make

the offering visible valuable.

Just as there are categories of objects, we find categories of craftspersons and many levels of

craftsmanship. In the Northeast where local materials are transformed on a daily basis in the service of

day to day life, bamboo is fashioned into a variety of baskets and objects. Most of the population is

familier with the craft process and the people exhibit a very high degree of creativity in their ability to

transform materials. This is not to say that professional craftspersons do not exist in these regions. They

do and they are involved in the making of many specialized products that are traded through the local

bazaars. Other members of the craft economy of village and urban India include the small and large

entrepreneurs. They keep the wheels of trade in continuous motion and the more ambitious ones, such as

the exporters, help build bridges between distant lands and cultures. From time immemorial these

itinerant traders have given and extended life to Indian handicrafts by making them available in distant

lands through establishing active trade routes.

Traditional and modern settings exist for showcasing the craft heritage across India. The bazaar is the

closest to the maker while new forms of exhibitions and trade fairs promoted by the government and nongovernment

bodies represent the new formats for contemporary action. Religious festivals and regional

events or seasonal festivities encourage trade in handcrafted objects from far and near. The annual

Jagannath festival in Puri, Orissa, sees a plethora of stone and wood carvings, cloth paintings and

applique work for pilgrims to the temple; and the enormous cattle fair at Puskar, Rajasthan, floods the

township with local crafts. This is now becoming a valuable source of heritage tourism.

The craft heritage continues to evolve in modern times and the objects too are finding new and contemporary expression while the old and the traditional is

still valued for the refinement that they represent. That the crafts understand and respond to the variety demanded by its clientele can be seen in the

profusion of jewellery, clothing, footwear and hand held accessories that are used as part of our daily costume. The great variety and styles of surface and

structural treatment

show a creative ability of the crafts man to respond to a human need for identify and differntiation. The

Kolhapuri chappal, or leather footwear, is one such product that comes to mind where with just one material, a

great many structural and formal variations are achieved by the use of simple and complex methods of assembly,

all satisfying an appreciative but demanding user. Each region responds with its own offering of variety within a

functional category as seen in the diversity of baskets from bamboo in the northeast of India and in the vsat range

of palm leaf constructions from coastal Tamil Nadu and Orissa.

Even today there are places in India where almost everyone is still a crafts person, able to transform material to

fashion expressions of creativity. Tamil women use the art of kolam as a daily ritual of cleaning and decoration

the entrance to their home while in much of rural Inda the houses are surfaced regularly with a coat of wet mud

and cowdung that leaves gentle marks of the hand as it sweeps the surface. Wall paintings and decorations are an

everyday art in many parts of the countryand each uses fascinating local variants to tell stories or to captures

symbols of fertility and good will. THe Warli and Madhubani painting are two prominent examples of everyday

art that is part of the living culture of the land.

India is still creative in its villages, with the young exposed to the art of making and transforming materials and spaces by the act of creation on a daily

basis. The living crafts in the rural hinterlands have been contributing enormously. Unfortunately our formal education systems lack the richness of craft

experiences with the emphasis on textual and numerical education systems. It is here that crafts hold real promise for the rediscovery of the therapeutic

qualities of craftsmanship that can be appreciated and adopted by the entire population. Craftsmanship brings with it an understanding of quality and

refinement, and the sensitivity that is gained through this work culture will help introduce our youth to a whole philosophy of values that crafts embody.

Therefore crafts in education will introduce a new dimension. We hope that this book and its companion volumes will help sensitize and shape the

character of our youth, through an immersion in the act of craftsmanship.

Crafts are an effective vehicle for self-development and for sustainable employment generation for much of our population living in difficult economic

conditions. In the search for development strategies of our rural and urban centres through employment, the government has used crafts with great effect

over the past 50 years. The stting up of the Handloom and Handicrafts Boards and the establishment of the Office of the Development Commissioner of

Handicrafts has created the avenue through which the support of the government intention can reach all corners of the country in an effective manner. The

support in training and in providing seed capital to help establish numerous local entrepreneurs in the crafts sector has been a full time task, which has met

with great success. The thriving export climate for handcrafted goods from India is a confirmation of the success of these initiatives.

Government policies over the years have helped support a vibrant local and export industry, an enormous employment base. The scope for entrepreneurship

and wealth generation across 516 production clusters are graphically mapped in

are easy to access. Many local bodies and cooperatives are supported by the policy regime and a network of agencies is strengthening this through support

schemes that raech those who need it most.

Numerous promotional schemes and policy initiatives have been taken by the agencies of the Government of India and of the various state governments.

Over the years, these have had a salutary impact on the performance of the crafts sector as a whole and in many remote and inaccessible places these have

been the only form of sustained support.

The national and regional programmes of recognition of excellence have identified a very large number of craftspersons and craft promotion agencies that

have demostrated high levels of quality and service. The national Master Craftsman award is coveted by many craftspersons and those recognized by the

award join the roster of celebrated individuals who act as a role models for the community and foster the pursuit of excellence. Recently the government

has instituted the ship guru awards, which are given to master teachers who are empowered and encouraged to pass on their skills and knowledge to other

young and potential candidates from their field of work. Such initiatives create new ways for the dissemination of craft knowledge accessible traditionally

only to family members.

Many young craftspersons are professionals and belong to traditions that had the advantage of early market orientation. In their work is visible a classical

order and expression that has been cultivated and well-honed. Equally important is the spontaneous and exuberant expression of the àmeteur` crafts person

who clay and pepier-mache toys are a delight. The entry into the market is a new experience that can give them cultural empowerment. Throughout our

history, crafts were customized to the needs of the local and distant client. There was a close interaction between the maker, the object and the client or

user. Difficult and inhospitable terrains taught the craftsperson to be resourceful, respect scarcity and the resulting economy of material and form rely on

ingenuity. Local materials were celebrated. Trade routes and cultural exchanges added new layers to this understanding and sensibility. Transmission of

skills from father to son and mother to daughter were apprenticeship based. As rites of passage their fulfillment was synonymous with learning `life skills`.

In the changing contexts of a global market-driven economy and ideology, traditional crafts offer sustainable practices that need to be revisited and

imbibed. Craft development needs a paradigm shift from promoting the karigar, traditional crafts person, to karigari, quality of craftsmanship, since

whoever imbibes this quality becomes the craftsperson in perpetuity.

ADITI RANJAN & M P RANJAN

EDITORS

AHMEDABAD

1 Connected by seven bridges, the old quarter of

Srinagar city sprawls along the banks of River

Jhelum.

2 A man wearing a pheran, the loose overcoat,

commonly worn by Kashmiri men and women

alike.

3 A mihrab, the arched doorway, of a house in

Jammu.

4 The papier mache panelled entrance to

Srinagar`s Shah Hamadan Mosque.

CRAFTS -

JAMMU

AND

KASHMIR

Papier-mache

Kaleen -

knotted

carpets

Kashidakari -

Kashmiri

embroidery

Namda -

felted rugs

Gabba -

embroidered

rugs

Kani shawls

Woolen

textiles

Walnut wood

carving

Pinjrakari -

latticed wood

work

Wicker work

Reed mats

Copper ware

Glazed

pottery

Basohli

painting

Dogri

embroidery

Metal casing

Sheet metal

work

Chikri wood

work

Embroidered

footwear

Block

printing

Thangka

paintings

Ritual cloth

installations

Khabdan -

pile carpets

Tsug-dul -

woolen pile

blankets

Challi -

handwoven

textiles

Handspinning

Thigma - tie

resist dyeing

Paabu -

stitched boots

Metal work

Jewellery

Wood carving

Painted wood

Chipkiang

baskets

Musical

instruments

Mask making

Physical

Features

Mountain

ranges:

Trans-

Himalayas,

Karakoram,

Ladakh,

Zanskar, Pir

Panjal,

Shivalik

Major

rivers :

Jhelum,

Chanab,

Gilgit, Tawi,

Indus, Shyok,

Zanskar

Major lakes :

Wular, Dal,

Tso Moriri,

Pangong Tso

Biodiversity

Flora :

Walnut,

Poplar,

Chinar,

Deodar,

Willow reed

THE STATE of Jammu and Kashmir consists of

three geographical zones - Jammu, a land

encompassing plains, mountains and foothills;

Kashmir, a mosaic of forests, orchards, rice

fields, lakes and waterways; and the high altitude

desert of Ladakh, its harsh austerity punctuated

by green riversides and cloudless blue skies. Eah

of these regions possesses a distinct culture that is

reflective of its climatic conditions as

well as its particular history. Jammu, once the kingdom of the Dogra

rulers, is a largely Hindu region renowned for its numerous shrines and

courtly miniature paintings. Kashmir`s motley artistic and literary

traditions are the legacy of political domination by rulers of various

religious predilections - the Mauryans, Kushanas, Karakotas, Tibetans,

Persians, Mughals, Sikhs and finally, the Dogra rulers of Jammu - and

interaction with the trading communities who passed through it.

Kashmir has been a historical centre for the scholarship and teaching of

Buddhism, Vedic culture, Sanskrit, Shaivism,

5 THE STATE of Jammu and Kashmir consists of three

geographical zones - Jammu, a land encompassing

plains, mountains and foothills; Kashmir, a mosaic of

forests, orchards, rice fields, lakes and waterways; and

the high altitude desert of Ladakh,

6 A fresco at the Hemis Monastery depicting a guardian

deity. The panelled wood work above the fresco is

painted to simulate the pleated ritual cloth installations

used in the monasteries.

7 A painted wooden mask, worn by monks during

monastic ceremonial dances.

8 A Drok-pa woman wearing the typical headdress

adorned with flowers. This small agricultural community

of Ladakh is believed to be of Indo-Aryan origin and

practices a form of Buddhism that is akin to Bon-chos,

the animistic pre-Buddhist religion of Ladakh.

Islam, Sufism and Sikhism. It has also been the focus of

varied art patronage and consequently it has amalgamated

Turkish, Persian and Mughal influences to create its own art

idiom. Due to its scarcity of resources and the presence of

nomadic communities, Ladakh has evolved craft practices

that are informed both by the formative influences of Central

Asian, Chinese and Tibetan cultures as well as by the climatic

conditions in which it is situated. Simultaneously, Ladakh

also contains another cultural matrix fostered by its

predominantly Buddhist population and the patronage by its

ancient monasteries. The art forms that belong to this realm

are thus closely related to the spatial and ritualistic

requirements of the religion.

Inset : Found in Buddhist temples and homes, the mandala, sacred circle, symbolizes the spiritual

embodiment of the Buddha and diagrammatically represents the calling in and realization of the

spiritual force within the contemplator.

9 Votive offerings inscribed with prayers,

locally known as mani, jewel stones.

10 The 8 m high statue of Maitreya Buddha

or the future Buddha, carved into the hillside

at Karchay Kharvill, is one of the four similar

sculptures in the Kargil region.

Landmark

Dal Lake

Vaishno

Devi

Shalimar

Garden

Shah

Hamadan

Mosque

Leh Palace

Hemis

Monastery

Alchi

Monastery

Hot

Springs -

Panamik

Mubarak

Mandi

Palace -

Dogra Art

Museum

Attire

Pheran -

loose over

garment

Goncha -

overcoat

Gtutung -

sleeveless

coat

Bokh -

sheepskin

wrap

Skerekh -

belt

Gonad -

hat

Perakh -

female

ceremonial

headgear

For

monks :

Shamtam -

lower

garment

Zangos -

shawl

Cuisine

Girdas -

wheat

bread

Wazwan -

mutton

dishes

Yakhni -

meat dish

Dostabah -

meat balls

Tsampa -

barley flour

Chang -

fermented

barkey

drink

Khamiri

roti - yeast

bread

Gurgur

chai - salt

tea

Kahwa -

tea

Languages

Kashmiri

Dogri

Kishtwari

Gujari

Punjabi

Ladakhi

Urdu

Festivals

Shushur

Sankrant

Losar -

Ladakhi

New Year

Hemis

Festival

Ladakj

Festival,

Leh and

Kargil

Lohri

Bahi Mela

Mansar

Food and

Craft Mela

RESOURCES

Craft Raw Materials Sources

Carpet Weaving Silk, Wool Karnataka, Kashmir

Namda

Wool fibres, Cotton

fibres

Srinagar

Gabba Woolen Blankets Srinagar

Kashidakari : Ari

Kashidakari : Sozni

Copper repousse

work

Khatumband and

Pinjrakari

Walnut wood

carving

Pashmina and

raffal shawls

Gold or silver zari -

tilla, Silk thread

Copper sheets

Wood - deodar,

pine

Wood - dun or

akhrot

Srinagar, Leh

Surat

Srinagar

Kashmir Valley

Kashmir Valley

Wicker work Willow Kashmir Valley

Papier-Mache Paper pulp Kashmir Valley

Popular trees on the

outskirts of Srinagar

An ari embroider at

work ; the reed mat,

hookah and kangri, (a

wicker container for

smouldering coals)

near him, are

ubiquitious elements

of the local material

culture.

1. A namda

craftsman

beating wool

fibres with a

wicker punja.

2. A naqqash at a

papier mache

workshop in

Srinagar,

painting a

moulded form

3. A craftman at

one of the

several wood

carving

workshops in

Fateh Kadal,

Srinagar.

Nestled amid the high mountains of Shivalik and Pir Panjal

ranges lies the verdant valley of Kashmir. In the 3rd century

BC, the Mauryan emporer Ashoka sent Buddhist

missionaries to the region and it is they who established

Srinagar (literally `The happy city of beauty and

knowledge`), the current capital of the state. The Karakota

dynasty consolidated their power in the region during the

7th century, thus bringing Kashmir under Hindu dominion.

Kashmir`s location on the Silk Route of Central Asia

ensured a steady stream of artistic and cultural interaction

with various trading communities - Persian, Chinese and

Mediterranean - who passed through it. This influx of

stylistic influences is apparent in the syncretism of Kashmiri

art ; it derives from sources as varied as the serenity of the

Gandhara sculptures and the stylization of the Persian court.

The Persian influence was further highlighted during the

rule of Zain-ul-Abadin, a local prince who was forced into

exile in Persia by Timur in 1398. The prince returned to his

homeland in 1423 accompanied by various skilled craftsmen

who introduced and developed the crafts we associate today

with Kashmir.

The foreign craft traditions fused together with the

indigenous craft practices and forged an artistic vocabulary

reflective of the environment they were produced in. For

example, the chinar (oriental plane), sarav (cypress), dachh

(vine), sosan (iris), pamposh (lotus), sumbul (hyacinth),

yambarzal (narcissus) and the dainposh (pomegranate)

motifs recur throughout the range of crafts, thus lending a

uniquely Kashmiri character to the products they adorn.

Under the Mughal emperor Jehangir, the crafts of Kashmir,

especially that of carpet weaving, received generous

patronage. The Mughal influence may also be seen in the

gardens of Srinagar, their summer capital, and in the carpets

which reflect the geometrical layout of these `Gandens of

Paradise` that are based on the Persian Chahar Bagh design.

Srinagar is connected by road, rail and air with the states of

Punjab, Delhi, Himachal Pradesh and Maharashtra.

The craft known by French term papiermache

(literally paper pulp), is locally

known as kar-e-kalamkari, pen case

work, after its traditional Iranian name.

Papier-mache was practiced as a form of

decocation executed on the wooden

panels of walls and wooden furniture

and was eventually adapted to paper

moulds as well. Trays, small boxes and

book covers were made for royal

patrons and members of their courts.

The two major processes involved in the

craft are sakthsazi (mould making) and

naqquashi (painting). The naqqash

renders the surface in intricate floral

patterns or highly stylized scenes of

hunts and battles. In the case of floral

motifs, the painting may be executed

entire in gold or silver. The local term

for gold or silver work is son tehreer.

The motifs are derived from the

profusion of local flora; some of the

frequently used images are the

bumtchuthposh (apple blossoms),

dainposh (pomegranate), kongposh

(saffron flowers) and yambarzal

(narcissus).

Inset : A papier-mache container painted

in a multi hued floral pattern

1. The papier-mach ornamented

ceiling of the Madina Sahab

Mosque.

2. Detail of an intricately painted

floral pattern.

3. A papier-mache box, the detail

revealing its highly ornamental

surface.

4. Painted papier-mache furniture.

5. A folding screen, and a detail; the

composition revealing the

similarity to the medallion with

chothai pattern seen in the kaleen,

carpet.

6. Detail showing the gold painted

surface known as son tehreer.

Product Clusters

Badgam district

Anantnag district

Kupwara district

Baramula district

Delina Wagoora

Pulwama District :

Gangoo, Suttusoo

Srinagar district :

Srinagar city:

Arwat

Sufa Kadal

Lal Chowk

Doni Pora

Shamaswari

Syed Pora

Products

Boxes, Toys

Jewellery box

Lamps, Pen cases

Wall decoration

Powder containers

Mirror cases

Christmas

decorations

Flower vases, Kettles

Trays and plates

Samovar - fluted

kettle

Tools

File, Rasp, Hacksaw

Sandpaper

Burnishing stone

Paintbrushes

KALEEN - KNOTTED CARPETS

Production Clusters

Baramula district

Anantnag district

Badgam district

Kupwara district

Pulwama district

Doda district

Udhampur district

Kathua district

Poonch district

Srinagar district :

Srinagar city :

Sehyar, Umar

Colony, Nowab

Bazaar, Anchar,

Nava Kadal,

Rainawari, Fateh

Kadal, Dal Areas

Products

Silk carpets

Woolen carpets

Tools

Kaleen vaan -

vertical loom

Khur - sickle

shaped blade

Panja - beater

Dukari - scissors

The Kaleen are intricately

hand knotted silk or woolen

carpets woven on a vertical

loom through a process of

wrapping a supplementary

weft around successive warps,

creating a heavy durable

fabric with a soft pile surface

of short lengths of fine wool

or silk.

Although the craft`s origin may be traced to the rule of the

emporer Zain-ul-Abadin and is derived from the Persian

carpet tradition, it has acquired a distinctly local character

through the incorporation of motifs inspired by the

indigenous flora and fauna and the use of dyed yarns to

create a unique colouristic range. The carpets also reflect

the Mughal patronage they received. The paterns depicting

fantastic animal forms and the pictorial carpets with

elaborate hunting scenes are from the period of Akbar`s rule

while the carpets with patterns of scrolling vines and highly

naturalistic plant and animal forms are the bequest of

Jehangir`s patronage. Even at that early stage, some

specifically Indian motifs were added to the craftsmen`s

vocabulary; among them the gaja-simha image or the half

lion - elephant, the elephant combat, grape clusters and

segmented blossoms.

Over time, a greater degree of stylization set in, as complicated

lattice systems were introduced as matrices for floral motifs and

the millefleur pattern with its profusion of tiny blossoms was

created. Other patterns which were inspired by the Persian

Chahar Bagh, Garden of Paradise, layout and the medallion

form were fashioned and these latter types have now come to be

identified as the quintessentially Kashmiri patterns. Carpet

weaving skills (including that of reading the talim - the pattern

chart that plots the number of knots to be woven in the same

colour) were transmitted through the ustaad - shagird, master -

apprentice system. As the apprenticeship traditionally began at

the age of six, this practice is now largely discontinued due to

the ban on child labour.

Inset : Detail of the sixteen-pointed star form of the medallion.

A medallion carpet with chothai and elliptical forms known as

chand in the central field.

A carpet with a central medallion

surrounded by a matan, field, in turn

enclosed by several borders.

A variation of he medallion carpet with

quarter medallions known as chothai at the

corners.

1 A carpet with the Persian Qum pattern, which is

inspired by the concept of the Garden of Paradise. In

Kashmir, carpet designs are identified by the names of

carpet weaving centres in Iran such as Qum,

Hamadan, Tabriz and Kashan.

2 A Hamadan style variation of the

Garden carpet with Kashmiri trees

instead of Persian flora.

3 The mihrab, arch motif indicates that

this floral carpet is either a prayer rug

or that it is a derivative of the quanat,

the screens of Mughal emperors` tents.

Stylized variation

of Kashmiri trees

and flowers that

find expression in

kaleen, as well as

in other crafts of

Kashmir.

KASHIDAKARI - KASHMIRI EMBROIDERY

Production Clusters

Ari Work

Districts :

Srinagar

Kathua

Rajouri

Poonch

Udhampur

Sozni

Districts :

Srinagar

Baramula

Anantnag

Badgam

Pulwama

Kupwara

Kathua

Rajouri

Poonch

Crewel Work

Districts :

Srinagar

Anantnag

Badgam

Pulwama

Kupwara

Udhampur

Poonch

Rajouri

Tilla Work

Srinagar District

Rezkar

Srinagar District

Tools

Ari - hooked needle

Products

Ari Work

Stoles

Shawls

Pheran

Kurta

Capes

Crewel Work

Upholstery

Drapery

Wall hangings

Floor coverings

Rezkar

Shawls

Garments

Table covers

Bedspreads

Household linen

Capes

Sozni

Shawls

Garmets

Tilla and dori work

Pheran

Sari

Shawls

ARI AND CREWEL WORK

Ari Embroidery is widely practiced throughout India with

different stylistic variations that serve to distinguish the

workmanship of one region from that of another.

Irrespective of whether it be the ari work of the cobblers of

Kachchh in Gujarat or the textile embroiderers of Tamil

Nadu, the thread is passed through the ari, hooked needle,

and is always held under the fabric to be embroidered and

the hok is used to pull a series of loops, each emerging from

within the previous, to the surface of the fabric. There are

two versions of this technique; the first is used to embroider

on thin fabrics such as silk and fine cotton cloth, used as

stoles and shawls or made into pheran, which is a loose

over-garment, kurta and capes. Crewel work, although

similar, uses a thicker ari and is normally done on

unbleached fabric; its stitches are bolder and it is used for

embellishing yardages used as upholstery and drapery. In

both cases, the patterns are usually linear abstractions of the

local flora, with the outlines worked first and the

embroiderers are usually men from the Sunni Muslim

community.

SOZNI

Sozni is a form of extremely fine and delicate needlework

done primarily on shawls - mainly pashmina and high

quality raffal. Designs are created as close as possible

against the ground, and individual threads of the warp are

taken up in the stitching and reinforced with smaller

stitches. The stitch employed is not unlike stem stitch, and

only the outline of the design is embroidered. Only a single

strand is used and consequently, in skillfully executed

sozni, the motif appears on both sides of the shawl. Each

side displays a different colorway in an embroidered

imitation of the woven kani shawls.

The chinar

leaf.

A craftsman

demonstrating

the use of the

ari on a

furnishing

fabric.

Detail of a pashmina shawl embroidered in sozni, so as to

simulate the woven jamawar patterns.

Detail of a woolen shawl

embroidered using the rezkar

technique.

Detail of tilla work.

TILLA AND DORI WORK

These embroidery techniques are executed with gold or silver

zari (tilla) or silk (dori) thread, and are used to embellish

pherans, saris and shawls. The decorative wire remains only

on the surface while and additional thin cotton thread of

yellow or white is stitched on top of it, thereby securing it by

couching. Of the needlework in silver and metallic thread

there are two variations - moraskar (knot stitch), zalakadosi

(chain stitch executed in silver or metallic thread) - which are

used on the borders of shawls and choga, royal gown, to

create a raised or braided effect. The most commonly used

motifs are the pamposh (lotus), chinar, badam (almond) .

dacch gurn (grape leaf) and duin (the flower of the chinar

tree).

REZKAR

This is a form of needle embroidery similar in technique to

sozni; the difference lies in its longer stitches and in that these

are not reinforced with additional stitches. Three or four

strands of staple yarn are employed and the fabric used for

this ranges from raffal to cotton cloth. Rezkar is done on

products such as shawls, garments, table covers, and

household linen.

NAMDA - FELTED RUGS

Namda are felted rugs that are made by

enmeshing wool fibres with water, soap

and pressure and then embroidering the

resultant fabric. These are extensively

used in Kashmiri households as an

effective and inexpensive floor covering

and mattress. In Srinagar, cotton is also

mixed with woolen fibres to create a

fabric that is usually white in colour and

may be easily embroidered with an ari in

floral patterns or in compositions

containing stylized animal

GABBA - EMBROIDERED RUGS

figures. A worker assisted by three persons can produce two

namda a day. Namda are being produced in large numbers in the

valley for sale in international and national urban markets, and

thus significantly contributing to the kashida embroidery

industry.

Inset : The chinar, a motif that features in many local crafts,

seen here embroidered on a namda.

Stylized animal

figures on a namda.

Detail of floral

pattern on a namda.

An ari embroidered cotemporary namda.

Production Clusters

Kupwara district :

Kupwara

Srinagar district :

Srinagar city :

Zahid Pora

Umar Colony

Sehyar, Nowab

Bazaar

Chhargari Mohalla

Jamalatta

Kanimazar

Dhakabab Sahib

Mehar Gunj

Akalmir

Sukali Pora

Gojwara

Rang Masjid

Doom Pora

Khanwari

Mal Pora

Wanta Pora

Dekhdarbar

Kokerbagh

Channa Dora

Products

Floor coverings

Tools

Carding device

Wagoo - reed mat

Punja - flattening

device

Chhath - curved stick

Ari - hooked needle

Gabba are recycled old woolen blankets or lois that are washed,

milled and dyed in various colours. These pieces are then

stitched together and backed with waste cotton cloth. The gabba

is then either appliqued or embroidered with crewel work. In the

appliqued type, pieces of dyed blankets are joined together and

interspersed with vividly coloured embroidery in geometric and

floral patterns. Although the common layout is a central

medallion placed in a rectangular field which has borders, gabba

are made in a variety of shapes and sizes. It is used extensively

in Kashmiri households as an effective and inexpensive floor

covering and is also used as a mattress in colder areas of the

state. Today, a chainstitch rug resembling the gabba has become

more prevalent and cushion covers and furnishing fabric have

also been added to the product range. Carpet weavers from

Srinagar were invited to Punjab to prepare shamianas

A detail of an

embroidered gabba, is

composition and

surface reminiscent of

that of papier mache

objects.

1. Detail of an ari

worked bird and

its colourful

plumage.

2. Detail of a

gabba, its

surface entirely

covered in

crewel work.

Production Clusters

Anantnag district :

Anantnag town

Srinagar District

Products

Floor coverings

WALNUT WOOD CARVING

Production Clusters

Srinagar district :

Fateh Kadal

Channa Mohalla

Urdu Bazaar

Rajouri district

Badgam district :

Shanker Pora

Kupwara district :

Trehgam

Tanghdar

Jammu district :

Kanachak

Kathua district :

Mirth

Bernali

Products

Ladles

Pharav - sandals

Yander - spinning

wheel

Boxes

Salad & nut bowls

Photo frames

Trays

Lamps

Coffee tables

Mirror frames

Furniture

Tools

Hammer

Chisels, Gouges

Wooden mallet

Emery paper

Saw

Walnut wood carving is an ornamental

craft process that is virtually unique to

Kashmir due to the concentration of

walnut trees (Junglas regia), locally

known as dun or akhrot, in this region.

The naqqash, master carver, first etches

the basic pattern on to the wood and then

removes the unwanted areas with the

help of chisels and a wooden mallet so

that the design emerges from the lustrous

walnut wood as an embossed surface.

There are several varieties of carving

technique that are utilized - deep carving

that is two inches or so deep and is

usually used for dragon and flower

motifs; shallow carving, half inches deep

and done all over flat surfaces; open or

lattice work, usually depicting the chinar

motif; and the semi-carving technique

which renders a thin panel along the rim

of the surface which is ornamented

by a central motif alone. The advantage of this technique is that

it allows the grain of the wood to be displayed to maximum

advantage while exhibiting the carver`s skill. The craft was

initially restricted to the creation of elaborate palaces and

houses. Written records tell of Zain-ul-Abadin`s great razdani,

palace, and its elaborate wood carvings. To this date, several

fine examples of intricately carved buildings, shrines and

mausoleums survive in Kashmir - the shrines of Noor-ud-din-

Wali at Charar-e-Sharif, the Naqshaband mosque and the

shrine of Nund Rishi are just a few of them. Contemporary

products, however include ladles, boxes, bowls, trays, sandals

and spinning wheels. Hand run lathes have been utilized to

speed the production process.

Inset : A serving dish in the form of a chinar leaf.

1 A panel ornamented with a repetitive floral motif.

1 Detail of the lid of a chest, patterned with the various floral motifs typical of

Kashmir.

2 Detail of floral pattern carved on a wooden panel.

3 Detail of an elaborately carved jungle scene.

4 A rendering of the dachh gurn, grape vine motif.

5 Dishes for several dry fruits, their forms inspired by the Kashmiri flora.

6,7,8 A box lid on which is juxtaposed foliage carved in both high and bas relief.

9 by a central motif alone. The advantage of this technique is that it allows the

grain of the wood to be displayed to maximum advantage while exhibiting the

carver`s skill. The craft was initially restricted to the creation of elaborate palaces

and houses. Written records tell of Zain-ul-Abadin`s great razdani, palace, and its

elaborate wood carvings. To this date, several fine examples of intricately carved

buildings, shrines and mausoleums survive in Kashmir - the shrines of Noor-uddin-Wali

at Charar-e-Sharif, the Naqshaband mosque and the shrine of Nund Rishi

are just a few of them. Contemporary products, however include ladles, boxes,

bowls, trays, sandals and spinning wheels. Hand run lathes have been utilized to

speed the production process.

PINJRAKARI AND KHATUMBAND - WOOD WORK

Pinjrakari is an intricate form of lattice or trellis work done in

light wood that is used on windows, doors, ventilators,

railings or ornamental partitions and screens. In its original

form, glues and nails were not used in this technique; the

precision of the joinery alone held it together. The pinjra

frames are pasted with handmade paper, thus effectively

cutting out chilly winds and yet allowing a sufficient amount

of light to pass through. Khatumband uses thin geometric

sheets of deodar wood which are cut and fitted into a doublegrooved

batten. Expansive ceilings are contructed by

repeating the same pattern, the whole structure fitting together

without the use of a single nail. The khatumband technique

was widely used in the contruction of Kashmir`s doongas

(floating houses) and the shikaras (boats for door-to-door

selling and transport). The other products made with this

technique include boxes, bowls, screens, panels, bedsteads,

cupboards, and cabinets.

WICKER WORK

Straw, grass and twigs are used

to make domestic products and

containers for storing and

transporting agricultural produce.

One of the main products is the

kangri, the wicker basket used to

carry clay pots containing

smouldering coals, usually

slipped under the pheral worn by

men and women. The willow is

boiled till the outer skin comes

off and the inner layer is

exposed. It is then cleaned and

cut into strips of about five mm

width. Then it is woven into a

basket. The willow may be dyed

blue, red or green and various

geometric patterns are created by

multi-directional weaves in the

upper half of the kangri. These

are further embellished with

shiny coloured foil, mirrors and

metal pieces. Shaksaz is the local

term for the basket-maker. The

kangri of Shaksaz Mohalla in

Charar-e-Sharif

1. Pinjrakari or

lattice work

used in the

railings of a

museum in

Srinagar.

2. Detail of a

pinjrakari

screen.

Pinjrakari is

locally

known as

zalipinjrakari

or

achhi dar.

3. Various

kinds of

wood work

form the

architectural

elements of a

house boat.

Khatumband

displays

skills of

excellent

joinery and

precise

patterned

ceiling

panels.

are used on ritual occasions observed by the Kashmiri pundit

community, especially during the Shushur Sankrant. Shushur means

frost and on this day the new bride of each family is gifted an

ornamental kangri containing some money. There is also a practice

among Hindu families to give their priests a kangri to pay homage to

their ancestors.

A wicker tray.

Khatumband:

Shikara, Doonga

Production

Clusters

Anantnag

district

Badgam district

Baramula

district

Srinagar district:

Srinagar city:

Chattabal

Kupwara town:

Shah Mohalla

Rajouri district:

Rajouri town:

Thana Mandi

Products

Pinjrakari:

Windows, Doors,

Ventilators,

Railings,

Ornamental

partitions, Screens

Screens, Panels,

Boxes, Bowls

Bedsheets,

Cupboards

Cabinets

Product Clusters

Anantnag

district:

Anantnag town:

Doru

Dyalgam

Qoimoh

Badgam district:

Charar-e-Sharif

Srinagar district

Srinagar city:

Hazratbal Mosque

Harvan

Shalabug

Sowra

Products

Baskets

Boxes

Lampshades

Curtain rings

Trays

Inet : A kangri is indispensible

during the long winters.

COPPER WARE

Production Clusters

Baramula district

Srinagar district :

Srinagar city:

Nowab Bazaar

Zena Kadal

Fateh Kadal

Rainawari

Jama Masjid

Bohri Kadal

S. R. Ganj

Nalamar

Products

Bowls

Cups

Dishes

Jugs

Ewers

Cauldrons

Saucepans

Cutlery

Lamps

Lanterns

Candelabra

Candle stands

Tools

Dakur - hammers

Yandravaw - anvil

Mekh - stakes

Punches, Chisels

Tracers

The traditional coper ware of Kashmir is created by three processes of

shaping, decoration (naqqashi), and tinning (kalai). The surface is usually

highly ornamented with a profusion of stylized floral and leaf forms, religious

symbols (such as the mihrab or prayer arch), geometric and calligraphic

patterns, as well as elaborate hunting scenes. The patterns are formed on the

metal sheet using a combination of techniques including repousse, piercing

and chasing. The raised patterns may be further highlighted by oxidizing the

depressed surface. The indigenous product range consists of luxurious

household items such as surahi (wine jugs), rosewater sprinklers, incense

burners, hookah bases, samovars (kettles), decorative plaques and large trays

with stands which perform the role of mobile tables. A number of products

are utilized in Islamic rituals - ewers and basins are used for ablutions and

henna holders are used at pre-wedding ceremonies. Copper vessels also form

a crucial component of the Kashmiri bride`s trousseau.

The surface of this copper object displays a remarkable similarity to rezkar embroidery.

A samovar, tea kettle in sheet metal with a handle and spout

made by casting

A decorative plate, its trellis-like pattern created by piercing.

Situated on the banks of River Tawi and framed against the

picturesque backdrop of the majesic Trikuta Ranges lies Jammu, the

`winter capital` of the state of Jammu and Kashmir. The region is

believed to have acquired its name from its 9th century founder,

Raja Jambu Lochan. The present city of Jammu, however, was

established under the Dogra rulers who gained control over the

region in 1730 A.D. and made Jammu their capital. Under their

patronage, their city became an important centre of art and culture

spawning the famous Pahari miniature painting style and its lyrical

depictions of the Gita Govinda, the Ramayana, the Rasamanjari, the

Ragamala, the Bhagwata Purana and the tale of Nala-Damayanti.

The Sikhs took over from the Rajputs, following which, in 1832,

Gulab Singh merged Jammu with Kashmir to form the present state.

Its history has created an ethnic melange: apart from the Dogras who

are of Aryan lineage and occupy the plains, Jammu is also inhabited

by nomadic mountain-dwelling tribes such as the Gujjars, Bakerwals

and Gaddis, as well as the communities of Punjabi descent such as

the Khatris and Mahajans, and the Muslim Rajput sects known as the

Chibalis and the Sudans. Jammu, known as the City of Temples, is

home to a large number of temples and shrines of Vaishno Devi. The

impact of the presence of these religious sites on the folklore and art

forms of the region is clearly visible in Jammu`s mustical traditions,

raas dances, paintings of mystics and devotional folklore.

RESOURCES


Tsug-dul and tsuggdan

Challi

Hand-spinning

Paabu

Basketry

Khabdan

Wood carving

Metal ware

Ritual cloth

installations

Thangka paintings

Sheep wool, Yak

Wool, Goat Hair,

Acrylic yarn

Yak Hair, Goat

Hair

Pashmina wool,

Sheep wool

Leather, Wool,

Cloth, Felt

Willow, Chipkiang

grass

Mill spun woolen

yarn

Wood (malchang

and salchang)

Brass and copper

sheets, Copper

Silk, Brocades,

Cotton fabric

Cloth, Pigment

colours

Changtang Valley

Changtang Valley

Upshi

Leh, Choglamasar,

Nubra

Chushot, Wanla

Ludhiana, Punjab

Wanla

Srinagar, Jammu,

Delhi

Benaras, Srinagar

Leh

Painted wood Wood (malchang) Chushot,

Choglamasar

Thigma

Woolen fabric,

Dyes

Leh

Crafts of

LADAKH

Thangka paintings

Ritual cloth

installations

Khabdan - pile

carpets

Tsug-dul - woolen

pile blankets

Tsug-gdan -

woolen pile rugs

Challi -

handwoven textiles

Hand-spinning

Thigma - tie-resistdyeing

Paabu - stitched

boots

Metal work

Wood carving

Painted wood

Chipkiang baskets

Situated within the folds of the

Karakram mountain ranges lies the arid,

extremely cold Trans-Himalayan desert

of Ladakh. Enclosed within this stark

landscape are the three valleys of Leh,

Zanskar and Nubra that are formed by

the rivers Indus and Zanskar.

The climate and seasonal cycles determine much of the activities of

the population; summers are monopolised by agricultural work and

shearing, autumn for harvesting and preparing for the long winters in

which Ladakhis are confined indoors and practice their crafts. From

the 17h century upto 1949 Ladakh was the hub of a bustling caravan

trade between Punjab and Central Asia, and between Kashmir and

Tibet. During the summers, pack animals laden with Varanasi

brocades, Chinese silk, pearls, spices, Indian tea, wool, salt, indigo,

opium, carpets and gold traversed through the Nubra valley, and in

winters they crossed the upper valley of the Shyok River. The objects

of trade, the trading communities and their cultures have all left an

indelible impact on the local crafts and culture. Furthermore,

successive waves of immigration, especially that of the Tibetans in

the 6th and 7th centuries and of people of Islamic origin during the

14th century have created a multi-faith social matrix. Here, Tibetan

Buddhism amalgamated elements of the indigenous animistic religion

to form an esoteric form of Mahayana Buddhism with five sects, each

of which is based on the teachings of different monks or saints.

Access

The road connecting Leh to Manali and Srinagar remains open from

April to October which buses operate from June to October. Only

buses ply to the villages. Taxis are the only means of transport inside

the town of Leh. Flights to Jammu and Delhi are available from Leh.

Subclusters of

LADAKH

Leh district:

Leh

Choglamasar

Chushot

Kharnaling

Thiksey

Sabu

Chilling

Bheema

Wanla

Upshi

Inset : A detail of the perak,

and elaborate turquoise -

studded headdress of Ladakhi

women. Evocative of lizards

scales, fins and serpent hoods,

the perak symbolizes the local

belief that women are from the

underworld of Lhu, which is

inhabited by snakes, lizards

and fish, underground

divinities credited with the

powers of fertility.

1. An artisan affixing embossed strips of

metal on the surface of a prayer wheel.

2. A sculptor and thangka painter,

working in his studio

3. Painting of the duk, the dragon motif,

near Leh

A chorten at Thiksey. A thangka fresco on the wall of a monastery in Thiksey, Ladakh.

THANGKA PAINTING

Thangka are painted scrolls depicting Buddhist deities and their

cosmic realities. Although they are installed in domestic spaces as a

talisman against all evils, thangka are intended as navigational aids for

the spirit, guiding the viewer in his quest for spiritual realization. It is

in their capacity to render the invisible visible through iconographic

representation that serve as installations in monasteriesand prayer halls

or as displays during religious festivals at monasteries. Due to the

potency that the paintings are believed to possess, the painter is

required to undergo rigorous spiritual and artistic training and in many

cases is a monastic initiate. The proportions and iconographic details

of the deities follow canonical prescriptions and the artistic genius of

the individual is considered subordinate to the religious responsibility

of the painter. Thangka are not signed by the artist but are given to a

lama who blesses them with sacred syllables. The finished painting is

then taken to only the male tailors of the community who mount the

work on a frame of heavy gyasser, silk brocade panels. They back the

painting with plain cloth and secure the scroll at the top and the bottom

to wooden rods, with brass or silver knots at each end.

1. A craftsman stitching a thangka at the Handicraft Centre at Leh.

2. Detail of a thangka painting a the Handicraft Centre.

3. A thangka depicting the golden Prajnaparamita or Yum Chenmo

who embodies Supreme Wisdom. She is identified by the book

placed on the lotus near her head.

4. A Green Tara thangka which shows 21 different manifestations

of the goddess Tara. Depicted at the top of the thangka is

Buddha Amitaha who denotes Boundless Light.

Production Clusters

Leh district:

Leh town:

Central Institute of

Buddhist Studies

Handicraft Centre

Choglamasar town:

Tibetan Refugee

Centre

Products

Paintings

Tools

Wooden frame

Paintbrushes

Stone

Scissors

Brass or Silver knobs

RITUAL CLOTH INSTALLATIONS

Production Clusters

Ladakh

Alchi

Leh

Hemis

Products

Dhukh - canopy

Kaphen - pillar

hanging

Shambhu - pleated

door hanging

Lungsta - prayer flag

Chubar - cylindrical

hanging

Prayer flags, known locally as tarchok, form a ubiquitous part

of the Ladakhi landscape. Usually square of rectangular pieces

of cloth, they are believed to spread the praers that are printed

on them as they flutter in the wind. They are also said to

attract good luck and ward off diseases, the evil eye, demons

and evil spirits. They are also displays of one`s great gratitude

at a fulfilled wish or an unexpected beneficial occurance. The

flags are invariably one of the five basic colours - white, red,

green, yellow and blue - and are representative of the five

elements (earth, air, water, fire and ether), the five senses

(sight, smell, touch, taste, hearing), and the five wisdoms (the

wisdom of the universal law, the wisdom of the mirror, the

wisdom of equality, the wisdom of distinction and

discernment, and the wisdom of accomplishing works). The

three most prominent hangings seen in the interiors of the

monasteries are the chubar, galtszan and phen. The phen is

made of a solid shape from which four or more narrow

ribbon-like panels of silk are suspended. The galtszen is a

cylindrical hanging ornamented by valences and alternating

plain panels. The chuber, also a cylindrical hanging, is made

of narrow overlapping vertical panels, usually of brocade.

1. At this bridge across a river at Leh,

prayer flags have been tied to thank

the gods for ensuring the devotees`

safe passage.

2. Prayer flags imprinted with icons of

money, prosperity and good luck at

Kharnaling, Ladakh.

3. At the entrance to the prayer hall at

the Hemis monastery; a shambhu, a

pleated panel used over the doors

and windws of monasteries, placed

above the door.

4. The lungsta or wind horse, the

prayer flag that symbolizes will

power and luck.

5. A canopy usually hung over the

cardinal deity.

6. A pleated canopy covers the coral

and turquoise-studded prayer wheel

at the Thiksey Monastery.

7. A door curtain at the Shankar

Monastery in Leh. Door panels are

usually made of plain cloth

appliqued with inexpensive red,

blue or green gabric in geometric

forms.

8. A phen displayed against a wooden

ole in a prayer hall at Hemis.

9. A contemporary chubar.

Traditionally, the panels were

constructed as pockets for

containing sandalwood thus

allowing the fragrance to waft

through the halls with the

movement of the chubar.

KHABDAN - PILE CARPETS

Khabdan are pile carpets of 48 knots per square inch that are

made on a large vertical loom using the technique of looing

woollen yarn around an iron rod. The loops are cut with a sharp

knife and the rod is removed to achieve the pile surface.

Although of Tibetan origin, the khabdan of Ladakh incorporated

stylistic influences into its design vocabulary from China and

Mongolia with whom the region has shared a long trade and

political history, at least from the 10th century.

onwards. Some of the motifs that may be accorded to these

influences are the duk (dragon), rgya-nag lcags-ri (inspired by

the Great Wall of China), snow lion and the yungdrung

(interlocking swastika border). Khabdan are widely used as

carpets in the living rooms and prayer rooms of Ladakhi

households and in monasteries. The khabdan made for the lama

feature religious motifs such as the swastika at the centre and

are usually made in orange and red.

Production Clusters

Leh town:

Handicraft Centre

Choglamasar town:

Tibetan Refugee

Centre

Products

TSUG-DUL AND TSUG-GDAN - WOOLLEN PILE RUGS

Production Clusters

Changtang Valley

Kharnaling (near Leh)

Products

Tsug-dul - pile

blanket

Tsug-gdan - pile rug

Tools

Thak - loom

Tak - wooden beater

Meyn - thread heald

Neynyuk - heald rod

Urlu - shed stick

Puri - pirn

Shill - lease rod

Czsikpa - two wooden

pieces to hold cloth

Chetakh - back strap

1. Detail showing

the pile surface

of a tsug-dul.

2. The reverse of a

tsug-dul, the

weaving

technique and

sewn joints of

the narrow

widths clearly

visible.

3. A tsug-dul made

from white

sheep wool and

dyed acrylic,

Kharnaling.

4. A tsug-gdan in

natural colour

wool and yak

hair, with a

mentokh motif

in the centre.

5. Wrapping the

weft of a tsugdul

on a metal

rod from

between the

raised warp

ends. The shed

stick is called

tak and also

works as a

beater.

6. A tsug-gdan

with medallions

and an

interlocking

border.

7. A weaver`s

house in

Kharnaling, the

tsug-dul forming

the primary

seating.

Tsug-Dul and Tsug-Gdan and woollen

pile rugs made of narrow woven strips

that are sewn together. The strips are

individually woven on sked-thags, back

strap looms using a technique called loop

pile structure; the pile is then cut to give

it a shaggy edge. The tsug-dul, usually

made of six strips, is used as a blanket

while the tsug-gdan that is made of three

strips is spread along the walls of the

rooms and kitchens of Ladakhi houses

and is also used as additional floor

coverings during ceremonies and feasts.

Both types of rugs are made of natural

wool - chiefly sheep wool but also yak

wool and goat hair - accented

with coloured acryllic (as in the tsug-dul) or motifs (as in the

tsug-gdan). The colours selected greatly resemble those seen in

the painted wood work and ritual installations seen at the

monasteries. The tsug-dul is composed of a border around a

field. At the centre may be flower like medallions called

mentokh. Some fields have a chequered pattern called cholo.

The borders of interlocking forms are said to have been

derived from the rgya-nag lcags-ri, the Great Wall of China.

Inset : Detail of a tsug-gdan

CHALLI - WOOLLEN TEXTILES

Challi is a coarse woollen cloth wooven in

strips by men on a fixed heddle ground

loom. Khullu, (yak hair) and raal (goat hair)

are used and it is their respective natural

colouration (deep brown, white, light brown)

that creates the striped pattern in the warp

charecteristic of the challi. The fabric is

always woven in one material that is used as

the weft while the other is selectively used

in the warp to create the pattern. Strips

having the same repeat pattern are joined to

make saddlebags, nugal or changdur (grain

carriers), phatsa (storage bags), taltan (rugs)

and blankets that are placed as a secondary

layer over the tsug-dul in winters. By varying

the number of strips attached, the striped

patterns are altered by every weaver to create a

specific combination that would act as his

`brand`, thus ensuring that the owner of the

saddlebag could be identified by the particular

variation of stripes on it. This practice

originates from earlier times when journeys

for trade were made on pack animals and bags

could be easily mixed up during stoppages.

There are three kinds of saddlebags; small

bags for sheep and goats, and larger bags to be

loaded on horses and yaks.

Inset : A saddlebag used for carrying grain on

horseback.

Production Clusters

Ladakh

Leh district:

Changtang Valley

Products

Blankets, Rugs

Storage bags

Saddle bags

Tools

Ground loom

Shuttle, Spindle

Needle, Scissors

1. Detail of challi made of yak hair. The weave used is known as the dog-teeth design.

2. The reverse of a challi, the strip woven sections stitched together.

3. A large storage bag woven by women who use fine sheep wool and dyed yarns in their

weaving.

HAND-SPINNING

Hand-Spinning is practiced extensively in every

Ladakhi household by both the men and the woven.

The women use the phang - a spindle usually made of

willow that is supported by a bowl made from apricot

kernel - to spin soft yarn such as pashmina and sheep

wool. The drop spindle used by the men is known as

haa and is used for spinning coarser goat hair called

raal. The type of spindle used by men allows them to

spin while they walk; the phang, on the other hand,

requires a surface to rest on and consequently while

the men may be seen spinning while going about

their daily chores, spinning for the women appears to

be more of a congregational activity performed

amidst much chatter. The extremely soft pashmina

wool is obtained from the inner coat of the Changra

goats found predominantly in the Changtang region

and is a highly valued commodity sold to the

Kashmiri shawl includes the extablishment of a

Changra goat-rearing farm at Upshi near Leh; a

department supporting pashmina weaving by women

at the Ladakh Environmental Health Organisation at

Chushot and the setting up of a facilities for

dehairing, spinning and weaving at the Handicrafts

Centre at Leh.

Inset : A detail showing the

phang being supported

against apricot bowl.

1. The haa, a spindle

used by men to spin

coarse goat hair.

2. An old woman at

Khamaling spinning

wool with the phang.

Product Clusters

Leh district:

Changtang Valley

Leh town

Products

Pile rugs

Garments

Footwear

Yarn

Shawls

Blankets

Saddlebag

Slings

Rugs

Tents

Tools

Phang - spindle used

by women

Haa - spindle used by

men

Hand cards

Tal - special comb

1. A braided sling

made of yak hair

and sheep wool,

an object made by

most Ladakhi

men.

PAABU - STITCHED BOOTS

Product Clusters

Leh district:

Nubra Valley

Choglamasar

Changtang Valley

Products

Paabu

Kir-paabu

Thigma-paabu

Boots worn by monks

during ritual dances

Tools

Needle

Paabu are the colourful knee length boots commonly worn in

Ladakh. Made from wool, cloth and felt using a combination of

techniquest - stitching, coiling, appilque and braiding - these

sturdy boots are constructed in three parts; the sole, the shoe

uppers and the knee cover. Felted woollen cloth with appliqued

patterns in different colours is attached to the rim of the shoe to

give it its height. The paabu are extremely warm and are

especially suitable for Ladakh`s high altitude climate and low

temperatures as they protect the wearer against frostbite. The

nomads of the Changtang Valley make paabu that incorporate

strips of leather and nambu, handwoven woollen cloth, in their

construction. These boots are flat-toed and are decorated with

embroidery at the joineries. The kir-paabu made in the Nubra

region are another variation; they use handspun goat hair and

sheep wool and are usually round-toed and worn by the women.

Another type which is pointed at the toe is worn by the women

and is known as thigma-paabu after the thigma (tie-resist-dyed

wool) fabric used in its construction.

Detail of braiding on the top edge of the shoe upper.

These square toed paabu constructed of wool or

cotton yarns and decorated with brocade pieces are

worn by the monks during sacred dances.

THIGMA - TIE-

RESIST-DYEING

Production Clusters

Sabu

Nubra Valley

Products

Skerekh - belt

Nambus - panels for

garments

Narrow belt

Tools

Thread

Cord

1. Detail of a

garment

composed of tiedyed

woollen

strips.

2. A woollen belt

or skerekh, tiedyed

in synthetic

dyes.

3. Detail of tie -

dyed thitoo, do

and tassels.

Paabu from Changtang made of leather

and woven strips joined together with

embroidery.

Thigma, the local term for resist-dyeing on woollen cloth, is a

derivative of the word thitoo, dot. Practiced larged in the Nubra

Valley, this technique involves pinching parts of the cloth and

tightly binding them with thread. The cloth is then dyed in

natural colours made of apple bark and onion peels (for light

browns), soot (for light grey), a root known as chutza (for

yellow) and a root called chzot (for pink). The cloth is washed

and rinsed in water. When the ties are finally removed, they

reveal a pattern created by the folds of the cloth. Usually only

narrow strips of woollen fabric are tie-resist-dyed. Strips two

inches wide are used in the thigma-paabu (boots with a tie-resistdyed

panel); the skerekh, belt requires strips that are three inches

wide while nambu panels (used in costumes) are still wider.

A slip-on paabu, its design incorporating a strip of tieresist

dyed fabric.

A thigma-paabu ornamented with tie-resist-dyed cloth.

METAL WORK

Copper and brass are used extensively in Ladakh to make a

variety of objects such as prayer-wheels, religious artifacts,

musical instruments, teapots, chang pots, lamps, whisk handles,

spoons, bowls and butter lamps used in Buddhist rituals. The

objects are formed by beating metal into the desired shape and

engraving decorative patterns onto the surface or creating

patterns through repusse work. The objects may be further

embellished with silver. The motifs commonly created include

two dragons facing each other, floral patterns similar to those

seen on Ladakhi caps and brocaded cloth, the interlocking

pattern known as the rgya-nag lcags-ri that is used in carpet

borders and on the edges of socks; and the yumdumlagyut which

is present in prayer room decorations. Due to the growing sales

of utensils and objects from Delhi the demand for these

handcrafted products in Ladakh, has plummeted, thus

threatening the craft with rapid extinction.

1. A brass doorknob with intertwined

dragons from the Hemis Monastery. The

handle is made of braided strips of coloured

cloth.

2. The traditional latch seen in most

monasteries on all doors.

3. Prayer wheels; hollow drums made of

metal sheets on which sacred mantras are

made in repousse.

4. Detail of a dragon motif created in

repousse work.

5. A tubular scroll container, its entire

surface worked in repousse.

6. Large metal vessels commonly used

in traditional Ladakhi households, seen

here stacked on a kitchen shelf.

7. An artisan holding out a semifinished

chang pot.

8. Various tools used in metal work.

Product Clusters

Leh district:

Chilling

Products

Prayer wheels

Butter lamps

Utensils

Containers

Musical Instruments

Tea pots

Chang pots

Lamps

Handles of whisks

Spoons

Bowls

Agricultural

implements

Locks

Tools

Tongs

Hammers

Pliers

Scissors

Fine chisels

Needles

WOOD CARVING

Production Clusters

Leh district:

Wanla

Choglamasar

Products

Choktse - folding

tables

Fehpur - wooden pot

Gurgur - tea mixing

pot

Larger tables

Cupboards

Ritual bowls

Cup with lids

Printing blocks

Tools

Zagham - tool box

Kopsack - sandpaper

Jandar - sharpening

tool

Chisels

Saw

Measuring tape

Gouges

Elaborately carved wooden features as

doors, lintels, windows, beams, furniture

and plaques in homes and monasteries are

an essential element of the Ladakhi built

environment. The distinctive feature of the

wood work is the prominence accorded to

the forms carved in relief. Pear, walnut, teak

and malchang woods are used as they

facilitate easy carving and well finished

surfaces. Most households can afford only a

few

1. plaques or furniture pieces; the

primary patrons of the craft of the

monasteries which commission large

architectural members. Most of the

carved forms have religious

symbolism. Commonly used motifs

include the dragon, the mythical

Garuda, the snow lion, the eight

auspicious symbols of the Buddha,

lotus, clouds, mountain and the

interlocking swastika border.

2. Finely carved traditional wooden

beams and joints.

3. One of the mythical evil spirits on a

carved plaque.

4. The snow lion carved in a low relief

on a wood panel intended for a

monastery.

5. The entrance to the prayer hall of the

Thiksey Monastery.

An unfinished panel, at a workshop in Wanla, demonstrating the stages of

carving. The tools laid out above the panel have been designed by the craftsmen.

PAINTED WOOD

In the dry, desolate and monochromatic landscape of

Ladakh, the colourful clothes, dwelling and possessions

of the inhabitants are perhaps the only visual relief. The

painted wood work contributes significantly to the escape

from a severe environment.

A variety of objects such as ritual artifacts, musical instruments, furniture as

well as structural elements of the local houses and monasteries are

embellished with this. Only eight or so colours are used and these are mixed

together in a variety of permutations and combinations to create a rich palette

that contains 48 colours. There is a specific code which governs the selection

of colours for a particular context. For instance, clouds are always

BASKETRY

painted blue, but the outline of the cloud will be

a tint closer to the white while the inner most

part of the cloud is a shade nearer to the black.

The methods of painting different items vary.

For example, wooden tables are painted in

layers thus allowing a number of colour tones

to be simultaneously visible.

Inset : The endless knot, one of the eight

auspicious symbols painted on a cupboard.

1. An elaborately painted screen at the

monastery at Thiksey.

2. The painted walls and lintels of the

courtyard at the Lamayuru monastery.

Production Clusters

Leh

Products

Choktse - folding

tables

Window frames

Furniture panels

Architectural panels

Giant drums

Prayer wheels

Tools

Paintbrushes

Chipkiang is a local grass that grows all over Ladakh, especially in

areas along the River Indus where the soil is especially fertile.

Chipkiang is crafted into backpack like baskets and matting for use in

homes by villagers during breaks from their daily chores and the hectic

farming season. The baskets are made into two basic sizes; the smaller

one is used for carrying vegetables while the larger one known as tsepo

is used for carrying heavier and larger loads. The basket has two

components: the basic skeleton of the basket formed by two sturdy

branches of salchang, willow, bent at right angles, and the body of the

basket that is made from grass stalks, and is woven in

the weft twining technique. The grass is softened by

soaking it in water for two weeks. A set of stems of

equal thickness are then selected. Two of these pairs

are placed at right angles and a pair of grass stalks is

twined around the veritcal stalks of the circular form

as well as the willow branches. The rim of the

basket is finished by braiding the loose ends of the

grass at the open end of the basket. The basket is

allowed to dry in the sun for about a month as the

grass remains wet.

Product Clusters

Ladakh:

Kargil

Bod Kharbu

Lamayuru

Saspol

Nimmo

Chushot

Products

Tsepo - backpack

baskets

The tsepo with its

characteristic square rim

and curved base.

Districts - 12

Craftspersons - 0.58 Lakhs

The town of Chamba, situated on the banks of River Ravi.

CRAFTS -

HIMACHAL

PRADESH

Lost wax metal

casting

Silver jewellery

Chamba paintings

Ebroidery on leather

Chamba rumal

embroidery

Thangka painting

Thangka applique

Metal work

Wood work of

Dharamsala

Basketry

Doll making

Sheet metal craft

Kullu shawls

Pula chappal -

footwear

Knitted socks

Horsehair bangles

Pottery

Languages

Jangram

Kinnauri

Pahari

Shumcho

Mandiali

Kulavi

Kehluri

Hinduri

Chambeali

Sirmauri

Miahasvi

Pangwali

Kanashi

Bauria

Festivals

Kullu Dussehra

Lavi Fair (Rampur)

Shivratri (Mandi)

Manimahesh Yatra

(Bharmour)

Minjar (Chamba)

Renuka Fair (Nahan)

Gaddi Fair

Landmarks

Norbulingka Institute

Museum of Kangra

Art

Kunal Pathri

Kangra Fort

Jwalamukhi Temple

Akhand Chandi

Palace

Rang Mahal

Lakshmi Narayan

Temple

Chamunda Temple

Bhuri Singh Museum

Viceregal Lodge

Christ Church

The state`s terrain rises from the

foothills of the Shivaliks bordering

the plains of Punjab and extends

westward to the alpine zone of the

Zanskar Range adjoining Ladakh and

Tibet. Amit these mountains vistas is

the historic town oc Chamba, the lush

meadows of the Kullu Valley, the

undulating expanses of tea gardens

and apple orchards of the Kangra

Valley and the green pastures of

Kinnaur in the east.

Unlike the verdant landscapes of these valleys, the districts of

Lahaul and Spiti are barren lands of rocky crags dependent upon

glacial melts for their water supply. The Pahari, hill state, is

inhabited primarily by an agrarian community where many

derive their income from sheep, goats and cattle and 90% of the

population lives in small slate roofed tw-storey houses perched

over terraced fields and mountain slopes in self contained

villages and small towns. The ethos of this hilly region,

intrisically defined by its geographic and climatic conditions, is

perhaps

best encapsulated in its name - Himachal, literally the `Snow

Mountain`. While most of the local people are Hindus, the state is

also inhabited by a sizeable number of Buddhists (especially in

Dharamsala, Lahaul and Spiti) and various pastoral communities like

the Gaddis who rear sheep and goat, the Gujjars who rear buffalo,

and Kinnauris - all of whom live in various parts of Himachal

Pradesh and have distinct cultural identities. This eclectic social

structure is reflective of the province`s close ties with cultures

outside its domain - with that of Ladakh and Tibet on one hand and

the plains on the other. Furthermore, many areas of Himachal

Pradesh were used as `hill station` or summer retreats by the British

during the colonial period; numerous colonial buildings are still

extant. The Viceregal Lodge at Shimla is an English Renaissance

style building constructed in 1888 as the summer residence for the

viceroys of India and the Gothic style Christ Church is renown for

the fresco around its chancel window which was painted by

Lockwood Kipling, Rudyard Kipling`s father.

Inset : A rock shrine at the Norbulingka Institute in Dharamsala.

1. A detail of the carved wooden ceiling of the

Chamunda Devi Temple, dedicated to the

wrathful form of the goddess Durga.

2. The shikara, cruved stone tower above th

inner sanctum, is given a peculiar local

accent at the Lakshmi Narayan Temple

Complex through the use of wooden

umbrella-like chhatri that function as snowshields.

Opposite page, below

Much of the local economy centres around sheep -

the cold climate necessitates the use of woolen

garmets, and the cottage industries of spinning and

weaving have been harnessed by a rapidly

expanding woollen handloom industry, which also

caters to urban and export markets.

3 A Kullu woman wearing the traditional

handwoven woollen known as pattu.

4 Three Kullu women make their way to one of

Himachal Pradesh`s numerous religious fairs.

5 A bride from Kinnaur laden with profusion of

the customery silver ornaments.

6 Cobs of corn, the staple crop of Himachal

Pradesh, seen drying on the rooftops of houses in

Kullu.

7 The houses in the Kullu region are usually slate

roofed structures built of clay bricks or stone and

embellished with carved wood elements. Most

buildings are two-storey; the ground floor is used

for the cattle or for storing logs of wood and the

upper floor is used as the living area.

Attire

Topa - peaked hat

Chola - woollen knee

length coat

Cholu - woollen gown

Dora - sheep wool be

Pattu - woollen wrap

Kullu shawl

Angarakha - double

breasted woollen coat

Joji - cap with tail

Thepang - woollen

coat

Cuisine

Nasasta - sweetmeat

Indra - preparation of

urad dal, split black

lentils

Poldu - lentil cutlets

Cha - salted tea

Crafts of CHAMBA

Lost wax casting

Silver jewellery

Chamba painting

Embroidery on leather

Chamba rumal

Subclusters of

CHAMBA

Chamba district:

Chamba

Barmour

RESOURCES


Lost was metal

casting

Silver, Brass

Chamba

Silver jewellery Silver Chamba

Chamba painting

Embroidery on

leather

Chamba rumal

Handmade paper,

Pigment colours

Leather, Felt, Zari,

Thread

Mulmul, Fine khaddar,

Silk threads

Sanganer, Rajasthan

Jalandhar, Punjab,

Maharashtra, Kolkata

Chamba, Bharmour

Situated on a mountain ledge overlooking

the River Ravi, the town of Chamba was

established in the 10th century when Raja

Sahil Varman relocated his capital from the

neighbouring Bharmour region, now the

homeland of semi-nomadic shepherding

Gaddis. The city is believed to have been

named after the king`s favourite daughter,

Champavati, who legend says, sacrificed

herself to provide water to the parched city.

To this day. women and children sing her

praises in the town temples on the occasion

of the annual Sui festival. The ornament

carving of the Laxhmi Narayan Temple

Complex, the Chamunda temple and the

Madho Rai Temple provide ample

testament of the consistent art patronage

provided by Raja Sahil Varman and his

successors. The hill state was rulded by a

single dynasty in continuous series of

accessions and consequently, it enjoyed a

remarkably stable political environment in

which the arts could be actively cultivated

by the rulers. In the mid 18th century, a

number of artists fleeing religious

persecution were given refuge in the Pahari

states; notable among the courts in which

these artists found avid patrons was that of

Raja Umed Singh of Chamba.

ACCESS

Chamba is connected with Pathankot (80

km), which is connected with Jammu,

Delhi, Kolkata and Mumbai. It may be

accessed by road via Shimla, Delhi, Manali,

Dharamsala and Jammu. Gaggal airport, ten

km from Kangra town, on the Pathankot -

Manali highway operates flights to Delhi,

Shimla and Chandigarh.

1 An intricately carved stone idol depicted in the tribhanga mudra posture at the Shiv Shakti

Mata Temple. Tribhanga, thrice-bent, Krishna`s post in which he is bent 3 times - at the waist,

neck and head, with one leg crossed over the other, while playing the flute.

2 A brass idol of a deity from Chamba, her ornamental regalia, crown and umbrella made in

sheet metal.

3 A local craftsman sculpts a beeswax model

preparation for the later bronze casting through

the lost wax process.

4 A silversmith creates ring-like forms while

minting the flame by blowing through a hollow

metal tube with carved edges.

LOST WAX METAL CASTING

Product Clusters

Chamba

Products

Mohra - votive masks

Idols

Figurines

Bells

Tools

Soldering iron

Sandpaper

Buffing machines

The tradition of lost wax bronze

casting is believed to have been

brought to Chamba by immigrant

Kashmiri artisans who found

patronage at the courts of the Pahari

Kings; the antique metal statues

enshrined at a number of temples in

the region (among them the Lakshmi

Narayan Temple, teh temple of Bansi

Gopal and the Hari Rai Temple in

Chamba) suggest that these

craftsmen specialized in making

idols. Over time, the Kashmiri idiom,

which these craftsmen were trained

in, was infused with some local

stylistic elements and a number of

metal works.

SILVER JEWELLERY

PAHARI WOMEN ARE ususally bedecked with an

assortment

of heavy silver ornaments made of shee metal and

wire

manipulations. The choice of the adornment and the

attire

together indicae the wearer`s occupation,martial status

and

community of origin. In adddition to displaying a

specific sociocultural

positiond, jewellery is also an economic

investment

for rural women. The head,ears and forehead are the

primary focus of jeweller; thus leading to the creation

of a

plethora of regional variations. The chiri tikka, sirka

chamkuli,

daman or daoni tilak and chak are flat pieces of silver

(either

enamelled or embedded with pearls)that are worn

suspended

on the crown,secured with chains that hang along the

hairline

on both sides. The nose ornaments nath or balu

and the

septum ornaments bulak or kundu that are worn

exclusively

by married women are usually highly intricate. Neck

ornaments

range from the torque- like sira or hansli to the

small

pendants or the toke. There also exist many distinct

bead necklaces-kamrakhi

mala, dodmala, jau mala, dar mala -

where

numerous chains made of beads of various shapes and

forms

are linked together by silver plaques. Of these, the

chandan

haar or chandrasani haar, constructed of five or seven

rows of facetted gold beads, is perhaps the most

popular.

1. The chandrahaar, an elaborate necklace of

several large and small die-stamped

pendants linked together by odd-numbered

chains. The central pendant is enamelled in

blue and green, the colours favoured in the

kangra valley, augmented with numerous

goli,silver open beads or peepal patta,leaf

form.

2. A champakali necklace with magnolia-budlike

pieces: the forms of Pahari jewellery are

usually derived from natural forms such as

seeds, flowers and leaves,peacock,

snakes,peepal leaves and the cresent moon.

3. Tassels are used extensively as an

ornamental element in the jutti and beshtar

that are worn in the hair.

4. Silver amulets are considered to have the

power to ward off evil spirits and are worn

by men, women and children; shown here is

the centrepiece of an amulet with hanging

silver tassels called surghundi or sumbala.

5. Laung, a gold nose-ring, fitted with a

coloured stone and ornamented with

encrusted metal from the Lower Himalayas

where, unlike the villages of the interiors in

which silver ornaments are more common,

there is a marked preference for gold.

6. Two klenti, the tools used to measure the

diameter of rings.

Tools

Sansi - tweezer

Katira - pliers

Jamoor - cutter

Klenti - ring die

Hathoda - hammer

Blow pipe

Production Clusters

Chamba district:

Maila village

Sultanpur

Chamba town

Chaugan Bazaar

Mandi town:

Moti Bazaar

Kangra town

Kullu

Kinnaur

Shimla district:

Rohru town:

Sunarion ka gaon

Products

Necklaces:

Dodmala - beaded

necklace

Champakali

Chandanhaar

Sabi-lockets inset

with a painted

miniature icon

Chandrahaar - necklace

of silver coins

with an enamelled

pendant

Gal pattu - Choker

Jaumala - silver

beaded necklace

Earrings:

Karanphool

Jhumku

Nose-rings:

Laung-large stud

Balu-large nose ring

Bulak-circular nosering

Bangles:

Kangnu-bangles with

elephant-head knob

endings

Silver bracelets

Bajuband-arm bands

Paijeb - anklets

Kamarbandh-waist

bands

cummerbund; the torna(backgroun) is

embellished in the Pahari style as are the

goddesses with long tapering eyes draped in

sari,the chou(pleats) of which are executed

with great care. The metal used is usually an

alloy of brass with 65%copper and 35%

zinc. Silver is also included in the casting in

a proportion of 10gm of silver to 1 gm of

copper; it is also occasionally used to inlay

a figurine`s eyes.

1 A modhra made in the Pahari style.

2 A brass mohra, mask of a deity, made in

the Kashmiri style.

CHAMBA RUMAL

In the depiction of the Raaslila, Krishna multiplies himself in order to dance with four

of his devotees, the gopis, while Vishnu witnesses the scene from his seat on a lotus.

Althought PRACTICED THROUGHOUT the region that

comprises erstwhile princely hill states, the craft has come to be

associated specifically with Chamba owing to the patronage

afforded it by rulers of the area as well as to the quality of the

local craftmanship. Traditionally,the Chamba rumals were silk

embroidered square pieces of handspun and handwoven

unbleached mulmul,fine cloth that were used to cover dishes of

food,gifts to significant persons and offerings to a deity, or

exchanged between the families of the bribe and the groom as a

token of gooddwill. The embroidery was done in a double satin

stitch technique known as dorukha, which ensured an exact

replication of image on the

reverse of the fabrics.Although practiced by women from all

strata of Pahari society,the embroidery style developed by the

women of the upper classes and the royalty has now come to be

exclusively related to the craft.Both the folk and the court

styles usually rendered the popular themes of the Raaslila,

Raasmandal (depiction of dance in relation to krishna and

devotees), Ashtanayika ( a depiction of various types of

heroines in their distinctive moods and environments),hunts

and chaupad,dice game; the styles and colour schemes,

however, were vastly different. The folk style made generous

use of brilliant colours including pink, lemon yellow,purple and

green while the court form evolved a more sophisticated colour

palette that consisted of pale shades of ochre,dark green and

blue. The court style reflects the popular pastimes of Pahari

men and women from royal and noble families through the

addition of details such as the smoking of the hookah, women

shown talking to parrots, playing with a ball or dice or listening

to music. It also derived its compositions, border motifs and

floral ornamentation from the wall paintings of the Rang Mahal

of chamba and the Pahari miniature tradition. Often, trained

mininature painters from the courts were called in to draw the

compositions onto the fabric and to provide colour schemes. It

is due to this close relationship with the painting tradition that

the Chamba rumals have beeb called `paintings in

embroidery`.In recent years, artisans have been encouraged to

reproduce earlier masterpieces in order to sustain the craft.

Simultaneously,efforts have also been made to diversify the

craft products to include a wider range of items such as

caps,hand fans, blouses and bedspreads.

1. The deity Lakshmi Narayan sits in the central quadrangle

of a game of chaupad as three male figures sit in the four

corners of the composition with sets of dice laid out

before them. The dense stitching is believed to be based

on the bagh embroideries of Punjab.

2. Godhuli, literally the`hour of cowdust`,depicts Krishna

and his cowherd friends bringing the cows back at dusk.

Radha and Krishna are seated in the upper floor of the pavilion; the musicians, ladiesin-waiting

and strolling peacocks in the garden reflect what was the lifestyle of the

court.

Production Clusters

Chamba district;

Chamba town

Products

Rumal-square cloth

Pankhi - handfans

Blouses

Bedspreads

Wall hangings

Dice boards

Cushion covers

Caps

Tools

Dyed untwisted silk

thread

Needle

Marking Chalk

CHAMBA PAINTING

A PARTICULAR STYLE OF miniature painting

was initiated in the 17th to the 19th centuries in the

Himalayan hill states and eventually this regional

idiom came to be known as the Pahari kalam,i.e. the

paintings from the Pahari or hilly regions. Although

it originated as a folk art form in Basohli, the tasvir,

paintings,were gradually refined, as the style spread

to other neighbouring regions and begab to receive

court patronage. This development was given a

discernible impetus when many artists affiliated to

the Mughal court gradually migrated to the

kingdoms of Nurpur, Chamba,

Basohli,Guler,Kangra,Mandi, Kullu and Bilaspur

seeking sympathetic patronage after the fall of

Delhi in 1739 to the Persian ruler Nadir Shah and

the collapse of the Imperial Power. Chatrere, the

painters, used mineral or stone colours and painted

on absorbent handmade paper;on completion , the

paintings were burnished by rubbing the back of the

painting with an agate stone. While the Basohli

style was characterized by a flat use of bold, intense

colour and the detailing of the crowns and jewels

with cut beetle wings, the later styles (most notably

Guler,Chamba and kangra) may be distinguished by

their elegant rhythmic figures, idealized female

form and subtle handling of colouring. The main

themes that found pictorial representation in the

Pahari kalam were epics like Ramayana,

Mahabharata, Bhagvata Purana, episodes from the

lives of Radha and Krishna inspired by Jayadeva

Gita Govinda and the tale of Nala-

Damayantid.Althought all of these paintings have

religious and spiritual undertones, the compositions

also represented the mundane, everyday activities

and emotions of

the protagonists of these narratives, often using elements of the Pahari

landscape as metaphors. For instance, a bereft Krishna pining for Radha

would be depicted seated under a weeping willow, the stoop of its

branches corresponding with his bowed head, as a dove circles the dark

skies looking for its mate. Often, the narratives are contextualized within

the environment of the hills; the fortifications and city structure of the

Pahari kingdoms and the local landscape and flora - especially huge leafy

trees, pointed cypresses, gently flowing rivers and dark lighting pierced

clouds-form the backdrop for many an episode.

Production Clusters

Chamba district:

Chamba town

Products

Paintings

Tools

Conch shells

Brushes

Burnishing stones

1. An episode from

the Gita Govinda

depicting Krishna

and Radha`s tryst

in the forest;the

lush idyllic

landscape of the

region acting as a

backdrop for the

romantic scence.

2. A depiction fo

Goddess

Saraswati.

3. An incomplete

rendering of the

episode of Krishna

Govardhana; the

faces and

ornaments are

painted last.

EMBROIDDERY ON LEATHER

ACCORDING TO A local myth, leather shoes were

introduced dto the grass-shoe-wearing Chamba Valley by a

Kangra princess who married into the royal family of Chamba

and brought along a cobbler family as part of her dowry. Even

to this day, families of cobblers make this now famous

chappal, slippers of embroidered leather. The Chappal is

constructed with sheep or goat leather or calfskin, by the male

members of this

A detail of tilla and resham

embroidered felt (panna).

An upper embroidered with

an ari, hooked needle.

community while the women embroider elaborate felt uppers

that are mounted on the leather chappal. A form of chain stitch

embroidery done with a hooked needle, known as the Chamba

kadhai, is utilizedd to create stylized lantana flowers and leaves;

these are usually embroidered in resham,silk threads,while russitilla,

synthetic zari threads, are utilized to further accentuate the

resham embroided forms. The colour palette generally consists

of shades of pink, deep green, red, sky blue and yellow,

executed on a background of black or maroon.

Production Clusters

Chamba district:

Chamba Town

Products

Chappal - slippers

Belts

Tools

Various hammer

Scissors, Pliers

Jumoor-to remove

mails

Screwdriver

Gulsome-punch

Sil-stone

Crafts of Kangra

Thangka painting

Thangka applique

Carpet weaving

Lost wax metal

casting

Sheet metal work

Silver jewellery

Wood carving

Wood Work of

Dharamsala

Subclusters of

Kangra

Kangra district:

Kangra

Dharamsala

Palampur

RESOURCES


Thangka Painting Silk Fabric Paints Delhi

Silk Fabric, Threads,

Thangka Applique

Horsehair

Delhi

Tibetan carpet

Woollen yarn, Cotton

yarn

Ludhiana

Sheet metal work Copper Sheets

Kangra

Metal Casting Brass Kangra

Wood work of

Dharamsala

Wood-khair, chilpine

and other soft woods

Pathankot,

Punjab

1. Lush tea gardens at Palampur.

2. A thangka painter is Dharamsala; the

adjustable frame allows the painter to

bring the canvas close to paint details.

3. A carpet weaver in Mcleod Gunj,

Dharamsala.

4. A Tibetan sacred symbol printed on a

door hanging.

5. A master idol maker at his workbench in

Dharamsala.

SITUATED AT THE confluence of the Banganga and Manjhi

streams with the magnificent Dhauladhar Range as its backdrop

is Kangra- a valley of lush green terraced fields,majestic deodar

trees, tea gardens, pine forests, apple orchards and anicent Hindu

temples. The town of Kangra, earlier known as Nagarkot,was

once the capital of this valley region. In 1620, Kangra and its fort

were captured of the Mughal Emperor Jehangir who built a

secondary fort and named it Nurpur after his wife Noorjahan.

Wven after it became a Mughal province, Kangra continued to

enjoy its previous feudal splendour and during the 18th century,

the unstinted patronage of the ruler Raja Sansar Chand Katoch

which led to a flourishing miniature painting tradition. In

addition to the extremely idealized femal form and the lyrical

lines of the drawing, the Kangra paintings are also characterized

by their romantic themes, most notably that of the Gita Govinda

and its depictions of the romance of Radha and Krishna.These

paintings, set in the idyllic Kangra landscape, are said to have

been specially commissioned by the king in order to express his

devotion for th eGaddi maiden he had fallen in love with. The

once formidable Kangra Fort is now a picturesque ruin but

within the fort`s compound are two well known temples,

dedicated to the local goddesses, Ambika Devi and Lakshmi

Narayan. Southwest of Kangra lies the jwalamukhi Temple, an

important pilgrimage site, and towards the east are the tea

gardens of Palampur and the fortress of Sujanpur-Tira, once the

favoured residence of Raja Sansar Chand and the venue of some

exquisite wall paintings that are still extant. Dharamsala, a hill

station established by the British in the mid-19th century is today

the district headquarters and home of the Dalai Lama and the

Tibetan Government -in-Exile. Its monasteries, craft centres and

performing arts school ensure the continuation of Tibet`s

distinctive culture and region.

ACCESS

Gaggal airport is 13 km from kangra and 50 km from Palampur.

The nearest broad gauge railhead is Pathankot (90km) and a

narrow gauge railway line running between Pathankot and

jogindernagar is linkded by roads. Dharamsala is well connected

via road to the nearest rail head, Pathankot (Punjab).

THANGKA PAINTING

THANGKA ARE PAINTINGS

on cloth that depict the sku rten,

the bodily forms of enlightened

beings, or the diagrammatic

mandala, the `sacred circle`,

symbolizing the spiritual

embodiment of the Buddha and

the stages of spiritual realization.

The figurative paintings either

place the deities within a

narrative by depicting episodes

from their lives

(for instance, portraying the

twelve great deeds of the

Sakyamuni Buddha or events

from the past lives of the Buddha

as discribed in the Jataka tales)

or by portraying aspects of Buddha`s nature as a

sentient being. For example, the deity

Awalokiteshwara is the embodiment of wisdom and

compassion. In the latter type, the selection of a

particular deity for portrayal is usually linked with the

effects desired by the person commissioning the

thangka. Thus, thangka of goddess Tara are in demand

for her ability to remove obstacles and grant protection

while thangka of Amitayus are commissioned by those

hoping he will bestow them with long life. Hung in

monasteries,shops and homes ,thangka may be

commsioned to bring well-being and health, toward

off the evil eye, to ensure a happy rebirth or for use as

a meditational aid;their widespreas preasence makes

them a significant element of the Buddhist visual

culture. The paintings are usually executed on coarse

cotton cloth using mineral colours;silk is reserved for

the painting of important subjects. The painters receive

training at the monasteries and are expected to follow

strict dictums regarding the rendering and proportion

of the forms, the geometry of the composition and the

colour schemes.

Production Clusters

Kangra district:

Dharamsala

Kinnaur district

Lahaul and Spiti

district

Products

Thanaka paintings

Tools

Rkyang shingwooden

frame

Brushes

Bamboo splints

A thangka depicting the

goddess known as

`White Tara` who is

believed to remove

obstacles and grant

protection to the

devotees.

Inset A detail of a purnakalash , the port symbolizing

fertility and prosperity.

DRASD-DRUB-MA-APPLIQUE THANGKA

A VARIATION OF the painted thangka, dras-drub-ma, the

applique thangka is a scroll-like installation on which

Budddhist imagery is constructed by stitching coloured

pieces of fabric onto a base cloth . Various sections of the

image are produced separately, then dovetailed and fastened

onto a backgroundd material to form the whole figure. The

Fabric pieces may be placed side by side or overlapped to

lend the representation a greater degree of dimension.

Tshen-drub-ma, embroiedery, is also often used to

embellish or detail the image and in some cases the thangka

may even be complete worked with stitches. The direction

of sewing, the ply of the silk thread, the tension or lack of a

stitch, and the capacity of the embroidery to form patterns

are all used to create visual interest and variety. Both , the

fabric preparation and the thread work, are done exclusively

by men and the artists undergo a periodd of apprenticeship

under a master before they are allowed to practice

independently.

1 Individdual parts such as

flowers,leaves,flames or hands are

outlined with a piping that is couched

down onto the shaped parts. The piping is

made by winding silk yarn around a horse

hair or cord. This traditional thus outlined

are appliqued with the same silk thread

that is used for the piping is made by hair

or cord.This traditional process is time

consuming, as every piping is made

according to the proposal thangka.The

parts thus outlined are appliqued with the

same silk thread that is used for the piping.

2 A detail of

an applique

thangk

representing a

Buddhist

deity.

3 Pieces of

brocade are

stitched

together to

create alarge

Production Clusters

Kangra District:

Dharamsala

Products

Thangka

Cushion covers

Bed Covers

Curtains

Tents

Carbon paper

Carbon paper

Tracing paper

Addhesive, Scissors

Needles, Pins

Production Clusters

Kangra district:

Dharamsala

Products

Idols

Relief panels

Ritual objects

Bells

Utensils

Tools

Chisels

Files

Punches

Hammer

METAL WORK

AT THE NORBULINGKA Institute, set

up in Dharamsala for the preservation of

Tibet`s cultural traditions, a centre has

been established to provide training in the

art of both sheet metal and metal casting; it

is the combined use of these techniques

that distinguishes Tibetan metal work. The

training received by the craftsmen includes

the development and refinement of

drawing skills and a knowledge of the

proportion system and measurements laid

down in canonical texts. The skills of the

craftsmen are usually directed towards

making statues and relief panels tha t serve

the ritual and spiritual requirements of the

monastery. A punch is used to create the

rlief of the desired image in repousse on

bronze sheets while the chasing technique

is utilized to form the details. The punches

used to sculpt the metal sheets are custom

made by beating hot metal iron rods into

any desired shape. The embossed sheets

are cleaned and polished and are usually

used as ornamental bases around the

statue`s framework. Occasionally, the

sheets are formed into containers or ritual

implements. Statues and ritual artefacts are

mostly made in bronze through the lost

wax process.

A range of statues are made to cater to a variety of requirementslarge

statues are made for the monasteries while smaller statues

are made for sale to individuals. The large statues are made as

individual cast parts that are eventually joined by soldering or

brazing. The statue is fininshed through the mercury gilding

process, usually executed under the supervision of a master

craftsman. The occasional addition of inlaid precious stones to

the bronze statue is motivated by the belief that the statue`s

spiritual presence is increased by the value of the material used.

1a,1b The representation of the deities are

expected to follow the sacredd proportions

prescribed in the cononical text known as

the Tengyur.

2 During the consecration ceremony, the

master craftsman ritually brings the image

to life by painting the eyes and lips.

3 Details of the Deity`s ornamentation

such as the necklace and armlets are

engraved in sheet metal and soldered onto

the cast statue.

4 A craftsman drawing the outline of

an image.

5 The individual parts of a figurine

cast separately in the lost wax process.

6 After the form has been created

through repousse, the details of the

form are engraved or chased on the

frontal side of the metal sheet.

WOOD WORK OF DHARAMSALA

REFERENCES TO THE Tibetan art of wood carving date back to the construction of the

Tsulhakhang Temple at Lhasa in the 7th century AD. The site is recorded to have contained

elaborately carved narrations of the story of the Boddhisattvas as well as intricately detailed

wooden tea bowls, carved windows, shrines and thrones. The wood that are usually used are the

khari, chilpine and other softwoods; the selection of the wood to be used is based on its plasticity,

ease in carving and durability.

Production Clusters

Kangra district:

Dharamsala

Products

Architectural

elements

Cupborads

Statues

Altars

Picture frames

Boxes

Musical Instruments

Tools

Bah-Bamboo fret saw

Wooden mallet

Jamdar - sharpening

stone

Chisels

Gouges

Metal pointer

Calipers

Template

Files

Sandpaper

A traditional bamboo fret saw known as the bah is used to remove

wood along the drawn pattern to facilitate the second stage of the

carving process which is the creation of an intricate fretwork. The

Carving tools are made by the local blacksmith or by the students

themselves. The finer details are later carves out using fine chisels and

the object is then finished through painting, lacquering or varnishing.

The paint work is sometimes undertaken by the artists from the thangka

studios thus granting the carved work the distinct colour scheme and

style of the thangka painters.

1. The carved and painted

entrance to the

Norbulingka Institute.

2. Carved wooden stands

used to hold wind

instruments at a

monastery.

3. Craftsman carving the

leg of a table.

4. Carved fretwork panel

depicting a deity seated

on a flower amidst a

flowing trellis

5. Another intricately

carved fretwork panel

containing the symbol

known as the

dharmachakra or the

sacred wheel.

Punjab

RESOURCES


Sheet

Brass, Silver

metal work

Kullu

Shawl

Pula

Chappal

Handknitting

Handknitting

Pashmina wool, Byangi wool,

Imboo wool, Desi wool,

Merino wool

Pula grass, Dyed yarns

Desi wool

Dyed wool

Ladakh, Kinnaur,

Kullu, Kullu,

Ludhiana

Kullu

Kullu

Ludhiana

Crafts Kullu

Basketry

Doll making

Sheet metal work

Kullu shawl weaving

Hand-knitting

Pula chappal

Subclusters of

KULLU

Kullu district:

Kullu

Manali

Banjar

Bhuntar

Shimla District:

THE KULLU VALLEY situated in central Himachal

Pradesh and watered by the River Beas, has long been a

site of human inhabitation. Ancient Sanskrit texts refer to

the valley by the title `Kulanthapith` or the end of the

habitable world- an apt description when one considers

that beyond the lush fields and apple orchards of Kullu lie

the barren lands of rocky massifs and hanging glaciers

that comprise the distict of Lahual and Spiti, the two lands

separated by the Pir Panjal Range. Kullu is locally known

as the `Valley of the Gods`=its alpine landscape is the

gathering place for 360 deities from different temples in

the Pahari region, whi congregate here during the nine

days of the annual dDussehra festivities. The processions

at the festival are led by the richly adorned images of

Ram and Sita from the local Raghunath temple.

ACCESS

10 km from kullu is the airport at Bhuntar from where

taxis and buses are readily available. By road, Kullu is at

a distance of 240 km from Shimla.

1. A loom in a village house; a common sight in the

kullu region where weaving is a widespread cottage

industry.

2. A Village blacksmith embossing brass sheets to

create mohras.

3. Carpet weaver in kullu town.

4. Pula Grass is spun into rope,used to weave the pula

chappal.

BASKETRY

THORUGHOUT THE STATE of Himachal

Pradesh, one may see women carrying

elaborately woven basket laden with apples or

tea leaves on their backs. Baskets of various

sizes are also used to store grains as well as

cloth. These baskets are made of bamboo;

locally grown grasses such as the nargal (a

thin grass), toong (a thick grass found in the

higher reaches of the monuntains that is used

for reinforcement), chupod (a soft

grass),phhagad (a hard grass);banana fibres or

palm leaves, and are usually purely functional.

The techniques utilized in the d construction

of the basket vary according to the type of

basket to be woven but are usually

combinations of coiling,interlacing and

plaiting. Although coloured decorative

elements are occasionally added to the woven

basket, the patterns achieved through weaving

are essentially structural in nature. The baskets

are made by professional weavers as well as

by the women of Pahari households during the

winter months and they are sold at the local

fairs and weekly markets, the market at the

kullu Dussehra Festival and during the

marriage season.

1. Two varieties of grass used in the

local basketry, the thick toong and

the thin nargal.

2. Load-bearing baskets from KUllu

made from local wood-stemmed

grasses, toong and nargal.

3. A bamboo storage basket

4. The kamothu, a small basket that is

made in Kullu.

Production Clusters

Kangra District:

Palampur

Kullu district

Chamba district

Products

Kullu district:

Dhalara-large bamboo

container

Supu-winnowing

instrument

Changer - large

circular bamboo tray

Chabdi - storagde

basket

Chamba district:

Kilta-basket

Pinjara-cage

Chhatroru-umbrella

Binnas-cushion

Chattai-mat

Winnowing Fan, Tray

Palampur:

Kamothu-small

basket

krida-big basket

Soop - winnowing

basket

Kandi - tiny basket

Mandri - grass mat

Tools

Chaku-knives of

various sizes

Dhrah-splicing tool

A large chaku, knife.

DOLL MAKING

A DOLL CENTRE at

Shimla is renowned for its

production of a variety of

traditionally attired dolls

depicting different Pahari

communities. First, a metal

wire skeleton is

The

Kothgarh

doll is

dressed

in rejta, a

long

flowing

skirt

gathered

at the

waist, a

blouse

with a

cut

sleeves

jacket

and a

sash of

folded

cloth at

the waist.

LIke the

`Kullu

doll` she

wears

dhatu on

the head

and

carries a

keelta

adn

beru,lam.

The Kullu dolls attire comprises of a pattu, mid-calf

length chequered dress, worn like a short sari over a

pair of pyjamas. She wears a head-scarf called dhatu

and carries a cane basket called keelta as a reference to

the tea plantations of the district.

The Pangi or wedding dolls are known as the gaddan,

groom, and gaddi, bride. The bride may be recognized

by the flowing veil and joiji, the small cap, perched

jauntily on her head.

Production Clusters

Shimla town

Products

Kinnaur and Kullu

dolls

Kangra dolls

Kothgarh dolls

Pangi dolls

Spiti & Rohru dolls

The most famous of the

dolls is the one

representing the

traditional attire of the

inhabitants of the

Lahaul and Spiti

district. She is dressed

in a red mid-calf length

full sleeved jacket

made of expensive

Indian velvet,

decorated with thin

white lace on the

edges.

prepared;this is then stuffed

with locally procured grass

to create the doll`s body.

Care is taken to ensure that

the grass used is somewhat

damp so that when it dries,it

will retain the shape of the

armature. The grass body is

then clothed in miniature

garments of blended fabric,

and a papier-mache face

and wooden base are

affixed onto the doll

THATTAR KA KAAM- SHEET METAL WORK

Production Clusters

Kullu district:

Banjar tehsil

Kullu town:

Sarwari Bazaar

Chamba town:

Charpat Mohalla

Hatnala Mohalla

Kashmiri Mohalla

Kangra District:

Palampur

Geea village

Baijanath Tehsil

Kangra town:

Mandir Gali

Kinnaur district:

Pooh tehsil

Spillow village

Karaum Village

Sonam Village

Products

Karnal - wind

instrument

Narsingha - S-shaped

Trumpet

Chattri - umbrella for

the gods

Dhol - barrel-shaped

drum

Nagara - kettle drum

Chadi -ritual object

Mohra - mask

Tools

Dhum hathaudahammer

Chisels

Files

Punches

Chimtas-tong

THE SHEET METAL work practised in Kullu caters largely to the

ceremonial requirements of the region`s temples. The chief products are

mohras, the sheet metal masks depicting the various divinities worshipped

locally;chattries,the umbrellas used to shield the deities when they are

taken out of the temple premises in festive processions. In addition to thids

prolific temple patronage, the craft also receives an impetus during the

nine days of the Dussehra festival when a temporary market is set up and

smaller sheet metal objects such as the brass and the silver utensils used in

domestic rituals and a number of musical instruments are purchased by the

devotees. This assorted range of objects is created from metal sheets on

which the form is first transferred and then die-pressed or only beaten.

Once the desired shape is achieved, the object is heated in a coal-fired

kildn to soften it and grant it lustre. The figurative details are carved on

and the artefact is polished with lemon leaves.

A chhatri for the processinal palanquins on which the gods are borne

during the Dussehra

An image of a deity with two mohras, surmounted by a

chhatri and bedecked with jewellery and its festive

paraphernalia.

An embossed plaque depicting a local myth.

KNITTED SOCKS

A mohra of a local deity.

LONG HAND- KNITTED socks made with

natural sheep wool contrasted with patterns

in bright acrylic yarns or black and white

are made by women in villages throughout

the districts of kullu and Lahaul and Spiti.

Hand-knitting is a technique of fabric

construction in which interlinked loops are

made from a continuous yarn. Although

only two needles are usually utilized for

knitting, these tubular socks are knitted with

four needles. The prevalence of these socks

in this region is largely due to the high

altitude climate, the availablity of local

wool adn the low budgets required for the

purchase of the basic tools and materials -

knitting needles and wool. The coloured

stripes and geometric patterns used to

enhance the natural shade of the wool

resemble the border decorations of the

Kullu shawl and caps.

1. A detail of the patterning of a knitted

sock.

2. Hand-knitted socks in natural sheep

Production Clusters

Kullu district

Lahaul and Spiti

Products

Socks

Tools

Knitting Needles

wool with bold patterns in acrylic

district

PULA CHAPPAL - GRASS FOOTWEAR

KULLU SHAWLS

LEATHER SHOES MADE OF

cowhide were considered

inappropriate for treading on the

soil of Himachal Pradesh,

regarded as the land of the gods

and consequently the sacred

grass of shale (cannabis or

bhang) were used to make the

traditional footwear of the

Paharis, the pula chappal. These

lightweight shoes and slippers

are worn during religious

ceremonies, within temple

precints and to walk on snow.

Dried trips of cannabis grass or buckwheat stem are converted

into rope-like form and then strengthened by a process of

twisting and stretching it. Five loops in increasing or

decreasing size a relation to the toes are made from the

prepared rope. Each rope is then tightened around the junction

point of a T-shaped tool that is rotated at great speed while

holding the base of its Khaitadu, stem. The body of the

chappal is made by inter-twining very fine threads of grass

spun on a takli, spindle. In some instances, a decorative shoe

upper is created with a blanket stitch and contrasting colours

of wool. A simple system of hand measures is used to make

different sizes. Today, although the craft is chiefly practiced in

Chad (a village near Banjar), the market for the pula chappal

has spread to Rajasthan, Gujarat and Madhya Pradesh.

Inset A craftsperson

finishing a chappal.

1. A slip-on

variation of the

traditional pula

chappal, the sole

is constructed

using the weft

twining

technique.

2. A pair of

Chappal with

coloured yarns

stitched onto a

pula grass sole

Production Clusters

Kullu district:

Banjar

Chad Village

Products

Chappal-footwear

Tools

Takli-drop spindle

Khaitadu-a T-shaped

spindle

THE HIGH ALTITUDE climate of Himachal Pradesh, woo

from locallu reared sheep and goat, the ease of procuring high

quality pashmina wool from Tibet have made weaving and

spinning important domestic industries, which have now

region, the textiles woven for a local consumption use

pashmina and three types of indigenous wool-byangi (from

the Kinnaur the lamb) and deshkar ( a coarse wool made at

kullu). Merino wool is used for making commercially

produced shawls and is imported from the plains, mainly

from Ludhiana in Punjab.The chief products are the famous

kullu shawls-the twill-woven body in the grey,off-white,fawn

or brown shades of natural wool and the tapestry woven

borders in multicoloured geometrical forms. These shawls are

used as draped garments; those worn

1 A Kullu

woman dressed

in a pattu, the

traditional

wrapped lower

garment worn

in the region.

2 A detail of a

Kullu Shawls`

border, the

swastika and

other geometric

forms wovens

in the weftfaced

tapesty.

by the women are called pattu and those used by the men are

called chandru. Although now associated exclusively with

Kullu, the technique of combing a twill-weave base with a

border of tapestry woven vegetable dyed wool originated in

Kinnaur. With the migration of the Bhushahra community of

Kinnaur to the Kullu valley, this technique of shawl weaving

and the Tibetan inspired geometric motifs of the Kinnauri

Shawls` borders were brought to kullu.The Kinnaur style has

largely replaced the chequered shawls that were previously

made in Kullu while the pattus worn daily still have a

chequered body of black and white and a single border;those

worn on festive occasions have plain bodies embellished with

woven motifs that run along their length and three borders.

Today, the vegetable dyed yarns have been replaced with

chemically dyed acrylic yarns in bright shades of red, yellow,

orange, pink, blue and green.

Production Clusters

Kullu district:

Manali

Bhuntar

Nagrota Baghwan

Aut

Kotsanor

Kullu town:

Bashing Village

Dobhi Village

Mohal Village

Mandi:

Panarsa

Nagwain

Bilaspur District:

Panthera

Chamba Town:

Dogra Bazaar

Kinnaur

Kangra

Shimla

Products

Pattu-wrap

Dhoru-blanket

Shawls

Mufflers

Loi-blanket

Caps

Tools

Frame treadle loom

Shuttle

Charkha-spinning

wheel

Needle

Districts - 17


The Green Revolution transformed the dusty arid plains of Punjab into a

`bread basket`,producing more than half the country`s requirement of wheat,

rice and millet.

Biodiversity

Flora:

Sheesham

Mulberry

Eucalyptus

Sarkanda

Cotton

Fauna:

Camel

Buffaloes

Cows

Physical Features

Major Mountains:

Kandi or Shivalik

Foothills

Satluj- Ghaggar

plains

Semi-arid south -west

Major rivers:

Ravi

Beas

Satluj

Ghaggar

Crafts - Punjab

Phulkari and bagh -

embroidered textiles

Panja Dhurrie

Nala making

Tilla juttiembroidered

footwear

Sarkanda work

Galeecha-knotted

carpets

wood carving

Wood inlay of

Hoshiarpur

Wood & lacturnery

Embroidered woollen

shawls

Brass & Zardozi

Badges

Mukaish work

Dyeing

Khunda-Bamboo

staves

Cut glass work

Basketry

Rope making

Pottery

Sports goods

Landmarks

Qila Mubarak

Aam Khas Bagh &

Rauza Sahib

Jagatjit Palace

Kapurthala Mosque

Golden Temple

Jallianwala Bagh

Sanjha Chulha

Sanghol

Sarai Nurmahal

Nakodar Tombs

Bhathinda Fort

Bhakra Nangal Dam

The land of five rivers, Punjab,

was a arid plain, covered with

thorny trees and wild

grasses,transformed into fields

of wheat, paddy and millet by

enterprise and a network of

canals laid by the British and the

Green Revolution of the 1960s.

A scorching loo, hot breeze,blows in the summers and tredr,

frost, covers the ground in winters. Traditionally Punjab

consisted of three culturally and physically distinct zones-the

hardworking but impoverished Malwa region, the

comparatively rich and urban Majha region and the Doaba

region, inhabited largely by the occupational class, the

carpenters, tanners, weavers and metal workers. The crafts of

the region are more utilitarian than ornamental. Every crafts of

the region are more utilitarian than ornamental. Every village

has a cobbler, weavers,carpenter and a dyer to cater to its needs;

in homes,locally available materials such as wheat stalks,

sarkanda, mulberry branches, palm leaf and grasses

The Golden Temple

Teh spiritual centre of the Sikhs, the Harmandar Sahib,

popularly known as the Golden Temple, was built by Guru Ram

Das i 1601 on a site donated by the Mughal emperor Akbard.

The Architectural style of the monument, a superb synthesis of

islamic and hindu styles, echoes the syncretic tradition of the

Sikh faith.

are crafted into ropes, baskets, winnows, children`s rattles and

fans. Textile related skills are prerequisites for women; a girl

marries and enters her new home fully equipped with bedding,

clothes, utensils and furniture, much of it embroidered

crocheted, knitted, sewn and woven by her. They also serve as

means of integrating the community-the women of the village

form gatherings known as trinjan where they spin, embroider

and knit as they exchange news, sing and share their skills with

others. The exceptions to this utile material culture are the

phulkari and bagh embroidered textiles and cotton dhurries,

which are associated with rites of passage, of birth, marriage

and death. Woven silks, carpets, Chamba rumala, shawl

weavier crafts, metal weaponry,gold thread embroidery and

jewellery depict the cultural richness of the Sikh courts,

especially during Maharaja Ranjit Singh`s reign in the 19th

century.

Inset A woman using a butter churner. Milk products are

indispensable in the Punjabi diet.

Detail of the tombs at Nakodar:Purnakalash motif

The tombs at Nakodar near Jalandhar display a Punjabi-Mughal

style characterized by the use of stylized geometric patterns and

coloured tiles set against a brick surface. This tomb is

particularly notable because of its use of the Purnakalash

motif,flowering pot-an ancient symbol of fertility and

prosperity frequently seen at temples and stupas throughout

India.

Phulkari pakhi, hand fan with a laccoated

wooden handle.

1 Truck drivers pause for launch at

a roadside dhaba, stop- over

restaurant.

2 Festivities at the Hola Mohalla

include spectacular displays of

fencing and tent pegging, as the

people show off their legendary

martial and equestrian skills.

3 A Gujjar family; nomadic cattle

herders, they are followers of Islam

and are easily identifiable by their

distinct clothing and jewellery.

4 Women making roti a the langar at Harmandar

Sahib;every Sikh is expected to volunteer at the

communal kitchen and all visitors, regardless of

their caste and creed, may partake the hot food

prepared there.

5 An array of parandas, tasselled braids,

displayed at a stall at Parandiyanwala Bazaar

near Harmandar Sahib,Amritsar.

Punjab is the largest

producer of wheat,

which is planted in

November and

harvested in May.

Festivals

Baisakhi

Diwali

Guru Parab

Hola Mohalla

Lohri

Maghi Mela

Teej

Attire

Patiala Salwaarbaggy

gathered pants

Paranda - hair Tassels

Phulkari- wraps

Tillajuttiembroidered

footwear

tahmat-wrap around

Pag - turban

Loi- Handwoven

shawl

Kara-iron bangles

Kirpan - swords

Languages

Punjabi

Hindustani

Scripts:

Gurumukhi

Cuisine

Lassi- Buttermilk

Sarson da saagmustard

leaf dish

Moolie di roti- radish

stuffed bread

Makki di roti - corn

bread

Missi di roti-gram

bread

Ma di daal - lentil

preparation

Pinni, Dodhasweetmeat

Kanji-cooler

Rawa di kheer-sweet

shalgam-gobhi acharturnip

& cauliflower

pickle

Crafts of Amritsar

Khunda-bamboo

staves

Galeecha-knotted

carpets

Subclusters of

AMRITSAR

Amritsar District:

Amritsar

Gurdaspur District:

Batala

Tarn Tarn

RESOURCES

Craft Raw Material Sources

Galeecha-knotted

carpets

Wool

New Zealand

White cotton

yarn

Raja Sansi Mandi,

Amritsar

A farmer`s wife spinning cotton on a charkha, spinning wheel. The

homespun yarn will eventually be woven into niwar (strips),khes (bed

cover) and dhurrie (floor covering).

The city of Amritsar is named after the Amrit

Sarovar or `Pool of Nectar`, the sacred pool

surrounding the Harmandar Sahib. The

boundaries of this metacluster approximate

those of the alluvial plain traditionally known as

Majha. Majha is the regin between rivers Beas

and Satluj and includes cities of Amritsar,

Gurdaspur, Faridkot and Ferozepur.

Strategically located on the Silk Route, Amritsar

traded Silks, shawls andd copper ware from

Kashmir in return for raw silk, gold,d carpets

and horses from Afganistan and Central Asia;the

region`s wealth is reflected in its carved havelis,

expensive bagh textiles,delicately embroided

shawls, zardozi, ivory carving and inlays lac

decorated bedposts and elegant palm leaf fans.

Shawl and carpet weaving were actively

promoted by Maharaja Ranjit Singh, the last

ruler of Punjab, who set up Karkhanas,

workshops, in Amritsar under the supervision of

Kashmiri weavers. The old city consists of a

number of katras (zones) and mandis (markets)

where a variety of businesses are still

conducted;for instance, the silversmiths live in

the Sarafan Bazaar while repousse worked metal

objects, engraved brass doors, kalash (vessel)

and chattar (umbrella) for the temples are sold in

Kesarian Bazaar, Batala, an important subcluster

was founded around 1465 AD by a person from

the Bhatti Rajput community from Kapurthala

on a piece of land granted by the then Governor

of Lahore. A Centre of learning during Mughal

rule,the town is known for its fine cotton cloth

and sansi, a combination of silk and cotton. Due

to the migration of large numbers of ironsmiths

from Sialkot in Pakistan to this region, the town

has achieved much fame for its cast swords.

ACCESS

Amritsar is connected by daily flights, rail and

road with the rest of the country.

Batala is situated on the Amritsar-Pathankot

Highway.

The small scale glass cutting industry

operating in Amritsar was started by two

German experts in the early 70s.

An artisan. The embroidered shawls

of this region are delicately worked

along the borders and selvedge

simulating the shawls of Kashmir.

KHUNDA - BAMBOO STAVES

Production Clusters

Batala town

Products

Khunda-staves

Folk Dance

Accessories

KHUNDA OR IRON-TIPPED

bamboo staves are carried by Punjabi

farmers, the nomadic cattle herding

Gujjars, and the Nihang warriors alike

and are used both as a weapon of self

defence and as a walking stick. In

addition, the khunda are also used as

accessories by Bhangra dancers. The

Staves are made from whole bamboo

poles that are cut to size in such a

manner that the curved root of the

bamboo is kept intact. The pole is

then tinted a reddish brown colour

and ornamented with poker work,

brass strips and brass nails, kokas.The

bottom portion is sharpened to a tip

and wrapped in iron sheet.

At Loha Mandi, Batala, a craftsman

ornaments the khunda with brass strips that

are nailed iwth koka,brass nail.

An elderly Sikh carrying a khunda.

GALEECHA - KNOTTED CARPETS

IN THE EARLY 19th Century,

when Maharaja Ranjit Singh

brought Kashmir under his rule,

many Kashmiri carpet and shawl

weavers migrated to Amritsar,

an upcoming industrial town.

This concentrated of skilled craftsmen combined with the

availability of fine quality wool from the neighbouring hill

states ensuredd the creation of exceptionally fine handknotted

woollen carpets. In this technique, woollen yarn is

knotted (using the Persian knot) around the individual

threads of the cotton warp. Of the patterns produced in the

villages near Amritsar, the Bokhara and mouri- geometrical

patterns is black and cream woven on a deep red, ivory or

green ground-are the main. The weavers use a colour coded

naksha, pattern drawn on a graph, while weaving new

designs, depending on their memory to replicate a design

already woven.

Today there are no naksha makers left in Amritsar; the

companies commissioning the carpets provide their own

graphs. Following the large scale display of Indian handicrafts

at the Great Exhibition of 1851 held in LOndon, English

carpet companies were set up in Amritsar, producing an

economic boom that lasted until the end of the colonial rule.

Today, the craft is in decline with limited production catering

to exporters based in Delhi and to the Punjab Crafts

Emporium; the business is handled by middlemen and the

weaversèarnings are meagre. Attempts have beeb made to

expand the local craftmen`s vocabulary;carpet targeted for

export to the Middle East feature the mihrab (prayer arch)

motif while others attempt to draw from the local phulkari

(embroidered textiles)forms.

Inset Detail of a geometrical pattern on a carpet

A detail of the traditional hatchli design, originally from

Turkmenistan, but referred to as Bokhara carpet. The

principal motif is the intersection of two channels in the

centre,which divides the field into four parts, with a row of

three arches at the top.

Production Clusters

Amritsar district:

Konke Village

Tapiyala village

Chugawan village

Lopoke village

Raja Sansi

Kot Khalsa

Products

Pile Carpets

Tools

Khaddi-vertical loom

Kangi- beater

Churi- knife

kainchi-scissor

Naksha- design graph

Detail of gul,octagon motif

originating in

Turkmenistan and

Uzbekistan.

A Craftsman weaving a

galeecha at a workshop in

Amritsar.

THE DOABA REGION is located in the delta of the Beas

and Satluj rivers and fronted by the wooded kandi area of

Shivalik`s foothills. This region includes cities of

Jalandhar, Hoshiarpur and Nawa Shahr. It has long had a

concentration of artisan communities-especially wood

workers, shoe makers and tanners. Plastic inlay in wood,

lac turnery and wooden musical instruments have

continued to be important local crafts, largely due to the

solar wood seasoning plant that has been established in

Hoshiarpur town. Jalandhar the capital of

Punjab until Chandigarh was built in 1953, has one of the

oldest army cantonments in India. The town of Kartarpur

has a number of cottage industries-carpet weaving, woven

textiles, ban rope making, some excellent carpentry and

shoe making. Due to the latter, the town has a large

number of tanning units and an important hide mandi as

well. Nakodar, an important sarai, camping place, during

the rule of the Mughals and ndow fan for the manufacture

of dhurries, possesses a Khadi Mandal (developmental

organization) that weaves dhurries and throws.

ACCESS

Jalandhar is 146 km from Chandigarh on the Delhi-

Amritsar highway and Hoshiarpur town is accessible from

Chandigarh (89 km) via Ropar. Both places are connected

by train as well.

Subclusters of

HOSHIARPUR

Hoshiarpur district:

Hoshiarpur

Jalandhar district:

Nakodar

Crafts of

Hoshiarpur

Carved and turned

wood work

Wood indlay of

Hoshiarpur

Wood and lac turnery

Panja dhurrie

RESOURCES


Carved and turned Wood-sheesham,

wood work Deodar

Local markets

Wood-sheesham,

Wood Inlay

mango, tun, kaal;

Hoshiarpur

Acrylic, Camel bone,

Shell

Wood-Sheesham,

Wood And lac turnery mango,tun,kaal; Lac Hoshiarpur

sticks

Panja dhurrie Dyed cotton yarn Hoshiarpur

At Mehtapur in Jalandhar, weavers sit on a plank placed across the

horizontal adda loom as they weave a panja dhurrie.

CARVED AND TURNED WOOD WORK

Production cluster


Hoshiarpur

Jalandhar district:

Jalandhar

Batala district:

Batala

Quadian

Amritsar district:

Amritsar

Products

Hoshiarpur

Chairs, Peg Tables

Jalandhar

Singhardaanicontainers

Peedi - low stools

Batala

Kahdavan-wooden

slippers

Butter churners

Velan-rolling pins

Wooden handles for

tava-gridles

Chairs, Tables

Beds

Screens

SEASONED SHEESHAM AND deodar wood, procured

from the local mandi, market, are carved into a wide range

of utilitarian objects, including furniture and kitchen

implements. The motifs used are leaves and flowers, usually

roses and sunflowers;birds and animals forms are made only

on demand. Flora and fauna alike are depicted in a stylized

manner that is believed to be derived from the Mughal

idiom.this provenance is explained by the craft`s original

form as heavily carved doors

Tools

Chorsi-chisel

Sutna-file

Pathri-tool sharpener

Saws

Clippers

Planers

and pinjara (framed lattice worked window), of the Amritsari haveli

(mansion) and kothi (house). The large number of Sikh carpenters in

Amritsar has been considerably added to by many karigars, artisans,

from the Saharanpur area of Uttar Pradesh who have migrated to

Punjab and now make up as much as 40% of the work force.

and pinjara (framed lattice worked window), of the Amritsari haveli

(mansion) and kothi (house). The large number of Sikh carpenters in

Amritsar has been considerably added to by many karigars, artisans,

from the Saharanpur area of Uttar Pradesh who have migrated to

Punjab and now make up as much as 40% of the work force.

A young man carves a window panel for a gurudwara in

Quadian, Batala, using the previously transferred stencil of the

desired pattern as a guideline.

PANJA DHURRIES

PANJA DHURRIES ARE intricately

connected with the Punjabi concept of

dowry that includes items of bedding. When

the bride arrives at her in-law`s house she

brings with her an impressive collectin of

eleven auspicious beddings, all

embroidedred and woven by her.

In the case of rich families, home-grown yarn would be given to the

village weavers, the julaha, who dyed and woven it into dhurrie and

khes (coverlets) for them. The bedding consists of a dhurrie, a tallai

(thin padded mattress), an embroidered chatai (mat), embroidered

quilt covers and hand-worked khes. As indicators of the bride`s

family`status and her skill, the dhurrie laid under the padded mattress

are intricately worked with exuberant spreads of plump purple brinjal

in an orange field, a bed of massive red flowers, wished for

possessions- a car, jewellery,a chubby baby-or on an auspicious note,

the mother goddess,Sanjhi Devi.Bridal dhurries continue to be

woven,especially in the cotton-growing Malwa region and villages

around Jalandhar.

Dhurries were also woven for the gurudwara; usually

by a group of women. The dhurries are made on simple

horizontal looms in a weft-faced plain weave which

gives it a sturdy,flat appearance. The multiple forms

and colours of the patterns are created through the use

of independent wefts,beaten into place with a panja,

metal beater. Although the craft was practiced in most

rural areas of Punjab, it became a domestic industry on

a commercial scale after immigrant weavers from

Sailkot,Pakistan, arrived at Nakodar, Noormahal and

the villages around.In Nakodar two types of cotton

dhurries are woven-bed dhurries are woven on a pit

loom in multicoloured stripes, and the floor dhurries,

woven mostly in two contrasting colours on an adda,

floor loom. The motifs used in both, however, derive

from the folk vocabulary of birds, beasts, plants and the

embroidered phulkari textiles.

Inset A detail of the mor or peacock motif.

1,2 Inset A detail of the

mor or peacock motif.

3 Dhurrie patterns tend

to be either geometrical

or figurative. While the

latter may employ a

number of colours, the

geometrical patterns

are usually executed in

two contrasting

colours.

4 A Dhurrie patterns

with small stylized

motifs of cauliflower

and brinjal

5 The patterns of this

traditional dhurrie is

based on the popular

motif of the parrot or

tota.

6 The Bridal dhurries

draw on a large

repertoire of

indidgenous motifs that

are based on the local

flora and fauna.

Production Clusters

Jalandhar District:

Nakodar

Mehtpur

Aulka

Bathan

mehma

Ungi

Chak Bendal

Noor Mahal

Sidma


Hoshiarpur

Ropar District:

Losari

Jhandia Khurd

Anandpur Sahib

Bhathinda District

Moga District

Batal District

Ludhiana District

Amritsar District:

Tarn Taran

Products

Bed Dhurrie

Floor Dhurrie

Tools

Adda-floor loom

Pit loom

Kainchi-scissors

Hatthi/panjabeater/comb

Churri-knife

Sua-needle

Sizing brush

WOODEN INLAY OF HOSHIARPUR

Production clusters


Hoshiarpur city:

Dabbi Bazaar

Bassi Ghulam

Hussain

Boothgarh

Adamwal

Thatlan

Mian Di Chhowni

Brijwala

Pru Heeran

Ram Colony Camp

Piplanwala

Singriwala

Maduli Brahmana

Dhalowal

Jalandhar district:

Maderan

Adampur

Amritsar district:

Amritsar

Products

Hoshiarpur

Chairs, Peg Tables,

Sideboards, Screens,

Doors

Jewellery Boxes

Tool Handles

Stationary

Amritsar

Chessboard Tables

Tools

Chorsi-chisel

Sutna-file

Pathri-tool sharpener

Saw,clippers,planer,

Drill

THE DISTRICT OF Hoshiarpur produces dark sheesham furniture

with painstakingly detailed dense foliage patterns that are both

engravedd and inlaid with acrylic, camel bone and shell. The motifs

are either of Persian origin or adaptions of the exquiste wood carving

in the havelis, mansions, of Hoshiarpur. The foliage patterns, usually

cypress tress, that appear in most of the inlay work are now being

supplemented with figures and landscapes, the details of which are

etched and coloured with natural ink. When the craft came up in this

region, the wood workers inlaid their wares with ivory remnaunts

bought from the ivory carvers of Amritsar still has a small cluster

Acrylic having replaced ivory as the medium of inlay work, the

craftsmen have taken to creating large products such as this folding

screen.

of bone carves and inlay craftsmen who are known for

their chessboard patterned tabletops. Acrylic has

become the primary material used in the inlay after the

worldwide ban on ivory was introduced in 1989.

Detail of an inlaid table

A craftsman gouging out the areas of the wooden

surface that are to be inlaid with acrylic.

A peg table

ornamented with

Chess pattern.

Detail of a jewellery

box, its surface

ornamented through

the technique of metal

inlay on wood.

WOOD AND LAC TURNERY

Production Clusters

Hoshiarpur

Jalandhar

Products

Hoshiarpur:

Chairs

Jalandhar:

Singhardaanicontainers

Peedi- low stools>

Tools

Lathe, Chisels

Among the wood working

community oF Hoshiarpur are

the kharadi,lathe turners,who

make turned wooden

furniture, ornamented with

motifs etched on a lac coating.

Furniture elements are turned on power lathes and the rotating

pieces are coatedd with multiple layers of lac, usually applied

in three layers-white,black and red,in that order. Yellow is

occasionally added as well;purple,the once characteristic

colour of lac-coated ware from Hoshiarpur, is seldom used

now. After the lac is applied, a sharp metal stylus is used to

etch motifs,thus revealing the underlying

colours.Comtemporary designs appear in white on a reddishbrown

base,apparently imitating the plastic inlay work

practiced in Hoshiarpur.

The layered laccoating

done in

jalandhar uses

different colours

from those of

Hoshiarpur and

the surface is

engraved using

needles so that

the design shows

up in a variety of

colours.

Inset A detail of

an etching

displaying the

white coat which

revealed when

the upper brown

one is scratched

off.

A lac-coated and

etched chair in an

unusual yellow

colour.

Detail of a bagh, an embroidered wrap that accompanied women in a daily life and at ceremonial occasions.

Phulkari and Bagh of Punjab are significant as women`s art done for their own use.

TO THE SOUTH OF the River Satluj lies Malwa, the vast arid region

which comprised three important principalites - Patiala, Faridkot and

Malerkotla- of which Patiala rose to be the most

influential.Beforedddddd the Sirhind Canal was built this land

consisted of vadst stretches of tibbas, sand hills , with isolated

cultivated sections that were rain fed. The Chief crop is cotton;

consequently Fazilka, Malout and Bhathinda are big cotton mandis,

markets.With the increased prosperity of Patiala,whole bazaars

sprang up where craftsmen mase and sold jewellery, zardozi (gold

embroidery)fancy drawstrings,gold-embroidered footwear,dyed

turbans and dupattas (stoles).Goods from surrounding areas were

brought to the mandi town of Malout for sale. Poets,miniature

painters and classical musicians settled in the city, developing in the

process in Patiala gharana,school,of Hindustani music. The art of

miniature paintingds too received patronage,producing an impressive

number of illustrated manuscripts of classical texts. Mslerkotla, the

only Muslim-Pathan principality in Punjab,posseses expert zardozi

embroiderers and metal workers

ACCESS

A craftsperson demonstrates the process of making a nala, drawstring.

Patiala is linked by road and air to chandigarh. All the other clusters

in the region are well connected by road and rail to both Chandigarh

and Patiala.

A Jutti shop in Muktsar, Bhathinda, one of the key sites where this form of embroidered

footwear is produced.

Subclusters of

PATIALA

Patiala district:

Patiala

Sangrur district:

Sangrur

Malerkotla

Crafts of PATIALA

Phulkari and bagh

Nala-drawstrings

Tilla juttiembroidered

footwear

RESOURCES


Phulkari and Bagh

Handspun cotton

fabric, Silk,Rayon Ambala , Hyderabad

threads

Nala

Silk, Rayon, Cotton

threads

Patiala

Tilla Jutti

Buffalo Hide, Jalandhar, Kanpur,

Cowhide , zari Chennai

PHULKARI AND BAGH - EMBROIDERED TEXTILES

Production clusters

Amritsar district

Jalandhar district

Ferozepur district

Bhathinda district

Moga district

Patiala district:

Patiala town

Tipari village

Products

Chaddar-wrap

Dupattas-veil

Garments

Cushion covers

Bed covers

Types of Phulkari:

Sainchi Phulkari

Darshan dwar

Sheeshedar

SuberPhulkari

Tilpatra Phulkari

Satranga Phulkari

Nila Phulkari

Types of bagh:

Bawan bagh

Vari da bagh

Surajmukhi

Chand bagh

Sheesha bagh

Ghunghat bagh

Chope

THROUGHOUT the Punjab, in the

Hindu,Muslim and Sikh communities

alike,women embroider odhni (veils) or

chaddar (wraps) ornamented with phulkar,

literally `flower work` and bagh, garden, a

varition where the embroidery completely

covers the support material.

The fabric used us usually khaddar, a heavy cotton that is locally

woven in narrow widths of 45 to 60 cm joined either before or after

the embroidery to form the desired size. The suppport fabric is most

often an auspicious dark red, or more rarely, an indigo blue or a white

reserved for elderly women, on which the embroidery is executed in

untwisted floss silk called pat,sourced from Kashmir, Afganistan and

Bengal and dyed yellow,orange,burgundy,bright pink, purple, blue

and green in Amritsar and Jammu. Darning stitch is used to embroider

from the reverse side of the fabric, with the longer float on the face,

thus allowing large surfaces to be densely embroidered with economy.

Aside from their everyday use as veils, the phulkari is integrated into

the lives of the women.

Tools

Metal needle

Scissors

Wooden blocks

A detail of the front of a bagh textile showing

the meticulously counted thread embroidery.

and is an indispensable element in ceremonies,

especially those concerning birth,death and

marriage. When a girl child is born, the women of

the family organize a great feast, marking the

beginning of the task of the child`s grandmother in

creating the future bride`s trousseau. The most

significant items of the trousseau are the chope,a

reversible phulkari worked double running stitch

and wrapped around the bride after the ritual bath

two days before the wedding, and the suber

phulkari, composed of five eight-petalled lotuses,

worn by the bride when she walks around the sacred

fire during the wedding ceremony. A phulkari is

also worn 11 days after the birth of a son,when the

mother goes out for the first time after delivery, and

when visiting a temple during religious festivals to

request prosperity and happiness for loved ones.

Like wise during funerals , it is customary to set the

body on a phulkari or cover it ; a woman, however,

will not receive this privilege unless she is a widow.

Inset A Detail of a motif from a chope.

A chand bagh, from a private collection. It derives

its name from the dominant motif of large diamonds

done with horizontal and vertical darning stitches

over counted threads of the base cloth. The subtle

change in the directions of the stitch,its gloss and

the colour are suggestive of highly stylized chands,

moons. Unfinished corners or discordant colours

signify a nazar buti meant to protect the wearer from

the evil eye.

Reverse of a bagh textile. This is embroidered on the reverse side using the darning

stitch.

The darshan dwar, a red cloth embroidered with architectural motifs

representing doors arranged on either side of a central band decorated with

human figures,animals ,flowers and plants, is often offered to the temple so that

the devotee`s wishes may be granted.The number of doors depictedd may

vary;nine doors signify the nine orifices of the body while the tenth is `left

open`to allow the spirit to enter.

Sainchi phulkari done in Haryana and Punjab is characterized by its

use of figurative motifs representing the themes of marriage and

rites of passage. Shown here, is an old phulkari from a private

collection.

The chope,invariably embroideredd in yellow pat,untwisted flow

silk,on red khaddar, handspun and handwoven cloth is an integral

element in the pre-marriage rituals performed at the bride`s home.

NALA -DRAWSTRINGS

Production Clusters

Patiala district:

Patiala town;

Quilla chowk

Products

Nalas-drawstrings

Tools

Adda-frame

Kanna -sticks

NALA ARE DRAWSTRINGs

which hold the salwaar, pajama

(pantds) and ghaghra (skirt) at the

waist. They are elastic across their

width and the net-like surface is

patterned with motifs.

Before the advent of machine made nala,every woman twined,

plaited and knitted her own and these skills were passed on

from mother to daughter. In Patiala, craftswomen from

neighbouring villages make and sell handmade nala to

shopkeepers in the Quilla chowk are of the

city, These nala are made using the sprang technique

where a net-like structure is formed by twisting and

twining the wrap elements. Twists made at the top

automatically form at the bottom till the rows meet. The

ends are knotted into a round or square harad (black

myrobalam), a knot resembling a fruit by the name, and

plaited into naliyan or fine braids. Patiala, a wealthy

city,specializded in nala made of resham, silk, with highly

decoratived tassels that hung loose from under the

kameez, upper garment, which were much sought after all

over Punjab.

Inset Detail of the framework on which nala are made.

Decorative nala for sale. The tasseled

ends hang out from under the kameez, the

upper garment.

A Detail of the net-like surface of the nala, achieved through the use of the sprang technique.

TILLA JUTTI - TRADITIONAL FOOTWEAR

Production clusters

Patiala district:

Patiala

Sangrur district;

Malerkotla

Ferozepur district:

Ferozepur town:

Khai Road, Ralia

Hata,

Mochi Bazaar

Ghantaghar chowk,

Indra Market

Abohar town:

Thakur Abadi,

Ramdevnagar, Gali

Bazaar Park, Idgah-

Basti &

Dayal Nagar

Muktsar district:

Muktsar town:

Hall Raod,Malot

Raod,

Goniana Road

Malot town:

Guru Ravi Das Nagar

Bhathinda district:

Bhathinda town:

Sirki Bazaar, Court

road,

Ram Bagh Road

Faridkot district:

Faridkot

Kotakpura

THE ETHNIC FOOTWEAR

of Punjab, the jutti, are handstitched

with tilla (silver and

golden wire), embroidered

uppers and insoles. No nails

are used in the construction of

these jutti and no distinction is

made between the left and

right foot. The density of

embroidery varies from region

to region within Malwa,

where most productin clusters

are located. In Fazilka, a

cluster where the craftsmen

have migrated from

Bhawalpur and Deepalpur in

Pakistan, the jutti are

embroidered in chequered

patterns. Similarly, the jutti of

Muktsar are characterized by

the multicoloured tilla jutti

from Abohar are extremely

light,and perhaps due to the

influs of craftsmen from

Bareilly in Uttar

Products

Embroidered jutti

Salem Shahiembroidered

insole

Khussa-upturned toe

Tools

Ramba,Khurpascraper

Shore-scalpel

Summa-iron pestle

Farmad-last

Thappa-die

Sua-needle

Pradesh, no longer embroidered but embossed, cut worked, appliqued and beaded. The

Muslim embroiderers of Malerkotla are renowned for their fine,dense embroidery of

Shakarpar (rhombus), sunahare (golden), laharia (waves) and jali (trellis) motifs that cover

the insole as well as the upper. The khussa jutti has an upturned toe resembling a proudly

curling moustache. This is characteristic of the Patiala jutti, Jutti making is a family

occupation;the women embroider the shoe uppers with the ari while the men construct the

shoe using cowhide for the uppers and buffalo hide for the sole.

A men`s khussa jutti embroidered in gold tilla

A women`s khussa jutti embroidered in silver tilla.

Ari-cobbler`s awl

Kundi-iron container

A view of Chandigarh, the city planned by Le Corbusier.

The backyard of a potter`s workshop at the village of Kishangarh.

Details of a cotton panja dhurrie, flat rug

with a pattern that shows the influenc of

Bagh embroidery.

Crafts - Chandigarh

Mitti da kaam-pottery

Phulkari

Physical Features

Shivalik Foothills

Sukhna Lake

Landmarks

Nek Chand`s Rock

Garden

Pinjore Gardens

Sanghol

Museum & Art

Gallery

Rose Garden

Languages

Punjabi

Hindi

Scripts:

Gurumukhi

Festivals

Guruparab

Diwali & Dussehra

Holi

CHANDIGARH is a union territory

and is also the capital of the state of

Punjab and Haryana. It

is situated at the base of the shivalik

mountain range.Although named

after the goddess Chandika whose

shrine is an ancient pilgrimage site,

the city was one of independent

India`s first experiments in modern

urban planning.

The French architect Le Corbusier led a team of American,

French and Indian architects and planners to design the city

in the 1950s.The city is divided into self-sufficient sectors,

each of which have a school and a market and contain green

belts. To the north is the beautiful Sukhna Lake which is

now the venue for international water sport tournaments.

Within the city there is a colony of Kumhars, potters, and a

few units producing wrough iron and cane furniture near

the industrial area. Being a new city devoid of a traditon of

crafts, many of the craftsmen are from the well-to-do urban

community;thus the craftsmen are from the well-to-do

urban community;thus the craftsmen are largely studio

potters and stained glass artisans.The villages surrounding

this modern city-kishangarh,Saketri,Hallo Majra and Dadu

dMajra-still have a community of potters, Khes and dhurrie

weavers as well as dyers who produce veils and turbans.

Subclusters of

CHANDIGARH

Chandigarh

Kishangarh

Inset A scaled down model of a cast iron manhole

cover at Chandigarh;the image on the lid represents

the city`s plan and the River Ghaggar.

RESOURCES


Mitti da kaam Clay

Pahadh - local mud

hills

Nek Chand`s Rock Garden, where

discarded ohjects have been recycled

to create ingenious sculptures.

Attire

Ghaghra-20mt skirt

Dhunkaniyaembroidered

veil

Kalakandembroidered

black

veil

Odhni-veil

Cuisine

Bajra khichri-porridge

Raabri-fermented

whey

Dalia-wheat porridge

Bura-clarified butter

Green Melon Chutney

At Hissar, three members of

the nomadic sheep herding

Gujjar community pose with

their flock.

A Jat woman attired in a

kameez(shirt) worn over a

daman(skirt), made of 20mt

of cloth and an odhni (veil).

Sarkanda or moonj grass

which is used in making a

range of products.

1. A Haryanvi patriarch,

wearing white garments

and stiffly starched

white turban that

indicate his seniority.

2. A woman dressed in the

ghaghra (a pleated skirt)

worn with a kurti (halfsleeves

top) and an

odhni(veil). Her attire

identifies her as

member of the Ahir

community.

3. The Kikar tree,also

known as the

babul,blooms in the

semi-arid countryside

of Haryana and Punjab.

Its tannin rich bark is

used by local tanners to

dye hide and the twigs

of the tree are used for

datum,cleaning teeth.

HARYANA HAS AN ancient

history.Recent excavations in the

region testify to the existence of a

pre-Harappan civilization.The region

is mentioned in the epic

Mahabharata.Kurukshetra, the

mythical site of the battle between

the Pandavas and the Kauravas,is an

important pilgrim town with

numerous temples.

Panipat , today is a busy township lying on the Grand Trunk

Road is also a remnant of an earlier era;situated on the route

from Central Asia to Delhi, this site witnessed several decisive

battles that shaped the destiny of India-one which lead to the

founding of the Mughal empire in 1526. Although Haryana

lies in a section of the Indo-Gangetic Plain, it also consistds of

dusty plains beside the Thar Desert which hace for the most

part been transformed by irrigation and the Green Revolution

in the mid-1960s.Thanks to such intervention,Haryana has a

robust rural economy that is based largely on agriculture,

cattle rearing and dairy, and wool industries.The social fabric

consists essentially of the farming community of Jats and

Ahirs, Rajputs, Brahmins and the nomadic cattle and sheep

herding Gujjars.The potters are the largest artisan community

in the state, making not only pots for everyday use and votive

toys sold during seasonal festivals but also firing small sized

lakhauri bricks used in the constructin of temples,wells and

haveli, mansions.The bricks were called lakhauri because they

were made in lakhs.The haveli now derelict ruins scattered

throughout the south west region of the state,were

commissioned by the wealthy

Zamindars or landowners and the mahajans (traders)who

operated on the caravan routes passing from Delhi to cities in

Rajasthan. The domestic crafts are largely linked to the practice

of dowry,ingrained in this agrarian society;girls are generally

adept at embroidery,spinning,basketry and the essential skill of

plastering a slurry of dried cowdung and straw on the earthern

floors of homes and courtyards.

Inset Top view of a terracotta surahi made by potters in Jhajjar,

known for making water pots that sweeten wate and keep it

cool.

4 A haveli built in the Rajput architectual style at

Gujjarwaas;havelies generally belonged to the wealthy

Zamindars and Mahajans, traders who operated on the caravan

route from Delhi to Rajasthan.

5 The Painted Raaslila on the ceiling of this crumbling chhatri

from Farukhnagar is similarly embellished to those of the many

havelis in southwest Haryana that are believed to have been

painted by artists from Shekhawati in Rajasthan.

6 Most village homes in Haryana are constructed of a

consistently replenished plaster made of mud, straw and dey

dung, reputed for repelling termites.

7 Two sarkanda mooda makers smoking a hookah during a

break from work, a sight common among men in rural Haryana.

8 A Closed mud kiln at Rewari.

Laguages

Haryanvi

Multani

Bangru

Ahirwati

Mewati

Festivals

Teej

Lavni

Diwali

Baisakhi

Kuan Pujan

Makar Sankranti

Surajkund Mela

Qalandar Shah`s Urs

Masani Fair

Ghugga Naumi

Landmarks

Kurukshetra

Panipat

Sohna hot Spring

Qalandar Shah`s

Shrine

Ibrahim Lodi`s Tomb

Sultanpur Bird

Sanctuary

Pinjore Gardens

Bhadra Kali Temple

Birbal Ka Chatta

Physical features

Indo-Gangetic plain

Sub-Himalayan

terrain

Major Rivers:

Ghaggar

Yamuna

Biodiversity

Flora:

Sarkanda, Date Palm,

Babul/Kikar

Fauna:

Buffalo,Camel,Sheep

Subclusters of

HARYANA

Faridabad district:

Faridabad

Palwal

Gurgaon district:

Gurgaon

Farukhnagar

Hissar District:

Hissar, Hansi

Jhajjar district:

Jhajjar

Mahendragarh

district:

Dongra Aheer

Gujjarwaas

Khatripur, Narnaul

Mahendragarh

Panipat district:

Panipat

Rewari district:

Beval, Bolni

Garhi-Bolni

Odhi, Mayan

Chandpur

Jagadhari,Jind

Khori,Kund

Moondreya-Kheraj

Rampura,Qutubpur

Rohtak district

Sonepat district

Sirsa district

Bikaner

RESOURCES


Palm

leaf

work

Palm leaf,Pula

Fariadabad district

Sarkanda

work

Pottery

Jutti

Brass

Ware

Sarkanda,

Tulia,MOonj,Jevardi,Wheat

stalks

Black clay, Sunaihri clay,

Banni Clay

Leather

Zari, Cotton thread

Brass sheet

Mahendragarh

district

Jhajjar, Alwar,

Rajasthan, Aravali

ranges

Rewari,Jhajjar,Delhi,

Kanpur,Chennai

Rampur

Rewari

PANIPAT IS A bustling commercial cluster of weavers

and handloom industries that produce furnishing fabrics.

The city`s mandi,market, for shoddy yarn is said to be

the largest in the world;also sold there are patterned

cotton dhurries woven in Ambala and other nearby

villages.Jhajjar,a large cluster of potters, is one of the

few places in India where surahi,slim-necked water

pots,are still made.`Jhajjar`literally means water vessel,as

water from the surrounding area drains into it, a

phenomenon which accounts for the good quality of clay

available here.Hissar,founded by Ferozeshah Tuglaq in

1354 AD is the site of a prolific jutti,footwear

making,tradition that cater to the requirements of the

local farming community.Rewari,another major

subcluster is a large craft centre where zari,gold thread

embroidered jutti as well as cast and engraved kitchen

utensils are made.Gurgaon and Faridabad ,burgeoning

satellite townships of Delhi have, in spite of their rapid

industrialization, retain the local crafts of sarkanda and

date palm leaf work,producing blinds,furniture and

baskets that are sold in the capital.Haryana is also

renowned for its annual Surajkund Crafts Mela, where

craftsmen from other regions of the country are hosted

by the state.

ACCESS

Rewari is a railway junction and so is jhajjar, which is

situated at a distance of 65 km from Delhi by road.

Palwal is 50 km away from Delhi on the Mathura

highway. Gurgaon and Faridabad are almost on the

outskirts of Delhi, and are easily accessible by road.

1 At Hissar, a

shoe maker

stitches a

jutti using

untwisted

cotton thread.

2 A

metalsmith

grasps a

brass pot

with his feet

as he beats it

with a

polished

hammerhead

to reinforce

the sheet

metal and

give the

vessel its

characteristic

texture. 3

Coiling palm

leaves to

from the

koop or

storage

container.

PALM LEAF WORK

PALM LEAF

WORK

Production clusters

Faridabad district:

Faridabaddd,

Palwal

Panipat district

Sonepat district

Products

Chakore-shallow

cirular tray

Sundhada-narrow

necked basket with lid

Boiya-roti/bread

basket with lid

Koop-cylindrical

basket with lid

Khara-basket

Bijna-hand fan

chattai-mat

The craft of making palm leaf basket was introduced to Haryana by women of

the Multani-speaking Audh community who had migrated from Pakistan

during and taken up this craft as a means of supplementing their meagre

earnings.Traditionally the raw materials were the locally grown date

palm;phoos ,a wild grass;and pula,thin leaves of the sarkanda plant-these were

made into coiled baskedts intended for domestic use by the womenfolk of the

household.The products include a range of round bottomed,cylindrical and

shallow baskets with and without lids.

Friut tray

Boiya for storing rotis,flat bread.

Some of the cylindrical baskets are nearly

three feet high and have lids.The leaves are

also plaited into strips and formed into bags

and mats. The dry palm leaves,some of

which aredyed so as to achieve a coloured

pattern,are wound around a bunch of phoos

or pula and sewn in place by threading the

leaf through the lower coil;a big blunt needle

is utilized to push the leaf through.

Inset A

semiconstructed

lid of a

koop.

A koop or

khara

coiled

from palm

leaves and

phoos,

grass.

Carry bags

Tools

Gandoi-needle

SARKANDA CRAFT

COME WINTER, THE main stalk of the

sarkanda plant dries up and the grass is

harvested and ingeniously transformed into a

variety of products. The thicker parts are

used to make stools known as mooda while

the outer skin is used as thatch.The tuli,top

half, is made into baskets and the leafy

covering,moonj,is beaten into fibre an

twisted into jeverdi, rope, which is used to

web local furniture such as charpoi

(cot),peeda and mooda(stools).

The mooda is a low circular stool made by aligning sarkanda in a

criss-cross constructin that is tied along the spine.The edges are

secured with

pula bound by jeverdi and the seat is woven from jeverdi

made either from moonj or pula. Mooda vary in size and

have innovatively been given a backrest so that they may be

used as chairs and sofas.The local women make further use

of this material by coiling baskets and making traditional

products like the shallow basket called the changeri, and the

large boiya,bread basket, that may or may not have a lid but

nonetheless keep hot rotis dry and fresh dur to its moisture

absorbing walls.These baskets are often bound with

gota,coloured threads,date palm and patera leaves. A variatin

of the changeri is the sundhada;it is bound with naulai or

wheat stalk.The indhi, used as a supportive base for carrying

water pots on the head are also made;these form part of the

bride`s dowry and are accordingly decorated with colourful

fabric,woollen yarn,and synethic rope and stung with bead

and shell tassels.Chhaj,winnows,are constructed from tuli.As

this craft involves the use of the intestines and cartilages of

dead animals as a binder,its practice is limited to men and

women of the Balmik community.

Inset The mooda is built by two concentric cylindrical layers

of reeds, each twisted in opposite directions, to form shallow

hyperbolic paraboloids that are locked together by binding

ropes at many levels along the cylinder.The structure thus

formed is extremely stable and strong.The open edges are

cut and bound by rope and fibre trimmings.

1 Having filled

water from the well,

this Haryanvi

woman returns

home with her

heavy terracotta pot

balanced on an

indhi,the circular

ring made of

sarkanda.

2 Colourful nylon

embellished moodas

at the annual

Surajkund Mela.

Production Clusters

Gurgaon district:

Gurgaon

Farukhnagar

Rewari district:

Mayan

Kund

Chandpur

Khori

Garhi-Bolni

Moondreya-Kheraj

Beval

Mahendragarh

district:

Dongra Aheer

Gujjarwaas

Khatripur

Faridabad district:

Faridabad

Products

Mooda-stool

Chairs, Two -seaters

Changeri-bread

basket

Boiya-big bread

basket

Sindhora-pear-shaped

basket

Kharola-fodder

basketd

Indhi-pot support

Ghera-big Indhi

Bijna-hand fans

Sarkhi-roofing

Chatai-mat

Chhaj-winnow

Chik-blind

Javerdi-rope

Chheeka-net from

which pots are hung

Jhadoo-broom

Koochi-whitewash

brush

Sapling guard

Tools

Muiya-knife

Daranti-sickle

A sarkanda chair.

A sarkanda `sofa`- a two-seater mooda with a

backrest and arms.

A basket constructed using moonj and

sarkanda.

Moonj bound with sarkanda is coiled in the changeri pattern to form this mat.

BRASS WARE

Production Clusters

Yamunanagar

district:

Jagadhari

Jind district:

Jind

Rewari district:

Rewari town:

Thathera Mohalla

Products

Tokni-water pot

Degchi - cooking

vessel

Nand-cylindricald

container

Parat-circular tray

Lota-water pot

Balti-bucket

Diya-lamp

Toys

Tools

Hammer,Mallets

Cutter,compass

Pakadd-plier

Gas welder

Shears,Swage

TRADITIONAL KITCHEN UTENSILS made by die-pressing and manually cold

forging sheet brass,are part of every bride`s dowry.In this area where water must be

fetched over long distances,pots used to collect and store water are an invaluable

commodity.In Rewari,circular bradss ingots are sandcast by specialized craftsmen at a

second workshop manually shear them into rounds and die-press the sheets into

hemisphers.At a third workshop the hemispheres are manually worked with huge mallets

over swages till the desired shape is achieved.The joints and the neck are gas welded and

the mouth is beaded.The products are vigorously hand polished with mud and tamarind

and sandpapered.Finally,the walls are manually beaten with polished hammerheads to

reinforce the sheet metal.The perfectly aligned symmetry of the created shiny

indentations is testament to the craftsmen`s long practice at hammering them freehandrapidly

and with a single precise blow each.

A Tokni, wate container.

A plate made of beaten brass,its surface ornamented with

carefully placed dot-like indents.

JUTTI-LEATHER FOOTWEAR

Production Clusters

Rewari district:

Jatia Mohalla

Rampura village

Odhi Village

Bolni

Qutubpur

Jhajjar district:

Jhajjar

Hissar district:

Hissar

Products

Zari jutti

Mundi-round-toed

desi jutti

Chuni-pointed-toed

desi jutti

Tools

Mogri-beater

Palta-stretchinng tool

Rampatrimming,cutting

tool

HISSAR AND REWARI ARE

the two most important clusters

where ethnic footwear is made

in Haryana. At Rewari industrial

zari,gold thread embroidered

upper are made;of these,the

black leather jutti embroidered

with golden wire were worn

only by the wealthy and

influential

while thin soled jutti with an elongated curled toe are

reserved for use on speacial occasions.The cobblers

of Hissar make robust and highly durable unadorned

slip-ons, known locally as the desi jutti, for

farmers.The one-pieced uppers of thick hide are

reinforced at the heel with applique and the sole is

made from several layers of buffalo hide that are

stitched with thick cotton thread.The munde(round

toed) or ghuni(pointed toed) are worn by men and

women.

Inset Detail of an embroidered tilla jutti.

1 Punched

leather

stencil for

the

embroidery

on the jutti

upper.

2 A desi

jutti, plain

foot wear

worn by

farmers.

Tila jutti

SURAHI-POTTERY

THE KUMBHARS,OR potters,of jhajjar

specialize in slim-necked

pitchers,surahi,which are made from a

combinatin of thrown and moulded

parts.Entire families participate in the

craft process,beginning with the

preparation of the clay by the women

and the children.

The wheel-thrown surahi necks are made by the men.To create the

containers,clay is rolled and stretched over an upturned port and then

pressed into hemispherical terracotta dies engraved with patterns.After

these hemispherical segments are somewhat dryd,they are joined together

with wet clay and left to dry in the shade.The clay shrinks,leaving the

surface of the dies and the spouts,necks and handles are attached by the

women.The surahis are dipped in a slip made of banni and sunaihri, the red

and yellow clays,and dried before they are fired in mud kilns.

Various dies-pressed patterns.

Users claim that water stored in these surahis

acquired a unique taste,probably due to the quality of

the clay available in this low lying area.The surahi is

essentially an islamic form; this factor, combined

with jhajjar`s position within the subah,province,of

Delhi during Mughal times,suggests that the craft

might have come into existence through local

craftsmen who were catering to specifications of the

Muslim community.The earliest surahi however,were

unembellished and fully thrown;the craft as it exists

today is an indigenous adaption.Pot,diya,golak and

kulhar are also formed through throwing,the water

pots serve to keep the water cool and are also used as

vessels for Hindu rituals in kuan pujan,as well as

during birth and death ceremonies.

Inset A bowl with a lid, the patterns on its surface are

die-pressed.

Production Clusters

Jhajjar district:

Chawani Mohalla

Jhajjar town:

Bahadurgarh

Faridabad district:

Faridabad

Products

Surahi-pitcher

Matka-wate pot

Rakab-shallow bowl

Kadhawani-pot for

boiling milk

Jamawani-Pot for

setting curds

Grains storage pots

Flower pots

Golak-coin bank

Diya-lamp

Figures

Sanjhi figures

Tools

Potters` wheel

Thappa - dies

Pindi-knob-shaped

tool

Khuria-scraper

1 A die-pressed hemisphere such as

this,is joined with another similar

one to form the belly of the surahi

form.

2 Coin Bank

3a, 3b New surahi forms being

developed by the potters.

4 A larger variation of the original

surahi form,these sport a gargoyleheaded

spout and a handle to

facilitate pouring.

5 The traditional surahi,small and

characterized by its long neck, which

is heldd in grip while water is being

poured.

6 A potter throws a closed

form,perhaps intended to be used as a

coin bank.

7 Stacked kulhads,clay tumblers.

Districts - 32

Craftspersons - 3.16

Lakhs

Physical Features

Aravali Range

Thar Desert

Gulf of Kachchh

Southeastern plateau

Major Rivers:

Chambal,Banganga,

Ghambiri,Luni,Mahi,

Sabarmati,Ghaggar

Biodiversity

Wetlands

Flora:

Ratanjot(dye),

Ber (lac host),

Pipal (lac host),

Khair,Raheda(wood)

Fauna:

Tiger,

Elephant,Camel,

Peacock,Blackbuck

The quiet village of Pushkar is transformed into a noisy arena of donkey, camel and horse races from

October to November when it hosts Pushkar Mela,the largest camel fair in the world.

CRAFTS OF

RAJASTHAN

Blue pottery of Jaipur

Kundan jadai-gem

setting

Meenakari-enamel

work

Lac ware

Razai-quilt making

Bandhej-tie-resistdyeing

Block making

Block printing of

Bagru

and Sanganer

Mojari-leather

footwear

Hand made paper

Bahi-clothbound book

Felt products

Sanjhi-pencil stencils

Terracotta of Sawai

Madhopur

Katpulti-puppets


Gota work

Tarkashi-metal inlay

in wood

Phad painting

Miniature painting on

wood

Leather work

Stone carving

Stone relief and

latticework

Gesso painting

Gangaur idol making

Meghwal embroidery

Bhitti chitra-wall

painting

Miniature painting

Sandalwood carving

Silver ware

Wood work

Dabu-mud resist

printing

Bone work

Seep ka kaammother-of-pearl

work

Musical instruments

Wrought iron work

Panja dhurrie weaving

Pattu weaving

Terracotta and pottery

Paatra kaam-utensil

making

Camel trappings

Pcihhwai-painted

temple hangings

Kavad-mobile shrines

Terracotta of Molela

Damascening

Metal Engraving

Koftgiri-weaponry

The ornate facade of the enthralling Hawa Mahal or the

Palace of Winds has become an icon for Jaipur,called

the Pink City because of its reddish pink buildings.

UNTIL INDIA`S

INDEPENDENCE in

1947,Rajasthan,literally `the land

of kinds`, was what its name

indicatedd-a region made up of

more than twenty princely states, a

bastion of royal affluence and

feudal pageantry.Many stories

abound regarding the bravery of

the Rajput warriors who ruled this

area;most of these dwell on the

internecine wars between the many

royal houses and their opposition

to the invading forces of Islamic

armies from the north.

Under the rule of the Mughal emperor Akbar a truce

was established between the Rajputs and their non-

Rajput neighbours,thus ushering in an era of Political

stability which occasioned lavish and consistent

court patronage to the arts and architecture.Most of

Rajasthan`s once impregnable forts and opulent

palaces have been opened to visitors;

Detail of relief and pierced stone carved jaali,

screen,at the Mehrangarh Fort,Jodhpur.

The annual Teej festival held at Jaipur celebrates the

monsoons with processions of caparisoned elephants

and bejewelled dancers.

tourism has breathed new life into these historic sites and quaint lifestyles they supported.Eighty

percent of the region`s population still lives in rural areas,engaged in agriculture and livestock

herding;the rhythm of their lives punctuated by the frequent religious festivals and cattle fairs.Due to

its position on the ancient migratory trail followed by nomadic and postoral communities from

Afganistan,Pakistan and Central Asia,western Rajasthan shares a cultural legacy and craft vocabulary

with the Sindh( Pakistan) region of the Thar Desert and the Rann of Kachchh.

Inset A painted depicted of an elephant, the rayol mount,in full regalia,a palanquin perched on its

back.

Languages

Marwari

Dhundhari

Mewari

Hadauti

Festivals

Pushkar Fair

Desert Festival

Elephant Festival

Gangaur

Teej

Nagaur Cattle Fair

Baneshwar Fair

Mewar Festival

Urs Ajmer Sharif

Cuisine

Dal-bati-churmaroasted

wheat balls

and spicy lentil

Ghevar-fried wheat

cake

Bhujia-fired lentils

Roasted sangri-desert

beans

Attire

Pagdi,Saafa-turbans

Odhna-wrap

Odhni-veil

Kanchli-kurti-two

piece bodice tunic

Ghaghra,Lehengagathered

skirts

Tilak-Muslin

women`s overgarment

7 The painted frescoes of a haveli at Shek-hawati

juxtapose the imagery of traditional Rajput

paintings with that of a world dominated by the

British and industrialization.Thus

gods,goddesses and martial heroes are

accompained by top hatted gentlemen,brass

bands,soldiers,angels,trains,motorcars,aeroplanes

andd gramophones, creating a novel languages

of kitsch.

8 Young camel herders wearing turbans.

9 A woman from the Gujjar Sheep herding

community in Jodhpur.

Landmarks

Hawa Mahal

Jaipur City Palace

Badi Chaupar

Tripolia Bazaar

Galta

Amber fort

Deeg

Keoladeo Ghana

National Park

Shekhawati Haveli

Dorgan Shari

Anup Mahal

Anup Mahal

Mehragarh Fort

Mehragarh Fort

Umaid Bhawan

Palace

Badal Vilas

Nathmalji`s haveli

Jaisalmer fort

Bhattiani Rani

Temple

Kumbhalgarh fort

Udaipur Lake Palace

Nathdwara

Vijay

Stambha,Chittorgarh

Sunehri Kothi,Tonk

Ranthambore

National Park

Subclusters of

JAIPUR

Jaipur district:

Jaipur, Kaladera,

Bagru, Manpur,

Sanganer

Dausa district:

Sikandra, Manpur,

Dausa

Jhunjhunu district:

Shekhawati,

Mandawa, Jhunjhunu,

Udaipurwati,

Lachhmangar

Sikar District;

Sikar, Ramgarh

Sawai Madhopur

district:

Ranthambore

Alwar district:Alwar

Tonk district;

Tonk,Malpura

Kota district:Kota

RESOURCES


Meenakari Meena-enamel

Australia and

Germany

Razai

Cotton

Gulabpura and

Ganganagar

Rajasthan

Block making

Woodsheesham,roheda,bhujan

JAIPUR

JAIPUR,THE CAPITAL OF Rajasthan, lies on the eastern

fringes of the Thar Desert, a semi-arid land cut southwest

to northeast by the Aravallis.At the end of the 11th

century,the Kachhawaha clan established their kingdom at

Amber.They were one of several powerful Rajput

kingdoms,such as the Chauhans of Ajmer and

Ranthambore,and the Rathore clan of Marwar region.The

early Rajput states engaged in bitter internecine clan

wars,but with the rise of the Delhi Sultanate,their energies

were directed at safeguarding their territories aganist the

marauding Muslim troops.When imperial powerd at Delhi

passed to the Mughal emperor Akbar,military and

matrimonial alliances were forged between the centralized

power at Delhi and the Rajput kingdoms,ushering in an era

of cultural and social synthesis that had a great impact on

the art and architecture of the region.In the 18th

century,the capital of the kachhawahas was shifted to

Jaipur,the `City of Victory` located to the south of

Amber.Constructed under the supervision of the then ruler

Sawai Jai Singh II and Vidhyadhar Chakravarty, a Bengali

scholar and engineer,thed city is one of north India`s finest

examples of urban planning.Surrounded by a crenulated

wall pierced by seven gates,the city`s plan is based on a

grid of nine rectangular sectors, believed to represent the

nine cosmic divisions of the universe.The grids are linked

through a pragmatic system of main streets, intersected by

pedestrain lanes leading to workshops and occupational

colonies.Also figuring prominetly in the plan are the

spacious market squares operated by traders and artisans

who migratedd to jaipur due to the tax benefits and other

economic incentives provided by Sawai Jai Singh.The

Jaipur of today is a melange of the modern and the living

memories of the city`s feudal past.

ACCESS

Jaipur is 262 km from Delhi and is well connected by

road, rail and air.Alwar is 150 km from Jaipur, Bagru,35

km and Sanganer,12 km.

Crafts of Jaipur

Blue pottery of Jaipur

Meenakari-enamel

work

Razai-quilt making

Block making

Mojari-leather

footwear

Bahi-clothbound

books

Sanjhi-paper stencils

Stone work

Wood and Lac

turnery


in wood

1 At udaipurwati,jhunjhunu, a craftsman

creating the striated lac bangles that

simulate the tie-resist-dye leheriya

textiles.

2 Sheet metal is manually cut into thin

strips that are then inlaid in wood to

create the famous tarkashi of Rajasthan.

3 A block maker demonstrating the

carving process at his workshop in

Jaipur.

4 Amber Fort complex.The palace

rooms are richly decorated with mirror

work,coloured glass,carved

marble,murals,mosaics and stained glass

windows.

BLUE POTTERY OF JAIPUR

THE LOW TEMPERATURE glazed

pottery of Jaipur is accorded the

name`blue pottery` due to its

predominantly blue pattens.Wheel

turning and moulding techniques are

used in commbinationd-the necks and

bases are wheel-turned,the body is

shaped in a plaster of Paris mould and

the separate elements are joined .

The surfaces is then engobed, a process involving the

application of a clean white coat on the sanded and driedd

object so as to make the surface smooth,white and blot

free.The patterns, largely florals rendered in the Persian

styleàre painted on in metal oxided pigments(mineral

pigments) and the whole object is given a glass

glaze.During the firing,the pigments develop the

characteristic brilliant shades of turquoise blue,pale

green,yellow and red -brown and the milky glaze turns

transparent.Since the presence of water can caused the

object to collapse during firing,blue pottery is dried at

various stages during its production .The pottry is finished

with a transparent glass glaze.Generally, women perform

the task of grinding the pigments while men undertake the

throwing and moulding of the pottery forms,the painting

and the firing.According to local legend,Maharaja Sawai

RamII was watching his kite-master complete with other

challengers whend the thread of the imperial kite was cut

by that of two brothers, Churamani and Kaluram,who were

potters and had coated their kite string with the blue green

glass-like dust of their pottery.The maharaja was

impressed and gave them posts in the School of Arts and

settled them in the Goonga Mehra Ki Gali in the Gangori

Bazaar;it was thus that blue pottery came to Jaipur.

Inset Coaster.Contemporary products

like coasters and mugs are being made

with improved glazes and reliable

structural qualities.

A Blue glazed vase of

Persian origin;the

influence of this style on

the indigenous blue

pottery is obvious.

Production Clusters

Jaipur district

Traditonal:

Surahis-narrow

necked pitchers

Cylindrical jars

Contemporary:

Ashtray,Flowerpots

Lamp Stamds

Beads,Ear studs

Buttons,Doorknobs

Mirror frames

Plates,tiles

Soap cases

Jugs,Mugs

Coffee cups

Paperweights

Incense Burners

Tools

Thapki-beating tool

Patti-metal strip

Chaak-potter`s wheel

Silbatta-traditional

grinding stone

Bhatti-kiln

Sandpaper,sieves

Moulds, brushes

KUNDAN JADAI-GEM SETTING

Production Clusters

Jaipur city:

Jaudiyon Ka Rasta

Jauhari Bazaar

Sothanliwalon ka

Rasta

Products

Kundana and

meenakari:

Ear ornaments:

karnaphool jhumkastone

set and

enamelled floral ear

studs with hanging

domes

Morka karnaphool-a

karnaphool variation

embellished with

peacock forms

Bali-earrings

Kanjumka-studs with

hanging domes

Necklaces:

Navratan-a necklace

combining nine

jewels

Guluband-chiker

Hansli-torque

Head Oranaments:

Bor/Borla-a three

dimensional ornament

worn at the central

hair parting by

married woman

Mang-worn at the

central hair parting

Chand, Rakhdi

Mor pati, Dauni

Chotla

Armlets

Bangdi,gokru

Chudi, Kada, Gajra

Tiva Patiyan

Bajuband-flexible

gold armlets with

kundan set stone;it

has twenty or more

vertical interlocking

units each with a top

and bottom loop

linked by a cord

Hand ornaments:

Hathphool-a wristler

attached to a

decorated motif for

the back of the hand

and culminating a

finger rings

Madaliya-heavy gold

bangle worn just

above the elbow

Anklets:

Jadat ka jorenamelled

anklets

Turban ornaments:

Sarpech-turban

brooch

Additional products

made in meenakari:

Dhaal-shields

Talwar-swords

Sword hilts

Surahi-narrow necked

pitchers

Wine

tumblers,Goblets

Animal Figurines

THE HOSTILE DESERT environment,coupled with continuous

warfare,created strong incentives for investing in goldd adn jewels-mobiles

hoards of wealth that were often the mainstay of many a displaced

dynasty.On coming to power,the warrior aristocracy of the Rajputs

established themselves as descendants not only of the martial Kshatriya

caste but also of the epic heroes,tracing their lineage to the sun,the moon

and fire;they also made lavish use of jewellery-jewelled fly whisks and

gems encrusted weapons as symbolic affirmations of the sancity of their

caste. Kundan is a Mughal technique wherein hyper purified gold leaf

foil,inverted longitudinally in the space between the chapdi,pavillion wall

and the stone,created a flush closed setting for precious and semi-precious

stones such as diamonds,rubies,emeralds,sapphires and tourmantines.Since

pure gold is completelyd selfweldable while cold,simply by

compressions,no soldering is required to create the solidd wedge of goldd

that permanently holds the stone in place.A silver or gold coloured fold is

placeed below the stone to enable reflection of light through the stone,thus

increasing the intensity and brilliance of the stone`s colour.The regional

popularity of kundan of light through the stone,thus increasing the

intensity and brilliance of the stone`s colour.The regional popularity of

kundan owes greatly to the local rulers`need for ostentation in the face of

the local scarcity of gold as well as to the adaptablity of the technique to

previously enamelled or stone-set objects which might have come to

victorious ruler as bounty.

Tools

Scissors

Damma-file

Salai-finishing tool

MEENAKARI-ENAMEL WORK

Kundan necklace with uncut diamonds rubies

and emeralds in gold setting and the reverse is

enamelled with meenakari.

MEENAKARI,THE FUSION of coloured materials such as cobalt oxide

for blue and copper oxide for green onto the metal`s surface to suggest

precious stone inlay work,was brought to Jaipur on Raja man Singh`s

(r.1590-1614)behest.The design is prepared and given to the

sonar,goldsmith,who forms the article.It then passes on to the chhatera

who engraves the salai,pattern,onto the gold object using steel styli;the

surface of the depressed patterns are serrated to secure the enamel and to

increase the play of light and shade in the finished product.Only then does

the meenakar,enameller,apply colours, beginning with those most capable

of resisting fire-white is normally applied first,the object is cleaned in a

strong tamarind solution and polished.Meenakari is often studded with

gems on one side while the reverse was lavishly enamelled,the lustre of the

enamelled reverse increasing over time due to contact with the

wearer`body and clothes .In items that are to be thus ornamented,the

meena is done first and the piece then passes from the meenakar to the

jadiya,the artisan who undertakes the kundan work and finally to the patua

who strings the separate pieces of the necklace or armlet together and adds

motis,pearls;beads and tassels.

Tools

Salai-etching tool

Kharati-mugdalmortar

and pestle

Bhatti-kiln

Patra-metal palette

Kalam/Taqvatool

used to

apply enamel

Chimtaforceps

small

scribbling

brush

LAC WARE

LAC, A RESINOUS substance produced by the female lac

insect found in abundance in the forests of Rajasthan,is

formed into a variety of jewellery items,chief among them

the chudi or bangle.Although all lac jewellery is regarded as

propitious and is worn especially on auspicious

occasions,lac bangles are also worn to signify that the

wearer is marriedd.The bangles are available in a stunning

array of colours and are also frequently studdedd(naqqashi

worked)with glass pieces,bright stones,and beads.The

traditional bangles are plain and ornamented with

leheriya,wave-like patterns of diagonal lines. motifs such as

a the patta(straight lines)or phooldar (floral) are etched onto

the surface of multiple layers of many hued lac coats,thus

revealing the colour embedded in the initial layers.

Production Clusters

Jaipur city

Jhunjhunu district:

Udaipurwati

Products

Bangles

Earrings

Pendants

Necklaces

Tools

Wooden mallet

Die for shaping

Punches

Tongs

Knives

1 A detail of a studded,beaded and etched lac

ornament,simulating the much more expensive kundan work.

2 The demand for leheriya patterned lac bangles increases in the

monsoon due to the local custom of wearing leheriya,tie-resistdyed

fabrics during that season.

3 An etched lac pendant with a beaded chain.

4 A pair of earrrings fashioned from lac.

5 Naqqashi worked bangles;the customer may select the preprepared

bangle and the desired pattern at the store itself and

the female naqqashi artist sets the stones accordingly.

RAZAI-QUILT MAKING

THE FAME OF THE thin Jaipuri razai is based largely on the

superior quality of thedesi rooi,cotton,used.Traditionally,the

exceptional warmth and softness of the cotton was enhances

through the application of herbal substances that also had the d

added benefit of perfuming the quiltsd for long periods of time.The

fabrics used include voile,cotton,mulmul,paper silk,satin,silk, and

velvet;these may be plain,block printed,screen printed or

patchworkedd.Block printed fabrics,by far the most popularly used

fabrics,are creatively combined in such a way that each side of the

quilt possesses a distinct character.

The bharai,filling,is essentially a male dominated craft

process and involves the separation of cotton fibres,its

uniform distribution over the base sheet of the quilt and

the repeated beating of this cotton layer with a broom-like

tool.The tagai(quilting) is done by craftswomen;while the

traditional quilting is quite thick and uses motifs such as

the shakarpari(diamond),the paan ki patti(spade) and

thaalid(a circular motif derived from the metal plates from

which food is eaten),the comtemporary designs use

central squares,checkerboard patterns,waves,sunflower

patterns,spirals, and stripes.

The placement of a diagonal buti at the

corner of the rectangular razai effectively

resolves the corner areas of the

composition while the bel,or

creeper,demarcates the border with large

floral buta.The quilting uses the

shakarpari or diamondd formation in

combination with ovals.

Production Clusters

Jaipur district:

Jaipur city:

Topkhana ka Rasta

Chandpole Bazaar

Products

Razai-quilts

Gadda-quilted

cushions

Quilted bedspreads

Tools

Rulers

Cardboard cutouts for

floral motifs

Baans ka

pharda/chappar ki

falli-stick used for

spreading the

separated cotton

fibres.

Chhaapa-broom-like

tool used for beating

Needles

BANDHEJ AND LEHERIYA-TIE-RESIST-DYEING

Production Clusters

Bandhej;

Jaipur

Sikar

Alwar

Ajmer

Sawai Madhopur

Leheriya:

Jaipur

Jodhpur

Products

Odhna-wrap

Chunari-veil

Dupatta-stole

Saafa,Pagddi-turban

cloths

Sari

Yardage

Tools

Thread,Dye vats

Point metal ring

Stencil,Block

TIE-RESIST-DYEING is common to Rajasthan,Gujarat,Madhya

Pradesh and Madurai; in Bandhej,the Rajasthani variation, a

configuration of dots is achieved by tying small knots on a pretracedd

or stamped design in order to protect these areas when the fabric is

dyed.The dyeing process is executed in stages, working from the

lightest colour to successively darker hues;the intricacy of the design is

governed by the base fabric-usually mulmul,muslin,voile,medium and

heavier cottons.The choice of material in turn is dependent on the

intended usage of the fabric-thin cottons were used for the saafa,pagdid

and dupatta;mulmul for the odhni and slightly thicker cottons for

skirts.The Rajasthani bandhej may be differentiated from its Gujarati

counterpart by its employment of large dots called dabbiddd and

concentric rings in different colours as well as through its use of various

colour combinations to denote specific social positions, be it in terms of

community(Rajput,Bishnoi,Jat etc),marital status or occupational

(pastoral, mercantile or warrior).For instance,women for the Bishnoi

community wear veils that have red grounds patterned with black

circular forms,and black dip-dyed edges and yellow veils with red dots

are worn by young mothers to denote that the newborn child is male.

Leheriya,a tie-resist technique used to create

colourful diagonal or zigzag stripes across the

fabric that has been rolled,tied and dyed,is unique

to Rajasthan.The pattern imitates the leher,wave,a

symbol of rain and bountiful harvest-themes that

have great relevance in the arid landscape of the

region.Mothra is an extension of the leheriya where

two sets of diagonal lines cross each other creating

small rectangular spaces resembling

moth,pulses,which are located between the

checks.The dyes used are kuchha,fugitive,so that

unwanted colour is discharged or removed in order

to achieve a pure colour and lines with a graphic

quality.Worn as turbans or veils leheriya textiles

are usually of very fine cotton or silk, fabricsd that

facilitate such usage as well as allow the dye to

penetrate to the innermost portions of the coiled or

rolled fabric.Leheriya and mothra are worn

primarily during the festivals of Gangaur and

Teej,which mark the coming of the Spring and

advent of the monsoon respectively.

a,b.c Leheriya and mothra turban cloths from a private collection in Jaipur.

A rare and old leheriya turban cloth with gold or khadi

worked motifs.khadi work requires the adhesive to be

printed on cloth,which is subsequently dusted with gold

powder.

The dense and intricate patterning of this antique odhni,

veil, on the right, suggests that it was made for the

business community and by craftsmen in Shekhawati.

The term pilo or piliya refers to the colour yellow and its

association with spring, blossoms and joyful happiness;

when a child is born in a family, the young mother`s

parents visit, bringing with them a set of clothes which

include a yellow odhni ornamented with the lotus motif,

the symbol of fertility.

Detail of an unopened mothra fabric,the precise tie-resist-dyed area

is clearly visible.

Bandhej from the SawaiMadhopur region is characterized by its employment of

the stitched-resist cowrie,shell motif.

BLOCK MAKING

Production Clusters

Jaipur city

Products

Wooden blocks

Wooden block with

wire

Rekh-outline/lead

block

Dattaforeground/filling

block

Gadhdbackground/blotc

block

Tools

Compass,Hammer

Drawing tool

Impression Tool

Drilling tool

Chisels,Files

Sandpaper,Saw

THE TRADITIONAL OF making hand-printed textiles,widely practices

in both Rajasthan and Gujarat is characterized by the use of imprints of

geometric as well as stylized floral and animal forms.Both areas therefore

have craft clusters that specialize in making blocks for block

printing.These follow a specific grammar which consists of the online or

lead block,known as the rekh,the datta or the foreground filler block.and

the gadh,the baclground or blotch block.The specialty of the blocks from

Jaipur is the depth and intricacy of the carving,which allows for a cleaner

surface and clearer printing.Also peculiar to Jaipuri blocks is the numnber

of air passages, or pavansar,drilled through the blocks to ensure

circulation of air in the block during the printing thus preventing the fabric

from lifting when the block is raised.

The reverse side of a

block,the handle and the

holes drilled to ensure the

passage of air through the

block.

Due to its innate strenght,blocks made of sheesham

may last through 200 metres of printing and are

therefore generally used for the outline or rekh

blocks.Due to high cost of teak wood it is gradually

being replaced by cheaper woods such as roheda and

bhujan.

The carved rekh or outline block includes the minute

details of the pattern including the veings of the

leaves and the individual petals.

The datta or filler block with the form of the

entire flower raised in high relief.

The datta or filler block with only the leaf

patterns in relief.

The gadh,or background block with the base

forms that are to be printed in solid colour blocks.

A hand drill is used to carve out the positive

areas of the block in high relief.

The border of a block printed Sanganeri textile;the formsd utilizedd derive from the traditional vocabulary.

BLOCK PRINTING OF BAGRU AND SANGANER

ALTHOUGH BOTH ARE practiced in the

vicinity of Jaipur and share a common

vocabulary of bel(creepers),buta and buti (floral

motifs of varying sizes) and jaal(floral net),the

block printing traditional of Sanganer and Bagru

have distinct visual identities and social

contexts.Selected for its abundance of soft water

and clay suitable for the process of sunbleaching

fabrics,Sanganer was developed into

a major printing centre under the patronage of

the Jaipur royal family.

Sanganer`s graceful curvilinear floral motifs and colour palette

of reds and blacks printed against sun-bleached white,cream or

grey-blue backgrounds are defined as much by its employment

of the direct printing technique as the Mughal influencedd

aesthetic prevalent at the court.

Characterized by the sheen given to the finished cloth by

the waters of the Sanjara River and a robust colour palette

of indigo,black and red , green,pink and orange derived

from natural sources;and the mud resist,dyed and mordant

prints of Bagru catered to the folk,trading,agricultural and

artisan communities that constituted the local

population.Each of these communities had a specific

sartorial code;the combination of colours and motifs used

on a printed skirt,veil or garment could identify the

wearer`s community and occupation as well as the season.

Inset Floral buti,motif

Stylized floral buti

Production clusters

Bagru

Sanganer

Products

Dupatta-stoles

Odhna-wraps

Angocha-towels

Saafa,pagdi-turbans

Sari

Block printed yardage

Razai covers

Bedcovers

Cushion Covers

Tablecloth

Tools

Chhaapa-wooden

blocks

Tari-colour tray

Parat-colour pad

Thapi-scraper

Thathi-bamboo lattice

Stylized floral buti

Stylized floral forms used as

buti.Bagru.

A Buta ,larger floral form.Bagru.

Dabu,mud resist printd in asmani

style of colouring

The jaal, used here as a floral net covering the entire surface of the

fabric.Sanganer.

Various buti used in the

prints of Sanganer.

A singular buta derived from the poppy

flower;the border is created through a bel,or

vine.

MOJARI -LEATHER FOOTWEAR

Production clusters

Jaipur district

Jhunjhunu district:

Mandawa

Products

Mojari with:

Stitched detailing

Embroidery

Tassels

Braided leather

uppers

Zari embroidery

Sequins

Slingbacks

Open-toed mojari

Mules

Tools

Ari-awl

Rampa-skiving tool

Khurpi-scraping tool

Hammer

THE MOJARI,OR the traditional leather

footwear of Rajasthan may be identified by

their soft upper of cow,goat or buffalo

leather;thick buffalo leather;thick buffalo

leather sole and heel are constructed of layers

of leather that are glued together and then

stitched with cotton thread.The thermal

properties of the locally sourced vegetable

tanned leather acts in combination with the

thick sole to insulate the wearer from the

extremes of the desert climate,an extremely

useful charactteristic in footwear worn

mostly by farmers who walk across the rough

terrain of the region,the sand dunes and

thorny,muddy pathways.Since Rajasthani

women usually donot work the fields but

cater to household chores,the footwear made

for their use is thinner soled and usually

embellished with red tassels.Generally,the

men perform the leather work,including the

ornamental punching and studding , while the

women undertake

the embroiderey,which is done either directly

on leather or on textile (natural or synethic) in

woollen,cotton or silk the threads are selected

depending on the material of the upper

surface.Recently.the craft has begun to cater

to the urban and export

market;consequently,the previously

unidirectional mojari is now being made with

a left-right distinction although still using the

three-piece last integral to indigenous

footwear construction technology.

Mojari embroidered in bright colours are

usually worn by women from Meghwal

community.

The traditional plain mojari,still made for the

farming communities of Rajasthan.

Mojari produced using local

technology where the upper is

stitched to the sole with cotton

thread;the back is left open but

the front of the upper extends

to the back to a substantial

extent.

The open-toed mojari,another recent

development.

The demand of sequined footwear in

the European market is reflected in the

plethora of sequin embellished mojari

flooding the shops of Jaipur.

HAND MADE PAPER

THE KAGZI,A Community that traditionally specialized in the

making of paper,are said to have accompanied the Mughal emperor

Babur to India in the 16th century and eventually settled in Sanganer

on the invitation of the then ruler of Jaipur,Maharaja Jai Singh.The

Local handmade paper is made from recycled cloth and waste

paper,and usually incorporates natural materials such as grass,flowers

and petals as decorative elements.It is acid free, does not contribute to

the escalating deforestation and does not consume as much energy

and water as machine made paper,thus making it the most ecofriendly

option.It is also more durable than machine produced paper

and does not tear easily or facilitate erasure and forgery.

1. Handmade paper

embedded with petals.

2. Patterns printed on

handmade paper in relief

using thick past.

3. A book bound with block

printed paper.

4. Packaging.

Production Clusters

Jaipur district:

Sanganer

Products

Handmade paper

Tools

Tray-like-sieve

Scissors

Vats

FELT PRODUCTS

FELT,A FABRIC made by matting and compressing wool using water and soap,is

used in Rajasthan,Kachchh and Kashmir to create rugs known as namda that are

plain , embroidered or appliqued.Felt may also be moulded and formed into products

such as felted spherical buttons,rope belts,bags,and shoes.At present,both handmade

and machine made varieties of felt

Felted slippers are prepared by moulding the wool fibres on to a cast;stitching is not

required in the construction.

are produced at Jaipur,Tonk and Malpura

with cream,brown and black wool

sourced from Shekhawati,Beawar and

Jodhpur,as well as finer quality of wool

from Sikar and Kashmiri wool

A moulded felt bag.Innovations such as

moulded bags and slippers have been

introduced by international designers.

Production Clusters

JAipur city:

Baans ki Puliya

Products

Namda

Buttons,Rope Belts

Bags,Shoes

Tools

Peental-used to open

fibres

Pheda-used to spread

fibres

Chaapa-pressing tool

Winnowing machine

BAHI-CLOTHBOUNDED BOOKS

BAHI ARE HANDBOUND acconting books,the white

and yellow pages of which are horizontally creased at

specific intervals to create columns.Although these

creases were once manually executed they are now

machine pressed in bulk;similarly the previously handquilted

cover is now machine stitched in bold white

thread.The cover is invariably in traditional red

colour,believed to be auspicious due to its association

with lakshmi,the goddess of wealth;this association is

restated in the second leafd of the bahi where a

hymn,the words shubh labh,`good luck`,and an image

of the goddess are printed.The cover is bordered with

green,yellow and blue striped niwar, or nylon tape,in

order to prevent the edges from fraying through

frequent usage.

Sectional

stitchedd

leather bound

book;the

length of black

string around

its middle is

looped to

prevent the

book from

falling open.

In Udaipur, the craftsmen have adapted to the tasted of urban

consumers tourists and the export market and they have developed a

wide range of handbound books-the covers may be made of leather,zari

fabric,silk and printed cotton while the paper used may be handmade

paper with flowers,threads,rice paper or machine produced paper.

Clothbound

accounting

books of various

sizes displayed

at a shop in

Jaipur.

A bahi

khata,sectional

stitched book

with a machine

quilted

cover,from

Ahmedabad, in

Gujarat.

Production Clusters

Jaipur City:

Chauda Rasta

Udaipur city

Products

Bahi-books

Tools

Cardboard

Fabrics

Cotton twine

Large eyed needle

Sewing machine

SANJHI-PAPER STENCILS

Production Clusters

Alwar

Products

Paper Stencils

Tools

Scissors

Knife

SANJHI-THE STENCILS of paper for ritualistic and

ceremonial rangolis,floor decorations,originated in Mathura,

where it is practiced in temples and homes in rituals dedicated

to Lord Krishna. While the temple craft is practiced

exclusively by male priests and their male apprentices,the

popular version of Sanjhi is undertaken chiefly by unmarried

girls all over northern Indian due to the belief that the goddess

Sanjhi,if propitiated with offerings of food and water and duly

worshipped, will aid

them in obtaining a suitable husband.Intricate

patterns,drawn on various types of paper, are cut out to

form a stencil.The use of flowers for the rangoli has been

surperceded by the use of powdered colours;contemporary

sanjhi include floating rang made by gentdly sifting colour

onto the surface of water.The themes are largely religious

but increasingly,secular designs comprising motifs such as

the silhouette of a palace ,jaali and bel-buli are being

adopted.

1. A paper stencil of a

pavillion.

2. A sanjhi depicting

Lord Krishna dancing

on the snake kalia.

3. An intricately

executed stencil of a

jaali.

TERRACOTTA OF SAWAI MADHOPUR

Production Clusters

Sawai Madhopur

district

Sawai Madhopur

Products

Decorative figurines

of animals

Decorative plaques

Votive plaques

idols

Toys

Pots

Tools

Chak-potter`s wheel

Bhal-finishing tool

Tools for engraving

decorative patterns

THE SMALL COMMUNITY OF

kumbhars,traditional potters,at Sawai Madhopur

create a wide range of decorative

figurines,paperweights and plaques of animals and

deities in addition to the usual array of pots.The

mitti, clay,taken from the banks of the nearby Banas

River is cleaned thoroughly so as to remove all

unwanted elements such as straw and stones.The

clay is then stored and used as and when required.

An Approximated quantity of prepared mud is

placed on the wheel and turned until the desired

shape is achieved.The form is cut using a length of

ordinary thread,manually shaped and polished until

smooth.The object is dried in the sun for two

hours,in the shade for another two and finally fired.

1. A decorative clay plaque.

2. A clay tortoise,its shell ornamented with

embossed patterns.

3. Sculpted figurines of a horse and a crocodile.

STONE WORK

STONE RELIEF AND LATTICE WORK

STONE CARVING HAS a long history in Rajasthan,a land

rich in a variety of granities,marbles,quartzite,slates and other

metamorphic rocks.Most of the local palaces sport intricate

jaali worked sandstones and marble screens and

windows,especially in the zenana,women`s quarter,which

were used in order to enable women in purdah to view the

events of the court without being seen.The screens also

offered protection

A phoolchava lattice panel,sikandra.

Details of a sculpted pillar at the city Palace,Jaipur.

from the elements while allowing unhindered passage of fresh

air to the interiors.Of the many designs still prevalent today the

most widely used are the badroom, khammi badroom,phooldchava,

jhaniya,phool chowkri,bel badroom and gol tejdar;most

of these appear to have assimilated stylistic elements of the

Mughal court.

A carved relief frieze,

Sikandra.

A Carved garden lamp at the Raj

Vilas Palace, Jaipur.

IDOL MAKING.

IDOLS OF VARIOUS hindu and Jain deities are carved out of

marble sourced from Makrana,Bhainslana and jhiri, a village in

Alwar district.Due to the demand for cheaper idols,most of the

idols created now are painted with bright oil colours,thus

allowing for the use of poorer quality stone,cruder

workmanship,faster execution and lower prices.Another widely

prevalen practice is the colouring of cheap stones with a

mixture of coconut or mustard oil and lampback to simulat

black marble.Occasionally,idols of Shankar,Durga,Ganesh,the

Shiv parivar (family),Ram durbar (court), and tableaux of Ram,

Sita and Lakshman as well as those of Jain saints are

commissioned for temples.In these instances the very same

craftsmen responsible for the creation of the cheap painted idols

employ their traditional training and skills to carve highly

detailed,ornate sculptures.

An array of painted

idols stands ready

for sale in a

workshop in Jaipur.

Production Clusters

Jaipur district:

Jaipur

Alwar district:

Alwar

Dausa district:

Sikandra

Manpur

Dausa

Products

Murti-idols of gods

and goddesses

Dola pavti-stand on

which the idols are

placed

Portrait busts

Name Plates

Chhatri for Temples

Figurines of Animals

and birds

Statues

Lattice work panels

Tiles

Partitions

Brenches

Pedestals

Mihrab-arched

doorways

Temple gate

Tools

Hataudi-hammer

Bhopra-chisel used

for rough blocking

Chapti-tool used for

smoothening the

stone

Chheni-chisels

Nargi,Chaurasichisels

Sua,Taku-fine chisels

Patti-stone used for

polishing

Guniya / Katkonaright

angle

Prakaar-divider

Drill

Files

Emery

A marble idol of Ganesha.

KATPUTLI - PUPPETS

Production Clusters

Jaipur district:

Jaipur city;

Hawa Mahal Bazaar

Katpulti colony

Nagaur district:

Vadaj village

Products

Sapera-snake charmer

Jaadoogar-magician

Raja-Rani- king and

queen

Shivaji

Nawab

Soldiers

Gujjar Women

Local Rulers:

Amar Singh Rathore

Maharaha Jai Singh

Maharana Pratap

Mansingh

Tools

Thread, Needle

Axe,Scissor

File, Paintbrush

3 A musician puppet 4

The puppet representing

a Rajput has a shield

and sword, symbols of

the martial aristrocrary

of Rajasthan. 5 The

raja-rani puppets,the

highest selling katputli

in the craftsman`s

repertoire.

THE CRAFT OF making puppets,or katputli, was

practiced by the Putlis Bhats, a community of

performing artists who travelled from village to

village with their portable theatres entertaining

gatherings with depictions of the exploits of local

heroes in exchange for remuneration in cash,livestock

or a portion of the patron`s harvest.As this form of

entertainment gained popularity with the royal

courts,the Putli Bhat community settled in different

kingdoms developing puppets in the image of the

ruler,the queen and members of court such as the

court dancer,acrobats,snake charmers,magicians and

ministers;and a narrative repertoire based on tales of

the king`s bravery,kindness and numerous conquests.

1. The snake charmer,depicted with his tools of

trade.

2. A craftsman manipulates the magician

puppet,so that its head detached itself from its

body.

THE CRAFT OF making

puppets,or katputli, was

practiced by the Putlis Bhats, a

community of performing

artists who travelled from

village to village with their

portable theatres entertaining

gatherings with depictions of

the exploits of local heroes in

exchange for remuneration in

cash,livestock or a portion of

the patron`s harvest.As this

form of entertainment gained

popularity with the royal

courts,the Putli Bhat

community settled in different

kingdoms developing puppets

in the image of the ruler,the

queen and members of court

such as the court

dancer,acrobats,snake

charmers,magicians and

ministers;and a narrative

repertoire based on tales of the

king`s bravery,kindness and

numerous conquests.


Production Clusters

Kota

Products

Wooden toys

Dandiya sticks

Belan - rolling pin

Tools

Kharad - lathe

Chisels

Mathana - beating

tool

THE TURNED WOOD products of Kota,although

once a major craft activity in the region is now

practiced by only two elderly craftsmen.Locally

available safeda wood is machine cut into the required

shape and turned on a hand-operated lathe.Sticks of

coloured lac are pressed against the revolving wooden

object to create single or multiple bands of

colour;more complex designs and colour schemes may

also be affected by manipulating the lac turnery.The

object is then polished with oil on a kevda leaf to give

it a smooth and shiny finish.

1. Turned and lac

coated wooden

sticks are used

during the annual

dandiya dance.

2. A craftsman

creating grooves at

the end of a

dandiya;these are

used to

GOTA WORK

Details of a blouse sleeve on which zari

embroidery,gota patti and appliqued beetle

wings have been used;the pure gold gota and

the use of beetle wings suggest that this

blouse was owned by members of the royalty.

1 Details of an antique kurti,the sleeveless

garment worn over the choli;gokhru,or handcrimped

tape, has been sewn onto the fabric in

scalloped patterns.As the crimping may be

done only on real metal tapes,this gota is not

made anymore.

2 Detail of the siru gota,used here to embellish

the edge of a lehenga or skirt.

TRADITIONALLY Gota ribbons were woven with a wrap of flatened gold

and silver wire and a weft of silk/cotton thread and used as functional and

decorative trims for a variety of garments and textiles used by the

royalty,members of the court,temple idols and priests, as well as for altar

cloths at shrines and prayer offerings.With the subsequent substitution of

pure gold and silver with gilt or lurex and the mass production of gota on

electrically powered swivel looms at Surat and Ajmer,gota came to be used

by all communities and castes of Rajasthan.consideredd to be shagan,a

symbol of good omen and good will, gota may be used as kinari,edging, or

cut and manipulated into motifs that are sewn onto garments and turbans

worn during weddings and festivals such as Id,Diwali,Dussehra,Sharad

Purnima,Holi,Teej and Gangaur.In the Technique of gota tukdi,gota is cut

into shapes such as the gamla

(flower pot),kairi(mango) and champak flower, and appliqued onto a base

fabric embellished with embroidery techniques such as zardozid and ari.Gota

patti involves the folding of tapes into basic rhomboid units,referred to as

patti or leaves and combining them to create elaborate motifs and patterns

that are sewn onto turbans,garments,baskets,thalposh or platter covers, and

hookah.

Inset An antique choli,blouse,embellished entirely in gota work;three types

of gota-the seekhiya,lappa and gokhru-of pure gold, are used in combination.

Production Clusters

Jaipur district:

Nyle village

Khandela village

Jaipur city:

Jauhari Bazaar

Products

Seekhiya gota-simple

tape

Lappa gota-twillwoven

tape

Siru Gotat-striated

tape

Thappa gota-heat set

tape

Gokhru-handcrimpled

tape

Tools

Loom

Needle,Thread,

Scissors

Ari-hook

Wooden frame

4 Women at a

market in

Mandawa;their

odhni is made of

bandhej textiles

ornamented with

bankadi trims and

appliqued gota

rosettes.

5 Sal gota edged

tapes embellished

with gota tukdi

work are

manufactured at

Surat and sold by

the metre at the

Jaipur market.

TARKASHI-METAL INLAY IN WOOD

TARKASHI,A TECHNIQUE of inlaying fine

flattened wire of brass,copper or silver in

wood,is practiced by the jangid community who

migrated from MAinpuri in Uttar Pradesh to

Jaipur about 45 years ago.Dark coloured and

seasoned sheesham wood is used as its high oil

content allows the inlaid metal to be held

securely.The patterns,usually geometric forms or

florals of Mughal inspiration,are drawn on the

wood and then engraved with a half round chisel

and hammer to a depth of 1 mm.thin strips are

cut from sheet metal,heated over a flame,

The lid of a sheesham wood box,its surface

heavily inlaid with slim strips of brass sheet.

cooled to remove the temper in this strip and straightened;the resultant

metal wire is beaten into the previously created grooves with a

hammer.Small coiled dot-like forms called bhiriyan,an element unique to

tarkashi,are beaten directly into wood.After the surface is evened with a

sander,or silli,fine sheesham sawdust mixed with diluted adhesive is

applied over the entire surface until all the gaps are filled.The object is

then planed,sanded with a water based emery paper and machine buffed to

give it a smooth polish

Details of a tarkashi ornamented table with both the characterstics

curvilinear wave pattern and the small coiled dot-like forms called

bhiriyan.

Production Clusters

JAipur

Products

Jewellery

box,Bangles

Circular boxes

Circular boxes

Trays,Plates

Mirrors,Photo Frames

Animal Figures

Tools

Kainchi-metal cutting

scissors

Silli-stone for sanding

wood

Chisels, Files

Prakaar-compass

Chimti-forceps

Randha-planer

Bharmi kamani-hand

drill

CRAFTS OF

AJMER

Phad painting

Miniature paintings

on wood

Leather work

Marble carving

Subclusters of

Ajmer

Ajmer district:

Gangrar

Pushkar

Kishangarh

Tilonia,Beawar

Bhilwar district:

Bhilwar

Inset Corner detail of an

embroidered cushion cover

from Tilonia.

1 A mural on the wall of a local

house;the painting resembles

the phad or painted narrative

scrolls.

2 Fountains carved out of

marble on display at a marble

mandi enroute to Kishangarh.

RESOURCES


Marble carving of

Kishangarh

Marble

Makrana

3 Ajmer Sharif,the mausoleun of the Sufi saint Khwaja

Moinuddin Chishti,is inundated with pilgrims during the Urs

or death anniversary of the saint,when spirited Sufi singers

sing the saint`s praises in front of his tomb.

4 A craftsman and member of the Jawaja leather Association

in Beawar,rolling wet leather to soften it.

LOCATED AT THE foot

of the Ajmeru Hill is the

city of Ajmer that was

founded by Raja Ajay Pal

Chauhan in the 7th

century.After the defeat of

Prithviraj Chauhan,Ajmer

fell to the

Mughals.Remnants of the

period of their Mughal

sovereignty over the

region include a fort built

by the emperor

Akbar,elegant marble

pavilions that were built

by Shah Jahan set in a

pleasure garden on the

banks of the Anasagar

lake,

and the two marble mosques built by Akbar and Shah

Jahan in the 16th adnd 17th centuries at the famous

dargarh,shrine complex,of the sufi saint Khwaja

Moinuddin Chishti.Akbar ,perhaps chishti`s most famous

devotee,is believed to have walked barefoot all the way

from Agra to Ajmer,a distance of 363 km, as

thanksgiving after the birth of his heir,Salim,the future

emperor also known as Jehangir.Kishangarh,a

neighbouring principality that spawned as influential

miniature painting tradition,is situated near

Makrana,India`s main marble mandi,market.

ACCESS

Ajmer is 135km from Jaipur and well connected with all

the major towns of Rajasthan.

PHAD PAINTING

PABUJI AND DEV NARAYAN,medieval

Rajput heroes from western Rajasthan,are

widely worshipped througout the state as folk

deities;the principal form of worship entails

night-long narrations of their deeds by the

Bhopas,wandering priest-bards of

Rajasthan.These performances are held in

front of the phad, painted narrative scrolls that

function as portable temples of the deity and

ads pictorial aids.The narratin is accompained

by ravanhatta,a violin -like instrument.The

phad is composed in square panels,each

illustrating a particular incident of the

epic;assistants standing behind the Bhopa

infold the scroll as the story proceeds and the

showman points to the relevant depiction as

he sings and mimes.The phad is painted on

thick canvas that is about 30 feet long and

five feet wide and is prepared by members of

the joshi clan.The colour palette consists of

bright orange,red ,yellow,black,blue,green

and brown,derived from stones and

minerals.The colours are prepared by the

women artisans while the preparation of the

canvas through applications of starch and

kheriya gond(indigenous glue)and ghotana

(burnishing)is done by men.The painters,

invariably male,begin with aregana or chakna,drawing a rough

layout of the sequences with a brush laden with diluted yellow

colour.The centre of the composition is occupied by the hero

who is always shown facing right;depictions of incidents are

arranged around him not according to a linear narrative

progession but as per their specific spatial context within the

tale.Ornate borders ,creepers,tree,rivers and buildings are used as

scene dividers and the entire composition is enclosed within a

thick border that is always painted an auspicious red.

1. A contemporay phad ddepicting the tale of Krishna`s birth

and his childhood in Vrindavan.

2. A detail from a phad.

Production clusters

Bhilwara

Shahpura

Products

Painted scrolls based

on:

Pabuji,Mataji

Dev Narayan

Hanuman Chalisa

Prithviraj Chauhan

Jhansi ki Rani

Tools

Brushes

Aqiq-agate stone

MINIATURE PAINTING ON

WOOD

KISHANGARH,THE COURT OF Raja

Kishen,was like most contempory Rajput

principalities,the locus of a distinct regional

idiom of miniature painting.The Kishangarh

School was characterizedd by its

sensuality,lyricism,refined draughtsmanship

and highly stylized figures with slender

bodies,elongated faces,arched eyebrows and

lotus-like eyes.

PRoduction Clusters

Kishangarh

Products

Miniatures on paper

and cloth

Painted furniture:

Tables

Sofas

Chairs

Jhula-swings

Vases

Tools

Brushes

The colour palette

consisted of ganguli

(yellow) ,singhrep

(red),sindhoor

(orange),harabata

(green) and neelbat

(blue).The

predominat themes

were religious

parables or legendsmost

popularly that

of Radha and

Krishna,tales from

local folkdlorde and

scenes from the

court.Local artisans

began extending

their painting skills

to wooden furniture

about a decade

back.The style use

was no longer that

of Kishangarh but a

1. A folding chair.On its backrest

are painted three Rajput warriors

riding in stately progression.

2. A folding chair with a painting

of an emperor riding an

elephant.

3. A Wooden box,it upper surface

embellished with a depiction of

Ganesha,the elephant god.

hybrid of the

various miniature

traditions of

RAjasthan.

LEATHER WORK

Production Clusters

Ajmer

Beawar

Tilonia

Products

Bags,Belts,Boxes

Purse,Folders

Pouches,Pouffes

Waistcoats, Jackets

Cushions

Jutti - footwear

Tools

kataar - stitching

needle

Baas ki Chail-bamboo

stick

Satikar - for cleaning

leather

Raapa - scraper

Scissor , Awl

Diversified products such as

the embroidered leather bag

seen hered are made by the

craftspersons in Tilonia.

TRADITIONALLY,the Raigar community-leather workers of

this region-used to make and repair jutti, footwear,harnesses

and charas,bags for pulling water out of wells.With

industrialization,the advent of newer materials and mass

production,the craftsmen were forced to initiate a new product

range catering to a hitherto untapped urban market.The

hides,usually of cows,goats and buffaloes,are bought at the

leather mandi at the Beawar bypass and soaked in fresh

water.It is later soaked in a solution of brine and the sap of a

small green plant called aakh so as to facilitate the scraping off

of excess skin (chilai) and the hair with broad and blunt edged

knives respectively. The hide are tanned in pits or bags using

the tannin of the bark of the babul tree.Before it is used,leather

is cleansed and stretchedd;only then is it cut according to

cardboard patterns and stitched with thick cotton yarn or thin

leather strips.A variety of braiding and knotting techniques as

well as brass rivets are used as functional and decorative

jointing techniques; the leather may also be

coloured,glazed ,punched,embrossed or branded.

A new product

developed in Jawaka

from cow and

buffalo leather. This

tote bag with a

highly restrained

sense of decoration

uses the texture of

leather thongs over a

burnished leather

surface.This product

represents a new

design direction that

provides continuity

to a traditional craft.

Moulded and

fabricated leather

trays with the typical

Jawaja stitch were

created as product

diversification to

extend traditional

skills to new

applications.Methods

of staining leather

have been used.

Leather slip-ons

made by the Tilonia

craftsman are part of

the diversification

efforts to extend the

traditional skills of

artisans.

MARBLE CARVING

Production Clusters

Kishangarh

Products

Mandir-shrines

Stands,Pedestals

Pots,Vases

Tables

Figurines of animals

Murti-idols

Ashtrays

Chakla and belanplatform

and rolling

pin

Lamp

Tools

Hammer

Chisels

KISHANGARH IS CLOSE to Makrana which is

renowned for its translucent white marble;hard,durable

and finely grained,it is exceptionally suitable for fine

detailing and intricate carving.The pearly clarity,lustre

and fine texture of the marble is utilizedd to maximum

effect at the famed Taj Mahal,the mausoleum built by

the Mughal emperor Shah Jahan for his decreased

wife.At

present,India`s largest marble mandi is situated along

the highway near Makrana;one of the workshops even

boasts a feature in the Guinness Book of Records for

having quarried a record 5,05,366 tonnes of marble

blocks during the year 1998.The products ,largely

turned on a power lathe,are produced in the city but sold

here.

Exquistely carved marble work at the Jain Dilwara temples

in Mount Abu.

BIKANER

FOUNDED IN 1486,Bikaner was one of three great Desert

kingdoms of Rajasthan and ,like Jodhpur and

Jaisalmer,propered because of its strategic locatin on the

overland caravan trade route to Central Asia and China.In the

greater part of the territory the plain is undulating or

interspersed with shifting sand hills,the slopes of which are

lightly furrowed from the action of the wind.Some of these

sand dunes are moving while others are fairly stable due to

the trees and shrubs growing on them.The grey-brown desert

soil combined with the dry climate and extremes of

temperature are not conducive to agriculture;consequently the

local foliage primarily consists of brushwood called jorbir,and

tress such as khijri,ber,sheesham,papal and roheda-the khirji

and ber bear edible fruit while the wood and twigs of the

others cater to the local requirements for domestic

construction,agricultural implements and fuel.Situated to the

west of Bikaner,the district of Churu was part of the former

princely state.It is land of Sand dunes with almost negligible

vegetal cover;although uncommon,sheesham and roheda

wood provide timber and are used for furniture carving.

ACCESS

Bikaner is connected by rail and road to

Jaipur,Jodhpur,Ahmedabad and Delhi.

Crafts of BIKANER

Usta kaam-gesso

painting

Meghwal embroidery

Bhitti Chitra-wall

painting

Miniature painting

Sandalwood carving

Silverware

Meenakari and

Kundan Jewellery

Subclusters of

Bikaner

Bikaner district:

Bikaner

Churu district

Churu

RESOURCES


Bandhej Cotton Surat

Silk

Bangalore

Meenakari and

kundan jewellery Colour-kaans Amritsar

Stones

Jaipur

1 The painted facade of a haveli at Bikaner,

2 Due to the scarcity of wood in this region,most homes are

fashioned out of mud.Extensively decorated shelf-like

extensions and alcoves of mud,known locally as beel,are used t

o stack vvessels, boxes,store embroidery threads and sundry

items.

3 Jat women sitting together while embroidering products that have helped

extend their skills for income generation.

A box intricately worked in usta kaam.

USTA KAAM-GESSO PAINTING

Production Clusters

Bikaner City

Uston ka Mohalla

Products

Surahi-water

container

Kuppi - perfume

container

Jewellery boxes

Photo frames

Mirror frames

Paintings

Lampshades

Tools

Brushes

THE CRAFT DERIVES its name from

its makers, the Usta, a community of

craftsmen who migrated from Multan in

Pakistan to the Mughal court at Delhi

and later, on being invited by Raja Rai

Singh, to Bikaner.

Usta kaam,the application of the glue-like gesso paint,

requires a clean and smooth surface as a base;hence the

technique was usedd to ornament the walls,pillars and

ceilings of Bikaner`s junagadh Fort and Anup Mahal with

resplendent golden motifs of delicate floral and animal

forms,often set against detailing in radiant colours.During

the colonial period,Usta Kaam began to be executed on

camel leather-saddles and bags that were commonly used

for transporting water,The craft process begins with the

making of a clay mould on which a piece of previously

cleaned and softened camel hide is stretched.The joints in

the mould and the ends of the stretched leather are joined

using a paste of methi,fenugreek,seeds and animal fat and

the pieces is dried in the sun for a minimum of 48 hours

before the mould is removed.

A highly ornate photoframes.

Then begins the Akbar, or design making process,wherein the pattern is

embossed onto the surface using a paste of powddered bricks mixed

with jaggery and fenugreek seed powder.The coloured areas are first

painted in,followed by gold detailing and thin black outlines that serve

to define the motifs and background.Finally,the ground colour,usually

red and green,is applied and the entire surface is coated with a

traditionally prepared varnish called chandras.The most popular gesso

compositions at Bikaner is the Taarabandi, traditional design simultating

a star studded sky;and naqqashi, a pattern of minute flowers and motifs

drawn in a space the size of a thumbnail.

Inset Detail of the high relief gold gesso work done on a vase.

An unpainted camel hide vase.

Vases,gesso painted in the high relief characteristics of Usta kaam. An

unpainted camel hide vase.

A painted vase,the florals executed in gold frame,the image of an amorous couple

painted in the style of the Rajasthani Miniatures.

GANGAUR IDOL MAKING

TRADITIONALLY,during the festival of Gangaur,observed on the

second day after Holi,around March every year,women kneaded the

ashes from the Holika fire with mud to create idols of the goddess

Gangaur,who is associated with new crops and is worshipped for her

ability to confer conjugal bliss and good husbands.Today these have

been substituted with wooden and clay idols made by the Suthar

community and painted by the artists of the Matheran and Usta

communities.Although originally a festival of the upper caste

Thakurs,Rajputs,Baniyas and Brahmins,other castes have begun to

celebrate Gangaur too.Since the traditional idols were made to resemble

the worshipper,the local artisans have developed a repertoire of idols of

various sizes and varying dress.

Thus ,the doll made of the Baniya (business

community) wears a small head ornament known as

the rakhadi,a short blouse that reveals the stomach, a

fine odhni or veil,and a lehenga or wide skirt.On the

other hand,the idol made for Rajput women is dressed

in a kurti and kanchali, a two - piece blouse that

covers the stomach.All Gangaur idols,however,have

big eyes,sharp noses,slim waists,thin fingers and a

youthful appearence.

Production Clusters

Bikaner:

Bhujia market

Products

Gangaur

Isar

Tools

Chisels

Carving Tools

1 A semi-finished idol

of Gangaur in a sitting

position.The skirt cloth

is wrapped later.

2 Isar,the consort of

the goddess Gangaur,

Dressed differently in

simulation of thed

different castes of

Rajasthan.

3 A variation of

Isar.The idol is still to

be attired.

4 The goddess

Gangaur,dresseddd in

bridal finery with a

large lehenga,rakhadi

and gota-edged odhni.

MEGHWAL EMBROIDERY

DUE TO ITS location on the

migratory routes from Central

Asia,Africa,Afganistan and

Pakistan to India,The Thar Desert

has been subject to a variety of

cultural influences that have

shaped its crafts-notably

embroidery,bandhej,(tiedye),block

printing and pottery.

Despite the later division of the Thar region through

the creation of political boundaries,the crafts of the

Thar continue to share a common vocabulary and

sensibility,a phenomenon perhaps best exemplifiedd

by the embroidery and applique of the Meghwal,an

artisan community who proctice weaving,leather

tanning and wood work.The Meghwal migrated from

Pakistan to Kachchh and Rajasthan;a Significant

number have settled in the villages of the Bajju region

of Bikaner district.Embroidery forms a key

component of their visual culture as it is executed on

products that are worn or given during marriage and

on dowry objects.Consequently, the embroidery make

use of mirrors and is characterized by its refined

craftsmanship,dense coverage, rich colours,and

elaborated motifs and finished edges.Meghwal

embroidery may be broadlyd classified as pako,or

solid and permanent, and kacho,or temporary.

Inset Wall painting:the

peacock motif used in suf

embroidery.

Detail of a bokani,headscarf

embroidered for the

groom.The peacoak is

regarded as a noble bird and is

symbolic of a

bridegroom.Executed in suf

embroidery consisting of

triangular units done in surface

darning stitch.Stitched from

the reverse side over counted

threads of the base cloth,with

floss silk that rests on the face

side,covering the entire

surface of the unit and the

Women of the Meghwal community wearing a kanchali,blouse,that has

been embroidered by them.

The pako tradition utilizes geometrical forms,densely covered

embroidery of chain stitch variations and herringbone stitch,and block

printed outlines for the embroidery.Kacho embroidery is distinguished

by its use of counted thread work techniques such as

suf,kharek,kambhiri and mucca.Suf has triangular forms executed in

darning stitch;aggregates of triangles are used to create a variety of

motifs such as the peacocks,tree of life,temple and hill.Kharek,a

technique named after the date fruit,uses satin stitch filled in areas

outlined by double running stitch.kambhiri has double running

stitch,which is linear and grows in geometric progession.Mucca, a

technique borrowed from Muslim embroidery,refers to the use of gold

and silver thread which is couched on the fabric.

Fabric embroidered for making a

kanchali,blouse.The Sleeves are to be attached

on either side.A Typical and predominant motif

of suf work,the gul flower is made up of 4 bitta

units;a bitta is made of 2 triangular units of suf.

Production Clusters

Bikaner district:

Kolayat tehsil

Bajju village

Tools

Needle

Thread

Scissors

Products

Traditional;

Malir-shoulder cloth

for the groom

Bokani-groom`s

ceremonial scarf,worn

over a sofa

Rumal-ceremonial

square cloth

Kadbandhan-groom`s

waistband

Kanchali-blouse worn

by married women

khalechi-bag gifted to

the groom

Nolee-money belt

Batua-small purse

Thailo-bag for dowry

items

Comtemporary:

Garments,Bags

Purses,Pouchers

Cushion covers

Bed Covers

back serves as an anchor.

BHITTI CHITRA-WALL PAINTING

Production clusters

Bikaner old city:

Matheran Gali

Bhujia Bazaar

Tools

Brushes

Products

Wall painting

1 An intricately painted ceiling;the

bands of floral border painted on

the series of arches separate the

various segments of the

composition.At the far end is a

doorway over which are

positioned Krishna and Radha

flanked by two chieftains.

TRADITIONALLY,the Matheran or Mahatma

commmunity were renowned for their mineral painted

elaborate depictions of religious themes on

painstakingly prepared walls of houses and temples.In

some of the temples thus ornamented,images of the

patrons and their families were also included as were

the names of the painters.The paintings of the

matherans also utilize the embossing techniques of the

Usta;thus gold and silver is occasionally used to

enhance a painting.In order temples such as the

Madan Mohan Mandir,the 200-year-old paintings.

2 Frescoed walls at the Madan Mohan

Mandir depict the many patrons of the

temple;the composition of the first

simulates the manner in which members

of court and the royalty are depicted in

Rajasthani miniatures while that of the

second displays a tangible western

influence in the use of perspective devices

and portrait-like rendering of the patrons`

faces.

reveal the aesthetic sensibilities of this community and the religious

context of their work in spite of layers that were later retouched.Today

the Matherans reside in Jodhpur,Mewar and Godvard(in Pali district)

and are known for their skills painting Gangaur idols.

MINIATURE PAINTING

Production Clusters

Bikaner:

Swamiyon ka

Mohalla

Products

Miniature paintings

Tools

Paintbrushes of :

Squirrel hair

Pigeon feather

Aqiq or agate stone -

burnisher

THE ART OF miniature painting gained popularity in

Bikaner in the 15th Century;a phenomenon ascertained

by the influence of Jainism that time.The miniature

artists,usually of the Usta and Matheran

communities,used to paint both specially treated paper

and the surfaces of walls.Today the artists still

practicing,paint exclusively on paper and are known

for their fine brush-strokes and subtle shading.

A woman worshipping the Shivlinga,which is a carved

black stone symbolic of Lord Shiva.

The practice of using natural pigments makes the preparation

procedure considerably elaborate and time consuming;while older

paintings reveal the use of pure colours,in current practice the

colours are usually mixed in order to tone down their

brilliance.Contemporary miniatures are usually based on themes of

Sufis,saints,ascetics,the daily events of life in the village and that of

the romance of Lord Krishna and Radha.

1 A portrait of a Sufi

saint.

2 A musician dressed in

the traditional

angarkha,the landscape

depicted in the elaborate

frame is rendered in a

combination of the

Mughal style and the

indigenous miniature

tradition.

SANDAL WOOD CARVING

CRAFTSMEN FROM THE Jangid

community craft sandalwood into

profusely patterned and highly

decorative artifacts that are usually

targeted at the export market.The objects

fashioned range from one inch long

supari,betel nut case,to a three feet tall

doll; all however are characterized by the

manner in which the entired width of the

wood is carved so as to create a series of

progressively detailed layers.

1. A shrine; its four compartments

house images of various deities-

Shiva and Parvati at Mount

Kailash; Lord Ganesh

accompained by his vehicle,the

rat;Hanuman paying his respects

to Rama and Sita; Lord Krishna

playing the flute with

Radha,shown standing under a tree

to suggest that they are in

Vrindavan.

2. A miniature temple in

sandalwood;

For instance, once a wooden flower is opened,the petals reveal small

boxes, which is turn reveal minutely carved scences.The craft process

begins with the cutting of the sandalwoos block into the desired size

and the maandana or sketching of the form onto it in pen or pencil.Fine

motifs may be first sketched on paper and then traced onto the

wood.The craftsmen then chisel away the extra-neous matter to reveal

the finished form.

Hanuman is shown kneeling before

Ram and Sita, who are seated on a

throne placed beneath a parasol.

1. Detail of a carved fan displaying

the door of a hinged compartment

within.

2. A decorative item resembling a

pocket watch;the two halves of

the dial open to reveal more

minutely carved details.

Production Clusters

Churu

Products

Supari-betel nut case

Swords

Decorative flowers

and creepers

Clock-like structures

Miniature Shrines

Figurines,Boxes

Wooden toys

Tools

Files, knives

Ari-saw

Hammer, Chisels

SILVER WARE

THE JANGID HAVE extended their wood carving skills to silver

work,adapting their ability to model three-dimensional products to the

translation of silver into large products.The majority of these items cater

to religious and ritual requirements;the primary items produced are

therefore temple idols,shrines,ritual lamps andd the lota or water

containers used in ritual ablutions.While most of these objects are made

solely when there is demand,silver coins and small boxes are made in

preparation of sale during the festival of Diwali.

The silver is procured from the local market in the

form of slabs known as siti.Depending on the

product to be made,the silver may be converted

into sheets or melted and recast into a particular

form.In Pali district,the jewellers of the Soni

community craft silver ornaments for the Rabari,

a pastoral community of Gujarat residing in

Rajasthan.

Production Clusters

Churu district:

Churu

Pali district:

Pali

Rani village

Products

Idols

Miniature models of

temples

Thrones for deities

Lamps

Boxes

Diya stand

Lota-water container

Cups

Bowls

Rabari jewellery:

Hansil-torque

Anklets

Earrings

Waistbands

Tools

Dies,Hammer,Pliers

Embossing tools

Buffing machine

Moulds,Files

MEENAKARI AND KUNDAN JEWELLERY

Production Clusters

Bikaner old city:

Sunaron ki Guwar

Tools

Bhatti-furnace

Bulli-used for making

serration

Mortar and pestle-for

grinding the colours

Takala-needle-like

tool used for applying

colours

Brush

Agate stone-for

smoothening

Sawan-used for

kundan work

Salai-etching tool

Brass die

Products

Bor-head ornament

Hansli-torque

Haar-large necklace

kangan-bracelet

Chudi-bangle

Bajuband-armlet

Hathphool-hand

ornament

Earrings

Nose-ring

INTRICATE MEENAKARI executed on a base of gold

and kundan-the laying of diamonds over layers of gold

foil set within gold or silver framework-has long been

practiced at Bikaner and Jaipur.The two techniques are

usually used in tandem,the kundan worked surface in

front and the meena on the reverse;the brilliance of the

diamonds being effectively complemented by the

multihued enamel of the meena.The motifs most often

seen in the thus rendered jewellery of the region are

phool-patti,or flower and foliage,peacocks ,parrots and

elephants.The intensive labour,skill and time,as well as

the costs of the raw material-highly purified goldensured

that the items were produced for the

consumption of a vary select elite class.Today there

exist two types of meena-the desi meena that melts at

an extremely high temperature archieved only with a

furnace and is exceptionally delicate and hence fired

only twice,and the vilayati meena,or enamel sourced

from Europe,

which has a much lower melting point that

can be achieved with a heater and has

greater flexibility in terms of the number

of firings it can take.The latter is

substantially cheaper than the desi

version,thus allowing meena worked

jewellery to be worn by a wider section of

society.

1. The laktavali buti ofBikaner, a pair

of long earrings with a kundan

worked front(right) and a meena

worked reverse(left).

2. Suraliya kanodi,a earring with chain

that is secured behind the ear.

3. Bor,the traditional forehead

ornament is embellished with a

combination of kundan and meena

and strung with pearls.

A pendant ornamented

with desi meenakari.

1 A cobbler trims a thin pattern

cut mojari insole.

2 A craftswoman sits by a frame

on which fabric has been

stretched in preparation for the

execution of zari,gold thread

embroidery.

3 The pattu weavers have extended their skills to the

stringing of macha,cots;intricate geometric patterns such

as the leher,zigzag stripes or the bawadi,rhombus,are

achieved through the use of two contrasting colours of

cotton rope.

JODHPUR

IN 1459 THE Rathore ruler of the kingdom of

Marwar,Rao Jodha singh,founded Jodhpur at the edge

of the Thar Desert.Due to its strategic location on the

overland trade route,the city soon became a

flourishing trade centre with a prosperous mercantile

community,known as the Marwari.Maharaja Jaswant

SinghII(r.1878-95)introduced innovative irrigatin

schemes that supplemented the water supplied by

Jodhpur`s sole river,the Luni,thus bringing water and

more affluence to this parched land.The Mehrangarh

Fort,perched on a sheer rocky hill in the middle of the

city,looms over the city`s opulent palaces,richly

carved temples,baori,step wells,mosques,colourful

bazaars and deserts sands.The district of Nagaur,to the

northeast of jodhpur,derives its name from its historic

title of Auzaar Nagari,`the town of tools`,called so

because it has served as a significant supplier of tools

to other parts of the country.The little desert town

conducts a cattle fair that rivals the Pushkar Mela;for

a few days this arid region is transformed into a

dazzling kaleidoscope of animals,crafts, and

people,including Nagaur`s famous puppeteers.

ACCESS

Jodhpur is well connected by air and rail.It has an

airport from where flights to Delhi

(604km),Mumbai,Udaipur,Jaisalmer and Jaipur

(338km) are available.

Subclusters of

Jodhpur

Jodhpur

district:

Phalodi,Pipad,

Jodhpur,Salawas

Nagaur

district:

Nagaur,

Makrana

Pali district:

Pali

Crafts of

JODHPUR

Mojari-leather

footwear

Wood work

Dabu -mud

resist printing

Bandhej - tieresist-dyeing

Seep ka Kaammother-of

-pearl

work

Bone work

Musical

Instruments

Wrought iron

work

Panja dhurrie

weaving

Pattu weaving

Matti ro kaam -

terracotta and

pottery

Paatra kam -

utensil making

RESOURCES


Mojari Leather Jodhpur,chennai,

Cotton , Resham

thread

Patan

Wood work

Wood-roheda,

mango,safeda

Nagaur

Dabu Thick cloth Salawas,Jodhpur

Thin Cloth

Jaipur,Chennai,

Ahmedabad

Dyes

Jodhpur

As seen from the Mehrangarh Fort,a

conglomeration of the blue-washed houses

characteristic of Jodhpur.

A Devasi woman wearing a

distinctive panchiya choker and

beaded necklace kalotra

village,Pali district.

MOJAR-LEATHER FOOTWEAR

Production Clusters

Jodhpur district:

Jodhpur City:

Jingar Mohalla

Sivanchi Gate

Girdikort Bazaar

Jaisalmer district:

Baiya,Myajlar,

Ridawa village

Bikanere district

Products

Mojari-footwear

Pouches

Lagaam-reins

Sword sheaths

Ghode ki jeen-riding

saddle

Charas- used for

drawing water from

the well

Metada-a leather

belt/cord used to hold

the buttermilk churner

Daman-tool used by

metalsmiths to blow

air

Tools

Cutting base

Stone working base

Deer horn to shape

shoe

Ari-awl

Kateni-awl for fine

embroidery

Skiving tool

Meenagadi-wooden

mallet

Meenagadi-wooden

mallet

Raapi-knife

Wooden lasts

Punches

Dies for embossing

THE MOCHI OR cobblers,of this region craft leather into

light and intricately embroidered footwear,locally known a

mozari or pagrakshi.They are cut using traditional patterns

that make no distinction between the left and right

foot,shaped using the three-piece wooden last and stitched

with thick cotton thread as are all the indigenous footwear of

the state.The pagrakshi may be easily distinguished by the

exceptionally intricate and densely embroidered uppers.The

suede used for the upper is reinforced with a lining of bakram

(stiff lining) or thin goat leather on the reverse in order to

create a firm base for the fine chain stitch

embroidery,executed with an awl made of sharpened syringe

needles.No set design is followed for the embroidered flowers

and creepers;the women create each from

imagination,constantly checking to ensure that the design of

the second follows the first.Due to the use of suede

uppers,thin goat leather lining and buffalo leather soles,the

mojari are lightd.The soles too are highly decorative;the

inside usually bears a small motif,coordinated with the motifs

of the upper.The leather of the inside of the sole may also be

patterned through the cutting out of motifs;in such instances,a

layer of coloured leather is introduced under the top sole

layer to allow the cut motifs to be seen distintly.The lower

side of the sole is also often decorated with a stitched or cut

out motif.

Embroidered leather pouches,Barmer.

1. A mojari from Jodhpur,the insole is patterned with cutout

motifs that are offset by the use of a secondary coloured

layer.

2. A mojari from Jodhpur with an embroidered insole.

3. A mojari with an entirely embroidered upper,a decorative

inner sole and a cutout-pattersn turned up toe,Jodhpur.

Mojari from Jaisalmer,the front is ornamented with

tassels,punches and embroidery while the reverse is

delineated through the use of bold stitches in thick cotton

yarn.

Leather seat of a stool embroidered

with a stylized camel

motif,Jaisalmer.

Front:

Densely embroidered mojari,Bikaner.

Reverse:

Patterned cut-out soles of

mojari,Jodhpur

A new design,for the

export market,Jodhpur.

Carved and painted figurines representing musicians playing the various traditional instruments of Rajasthan.

WOOD WORK

WOOD WOK WAS never a significant craft of

Jodhpur;the recent emergence of a large and potentially

profitable export market has however caused a number

of Suthar,or members of the carpenter caste,to immigrate

from nearby villages of the city,thus establishing a large

craft cluster.Most of the Suthar are either from

Barmer,the region of Rajasthan well known for its

intricate wood carving,or belong to the Meghwal

community who carve stands for flour

grinders,cots,camel and bullock carts and cradles for use

by the village community;these objects are often

decorated with carved details and small engraved metal

elements.

Their respective skills have been adapted to the requirements of the

burgeoning urban and export markets and the city of Jodhpur now

generates a range of carved,painted ,metal worked and antiquefinished

wood products.Though most of the metal ornamentation on

wood utilized brass,white metal and copper have also begun to be

employed.Sheets of metal are bought,embossed with the aid of

dies,then cut into required shapes and sizes and affixed onto the

wooden objects so that it covers the wood partially or entirely,If the

wood is not entirely covered over,it is painted and distressed or given

an antique finish.

Production Clusters

Jodhpur city:

Shilpgram near pal

village

Products

Flour grinders

Cots,Carts,Cradles

Chests of drawners

Figurines

Tools

Dies,Saws

Hammers,Chisels

Sandpaper,Files

A Carved

shelf with

miniature

jaali

worked

arches

flankedd by

standing

female

figures.

A three feet

tall carved

and painted

chest of

drawers.

Carved and painted figuries of Goddess Gangaur and her consort

Isar.The Gangaur festival is celebrated by women and the goddess is

worshipped for conjugal bliss.The Gangaur idol is depicted differently

depending on the region and community of the devotee.

DABU-MUD RESIST PRINTING

Production Clusters

Jodhpur district:

Pipad

Salawas

Pali district:

Pali

Products

Jaajam-large bedsheets

Odhni-veils

Ghaghra-skirts

Gadde ka kholmattress

covers

Tools

Bhaant-blocks

Paatia-printing table

Wooden tray for

colour

Mesh or gauze

Dye vats

THE CHHIPPA COMMUNITY of

traditional printers of this region use the

mud resist printing technique with vegetable

dyes to create densely patterned and richly

coloured textiles that cater to the functional

and sartorial requirements of many local

communities such as the

Patel,Meghwal,Sindhi,Muslims,Maali,Raika

Rabari,Jat and Bishnois.

Although all the motifs are derived from vegetable and floral

forms,each bears a unique association with a specific community,thus

serving as a means of identifying the wearer.The dabu process begins

with the collection and storage of mud from the local pond;prior to its

usage the mud is wet and sieved until it becomes a fine paste.It is then

mixed with lime,gum,either fenugreek or alum,and jaggery.The fabric

to be printed is washed thoroughly to remove all starch and then dried;

the entire yardage is treated with harda,the mordant,and then

dried again.The resist printing is executed by applying a wood

block dipped in the dabu paste on the thus treated cloth,The

fabric is then dyed;depending on the design the fabric either

undergoes a second round of resist printing or washing which

removes the mud paste.The final dyeing stage imparts colour to

the previously resisted areas.

Inset and right

Wooden blocks used

for mud resist

printing,Pali.

The craftsmen at Pali print yardages using the traditional

vocabulary of motifs,borders or stripes and trellis.

Fabric printed for the skirts worn by women of several local communities in Salawas.

BANDHEJ-TIE-RESIST-DYEING

BANDHEJ,THE PRACTICE of creating patterned textiles by tying small knots on pretraced

or stamped fabric in order to protect those areas from being coloured while

dyeing,is widely practiced throughout Rajasthan.In Jodhpur,the craft has long been

practiced by the Chadwa community;the women undertake the tying work while the

men execute the dyeing.The Chadwa are believed to have migrated from Multan in

Pakistan to Delhi and then to Jodhpur and later to the other princely states of

Jaipur,Bikaner,Pali , Nagaur and Udaipur.

The textiles they created were

essentially for royal

consumption;kesar,saffron,was used

exclusively for those textiles

associated with the royalty.Most

colours and forms are associated

with specific occasions or

seasons;thus black is worn during

Diwali and the phagania(phagun

means Spring)is worn during

Holi.Red and Yellow are

considered especially auspicious

and consequently,the red and

magenta ladu chunari and the

kangasiya peela are worn during

marriage ceremonies while the

pilo,yellow,is worn by young

mothers.The colours were often

intensified with alum,and certain

fragrant leaves,locally available in

Jaisalmer,were used to dye the saafa

of the royal family.In addition to

the royal textiles,cotton bandhej

textiles were also used as unstitched

garments such as sari,odhni,chunari

and saafa by the rural

communities;those worn by the

Meghwal and Koli communities

embellished with embellished with

embroidery,couching and mirror

work.

Production Clusters

Jodhpur city:

Sindhiyon ka Mohalla

Jaisalmer city:

Akhipool

Barmer city

Bikaner city:

Chadwon ka Mohalla

Products

Saafa-turban cloth

Odhna-wrap

Dupatta / chunari -

stole

Lehanga / Ghaghara -

skirt

kurta-tunic

Sari

Tools

Bhaant-blocks

Nukalia-metal

extension for finger

Thick rope - for

marking centre of

cloth

Threads

Dye vats

A rare depiction of figurative designs in bandhej done on fine cotton cloth,which was made for the court

in Kota.

The alizarin and indigo dyed

chandrawali odhni is worn by

Sindhi Muslims and the Hindu

Kumbhar or potter

communities.Bandhej is done on

cotton poplin of medium

weight,Barmer.

Contemporary bandhej executed on

chiffon, Jodhpur.

SEEP KA KAAM -MOTHER-OF-PEARL WORK

Production Clusters

Jodhpur city

Products

Boxes of various

sizeds

Lamp stands

Candle Stands

Ashtrays

Chessboard

Flowerpots

Photo Frames

Tools

Grinder

Metal Cutter

Shell cutter

Wood saw

THE DARK OUTER side of the shell is removed through ghisai,grindinga

process which also smoothens the shell and

reduces its thickness so that it may be cut to the required size with a metal

cutter.The pieces of shell are then neatly glued onto previously carved

wooden objects.The areas bereft of shell ornamentation are covered with

thin brass strips and a round plate is affixed to the base.Shell may also be

inlaid into brass objects which are designed so that they are patterned

with gentle depressions in which the shell may be

inset.The entire object is subjected to ghisai to

ensure that the shell and the brass are level

throughout;the object is then polished with emery

and waxed to give it a glossy finish.Alternatively,it

may also be given an antique finish by applying a

paste of mehendi,henna,over its surface,the paste is

washed off after a couple of hours to reveal shells

that are varying tinted,having absorbed the dye in

different proportions.The ornamentation may also

imitate the Usta kaam of Bikaner by using

embossed patterns created with a mixture o fuller`s

earth and glue;the floral motifs thus made are

enamel painted,outlined in black and highlighted

with gold paint;finally,a protective layer of varnish

is applied.

Inset A brass lid with an indented floral motif;the

cut pieces of shell held in the craftsman`s palm are

to be inlaid in the recessed forms as shown.

A candle stand.

An ashtray.

A bottle opener.

BONE WORK

Production Clusters

Jodhpur city

Products

Boxes of varying

sizes and shapes

Small Chests

Table lamps

Flowerpots

Ashtrays

Toys

Animal Figurines

Chess set

Tools

Sanding Machine

Cutting Machine

Files

Emery Paper

WITH THE BAN on ivory in

1989,the craftsmen were forced to

adapt their skills to a new materialbone.The

camel bones are

processed in workshops at

Sambhal,Uttar Pradesh.The bones

are heated in furnaces so that the

extra fibres and extension get burnt

out;they are then chemically

bleached and cut into smooth

narrow strips which may be further

cut to the desired size by the

craftsmen.

Although the rest of the process is similar to that of

seep ka kaam,bonde is more profitable as there is litte

wastage of material and time during the cleaning

stage;bone is also together and less liable to chip than

mother-of-pearl,

thus saving the labour

spent in repairing

chipped areas on shell

surfaces.The henna

based antique finish and

the imitation Usta

ornamentation that are

used in shell work are

also used for bone

objects.The growing

popularity of this work

is evident in the large

increase of artisans in

Jodhpur city.

Inset Detail of a painted

box

1 A carved and painted

container.

2 A carved,embossed

and painted container.

3 An Embossed and

painted lamp base.

MUSICAL INSTRUMENTS

Large drums stacked

for sale;although

produced throughout

the year,the musical

instruments are

mainly sold during the

marriage season,the

fair of Ramdeora at

Runicha in

August,and during the

Navratri festival.

MUSIC PLAYS A significant role in the secular and

religious life of rural Rajasthan;folk songs are sung during

festive occasions and celebrations of rites of passage such

as marriage,child birth and naming ceremonies as well as

in saawan,monsson,when young girls and newly wed girls

gather at night to sing songs.In addition,jaagarans,or

night-long sessions of devotional singing,are held in

reverence of the many local deities.Many of the villagers

conduct satsang sessions on the night of each poornima or

full moon;

The damru,a small percussion instrument.

Leather

strips are

linked to

encase a

small

drum.

at these gatherings an elder or a religious personage speaks of

the Gita,the Ramayana or of a local saint and after the

discourse,bhajan,devotional songs,are sung by all.Local

craftsmen craft a wide range of musical instruments using

leather in combination with wood and metal;each of the large

metal dhol are used specifically during marriages while the

chung,a large sized dafli,tambourine,is associated with the

festival of Holi.

Production Cluster

Jodhpur city:

Thaliyon ka baas

Products

Dholak-barrel-shaped

side drum

Tabla-pair of drum

(dayan is the right

hand wooden drum

and bayan is the left

hand metal drum)

Damru-drum

Nagara-kettle drums

of the old

naubat,traditional

ensemble,of nine

instruments played

with sticks.

Pakhavaj-long bodies

barrel-shapedd

wooden drum with

skin covered ends

Chung-tambourine

without jingles

Tools

Raapi-scraper

Sua-needle

Chaini-awl

Scissors

WROUGHT IRON WORK

Craftsmen at work.

WROUGHT IRON WORK is a recent phenomenon in this region;most

of the production caters to the export market and is executed by

artisans from nearby villages and those who come from Orissa and

Bihar.Depending on the design and nature of the production,the aid of

power press machines.

A Candle stand.

A mutli-hooked mobile.

As the beauty of the product is dependent on the

grace of the curvature given to the rods,this stage

of the process is executed by skilled artisans

alone;the metal rods are heated with a blower until

malleable and then bent into the desired

shape.Each decoratived element is then

individually hammered until they are precisely

alike and the components of the product are

assembled through welding.The excess metal is

ground and then finished with paint and given an

antique finish or coated with zinc powder making

it look like white metal.

Production clusters

Jodhpur district:

Jodhpur city

PAl Village

Products

Beds

Chairs

Tables

Garden furniture

Lamp Stands

Candle Stands

Photo frames

Pen stands

Trays

Baskets

Plate stands

Table accessories

Tools

Blower

Hammer

Grinding machine

Welding torch

A chair.

A lantern.

PATTU WEAVING

Production Clusters

Jodhpur district:

Phalodi tehsil

Jaisalmer district:

Pokharan

Products

Bardi-chequered wrap

Pattu kashida-wrap

with brocading

Pidha-low wooden

seats

Macha-strung wooden

cot

Gandha-floor spread

Tang-camel belt

Bed covers

Cushion covers

Table runners

Dupatta-stole

Kurta-tunic

Salwaar-loose pantlike

garment

Bags

Tools

Bunai ki khaddi-pit

treadle loom

Naal-shuttle

Yarn winder

Charka-spinning

wheel

Hatta-beater

kangi-reedd

THE MEGHWAL COMMUNITY

weave local wool into narrow strips,or

patti,that are then stitched together to

form wide shawls known as pattu that

are worn by members of all

communities in the region.There is

however a sartorial code with regard to

the type of pattu wornthe

chequered pattu are worn by women while the highly

decorative pattu are used by young men and the plain

pattu by older men.The base cloth of the pattu is in either

plain or twill-weaves and the motifs are created through

the use of the extra weft is usually of a colour in contrast

to the base cloth and is inserted after every two picks,thus

producing an impression of finely embroidered fabric.The

pattu constitute an important element in local ritualsamong

the Meghwal,the pattu weaving community,pattu

form a part of the gifts given to the prospective groom`s

family when fixing a marial alliance;they are also gifted

to all the immediate relatives to the groom during the

marriage ceremony.In addition,close bonds between two

men are cementedd through the granting of the title

`brother` and the exchange of pattu.

Inset Detail of the cotton table mat on the right.

1 A table mat

developed in

cotton using the

traditional

pattu,blanket

design.A whole

new range of

products such as

table

linen,cushion

covers and

bedspreads has

been developed

by diversifying

the traditional

pattu,in

collaboration

with designers

and non

government

organizations.

2 Detail of extra weft patterning and

weft predominanting stripes in a

cotton pattu.Design intervention

helped the weavers change from wool

to cotton weaving.

PANJA DHURRIE WEAVING

Production Clusters

Jodhpur district:

Salawas

Products

Gandha-large floor

covering

Aatariya-animal cover

for winters

Jhul-cart enclosure

Bora-cloth for large

sacks

Tools

Horizontal floor loom

Panja-metal comb

Churri-knife

Suaa-needle

Kainchi-scissor

Temple to maintain

width

THE WEAVERS OF the village of Salawas belong to the

Prajapati caste.Although their main source of income was

agriculture,they also practiced pottery and the weaving of

jatpatti rugs.These plain weft faced dhurried woven with

coarse goat or camel hair derive their name from jhat,literally

meaning haste,with which they could be executed.The

jatpatti were initially used as coverings for domestic animals

during winters,as saddle bags,as filters for oil mills and for

making tents.The traditionally used animal hair was replaced

with cotton fibre in 1977 and these dhurries began to be sold

to a small segment of the domestic market.The craftsmen

began experimenting with stripes,geometrical and stylized

natural forms such as the kangasi(comb),teer (arrow

head),tota(parrot),chidia(sparrow) and chaukadi

(rhombus).Variously coloured yarns are laboriously

individually inserted to create these forms,thus also ensuring

that the dhurries is reversible.As these dhurries acquired

recognition they came to be known as panja dhurries due to

the use of the panja,a comb -like beating tool.

Natural coloured wool

dhurrie;woven in goat

hair warp,and weft of

camel hair and sheep

wool.

MAATI RO KAAM-TERRACOTTA AND POTTERY

A craftsman creating a large batch of lamps in preparation for sale during

a festival.

Dhola and Maru,the star-crossed

lovers of Rajasthani folklore who

eloped on their camel are a favoured

theme seen represented in the

terracotta as well as miniature painting

tradition of the region.

Two of the king`s men riding on an

elephant.

IN ADDITION TO an array of items of daily use-water pots,tray for

kneading chapati dough and bowls for setting curd-characterized by

their blackened finish,the potters of Mundwa tehsil also create clay

toys and idols of the goddess Gangaur and her escort Isar in a range

of sizes.The potters employ a combination of techniques in the

creation of the toys and figurines-some parts are thrown on the wheel

others are formed either by hand or by using moulds.The different

components created are then skillfully assembled to make the final

product;the local clay although suitable for such work is fortified

with natural gum.In the case of the Gangaur idols for instance;the

face is made in a mould,the bodyd(2 feet to 4 feet in lenght) is

turned, and the hands are hand-moulded.The head,torso and hands

are joined,fired and painted with the traditionally used vegetable

dyes or the recently introduced chemical dyes.

Product Clusters

Nagaur district:

Nagaur town

Mundwa tehsil:

Bu village

Chenar village

Products

Idols:

Ganesh,Ramdeo

Toys:

Peacoacks, Elephants

Horses,Rats, Rabbits,

Camels,Lions

Ganesh,Ramdeo

Toys:

Peacoacks, Elephants

Horses,Rats, Rabbits,

Camels,Lions

Other Animal

figurines

Tools

Chak-potter`s wheel

Moulds

Carving Tools

A

representation

of an English

lord complete

with a coat

and hat.

Four feet tall idols of

the Goddess Gangaur

and her escort Isar,Bu

village,Nagaur.

PAATRA KAAM -UTENSIL MAKING

PREVIOUSLY ROHEDA,SAFEDA and mango wood was handd-sculpted to form

paatra,the lightweight bowls,carried by the monks of the Shwetambar jain and

Vaishnav sect.Each distinct group within these two sects required a specificd range

of products-five products were created for the use of the Terapanthi

sadhus,monks;while a set of thirteen products were made for sadhavis,Jain

nuns.Although the introduction of lathes and hand drills has made it far easier to

achieve the light weight required of these vessels for use by wandering monks,the

demand for paatra has considerably declinedd.Thus in the town of Pipad and

dDPali,the main centres where this craft was extensily practiceddd,there are but a

few Muslim craftsmen who continue to employ their traditional skills.Although

these craftsmen make paatra for sale in Jain centres such as Ahmedabad and

Palitana,both located in gujarat,

Items of domestic use like the chakla-belan,rolling pin and platform for making

wheat bread.

they have also taken to producing a variety of boxes and

bowls as per commissions received from merchantds in

Jodhpur.

The traditional utensils used by monks of the

Shwetambar Jain community.

Production Clusters

Pali district:

Pali

Jetaran

Bagari

Jodhpur district:

Pipad

Products

Large wooden plates

Utensils for JAin and

Vaishnav monks

Bowls

Boxes of many shapes

Chalka-belan-rolling

platform and pin

Deewar ki khuntiwooden

pegsd for

walks

Auzaar ka dandahandles

for tools

Tools

Lathe,Hand drill

Chisels,Files

These small containers are commissioned by merchants

in Jodhpur,and are usuallyd ornamented through painted

embossing,metal work or antique finish.

Washed and dyed fabric being sun-dried prior to block printing, Barmer.

Subclusters of

Jaisalmer

Jaisalmer district:

Jaisalmer, Pokharan

Barmer district:

Barmer

Crafts of Jaisalmer

Camel trapping

Terracotta of

Pokharan

Stone Carving

RESOURCES


Camel Trappings

Goat hari,Cotton

Jaisalmer

cord

A REMOTE OUTPOST in the

Thar Desert, Jaisalmer was

founded in the 12th century by

Maharaja Jaisal of the Bhatti

Rajput clan.Due to its location

on the busy overland routes

linking India with

Egypt,Arabia,Persia and

Africa.Jaisalmer was an

exceptional wealthy principality who affluent trades and rules

vied with each other to beautify their austere desert environs

with resplendent palaces and havelis,mansions.Constructed with

the local golden yellow sandstone,these buildings have

exquisitely carved facades with intricately patterned jaali,latticed

screens,which serve to diffuse the harsh desert sunlight while

allowing fresh air to enter.They also enabled women of the

household to observe the happenings of the street

unobtrusively.The glory of Medieval Jaisalmer came to an end in

the 18th century when trade began to be routed through the sea

ports of the Surat and Mumbai and the old caravan routes fell

into relative disuse.The crafts of this arid region of the Thar -

wool weaving,embroidery,bandhej and pottery-appear to have

attempted to negate the vast austerity of its sandy tracts through

the use of vivid colour.The cultural matrix of Barmer,a desert

town that was once a part of the Jodhpur estate,has much in

common with the adjoining Tharparkar region of Pakistan.Since

it is occupied primarily by the Meghwal and nomadic cattle

herding communities,the crafts of Barmerbandhej,ajrakh,printing,embroidery

and patchwork-are

essentially an expression of the nomadic lifestyle and legends of

their community`s origin and wanderings.

ACCESS

Jaisalmer is connected to Jaipur(665km) and Jodhpur (98km)by

both rail and road.Barmer too is connected by road and rail with

Jodhpur and Jaipur;it is also connected to Kachchh by road.

1. Inset A memorial;its chhatri,fluted columns and arches are

of the elaborately carved sandstone characteristic of this

region.

2. Naqqashi kaam,the intricately carved wood reflects the

ajrakh (block printed patterns) of Sindh in Pakistan.

3. Due to the large repeat sizes of the blocks used in

printing,the craftsmen apply pressure on it with both their

hands to ensure an even application of colour.

4. A potter stands among his waters at the village of

Pokharan.

CAMEL TRAPPINGS

CAMELS,ONCE THE chief mode of

transportation in the deserts of western

Rajasthan,were adorned with several trappings

including the tang(camel girth),the gorbandh

(necklace),the godiya and sariya(ankle and

knee bands),and the morka(bridle).Although

the popularization of motorized transport in

these regions has led to the decreasing use of

camels for personal transport,camels adorned

with these trappings may still be seen in the

desert regions of Jaisalmer where they cater to

safaris orgnaized for tourists.Camel girths are

sturdy,narrow lenghts of fabrics that primarily

serve to secure the heavy wood and metal

saddle in position.

The two-layered oblique interlacing technique

used to create this camel belt requires cords

made of two dark and two light plies;these

cords are always split so that either the dark or

the two light plies are uppermost, thus allowing

the weaves to be manipulated to create motifs.

on the camel`s back.Used in pairs,these girths are attached to each side of the saddle bar,passed under the

camel`s belly and affixed to the other side of the saddle.The tang is made of natural coloured goat hair or

cotton cords using the split-ply braiding technique where sets of four-plied cords are attached to a narrow

support rod and each cord follows an oblique course where it may be split and in the process be seen or

concealed.Through the manipulation of the braiding technique,patterns of men,women animals,trees and

birds may be created with varying degrees of realism.

A cotton camel belt.

Production Clusters

Jaisalmer

Barmer

Bikaner

Products

Tang-camel girth

Gor bandh-necklace

Godiya-anklet

Sariya-knee band

Morka-bridle

Tools

Gunthani-wooden

hook

Detail of a reversible cotton camel belt done in

single course oblique twining.

The saddle on the camel`s back is held in place

with a belt made of goat hair.

A craftsman demonstrating a belt made by splitply

braiding technique.

TERRACOTTA OF POKHARAN

Production Clusters

Pokharan:

Kumbharaon ki Pol

Bhavani Pol

Products

Ghada-water pot

Diya-clay lamp

Badi-small open

containers

Pari-curd tray

Parot-tray to knead

flour

Chada-broad-bellied

churning pot

Kuppari-water

container

Tania-cooling vessel

Pannal-water drainage

Hatoni-spice

container

Kitchen utensils

Pitchers

Toys

Ashtrays

Plaques

Lamp Shades

Flowerpots

Paperweights

THE POTTER PLAYED a significant role in the village community-it was he

who provided the many utensils and storage items for daily use as well as the

diya,lamps, for Diwali and the prerequisite clay idol of Lord Vinayak or Ganesha

for marriage ceremonies.In return for his services the potter would get paid in

kind,usually in grain or ghee,clarified butter.After the clay is prepared,it is thrown

on the wheel and shaped;the object is given its final shape through tipai,the

process of evenly beating its outer wall with a wooden paddle.

Tools

Chhanni-sieve

Chakariyo-stone gear

wheel

Chaak pherni-wooden

stick used for turning

the wheel

Godadi-sack cloth

Thapa-wooden paddle

Pindi-supportive

stone

Khurri-bent metal

strip

Jhaad bhat, Mor bhatembrossing

tools

Small containers.

The chief distinguishing characteristic of the Pokharan pottery

is its ornamentation-lines,dots and stylized vegetal motifs are

imprinted with terracotta,metal and plastic tools.The craftsmen

judge a work by its bewk kaam(finesse),safaai(finish),chiknai

(smoothness),achachi khudai(quality of carving) and uniformity

of thickness.

Painted clay vessels.

Animal figurines.

STONE CARVING

Production Clusters

Jaisalmer city:

RIICO Handicraft

area

Products

Chhajja-overhang

Jharokha-window

Manjisha--pillar

capital

Jaali-lattice worked

screen

Kangra-Window

ledge

Mihrab-arches

Tables

Lamp stands

Chakla-platform for

rolling flat bread

Tumblers,plates

Pen stands

Tools

Hathaudi - hammers

Chheni - Chisel

Tankla - thin chisel

Darment - fine chisel

Bepada-brush

Metal Stencil

JAISALMER IS RENOWNED for its stone forts and the

intricately carved lattices and facades of its palaces and

havelis,mansions.Such work was originally undertaken by the

Silavat community who migrated to Pakistan during the

Partition;they had however,trained local craftsmen in their

technique and consequently the stone carving workshops of

today are operated by artisans of various communities.

The recent adoptin of machine operated tools has made this craft accessible to a

market far larger than its traditional clientele of royal and noble

background.Further,the use of lathe machine has revealed the stone`s hitherto

unexploited rich deep yellow colouring and enlarged the range of products that

may be created through the development of small items of daily used.

1. Detail of a carved balustrade of a balcony, Jaisalmer Fort

2. A niche with a carved jaali,Mehrangarh Fort, Jodhpur

3. A craftsman carving a jaali, lattice.

UDAIPUR,a city of marble palaces and lakes surrounded

by a ring of hills was founded by Maharana Udai Singh in

1559, and became the capital of Mewar after the fall of

Chittorgarh in 1567.The rulers of Mewar,the fiercely

independent Sisodia clan,refused matrimonial alliances

with the Mughals and took great pride in their reputation as

the prime defenders of Rajput honour.In 1615,a treaty was

finally concluded between the Mughals and the then

Raja,Rana Amar Singh.Udaipur remained the capital of

Mewar until it was merged with the Republic of India in

1947.The city is dominated by the massive City

Palace,which overlooks Lake Pichola.A series of canals

connected the numerous artifical lake that are surrounded

by splendid palaces,ghats,steps leading to a

waterfront,mansions and temples.The palaces and mansions

are a repository of glass inlay and mosaic relief,marble

relief and lattice carving,and paintings.The Rajputs,a

warrior community,used armoury that was elaborately

decoratedd with precious materials inlaid in steel

(damascening)and encrusting one metal over another.A

vibrant craft traditional of wood turning,book

binding,puppetry,dyed and printed textiles were practiced

in the region due to the cultural and religious beliefs of

traditional communities of

writers,chroniclers,bards,tribals,and a large variety of

artisan communities.The crafts are still commercially active

in the Udaipur region due to tourist and aspirations of the

local population.To the northeast of Udaipur is

Nathdwara,home to the 18th Century temple of Shri Nathji

and the pichhwai,pictorial painted cloths.Udaipur and

Chittorgarh region support an active tradition of mininature

painting.

ACCESS

Udaipur is connected with Jaipur,Mumbai and Delhi by

air.It is connected by road to most parts of Rajasthan and by

rail to Ahmedabad(252km),Jaipur(405km) and Delhi

(663km).

RESOURCES


Kavad Wood-adusal Udaipur district

1 Detail of the

stone jaali,lattice

work screen in

the City

Palace,Udaipur.

2 Silversmiths of

Udaipur take

silver ingots to

other craftsmen

who specialize in

the smelting of

the metal in

furnances.

3 Nathdwara

boasts a colony

of traditional

pichhwai

painters,one of

whom is shown

here at work in

his home.

4 A craftsman

from Molela

displaying a clay

plaque.

The heavily painted interior of a still

occupied haveli;kaleidoscopic light

streams through the stained glass

windows.

Crafts of UDAIPUR

Pichhwai-painted

temple hangings

Kavad-mobile shrines

Terracotta of Molela

Damascening

Metal engraving

Koftgiri-weaponry

Thewa-gold leaf work

Silver jewellery

Meenakari - enamel

work

Dabu printig of Akola

Leheriya - tie - resist -

dyeing

Subclusters of

UDAIPUR

Udaipur district:

Udaipur

Rajsamand district:

Nathwara

Molela

Chittorgarh district:

Gangrar

Bassi

Akola

Pratapgarh

KAVAD-MOBILE SHRINES

An antique pichhwai depicting

Krishna`s birth with details executed in

gold and silver leaf.

A pigment painted

pichhwai based on

the theme of the

Gopashtami,birth day

of Lord Krishna.

PICHHWAI - PAINTED TEMPLE HANGINGS

Details of the gopis

depicted in the style of

the Pichhwai.

Production Clusters

Udaipur

Nathdwara

Products

Picchwai - painted

wall hangings

Smaller paintings on

cloth/paper

Tools

Coconut shell

containers for colours

Jara-broad brushes of

goat tail hair

Jhina-fine brushes of

squirrel tail hair

Imli ka lakdicharcoal

from

tamarind twings

Ghonta-burnishing

tool inset with an

agate stone

Opni-small agate

burnishing tool

Nepha-wood or iron

rod used to hang the

pichhwai

AT THE SHRINE of Shri Nathji

Nathdwara and other temples of the

Pushti Marga sect,which emphasized

sewa,service,to Lord Krishna as a

means of achieving grace,large cloths

with vivid depictions of Krishna`s

childhood were hung behind the idol.

These are called pichhwai,literally

meaning at the back;they are an

effective backdrop for the idol as

well as an expression of the mood of

the deity,the spirit of the season or

the theme of the festival.Thus in the

summer months,pichhwai depicting

the lotus ponds and the shady groves

of mythical Vrindavan are used to a

provide a cool atmosphere for the

deity, while in the monsoon paintings

of stormy scenes of rain and

lightning,or dancing peacoaks fill the

entire composition, and shades of

green dominate the palette.An

especially popular theme is the

Raaslila,the great circular dance in

which each gopi or milkmaid saw

krishna beside her,as if he were

dancing with her alone;krishna in

turn took pleasure in multiplying

himself to please all his devotees.The

dance represents the culmination of

Bhakti,or devotion,in which the

human soul meets the divine in a

state of ecstasy.The Pichhwai are

created by members of the Adi Gaud

caste using traditional stone colours

on cotton.Some painters have now

begun doing smaller pieces and

working with acrylic paints as these

materials allow their work to fall

within a far more affordable price

range and thus encourage their sale to

tourists and art collectors.

Production Clusters

Udaipur district:

Udaipur


Bassi

Products

Shrines

Idols of Gangaur &

Isar

Bevan-processional

swings for temple idols

Bangle stands

Bajot-low tables

Chowki-smaller tables

for daily

use,marriages,domestic

shrines

Toran-plaque hung

above the main door of

the house

Sthumb-an ornamental

stand used in marriage

ceremonies

Chopda / Kumplesindoor

or vermilion

box

Toys

Rattles

Chaklota belan-rolling

pin & platform

Carved wooden panels

Furniture

Mirror frames

Figurines of :

Musicians

Elephant riders

Soldiers

Dhola-Maaru

Animals

Tools

Jack plane

Tagla-chisels

Files

Brushes

Hand saw

Hammer

Gouges

Turning lathe

Power Lathes

Band saw

Grinding wheel

Drilling sticks

AT BASSI, ARTISANS of the

kumawat caste make a range of carved

and painted objects,among which is the

kavad,the portable shrine with multiple

folding doors,each of which is painted

with representations of epics and

myths.These are used by the Kavadia

Bhatt,the itinerant priests who narrate

epics whilst simultaneously pointed to

the appropriate illustrations on the

kavad with a pointed to the appropriate

illustrations on the kavad with a

peacock feather.

The reading proceeds from the frontal panels to the inner until

the tale is completed and the last panel is opened to grant the

gathered viewers a darshan,glimpse,of the deity represented.The

basic structure of the kavad is made of medium soft,low density

wood-usually adusal,meetha neem or solar-the surface defects

of which are filled with a mixture of sawdust and adhesive.The

object is then dried and sandedd and coated with khaddi,a type

of soil found in Bhilwara district,which acts as a primer and

gives the object a shell white hue.Previously,naturally derived

colours were utilzed but they have now been replaced with

powder or poster colours that are mixed with gum and water

and finished with a coat of transparent varnish.

Inset Idols of the goddess Gangaur and Isar,the local names for

Parvati and Lord Shiva,who are said to symbolize married

couples and are used during the festivals of Teej and Gangaur.

A kavad is a portable shrine with multiple folding doors that

depicts stories from Hindu mythology.

TERRACOTTA OF MOLELA

THE

KUMBHARS,POTTERS,of

Molela make an assortment

of domestic clay vessels,but

it is the handmodelled,hollow

relief

votive plaques that they are

famous for.Every year

during the month of

Maag,ie,January to

February,various tribal

communitiesnotably

the Bhil,the Gujjar and Garijat-arrive at

Molela accompanied by their bhopa,priests,in order

to buy new votive images of their deities.The deities

whose images appear on Molela terracotta may be

part of the mainstream Hindu pantheon

(Chamunda,Kali,Durga,Ganesha)or more

commonly,regional divinities whose cults are rooted

in animistic belief systems(for example Nagadeva)or

in folk legends celebrating local heroes andd heroines

(for example, Dev Narayan,Tejaji,Pabuji,Gora

Bhairav,Kala Bhairav,Vasuki,Bhoona and

Mendu,Sadumata,Panch-mukhi).The murti,images ,

are built up and refined through a combination of

basic clay work techniques-squeezing,pinching and

coiling on a flat clay slab.The process has to be halted

at intervals to allow the clay to dry somewhat and prevent the handmodelled

forms from collapsing.Foliage,animals forms and

decorative elements are all similarly rendered and the composition is

gradually elaborated.Once complete,the murti is sun-dried before it is

considered ready for firing.After being fired,the murti may be

painted with stone and mineral colours and is finally finished with a

coat of locally made lacquer.

Inset A plaque depicting Dev Narayan shown on a horse and holding

a bhola,spear,and a lotus.This form of Vishnu is worshipped

primarily by the Gujjar community.

1. A plaque depicting village life;such contemporary themes are

often commissioned as murals to be installed in buildings in

various urban centres.

2. A depiction of a wedding procession;the groom`s shoulder

cloth is tied firmly to his veiled bride`s odhni.

3. A votive plaque on which an entire pantheon is depicted.

4. Dhola and Maru,the star-crossed lovers of Rajasthani folklore

who eloped on their camel are often represented in the

indigenous miniature painting tradition.

Production Clusters

Rajsamandd

district:

Molela

Products

Figurines

Idols

Votive plaques

Terracotta murals

Tools

Chack-potter`s wheel

Lakdi ka pattiyawood

scrapper

Pindi-beating tool

Lohe ki bhaardidcutting

tool

Baldi-chisel-like tool

DAMASCENING

Production

Clusters

Udaipur

Products

Talwar-sword

Daggers

Dhal-shield

Kholia-munalsword

tip and hilt

Rifle butts

Locks

Chairs

Surahi-pitcher

Walking stick

grips

Animal figurines

Female figurines

Tools

Engraving tools

Opni-moonstone

Hammer

DAMASCENING,the inlay of gold

and silver wire on iron objects,was

traditionally practiced by the

Siklikar who crafted functional yet

exquisitely ornamented weaponry

for the Rajput warriors.First,the

surface of the metal object to be

ornamented is evenly scratched to

create a rough,finely lined

surface,heated on a stove until red

hot and then allowed to cool

naturally.

The object is clamped in a vice and the process of embedding

wire into the metal is begun-silver or gold wire is laid on the

abraded metallic surface and pressed;the wire is further

flattened with the aid of opni or moonstone.Larger areas such

as the tip of the dagger are executed in silver or gold leaf.With

the decline of the feudal lifestyle the craft that catered to the

functional requirement of the damascened products came to a

close.The more recent of the previously used double taan or

thicker wire that gave the pattern greater prominenc,has led to

deterioration in the craftsmanship.

Inset A Sword hilt.

1. Tip and hilt of a sword inlaid with gold and silver wire.

2. A detail of an intricately patterned shield.

METAL ENGRAVING

Production Clusters

Udaipur district:

Udaipur

Products

Window frames

Door frames

Chairs,Sofas

Beds,Dining Tables

Screens

Tools

Katia-scissors

Hataudi-Hammer

Taankle-punch

Chaapan-a flatheaded

hammer

Tadtadi-perforator

Prakaar-divider

CRAFTSMEN OF THE soni or goldsmith community

engrave sheets of metal that are used to encase furniture

constructed out of teak,haldu,mango and sagwan

woods;although only silver was traditionally used ,

white or yellow metal are now employed due to the

relatively lower costs involved.Previously the sheet

metal was hand-engraved or ornamented with

meenakari;nowadays,however,the cut strips of metal

sheet are usually embossed with dies and embellished

with plastic meenakari.The sheet is then fitted onto the

wooden frame of the object and glued on with a

synthetic rubber-based adhesive,pressed into position

and dried;the ends are nailed as further

reinforcement.Most pieces are given an

antique finish by treating the metal with a silver or gold

polish or acid and staining the wood with

potassium.Certain products are made of a combination

of both white and yellow metal;these are referred to as

the Ganga Jamuna.

1 An engraved and punched

picture frame.

2 Detail of an embossed and

punched metal surface.

KOFTGIRI-WEAPONRY

Production Clusters


Gangrar

Products

Talwar-sword

Marshaal-torch

Axes,Dagger

Shield

Lath-staff

Tools

Hathaudi-hammer

Sheni-punch

UNTIL A HUNDRED years or so ago,koftgiri,the

technique of encrusting one metal onto another,was

widely used by the Gadi Lohars,the traditional

armourers of Rajasthan,to create a range of weaponry

and armour for the use of their Rajput clientel.With

the growth of the ammunition industry,many older

weapons of warfare and other paraphernalia have

became obsolete.These objects are now seen only on

the occasion of Dussehra when each family takes its

collection of arms to a temple so that these may be

consecrated.Although elite houses of the region still

commission the occasional coat of arms and swords

for ritual display at weddings,the wares of the Lahor

are now mostly seen as decorative curios and are

made as per the requirements of antique dealers and

interior decorators.Iron disc are bought from

Karkhanas at Ajmer adn Bhilwara,manually cut into

the desired forms using

a hataudi and a sheni

and patterned with

metal wires.Both

women and men are

involved in the processthe

women prepare the

polishes,finish the

pieces and embroider

the red velvet cases for

the objects while the

men do most of the

heavy manual labour.

a shield fitted with two crossed swordsd;the

Rajputs warriors trace their lineage to the

sun and moon and consequently these

motify are prominently displayed on shields

and insignia of many clans.

THEWA -GOLD LEAF WORK

DESCIRBED AS rangeen kaanch pe sone ka kaam or gold work

on coloured glass,thewa is essentially a form of quasi-enamelling

where a silver wire frame is covered with delicately patterned gold

leaf and sunk into a softened layer of coloured glass or enamel.The

craft originated in Deolia, a small estate in the district of

Chittorgarh that was ruled by Prince Bika of Mewar.The scarcity of

water in the region forced a shift of capital of Pratapgarh,16km to

th east;accordingly a community of Thewa artisans,the

Rajsoni,came to settle there.The motifs of those tine reflect the

lifestyles of the patrons-hunting scenes with elephants and

palanquins ,deer and lions,Maharana Pratap,riding his illustrous

horse Chetak,soldiers engaged in war,kings riding in procession

and royal weddings.In addition,themes such as Krishna and the

Gopis, Mrigavat and the peacock motif were also popular.With the

loss of Patronage from royalty and nobility,the craft has turned

towards a wider market.Consequently,thewa work is now more or

less restricted to the making of jewellery-pendants, earrings, rings,

broches. The motifs of preference too have changed-the primary

forms in vogue today are floral trellises,peacocks and elephants.

Production Clusters


Pratapgarh

Products

Traditional:

Ittardanis-perfume

bottles

Boxes

Platters

Comtemporary:

Jewellery

Tools

Chugga-pliers to bend

wire

Ambur-pliers to pull

wire

Katiya-wire cutter

Chimta-forcepts

Jaintee-wire gauge

Hathaudi-hammer

Gulsam-divider

Vena-used to make

dots

1 A thewa worked pendant depicting a wandering minstrel

charming the deer with his music.

2 The ornamentation on the pendants is created gold leaf on

coloured glass.

3 The peacoack has today become the most widely used motif in

thewa work.

SILVER JEWELLERY

Production Clusters

Udaipur

Tools

Thappa -dies

Chugga-pliers

Jambur-tongs

Katodi-Wire cutter

Tanka-solder

Jantri- drawplate

Sammani / chimti -

Tweezer

Naap ka kathiyacutter

with

measurements

Vesa-mallet

Dhingra - grooved

block of Babul wood

Sumba-tool with

round edges

Moos - crucible

THE SILVER JEWELLERY OF

Rajasthan is usually made of high

grade silver and therefore serves as

an investment and the surest from of

currency that is usually readily

redeemed at any village saraf,or

jeweller,for cash.IT is for this reason

that most of the jewellery worn by

the rural communities of Rajasthan

is solid or Thhos;the weight also acts

as reminder of the item`s presence

thus ensuring that it is not easily

misplaced.The ornament may also

have a functional purpose;for

instance,the quarter kilo kada worn

by Gujjar men on their wrists acts as

an effective weapon;the taqri,wron

by a Gujjar Woman just below her

waist is believed to benefit her

health;and the jantar usually

contains a talisman to ward off evil

spirits.At occasions such as animal

fairs and religious festivals where

people gather from far and

wide,jewellery becomes a means of

identifying a person`s caste,social

and martial status-a chitki or toe ring

identifies the wearer to be married

while the bajuband,the flexible

armband made of vertical

interlocking units of silver that are

corded together with a

drawstring,indicates that the wearer

belongs to the Jat or Mina

communities of Shekhawati.

A bangle with a locking

device,Udaipur

The hansli,or torque,worn by Rabari women,Rani village,Pali district.

The dies used by jewellers to shape elements of the silver ornaments are

usually of brass or iron and are made in Loharpura,Nagaur by

specialized craftsmen.

Products

Ornament for the

head & forehead:

Rakhri,Borla and

Tikka

For the neck:

Hansli-torque

Jantar - amulet

For the ears:

Phooljhumka- earstud

with attached domelike

suspensions

Karnaphool

For arms & hands:

Hatpuri-worn on the

arm

Hathphool - worn on

the hand

Churi, Bangri -

bangles

Kangan - thick bangle

Bajuband - armlet

Kada-thick bangle

For the waist:

Kandora-waist belt

For ankles & feet:

Pajel-anklet

Chitki,Bichhua-toe

rings

Nevliya, Kada -

anklets

Kada or anklets , worn by Devasi women,Rani Village,Pali district.


Production

Clusters

Udaipur

district:

Udaipur

Products

Doors,

Doorframes

Chests, Boxes

Furniture

Picture Frames

Goblets,

Armoires

Cradles, Swings

Pen stands, Trays

Tools

Salai - etching

tool

Kharal - mugdal

- mortar and

pestle

Kalam or taqva -

tool used to

apply colours

Bhatti-kiln

Chimta - forceps

PLASTIC MEENAKARI is a ornamentation technique used

largely on aluminium and white metal that simulates the

meenakari enamel work traditionally executed on silver and

gold.This craft has developed in response to the loss of royal

patronage;the substitution of silver and gold with cheaper

metal and that of kaanch or glass,which characterized

meenakari work,with liquid plastic colours ensures

substantially lower material costs and faster labour thus

making the craft products accessible to a large market.The

plastic colour is applied onto a previously embossed metal

sheet with the aid of a wooden or aluminium stick;

after a colour is applied the sheet is heated to allow the colour

of fuse.Each colour is thus individually treated so that the

colours do not smudge or blur;as the plastic paints are

available in 12 shades, an object may require to be heated 12

times.

1. An entirely enamelled chest.

2. A book rest and case for the Quran-e-sharif.

3. The lid of an enamelled box.

Detail from the

enamelled chest

above.

DABU PRINTING OF AKOLA

Production

Clusters

Akola

Products

Ghaghra fabric

Yardage

Dupatta - stole

Tools

Wood and metal

blocks

Hanj-tray

Wooden mesh or

gauze

Printing table

Dye vats

AKOLA IS RENOWNED for two specific types of dabu or

mud resist prints-the phetiya and the nangna,are exclusive

to this area;the former was worn primarily by the women of

the Jat and Chaudhary castes,especially after childbirth or

during marriages,while the latter were used as material for

ghaghra by the Gujjar women.A local gum called bedja and

oil is mixed with the residue of the previously used resist

and boiled together for several hours.It is applied on the

napthol/alizarin printed cloth with a metal block and dusted

with ash to prevent the hot resist from sticking when

folded.

1 Nangna,motif based on a mango

2 Badabuta,large floral motif

3 Lapharm,plant motif.

The viscous resist can withstand repeated immersions

in indigo dye baths due to its viscosity;a crucial factor

in the making of the phentiya as the Jats lay great

emphasis on the depth of the colour achieved.Three

types of mud resist are used in combination with

vegetable dyes-the kirana or chuna is the weakest

resist and is used for fine outlines;mitti is used when

the cloth needs to be immersed in indigo a few

times;and rait,the strongest of the mud resists is used

for the extremely absorbent pomegranate and ferrous

dyes.

Inset Badabutta,large floral motif.

4 Aekal,floral motif.

5 The traditional phentiya print used as the skirt

cloth.

LEHERIYA - TIE - RESIST - DYEING

LEHERIYA,THE TIE-RESIST process peculiar to Rajasthan,is so

named due to its characteristic stylized pattern simulating the waves,or

leher.The patterning is achieved by rolling the fabric on the

bias,binding it at certain intervals with thread and dyeing.An extension

of this technique is mothra,small rectangles which are formed with the

crossing of diagonal lines.Udaipur is renowned for its leheriya turban

cloths-the saafa is continuous strip of fabric measuring 9.1 m(10yards)

in lenght and 45 inches in width.that is worn mostly in

Jodhpur;traditionally,the longer paag was worn in Jaipur and the pagdi

by the Baniya community in the state.The latter two are tightly coiled

before they are wrapped around the head and therefore require a length

of fabric that may be as long as 27.4m(30yards) and about 9 inches

wide.Although plain versions of all three are worn on a daily

basis,those that were leheriya patterned were reserved for special

occasions and certain seasons-the pachrang in yellow,red,green and

blues;the samudra leher dyed in the coloured of the sea and the

indradhanush,dyed in the colours of the rainbow were favoured during

the rainy season of sawan.Sombre occassions,including periods of

mourning were marked by duller colours such as mauve and

brown,often in tiny mothra;and deep indigo is worn on the moonless

night of the festival of Diwali.

Production Clusters

Udaipur

Products

Safa-wide turban

Paag, Pagdi - narrow

turban

Odhni-veil

Sari

Tools

Gherni-device to

twist

Khoonti-iron post

Vessels for dyeing

A leheriya master

craftsman wearing a

pagdi.

1 A mothra turban cloth made

using the discharge technique.

2 This bold pattern is

associated with the monsoon

and is worn primarily during

the Teej festival

A leheriya master craftsman wearing

a pagdi.

3 The combination of leheriya and

mothra seen on this pagdi is achieved

through the use of multiple dyeing

with colour discharge.

A leheriya

pagdi with

a zari

edge;the

technique

of blurring

the

diagonal

lines,seen

in this

sample,is

known to

only a few

craftsmen

today.

An

unopened

leheriya

pagdi with

a small

portion

opened out

to reveal

the mothra

pattern.

CRAFTS-DELHI

Naqqashi-engraving

Papier-mache

Sandalwood carving

Chik making

Pottery

Carved wooden

Furniture

Wood inlay

Zardozi

Silver Jewellery

Costume Jewellery

Districts - 9


Weaving a chik from bamboo splits;chiks are also made from sarkanda stalks.

Festivals

Dussehra

Diwali

Cuisine

Mughlai cuisine

Rumali roti-thin bread

Shahi korma-dry fruit

gravy

Tandoori chickenbarbecued

chicken

Phirni-milk based

sweet

Attire

Kalidar Kurtapanelled

tunic

Churidar-gathered

narrow pant

Language

Hindi

Urdu

Landmarks

National Museum

Natioanl Gallery of

Modern Art

Crafts Museum

Dilli Haat

Janpath

Red Fort

Humayun`s Tomb

India Gate

Qutab Minar

Rashtrapati Bhawan

Connaught Place

Bahai Temple

Jantar Mantar

Jama Masjid

Chandni Chowk

Purana Qila

Tughlaqabad

Kinari Bazaar

Lodhi Gardens

DELHI,THE CAPTIAL of India,stands at the western end of the

Gangetic Plain,bordered on the eastern side by the state of Uttar Pradesh

and on the other three sides by the state of Haryana.Its strategic location

along the north-south,east-west route through the subcontinent has given

it a focal position in Indian history with many great empires having

consolidated their domains from here.The vast urban sprawl of

contemporary Delhi is ,in fact,a conglomeration of several distinct

enclaves;the most notable of these are Old Delhi,with its Mughal-built

16th and 17th century monuments and the congested bazaars and

thoroughfares of Chandni Chowk,and New Delhi with its spacious treelined

avenues,grand vistas and colonial mansions,built by the British in

the 1930s as their imperial Capital.Delhi`s fascinating diversity stems

from being a city of immigrants.Beginning with the spate of Islamic

invasions in the 12th Century,Delhi has received peoples of many

cultures,a majority of whom were refugees from West Punjab following

the partition of India.

Much of the city`s craft legacy comes from the period of

Mughal rule,especially that of Shah Jahan who

established Delhi(then called Shahjahanabad)as his

captial.He was responsible for the creation of Chandni

Chowk literally `Silvery Moonlit Square`-a boulevard

lined with the havelis, grand mansions,and distinct

shopping areas demarcated for the sale of specific

commodities,where religious and commerical activity

mix as easily as different historical epochs.For

instance,the Kinari Bazaar,a street of tightly packed stalls

selling all manner of glittering gold and silver trimmings

such as braids,tinsel garlands and turbans for weddings

and festivals, and Dariba Kalan where gold and silver

ornaments are sold,is situated near the 18th century

mosque,Sunehri Masjid or the `Golden Mosque`.

ACCESS

As the capital of India,Delhi is well linked by air,rail and

road.The airports are linked to the city by coaches.

1 The lotus-shaped

Bahai Temple.

2 Rashtrapati

Bhavan,the offical

residence of the

Indian president was

designed by Sir

Edward Lutyens for

the British Viceroys.

3 The Republic Day

Parade,the India Gate

in the background.

4 The mughal

influence on cuisine

and culture stays alive

in the small lanes of

Old Delhi,as an

immaculately dressed

gentleman serves

delicacies from

handis,cauldrons,near

the Jama Masjid

mosque.

A zardozi embroiderer working on fabric stretched on a huge frame

called the karchoppa(also known as karchaband or adda)at a

karkhana,workshop.

RESOURCES


Naqqashiengraving

Brass Sheets

Chawri Bazaar

Brass Statues

Aligarh

Papiermache

Waste newspaper Scarp dealers

Adhesive,Pigment,Colour

Saharanpur in Uttar Pradesh

solution

Sandalwood

Sandalwood

carving

Mysore

Teak wood, Kali Wood,

Red chandan

Delhi

(sandalwood)

Chik

making

Sarkanda

Bamboo

Riversides, Swampy areas of

Delhi & Meerut in Uttar

Pradesh

Assam, Local shops of

Shahdara in East Delhi

Terracotta Clay - black, red, white Uttar Pradesh, Haryana

Wood

Nagpur,Indore,Assam,Jabalpur

Sagwan wood

Carving

and Burma

Wood inlay Dhudi

Mysore

Rosewood, Fanas,

Champa, Patang, Lac,

Delhi

Maadi, Beeswax, Acrylic

Plastic, Sippi

Zardozi Metal wires, Gilt threads,

Surat, Varanasi

embroidery Purls

5 The Qutab Minar,erected in the 13th

century,is an important Indo-Islamic

monument.Made of yellow and red

sandstone,it is heavily indented with fluting

and inscribed with Arabic

calligraphy,geometric and floral patterns.The

sculptural ornamentation bespeaks a

hybridized style that came to be associated

with the Delhi Sultanate.

6 The Papier-mache effigy of the demon

Ravana,the ten-headed mythological figure

from the epic Ramayana,is burnt on Dussehra

as part of a symbolic re-enactment of Rama`s

victory over the demon.

7 A potter in his workshop at Uttam Nagar

Subclusters of Delhi

Delhi City:

Saket

Mehrauli

Govoindpuri

Uttam Nagar

Hauz Rani

Kirti Nagar

Seelampur

Jama Masjid

Chandni Chowk

Shahdara

Physical Features

Aravali Ridge

Rivers:

Yamuna

Biodiversity

Flora:

Sarkanda Grass

NAQQASHI - ENGRAVING

Production Clusters

Gali Dhobiyan Bazaar

Delhi Gate

Products

Lota-ritual vessel

Ghoda-pot used for

water

Patila-cooking utensil

Kadhai-utensil used

for deep frying

Plates, Glasses

Hookah


pot

Bowls

Tools

Hathodi-hammer

Kalaam-chisel

Kattia-scissor

Mogri-wooden

hammer

Samba-round tipped

Chisel

Patti-stencil used for

leaf pattern

Buffling Machine

METAL SHEETS,MOST commonly brass,are cut and beaten to

created the form of the desired object.The base and the body of the

vessel are made separately and then soldered together.The soldered

joints are beaten with a hammer and the surface is scraped.The

object is frequently heated in the furnace to keep the metal soft;it is

also repeatedly beaten with a mogri, wooden hammer,in order to

remove all the dents on the surface.A recipe of lac,buroza(a gum

made from rice),powdered brick and mustard oil is made and heated

until a viscous solution is obtained.This thick paste is poured into

the metal object and allowed to solidify for 5 to 6 hours.The lac

ensures that the utensil does not get punctured during the engracing

process when it receives multiple blows from the chisels and

hammers employed to create patterns on the object`s surface.After

the naqqashi is completed,the engraved object is heated so that the

lac may be poured out of the utensil.The left-over lac stuck at the

edges of the utensil is burnt in the furnace and the engraved utensil

is then beaten from within to remove all dents.

Finally,the utensil is burnished with a buffing machine.Widely

used in Muslim households,naqqashi objects are usually

patterened with floral motifs

1. An engraved bowl further ornamented with enamel

work.

2. An engraved lac-coloured container shaped like a veena.

3. A scroll holder with intricate cutwork.

4. An engraved silver container.

5. Detail of an engraved peacock motif;its outspread

plumage forming the central motif on the lid of the

container.

6. A brass container embellished with repousse and

engraving.

ZARDOZI-GOLD EMBROIDERY

Production

Clusters

New Delhi

Products

Salwaar kameezpants

and tunic

Lehenga choligathered

skirt &

blousde

Ghagra-gathered

skirt

Sari-draped cloth

Achkan-men`s

coat

Handbags

Shoes,Scarves

Christmas

decorations

Furnishing

Curtains,

Lampshades

Bed covers,

Pillow covers

Animal Trapping

Tools

Karchappa-big

frame

Ari-hooked

needle

THE NAME ZARDOZI,like the craft itself,is of Persian origin.Although

it literally means gold-work,the term refers to the use of gold,silver metal

wires,cords,purls and sequins,which are couched (by sewing) on

expensive fabrics.It was probably brought to India by the Mughals and

was used to make costumes of the members of court, wall hangings,the

sidewalls of the royal tents and the trappings of the elephants and horses

used by the emperor.During Aurangzeb`s region,royal patronage to

artists and craftsmen ceased and the royal ateliers were shut

down.Consequently,many craftsmen migrated to the neighbouring

kingdoms of Rajasthan,Punjab and Gujarat to look for new patrons.The

advent of industrialization adversely affected the craft and it was

gradually dying out when concerted efforts to revive it begun.Today,the

fashion and garment export industry make extensive use of zardozi to

embellish their products;the large demand for this form of embroidery

has led to the replacement of the needle used for couching with an ari or

hooked needle.

Two forms of Zardozi are practiced;the zardosa-elaborate work

done on products like heavy coats,cushions,curtains,animal

trappings and shoes with heavy silk,velvet or satin as base

fabrics;and the kamdani-lighter needle work done on

lightweight materials that are used as scarves.

A fabric embroidered in a combination of zari and zardozi.

TERRACOTTA WARE

IN 1971,A settlement known as Prajapati Colony was set up to house

the potters of Delhi,most of whom had migrated from the neighbouring

states of Haryana,Rajasthan and Uttar Pradesh.The area received its

name from the caste that the majority of traditional potters belonged

to.At present,there are about 300 to 400 families practicing this

craft,but many of them specialize in making particular products and

have developed stylistic differences to maintain the market value of

their products.After red and black clay have been kneaded into

homogenous flexible dough,the appropriate quantity of prepared clay is

made into a variety of artifacts using either the throwing or coiling is

mostly used in making very large products that are too large to be

thrown on the wheel and to make those with shapes that cannot be

turned on the wheel.

A terracotta sculpture of a

mouse pulling a cart doubles

as a diya holder.

Engraved terracotta

lamp bases.

A large terracotta

pot that has been

first thrown, then

turned and finally

ornamented with

incised foliage

patterns,

accentuated by

cutwork.

After the product dries a bit more,it is burnished with

smooth and round stones.In some cases,natural

coloured clay or a diluted solution of water and red

clay may be applied on the product with cloth or the

product may simply be dipped into the clay solution

to give it a painted surface.The products are

completely dried and then fired in a furnance.

Production Clusters

Uttam Nagar:

Prajapati Colony

Govindpuri

Hauz Rani:

Kumbhar Basti

Products

Matka-water pot


pot

Gamla-planter

Handi-cooking utensil

Parot-larger platter

Diya-oil lamp

Aarti-lamp used in

rituals

Idol

Large garden pots

Tiles with patterns in

relief

Utensils, pots, jars

Lampshades

Tools

Kumbhar chaakpotter`s

wheel

Electric wheel

Khuriya-turning tool

Mogri-wooden mallet

Sua-fat needle

Thapi-wooden beater

Thapa - big thapi

Maniya-die

Dhari-comb

Path-clay peeler

Katni-carving tool

Poncha-sponge

Vania - Threadd

PAPIER-MACHE

THE CRAFT of shaping and moulding products from

paper pulp is practiced in several states of India,primarily

due to the low costs of the raw material and tools

required.While the highly sophisticated papier-mache

tradition of the Kashmir Valley may be considered one

end of the spectrum,other expressions in this craft

technique have included spontaneous and humourous

toys,masks and pupeets,In Delhi,the technique that is

followed begings with the soaking of paper in water until

it is converted into pulp.The pulp is beaten with stone and

wood and then midxed thoroughly with methi(fenugreek)

powder and wheat flour and made into a masala

(paste),which is used to create the basic shape of the

desired object as well as to create designs in relief on the

product.Small cut pieceds of mirror are pasted on the

areas designated for such ornamentation and the product

is allowed to dry in the sun for a day.Colour solution

bought from Harayana is coated on the dried products and

they are again allowed to dry before they are coated with

lac to give the product greater strength and to ensure that

the colours remain permanent.

Mask of the God

Hanuman,made at

Naika.Masks,puppets,sets

and theatre related items are

also made here.

Production Clusters

Mehrauli:

Kumbhar ka Mohalla

Products

Masks

Puppets,Sets

Boxes,Bowls

Glasses,Plates

Lampshades

Wall hangings

Wall Decorations

Mirror frames and

other ornamented

items

Tools

Okhal-stone grinder

Mural-wooden stick

Sui-needle

Pen nibs

Mask of the Sun God made by skilled craftspersons of

Naika,the production unit of the SMM Theatre Crafts Trust.

WOOD INLAY

Production Clusters

New Delhi

Products

Wall hangings

Boxes

Tables

Icons

Tools

Chiran-chisel

Files

Blade

Tagad-wood scraper

Cutter

Khurti-light hammer

WOOD INLAY IS A technique wherein a pattern is engraved

onto a piece of wood and positives of the design are carved in

different coloured woods or other materials and set into the

carved recess of the base with the aidd of a patti,mixture of

adhesive and sawdust from the base wood.Complicatedd

compositions are created by using different woods to demarcate

different compositional elements.The most commonly used

woods are dhudi,dark red rosewood,yellow

fanas,champa,patang,lac and maadi.Once the desired pattern is

successfully inlaid,the surface of the wood is levelled and a

thin layer of beeswax is applied to the surface in order to give it

additional smoothness and a superficial gloss.Intricate details

are engraved on the product and a kohli-beeswax amalgam is

rubbed onto the engraved lines;finally the object is given a

glossy coat of French Varnish.Wood inlay is largely practiced

in the Mysore region where the craft had received royal

patronage under the aegis of Tipu Sultan;

it arrived in Delhi through migratory craftsmen in search of

new markets for their skills.In its original form,wood was inlaid

with ivory and bone but these have now been replaced by

different woods,acrylic and shell.

1 An idyllic rural

vista created

through the

technique of wood

inlay.Note the

dappled shadows

on the

grounded,the

shades tree barks

and the mottled

skies.

2 Scene pieced

together from

various woods

prior to inlay.

CARVED WOODEN FURNITURE

Product Clusters

Kirti Nagar

Panchkuian Road

Jail Road

Products

Chairs, Tables, Side

tables

Beds

Cupboards

Sofas

THE CRAFT OF carving woodd into furniture items has long been

extant in this region due to the availability of carving and carpentry

skills.In the year 1975,the government set up a cluster of craftsmen

at Kirti Nagar,a locality which was previously a jungle,where the

sagwan wood needed for their craft grew in

abundance.Presently,there are aroundd 50,000 to 6o,000 craftsmen

engaged in this craft who work in the numerous workshops at the

timber market of Kirti Nagar,In any given workshop,various

craftsmen specialize in executing a particular stage of the craft

process;thus while one may be responsible for designing and

transferring the farma (stencil), image onto the wool,

other carve the wood using batali(chisels),and sandpaper

the surface.The products are not finished and polished,but

are sold in the unfinished state in order to ensure that any

faults or discrepancies in the wood or workmanship can

easily be identified.The emporia or showrooms who are

the primary buyers of these furniture products undertake

the polishing,painting and finishing themselves.Although

many of the designs being made are imitations or

adaptions of those seen in magazines and furniture

catalogues,the craftsmen also create their own

designs,most of which are inspired from foliage or animal

forms.

1 The furniture

made by local

craftsmen is

upholstered and

sold by upmarket

showrooms and

emporia.

2 A carved bracket.

3 A carved and

varnished bedstead.

Tools

Batali-chisel

Nihani-Curved chisel

Charausi-flat chisel

Hataudi-hammer

Pencil

Farma-stencil

Sandpaper

4 Detail of the

ornate carving of an

unfinished chair.

CHIK MAKING

CHIKS ARE BLINDS OR semi-rigid window panels

made from fine bamboo splits or rigid stems of sarkanda

grass,held in place by a warp of cotton threads that are

spaced a part.Bamboo splits,locally known as tilli,are

procured from Assam and for a local timber

mandi,market.The lower parts of the stems of the wild

sarkanda grass are sourced from riversides and swampy

regions near Delhi or from Meerut in Uttar

Pradesh.Pairs of cotton threads are individually wrapped

around the rigid sarkanda stem or bamboo splits to

create a surface which can easily be rolled but not

folded or gathered.The chiks are edged with a

nivar,woven tape;some are lined with fabric to make

them opaque.Bamboo chiks are usually given a

waterproof backing as they are generally used in

veradahs and are exposed to the elements.The Chik is an

inexpensive,earthy window blind which succeeds in

diffusing harsh light while the geometrical patterns of

the wrapped cotton threads contributes a certain

elegance.

Production Clusters

Kichripur

Govindpuri

Products

Chik-blinds

Tools

Churri-knife

Dori-thread

Bricks

1 A chik made from dyed

bamboo splits that are

wide and flat.

2,3 Chiks woven from

very fine bamboo

splits,the thread work

forming a tessellating

jaali pattern.

SANDALWOOD CARVING

SANDALWOODD CARVING IS relatively new to Delhi;originally ivory

carvers,the craftsmen were forced to turn away from their ancestral occupation to

sandalwood when the ban on ivory was introduced in 1989.Sandalwood was

selected as the new medium because of its preciousness,small fibre length and

fragrance,and the products were designed to cater to the tourist market.

Decorative rath carved in the round.

Hence,the main objects produced are

small scale models of the Taj

Mahal,ornate ships and

rath,chariots,which are usually made in

parts that are deftly assembled.In

recent years, the quality of sandalwood

available in the market has greatly

deteriorated and the craftsmen have

had to shift to using rosewood;today

there are only about five to seven

craftsmen practicing this craft in Delhi.

A miniature shrine for homes.

Production clusters

Sitaram Gali

Sheesh Mahal Bazaar

Products

Models of the Taj

Mahal & Qutab Minar

Miniature temples &

Rath (chariot)

Frames

Pocket mirrors

Keychains, Pens

Tools

Chisels

Kattra-file

Reti-file

Baali-vice

Aari-blade saw

Hammers

CRAFTS - UTTAR

PRADESH

Wood carving


in wood

Eborny wood carving

Brass ware of

Moradabad

cane furniture

Bamboo flute

Pottery of Khurja and

Chinhat

Pacchikari of Agra

Marble carving

Soft stone carving

Knotted carpets

Glasswork

Sanjhi-paper stencil

Chikankari -

embroidery of

Lucknow

Kamdani & fordi ka

kaam-metal work

embroidery

Silver work

Zardozi-gold

embroidery

Varaq ka kaam-gold

and silver foil

Sheet metal work

Terracotta

Quitabat-calligraphy

Bone Carving

Clay toys

Basketry

Tharu applique

Black pottery of

Nizamabad



Repousse

Wood carving

carpet and dhurrie

weaving

Meenakari-enamel

work

Block printing

Moonj basketry

Papier-mache

Shazar stone

jewellery

Date palm craft

Kite making

Glass bangles

Glass beads and toys

Landmarks

Jama Masjid

Taj Mahal

Agra Fort

Itimadd - ud -

daulah`s Tomb

Fatehpur Sikri

Bara Imambara

Rumi Darwaza

Ashoka Pillar

Sarnath

Dasashvamedh Ghat

Dudhwa National

Park

Benaras Hindu

university.

1. The 60 feet Rumi Darwaza,supposed to be a facsimile of one of the gates of

Istanbul.Its uppermost part consists of an octagonal chhatri,domed rooftop

pavillion,approachable by a staircase.

2. Mosque in Bara Imambara,Lucknow.The Imambara is a great columnless hall that

was designed by Kifayut Ullah,a Persian architect during 1784.

3. A Block printer from Aminabad.

Huddled close to a bend in the Ganga,the city of Benaras,also

called Varanasi,comes alive on its ghats,flights of steps leading

to the river front.

Pundits,priest,resting on the

ghats under a bamboo umbrella.

A couple selling paan,betel

leaves.Paan with nuts and cloves

is eaten as a digestive.These are

offered in a ceremonial manner

and stored in well crafted

containers called

paandaans.Paandaans and nut

crackers are cultural objects

integral to the tehzeeb, etiquette,

of Lucknow.

UTTAR PRADESH,one of the

most ancient cradles of Indian

culture,lies on the vast Indo-

Gangetic plain.It is watered by the

rivers

Ganga,Yamuna,Ramganga,Gomati

and Ghaghara where many

pilgrimage and trading centres are

located.

Politically it is one of the most prominent regions in the country

and has shaped much of the national politics of India.The land has

been witness to the main events of Buddhism,Jainism and the

Bhakti cult.Islam spread with the advent of the Mughal rule.It has

some of the greatest Islamic monuments such as Taj

Mahal,Fatehpur Sikri,Bara Imambara;the sacred city of

Varanasi,Buddhist stupas,of Sarnath and the Kumbh Mela or

festival in Allahabad.The Buddha preached his First Sermon in

Sarnath;in Shravasti he performed a miracle,and attained

mahaparinirvana in Kushi-nagar.Many rulers hence were greatly

influenced by his teachings.The Mathura school of art,especially

sculpture,flourished during the Kushan period and reached its

zenith in the Gupta period.The great Mauryan emperor Harsha had

his capital in Kannauj.Braj Bhoomi,the region around

Agra,Mathura and Vrindavan,the land of Lord Krishna`s birth and

childhood,is a famous pilgrimage centre.Buddhism and Hinduism

flourished until the invasion of Mahmud Ghazni.Liberal traditions

continued to flourish during the Islamic period and

late.Varanasi,also known as Kashi and Benaras,remained a

prominent centre of Hindu learning and Jaunpur,under the Sharqi

rulers,a centre for Islamic Culture.Pre-Mughal art and architecture

reflect a religious inclination,

The Taj Mahal,commissioned by the Mughal emperor Shah Jahan

for his beloved wife Mumtaz,is described as one of the finest

examples of building art in marble on account of its splendid

ornamentation and exquisite craftsmenship.Built in the Safavid

style of architecture in the 17th century AD,it continues to inspire

carving and inlay craftsmen in Agra.

and the Mughal period ushered in an era of aesthetic

excellence as well.Zardozi,metal enamelling,glass,ivory

carving,metal repousse and tarkashi,flourished under their

patronage.Akbar set up carpet weaving workshops,and

zardozi,gold thread embroidery,was a must for royal garments

and furnishings.Chikan embroidered garments were the court

garments under the Nawabs of Lucknow.Paandaans and

hookahs,elements of Muslim culture,were beautifully

ornamented with enamelling,engraving,repousse and

openwork.Varanasi produced kimkhwab,Silk fabric heavily

brocaded with gold thread;a variety of lightweight silk

brocades,cotton brocade and gyasar,boldly patterned silk with

gold and coloured silk threads for use in Tibetan monasteries

and religious ceremonies.

Inset The mahi murattib,twin fish,was the state emblem of the

Nawabs of Avadh.The fishes became a noble motif used in

architecture and craft.Chikan embroiderers still use it.In

Allahabad,south of Lucknow,rickshaw seats are flanked by

painted fish.The fish appear on the state seal now.

Turkish rule in the 12th and 13th centuries,nurtured the

tradition of Arabic calligraphy with strong Turko-Persian

influences,and also introduced Sufism in the Ido-Islamic

creed.Traditional Sufi music and poetry,such as that of the

legendary Amir Khusrou became linked to the various

traditions of Sufi movement in Punjab,Braj and Avadh.Seen

above is a form of the tughra,that has evolved from the

monogrammatic handsign unique to each Turkish

sultan,emperor,to a derivation of the Naskhi calligraphic

style,where words or phrases from the Quran are composed

within an arabesque or figurative form,still done by a Hindu

painter and Muslim calligraphy artisans from Jarnailganj in

Lucknow.

Jahangiri Mahal palace built by emperor Akbar inside the Agra

Fort.Detail of the facade,built in red sandstone with carved

arches in marble.

Languages

Hindi

Avadhi

Braj Bhasha

Bhojpuri

Khariboli

Urdu

Festivals

Diwali

Krishna Janmashtami

Ram Navami

Dussehra

Kartik Purnima

Makara Sanskriti

Holi

Buddha Purnima

Moharram

Eid-ul-Fitr

Kumbha Mela

Attire

Aligarhi pajama-fitted

pants

Dhoti-draped lower

garment

Burqa-veil covering

the head,face & body

Silk brocaded saris

Cuisine

Benarasi paan-betel

leaf with nut & cloves

Bati-roasted wheat

balls

Chokha-mashed

potato or brinjal

Sheermal-bread

Kebab-marinated and

barbecued meat

Gujia-sweetmeat

Petha-sweetmeat

Crafts of

SAHARANPUR

Wood carving


in wood

Ebony wood carving

Subclusters of

SAHARANPUR

Saharanpur district:

Saharanpur

Bijnor district:

Nagina,Bijnor

Muzaffarnagar

district:

Pilakhua

RESOURCES


Wood work Sheesham,Mango

Eastern UP, Bihar,

Punjab

Tarkashi-metal

inlay in wood

Sheesham,

Rosewood, Haldu

Eastern UP, Bihar,

Punjab

Mango, Neem,

Tun

Madhya Pradesh

Brass, Copper

wire

Moradabad

Ebony wood

carving

Ebony (abnoos) Assam

SAHARANPUR metalcluster located in the northernmost

corner of Uttar Pradesh,comprises the districts of

Saharanpur,Bijnor and Ghaziabad.Saharanpur city was

founded by Mohammad-bin-Tuglaq,who named it after a

famous pir,saint,Shah Haroon Chishti.It became the

summer retreat for the Mughal court due to its proximity

to the Shivalik Range.Most of the district is covered with

forests.Today it is the district headquarter and the biggest

wood carving location in India.Wood carving is widely

practiced in the stat- Saharanpur, Nagina, Pilakhuwa,

Mainpuri , Bijnor, Aligarh, Bareily, Bulandshahr,

Lucknow and Mathura.The region has a well developed

repertoire of wood work-brass and copper wire and sheet

inlay in Sheesham wood;carving done on

sheesham,ebony,neem,sal wood for use in

furniture;jaali,fretworked lattice screens and panels and

wood inlaid with different coloured woods.Mainpuri in

the south-central part of the stat,is a tarkashi,metal inlay

in wood,cluster.Pilakhuwa in Ghaziabad district,was a

well known block printing centre supported by block

makers who had migrated from Farrukhabad to carve

wood and brass-lined blocks.Their block carving skills

were later adapted for making complex wooden boxes for

export due to the decline in the block printing craft that

was facing competition from screen printing.Craftsmen in

Nagina and Bijnor has shifted from carving ebony wood

to sheesham.The wood carving crafts of this region have

evolved and today use motorized lathes;machines for

drilling.Jig-saw cutting,sanding and for processing and

seasoning of timber.The wooden products are still

influenced by handwork like tarkashi and carving with

hand tools-craft skills that provide employ-ment to

thousands of people in the region.

ACCESS

Saharanpur is accessible by road and rail.It is about six

hours by road from Delhi.Pilakhuwa is situated 40 to 50

km from Delhi on the Delhi-Hapur Highway.

1 Logs of wood used as raw material.

2 Timber for sale in the Saharanpur mandi.Logs are auctioned

and the best wood is bought by the furniture

karkhanas,workshops.

3 Solar seasoning

plant in Saharanpur.

4 Craftsman carving

on wood.

WOOD CARVING

SAHARANPUR IS KNOWN

its for wood carving,particularly

for its openwork screens carved

with the vine leaf

pattern,anguri.The wood craft is

influenced by Kashmiri designs

since most of the craftsmen are

descendents of Kashmiri

immigrants.Usually the carving

is in low relief,chilai,with a

characteristic floral scroll design

patterning the entire surface.It is

found on trinket boxes,table

tops,cutlery and office

accessories.Takai,carving in

high relief,is done on products

for export and the

upmarket.Screens are fretworked

and finished manually.The

designs are transferred

onto planks using zinc

stencils.Craftemen have also

taken to using punched,a

shortcut to engraving,to meet

ever increasing demands.The

choice of material,sheesham

wood,is a Persian

legacy,promoted perhaps by the

Mughals.Secondly,the finegrained

dark wood allows for

deep carving without Chipping.

1 Chair with takai,high relief

carving,with openwork.

2 Chilai,low relief carving.The

floral jaal pattern is

characteristic of wood carving

of Saharanpur.

3 Chest of drawers in the shape

of books wih punch marked

texture.

4 Carved and fretworked

wooden screen.

A little buffing brings it to a high shine.Other

woods used are teak,rosewood and walnut for

deep undercutting;and mango wood is given a

dark polish to look like sheesham.Sheesham is

also used to carve printing blocks.Blocks are

carved by removing material from the nonprinting

area by drilling through to prevent the

formation of air bubbles while printing.The grain

of the wood is perpendicular to the block`s

surface.The block is soaked in a mustard oil bath

to season the wood.Wooden blocks are carved in

Pilakhuwa,Varanasi and Farrukhabad.Engraving

is also done for the tarkashi craftsman.Wood

carving in Saharanpur began with architectural

carvings.In 1882 an immigrant of Multan,Atta

Hussain,established the first organized productin

unit of wood carving.Today the main exports go

to the United

Kingdom,France,Germany,Australia,Spain and

Saudi Arabia.

Production Clusters


Saharanpur:

Purani Mandi

Sheopuri Mandi

Kamboh ka Pul

Ghaziabad district:

Pilakhuwa

Products

Traditional

Doors

Windows

Fretworked screens

Comtemporary:

Callapsible, chairs,

Cabinets, Tables,

Boxes, Coastes,

Trays, Bowls,

Spoons, Acupressure

Tools

Tools

Pulki-chisel

Tahaki-chisel

Chaurasi-chisel

Cheni-chisel

Thapi-mallets

Lathes, Drills, Saws,

Files, Nose pliers,

Cutters, Divider

Sili-sharpening slab

TARKASHI - METAL INLAY IN WOOD

Production Clusters

Bijnor district:

Nagina


Saharanpur

Ghaziabad district:

Pilakhuwa

Mainpuri district:

Mainpuri

Products

Traditional:

Khadaun-wooden

slippers

Book holders

Screens

Contemporary:

Bottle racks

Trolleys

Television cabinets

Coasters

Tools

Cheni-chisel

Pulki-chisel

Tahaki-chisel

Chaurasi-chisel

Punches

Wooden Mallets

Hammer

TARKASHI IS THE ART of inlaying brass and copper wires in wood.Tarkashi

is always done on hardwoods.The wire are hammered into a pattern engraved on

dark sheesham wood.The wired sit flush within the surface.Evgraving is done

with small chisels.Some of the motifs are machine cut.The surface is finished by

buffing but care is taken so that the surface does not heat up and dislodge the

wires.

In Saharanpur and Nagina the designs are

mostly floral not very intricate.In

Mainpuri,where the craft originated ,the

tarkashi is very fine.Intricate floral and

geometric jaals are characteristically

interspersed with tiny

bhiriyans,dots.Bhiriyans are directly

hammered into the wood.Initially both

engraving and inlay was done by the same

craftsman but now both are specialized

skills in the karkhana,workshops.Finished

pieces are assembledd by

tarkhans,carpenters.Craftemen have also

begun incorporating camel bone,bone

powder,marble dust and silver with the wire

inlay.In Saharanpur tarkashi developed

from wood carving which was introduced

when kashmiri craftsmen visited the place

around the 1860s.In Mainpuri the craft was

patronized by the Nawabs.Among the

earliest products inlaid were

khadaun,wooden slippers worn by pious

Hindus.

1 Tarkashi and plastic

inlay.

2 Tarkashi and plastic

inlay on a folding book

stand which is cleverly

made from a single piece

of wood by sawing and

chiselling.Obviating the

need for hardware.

EBONY WOOD CARVING

Production Clusters

Bijnor district:

Bijnor

Nagina town:

Quazi

Lohari,Lal Noor

Shah Zahir

Mir ki Sarai

Products

Jaali comb,Judd comb

Machli ki jaali-comb

Tel wala kangya-oil

comb

Marore ki kalsi ka

kanga-comb

Double jaali ka gol

kanga-comb

Raja-rani ki kangi

Oranamental boxes

Walking sticks

Tools

Band saws

Girja-gouge

Chosi, Sumba, Taki

Ari-chisels

Barma-nail to drill

hole.

A SMALL POCKET of craftsmen in Nagina and Bijnor

specialize in carving ornamental combs and trinkets boxes

from abnoos,ebony.The combs are made in pairs,male and

female.The male combs,raja ki kangi,have teeth on one side

and the female combs,rani ki kangi,have teeth on both

sides.Traditionally simple combs were made.To carve a

comb,a piece of wood,the shape and size of a comb is

sawn.One or both edges are tapered off and teeth are cut into

them with chisels.The thicker side is ornamented with

openwork and stylized carving.Although ebony wood carving

in Nagina,the original centre.started about 300 to 400 years

ago,today the craftsmen have shifted to carving in

sheesham,dark coloured hardwood and making tarkashi

objects.Here the carving is more delicate and meticulous,and

closer to the traditional.Ebony being scarce and expensive has

almost completely been replaced by sheesham.The craftsmen

are Muslims.In Bijnor they are immigrants from Multan,a

province in Pakistan.

1. Lid of an ebony box from Nagina

2. Ebony comb from Bijnor

3. Fretworked and carved wooden box from Nagina

RESOURCES


Brass ware Brass Casting industries

Brads scrap

Ordinance factories

A skilled craftsman

engraving a brass plate

in Moradabad,one of

the biggest export

centres of handicrafts

in the state.

Crafts of

MORADABAD

Brass ware of

Moradabad

Subclusters of

MORADABAD

Moradabad district:

Moradabad

Sambhal

Jyotiba Phule Nagar

district:

Amroha

Rampur district:

Rampur

Sheet metal paandaans

(containers for keeping

paan, betel leaves and

nuts) shaped like

vintage cars.

Separate parts of a

brass vase being

engraved.

MORADABAD REGION is historically a part of

Rohikhand,now called Bareilly division.The Moradabad

city,headquarters of Moradabad district,is located 150km from

Delhi on the banks of River Ramganga.It was founded in 1625

and named after one of the Emperor Shah Jahan`s sons.The

history and culture of the Moradabad district is linked to the

Rohillas,a group of medieval Afghan adventures.Their military

exploits and conquests in this part of western

Uttar Pradesh bordering Kumaon led to the region to be called

Rohilkhand.The Rohillas belong,originally,to the region called

Roh in Afghanistan.They came to India in 1707 to trade in

horses,among other things.The region is thus predominatly

Muslim.Amroha has a substantial Shia Muslim Presence.Urdu

and Hindi are spoken here,Today it is an important trade centre

and one of the most densely populated cities.There are many

smallscale brass ware industries and art brass ware is

exported.The open plains of Moradabad district are drained by

several rivers.The fertile terai has forests which have trees of

Sheesham,semal,babul,ber,gular,eucapyptus and

khair.Moradabad has over 600 units crafting brass ware for the

export and home markets.Brasss objects are made either by

casting,moulding or sheet metal forming processes.A number

of ornamentation techniques are being usedengraving,embossing,filling

in coloured lac in engraved

areas,etching,tinning and electroplating.Horn and bone carving

is done in Moradabad and Sambhal.Rampur is well known for

its handmade knives.Crafts such as zari,gold thread

embroidery,block printing and ironwork are practiced in

Amroha.

ACCESS

Several major rail lines and a national highway link

Moradabad with other parts of India.The nearest airports are in

Delhi (160km) and Agra (267 km).The state capital Lucknow

in 339 km away.

A vase with lac

decoration.

A brass engraver takes a moment`s rest.

BRASS WARE OF MORADABAD

Production Clusters

Moradabad district:

Moradabad

Products

Paandaan-container

for storing paan

Hookah

Decanters

Pot holders, Mirror,

Frames, Table lamps

Tools

Darza-casting box

Bhatti-furnace

Gharia-crucible

Sansi-tongs

Karchul-spoon

Thapi-mallet

Kalam-chisels

Lahni-chisels

Lathe

Wooden table

MORADABAD IS A leading cluster for art brass

ware in the country.Brass,valued for its golden

lustre,is sandcast and the various levels of production

are handled by specialized craftsmen. The

dhaliyas,metal caste,casts the pieces,while the sheet

metal workers and engravers have their own

workshops.The entire process of production along

with ornamentation usually takes 4 to 6 weeks.

Kalamkari, Urdu for engraving and pen work, is done

with controlled strokes of the thapi,mallet,on fine

pointed chisels.The craftsman engraves from

memory unless a new design is asked for.The

engraving is shallow,called naqqashi or sada

kalam,and deep engraving,called khudai or sia

kalam.In khudai the designs are marori,intricate,and

the chased depressions are filled in with coloured

lac.The lac sticks are heated and applied to the

metal.The design gleams in golden tracery against

the translucent jewel-coloured lac.Naqqashi is

sometimes done on a tinned surface.Traditional

styles are mostly floral

arabesques.Ornamentation,however,is limited to

decorative and dowry items since domestic utensils

are scoured with mud or ash after use.A traditional

product that needs special mention is the

paandaan,made by casting heavy-gauge sheet

metal,either copper or brass.

The hinges are manually made as well.Cast pieces are finished by

sandpapering on the lathe.They come in all shapes and sizes ,such as

miniature vintage cars.The size of the paandaans and the ornamentation

reflect the social standing of a bride`s family.The intricate ornamentation

is a legacy of the Mughals who also introduced newer designs.During

Shah Jahan`s reign the brass ware of Moradabad was exported to

Iran,Turkey and the Middle East.Aligarh and Jalesar are two other

important centres of brass work in Uttar Pradesh.Craftsmen in Aligarh

cast brass locks,statuettes,ornamental door handles and fittings.Jalesar is

known for cast bells made in brass.

BAREILLY

BAREILLY LIES TO THE north of the state,bordering the

hill state of Uttaranchal.Pilibhit and the northern areas of

Bareilly and Shahjahanpur districts lie in the wet

grasslands of the terai region.Bareily is a cane craft and

zardozi,gold and silver embroidery

cluster.Zardozi,introduced in the 12th century by the

Turkish and Afghani rulers,is one of the oldest traditions of

Lucknow,Varanasi,Agra,Bareilly,Rampur

andFarrukhabad.Zardozi textiles were popular with the

wealthy and ruling elite and today are used in bridal outfits

and the garments industry. Pilibhit claims the uniqueness of

producing more than 95% of India`s flutes even though the

raw material,bamboo,comes from the Barak Valley districts

of Karimganj,Hailakandi and Cackar in Assam.Untill the

1940s,migali wood was used , which was sourced from

neighbouring Nepal.Migali being hard to cut and peel was

subsituted by bamboo-a more superior material for making

flutes.In Pilibhit,bamboo flute making sustains about 500

families.There is only one family of 8 brothers,employing

20 artisans who produce high quality flutes for renowned

classical centre,is well known as a carpet weaving

centre,with a high concentration of looms.The weavers are

local unlike in the Mirzapur-Bhadohi weaving belt,where

some of the weavers are migratory.Farrukhabad,adjoining

Shahjahanpur district,is the largest centre for block

prinitng.The designs are characteristics by the delicate

keri,mango motifs,floral patterns and the chintz-style tree

of life.Farrukhabad is known for its block making and

printing skills.

ACCESS

Bareilly is 212km from Agra,243 km from Lucknow and 96

km from Moradabad.Shahjahanpur,75 km from Bareilly, is

located on National Highway 24,which connects New Delhi

with the state capital Lucknow.The nearest airports are in

Agra and Lucknow.

RESOURCES

Crafts Raw Materials Sources

Cane furniture Cane

Assam, Arunachal

Pradesh, Kerala

Bamboo flutes Bamboo Assam

Crafts of

BAREILLY

Cane furniture

Bamboo flutes

Subclusters of

BAREILLY

Bareilly district:

Bareilly

Pilibhit district:

Pilibhit

Shahjahanpur

district:

Shahjahanpur

Farrukhabad distict:

Farrukhabad

1 Cane furniture

workshop, Bareilly.

2 Popular trees outside

Bareilly town.

3 Carpets are stretched

after weaving,to align

them.

4 Dyeing yarn for

carpet weavers in

Shahjahanpur.

BAMBOO FLUTES

Production Clusters

Pilibhit district:

Pilibhit

Products

Flutes

Pipes

Toys

Tools

Knives

Poker

Scales

Sandpaper

A BAMBOO FLUTE is remarkable in

its simplicity.It is a legendary folk

instrument associated with Lord

Krishna.The Hindi word bansuri is a

synthesis of baans meaning bamboo

and sur meaning musical note.The

Indian flute is melodious and a wide

range of notes are achieved from

simple calibration of the air column in

the bamboo.A community of

craftsmen living in Pilibhit has made

making flutes from bamboo a

hereditary family enterprises.Bamboo

is sourced from Silchar and other parts

of Assam and converted into a wide

range of flutes including toy flutes.

1 Bamboo of various kinds are brought to Bareilly from Assam.The

town is also referred to as Baans Bareilly,derived from baans,the

Hindi word for bamboo.

Only a few master craftsmen known the closely guarded secret

of indexing the musical notes precisely,which is done by

piercing the bamboo to make holes for placement of

fingers.Holes are made by burning with red hot metal pokers

and all markings are done with special scales and tools.The

professional flutes are made from seasoned bamboo which are

carefully selected and stored before conversion.Great

musicians of the Indian classical tradition source their

instruments from here.The larger portion of craftsmen prepare

inexpensive toy flutes sold all across India,at various fairs.The

low cost flutes are made in very large volumes.

Inset A flute meant for classical musicians.

2 A miniature painting from Rajasthan.Lord Krishna is

depicted as a young cowherd playing the flute,enthralling

Radha,the cow-herdesses and the animals.

CANE FURNITURE

Production Clusters

Bareilly district:

Bareilly

Bithri Chainpur

Ramnagar

Alampur

Zafradbad

Bhojipura

Allahabad district:

Allahabad

Kydganj

Products

Furniture

Dustbins

Racks

Lamps

Baskets

Pot Holders

Sofa Set

Centre tables

Tools

Saw

Kerosene Lamp

Hammer

Knife

BAREILLY HAS BEEN a manufacturing centre for cane furniture

since 1956.Owing to its big cane and bamboo mandi, wholesale

market,the town is colloquially called Baans Bareilly.Cane and bamboo

procurred from Assam,are distributedd to the neighbouring villages of

Bithri Chainpur, Ramnagar, Alampur, Zafrabad and Bhojipura where

cane furniture making is a cottage industry.The level of skills of the

craftsmen is at par with those of Assam and Kerala.The main frame of

the furniture is heat bent while seating elements are either woven from

splits or fitted with whole elements.

Sofa sets made with heat bent cane,joined with nails and bound with

cane splits.

Joints are bound with splits and nailed in place.The cane is

soaked in water before bending.Thinner cane is heat-coiled

into decorative patterns and nailed in place and finally,the

finished piece is varnished.The craftsmen are adept at

making anything that is drawn out,shown or even

described.Bareilly also sells cane splits to other cane

furniture cnetres,like Allahabad in Uttar Pradesh.There are

about 6000 craftsmen in Bareilly district.

A craftsperson`s house and workspace,Lucknow.The dry clods have been pounded and soaked in water to weed the debris before wedging the clay.

ALIGARH metacluster located in north

western Uttar Pradesh,reflects many

cultural characteristics of the

neighbouring Braj Bhoomi,known as

Lord Krishna country.Aligarh city,once

called Kol,is a district headquarter and

an important agricultural trade centre.

RESOURCES


Khurja and

Ahmedabad,

Clay

Chinhat

Bikaner

Pottery

Feldspar,

Quartz, Glazes

Thanagarh, Delhi

Inset Plaster of Paris moulds stacked in a corner.

1. Thrown,cast and hand-moulded products,drying in

the sun,readdy for firing.

2. Throwing a ceramic pot in Khurja.

3. Designs being painted on the ceramic planters using

a turntable.

Crafts of ALIGARH

Khurja and Chinhat

pottery

Subclusters of

Aligarh

Aligarh district:

Aligarh, Purdil Nagar

Etah district:

Jalesar

Hathras district:

Hathras

Bulandshahr

district:

Khurja

It houses the well known Aligarh Muslim University.During

Mughal times it was an important sarai,transit camp,for travellers

on their way to Agra.The Mughal emperor Aurangzeb had a

garrison built,which is how the town became a cluster for

locksmiths.There are some 3000 units still handcrafting brass

locks in the old city.The handmade locks are difficult to pick and

many have interesting features like trick combinations.At

present,hand-made locks face competition and are proving no

match for the cheaply available pin-cylinder Chinese locks.The

locksmiths have taken to casting decorative ware in brass.Aligarh

is also well known for patchwork called patti ka kaam.In the old

quarter,julahas,weavers,weave dhurries.During Mughal times the

region was an important centre of indigo cultivation and saltpetre

industry.Khurja in Bulandshahr district and Chinhat in Lucknow

district,are two clusters producing glazed pottery and crockery in

stoneware and bone china.Hathras and Jalesar have metal working

clusters.A wide range of cotton rugs and handloom fabrics are

woven in Hathras.

ACCESS

Aligarh is accessible by road and rail.The nearest airport is in Agra

(83 km)and Delhi(13km).Aligarh is 128 km from Meerut and 369

km from the state capital Lucknow.

Detail of a painted and glazed pot.

POTTERY OF KHURJA AND CHINHAT

ProductionClusters

Bulandshahr

district:

Khurja

Lucknow district:

Chinhat

Products

Khurja:

Planters, Flower vases

Tableware:

Cups,Mugs, Plates,

Dishes / Bowls,

Spoons, Pitchers,

bone china crockery

Beads

Tiles

Chinhat:

Glazed terracotta,

Bone China,

ceramics.

Tableware:

Bowls, Mugs, Plates

Statuettes

Candlestands

Toys-kitchen sets,

Birds & animal forms

Planters

Glazed roof tiles

IN THE 14th century,some potters from

Timurlane`s retreating army stayed on

at Khurja, Delhi, Jaipur and Multan

(Pakistan) and set up blue pottery

workshops. The potters were from

Egypt, Syria, Turkey and Persia.

Khurja, earlier a potter`s village,

became a centre for blue pottery,and later on of glazed

ceramic ware,though unlike in Jaipur (Rajasthan),the raw

material has clay mixed in the feldspar and quartz.The

pottery has identifiable painted floral patterns,in shades of

blue and brown, on an off-white background.A thick slip

is used to raise some motifs in relief.The potters have also

developed orange,brown, and light red

glazes.Chinhat,which is in Lucknow district in central

Uttar Pradesh, also originally a potter`s village, is a

smaller cluster for ceramics and glazed terracotta.Chinhat

ceramics have a rough appeal and characteristics green

and brown glazes.The low plasticity of clay makes

throwing a little difficult so most of the forms are cast.

Firing in Chinhat and Khurja is done at 1180 to 1200 centigrade.Both

clusters have a big domestic market and also export to Europe and

Saudi Arabia. There are 500 ceramic units in Khurja town.

Inset Glazed ceramic bird figure.

Tools

Plaster of Paris

moulds

Wheel, Ball mill

Pug mill,Blunger

Filter press, Wire

Finishing:

Khuria-scraper

Chaku-knife

Patti-hacksaw

Jali-mesh

Painting

Tinka-twig, sponge

Horsehair brush

1. Serving bowl made by slip casting method,painted

and fired.The pottery is made in Khurja.

2. Glazed kettle and mugs of different shapes.

3. A moulded pot which has been painted and

glazed,from Chinhat.

4. A leaf-shaped plate and its plaster of paris

mould.The plates are glazed and painted after

casting.

5. Chinhat`s toy tea sets have been popular for several

years.

AGRA FORMS A part of Braj

Bhoomi,the land of Lord Krishna`s

birth and Childhood.Many towns in

the area continue to be associated with

his legend.Pilgrims from the world

over flock for the Braj

parikrama,pilgrimage.Agra,though

distinctly Mughal in appearance,has

deeper influences of the culture of

Braj.The people of the area speak Braj

Bhasha, a local dialect of Hindu.

Under Sikandar Lodi,a ruler of Delhi

Sultanate,various workshops were set

up to train young noblemen and

soldiers in handicrafts.The Mughal

emperor Akbar set up carpet weaving

and zardozi workshops and his

grandson Shah Jahan immortalized the

city when he built the Taj Mahal,a

permanent archive of Structural

explorations in marble which inspired

many crafts. Today Agra is a bustling

tourist destination and home to some

of the finest crafts.The galis and

katras,streets and corners of the old

city,are craft hubs.Katra Neel is where

a lot of the crafts like dhurrie

weaving,leather work,marble inlay and

zardozi are located.Mathura and

Vrindavan are purely Lord Krishna`s

domain.The Dark Lord is everywhere,

in every house and in every craft formstencils,cast

metal,batik and

painting.Mathura,located on the banks

of the Yamuna,was once an important

centre fo Buddhism and home to a

distinctive style of Sculpture. The

craftsmen are skilled stone and wood

carvers.Firozabad is and industrial

town,located near Agra.There is a

large conglomeration of small-scale

units engaged in manufacturing glass

ware. The sole occupation of the local

people is making glass bangles and

glass ware.In the streets one sees many

thelas,sacks,laden with bangles which

are being transported for decoration to

different parts of the city.

RESOURCES


Pachhikari Marble

Makrana

(Rajasthan)

Turquoise,

Cornelian,

Jasper, lapis

lazuli, Malachite, New Zealand

Mother-of-pearl,

Coral, Jasper

agat, Garnet

Marble carving White marble

Makrana

(Rajasthan)

Black marble

Bhainslana

(Rajasthan)

Soft stone carving Soapstone

Bhainslana

(Rajasthan)

Crafts of Agra

Pacchikari-marble

inlay

Soft stone carving

Glass Work

Sanjhi-paper stencils

Subclusters of

AGRA

Agra district:

Firozabad district:

Mathura district:

Mainpur district:

ACCESS

Agra has an airport and is well connected to Delhi(203km).Agra

is 363 km from Lucknow and 58km from Mathura.Firozabad

(40km) from Agra)has a railhead and its nearest airport is Agra.

Inset Blown glass being shaped in a wooden scoop,Firozabad.

1. Marble jaali,Taj Mahal,Lac-llike intricate jaali work on

marble,seen from the interior facing the Mihman

Khana,guest house on the east side.

2. A sandstone jaali,Fatehpur Sikri.This Mughal walled City

was built by Emperor Akbar as his capital in the 16th

century.Built in sandstone,its unique architecture is a

synthesis of Hindu and Islamic styles.

3. Details of a marble jaali from the Taj Mahal.

4. Pietra dura or pacchikari on the marble walls of Taj

Mahal.The Florentine technique of Pietra dura,consisted of

inlaying semi-precious stones in marble has been widely

used in the monument.

5. Munabat kari or low relief carving on marble panel on the

walls,Taj Mahal.

Production Clusters

Agra District:

Tajganj

Gokulpura

Products

Tables

Boxes

Statues

Coasters

Tools

Iron chisels

Set Square

Detail of a Box.Black marble inlaid with semi-precious

stones.

PACCIHIKARI - STONE INLAY OF AGRA

PACCIHIKARI OR THE inlay of semi-precious stones-agat

turquoise,cornelian,jasper,bloodstone,mother-ofpearl,malachite

and lapis lazuli-in marble is unique to Agra.The

inlay is so fine that the inlaid patters seem to have grown out of

the marble.It is hardly possible to detect the incisions.The

inspiration for the crafts is the beautiful pietra dura work done

in the Taj Mahal and the tomb of Itimad-ud-Daulah.The art was

brought to India in the 17th century from Persia when Shah

Jahan chose to build the Taj Mahal.The craftsmen who are

predominantly Muslim,are said to be descendents of those same

craftsmen.Stone slivers are carefully shaped into minute

petals,leaves,and stems on a manualy operated emery

wheel.Often,a single flower is composed of as many as 40

pieces that may take a whole week to painstakingly shape and

inlay.The craftsman matches the shapes to a brass template.

The designs are all floral,some extremely delicate.The marble

surface is shallow carved,enough to embed the stones.The

chisels are worked without a hammer or mallet.The carving has

to be extremely crisp,so prior to chiselling,the surface is coated

with red earth that makes the engraved lines of the pattern stand

out,making it easier for the craftsmen to carve and inlay.The

depressions are filled in with white cement that melts on

heating.The marble surface is heated and the stones laid flush

in it.Any tiny gaps in the inlay are filled in with white

cement.The surface is buffed and polished.Inlay is also done on

alabaster,gorara stone and black marble.There are specialized

craftsmen for different steps of inlay.The master craftsman

designs and inlays.Other craftsmen cut the stone,glue and finish

the pieces.

MARBLE CARVING

AGRA HAS BEEN a centre for marble carving ever since

the Taj Mahal was built.In fact,craftsmen carve tiny

replicas of the Taj Mahal. But their real skill lies in

carving intricate jaalis,floral geometrical lattices.The crisp

openwork of the jaalis is an extension of the beautiful

jaalis in monuments in and around the city.The geometridc

jaalis are intertwined with floral motifs.The city has a

repertoire of over 200 designs.The marble is bought from

the Makrana quarries in Rajasthan.At the workshops,the

design is stencilled on the marble surface,basic holes are

drilled with a hand-held drill and shaped with chisels and

files.The products cater to an international clientele and

the flour-ishing tourist industry.The skills of the craftsmen

today,are best seen at the ornately carved Radhaswamy

Temple,memorial of the founder of the Radhaswamy

sect.Pure White marble is also carved into threedimensional

idols.Those meant for Worship are carved

without a flaw.A ceremony called pran

prathishtha,invoking the god or goddess that the idol

represents to come to life,is performed before the idol is

installed.

Production Clusters

Agra District:

Mathura district:

Products

Jaalis-lattice screens

Doors

Frames

Statues

Tools

Chisels

Hammer

Details of a marble mirror frame.The flowers are carved in

the round,an example of the superb carving skills of the

craftsmen.

Inset Turned stone container.

1. Detail of the Jaali,carving of the nesting elephant from

Mathura.

2. Carved nesting elephant,i.e.elephants one inside the

other,Mathura.

3. Carved khorai stone from Varanasi.

4. A marble table lamp,carving and openwork,.

SOFT STONE CARVING

THE MAIN CENTRES of stone

carving in Uttar PRadesh are

Agra,Vrindhavan,Mathura,Varanasi

and Hamirpur.Craftsmen in Agra and

Vrindavan carve idols,statuettes and

jaalis from various stones,and

specialize in a particular

stone.Alabaster is popular in Agra due

to its resemblance to marble.

But being an extremely soft stone,requiring only finger

pressure to chisel,it has to be boiled overnight and then waxed

to take on the design.Idols are at a times ornamented with

paint and gold leaf overlay.The stone is also turned into

containers.Craftsmen at Mathura specialize in carving nesting

animals-elephants,owls,tortoises and egg-shaped objects-with

the forms carved in floral jaali.Holes are drilled with a power

drill and the insides hollowed out manually with chisels.The

smaller animal is carved out through the jaali so the form has

no joints.The piece is buffed to a finish.Varanasi is known

more for souvenir carvings,statues of the Buddha,Figurines

and nesting animals in gorara,a reddish stone,khorai and pallar

that are popular with piligrims and tourists.

Turned containers are also

made.The local outlets are

Sarnath,Vishwanath Gali and

Dasashvamedhi Ghat. A market for

the products exists in

Delhi,Mumbai,Kathmandu and

Germany.The craftsmen are former

ivory carvers who switched to

wood and stone following the ban

on ivory in India,about two

decades ago.Apart from softstone

carving,craftsmen in Varanasi and

Chitrakoot carve idols in relief on

sandstone slabs which are placed

under trees for workship.The stone

comes from quarries in Chunar

Hills near Varanasi.

Production Clusters

Agra district:

Mathura district:

Varanasi district:

Ramnagar,

Chunar

Hamirpur

Products

Agra:

Gorar jaalis

Turned gorara

tableware

Mathura:

Varanasi:

Statuettes

Pen-stands, Photo

frames

Tools

Electric lathes

Zameen safni-to make

holes

Batali-files

KNOTTED CARPETS

AGRA IS ONE of the earliest carpet weaving centres set up by the

Mughals in India.In the 16th century Emperor Akbar invited Persian

master weavers to set up carpet karkhanas,workshops,in Agra.The Carpets

of Agra soon replaced those of Persian in quality the region of Shah

Jahan.The royal carpets were stored in the Farrashkhana,carpet house,and

Akbar,according to his historian,loved spending time there.The quality of

carpets declined with the fall of the Mughal empire.

1. Elongated medallion designed with corners and pendants,patterned

with a floral scrolling vine in the background.

2. Carpet depicting Shikar,a hunting scene,representative of the

pictorial style found in late 16th century manucripts from Akbar`s

karkhana,workshop.

3. A naksha,the design graph of the mussallah,a prayer carpet.

4. The mussallah,prayer carpet.

Agra still produces some of the finest carpets in the country.Weaving is

done by men in karkhanas.They use the asymmetrical or Persian knot and

the density of knots per square inch varies according to the quality-120 to

330 knots/square inch is medium quality,and 330 or more knots/square

inch is high quality.The patterns are classical Persian though the original

pashmina pile has been replaced by wool and silk on a cotton

foundation.A unique system in the karkhanas is the phera bolna where the

master craftsman calls out the pattern and colours from a talim,which is a

coded instruction to weave the pattern,and the weavers chant back their

reply.Weaving is followed by finishing and washing.Finishing,realigning

the knots and clipping the pile,is a meticulous process done bit by bit on

hand-knotted carpets.Shahjahanpur knots the largest number of carpets for

the domestic market.The woollen knotting in not very dense but the

carpets are attractive and affordable.The weavers use a graph plotted by a

nakshaband,artist.Each square in the graph represents a knot.Three

weavers knot a carpet.Two work on the borders and one knots the

field.The knot used is the Persian or Sennah.Today there are about 500

families that weaves in the town.The carpets are sold in Guwahati, Delhi,

Jammu and Kashmir.

Production Clusters

Agra district:

Agra

Fatehpur Sikri

ShahJahanpur

district:

Shahjahanpur

Products

Carpet types:

Persian

Abusson

Turkoman

Bokhara

Tools

Vertical roller-beam

loom

Talim-coded pattern

Naksha-graph

Kangi-beater

Production Clusters

Blown glass &

bangle

Firazabad district:

Firozabad

Etah district:

Jalesar

Beads:

Agra district:

Agra

Aligarh district:

Purdil Nagar

Firozabad district:

Glass bangle stall in Lucknow

GLASS WORK

GLASS CAME to India with the

invaders from the Islamic

world.Firozabad met the royal

demand for jhad and fanus (types

fo chandeliers),and produced vials

for perfumes.

Today,traditional bangles and newer products like glass

toys are handmade in the streets of Firozabad.Blowing is a

special operation and is limited to the

karkhanas,workshops.Blowing allows for the creation of an

endless variety of hollow objects.In case of mould

blowing,great skill is necessary to make the glass take the

shape and patterns while maintaining uniform thickness on

all sides.Bangle making is to a great extent a cottage

industry.The craftsman draws and winds molten glass into

a tight spiral around the mandrel.The glass springs are then

cut and aligned into bangles and patterned with

nicks.Women working form their homes complete the

ornamentation with gold paint.Glass toys are made in Agra

and Firozabad.The Craftsman manipulates a glass rod over

a flame by twisting,drawing and fusing glass into tiny bird

and animal forms up to 5 cm in size.To make glass

beads,wires drawn from a molten glass rod are wound

around an iron spike,rolled,and melted over a small

burner.To release the beads the spike is dipped in

water.Tiny beads are shaped by hand on the spike.

Glass vase from Firozabad

Inset A closed form obtained

by blowing.Two different

coloured opaque glass is

blown,fused with clear glass

and blown again.Mouth and

base are groung and polished

for an even surface.

1. Glass thread spun

around a bubble

formed blown glass.

2. Sandblasted blown

glass dish.

3. A sandblasted blown

glass closed form.

A mould-blown hanging

lamp.

Firozabad

Etah district:

Jalesar

Varanasi district:

Varanasi

Toys:

Agra district:

Agra

Firozabad district:

Firozabad

Products

Vases

Crockery

Jugs

Chandleliers

Lamps

Beads, Bangles

Tools

Blowing rod

Iron moulds

Furnace

Wooden scoops

Shears

Tongs,Burner

Diamond cutters

SANJHI-PAPER STENCILS

THE SANJHI OF Mathura is a ritual

craft in which paper stencils of

scenes from Lord Krishna`s life are

cut freehand using scissors or a

blade.The delicate sanjhi is often

just held together by thin strands of

paper.The stencils are used to create

rangolis,powder transfer,on the

ground and on water.These days the

craftsmen are applying their skill to

cut tiny bindis,stickers worns on the

forehead,and secular images for the

tourists.

Sanjhis are originally images of Sanjhi Devi made in relief on

a mud wall using fresh flowers,coloured stones,foil and

mirrors.Sanjhis are still made throughout the plains of North

India.Mathura;s Sanjhis,however,have become delicate

Radha,the consort of Lord Krishna.

Production Clusters

Mathura district

Mathura:

Kanskar Bazaar

Vrindavan City:

Shri Madan

Mohanji`s Temple

Products

Stencils

Bindis-stickers

Cards

Tools

Scissors

Pins

rangoli stencils depicting Krishna.If the sanjhi is a

multicoloured rangoli,the main design is divided into a

number of subsidiary chaskas,cutouts.The art has been

hereditary and the craftsmen live near the Krishna Temple in

Mathura.

Inset A sanjhi of Lord Krishna playing the flute,made with

handmade paper,Mathura.

Pencil

A detail of the arched windows and the

jaali,lattice screens,that cover some of the

windows of the Bara Imambara,the great

columnless ceremonial hall built in

1784.The complex has a massive

courtyard,triple arched gateways,the Asafi

mosque and a baoli,stepwell.The jaali

effect is recreated in chikankari

embroidery.

Crafts of

LUCKNOW

Chikankariembroidery

of

Lucknow

Kamdani and fardi ka

kaam-metal work

embroidery

Silver work

Zardozi-gold

embroidery

Varaq ka kaam-gold

and silver foil work

Sheet metal work

Terracotta

Quitabat -

Calligraphy

Bone carving

Clay toys

Basketry

Tharu applique

Applique

Subclusters of

Lucknow

Lucknow district:

Lucknow

Chinhat

Barabanki district:

Barabanki

Shravasti district:

Shravasti

RESOURCES


Chikankari

Kamdani and Fardi ka

kaam - metal work

embroidery

Zardozi

Untwisted mill yarn Muga,

Tussar Yarn

Metal wire

Shell

Porcupine quill

Zari, Metal purls, Sequins,

Resham, Untwisted cotton

yarn

Lucknow

Surat(Gujarat)

Kolkata(West Bengal)

Ajmer (Rajasthan)

Surat

Varaq ka kaam Silver, Gold Varanasi

Silver work Sheet silver Mathura

Sheet Metal work Sheet copper Locally available

Terracotta Clay Local digs, Ponds

Quitabat-calligraphy

Kandi-dung cakes

Mineral colours : Iron oxide,

copper oxide, Powdered lapis

lazuli

Earth colours : Khariya,

Geru, Multani mitti, Sindoor,

Neel Paveri

Vegetable colours

Handmade paper

Cowshed

Lucknow

Local Dealers

Rajasthan

Bone carving Buffalo bone Lucknow

Camel bone

Clay toys of Lucknow Clay, Kandi, Powder colours Lucknow

Local Dealers,

Stationers, Antiques

dealers

Basketry Arhar stalks Lucknow, Bareilly

Tharu applique Cotton fabric Behraiche

Applique Voile, Organdy Lucknow, Behraich

ACCESS

Lucknow being the state capital is well connected to all the

major cities in India by road,rail and by air.

Inset Colouring of a terracotta object.

LUCKNOW IS A crowded old

Mughal city with colonial

architecture.The city is spread on

both banks of the River

Gomati.The land is slightly

undulating and many streets are

located on dhaals,slopes.Chauk

and Aminabad are the main

bazaars,the hud of artistic

activity and the only place where

one can come closest to

experiencing the renowned

adab,refined courtesy,of

Lucknow.

Lucknow traces its origins to the Suryavanshi dynasty of

Ayodhya,its name to Lakshman(the brother of lord Rama)but

its modern history really begins when, in 1732,Mohammad

Amin Sadat Khan,a Persian adventurer,was made governor of

Avadh,of which Lucknow was a part.His descendants came to

be known as Nawabs and later as Nawab Wazirs.In 1755,the

Nawabs shifted their capital from Faizabad to

Lucknow.Today,Lucknow is the capital of Uttar

Pradesh.Chinhat,a town that developed from a

potters`village,is near Lucknow and accessible from

Aminabad.The districts of Behraich and Shravasti are located

in Northeastern Uttar Pradesh,bordering Nepal.During the

reign of Ashoka it was a centre of Buddhism.Archaeological

remains of some Buddhist stupas and Jain temples have been

excavated in Shravasti making it an important place for

pilgrimage.In fact,countries like Japan,Burma and Thailand

have set up monasteries there.Villages of the Tharu tribe are

located all along the border with Nepal in the deep

forests.Barabanki has a large population of weavers and was

one of the villages that took up khadi weaving on Gandhiji`s

call for satyagraha,non-violent resistence,movement.

1. The making of kamdani,a metal

strip embroidery

2. Freshly thrown lamp comes off

the wheel.Diyas or lamps come in

varying sizes and are used as oil

lamps during Diwali,the festival

of lights.

3. A Gujjar womam,twisting rope

from saann grass in Behraich, in

the adjoining district.

Production Clusters

Lucknow district:

Lucknow:

Chauk

Daliganj

Barabanki district:

Barabanki

CHIKANKARI-EMBROIDERY OF LUCKNOW

CHIKANKARI IS SUBTLE embroidery,white

on white,in which minute and delicate stitches

stand out as tedxtural contrasts,shadows and

traceries.Some stitches are worked from the

back and some from the front.In a

unique,anokhi chikan,the stitches donot appear

at the back.

The fabric used is fine,and traditionally muslin.Chikan appears to have

been derived from the Persian word chikin or chakin,meaning cloth

wrought with needlework.It was originally a court craft having been

introduced by Mughal empress Noorjahan.There were chikankaars in the

courts of Kolkata,Delhi,Dhaka

(Bangladesh),Gaya,Varanasi,Allahabad,Rampur and Bhopal.In

Lucknow,the Nawabs of Avadh made the finely embroidered muslins a

prescribed requirement of the ceremonial court.A single piece of chikan

relies on many skilled craftsmen, designer, printer, embroiderer,

washerman. Traditionally, different artisan families practiced and

perfected one type of stitch and it would,therefore,often take between

three to four craftsmen to embroider a single garment.

Bakhiya ,herringbone stitch,done on the reverse of the

fabric,gives a shadow effect that became a dominant

feature of the craft in the 1980s.Traders flooded markets

with coarsely executed work and thoughtless design

diversification had eroded the sensibility of the

craft.The sensitive design intervention of organizations

such as Dastkar and SEWA, were crucial in

reintroducing finely crafted stitches such as

murri,phanda,eyelets and a variety of jaali.This has

improved the quality of craftsmanship and the

livelihoods of craftspersons.

Inset Fish motif with jaali

or pulled thread work in

the body.The fish motif

was used in art and

architecture after the

Nawabs adopted the

MAhi Murattib, the twin

fish, as their state

emblem.

1 White-on-white

embroidery traditionally

done on fine muslin uses

darning,stem,satin and

buttonhole stitches with

pulled thread work and

eyelets edged in

buttonhole or stem stitch.

The phanda stitch used on

the edge of ambia or

mango motifs creates an

embossed texture.

2 Block used for printing

the pattern before

embroidering.

3 Chikan

angarkha,garment stitched

from fine muslin and

embroidered with phanda

stitch and wrapped back

stitch,a revival of the

elegance and refinement

that was closely associated

with Nawabi Culture.

Products

Traditional:

Rumalshandkerchiefs

Skull caps

Angarkhas-long shirts

Contemporary:

Saris-draped cloth

Kurtas-tunics

Dupattas-stoles

Scarves

Drapes

Table linen

Tools

Fine metal needles

Scissors

Wooden block for

printing motifs

4 Detail of a large circular pattern with

the royal emblem of twin fish and floral

motifs using avariety of jaali work,

eyelets, murri, phanda, and satin stitch.

5 Buta with mange motifs intricately

rendered in bakhiya stitch, jaali work and

phanda stitch. Amiba, keri or mango

motifs are common to Benaras brocades,

block prints and Lucknow embroidery.

6 A mango motif with a variety of

embossed stitches.

7 A keri, mango motif, in taipchi stitch

with a row of openwork. Taipchi or

running stitch is the most elementary and

inexpensive of all chikan embroideries

and is used here to outline the motif.

Kamdani border on a lehenga, long skirt.

KAMDANI AND FARDI KA KAAM-METAL WORK EMBROIDERY

Fardi,tiny dots, are made by wrapping a metal strip around

a few warp and weft threads of the fabric.

Production Clusters

Lucknow district:

Lucknow

Rustam Nagar

Products

Dupatta-wraps

Scarves

Chiffon Sari

Tools

Needle

Cowrie sheelburnishing

Siyahai ka kaantaporcupine

quill

Butter paper stencil

BOTH KAMDHANI AND fardi ka kaam are flattened wire

embroidery on thin fabric.In kamdani the wire is worked into

motifs whereas fardi,literally dots,uses the same wire to embroider

silver and golden dots placed in patterns,The hazara butti,thousand

dots design in fardi is characteristic of Lucknow.The embroidery

is called mukaish in Punjab and badla in Gujarat and Mumbai.In

kamdani,the wire attached to a small length of thread is pulled

through the fabric with a needle.

Metal wire attached

to needle and

thread,Porcupine

quill,cowrie or shell.

In fardi the wire is used as a needle.For openwork,the fabric is

pierced with a porcupine quill or pointed sticks made of

ivory,wood or bone.The fabric is laid flat on a blanket and

rubbed over with a cowrie shell.This flattens and burnishes the

wire.The motifs are transferred from a perforated paper

stencil.Pattern making is a specialized activity.Kamdani is fast

becoming a rarity and most of the craftsmen are elderly

men.Fardi ka kaam is done by women from their homes.

Copper,silver and gold metal strips used

in embroidery.

A cowrie shell is rubbed over the embroidery to flatten and

burnish the metal strips.

Detail of a flower

motif.

SILVER WORK

Production Clusters

Lucknow district:

Lucknow

Products

Paizeb-anklets with

bells

Jhumkas-earrings

Paandaans-betel leaf

box

Lota-pot

Katora-cups

Matki-ritual pot

Glasses,Plates

Slippers

Tabiz-amulet

Dawait-inkpot

Kalam-pen

Detail of the embossed

work

THE SILVERSMITHS IN LUCKNOW combine

embossing,engraving and openwork on sheet silver to craft

traditional utensils,bridal footwear and paandaans.Among

Muslims,silver is of great ritual importance.For instance,a boy

writes his first alphabet on a takhti(silver tablet),using a kalam

(silver pen) dipped in dawait (silver inkpot).A bride wears silver

sandals for her wedding.Mughal-style silver oranaments are

intricate,but light.

Tools

Reti-file

Chimti-tongs

Plas-pliers

Nehai-iron square

Khalna-ball-ended

punch

Reza-cast

Kalam-chisels

Hathodi-hammer

Katarni-copper wire

brush

Sandaan-die

Thappa-metal die

Jantari-iron plate

Owing to the strong Islamic influence most products are highly

ornamented with repousse,depicting hunting scences and floral

and fish motifs.Nowadays the silversmith also uses dies to

emboss.The sheet is flipped over the embossed design is made

crisper by chasing it from the front.Some parts of the design are

encrusted by soldering.Craftsmen work individually.

1 A Silver

tablet,inkpot and a

pen

2 Silver sandals for

a Muslim bride.

ZARDOZI - GOLD EMBROIDERY

ZARDOZI IN AGRA is traditionally done on velvet which is

said to have been introduced by the Portugese.The zardozi of

Lucknow is of a bareek or fine variety,however it is the

quicker zari ka kaam that is keeping the craftsmen

busy.Zardozi (Persian,Zar-gold,dozi-work) is

gliettering,heavily encrusted embroidery done by couching

wire purls,beads,sequins and spangles onto heavy fabrics with

a needle.The splendour of zardozi is revealed in the manner in

which it reflects light.The more the levels and directins of

couching on the zardozi,the more appealing is the piece.The

variety of purls,dull and shiny;sitaras,sequins and the padding

help achieve the effect.Zari ka kaam ,also known as

haathari,ari kaam and fancy kaam,is a quick chain stitch in zari

and art silk,done with a fine hooked needle called ari.The

craftsman deftly manoeuvers the ari,working it at a rapid

pace,the hook picking the applique material,and couching it

onto the fabric.

The craftsmen`s skill lies in maintaining the stitch size

while working the needle at breakneck speed.The fabric is

stretched taut on a karchob,large wooden frame,around

which five to six craftsmen sit and embroider.The pattern

is transferred from a perforated paper stencil by rubbing

over it with chalk powder.Designs are made by the

naksha naviz, artist. The embroiderers are mostly Muslim

men.In Mughal India.zardozi adorned court

costumes,canopies,bolsters,scabbards and trappings.

1. 14th century zardozi work done on velvet

canopy,Lucknow.

2. Karchob,wooden frame,for stretching the fabric for

ari work.

3. Detail of a velvet floor covering embroidered with

silk and zari ari work that is unique to Agra.

4. Chaupatiyan,a heavily encrusted and embroidered

zardozi bridal veil,Lucknow.

Production Clusters

Lucknow district:

Lucknow

Kashmiri Mohalla

Dera Baba Hazara

Chaupatiyan

Katra Bizambeg

Wazir Bagh

Purana Chautra

Mansoor Nagar

Rustam Nagar

Nakkar

Shah Ganj

Husainabad

Bhul Bhulaiyan

Pandey ka Talab

Multiganj

Caliganj

Bara Imambara

Chhota Imambara

Quaiserbagh

Thakurganj

Lalbagh

Kursi Road

Agra district:

Agra:

Tajganj

Loha Mandi

Mewati

Products

Traditional:

Purses,Handbags

Jewellery boxes

Caps, Jackets,

Slippers

Contemporary:

Lehenga-choligathered

skirt &

blouse

Sari-draped Cloth

Tools

Karchob - a

rectangular wooden

frame

Khakha - butter paper

stencil

Ari-hooked needle

Metal needles

Hammer to flatten the

wire embroidery

VARAQ KA KAAM-GOLD AND SILVER FOIL WORK

VARAQ IS A gossamer thin edible foil,made from beating

gold and silver for many hours.It is used to decorate sweets

and other foods.Varaq is also supposed to posses medicinal

properties-silver is cooling and gold,warming - and is sold

to ayurvedic practitioners.The process of making varaq is

labour intensive.It takes 4 hours of continuous pounding to

reduce a 10 gm piece to 180 pieces of varaq.The silver is

place between the deerskin leaves for a farma,hide

booklet.The farma is pounded with an iron hammer till the

silver slowly expands.As the sheet silver expanda it is sliced

into twos or fours,which are then placed between separate

sheaves.Gold needs to be beaten for 12 hours.Pounding

Production Clusters

Lucknow district:

Lucknow

Varanasi district:

Varanasi

Products

Gold & silver edible

foil

takes place on a stone slab.

On rainy days the stone slab tends to gather moisture,so a

small coat furnace is attached to it.

Tools

Farma or daftar -

leather booklet

Kasauti ka pathar -

stone slab

Phalua - blunt blade

Cheep or chimti -

bamboo tweezer

Silver varaq, foil.

1 Black and front of an alam,a shaped copper

standard that is taken out in processions by the

Shia Muslims during Muharram.Motifs of the

hands,horse and crescent moon recall the sacrifice

made by Hazrat Abbas Alamdaar,the grandson of

Prohet Mohammed at the historic battle of Karbal

in central Iraq.

2 Containers for paan ingredients.

3 Tamba paandaans,engraved punched and

repoussed form an essential part of Muslim dowry.

4 Repoussed copper spittoon for paan addicts

5 Water urn used by Muslims

SHEET METAL WORK

Production Clusters

Lucknow district:

Lucknow:

Ahiya Ganj

Products

Paandaans

Kishti paraat-pans

Deg-cooling pot

Sini-metal plate

Patili-Small deg

Tonti lota-water pot

Alam-standards

Tools

Kalam-chisels

Prakaar-divider

Nihai-iron slab

Sisa-lead

Khakha-paper

stencils,dies

THE SHEET METAL WORK of Lucknow combines ubhar naqqashi

or repousse with jaal ka kaam or openwork.Most of the productsalams,paandaans,spittoons,

and ewers,are made for a Muslim

clientel.They are all lavishly ornamented.The design is transferred

from a paper stencil.For repousse,the sheet is laid over a lac bed and

bossed with chisels and punches.For a quicker job,iron dies are used.A

stick of lead is rubbed on the sheet for bossing.The most elaborate of

the products are the massive dowry paandaans.They are about a metre

in width and the body is lavishly bossed,punched and engraved.A

floral and crescent moon design is seen on most.Every Muslim bride

brings with her a beautiful paandaan,the size of the container being a

symbol of hospitality,becomes important.Smaller,lightly engraved

paandaans are found in every home.The paandaan is the woman`s

domain,while the paan ka galla or the paan stall is run by

men.Lucknow is famous for its gilori paan with a special leaf and

ingredients.During Muharram,copper alams or standards are taken out

in procession.They are carefully bossed with images and symbols

related to the assassination of the Prophet Mohammed`s family. Degs,

copper pots

used for cooking are formed over swages in three parts-neck and two

hemispheres for the body.The insiders of degs are limed.All the

craftsmen-metal workers,engravers and limers - work in a street in

Ahiya Ganj.

TERRACOTTA AND POTTERY

Production Clusters

Lucknow district:

Lucknow

Chinhat

Allahabad district:

Allahabad

Gorakhpur district:

Gorakhpur

Nizamabad

Products

POTTERS ARE IN important community of artisans in

the villages of Uttar Pradesh catering to everyday needs

of villagers-throwing water pots in summer,kulhars the

year round,diyas or lamps for Diwali and sculpting clay

deities and rough votive forms.Potters who live near

towns and cities make decorative ware.The potters get

their clay from nearby fields and village ponds.The men

do the throwing and women help with all clay work

except throwing.which is a taboo for

1 Malwa, a container for ubtan,gram flour and

turmeric,and oil used during body massages.These are

wheel-thrown objects,joined with clay slip and fired,

Nizamabad.

them.The Hindu potters are called kumbhars or kumhars and belong to a

community called Prajapati.The muslim potters are called kasgars.Though experts

at all throwing techniques they differ only in some of the products they make.An

important difference however is in the finish.Hindus do not reuse a clay

vessel,hence the Hindu potter does not labour over finish and ornamentation.In

Muslim households,terracotta utensils are used till they give way and so the potter

makes finer wares.

2 A terracotta handi,cooking vessel.In

dhabas,roadside eateries,food is often

cooked and served in a handi. Chinhat.

3 Roti daan,bread dishes sold

outside a mosque in Lucknow.

4 Kheer,a sweet dish made from

milk packaged in terracotta and

sold by a vendor in Lucknow.

Kulhar-tea glasses

Malwa-Joined bowl

and pot

Tutuhi-cup with

spout

Nadia, Nadwa - curd

bowl

Hauda-troughs

Piyalia-shallow bowl

Parva-container

Larva-for Karva

Chauth

Chilum-pipes

Tools

Chak-wheel

Lesur-Slicer

Moulds

Surahi-pitchers

Rakabi, Roti daan -

shallow plate

Diya-lamp

Wall Plaquers

Bells

QUITABAT-CALLIGRAPHY

QUITABAT,Calligraphy,is the

most elevated of artistic

expressions in the Muslim

world.It derives its importance

from the centrality of the

Quran-God`s words transmitted

through the prophet

Mohammed and recorded first

in the Arabic script.Calligraphy

was the vehicle of the new

faith-Islam,that became the

religion of the countries under

the Arab empire.

The oral tradition of the nomadic Arabis interacted with

the craftsmanship of Greece,Egypt,Syria,Persia and

Turkey,in the formation of Islamic art-decorate

manuscripts,geometric patterns,stone

inscriptions,miniature paintings,carpets,textiles,ceramics

and metal work.In 1200 AD,the Turkish sultans introduced

the arts of calligraphy and manuscript illumination,to the

Indian subcontinent.At imperial workshops,Persian and

Arabic texts were reproduced and illustrated in Iranian

styles,incorporating Indian elements.The Mughals

developed the art of the manuscript to a sublime synthesis

of skills-paper makers,illuminators,calligraphers and

painters.Quitabat integrated the regligious message with

the object`s decoration.Calligraphers had to learn several

cursive scripts such as

naskhi,muhaqqaq,thuluth,nastaliq,tauqi, and riqa.A

variation of the cursive naskhi calligraphy,inscribed on

stone monuments,had developed in Bengal between 1200

to 1400 AD.These were the beginings of tughra,a

complex,stylized calligraphy style that was used by the

Turkish sultans as their monograms.Today,several

ingenious and creative explorations in quitabat are being

practiced in Jarnailganj,Lucknow.They have been

exploring an ornamental style-tughra,where text from the

Quran is ingeniously configured in the shape of birds,

animals and trees.

After the painting is completed,it is turned over and burnished

with an egg-shaped agat stone.Quitabat is taught along with

religious texts,in maqtabs and madrasas,elementary and

advanced schools.

Production Clusters

Lucknow district:

Lucknow:

Jarnailganj

Inset The form of a bird made up of the sacred

Islamic words`Bismillàh`r-Rahmani`r-Rahim`based

on the tughra,style of ornamental

calligraphy,done by a Hindu painter in Jarnailganj,

Lucknow.

1 Shazarai-e-

Tayaibba,tree of the

pure,with the names

of the 12

Imams,leaders,have

been elegantly

inscribed in gold

paint on the leaves

and at the base of

the tree.

2 Shabihi-zuljeanah,the

brave

and faithful horse of

Hazrat Imam

Hussain,The

grandson of prophet

Mohammed.

Products

Tughra-ornamental

Islamic Calligraphy

Tools

Brushes

Bet muiskh-reed pens

Agate-for burnishing

and fizing colours

Jade-for mixing gold

foil and paint

Opal-for burnishing.

BONE CARVING

LUCKNOW WAS AN important centre of ivory carving in

Uttar Pradesh.It extensively produced court objects for the

Nawabs of Avadh-sword and dagger hilts,plaques to adorn

the sides of carrigages and howdahs,chessmen,miniature

figures and utilitarian objects like combs,bangles and

mirrors.The British introduced ivory on furniture.Since the

worldwide ban on ivory,craftsmen have been carving camel

and buffalo bone with great skill.

The work is of two types in

Lucknow.The jaali,lattice

work,characteristic of Mughal

architecture is carved

extensively on jewellery boxes

and table lamps.For

jewellery,different shades of

camel bone and even dyed

pieces are often used.Carving in

the round,comprising hunting

and forest scences complete

with

elephants,tigers,parrots,peacocks

and flowering trees is done on

thicker bones.Carved elephants

in procession are popular in the

European market.Trinkets are

sold at Jaipur and Ajmer in

Rajasthan.The openwork

products are exported at Saudi

Arabia.

1a, 1b

Paper knife

and comb

Production Clusters

Lucknow district:

Lucknow

Barabanki district:

Barabanki

Sambhal district:

Sambhal

Moradabad district:

Moradabad

Sarai Tarain

Ghaziabad district:

Loni

Products

Openwork boxes,

lamps,Scissors, Paper

knives, Pen stands,

Buttons

Earrings, Necklace,

Rings, Pendants

Ambari elephant

Tools

Ari-saw

Chaursi ret,Teharkafile

Half round file

made of

bone 2

Table lamp

with jaali

work. 3

Animal

hunting

scenes

carved in

bone.

Che inchi tipehal-to

sharpen files

Tipehal-to sharpen

files

Barma-drill

Prakaar-divider

Sandpaper

CLAY TOYS

Production Clusters

Lucknow district:

Lucknow:

Takaitganj

Products

Band sets

Serving Sets

Raja-Rani sets

Brides

Sadhus

Erotic toys

Realistic

vegetables/fruits

Idols

Tools

Terracotta moulds

Brushes

Wire

THE KUMBHARS OF LUCKNOW specialize in making tiny

clay figurines,and naturalistic fruits and vegetables.The toys

are made and sold in set,based on a theme.The craft began in

the early half of the last century and was inspired by the

Britishers` interest in collecting vignettes of Indian life-the

early toys made were of

washermen,gardeners,mendicants,barbers etc.The toy-makers

belong to the Prajapati or potter community.In Uttar

Pradesh,all painting-be it on clay,wood or puja

pandals,temporary structures-is done by the Prajapati.The

craftsmen once made of unique set of 12 birds that fitted into a

matchbox.The figurines have cast-moulded bodies and handrolled

legs and hands.The fruits are completely cast.They are

sandpapered smooth before being fired.Painting the tiny

faces,especially the eyes,and the deceptively real-looking

fruits and vegetables requires immense artistic ability and an

eye for detail.

Custard apple adn guava;painted clay

toys.

Craftsperson`s work-place and tools.In

the background are coal-dust used in the

kiln.

Clay birds,Those made earlier were tiny and 12 birds could fit into a matchbox.

Realistic clay fruits in a sikki,grass basket.

BASKETRY

Production Clusters

Lucknow district:

Lucknow

Bareilly district:

Bareilly

Products

Shallow baskets

BASKETRY IS AN everyday craft in rural Uttar Pradesh.Readily available raw

material-plant stalks and tree branches are woven into rough stake and strand

baskets.In eastern Uttar Pradesh the arhar,pigeon pea provides lentil,and once

harvested,the main stalk in woven into baskets for vegetable sellers,construction

workers and gardeners.The activity is seasonal dependign on the harvesting of the

arhar crop.The stalk and branches are soaked in the village pond for a day or two so

that the fibre swells and becomes pliable.The thicker stalks are split.The stake element

is rigid and passive and is formed of the thicker branches or the main stem.The strand

is flexible and is manipulated in and out of the strand in an upward spiral.At the rim

the ends are folded back into the weave.The thicker branches are used as the warp with

the thinner ones serving as the intertwining weft.

Tools

Churri-small knife

Churri-large knife

1 Churra,the basket weaver`s

only tool.

2 Baskets from Bareilly.

3 Work baskets made from arhar stalks.The craftsman makes them by the

roadside in Nakkhas, Lucknow.

THARU APPLIQUE

Production Clusters

Behraich district:

Bishnupur

Balaigoan

Shravasti district:

Shravasti

THE THARU WOMEN use applique to

ornament their traditional garmentsghaghra-choli,men`s

caps,jackets and

pouches.In this type of applique,incisions

are made on the top fabric that is hemmed

down on to base fabric.thus the form is

revealed in the reverse.Shapes are not cut

out from the fabric as is the

reverse.Shapes are not cut out from the

fabric as is the case with most

appliques.In Bihar the technique is

referred to as khatwa and in Gujarat as

katb-both words suggestive of making

cuts or slashes in the fabric.The

background fabric is darker than the

colour of the applique and the appliqued

layer covers the surface extensively.The

pattern are rectilinear and

geometric,comprising triangles,fine lines

and colourful borders.The fabric is

bought from wandering salesmen and

bright colours are preferred.

Products

Ghaghra choligathered

skirt &

blouse

Caps

Jackets

Purses

Bedsheets

TV covers

Handbags

Kerchiefs

Tools

Steel needle

Scissors.

Inset Detail of a border attached at the

hemline of a long skirt made by Tharu

women who live in remote villagaes in

the terai region.

Detail of the child`s jacket

A child`s jacket

Pouch

APPLIQUE

IN APPLIQUE,PIECES OF cloth cut into patterns are

sewn onto fine muslin.Applique is economical as it

eliminates the need to embroider.Aligarh was well known

for its applique shamiana or tent,though the skills are

now being used to ornament dress material.In patti ka

kaam,the fabric is cut into motifs and hemmed onto the

base fabric.Stems are emboridered in `stem`stitch.In the

days of the nobility,shamiana and

chandowa,canaopies,were appliqued with waste

cloth.Even today appliqued shamiana are commonly used

for religious and social gatherings.The craftspersons are

Muslim women and they work from their homes.Rampur

is also a big cluster where applique is done.An applique

called daraz,a rmemarkable

seam detail used in the hand-stitched garments worn by the

Nawabs,royalty,is unique to Lucknow.Daraz is done to join

two pieces of fabric with two seams that are done on either

sides of the fabric.Motifs such as the fish,leaf,flower,and star

are the cutout forms use.

1 Detail of applique using a

combination of fabrics and

chikankari work.

2 Machili,fish

motif,combined with

singhoda,lotus fruit motif

daroz done on a

garment,Lucknow.

Production Clusters

Lucknow district:

Lucknow

Aligarh district:

Aligarh

Rampura district:

Rampur

Products

Traditional:

Shamiana-canopies

Contemporary:

Salwaar-kurtagarment

ensemble

DUpatta-stoles /

wraps

Yardage

Handkerchiefs

Scarves

Cushion covers

Curtains

Bed covers

Tea cosy

Sari-draped cloth

Sari-draped cloth

Tools

Metal needle

Thread

Scissors.

Crafts of

GORAKHPUR

Black pottery of

Nizamabad

Terracotta and

pottery

Subclusters of

GORAKHPUR

Gorakhpur district:

Gorakhpur

Nizamabad

Deoria district:

Deoria

Azamgarh district:

Azamgarh

RESOURCES


Black pottery Clay River Tons,

Ponds,Fields

Terracotta and

pottery

Slip:Bamboo leaves,

Mango bark

Levigated ochre

Mercury

Clay

Locally available

Fariya village

Varanasi

Village pond

Assembling the parts of a horse.

GORAKHPUR IS LOCATED in northeast Uttar Pradesh.It is a

bustling business centre and transit camp for travellers to and

from Nepal.The area has the appearance of lush wet-crop

countryside.The land is drained by many small rivers and

streams and dotted with large perennial lakes,temporary

swamps,and jheels,cascades.The clay of the region is highly

plastic and throws very well.Both Gorakhpur and Azamgarh

have an air of well-being about them.The people are robust and

the women donot remaind in purdah as elsewhere.Culturally the

people are more akin to the customs of the adjoining statesdd of

Bihar and Bengal.They worship goddess Kali,making votive

offerings to her.The mother goddess,Ma Kali`s shrine are

Navrati,Sharad Purnima and Ramnavmi.Terracotta horses are

placed as offerings at devathanas or shrines of a male tutelary

deity.The region is also linked to events in the life of the Buddha

and Mahavira.Nizamabad in Azamgarh district is located on the

Banks of the River Tons.The potters in Nizamabad are known

for making large-sized black terrracotta pots,which are incised

with silver-coloured patterns and for preparing a special

kabiz,clay slip that gives the pots a black colour.The potters in

Gorakhpur and Deoria districts make votive terracotta figures.

ACCESS

Gorakhpur is an important rail junction and well connected by

road as well.The nearest airports are Lucknow(266km) and

Varanasi(212km).Nizamabad is accessible from Varanasi and

Gorakhpur by road.

Thrown parts of the votive elephants and horses.

A semi-finished multicoloured mauni,

basket.

An artisan coils a colourful mauni from

rara and moonj,grasses that grow wild in

the region.

Potter`s colony in Nizamabad town.An

artisan carrying kandi,dung cakes,to the

kiln.

A potter engraves unfired black pottery

in his house-cum-workshop.

BLACKD POTTERY OF NIZAMABAD

THE POTTERS OF

Nizamabad make unique

thrown black pottery incised

with silver motifs that

resemble the metal bidri

ware of Hyderabad.The

black colour of the pottery is

the outcome of a clay slip

and reduction firing.The

kabiz,clay

slip,contains,among other

things,mango bark,bamboo

leaves adn adusath leaves,all

of which cardonize on

firing.Thrown pots are dried

and smoothened with

ghont,a quartz river

stone.Engraving is done

freehand by the women with

a paste of mercury,lead and

zinc.The motifs are derived

from nature.Firing is done in

an open kiln by placing

dung cakes between the

wares and covering the heap

with straw and

mud.According to historical

accounts the art of black

pottery came from

Gujarat.The ancestors of the

potters had accompained

Abdul Farah Nizamabadi to

the village during the reign

of Emperor Alamgarh,400

years ago.The craftsmen sell

their wares only in Mumbai.


THE POTTERS OF Gorakhpur and Deoria

make votive terracotta horses and elephants

using a combination of throwing and

moulding.The various parts of the elephants are

thrown separately on the wheel and then

assembled.Clay slip is used to join the various

parts.Surface ornamentation is done later by

hand.Usually a cone or a sculpted figure on the

elephant`s back denotes the Devi`s presence.The

potter`s wife makes the eyes for the animal

forms and also appliques the body with clay

coils,foilage and bells.A dilute yellow ochre

kabiz,slip is applied so that the colour darkens

on firing.Firing is done in anwa,an open

kiln.The elephant figures range in sizes from

1.5mt(4 feet) to only several centimetres in

height.

The votive elephants have an unadorned,free,almost abstract form.The

elephants for sale in the urban market are usually heavily ornamented and

stiffer in style.

Inset Detail of a goddess,in terracotta.

1. Ganesh,the god of enterprise.

2. A contemporary votive elephant from Naurangarh

3. Votive terracotta horse from Gorakhpur.

4. Thappa,die used for embellishment.

Production Clusters

Gorakhpur District:

Gorakhpur

Deoria district:

Mundera village

Banwari Tola

Production Clusters

Azamgarh district:

Nizamabad:

Hussainabad Mohalla

Products

Lamps

Incense holders

Spice containers

Inkpots

Coin banks

Surahi-pot

Hookah base

1. A 4 feet high flower vase that can be

dismantled.

2. The vase thrown on the wheel,made

in two parts,the body and the neck

which are joined with a slip.

3. Vase with design engraved and filled

with a paste of mercury,lead and zinc.

4. Kabiz,the slip,is applied by the pour

and drip method.The vegetable

content in the slip carbonizes on

firing and ,along with reduction

oxidation,produces a uniform black

colour.

Products

Votive elephants

Decorative

elephants / horses

Erotic images

Tools

Chak - stone wheel

Stick to spin wheel

Khudali - shovel

Chholani - hatchet

Lesur - to slice the

clay

Tools

Throwing wheel

Chakait-stick for

rotating the wheel

Cholanni-knife

Suthwa-iron ring

Ghont-quartz

Cycle spoke

Kiln

RESOURCES


Wood and

lac turnery

Repousse

Wood

carving

Carpet and

dhurrie

weaving

Dhurri

weaving

Meenakari

Zardozigold

embroidery

Eucalyptus

Kuraiya

Lac

Kesar leaf

Copper, Brass,

German Silver

Wood-Burkhand,

Gullad, Rehma,

Simer, Savai, Kahema

Wool

Wool , Cotton

Meena(enamel),

Gulabi (pink) paint,

Chandan ka tel -

Sandalwood oil

Badla,kora,sitara,

Katori,tilli,seed,

Pearls,beads,Pipe

beads,Imitation

stones,Resham,

Cotton thread & cord

Lucknow,Lakhimpur,

Kheri,Sitapur

Bihar, Mirzapur,

Tenduli, Karvi

Purulia in Bihar

Locally available

Varanasi

Bihar, Uttar Pradesh,

Madhya Pradesh,

Gorakhpur, Naintial

Bikaner in Rajasthan,

Panipat in Haryana,,

New Zealand, Saudi

Arabia, Italy

Varanasi

Amritsar, Kolkata

Locally available

Crafts of Varanasi


Repousse

Wood carving

Carpet and dhurrie

weaving

Meenakari-enamel

work

Block printing

Zardozid-gold

embroidery

Subclusters of

VARANASI

Varanasi district:

Varanasi

Mirzapur district:

Mirzapur

Sant Ravidas Nagar

district:

Bhadohi

Inset A brocaded

ambia or mango buta.

1 Setting the wrap for

a silk sari in

Varanasi.Silk and

brocade weaving are

the city`s biggest

industries.

2 Embroidering a

badge in Zardozi.

3 With a flick of the

wrist,the

churra,knife,held in the

right hand,cuts the

yarn after each

knot.Most carpet

weavers around

Bhadohi are farmers.

4 Detail of konia

corner motif of a large

mango buta brocaded

in silk.The gold thread

known as kalabatun,a

silk core thread over

which gold was

wrapped,is typical of

Varanasi brocade.

5 Metal Repousse in

Varanasi.The plate is

fixed in a bed of lac.

VARANASI OR BENARAS largely lies in the flat

alluvial plain of the River Ganga and its

tributaries.Mirzapur,which is to the south,is located in

the rocky and picturesque uplands of the Vindhya

Ranges.The numerous streams draining thw uplands

have created ravines.The plains become stiflingly hot in

summer and the countryside is dotted with mango

groves.

Varanasi is famous for its langda mango.The rural economy is

agrarian,though Varanasi,Bhadohi and Mirzapur earn the country

considerable foreign revenue in silk and carpets exports.Varanasi is located

on a bend in the Ganga huddled close to the river.Flights of steps lead down

its ghats all along the river.Its labyrinthine lanes throb with life;alive with

priests,poets,philosophers,holymen,pilgrims,musicians,weavers,silversmiths

and traders.Varanasi,also called Kashi,city of spiritual light,it is considered

as one of the holiest cities in the country and among the oldest in the

world.For 3000 years it has been a centre of learning and spirituality for

Hindus and Buddhists.Varanasi has always been an important centre of

culture,art and religion.Traders from China and the Far East came to trade

in silks on the silk Route.Across the river is Ramnagar which houses a

museum where ivory antiques made by the royal craftsmen are

preserved.The stone carvers,descendents of the royal ivory carvers,live in

Ramnagar as well.Sarnath is an important Buddhist pilgimage since the

Buddha delivered his First Sermon after achieving nirvana,

enlightenment.Mirzapur lies south of Varanasi in the Vindhyan tract.It is

located on the bank of the Ganga,about halfway between Allahabad and

Varanasi.The river front is lined with stone ghats,flight of

steps,mosques,temples and houses.

ACCESS

Varanasi is well connected to all major cities by road,air and rail.Mirzapur is

200 km from Varanasi by road.Bhadohi is accessible by road from Varanasi.


THE KHARADIS OR lathe workers in Varanasi make

brightly lac-coated vermilion containers,teethers and toys

in wood.Varanasi`s hallmark is the sindaora,vermilion

boxes,in all shapes and sizes.Turned wood toys are simply

fashioned and bright lacquered.Articles for export use

better quality wood,fine grained kahema instead of

eucalyptus,and chapra,pure lac.The craftsmen`s skills lie

in forming ,hollowing and lacquering on a turning

lathe.Turned wood is rubbed smooth with brick dust

before lacquering.The craftsmen do not varnish the

products but press a leaf called kesar dipped in oil to give

the lac an everlasting shine.Painting is done by craftsmen

called kohars who belong to the Prajapati community.The

craft was introduced 400 years ago from Udaipur in

Rajasthan by the then ruler of Kashi.Smaller units have

two people while bigger ones have about ten

craftsmen.Chitrakoot specializes in sindora and small

toys.

Turned and lac-coated rattles

Sindora are traditional containers for storing

vermilion that married Hindu women apply

in the central parting of their hair.The one to

the right is an older design and the

contemporary designs are on the left.

A toy duck,part of a toy train.

Production Clusters

Varanasi district:

Varanasi city:

Kashmiriganj

Chitrakoot district:

Chitrakoot

Products

Traditional:

Sindora-vermilion

containers

Jhunjhuna-rattles

Chusni-pacifier

Lattu-tops

Firki-tops

Walkers

Contemporary:

Bed posts,Toys, Tea

sets,Abacus, Skipping

rope handles, Napkin

holders, Nestling

dolls, Bangle stands,

Beads,Bangles

Tools

Power lathes

Koon-hand lathe

Chilne ka basula-adze

Chaursa,Rukhanachisels

Chotta rukhana-small

chisel

Barma & Barmi-nails

to drill hole

Batali-axe

Banki-gouge

Reti-file

Prakaar-divider

Ara-saw

REPOUSSE

VARANASI IS KNOWN for its brass and copper repousse

work,executed mainly on wall plaques,trays,tabletops and planters.The

relatively soft metal is beaten out from the inside to reveal itself in

relief.It is worked in combination with naqqashi,engraving.Varanasi is

also the home of ritual utensils.Repousse is locally called khalne ka kaam

by Hindu craftsmen and ubhar naqqashi by the Muslim

craftsmen.Varanasi repousse is characterized by patazi naqqashi in which

the areas between the repousse are filled in with decorative engraving.

The gulab(rose),surajmukhi(sunflower) and keri(mango)

are recurring motifs.Repousse is the most popular

ornamentation for temple doors,covering plates for

shikhara (spires and domes),palkis (palanquins),for

idols,ritual utensils and temple accessories.The

metalsmiths belong to the Kasera community.Other

communities working with metal are

Muslims,thateras,and banias.The products are sold in

Vishvanath Gali and Sarnath.

Inset Repousse in German silver

1. Image of Goddess Durga

2. Sheet metal crown for an idol.Repousse and

cutwork

3. Box made of German silver.Repousse and

engraving.

Production Clusters

Varanasi district:

Varanasi:

Bhuletan, Basahi

Village, Maidagin,

Kashipura,

Karanghanta,

Lallapura,

Dasashvemedh, Sapta

Sagar, Resham Katra,

Ramghat, Ranipara

Products

Chandeliers

Mukut-crowns

Theatre accessories

Chamal jhadi-fly

whisk handle

Tabeez-amulets

Plates for doors

Khajoori-lamps

Surahi-pitchers

Lota-water container

Tools

Khaka-dies

Simbi-thin punch

Hammer

Chisel

WOODEN CARVING

Production Clusters

Varanasi district:

Varanasi:

Kathuapur,

Kashmiriganj,

Sunderpur, Laksa,

Kedarghat, Rajghat,

Khojwan, Gauriganj,

Sonarpura

Mathura district

Products

Varanasi:

Miniature: Idols,

Erotic figures, Birds,

Animals, Musicians

Contemporary:

Boxes, Table lamps,

Plaques

Mathura:

Mandwa ka suggaceremonial

parrot

Hudalawa ka suggaparrot

Jhuloan sugga-parrot

on a swing

Cars, Planes, Rattles

Dolls,Elephants

Tools

Chisels-pointed &

rounded

Needle file,Hand drill

Cloth buffer

Ari-saw

Reti-file

Hathauda-hammer

Randha-planer

Plas-pliers

UNIQUE TO VARANASI are tiny wooden

gods and goddesses carved and painted in

amazing detail.They are carved from a single

piece of wood.Toys include little erotic

figurines mostly shown to male customers.

The craftsmen also carve half-inch birds and animals that come in

sets.The toys are brightly carved and they were originally carved to

be sold to pilgrims.The tiny birds and animals are carved by slicing

profiles from a wooden piece.The largest are four inches high,as in

the case of the ten-headed Ravana and are assembled with small

nails and glue.The toys are painted by potters of the Prajapati

community.A coat of safeda,chalk,is applied before painting.The

painting on the tiniest of toys is done to the last detail and they

retain a folk flavour.Painted wooden toys are carved in Mathura as

well.

1. Despite its small size this

toy effectively captures

the ferocious attack by the

tigers on the elephant and

rider.

2. A small carved toy of half

to one inch size shows the

dymanic action of horse

and rider being attacked

by a tiger.

3. Small wooden bird carved

from a single piece of

wood and painted.

4. A band of Toy soldiers

playing musical

instruments.

5. Toy cow with a calf.

6. Peacock,sparrow and

parrot.

7. A carved table lamp and a

wooden box made from

kahema wood.

8. Toy animals carved in a

single piece of wood.

9. Figure of Ravana,two

inches high and made of

assembled parts.

The town being a pilgrimage centre,the toys mostly

represent deities from Hindu mythology.Some toys like

the wooden sugga (parrot) and charkhi(spinning wheel)

are fixed on the marriage mandap(altar).Mandwa ka sugga

is giftedd to the newly married.The ceremonial parrot is

painted with turmeric(yellow),alta(red) and green

colour.Craftsmen in Varanasi switched to wood and stone

since the ban on ivory and have continued to carve wood

with equal intricacy.The fine-grained kahema wood

allows them to carve it like ivory.It is light-coloured and

does not splinter and simple buffing brings it to a

gloss.The wood carvers mostly live in Ramnagar,across

the Ganga.Their fathers were ivory carvers at the royal

court.

Inset A small wooden bird carved from a single piece.

Production

Clusters:

Carpets:

Sant Ravidas Nagar

district:

Bhadohi,

Noorkhanpur,

Gyanpur Village,

Disnathpur Village,

Gopiganj, Khamaria,

Ghosia

Mirzapur district

Agra district

Aligarh district

Dhurries:

Mirzapur district:

Mirzapur

Agra district:

Agra:

Katra Neel

Aligarh

CARPETS AND DHURRIES

HIGH QUALITY HAND-KNOTTED carpets -nearly 200

knots per square inch-are made in Bhadohi and Mirzapur which

have the largest production in the country.Wool and silk are

knotted,on a cotton foundation and both Persian and Tibetan

knots are used.The weaving industry comprises dyers,designers

and weavers.Knotting is done on a vertical loom.sometimes a

carpet is knotted by four people.The pile is roughly clipped

during the weaving and then carefully after.The weavers live in

the villages surrounding the town and are mostly farmers who

weave carpets between seasons.Dhurrie weaving is essentially

a domestic craft that has found an international market for the

patterned flat weave structures woven in Mirzapur.In

Agra,stripped and panja dhurries with prayer niches were

woven by women in the backyard of their homes.Now the craft

is a major cottage industry.In Aligarh,Julahas,Muslim

weavers,weave dhurries.Panja dhurries are woven in plain

weave using the weft-faced tapestry technique.

During the Mughal era,prayer rugs-saf adn mussalahs, were

woven for the mosques in Agra.Workshops wove large blue and

white striped dhurries for the durbars,courts and palaces.Under

the British,narrative dhurrie depicting village life and native

flora and fauna were made.The weavers use the horizontal loom

to weave.In Agra many of the designs are inspired by the inlay

work done in marble in the Taj Mahal.Traditional designs,rarely

woven now,were the jaal,kosi,(geometric motif) and champa

flower.Weavers now use lighterd colours,and brighter colours

are given a stone wash.

1. Carpet with pattern of scrolling vines and blossoms with

a border and a detail.

2. Detail of a flat woollen dhurrie,with geometrical forms

woven with multiple wefts that are inter-locked.The

production of flat weave dhurries is more than carpets in

Bhadohi.

3. Detail of a woollen dhurrie,Mirzapur.

4. A pile carpet with a medallion form in the centre in a

field of floral springs.

Products

Carpets:

Pile knotted carpets

Dhurries

Farshi-floor dhurries

Bed dhurries

Jainamaaz-prayer

rugs

Tools

Carpets:

Khaddi-vertical loom

Panja-beater

Churra-blade

Thokni-teakwood

mallet

Katni-blade

Scissors,Brush,Rod

Dhurries:

Floor loom

Panja-metal comb

Kalpu-piece of wood

Kani-pencil-shaped

tool

Bamboo or wood

shuttles

Chhura-curved blade


Production clusters

Varanasi

Products

Traditional:

Hookah base

Paandaan-containers

Caskets

Decorative objectselephants,peacocks,parrots

Trinkets

Containers

Tools

Brushes

Silai-metal spoke

with flat tip

Bhatti-homemade

furnace

Heating filament

THE MEENAKARI,ENAMELLING,in

Varanasi is characterized by pink strokes on

white enamel.Unlike the vibrant enamelling

in reds,greens and blues of Jaipur and

Delhi,where the white enamel is left stark,the

Varanasi craftsmen delicately add pdink to

the predominant white enamel.The motifs

have,rather appropriately,been lotus blooms

and buds.The art was learnt from Persian

craftsmen who visited the court of Avadh at

Lucknow in the 17th century.Chased and

engraved areas are filled in with

enamel.which is composed of chemicals

similar to those contained in glass and its base

is vitreous with a small percentage of metallic

oxide that is used as a colourant.Hollow silver

forms are filled in with lac to give them

weight.For enamelling,the meena,enamel,is

finely ground and mixed with water.A little

itra,rose oil,is added to help fuse the

enamel.The water is soaked up by a cotton

wick and the piece fired in a small electric

kiln.The enamels fuse at different

temperatures,so they are fired in order of

hardness.The craftsmen have extended their

repertoire from jewellery to silver trinket

boxes,decorative elephants,birds and

stationery.The pieces are enamelled in deep

greens and blues,characteristics of silver

enamelling;and parts like the underside of the

elephant`s trunk,its ears and lotus blooms are

done in gulabi or pink meenakari.The

business is controlled by a middleman who

gets the work done suppliers the finished

products to buyers and sale outlets.

1. Ornate box painted in gulabi, pink, meenakari work, famous in Varanasi.

2. Meenakari of many colours on a figure of elephant and riders.

3. A parrot beautifully detailed with meenakari work.

4. Enamelled silver owl.

5. A silver owl cast in a mould.

BLOCK PRINTING

LUCKNOW, Farrukhabad,Pilakhuwa,Tanda and Varanasi

are the hand block printing clusters in Uttar

Pradesh.Farrukhabad and Lucknow are the most wellknown

and among the earliest.They share a common

vocabulary of the keri,mango,patten.Farrukhabad prints

also use the `Tree of life`motif.The printing is extremely

fine due to the superbly carved wooden and metal blocks

The earliest Farrukhabad prints were chintz in their style.In

Pilakhuwa,the patterns are inspired from

plants,seeds,flowers andd vegetables.

Block printing in Lucknow is about

200 years old.The designs on the

blocks belong to the Mughal

Traditional;and the keri,mango

motif,in varying styles and sizes,is the

distinctive element.Other motifs seem

to be influenced by the chikan

patterns.Blocks are carved in

Farrukhabad,Varanasi,Pilakhuwa and

Lucknow.Printing is done on a

padded table .The `Tree of Life`

pattern uses more than a hundred

blocks of various designs.

Production Clusters

Varanasi district:

Varanasi

Lucknow district:

Lucknow:

Masaganj

Aminabad

Raja Bazaar

Baag Bazaar

Nishad ganj

Farrukhabad

district:

Farrukhabad

Ghaziabad district:

Pilakhuwa

Products

Lucknow:

Sari-draped cloth

Lungi-lower garment

Dupatta-stole

Rumaal -

handkerchief

Lihaf-quilt covers

Farad-quilted coat

Table covers, Bed

covers, Curtains

Jajams-floor

coverings

Dastarkhan -

tablecloths

Finely carved block of keri buta,mango motifs ,

from Varanasi

Tools

Blocks

Bamboo trays

1,2,3,4

Block prints with keri,the stylized mango

motifs were the hallmark of

kanauj,Lucknow.Farrukhabad and Varanasi

in the 19th century.Shown here is a range of

surface designs created with the traditional

keri.

ZARDOZI - GOLD EMBROIDERY

THE ZARDOZI CRAFTSMEN IN Varanasi and Bareilly

specialize in embroidering badges and ceremonial

robes.Zardozi is heavy and ornat embroidery in which gold

purls or coils , beads and spangles are couched onto fabric

with a needle and thread.zardozi work on badges is a very

exacting craft as the logo specified must be reproduced

precisely.Only the best craftsmen in a karkhana embroider

badges.The metal purls used for badges are commissioned by

the Army,Navy and institutes including the European Catholic

clergy who commission work on ceremonial robes.Unlike the

massive frame on which zardozi is done,the badges are made

on small,one-man,adda,wooden frames.The fabric is either

felt,velvet or heavy satin.

Varanasi specializes in zardozi on emblems,crests and

borders.Wire purls are couched onto the fabric with needle

and thread.The piece seen here has a combination of ari and

zardozi work.The unfinished flower petals have been padded

with cloth and will be covered with zardozi,Varanasi.

In Mughal India,zardozi adorned court

costumes,furnishing,scabbards and

trappings of elephants and horses.

1. A badge of the Royal

Engineers,made using a wide range

of gold wires.

2. A zardozi badge

3. Badge done in zardozi for the

export market,Varanasi.

Tools

Pitti-mallet

Gitti-disc

Ari-Hook,needles

Mochna-tweezer

Types of scissors

Karchab-frame

Products

Varanasi:

Traditional:

Masnads-elephant

trappings

Scabbards

Purses,caps

Garments

Contemporary:

Badges,Crests

Robes for Christian

Clergy

Sari-draped cloth

Bareilly:

Badges,Crests

Crowns

Christmas hangings

Matzahas-bread and

cake covers

Production Clusters

Varanasi district:

Chittanpura, koyal

Bazaar, Pathanitola,

Shivala, Gaurigunj,

Kelia Bazaar, Tateri

Bazaar, Lallapura,

Shibala, Jaitpur,

Bazaar Diha,

Bhadoni, Badi

Bazaar, Nadeshar

Zardozi badges:

Chittanpura

Shivala

Bareilly District:

Bareilly:

Allampur,anda,

Baheri, Biharkala,

Chandpur, Faridpur,

Nawabganj,

Meeraganj,Malukpur,

Sheeshganj,Shergarh,

Kaji tola, Kankar

tola, Rabari tola,

Rohli tola, Chak

Muhammad, Sufi

tola, Saillani,

Siklapur, Mabada,

Shekhar, Bazaria,

Inyatganj, Jakheera,

Meera ke Penth

Bicycle loaded with date palm leaf packaging for small wooden toys and other products.

Craft

RESOURCES

Raw Materials Sources

Moonj basketry Moonj, Rara Allahabad

Papier-mache Paper, Clay Yamuna riverbed

Shazar stone

jewellery

Dendrite

agated

Banda, Hosangabad

(MP )

Date palm craft Date palm Allahabad , Chinhat

Crafts of Aligarh

Moonj Basketry

Papier-mache

Shazar stone

jewellery

Date palm craft

Subclusters of

ALIGARH

District:

Allahabad

Banda

Chitrakoot

Hamirpur

ALLAHABAD metalcluster comprises the districts of

Allahabad,Banda and Chitrakoot.The culture combines

influences of Avadh,Bundelkhand and the Bhojpuri-speaking

eastern lands.Allahabad is located at the sangam,confluence,of

the three most revered rivers of the Hindus-Ganga,Yamuna and

Saraswati.Every 12 years the Maha Kumbh Mela, a sacred

Hindu pilgrimage and bathing festival,is held here.The Kumbh

Mela supports crafts like papier-mache,and palm leaf baskets

are in demand during the Kartik Mela.The city was the

provincial capital of the Mughals for a long time.The

architecture is a combination of Colonial and Mughal styles.The

most conspicuous feature is the Allahabad Fort,the largest of

Akbar`s forts,built on the bank of the confluence.Within the fort

are the remains of a splendid palace,built by the emperor

Akbar.Wild grasses such as moonj and rara grow in

Allahabad,Gorakhpur and Behraich districts in eastern Uttar

Pradesh.Women transform moonh grass into beautiful baskets

for their own domestic use.In Allahabas city,moonj and palm

leaf basketry skills being abundantly available,are untapped

resources that need to be developed for generating income for

craftpersons.Banda and Chitrakoot are located in the

Bundelkhand tract of Uttar Prasdesh,bordering Madhya

Pradesh.Banda town has been the centre for moss agate stone

called shazar,which is used in jewellery.Turned wood and laccoated

toys are made in chitrakoot.

ACCESS

Allahabad and Banda are well connectedd by road and rail .The

nearest airports are Varanasi and Lucknow.Chitrakoot lies off

the main road between Varanasi and Banda

Pots thrown and kept for drying,Tenduawan village,Allahabad.

A craftsperson makes

coiled basket in East

Mahewa.Moonj

basketry is a domestic

Craft in Allahabad

district.

Immigrants from

Jaunpur and Rewa in

Madhya Pradesh make

a living by weaving

baskets and ragpicking

in Allahabad.

MOONJ BASKETRY

COILING IS A Basketry technique used by rural women

in Allahabad,Behraich and Gorakhpur districts in eastern

Uttar Pradesh to make objects for use in the kitchen.They

are made from moonj and rara,grasses that grow wild in

wastelands.Moonj baskets are lightweigh and weather very

well.The baskets are used in the kitchen for storig flour

and foodgrains.They are so tightly coiled that they are

almost waterproof and long-lasting.Food ,especially

rotis,flat bread,stored in them stays fresh.The moonj is

harvested in winter and the peel of the stalks left out in the

dew for about 3 days,for the colour to lighten.some Splits

are dyed in bright colours to pattern the baskets.The

binding of the baskets these days is being done with newer

material like colourfu plastic strips,tinsel and cloth.Every

girl learns to coil baskets from her mother.Baskets are

made by a mother for her daughter`s marriage.The ones for

everyday use are simpler and smaller.In Allahabad,the

craftswomen fashion baskets to earn a living unlike in the

villages whered it is a domestic craft.The baskets of the

Tharus of Behraich are distinguished by their bold forms

and stylized animal and human motifs.Special baskets with

shell tassels are maded for the bride.In Gorakhpur,the

women coil large beautifully patterned maunis,circular

baskets with large mouths and convex buttoms that are laid

in a row for the bride to step in as she leaves her home.The

bride takes some with her laden with grain,sweets and

other gifts.

Production clusters

Allahabad district:

Allahabad:

Naina

East Mahewa

Gorakhpur district:

Aurangabad village

Astrapur village

Behraich district:

Bishnupur viilage

Products

Allahabad:

Sini-bread basket

Tipari-vanity case

Placemats

Trays

Baskets

Gorakhpur:

Maunis-open baskets

Behraich:

Baithkas-circular

seats

Roti baskets

Hats

Coasters

Tools

Knife,Iron awl

1. Kitchen baskets,Gorakhpur

2. Baskets from East Mahewa,Allahabad

3. Dowry Basket

4. Moonj basketry is done by

women.The red and green colours are

used for auspicious occasion and

these baskets are made for the

daughter`s dowry.

5. A container with a lid for keeping

valuables,Allahabad.

6. A moonj basket called Tipari

7. A round tray,Allahabad

8. Detail of dowry basket,Gorakhpur

9. Detail of tharu baithka,seat,Behraich.

Papier-mache horses.The horses are used at fairs for rides.

PAPIER-MACHE

Production Clusters

Allahabad district:

Allahabad

Kydganj

Agra district:

Agra

Products

Idols

Horses

Figurines

Masks

Tools

Hammer

Knife

Scissors

Moulds

PAPER-MACHIE CRAFTSMEN,Prajapati or potters by

caste,mould wet paper stips stuck together with glue into huge

hollow horses,idols and statues.The idols are made during

Dussehra and Durga Puja ceremonies.The head of an idol or

statue is made either from clay or from a papier-mache base

coated with clay.Depending on the shape needed ,the mould is

either an earthern pot,or a tin drum.Gaily painted horses are

sold at village fairs as toys for little children.for the horse`s

body, a bamboo armature is used.The craftsmen also make

smaller forms and the pulp is cast in terracotta moulds,joined

and dried or moulded freehand.The products are used for

religious functions,marriages and village entertainment

programmes.Papier-mache is essentially a traditional craft in

village homes.Women pulp newspaper and multani

mitti,fuller`s earth,to make containers for the kitchen and

sometimes little toys for their children.For moulds they use

their metal utensils.On a large scale,papier-mache toys are

made during festivals to be sold at fairs.The craftsmen recall

making a 80 feet statue of Hanuman for the Kumbh Mela,Holy

festival celebrated in Allahabad.

1. Idol of Goddess

Durga in the

making.The face

and hands have

been finished in

clay.

2. Realistic papier

mache figures

made for an

exhibition.

3. A younger

member of the

craftsman`s

family helping

to paint the

papier-mache

horses.

SHAZAR STONE JEWELLERY

SHAZAR IN PERSIAN means tree,and the stone,dendrite

agate,gets its name from beautiful formations in the stone.The

exquisite patterns of black and orange in the store are actually

deposits of iron and manganese that have entered the agate under

high pressure.The stone has to be sliced carefully to reveal

them.The craftsmen look for a gaanth,knot,on the surface.The

deposits are not evenly distributed and all stones do not have a

clear dendrite formation.It takes experience to find out in which

layer the deposits are likely to be .

The stone is sliced using a huge bow-saw or power

lathes.The fine slices are polished on a grinding wheel

and buffed.They are then set in gold or silver by the

jewellers.Banda has been the centre of shazar stone

jewellery for the past 150 years.The jewellery and the

unset stones are sent to Mumnbai in

Maharashtra,Khambat in Gujarat,and Jaipur and Ajmer

in Rajasthan.

1. Polished agate

stone.These stones are

sent to other parts of

the country for making

jewellery products and

other articles for

export.

2. Various colours and

formations of natural

dendrite agate.

DATE PALM CRAFT

Inset Detail of date palm leaf.

DATE PALM IS native to the

Gangetic plain and nearly every part

of the tree comes handy.The fronds

are woven,rolled and twisted into a

variety of useful products from

mats,fans,brooms,and baskets to

simple trumplets.Dried fronds are

tied up to make inexpensive

brooms,popular all over the state.The

fruit is eaten and the wood is carved.

Baskets made of leaves are in demand during festivities.Bokis

and dolchis,small baskets,are sold outside temples as

devotees place offerings for the deity in them.The production

of hand fans and mats increases in summer.The mat is cool to

the touch and popular in villages.Simple mats are used as

packaging material.The craftsmen eke out a living with

difficulty by making these data palm leaf products even

though the raw material is freely available.

Production Clusters

Production Clusters

Allahabad district:

Allahabad

Lucknow district:

Chinhat

Products

Pankha-hand fan

Dolchi-square basket

Bhoki-basket

Baja-trumpet

Baksa-box

Chattai-mat

Brooms

Tools

Kasua-knife

Crafts of

Uttaranchal

Aipan-ritual floor

painting

Ringaal basketry

Nettle fibre craft

Likhai-wood carving

Copperware

Rambaans-natural

fibre craft

Lantana furniture

Tibetan carpets

Picchaura-painted

textile

Kashipur block

printing

Drift wood work

Pine bark jewellery

Papri wood work

Handloom weaving

Ornamental candles

Stone carving

Districts - 13

Craftspersons * (Included in Uttar Pradesh)

The mountainous terrain of Uttaranchal is rendered cultivable mostly through terraced

farming.Seen here is a cluster of houses amidst terraced farms in Okhimath,Rudraprayag.

Languages

Kumaoni

Garhwali

Hindi

Scripts:Nagri

Festivals

Jhanda Mela

Kagh Mela

Nanda Devi Mela

Purnagiri Mela

Piran Kaliyar Mela

Joljivi Mela

Uttarayani Mela

Tharuwat Buxad

Mahotsav

Attire

Ghagri-gathered skirt

Picchaura-handpainted

veil

Woollen garments

Hemp garments

Goat-hair belt

1 Sheep rearing is practiced all over

Uttaranchal.Bhotia families have been primarily

engaged in weaving of pashmina,Angora,and

Belchi wool products.

2 Kumaoni woman in the traditional woollen

angra,short shirt with full sleeves;pagra,sash tied

around the waist,and lehenga,long skirt.

3 Choliya dancers,Almora.Choliya is a wedding

dance with two men wielding swords while

dancing.

4 A folk painting in Almora depicting

episodes from the life of Lord Krishna

and the epic Ramayana.

5 A typical row of houses in Kumaon

with likhai,wood carving on the doors

and windows.The recesses are made

for cattle.

6 Detail of a carved door jamb.

7 Scenes from the Ramayana:Carved

wooden doorway of a newly built

temple in Hanol,Dehradun District.

Cuisine

Garhwali:

Chainsoo-lentil

Phaanu-mixed lentil

Til ki chutney-sesame

dish

Raat-sweet bread

Arsa-sweet puri

Kumaoni:

Ras-mixed lentils

Bhaang-hemp

chutney

Singhal-banana

pancakes

Shai-semolina

pancakes

Buransh sherbatdrink

made from the

rhododendron flower

UTTARANCHAL,FORMERLY A part of the state of

Uttar Pradesh was established as a new state in the year

2000.It is a land of humid lowland,green

valleys,mountains,snow-bound ranges,glaciers and

alphine meadows.It consists of two zones, the Shivalik

Range and the Doon Valley to the north of Shivaliks.The

holy Rivers Ganga and Yamuna originate from Gangotri

and Yamunotri respectively.Dehradun is the capital

city.The state is made up of two culturally and

linguistically distinct regions,Garhwal in the northwest

and Kumaon in the southeast.The history of Garhwal

dates back to the Mauryan period and to the stone Age

settlements found in Kumaon.Since then,the region has

seen the rise and fall of kingdoms,religious influences and

invasions of the Mughals,Sikhs and Rohilla till the

Gorkha invasion in 19th century.The

Garhwali,Kumaoni,Jaunsari,Bhot or Bhotia and Gujjars

are the main communities.The Garhwalis are

agriculturists.In the border districts live the Bhot or

Bhotias.They are pastoral agriculturists and traders.They

traded with Tibet before the international border was

sealed.The Jaunsari,and the Muslim Gujjars who live in

Garhwal herd cattle and migrate to the hills in the

summer.The Jaunsari are known for their command over

folklore.The terai plains are farmed by Sikhs who settled

there after the Partition.The forests are dense with

deodar,birch,oak and rhododendron.Ringaal,stinging

nettle,rambaans,lantana and hemp grow wild and in

aabundance. Indiscriminate felling of trees have left the

hills bare where thick forests were once a rich source for

timber.

8

8 Woman working in a paddy field,Rudraprayag.

9 Devprayag,on the confluence of the rivers Alaknanda and

Bhagirathi.

10 A craftsperson weaving a chutka,traditional cut-pile

blanket,made from Tibetan sheep wool in Dharamgarh,Pithoragarh

district.These blankets are woven for their own use and also

supplied to khadi & Village industries.

11 Pine trees seen from a weaving centre set-up by a nongovernment

organization in Tripuradevi,Pithoragarh district,to

help generate income from traditional skills of weaving.

Physical Features

Terai grasslands

Bhabhar plains

Shivalik Ranges

Doon Valley

Himadri

Greater Himalayas

Major rivers:

Ganga, Alaknanda,

Bhagirathi,

Mandakini, Yamuna,

Tons, Kali, Gori,

Pindar, Ramganga

Biodiversity

Flora:

Sub-alpine conifer

forest, Broad leaf

forest,

Deodar,Chilpine,Teak,

Banj oak,Tun,Mango,

Rambaans,Agave,

Hemp,Papri wood,

Ringaal,Stinging

nettle,

Lantana,Amaltas

Fauna:

Sheep, Goats, Yak,

Angora rabbit

Landmarks

Jim Corbett National

Park

Rajaji National Park

Rock paintings of

Lakhu Udyar

Nanda Devi

Yamunotri

Gangotri

Kedarnath

Badrinath

Baijnath Temple

Jageshwar Temple

Hanol Temple

Rishikesh

Haridwar

Hemkund Sahib

A row of houses called bakhili. The cold climate demands an open area called

khawan in front of each house. Carved wooden facades characterize the

Kumaoni houses.

Crafts of ALMORA

Aipan

Ringaal Basketry

Nettle fibre work

Likhai

Copper ware

Subcluster of

Almora

Almora district:

Almora

Ranikhet

Bageshwar district:

Bageshwar

Pithoragarh district:

Munsyari

Champawat district

Nainital district

Udham Singh Nagar

district:

Kashipur

Setting the wrap for

weaving on the back

strap loom.

RESOURCES


Aipan

Ringaal

basketry

Nettle

Fibre

work

Likhaiwood

carving

Copper

ware

Geru, Rice paste, Abeer gulal,

Turmeric, Sindoor, Dhatura

flowers, Burnt coconut shell

Ghad ringaal

Dev ringaal / malang

Jhumra ringaal

Pine bark

Stinging nettle

Deodar,Tun,Amaltas,Mango etc

Copper

Pine wood (fuel)

Local Stores

Local Forests

Beringa block,

Didihat,

Munsyari,

Dharchula,

Mookot,

Dhanpur,

Bhandar

Remote forests

Local forest

Local Forest

Local forest

Moradabad,

Delhi local

mines

Local forests.

ALMORA METACLUSTER COMPRISES the Kumaon

region,dotted with meadows,lakes,evergreens forests.In the

north are snow-covered ranges with passes through which

the Bhotias traded with Tibet,and they are flanked by Nepal

in the east.Kumaoni culture is an amalgam of

Tantric,Buddhist and Shaivite traditions.Tantric art has

greatly influenced adorn every doorstep.The kumaonis are

farmers who terrace their fields.Spinning and weaving are

common domestic activities.The Bhotias of Pithoragarh

district are expert weavers.Almora is a picturesque town

situated on a large spur near the Kosi River.the sacred peaks

of Kedarnath,Nanda Devi and Nanda Kot are visible.The

forests are full of Himalayan oak and rhododendron.Market

streets in the older cities like Almora are line with houses

made with traditional wood carvings.Tweed is woven in

Raniket.Bageshwar is situated on the confluence of Gomti

and Surya rivers,90km from Almora.Both Almora and

Bageshwar have alarge population of coppersmiths,who

make pots and pans for local communities.Nainital is

located around a lake that is named after the goddess

Parvati and her emerald green eyes called naina.the craft of

making candles is one that local women have recently

acquired as a means of livelihood,and beautifully crafted

candles are sold in Nainital.Pithoragarh,is the easternmost

hill district of Uttaranchal.The northern parts are thinly

populated,mostly by the Bhotis.Kumaon has a distinctive

style of architecture seen in houses,temples and naulabawaris

or water tanks.Every Kumaoni house has an

auspicious aipan painted on the threshold.Kumaonis are

worshippers of Lord Shiva and Shakti.Their songs centre

around folklore and the change of seasons Chaounphula,the

most popular dance is performed by both men and women,

linking hands and dancing in a circle.

ACCESS

Motorable roads connect

Nainital,Almora,Bageshwar ,Pithoragarh and Chamoli.The

nearest airport is in Pithoragarh which is 186 km from

Nainital.The nearest railheads are in Khatgodam

(35km),Haldwani(40km) and lalkua(60km) which connect

the region to Delhi,Kolkata and other cities and towns.

Separating fibre after soaking the stinging nettle in water

before using it for weaving.

Spinning wool on the takli, a

spindle.

Detail of a Pichhaura,veil worn by the bride.The veil is

painted by a group of women for the occasion withd

swastik motif and dots.The red and yellow colours

symbolize abiding conjugal life,health and prosperity.

AIPAN-RITUAL FLOOR PAINTINGS

AIPAN IS A ritual of Kumaon,drip-drawn on the floor and walls where

religious ceremonies are to be performed.The symbolic white patterns

differ for each ceremony and social occasion.Traditionally,aipan on the

threshold are freshly made every morning.the ground is first prepared

by smearing it with a liquid mixture of clay,cowdung and straw.When it

dries,a coat of geru,red clay,is applied and allowed to dry.the artist,a

woman,swiftly draws out the prescribed motif in rice paste using her

ring finger,anamika,and moving out from the centre.The rice paste drips

onto the ring finger from the other fingers.The aipan is drawn

freehand,from memory.Aipans are drawn on floors walls on the chauki

on which a deit is placed the threshold.in the courtyard ,on pots

containing the tulsi plant and on winnows.They are drawn for

ceremonies of birth,marriage,death and thread ceremonies,and for the

various festivals throughout the year.

The central part of the aipan is considered ceremonial

and has a prescribed motif while th outer part is

decorative and can be extended or reduced to fit an

important element without which the aipan is

considered unfinished.Aipan for a dead person is

without dots on the 12th day.Three days later it is

rubbed out with mud and a new one made with the

dots.The aipan on the floor of the prayer room and the

deity`s seat has Tantric motifs,called peeth or

yantra,related to the deity.The Kitchen walls are

painted with animal motifs.Wedding aipans are made

from turmeric,vermilion and charcoal.Entrances to

homes are decorated with good luck patterns,many

times just vertical white lines.These are now being

painted on greeting cards,wall hangings and other

products.

Production Clusters

Almora district

Nainital district

Products

Floor paintings

Painting on winnows

Greeting cards

Stickers

Wall hangings

Boxes

Wall tiles

Tools

Mortar,Pestle

Brushes

1. Winnows decorated with aipan.

2. A chauki or seat for deities with aipan

for Goddess Lakshmi

3. An aipan, a ritual floor diagram.The

deity will be placed in the centre.the

motif of feet indicate that it is meant for

Goddess Lakshmi

4. An aipan with a geometric design;dots

at the intersecting junctions signify the

completeness of the design.

5. Aipan on a threshold with a

background of geru,red clay.

RINGAAL BASKETRY

Production Clusters


Bhainskot village

Bageshwar district

Chamoli district

Almora district

Pauri district

New Tehri district

Products

Tokri-grain measures

Doka-large baskets

Dalia-Shallow

baskets

Puthuka-grain baskets

Dvak - double -

walled baskets

Suppa-winnows

Jhoola-cradles

Mats

Chairs

Dustbins

Lampshades

Tools

Khurpi-knife

Mallet

Lamp

RINGAAL IS A small bamboo,varying between three and five

metres in lenghts,found in the hills of Uttaranchal.The pithy stalk is

flattened.The outer skin is made into splits and interlaced into

carrying baskets,containers,mats and winnows.Ringaal varies

according to the altitude at which it grows.The ghad ringaal or

kathin ringaal from which baskets are generally made grows in the

lower altitudes (3000 to 5000 feet) in both Kumaon and

Garhwal.The finer dev ringaal which splits cleanly in found at

higher altitudes in Kumaon.Farmers fetch the ringaal from the forest

in October to November and weave baskets in the winter when there

is not much work in the fields.The warp splits are beaten to remove

the pith and flattern them.The ribs are only partially cleaned.The

weave has spokes and grows spirally,strengthened at the base and

rim with extra weft twined weave called tyal.The tyal splits face

outwards accentuating the difference in weave with textural

contrasts.Some baskets are ornamental with complex weaves and

open weaves.Dvaks are made from two baskets fitted into each

other,the finer one inside,and bound at the rim with reeds.Winnows

are woven in a close weave twill pattern.Mats are made by weaving

spliced ringaal in a basket weave pattern.In traditional two-storey

houses,the flooring is made from a ringaal mat plastered with

mud.Ornamentation by way of colour use splits blackened with pine

bark smoke.Pink bark is heavy in oil content and gives off a shine as

well.

1. The basket on the right

has external vertical

elements,smoked

black,for extra support.

2. A craftsman splitting

ringaal in Chamoli.

3. Basket in the shape of a

pot.

4. Basket for carrying

firewood.

5 Storage basket from Pithoragarh.

6 A large open weave agricultural basket being carried in

the typical hill style with the help of a

headband,Okhimath.

7 Rungada,a sieve woven with ringaal splits.

NETTLE FIBRE CRAFT

STINGING NETTLE,bicchu buti,grows wild as undergrowth particularly in

Almora and Chamoli.The stem fibres are pliable and used to weave and knit

fabric.The villagers harvest nettle and leave the stems soaked in the river till

they soften and swell .The stalks are thrashed on the boulders to release the

fibres.

The fibre is bundled up and sold to locak handloom

weaving units where it is treated .The brownish

fibre is spun into yarn and knitted or woven into

shawls,stoles,bags and other products.

1. A stole knitted from nettle fibre.

2. Handwoven fabric from nettle yarn.

Production Clusters

Almora

Chamoli

Products

Stoles, Shawls, Bags

Tools

Hatchet

Spindle, loom

Knitting needles.

LIKHAI - WOOD CARVING

Production Clusters


Munsyari

Almora district:

Birkhan, Kul,

Chopra, Peora, Seoni

village, Satoli,Diyari,

Dwarahat, Almora,

Jageshwar

Bageshwar district:

Bagheshwar

LIKHAI IS THE ornate wood carving

tradition which was an integral part of

the hill architecture in Kumaon.This

carving is found primarily on structural

elements of dwellings which are

embellished with folk,religious and

Tantric motifs.Hard tun wood(toona

celiata) is used.Temples are carved from

deodar,tree of the gods-a durable

wood,with high resistance to insects and

dry rot.Likhai has low and high relief

carving done combining many stylized

plant and geometrical motifs into a

single window,door,pillar or lintel.

1. Main entrance with painted wood

carving.

2. Carved entrance of a house in

Jageshwar.

3. Painted wood carving on a house

facade.

The intricacy of carving on the doorway is indicative of the

owner;s status.Door jambs sometimes have up to 14 rows of

carvings-swans,parrots,lotuses and serpentine creepers,carved

on separate panels and joined in a step formation.Often,a

carving of a deity adorns the lintel.In Munsyari many houses

have Tibetan motifs like the three-flower motif,the arch and

dragons.Some of the finest wood carvers also come from

Munsyari.In Uttarkashi and Chamoli districts of Garhwal the

carving is mainly confined to temples.These stone structures

have wooden facades carved with narrative scenes from Hindu

and folk mythology.The style resembles that of neighbouring

Himachal Pradesh.Likhai,embedded in the architectural and

traditional wisdom of the Kumaon region,is a dying art

today.Rising costs and unavailability of good quality wood

along with changing architectural perferences have adversely

affected the craft.

Products

Doors

Windows

Pillars,Railings

Rafters

Cupboards

Shelves

Frames

Shutters

Temple carvings

Tools

Gol nihani-chisel

Gol patesi-round

chisel

Rafi-small chisel

Naha-narrow chisel

Bareek ari jhiri /

Patesi / Chhini-chisel

Aari-handsaw

Mugari-mallet

Basula-adze

Randha-planer

Reti / thikori-file

Gunia-T-square

Burmas-drill

Sikand-bar clamp

COPPER WARE

Production Clusters

Almora district:

Almora town:

Dharmi Mohalla

Bageshwar district:

Bageshwar,Segare,

Choganchina,Binser,

Uderkhani,Jashi

Gaon,

Gair,Banga,Nuplia,

Bhatkhola,Khark,

Tamta,Jula,Tamture,

Bilana,Dawaldhar,

Gingori Khola

Chamoli district:

Chamoli,Nagrasoo,

Badrinath

TAMTAS,coppersmiths,fashion vessels from sheet copper for

daily and ritual use.Copper,called tamba in Sanskrit,is regarded

sacred by the people of the Himalayas.Every temple has an object

made of copper and every house has a copper pot to store

water.The metal is known to have medicinal properties and keeps

water pure.Copper smithery is a hereditary tamtas work from

home.The craftsmen buy the sheets from contractors who procure

them from rolling mills in Jagadhari in Haryana.Copper was

initially extracted by the tamtas from local mines,a process which

was a closely guarded secret.Pots are formed in two halves and

joined with brass solder.The sheet is formed by drawing it over a

swage stone.The finished vessel is heated until red-hot and

immediately buried in a pit of rice husk and acid.It comes out

shining.The rim or mouths are finished by beadingd and handles

are riveted on.

The surface is fatigue resisted by peening.The concentric

peening acts are ribbing and strengthens the walls.The cultural

influences,Tibetan adn Shaivite,in the region are reflected in the

motifs and forms of the vessels.The same vessel is made in

various shapes for the Kumaoni,Garhwali,and Nepali

customer.The tamtas also specialize in another kind of

decorative were called Ganga-Jamuni in which brass and copper

are used together.The two metals have different melting points

and joining them is a specialized task.

Products

Gagar-water pot

Bari-largge cooking

vessel

Tola-rice cookers

Tailid-small vessels

Lota-water pots

Deepak-lamps

Tumbers, Jugs,

Filters, Vases

Bhankuri-musical

instruments

Tools

Sambhal-crowbar

with anvil

Sansi-tongs

Posi karthi-brazing

irons

Deoxidizing pit

Swage

blocks,Blower,Water

bath

Hammer,Mallets,

Punches,Callipers

1. Tola,The pots have been ribbed and peened to strengthen

the sheet body.

2. Water Filter

3. Water Jug engraved with a punch.

4. Degchi,vessels used for cooking rice.

5. A swage stone on which sheets are formed.

6 Gagar,a water pot.Every household in the region posses at least

one gagar since copper is considered sacred in the Himalayas

7 Gagar,a water pot

8 Copper jugs.

THE DEHRADUN METACLUSTER comprises craft

clusters lying in the Garhwal region.Dehradun is

situated in the fertile Doon Valley at the foot of the

Shivaliks.The best basmati,long-grained and fragrant

rice comes from here.The town is an important

educational centre and many offices of the central and

state government like the Oil and Natural Gas

Commission and Forest Research Institute are located

here.Mussoorie is said to be the queen of the Garhwal

Hills.It straddles a ridge in the Garhwal Himalayas-a

region which is developing into a major tourism

destination.The holy River Ganga is visible from one

end of the ridge and River Jamuna from the other

Uttarkashi is home to the Gujjar and Bhotia tibes,bothe

agrarian pastoralists.Women of the Bhotia community

weave heavy woollen textiles for their own use.Angora

rabbitds are being reared.Rabbit hair is spun with sheep

wool to make yarn for handloom weaving centres.The

newly formed statehood has brought independence as

well as challenges to Uttaranchal-of building a basic

infrastructure for development of the region and for

improving the quality of people`s lives.The region has

several crafts based on plant fibresbamboo,lantana,nettle

and ringaal.These can be vital

for linking organic agriculture with crafts,as

conservation of forest resource is one of the regions

chief concerns.

ACCESS

Dehradun is a railhead and many trains including the

Shatabdi Express are available from Delhi.The nearest

airport is Jolly Grant with a daily flight to Delhi.The

other clusters are all accessible by road.State transport

buses connect the villages.

1. Detail of wood

carving depicting

scences from the

Ramayana at the

entrance of the

Mahasu Temple in

Hanol,Dehradun

district.

2. A traditional fivestorey

house,made

of wood and stone.

3. Weaving in

chamoli.

4. Man carrying a

carpet

home,Chamoli

5. Carpet weaver in

Chamoli.

RESOURCES

Craft Raw Material Sources

Rambaans

fibre craft

Carpet

weaving

Lantana

furniture

Ringaal

basketry

Nettle fibre

craft

Rambaans

Woollen yarn

Lantana

Ghad ringaal,

Jhumra ringaal

Stinging nettle

Subclusters of

DEHRADUN

Dehradun district:

Dehradun

Pauri district

Chamoli district:

Chamoli

New Tehri district:

Kedarnath

Crafts of Dehradun

Rambaans-fibre craft

Nettle fibre craft

Hemp rope making

Carpet weaving

Handloom weaving

Lantana furniture

Wood carving

Ringaal basketry

Pauri, New Tehri, Kedarnath

districts

Ludhiana,Panipat,Amritsar in

Punjab

Uttaranchal Hills

Lower Garhwal Hills

Uttaranchal forests.

RAMBAANDS-NATURAL FIBRE CRAFT

Production Clusters

Dehradun district:

Dehradun

Products

Langar

Fishing Net

Dhurrie

Brushes

Coasters

Baskets

Mats

Bags

Hats

Slippers

Toys

Stuffing

Tools

Decoraticator

machine

RAMBAANS IS A variety of the sisal plant and grows

abuntantly in the lower hills of Uttaranchal.The leaves of the

plant are long fleshy blades radiating from the roots.The

glossy but stiff cream-coloured fibre extracted from them is

used,after processing and treatment,a similar process used for

jute and hemp to make utility and decorative products.The

fibre is bunched,rolled and braided into toys,rope,table

mats,bags and hats among other things.It does not deteriorate

if it comes in contact with saltwater.The villagers cook the

leaves into a tasty dish.The fibre is extracted using a diesel

decorticator.It is washed thoroughly,dries and bound into

bales.There are around 300 species of the sisal plant but fibre

is extracted only from some of them.

1. Detail of a circular table mat.

2. A coaster made from rambaans.The fibre is spun into

yarn and made into a narrow braid,which is arranged

into coils stitched together in the desired pattern just

like jute coasters.

3. Rambaans fibre woven in a cotton warp and then

crafted into utility items such as house slippers and

hats.

A hat

LANTANA FURNITURE

Production Clusters

Dehradun district:

Dehradun

Chamoli district:

Chamoli

Products

Chairs

Peg Tables

Racks

Baskets

LANTANA CAMARA,known as panchphulli in Hindi,has overrun

entire hillsides in Uttaranchal and experiments to find uses for it

have been going on for some time.One of the uses discovered

looking at the hard woody stem was lightweight furniture.The main

stem is strong but can be split.The stem is heat bent and the edges

are bound with lantana splits,nailed in place.Lantana is probably a

native of South America which was brought to India by a priest as

an ornamental plant.

1. Detail of lantana furniture bound wiht its splits.

2. A tray resembling those made from cane or bamboo.

3. A table made of lantana wood.The stem can be heat-bent like

cane.

It is a perennial woody shrub,which has become a major

pan tropical weed.Its infestation has now spreadd all

over Uttaranchal`s lower hills.Thousands of hectares of

land have become unproductive owing to lantana

infestation.Somtimes villages have had to shift being

unable to cope with the menace.The leaves and seeds are

poisonous to cattle and thus have no fodder value.It is

also being used to generate electricity,used as fuel,and to

make agarbatti,incense sticks.The only plus point in

favour of this weed is that it affords soil cover and

checks soil erosion.

Tools

Hammer

Blow Torch

Knife

TIBETAN CARPETS

IN UTTARANCHAL WOOLLEN pile carpets are knotted by

Tibetan settlers,the Bhotias,and at weaving centres set up by the

government.Wool is traditionally bought from Bhoti

shepherds.In Manduwala,near Dehradun,grum-tse,Tibetan

carpets,are woven at a handicrafts centre.The foundation is

cotton thread.Carpet weaving is an important source of income

for the displaced Tibetan community.Among the

Bhotias,weaving is a cottage industry.They spin and weave the

wool of the sheep they rear,and make garments and carpets.The

wool is cleaned using a wild fruit pangar,is a natural

detergent.Initially the wool was dyed with extracts from tree

bark and fruit but easily available and colourful industrial dyes

are perferred now.In Timala Bagar organic carpets are woven

from sheep wool dyed in natural dyes.Knotted pile carpets are

woven on a commercial basis in Bhimtal and Joshimath.Bhotia

designs have however been replaced by better selling Tibetan

motifs.The designs fall into two categories-stylized geometric

motifs and the floral and dragon designs showing a Chinese

influence.The carpets are characterized by a boldness of colour

and motif.Weaving is done on a vertical broadloom.

The design is followed by looking at the reverse of a finished

carpet slung over the loom or from a colour graph.Many

carpets are woven from memory.The knots are fewer compared

to other centres but the pile is dense and springy.The carpets

are finished by shearing and sometimes contouring along the

design to produce a bevelled effect.The Bhotias also weave a

blanket called chutka using the looping technique.It is woven

on a treadle loom called pithichand.Bhotias sell their woollen

products at annual fairs at Bageshwar,Jaulgibi and Thal.The

Tibetan carpets have an international market.

Inset Detail of a graph with a chinese dragon showing the

head,neck and forefeet.

Production clusters

Dehradun District:

Manduwala

Chamoli district:

Chamoli

Bhimtal

Joshimath

Bageshwar district:

Timala Bagar

Rudraprayag

district


Munsyari

Products

Tibetan carpets

Plain pile carpets

Organic carpets

Tools

Takli-drop spindle

Vertical loom

Rod, Mallet, Knife

Scissors

1. Pile carpets on display

2. Pile carpets with circular motifs called

mentok.

3. Medallion carpet with a Great Wall of

China border motif.

4. Medallion Carpet

5. A Variation in the form of a medallion

carpet.

Physical Features

Ramnagar Dun

Gangetic Plains

Major Rivers:

Ganga,Ghagra,Kosi,

Ghandak,Mahananda

Biodiversity

Flora

Sal Forest,Reed Beds,

Cane,Wet Grasslands

Fauna:

Tiger, Leopard,

Sambar, Nilgai,

Python

THE LANDLOCKED STATE of Bihar on the eastern Gangetic basin

is bifurcated by the River Ganga into a largely fertile agriculture plain

in the north,and rugged terrain in the south.The socio-religious life of

the state is informed by many influences-the river and her

tributaries,harvest cycles and associated festivals,a strong tribal

presence and an imposing cultural past.Personages from history and

myth co-exist here-Sita,Lord Rama`s wife , was the daughter of

Mithila;the Buddha attained enlightenment in Bodh Gaya;Mahavira

merged with the eternal at Pawapuri,and Guru Gobind Singh was

born at Patna.Empire and Emperors too have come and gone-the

Mauryas and the Guptas,the Khaljis,Sher Shah Suri, the Mughals,the

Bengal Nawabs and then the British Raj have steered the destiny of

the region.

1. Impressive vestiges of the erstwhile Darbhanga Raj can be

found in the Palace complexes of Rajnagar and MAdhubani in

the form of various palaces and temples.

Religion and rituals,both mainstream Hindu and

tribal,form the wellspring of many a craft tradition,like

Madhubani painting.Other crafts have utilitarian

roots,like khatwa or applique work.Yet others are rooted

in ritual as well as quoidian use,like sikki grass

products.There are local markets for votive offerings to

all kinds,and national and transnational markets for

traditional embroidery,painting and pottery.It is only

recentl that craft-potential of their skills to alleviate

poverty and thereby help them clim social and economic

ladders they had not dared to contemmplate just hundred

years ago.

2 A detail of the Buddha at the Mahabodhi Temple in

Bodh Gaya.

3 Carvings on stone at the ruins of Nalanda University.

Landmarks

Nalanda University

Darbhanga Raj

Bodh Gaya

Rajgir Hot Springs

National Park:

Rajgir

Nagi Dam

Languages

Maithili

Magahi

Bhojpuri

Hindi

4 A wall piece in cotton

with motifs from

nature,embroidered in

sujuni.

5 A peacock motif in mud

relief serves as a niche in

the wall of a house.

Attire

Dhoti-Kurta-draped

lower cloth and tunic

Gamcha-shoulder

cloth

Sari-draped cloth

Sherwani-coat-like

garment

Cuisine

Sattu-roasted gram

flour

Litti-roasted dough

balls filled with sattu

Thekua-fried sweet

made of wheat flour

dough

Festivals

Chhattha Puja

Sarhul

Karma

Soharai

Shyama-chakaiva

6 Detail of the wall painting on a kohbar ghar,the nuptial

chamber,Madhubani.

7 A priest in Gaya region wearing the ubiquitous gamcha

or shoulder cloth.

8 Terracotta idols of Raja Sailesh,the mythical god of the

Dushadh community,in Pandasari village of Darbhanga

district.

9 One of the most repeated and attractive symbolisms of

the paintings from the Mithila region: the bride,is

decorated with symbols of fertility and

prosperity.Depicted here is the lotus motif in which the

puren leaf symbolizes the placenta,and the stem of the

lotus plant stands for the umbilical cord.It also includes a

trinity of fishes.with the sugga or the parrot.

10 The lotus plant is an omnipresent form in

art,architecture and crafts of India.It symbolizes

fecundity,abundance and well being.It is one of the

most significant plant forms found in Bihar.

11 The River Ganga is the backbone of Bihar`s

socio-cultural fabric.

12 An illustration of a temporary sugarcane shrine

constructed during the Chhatha Puja.Hindu devotees

worship the setting sun on this occasion,practically

living on the banks of the River Ganga for a whole

night and day.The Chhatha Puja involves elaborate

ritualistic preparations that engage various craft

activities.

Crafts of

MADHUBANI

Terracotta

Madhubani painting

Sujuni embroidery

Sikki craft

Papier-mache

Lac Bangles

Subclusters of

MADHUBANI

MAdhubani district:

Jitwarpur village

Rati village

Lehriganj

Rahiyan village

Sarso Phai

Pandol

Darbhanga district:

Maula Ganj

Pandasari village

Muzzaffarpur

Busra village

LAc bangles,a sign of matrimony,are always in demand;the

industry involves nearly 5 million people in the region.

RESOURCES


Sujuni embroidery Cloth - (cotton / Silk) Patna

Madhunbani painting Colours Madhubani

Lac bangles Lac Balrampur

Terracotta Clay - (Black / Yellow) Darbhanga

Papier-mache Waste paper Madhunbani

Rag doll making Cloth rags Patna

A kumhar

at work;the

potters of

Madhubani

create a

range of

objects

from roof

tiles to

votive

offerings.

Making

papiermache;the

craft brings

in much

needed

money and

fosters a

sense of

community.

TO THE NORTH OF the Ganga

lies the Madhubani metacluster

that comprises the

Madhubani,Darbhanga and

Muzzaffarpur districts.It falls

under the cultural region of

ancient Mithila.It is as if the

Gangad along with her

tributaries,the kosi and the

Gandak,had conspired to endow

Mithila with the geographical

seclusion that ensured a unique

cultural milieu.

Home to the conservative Maithil Brahmins,among other

castes,this region has highly nuanced caste dynamics that

inform all aspects of its socio-cultural life,including the rich

craft heritage.The vicissitudes of history saw the rise to

power of the Maithil Brahmins around 14th century

AD.Though they were landd-holding Zamindars,they

assumed the trappings of dynastic rule.The khandavala

dynasty rule.The Khandavala dynasty was one of them,and

their estate,Darbhanga Raj,was the richest during British

times.Independence and democaracy ensured the end of the

princely states and the zamindari system,but traces of

feudalism still abound.In the strict caste lines drawn around

communities,in the accompanying division of roles in the

highly conservative gender roles,in the antiquated social

customs,in the very lilt of the Maithili language lurks the

Mithaili of yore.Mithila`s crafts reflect these influencesthus,Madhubani

paintings are done only by women,and the

painitngs andd wall murals of the Dushadhs,who are on the

periphery of the caste scale,have themes and motifs drawn

from their caste and class realities.

ACCESS

Madhubani in 174 km from Patna,which has an

airport,Darbhanga is 122km and Muzzaffarpur is 66km by

road.All the three districts are easily accessible by rail and

road from other parts of the state.

Inset Madhuban painting on the recurrent Radha Krishna

theme.

TERRACOTTA

Chhatawala tariya

1,2 The kirodhini and the brightly painted chhatawala tariya are among the

many terracotta objects that have ritual significance in ceremonies like

weddings.

TERRACOTTA OBJECTS ARE made

with black and yellow clay.The kumhars

or potters of Darbhdanga have a wide

repertoire - horse and rider votive

offerings in several sizes,images of

deities,gaily painted ritual vases,toys,a

wide range of utility objects and painted

horse and elephant riders from the Raja

Sailesh legend.According to the myth of

the Dushadh community,Raja Sailesh,their

local hero belonged to have ruled between

the 5th and 6th century AD.His kingdom

spanned across Tibet,Bhutan,Nepal and

Mithila.Episodes in the Mahagatha epic

show constant struggles between the

deities of the dominant castes and the

deities of the subaltern castes.Depicted in

various crafts of Madhubani,Raja Sailesh

is an eqduestrain rider with an imposing

scale and posture,reflecting a vibrant

terracotta tradition.A combination of

processes goes into the making of the

horse/elephant and riders-throwing on the

wheel,as well as hand-formed pottery

techniques such as coiling,pinching and

hand-beaten work.Details are emphasized

by relief and recessed textures.A large

number of ritual objects are made for

festivals and weddigs.These are painted in

the distinct Madhubani style,using

outlines and bold strokes of

colour.Terracotta ware is always in

demand in the local markets,be it utility

products like pitchers,clay ovens and other

kitchen ware,or festive and ritual objects.

Production Clusters

Darbhanga town:

Maula Ganj

Products

Sets of toys made for

ritual use:

Elephant

Dhakana dipo-lamp

with cover

Matakuda for

preparing curd

Khoti for storing

grains

Borasi-fire-preserver

Chuli-oven

Images of gods and

goddesses

Characters of various

local legends like

Raja Sailesh

Tools

Pitten-beater

Choli-knife-like tool

Chaku-knife

Chabiya-modelling

tool

Thapi-wooden

finishing tool

Thappa-stamp

Feet-scale

Patthal-burnishing

tool

Pindi or Peel for

shaping

Khuriya-turning tool

Chan-cutting string

Figure of Raja Sailesh

riding on an

elephant.Scences from

his local folklore are

depicted in wall

painting,sikki craft and

papier-mache.

MADHUBANI PAINTING

Snake motif from

the kohbar ghar.

Latpatiya sugaentwined

parrots.

ORIGINALLY A FORM of bhittichitra

or wall art,this ancient art

form of Madhubani is a heritage

rooted in the rhythms of Hindu ritual

life.Predominantly a feminine

expression,

the themes and motifs of Madhubani are drawn from a palette of mythical

figures,gods and goddesses,ritual activity and very importantly,local flora

an fauna.The region of Mithila abounds in marches and ponds from where

the women draw their staple motifs of puren,lotus;fish,turtles,snakes and

other elments of aquatic life.These nature motifs are also loaded with

symbolic meaning-the turtle is also a symbol of Vishnu in one of his

avatars,the snake is venerated as the guardian of the underworld,and the

lotus and bamboo signify feminine and masculine sexuality

respectively.Pastoral scenes are also favoured.Rites of passage from birth

to death are accompained by ritual painting on the walls of a housessathhudi,a

ritual observed during the seventh and ninth months of

pregnacy;chatiyar puja,done on the sixth day after the birth of a

child;annaprashan,to mark a child`s first eating of grain;akshararambh to

mark a child`s entry into the world of learning;janaur,to mark the

symbolic rebirth of young Brahmin boys;marriages and deaths.

Festivals like chhath and Chauth chand are also

occasions for doing this ritual art.This traditional art

form was freed from its yoke to ritual life due to a

drought that brought economic life in Mithila to a

standstill in 1966.Government officals who were

touring the region for relief work were astounded by

way of its painted walls.A few women were

persuaded to paint on paper.Madhubani painting has

never looked back since.Already a world renowned

art form,Madhuban`s aesthetic potential depends on

the fragile links between the women artists,the

cultural milieu,and economic.Three forms of

Madhubani`s paintings are prevalent.Aripana is

ritual floor art that is made afresh on auspicious

occasions like pujas(worship),vratas(vows) and

sanskaras(rites of passage).It uses white rice

paste,turmeric,sindoor (vermillion powder) to depict

tantric symbolic forms,symbols for the Mother

Goddess,and motifs from nature and everyday

life.Bhitti chitra or wall paintings fall under two

main types-those made by the upper caste Brahmin

and Kayasth women,and Dushadh paintings and mud

murals made by the marginalized themes from

mainstream Hinduism-the Shaiva,Vaishnav and

Shakti cults.The walls of the gosain ghar or prayer

room are brightly paint with myraid deities and

religious folk narratives. The kohbar ghar or nuptial

room is painted when there is a wedding-newlyweds

perform many rituals,especially facing the eastern

wall,to pray for martial bliss.

Inset Detail of a Dushadh painting depictign the Sun.

On the right,is a Mithila painting of Brahma,Vishnu and

Lakshmi,gods from the Hindu pantheon,done in tantric

style.Tantric painting is replete with gods and goddesses from the

Hindu pantheon and the style follows specifications of colour and

rendering given in the tantric texts.These paintings have to be

perfect;the artists destroys the painting if there is even a slight

mistake.

Recuring motif of a wall painting in the kobhar ghar,the nuptial

chamber.The six lotus flowers encircling a single bamboo stem are

fertily symbols with the lotus signifying the female and bamboo

representing the male generative powers.Parrots,fish,turtles,banana

and betel leaves ,all surrounded them,all symbolized fertility and

regeneration.

The kohbar ghar is one of the best instances of ritual symbolism in

the Madhubani style.It is a shrine celebrating married love and

union, and the motifs reflects the mood. Divine couples like Shiv-

Parvati and Rama-Sita,and other celestial beings guard and bless

the couple. There are also fertility symbols that remind the couple

of their duty to propagate the family line.

Production clusters

Madhubani district:

Madhubani town:

Jitwarpur village

Rati village

Darbhanga district

Products

Painting on paper

Painting on sari

Tools

Various brushes

The Dushadhs draw their visual language from a vital oral

tradition.Most of the narratives in their paintings and mud relief

depict the exploits of Raja Sailesh,the hero of their

epic,Mahagatha.The episodes of this epic show the struggles

between the sub-altern deities and those of the dominant castes.The

elephant,which is the mount of Raja Sailesh,is a motif that appears

commonly,along with motifs drawn from nature.

Godana,which means tatto,is a skillful adaption of body

art motifs into painting.Religious symbols are

popular,especially those with talismanic power,as are

geometric designs,nature motifs and lucky charms like

the swastika.By creatively repeating and juxtoposing

motifs,the women make the tattoos come alive on walls

and on paper.

Inset Fish motif from the kahbar ghar.

1. Detail from a godana painting-Matsya Avataar

from the Dasavatar,the ten incarnations of Lord

Vishnu.

2. Detail from a Dushadh painting.The Dushadh

community has evolved its own style of

Madhubani painting.

3 Detail from a Dushadh painting;the themes of

the paintings are based on motifs from

nature,legendary heroes and mythological stories.

4 Lord Krishna surrounded by gopis,cow

herdesses,playing his flute;a detail from a

Dushadh painting.

5 Lord Krishna on a tree with his flute;a detail

from a Dushadh painting.

SUJUNI EMBROIDERY

Production Clusters

Muzaffarpur

district:

Busraa village

Madhubani district

Darbhanga district

Patna district

Products

Bed covers and

Cushion covers

Scarves, Jackets,

Saris,Dupattas,

(stoles),Salwar ,

Kameez (garments)

Bags,Wall Hangings

Tools

Various needles

Embroidery threads

Circular embroidery

frame

Pencil and Scissors

Tracing Paper

SUJUNI IS A TERM FOR straight running stitch

embroidery on layered cotton.Women quilt together

old sari and other pieces of cloth with tiny running

stitches,and embroider these beautifully.The product

is a quilt-cum-bedspread,sometimes stuffed with

tattered cloth to give it added thickness.Sujuni is

labour intensive-the number of stitches per square

inch varies from 105-210.A fine running stitch all

over the sheet in the same colour as the base cloth

creates the background upon which motifs are

outlined in chain stitch.The design is then filled in

with tiny rumming stitches in coloured thread.An

age-old practice among women in almost all parts of

the country,what makes sujuni remarkable is the

unique narrative elements in its embroidery.Women

stitch their experience,their sorrows and their

realities on the sujuni,transforming a mundane quilt

into a testimony of their lives.Each sujuni tells a

tale-the trauma of being a woman in a man`s

world,domestic violence,female infanticide,effects

of alcoholism and gambling on a family and similar

issues.Social concerns like evils of dowry,education

of girls,lessons in health-care and AIDS are also

depicted.Thus each sujuni becomes a testament of

personal trials or of social change.

1. Detail from an embroidered

bedsheet,showing women and

children in a public space.The

bedsheet frames community

life and descibes a public

space where the women come

together,supervising their

children at play.

2. Detail of a classroom scene

from a sujuni bedsheet.

3. The fabric is stretched taut

between rings,which helps the

artisan to stitch.

4. A sujuni cushion cover.

Old sujunis had motifs from religion,nature and daily life.The shift in

narrative themes is recent,after voluntary organizations encouraged

women to stitch their lives,so to say,on the sujunis.Efforts by concerned

agencies to contemporize sujuni have struck gold-not only has a product

diversification been achieved,sujuni had also entered the international

market,like Busra,an important productin cluster in Muzaffarpur,sujuni has

changed the story of many a woman`s life.

SIKKI CRAFT

THE HUMBLE SIKKI grass in marshy areas in Mithila is transformed by women

into a range of objects that find both ritual and everyday use.Grass is dyed in

colour and creatively used along with the natural golden to create objects steeped

in the distinct Madhubani aesthetics.Using the ancient method of coiling,the

needle -like takua is the only tool used to craft objects of great variety.Products

are reinforced with a base of strong moonj grass,which also grows abundantly in

the area.The craft is traditionally passes down from mother to daughter - well

crafted items used in the house display the skills of a girl and become part of her

dowry.

Figures of deities are made for worship,as are votive

offerings for festivals.Sailesh puja,the only festival of the

Moosahar tribe,involves a wide range of colourful sikki

products of ritual use.Toys,table mats,coasters,traditional

Ganesh masks and of late,even mobile phone covers are

made for urban markets as far flung as Guwahati,Chennai

and Mumbai.

An illustration of a sikki basket.

A box in the form of an

elephant;a contemporary

product.

Ardhanareeshwara,a representation of the half-male and half-female form of Shiva.

1. An image of a peacock;beautifully created images of

animals and birds made with sikki grass are popular.

2. A traditional box;the objects made from sikki are not

only utilitarian,but also decorative and

ornamental,often having a religious significance.

3. Nataraj,the dancing form of Lord Shiva;detail from a

wall hanging.The figures of deities are made with

sikki and installed in homes for worship.

4. The face of a goddess crafted with sikki grass.

5. A figure of the legendary hero,Raja Sailesh.

Production Clusters

Darbhanga district

Madhubani district

Muzaffarpur

district:

Muzaffarpur Town

Products

Utilitarian objects:

Pots, Bowls, Platters,

Boxes, Cases and

Baskets

Table mats, Coasters,

and Hand fans

Decorative objects:

Mobiles, Bangles,

Toys, and Figures of

animals

Ritualistic objects

Figures of deities and

masks

Tools

Takua-needle shaped

iron object with a

rounded head of lac.

PAPIER MACHE

Production clusters

Madhubani district:

Rati village

Rahiyam village

Villages in Rajnagar

Products

Containers, Baskets,

Tea pots & Plates

Mirror bases, Gift

items, Bangle stands,

& Decorative pieces

Bird & Animal forms

& other toys

Figurines of gods &

Goddesses

THIS CRAFT IS NOT indigenous to the regin and is in a

nascent stage,but the products are charming precisely for

the reason that they have a raw,earthy appeal.No tools are

used,except sandpaper to impart a finish.Most of the

products are hand-painted ,and bear the unmistakable

Madhubani stamp in choice of colour,motif and style.The

forms are similar to the terracotta oneselephants,characters

from the Raja Sailesh

legend,figurines of gods and goddesses,and otherd votive

offerings.Toys and dolls often depict women doing

household activities or playing musical

instuments.Animal and bird figures are often whimsically

painted, adn have vivid expressions.Women also make

toys in clay,in form and scale like the papier-mache

ones,and their themes reflects a lively engagement with

life.The market for papier-mache products picks up

around festivals and wedding seasons.

Tools

Okhal and musligrinding

apparatus

Sandpaper

Papier-mache figures:

(Left) Goddess Laxmi

seated on a lotus.

(Right) Toy;woman

grinding grains on a

hand-operated mill.In

many parts of

India,girls are given

toys depicting

household chores.

Painted papier-mache objects like this candle stand are made for the urban market.There is

very little demand for products made from this material in the local markets since the craft is

not traditional.

The Hindu goddess,Durga,in papier-mache.Figures of gods and

goddesses are in demand during local festivals.

Elephant and

figures made by

women.The forms

are rooted in the

terracotta tradition

of votive objects

and animal figures.

LAC BANGLES

Production Clusters

Darbhanga district:

Pandasari village

Madhubani district:

Muzaffarpur town

Tools

Hatt for shaping the

lac

Kin-die to size the

bangles

Furma-die to impress

the design on the lac

bangles

LAC BANGLES ARE perennially in demand,especially in north

India,as theyd are considered an auspicious sign of suhag or marriage

by women,cutting across caste and community lines.Muslim artisans

from Rajasthan who migrated to other regions around 1947 are

credited to have brought the craft to Bihar and other parts of north

India.The industry now involves nearly five million people in

Bihar,most of them local tribals.Muzaffarpur town is one of the largest

production centres for lac bangles in Bihar.Lac is an ancient material

for obtaining colour,known and exploited by Indian craftsmen as a less

expensive means of decoration and of applying colour.It is an insectbased

resin that is collected and processes by traditional craftsmen as

an effective substitute for precious mineral and synthetic

substances.The bangles have an inner core of refuse lac and an outer

layer of high-quality lac.Hot lac mixed with pigments and chemicals is

rolled and stretched on a shaping mandrel that corresponds to the size

desired.Mostly,the bangles are reinforcedd with an aluminium core.

Value additions are made in terms of

embellishments-glass beads,decorative wire,mirror

pieces and even gold foil.The market value of the

bangles depends upon the nature of the

embellishments.The bangles are sold locally as well

as supplied to places like

Nepal,Patna,Vaishali,Begusarai,Silliguri and

Jhanjarpur.There is an increased demand for lac

bangles during festivals like Chhattha Puja,local

fairs and the wedding season.

Lac bangles decorated with glass beads are heated

on a woodend mandrel to make final adjustments in

their size.

Crafts of Patna

Stone carving

Wooden toys

Khatwa-applique

Subclusters of Patna

Patna district:

Patna city:

Chotta Patna Devi

Patharkatti village

Khukdi village

Gaya District:

Gaya

Nalanda district:

Nalanda

Silao village

Nepra village

RESOURCES


Stone

carving

Wooden

Toys

Khatwaapplique

Marble

Granite

Black Marble

Gorara-soft stone

Gamdha,semal and

ambda wood

Cloth

Daltonganj, Jharkhand

Bihar

Patharkatti in Bihar

Jhansi & Tikamgarh in

Madhya Pradesh

Patna

Patna

Bihar has a wealth of toys carved from wood,done in abstract folk

form.

1. A

craftsman

carving an

idol from

stone.

2. Stone

carving is

the

occupation

of the

entire

village of

Patharkatti

in Gaya.

In Bihar,the art

of khatwa has

emerged out of

the women`s is

now a tool for

their

empowerment.

TO THE SOUTH of the Ganga lies the Patna metacluster that

comprises Patna,Gaya and Nalanda.Shaped on the twin anvils of

politics and religion,this region witnessed rise and fall of many

empires,and the passing of many holy feet.Ancient Pataliputra

(Patna) was the centre of commerce,culture and the political

capital to man ancient and medieval empires.In free India,it is

the state capital of Bihar.Nalanda at its peak from 5 AD to 12

AD,was an international university,acclaimed as a centre of

Buddhist learning.Bodh Gaya,Nalanda and Rajgir are places of

Buddhist pilgrimage that have stupas,hemispherical funerary

mounds;temples,rock-cut shrines,monasteries and beautiful

statues of Lord Buddha,built in stone.Mahavira,the founder of

Jainism had also meditated and preached in Rajgir,which has

several jain temples.Gaya is also a sacred site for Hindus.In

1726,stonecutters belonging to the Gaur Brahmin caste were

invited from Rajasthan,to renovate the vishnupad Temple in

Gaya.They were settled in Patharkatti village,near

Gaya.TodaY,stone work is concentrated in Patharkatti,Gaya

town and the surrounding villages.Turned stone bowls and

tableware are made from ornamental gorara stone,in Gaya

town.Idols are carved in marble and soft stone in

Patharkatti,which also has a stone quarry.Craftsmen of lower

castes were not allowed to carve idols,thus they make turned

utility items such as plates,bowls and cups from gorara

stone.Tussar silk weaving is done in Nepra and Shilao villages

in Nalanda district;Alinagar in Bihar Sharif;and Manpur in Gaya

district.

ACCESS

Patna is situated on National Highway 30 and is also on the

main line of the Eastern Railway making it a well connected

destination.It also has a national airport making the city

accessible by air.

STONE CARVING

Production Cluster

Gaya district:

Patharkatti village

Khukdi village

Gaya town

Products

Idols of Gods and

goddesses, Lord

Buddha, Lord

Mahavira

Animal forms

Household decoratin

articles

Daily utility articles

Kharad-grinding

equipment

Stone bowls

BIHAR HAS HAD A vital stone carving tradition,as is testified by a stone pillar

of the Mauryan period that inspires awe for its high polish even today.The stone

idols and other products today are a record of the region`s cultural evolution.Most

stone carvers hail from Patharkatti village in Gaya district.Of Rajasthani

descent,they were brought to Bihar by Rani Ahilyabai of Indore in 1726 to

renovate the vishnupad temple to Gaya.After the temple was completed,they were

invited to settle down here and began to craft idols.

Parkal-a divider-like tool used to

mark proportions on the stone

before cutting.

1. Lord Hanuman,the devotee of Lord

Rama in the mythical epic

Ramayana.

2. Nandi,the bull vehicle of

Shiva;carving in marble.

3. A Stone sculpture of Lord Buddha at

Patharkatti village.

4. A statue of Shakti,the incarnation of

Goddess Durga,on her

mount,slaying the demon

Mahishasura.

Though stone carving has a strong local and national

market,the international market eludes them for two

main reasons-the hight transportation costs involved,

and governmental restrictions on a the export of stone

idols.Stone carving is seen as a result of `labour`-the

artistic value goes unappreciated,discouraging many

artisans.The artisans have diversified their craft and

now make products for utilitarian purposes.Many

stone carvers switch to wood to cater to tourist

demands.

Tools

Cheni-chisel for

shaping stone

Hataudi-hammer

Gunya-right angle

Parka-divider

Grinder, Cutter, Drill

and Abrasive paper

Tools Cheni of different diameters have a

specific function,from beginning to the

finishing.For carving out the finer

details,a cheni of a small diameter,fitted

with a diamond tip,is used.

WOODEN TOYS

Production Clusters

Patna district

Darbhanga district

Muzaffarpur

district

Products

Various animal toys -

Tortoise, Horse,

Elephant with rider

Rath-chariots

Band set

Mother-child toys

Raja-rani toys

Tools

Reti-finishing tools

Batali-chisel

Rukhani chimta-small

tweezer

Saw, Mallet, Drill,

Hammer

THE WOODEN TOYS OF Bihar are typified by their abstract folk

style.Well finished and beautifully painted,they are made from the wood

of semal,gamdha,and ambda trees.They are sliced from a plank of

woodd and carved to get three-dimensional effect.They are made from

one piece of wood,the profile cut and then shaped and finished using

paints and colourful pigments.

The use of colours is vivid and reminiscent of the Madhubani

style.All the images are icons of activities or of heroes and

celebrities shown riding horses or elephants.Toys of

animals,birds,mother and child,and horse and riders in a

procession are made.

1. Ambari elephant-ceremonial

elephant with a howdah or

covered seat on its back for the

rider.

2. Horse and rider;the folk style of

the carved wooden toys is similar

to those of excavated figures

belonging to the Mauryan

period.Craftsment make toys on

order too.

a Ari-saw

b Batali

c Reti,file,is used to

bring out curves

while carving.

Elephant figure carved

with wood;light wood

is used to make small

wooden toys.

KHATWA-APPLIQUE

KHATWA HAS THE same wellspring as

sujuni-the desire to make the best out of

waste.It consists of applique work on cloth

with chain and straight stitch embroidery as

a linear element.The traditional khatwa had

reverse applique in which a layer a cloth is

applied onto a base cloth.The top layer has

incisions or slashes that are folded and

stitched down,revealing the pattern with the

colour of the base cloth.

Cut motifs are stitched on the base material according to an

abstract or narrative design.Much like sujuni,khatwa has been

contemporized after voluntary organizations took up the cause

of the women artisans and their craft.

Traditional motifs drawn from nature or geometry have

given way to scenes from social life as well as graphic

commentary on sensitive issues such as AIDS.Ecofriendly

khatwa is an interesting offshoot-natural-dyed

tussar silk is employed in the applique work.This silk is

entirely made by a tribal women`s group from

Dumka,Jharkand.A voluntary organization has been the

catalyst that created this symbiotic market.More such

initiatives need to be taken-popular crafts like khatwa

have enormous potential to fuel the growth of other allied

markets.

Inset Detail of Khatwa showing the main forms of a

man,bird and leaves in applique and the beehived,bees

and plants done in embroidery,to enhance the theme.

Production Clusters

Patna district:

Patna city

Darbhanga district

Muzaffarpur

district

Madhubani district

Products

Saris,Dupattas

Cushion,Bed and

Sofa covers

Curtains,Table cloths

Wall hangings

Tools

Scissors,chalk,

Embroidery threads,

Needle, Tracing

paper, Pencils,

Sketchpens,

Sharpeners, String

Examples of Khatwa

work;trees,creepers,flowers and animal

motifs.Elephants and birds are traditional

motifs.Recent khatwa has incorporated new

designs and motifs.

Crafts of Patna

Tribal jewellery

Jute craft

Subclusters of

Bhagalpur

Bhagalpur

Munger

Purnea

Haveli Kharagpur

Katihar

RESOURCES


Tribal

Jewellery

Copper and zinc;

Brass,Silver

Locally avilable

Jute work Jute Katihar and

Purnea

Preparing yarn for

weaving on the

charkhi.From here it

will be transferred to

the charkha and then

to the nari.The

weaving begins only

when the nari is fitted

into a shuttle.

THE DISTRICT OF Bhagalpur,divided by the Ganga,has

fertile fields as well as good forest cover.It used to be a

flourishing port city till the days of the British Raj.The

region was well known for the manufacture of tussar

silk,dyeing,salt,indigo,glasswae and cottn handloom

industry.European traders visited here for its cloth that

fetched a high price in Europe.Tussar silk

yarns,handloom weaving and cloth trade formed the basis

of the region`s economy.Unique cotton and silk blends

are a speciality- a 19th century British publication names

a few: Bhagalpuri, bafta, duriyas, namunahs,

chaharkhanahs, and khariasari.Even today,Bhagalpuri

yardage is the mainstay of its economy.Tribal

communities have been rearing tussar silkworms in the

forest on leaves of asan,arjun or sal trees.Bhagalpur has

become the centre for tussar silk weaving,supplying to

urban and international markets.Sericulture,silk reeling

and weaving are evolved cottage industries here.

ACCESS

Bhagalpur is well connected by rail,road and air.Buses

are available from Patna(285km) or any other city of

Bihar.There are direct trains from Delhi,Mumbai,and

Kolkata.

1 Yardage fabric woven with reeled tussar

yarn and katia,spun tussar yarn which gives it

a unique texture.Bhagalpur procduces a wide

range of textures for apparels and heavier

weights for furnishings,woven on handlooms.

2 A craftsman weaves on a pit loom,locally

called the khatkal,which has been modifies to

improve production.

3 Detail of a handwoven tussar sari

produced by weavers in

Bhagalpur.Traditional sari weaving almost

entirely displaced by tussar yardage fabrics

made for export,is being revived.

4 Detail of a sari woven in natural colour tussar in

combination with black dyed tussar developed by an

NGO (non government organization) in Bhagalpur.

TRIBAL JEWELLERY

MANY FACTORS

SUCH AS an active

life,reasons of security

whereby ornaments are

constantly worn on the

body,community

identity and religious

beliefs,give tribal

jewellery its robust

character in form and

construction.

Craftsmen who make silver jewellery produce similar

ornaments in other metals and alloys for the tribal

communities.These ornaments are made from an alloy of

60% tin and d20% each of copper and zinc.The liquid

alloy is formed into a sheet which is pressed over a die or

carved manually,is then shaped into ornaments such as

rigid necklaces,anklets,bangles,etc.The rigid necklace or

torque generally made of solid metal in worn throughout

Rajasthan,Gujarat and the Gangetic plains.In Bihar the

torque is hollow,made from sheet metal.

One type of anklet is tubular,formed from engraved sheet metal

while another type is cast in brass as one piece and plated with a

zinc based alloy.Fish-shaped votive offerings are a specially of this

place.

Inset A brass tube,used to deflect the flame of an oil lamp,serves as

an ingenious blowtorch.

1 Silver fish are made as votive offerings.Fish is a symbol of fertily

that is omnipresent in several crafts of Bihar,Orissa and West

Bengal.

Production cluster

Munger District

Haveli Kharagpur

district

Products

Necklaces

Torque

Bangles

Bracelets

Anklet

Amulet

Votive offering (fish

motif)

Tools

Hammers,Files,Pliers

Blowtorch

Nib for engraving

Metal block,Dies

JUTE WORK

JUTE FIBRE IS extracted from the stem of the

plant grown as a cash crop in Bihar,West

Bengal,Assam,Orissa,Uttar Pradesh and

Tripura.Jute mills form an important industry

here.Katihar and Purnea have jute mills

producing jute yarns which have a bigger market

than handcrafted jute products made by

craftsmen in their homes.The tough outer bark of

the plant is softened in water by a process called

retting to loosen the fibres.

A table mat;fibres are first made into a braid and

coiled to form modular units.These circular units

are assembled by stitching with a needle and

configured to make a variety of shapes.

Jute fibres are long and lustrous and were traditionally handspun in Bihar.A

range of products are handmade,using very simple tools,by braiding the fibres

and assembling the braids into a variety of configurations resulting in

bags,coasters,shoes and other utility items.The range of designs prevalent has

been introduced by government sponsored design development programmes.

A shoe made from the same principle of braiding jute fibres and using the

braided ribbon to construct a form.

Production Cluster

Katihar district

Purnea district

Products

Bags

Coasters

Table mats

Shoes

Doormats

Figurines of Goddess

Durga

Hammocks

Tools

Comb for

straightening fibres

Needle

Thread

Scissors

Languages

Santhali

Kurukh

Mundari

Sadri

Nagpuria

Kortha

Karmali

Hindi, Urdu, Oraol

Landmarks

Temples:

Baidyanath Temple,

Deogarh, Jagannath

Temple, Ranchi,

Parasnath Temple,

Giridh, Hundroo

Falls, Ranchi

Wild life

Sanctuaries:

Palamau

Sohrai are the paintings done during the harvest

festival.The name itself comes from an ancient

word,`soro`,which means literally to drive with a

stick.It is the festival of the early winter months

when the paddy has ripened and is about to be

harvested.

A woman from Chandil, Sarikela, using a handmade

broom to garner foodgrains.

Women selling toddy, locally

known as `hariya`.

Hazaribagh

ISko site, Hazaribagh

(ancient rock art)

THE HEAVENLY FORESTED stated

of Jharkhand lies on the Chota Nagpur

Plateau.Rich in coal,iron,bauxite and

other minerals,Jharkhand is one of the

richest mineral storehouses in

India.Nearly 23% of the state is

foreseted,and home to some of the

oldest indigenous peoples of the

world.The area is also rich in

Paleolithic deposits .

Anthropologists hold that the Chota Nagpur region might

have witnessed the transformation from Homo erectus to

Homo sapiens.This claim to antiquity rests on findings of

prehistoric hand axes and blades in the region of

Pathalgarwa,and Harappan pottery in

Hazaribagh.Jharkhand`s mineral wealth led to heavy

industrialization-coal mining was started around 1775,and

the first iron and steel company was set up by Jamshedji

Tata in 1907.Somehow,the fruits of industrial development

continued to elude the tribals.Tribes like the Santhals,the

Mundals,the Gonds and the oraons,while being storehouses

of traditional knowledge,were ill-equipped to deal with the

demands of the modern world.

Land alienation and the impoverishment of the tribals further

worsened matters and the impoverishment of the tribals further

worsened matters.It was Birsa Munda,a legendary local hero,who

raised the first voice of protest against British colonialism in

1894.Jharkhand was a dream that has had a long gestation period-it

was finally carved out of Bihar as a separate state,in August

2000.In Jharkhand,the forests have a presence beyond the

physical.Society,culture,economy,and craft are all defined by the

forest in an intrinsic fashion.Nature is the keystone of the tribal

way of life,and this finds ample reflection in the craft repertoire of

the state.Animal and bird motifs appear at their stylized best in

dhokra craft,and also in the sohrai and khovar paintings of

Hazaribagh.New crafts,like papier-mache also show an abundance

of motifs from nature.About 50% of India`s tussar silk and lac

production comes from Jharkhand.Its forests have trees that are

hosts to silkworms and lac insects.

Inset Mask of a tiger for Chhau dance,Saraikela.

Physical Features

Chota Nagpur

Plateau

Major Rivers:

Damodar, Son, Koel

Biodiversity

Flora:

Tropical deciduous

Forests,Special

flower Bearing

trees,Sal trees,

Bamboo,Arjun,Asan

(silk host),Kusum(lac

host),kendu,Amla,

Behera(medicinal

Plants)

Fauna:

Tiger, Elephant,

Leopard, Wild boar,

Nilgai

1 Durga Puja,worship of Goddess Durga, is

a popular festival in east Jharkhand.Many

of the craftsmen shift from making masks

to making Durga Idols.

2 This highly decorative mask is a fine

example of the masks used in the Chhatu

dance.This one is particular is used for the

Chhau dance.This one in particular is used

for the Krishna lila.

3 A dhokra cast figure of Bhagwan Birsa

Munda,who was a local freedom

fighter.His statues are found all over the

state.The same figh=ure is made in various

other crafts.

4 The Baidyanath Temple at

Deograh,one of the several temples in

the temple complex,is an important

pilgimage centre for the worship of

Lord Shiva and Shakti or divine

power.

5 Terracotta dolls like this one

depicting a tribal woman are popular in

local markets.

6 Woman carrying baskets of

hariya,local toddy.

7 A tribal woman clothed in two

yardages draped around the body.

8 A potter hauling clay on a hand

constructed balancing structure.

Festivals

Karma

Jitia

Sohrai

Sarhul

Durga Puja

RANCHI IS THE capital city of Jharkhand,situated at 2140

feet above sea level and surrounded by hills and forests.It

used to be the summer capital of Bihar during the British

Raj because of its idyllic charm.The 17th century

Jagannath Temple,modelled on the one in Puri in Orissa,is

one of the landmarks of this region.Another is the

Hazaribagh wildlife sanctuary,66 km from Ranchi,abode of

the tiger,among other wild animals.Home to mainly Oraon

and Munda tribes,Ranchi still echoes with Birsa Munda`s

call to freedom.He led an armed insurrection against the

British in 1897,and kept challenging the might of the Raj

until he was arrested in 1900.Every important

establishment in Ranchi is named after him,and he is

remembered as Birsa Bhagwan,God,by those he sought to

free.He appears as a theme in wood craft and papiermache,as

a strong young warrior carrying bow and

arrows.Apart from traditional crafts like dhokra,crafts like

papier-mache,wood craft and jute craft have been

introduced by voluntary organisations.Traditional crafts

like bamboo are being revisited-an NGO in Ranchi is doing

research and development with a view to evolving products

that conform to the contemporary idiom and quality

imperatives.

ACCESS

Ranchi has an airport and is connected with other towns in

Jharkhand by the National Highway No.23 and 33 and

roads.It has direct train connections to

Kolkata,Patna,Raourkela and Delhi.

Women working in a lac factory in Khunti,Lac,a natural resin extracted from insect secretion,is

a non-toxic versatile material for decorating craft objects and as a protective surface coat for

wood,metal and papier-mache.The Indian Lac Research Institute located in Ranchi continues to

find new applications for the ancient material.

Crafts of Ranchi

Bamboo work

Dhokra casting

Musical instruments

Silver jewellery

Wall painting of

Hazaribagh

Subclusters of

RANCHI

Ranchi district:

Ranchi

Khunti,Kokar

Morabadiut

Gutgora

Bamahani

Hazaribagh district:

Hazaribagh

Belwara

Ramgarh

RESOURCES


Bamboo work Bamboo Local markets, Tonar

markets

Musical

instruments

Kholi(shell of

drum)

Animal skin

Urmanghi village

Local market

Jewellery Silver Ranchi market

1. Women of the village engaged in making bamboo mats

and baskets to be sold in nearby villages

2. A craftsman making silver jewellery

3. A coaster is made by stitching plaited and coloured jute

fibre.

4. Carving of a wooden wall hanging in process.

BAMBOO WORK

BAMBOO GROWS ABUNDANTLY in the region and has been traditionally used to

fashion utility articles of all kinds.In the tribal way of life,bamboo finds versatile

expression-from storage containers of all kinds to bows for hunting,from fine combs to

tappa,huge baskets,for carrying hens.People walking on roads carrying fish in a

kumni,fish net,is a common sight in these parts.Entire villages in this region are made of

bamboo craftspersons-the men usually cut the bamboo and split the stalks,while women

weave mats and baskets.Traditional items adhere to basic designs,and are generally

devoid of ornamentation.Local knowledge is exploited to maximize the potential of the

material.For instance,the length between two nodes determines the quality of bamboogreater

lengths are preferred for basketry.Two qualities of bamboo are used:ropa with

longer fibres is more pliable and is used for baskets and containers;while lathi with

short,strong fibre goes into making skeletal structures and armatures for products.

Bamboo answers all the modern concerns for eco-friendly

material.Voluntary organisations are now trying to create a market for

contemporary products in bamboo,like well-finished modular

furniture.Local craftspersons are being trained to use mechanized

equipment and explore possibilities in design.Lampshades adn such

items that would be of used in modern urban homes are being

developed,too.Bamboo has the potential to fuel the economy of the

region and benefit those who dwell on the periphery of

development.Traditional items of everyday use are perennially in

demand in the local market,especially in the bi-weekly

haats,markets.Sales also increase during festivals and the wedding

season.

Production Clusters

Ranchi district:

Ranchi

Soso

Chelagi

Khunti

Bamahani

Bamboo basket

1. Bamboo bow.

2. Kumni, fishing net is

used to catch fish for

both domestic

consumption and in

the market.

3. Process of making a

bamboo product.

4. Soop, winnowing

trays.

Products

Traditional:

Dawra-container

Soop-used to clean

rice

Challa-used to clean

wheat crops

Tokri-basket

Kacha-big containers

to store rice

Kumni-used to catch

fish

Chakli-bhar-container

to carry mud

Bena-hand fan

Dhanush-bow

Tappa-a huge basket

to carry hens

Hair combs

Contemporary:

Sofa sets

Dining tables.

Side tables

Lampshades

Magazine holders

Other decorative

items

Tools

Kattu-a tool to take

off the skin of

bamboo sticks

Hexo-file

Kulhari-axe

Churi-knife

Hammer

Screwdriver

Wooden file

Try square

Leather punch

Sandstone

Baby vice

DHOKRA-LOST WAX METAL CASTING

Production Clusters DHOKRA IS THE name given to metal cast objects in brass or bell metal made

across central and eastern India.An ancient craft,it is made by the lost wax or cire

Ranchi district:

perdue process,which is one of the oldest metal casting techniques known to

Khunti:Bajar talei civilization.Usually,an item has intricate surface ornamentation in the form of

Dumka district

pellets,lattices and spirals.A mould must be broken to extract the piece being

made;hence each piece is a unique expression.In the Ranchi region,dhokra is

Sikarpara

made by the nomadic Malhore craftsmen.The Jadupatua painters practice dhokra

in Dumka region.

Products

Animal and human

figures,Deities

Door handles,Bowls

Ashtrays, Bottleopeners

Diyas-oil lamps,

candle stands

Face masks,Small

toys

Amulets, Anklets,

Pendants

There are myriad themes:animal

forms,mythical creatures,and vignettes from

everyday life.For the local markets,the

craftspersons make figurines of gods and

goddesses,and items of daily use,like the

pyala,which is a measuring cup.Dhokra

objects art are popular in national and

international markets:items like stylized door

handles,human and animal figurines are made

to order.Stylized representations of Hindu

gods are popular.Items are priced according to

the weight and quantity of metal used-the

more the metal,the costlier an item.Market

exposure comes from the works being

displayed and sold through state emporia or

voluntary organizations.

Pyala,the measuring jar,made in different

sizes is the most traditional of all dhokra

products.Each size is equivalent to a specific

weight and is used to measure rice and grains.

MUSICAL INSTRUMENTS

MUSICAL AND DANCE are an integral part of tribal life.Drums are an

intrinsic part of all celebrations,be it tribal festivals like karma,Jitia and

Sarhul,or even Christmas carols sung by a tribal laity.The Gorayat Mahli

and Ghasi tribes make musical instruments,predominantly a variety of

drums that accompany weddings and other tribal celebrations.The body of

the drum,called kholi,is made by the ironsmith,and the animal hide or

chamra is sourced from local markets.Hides from different animals are

used for different kinds of drums:for instance,a nagada is made of buffalo

hide,while a dholak is made of cowhide.The skill of the drum maker lies in

his ability to treat the raw hide properly,as well as layer the inside of the

kholi with a paste of incense,mustard oil and jaggery.This paste aids in the

refraction of sound waves and the amplification of sound.These drums are

made predominantly for the local markets,though the demand is

dwindling.As more tribals come into the orbit of modernity,practices like

community dancing are changing form.Sales depend on regional and

national fairs and on the middlemen who sell the drums in places that the

craftsmen cannot afford to travel to.

Production Clusters

Ranchi district:

Ranchi

Soso village

Products

Nagada-kettle drums

of the old

naubat,traditional

ensemble,of nine

instruments,played

with sticks.

Dholak-barrel-shaped

side drum

Dhamsa-drum

Dhag-a large drum

Tasa-copper bowl

covered with skin

Mandar-a barrelshaped

drum peculiar

to Santhali music

Tools

Churi-a sharp blade

like tool to shave the

hair from the animal

skin

Sil patthar-a stone

used to sharpen the

churi

Aari-a pointed iron

rod to puncture and

make holes in the

animal skin

Dhora-a device used

to twinde leather

thongs

Tipori,Khari-wooden

sticks,used to play the

musical instruments

TRIBAL JEWELLERY

A Tribal woman

wearing pairi,anklets

made by Jadupatua

craftsmen in

Dumka.The anklets

are solid-cast over a

clay core.

Sancha,dies,used for

patterning silver and

sheet metal

Production Clusters

Ranchi district:

Chelagi village

Products

Pairi-anklets

Sigri-necklace(called

hisirin in Munda)

Payal-anklet(called

ander in Munda)

Bajubandh-armlets

Khunso-hairpins

Mundra-earrings

Anguthi-finger rings

Sigri or rigid necklace

called hisirin in the

Munda language.

Tools

Bhatta-earthern

furnace

Nehai-metal slab

Bakanal-hollow pipe

Kaisla-metal cube

with hemisperical

holes to make balls of

silver.

Khalni-file

Adhani-metal rod to

give diameter to the

silver ring.

Katghira-metal plate

Jaitri-for shaping

metal die to draw

very thin silver

wires/strings

Sohni-tweezer

Parghani-metal slab

used to make silver

strands.

Sancha-dies

Takua-thin rod

Pairi,a

silver anklet made by the

lost wax casting method as a

single piece and without

using a clay core,Chelagi.

SILVER AND WHITE metal jewellery worn by the tribals in made

by the craftsmen of the Soni community,who practice agriculture

during the monsoons.Tribal men and women wear

jewellery.Interestingly,the pieces are made using modern sanchas or

dies that are bought from the market in Ranchi.The jewellery forms

are traditional:the rigid torque made in hollow construction with

chasing and die-stamped components,solid torques with a square

section tapering to the end and chain links made from wire with diepressed

pendants.Anklets are cast by the lost wax method in silver

and white metal.The craftsmen generate a wide range of forms from

wire,sheet and cast techniques.Emporia and jewellery stores across

the state stock these ornaments,and also take orders.

1. Sigri,a

necklace.Seedshaped

pendants are

strung on a

yarn

chain.Cotton

rope forms the

core of the

chain that is

wrapped with

dyed cotton

threads.

2. Necklace

composed of

several chains

made of wire

with a diepressed

pendant.

WALL PAINTING OF HAZARIBAGH

Inset Sohrai

painting

showing God

Pashupati,

(literally the

god of

animals)on a

bull and a

plant motif.

Detail of a

khovar

painting

depicting the

Tree of life

motif.An

undercoat of

black colour

made with

manganese

earth is

spread with a

broom or by

hand.This is

later covered

with white

kaolin earth

which is

scraped off

with a comb

or using one`s

fingers

(sometimes

covered with

fine cloth),to

reveal the

black colour

of the

undercoat.

SITUATED AT ABOUT

2000 feet above sea

level,Hazaribagh is a thickly

forested region in the heart of

the Damodar river

valley.Ancient rock art sites

have been discovered

here,like the famous Isko site

in Hazaribagh town.The

forms and motifs of

prehistoric art of ancient

tribes like

Khurmi,Ganju,Santhals and

Oraons who live here.

While entire tribal villages have elaborately painted houses,two

varieties are outstanding:Khovar and Sohrai paintings.Much like

the bridal chambers of Mithila,Khovar paintings have fertility

symbols celebrating union and propagation.Bird

motifs,especially the parrots and peacocks,are popular,as are

fruit bearing trees.They are mostly made in the wedding

season,which extends from January to May.Sohrai is observed

during Novemenber to December celebrating the

harvesting.Cattle are cleaned and worshipped ,as are agricultural

implements,like the plough.Sohrai paintings characteristically

have a male god,Pashupati(popularly known as Shiva),the lord

of animals shown standing on the back of a bull.Though tribal

khovar and sohrai paintings have not had the market exposure

that Madhubani paintings have had,the region has enormous

cradft energy waiting to be tapped.

Detail of a sohrai painting which was originally made on a

mud wall with red oxide, red ochre, kaolin white and

manganese black.

A sohrai painting that depicts animals,birds and lizards done by

the Kumi tribe.These forms are used as fertility symbols in the

paintings.

Production Clusters

Hazaribagh district:

Hazaribagh

Products

Wall paintings

Tools

Broom

Comb

Children standing in front of a wall with sohrai painting.

Khovar painting on the wall of a house during

the marriage season.

In the sohrai painting done by the

Kumi tribe,Lord Pashupati`s form

symbolizes Lord Shiva`s

damru,drum,that is shaped like an

hourglass.

Craftsperson making a Chhau mask.

RESOURCES


Jadupatua painting Clay Rattanpur block

Black terracotta Clay River Dhove

Crafts of Dumka

Jadupatua painting

Black terracotta

Subclusters of

Dumka

Deogarh district:

Deogarh

Jasidih

Dumka district:

Dumka

Sikaripara

Nonihat

Jadupatia

LOCATED in the northeast of Jharkhand,Dumka is in

the heart of the Santhal Pargana,home to the Santhal

tribe.The Santhals are one of the largest tribes of

India,Spread across

Jharkhand,Bihar,Bengal,Tripura,Assam and Orissa.An

ancient tribe,the Santhals are a proud people with

socio-cultural institutions of their own-they worship

their own bongas,spirits,regulate their village life

according to ancient custom,and are one of the few

tribes in India to have their own script,the

Olchiki.Celebrated for their vibrant music and

community dances,the beats of the Santhali

maadal,drum,echo in Dumka even today.The famous

Baidyanath Templed,dedicated to Shiva and Shakti,and

a staple on a Hindu pilgrim`s itinerary,is located in

Deogarh. Ranchi and Dumka have stone reserves.A

dark-coloured hard stone is quarried at Padgaha in

Dumka.Cattle feed containers,wheat and paste

grinders, lamps, utensils, and blocks used in house

construction are made in Padgaha,from stone.

preparing hat out of kosi grass

Woman

ACCESS

Dumka is well connected by road.Daily bus services

are available from Ranchi and other major cities of

Jharkhand.The nearest airport is in Deogarh.

A dhokra craftsman,belonging to the Jadupatua community,puts

wax on the clay figures after they have been sun-driedd for over

two hours.

The Jadupatua

artists,also called

Chitrakars,are

followers of Hindu

religion and are

considered to be

Brahmins by the

Santhal tribe.These

chitrakars are invited

by the Santhalis on the

occasions of death or

birth in a family to

read out their

paintings,making the

occasions

auspicious,giving

peace to spirits of the

dead and wishing a

good life for the newborn.

JADUPATUA PAINTING

THESE ARE RITUALISTIC scroll paintings made by Jadupatuas,the

itinerant minstrel-healers of the Santhal tribe.An ancient traditional,these

scrolls are narratins of myths and tales from the Santhal cosmos,like the

exploits of the tiger gods Satyapir and Satyanarain.Hindu themes like

scenes from Krishna`s life extracts from the Ramayana,and lives of

Bengali saints like Chaitanya are also popular.Twenty or more panels are

arranged vertically,and the scrolls are unrolled to the accompaniment of

songs or chants sung by the Jadupatua himself.The painters or chitrakars

hold priest-like status in the Santhal community-they must perform at the

time of births,deaths or marriages, and are given offerings to pray for the

occasion.The paintings are simple illustrations,devoid of an evolved

symbolism like that of say,Madhubani or Warli paintings.The themes

depend on the occasion of display-a wedding scroll would have stages of a

marriage right from the beginning when the bride-groom`s family visits

the bride`s village to see her,down to the actual ceremony.Usually,the

scrolls are not painted for sale,unless an order is placed.

An image of Goddess Kali.

Production Clusters

Dumka district:

Jadupatia

Tools

Brushes

Vegetable paints

The scrolls consit of twenty or more

individual story panels arranged

vertically,which are unrolled and rerolled as

the story is sung.Older scrolls were painted on

fabric.Those shown here,are painted in natural

paints on paper-generally a series of

individual sheet sewn together.

BLACK TERRACOTTA

BLACK AND RED TERRACOTTA items are thrown on the wheel

in Jisidh.The process used is that of reduction firing.When the

products are fired ,those that must turn black are first put into a

tightly-seales terracotta utensil which is then fired,while the red

ones are placed in the furnace directly.Due to lack of oxygen,the

pots inside the utensil turn black.

Terracotta Jewellery

Women of the Sonar tribe in Nonigaon make hand-formed and diepressed

terracotta jewellery to be sold mostly in the markets of

Shantiniketan and Kolkata.

Agarbathi or

incense stick

stand.

1. Necklace made with

terracotta beads and diepressed

pendant.

2. Bowls,the terracotta

bowls are used

domestically while the

black bowls have more

market value.

3. Kamandal surahi,pot

with a spout.

4. Coin bank

Tools

Kumhar ka chakkapotter`s

wheel

Chakhayat-wooden

hemisperical tube

Maria-hammer

Dice-mould also

made of mud

Seet patiaa-wooden

slab on which the

mud is beaten.

Production Clusters

Dumka district:

Dumka,Nonigaon

Products

Kamandal surai-water

container

Nal walli surai-pots

with taps

Gamalla-flowerpots

Deepak-lamps

Gulak-coin banks

Phooldani-vases

Momdani-candle

stands

Ashtrays

Paon walla jama-foot

scrubber

Small toys sets

Kulhad-small

containers to drink

tea

Jewellery:

Bala-churri-knife

Hasli-necklace

Jhumka-earings

Hair clips

Malas-necklaces

Districts : 30


A Dongaria tribal girl from Khajuri village in Khumi,Rayagada.

1. Shepherds with palm leaf sunshades in Singpur village located between

Rayagada and Parla Khemundi.

2. In Lingaguda village,the road serves as a common courtyard which is used

by villagers for threshing grain,in the tribal region of Koraput.

3. A vendor outside Lingaraja Temple,Bhubaneshwar.Coconuts have

mutlipurpose uses,as an offering ,as food,a source of oil and the shell is used

to craft small objects

4. The Mukteshwara Temple complex in Bhudaneshwar, a city significant for

its temple architecture in stone.

5. One of the twelve stone wheels of the chariot of the Sun God in Konark Sun

Temple.The wheel motif is found in wood and stone carving crafts.

6. Patachitra,painting on cloth.Schematic pictures of the Jagannath Temple

were painted as souvenirs for pilgrims.

Crafts -ORISSA

Dhokra casting

Ganjappa cards

Papier-mache toys

Stone carving

Bandha-yarn tieresist-dyeing

Patachitra-painting

Bomkai sari

Terracotta

Cane and bamboo

work

Wood carving

Brass & bell metal

ware

Sikki work

Betel nut carving

Coir craft

Horn carving

Katki chappal

Silver filigree

Stone carving

straw craft

Cowdung toys

Coconut shell carving

Tribal ornaments

Palm leaf engraving

Flexible fish-brass

and wood

Lac ware

Sisal fibre craft

Paddy craft

Root carving

Dongaria scarf

Applique

Kotpad sari

Languages

Oriya

Hindi

Telegu

Cuisine

Rice and lentils

Fish curry

Attire

Bomkai sari

Bickitrapuri ikat sari

Dhoti-man`s draped

lower garment

Kurta-tunic

Festivals

Ratha Yatra

Holi

Chandan Yatra

Snana Yatra

Bali Yatra

Landmarks

Jagannath Temple

Lingaraja Temple

Konark Sun Temple

Hirakund Dam

Lake Chilika

Bhitarkanika Bird

Sanctuary

THE HISTORY OF Orissa,ancient Kalinga,has been shaped

by major political events and the religions that flourished over

the centuries.The Kalinga war which silenced Asoka`s war

drums forever is the sheet anchore of Orissa`s history.The

succeeding Orissan king Kharavela,who came to power

during the second half of the 1 st century BC,was a jain who

furthered the religion`s cause.After him,a succession of

dynasties began with the Sailobhavas,followed by the

Bhauma-Karas and Somavamsis,and ended with the great

Ganga family,which came to power in the 12th century.The

period between 7th ato 12 th centuries saw the rise of Orissa

as a centre of outstanding artistic

expression ,commerce,pilgrimage and civilization.The art of

temple building became increasingly refined during these

centuries,developing a unique and exquisite Orissan style.

The major crafts of Orissa are dependent on the various

religious and social ceremonies mostly linked to Lord

Jagannath.The Tradition of painting patachitra was first used to

decorate unfinished idols.Shola pith was used to decorate the

idols of the trinity-Lord Jagannath,Subhadra and

Balabhadra.Both crafts owe their origin to the worship of Lord

Jagannath.In late 16th century,Orissa was annexed to the

Mughal empire resulting in a confluence of different

cultures.Ganjifa,the Mughal playing cards,became Indianized

and silver filigree was introduced here.In recent years local

materials like sikki grass,straw,coir and cowdung have been

transformed into decorative objects.Buddhism,Jainism,tribal

beliefs,and the various sects and cults which were later woven

together into Hinduism,all existed in Orissan deity of Lord

Jagannath.Orissa`s varied tribal population in the western

districts are a repository of living crafts visible through their

system of weekly markets.

Inset Elderly ladies drawing images of Lord Jagannath using

coloured powder,Guntavati shrine,Raghurajpur crafts village.

Craft of Ganjam

Ganjappa cards

Flexible fish

Brass and bell metal

ware

Cowdung toys

Betel nut carving


Subclusters of

Ganjam

Ganjam district:

Berhampur

Bomkai

Patrapur

Mathura

Kanchana

Belaguntha

Chikiti

Gajapati district:

Parla Khemundi

Koinpur

Chandragiri

RESOURCES


Ganjappa

cards

Brass and

Bell

metal

utensils

Flexible

fish-brass

and wood

Sutta-cotton cloth

Apuchi-tarmarind seed

Jhuna-incense stick

Chalk powder ,Lac

Neli-for blue colour

Sankh-Seashells

Geru pathar-for brown colour

Hingul pathar-for red colour

Harital-for yellow colour

Lamp soot-for black colour

Bell metal, Brass

Zinc

Brass

Woodkurum,Sishu,Kotrangi,Sagwan,Gambhari

Raghurajpur

Bhubaneshwar

Bhubaneshwar

Home made

Purchased in

the form of old

utensils and

machine parts

from the local

market

Kolkata

Bought in the

form of old

brass utensils

from local

market

Ganjam

THE METACLUSTER OF Ganjam consists of two

districts:Ganjam and Gajapati.These are in south of

Orissa,with Gajapati sharing its boundaries with

Andhra Pradesh.Much of Gajapati is exceedingly

mountainous and rocky,but is interspersed with

open valleys and fertile plains.Ganjam is a coastal

area with large tracts of fertile plains.Ganjam is a

coastal area with large tracts of fertile red soil.The

fish industry contributes a large percentage to the

economyd of Orissa and the direct influence of this

proximity to the sea can be seen in beautifull and

intricate motifs like that of macchi,fish,in the silk

and cotton saris of Bomkai.The region is home to

crafts like betel nut and coconut carving,flexible

brass fish,brass ware and bell metal ware.Being a

coastal area there is anmu of coconut trees. The

people utilize all the parts of the coconut tree for

handicrafts.The kingds of Parla Khemundi were the

initial patrons of all major crafts,-like horn workmany

of which are practiced even today.The

influence of the cult of Lord Jagannath is felt in this

region as all over Orissa and the tradition of

making patachitra and papier-mache masks is

prevalent.Patachitra tradition was also combined

with the introduction of round playing cards called

ganjufa during the Mughal rule under Akbar in the

early 16th century.The craft of carpet

making,introduced by Tibetan migrants,is an

important occupation for the womenfolk of this

community living in the hills of Chandragiri.

ACCESS

The nearest railhead is Berhampur,a major station

on the South Eastern railways.The National

Highway 5 passes through Berhampur linking it

with other parts of the state and the country.The

closest airport is in Bhubaneshware

1. Bomkai village is a well known handloom

weaving cluster producing Bomkai saris.

2. Detail of the cross border of a Bomkai sari.

3. Bamboo craftsman in Parla Khemundi.

4. Weaver in his pitloom in Bomkai,Ganjam

district.

GANJAPPA CARDS

ONE OF THE legacies of Mughal India,ganjif,called ganjappa

cards in Orissa,are painted playing cards made of cloth-pasted

circles held in place by tamarind glue.Once commonly played in

India,Nepal,Iran,Turkey and some Arab lands,the game has

become obsolete now.The aesthetic value of the cards has ensured

their survival,though many artisans now make the new 52-card

ganjappa.The traditional Mughal ganjifa,said to be standardized

by Emperor Akbar,was a game of 96 cards with eight suits of 12

cards each.It was not long before local religious themes were

incorporated:The Dasavatar ganjifa with the incarnation of Lord

Vishnu;the Ramayana version;the Navagraha or nine planets

ganjifa and the Ashtadikpala ganjifa are some of the variants that

were popular across the country.Cards for royalty were made of

ivory,tortoise shell,mother-of-pearl,while those ford commoners

wered fashioned from papier-mache,palm leaf or cloth.Very few

craftsmen make traditional ganjifa cards now-elaborate Hindu

themes and illustrations have been replaced by dots and other

simple motifs.Most artisans also make patachitra

paintings,papier-mache toys and masks,for the cards alone cannot

ensure sustenance.The cards are sold in regional and national

craft melas,and in craft emporia in metropolitan

cities.Today,Orissa is the only centre for traditional playing cards

where ganjappa is played for recreation.

Cards showing scenes from the Ramayana,Parla Khemundi.

Das Rangi cards depicting ten incarnations of Vishnu,wherein

each colour signifies an incarnation.

Two incarnations of Vishnu.Yellow symbolizing

kachua or tortoise and red for varaha or boar,Parla

Khemundi.

Ganjappa cards from

Danda Sahi in

Jagatsinghpur district.

Production Clusters

Gajapati district:

Parla Khemundi

Puri district:

Raghurajpur

Khurda district:

Bhubaneshwar

Products

Ganjappa-playing

cards

Tools

Cutting stencil

Grinding stone

Brush

Scissors

Ply board

FLEXIBLE FISH-BRASS AND WOOD

Production Clusters

Ganjam district:

Ganjam

Products

Flexible fish and

snakes

Prawns-not flexible

Tools

Brass fish:

Earthenware pot

Sandasi-pincer

Hatudi-hammer

Sabal-plateform

Chimuta-large

forceps

Channi-chisel

Wooden fish:

Kalapasmeasurement

tool

Ari- file

Gojuni-needles

A SPECIALITY OF Ganjam is the flexible brass or wooden fish made of

separate pieces linked by a chain.It is so skillfully assembled that it flexes

like a live one.They were toys made out of old brass utensils by traditional

craftsmen which have now become a rare craft.Components like fish scales

are cut from thin brass sheets,pierced with holes,and joined with a fine chain

of brass that allows each piece to move.The face and tail are also joined by

chain.Wood is also used,though less often.For all the skill and meticulousness

needed to craft these items,the returns are not very high.Hence very few

traditional Kansari craftsmen are willing to carry on the legacy.Far more

market exposure is needed to save this unique craft from dying out.

Inset Flexible brass fish with concealed brass chain.

1. Wooden flexible fish with the face of Lord Jagannath made by the only

master craftsman in Belaguntha.

2. Brass flexible fish made in Berhampur.

3. Wooden flexible fish,intricately carved and assembled with the brass

chain visible.

BRASS AND BELL METAL WARE

Production clusters

Ganjam district:

Jagmohan

Mamudia

Devbhumi

Mathura

Kabli Surya Nagar

Nuapentha

Patrapur

Dhabra

Belaguntha

Berhampur

Gajapati district:

Parla Khemundi

Gunpur district:

Gunpur

Sahara

Puri district:

Balakati

Bainchua

Rajsunalhal

Brahmagiri

Itamati

Balasore district:

Remuna

Belangir district:

Toroba

Dhenkanal district:

KASA (BELL METAL) and pital (brass) are copper alloys of ancient pedigree

in the Indian subcontinent.Highly recommended by traditional medicine

texts,utensils of bell meatal are considered to be the best suited for everyday use

as well as for ritual offerings to the gods.Kitchen ware made of bell metal is

still a prestigious part of a bride`s dowry,signifying her family`s economic

status.Old bell metal and brass are melted down,allowed to set,and then forged

by repeated hammering and beating into the desired shape while others are cast

and turned.A collaborative activity involving at least four artisans,coordination

is of the essence in the process.Most of the products made in Patrapur are

small,made with few joints.The labour intensive process of the craft translates

into steep pricing of the products.Bell metal utensils,though perennially in

demand,have yielded a share of their marketd to mass produced

steel,aluminium or plastic utensils.Many craftsmen also undertake repair work

of old utensils to supplement their earnings.

1. Bell metal bowl from Patrapur in

Ganjam district.

2. Thalia-brass plate

3. Brass ladies used for stirring

4. Bell metal bowl made in Patrapur

Products

Thali-tray

Thalia-plate

Qina-cup

Bela - bowl

Lota-water pot

Pilisaja-wick stand

Dibi-lamp

Kunda-water tub

Gara-water pot

Dhupadani-incense

stand

Gilasa-glass

Phuldani-flower vase

Khatuli-small sofa for

idols

Ginni-small cymbals

Tale-big cymbals

Rukha-big lamp

Tools

Hatudi-Hammmer

Sandasi-pincers

Ruha/Ugha-file

Lihini-scraper

Kundad-lathe

Bhanra-hand operated

drill

Drill

Bhuban

Indipur

Okherma

Karamal

Kala Pankha-hand

blower

Koi-crucibles

1. A cowdung toy of Lord

Jagannath,the principal deity

of Orissa.

2. Simplified forms of animals

and birds are common,like

this figurine from Mathura in

Ganjam.

3. Jagannath with brother

Balabhadra and sister

Subhadra,simple forms and

colours with litte

embellishment.

4. Figurine of Hanuman,Parla

Khemundi.

5. Tribal woman and man,Parla

Khemundi.

COWDUNG TOYS

For centuries,toys made from cowdung have served

as cheap substitutes to wooden and metal

toys,especially for marginalized communities.The

raw material is free,and the cost of production almost

negligible.Mostly made by the women of the stone

carver community,these brightly painted toys are

rustic in design.Birds and animals are popular

motifs,as are statuettes of Lord Jagannath and his

companions.These are sold in the local markets

alone.Cowdung enjoys a great deal of value in India

and is thought of as holy as well as having antiseptic

property.

Production Clusters

Ganjam District:

Ganjam

Mathura

Koraput district:

Koraput

Nawrangpur

district:

Nawrangpur

Puri district:

Puri,Raghurajpur

Products

Idols

Animal figures

Bird figures

Tools

Tulli-brushes

COCONUT SHELL CARVING

COCONUT SHELLS ,CALLED nadia,are inexpensive in

Orissa,given its long coastline where coconut trees grow in

abundance.Decorative and utility items crafted from coconut shells

work out cheaper on account of the low cost of raw material,and less

labour involved in comparison to betel nut carving.Most products are

sold at local and national craft emporia.

1. Candle stand made of coconut shell.

2. Container for storing sindoor powder.

3. Figure of a deer carved

BETEL NUT CARVING

WOOD CARVING SKILLS have been ingeniously

adapted to craft figurines and knick-knacks made out

of betel nut shells,called guha.Miniature betel nut

statuettes of deities like Jagannath,Subhadra and

Balabhadra are deemed ideal for household

shrines.Large temple structures or replicas of

Jagannath`s rath,sacred chariot,have a core of

plywood covered with betel nut pieces,and are

popular with tourists.Miniature chairs and small toys

are made for children.The price of a small item is

hardly commensurate with the labour

involved,thus,betel nut artisans also curve coconut

shell products to supplement their income.Local

sales are largely buttressed by tourist buyers,while

national exposure comes from sales emporia in

metropolitan cities.

Production Clusters

Ganjam district:

Berhampur

Belaguntha

Products

Betel nut carving;

Figurines

Idols

Statues

Coconut shell

carving:

Sindhoor-vermilion

container

Incense and candle

stand

Birds,Animal figures

Bangles

Tools

Vice,Hand Drill

Sandpaper,wood files

Koinch-pliers

Ari-files.

View from the

Lion Gate of the

Shanti Stupa,

Dhauli. It is the

site of a set of

Emporer

Ashoka`s rock

edicts dated

about 260 BC.

Stone relief

from the Shanti

Stupa in Dhauli

depicting the

Bodhi tree,

symbol of the

Buddha, and

devotees

offering

obeisance.

BHUBANESHWAR, the modern capital of Orissa, is a subdivision of

Khurda district. It is a centre of trade, commerce and religion. Of the 7000

temples that once existed in Bhubaneshwar, only 500 remain, spread

around the Bindusagar Tank. These temples epitomize a comprehensive

history of the Orissan style of temple architecture from its very inception to

perfection spreading almost to two thousand years from 3rd century BC to

16th century AD. These temples are testimony of an ancient carving

tradition. The craft of stone carving draws inspiration from the impressive

Lingaraj Temple, Jagannath Temple and the Jain monasteries at Khandagiri

and Udayagiri. The pervasive Lord Jagannath legend and proximity to the

temple town of Puri with its festivals has directly influenced the crafts of

this cluster. Many of these are ancestral occupations of the craftsmen and

crafts like stone carving, patachitra, palm leaf engravings and papier-mache

are prominent in religious practices and rituals.

ACCESS

Bhubaneshwar is connected by air to Delhi, Mumbai, Kolkota, Raipur,

Chennai, Hyderabad and Nagpur. It is also linked by rail and road with all

major cities.

Subclusters of

BHUBANESHWAR

Khurda district :

Bhubaneshwar

Banapur, Khandagiri

Crafts of

BHUBANESHWAR

Palm leaf engraving

Stone work

Pepier-mache

Resources


Stone

work

Papiermache

Granite

Sandstone

Kuchila

Kendumundi - soap

stone

Waste newspaper,

Bamboo stick, Cloth,

Clay, Tamarind

seed, Cardboard,

Sawdust

Mayurbhanj

Topang in

Khurda district

Keonjhar

district

Keonjhar

district

Bhubaneshwar

TALAPATRA KHODAI - PALM LEAF ENGRAVING

Production Clusters

Bhubaneshwar

Puri district:

Raghurajpur

Products

Wall hangings

Bookmarks

Vermilion container

Ornamental boxes

Lampshades

Carved and painted

fans

Tools

Lekhana - stylus

Naurini - cutter

Whetstone

In Orissa, engraved palm leaves, known as talapatrachitra,

have traditionally been used for writing down horoscopes of

newborn infants. The Nayakar community, traditional

astrologers, prepared these talapatrachitra. These

engravings are fine line drawings, which illustrate

manuscripts. A very steady hand is required to use the

engraving tool on a thin strip of palm leaf. In the limited

space available to them, the artists recreate human figures,

capturing the minutest details of body and costumes with

only a lekhana, stylus. Often and entire engraving is done

on three to four leaves and later stitched together to form a

scroll. A charecteristic feature in some talapatrachitra are

semi-circular flaps, which have a figure on the top surface

and a verse beneth it or another image on the other side.

The themes illustrated in the contemporary palm leaf

engravings are the Ramanaya, Mahabarata, Kamasutra,

Krishna Lila, Vishnu Purana and tales of Lord Jagannath.

This craft borrows from the same tradition as the patachitra,

due to their proximity and cultural similarity.

1 Lekhana, and engraving tool

used to inscribe text and

illustration on palm leaves. After

engraving, the leaf is smeared

with black dye and then cleared

2 Detail of an

engraving depicting

elephant composed of

female figures.

3 Talapatrachitra of

Sewing needle off from the remaining areas. Lord Ganesha with his

wives Riddhi and

Siddhi.

PATHAR KAMA - STONE WORK

The rock cut caves of Khandagiri, Lalitgiri and Udayagiri,

and the Konark Sun Temple stand testimony to the rich

stone carving tradition of Orissa. The Shilpkar community

are the traditional specialists of this craft. With intervention

from government agencies people from other communities

have also taken up the craft, which is prevalent in almost all

districts of Orissa. Stone idols of Hindu deities, the Buddha,

and mythological characters are carved and stone carved

animal figures outside temples are a common sight.

Decorative sculptures depicting ment and women, animals

and birds are also made. Carved stone objects are

commissioned by temples in and around Orissa. Hotels and

emporia across the country also contribute to a high

demand of these sculptures.

1. Idol of a five headed Ganesha.

2. Sculpture of a tree nymph, the

tree and deer symbolizeing

fertility.

3. A reclining Ganesha idol inside a

conch shell.

Production Clusters

Khurda district:

Bhubaneshwar

Khandagiri

Puri district:

Puri

Balasore district:

Balasore

Cuttack district:

Cuttack

Products

Idols, Animal figures

Figures of apsaras

Tools

Karata - hand saw

Khat kas - tool for

drawing

Hatudi - hammer

Gunati - chisel

Thukka - wooden

hammer

Hata baresi - axe

PAPIER - MACHE

In Orissa, papier-mache masks and figurines are

inspired by the patachitra tradition. Mukha, masks,

are made by using a mould of clay and newspaper.

Paper and cloth rags are soaked and applied in layers

with locally made gum on the mould. Saw dust

mixed with gum is applied smoothly, dried and

burnished with sandpaper. As in patachitra painting,

the colours are made from seashells and rocks. The

detailing such as the outlines of the figure`s eyes in

red and black follows the patachitra styles. Masks of

deities, demons and animals are made for use in the

local folk and classical dance performances. The

figures and other products like dolls, pen stands and

lampshades are made in many sizes.

1. Mask of a god.

2. Mask of a goddess

3. A tiger mask

Production Clusters

Ganjam district:

Ganjam

Puri district:

Raghurajpur

Khurda distrct:

Bhubaneshwar

Products

Masks of gods

Masks of demons

Animal figures

Flexible dolls

Pen stand

Lampshades

Tools

Korani - spatula

Tulli - brush

Nadia sadhei - paint

container

Rubna - stone grinder

Pathra kadhi -

tamarind seed grinder

Women make the chita paintings using rice paste every Thursday during the month of Margashira.

Figures of lions guarding a temple in Puri

Crafts of PURI

Patachitra - painting

Pipili applique

Shola pith craft

Seashell craft

Coir craft

Wood carving

Subclusters of PURI

Puri distrct:

Puri, Raghurajpur,

Pipli

Resources


Wood

carving

Neem wood, Sidar, Teak

and Sheesham

Cuttack

Applique Cloth Cuttack,

Mumbai,

Kolkata, Raipur

Shola pith Shola pith

Seashell

craft

Seashells - gauri patar,

kauda, conch shells, tokas,

muli sankh, samuka

Puri

Puri, South

Africa

The ancient temple of Lord

Jagannath situated here is the

nucleus of Puri`s and indeed

Orissa`s socio-religious life.

The most important festival is

the Ratha Yatra, chariot

procession, when the temple`s

deities - Jagannath, Subhadra

and Balabhadra - are taken out

in procession to the Gundecha

Temple in the temple chariots.

The Jagannath cult has nurtured and supported a wide range of

crafts - carving of idols in wood, stone, shola pith; patachitra or

cloth painting, applique, dhokra casting, papier mache and

several others. This has made the craft repertoire, rich in

media, which draw on the religious traditions of Puri and local

resouces for their inspiration. The Jagannath triad is the most

common motif that appears in most of these crafts. Puri is a

coastal area, green with dense vegetation. The countryside is

dotted with poinds and coconut palms, banana, mango,

jackfruit and gulmohar trees. The flowering trees and animals,

have been depicted in a detailed and stylized manner in palm

leaf engravings and patachitras, which have religious themes.

Raghurajpur, Puri and Bhubaneshwar, have a large number of

chitrakars, painters; some of them live near the Jagannath

Temple in Puri.

ACCESS

Puri town is about 80 km from Bhubaneswar and can be

reached via road or rail.

Inset : The popular icon of Jagannath painted on the walls of a

residence in Raghurajpur.

Palm leaf strips have been joined with stitches, which enables

them to be folded. The folk theme of Nabagunjara has been

engraved on the palm leaf in the talapatrachitra, palm leaf

painting tradition. Arjuna is shown bowing to Lord Vishnu or

Krishna depicted as Nabagunjara, a composite creature formed of

nine different animals. Talapatrachitras are done in Puri,

Raghurajpur and Bhubaneshwar.

Raghurajpur in Puri district, has the larges number of chitrakars, painters. Seen here is

an unfinished patachitra painting of Lord Krishna an Radha in a central medallion

with stylized lotus motif. The petals have alternating pictures of a gopi, cowherdess

and Lord Krishna, The alternation represents the rasa, dance, in which Krishna

multiplies himself so that he can dance with every gopi.

PATACHITRA - PAINTING

Patachitra or painting on cloth, is among the most distinct forms of

traditional painting in Orissa. The word is derived from the

Sanskrit word patta meaning `canvas` and chitra meaning

`picture`. The iconic paintings, a domain of the Chitrakar

community of painters, depict religious themes - stories from the

Ramayana, Mahabarata, Krishna Lila and incarnations of Lord

Vishnu. But the most popular depiction is that of Lord Jagannath.

The patachitra has its roots in the schematic paintings of the

Jagannath Temple that were made as souvenirs for the pilgrims.

The paintings are colourful and characterized by creative mothfs

and details of human figures, jewellery and costumes. The canvas

is skillfully made. Cloth is bonded with

Production Clusters

Ganjam district:

Puri district:

Puri

Khurda district:

Bhubaneshwar

Products

Paintings

Ganjappa cards

Painted dowry chests

Panels

Tools

Tulli - brush

Scissors

Cardboard

Nadia sadhei - colour

containers

Jhuna barada - coarse

grinding stone

Rubna - stone grinder

gum made from powdered tamarind seeds, dried in the sun and

burnished on both sides with a coards stone and subsequently with

a smooth pebble. The colours used in the paintings are extracted

from rocks and seashells. Patachitras have two kinds of borders -

floral and geometric. The common motifs painted on these borders

are called dahaniya macchi, kangura,

Lahara macchi, goolai, sapa ad chauk. The patachitras

have an important role in the rituals of the temple at

puri. They are temporarily installed in place of the

deities during the few times the idols are taken out of

the temple for the processions. Puri district, especially

Raghurajpur, has the highest concentration of the

Chitrakar community.

1. Painting of Lord

Krishna with

gopikas,

cowheresses.

2. Painting of

Krishna playing

the flute with a

gopika.

3. Dowry chest:

cloth painted in

the patachitra

tradition, is

pasted onto the

wooden surface.

4. Patachitra

depicting Krishna

subduing Kalia,

the snake demon.

Kalia`s wives,

Naginis, beseech

Krishna to spare

his life. Thus

Kalia is banished

from the river.

PIPILI APPLIQUE

Production Clusters

Puri district:

Pipili

Ganjam district:

Kanchana

Cuttack district:

Cuttack

Products

Trasa-banners

Chandua-canopies

Chhatti-umbrellas

Cover for shrines

Animal puppets

Wall hanging

Lantern

Parasols

Bags

Pouches

Cushion covers

CONCENTRATED IN PIPLI village of

Puri district,the applique work of Orissa

is district in style and

imagination.Banners,canopies,umbrellas

made in patchwork,and applique with

embroidery stitches,are related to

religious festivals processions and the

Jagannath cult.

Bold stylized forms of birds,lotus,elephant,lion,the sun and

moon,are appliqued on to a base cloth and outlined with

embroidery stitches.The central lotus motif is distinctive of Orissa

applique,constructed with concentric rows of traingles,tips of

which are filled with cotton,giving the petals an extra

dimension.The demand for traditional banners and canopies having

declined,the craftsmen have adapted their vocabulary for tourists

and pilgrims which has brought changes in designs,motifs and led

to the diversification of products.

Inset Detail of a

mouse appliqued on

to a base cloth with

chikana,chain

stitch,distinctive of

Pipili applique.

1. Contemporary

canopy with

rhombic forms

done in

patchwork,and

elephant

figures,circular

forms and

triangles

appliqued on.

2. Wall hanging

with the motif

of Jagannath

whose face has

been outlined

with chain

stitch.Rows of

traingles are

characteristics

of Pipili

appliquerepresenting

petals of a

lotus.Here the

triangles

decorate Lord

Jagannath`s

face.

3. The chhatti,a

contemporary

version of the

ceremonial

umbrella has

two cloth

covers,one on

the outside and

the other

inside

ornamented

with

patchwork and

applique.The

central mast

has a cover

made into a

cylindrical

form with leafshaped

edges.

Tools

Sewing machine

Scissors

Needle

Measure Tape

SHOLA PITH CRAFT

Production Cluster

Puri

Products

Ornamentation and

backdrop of idol

Sculptural objects

THE SOFT STEM of a wild-growing water plant,shola(Aeschymene

aspera),is used to craft statuettes and three-dimensional sculptures.The

objects,made from the pith,weigh little, contracting and expanding with

changes in temperature.since the 11th century,the craft has its tradition

in the Jagannath Temple,where the adornment of the idols and their

decorations are done with shola pith.The material is also used for

making ritual decorations and sculptures of Hindu deities.The most

common colours used by the craftsman are reddish-brown and

white.The products are made with intricacy and the ornamentation

requires skill and experience.The flexibility of the material allows great

Idol

Konark Wheel

Flower vase

Artifical flowers

Display objects

Tools

Guakati-nut cracker

singha bhati-drawing

tool

Churri-knife

Burnishing tools

finesse especially for detail.

Shola(Aeschymene aspera)

SEASHELL CARFT

THE BEACHES OF Puri are abundant in seashells that are used for making articles of utility and

decoration.Small shops selling seashell products are a common sight on the beaches of Puri and

outside the Jagannath Temple.The products are embellished by engraving on them,by painting or

both.Shells of different qualities are also bought from other states in the country and even other

countries.The pieces illustrate various themes from the life of lordd Jagannath and other Hindu

mythologies.Small items like ornaments and photo frames are commonly made in most of the

coastal areas.Engraved and painted lampshades are made by very few and highly skilled

craftsmen.

Production clusters An ornate replica of the temple chariot made of seashell.

Puri

Products

Lampshades

Keychains

Buttons

Pen stands

Mirror & Photo

frames

Curtains

Pendants, Bangles,

Rings, Hair clips

Tools

Saw

Hand drill

File

Sandpaper

Detail of an intricate engraving on a seashell.

COIR CRAFT

NADIA KATA,COCONUT fibre,is transformed into beautiful toys and

decorative objects by tying and folding the fibres together.The

craftswomen in Satasankha and Sakhigopal,make these animal

figures,Nearly a decade ago,this craft was introduced in these

villages,which are abundant in coconut plantations,to generate

employment for women.The figures are made in parts and then assembled

together.Facial features are added with coloured wool,stitched on the

figure.Sometimes,fibre is also coloured to make them attractive.Apart

from animal figures,wall hangings and utility products are also produced.

Artisan shaping coir into animal figures.

Production cluster

Puri

Products

Ropes

Doormats

Toys

Curled coir

Dolls

Birds

Animals

Handbags

Tea coasters

Table mats

Tools

Manual spinnerets

Dye vats

Frames

Pressing machines

Katuri-scissors

Sui-needle

WOOD CARVING

Production Clusters

Puri district:

Puri

Raghurajpur

Products

Small idols

Statues

Wooden walking

sticks

Carved ashtray

CARVED WOODEN FIGURES made in Puri are directly

influenced by the proximity to the Lord Jagannath

Temple.Elaborately carved wooden sculptures are made in

Puri,where craftsmen use wood like neem,cedar,teak and

sheesham.Small figurines of gods and goddesses are bought by

local people.The forms,themes and motifs are directly governed

by the religious culture of Puri.Besidesd the trinity of Lord

Jagannath,other Hindu gods like Ganesha,Krishna and Laddu

gopal are also made.Some of themd are polished with wax to

obtain a glossy and smooth texture.The craftsmen make

souvenirs for tourists who visit the Puri temple.They also make

utility products like carved walking sticks and ashtrays.Demand

for the carved objects made here has dwindled in the last few

years.The painted bird and animal forms echo the patachitra style

of the region.

Tools

Kholom-U-shaped

chisels

Batali-flat chisel

Batali-half-round

chisel

Barasi-hammer

Karata-saw

Khot Kas- tool used

to draw lines

Tai- Iron base

Sandpaper

Idol of Ganesha unusually depicted like Laddu Gopal,the child Krishna

with a laddu,sweet.

Traditional wooden toy

bird,Bhubaneshwar and Bargarh.

Carved and painted toy

camel,Raghurajpur and Bargarh.

Idol of Ganesha reclining inside a conch shell,Puri.

Carved head of a walking stick.

Idols of Jagannath and Subhadra,made in Raghurajpur.The turned wood and

painted idols are abstract figures with prominent face and eyes.Jagannath has

stump arms and Sudhadra is shown without arms.

DHENKANAL IS AMONG the centrally located

districts of Orissa.It is believed that it was named after

a chieftain called Dhenka who ruled an area around the

present township.Located nearly a hundred kilometres

away from Bhubaneshwar,Dhenkanal is famous for the

Balbhadra Temple built in the 18th century.The town

is clustered with temples dedicated to the many deities

of the Hindu pantheon.Most of Dhenkanal is covered

with dense forests and long ranges of hills making it a

home for many plant and animal species.The River

Brahmani divides the district,and along its plains are

vast expanses of agricultural land.The forest plays an

important role in the economy,providing not only

timber,bamboo and firewood,but also leaves,flowers

and resins which are useful ingredients in medicines

and are also used in crafts.Bamboo craft and straw

craft have been introduced in the district by external

organizations to increase employment opportunities in

the district.Traditiona metal craftsmen of the Kansari

community make brass and bell metal objects.The

nomadic craftsmen doing dhokra work settled here

from Raipur (in Chhattisgarh) and Barddhaman(in

West Bengal) a few years ago.

RESOURCES


Metal wared Brass,Bell metal Dhenkanal

Metal bead

jewellery

Brass sheet, Charcoal, Silver sheet,

Nitric acid

Dhenkanal

Bamboo work Bamboo Local

forest

Cane

Dhenkanal

Subclusters of

Dhenkanal

Dhenkanal district:

Rai Narsinghpur

Bhuban

Saptasajya

Karamal

Jiral

Crafts of Dhenkanal

Dhokra casting

Brass and bell metal

ware

Brass ornaments

Straw craft

Bamboo craft

ACCESS

The nearest airport to reach Dhenkanal is at

Bhubaneshwar (99km).The Dhenkanal railway station

is part of the South East Railways network.Regular bus

services link the district to Bhubaneshwar, Cuttack,

Puri, Rourkela, Sambalpur and also Raipur.

1 Dhokra craftspersons at work.

2 The Dhokra craftspersons settled in

Sadeibereni were nomadic having come from

Raipur in Chhattisgarh and Barddhaman in West

Bengal,both places well known for dhokra

casting.

3 A craftsman beats the utensils with a light

hammer to make the surface even and

uniform.He has to use both his hands in

rhythm to achieve a uniform shape.

4 Paddy waste is used by craftsman in

making religious artworks.Paddy is the main

crop grown in the village fields.


Production Clusters

Dhenkanal district:

Saptasajya:

Sadeibereni village

Cuttack District:

Narsinghpur

Anubhul,Baramba

Rayagada district:

Daspala

Phulbani district:

Phulbani

Products

Dibbi-kerosene lamp

Kanchi Kathuraturmeric

and oil

container

Mana-measuring

bowl

Karat-money purse

Jagar-lamp

Andu-anklet

Khodu-bracelet

Harpajja-bangles

Goghuri-bells

Angtha mudi-thumb

ring

Guakati-nut crackers

Pendants,Necklaces

Vegetable cutting

knife

Tools

Nahala, janta, Chokitools

for making wax

threads

Hatudi-hammer

Sandasi-forcepts

Birsa-weighing scale

Hotta-beater

Mothua-polished

wooden plank

Churi-knives

Sulga-model making

tools

Butt-wire brush

Reti-iron files

Dhukuna-blower

Martul-wooden

hammer

Tangriya-axe

DHOKRA,A CRAFT OF ancient origin,is the name given to the

folk form of lost wax metal casting practiced in the tribal pockets

of West Bengal,Bihar,Orissa,Jharkhand,Chhattisgarh and Andhra

Pradesh.The craftsmen combine their understanding of metal

with artistry,which has led to identifying them as artists more

than metal workers.The craftsmen make a clay core which

resembles the end product.This core is wrapped with thin

threads,drawn from beeswax which is mixed with

dhuna,resin,from the sal tree(Shorea robusta).The craftsmen in

Orissa prepare wax threadsd with the help of a three-part tool

called nahalo,janta and choki.The object is usually hollow cast

through the lost wax process,a technique said to have a

history that goes back nearly 5000 years in India.The

characteristic feature of dhokra objects is its threaded

appearance.The mould is broken after the object is

cast.Hence,each piece is unique.Unlike the classical tradition of

metal casting the dhokra craftsman gives free rein to his

imagination.Craftsmen extract a mixture of metals from scraps to

make objects of Utilitarian purpose and ritualistic purpose for

tribal communities.The craftsmen are nomadic,and have only

now begun to settle down.The demands from non-tribal marketd

have started influencing the craft.Craftsmen in Dhenkanal belong

to the

1. Bird-shaped hook for hanging clothes,Sadeibereni village

in Dhenkanal.

2. Tribals rowing a boat across the river,Phulbani.

3. Two figurines of women,from Koraput district.

4. Metal wire brush used for cleaning dhokra objects

5. Adivasi men,Sadeibereni

6. Idol of Ganesha from Sadeiberebi in Dhenkanal district.

Ghontara,a community which is also found in other districts

of Orissa.They cast dhokra objects which are for household

needs ornaments and ritual objects.Their ware is mainly sold

in the local weekly market.The popularity of the craft has

paved way for diversification into objects produced in bulk

quantity.

7,8 Dhokra technique consists of making an image in clay which is the

core over which wax strands are wound.This is coated with clay again

to form the positive mould.On heating,the wax melts and in its place

the molten metal is cast.Seen here is the wax strand wrapped around

the clay core.

9 Coin bank.

10 A finger-held lamp with a peacock head,from Sadeibereni.

11 A fingerd-held lamp from Sadeibereni.

12 A camel from Sadeibereni.

13 Lamp from Kantilo in Nayagarh district.

14 Measuring bowl called mana from Baramba in Cuttack district.


Production Clusters

Dhenkanal district:

Bhuban:

Gopalpurpatna

village

Ganjam district:

Jagmohan,Mamudia,

Devbhumi,Mathura,

Kabli Surya Nagar,

Nuapentha, Patrapur,

Dhabra,Bellaguntha,

Berhampur

Gajapati district:

Parla khemund:

Gunpur district:

Gunpur,Sahara

Puri district:

Balakati,Bainchua,

Brahmagiri,Itamati,

Rajsunalhal

Balasore district:

Remuna

Cuttack district:

Bhatimunda

Balangir district:

Toroba

BRASS AND BELL metal,considered to be pure have

traditionally been used in making utensils.These vessels are used

during auspicious occasions and are part of most Indian

households,and also given as dowry.The craft is practiced by the

Kansari (derived from Kansya meaning bell metal)craftsmen who

work with brass,bell metal and copper.Using scraps of

metal,craftsmen exact the required material or make the alloys in

the form of a disc.These are heat-forged and shaped with hammers

by several artisans working in close coordination.Thereafter a

gadha,master craftsman,gives it the final shape with a light

hammer.The vessel is smoothened and finished on the lathe.Mass

produced articles made of steel,aluminium and plastic are now

posing a threat to this craft.

1. A craftsmen finishing a cast vessel on

the lathe.

2. Brass ghagri for fetching and storing

water.

3. Plate with small cast bowls attached

to it.

4. Beaten brass bowl.

5. Large cooking vessel.

Tools

Hatudi-hammers

Sandasi-pincers

Ruha / Ugha - file

Lihini-scraper

Bhanra-hand operated

drill

Drill

Kala pankha-hand

blower

Koi-crucibles

Products

Thali-tray

Thalia-plates

Qina-cup

Bela-bowl

Lota-water pot

Pilisaja-wick stand

Dibi-lamp

Kunda-water tub

Gora-pot for water

Dhudpadani-flower

vase

Khatuli-seat for idols

Ginni-small cymbals

Tale-big cymbals

Rukha-big lamps

BRASS ORNAMENTS

Production Clusters

Dhenkanal district:

Karamal town:

Govardhanpur

Bhuban

Allkhuma

Indipur

Products

Necklaces

Hairpins

Rings

Tools

Dhar-scarp iron

Umehi-pot to burn

charcoal

Jantii-die

Ruha-file

Katuri-cutter

PROMPTED BY THE low demand for utensils

of bell metal and brass,some craftsmen from the

Kansari community have also started making

ornaments with brass.An inherent understanding

of the metal has encouraged the craftsmen to

produce these brass ornaments which are

cheaper than the traditional silver and gold

jewellery.The ornaments are inspired by tribal

jewellery and also by the intricate silver filigree

of Cuttack and Puri.Angular and circular beads

are fashioned and then used for creating

necklaces.The craftsmen also make hairpins and

rings.

1. Brass beads and leaf-shaped strips are

strung to make a necklace with a brass

clasp.

2. Detail of a brass pendant.

3. Detail of a necklace made of brass faceted

beads,Govardhanpur.

Siuda-pincer

Suruna-forceps

Chulta-hammer

Production Clusters

Dhenkanal district:

Bhuban block

Jiral

Products

Wall hangings

Figures of animals

Tools

Forceps

Koinchi-scissors

Blade

Pencil

Hammer

STRAW CRAFT

THE INNER RIB of the paddy crop,which otherwise goes

wasted,is used to create an artwork.The rib is split into two

longitudinal halves with the help of an ordinary blade.This

strip of straw is then pasted on paper,for reinforcement,with

the coloured skin out.A ply board is covered with the coloured

skin out.A ply board is covered with black cotton cloth to

serve as a background.Individual pieces of straw are cut and

pasted onto the board using adhesive,revealing small areas fo

the board,creating thin and delicate black lines for details like

the facial features and ornaments.

1,2 Religious icons of Jagannath and his brother Balabhadra

made with strips of straw.

Gluing minute strips of straw into an image.

BAMBOO CRAFT

CRAFTSMEN IN DHENKANAL make utility products from thin

bamboo strips.Many species of bamboo grow abundantly in the nearby

forest:Sundar kaniya,shelia bans,kanta bans and balami bans.Bamboo

strips are also dyed to make patterns with interlacing strips.The craft has

been introduced by voluntary organizations and government agencies to

create employment opportunities.Home decor and utilitarian articles like

racks,trays,table lamp and candle stands which suit contemporary and

urban needs are crafted by artisans.

1. Fruit basket made from bamboo strips.

2. Gluing bamboo chips has created an interesting texture for the

peacock`s body and plumage.

3. Lampshades made from bamboo.

Production Clusters

Dhenkanal district:

Rai Narsinghpur

village

Products

Flower basket

Fruit tray

Brush holder

Flower pot

Mat

Hand fan

Letterbox

Cassette stand

Table lamp

Ornament box

Waist belt

Shp model

Candle stand

Dressing table

Tools

Katuri-scissor

Churri-knife

Subclusters of

Sambalpur

Bargarh district:

Barpali,Bargarh

Sambalpur district:

Sambalpur

Sonepur district:

Sonepur

Crafts of Sambalpur

Bandha-yarn tie

resist-dyeing

Terracotta and

pottery

RESOURCES


Bandha-yarn tieresist-dyeing

Terracotta and

pottery

Yarn-cotton and

silk

Dyes-napthol dyes,

vat dyes

Mud / clay,

Firewood, Straw

Madhurai,Coimbatore

Sambalpur

Sambalpur

1. Seen here is the famous bandha or yarn tie-resist-dyeing

process practiced in Sambalpur,Nuapatna,Sonepur and

Bargarh.

2. Craftsman giving finishing touches to a clay roof title which

is unique to Barpali.

3. Kamda,a wooden frame,on which is stretched the tie-dyed

weft of an entire design prepared in the bandha technique

requiring skill and precision,Nuapatna.

SAMBALPUR IS THE entryway to western Orissa-to its

lush forests,wildlife and waterfalls.The great River

Mahanadi divides the district into unequal parts.One of the

longest dams of the world,the Hirakud,stands across the

river,facilitating irrigation and agriculture in the

region.Cotton was cultivated in the region and Sambalpuri

ikat-weaving skills are widely acknowledged.It was the

seat of Vajrayana sect of Buddhism,propounded by the

ruler Indrabhuti.The city is quoted in Ptolemy`s work of 2

nd century AD, titled Geographike, as `Sambalaka`. Some

of the oldest Buddhist monasteries and Hindu temples such

as the Samaleswari and Patneswari temples are found in

Sambalpur.Ten tribes,which make up nearly one-third of

the district population,are custodians of a rich tribal and

folk culture.The terracotta products made in this region

have an important role in religious and social

ceremonies.The Lankapuri Hanuman and terracotta tiles

made in Barpali are unique to this region.The clay for

making terracotta products is readily available on the river

bank.

ACCESS

Sambalpur lies on the main railway line connecting

Bhubaneshwar with Rajpur in Chhattisgarh.It is alos

connected to the main railway line connecting from

Kolkata to Mumbai and from South Orissa(Koraput)to

Kolkata.The district is also very well connected by road

with all the major cities and towns of Orissa and

neighbouring states.

BANDHA-YARN TIE-RESIST-DYEING

BANDHA OR IKAT or yarn tie-resist dyed-textiles of

Orissa are widely acknowledges for their skillful

patterns,distinctively rendered curvillinear motifs and the

combinations of ikat and relief texture due to

supplementary warp and weft weaves.The typing of

threads for elaborate dyeing processes before

weaving,requires precision.The technique of single ikat is

predominantly used except in the saktapar designs which is

done in double ikat.The two main bandha weaving clusters

are Sambalpur in the west including Bargarh,Barpali and

Sonepur; and Nuapatna in the east.The weavers in the

Sambalpur-Bargarh region belong to the Meher community

and in Nuapatna they belong to the Patra

community.Bandha required skills for detail: of

deconstructing the desired pattern accordign to the density

of the cloth;winding threads on the frame according to the

calculations made;covering selected sections of the weft

with rubber tubing;binding with thread and finally

dyeing.Sambalpur specializes in cotton saris used for

ceremonial occassions with motifs symbolizing prosperity

and fertily.The bichitrapar and saktapar saris are unique

examples with motifs of

duck,fish,lotus,creeper,elephant,lion,deer;the

kumbh,temple or serrated edge,and fine white outline of

the ikat motifs.Sonepur saris are woven in mulberry and

tussar silk with calligraphy and nagabandi,the coiled

serpent motif.Ceremonial cloth called Gitagobind pheta

with calligraphic forms,produced in Nuapatna,is used to

dress the statues of the Jagannath trinity.Mulberry and

tussar silk is primarily used.Conch shell,fish,deer,butterfly

and stars are also widely used motifs whose symbolism is

derived from mythology,the coastal environment and the

contexts of marriage and worship.

Production Clusters

Sambalpur district:

Sambalpur

Barpali

Cuttack district:

Nuapatna

Tigiria

Bargarh district:

Bargarh

Sonepur

Balangir

Products

Saris

Yardage

Bedcover

Cushion covers

Stole

Tools

Aansari-yarn winder

Spinning wheel

Yarn opener

Kaamda-wooden

frame

Dyeing vats

Pit loom

Shuttle

Pirn

Jhadu-sizing brush

Knife

1 Contemporary cotton yardage of saktapar

design woven in Sambalpur.Saktapar refers to

the board game chaupad,depicted with red

and white squares with black outlines.

2 Detail of a pallav,cross border or end

piece,of a cotton sari woven in Bargarh-

Sonepur area.It has bandha motifs of

duck,lotus,konark wheel ,elephant ,and lion

with stripes and locally inserted extra weft

motifs.

3 Silk khanddua woven in Nuapatna,is worn

by brides and has motifs of

elephant,lotus,lion,deer,parrot ,stars woven

with single ikat yarn.

4 Detail of contemporary silk sari

with calligraphic forms and

diagrams probably inspired by

traditional chita,ritual floor

paintings.The calligraphic forms

state stutis,hymns to god.

5 Detail of a tussar silk sari with the

kumbh,triangle,motif at the border

and fish motifs woven in extra warp

technique.Fish is an important part

of the diet of coastal Orissa and

symbolized prosperity.Besides,it is

the first incarnation of Lord Vishnu

and an auspicious symbol.

KUMBHAR KAMA - TERRACOTTA AND POTTERY

Production Clusters

Bargarh district:

Barpali

Sambalpur district:

Dhoapura

Sonepur district:

Sonepur

Products

Traditional pots

Lamps

Candle stand

Tulsi chaura - planter

Animal figures

Roof tiles

Haandi, Maathiya -

water containers

Surahi, Kalash, Gadu,

Rukha, Todiya -

cooking vessels

Tools

Kumbhar Chako -

potter`s wheel

Ugalni pitna, Majhia

pitna, Chiknaini pitna

- wooden beaters

Peend - stone support

Paali - bamboo stick

The terracotta tiles made in Barpali village of Bargarh district have images of

animals that have mythical allusions. They are portrayed with vivid expressoins,

which almost brings them to life. People of the village believe that these tiles,

locally known as khappar, bring fortune to their homes. Images of monkey, mouse,

lion, elephant and birds are put atop the tiles. The mouse signifies Lord Ganesha`s

mount, the bee and pigeon symbolize the arrival of Goddess Lakshmi and the frog

is a sign of the monsoon. The khappar are made by the Rana craftsmen who belong

to the potter`s community in western Orissa. The same community in Sonepur is

known for making the special Lankapuri Hanuman figure, wihch on the festive day

of Bhadrap Amavas is carried with a flaming tail throughout the town. People of

Sonepur believe that the town is Lanka where, legend says, Lord Hanuman`s tail

was lit up and he went on a rampage and burnt it down.

The craftsmen in Sambalpur also make

utesils and water pots for household use.

They also make ornate tulsi chaura, in

which the tulsi, basil herb is planted, and

worshipped. The terracotta pots are thrown

on the wheel and beaten for shaping and

finishing. They are sold in local markets.

Inset : A turtle roof tile.

1 Storage pots made by the throwing

technique in Cuttack.

2 Figure of Lankapuri Hanuman from

Sonepur that is made for a ritual associated

with the epic Ramayana. Sonepur is

considered to be the island Lanka by the

local population.

3 Barpali roof tiles are used to ward off evil.

The owl is regarded auspicious as it is

Goddess Lakshmi`s mount.

4 Bride and groom seated in a palanquin.

Bhubaneshwar.

5,6 Figures of monkeys on Barpali roof

tiles.

7 Frogs and other animal forms crafted on

roof tiles.

The riverine district

of Cuttack is the

former capital of

Orissa, and also the

oldest city in the

region. The Keshari

dynasty founded a

military camp called

`Kataka` in 989 AD,

from which the city

derives its name.

The Barabati fort in Cuttack is an important historical

landmark of Orissa. Some of the earliest and valuable

Buddhist sites are located at Lalitgiri and Ratnagiri on

the banks of the River Birupa in the district. Situated

on the Mahanadi delta, Cuttack is a prominent

commercial centre now. Most of the canals used for

irrigation and transportation in Orissa are found here.

The district is rich in handicrafts which contribute

greatly to its economy. Ikat, the yarn tie resist dyed

technique of Nuapatna is the most famous and revered

craft of Cuttack. The region is also famous for silver

filigree, a craft which was introduced by the Mughals

when they conquered Orissa in the 15th century AD.

The katki chappal, handcrafted footwear is unique to

the district. Other crafts that Cuttack is known for are

metal utensils and carved wooden objects. Located on

the banks of River Vaitarani, the neighbouring district

of Jaipur, which is part of this metacluster, is nearly

92 km away from Cuttack. It was once the capital of

Utkal territory and prosperous in trade and commerce.

It is now an important pilgrimage centre, having many

sacred shrines. Stone carving and articles of sikki are

the crafts practiced here.

ACCESS

Cuttack is well connected to other parts of Orissa by

rail and road. The closest airport is at Bhubaneshwar,

30 km away.

RESOURCES


Silver

filigree

Pure silver

Copper

Charcoal

Dilute sulphuric acid

Local market

Sikki craft Sikki - grass Sambalpur, Puri, Barmdipur

and Kendrappa

Stone

carving

Wood

carving

Boimara stone

Woods - Gambhari,

Sagwan

Inset : Bell metal casting is widely

practiced craft. Clay moulds with

openings for pouring molten metal

are placed in a coal furnace.

1 Detail of the cross border of a silk

sari with bandha motifs of flower,

fish and butterfly figures, Nuapatna.

2 Detail of silver filigree work of

Cuttack. The craftsman is working on

the main frame called farma which is

later elaborated by filling in forms

called sikko made of thinner wires.

Mountains of Lalitgiri

Dhenkanal and Koraput

district

Subclusters of

CUTTACK

Cuttack district:

Cuttack, Bhatimunda

Narshinghpur

Baramba, Lalitgiri

Sukhapada

Jaipur district:

Madhupurgarh

Crafts of

CUTTACK

Bandha - yarn tie

resist dyeing

Silver filigree

Applique

Dhokra casting

Brass and Bell metal

utensils

Sikki Craft

Horn work

Katki chappal -

leather footwear

Stone carving

Terracotta

Wood carving

3 Dhokra casting in process in Baramba. The artisan

is wrapping the clay core with wax threads which

when melted will be replaced by meta.

4 Brass and bell metal vessals used for storing water

in Bhatimunda. Besides ritual objects, a range of

cooking, serving and storage vessels are made by the

Kansari craftsmen. The large pots are called handa,

the small pot is called ghada while the bowl is called

konsa.

CHANDI TARKASHI - SILVER FILIGREE

Production Clusters

Cuttack district:

Cuttack

Puri district:

Puri

Products

Ornaments:

Hairpins, Nosepins,

Earrings, Bangles,

Neck Chains, Toe

rings, Tie pins

Display items:

Chariot, Idols,

Konark wheel,

Animal figures, Taj

Mahal model.

Utility products:

Pen holders, Photo

frames, Cigarette

cases, Candle stands,

Ashtrays, Buttons,

Coat pins, Spoons,

Money purses

Tools

Chimta - tongs

Katuri - cutter

Hatudi - hammer

Bakunari - hollow

pipe

Kansuli - die for

silver balls

Jantil / Kitkira /

Dhalla - types of dyes

Seardi - small tongs

Lehi - paltform

Madhia - small

hammer

Moskala - metal knife

Ghadia - earthenware

pot

Sandosi - pair of

tongs

Chulla - earthen stove

File

Dibidi - oil container

Silver filigree is a craft for which Cuttack is

well known. The craftsmen, who belong to

the Sunar, goldsmith, community of Orissa,

practice the craft which was introduced in the

state during the Mughal rule. Thick silver

wires are used to the farma (frame) into

which the small sikko (design pieces) made

from thinner wires are fitted. The

carftsmanship lies in fitting the small parts

perfectly in the farma. Decorative and

elaborate motifs influenced by the Mughal

era have inspired the intricate designs

produced by craftsmen. They make jewellery

and decorative figures like idols of gods,

animals and replicas of the Konark wheel and

the Taj Mahal. Objects used in the home such

as photo frame, candle stands and cones to

serve paan, betel nut leaf, are also common

products. Sales of products increase during

festivals and they can otherwise be found

retailed in state and national emporia.

1. A metal die and pestle for shaping

silver sheet.

2. Pliers and cutting tools used by

silversmiths.

3. Container for serving paan, and edible

leaf with betel nut served after a meal.

4. Detail of silver filigree work.

The outer case of a ladies` purse in silver filigree.

Silver filigree serving dish.

Production Cluster

Puri district:

Puri

Balasore district:

Balasore

Khurda district:

Khandagiri

Bhubaneshwar

Jaipur district:

Sukhapada village

Products

Idols

Figures of apsaras

Figurines

Animal figures

Tools

Chisels

STONE CARVING

Boimara sandstone is abudently available in the

Lalitgiri hills, from where the craftsmen

themselves cut the stone. They carve sculptures

of deities and figurines. Most of the carved stone

figures are commissioned by temples from

surrounding villages. The styles are inspired by

the sculptures found in Konark, Bhubaneshwar,

the rock-cut caves of Khandagiri, Lalitgiri and

Udaygiri, preserving an ancient tradition in

Orissa. Figures of elephants and lions carved out

of stone are also a common sight at temple

entrances. Greater demand for ston idols now

comes from hotels and emporia.

1. Stone sculpture of Ardhanareeshwar which

signifies Shiva`s masculinity and Parvati`s

feminity as a unified force in the cosmos,

made in Puri.

2. Soft stone idol of Lord Krishna standing

under the kadamb tree.

Hammer

Saw

Sandpaper

SIKKI CRAFT

Sikki, golden grass, found growing wild in marshy areas is

used to make sikki objects. No material other than the grass is

used in the craft. The only tool used is a needle, with the help

of which the craftspersons coil the grass. They usually buy

straw which is already processed and coloured in magenta,

pink, green or red. Although a traditional craft in these parts,

the objects now made are designed for urban and

contemporary markets. Table mats, tea coasters, hats, trays,

bags, lampshades and a range of boxes are some of the

articles made by the craftspersons, who also work as farm

labour. They have been introduced to design development by

voluntary groups and governmental organisations. The

products crafted with silli are sold in showrooms and

handicraft emporia.

Production Clusters

Jaipur district:

Dharmasala Block:

Garh Madhupur

Komagarh

Betaumadi

Antra

Pachukundi

Bharatpur

Gangutia

Kharilo

Srichandanpur

1. Grass table mat made with the coiling technique.

2. Grass footwear: new product development.

3. Process of coiling.

4. Detail of a variation in the coiling technique used for

making table mats and coasters.

5. The shape of the container derived from Jagannath

Temple is called devrapedhi.

Products

Table mats

Coasters

Straw hat

Baskets

Tray

Bags

Temple - shaped box

Lampshades

Tools

Needle

Scissors

Measuring tape

KATKI CHAPPAL - LEATHER FOOTWEAR

Women from the Moharana caste in Orissa make leather

footwear, which are known as katki chappal. They were

made to be worn on special social occasions but in

contemporary times, the chappal is also used for daily wear.

They do not have the straps or laces and are slip-ons. Floral

motifs are embroidered on the chappal with resham, silk

threads. The design of the chappal and the decoration has

remained the same over time.

Tools (from left) - sharpening stone, stitching awl, tag lifter,

skiving tool, pincer.

Production Cluster

Cuttack district:

Barang

Products

Slippers

Sandals

Shoes

Tools

Shoe last

Whetstone

Stitching awl

Tag lifter

Pincer

Measuring tape

The craft gets its name from Cuttack because it originated in

Dhadapatna village of the district, nearly 150 years ago. At the

time, they were plain without any embellishments, but

embroidery was introduced recently. Katki chappal are now

made only in Barang in the district. A unique feature of the

Katki chappal is that both parts of a pair can be worn on either

leg; there is no left or right side.

1. Lasts made for

making the katki

chappal

2. Embroidered

chappal or slip

ons worn and

used indoors.


Production Clusters

Cuttack district:

Bhatimunda

Ganjam district:

Jagmohan, Mamudia,

Devbhumi, Mathura,

Kabli Surya Nagar,

Nuapentha, Patrapur,

Dhabra, Bellaguntha,

Berhampur.

Gajapati district:

Parla Khemundi

Gunpur district:

Gunpur, Sahara

Puri district:

Balakati, Bainchua,

Brahmagiri, Itamati,

Rajsunalhal

Balasore district:

Remuna

Balangir district:

Toroba

Dhenkanal district:

Bhuban, Indipur,

Okherma, Karamal

Craftsmen of the Kansari community are specialists in making

utensils from brass and bell metal. They are among the

chhatisaniyoga, 36 categories of servants employed in the

service of the Jagannath Temple. Brass and bell metal utensils

integral to religious ceremonies, items of dowry and gifts and

an integral part of the household. Utensils made in Cuttack

distruct are larger than those made in Ganjam district,

Belaguntha. They are made in two or three parts and joined

together. It takes a well coordinated team of three of five

craftsmen to make a single vessel by the heat forging process.

Some bell metal ware is made by the casting process, and

finished on the lathe. Due to the high labour cost, the craft has

lost its market to steel and aluminium vessels, A wide range

of tools used are made by the craftsmen themselves.

1. Different types of hand held bells used during worship.

The handles have motifs of the Konark wheel; trishul or

trident-shaped weapon associated with Shiva; and

Vishnu seated under a snake`s hood.

2. Bell metal vessel used during worship.

3. Lamp with figuring and handle.

Bell metal utensils

Products

Thali - tray

Thalia - plates

Qina - cup

Bela - bowl

Lota - water pot

Pilisaja - wick stand

Dibi - lamp

Kunda - water tub

Gara - pot for water

Dhupadani - incense

vase

Khatuli - seat for

idols

Ginni - small cymbals

Tale - big cymbals

Rukha - big lamps

Tools

Hatudi - hammers

Sandasi - pincers

Ruha / Ugha -file

Lihini - scraper

Kunda - lathe

Bhanra - hand

operated drill

Drill

Badia Patkar /

Akarmasila - stone

platform

Kala pankha - hand

blower

Koi - crucibles

KATHO KAMA - WOOD CARVING

Production Clusters

Cuttack city

Puri city

Ganjam district:

Raghurajpur

Products

Furniture (relief

work)

Animal forms

Almirah - cupboard

Jaali work

Idols

Orissa has a tradition of installing carved and painted wooden idols of

deities in lcoal shrines. Craftsmen also make idols for installing at

people`s home. Different qualities of woods are used to make these

figures. The most common are gambhari and sagwan. Of these,

gambhari is the wood most used. The craftsmen in Baramba, Cuttack,

apply a thin layer of atha, the adhesive made from tamarind seeds and

chalk powder, on the icons after they are carved. This closes the pores of

the wood and does not allow colour to be

1. Carved and unpainted figure of lion based on the sculptural

tradition amde in Baramba.

2. Turned wood container with a tapered lid made in Bangdhugara in

Rayagada district adjoining Cuttack.

3. A fretworked and painted toy in the shape of a monkey that has a

swinging action.

4. Carved and painted idol of Lord Jagannath.

absorbed when the icon is painted. The first later is painted in white and

detail are painted on it with enamel paints. The painted object is coated

with lac mixed in spirit, to obtain a glossy and smooth finish, making the

icon waterproof, and colors more permanent. Sequins are pasted on the

products to make them more attractive.

Tools

Chisels

Hammer

Saw

Sandpaper

The southern district of Koratpur and the adjoining

Nawrangpur, Phulbani and Rayagada are the tribal hinterland

of Orissa. The region falls within the Eastern Ghat hills and

its fertile forests provide materials for building houses, tools

and musical instruments; and tubers and fruits for food. The

hills are home to tribes like the Santhal, Kondh, Gond,

Munda, Oraon and Bondo and their economy is based on

agriculture, food gathering, hunting and fishing. Many of the

craft objects made in this region carry religious or social

significance. Crafts and ornamentation are an intrinsic part of

tribal identity. Metal crafts like dhokra objects and brass

ornaments are made by traditional metal craftsmen for tribal

communities. The scarf embroidered by the women of

Dongaria Kondh trivbe of Rayagada district and worn by

them is unique to this region. Other crafts like wood carving,

lac combs and paintings were done extensively by the Kondh

tribe which they have discontinued because of unfavorable

economic conditions. Nawrangpur is well known for making

lac-coated bamboo objects. Bamboo is widely available in the

forests. Rice is the staple crop that is cultivated in the plains.

The innovative paddy craft, a speciality of this region has

emerged from the availability of this raw material.

ACCESS

The closest railway station to Koraput town is the

Vizianagaram Railway station in Andhra Pradesh. The twon

is also well connected by road to Vizianagaram. The

headquarters of other districts are connected to each other by

road. However, to access the village areas, it is advisabe to

hire private taxis.

1. Embroidery of a kapra gonda,

Dongaria scarf.

2. Rolling hills of Eastern Ghats,

Koraput district.

3. A bride waring tribal ornaments

made by goldsmiths in Pilika

village, Nawrangpur district.

4. Bamboo basket seller at a weekly

market in Chitkona near

Bissamcuttack.

5. A woman of the Dongaria Kondh

tribe.

6. Women in Nawrangpur heating

the lac strands for decorating

bamboo boxes, lakho pedi.

RESOURCES


Dhokra

casting

Brass, Beeswax, Clay, Paddy

husk, Charcoal, Cowdung,

Firewood

Local market

Lac ware Lac Chandahani

forest in

Nawrangpur

Terracotta toys, Bamboo

products, Mirror pieces,

Colour powder, Plyboard,

Wooden toys, Coal

Kotpad sari Cotton yarn

Tribal

ornaments

Castor oil, Cowdung, Roots

of Al tree, Ash of burnt wood

Brass, Bell metal, Soldering

material, Coal, Sulphuric

acid, Nitric acid

Local market

Bargarh in

Sambalpur

Local market

Kodpad

Subclusters of

KORAPUT

Koraput district:

Tangniguda

Kotpad

Nawrangpur

district:

Jhoto Bal

Nawrangpur

Damnaguda

Papadahandi

Taragaon

Phulbani district:

Barakhamba

Phiringia

Rayagada district:

Bissamcuttack

Kurli

Hato Munigudav

Jigidihi

Crafts of

KORAPUT

Kotpad sari

Dongaria scarf

Dhokra casting

Tribal ornaments

Bamboo craft

Paddy and root craft

KOTPAD SARI

Products Clusters

Koraput district:

Kotpad

Products

Pata, sari - draped

cloth

Gamcha - towel

Tuval - shoulder cloth

Tools

Manghta - pit loom

Tossar - stick used

for marking weft

Doongi - shuttle

Pawan - wooden

frame with pegs

Natayi - small

spinning wheel

Bharni - large

spinning wheel

Poorni - small hollow

bamboo tube

The handwoven textiles of Kotpad

are known for the use of the

natural red dye that is extracted

from the roots of the Al tree. The

stark simplicity is the hallmark of

Kotpad weaves,

achieved by the play of Al-red with off-white, and motifs drawn from

nature and immediate cultural scapes. The dyeing of the yarn itself is time

consuming and complex. The Kotpad weaves make saris or pata, gamcha

and tuval. They weave on pit tradle looms using three shuttles,

producing the characteristic pyramidal motifs called

kumbha. Saris especially are differentiated

according to the ritual occasion of use and status of

the wearer. The kumbhakarno pata is a bridal sari,

identified by its ornate pallav, end piece, and two or

three types of the typically Orissan kumbha on the

borders. The sundermani pata distinguished by two

broad bands on the pallav, with a kumbha on either

side of these bands, is worn by family members at

weddings and other special occasions. The men

drape the tuvals as upper garments, which also have

a variety of motifs and borders. The price of a sari

or a tuval depends on the range and degree of

craftsmanship displayed on the pallavs and borders.

Inset : Detail of the shuttle used to weave a cotton

pata, sari.

1. The vertical and cross borders of the pata sari

use Al dyed yarn.

2. Detail of the horizontal stripes with motifs in

extra weft.

3. Detail showing the kumbh motif which is also

an elegant solution to weaving with three

shuttles which are interlocked.

4. Detail of the phool cheeta chowk motif

symbolizing the groom`s seat of honour.

DONGARIA SCARF - KAPRA GONDA

Production Clusters

Rayagada district:

Khajuri

Products

Scarves, Wrap

Tools

Suji - sewing needle

Women of the Dongaria Kondh tribe embroider a scarf called

kapra gonda which they wear over a white sari with a red border.

This sari is a single length of fabric that is draped around the

lower and upper part of the body and complemented with one

scarf worn around the waist and the other draped on the chest.

The scarf is given as a token of a proposal by an eligible boy to

the girl of his choice. It is embroidered by his sisters or by girls

for their lovers. The scarf is woven in basket weave by male

weavers of the Dom community and subsequently embroidered

by the Dongaria women.

Dongaria Kondh inhavit the Nyamgiri hills

near Bisgamcuttack, deriving their names

from dongar, hills.

Dongaria scarf. Size 2 X 5 feet.

Detail of the embroidery

DHOKRA - LOST WAX METAL CASTING

Production Clusters

Rayagada district :

Jigidihi

Phulbani district:

Podar Sahi

Cuttack district

Dhenkanal district

Dhokra, metal casting done by the lost wax process, is an ancestral craft practiced by the

Chitraghasi and Ghasi tribes. Molten bras is individually cast in a wax mould with an

inner core of clay and paddy husk. The inner core is coated with a smoother layer in order

to refine the shape. Beeswax mixed coal tar is drawn into fine threads and wrapped around

the clay model. A thick coat of coarser clay mixed with rice husk is applied over the wax

mode. The final mould is provided with a vent to a drain out the wax that is melted in a

furnace. Molten brass poured through the vent takes the form of the melted wax and the

clay mould is broken to remove the cast object. The special characteristic of dhokra is that

each object is individually moulded and cast; the cast form has the texture of the wax

threads.

Products

Andu - anklet

Khodu - bracelet

Harpajja - bangle

Goghuri - small bells

Angtha mudi - toe

rings

Guakati - nutcrackers

Mana - measuring

bowl

Dibbi - kerosene

lamp

Karat - coin bank

Jagar - lamp

Pendants, Necklaces

Vegetable knives

Inset : Pendant of a necklace made by the lost wax casting technique.

1. A clothes hanger, shaped like the head of a cow.

2. Figurine of a tribal man.

3. Dhokra figure of a woman giving birth to a child.

4. Bell used in temples and also around the necks of animals.

5. Sickle with a handle made in dhokra casting.

Tools

Tessa - baddi - choki

for wax threads

Birsa - weighing

machine

Hotta - beather

Pedda - wooden

plank

Churi - knives

Kanthi - tools to

make patterns on wax

Ukha - iron files

Markhu - blower

Butt - wire brush

TRIBAL ORNAMENTS

Tribal communities have a great love for adornment that is

expressed in ornaments worn during religious festivals and

important social occasions. The ornaments are usually made

from brass, which is cheaper and easily affordable. The

craftsmen who make these ornaments belong to the traditional

goldsmith community known as Sonar. Other communities

like Bhotia and Bhat also make them. The ornaments are

fashioned by hand or in a mould. Design moulds or korli are

available in the market with which designs are embossed on

brass sheets and then used in making pendants and rings.

Ornaments are also made by the lost wax casting or dhokra

method. The ornaments have a consistent demand locally and

at the weekly haat, market, while the demand is particularly

high during trival festivals like Mondie, Diyali and Gundicha.

1. Dhokra necklace

2. Detail of dhokra necklace

3. Dhokra hairpins made in Jigidihi, Rayagada district.

Products

Lobankhari - rose

rings

Beseri - nose rings

Jaali phuli - earrings

Saada phuli - simple

earrings

Jhika - elongated

earrings

Ginni maali -

necklace

Dhaan maali -

necklace

Baari - simple

earrings

Production Clusters

Nawarangpur

district:

Taragaon, Pilika

Tools

Mutla - hammers

Chimta - tongs

Samna - tweezer

Daagal - platform

Blow lamp

Kotri - scissors

Korli - dies or moulds

Channi - chisels

Khutua kari - small

chisel

Duboo - die for silver

balls

Ootungi - small

hammer

Solka khari - thin

long needle

Chipna -small chip

Chanch kahri - die for

4. Ginni maali - necklace made from die pressed ring

Gorsi - earthen ware

utensil

Kotni - metal cube

Kotni kahdi - metal

rod

Doongi - thin metal

BAMBOO CRAFT

Production Clusters

Koratpur district:

Baipariguda:

Keraput village

Nawrangpur

district:

Nuaguda

Gajapati district:

Parla Khemundi

Products

Baipariguda:

Flower baskets

Fruit trays

Containers

Flower pots

Floor mats

Hand fans

Nuaguda:

Chongada - small

baskets

Dalla - big baskets

Kulla - winnows

Tappa - chicken

baskets

Dhandaar - fish traps

Poroda - round mats

Tatti - sleeping mats

Bada - doors

Several varieties of bamboo grow in the area, and are used by the

craftsmen according to their properties. The thickness or the diameter

of the bamboo stem as well as the distance between two subsequent

knots decide the quality of the bamboo. The thin and flexible tupi

baas variety has the maximum length between knots, and is most

preferred for craft purposes. The bamboo is first dried thoroughly, cut

into thin strips that may be dyed, and then made into a range of

products. Along with traditional baskets and containers, decorative

and utility items are also made for urban markest, which are retailed

in craft emporia and fairs.

1. Basket for carrying fish

2. Bamboo basket for vegetables which is carried on the head.

3. Storage basket

4. Tools for cutting and making bamboo strips.

Tools

Katuri - scissors

Churri - knife

Cutters

Katuri - sickle shaped

tool

Tangiya - axe

Ghoda - stand

PADDY AND ROOT CRAFT

Production Clusters

Nawrangpur

district:

Dhaliguda

Kalahandi district

Dumermunda

Bolangir district:

Kumudipadar

Titilagarh

Saraibahal

Products

Idol of Lakshmi

Elephant figure

Tribal marriage

crowns

Replicas of temples

Hand fans

Lampshades

Baskets

The use of paddy is symbolic of prosperity, a good harvest and general wellbeing.

There is ritualistic significance in the crafting of Goddess Lakshmi who

signifies wealth and prosperity. Unhusked rice is used for making chains, figures

of deities, animal figures, flowers, garlands and other votive objects. The making

of a shrine though labour intensive, is made more for the spiritual satisfaction

that it brings to the task. No tools are required, rice graing and cotton cord being

the only raw materials used. The craft of root carving is a recent innovation. The

roots of telai and rathi tree from the local jungle of Kolasuru are used to carve

different forms according to the shape of the root. Then it is fired with a blow

lamp to make it pest resistant. It is smoothened with sandpaper and varnished.

Root carving is now practiced by a craftsman who inherited the skill in Phiringia,

Phulbani district.

1. Shrine made from paddy seeds, coloured bamboo strips and threads.

2. Paddy seeds are sandwiched between bamboo strips and secured with

thread.

3. Figure of a mouse carved out of the root of teli and rathi tree.

Tools

Churi - knife

Tangiya - axe

Koinchi - scissors

Suji - needle

LAC PRODUCTS

Nawrangpur, adjoining the Koraput district, is famous for its lac ware

made by the Shankari community. Once patronised by the king of

Jeypore, these boxes in graduated sizes are now made as gift items and

are even exported. Boxes and containers made by the bamboo craftsmen

are procured and women coat the box with lac. The decoration is also

done with lac mixed in powder colours. The lac-coatd box called lakho

pedi is an important article of dowry. Terracotta and wooden toys are

also lac-coated. Clay toys are bought from the kumbhars of Godugudda

and coated with lac. Lac is an insect-resin and the host trees on which

these insects deposit their secretion are kusum and barboti which gor in

Chandahani forest in Nawrangpur.

1. Terracotta and lac coated raja rani dolls

2. Lakho pedi - box made from bamboo strips and coated with

lac

3. Colour powder mixed with lac in the form of chappra and

wires.

4. Terracotta and lac coated figurines of Lord Jagannath,

Subhadra and Balabhadra.

Product Clusters

Nawrangpur

district:

Nawrangpur

Products

Terracotta with lac:

Jagannath idols

Jhumka - toys for

children

Bamboo with lac

Lakho pedi - a set of

five dowry boxes

Bichona - hand fun

Pengu noda -

peashooter

Kula - winnow

Tools

Kaati - knife

Sua - needle

Baason baddi -

bamboo stick

Umbai - utensil to

burn coal

Takudi - iron rod

Scissors

River stone


Terracotta utensils and ritual objects are integral to rural life and are in

demand perennially. Along with traditional utility items like pitchers and

utensils, the potters also fasion decorative items out of clay. Most of the items

that are made are thrown on a traditioal wooden wheel. A coat of red kola,

clay, is applied as a finish, and the items are fired in a community furnace.

Decorative items made for sale through emporia or craft melas mostly adhere

to traditional motifs like the fish or turtle. Locally, utensils and pitchers are

sold in weekly haats or hawked door to door. The tribal festival of Pous

Purnima or full moon in January adds a spurt in sales.

Inset : Paisa kundi - coin bank

1. Ghagri - pot for fetching and storing water.

2. Terracotta mask from Tandaguda.

3. Lamp used for doing aarti - ritual related to worship

4. Koroma - pot used for storing water and cooking

5. Terracotta products in Santeiput left in a shaded area

for drying.

6. A woman on her way to sell ghagris at the local haat.

7. The potter`s wooden wheel rotated by hand is still used

in most parts of Orissa.

Production Clusters

Koraput district:

Santeiput village

Nawrangpur

district:

Tandaguda village

Districts:

Puri, Ganjam,

Sambalpur, Bargarh,

Bhubaneshwar,

Cuttack, Mayurbhanj

Products

Water pitchers

Incense stands

Lamps, Foot Scrubs

Tools

Kumbhar chakko -

potter`s wheels

Pitua pathar - mugri

stone

Ugalni pitna, Majhia

pitna, Chiknaini pitna

- beating tools

Crafts of

MAYURBHANJ

Dhokra - lost wax

metal casting

Subclusters of

MAYURBHANJ

Mayurbhanj

district:

Baripada

Kuliana

Udala

RESOURCES


Dhokra Brass, Copper,

Tin

Udala, Baripada and

Baleshwar

1. Dhokra craftswoman preparing very smooth clay

using hunka matti or the termite clay.

2. Khudia Khunta is one of the main clusters practicing

dhokra craft since the time of their ancestors.

3. Dhokra craftsman in Kuliana with the final clay

moulds. The furnace is home made, comprising a pit

dug in the ground with a cover made from a

terracotta vessel.

4. Farmer threshing paddy in Kuliana village,

Mayurbhanj district.

The district forms the northern boundary of the state of Orissa,

bordering West Bengal and Jharkhand. It is famous for the

availability of sone especially soapstone. This stone is exported

in huge quantities to all the craft centres in districts of Orissa, and

also to stone carving centres in the neighbouring states. Khiching

is known for its quality and abundance of granite, which directly

accounts for a huge cluster of stone carving in Mayurbhanj and

Balasore. The crof of sabai is grown locally and thus accounts for

huge production centres of the products made by using sabai

grass for rope making. The district comprises three natural

divisions. The eastern slopes and the other two divisions are

undulating plains. The central portion is covered by the forests on

Similipal Hills. Species like sal, peasal, sisu, asan, kusum, kendu,

mahua grow abundantly. Timber, firewood, kendu and sal leaves

are the major forest produces of the district. Other important

forest produce inclues tussar cocoons, lac, sunari bark, sabi grass

among others.

ACCESS

The district headquarters, Baripada, is easily accessible by road

as it is situated on National Highway 5 which links

Bhubaneshwar and Kolkata. Travel to the interiors of the district

is best done in private vehicles.

Votive clay figures of horse and elephant made by a potter

in Sorisha Kotha. These small figures are made for those

who cannot afford large terracotta votive horses and

elephants.


The special

characteristic of

dhokra casting is

that only one cast

can be made from

a mould that is

completely

broken after the

casting is over.

Thus the quality

and finishing of

the product

depends totally

upon the initial

work done on the

clay and wax

dummy of the

desired product.

The products are

made using the

process of lost

wax casting.

A unique feature about the products made by some

craftsmen is that for making the big statues of gods

and goddesses, they usually smear the coied

texture of the wax threads to impart a smooth

finish to the status. The product thus looks like a

bronze statue instead of dhokra. In recent times,

however, the nomadic tribe of metal casters have

settled down. The craftsman have become aware

of the importance and demand of their craft in the

national and international market. Apart from their

own effort, numerous design development and

training programmes organized by the

Government of India and various NGO`s have

introduced new products that are aimed at

contemporary markets.

Production Clusters

Mayurbhanj

district:

Kuliana

Ranibandh

District:

Phulbani, Cuttack,

Rayagada, Dhenkanal

Products

Kerosene lamps

Measuring bowls

Purses

Lamps

Anklets

Bracelets

Bangles

Idols

Bottle openers

Keychains

Incense holders

Tools

Beater

Knives

Wire brush

Files

Hammer

Axe

Inset : The bowl is caled maano in Mayurbhanj,

lakshmi maano in other parts of the state and used

in rituals. It is also used as a bowl for measuring

grain.

1. The completed wax work is left for drying in

the sun. The form given to the obect in wax is

aking to that of the desired final outcome of

the object.

2. Lamp made in the Bastar style.

3. A traditional dhokra anklet

4. Traditional container for keeping money.

5. Container which can be hung, Kantilo.

6. Figurines of adivasi men

7. Peacock - shaped lamp, Kantilo in Nayagarh

district.

Physical Features

Mountains:

Singilela, Chola

Major rivers:

Rangit, Teesta

Biodiversity

Flora:

Silver Fir, Pine,

Argeli, Oak, Orchids,

Cotton

Fauna:

Yak, Musk deer,

Otter, Goral

Mahakala, the

guardian deity during

the Chaam

performances; part of

the Phang Lhabsol

festivities in honour of

Mt. Kanchenjunga.

Districts - 4


Crats -SIKKIM

Choktse - tables

Ku - Buddhist

figurines

Cotton weaving

Sub Clusters of

SIKKIM

East district:

Gangtok

Rumtek

North district:

Mangan

West district:

Gezing

South district:

Namchi

KAN-CHEN-JUNGA, `house of five

treasures`, represented by its five soaring

summits, is the guardian deity of Sikkim.

The capital, Gangtok, is the commercial

centre of the state. Sikkim is composed

of several ethnic groups - the Bhutia,

Lepcha, Nepali, tribes and the plainspeople.

Sikkim has a rich landscape, snow capped mountains, forests,

fertile valleys, raging torrents and placid lakes. It is a

naturalist`s and orinthologist`s paradise. Sikkim`s settlements

are found along the banks of Teesta River. The impact of

Buddhism, Tibetan culture and the ethnic milieu of the state

along with its festivals have greatly influenced handicrafts.

The Lepcha people have empathy for the environment, which

is reflected in their folk-songs and dances. They are expert

weavers and creative with cane and bamboo. The Tibetan

Bhutias drew the Lepchas into the Buddhist faith,

Inset : The yak, and important animal of Sikkim

Gyal tsen, prayer flags, carried as part of the Saga Dawa

procession.

established matrimonial relations with them and paved way for

the cultural and social assimilation of the two communities. The

Lepchas practice spinning, dyeing and weaving. The Nepalese,

mostly Hindus, practice agriculture, trading and work as

silversmiths. The mighty Kanchenjunga plays an important rols in

Sikkimese life and is worshipped as a deity. Masks are significant

of the people`s religious beliefs. Made of carved wood and

papier-mache, they are worn during dances performed by the

monks. The Government institute of Cottage Industries promotes

skills in painting, wood carving, mask making and weaving.

Sikkim`s high quality rice paper is made from the bark of argeli

(Edgeworthia gardenia). Buddhist iconography is the major

inspiration for the craft forms, vocabulary of motifs, colours,

textures and the lush silk brocades, which are procured from

outside the state.

ACCESS

Gangtok can be reached by road from Siliguri in West Bengal.

Siliguri is well connected by rail and road to other parts of

Assam, Bihar and Uttar Pradesh. It has air connections to

Kolkata, Delhi, Mumbai and other cities.

RESOURCES


Choktse - tables Kath or tsingh tree wood Local forests

Ku figurines Copper Old vessels

Cotton weaving Cotton Local agriculture

Carving the details on

the wooden mask.

Making of a three dimensional model

in mud before carving the wood for a

choktse or table.

Festivals

Saga Dawa

Phang Lhabsolprayers

offered to Mt.

Kanchenjunga

Lossoong-New year

Losar

1 Painted woodwork on the

facade of a monastery in

Gangtok.

2 Idols installed in the

Ihakhang or the altar.

3 The Namgyal Institue of

Tibetology in Gangtok houses

a stunning collection of

traditional Tibetan silk

thangkas,Buddhist scroll

paintings

4 The Rumtek Monastery.

5 A fresco at the Rumtek

monastery.The atmospher of

this painting is charged with

the enery of the cental motif

and works outwards in the

form of an aura.

6 A lama kneels before

entering the Ihakhang,(Iha

means God,and khang means

placde),Tsuklhakhang Palace.

7 A Bhutaia woman chanting

prayers with a rosary.

8 A young monk rotating the

money,prayer wheel.Handheld

prayer wheels called lak

hor are also in use.

Landmarks

Pemayangtse

Monastery

Rumtek Monastery

Reshi & Yumthang

hotsprings

Tendong hill

Kanchenjunga

National Park

Languages

Lepcha,Bhutia

Nepali

Attire

Pagi-man`s dress

Toga-woman`s upper

garment

Domydam-woman`s

lower garment

Cuisine

Momos-meat

dumpling

Chang-fermented

millet

Idol of the deity Chenrezi inlaid with semiprecious stones of yu (turquoise)and chiru

(coral).

KU-BUDDHIST FIGURINES

KU OR BUDDHIST figurines are made in copper using lost

wax casting.The craft in Sikkim has its own peculiarities in

the process,motifs and features.As opposed to the metal

casting in Moradabad in Uttar Pradesh or Faridabad in

Haryana,the speciality lies in the kind of materials used.Unlike

the statuettes made elsewhere in India,these figurines have

distinct Mongolian features and motifs.A master model is

made form wax or clay.Every feature and expression has to be

hand-carved to perfection.The entire model is prepared in

parts and then pieced together to form the master model.This

prototype is used for making the wax mould which is used for

reproducing several wax models for casting.

Ku idols,known for the carving of the namzhad or the attire on

the idol.

Production Clusters

East district;

Rumtek

Products

Buddhist Images

Tools

cutting knife,Divider

Hacksaw blade

Stove,Carving tools

Pincers,Hammer

Chisel

1. carving the base

of the Ku.

2. Process of

layering the wax

mould before

firing.

A rubber mould of silicon or

rubber solution is made.This

flexible mould captures every

detail of the artist`s original

model,and is one of the most

critical phases in the copper

casting process.From this

another wax mould is made and

coated with cowdung slurry

and several layers of sawdust

and yellow mud.

A small hole is carefully drilled at the top which serves as the

opening for pouring the molten metal-bronze or copper.It is

fired in an oven.The wax image within the clay melts.In the

hollow space,the molten metal is poured and cooled.The outer

mud casing is broken to reveal the metal statue.It is finished by

filling and polishing the statue.A swag is applied on it to remove

the impurities.Lastly,it is buffed and gilded in gold or silver.

Inset Craftsman using his leg to hold the statue while carving the

details on the metal figurine.

Image of Chenrezi or Avalokiteshwara,the Bodhisattva

of Compassion.

CHOKTSE-TABLES

CHOKTSES ARE SMALL WOODEN tables which are

intricately carved,painted and polished.The tables are

foldable,portable and are made in varying designs and

dimensions.They are Tibetan in origin.They are made from wood

locally known as kath or tsingh.The various parts of the table are

first cut from wood and then carved.The pattern to be carved is

transferred on the wood with the help of a paper stencil.The

craftsmen are very proficient in drawing complex motifs

freehand without using any reference.Holes are drilled using a

drilling

A choktse with various Tibetan motifs.

machine on the portions to be completely removed around the

motif.Using a set of tikkyu(curved tools)and ikas (straight

tools),details of the form are carved out.This makes the carved

out form,locally known as teh,look three-dimensional.The

carved panel is fixedd in a choktse or painted and polished if it

is to be sold as an individual piece.The choktse is sanded

properly to smooth the surface,coated with primer and dried.The

colours are painted according to a sequence. Red, blue, green,

pink, orange, chocolate-brown and golden are used.

Production clusters

East district:

Gangtok

Products

Folding tables

Panels

Altars

Tools

Pen

Drilling machine

Carving tool

Cutting tool

Tikkyu-curved chisel

Ika-striaght chisel

Below Carved wooden

forms of the Tashi

Takgye,eight

auspicious symbols.

Gyaltsen(victory

banner)

Dhungkar (conch

shell)

Dug

(parasol)

Bhumpa(treasure

vase)

Sernya(golden

fish)

Pema(lotus

flower)

Choekyi Khorla(wheel of

dharma)

Dpalbheù(knot of

eternity)

Dragon motifs carved on the side panels of the choktse.

Shown to the right is the completed chokste,and below it,are its foldable

side panels.

Language

Bangla

Hindi

Nepali

Tibetan

Festivals

Durga Puja

Gangasagar Mela

Jagaddhatri Puja

Poush Mela

Christmas

Eid-ud-Fitr

Districts - 18


Crafts -WEST

BENGAL

Wood carving

Beaten silver

engraving

Hill painting

Carpet weaving

Kanglan-stitched

boots

Terracotta

Cane furniture

Sheetalpati-reed mats

Gambhira masks

Metal works

Shola pith craft

Metal ware

Leather craft

Terracotta Jewellery

Kantha-patched cloth

embroidery

Sherpai-measuring

bowls

Wooden toys

Dhokra-lost was

metal casting

Clay work of

Krishnanagar

Terracotta of Bankura

Patachitra-scroll

painting

Ganjifa cards

Conch shell carving


Stone carving

Masland-grass mats

Lac coated toys

Chhau masks

Beaten silver work

WEST BENGAL is mainly

the delta formed by the Ganga

and Brahmaputra rivers.To

the north are the Himalayas,in

the south are plains covered

by hills and wetlands,the

Sunderbans,the largest

mangrove forest in the

world.The northern region has

a strong influence of the Sino-

Tibetan

culture due to proximity to Tibet,Bhutan and Sikkam.The

western plains have the Santhal culture with its tribal

overtones.Further south, one finds the towns and cities where

the Ganga bifurcates the state into two regions.Kolkata,the

capital city,displays her eclectric character of Bengali culture

interwoven with the colonial influences,and also embraces the

various communities who have migrated here.Life is a

celebration all the year round,with many festivals and religious

events.However,the most popular festival is Durga Puja which

is celebrated on a grand scale all over Bengal.Fairs,cultural

events and religious ceremonies are organized which enables

acceleration in trade and commerce,providing livelihood

1. Woman drinking tea in a terracotta cup.

2. Lake Market in Kolkata has roadside stalls which make

and sell banana and sal leaf plates that are eco-friendly and

disposable.

Durga idol getting

transported from the

inner lanes of

kumartuli in kolkata

where the potters live

and work.The

craftsmen make idols

duringd the months

preceeding Durga Puja

celebration which falls

in October each year.

of all the various crafts and businesses.Bengal has seen the rise

and decline of Buddhism,hegemonic Brahmanism,the Bhakti

movement,Islamic rule,The colonial era,and finally the Partition

and Independence of India.1947 when the eastern part went to

Pakistan and eventually became Bangladesh.Bengald has ageold

folk traditions preserved among the tribals and villagers such

as Chhau mask dance,Baul singers and dhokra casting.The easy

avialability of raw materials such as clay from the river

banks,bamboo,grass,shola pith and wood,enables craftsmen to

flourish.A unique feature in Bengal is the large variety of

artisanal communities such as chitrakar(painter);kumbhakar

(potter);kansakar(metal worker);sutradhar(wood or stone

carver);tantubay (weaver);and sankhakar(conch shell

engraver).With its natural beauty whih has inspired poets and

writers for ages,West Bengal has been a home of many

traditional crafts like the making of Baluchari and Jamdani

sari,terracotta sculpture and pottery,and dhokra objects.

Inset Detail of a cotton stole,a diversification of the simple

elegant handwoven sari.Red-the colour of blood and passionsymbolizes

marriage and is represented by red-alta on a

woman`s foot,and sindoor,vermilion,in the married woman`s

hair parting.

3 Disposable clay bhaand,earthern cups,are extensively used

inthis region.Sweets ,tea and the famous mishti doi,sweetened

curds,are served in terracotta bowls of various sizes.

Cuisine

Mishti doi-sweetened

curd

Mudid ghonto-fish

head preparation

Alu posto-potato with

poppy seed

Sandesh-sweet

Attire

Mayur pankhi dhotipleated

lower

garment

Kurta-cotton tunic

Lal paar sari-white

sari with red border

4 Butter lamps lit at an altar in

Kalimpong Monastery.

5 A Buddhist monastery in

Darjeeling that has extensive use of

carved and painted wood work.

6 Detail of the terracotta friezw panel of the

Shyama Raya Temple.

7 The potter`s wheel surrounded by shaped pieces

of clay which form various figurines for votive

offering,Panchmura village.

Landmarks

Victoria Memorial

Fort William

Kalighat

Terracotta Temples

Dakshineshwar

Temples

Shantiniketan

Jaldapara Forest

Sunderbans

Botanical gardens

Bhutia Basti

Monastery

Belur Math

Physical Features

Himalayan Foothills

Alluvial Plains

Major Rivers:

Ganga,Hooghly,

Rupnarayan,Damodar,

Teesta

ONE OF THE most beautiful hill stations in the

country,Darjeeling district in the extreme north of West

Bengal lies at an elevation of about 7000 feet(2100m) above

sea level.Tea,timber and tourism are the three mainstays of

the economy of the district.Cash crops such as orange and

cardamom are cultivated here.It is situated on a long,narrow

mountain ridge of the Sikkim Himalayans that descends

abruptly to the bed of the great Rangit River.The crafts of this

region reflect the varied cultures of different ethnic groups

settled here like the Tibetans,Nepalese and others.Coming

down to the plains,here Siliguri is the main commercial city

of north Bengal and its importance comes from its strategic

location near international and state borders.It is situated on

the banks of the River Mahananda.Spread around the foothills

of the eastern Himalayas,the town is an important

transit,trading and educational centre.

ACCESS

The Bagdora airport(13km from Siliguri).offers connections

to Kolkata,Delhi and Guwahati.Siliguri is accessible by rail

and road as well.

Carft of Darjeeling

Wood carving

Beaten silver

engraving

Hill painting

Carpet weaving

Terracotta

Cane furniture

Subclusters of

Darjeeling

Darjeeling district:

Darjeeling

Kalimpong

Siliguri district:

Siliguri

Matigara

RESOURCES


Wood carving

Beaten silver

engraving

Carpet weaving

Sapwood planks and

paints

Silver sheets

Wool and vegetable

dyes

Darjeeling

Kalimpong

Darjeeling

Terrracotta Clay Uttar Dinajpur

Balasore

Ela mati-fine clay

Tea Gardens

Cane furniture Cane Siliguri

Arunachal Pradesh

1 A craftsman painting

a thangka,painting

made on cloth with

Buddhist themes or

mandalas,for medition.

2 Thangka painting

done for the Jangsa

Monastery in

kalimpong.

3 Beaten silver

engraving:detail of a

craftsman chasing on a

silver sheet that has

been punched from the

back.

Wooden headboard with Tibetan motifs,Darjeeling.

WOOD CARVING

WOOD CARVING IN the

northern district of

Darjeeling is done on

Sapwood planks,mostly

used for making folding

tables and architectural

elements used in

monasteries.Carved relief

panels for

windows,doorways,altars

and carved pillars are made

from wood.

The motifs are essentially Tibetan,like Chi-Ming

Du(face of Kanchenjunga mountain),dragons,and

the eight Tibetan auspicious symbols called Tashi

Takgye.Some items are made as panels with relief

carving,others are prepared as individual motifs

which combine fretwork and deep relief carving

so that they can be used to decorate surfaces of

furniture and building components such as

pillars,door frames and lintels.The vocabulary of

wood carving is different in the

southern plains of Dinajpur and Bardddhaman where masks,wooden toys

and wood panels are made.In Darjeeling,the craftsmen from the Bhutia

community carve various wooden objects and then paint them with vivid

bright colours.With the rising influx of tourists,and decline in the

traditional ritualistic activities,the craft has diversified.In spite of the

diverse products carved today,traditional influence is apparent in the

motifs,patterns and designs of the carvings.Wood carving is practiced in

the Tibetan Refugee Centre.Here the craftsmen carve wooden

planks,which are used as book covers for the Tibetan scriptures in various

monasteries across the globe.

Inset Conch shell-shaped wall hanging.

Tashi Takgye-Tibetan symbols of

good fortune.shown here are four

signs in carved wood.Tibetan

Refugee Centre,Darjeeling.

Choekyi khorlo(wheel of dharma)

Dhungkar

(conch

shell)

Bhumpa

(treasure

vase)

Pema

(lotus

flower)

Production clusters


Darjeeling

Products

Shrines,Tables

Panels,Wall hangings

Tools

Hammer,Chisels

Sandpaper

Detail of a dragon,one

of the four supernatural

animals of

Buddhism,which

symbolizes .and

creativity.

A cutout motif of a bird,fretworked and carved.The

feathers are raised,a form of carving that creates a

relief on the surface.

BEATEN SILVER ENGRAVING

VARIOUS TYPES OF craft objects are made out of silver in West

Bengal.Theyd can be broadly divided into two distinct categories-traditional

ritualistic Tibetan and Bhutia silver ware,and contemporary silver products

like trophies,medallions and utensils,made in Kolkata.In the former,objects

are made from woodd and the silver engraved sheets are used to decorate the

outer surfaces.Silver beaten into sheets are engraved with various motifs and

patterns.Intricate engraving and an excellent finish give the produce of this

cluster an exquisite look.The craftsmen strictly adhere to the traditional

religious motifs of Tibet.Essentially traditional Tibetan,Bhutanese,Nepali and

Sikkimese motifs are Om Mani Padme(prayer wheel with the inscription-`hail

the jewel in the lotus`),dragon,Tashi Takgye(the Tibetan and Chinese

auspicious symbols),Norba (the fire

Traditional betel leaf container with Tibetan

motifs,silver and bronze.

Traditional silver and bronze

container.

altar),Dorje(the thunderbolt),the wheel

of life,and the lotus.Metal

objects,particularly silver,are in vogue

in Kalimpong.The craftsmen in

Kalimpong cater to the religious needs

of Dharamsala and Ladakh in the

northeast and other places

Production Clusters Short blade

Tibetan


sword with a

Kalimpong

bone

handle,and

engraved

Products

silver sheath.

Religious objects:

Mani penne-Tibetan

prayer wheel

Butter lamps

Ghopa-bowls

Incense burners

Geiling-flute

Phigumthali-religious

utensils

Kettle

Kukri-knife

Jewellery

Traditional long-necked tea

kettle.

Tools

Anvil,Hammers

Chisels,Welding

Lamp

HILL PAINTING

Production Clusters


Kalimpong

Darjeeling

Products

Paintings

HILL PAINTING IS essentially done on black polyester cloth

with watercolours.The craft is practiced in the district of

Darjeeling.Introduced in Kalimpong by a missionary,they were

earlier painted on canvas,but with the rising number of

tourists,the craft found a wider market,resulting in large-scale

production of

these paintings,motivating the switch to polyester.The

paintings portray Tibetan and Nepali people in their traditional

dress and also deities of Tibet.The craftspersons also paint the

natural beauty of the surrounding landscape.They sell and

supply to local traders and to neighbouring areas of Sikkim and

Nepal.

Tools

Paint Brushes

1 Artisan painting on

cloth,hill painting.

2 Hill painting on

display at a roadside

shop.

CARPET WEAVING

Produciton Clusters


Darjeeling

Tibetan Refugee

Centre

Products

Carpets

Tools

Vertical loom

Metal fork-shapded

beater

Yarn winder

Shuttles

Wooden rod for

forming loops

CARPET WEAVING WAS started at the Tibetan Refugee Centre to

provide an employment opportunity to the refugees for their selfsustainability.The

wool used for making the carpets is dyed with

vegetable dyes;however,for bright colours,chemical dyes are also

used.The wool is normally brought from Tibet.The carpets are made on

looms using the double knot technique.The carpet has a pile structure

woven in a cotton warp and a predominatly.

wool weft.The wool weft is looped around a rod and

woven at regular intervals with plain weft.The loops

are later cut to form the pile surface.Dragons and floral

motifs are interwoven with the geometrical

shapes.Traditional Tibetan motifs like leather

coins.dog`s paw,druk(dragon),Tashi Takgye(eight

auspicious symbols)are mostly used for the

carpets.Various colourful compositions are made using

these motifs.

1 Tibetan pile

carpet with

motifs of the

dragon,a

mythical bird

and clouds.

2 A carpet

weaver at the

vertical loom.A

finished carpet

is used as a

reference for

weaving.

3 Woven

woollen carpet

with Tibetan

motifs.

4 Pile carpet

with a lotus

motif and a

swastika border.

KONGLAN-STITCHED BOOTS

TIBETANS LIVING IN the mountainous region were

required to walk long distances with their yaks and hence

needed footwear that would protect them from the rough

landscape and the cold weather.These boots are a modified

version of a leather bag,which was tied to their feet to keep

them warm.The only objective of these shoes was to provide

protection and warmth.These boots have a thick leather

sole,and high layered sides made from either leather or thick

cloth.The posterior of the boot towards the upper end is left

open and tied with a hand-braided belt.Konglan knee boots

are usually used by the wealthy Tibetans and the Bhutanese

as a part of their formal outfit.These boots have their upper

part heavilyd brocaded,and the sole is made of yak or sheep

leather.These boots are made from heavy woollen

cloth,leather,and khochen,silk-like material.Sometimes the

inner linning is made of fur.No socks are worn with these

boots.The boots have a unique feature-there is

no difference between the left and right leg of the boots and they can be worn

on either feet.The boots worn by women are called sombas.The kanglans are

of better quality and have elaborated brocade work on them.The brocade

fabric is traditionally from China.The boots are made by the craftsmen from

the Bhutia community mainly scattered around Kalimpong.

Production Clusters


Kalimpong

Products

Do-cha-ladies` boots

Kanglan-gents` boots

Lham-Tibetan dance

boots

Tools

Knives

Scissors

Needles

White cotton thread

Fine embroidery

threads

1. A pair of Konglan boots.

2. A konglan boot with attached silk

brocade to make it knee length.

3. An artisan attaching the felt to the

sole of the boots.

4. Thick felted cloth is used for the

upper part of a pair of konglan

boots.

5. Frontal view of a woman`s boots.

TERRACOTTA

Production Clusters

Siliguri district:

Matigara

Uttar Dinajpur

district:

Kunor

Products

Tiles

Planters

Pots

Jars

Lampshades

Idols

Figurines

Tools

Potter`s wheel

Blades

Moulds

IN NORTHERN BENGAL,immigrants from

Bangladesh practice the craft,however,in the

south of Bengal,the native craftsmen prevail.In

Darjeeling and Siliguri,which are tourist

attractions,the craftsmen mostly cater to the

market demand for pots,and stylized terracotta

objects like statuettes and wall panels.Matigara

is famous for making large terracotta pots.They

are thrown in parts and then joined together with

the help of a clay slip.Objects are adorned with

the help of tools and sometimes figures made

from moulds are attached.The clay used for

making various objects comes from the river

beds of the Uttar Dinajpur area and the clay used

for decoration comes from the tea gardens.The

craftsmen make tiles and tubs for small

plants.Some of them also make telephone

stands,lampshades fancy idols and decorative

tiles.Motifs recur across items;the four

commonly seen motifs are those of the tribal

woman with a child,the palm tree,Ganesha

figures,or typical motifs of Bengal,designs like

lata (blooming creepers)and kalka(mango

motif).Terracotta in Matigara is of very recent

origin,though the craftsmen who migrated to this

region have been involved with the craft through

generations.

1. Matigara is well known for its large

pots.The pots are wheel-thrown and later

decorated with engravedd and cutout

forms before firing.

2. A large wheel -thrown pot which has been

decorated with a palm tree motif in relief.

3. A terracotta hanging lamp decorated with

lattice work from Uttar Dinajpur district.

4. A potter adding details to the clay pot

thrown on the wheel.

CANE FURNITURE

Production Clusters

Siliguri district:

Siliguri

Products

Furniture

Baskets

Lampshades

Wall Hanging

SILIGURI,LOCATED RIGHT next to western Assam,is

an important trading post for raw cane and cane

furniture.Skilled craftsmen who migrated from Bihar had

settled here to produced cane furniture items for local

and upmarket use.Sturdy items of furniture are made

with the use of very simple tools.Canes of different

diameters are used depending on structural or decorative

uses.Split cane is used for binding and weaving the

surfaces of the seat and backrest.Thin cane rods are used

for making bent and decorative motifs that are attached

to the surfaces.

The process includes cutting the cane,bending it with

heat,joining with nails and binding,sandpapering the surface and

varnishing.Cane furniture is mainly made to cater to its

popularity as either garden furniture or indoor furniture that is an

alternative to wooden furniture.Furniture requires sturdy and

thick cane which is obtained from Arunachal Pradesh in the

Northeast.However,a thinner species which is available in north

Bengal is used to make other products like baskets.

Craftsman at work with cane.

Tools

Dao-cutting tool

Hammer

Blue lamp stand

Handsaw

A stool made of typical

construction found in

Colonial cane

furniture:curved heatbent

components,multiple

structural

members,nail-jointed

and converted by split

cane binding.

COOCH BEHAR IS A former princely

town and today serves as the

administrative headquarters of Cooch

Behar district.The town is centred around

a lake called Sagardighi.The raw materials

of the crafts practiced in the

cluster,namely reeds for

sheetalpati,bamboo,jute and shola pith are

grown locally as they need humid

climate.The subclusters

Bhetaguri,Ghughumari,Lankabar are

villages around the Cooch Behar town.

Since it is located on the rail route connecting Kolkata and

other important Indian cities to the northeastern states,this

metaclusters serves as an important transit point for

trade.The handicrafts of the metacluster are practiced more

for commercial reasons than for personal consumption.Apart

from Durga Puja,Jalpesh Mela in Jalpiguri,and Rash Mela in

Coochbehar are the major festivities of the

metacluster.Month-long fairs are held where these crafts

find a good market.Bhawaiya is a popular kind of folk-song

in Cooch Behar.They are also sung in

Rangpur,Dinajpur,Mymensingh,the northern districts of

Bangladesh,and Goalpara district of Assam,apart from

Cooch Behar.

Farmer transplanting rice plants in Kunor,Uttar Dinajpur.

Inset A carved wooden musical instrument made for the Santhal tribe by a craftsman in

Mahishbathan,Dakshin Dinajpur district.

A mosque in Malgaon,Uttar Dinajpur.

Craftsman carving a gambhira mask from a log of wood.

Crafts of Cooch

Behar

Sheetalpati-reed mats

Gambhira masks

Subclusters of

Cooch Behar

Cooch Behar

district:

Cooch Behar

Bhetaguri,

Ghughumari,

Lankabar

Uttar Dinajpur

district:

Raiganj

Kaliaganj

Dakshin Dinajpur

district:

Mahishbathan

Jalpaiguri district:

Jalpaiguri

Maldah district:

Maldah

ACCESS

The nearest airport to Jalpaiguri is Bagdogra.Jalpaiguri is

connected by rail to kolkata and well connected by road to

other towns in Cooch Behar.

RESOURCES


Sheetalpatimats

Gambhira

masks

Reed(Maranta Dichotoma) Ghughumari

Wood-mango,gambhari

and neem, Paints

Dakshin

Dinajpur

A shola pith artisan of Bhetaguri Cluster,making paper-thin

sections of the material by slicing the core of the shola plant

into thin layers.The pith of the shola stem is used to make

garlands,toys and decorative idols by craftsmen called

malakars.This craft is widely practiced in West Bengal and

Orissa.

SHEETALPATI-REED MATS

Production Clusters

Cooch Behar

district:

Ghunghumari

Products

Mats,Handbags

Small purses

SHEETALPATI,literally meaning `cool mat`,made of a

locally grown reed(Maranta dichotoma) is famous among

the mats made in the state.It is produced in the northeastern

district of Cooch Behar.The members of the Kayastha caste

are mainly involved with this craft.The mats are called so

because they impart coolness to the person sitting or

sleeping on them.Products like mats,baskets,hand-fans and

bags are painted with

thin strips of the reed.Dyed strips are added to create more patterns

in the weave.The strips may not be long enough to last through the

weave;so new strips are overlapped and woven in a way that does

not require joinery.Coloured mats have traditional Bengali

motifs.The quality of the sheetalpati mat is judged by its

glossiness,smoothess and fineness of texture.Apart from the

thriving traditional market,the craft has also found a place for itself

in the contemporary urban market.

Tools

Bonthi-cutting tool

Small knife

1. A sheetalpati floor mat.Dyed strips have been used to

create the checked pattern.

2. Detail of the plaiting technique done in twill weave

structure.

3. Table mat with an auspicious motif-the coconut

placed in betel leaves on a kalash,pot.

4. Table mat with an elephant motif.

GAMBHIRA MASKS

Dakshin Dinajpur

district:

Mahishbathan

Products

Masks

Tools

Chisels, Hammer

Paint Brushes

THE CRAFT OF mask making in West Bengal is closely related to the

folk dance forms,such as the ritual dance masks of Darjeeling,Gambhira

masks of Maldah and chhau masks of Purulia.The former two are made

of wood,the latter is made out of papier-mache using moulds.Gambhira

dance and gamdbhira songs were quite popular in Bangladesh,Dinajpur

and Maldah district of Bengal.Lord Shiva,is also known as Gambhir and

Gambhir was originally celebrated as a puja,worship.The dance is a

combination of narrative,song and music whihc resembles a folk

play.The performers wear gambhira masks.The play is enacted by the

character of a grandfather who narrates the story to a grandson character

and the refrain is sung by a chorus.

Gambhira reflects contemporary social

problems.The folk dance is performed to the

accompaniment of folk instruments such as the

harmonium,flute,drum and judi.The masks are

made from locally available wood of

mango,gambhari and neemd trees.The

circumference of the log to be carved into a mask

has to be around two feet.The craftsperson

according to his imagination carves the mask and

then paints it with bright colours.

Mask worn by the

performers of gambhira

folk play and dance.

Different kinds of

gambhira masks.

MURSHIDABAD

Agriculture is the mainstay of Murshidabad district due to the alluvial plains and the

tributaries of Ganga that drain the region.

Fishermen on the River Ganga.

THE FORMER KINGDOM OF THE Nawabs of

Bengal,Murshidabad still echoes with traditions of

culture and learning.The district became part of the

Gaur kingdom in 1197 and passed it to the British East

India company in the 18th century.Murshidabad district

Bhagirathi.To the west lies a high,undulating

continuation of the chota Nagpur plateau.The eastern

portion is a fertile,low -lying alluvial tract,part of the

Gangetic delta.The district is drained by the Bhagirathi

and Jalangi rivers and their tributaries.Baharampur is

the district headquarters.Agriculture is the main

activity,while sericulture and mango cultivation

provide a boost to the

economy.Murshidabad ,Maldah,Birbhum,Bankura and

Purulia are districts that have large settlements of silk

weavers.The tradition of weaving Baluchar butidar

saris(drapes with floral ground)was famous;the motifs

reflects an aristocratic lifestyle mixed with

Hindu,Muslim and European elements.Mango

motifs,equestrian figures,and the hookah-smoking male

figures appear in niches that resemble the freize panels

of the terracotta temples in Bishmupur.This weaving

tradition declined at the end of the 19th

centurey.Though today the weaving industry produces

patterned fabrics with jacquard looms,the earlier

Baluchar butidar saris remain unmatched by the new

versionds.Khagra,Kunjaghata and Jiaganj are famous

for producing bell metal utensils and brass pots by

casting and by beaten work process.A traditional form

of beaten work called petano kansa that was practiced

for shaping kansa vessels by beating,is being replaced

by faster methods of dhalai kansa casting.

ACCESS

Murshidabad has rail and road connections to other

towns in the district.The nearest airport is in kolkata.

Detail of a

Baluchar

sari.

Crafts of

Murshidabad

Shola pith craft

Metal ware

Subclusters of

Murshidabad

Murshidabad

district:

Jiaganj

Khargram

Baharampur

Kunjaghata

RESOURCES


Shola pith

Metal

ware

Shola wood ,stem Shola wood from

wetlands,Surul

Copper ,brass,tin Khagra in Baharampur

1. Stucco work called pankher kaaj is done on private

residence.A mixture of conch shell,lime and curd paste is

used for making intricate and decorative forms on

architecture in Khagra,Baharampur.

2. A kansakar,metal craftsman , beating and shaping a brass

plate.

3. A craftsman polishing a beaten brass vessel on the buffing

machine.

SHOLA PITH CRAFT

Production clusters

Murshidabad

district:

Baharampur

Products

Ambari elephants

Human figures

Mythological figures

Oranaments for idols

Toys

Wedding headgear

SHOLA PITH IS the art of making objects from the

soft,porous,light and supple pith of the shola stem.This

water plant grows in lakes ,ponds and wetlands;and is

partly submerged in the water.The outer skin is brown

and is peeled off to use the soft portion from the

core.The core is sliced into strips,which can be shaped

according to the artist`s imagination.The process is

simple,but the craftsmanship requires a steady hand and

great skill.In west Bengal,these artisans are called

malakars.Shola pith items form an integral part of the

major religious rituals in West Bengal.Skillful hands

shape this stem into many objects such as models of

temples,churches and mosques,carved images of Durga

in Bengal,Wedding headgear,idols of

gods and goddesses,flowers,garlands,display objects and toys.The

craft has gone through a major shift after the abolition of the

zamindari system,prior to which it was restricted only to religious and

ritualistic products like wedding headgear,flowers and garlands.The

end of Zamindari system saw a fantastic growth in public Durga

pujas.Today,a sizable population of shola pith craftsmen earn their

livelihood by making ornaments for idols.Other products like

statuettes and models are inspired by the ivory carvings of

Murshidadbad.Craftsmen in Maheshpur mainly cater to the export

market by producing large quantities of artifical floweres of various

kinds with shola.

Tools

Blades,Scissors

chiadi-bamboo blade

Adhesive

Cutting the shola into paper - thin sections.

Shola pith flowers

Mayur pankhi,peacock-shaped boat.

Ambari elephant-the ceremonial

elephant with a seat and canopy for

the riders,is also carved in ivory and

wood.

Topar,headgear worn by the groom during a

Bengali wedding.

Mukut,headgear worn by the bride

made in shola pith.

METAL WARE

KANSA,AN ALLOY WITH a

high proportion of tin to

copper,was the primary

material used for making

utensils in Bengal.Kansa

utensils did not tarnish easily

and were suitable as cooking

and serving dishes.

Khagra in Baharampur town,was famous for petano

kansa,process of forming vessels by beating,which is being

replaced by dhalai kansa,shaping vessels by pouring

molten metal into a cast.Traditionally,plates,tumblers or

bowls were forged out of lumps of kansa on anvils and

steel-shapers by a team,heating and beating the metal

simultaneously.The dhalai kansa process of casting uses a

box mould,made of refractory earth.This is stamped over a

master pattern to form two parts of the mould,each held in

an outer metal casing that is cylindrical in shape.The

molten metal is poured through a wooden funnel into the

mould,and the cast is set aside for cooling.The cast bowl is

extracted from the mould,and the pouring funnel is

removed and remade.Semi-finished bowls are placed back

in a tampering oven,and heated and cooled thereafter to

release any internal stresses.The bowl is then polished on a

lathe,and decorative markings are made if necessary.The

dhalai kansa method is more prevalent than petano,as a

craftsman is able to produce a larger quantity

Petano or beaten kansa plate.

of objects.The process being more mechanical,the artisan requires less

skill.The high productivity and sale of dhalai kansa products also make

it more profitable than petano kansa.Apart from kansa,brass is also

widely used for shaping utensils of various kinds.Brass pitchers are

made by the kansabaniks at Kunjaghata,Baharampur and in Navadwip.

Individual parts of a pitcher are shaped and forged;joined or brazed with

a soldering paste;finished and polished.

Inset : Glasses made by dhalai kansa or box mould casting process.

Cast bowls which have been polished on the lathe.

Production Clusters

Murshidabad

district:

Jiaganj

Kunjaghata

Baharampur town:

Khagra

Products

Cast bowls,Utensils

Plates,Spoons,Tumblers

Beaten brass pitchers

Tools

Moulds,crucible

Kund-lathe

Katori-scissors

Noadi-steel chisel

Hapor-furnace

Compass, Hammer

Anvil,Forceps

Brass Pitcher

Individual parts of the vessel are forged and shaped by beating.Here the

base plate has been joined to the body,and the craftsman is giving it a

beaten texture.

Subclusters of

BIRBHUM

Birbhum district:

Sriniketan

Surul

Lokepur

Bolpur

Barddhaman

district:

Barddhaman

Katwa

Dainhat

Nadia district:

Natungram,

Navadwip,

Krishnanagar, Ghurni

A mud house with

thatched roof

among fields of

paddy in Sian

village, near

Bolpur.

The palace of

Maharaja

Krishnachandra in

Krishnanagar. The

Maharaja had

encouraged clay

image makers

through his

patronage.

Birbhum District Comprises two distinct regions; to the west

lies an undulating, generally barren upland, part of the eastern

fringe of the Chot Nagpur plateau, to the east is the densely

populated, allvial plain of the Gangetic delta. The principal

industries include cotton and silk weaving, rice and oilseed

milling, metal ware and pottery manufacture. Siuri is the

district headquarters while Birbhum is home to many folk

festivals, like the Kenduli Mela that draws a large number of

the wandering minstrels of Bengal, the Bauls. All the festivals

are associated with large fairs where the crafts of the entire

state are showcased. Based on his convictions about

traditional knowledge systems in crafts and their relevance to

the education of the art student, the Nobel Laureate

Rabindranath Tagore set up the Shipla Sadan in Sriniketan as

part of the Viswabharti University at Shantiniketan. Shilpa

sadan imparted training in craft skills to local people as well

as produced and sold craft items mediated by art professors

and students of Kala Bhavan, the Faculty of Fine Arts at the

University.Barddhaman district, the granery of Bengal, is a

major communication centre lying astride the Banka River. Of

historic interest are the Maharaja`s palace and gardens, several

ancient Muslim tombs, 108 Shiva Lingas, and various 18th

century temples. Equally important is the adjacent Nadia

district, with a unique tradition of Sanskrit scholarship.

Krishnanagar, its administrative headquarters, is famous for

the manufacture of coloured, realistically modelled clay

figures.

ACCESS

Shantiniketan, Barddahaman and Krishnanagar have a

railhead, and roads connect them to other towns in the district

and state. The nearest airport is Kolkata.

Detail of embossing on leather.

Crafts of Birbhum

Leather work

Terracotta jewellery

Kantha - patched

cloth embroidery

Sherpai - measuring

bowls

Wooden toys

Dhokra - lost was

metal casting

RESOURCES


Dhokra - lost

was metal

casting

Brass, Sand, Clay soil,

Paddy dust, Beeswax,

Mustard oil

Dariapur,

Barddhaman

district

Leather work Leather, Dyes Surul, Birbhum

2 Fabrics which have been painted with wax and resist dyed

have been hung to dry. Kala Bhawan, the Department of Fie

Arts at Shantiniketan was a pioneer in integrationg craft

traditions in their curricullum for art education. They

introduced batik and leather work to craftspersons in the

region.

3 A craftsperson carefully stitches two layers of fabric with

running stitch. The skills of making traditional embroidered

kantha are being diversified to make products for urban

markets which in turn help to provide income to artisans.

LEATHER CRAFT

Embossed leather craft is practiced at Surul village in

Shantiniketan. The craft was initiated to the cluster through Kala

Bhawan, the Department of Fine Arts section at Viswabharti

University. Rabindranath Tagore had invited batik artists from

Java, Indonesia, to introduce the technique in India. In its initial

phase it was restriced only to batik on

leather. Kala Kutir in Sriniketan still retains the original

tradition of batik. However, the craftsmen of the cluster

have diversified to embossing designs on leather and then

doing batik on it. The process of embossing entails

softening the leather, embossing the designs through dies,

and dyeing the product.

Production Clusters

Birbhum district:

Surul

Bolpur

Products

Bags

Lady`s purses

Wallets

Key rings

Jewellery boxes

Hand gloves

Accessories

Tools

Punches

Metal Blocks

Skiving tool

Dyes, Roller, Blower

Polishing Stone

1. An artisan hand

painting an

embossed

leather piece.

2. AN embossed

and painted

leather purse.

3. Leather purse

with embssing.

4. An old kantha

quilt from

Jessore

(Bangladesh)

with several

variations of the

kalka, mango

motifs,

embroidered in

the corners.

5. Detail of the

embossed

texture with the

kalka, mango

motif.

TERRACOTTA JEWELLERY

Terracotta is one of the most ancient manifestations of

human creativity. However, terracotta jewellery is one of

the most recent additions to the domain of terracotta

artifacts and to the fashion world. It finds a huge market

in Kolkata

among both the young and the old. Clay is shaped and formed by

hand using techniques of slabbing, pinching, coiling, die and

pressing and carving. The individual parts are fired and strung into

ornaments such as necklaces, earrings, and bangles.

Production Clusters

Birbhum district:

Shantiniketan, Bolpur

Products

Earrings

Necklace

Bangles

Tobacco pipes

Tools

Chhile - strips of

bamboo

1. A necklace made with clay beads and pendant. The clay

pendant has been shaped by hand, decorated with markings

and recessed texture, and fired.

2. Details of a necklace with terracotta and wooden beads.

3. Earrings

A sujuni, kantha made in Jessore, Bangladesh, from a museum collection. The central form is a thousand petalled lotus symbolic of fecundity and

abundance, and considered auspicious.

KANTHA - PATCHED CLOTH EMBROIDERY

Production Clusters

Birbhum district:

Shantiniketan

Surul

Bankura district

South 24 Parganas

district

Products

Traditional

products:

Lep - quilt

Sujuni - bedspread

Baytan - wrap for

books and valuables

Oar - pillow cover

Arsilata - wrap for

mirrors and combs

Durjani - wallet cover

Rumal -

handkerchief

Contemporary

products:

Sari - draped clth

Stoles

Table linen

Furnishing fabrics

Pillow covers

Bedspreads

Quilts

Kantha, patched, quilted and

vividly embroidered textile was

made mainly in Bangladesh

(earlier known as East Bengal),

West Bengal and Bihar, our of

old saris and dhoti. Essentially a

woman`s art, they are made as

gifts for family and friends. The

work of the Hindu and Muslim

women differed the kind of

motifs and the patterns used. The

Muslim women used more

geometrical patterns and floral

motifs which were executed with

fine craftsmanship.

On the other hand, the kantha made by Hindu women were

pictorial and narrative, with forms from daily lie, composed

around a central floral motif. Kantha is used as a quilt, a

wrap, or folded as a bag. The unique thing about the kantha

is that it is made entirely from re-used cloth; threads removed

from it are used to secure the layers together. The sari

borders that are removed are often re-introduced as stripes

which form the borders of the quilt. The density and direction

of the running stitch creates a unique tonality and a rippled

effect. The design usually relies on a central circular form

occupied by a many petalled lotus flower and four mango or

tree motifs to mark the four directional axis. The space

between the lotus and the trees is filled in with figures,

objects and symbolic motifs. These motifs are drawn from

the women`s social and physical environment. The lotus as a

central form is similar to the form of alpana, the ritual floor

painting. Several voluntary and welfare organizations have

set up units which helped extend the art and in turn provided

a secondary income to women.

Inset : Baytan, a square kantha has been folded and stitched to

make a wrap for valuables.

1. Detail of and antique sujuni, bed spread, from Kolkata.

The embroidery in the borders meticulously recreates the

sari border patterns which typify the handloom saris of

Bengal.

2. Contemporary kantha textiles developed by an NGO in

collaboration with craftspersons.

Tools

Needle and thread

WOODEN TOYS

For centuries, wooden toys found their market essentially in rural

fairs. A group of such toy makers had settled down in Natungram

about a century and a half ago. The craft is basically seasonal in

nature. Earlier, the toys were small figures, the males with their hands

raised and the females with their hand by their side. The raja-rani,

(king and queen) and owl are well known wooden toys. These toys

are made by chiselling a length of wood with a square section and

painting them with bold colours.

Nowadays, the toys are produced with a similar technique but

the forms differ. Besides toys, figures of gods and goddesses

are carved in relief on rectangular or square wooden sections.

These are very popular in urban markets due to their

contemporary appearance. The most popular is the wooden

owl (associated with Goddess Lakshmi) painted in bright and

vibrant coloours and available in various sizes. These owls are

made from the thick branches of trees.

1 The carved and painted owl is cleverly oriented along the

diagonal or the square so that its beak is formed along one

edge and the corresponding faces are chiselled out to reveal

its large eyes and faceted head. The body is similarly formed

with its wings located on its breast, made prominently by

chiselling the wood to reveal its delicate feet.

2a, ab Owls of different sizes. The painting accentuates the

features of the owl.

3 Different stages of making an owl.

Production Clusters

Nadia district:

Natungram

Products

Animal figures

Idols

Wall hangings

Wood panels

Tools

Kurul - hand axe

Karat - hand saw

Bais - gripping tool

Chisels

SHERPAI - MEASURING BOWLS

Sherpai, Kunke or bowls for

measuring rice are made only in

Lokepur near Siuri in Birbhum

district. The word derived from

ser referring to a unit of weight

and pau which means a quarter

in Hindi. The bowls are carved

out of wood and embellished

with riveted sheet brass

decorations. The wood or

mango, palm, sirish or sishu

trees is used. The bowls are

turned on the lathe machine but

earlier the form was carved and

sculpted by hand. Then the

wood is coloured black with the

help of a few herbs soaked in

water for two days. Brass

sheets are embossed with

various patterns and motifs and

then riveted on the wood.

Traditionally, a set of twelve

bowls was made, which were

extensively used by well to do

farmers. After losing the

traditional market, these bowls

have found their place as

decorative items in urban

homes.

Production Clusters

Birbhum district:

Lokepur

Siuri

Products

Rice measuring

bowls

Jewellery box

Lamps

Ashtray

Tools

Ugo - file

Bina, Chachhana,

Sutri - polishing

instrument

Akdo - digging tool

Hand axe

Hammer

Spinner

Saw

1. A set of 12 measuring

bowls carved from wood

and decorated with

embossed brass work.


Production Clusters

Barddhaman

district:

Dariapur

Bankura district:

Bikna

The Gahrua or Dhokra Kamar

tribes are traditionally involved

with the craft of metal sculpture in

West Bengal. In earlier times, this

tribe led a nomadic life, repairing

old or broken utensils.

both are fired together. A thick strand of wax protrudes at the

highest point of the wax model and provides a future passage

for molten metal.

Products

Idols

Utility Items

Ashtrays

Wall pieces

Measuring bowls

Tools

Chisels

Tongs

Brush

Tatal - welding

instrument

They sold statues of gods and goddesses, various sized bowls

symbolic of Goddess Lakshmi, small lamps, and small toy models

of animals, birds and bells. The Dhokra tribes of the Bankura region

are mainly involved in making idols of gods, goddesses, birds and

animals; while the Dhokra tribes from Purulia and Barddhaman

districts engage themselves in the making of various sized

measuring bowls, anklets and tinkling dancing bells. The dhokra

metal objects use lost wax method for casting hollow and solid

objects. The objects are mainly of two types; the sold ones with clay

inside and the hollow ones. A rough mould of sand, clay and paddy

dust is covered with a mixture called gala, made of mustard oil and

beeswax. The intricacies of the final design are worked on this gala.

Influence of the coiling technique can be seen in the decoration of

the metal work. The spiral and parallel lines are used extensively to

create patterns on the object. Brass replaces the gala by the lost wax

process. The unique feature of the dhokra casting in Bengal and

Bihar is that the curcible for melthing the metal is attached to the

mould and

Diya - a lamp from Barddhaman

Figurines, Barddhaman.

Inset : A transistor

with dhokra cast body.

The four stages of making a dhokra product.

Idol of Goddess Durga

made in dhokra,

Bankura

Bankura horse cast in dhokra technique, Barddhaman.

CLAY WORK OF KRISHNANAGAR

Production Clusters

Nadia district:

Krishnanagar

Ghurni

Products

Figurines

Fruits

Vegetables

Birds

Insects

Animals

The clay images of Krishnanage ar well known for their

realistic appearance, and the detailed and intricate miniatus

are created with clothes and accessories. They represent a

breakaway from the traditional form since the 18th century.

The craftsmen belong to the caste of Kumbhakar or potters.

Ghurni in Krishnanagar has a concentration of potters.

Krishnanagar is on the banks of Jalangi River and the clay is

brought from the riverbed. Fine clay dolls are also produced

which represent all professions and trades in minute detail,

replete with costume and accessories. The figurines are made

in parts and assembled together. Plaster of Paris moulds are

used to cast different body parts when the figurines are made

in large quantities. A metal wire is used for support and

reinforcement in the clay models. They are fired in a kiln and

painted with poster or water colours. The craft still has a

market in rural melas and craft emporia.

1. The figurine of a lady made

completely of clay.

2. Fisherman looking at sea.

3. Baul singer with his ektara, a

single string instrument.

4. Village woman carrying water

in a pot.

5. Labourer with a gamcha or

cotten towel, tied around his

waist.

6. Baul singer in the characteristic

yellow kurta, tunic, with a sash

tied around his waist.

Tools

Cheari - bamboo

carving tools

Basua - wood and

bamboo tools

Chiadi - bamboo

strips

Brushes

Knife

Jute

Subclusters of

BANKURA

Bankura district:

Bankura

Panchmura

Bishnupur

Bikna

Sonamukhi

Susunia

Purulia district:

Purulia, Charida,

Balarampur

Midnapur district:

Midnapur, Pingla,

Naya, Digha, Sabang

Crafts of

BANKURA

Terracotta of Bankura

Patachitra - scroll

painting

Ganjifa cards

Conch shell carving


Wood carving

Stone carving

Maslond - grass mats

Lac - coated toys

Chhau mask

Bankura lies on a densely populated

alluvial plain, and agriculture is the

main source of income. Mica, china

clay, iron ore, lead, zinc, and

wolframite deposits are worked in

the locality. The area remained a

focus of Hindu culture for a long

time, especially during the reign of

the Malla kings during the 17th and

18th century,

when the capital was situated at Bishnupur, the site was famous

for its contribution to the fields of music, art and culture. The

district`s strong tribal presence is accompanied by its legacy of

post-Gupta terracotta sculpture and its extensive use in

RESOURCES


Stone

Carving

Terracotta

Conch shell

carving

White stone

Clay, Firewood, Bamboo

strips

Conch shell

Ganjifa cards Cotton rags, Tamarind

Glue, Natural colours,

Water colours

Patachitra -

painting

Chart paper, Cloth,

Vegetable colours

Susunia hills

Panchmura,

Bankura

Kolkata, Tuticorin,

Chennai, Sri Lanka

Bishnupur

Naya, Midnapur

constructing monuments and temples. With the gradual

waning of Buddhism in India and the simultaneous spate

of Vaishnavite and Shaivite revival in Bengal, hundreds of

brick temples were built with terracotta reliefs depicting

episodes from the Ramayana and Mahabarata. The Muslim

rulers who followed were forced to depend on local talent

for the construction of their monuments, a phenomeneon

that led to a new vocabulary of forms and architectural

elements, where Islamic architecture was influenced by

Bengal`s fold culture and the Chala huts. In the temple

town of Bishnupur, the annual festival that is held between

27th and 31th December is characterized by an exhibition

and sale of local handicrafts and a display of the varied

musical traditions of Bishnupur. Purulia district in the

western part, is well known for the Chhau mask dance; it is

performed in the open air by dancers wearing masks made

from wood, clay and pper crafted by the sutradhars, wood

working artisans. Midnapur, Purulia, Bankura, Nadia,

Birbhum and Murshidabad were the main centres of pata

painting, a prolific fold expression of Bengal that is

executed on pata, cloth, and paper. Several styles have

been developed; some pata were painted by professional

painters for local use in villages, some by hereditary

painters for urban clientele, still others were developed

around the local temples and pilgrimage centres and yet

another style was painted by the Santhal community that

depicted various legends and origin myths.

ACCESS

Bankura, Purulia and Midnapur have a railhead and roads

connecting it to other towns in the district and state. The

nearest airport is Kolkata.

Inset : The Shyama Raya Temple in Bishnupur was built in

1643. It is covered with terracotta frieze panels that depict

episodes from Lord Krishna`s life and the Ramayana.

1. Votive terracotta horses in a potter`s home. The

renowned Bankura horse given as a votive offering

to local deities is made by the potters in Panchmura.

2. A patachitra painting made by a boy in Naya,

Midnapore district.

3. Bengal has an eloquent tradition of folk painting.

TERRACOTTA OF BANKURA

Production Clusters

Bankura district:

Panchmura

Products

Traditional:

Horses

Elephants

Manasa chali

Shashti putul - folk

deity

Bonga - Santhal deity

Contemporary:

Flower tubs

Decorative tiles

Figurines

Tools

Pitna - for beating

Balya - for beating

Kabari - bamboo

drawing tool

Ucha - bamboo strips

for polishing

Ritual Horses,

elephants, Manasi

Chali (the crafted

pitcher symbolizing

Manasa, the Snake

Goddess) and Shashti

(the guardian deity of

children) are produced

in Panchmura,

Bankura. For the

votive elephants and

horses,

the clay is thrown on wheels and parts of the

body are made seperately, and joined later.

The basic adornment is done with small clay

balls and thin clay coils. This craft in

Panchmura started with the rise in the

popularity of the local serpent deity Manasa.

Local people promise to dedicate terracotta

horses and

Inset : A terracotta relief of Durga or

Mahishasurmardini.

A kumbhakar, potter, makes the head of a

horse figure in Panchmura.

elephants to the serpent deity on the fulfillment

of a wish. The genesis of the famous Bankura

terracotta horses and elephants lies here. These

Bankura horses have also attracted the urban

market where they are used as object of art.

The men make the parts of the horses, which

have to be thrown on the wheel, and the women

undertake the decoration part of it. The women

also make the hand formed small horse figures.

Apart from the votive terracotta, the women

also make plenty of clay dolls and toys by the

pressing and moulding methods. Some of these

hand formed dolls are also used for some ritual

purposes. The Bankura horses are characterized

by their erect neck and ears; and a dynamic

look. The jaws are wide and a set of teeth can

be seen; the eyebrows are drawn and the

forehead is decorated with the chandmala

necklace.

Manasa Chali, terracotta facade of a shrine. The

snake deity Manasa is worshippd for protection

from snakebites.

PATACHITRA - SCROLL PAINTING

Patachitra or scroll painting

of rural bengal are made by

the Patuas, a branch of the

Chitrakar caste. The Patuas

are professional artists who

make images and paintings

for a living. They are also

accomplished singers.

The mythical narratives, contemporary tales anf floklore

painted on scrolls are carried from villageto village, and

narration is accompanied by folk songs. There are three types

of formats in patachitra - the vertical scroll, horizontal scroll

and a single quadrangular sheet. The width of the paintings

may be from one to two feet, while the length can be up to 25

feet. Earlier, the pictures were painted in vegetable colours, on

cloth or paper. There are different stylistic characteristics such

as the distinct tribal style of the Santhal patas, those from

Birbhum, show an overindulgence of emotion and sentiment

and the Bengali style in the Kalighat bazaar patas. These days

the chitrakaras, painters of Midnapur and Purulia districts are

the only ones involved with pata making. The patuas, painters,

also serve as priests for the Santhal community, and make

patas with Santhal folklore. The craft has been affected by the

onslaught of lithography, oleography and bazaar pictures.

Product Clusters

Midnapur district:

Naya

Tamluk

Products

Patas of various sizes

Tools

Paintbrush

Chart paper

Old cloth

Vegetable colours

Inset : Patachitra by a chitrakar

depicting the goddess as

Mahishasurmardini, Durga killing

the demon Mahisa, flanked by the

deities Ganesha, Saraswati, Lakshmi

and Kartik. A chauka pat from Naya,

Midnapur district.

1. Detail of a scroll painting done

on a continuous long paper

which is unrolled as the story

proceeds.

2. A vertical scroll showing the

sequence of a story from

Santhal folklore. The three

formats used are the gighal

pat, vertical scroll, with all the

frames being a part of a single

story; and chauka pat, single

quadrangular picture.

Narasimha avatar suit.

Varaha avatar suit.

GANJIFA CARDS

Balarama avatar suit.

Jagannath avatar suit.

Matsya avatar suit.

Kurma avatar suit.

Ganjifa, rounded cards made out of handmade paper in Bishnupur, Bankura district

are very similar to the ganjappa cards of Orissa. The cards bear the images and

symbols of the ten incarnations of Lord Vishnu called Dasavatar. The game had

flourished under the royal patronage of the Malla dynasty of Bishnupur. The

craftsmen claim that the designs of the cards have not changed at all in the last one

thousand years. Apart from Dasavatar cards, they also make Dasa Mahavidya cards,

illustrated the ten rupas, forms of the Mother Goddess, Sati. But primarily these

cards are made on specific orders. Wet cotton rags are layered and pasted into cloth

roundels with tamarind glue. After the cards have dried, the designs are painted on a

white backgrounds. The roundels are 4-5 inches in diameter. The back is plain and

unpainted. The craftsmen prefer to use watercolours now due to the increased cost

of natural colours.

Dasavatar taas are made in packs of eight or twelve suits.

A popular game once, it is now archaic, valued more for

being antique rather than for play.

7 Kalki avatar suit.

8 Parshurama avatar suit.

9 Ram avatar suit.

10 Vamanea avatar suit.

Production Clusters

Bankura district

Bishnupur

Products

Ganjifa cards

Tools

Cotton rags

Tamarind glue

Watercolour

CONCH SHELL CARVING

Production Clusters

Bankura district:

Bankura

Products

Engraved conch

shells

Bangles

Rings

Pendants

Hair clips

Vermilion containers

Tools

Chelai - chisels

Chunni - long thin

chisels

Buli - thick chisel

Files

Hammers

Conch shells are used in two significant ways in Bengali

tradition. One is in the form of the bangles worn by married

women, and the other is using the whole shell to blow into it,

during religious ceremonies. The conch shell bangles suggest

the marital status of a woman. According to Hindu custom, the

bride`s first pair of conch shell bangles must have a rim of red

lac. Crafting bangles, ornaments and ritual objects from conch

shell is unique to Bengal. The craftsmen belong to the

Sankhakar community. The blowing sells are usually plain but

nowadays are engraved with ornamental patterns or an episode

from an epic. The shell is hard and hence it is difficult to cut it.

The carving on the shell is done with the help of various files.

A grinding machine removes the rough outer surface of the

shell, which is then filed, engraved and polished into the

desired shape. Conch shell is procured from Kolkata, where it

comes from the beaches of Tamil Nadu and Sri Lanka.

Tools : The

conch shell and

the tools

required for

various process.

1. Engraved

conch

shell

bangles.

2. Craftsman

engraving

on a

conch

shell.

3. A shell

cut into

pieces for

making

engraved

bangles.

4. Hookah

made of

conch

shell.

COCONUT SHELL CARVING

Production Clusters

Bankura district:

Rampur

Products

Replicas of terracotta

horses

Animal figures

Figurines, idols

Human figures

Tools

Karat - hand saw

Hammer

Chisels

Files

Mechanized tools

The craft of coconut shell carving in

West Bengal started as an adaptation

of the celebrated conch shell carving.

The technique and the tools used for

the craft are the same as that of conch

shell carving. However, the product

range of coconut shell

ranges from teapots to bangles and ornaments, and from bowls to

replicas of terracotta temples of Bishnupur. There was a scarcity in

supply of conch shells in West Bengal during the 1980`s, and hence

their prices soared. Craftsmen adapted their skills to carve coconut

shells and also wood apple shells. Now they are exploring cheaper

alternatives like pumpkin shell and fish scales to keep the craft and

the market alive.

Inset : Detail of a vase.

1. The coconut shell.

2. A vase made from the shell.

3. Coconut shell vase painted black.

4. Coconut shell model of Shyama Raya Temple.

WOOD CARVING

Terracotta objects like ritual horses and elephants produced

in Panchmura, Bankura have been able to carve out a niche

for themselves in the craft sectrum of the country. The

Bankura horse has become symbolic of craftsmanship and

has inspired the symbol of a government handicrafts

marketing corporation. The terracotta horses and elephants

are being replicated in wood. Due to the popularity of the

terracotta horse, craftsmen started carving out the horse in

wood to cater to the tourist demand. In 1965, an artisan

started producing the wooden replica of the famous Bankura

terracotta horses. With his finding a decent market for the

products, the process of diversification of the products also

started. Though there is a good market, the major constraint

is the availability of skilled labour and the insufficient

returns.

Production Clusters

Bankura district:

Rampur

Products

Replicas of Bankura

terracotta

Animal figures

Figurines

Idols

Human figures

Tools

Karat - hand saw

Hammer

Chisels

Files

Mechanized tools

1. Craftsman at

work in Rampur.

2. The four stages

of carving the

figure of a

Bankura horse.

3. Carved idol of

Goddess Durga

and her family.

The carving

depicts the

victory of good

(Durga) over

evil

(Mahishasura).

The goddess is

fervently

worshipped

during the Durga

Puja festival.

STONE CARVING

Stone carving in West Bengal is primarily practiced in Susunia

Hills at Bankura district. The easy availability of raw materials

from the quarry in the hills have facilitated the craft for long.

However, the stone carvers of Susunia are faced with a grave

challenge these days as the state government has imposed a ban

on quarrying in the hills. Stone carving was also prevalent in

Dainhat in Barddhaman district. Products like floor tiles and

milestones were made on a regular basis in the cluster for long,

but the artisans diversified to carving figures of Hindu deities as

well as other artistic figures in the last 50 years.

1. A traditional die carved in stone. The die is used to set

sandesh, a sweet prepared from milk. A small stone carving

from Susunia.

2. An ensemble of the Goddess Durga, Lakshmi, Saraswati:

Ganesha and Kartik and Mahishasura being slain. The

mount of Durga, the lion, attacks Mahishasura the demon.

Stone relief carving.

Production Clusters

Bankura district:

Susunia

Products

Idols

Reliefs

Tools

Hammer

Chisels

Conch shells carved in stone. The conch shell is considered to be

very auspicious in Bengal. It is blown by the devotee during

prayer and has a resonating sound.

An unfinished stone

carving of Goddess

Kali.

Maslond mat with vertical borders. The subtle difference in colour is due to the culm of the grass which is darker towards the top and lighter in colour

towards the roots.

MASLONG - GRASS MATS

Production Clusters

Midnapur district:

Ramnagar block

Khalaberia

Sabang block

Sarta

Chandkuri

Products

Mats

Tools

Aara - bamboo frame

for loom

Haata - reed and

beater

Katee - sickle shaped

cutter

Chhoonch - needle

Peere - wooden

platform

Maslong mats are made from the grass called madur kathi (Cyperus

corymbosus) or Chinese mat grass. This grass grows around four to

five feet tall in a swampy region around Midnapur. These woven

mats are well known in Bengal and derive their name from the

Persian term for a throne - masnad. The main centres for weaving

these mats are Khalaberia and Sarta. Sarta has the biggest market

for trading of mats. The mat has a plain field in the centre

surrounded by a border with motifs. The border patterns are

reminiscent of the handloom saris of Bengal. There are two types of

mats based on coarser and finer madur kathi splits. The mats woven

with finer splits look beautiful due to the subtle colour difference

between the madur kathi splits. The thicker and lighter colour from

the lower portion of the culm and the thinner and darker from the

upper portion, are used for the pattern. Animal, bird and floral

motifs are used. Motifs are introduced depending on the occasion

for use; mats used for sleeping and eating food on have vertical

borders along the edge. Mats used by Muslims have Quranic verses

or images

The maslond is woven on a simple horizontal loom at floor level.

Fine strips which have been tie-dyed are being woven by the

weaver, assisted by his wife. Wooden platforms kept under the

warp enable the weavers to sit on the loom itself. Plied cotton yarn

is used in the warp.

of mosques. Mats used during marriage ceremonies have

butterflies and peacock motifs and very large border

covers. The mats are woven on very simple floor looms

and most of the weaving is done manually. The loom

itself is of very low cost, and the grass grown locally is

not expensive. The mats are labour intensive and weavers

use the technique of tie dyeing the stalks to accentuate

the patterns and borders. Initially only the women

practiced the craft but now it has become a profession for

the entire family. The mats are widely used by the local

people to sleep on, and also as floor coverings and wall

hangings.

Detail of a grass mat woven with coarse splits of madur

used in combination with dried stalks.

Fine madur splits which have been tie-dyed in black dye

obtained from natural material.

CHHAU MASK

The craft of mask making along with Chhau dance has been a

tradition here for well over a century. The Chhau dance has

qualities similar to a primitive ceremonial dance, reflected in

the masks. First, a clay model of the mask is made, over which

layers of waste paper and rags are pasted and then dried.

Painting and embellishment is done on the dried mask, and the

clay scraped off. Masks depicting characters from

mythological stories, various gods and goddesses, animals,

birds, demons are made. The Chhau mask makers are

originally woodcarvers or sutradhars by profession. The masks

are generally made during the month of Fagun, January, to

February. Earlier they made masks out of wood and the

decoration was simple.

Production Clusters

Purulia district:

Charida

Products

Masks of myriad

characters from

Hindu mythology

Elaborate Chhau mask of the Goddess Pratima from Purulia

1. A craftsman making a clay

model from which moulds

will be taken.

2. Three stages of making a

Chhau mask.

3. Masks of male and female

tribal characters in the Chhau

dance.

4. Mask of a tiger made in

Charida in Purulia district.

Tools

Thapi - wooden

spatula

Drills, Chisels,

Brushes

Scissors, Hammer

LAC COATED TOYS

In several districts of West Bengal, lac coated terracota

toys and votive figurines are made by sankhakars,

conch shell craftspersons. Originally the craftspersons

were involved in the making of conch shell bangles but

due to the decline of the craft, they shifted to making

terracotta dolls. The women of the families, who were

already involved in making shell bangles, had shifted

ther skills to making lac coated toys. Besides toys, lac

bangles are made in Surul in Birbhum district and

Balarampur in Purulia district. Terracotta dolls are

made in moulds and by hand, heated on a small oven

and then coloured with lac. The front is brightly

coloured, while the reverse is painted black. The

terracotta figures of Shashti putul, goddess of fertility,

and mother and child figurines have pointed faces that

are made by pinching and pressing clay in a distinctive

way.

1 Lac coated bull and tortoise -

figures made by lac bangle

craftsmen.

2 Figurine of Goddess Durga.

3a Shashti, mother goddess and

goddess of fertility figuring is offered

to the deity by childless couples.

Shashti is shown holding two

children and sometimes with four

children.

3b Mother and child toy is depicted

in several different ways. Here the

mother is shown bathing her child.

Production Clusters

Midnapur district:

Paschimsai village

Khoroi

Products

Dolls and Toys

Inset : Clay toys die

cast in moulds which

have remained

unchanged for

centuries. Jaynagar,

South 24 Parganas

district.

View of the western

colonnaded facade of

Victoria Memorial

facing the Hooghly

River. The marble

monument was built in

honour of Queen

Victoria in 1921,

houses 3500 artifacts

of the Raj era and oil

and watercolour

paintings that depict

the history of the city.

Crafts of

KOLKATA

Beaten silver work

Clay figures

Subclusters of

KOLKATA

Kolkata district:

Kolkata

Kumartuli

Bhawanipur

South 24 Parganas

district:

Jaynagar

Canning

RESOURCES


Beaten silver

work

Clay figures

Silver sheets

Clay, Plaster of Paris,

Metal wire

Kolkata

Krishnanagar,

Kolkata

1. An arrangement of the fishing traps done in a stream,

South 24 Parganas.

2. Idol of Kali being loaded to transport for the Durga Puja

festival, Kolkata.

ACCESS

Kolkata, the capital of West

Bengal, is the second largest city in

India and one of the largest in the

world. Ten of Kolkata`s suburbs

have well over 100,000 people

each. The Kolkata metropolitan

area is 228.5 square feet, extending

more than 64 km along the

Hooghly River.

Kolkata is a major seaport and insdustrial of eastern India;

jute is milled, and textiles, chemicals, paper, and metal

products are manufactured. Kolkata was founded 1690 by

British East India Company as a trading post. In 1756 the

nawab of Bengal, Siraj-ud Daula, captured Kolkata from the

British, but Robert Clive reclaimed the city. Kolkata is a city

teeming with life and culture which coexist with poverty.

The city`s largest mosque is a red sandstone monument built

like Akbar`s tomb in Sikandra. Jorasanko is the ancestral

home of Rabindranath Tagore with beautiful wrought iron

grill work and a museum of the master`s paintings.

Kumartuli is a potter`s village where life size clay images of

Durga and other gods and goddesses are made. Raja

Krishnachandra of Nadia introduced the concept of

immersion of the idols after worship, necessiating the

making of new images. This helped sustain the craft of clay

image making. The potters have migrated to kolkata from

Krishnanagar, which is renowned for creating realistic clay

figures. The legendary Kalighat which has a temple for Kali

the principal deity of Bengal is also synonymous with

Kalighat paintings done by traditional chitrakars, patuas or

patidars. The paintings were based on religious themes,

caricatures and portraitures of the elite society of the 19th

century (Babu culture) and topical events. Kolkata has bene

often described as a city steeped in culture due to its colonial

architecture, unusual bookshops and coffee houses, keen

political interests, music, dance and art film making.

Kolkata is well connected with all the major cities of the

country by road, rail and air. Dum Dum is an international

airport. The clusters are connected to Kolkata by road and

rail.

Kalighat painting : A watercolour painting which depicts

women engaged in preparations for a ceremony, outside their

house with a chala, curved roof, resembling the mud plastered

thatched huts of rural Bengal. The painting belongs to the

genre of paintings which drew on several influences - 19th

century urban Kolkata. Western art, the introduction of

oleography, lithography and phtotgraphy, and Raja Ravi

Verma`s depiction of women.

The life size idol of goddess Kali and her entourage made of hay,

before the application of clay that is finally the base for painting the

figures, on the outskirts of Kolkata.

Kali idol getting finishing touches at a roadside workshop, Kumartuli, Kolkata. The making of

painted lifesize clay images thriving during the festival od Durga Puja held in the Bengali month

of Aswin (October). Images of the ten armed Goddess Kali are worshipped in ancient houses and

pandals erected specially for the Puja. After the four day ceremony, these images are immersed in

the river. On account of the popularity and religious significance attached to this festival, the

tradition of making clay figures has become a family craft in Bengal.

BEATEN SILVER WORK

Silver work started in Bhabanipur during the colonial days.

Kings of different states, dignitaries like viceroys and the

governors would visit the shops at Bhabanipur for intricate

and exotic silverware. However, after independence and the

abolition of the Zamindari system, the glory of the craft started

fading away due to lack of clientele. The cluster, which at one

point of time catered only to the privileged,

began to decline. Many craftsmen diversified their skills to expan their

production range to other metal works and also to making trophies, medallions

and other minor utensils. Silver sheets are beaten into desired shapes on an anvil,

and the ends fused with paan, a solution of silver and brass in the ratio of 16:7.

Designs are chiselled on the surface, and the polishing is done by hand.

1. Craftsman engraving a design on a beaten silver bowl.

2. A silver trophy.

3. Beaten silver teapots from Kolkata.

Production Clusters

Kolkata

Bhawanipur

Kansaripara

Products

Trophies

Medallions

Spoons

Forks

Glasses

Bowls

Teapots

Tools

Hammers

Shovels

Files

Chisels

Districts - 23


Mural painting on the ceiling of the mukhamandapa (main hall) of Veerbhadra (fierce form of Lord Shiva) Temple in Lepakshi,

Anantpur district. The painting depicts various divinities attending the marriage of Lord Shiva and Parvati. These murals have

influenced various narrative painting traditions such as kalamkari.

CRAFTS -

ANDHRA

PRADHES

Bidri ware

Paagadu bandhu -

yarn tie resist dyeing

Banjara embroidery

Lac bangles

Dhurrie weaving

Painted scrolls of

Cheriyal

Nirmal painting

Lace making

Silver filigree

Dhokra - lost wx

metal casting

Sheet metal work


Veena - string

instrument

Jute craft

Block printing

Metal work

Telia rumal - yarn

resist dyed textile

Knotted carpet

Leather puppets

Crochet work

Wooden toys of

Kondapalli

Stone carving

Wooden cutlery of

Udayagiri

Raja rani dolls

Kalamkari - painted

textiles

Wood carving

Bronze casting

Terracotta

Palm leaf work

1. Threshing and processing of jute being done in a lake connected to Vamsadhara River, Srikakulam district.

2. Farmer loading grain in a bamboo basket used for transporting paddy, Balkonda, Srikakulam district

3. Tribal woman wearing a rigid silver necklace or torque, Jamgaon, Adilabad district.

4. Banjara woman in traditional dress and jewellery. Hyderabad has a sizeable population of the Banjara community.

5. Stone carving of a dancer on a pillar in the natyamandapa, dance hall in the Veerbhadra Temple, which is a repository of sculptures and mural paintings of

the Vijayanagara era.

Attire

Panchei - draped

lower garment

Gadwal, Uppada,

Venkatagiri - saris

Cuisine

Gongura - bitter

spinach preparation

Pasara podi - green

gram powder

Biryani - lamb or

chicken rice dish

Mirchi ka salaan -

chilly side dish

Festivals

Ugadi - New Year

Makara Sankranti -

harvest festival

Tirupati

Brahmotsavalu -

temple festival

Id-ul-Fitr

Andhra Pradesh has three

geographical and cultural regions

of Rayalseema, Telangana and

coastal Andhra, that represent

different historical, political and

ecological conditions and

different patterns of livelihoods.

The broad alluvial plains fed by

the Godavari and the Krishna

rivers are part of coastal Andhra.

Most of the tribal communities live west of the coastal plains

that are densely forested and hilly. To the north is the Deccan

Plateau, one of the oldest geographical formations, which

includes the Telangana districts. It was created by combining

the old princely state of Hyderabad with the Telugu speaking

portions of the former state of Madras. The southern part of

these ranges extends to Tirupati in the Rayalseema region.

Rayalseema has the harshest environment. It was once a

prosperous farming and industrial centre that is now facing

drought. The earliest accounts of Andhra Pradesh date back

to the 3rd century BC during Ashoka`s reign. It was an

important Buddhist centre especially in Amravati and

Nagarjunakonda.

Disposable sal leaf bowls and plates are used as substitute for

paper and plastic, Monda market, Secunderabad.

Hinduism gained prominence during the rule of the

Satavahanas, Chalukyas and the Cholas. Subsequently, it

witnessed the sway of Islam from the 14th century. In the 18th

century it came under the Nizams of Hyderabad and remained

with them till India gained Independence. Successive dunasties

from the Ikshavakus, Pallavas, Chalukyas, Kakatiyas,

Vijayanagaram kings, Qutb Shahis, Mughals and the Asaf

Jahis, have contributed significantly to the regions varied

cultural tapestry and a heritage studded with spectacular

monuments, temples, mosques, palaces, all vibrant with arts,

crafts, dance and literature. It is home to one of the classical

Indian dances with fold elements, interspersed by narratives

called Kuchipudi. The leather shadow puppets, tolubommalata,

have been puoular in the region for centuries. The stat has a

vital textile tradition of sari weaving and khadi; a repertoire of

ikat, kalamkari, block printed textiles and a wide spectrum of

skills of weaving muslin to coarse cotton fabrics, and silk. The

temple of Lord Venkateshwara in Tirumala Hills in Tirupati, is

a hub for craft related activities because of rituals, fairs and

masses of devotees through the year.

Inset : Detail of a jamdani, figured fine khadi fabric woven in

Ponduru, one of the few places which produces very fine

handspun cotton yarn on the traditional charkha, spinning

wheel, Srikakulam district.

Mecca Masjid is a huge mosque which has bricks from Mecca

used in the central arch.

Landmarks

Amravati

Chanragiri

Lepakshi

Golkonda fort

Charminar

Sri Kalahasti

Tirupati

Mecca Masjid

Salar Jung Museum

Languages

Telugu

Urdu

Hindi

Marathi

Banjara

Physical Features

Coastal plains

Eastern Ghats

Deccan Plateau

Major rivers:

Godavari, Krishna,

Tungabhadra

A boy wearing a crochet cap for the Id namaz, prayer, at

Mecca Masjid, Hyderabad.

Biodiversity

Flora :

Cotton, Teak, Babul,

Palm, Bamboo,

Wood: Red Sanders,

White Sanders

Fauna :

Goat, Deer, Tiger,

Sheep, Peacock

Subclusters of

HYDERABAD

Rangareddi district:

Hyderabad

Secunderabad

Medak district

Mahaboobnagar

district

Nalgonda district:

Pochampalli

Koyalagudem

Crafts of

HYDERABAD

Bidri ware

Paagadu bandhu -

yarn tie resist dyeing

Banjara embroidery

Lac bangles

RESOURCES


Bidri ware

Paagadu bandhu -

yarn tie resist

dyeing

Banjara

embroidery

Lac Bangles

Zinc, Copper, Silver,

Gold wire, Yellow clay,

Castor oil, Beeswax

Resin, Bidari matti

Cotton and silk yarn

Cloth

Shellac, Aluminium,

Wire

Wax

Stone

Hyderabad

Bidar Fort

Hyderabad,

Karnataka

Hyderabad

Workshops in

Charminar

Mumbai

Mumbai &

Australia

Inset Charminar during ID festivities. The 16th century

monument built by the Qutb Shahi rulers is a bustling

commercial in the old city.

Hyderabad, the capital

of Andhra Pradesh is

situated on the right

bank of the River

Musi, a tributary of the

Krishna. he city is on

top of the Deccan

Plateau. Golconda lies

to its west, the Brisish

residency and its

bazaars and the British

cantonment of

Secunderabad to the

north east. Sultan

Muhammad Quli Qutb

Shah, who founded it

in 1591, was an

enlightened ruler, a

peot, scholar and

patron of the arts.

His kigdom was a flourishing centre of trade in pearls,

diamonds, horses, steel and cintz or dye painted and

printed cloth. At his court and in his bazaars,

Hyderabadis rubbed shoulders with traders, scholars and

artisans from different lands. Hyderabad has a uniquely

composite culture, a lenage of Hindu and Muslim

customs, mingled with Arab, Persian and Turkish

influences, evident in its language, food manners, arts

and crafts. Hyderabad, significantly, was the largest

princely state in India, with its own flag, currency and

coins, postal system, railways and even its own radio. It

was Asaf Jah who instituted the title of Nizam, which

was used by successive rulers of the state. After the

reorganization of states in 1956, Hyderabad was merged

with the new state of Andhra Pradesh and the city

became the new capital. A large population of ikat

weavers live in Koyalgudem, Pochampalli, Puttapaka

and Chautupal in Nalgonda district. These villages

specialize in weaving cotton textiles for furnishings,

apparel fabrics and saris while silk ikat are woven in

Pochampalli. Cotton is cultivated in Mahaboobnagar

district.

Glass Bangles Firozabad ACCESS

Secunderabad, the twin city of Hyderabad, is the

headquarters of the South Central Railway. All major

trains stop or depart from here. Hyderabad has an airport

with both international and domestic flights. The clusters

are all well connected by road.

1. A bidri craftsman filing a piece of zinc.

2. Flower bazaar during Diwali in Mozamzahi market,

Hyderabad.

3. A craftsman weaving an ikat sari in Pochampalli.

4. Small pellets of silver are heavily pounded to make

varaq, silver leaf which is so frail that it has to be stored

between the pages of a book.

BADRI WARE

THE TECHNIQUE OF inlaying silver and gold on steel or copper on a

black background travelled from Iran to Rajasthan in the 13th century

AD,and from there to Bijapur in Karnataka,and flourished during the

reign of the Deccan Sultanate.The use of a rust-proof and non-corrosive

alloy base made of zinc and copper was an innovation introduced in

Bihar in northeastern karnataka,which is how the craft got its name.The

making of a bidri product involves four steps-melting the alloy,casting

the article,engraving and inlaying the design and finally,oxidizing.It uses

a range of inlaying methods such as tarkashi,using wires;taihnishan,with

sheet metal;mehatabi kaam,reversal of surfaces where the design is cut

out in sheet metal and is inlaid;munnavat kari,embossed design

work.The black colour that is characteristic of bidri ware is achieved by

polishing the article with a mixture of bidari matti,the mud which is from

Bidar Fort,ammonium chloride and a resulting mixture called

navasaram.Coconut oil is rubbed in to enhance the blackness.The

designs are influenced by Mughal motifs of geometrical and floral

patterns.Verses from the Quran in Arabic script are also used as

embellishment.Traditional products made are hookah, aftaba, surahi,

ugaldaan, boxes, zalabchi, muqaba or round containers with domeshaped

lids,bedposts and mir-e-farsh or weights to hold down floor

coverings.

Product Clusters


Hyderabad:

Nampally

Kali Qaber

Masab tank

Products

Traditional:

Hookahs

Aftaba-type of vase

Surahi-wine

containers

Powder boxes

Ugaldaan-spittoons

Zalabchi-washbasins

Muqabas-containers

with dome-shaped

lids

Bedpost

Mir-e-farsh-weights

to hold down floor

coverings

Modern:

keychain

Ashtray

Paper cutter

Figurines

Tools

Box mould

Crucible,Chisels

Tongs,Divider

Lathe machine

Kalam-drawing chisel

Aambur-plier

Engraving tools

Tat patti-wire

drawing die

Hammer,Hacksaw

1 Flower vase inlaid with silver foil.The ground is inlaid with

foil and the floral pattern is seen in the background of metal.

2 Vase inlaid with copper wire.

3 Zalabchi ,a washbasin,with ornate inlay work.In the centre is a

fretworked mesh with silver inlay.

4, 5, 6 Vases inlaid with silver foil.

Range of single and double ikat cotten yardages woven in Koyalagudem.

PAAGADU BANDHU-YARN TIE-RESIST-DYEING

Production Clusters

Nalgonda district:

Pochampalli

Koyalagudem

Puttapaka

Gatuppal

Chautupal

Prakasam district:

Chirala

Products

Sari

Dupatta-stoles

Yardage

Furnishings

Bedcovers

IN ANDHRA PRADESH,cloth patterned by tie-resist-dyed

yarns is known as paagadu bandhu,chitki,and more popularly by

the Indonesian term ikat.Ikat was initially woven in Chirala,a

coastal town in Prakasam district,which had a flourishing market

in the 19th century for telia rumal or square cotton cloths

produced for the Arab market and exported to the Middle

East,Africa and Burma.These were used as loincloths by

fishermen in Mumbai.An increase in the demand from export

markets helped spread the technique to Pochampalli and the

neighbouring villages of Koyalagudem,Puttapaka and Chautupal

who later diversified to produce sari,yardage and

furnishings.Over a period of time each village developed a

specialization:Pochampalli in silk saris of both single and double

ikat,Puttapaka in

fine cotton and silk sari and yardages,Gatuppal,Chautupal and

Koyalagudem in cotton and silk yardage for furnishing and

shirting.Ingenious technology such as the chitkaasu,a curved

frame with pegs on which the weft threads are groupedd and

tied for dyeing,has sustained production.Weaving is a full time

activity,often the entire family being involved in the

craft.Simple geometric designs,multicoloured patterns,stripes

and chevron forms are dominant patterns.Other influences

include Gujarat patola,ikat patterns from Orissa , Japan adn

Guatemala(South America) introduced by exporters and

trade.The most significant impetus has come from the Festival

of India programmes(1982-1992),which revitalized the

weaving craft.

Tools

Maggam-loom

Panni-reed

Acchu-heald shaft

Chitkaasu-weft ikat

frame

Thread

Rubber tubing

Chitkaasu,curved frame with pegs,for preparing weft

ikat,Koyalagudem and Pochampalli.

Detail of a cotton bedcover woven with double and single tieresist-dyed

yarn,Koyalagudem.

A range of cotton fabrics for use as dress materials, woven in

single and double ikat, Koyalagudem.

A range of silk fabrics woven in single and double ikat,

Pochampalli.

1. Quilted and embroidered

dowry bag.

2. Pouch based on the

traditional khalchi,which

is made by folding a

square piece of cloth.

3. Traditional pouch done in

running stitch used to

quilt the pouch.Banjaras

creatively use running

stitch to create interlaced

patterns.

Kanchali,the traditional backless blouse worn by women has

embroidery,mirrorwork and metal buttons or beads as

embellishments .Strings attached to the sides help fasten the

blouse around the back.

Detail of a Banjara artisan doing mirrorwork on a skirt

border.

BANJARA EMBROIDERY

EMBROIDERY IS INTRINSIC to the traditional

costumes of the nomadic Banjara community.The

Banjara were bullock pack drivers and traders in

salt.They belong to one of the oldest nomadic

communities,highly organized and with a language of

their own called Gar Boli.Traditionally,women of the

community embroidered costumes,accessories like

storage bags,covers,pouches and fabrics meant for

rituals and daily use.The embellishments are replete

with colourful threads,mirrors,cowrie shells and

stitches.The basic stitches used by Banjaras of

Nalgonda are the herringbone stitch-rela makki(chain

stitch),mallik kanta(chevron stitch),and cross

stitch.These stitches encircle mirrors,run through

beads and cowrie shells to form symbolic and

decorative motifs.The motifs,which are drawn from

nature and geometry,are juxtaposed creatively.From

making traditional products for themselves and their

families,the Banjara women now embroider diverse

items for sale.Product diversification has been

supported by voluntary organizations and

government agencies.

Production Clusters


Hyderabad

Yellama Tanda

Ibrahimpatnam town:

Sanjeevreddy Nagar

Shankar Nandinagar

Products

Traditional

Products:

Batwa-purses

Khalchi-pouches

Phetia-skirt

Kanchali-blouse

Contemporary

Products:

Appliqued toranhanging

for doorways

Bags and purses

Tools

Needle and thread

Sewing machine

LAC BANGLES

BANGLES ARE AN auspicious and important aspect of

adornment for a woman in India.There is a great range of

designs and materials used in making bangles due to their

religious significance,being symbols of marriage and

celebrations.Of these materials ,lac is very popular due to it

being the oldest source of colour,its low cost,malleability and

the potential for embel-

lishing it with glitter.Lac bangles have been made

since the 15th century in this region.There are two

types of processes involved in making lac bangles-the

hand crafted process and the method which uses a

mould.About three decades ago,an influx of

Rajasthani craftsmen into the city resulted in the use

of the mould technique which contributed to faster

production.They produce many attractive designs

using coloured glass pieces and bangles,and silver

and gold glitters.

1. Bangle shop in Lad Bazaar,Hyderabad

2. Lac bangles.

Production Clusters


Hyderabad:

Lad Bazaar

Products

Bangles,Photo

Frames

Kalasha-pot

Elephant figurines

Tools

Chimta-forcep

Kathiya-plier

Farma-mould

Hatha-conical

Wooden die

Batti-furnace

Scissors,Tongs

Crafts of

WARANGAL

Dhurrie weaving

Painted scrolls of

Cheriyal

Nirmal painting

Lace making

Silver filigree

Dhokra-lost wax

metal casting

Subclusters of

WARANGAL

Warangal district:

Warangal

Kazipet

Cheriyal

Pembarti

Karimnagar district

Adilabad district:

Nirmal

RESOURCES

craft Raw Materials Sources

Dhurrie

weaving

Cotton yarn

Nirmal painting Tella poniki wood

Mud

Coimbatore &

Bangalore

Nirmal

Siddapur River

Lace making cotton thread Kazipet

Silver filigree Silver Karimnagar

Dhokra crafting Barik matti(fine

mud)

Beeswax

Brass

Utnor

Local forests

THE WARANGAL METACLUSTER consists of four

districts-Warangal,Karimnagar,Nizamabad and Adilabadbelonging

to the Telangana region of Andhra

Pradesh.Chhatisgarh,Orissa and Maharashtra border the

north.On the south they are bordered by the other districts of

the Telangana region:Rangareddi and Nalgonda.Warangal was

the capital of the Kakatiya rulers in 12th century AD.The

Warangal Fort,the four Kakatiya gateways and the thousand -

pillar temple still stand testimony to this era.Warangal formed

a part of the Nizam`s dominion,and later of the Mughals,who

captured Golconda in 1725.It was an established centre for

carpet weaving in the Deccan,supplying carpets and prayer

mats to the Muslim royalty.Warangal,Adilabad and

Karimnagar districts are the cotton-growing belt in Andhra

Pradesh,which extends up to Maharashtra.There are a numnber

of handloom and textile weaving units set up here.Sheet metal

workshops existed during the rule of the Kakatiya rulers,when

Kavacha or cladding and Vahana or Chariot were adopted and

articles like vases and flowerpots were produced.The hilly

regions of Adilabad are inhabited by tribes.This tribal area is

continous with the tribal area of Bastar.The khonds of the

Adilabad forests are ancient inhabitants of this area,most of

them being metal casters involved in dhokra casting.

ACCESS

Hyderabad(140km)is the nearest airport to Warangal and it is

well connected by road and railway to all the major cities.

1. Detail of the weft faced structure of a cotton dhurrie,showing the tapestry technique

of weaving multiple wefts used in Warangal.

2. Filigree craftsmen in Karimnagar.The flattened wire of silver is bent using a special

tool.

3. Professional dhurrie weavers in Warangal weaving on an outstretched warp in a pit

loom.

4. A craftsman in warangal embossing a metal sheet.

5. Artisan making pin lace by interlacing threads wound on plastic shuttles.The lace is

very fragile and is mounted on a drum.

Detail of a dhurrie woven in a

weft faced plain weave

structure.

Production Clusters

Warangal district:

Warangal:

Kothawada

Products

Jainamaaz-prayer

rugs

Shattranji&Jamkhastrips

dhurrie

Patterned dhurrrie

Ikat dhurrie

Block printed dhurrie

Tools

Pit loom

Frame looms

DHURRIE WEAVING

DHURRIE WEAVING IS an established industry

in Warangal with a large population of skilled

weavers and facilities for dyeing.The

jainamaaz,also known as a musallah or prayer

rug,traces its ancestry to the earliest example of a

flat weave rug that was acquired on loan from

Jama Masjid in Bijapur for an exhibition in Delhi

in 1903,which was left behind in 1686 by

emperor Aurangzeb,in the mosque in Bijapur(in

erstwhile Deccan).The tradition of using the

jainamaaz,rug with a single mihrab(prayer arch

motif)and saf(multiple arches)still used in

mosques to pray on,has warranted a regular

supply of these from the dhurrie weaving clusters

in and around Warangal.Warangal has a thriving

cottage industry producing the characteristic

multicoloured dhurries using the weft interlocked

technique.In recent years,ikat technique of

patterning yarn and kalamkari prints were

adapted to Warangal dhurries,extending the range

of products.The designs that

1 The charm of the flat weave dhurrie lies in the

simple stripe structure,and symmetrical

placement of motifs and geometrical forms.

2 Cotton dhurrie woven in the weft-faced plain

weave tapesty technique.The flat weave dhurrie is

sturdy due to the compactness of the weft.

3 a,b,c,d Prayer dhurries with variations of the

mihrab that have been creatively interpreted by

weavers.

4 Jainamaaz,a prayer dhurries,24"X48" with a

mihrab,an arch and a tree of life motif resembles

musallahs of Deccan provenance; an antique

textile from a private collection.

5 Detail of the mihrab motif,a superb

interpretation of the prayer arches and minarets as

seen in the jainamaaz from a private collection.

are characteristic of Warangal dhurries are geometric,angular motifs used in

tapestry weave structures,coloured horizontal stripes used in jamkhans and

shatranjis and the mihrab motif in the jainamaaz and saf.The colours used are

distinct with reds and blues used in combination with neutral colours.The

designs range also has flat weaves with raised or extra weft patterns.The

weavers belong to the Padmasali community and weaving is a hereditary

occupation.Pit looms and frame looms equipped with multi-treadles are

prevalent.A wide variety of dhurries are woven in cotton,jute and wool for

export and the home market.The weavers are either organized in cooperatives

or work independently.

6 Jainamaaz were also

woven in

Rajasthan,Agra in

Uttar Pradesh and

Khambhat in

Gujarat.The

mihraab,single arch

motif,symbolizing the

prayer niche has been

integrated with the

stripes in an old

jainamaaz from a

private collection.

PAINTED SCROLLS OF CHERIYALS

Production Clusters

Warangal district:

Cheriyal

Products

Scroll painting

Mandheysavalu

Gollu-doll sets

Masks

Tools

Brushes and

Watercolours

Scissors

SCROLL PAINTINGS ARE narrative

pictures painted on cloth used by

traditional storytellers who travelled

through villages,reciting tales of

legendary heros.They belong to a

glorious narrative tradition of the

Telengana region in northwest Andhra

Pradesh.As these paintings are now

confined to Cheriyal village,they are

called Cheriyal scrolls.The

naqqash,artist,belonged to traditional

artist families lending to the scroll

paintings,the name naqqashi,meaning

painting.A characteristic feature of the

Telengana scrolls when compared with

other narrative scrolls is that they

depicted stories and legends from Hindu

texts and mythology that were

specifically linked to particular

castes.The choice of episodes and

iconography of each deity was set

keeping in mind the caste for which the

scroll was made.The traditional scrolls

are normally in vertical

format,illustrating stories in a series of

horizontal panels separated by floral

borders.Those using a horizontal format

are divided into two horizontal panels.A

floral border in the middle separates the

two panels while the linear narrative is

demarcated by a tree or a building.Single

pictures meant for wall decoration and

traditional

banners are the new products that have replaced the traditional scrolls.They are

made on khadi cloth and the artists make their own sketching brushes with hair of

squirrel or rat-hair tied to a vetherpulla ,stick.The artists also make masks and

gollu -doll sets or mandheysavalu.

Masks called drishti bommala which are believed to ward off the evil.

Squirrel-hair brushes.

Part of the Bhagavatam scroll depicting Krishna holding

Mount Govardhan.

Bhagavatam scroll narrating episodes from the life of Lord Krishna and his leela,divine

acts.

An episode from the Mahabharata depicting Arjun who

shoots the rotating fish above him by looking at its reflection

in water kept in a container on the ground.

NIRMAL PAINTING

THE ORIGINS OF NIRMAL toys are named

after Neemanaik,a village headman,who

manufactured weapons during the 14th

century.He had a workshop where the

manufactured weapons.Among his craftsmen

were artisans who did wood carving and

portrait painting.The Nawabs of Hyderabad

tapped the skills of these craftsmen and

became generous patrons of this craft.Interiors

of royal residences were embellished with

intricate glided designs that soon grew to be

eponymous with Nirmal.For the Nirmal

craftsmen,painting is a hereditary

occupation.They were traditionally painters of

ganjifa playing cardds,and toys.The ganjifa

cards and the box for the cards are a speciality

of the craftsmen.Nirmal designs have

distinctive floral patterns similar to Mughal

arabesques.The colour palette is sophisticated

and the forms are bound by gold

outlines.Earlier,the craftsmen used

indigenious mineral and vegetable dyes for

colouring their products.It is believed that they could even produce gold colour

from herbal extracts.In more recent products,the floral designs are restricted to

the borders.Niramal toys are made from soft,white and seasoned poniki

wood,carved,joined ,finished and made ready for painting.Lappam,made of

tamarind seed powder and fine poniki wood dust is applied for shaped and

levelling the surface.Oil colours and watercolours are applied on a coat of white

paint.colours and details are rendered to give the toys a lifelike quality and then

they are varnished.

Production Clusters

Adilabad districts:

Nirmal

Products

Pankhas-hand fan

Palanquins

Ganjifa set of 96

cards

Dashavatara set of

120 cards

Furniture

Paintings

Fruits

Animal Figurines

Napkin rings

Paperknives

Jewel boxes

Tools

Rampam-axe saw

Uti-chisel

Shanam-carving tool

Badisa-axe

Thapey-primer

applying tool

Poovu akurai-files

1 Carved and painted toy tiger made in Nirmal

2 A paperknife shaped like a bird.Animals,birds,fruits and vegetables are painted naturalistically by Nirmal Craftsmen.

3 A traditional hand fan has a wooden handle which is attached separately.It is made from a palm leaf-its stem are laminated with cloth on both sides and

treated with glue,smoothened ,painted and varnished.

4,5 Handpainted birds.

6 Detail of a panel that makes up a screen.The craftsmanship,the floral pattern and colours are rarely seen in the new products.

LACE MAKING

Production Clusters

Warangal district:

Kazipet

Products

Doilies

Bed Covers

Table Linen Lace

LACE MAKING IS AN ancient craft which originated in

Europe.It was introduced to other parts of the world by Christian

missionaries whose vestments were decorated with lac.Lac was

used as decorative edging and soon replaced embroidery as it

was detachable,and it could transform dresses to follow different

styles of fashion.A Lace fabric is lightweight,delicate

Tools

Plastic bobbins

Needles,Pins,Scissors.

Part of an alb.

with openwork and is made with simple tools-threads wound on

bobbins,pins and a tightly stuffed cushion.Pin lac or bobbin lace

of Kazipet,is a surface made by intertwining threads and

forming chains with the help of pins.It is finer and different

from the crochet lace made in Narasapur,West Godavari

district,which has a large cluster of crochet lace makers.Lac

making was introduced to kazipet by a missionary as an

occupational craft for women.The craftspersons in this cluster

make a range of products for export to Italy.

1,2 Table mats and doilies are crafted by the lace making

technique.

SILVER FILIGREE

Production Clusters

Karimnagar

district:

Karimnagar

Products

Fruit bowls

Betel leaf holdders

Trays

Flower stands

Ashtrays

Vermillion containers

Jewellery

Buttons

THE PRACTICE OF silver filigree in Karimnagar is about two

centuries old.Loops of thin silver wire are set in intricate

wire.Earlier,silver ingots were beaten by hand on an anvil and

oelongated into a long wire by passing it through a wire

gauge.The finest wires are stll made in the old drawing

technique,then twisted and flattened.A filigree object is a

comnbination of a

number of component parts that are pieced together.The main

difference betweend the work of Karimnagar and that of

Cuttack

in Orissa is in the process.In Karimnagar,two round wires are

intertwined adding tensility to the frame;in orissa only one

square wire is used.The design used are derived is called the

Karimnagar design which was known for delicate and exquisite

craftsmanship.However,the present tendency is towards bolder

designs.

Tools

Hammers

Anvil

Charkha-wheel

Moulds

Iron gauge Pliers

Pincers

Files

Dividers

Chisels

1. Detail of palakishti,a fruit bowl.

2. Paandaan,a box for storing betel nuts and leaves.

3. A container for kumkum or vermilion powder.

4. Kishti,bowl,made in silver filigree.


Production Clusters

Adilabad district:

Adilabad:

Jamgaon

Keslaguda

Ushegaon

Chittalbori

Rampur

Products

Gumela-vase

Chitti-measures

Bells

Jalkara-lamps

Namali deepamlamps

Newari-anklets

Animal figurines

Guram figurineshorse

Wallhangers

Duparna-holder for

lamps

Gungroo-anklet bells

Jadga-holder to throw

seeds in the fields

Chang-cattle bells

Vothini-spoon

Tools

Chimita-tongs

Dhukini-blow pipe

Batti-furnacde

Hatti-to make wax

coils

Hathodi-hammer

Sancha-mould

chakar pitha-to level

the wax

Rethi-files

Moond kati-finishing

tool

Sonsi-perforated

circular plates

Pida-to collect wax

from mould

THE CRAFTSMEN MAKE bronze and brass objects

by an ancient casting technique called dhokra,wherein

a clay model is made as the core,over which,wax

threads are wrapped around to form a layer.This is

again covered by another layer of clay that is

equipped with an opening.Molten bronze or brass is

poured into this which melts the wax

completely,replacing it with brass or bronze.The cast

object requires the mould to be broken each time and

therefore each object is unique.The dhokra craftsmen

belong to the Woj community and make idols of local

deities-Janghubhai,Bheemdev and Persiphen.The craft

has travelled from the Bastar region of Chhatisgarh

which is contiguous to Andhra Pradesh and

Orissa,and shares a common vocabulary seen in the

slender and elongated metal figurines.There are

around 60 families involved in thisd hereditary craft

in five villages around Adilabad.

Masks

Bells of varying sizes are primarily made for farmers

to bell their cattle.

SHEET METAL WORK

ITHADI NAKSHI KALA,brass sheet metal

work,is an established craft of Warangal at

Pembarthi and Rangasaipet since the rule of

the kakatiya dynasty five centuries ago.The

terms nakshi or nagshi in Telengana region

and navshi in Coastal Andhra,have been

adapted from naqqashi,the Urdu word for

engraving.sheet metal is formed by beating

and is embossed for crafting kavachas

(claddings)for the idols,Vahanas(chariots)and

icons.Specific chisels are used for embossingcreating

a raised pattern and for giving depth

and details by chasing or indenting.

Sheet metal is beaten and formed into a

container,and engraved.Nalgonda.

Primarily,a temple-related craft,a large

number of souvenirs,plaques and trophies are

also made by sandcasting.Where molten

metal is poured into a mould made of

refractory earth.The cast objects are finished

and polished.Prominent motifs are the

kakatiya gateway,mythological scences,the

entourage of Rama,Buddha attaining

Nirvana,hamsa or swan and floral motifs.All

the craftsmen are from the Vishwakarma

community,referred to as Kamsalis.Their

ancestors were jewellers who crafted

gold ,silver and bronze ornaments for deities.

Detail of Kirimukha,face of glory-a lion-like

face,on the prabhavali or arch behind the

deity.

Production Clusters

Warangal district:

Warangal, Pembarthi,

Rangasaipet

Nolgonda district:

Chandur

Products

Idols

Trophies

Kavacha-claddings

Tools

Chisels:

Chakkadi mola-for

straight lines

Guttala mola-for

round carvings

Kannu mola-for

finder details

Cutting mola

Batta mola -for depth

Ubbettu mola-chisels

for embossing in 20

sizes

Moosa-crucible

Pat karu-iron holder

Box mould

Garita-spoon

Cement models

Meauring jar.

Anklets form an important part of the ornaments worn

by tribals in Telegana.

Icon of Goddess Durga embossed and

engraved in Sheet metal ,Warangal district.

Subclusters of

VISKHAPATNAM

Viskhapatnam

district:

Viskhapatnam

Etikoppaka

Vizianagaram

district:

Bobbili

Gollapalli

Wadada

Wadada

Buditi

Crafts of

Visakhapatnam

Metal work

Jute craft


Veena-string

instrument

Kodugu-palm leaf

sunshade for sale in

Dharalapurdu market

near Viskhapatnam.

RESOURCES


Metal work Brass and other alloys Buditi

Jute craft Jute fibre Srikakulam

Wood and

lac turnery

Veena-string

instrument

Wool:palakarra

ankudu(Wrightia

tinctoria)

Panasakai-wood from

the jackfruit tree

(Artocarpus

heteropylla)

Srikakulam Forests near

Etikopakka

Bobbili,Vizianagaram

1. Craftsman in Etikoppaka applying coloured lac to a turned object.

2. A brass vessel being beaten to shape in Buditi,where brass vessels and bronze cast idols

are made.

3. Craftsman working on a lathe to make turned wood toys in Etikoppaka.

4. Craftsman making a miniature veena,a string instrument,in Bobbili.

VISAKHAPATNAM,also known as Vizag,is an important

port in coastal Andhra Pradesh.The district is bordered in the

east by Bay of Bengal and to the north by vizianagaram and

Srikakulam districts.Visakhapatnam was named after the God

of Valour,Vishakha.Once a small fishing village,it formed a

part of the Maurayan empire,under Ashoka in 260 BC,and

passed on from the Andhra kings of Vengu to the

Pallavas,Cholas and Gangas.In the 15th

century,Vishakhapatman became a part of the Vijayanagara

empire.It was transformed into a port town under the

British.Now a busting industrial and commerical city,it has

the country`s largest ship building yard.In the northern part of

the district are the limestone Borra Caves.To the east of these

caves,is the Araku Valley which is home to several tribal

communities known for their folk dances and colourful

costumes.Ponduru in Srikakulam district,has a unique

tradition of making khadi or handspun yarn from short staple

cotton and handwoven muslins that are decorated with

jamdani,brocaded motifs.Today,the skills of hand-spinning

and weaving muslin are severly affected by the unavailability

of short staple cotton,which could be cultivated in the

region.Vernacular products like palm leaf

umbrellas,sunshades and bamboo baskets made for farmers

are particular to Visakhapatnam and Srikakulam

districts.Well crafted Saraswati veenas,musical

instruments,are made in Bobbili in Vizianagaram

district,renowed for classical music.Etikoppaka on the

coast,has a large population of turned wood and lac toy

makers.Several techniques of metal casting and sheet metal

forming are practiced in Buditi.

ACCESS

Visakhapatnam has its own airport and is well connected by

rail and road.Viskhapatnam is 585 km from Hyderabad,the

state capital.

WOOD AND LAC TURNERY OF ETIKOPPAKA

Inset Turned andlac-coated box.

IT IS BELIEVED THAT in

Andhra Pradesh the craft of lac

ware started about two

centuries ago in

Nakkapalli.Some of the

craftsmen belong to the fifth

generation of the founder

Dimili Bangaram of

Nakkapalli.

The Vijayanagara kings,Rajas of Etikoppaka specializes

in turned tocracy were its first patrons.Etikoppaka

speicializes in turned wood lac-coated toys,including

complete toy sets of cooking vessels,table-ware and

furniture.The special items are mirrors in fancy frames

and toy carts.In lac turnery,the seasoned wooden object

is evolved in circular shapes on a lathe by the skillful

manipulation of suitable hand tools,and coated with

lac.The toy makers have marketed their ware in

exhibitions,and several designers have collaborated

with them to develop designs.The traditional toys were

marketed in local fairs.Etikoppaka is a well known craft

pocket in Visakhapatnam district with over 300 artisans

engaged in the lac ware craft,who are in surrounding

villages.

1. Turned and lac-coated wooden bowl made in

Etikoppaka to cater to the urban market.

2. Turned wooden containers using tree-based

colours made by artisans in Etikoppaka.Research

and experiments in developing tree-based colours

have been done in the cluster.

Production Clusters

Visakhapatnam

district:

Etikoppaka

Yelamanchili

Dimili

Narayanapuram

Kailaspatnam

Products

Toys

Cutlery

Jewellery

Bridal boxes

Stationery

Tools

Planer

Saw

Boring tools

Cutting tools

Hand drills

Brushes

Files

Power and hand lathe

VEENA-STRING INSTRUMENT

INSTRUMENTAL MUSIC HAS been an integral part of Indian culture

evident from the innumerable treatises on music.The district of

Vizianagaram played a pivotal role in the field of cultural activities.The ruler

of Bobbili began the tradition of playing veena by providing training for

musicians and he alos established veena-making workshops to train the

craftsmen.The Saraswati veena,a string instrument made by craftsmen in

Bobbili,Gollapalli and Wadada in Vizianagaram district and Nuzividu in

Krishna district is unique for the quality of sound and the fullness of tone

emanting from the instrument.The veenas made in Bobbili had reached a

pinnacle in design with resonating sound worthy of talented veena maestros

in Tamil Nadu and Karnataka.

It is made from a single piece of wood from

the jackfruit tree,instead of in three pieces.The

tapering end of the central bridge usually has a

lion`s head carved on it.Plastic is now used

instead of ivory and stag horn in the

decoration done in inlay technique.

1. Detail of a Saraswati veena with a lion`s

head at one end of the instrument`s

neck,Nuzividu,Krishna district.

2. Veena made in Nuzividu,Krishna

district,where artisans make the veenas.

3. Peacock-shaped veena.The swan and

peacock are the mounts of Goddess

Saraswati.The Bobbili veena is also

called Saraswati veena.

Production Clusters

Vizianagaram

district:

Bobbili

Gollapalli

Wadada

Krishna district:

Nuzividu

Products

Saraswati veena

Miniature veena

Tools

Axe,Saw

Chisels

Pliers

Hand drill

Calipers,Compass

Files

Planner

Hand lathe

Production clusters

Srikakulam district:

Bejipuram

Patharlapalli

Gudem

Lopento

Patharanivalasa

Products

Hammocks

Baskets

Pouches

Bags

Dhurries

Household articles

JUTE CRAFT

JUTE IS CULTIVATED in Srikakulam and Vizianagaram

districts.Factories at

Ponduru,Chiprapalle,Rajam,Vizianagaram and

Chilakapalem purchase raw jute from farmers.The

availability of the raw material,the potential of crafting

products thus adding value to jute,and unemployment

particularly among women in rural areas prompted the local

administration to introduce jute craft to Srikakulam

district.The women were trained in techniques such as

macrame and plaiting using jute yarn.A dhurrie is also

woven on the frame loom with the use of cotton yarn as

warp and jute yarn as weft.Palm leaf and bamboo strips are

combined with jute to make contemporary interior

items.Most of the designs available are reproductions of

designs in bamboo,palm leaf and banana fibres.Bejipuram is

the chief craft cluster near Srikakulam.Prototypes of new

products are displayed for the guidance of the artisans.At

Tamada,attractive dhurries are woven with jute fibres.

Tools

Wooden frame

Wooden six-sided

box as mould

Dabbanamb-large

needle

Frame loom

1. Detail of a pot hanger made in the macrame technique.The

fibrous character of jute lends itself very well to non-woven

techniques such as macrame.

2. Bag made from jute braids which have been stitched

together.

3. A seamless bag made by interlacing braided strips.

METAL WORK

Production Clusters

Srikakulam district:

Buditi

Nalgonda district:

Chandur

Chittoor district:

Sri Kalahasti

Products

Utensils

Idols

Tools

Box Mould

Lathe

Files

Chisels

METAL CASTING is a age-old craft of Andhra

Pradesh.Chidipudi which is in Buditi post is the prominent cluster

where lost wax metal casting.Sheet metal work and sandcasting

using a box mould are practiced.Idols of deities are cast in bronze

by the lost wax method.Earlier bell metal was used,which has

been replaced by bronze and brass.Rising cost of metal,inferior

quality of brass procured have affected the quality of

products.Some of the artisans have formed Buditi Brass and Bell

Metal Workers Industrialist Cooperative Society.Brass metals

used for storing water are made by forging or shaping sheet metal

by beating.The vessel is made of parts which are later joined by

brazing.A flat circular base plate is heated in a furnace and

gradually shaped by beating it to form half the vessel.The other

half is similarly shaped from a flat circular form with a hole in the

centre that eventually becomes the mouth of the vessel.The two

halves are joined in the middle with a soldering solution and the

vessel is finished and polished on a lathe.

1, 3 Pots for storing water.

2 A craftsman makes the mould by taking an

impression of the pattern in tightly packed

sand.The other part of the mould that contains

the pattern to be cast,is placed on the floor.

4 Metal bowl made by sand box casting method

in Buditi.

MACHILIPATNAM located on the coast of Andhra Pradesh,is

the headquarters of the Krishna district.The rivers Krishna and

Godavari render the region very fertile.The coastal area around

Machilipatnam,known as the Coromandel Coast used to be

famous for the export of Chintz,floral,dye-painted fabrics.The

accounts of early Arab travellers describes the port of

Machilipatnam where ships of many nationalities lay anchored

in the harbour waiting to pick up the choicest of handwoven

and printed fabrics,which they traded in the Far East for

spices.A flourishing trade in vegetable dyed textiles existed

between the Golconda region and Persia for centuries.In the

17th and 18th centuries,the Coromandel Coast,with

Machilipatnam as its trade centre,was a chief producer and

exporter of `tree of life` kalamkari,dye-painted textiles to

western Europe.The Dutch trade in India was responsible for

introducing crochet to Narasapur,a large crochet lace-making

cluster today.Eluru in West Godavari,is a carpet weaving

cluster.East and West Godavari districts are the rice bowl of the

state.The river is worshipped as an embodiment of Goddess

Saraswati,symbolizing prosperity,wealth and fertility.A wide

range of traditional textiles is produced in the weaving belt of

the East and West Godavari districts.Shadow puppetry usingd

translucent leather puppets is a traditional performing art

practiced in Narsaraopet.Prakasam and Guntur districts are the

largest producers of cotton and tabacco,with cotton weaving

and block printing in the riverine district.Durgi in Guntur

district has soft stone,out of which idols ranging from 6-12

inches in height are carved.

ACCESS

The closest airport to Machilipatnam is Vijayawada.It is well

connected by rail,road and by sea.

Craft

Raw

Materials

Block printing Teak wood

Knotted

carpet

Woollen yarn

Cotton yarn

Stone carving Soft Stone

RESOURCES

Sources

Pedana

Bikaner,Ludhiana, Uttar

Pradesh

Eluru

Durgi in Guntur district

1. Craftsmen in Narsaraopet with their leather puppets and

wall hangings

2. Weavers washing carpets in Eluru.

3. Veena-maker`s house in Nuzividu in Krishna district

which is a craft cluster of veena-makers.

4. A block carver in a workshop in Pedana,Krishna district.

Subclusters of

Machilipatnam

West Godavari

district:

Eluru

Ndarasapur

Palakollu

Krishna district:

Kondapalli

Machilipatnam

Vijayawada

Nuzividu,Pedana

East Godavari

district:

Rajahmundry

Guntur district:

Guntur,Durgi,

Narsaraopet

Prakasam district:

Prakasam

Chirala

Crafts of

Machilipatnam

Block printing

Telia rumal-yarnresist-dyed

textile

Knotted carpet

Leather puppets

Crochet work

Wooden toys of

Kondapalli

BLOCK PRINTING

Production Clusters

Krishna district:

Machilipatnam

Pedana

Vijayawada

Polavaram

Products

Prayer mats

Kanat-tent

linen

Bed covers

Lungi-sarong

Dress materials

Tools

Wooden blocks

Colour tray

Bamboo lattice

Brush

DYE PAINTED FABRICS from the Coromandel

Coast referred to as Machilipatnam paintings,were

renowed export goods made for Europe and Iran

during the 16th to 17th centuries.The fabrics were

referred to as kalamkari as earlier the mordant was

painted with a kalam,pen.These were replaced by

block printing in the 19th century,creating more

repetitive surfaces such as borders ,a field of

scrolling florals and a central medallion(lotus),or

prayer mats which were exported to Iran.Bed

covers,linen and clothing for men and women were

exported to Europe.Locally,kalamkari skills were

used for producing prayer mats,and kanat or tent

covers used by the Mughal rulers during their

encampments.Blocks were made from seasoned

teak wood and designs carved in relief by skilled

artisans in Machilipatnam,Pedana and

Vijayawada.Block printing was labour intensive

and comprised several stages:preparing the cloth by

bleaching,washing and dipping in myrobalam

solution,printing with iron mordant (black colour)

and alum mordant(red colour),dyeing in

alizarin,starching cloth and painting yellow colour

with a kalam,finally processing in alum solution for

fixing all the colours.Red was derived from the

chay root found in the sandy soils and was known

for its long lasting quality.Craftsmen from Sri

Kalahasti in Chittoor district also brought chay

(Oldenlandia Umbrellata)root dyes from

Machilipatnam.The cost of dyes and raw material

has increased in recent times and the used of

natural dyes has declined.Thered has been an

erosion of the quality of printing.The present range

consists of bedcovers,dhurrie and yardage for use

in making garments.

Outline blocks,reveal the superb

craftsmanship and floral imagery of

kalamkari.

Tools : A wooden tray with a printing pad is made

of a bamboo lattice bed covered with a layer of

sponge and topped with a thin fabric.The dye or

mordant is poured over the pad and extra layers of

fabric are added to control the consitency of the dye.

An intricately carved wooden block reveals an

expertise in block carving still prevalent in

Pedana.The large size of the block and the mango

buta or motif are distinctive of kalamkari prints.

Detail of the outline,block printed in black made from

iron filings and jaggery.

Craftsman working in a block making

workshop,Pedana.

1. Detail of a bedcover showing a corner motif and wide

range of borders from the kalamkari print repertoire.

2. Detail of a border printed with the large stylized mangod

buta and variations of the mango buti.

3. Detail of a contemporary block print which echoes the

chintz.

4. Detail of an antique Tree of Life-kalamkari panel that

was exported from Machilipatnam in the 18th

century.The panel is composed of a central tree with a

sinuous trunk and flowering branches that grow from a

mound of rocks,and flanked by peacocks or exotic

birds.The visualization borrowed and combined stylistic

elements from Persia,China,Europe and India creating a

unique imagery that has become an everlasting source of

inspiration for craftspersons and designers.

TELIA RUMAL-YARN-RESIST-DYED TEXTILE

Production clusters

Prakasam district:

Chirala

Nalgonda district:

Puttapaka

Koyalagudem

Choutupal

Products

Double and single

squared rumaal

Sari-draped cloth

Dupatta-veils

Tools

Maggam-loom

Achhu-healds

Panni-reed

Aasu-warping frame

Chitkipita-weft ikat

frame

Kami-throw shuttle

Nadi-fly shuttle

Raatnam-yarm

winder

THE TELIA RUMAL,chowka,square,Asia rumaal,indicate

the cloth with patterns created by an exacting process of

tying and dyeing the threads prior to weaving.Telia is

derived from the use of tel,oil,that is used to soften the yarn

in preparation for dyeing,and rumaal means a

handkerchief.The cotton cloths measuring 44X44 inches

were exported to Myanmar,west Asia and east Africa.The

fishermen in Mumbai and Andhra used then as lungi

(loincloth),turban or shoulder cloths.The telia rumaal has a

square format enclosed by red broad borders.Within this

concentric structure,are featured geometric and figurative

designs in single and double ikat techniques in black,red

and white.The wrap and weftd yarns were dyed in natural

madder that was later replace with alizarin dye.After

dyeing,the yarns were treated in oil to give them a deeper

shade of red thus imparting an oily texture and smell.Telia

rumal are woven in pairs.The rectangular telia dupatta was

used as a veil by Muslim women and as a multipurpose

cloth by men.Telia rumal has been the mainstay of ikat in

Andhra.Having originated in Chirala,the skills spread to

Nalgonda district where ikat weaving is more vibrant than

in Chirala.The festival of India exhibitions and design

interventions restored the artisty of telia rumaal and

enlarged the vocabulary of ikat weaving in the region.

1. A modern interpretation of telia

rumal developed for a sari.The sari

is predominantly white with

coloured borders and a pallu or

cross border with squares based on

the delta rumal traditions.

2. Telia rumal with a geometrical

pattern woven with ikat or tieresist-dyed

warp and weft.

3. Telia rumal with a chaupad or dice

game design woven with double

ikat and single ikat used in the

field.

4. The inner square of the telia rumal

with contemporary motifs such as

clocks,birds and flowers.

5. Telia rumal,44x44" in size,with a

pattern formed by tie-resist-dyed

warp and weft stripes.

6. Rumal with motifs of mathikai,a

local fruit,and mallipu or jasmine.

KNOTTED CARPETS

ELURU WAS FAMOUS for natural colour carpets in white,black,brown and semiblack

or grey,woven with a low density of knots,which were mainly exported to the

United kingdom.These were known as Harham carpets and have been gradually

replaced with multiple colours by designers.Carpet weavers from Iran are believed to

have introduced carpet weaving to Machilipatnam and the skills later moved to

Eluru.According to oral accounts,the reason for moving to Eluru was because the

farmers had a luxuriant supply of a shrub called tangellamudi from which yellow dye

was extracted.Indigo and majistha were also locally grown.The designs of carpets are

named after the person who created them.Thus,very often they are called Hussain

Khani,Amarkhani,Tabrioz and Kiraman.Designs are also named after

flowers,creepers or plants-gul-e-abbasi,gulab khani.The colours range from pale

colours to deep reds,blues and gold.Embossed designs are created by clipping forms

in the carpet so that they are at different levels.

1. A weaving workshop in Eluru showing knotted carpets being woven on

vertical looms.

2. Detail of a knotted woollen carpet showing the central medallion motif with a

symmetrical composition of floral forms

3. Detail of a knotted carpet.

4. Detail of a carpet which has an embossed effect due to skillful cutting of the

dense pile surface that gives it dimension.

5. A contemporary knotted carpet.

Production Clusters

West Godavari

district:

Eluru

Products

Carpets

Chair Cushions

Tools

Frame for tying

Rubber tubes

Dye pots

Vertical loom

Charkha-spinnig

wheel

Churi-knife

Panja-tool for beating

weft

Kainchi-scissors

LEATHER PUPPETS

Production clusters

Guntur district:

Narsaraopet

Anantapur district:

Nimmalakunta

Products

Mythical figures

Animal figures

Lampshades

Tools

Waterproof drawing

ink

Watercolour brushes

Ari-needle

Scissors,Blade,Punch

Sodit-engraving tool

Chiru-chisel

Rekini-bamboo pen

Manal-pipe-shaped

tool

Neta-metal tool to

mark outlines

LEATHER PUPPETS OF

Andhra are large and made

from translucent goat skin.The

details are painted in bright

colours and perforations are

added.They are used as shadow

puppets.The leather puppet

theatre or Tolubommalata

developed in the 16th century

under the patronage of

Vijayanagara rulers.It was part

of a cultural heritage since

leather puppetry combined the

plastic arts of painting and

sculpture with theatre.It also

demanded deft hands for

manipulating puppets and

puppet-making.The artisans

migrated to Andhra Pradesh

from Maharashtra during the

Maratha rule.Their original

occupation was agriculture and

fishing.Episodes from the epics

of Ramayana and Mahabharata

are the popular themes

selected.The performance

commences with the entry of

the Ganesha puppet whose

blessings are sought for a

smooth performance.

Besides the main characters are also jokers

who provide comic relief in the narrative,and

chariots and horses are introduced for an

effective performance.A thin white cloth

measuring 12x9 feet lit from the back with a

bulb or oil lamp functions as a screen.Bot sides

of the puppet are painted to enhance projection

of the figure.The puppet is inserted in between

two bamboo splits for stiffness and for

movement.The puppets range from 3 to 6 feet

in size.With the advent of television and

cinema,leather puppetry is on the decline and

the puppeteers are diversifying into the

production of miniature puppets,lampshades

and other utility items.

King Ravana from the epic Ramayana.The

detailing and stylization of the figures is

similar to kalamkari,painted textiles.

Hanuman from the epic Ramayana.

The puppet was made in Narsaraopet.

Performance with shadow

puppets in Anantapur.

WOODEN TOYS OF KONDAPALLI

ANDHRA PRADESH HAS a number of toy forms made in

Kondapalli,Tirupati,Nirmal and Etikoppaka.kondapalli toys stand

apart since the craftsmen specialize in regional themes taken from

their immediate surroundings and the toys are made into sets of

various sizes.The craftsmen belong to the Aryakshatriya

community and toy-making is a hereditary occupation for

them.The toys are small,mostly narrative,archivist and

lively.Every small detail is meticulously carved and painted.The

limbs are carved separately and later assembled.The toys are made

of seasoned tella poniki wood,which is lightweight and easy to

carve.Myhtology,rural life,birds and animals are the main

themes.Toys representing women drawing water from a well,snake

charmer,ambari elephant with a mahout,potters,and mythological

figures such as Krishna and Dasavtara sets are also popular.Oral

accounts suggest that artisans from Rajasthan were called to

Kondapalli by a Zamindar,during the rule of Krishnadeva Raya in

the 16th century.

Painted camel.

Wooden toys depicting people from two different

communities.These toys imaginatively visualize

occupations and customs of local communities.

Toys depicting people of different generations.

Production Clusters

Krishna district:

Kondapalli

Products

Ambari elephants

Krishna dolls

Ganesha dolles

Birds

Animals

Palm trees

Village sets

Dasavtara sets-ten

incarnations of Lord

Vishnu

Corporate gift boxes.

Tools

Files

Chisels

Saw

Bow saw

Carving tools

Cutting tools

CROCKET WORK

IT IS COMMONLY affirmed that lace craft

is a modern introduction of India.The word

crochet comes from croc,or croche,the

Middle French word for hook.The modern

art of true crochet as we know it today was

developed during 16th century.

It became known as crochet lace in

France and Chain lace in

England.Crochet lace is textile

made from a single thread that is

interlooped by means of a hook in

such a way that a new stitch in

made by drawing thread through

the previous stitch.The surface

grows in a circle,spiral or in a to

and fro manner.Geometrical and

floral motifs are mostly preferred

in lace work.Crochet lace craft was

introduced in early 20th century,by

the Macrae couple from

Scotland,to women in West

Godavari district where it has

proliferated.Within a short span it

has grown into an export oriented

industry providing direct

employment to more than 70,000

women.Artisans are informed

about market trends by

traders,Government and

development organizations who

have helped them form into

cooperatives,while some artisans

have formed Self Help Groups.

1. Jainamaaz,a prayer mat from

Hyderabad,made in the filet

crochet technique.Filet

crochet is a mesh pattern

with certain spaces filled to

form a motif.It uses certain

stitches for the openwork

and a different stitch for

filling.

2. Caps worn by Muslims for

their daily prayers.

3. A vest done in filet crochet

style.

4. A tabular crochet bag.

Production Clusters

West Godavari

district:

Palakollu,Narasapur,

Seetharamapuram,

Tanaku,Poduru,

Pedamadupalli,

Madapadu

Doddipattala,

Olamparu,

Mogalturu,

Annavarpadu,

Veeravasaram

Products

Bedsheets

Pillow covers

Sofa backs

Garments

Tools

Crochet hook

Subclusters of

Cuddapah

Nellore district:

Udayagiri

Anantapur district:

Anantapur

Kurmool district:

Allagadda

Crafts of Cuddapah

Wooden cutlery of

Udayagiri

Raja -rani dolls

A girl doing muggulu in

front of her house in

Anantapur.Muggulu is a

ritual floor painting done

on the threshold of the

house and in front of the

loom,to invoke god`s

blessings for the well being

of the family and also

business.

RESOURCES


Stone carving Black stone Mysore

Wooden cutlery

of Udayagiri

Raja-rani dolls

Granite stone

Marble stone

Devadari wood,Nardi

wood,Bikki wood,Kali

wood

Sarcar koyya or Andhra

Pradesh wood,

Sinthaka wood,

Red sanders wood

Kanchipuram

Jaipur

Locally

available

Cuddapah

CUDDAPAH,IS ONE OF the districts of Rayalaseema,a

geographical and cultural region of Andhra Pradesh which

includes the districts of Kurnool,Anantapur,Chittoor, and

Cuddapah slate.It is situated on the south of the Pennar

River and the city is surrounded on three sides by the

Nallamalai and Palkonda hills.The name Cuddapah is

derived from the Telugu word kadapa meaning gate.The

city derives its name because it is the gateway from the

north to the sacred hill temple of Sri Venkateshwara of

Tirupati.It was part of the Chola empire during the 11th

and 14th centuries,under the Nizams from 1565,until the

British took control in 1800.Cuddapah has the shape of an

irregular parallelogram,divided into two nearly equal parts

by the range of the Eastern Ghats,which intersects it

throughout its entire length.The forest area is home to

timber,as well as rare Red Sanders wood.Cuddapah is rich

in mineral resources like limestone and the famous

Cuddapah stone.It was known for the cultivation of

Indigo,extraction of dye from the leaves and preparation of

indigo cakes which were sold to weavers in karnataka as

well as used by the kalamkari painters.Indigo is cultivated

in Eguvapalli,Patha Cuddapah,Chanduvai,Badvel

Vaillur,and Atmakur villages.Besides extracting dye,indigo

plant is exported to the Middle East as a hair dye and some

farmers use it as manure.

ACCESS

Chennai is the nearest international airport to cuddapah.It is

accessible by rail from Hyderabad and Chennai.

1. Craftsman in Laxmigaripalli carving a figurine from Red Sanders wood.

2. Craftsman using a big chisel to carve the basic forms of the idol in stone in Allagadda.

3. Artisan polishing the sculpted stone pillar in a workshop in Allagadda.

4. Craftsman making brass vessels,Tirupati.

STONE CARVING

THE STONE CARVING traditional in Andhra Pradesh dates

back to the 2nd century BC when Amravati was an important

Buddhist centre under the Satavahanas.Buddhists ,Hindu and

Islamic architecture in the region stand testimony to this

craft.The state has a huge resource of stone;famous among

them are the Cuddapah slate and Durgi stone.The granite

available in Andhra Pradesh is locally referred to as

Krishnashila,and is the main material used for stone

carving.Largely temple-related sculpture-vigraha or idols, and

architectural elements such as lintels and pillars are carved in

these clusters.The quality,scale and range of architectural

carvings in Allagadda are extensive and are comparable to

established centres of stone carving,as in Mamallapuram in

Tamil Nadu.In Durgi,a village of Guntur district,due to the

soft nature of the Durgi stone,sculptures are relatively smaller

in size ranging between 6 to 12 inches and

are not installed in temples.In Tirupati,cultured marble casts,though

not indigenous to the region,have been introduced as a substitute for

stone.The idols are smaller in size and cater to the piligrims.Fine

chisels are used in Durgi for detailing the soft sandstone.The master

craftsman passes on his knowledge according to the vaastuvidya

tradition wherein the guru,master,guides his apprentices with

spiritual and practical knowledge of the craft.

1. Soft stone sculpture of Santhana Nago-entwined snakes

worshipped as a fertility symbol,carved by a craftsman in

Ramadugu,Warangal district.

2. Idol of Saraswati,the Goddess of knowledge,cast from cultured

marble,Tirupati.

3. A template drawn on wood,used to make identical

pieces,Allagadda.

4. Soft stone idol of krishna carved by a shilpi in Durgi,Guntur

district.

5. Idol of Dakshinamurthi carved by craftsmen in Allagadda.

Production Clusters

Kurnool district:

Allagadda

Guntur district:

Durgi

Warangal district:

Ramadugu

Products

Vigraha-idols

Pillars

Tools

Metna-ruler

Kaivaram-dividers

Akurai-files

Compass

Emery paper

Measuring tape

Sutti-hammer

Uli-chisels

Chisels for

finishing:

Chanam

Bumper Cheernam

Juguraku

Pallavan

WOODEN CUTLERY OF UDAYAGIRI

Production Clusters

Nellore district:

Udayagiri

Products

Sets of Forks and

spoons

Paperknives

Glasses

Keychains

Hair clips

Tools

Rampam-saw

Sutti-hammer

Badisa-axe

Gor uli-chisel

Churi ka samaan-file

Gol kaadi-pointed file

Mukhonam akuraitriangular

file

Drill

Lakidi ka guttamhammer

UDAYAGIRI is well known for the carved

wooden cutlery such as forks,spoons and

knives.The craft is a hereditary occupation and

the whole family is involved in the craft.The

most commonly used material is the nardi

wood and the other woods used are

devadari,bikki chakka and kaldi chakka.The

carving is done on the handle;holes are drilled

according to the pattern of the design and files

are used for finishing.The smaller spoons or the

pallis are made out of nardi and bikki

wood.Bigger spoons and forks are made out of

harder wood called kaldi.They are used to

serve curry and rice.The decoration on the

handles are made by drilling holes according to

the pattern and finishing with files.Although it

would appear to be made using a fret saw,the

cutout patterns are done entirely by drilling and

filling.

Inset Spoon made from kaldi wood.

1a,b,c Fork,paper knife and spoons made from kaldi wood.

2a,b Set of carved and fretworked fork and spoons.

3 Bikki,kaldi and nardi wood used in making cutlery.

RAJA-RANI DOLLS

Production Clusters

Cuddapah district:

Koduru town:

Laxmigaripalle

village

Products

Traditional:

Flower vases

Jars

Tumblers and glasses

Raja-rani dolls

Contemporary:

Idols

Furniture

RAJA-RANI DOLLS are carved for the Dussehra Puja for

the ritual of arranging dolls which is called bommalu

kolueru.The dolls have a stylizded,traditional form,and

apart from being decorative,have a ritual use.The raja-rani

pair is adorned with jewellery and traditional

costumes,and a mock marriage ceremony is

conducted .This custom is also popular in Tamil Nadu and

Karnataka.Traditionally made of Red Sanders wood are

known as Red Sandalwood,these dolls are now made of a

substitute wood after the government`s ban on

sandalwood.The dolls retain the natural texture of wood or

at times are coloured black and polished.The wood is dyed

red using chemical dyes to achieve the red sandal wood

colour.Traditional products such as vessels and mortar and

pestle were made,which have been men carve and the

women do the finishing work.The carved idols are sold

outside temples in Tirupati and Tiruchanur.

Tools

Badisa-axe

Hacksaw blade

Olugu-to shave wood

Chisels

Nemulu

Sanna chernam

Chivay chernam

1. Figurines of raja,king,and rani,queen,carved in

traditional style.

2. Rolu,the turned wooden mortar used to mash lentils.

3. Turned wooden container traditionally made from

Red Sanders wood,Pterocarpus santalinus,is an

endemic species found in dry deciduous forests of

Andhra Pradesh mostly in cudddapah district.

PALM LEAF WORK

PALMYRA,A TALL fan palm,yielding a hard wood and sweet

sap,and a source of palm wine and sugar,is locally found in

Nellore.The leaves are used for thatching and weaving.The central

portion of the palm leaf,called moungu akku,is used in basketry.It is

woven by women from the agricultural communities like the Malas

and Madikas,and other communities such as the

Mudraz,Muslims,Gowda,Vodera,Gammanla and Yadavas.The

women artisans have been helped to form a palm leaf society as a

part of the welfare schemes adopted to develeop local crafts and

communities by non-governmental organizatons and with funding

support from the government.Strips are also dyed to provide more

pattens.Palm leaf strips are braided, plaited and interlaced in a

variety of ways to create large

1. Palm leaf packaging made in Visakhapatnam district for

storing agricultural produce is an unselfconscious form.The

plaited structure is spherical in shape with a small circular

opening and a flexible rim.This can be tied down to close the

opening.

2. Palm leaf strips are gathered at the top of the cone in a radial

manner.The other end of the strip is folded over the rim to be

stitched down with a thong. A second row of stitches

accentuates the conical shape of a hat and umbrella made for

farmers and shepherds in Viskhapatnam adn Srikakulam

districts.

3. Palam leaf container with a lid,made by women working at the

Palm leaf society, a cooperative of palm leaf artisans.

4. A conical basket made by the coiling technique.The design

was introduced for the export market.

5. Flower baskets with a handle.Some of the strips have been

dyed to create an interesting pattern.

containers for agricultural uses.The material is versatile

and the local people have transformed it into numerous

applications and forms such as umbrellas,hats,sunshades

and large baskets.For contemporary markets and

handicrafts emporia,a large range of baskets,trays and

coasters are made using the coiled binding process.Here a

spiralling core of palm leaf strands is wrapped around by

another moving strip,which interlocks consecutive coils

in a series of knots.The shape of the basket or tray is

stringing forms,like in a garland,have been adapted to

make Christmas decorations and as door curtains.

Production Clusters

Nellore district:

Nellore

Mattempadu

Venkateshwarapuram

Products

Vases

Wallhanging

Trays

Mats

Garlands

Basket with handle

Shopping baskets

Jadi-jar cover

Pen holders

Beer mug holders

Tools

Machine for splitting

leaf

Knife

Blade

Subcluster of

CHITTOOR

Sri Kalasti

Chittoor

Madanpalli

Crafts of

CHITTOOR

Kalamkari

Bronze casting

Terracotta

Wood carving

RESOURCES


Kalamkari Sari

Bronze

casting

Bahadurpet,Salipeta

Handwoven cloth Naryanapuram

Natural dyes:

Myrobalam

Surul pattai

(powdered bark)

Copper, Brass,

Zinc, Gold, Silver

Chennai

Assam

Rajamundry

Terracotta Clay Maelmayi,kothapalli

and Malleru

Wood

carving

Mango

wood,Seema,

Sindha rapali

wood, Neem

wood

Imported wood

Teak wood

Locally available

Chennai

Maharashtra &

Nigeria

Riverbed teak Bhadrachalan &

Kerala

Images of Lord Venkateshwara,the presiding deity at

Tirupati,are made in a variety of materials and

techniques as souvenoirs for pilgrims who visit the

sacred temple town in thousands.Seen here is a brass

plaque made by metal craftsmen in Chandur,Nalgonda

district.

1. Detail of a painting done

on the wall of a Rama

temple in Sri Kalahasti.

2. An artisan making the

handle of a flower basket

made in a palm leaf.Over

one hundred women have

been trained in palm leaf

work and have been

organized into a Palm leaf

Society in Nellore.

3. A kalamkari craftsman

making a sketch with a

charcoal on cloth in Sri

Kalahasti,well known for

the traditional of the

kalamkari painted textiles.

4. Potter in Guntavoor

making wheel-thrown clay

pots.

CHITTOOR IS SITUATED IN the geographical and cultural region

of Rayalseema that has irregular and scanty rainfall where droughts

are a regular feature.However,commercial agriculture temples

around the region suc as Tirumala,Sri Kalahasti adn Kannapa.The

Shiva Temple of Sri Kalahasti supports a number of crafts such as

stone carving and stringing of garlands.Sri kalahasti has been famous

for painted temple cloth hangings,kalamkari panels,used as

screens,canopies and to decorate chariots.The painters followed the

older traditions of mural painting on the walls of the temple in

Lepakshi in Anantapur district and evolved distinctive formats on

cloth to illustrate religious themes and the epics.Shri Venkateshwara

Temple in Tirupati is a sacred site visitied by thousands of

Pilgrims,Icons of Lord Venkateshwara or Balaji,a form of Lord

Vishnu,are made as souvenirs in stone,bronze and brass plaques and

papier-mache .The theme of Dasavtara,ten incarnations of Lord

Vishnu are depicted in kondapalli toys,ganjifa playing

cards,kalamkari,stone and wood carvings and Cheriyal scroll

paintings,Madanapalli town is on a higher altitude and has a small

population of potters.

ACCESS

Chittoor is well connected by road and railways.The nearest airport

is in Chennai.Madanapalli and Sri Kalahasti are well connecte by

bus from Chittoor.

KALAMKARI-DYE PAINTED TEXTILES

KALAMKARI refers to the mordant painted

and dyeing traditions done with a kalam,pen.A

unique form of resist dyeing,kalamkari is a part

of a traditional of figurative and narrative

paintings used in temples.The dyeing used

metallic salts called mordants to bind the dye to

the cotton fibres.What distinguishes kalamkari

panels in Sri Kalahasti from other cotton

paintings is the used of multicoloured mordant

dyeing and human figure drawing.The process

of Kalamkari is long drawn and consists of

eighteen stages done over a period of sixty

days.Favourable climatic conditions and

flowing water are also necessary.Traditional

themes are depicted from the epics or

Puranas,stories of gods.The entire epic is

depicted through several stories and each

episode is depicted in horizontal

panels,featuring the principal deity or episode.A

single icon depicting a deity or deities,is also

painted.Blue is associated with deities;red with

demons;Hanuman is depicted green;

1. Detail of a large kalamkari panel

depicting the leela,divine acts,of

krishna.Seen here is Lord Krishna stealing

butter and distributing it to his friends.A

contemporary example from Sri

Kalahasti.

2. The outlines of the figures are drawn by a

kalamkari craftsperson who uses a

kalam,pen to paint the iron mordant(for

obtaining black colour)on a fabric that has

been treated with myrobalam solution.

3. Mural detail depicting a

deity,Veerabhadra Temple, Lepakshi.The

narrative style and the depiction of figures

and details such as the clothing have

influencedd the kalamkari tradition.

4. Raw Materials used for preparing natural

dyes.

yellow is used for the female body colour and also for gold

ornamentation.Animals and geometrical designs are traced in black outline

against a white background.Moving away from depicting mythological

figures within a canonical style,the artists have used their creative skills

both in terms of illustration and color palette in depicting the jataka and

Panchatantra panels.Stories from the lives of Buddha and Christ,have been

introdued in recent years.

Production Clusters

Chittoor district:

Sri Kalahasti

Products

Traditional:

Temple screens

Wall panels of

mythological themes

Contemporary:

Wall panels of Jataka

and Panchatantra

themes

Sari-draped cloth

Dupatta-stole

Stationery

Photo frames

Thoranam-doorway

hanging

Handbags

Spectacle cases

Tools

Wooden stick

Copper vessels

Kalam / Kuchi-Brush

Tools : A kalam with pointed tip is made for

drawing and painting outlines and the flat nib is

used for filling in colour.a compact ball of hair

or fibre absorbs the liquid dye that is guided by

the pointed tip.

5 Detail from the horizontal kalamkari

made in 1978.Two panels depict episodes

from the epic Ramayana.Blue is used to

represent Rama.

6 Detail showing Rama and Sita flanked

by devotees-kalamkari panel produced in

2002.

BRONZE CASTING

Production clusters

Chittoor district:

Chittoor

Tiruchanur

Dornakambala

Products

Idols of gods and

goddesses

Idols of folk deities

Tools

Hammers

Chisels

Files

CLUSTERS FOR BRONZE casting

in Andhra are located in the belt

between Tirupati and Chittoor:

Dornakambala,Tiruchanur and

Chittoor.Dornakambala is known

for its miniature idols which are

mass produced and sold at piligrim

centres.Tiruchanur and Chittoor

clusters are known for lost wax

casting in bronze.Details like

ornaments are only modelled in the

outline and are chiselled after the

metal is cast.The craftsmen are also

proficient in techniques that involve

repousse work on sheet metal.To

gain proficiency,the craftsman has

to undergo training in

drawing,knowledge of

iconography,learning shlokas

(verses)to know the

A kavacham,ritual attire that adorns

deities,for Lord Hanuman,made of

sheet metal,Chittoor.Craftsmen

from this region are as technically

equipped to cast idols,as they are to

design other products from sheet

metal.Craftsmen use brass sheets

and often recycle metal from scrap.

1. Idol of Hanuman cast in

tribhang pose,the body bent

at the knee,hip and neck.The

form is reminiscent of the

Chola bronzes.

2. Cast idol of Ganesha.The

prabhavali or arch depicts the

aureole and the

kirtimukha,lion-like face,in

the centre symbolizes the

deity`s glory and also wards

off evil.

bhava(expressions),working on the wax model to

gain confidence about the form and details.The

crafts is strictly governed by the conons of

iconography and iconometry.They are well versed

in many south Indian sculptural styles such as

Hoysala,Chola and Vijayanagara styles.Being a

traditional craft,the products are religious in

character.

TERRACOTTA

Production clusters

Chittoor district;

Palamner

Madanapalli

Products

Water Pots

Animal figurines-

Elephants,Horses

Tools

Sari-potter`s wheel

Sieve

Kiln

Stick

TERRACOTTA POTS ARE made

by the potters belonging to the

Kumbara community who have

migrated from Kannipatakkam

village.The clay is got from ponds

nearby and the products are made

traditionally with the wheel.There is

a distinct divide between the work

allotted to men and women.The men

traditionally throw on the wheel

while the women create the design on

the pots.In recent years,the

1. A Contemporary form in

terracotta developed by a

designer in collaboratin with

the potters of Guntavoor in

Chittoor.

2. Large elephant figures are

made by potters. Different part

are thrown on the wheel and

joined together and

decorated,and details added by

the hand-modelling process.

3. Unfired wheel-thrown pots and

planters left to dry before

being coated with diluted clay

slip and fired.

craftspersons have diversified into making sculptures.In case

of large sculptures like horses,the pieces are made

separately,either on the wheel or by the coiling method.Most

of the ornamentation is added on the surface by the women,and

design are incised around the neck of the pot.The traditional

shapes of the pots have been retained and by adding

embellishments on the surface are being transformed into

vases.

WOOD CARVING

THE RANGE OF wooden crafted products in Chittoor consists of

idols,carved wooden furniture,wooden panels and simply fashioned

articles such as combs and white wood bird figures.Raw material is

available in the surrounding forests of Tirupati and Sri Kalahasti.Red

Sanders,Rakta chandhanam,grown around Tirupati and other local

timbers are used.A characteristic feature of wooden products in Andhra

is the softness of the wood varieties used in Nirmal,Kondapalli and

Etikoppaka toys.In wood carving at Sri Kalahasti the craft has been

practiced by Acharya families who branched out from

Madhavamala,near Tirupati,Tiruchanur and Madhavamala are noted

for the production of religious carvings and dolls.carving of temple

chariots was also part of the tradition.The sthapathi in Sri Kalahasti are

proficient craftsmen.White teak wood(Gmelina arborea),found in the

Deccan peninsula has been carved into figurines of

1. Carved wooden bracelet made by traditional craftsmen in Sri

Kalahasti.

2. Detail of a carved and painted idol of Shiva.The expressive

details such as his hair,Goddess Ganga,fierce eyes,and snake

have symbolic meaning.

3. Figure of a bird feeding its young,carved in white teak wood.

4. A carved comb made as a votive offering to a Goddess and also

given as a gift duringd marriage ceremonies.

5. A simple wooden comb used for combing oiled hair.

6. Carved,painted and varnished idols of Radha and Krishna made

by traditional craftsmen of Sri Kalahasti.

white wood birds,the choice of wood being appropriate

for the form and theme.A variety of combs are made.The

usage of Pala wood is specially noticeable in the combs

crafted at Sri Kalahasti and lac turned objects at

Karlapudid.The designs are largely based on

Etikoppak,Visakhapatnam,Channapatnam and Bangalore

turnded wood products ranging from toy stands, holders,

salt-and-pepper shakers, pen stands and eggcups to kumkum

or vermilion container,a product which is adapted to

cater to pilgrim centres around the regions-Sri Kalahasti

and Tirupati.

Production Clusters

Chittoor district:

Sri Kalahasti

Products

Figurines and panel

sculptures of idols

Pillars

Corner bracekets

Door panels

Furniture sets

Tools

Sutti-hammer

Uli-chiselsd

Files

Goru charnamscooping

tool

Rekala-carving tool

Matta gor chernamfile

Vanke chernam-file

Akurai-files

Compass

Rampam-saw

Districts - 30


Tamil Nadu is one of the most industrialized and

urbanized states of India. To its east is the Coromandel

Coast which is a vanguard of India`s maritime hsitory.

Traders and merchants used its ports to come to India for

textiles and spices. The Eastern Ghats in the north meet

the Western Ghats at Nilgiris. The Bay of Bengal meets

the Indian Ocean and the Arabian Sea at Kanyakumari in

the South. At its heart lies the perennial River Kaveri,

central to Tamil culture. Tamil Nadu is the land of temple

towns, classical music and dance, and religious

processions. Tamil is the oldest surviving Dravidian

lanuguage. Dravidian culture has been preserved in its

classical form more than anywhere else in India, despite

significant external influences from Brahmanism, Jainism,

Buddhism and Christianity. The region witnessed the

reign of powerful dynasties like the Chera, Pandya, Chola,

Maratha, and the Vijayanagara kings. The British rule

began in the 17th century with the establishment of the

East India Company in Madras, now called Chennai,

which paved the way for transformation. The rock-cut

monoliths in the Mammallapuram are witness to an

ancient stone carving tradition, kept alive through temple

building and sculptures. The murals in many of these

temples are proof of an ancient tradition of painting in

South India. These temples played a pivotal role as they

patronized many crafts such as bronze casting, stone

carving, stucco work, wood carving, brass work, silver

and gold claddings for deities, and applique. The region

has prolific, varied and living textile traditions in cotton

and silk.

The Chettinad region, comprising Karaikudi and

Devakottai towns and villages in Sivaganga

district, is distinguished by large ornate mansions

with intricately carved wood work. The Nilgiri

Hills are home to many tribes, of which the

Todas are the most remarkable with their distinct

culture.

Inset : Detail of a carved stone pedestal which

supports the wooden pillar made from Burma

teak, at the entrance of a Chettiar mansion,

belonging to a member of the business

community called Chettiars.

1. Flowers offered at the foot of Yali, a

mythical creature carved on the

colonnaded pillars along the central hall,

Minakshi Temple in Madurai.

2. The ancient Church of the Holy Cross in

Manapad has a fragment of the True Cross

brought from Palestine.

3. The mansions of the merchant community

of Chettiars, are a repository of wood,

stone and terracotta craft styles of the

region. Wooden pillars resting of lotusshaped

stone pedestals support a system of

wooden beams and rafters over the

verandah that opens to a large inner

courtyard in Karaikudi.

CRAFTS - TAMIL

NADU

Palm leaf work

Kora mat weaving

Seashell craft

Bobbin lace

Kavasam - sheet

metal cladding

Stucco work

Stone carving

Wood carving

Silk garland making

Handmade paper

products

Pottery

Crochet and bead

work

Leather work

Thanjavur glass

painting

Doll making

Bronze casting

Villaku - brass lamps

Brass repousse

Bell metal ware

Thanjavur kalamkari

Pallagai padam -

Thanjavur painting

Nadaswaram - wind

instrument

Veena - String

instrument

Root carving

Pith work

Cut glass work


Applique

Sungadi - tie resist

dyeing

Muthangi - pearl

studded attire

Brass ware

Soapstone ware

Woollen druggets

Bhavani dhurrie

Toda embroidery

Rayon dhurrie

Bamboo flutes

Landmarks

Shore Temple,

Mamallapura

Brihadishvara

Temple, Thanjavur

Minakshi Temple,

Madurai

Natraja Temple,

Chidambaram

Basilica of San

Thome, Chennai

Dakshina Chitra

Chettiar Mansions,

Karaikudi

Auroville

Cholamandalam

Artists` Village,

Chennai

Kalakshetra, Chennai

Mangrove forests,

Pichavaram

Languages

Tamil

Urdu

Kanchipuram is an important silk weaving

cluster.Seen here is a medallion brocaded in

zari,gold thread,on a mulberry silk ground,that was

developed for the Visvakarma series of exhibitions

organized between 1982-1992 for reviving the

market for high value craftsmans.

At Madhurai`s Minakshi Temple,the floor is decorated by devotees with

kolam,ritual floor paintings made in courtyards,to invoke god`s

blessings.The basic proportions and design are decided by an underlying

grid of symmetrical dots.The pattern of interlocking lines is drawn in

continuous loops.

Festival

Pongal-harvest

festival

Karthikai-auspicious

full moon

teppam (float)festival

Thyagaraja music

festival

Vellanganni festival

Thirupalli Ezhuchi

Maha Shivaratri

Garudotsavan

Maham

Attire

Men:

Veshti-lower garment

Angavastramshoulder

cloth

Women:

Pattu pavadal-silk

skirt

Thavani-half sari

4 A toda woman wearing a poothukuli,embroidered mantle.

5 The todas are one of the tribes that live in the Nilgiris.Their

unique barrel-shaped huts made of bamboo,grass,cane and

wood,have a very small doorway and a single room.

6 Terracotta votive figures of Ayyanar and elephant figures,in

Virachalai Temple in Karaikudi.The rituals and terracotta crafts

are related to Ayyanar,a prominent folk deity worshipped in the

region.The animal figures represent the tallest terracotta structures

in the world.

Biodiversity

Mangrove forests

Flora:

Teak,Palmyra,Rubber

Sandalwood,Coconut,

Jasmine,Mango

Kora grass

Fauna:

Elephant, Tiger,

Horse, Cow, Monkey,

Deer, Swan, Peacock,

Parrot

Cuisine

Puliyodharaitamarind

rice

Menthaya kuzhambufenugreek

curry

Vepampoo rasamneem

flower soup

Kariveppilai podicurry

leaves powder

Pongal-cooked rice &

lentils

Physical Features

The Deccan Plateau

The Coramandel

Coast

The Western Ghats

Major Rivers:

Kaveri, Palar,

,Cheyyar, Ponnaiyar,

Meyar, Bhavani,

Amravati, Vaigal,

Tampraparani

Subclusters of

Kanniyakumar

Kanniyakumari

district:

Kanniyakumari

Nagercoil

Suchindram

Tirunelveli district:

Tirunelveli

Pattamadai

Crafts of

KANNIYAKUMARI

Palm leaf work

Kora mat weaving

Seashell craft

Bobbin lace

Kavasam-sheet metal

cladding

Stucco work

Stone carving

Craft

Kora mat

weaving

Bobbin lace

Stone carving

Raw

Materials

Kora grass

Cotton

thread

Cotton

Thread

Black

Granite

RESOURCES

Sources

Banks of the Tampraparani

Ambasamudram

Nagercoil

Thingampothai and

Amaravathivillai

KANNIYAKUMARI TOWN IS the southernmost tip of India

which is at the confluence of the Bay of Bengal,Indian Ocean

and the Arabian Sea.Bounded by Tirunelveli in the east and

Kerala on the northwest,it is believed to be the aboded of

Kumari,the Virgin Goddess.Th 8th century Kumari Amman

Temple dedicate to her is a popular pilgrimage centre and the

hub for many indigenous crafts like metal claddings for

deities,palm leaf and seashell objects.Palm grows profusely in

the region and fibre from its leaves used in basketry and

packaging,has been developed into a sustainable craft.Christian

missionaries have introduced crafts like bobbin or pillow lace

and embroidery.Suchindram is a small temple town closely

linked with the legend of the Kumari.Stanumalaya Temple

dedicated to the Hindu trinity,Brahma,Vishnu and Shiva has

massive brightly coloured gopurams or gateways embellished

with sculptures depicting stories from the epics.Suchindram is

a flourishing centre for stucco and sheet metal work mainly

commissioned by temples in Tamil Nadu and

Kerala.Tirunelveli is in the fertile tract fed by the River

Tampraparani and paddyd is the main crop of the

region.Tirunelveli is the district headquarters dominated by the

Kanthimathi Nellaiyappar Temple complex.During the Annual

chariot festival,which attracts thousands of devotees,the

temple`s chariots are led in procession through the

town.Pattamadai village is famous for its fine quality floor

mats made of kora or sedge grass which grows in abundance

on the fertile river banks.

ACCESS

Kanniyakumari has road and rail connections with Chennai

(635km),Madurai and all other towns in the state.The nearest

1. A farmer uses a palm leaf basket for carrying and storing groundnuts cultivated in his airport is Madurai(235km).

field in Vallikulam,Ambassamudram.

2. Woman wearing solidd gold earrings,Tirunelveli.

3. Palmyra palm trees in Tirunelveli are used to make baskets,winnowing trays and fans.

4. Craftsperson weaving a kora grassd mat on a horizontal floor loom at a mat weaversd`

cooperative society in Pattamadai.

5. Image of Infant Jesus made in papier-mache moulding,at a roadside shrine in

Karumkulam

PALM LEAF WORK

Palmyra is an important and

significant tree of Tamil

Nadu.Palm Leaf products are

ecofriendly.Hence,programmes

have been formulated with a

long term view to grow and

protect palmyra trees and to

develop products using skills

that help sustain rural

communities.

The palm leaf workers in Manapad are all craftswomen from

Christian Nada,Hindu Nadar and Barnalalkkal communities who

work from home.Green leaves are harvested and dried in the

sun.The midrib is separated from the palm leaf and the leaf is cut

into strips of varying widths.A section of midrib is folded over

and used as a die to make uniform splits from the leaf.Strips are

also dyed for ornamentation.Baskets and products are shaped

either by weaving or coiling strips.The craft traces its origin to a

rough palm leaf bag for storing onions which was

Different stages in development of seer petti,dowry baskets,used

by the bride`s family to gift rice to the groom`s family in

Ramanathapuram.

exported in plenty from the kulasai harbour.The Paravars,a local

fishing community who practised palm leaf basketry,introduced

new products deriving ideas from goods that were imported

from Sri Lanka.These nesting containers,boxes with libs,bins

and trays have come to be associated with Manapad.The palm

leaf cooperatives in Manapad supply to export markets and to

retailers in Chennai and Bangalore who have developed new

designs in collaboration with craftspersons.Palm leaf baskets for

storing rice,fish and agricultural products,winnowing trays and

pouches for betel nuts are made in several southern districts such

as Tirunelveli,Ramanathapuram and Madurai.Of these , the

woven baskery items made in Ramanathapuram for dowry have

a distinctive character.

Inset : Water pitcher made form a single freen palm leaf buched

and bound to form a central handle.Such products are made for

everyday use in Nagercoil.

Dowry basket with an elaborately plaited lid and made from

palm leaf strips,is used by the Muslim community usually

produced in sets of nesting baskets,Thirupullani.

Production Clusters

Tuticorin district:

Manapad

Kanniyakumari

District:

Kanniyakumari

Ramanathapuram

district:

Ramanathapuram

Chittarkottai

Devipatnam

Rameshwaram

Kilakkarai

Thirupullani

Sekharnagar

Products

Traditional:

Dowry baskets

Winnowing trays

Hand fans,Rattles

Pouches

Storage baskets

Contemporary:

Bags,Bins,Boxes

Ball Rattles

Bowls,Nesting boxes

Coasters,Dishes,Trays

Christmas decorations

Hats

Purses

Tools

Needles

Metal scrapper

Pen Knife

Nesting palm leaf trays made for the export and urban markets,

Tirunelveli.

Nesting containers made by the coiling technique using palm

leaf strips of varying widths, Tirunelveli.

A large soft and pliable basket for carrying babies, Tirunelveli.

KORA MAT WEAVING

Production Clusters

Tirunelveli district:

Pattamadai

Kanniyakumari

district:

kanniyakumari

Products

Mats

Table mats

Wall Hangings

Made ups:

Bags, Coasters

Hand fans, Folding

mats

Tools

Basin

Charkha-spinning

wheel

Chatti-mud pot

Knife,Tablespoon

Loom

Mathu-mortar

Metal vessel

Parivattam-device for

winding varn

Planks

Polishing stones

Porcelain cup

Pudi thalai-drawing

wheel

GRASS PAI , MATS , made from finely split korai(Tamil) or

Kora ( Malayalam ) woven in Pattamadai,are refered to as

pattu:the fine splits rendering then as smooth as

pattu,silk.Pattamadai is home to the Labbai and Rowther

communities who are known for weaving of fine kora grass

mats.They had embraced Islam during the Muslim

invasion.The Labbais were originally preachers of Islam who

became traders and took to mat weaving several generations

ago.According to local sources,the development of fine quality

mats is attributed to Hassan Bawa Labbai a century ago when

he discovered that kora grass could be split very fine,equivalent

to 120 count instead of the earlier 30-40 count.The processing

of Kora grass in the water of Tampraparani and the fine

splitting of the grass have made the mats of Pattamadai

famous.Soft,pliable kora mats are only woven in Pattamadai as

the water of Tampraparani River helps to soften the kora grass

and make finer splits.Only women weave mats and the craft is

passed on from a mother to her children.Harvested grass is

processed and cut into fine splits and woven into cotton warp

that is outstretched on a floor loom.The designs are influenced

by the traditions of sari weaving and the weft faced Bhavani

dhurrie.Dyed splits are used in contrast with the natural colour

of the grass.A few designs are done using tie-dyed splits such

that the colour is localised to the motif.Grass splits are soaked

in water before weaving.After weaving,the weft is moved

closer for a uniform,compact surface.The weaving of pattu pai

requires craftsmanship and creativity.A pair of pattu pai are

gifted to the bride by her parents.Pattu perupai are woven with

the names of the bride and groom and given as gifts at Brahmin

weddings.

1. Detail of a pattu pai woven with finely split kora grass.

2. A reversible mat woven with black and natural colour

kora grass.

3. Kora or sedge grass belongs to the family of

Cyperaceae and is cultivated is Thiruchirappalli.

4. Folding mats are joined and finished by tailoring the

edges with cloth piping.

Detail of kora grass

mat with horizontal

bands.The geometrical

motifs require

craftsmanship and time

to weave as the pattern

is manually picked up

without the help of any

mechanism for

patterning.

Detail of reversible kora grass mat woven for the export

market.

Production Clusters

Kanniyakumari

District:

Kanniyakumari

Kanchipuram

district:

Mamallapuram

SEASHELL CRAFT

KANNIYAKUMARI situated at the confluence of the Bay of

Bengal,Indian Ocean and Arabian Sea is great source for many

kinds of seashells which have attained over time cultural and

religious significance.Some shells are sold in their natural

forms - valampuri and edampuri sanghu , conch shells

associated with Lord Vishnu and Goddess Shakti.Both shells

are buried below the front steps of the house so that the

residents are blessed with wealth and good health.Shells of

different sizes and shapes to make attractive

products,decorative items.the shells are cleaned and ground to

smoothen the edges.

Enamel paints are also used to add designs on the shells.Some

damaged shells are sold as dhrishti porutkal which are

attached to a thread and lemon and green chilles and

suspended in doorways to ward off evil.

1, 3 Decorative products made of seashells,Kanniyakumari.

2 Seashells,Mamallapuram.

Products

Paperweights

Pen Stands

Keychains

Toys

Lamps

Mirrors

Birds and flowers

Door curtains

Ganesha images

Dhrishti porutkal-to

ward off evil

Tools

Bench grinder or

electric brush

Channakal-grinding

stone

BOBBIN LACE

BOOBIN LACE ALONG with embroidery was brought to

the kanniyakumari region by Christian missionaries from

Belgium and England.In Christian families , the younger

women inherit this skill from their mothers and

grandmother.Bobbin lace,known also as pillow or pin lace,is

inextricably linked to Christian festivities.Occasions such as

baptisms and weddings call for the display of intricate lace

work.Lace kerchiefs may be folded and placed on the top

pocket of the groom`s suit or used as napkins to carry the

baby during the baptism ceremony.Bobbin lace is woven in

paris of threads that are wound on bobbins.two stitches are

used - half and whole stitch.

Christian symbols such as the cross in varying widths and

sizes,and motifs such as Mary with Jesus and the lambs were

used as designs.Over a period of time , varying floral designs

based on sunflowers,dandelions,pansies,ferns and animals such

as butterflies,swans and fawns have been developed.

Bobbin Lace Tea Coater,

Kanniyakumari

Production Clusters

Kanniyakumari

district:

Kanniyakumari

Mulagumoodu

Azhagiamandapam

Kootamavu

Product

Border lace

Caps,Insertion lace

Frocks

Doilies

Linen Blankets

Triangular pillow

corners

Pillow covers

Borders

Tools

Large pillow

Pins

Needle machine

Pillow stand

Cardboard

1. Detail of the

fragile lace

border attached

to the fabric.

2. Lace borders are

attached to

square pieces of

fabric to make

table mats.

3. Bobbin lace

made by

intertwining

multiple threads.

KAVASAM-SHEET METAL CLADDING

Production Clusters

Kanniyakumari

District:

Nagercoil

Madurai district:

Madurai

Thanjavur district

Swamimalai

Kanchipuram

district:

Mamallapuram

Products

Kavasam-claddings

Vohanam-mount for

the deities

Dvaja stambha-Flag

poles

Tools

Uli-chisels

Hammer,Die-punches

KAVASAM OR KAVACHAM in Sanskrit literally meaning armour,are

beaten sheet metal cladding made of silver or brass,sometimes with gold

leaf surfaces.They are used on stone idols,temples,wooden

chariots,gopurams,towers and doorways on special occasions.They are

custom made for the ideols from the respective moulds of cement that are

used as the base.Intricate patterns are embossed and details are chased on

the sheet,which is embedded in lac.The finished kavasams are sent to

workshops in Madurai for gold layering or they are sent to the temple

jewellery cluster in Vadaserry for gold plating.Nagercoil in Kanniyakumari

district has been a major craft centre where all the five crafts namely, wood,

stone, goldsmithy, blacksmithy and vessel-making with metal work being

the most prominen are practised by the Vishwakarma community.Besides

temple related products,masks and images of village deities taken out

during processions are made for the local market,and miniature cars and

houses used as votive offerings in Christian churches.

Tools Hammer and several types of chisels are used for embossing sheet

metal,Kanchipuram.

1. Kavasam for Vishnu`s

hand holding a

rudraksha or

uthracham,bead

necklace,Mamallapuram.

2. Sheet metal cladding for

Ayyanar,a prominent

tribal deity of Tamil

Nadu,Nagercoil.

3. A brass sword made

from sheet

metal,Nagercoil.

STONE CARVING

Production Clusters

Kanniyakumari

District:

Mylaudy,Suchindram

Madurai district:

Madurai

Kanchipuram

district:

Mamallapuram

Products

Vigrahams-icons for

temples

Vahanas-mounts for

deities

Peedam-pedestals

Lifesize statues of

leaders

Tombstones

Commemorative

plaques

Flooring stone

STONE CARVING has been an ancient craft in

Kanniyakumari district due to the patronage of religious

architecture and sculpture by the ruling dynasties of south

india.Black and red granite are locally available and are

used in carving tombstones,letter and gravestones,idols of

deities and grinding stones.Stone carving of idols is closer

to the kerala style since the region was once part of the

Travancore state and patronage was and still is primarily

from Kerala temples.The idols for worship are carved in

adherence to the specifications in ancient scriptures.The

stone is first levelled.The figure is drawn with a mixture

of red oxide and water by the master craftsman,before

carving oil is applied on the ideol,giving it the

characteristic black colour and smoother surface.The idol

is consexcrated with òpening of the eye ` or carving the

expression in the eyes that is done after the initial puja

worship.For letter stones a slab of granite is cut to

required shape.It is polished and the text is written with a

pencil and chiselled.In case of gravestones the upright

cross,at the headstone,is stencilled onto a slab of required

dimensions and sculpted.

1. Carved granite icon of a goddess by stone carvers,

Mylaudy.

2. Sculpture of Garuda, the mount of Vishnu. Most

Hindu gods have animal or bird mounts, called

vahanas.

Stone carved wet grinders

made in Mamallapura, from

a museum`s collection.

Tools

Hammer, Scales

Uli - chisels

Aappu uli - to break

stones into two parts

Kandadvaru uli - to

make holes into the

stone.

Palamunai uli - to

level the stone.

Vetumunai uli - a flat

edged chisel to break

bulk parts of stone.

Made by stone carftsmen

in Mylaudy, grinding

stones used for wet

grinding is an essential

implement for home

kitchens, which is now

being rapidly replaced by

electric stainless

Thevu uli - very short

chisel for fine

desings.

Kattu Uli - second

longest chisel

Periya Uli - longest

chisel

Tri-cutter machine

STUCCO WORK

SUTHAI,STUCCO is a hereditary craft practised by the

craftsmen belonging to the Pilamar caste in

Kakampudur.Stucco has been the traditional alternative to stone

as a sculptural material.Stucco craftsmen in Tamil Nadu see

themselves as temple architects and scultors,taking up whole

temple constuction projects.They employ the techniques of real

stucco - mixtire of sand , cement and lime.In the first stage a

brick structure of required shape in created.Calcium,cement and

sand are ground in an ammi or grinding stone to a particular

sticky

consistency and the mixture is applied to the brick

structure to completely cover it and is left to dry.In the

second stage the mixture with pulverized marble

powder,which gives a sheen to the surface,is used to do the

detail work and painted with enamel colours once it is

dry.The craftsmen construct temples in both Tamil Nadu

and Keral regions.Other elements such as wood work and

stone carvings are commissioned to respective craftsmen.

1, 2 The gopuram tower of a temple is decorated with

painted stucco work.The painted stucco tradition took root

under the ageis of Nayaka dynasty.Many Chola temples

were ` renovated` and new elements were added to it by

the Nayakas;the stone core was plastered and painted

while stucco friezes added greater ornamentation.Seen

here are niches resembling those of a temple with fugures

of deities , demons , apsaras,rulers and mythological

creatures.

A gate at the entrance of a temple is decorated with painted

stucco figures of gods, guadian deities, and elements of

south Indian temple architecture.

Production Clusters

Kanniyakumari

district:

Suchindram

Kakampudur village

Products

Temple architecture

in the Tamil and keral

styles

Relief work

Gods and Goddesses

Tools

Karandi-spoons

kambu Karandiwooden

spoon

An unfinished succo lion that forms a part of an installation on

top of a temple plinth, Kakampudur in Kanniyakumari.

Subclusters of

CUDDALORE

Cuddalore district

Tiruvannamalai

district:

Tiruvannamalai

Arani,Modaiyur

Vellore district

Perambalur district

Arumbavur

Crafts of

CUDDALORE

Wood carving

Silk garland making

RESOURCES


Detail of stone

pillar carved in the

late Vijayanagara

style in Vellore.The

image of a rearing

horse showing

unrestained energy

is also depicted in

craved wooden

brackets.

Wood Carving Teak,Mango Wood Cuddalore disctrict

Silk Garland Silk Zari Bangalore, Chennai

A silk sari woven in Arani,another silk weaving cluster known

to produce affordable saris.Shown here is a sari designed by

kalashetra,an institution for classical dance that revived the

Kanjeevaram sari and used it in the dance costumes.

Detail of a carved wooden chariot used in the processions of deities during chariot

festivals.Monumental in size, a chariot is like a mobile pantheon with o profusion of

carved figures of deities,sages,celestial dancers,birds and animals,Arumbavur.

CUDDALORE LIES on the east coast of Tamil Nadu.Flat

plains slope gently from west to the sea.Pichavaram has a

great wealth of biodiversity in the mangrove ecosystems that

support and abundant growth of oysters and several important

species of fish and prawns.Tiruvannamalai,Viluppuram and

Perambalur districts are nestled within the land locked hills of

Pachaimalai,the Javadi Hills and the Kalrayan Hills.The area

is predominantly hilly and is interpersed with thick

jungles.Water in open tanks provide irrigation for the green

fields around.Palmyra trees border these fields much of the

surrounding area is covered by reserve forests.The chief forest

products are firewood,bamboo,cashew and to a lesser extent

sandalwood and timber such as teak and rosewood.Varied

influences have shaped the socio-cultural temper of the

region.The sacred temple town of Chidambaram with the

Nataraja Temple,fostered an enduring temple culture that

spawned and supported crafts like stone and wood carving

and stucco work.The Ramana Maharshi Ashram in

Tiruvannamalai is responsible for encouraging crafts like leaf

painting and embroidery with a view to fostering craft skills

and bolstering fragile economies in the region.The area also

had setllements of the Bristish and the Danish,resulting in

nascent industrialization.Arumbavur is famous for its wood

carving tradition which is of a religious nature.

ACCESS

Cuddalore is connected by road and rail with other towns in

the state.The nearest airport is Chennai which is 195 Km

away.

Musicians sitting on the verandah of a house in Vellore.The

traditional white veshti,worn as a draped lower garment with

a coloured border is one of the many textiles made by the

handloom weavers.

Detail of a carved idol of Vishnu with

intricately carved adornments. The idols range

in height from 1 to 8 feet, Arumbavur.

A carved bracket depicting a parrot made for

the temple chariot, Arumbavur.

WOOD CARVING

ARUMBAVUR IN PERAMBALUR

district is famous for its community of

wood carvers,who migrated from

Andhra Pradesh nearly 200 years

ago.This community shares kinship ties

with wood carvers from Kallakurichi,

Chinnasalem and Thammampatti.The

craft practiced by these traditional wood

carvers, as in the other parts of Tamil

Nadu , follows the rules of iconography

described in Shilpa Shastra which are

treatises on image making.Few

craftsmen are specialists in skillfully

working out geometric proportions and

scale of detailing required for temple

chariots.FGor wood carving a sketch is

made on the wood and the master

craftsman outlines a basic shape with a

chisel.The junior craftsmen complete the

carving under the supervision .Idols od

deities are made for temples and

sometimes as votive offerings.The

woods used are

vengai,mango,maavalingai and athi for

temple work.The craftsmen mostly carve

religious products in the tradional style

which has changed little for centuries.

Production Clusters

Perambalur district:

Arumbavur

Perambalur

Salem district:

Thammampatti

Thanjavur district:

Papanasam

Madurai district:

Madurai

Virudhunagar

district:

Virudhunagar

Kanniyakumari

district:

Nagercoil

Kanchipuram

district:

Mamallapuram

Chennai district:

Chennai

Products

Idols of Hindu gods

Figure of Christ

Dasavatara panels

Ashtalakshmi,Musicians

Vahanam-mounts for

temple deities

Chariots

A vertical panel depicting Krishan

standing beside an affectionate cow

under the peacock`s plumage spread like

a tree.The lower panel has an image of

Lakshmi,the consort of Lord Vishnu.

Tools

Chisels,Ruler

Hammers

Handsaw

Screwdrivers

Cutting pliers

Spanners

Sandpapers

Dividers

T-squares

SILK GARLAND MAKING

ARANI IS AN important cluster for weaving and is famous for its

skills , like kanchipuram.the availability of silk thread has facilitated

the craft of silk garland making.After removing the starch,silk

strands.A biunch of strands is gathered in the hand and a thick nylon

or viscose cord is inserted in the centre.

Two multi stranded silk garlands, embellished with zari, gold thread,

and tassels are made from silk yarn leftover from weaving silk saris.

A zari string is knotted around the bunch.Once the

zari loops are in place,they are pushed along the

central cord,in the process gathering the silk strands

into ball-shaped balls,the ends are fastened with

beads and other ornamentation is gold colour.The

single column of malai,garland thus made is

combined with other columns and bound together to

make larger garlands.Silk is considered pure and used

for religious purposes by Hindus.

A garland made by reusing cut or pierced cocoons.

Waste silk cocoons are trimmed, strung and stitched

to make a variety of garlands by women with

disabilities who were given training by the

Department of Sericulture in Salem.

Production Clusters

Tiruvannamalai

district:

Arani Tiruvannamalai

Salem district

Salem

Products

Ordinary malai

Long malai

Wedding malai

Thomboi for temple

chariots

Bowthra malai for

Tirupati Temple

Silk cocoon malai

Tools

Wooden hair comb

Cards

Knives

Scissors

Subclusters of

AUROVILLE

Viluppuram

district:

Auroville

Crafts of

AUROVILLE

Handmade paper

products

Pottery

Crochet and bead

work

Stone Carving

Leather work

RESOURCES


Handmade paper

products

Flowers and leaves

Grown locally

Pottery Clay Andhra Pradesh, Gujarat,

Rajasthan, Locally available

Crochet and

Bead Work

Glass beads,

Cermamic Beads

Viscose thread ,

leather and rubber

soles

Chennai

Pondicherry

Stone Carving Stones Rajasthan

Leather

Accessories

Leather and Fabric

Chennai

1. Painted terrracotta votive offerings at a wayside

shrine in Kuyilapalayan village,Auroville.

2. Artisan sorting pottery at a unit in Auroville.

3. View of Kiln loaded for firing at a pottery

studio.Auroville is a confluence of world cultures

where architects,designers and craftsmen from all

over the world have set up experimental

laboratories to explore materials and craft

traditions.

4. A design studio based on the traditional kerala

tharavad house.

Auroville or the ` city of dawn ` was envisaged by

spiritual leaders-Sri Aurobindo ( Aurobindo

Ghose ) and the Mother ( Mirra Alfassa ) as a ` site

for the manifestation of an actual human unity in

diversity ` and founded by the latter in

1968.Auroville is an ` international cultural

township ` governed by the Auroville Foundation

and the township has been accorded special status

by the Indian Government,drawing individuals

from several countries.The residents are involved

in a wide spectrum of activities including

afforestration,ecological regeneration , organic

farming , educational and energy research,health

agriculture,rural development ,fine arts ,

construction and handicrafts.Most of the handicraft

units in Auroville are in the north zone,in

Auroshilpam , Kottakarai and Alankuppam areas.A

large number of local villagers come to work in the

various commercial units of Auroville designs. The

range of materials includes

wood,metal,textiles,stone,red clay,china clay ,

glass , paper , wax , leather and dry flowers.The

western influence on aesthetics and functionality is

apparent in the making of Auroville products.All

the artisians have been trained on the job,having no

hereditary skills common to the handicraft sector

in the rest of the country.Auroville is a community

with a humanist idealogy and a vision of glabal

unity.

ACCESS

Auroville lies 9 km north of Pondicherry which is

the nearest city that is well connected by road to all

major towns.The nearest airport is in Chennai (165

km ).

HANDMADE PAPER PRODUCTS

The History of Handmade paper dates to 105AD,with its

origin in China.However,in India paper was made from

cellulose fibres during 3rd century BC.The handmade

paper industry that had flourished in India during the

Mughal era gradually declined with the establishment of

paper mills during 18th and 19th

centuries.Nevertheless,the art of Handmade papermaking

was revived under the inspiration of Mahatma

Gandhi.Handmade objects have been a trademark of

Auroville.A range of handmade paper products which

include lampshades,greeting cards,stationery and

accessories are made in Auroshilpam,the industrial zone

of Auroville.The grades of paper vary from thin to very

thick drawing paper.The most successful items are the

special papers:bagasse,bamboo,rice

husk,gunny,straw,algae and tea leaves in paper pulp so

that an abstract design is created on the paper when it

finally emerges.Another type used in marbled

1. Freshly plucked flowers are pressed by placing

them in white paper put between cardboard sheets

in white paper put between cardboard sheets which

are kept under pressure in a clamp for several

days.A variety of pressed leaves,grass,flowers and

stalks are the main decorative elements of the paper

products.

2. Handmade paper showing the translucent quality of

paper as well as the pipal leaf`s vein sturcture.

paper with which stationery items are made.Marbling is a

Japanese art of abstract painting done on water.Every sheet of

paper is an individual work of art and varies both in shade and

design.The unique feature of these products is the decoration

done using tiny,delicate looking pressed flowers leaves which are

grown in house,by gardens methods are remarkably simple.The

paper cutting is done with simple cutters.In the case of

lampshades,paper is pasted on simple welded metal frames.In

another,imported Japanese paper is hand torn into small two-inch

squares of multiple colours and made into a colourful collage on

a white paper background.

A range of stationary products made from handmade paper.

Organic materials and nature are predominant themes for

developing products.

Production Clusters

Viluppuram

district:

Auroville:

Auroshilpam

Products

Books

Stationery

Lampshades

Tools

Electric grinding tubs

Metal mesh

Felt sheets

Mechanical roller

Cutters

Binding equipment

Lamination

equipment

Plywood clamps

The translucency of

handmade paper lends

itself very well for

lampshades used in

combination with

wooden strips.

Tray made with laminated handmade paper. Fresh

flowers, leaves and stalks are pressed in a clamp. Pressed

flowers and leaves are composed on a white handmade

paper, fixed with an adhesive and laminated for

waterproofing.

POTTERY

INTERNATIONAL POTTERS AND designers have intorduced

and established a new school of studio pottery in Pondicherry

and Auroville.All the potters in Auroville have learnt pottery at

this workshop and have set out to work on their own.Some

village potters in Auroville have also upgraded themselves

directly or indirectly from this introduction of stoneware,finding

an alternative to the traditional terrocotta work.Two main types

of clay bodies are used for production-white and brown

bodies.Different clays sourced from many places across the

country such as Rajasthan,Gujarat,Andhra Pradesh and also clay

that is locally available are blended into required proportions to

create these clay bodies.The techniques consist of wheelthrowing

for tea sets and crockery;slip casting with liquid clay

for vases;slab building and glazing.

Glazed stoneware pottery, cups and tea kettle with a cane handle.

Production Clusters

Auroville

Products

Stoneware crockery

Glazed pottery

Terracotta lamps

Tools

Potter`s wheel

Small hand tools

Unglazed terracotta glasses with simple

decoration.

1. Large abstract forms ranging from 18 to 48 inches in height made in stoneware.Some can be

used as vases.

2. A tray and cup with a specially formulated glaze which has high lustre,developed by a pottery

design unit.

3. Terracotta lamp thrown on the wheel.Simple forms have been cut out of clay creating a lattice

effect.

CROCHET AND BEAD WORK

Production Clusters

Viluppuram

district:

Auroville:

Kottakarai

Products

Handbags

Suede bags

Shoes

Lampshades

CROCHET AND BEAD work have been used to craft accessory products like bags,shoes,hats

and belts.Crochet is a method of constructing a fabric or surface with stictches that consist of

interlocking loops and a simple chain stitch,using a hooked needle and thread.In Auroville ,

crochet has been effectively used to make soft and comfortable footwear,garments,hats and

lampshades.Flat surfaces and three dimensional forms are created with crochet.Bead work is

used as an embellishment on soft suede leather bags,as decorative designs and in jewellery.A

variety of shapes and colours in glass beads are sting together and stitched onto a

surface.Beads are also crocheted,knitted or braided by passing them through the thread while

knitting , crocheting and braiding.Beads are introduced in crocheted lampshades and as edge

details.

A pair of white shoes made with cotton yarn.

A bag made from crochet in combination

with leather and brass hardware.

Tools

Crochet hook

Crochet shoes are flexible and soft as they are made from cotton yarn. The structure is porous

and allows air and ventilation during summer.

Suede leather bags with bead work.

Frontal view of a shallow bowl carved from marble.

An intricately carved stone fish.

STONE CARVING

Inset An incense stand carved in soapstone.Auroville being a secular

and spiritual centre,a wide range of aromatic products and artifacts

such as incense sticks and holders,aromatic candles,soaps and oils are

made.

Figures of frogs carved in stone.

STONE CARVING WORK is

commissioned to village artisans

who work from their own units.They

have developed their skills and

enterprise from the Auroville

clients.The product range includes

small dolls and animal forms,boxes

and agarbatti,incense stands.

Specialized products such as pendants,soapstone with brass inlay

coasters are also made for Auroville clients.The types of stones used

serpertine,green stone,bijri stone,soapstone,soft granite,durki and

marble are all sourced from Rajasthan,with the exception of

granite.The work is unlike the traditional products made in other

clusters in Tamil Nadu.They are mostly utilitarian and decorative in

nature.The animal forms are naturalistic representations.

Production Clusters

Viluppuram

district:

Auroville:

Kuyilapalayam

village

Products

Small dolls &

animals

Boxes

Incense stands

Pendans

Soapstone coasters

with brass inlay

Tools

Electric stone cutter

Lathe and drilling

machine

Chisels

Files

Emery stones

LEATHER WORK

AUROVILLE LEATHER UNITS are famous for their bags

made of leather,cotton or crochet fabric.The designs come in a

very wide range and the craftsmanship is excellent.The leather

bags are machine and hand stitched using black nylon

thread.Simple,elegant designs and brass work enhance the

material.Very few models have fabric lining and the design

approach utilizes the base material to its advantage.Products

also include wallets,hairclips,folders and pen stands.Embossed

leather is the chief design feature of these products.Braiding

leather for the handles and finishing of edges is another special

feature.Special tools made of stainless steel are used for the

embossing process.Each tool has a geometric motif and is

combined with other motifs in an infinite variety to create a

surface design.

Leather bound paperknife. The leather has an embossed

texture.

Detail of embossing and thonging done at the edge of leather

purses.

Production Clusters

Viluppuram

district:

Auroville:

Kottakarai

Products

Belts

Pouches

Cloth bags

Crochet & leather

bags

Tools

Punching tools

Mallets

Nylon thread, needles

A leather bag embellished with embossed patterns. The edges of the

handle, rim and base are finished with thonging wherein leather

strips are used to wrap around the edge like in stitching.

A range of small pouches for storing keys, spectacles, mobile

phones and money are made from embossed leather.

A bag crocheted with multi colour cotton yarn and combined

with leather, display a sensibility and identity of Auroville`s

handicraft products.

and stone carvings of the Pallava era that are characterized by a profound naturalism

and vitality rarely seen in stone.of the latter,the most well known is a 20 feet high and

80 feet long bas relief sculpture depicting the Descent of the Ganges.Shown here is

that sage Bhagiratha in a yogic posture while Shiva,pleased with his

perseverance,bestows upon him his desire to bring the Ganga from her heavenly

abode to the earth.The central feature of the composition is a natural depression in the

rock through which a small stream of water,symbolizing the holy river,flows from the

top of the monolith to a shallow pool at the base.The river,further highlighted through

an array of snake gods and goddesses,is flanked by all sentient beingsanimals,humans

and the celestials-who have gathered to witness the event.

Subclusters of

Kanchipuram

Kanchipuram

district:

Kanchipuram

Mamallapuram

Sriperumbudur

Tambaram

Crafts of

Kanchipuram

Stone Carving

Wood Carving

Craft

Stone

carving

Wood

carving

Raw

Materials

Granite

stone

Teak, Vengai

wood

RESOURCES

Sources

Quarries in Pattimalai Kuppam,

Sirudhamur and Tiruvakkarai

Chengalpattu and Chennai

2 A couple gathering palmyra leaves which are used for

making baskets and as roof thatch; Cheyyur, near

Mamallapuram.

3 Detail of a Kanjeevaram or Kanchipuram silk sari,

woven with four ply mulberry silk in contrasting colours

and patterned in extra warp weave with zari, gold thread,

on a ground of silk.

THIS CLUSTER IS located in the northern part of coastal

Tamil Nadi.Kanchipuram is a temple town that is both a

religious and commercial centre.The roads approaching the

temple are lined with shops where festival processions co-exist

with the business of buying and selling.The hills surrounding

Chengalpattu yield feldspar,which is used for glazing

pottery.kanchipuram was the ancient capital of several

southern dynasties such as bronze casting and stone

carving,fine examples of which can be seen today in the Shore

Temple of Mamallapuram.These craft traditions have been

kept alive by a community of traditional philosophers and

trainers in stone carving called sthapatis.The Government

College of Traditional Architecture and Sculpture a special

syllabus comprising Vedas,Tamil literature,worship

methodology,philosophy,vaastushastra,traditional Indian

science of building,along with sculpture in stone, wood,metal

and stucco.Initially Kanchipuram was a weaving and trade

centre for cotton textiles that produced them primarily for the

courts and temples.However from 19th century,with easy

accessibility of mulberry silk from Karnataka,the craftsmen

turned to weaving silk entirely,and their products are well

known as

Kanjeeraram silks.Mamallapuram or Mahabalipuram was a

major port city in the 7th century during the Pallave rule.It

comprises rock-cut caves and monolithic shrines called

rathas,which stand testimony to the stone carving tradition still

alive in workshops in the town.

ACCESS

Kanchipuram is well connected by road to chennai and to other

cities and towns in Tamil Nadu.The nearest airport is Chennai.

Craftsman winding a warp of zari, gold threads, at the office of a weaver`s

cooperative society. The office distributes warps of zari to weavers who undertake

production of silk saris in their home.

Production Clusters

Kanchipuram

district:

Mamallapuram

Kanniyakumari

district:

Mylaudy

Tiruvannamalai

District:

Modaiyur

Products

Temple sculptures

Garden pieces

Tools

Suthiyal-hammer

Uli-chisels

Moola mattam and

Kodi mattam

two kinds of scales

used for measurement

STONE CARVING

THE SKILLS OF carving idols in granite are unique in Tamil

Nadu as the the carving tradition is still true to translating the

sacred scriptures.In kanniyakumari,the 133 feet tall statue of

Thiruvalluvar,the saint poet,was sculpted by a sthapati from

Mamallapuram.Granite stone sculptures were mainly used for

carving the idols for temples.However,in recent times they are

fashioned as decorative items for the tourist market as well.Most

of the craftsmen owning a pattarai,workshop,in Mamallapuram

have settled here after completing their training from the

Government College of Traditional Architecture and Sculpture in

Mamallapuram,a town that has over 500 carvers.They have a

flourishing trade in sculpture due to a large influx of tourists that

has led to the availability of skilled craftsmen in this

region.Granite is referred to and is believed to be the uyirottam

kal, a living stone , hence its traditional value and its use in

creating religious images.The carving style is echoed in the

Pallava sculptures in the rock-cut caves and monoliths that

surround these guilds.The types of granite used are the karuppu

kal ( black ) , vellai kal ( white ) and pacchai kal

( green ).Soapstone or maavu kal is also used to carve small

figures.The stones are polished and retain their natural colour.

1. The idol is consecrated by carving or opening the eyes of the deity ( second

from left ).Kumkum is then applied over the eyes.

2. Products made of black,white and green granite on display.

3. A goddess in seated posture carved in black granite.

4. Head of the Buddha sculpted in black polished granite.

WOOD CARVING

Production Clusters

Kanchipuram

district:

Mamallapuram

Chengalpattu

Kanniyakumari

district:

Nagercoil

Products

Ther-chariots

Doors

Vahana-mounts

Dvaja stambha-flag

poles

Idols,Figurines

Tools

Uli-chisels

Suthiyal-hammer

Ezhuppu uli-to

smoothen the surface

Keethu uli-for light

incisions

Vaal-hand saw

Files

Planer

THE WOOD CARVING tradition in Tamil Nadu is

second in prominence to stone carving.As stone is most

enduring of all materials,stone carving was related to

temples,monuments,architecture and scared

sculptures.The use of wood stemmed from its ability to

be carved into architectural elements such as

brackets,pillars and capitals and its potential for sculpting

idols.The availability of teak and vengai or country wood,

and the importance of worship and the construction of

temple chariots helped foster a high degree of

craftsmanship in the region.Besides temples,carved

elements were made for use in house construction as

well,which is evident in Chettiar mansions.In

Mamallapuram the wood carvers traditionally made ther

( temple chariots ) vahana ( mounts ) dvaja stambha ( flag

poles ) and doors.Idols are also carved in Chengalpattu

and Chennai.The craftsmen had migrated from

Suchindram whose temple is central to the craft practiced

in Kanniyakumari district.The present generation of

craftsmen makes furniture using wood turning

technique,as the demand for carving is done and

sometimes the carved figures are painted.The temple

chariot is a massive structure with enormous

wheels,replete with carved figures and motifs on the

vimana or superstructure made entirely from wood.The

deities are taken out in prcessions in the chariots during

the chariot festivals.

1 Puja mandapam,a miniature wooden shrine for

idols for worshipping at people`s homes.Besides

carving,some of the elements have been shaped by

turning them on a lathe.The product has a huge

market in India.

2a, 2b Wooden brackets and pillar made for a

temple.The pillar has peacock and swan motifs

which are auspicious symbols that are also used in

Kanchipuram silk brocades,stone and bronze

sculpture and brass lamps;Chennai

3 A carved figurine which will added to the temple

chariot,Papanasam in Thanjavur district.

4 Detail of a carved door with a swan motif made in

country wood;Mamallapuram.

5 Detail of a carved door with a swan motif.The

door is finished with a coat of

vanish;Mamallapuram.

A Yali mount for the deity. The vahanam or mount has been

coated with lime prior to the final painting.

Artisans assembling a Yali in a workshop in Papanasam, a

wood carving cluster. Yali is a mythical creature, its body

made of a combination of several animals.

CHENNAI is the capital of Tamil

Nadu and also one of its most

important districts.Located in the

northeastern coastal area of the

state,it is bounded by the Bay of

Bengal in east,Triuvallur in the north

and Kanchipuram in the south.The

district consists almost entirely of

the metropolis of Chennai,formerly

known as Madras.The city was

witness to the rise in power of the

British in South India,who

established their headquarters at the

historic Fort St George.Within a few

years the settlers had consolidated

nearby villages to form what is

today Chennai.It has an interesting

mix of architecture reflecting

different cultural influences.Several

monuments such as the Fort

St.Geroge,St Andrew`s Kirk,and

buildings housing offices and shops

today is the architectural legacy of

the colonial period.The region is low

lying,mainly composed of tracts of

flatlands.Cooum and the Adyar

River cut across the city.The pride

of the area is the famous Marina

Beach with larger than life images of

political figures beside examples of

Indo-Saracenic architecture.The city

is a major fishing

markets.Predominately

urban,agriculture is virtually nonexistent.The

major industries are the

leather tanneries,textile

mills,sugar,electric and electronic

goods,and commercial vehicles.At

Perumbur,the railways have an

integral coach factory.The leading

institutions are the Theosophical

Society,Government College of Fine

Arts,Central Leather Research

Institute and Kalakshetra,an arts

centre for classical dance that was

set up by the visionary Rukmini

Arundale in the 1930`s.She revived

the traditional designs for the dance

costumes which were redesigned

and woven at the Kalakshetra

weaving centre.

Craft

Wood

carving

Thanjavur

glass

paintings

RESOURCES

Raw MAterials Sources

Mango tree

wood, Teak

wood.

Gold paint,

Glass

Aluminnnium

sheet

Chennai

Chennai

Subcluster of

Chennai

Chennai district:

Chennai

Tiruvallur district:

Pulicat

Crafts of Chennai

Wood carving

Palm leaf work

Thanjavur glass

painting

Doll making

1. Presidency College on Marina Beach,is an example of mid-19th century Indo Saracenic architecture

designed by Robert Chrisholm,who was a consultant to the Madras government and one of the founders

of Indo-Saracenic architecture and also founder principal of the Government College of Fine

Arts,Chennai.

2. A flower seller stringing samandhi or yellow floweres,often used to adorn Shaivite deities.

3. Wood carvers in a workshop in Chennai

4. A toddy tapper set to climb a palm tree with the tools of his trade:a pot for toddy,basket for his tools,a

peg stool to assist climbing,a body harness and waist band.The tapper climbs the palm tree to extract and

collect toddy and palm leaves used by craftspersons to craft baskets.Equipment needed is carried on a

waist band and the tapper wears a body harness and a belt for protection,Chennai.

ACCESS

Chennai has an international

airport,and a railway station that is

linked to most of the important cities

in the country.

WOOD CARVING

Production Clusters

Chennai district:

Chennai


Arumbavur

Products

Door

Carved pillars

Capitals

Panels

Tools

Chalk

Rambam-saw

Uli-Chisels

Seruva uli-turning the

screw

Tiruppu uli-turning

the screw

Elapp uli-leveling

and planing

Sittra uli-to carve

small idols

Aakkur-drill

Malu-metal stick

Kottapuli-wooden

mallets

Koradhu-cutting

pliers

Aram -gouges

Files

THE GUILD OF WOOD carvers in Chennai was set up four

years ago.The master craftsman of this guild is from Sri

Kalahasti in Andhra Pradesh whose family has been in the

wood carving profession for many generations.The process

consists of cutting the wood to size with sawing machines or

hand saws.depending on the size of the wood.The design is

drawn with a chalk on the naturally seasoned wood and it is

then carved in many stages-from rough carving to smooth

chiselling and is finally sandpapered.Most often the finished

carving is varnished and at other times they are painted black

or given an antique finish.Sometimes they are painted with

enamel paints,in which case,a coating of sunnambhu

kallu,limestone,is

applied before painting.The types

of wood used are mango and

teak.The doors,pillars,capitals and

relief panels are carved in the

Andhra style;while,the motifs used

in Chennai are the Yali,mythical

beast,swan and other birds that are

seen on pillars and brackets.

1. View of a Dasavatara

panel;the top row consists of

a series of Ganesha.

2. Detail of a carved door

panel.

3. Relief sculpture of Goddess

Lakshmi made for domestic

use.

PALM LEAF WORK

Production Clusters

Tiruvallur district:

Pulicat

Vellore district:

Vellore

Tiruvannamalai

district:

Tiruvannmalai

Ramanathapuram

district:

Thirupullani

Sekharnagar

Products

Wastepaper baskets

Flower baskets

Trays

Boxes

Christmas

decorations

Rattles

Hand fans

Pouches

Traditional baskets

PULICAT IS A fishing town on the Coromandel Coast,which was famous in the

17th century for painted fabrics and figurative panels that were exported to the

Indonesian islands.The town is populated by Muslims and basket weaving is

done mostly by women who had formed a cooperative of palm leaf artisans in

1958.According to oral tradition,their present craft is linked to baskets made for

the Dutch settlers in Pulicat during the period of the East India Company.Palm

leaf has been used extensively for making small containers,hand fans,toys and

rattles for over a century.Men harvest the leaves and they are separated from

the stalk and dried.The women remove the

midrib and make splits used to weave

baskets and containers.Woven baskets are

made for local use.Newer products and

containers are made by the coiling

technique.

1. A section of the midrib of the palm

leaf is folded and used as a guide to

cut splits of uniform width;Pulicat.

2. Boxes made for the export market

using dyed palm leaf splits.

Rattles made from dyed palm leaf splits for

the local market.

Tools

Crude knife

Sickle-shaped flat

blade

THANJAVUR GLASS PAINTING

1 A finished Thanjavur painting of Lord

Balaji,also known as Venkateshwara ,

an avatoor , or incarnation of Lord

Vishnu in the temple at Tirupati , in

Andhra Pradesh.

2 An unfinished painting of Lord

Venkateshwara;gold foil is applied but

application of colours remains.

3, 4 The painter has explored different

ways of depicting Lord Ganesha.

5 An unfinished painting of the god

Murugan kartikeya,Chennai.

TANJORE OR THANJAVUR glass paintings denote a distinctive

style and technique which drew from the Thanjavur incon paintings in

the gold leaf and gesso technique done on wood.Thanjavur paintings

originated during the Maratha period from 17th to 19th century and

were a synthesis of Tamil,Andhra and Maratha sensibilities-the

professional painters were from Andhra,the culture of religious

sculpture,architecture,classical music and dance in Thanjavur and the

patronage of the Maratha rulers.The paintings have a decorative

intent-the paintings being gilded with gold leaf and sparkling

stones,used to highlight aspects like ornaments,dresses and

architectural elements.The compositions consist of one main figure , a

deity or several deities,housed in an enclosure depicted by

an arch or curtains.Most of the paintings depict the

child form of Lord Krishna and his various pranks,or

other deities and courtly and secular portraits.Glass

paintings are done on the reverse side of the glass.The

bold outlines and facial details are painted first so that

they appear uppermost,followed by the larger areas of

colour applied over the outlines.Gold paint and

aluminium peices are used in place of precious and

semiprecious stones to stimulate a jewelled effect.The

paiting is mounted with its unpainted side on the face

so that it is viewed through the glass.The craftsmen in

Chennai were originally from Andhra Pradesh and

continue with their hereditary occupation.

Production Clusters

Chennai district:

Chennai

Thanjavur district:

Thanjavur

Products

Glass paintings in

secular and religious

themes

Tools

Brush and inks

DOLL MAKING

FROM EARLY TIMES,various materials have been used to

make toys and dolls.Cloth has long been used as a material to

make dolls.The cloth dolls have a metal framework made of the

desired shape and then it is covered with either straw or platic

scrap.A cloth is stitched over it and the doll is clothed with a

costume specially specially made for it.The face is either

Stuffed dols used as kolu dolls, displayed during the Navratri

festival.

made of wood or papier machie and then painted.The

products mainly consist of Kolu dolls.The kolu or golu is

tradition of displaying dolls during the nine days of

Navaratri festival.It is popular in Karnataka,Tamil Nadu and

Andhra Pradesh, and the dolls are preserved for future use

or passed on from one generation to the next.

Production Clusters

Chennai district:

Chennai

Products

Golu dolls

Tools

Metal wire armature

Brushes , Needles

Subclusters of

Tiruchirappalli

Thanjavur district:

Swamimalai

Kimbakonam

Tiruchirappalli

district:

Tiruchirappalli

Nagapattinam

Crafts of

Tiruchirappalli

Bronze casting

Vilakku-brass lamps

Brass repousse

Bell metal ware

Thanjavur kalamkari

Pallagai padam-

Thanjavur painting

Nadaswaram-wind

instrument

Veena-string

instrument

Root carving

Pith work

Cut glass work

RESOURCES


Thanjavur

kalamkari

Nadasvaramwind

instrument

Veena-string

instrument

Cotton cloth

Myrobalan

flower

Aacha wood

(block wood)

Vengai or

country

Jack wood

Brindai

Madurai and Erode

Masulipatinam &

Kalahasthi

North Arcot

district; Andhra

Pradesh

Kumbakonan

Panruti

Srinivasapuram

Cut glass work Glass Thanjavur

Aluminium

paper, Recycled

tins, Gold foil

Chennai

A large idol

being

finished at a

bronze

casting

workship in

Swamimalai.

Women sowing paddy for the second crop of the year;Thanjavur

district.

Tiruchirappalli metaclusters comprises

Tiruchirappalli,Nagapattinam and Thanjavur districts in central

Tamil Nadu.The metacluster can be divided into three distinct

physical regions:The hilly regions of the Tiruchirappalli district,the

deltaic region which covers the river plains of

Thanjavur,Nagapattinam,Tiruchirappalli districts and the coastal

region which extends south of Thanjavur and Nagapattinam up to

PAlk Stait.The River Kaveri and its tributaries are the primary

water bodies in this region.Clay obtained for bell metal and bronze

casting is acquired from soil deposits on the banks of the

River.Plants such as erukku(gigantic swallow wort)provide raw

material for indigenous crafts like root sculptures,The Kaveri delta

region of Thanjavur is also rich in the growth of timber,especially

teak.The black clayey soil in the region is highly retentive of

moisture Thanjavur is also rich in the growth of timber,especially

teak.The black clayey soil in the region is highly retentive of

moisture and productive for growing cotton,resulting in the

emergence of a strongly industrialized textile sector.

Thanjavur,also known as Tanjore,dominated the political history as

the capital of the Chola,Nayaka and Maratha kingdoms for nearly a

thousand years and left their mark on the culture with bronze

sculptures,Thanjavur paintings,Carnatic music and dance

traditions.Thanjavur district became a major centre for crafts of

musical instrument-making.The region also produced some of the

country`s finest musicians.The nadasvaram and tavil,musical

instruments essential to temple festivals,are made by craftsmen in

Narsingapettai.Srirangam in Tiruchirappalli district with the

Ranganatha Temple is one of the largest temple complexes in Tamil

Nadu.The 9th century Jain caves at Sittanavasal have well

preserved mural paintings.The Cholas,with their farsighted water

management schemes in the delta transformed Thanjavur into the

`rice bowlòf Tamil Nadu.The great temple cities that developed

along the course of Kaveri became centres of religion,dance,music

and the arts.

ACCESS

Tiruchirappalli has the nearest airport to all the clusters and is also

accessible by rail and road from the other major cities in the

state:Chennai(316km),Madurai(128km),Kanniyakumari(382km).

A sthapati filing and finishing an idol of Krishna at a bronze casting workshop in

Swamimalai,the main centre for bronze casting in Tamil Nadu.

Production Clusters

Thanjavur district:

Swamimalai

Madurai district:

Madurai

Erode district:

Products

Vigraham-idols

Tools

BRONZE CASTING

SWAMIMALAI near Kumbakonam is a major centre in Tamil

Nadu,where bronze cast idols are made.It is located on the banks of

the Tamoraoarani which is the main source for clayey soil used in

the process of making the statue.The idols are cast by the lost wax

process in the solid casting method.For 350 years,a clan of sthapatis

have nurtured this art and helped it to survive.They have helped

establish and run a school in Swamimalai that teaches this craft.In

the lost wax process,a wax model forms the core of the image

which is drained out by heating,which is then replaced by metal in

the actual casting.

Hammer

Chisels:

Porai

Vettirimbu-cutting

and chipping

Keeruthanam -

engraving grooves

Matla vettirimbuengraving

Miridanam-to

smoothen

Mattasutthi or aram -

files

1. Bronze statues of Rama`s entourage,with a patina finish ,Erode.

2. A reproduction of a bronze from the Chola perios depicting two figures of

Lord Shiva and his consort,made in Swamimalai.

3. Final mould of a massive bronze image lying under a lifting frame being

readied for pouring molten metal through the open channels;Swamimalai.

4. An image,26x15 cm in size,of Nandi,Shiva`s mount,adorned with bells and

ornaments.Nandi the bull symbolizes vigour,strength and power.The image is

carried during processions with other images of deities.A seated or upright

image of Nandi is placed at the entrance of a Shiva Temple facing the main

idol that is kept inside the innder sanctum.

5. An image of Krishna subduing Kalia,the snake demon.

6. Sculpture depicting Shiva in a pose where he applies tilakam,vermilion

mark,on his forehead with his right foot;Swamimalai.

7 Bronze sculpture of Saraswati,the goddess of knowledge.Her hands are in

posture of playing a veena,Erode.

This replacement can take place by two processes-solid casting,ghana in Sanskrit,and hollow casting,Sushira in Sanskrit-both of which are referred to in the

Rig Veda.The torso and head of the figure are modelled separately and joined later.The main vigraham,idols ,such as those used for processions are solid

cast and the decorations are hollow cast.Earlier images were of copper and were later replaced by the pancha loha,and alloy of copper,tin,lead,silver,and

gold,believed to symbolize the five elements.The images are made in adherence to the iconographic canons in the Shilpa Shastra.The sthapati,master

sculptor,has to master and manage atleast four dimensions of the craft:the aesthetic,the technical,the spiritual and the skill of craftsmanship that he alone

can bring to the work.In Swamimalai-the only surviving centre today in this region-copies of earlier Chola masterpieces,Ganesha idols,folk deities are

produced.

VILAKKU-BRASS LAMPS

THE KUTHUVILAKKu is a brass cast stand lamp which is used

during daily worship in homes and temples,and the heightd of lamps

range from 5 inches to 9 feet.The vilakku is balanced by the wide

and heavyd base plate.The wick plate is separated from the base by a

slendder and curvaceous stem.The wick plate is divided into

four,five,six or nine mukham or faces.Each face has a tiny lip,which

serves as the wick holder.The top is a decorative head made of solid

metal,shaped as various images such as abstraction of a

flame,Ganesha,Lakshmi,and even as a cross for churches.Once the

size and weight are calculated,the template is made in mud and

baked or carved out in wood.This is then cast in brass or

aluminium.The process of box moulding is used for the base,wick

plate and the stem.The ornamental head is usually made by lost wax

method of metal casting.

Production clusters

Thanjavur district:

Nachiarcoil

Products

Kuthuvilakku-oil

lamps

Tools

Wooden frame

Wooden mallet

Crucible

Karandi-ladle

Suthiyal-hammer

1. Brass lamp.

2. Shown here are sectional views of

two different brass lamps.

3. Vilakku seen without the talai,top,to

show the tapping done in the

interior stem.

BRASS REPOUSSE

THE PITHALLAI THATU OR brass plates are unique to Thanjavur and are

referred to as Thanjavur Art Plates and aer sculpted withd reliefs of

deities,floral motifs and of the Brihadeshwara Temple and other such cultural

landmarks.The Maratha king Sarfoji founded the local Kamala or Visvakarma

community of artisans,who were experts in bidri craft and made by hammering

thin sheets of metal on prepared lead dies.The plate is divided into three areas

consisting of concentric circles.The circle in the centre is depressed and

contains the primary relief in silver and is usually an image of a god or

goddess.The second circle is encrusted with reliefs made of copper and

silver.The outermost circle consists of floral motifs and often a single motif is

repeated throughout.The plates are used as mementos or souvenirs.

1. A brass plate with a motif in the centre. Production Clusters

2. Brass mould seen with lead dies of the same

pattern on which sheet metal is beaten. Thanjavur district:

3. Detail of a plate made in threee

Thanjavur

metals:copper,brass and silver.

Products

Art metal plates

Tools

Suthiyal-hammers

Chinnadhu-dividers

Vetriumbum-punches

and chisels

Tracers

Bossing and

cushioning chisels

BELL METAL WIRE

METALWORKING in Nachiarcoil is

carried out by the Pathar

community,traditionally gold and silver

smiths.The craftsmen had migrated

from Nagercoil in Kanniyakumari

district in the 19th century.They settled

in Nachiarcoli upon discovering that

vandal,the light brown sand on the

banks of River Kaveri,was perfect for

box mould casting.They produce large

temple bells,hand-held bells for

workship at homes,water pots,and

tumblers used for rituals.

All the details of the outer surface of the bell are created on

the wax layer.A Hindu temple bell is distinguished from a

Christian one by the presence of a rim around the bell at

one-third its total height.Other motifs and decorations are

also made on the wax surface.The craftsmen also belong to

other communities such as Padayachi, Pillai, Chettiar,

Vellalar, Thevar, Bakhtar, Odayar, Nadir, Asari, Naidu and

Muslim.

Tools

Turning machine

Cutting tool

Lathe

Sieve

A finished bell for a

temple weighing nearly

320kg.

Production Clusters

Thanjavur district:

Nachiarcoil

Products

Large temple bells

Mani-hand-held bells

for puja

Tumblers

Chembu-pots

Koojas-used for

drinking coffee

Temple and church

bells

1,2 Different stages of the process:the bell is given its basic form in clay; a wax layer on

which the motifs are made.

Inset A finished bell for the temple.The ringing of bells

forms an important part of worship in temples,churches and

in homes.

THANJAVUR KALAMKARI - DYE PAINTED TEXTILES

THE KALAMKARI CRAFTSMEN IN Tirupanandal near

Kumbakonam have been practicing the craft for many

generations and are orginally from Kodailkarupppur,which

used to produce a unique combination of dye painted,resist

dyed patterning done on brocade woven cotton fabric for the

Tanjore court.Kalamkari is the tradition of dye painted

figurative and patterned cloths made for temples such as

ceiling cloth,umbrella covers,cylindrical hangings and chariot

covers,using a kalam,stylus,made from bamboo and cloth to

paint the vegetable dyes and mordant.The Tanjore tradition is

different from that of Sri Kalahasti,which is largely

thematic,narrative and didactic temple cloth hangings.The

Tangore tradition had canopies,thombai(cylindrical

hangings),umbrella covers and toranams (door hangings) with

motifs of Yali,swan,peacock,and flowers,and images of

deities.These bear a strong resemblance to the applique of

Kumbakonam.The temples and religious

matthds,establishments,commissioned textiles for their

chariots: umbrellas, thombai, asmangiri or canopies and

toranams.

1. Detail from a kalamkari painted fabric.

2. A toranam,door hanging.

3. A close up of the thombai,temple chariot hanging,stitched

in a tubular form.

4. A chariot decorated with a kalamkari covere and

thombai,tubular hangings.The state of Orissa also has a

tradition of appliqued textiles made for temple chariots.

PRoduction Cluster

Thanjavur district:

Tirupanandal

Sickinaikkenpet

Kumbakonam

PRoducts

Thombai-cylindrical

hangings for chariots

Umbrellas

Fans for processions

Toranam-door

hanging

Asmangiri-canopies

Wall panels

Bedcovers

Tools

Kottapuli-round

wooden stick

Kalam-bamboo brush

PALLAGAI PADAM - THANJAVUR PAINTINGS

Production Clusters

Thanjavur district:

Thanjavur

Products

Religious themes

Court scenes

Royal portraits

Gods and Goddesses

Tools

Knives

Brushes

Sulaiman stone

THE TRADITIONAL OF Thanjavur paintings developed

during the reign of the Maratha rulers between the 17th and

19th century.King Sarfoji played an important role in

nurturing this art form.The art was practiced by the two

main communities namely the Rajus in Thanjavur and

Tiruchirappali,and the Naidus in Madurai.They were

originally Telugu-speaking people who moved from

Rayalaseema to Tamil Nadu in the wake of the Nayaka rule

of Madurai and Thanjavur.With the decline of dynastic

rule,the artists,split into three groups-one heading to

Vuyaioor,the second to Mysore,and the third stayed on at

Thanjavur.The styles developed were slightly different from

each other.The emphasis at Thanjavur was on studded gems

and gold leaf done on glass or on wooden board.Pallagai

padam refers to paintings done on plank-coated cloth in

which a wooden board is pasted with cloth,and an outline

sketch is drawn.Gesso work is done to emboss the details in

the figures and in the background,and inlaid with

gemstones.The themes are religious and usually depict

Hindu deities and sains.The most popular are the various

images of Child Krishna or the coronation of Rama.A small

number of works depict court scenes and royal portraits.The

figure type are generally well-rounded and monumental;in

terms of designs and pigments used although the forms still

retain a roundness.Thematically,besides the traditional

figures of Hindu deities and saints,images of other religious

figures like Gurunanak,Saibaba and Mother Mary are

represented in the Thanjavur style of painting.

1. Some parts of the painting are embossed by painting

with a mixture of chalk powder and Arabic gum(gesso

work).

2. Thanjavur painting of Lord Krishna seated on a swing

and wearing ornaments on his

feet,arms,hands,neck,ear and head along with peacock

feathersd.The ornaments,details in the clothes,curtains

and the swing are embossed.Gold foil is pasted in

some places and the other areas are inlaid with glass

stones from jaipur in Rajasthan,The painting of

colours is done last.

3. Detail of a painting of Child Krishna seen wearing

ornaments.

VEENA-STRING INSTRUMENT

THE VEENA IS A STRING instrument,about 1.5 m

long,which belongs to the Carnatic tradition of Indian classical

music,played with accompaniments.Veena-making has been

practiced in Thanjavur for over many generations.The pot-like

shape of the veena is hollowed out from pala maram or jack

wood,using the kolavu uli,round chisel.A circular piece of

wood is stuck to this hollowed shape to cover it.Over the

length of the Veena,where the strings are to be attached,the 24

mettus, metal frets made of brass/bell metal are embedded in a

hard-ened mixture of beeswax and charcoal powder called

gaadi sakai.The upper circumference of the pot-shape of the

veena

is decorated by inlay work.These decorative techniques which

have succumbed to commercial pressures,need to be returnedd

to their original.Traditional decorations along the edges and

over the face of the resonator were once crafted out of ivory or

maan kombhu(deer antlers)but are nowadays replaced by

coloured vinyl.The tambura,a chordaphone belonging to the

lute family,which is an accompaniment in musical recitals,is

also made similarly.

1. A close

up of the

pot-shape

of the

veena

decorated

with a

plastic

transfer

of floral

designs.

2. Veenas

on

display.

3. Drilling

holes on

the neck

of the

veena.

Production Clusters

Thanjavur district:

Thanjavur

Products

Types of veena:

Ekandum and ottu

Tambura-drone

instrument

Tools

Mulai mattam-set

square

Types of ulis

(chisels):

Madal uli, sirruli,

china uli, elappuli

malugu uli

Hand drilling tool

NADASWARAM-WIND INSTRUMENT

NADASWARAM,also called nagaswaram,is one of the most popular

classical instruments of south India and the world`s loudest non-brass

acoustic instrument.It is a wind instrument of north India,but with a large

flaring bell,sometimes in metal.It may be swung through the air while

playing,creating a doppler effect.It has a simple double reed.It is

considered a very auspicious instrument and is played in temples and at

weddings.This traditional art of playing the nadaswaram has

developed along with Carnatic music which is a part

of the cultural tradition in Thanjavur.The wood is

used to carve out the mouth of the instrument,which

is called the anasu,through which the sound

emanates.A flat edged chisel and hammer are used

to the kendai,a small metallic cylinder on the top

part of the nadaswaram.

Production clusters

Thanjavur district:

Narasingapettai

Products

Nadasvaram in

different pitches

Toolsq

Drilling tools

1. An unfinished tavil,a percussion instrument also made by the same craftsmen.The tavil, and the nadaswaram are essential to temple festivals.

2. Seevali-the mouth piece of the nadasvaram.

3. The pieces used to make the seevali.

4. Nadaswaram.

ROOT CARVING

Production Clusters

Thanjavur district:

Kumbakonam

Products

Ganesha idols

Tools

Sandpaper

Chisels

Pencil

THE CRAFTSMEN PRACTICING this craft for generations believe that the

sage Agasthya Maharishi,in his book Mooligai Jaala Rathinam advises the

worship of Ganesha made out of white erukka(Calatropis gigantean),roots.The

presence of a Ganesha carved out of erukku root in one`s house is supposed to

bring good luck and ward off evil.The craftsmen sculpt the image of Ganesha by

adhering to the sculptural rules given in Shilpa Shastra,Sree Thaththuvanithi,and

Muthkala Puranam.The root is boiled,and dried in the sun.It is then cut to size

and a pencil drawing is inscribed on it.A rough carving is followed by the

carving of finer details with a blunt chisel and it is polished with sandpaper

finally.

1. A carved image of Ganesha.

2. A carved and polished Ganesha in erukku root.

3. A range of small chisels used for carving.

4. Detail of sanddpapering done on a carved idol.

5. Different stages in the carving of an idol.

PITH WORK

Production Clusters

Thanjavur district:

Kumbakonam

Products

Models of :

Taj Mahal

Brihadishvara

Temple

Tirupati Temple

Madurai Minakshi

Temple

Mahabhalipuram

Shore Temple

SHOLA PITH WORK was once a traditional art form in

Thanjavur district.Like many other traditional crafts,it had its

origin in the ritual and religious needs of the people.The pith

was originally used in Thanjavur for making garlands out of

slices beautifully cut into cylindrical and round shapes and

then dyed with different colours.Bulls and buffaloes were

garlanded during Mattu

1. Detail of the carving done in pith.

2. Various types of knives.

A carved model of a temple.

Pongal,the harvest festival.For all the popular representations

the shapes of temples are kept as cardboard cutours that serve as

templates.The pith work is generally stuck to a wooden base

and covered with glass.Usually,the natural colour of the pith is

perferred to be retained.

Tools

Knife

CUT GLASS WORK

Production Clusters

Thanjavur district:

Thanjavur

Products

Ornamental glass

plates

Poorna kumbham-the

motif of a pot with a

coconut on top

Kunguma chimizhvermillion

container

Visiri-wooden base

for fans

CUT GLASS WORK is a ornamentation done

on aluminium plates which are used during

marriage ceremonies.The cut glass plates

consist of coloured glass arranged in ornate

patterns on an aluminium plate.A coloured

foil made by mixing dye and

arakku,asphalt;and rojanam,a type of

varnish,is put under the glass and heated.The

colour sticks to the glass in this process.

1. An aluminium plate decorated with

embossed sheet metal and coloured cut

glass.

2. An elephant figure decorated with cut

glass work.

The glass is cut in the required measurements using a diamond cutter.This

craft is mainly sustained through commissions for Hindu weddings.These

glass plates have a central motif of a god or goddess.Other products include

the vermillion container and a base for hand fans.

Master craftsman standing alongside votive terracotta horses that have been crafted by him,outside Muppiliyan Kovil,a temple in Virachalai.

THE TEMPLE TOWN OF Madurai,built around the

Minakshi Sudareswarar Temple,is situated in the southern

part of Tamil Nadu.The city comes closest to the classical

Hindu design of a square mandala,a sacred diagram

symbolizing the cosmos.At the centre of the city is the

Minakahi Sundareswarar Temple,which is vibrant with

devotees,rituals of worship,temple and festival

processions,and streets lined with shops-activities that

support crafts of wooden chariot making,bronze

casting,stone carving,applique and embroidery and metal

utensils.Madurai is famed for its orchards and forest

products.Granite deposits have helped sustain and develop

the craft of granite carving in the district.The land is

interlaced by the rivers Vaigai,Suruliar and Govindan

Nadi and is primarily an agricultural district.Though

lacking in significant mineral deposits,it still has some

cystalling limestone and building stone that is used in the

making of cement.Madurai is a famous dyeing

centre,probably the largest in southern India.It was also

prominent for wax printing,that is being replaced by newer

printing techniques.The region emcompassing the towns

of Karaikudi,Devakottai and neighbouring villages known

as Chettinad is distinguished by large ornate mansions

with intricate wood work.Ramanathapuram,the district

headquarters is an ancient town and is connected to the

sacred island of Rameshwaram,a major pilgrimage

site.The Madurai metacluster also comprises

Sivaganga,Dindigul,Virudhunagar,Teni and Pudukottai

districts.All across the southern districts of the

state,imposing terracotta Ayyanar horses stand in majestic

grace on the outskirts of villages and in the middle of

fields.

ACCESS

The nearest airport to the clusters is in Madurai which is

well connected by road and rail.Madurai is accessible by

air from Mumbai and chennai.

RESOURCES


Terracotta and

pottery

Muthangi

Kakiman or clay

Velvet cloth,Beads,

Semi-precious stones,

Zari

The local kammai or

river bed in Vilachery

Madurai

Bronzeware Brass & Copper sheets Madurai

1. All over the south,women daily clean the floor in front of

their house every morning and decorate it with kolam,to

invite the blessings of gods.Seen here is a kolam,ritual floor

painting done with rice flour on the thresholdd and entrance

of a shrine in Srirangam.The walls of the temple are painted

with stripes.

2. Applique products sold at a shop inside the temple complex

of Minakshi Amman Temple,Madurai.

3. Craftsman beating an old brass vessel into shape Madurai.

4. Craftsman lifting an intricately carved wooden pillar in a

workshop at Palanganathan,Madurai

Subclusters of

Madhurai

Madurai district:

Madurai

Sivaganga district:

Karaikudi

Devakottai

Ramanathapuram

district:

Ramanathapuram

Dindigul district:

Dindigul

Virudhunagar

distict:

Virudhunagar

Teni district:

Teni

Pudukottai district:

Pudukottai

Crafts of Madurai

Terracotta and

pottery

Wood carving

Applique

Sungadi-tie-resistdyeing

Muthangi-pearlstudded

attire

Brass ware

Soapstone ware

Woollen druggests

Bhavani dhurrie

weaving

The folk deity Nallathangal and her seven children at an

Ayyanar shrin.

Close up of a terracotta horse.

Terracotta horses at Muppiliyan Kovil,temple.Two to three

potters work on building these monumental figures,which are

made with very simple tools.


Production Clusters

Pudukottai district:

Pudukottai:

Virachalai village

Products

Mann paanai-clay pot

Kolambu chattycooking

vessels

Aduppu-stoves

Katthi sootti-lamos

Undial-money boxes

Agni chatti-fire pot

Kolli paanaicremation

pot

Votive offereings to

Ayyanar:

Thottilum pillaiyumcradle

and child

Veeran-soldiers of

Ayyanar

Koothukudhirai or

Gramathu Kuttiraihorses

for the veeran

Ambari yannaielephants

in

procession

Painted pots

Chicken coops

Tools

Throwing wheel

Wooden paddle

Stone anvil

Carving tools

Coir rope for slings

Inset Image of Ayyanar`s warrior.

IN TAMIL NADU,terracotta

figures of horses and elephants

are votive offerings made to

village deities.Ayyanar,the sone

of Goddess Mohin and Lord

Shiva,believed to be the deity

who grants boons and guards the

boundaries of the village,

is the primary recipient of these offerings.In the souther

districts,one may see numerous gramathu kuttirai,terracotta

horses,installed in shrines of Ayyanar that are located on the

banks of a pond or lake or in the fields.The potter are from the

Velar and Kulalard communities.The votive figures are made

by a combination of throwing and coiling techniques.Clay is a

mixed with local sand and paddy husk.The horse is made in

three sections-lower leg and upper thigh,neck and head.A ledge

is formed around the edge of this first section to fit into the next

thigh portion.Some liquid clay slip is smoothed over the surface

to cover up the coarse rice husks.The products are dried,fired in

a furnace and painted with enamel colours.Smaller offerings of

horses,bulls and elephants require a coating of lime and

ochre.August and September is the golu,dolls,season during

Navaratri festival when dolls are displayed and much of the

sales take place then.Large terracotta imagesd of Lord Ganesha

are also produced prior to the festival celebratingd his birth.The

market for terracotta pots and stoves has

declined.However,during Pongal,the harvest festival,the pots

are in demand.The market for votive offerings has remained

constant.

1. Terracotta figure of Ayyanar,the popular folk deity

worshipped as a guardian and protector.Deopicted with

large eyes and a prominent moustache,he carries a sword

adn his horse is always at his side indicating his readiness

to ride after trouble makers in the dark,Karaikudi.

2. Terracotta chicken coop used by potter families at

Virachalai.

Terracotta pot and stoves.

Production Clusters

Madurai district:

Madurai

Virudhunagar

district:

Virudhunagar

Chennai district:

Chennai


Arunbavur

Salem district:

Thammampatti

Thanjavur district:

Papanasam

The carved bulk of a wooden ther,temple chariot,made in

Papanasam.

WOOD CARVING

IN PALANGANATHAN ON THE outskirts of Madurai and in

Virudhunagar,the craftsmen are located close to the Minakshi

Temple,and are referred to as Asaris.These wood carvers

specialize both in carved furniture and temple related

products.Asaris in Madurai belong to the Kammalan group,the

traditional artisans of India.The traditional carving skills extant

in

the Madurai region were developed for furniture in the late 19th

century with patronage of the British and the Victoria Technical

Institute.The development of carved furniture coincides with

modernization of India.European influence on Indian urban life

contributed to the need for furniture in Indian homes.This entailed

the application of traditional Indian ornamentation

Products

Traditional

products:

Vahanam-mount

Kodi maram-flag

staff

Unjals-swings for the

deity

Doors for inner shrine

Ther-temple chariots

Contemporary:

Carved doors

Cobra-shaped

lampshades

Yali leg tables

Small tables

Elephant-leg stands

Puja room

decorations.

to western style objects such as designs derived from temples at

Maduari,Vellore and Thanjavur-like Yali or tables with elephantshaped

legs.Traditional patron for the wooden doorways,pillars

and furniture were the Chettiar,merchant community,of

Chettinad.The temples and ashrams patronize religious products

such as vahana or animal mounts,flat poles,swings for the deities

and doors for the inner shrine.

Ritual article:nei karandi,ghee spoon,Sivaganga.

A coconut grater with a densely carved base.

Tools

Aasu-templates

Uli-chisels

Kirthu uli-V-shaped

chisel

Kolavu uli-round

chisel

Saathara uli-flat

chisel

Hand saw

Screwdrivers

Spanners

Jack plane

Dividers

T-squares

Gauges

Putty knifes

1. Intricately carved and sculpted

door of a Chettiar

house;Karaikudi.The mansions of

Chettiars,the merchant

community,use wood extensively

in their

doors,pillars,bracekets,rafters and

beams.

2. Carved wheel of a wooden

ther,Papanasam in Thanjavur

district.

3. An old pallankuzhi,a traditional

boardgame of women in Tamil

Nadyu from a private collection in

Kottar Nagercoil,Made in a

variety of configurations (seven

holes and a home each),the game

pieces vary from seeds of

tamarind to precious stones

according to the economic status

of the players.

APPLIQUE

Production clusters

Madurai district:

Madurai

Tirchirappalli

district:

Lalgudi

Products

Kodai-umbrella

Poochakara kodaiflower

wheel

umbrella

Magara toranamdoorway

hanging

Thombai-cylindrical

hangings for temple

chariot

Vaasal malai-gateway

garland

Aasandhadu malaiswaying

garland

Tools

Scissors

Sewing machine

Needles

THERE ARE ONLY A few hereditary craftsmen practicing

applique in Madurai.They are from the Pilamar caste and are

all closely related.The applique technique is used to produce

decorated cloth used to produce decorated cloth used for

religious processions of the temples.The process consists of

making paper stencils of the required design pinned onto a

polyester cloth and cut according to the shape.This pieces is

then placed on the base cloth and stitched down.Piping rope

is run along the outline and stitched on the sewing

machine,in addition to outlines done in embroidery

stitches.The main product is the ther seelai comprising many

components which are part of an ensemble for decorating the

temple chariot.Orders from temple continue today for ther

seelai.Applique decorations are used not only in major

temples but also for village festivals propitiating various

forest goddesses.Costumes for priests are also made.The

bustling Madurai Market,well known for selling temple

related products,is located near the Minakshi Temple in

Madurai.

1. Detail of an elephant motif which is appliqued on a

thombai,tubular hanging used to decorate the temple

chariot which is takeb out during the chariot

festival.shaped pieces of cotton fabric are stitched

down on to a base fabric and detailed with different

embroidery stitches.

2. Hand fans depiciting the sun and the moon which are

used in Muslim festivals,Madurai.

3. An applique umbrella on display at the

Pudumanadapam,Minakshi Madurai Temple.

4. An antique applique toranam,nearly a 100 years

old,from a private collection in Tiruchirappalli district.

MUTHANGI-PEARL-

STUDDED ATTIRE

MUTHI MEANS PEARL AND

angi means garment,and together

muthangi denotes special

garments and accessories made for

the temple deity which were

earlier studded with

pearls,preicous stones and

zari.They are used during festivals

to dress the idols.Inexpensive

alternatives such as beads are used

today.Embroidery units are

concentrated around the Minakshi

temple in Madurai.Items like

garments and accessories

(headdress)are studded with

artifical pearls,artifical stones,zari

by stitching them on a cloth

base,usually blue velvet.It serves a

similar function to that of the

metal cladding or kavasam and the

rathnangi thus falling within the

category of nagai alangaram or

adorn-ment of the

deity.Muthangi,can be both

custom-made for specific idols or

made in standard sizes for sale in

shops selling temple related

products.

Produciton Clusters

Madurai district:

Madurai

Products

Muthangi

Tools

Needles

Scissors

Sewing machine

1. The upper and lower part of

the costume for Lord

Vishnu.

2. The accessories and

costume studded with beads

makes the muthangi-muthu

(pearl)and angi(costume).

3. The sudarshanachakra and

conch shell of Lord Vishnu.

BRASS WARE

THE CRAFTSMEN IN Madurai are involved in

producing brass ware for temple rituals as well as for

domestic use.As the temple rituals became more

elaborate,the requirement for specifically designed

vessels increased.For instance the

abhishekam,consecration ritual water to drip constantly

on the lingam,the abstract form that represents Lord

Shiva.This is

achieved by hanging the sahasarasala thattu,a plate with 1008

perforations that shower water poured from a conch on to the

deity.The others like the ritual bath,and puja,worship in the

morning,noon,evening and night all required different sizes and

shapes of vessels,some of which were intricately carved.These

traditional are still followed and hence the craft has been preserved

over the generations.The making of these vessels consist of cutting

the brass metal sheet,which are then beaten,shaped and bent

individually.They are then joined together with a mixture of pithala

podi,the fine white brass powder obtained when utensils are being

turned on a lathe and polished.

1. Sahasarasala thattu used to pour holy water on the idol during

the abhishekam ceremony.

2. Brass pot for rituals

3. Badam or almond milk cup.

4. Brass vessel.

Production Clusters

Madurai district:

Madurai

Products

Vessels for domestic

use:

Anda-cauldron

Paanai-large pot

Kodam-water pot

Madras paanai-

Madras pot

Idli paanai-rice cake

pot

Agni kundam-fire pot

Gangalaam-to store

water

Thavalai-to cook rice

Karandi-ladle

Cups

Vessels for rituals:

Komuha thattu

Karaga chembu-ritual

ewer

Sahasarasala thalluplate

Saami petti-storage

box

Tools

Uli or poraigalchisels

Suthiual -hammer

Otangi-three -legged

iron stand.

Subclusters of

SALEM

Salem district:

Salem

Namakkal district:

Namakkal

Kumarapalayam

Dharmapuri

district:

Dharmapuri

Erode district:

ERode

Bhavani

Crafts of SALEM

Wood carving

Craft

Wood

caving

Soapstone

ware

Bhavani

dhurrie

Bamboo

flutes

RESOURCES

Raw

Materials

Teak wood

Soapstone

Cotton and

yarn

threads

Bamboo

Sources

Kumbakonam and

Thanjavur

Hilly areas of

Thombankaradu

Bhavani

coimbatore and

Kutralam,Nagercoil

THE NAME SALEM is derived from the Sanskrit word sailam meaning an

area surrounded by hills.The region lies to the north and is mainly

hilly,interspersed by undulating plains.It also has an extensive forested area

with trees like sandalwood,silver oak and fuel wood.Mettur Dam is one of

the largest dams in the world and irrigates the area in and around

Salem,Tiruchirappalli and Thanjavur districts.Yercaud in the shevaroy

Range,is a famous hill resort.The rivers of the region are the

Kaveri,Vasishta Nandi and Sweda Nandi that irrigate the predominantly

agricultural district.The soil is mostly red loam.The land has rich mineral

deposits such as bauxite,magnetite,quartz,feldspar,soapstone and iron

ore.The Salem Steel Plant is a large enterprise in the area,other industries

being rice mills,sago industry and silk production.The largest sector

is,however,the textile and handloom production renowed for cotton and

silk saris and dhotis,for the home market;furnishings and towels for the

export market.The Salem metacluster also includes the districts of

Namakkal and Dharmapuri which were part of Salem district until

recently.The region has seen the rise and fall of all the major dynasties of

south India until the British,who took over the control of this area after

victory over Tipu Sultan,from 1792 AD till the independence of India.The

predominant communities found in this area are the

Kapu,Lingayath,Okkaliga,Baliya Chetty,Oddar,Holeya and Madiga.

Soapstone ware

Bhavani dhurrie

Woollen druggets

ACCESS

Salem is well connected by road and rail to all major cities in Tamil

Nadu.The nearest airport is Tiruchirappali,which is 134 km away.

Rayon Dhurrie

Bamboo flute

1. Batik or wax resist dyed,and tie-resist-dyed

textiles are produced by a few entrepreneurs

in Bhavani.Shown here is tie-dyed yardage

fabric made on a large scale.

2. Woman using a wet grinding stone made

out of granite.Grinding stones were widely

used in the south till electric stainless steel

wet grinders began replacing them.Rice and

lentil are ground for preparing idli and

dosa,snacks that are popular all over India.

3. Bhavani has a large population of handloom

weavers producing striped cotton dhurrie

called jamkalam.

4. A workshop in Namakkal where

kalchatty,soapstone utensils,are made.

WOOD CARVING

WOOD CARVING of religious idols and

panels is a traditional craft of the Oddar

community.The entire family is involved

in the craft;the master craftsman makes

the drawing,male artisans do the carvings

and the women paint them.wood is

seasoned naturally by exposing it to the

changing weather conditions for many

days.It is cut to size and a sketch is drawn

on the wood with chalk.This sketch is

carved out roughly with chisels.The crude

carving is further smoothed with the use

of smaller chisels.Finer details of

ornamentation and the face are carved in

the end.The wood is then polished with

sandpaper.The eyes are carved after all

other processes have been

completed.Products are finished with

natural colour or with the application of

lacquer,or given an antique finish.The

wood carvings of figures resembled their

sandalwood counterparts in their intricate

details.The designs and motifs are usually

derived from architectural details of

temples.

1. Sculptural panel of a yakshi,a tree

spirit,with a deer and a stag.The tree

and stag are symbols of fertility.

2. Sculptural panel of a yakshi,a water

spirit,painted with enamel colours.

3. A braclet used to support the pillar.

4. An image of Vishnu.

5. Nandi,the bull,the mount of lord

Shiva.

Production clusters

Salem district:

Thammampatti

Madurai district:

Madurai

Virudhunagar

district:

Virudhunagar

Chennai district:

Chennnai


Arumbavur

Thanjavur district:

Papanasam

Kanniyakumari

district:

Nagercoil

Kanchipuram

district:

Mamallapuram

Products

Idols and religious

panels

Yali figurines

Door carvings

Vahanam-mounts for

deities

Tools

Carving tools:

Rambam-saw

Aakra-drill

Patta uli-flat,broad

chisel

Dokku uli-small

chisel

Tacchu uli-pointed

chisel

Elappu-planer for

levelling

Finishing tool:

Malu-metal rod used

as hammer

SOAPSTONE UTENSILS

ALMOST ALL FAMILIES IN Thankankoundanpalayam village have

been involved in making utensils of soapstone which are called

kalachattys.The process consists of cutting the stone down as blocks.It

is then cut to the size of the object that is to be made,and the objects is

directly carved and chiselled without any prior drawing.Neelam or

liquid blue added to stone powder is rubbed on all the objects for

uniformity of colour,and the object is then washed.The jars with lids

are good for storing pickles since the stone aids preservation.

1. Kuzhipaniyaram chatty,a

mould for preparing a

Chettinad sweet dish.

2. Soapstone products:a mortar

and pestle,storage jar with a

lid and a container.

Tools

Uli-chisels

Thavuttu uli-to

smoothen

Olai uli-to carve thin

ridges

Yetra uli- to carve out

holes

Kotla-to cut

Production Clusters

Namakkal district:

Namakkal

Products

Lamps

Kuzhipaniyaram

chatty-mould for

making a food dish

Sirpangal-idols

Incense stands

Candle stands

Paperweights

The advantage of using kalchatty utensils,for storing and serving food

NAtchatra vilakku-

products is that they have a cooling effect on the contents,so the food

products do not spoil easily.The kalchatty utensils are generally sold

by itenerant traders and in local temple fairs and festivals.

star-shaped lamps

Kondai vilakku

Dosa

Toy-miniature

household articles

Rolling pin

Jars with lids.

BHAVANI DHURRIES

Production Clusters

Erode district:

Erode:

Pallipalayam

Bhavani

Salem district:

Kumarapalayam

Products

Jamkalam-dhurrie

Pandhi pai-long

narrow dhurrie

Tools

Kai thari-handloom

Pannai-bamboo reed

Vadi settu-heald shaft

Oorulai-pulleys

Bowani ratta-hank

winder

Bowani-bobbin

Tharu kutchi-quill

Sendu kutchistretcher

1. A weaver weaving a Bhavani dhurrie on a pit treadle loom

at a workshop in Kumarapalayam.

2. Bhavani dhurrie features:Patta,thick bands of colour

interspersed with kettai,thinner bands.Seen here is a detail

of the ribbed texture due to the weft-faced plain weave

structure.

The twin towns of Bhavani and Kumarapalayam situate on the

confluence of River Kaveri and its tributary Bhavani,has a

sizeable population of dhurrie weavers.The origins of the multicoloured

stripped cotton flat weave dhurrie called jamkalam,is

linked to temple festivals,as temples required floor coverings for

seating devotees.The numerous weavers spread in and around

Bhavani were organized into a consortium initiated by a weaver

Sangameshwar Chettiar.This enabled the weaving cluster to

supply large quantities of striped cotton dhurries all over

India.Woven on simple pit treadle looms,the dhurries are made

in cotton,rayon and acrylic,in a weft-faced plain weave

structure.2/175 cotton yarn is set openly and the weft,10s single

cotton is densely woven.There is a wide range of sizes

available-from 28x72 inches to 192x120 inches-the latter

requiring three weavers working simultaneously.The weavers

are from Hindu comm-unities of Vaneer,Devanga

Mudaliyar,Chettiar and Gounder communities and the reed and

heald makers are Muslims.

WOOLLEN DRUGGETS

Production Clusters

Salem district:

Salem

Vaniambadi

Tools

Sickle-shaped knife

Hattan-iron comb

Katthi-knife

Charkha-spinning

wheel

Products

Drugget

THE NATURAL COLOURED woollen drugget of Salem are

rugs made of thick coarse woollen yarn.They are woven on

vertical looms wiht a cotton warp and woollen weft.Raw wool

is cleaned and carded on a machine and handspun into yarn on

a charkha,spinning wheel.The hanks of woollen yarn are then

dyed.The closely woven weft faced druggets are very thick

and rough,and mainly purchased by buyers in north India.The

demand for the druggets increases during cold seasons.The

products are available in various sizes,with designs in

stripes,geometrical forms due to the coarseness of the woollen

yarn.

1. Mudi(raw wool),panju(carded wool)and

kondai,handspun woollen yarn.

2. A motif woven by the tapestry technique using natural

wool combined with dyed wool on a vertical

loom,Salem.

RAYON DHURRIE

Production clusters

Erode district:

Bhavani

Products

Jamkalam-dhurrie

Terai seelai-religious

icons

Wall hanging

STRIPED COTTON BHAVANI DHURRIE IS WELL known

hand woven product of Bhavani and Kumaraplayam.These flat

thinner rayon weft or two-plied thicker rayon yarn.Besides the

striped designs,a few weavers weave ornamented rayon wall

hangings in bright colours with floral borders and motifs.The

unique feature of the rayon textiles is thed introduction of

borders and figurative forms of animals and

birds,deities,alphabets and mythical figures woven in the extra

weft technique.Religious icons of Balaji,Christ,Ganesha,Laxmi

and other deities are woven where the icon is decorated with a

border or row of motifs.Patterning in extra weft is done by

manually picking up warp threads according to the desired

motif and a 12-plied weft of rayon is woven,which rests on a

ground of finer rayon(only two-plied).This makes the motif

prominent and gives it a relief texture.

Detail of a parrot motif woven in the extra weft technique,using

12 -plied rayon weft.The ornamented dhurrie used on special

occasions,is predominantly blue with a large peacock motif in

the centre enclosed by a multicoloured border.

Detail of lamp motif used in the border

around an image of Ganesha.

Tools

Kai thari-hand loom

Pannai-bamboo reed

Vadi settu-heald shaft

Oorulai-pulleys

Bowani ratta-hank

winder

Bowani-bobbin

Tharu kutchi-quill

Sendu kutchistretcher

Detail of a patta

kettai,traditional

striped Bhavani

dhurrie woven with a

cotton warp and rayon

filament weft.Patta

refers to the broad

stripes and kettai to

thin stripes.

Detail showing the

ribbed texture of a

Bhavani dhurrie due to

the weft-faced plain

weave structure,woven

with two-plied rayon

filament.The design is

called patta akurai

calar goundu,stripe

with a pointed tip.

BAMBOO FLUTE

1. Bamboo flutes of different pitches and sizes.

2. Craftsman using a red hot poker to burn holes in the bamboo at measured intervals.

THE CRAFTSMAN IN Erode is originally from Kumbakonam

in Thanjavur district which has a flourishing tradition of classical

music.The craftsman is adept at making and playing flute in

Thanjavur.The bamboo procurred from Coimbatore,Kutralam

and Nagercoil is cut and holes are drilled in it using a metal

poker called the tholai podum kambi,which is heated and its

pointed tip placed on the marked areas to burn holes on the

bamboo.The finished flute is polished with sandpaper.Different

degrees of polish are done according to the client`s

requirements.Finally varnish is applied as a protective layer on

the flute.Flute of different pitches ranging from number 1 to

7,are made and each flute is made for a kattai,one particular

pitch.

Production Clusters

Erode district:

Erode

Products

Bamboo flutes of

different pitches

Tools

Tholai podum kambi

- metal poker

A view of the tea planatation cultivated on the hill slopes near Coonoor with the backdrop of the Nilgiris,literally blue mountains,located in the Western Ghats.

Subclusters of

Coimbatore

Coimbatore

Erode

Niligiris

Gobichettypalayam

Crafts of

Coimbatore

Toda embroidery

RESOURCES


Toda embroidery Cloth Karur and Erode

Embroidery thread

Ooty and Kotagiri

Women at a coir rope making unit along the Pollachi-Coimbatore

highway.Tamil Nadu is one of the largest producers of coconuts and so many

crafts have emerged due to this abundant resource.

COIMBATORE DISTRICT SITUATED in the interiors of

Tamil Nadu,is bounded on the west by the Western Ghats

and in the south by the Anamalai Hills.The district

headquarters is Coimbatore and to the southwest lies a

mountain pass known as the Palghat Gap.The district is

benefited by the southeast monsoons,and the rest of the state

is in a rain shadow area.The Palghat Gap is also responsible

for the strategic importance of Coimbatore in trade and

commerce with Kerala on the western coast.Coimbatore is

one of the few districts ot boast of a dense forest cover,which

accoutns for nearly 20% of the total land area.The Anamalai

Hills are home to a wildlife sanctuary with elephant herds

and tigers that draw tourists from surrounding

places.Teak,sandalwood,rosewood,vengai and pillaimaruthu

are the most common trees,while the growth of bamboo led

to the development of related crafts such as basketry and

flute-making.The district is also known for developing

animal husbandry and its indigenous breed of

kangeyam,cattle.The district is irrigated by a system of

anicuts fed by the rivers is Noyyal,Palar,Aliyar,Amaravathi

and Bhavani.Coimbatore is aptly known as the Manchester of

south India because of its prosperous textile industry.The

handloom industry has survived and thrived alongside the

modern mills,making a significant contribution to the

economy.The district also has a booming engineering

sector,alongside cement,rayon and synethic gem industries.

ACCESS

Coimbatore is linked by air to Chennai(491km),Bangalore

and Cochin.The district is also well-connected by rail and

road to other cities and districts in Tamil Nadu:Salem

(165km),Thanjavur(259km).

A Toda artisan

embroidering a

shawl at Thalptheri

Mund,near

Udagamandalam.The

Toda men and

women wear

poothukuli,derived

from pooth meaning

to wrap.It is double

layered cotton

mantle embroidered

with red and black

threads.

The Nilgiris district is home to many

tribes:Toda,Kota,Irula,Kurumba,Paniya

and Mullukurumba among others.Seen

here is a Kota woman wearing gold

earrings.Their jewellery made from

other metals like copper and steel is

distinct,consisting of bangles,rings and

necklaces.

TODA EMBROIDERY

THE NILGIRIS ARE HOME to 18 tribal among whom the

Todas are the most distinct.Their language,though

Dravidian,has no script and their first contact outside their

region was when the East India company annexed the Nilgiris

in 1799.Todas are involved in agriculture and buffalo

rearing.The women embroider the traditional draped garment

called poothkuli or shwal.It is a thick white cotton cloth used

as a mantle by both men and women.The main material of

unbleached,white cotton is woven in a balanced weave

structure.On one end of the cloth three stripes-two of red and

one of black-are woven into it.It is in these stripes that the

embroidery is worked before the two lengths of the fabric are

sewn together.The darning stitch is used for embroidering

motifs and patterns.While formerly vegetable fibre was used

as threads,now embroidery threads are used.In the last

10years,a lot of funding from

developmental organisations,has been provided to

these Toda settlements.Toda shawls are

embroidered by women and sold as part of an

income generating scheme for the community.The

embroidery on the shawls which is done on the

left of the black stripe(around the two red

stripes),is called the karnol,while the embroidered

pattern on the right is called the karthal.Of all the

embroideries,the one intended for funeral is

usually the most elaborate.The poothukuli is worn

by the Todas during their festivals and

funerals.Today,the women make other products

like bags and bed covers for the commercial

market.

1. Detail of the darning stitch or counted

thread embroidery.Patterns used in the

embroidery are similar to the ones used as

tattoo marks.

2. Darning stitch embroidery is done in

continuous bands along the width of the

fabric.Base fabric woven with the red and

black bands is used for making a

poothukuli.

3. Embroidery used on a new product such a

pounch.

4. Detail of embroidery on a poothukuli.The

base fabric is unbleached white cotton with

a balanced weave structure that enables the

artisan to count and embroider the pattern

which is done with a high degree of skill.

Production Clusters

Nilgiris distict:

Udagamandalam

Kotagiri

Products

Poothukuli-thick

mantle

Table linen

Shawls

Bed covers

Pouches

Bags

Embroidered patches

Tools

Sewing machine

A Toda womanb wearing the poothukul,which is worn over a

torp,full length wrap with a blouse worn underneath.

Crafts of

PONDICHERRY

Terracotta and

pottery

Soapstone sculpture

Kora mat weaving

Seashell craft

Subclusters of

PONDICHERRY

Pondicherry

Kalapet

Villianur

Mudaliarpet

Arikemedu

Karaikal

Districts - 4


Languages

Tamil

French

Telugu

Malayalam

Attire

Veshti - draped lower

garment

Sari

Festivals

Pongal

Thai Pusam

Masi Magam

Lourdes Car Festival

Fete Nationale

Fete De Pondicherry

Landmarks

Roman settlement at

Arikemedu

Aurobindo Ashram

French - Tamil

architecture

Cathedrals

Botanical Gardens

A former French colony, and a union territory

now, Pondicherry also known as Puddchcheri, has

a unique place in Indian geohistory. Along with

the town of Pondicherry, which is physically

located within the boundaries of Tamil Nadu, its

administrative territory lies scattered in the states

of Tamil Nadu (Karaikal), Andhra Pradesh

(Yanam) and Kerala (Mahe), all of which were

under French control until 1954. Excavations at

the ancient site of Arikemedu have revealed that it

was a commercial centre and had trade links with

the Roman Empire as early as 1st ecntury AD. It

has been a part of the Pallava, Chola and Pandya

empires, later the Vijayanagara empire, followed

by Mughal rule. Pondicherry attracted the

Europeans who came looking for textiles and

spices along the

Inset : Plaster surface ornamentation on the arched entrances of the Cluny

embroidery centre.

1. At Kuchi Kuppam, catamarans are lodged into the sandy areas of the

beach. These are ingeniously built by tying together shaped wooden logs,

traditional to the Coromandal Coast.

2. Seen here is the airy courtyard that is surrounded by wide verandahs

leading int the suites of Hotel de lÒrient. Built in 1809, the hotel was

once the home of a wealthy French family. The mansion is now restored

as a heritage property.

3. Continuous walls, white plastered pilasters, an arched entrance,

horizontal cornices with plastered ornamentation on the surface are some

common features of street facades in the French quarter of Pondicherry.

Coromandal Coast. It was not long before

Podicherry town had the Dutch, Portuguese,

French and English fighting over it, until finally

the French prevailed in 1816. The present day

Pondicherry town was constructed by the French

and has two parts - Tamil and French quarters -

whose street scapes and buildings have a distinct

identity. Pondicherry has preserved many things

reminiscent of the French architectural style in

terms of well planned roads, magnificent

churches and public buildings. The other parts of

Pondicherry that lie scattered within other states

are culturally attenued to the states that they are

located in. Pondicherry is identified with the

Aurobindo Ashram which was set up Sri

Aurobindo in 1926. The Ashram residents work

and live by the philosophy of Sri Aurobindo and

the Mother.

ACCESS

Pondicherry is well connected by road and rail,

Viluppuram is the nearest railway station.

Chennai, 160 km from Pondicherry, is the nearest

airport.

Chiselling out the design on a Kamakshi Amman (Goddess Kamakshi) lamp.

An artisan weaving a bamoo basket.

RESOURCES


Terracotta Savuddu (rough textured clay) Sandipalayam

Kallippu (fine clay)

Thenal

Manal (rough sand)

Locally available

Soapstone Soapstone Thandrampet & Omalur

Kora mats Kora or sedge grass Villanur

Seashell crafts Seashell Andaman & Nicobar Islands

A mortar and pestle made of variegated softstone.

A shiva lingam, a phallic symbol made of softstone that represents Lord Shiva. The

lingam is the centre of reverence and worship in Shaivite temples that abound in

southern India.

Garlands, bridal decorations sold by a flower vendor.

A carved wooden temple door.


Production Clusters

Pondicherry

district:

Villanur

Products

Ganesh figurines

Ayyanar figures

Flower vases

Hanging lamps

Jugs

Tools

Moulds

Shaping tools

Terracotta is practiced as a hereditary craft in the

village of Villianur. According to the craftsmen, it

has been practiced for at least the last three

generations. Only pots were made earlier. There has

been a transition from traditional pottery and ritual

objects to decorative objects for the tourist industry

and urban households. At Villianur in Pondicherry,

clay is shaped by hand and then fired. Three types

of soil of varying consistencies have to be mixed

together for the clay that is crafted into dolls. In

order of quantity, they are - kalippu (soft clay),

saavudu (mud) and manal (sand). The mud is

broken and surrounded by podi kal (the smaller

broken dried clay) to stop the water poured on it

from flowing otu. The water is left to be absorbed

for a night. The next day, the clay is stamped for an

hour and is gathered finally into a mould. It is

shaped with the help of a variety of shaping tools

into the required product and fired.

1. A small lamp.

2. Incense stick stand.

3. Keerai chatty (spinach - utensil), the rough

surface is conducive to mash spinach.

4. Left - muham yaludhuna paanai, face drawn

on the pot, installed like a scarecrow when a

house is being built; and right - terracotta

head of a demon that wards off evil spirits.

5. Pot placed on top of terracotta stoves referred

to locally as thavidu addupu, rice stove.

6. Elephant - shaped terracotta telephone stand.

SOAPSTONE SCULPTURE

Product Clusters

Pondicherry

district:

Kossapalayam

Products

Idols of deities

Religious icons

Incense stick holders

Turned bowls

Mortar & Pestle

Animal figures

Tools

Suthiyal - hammers

Uli - chisels

Soapstone sculpture is a recent craft

introduced in Pondicherry. It was

developed as a training scheme of

the Government and was headed by

craftsmen who relocated from

Modayur in North Arcot district of

Tamil Nadu. Soapstone is obtained

from quarries in Tiruvannamalai

and Salem districts of Tamil Nadu.

Idols are carved and sculpted out of

soapstone while bowls and utensils

are turned on the lathe machine.

Soapstone is a softer material than

granite and facilitates easy carving.

As the idols are of lower value, the

process consists of rough cutting

the stone to required size without

markings of drawing. The

1. Idol of Shiva in black finish.

2. Seven headed Ganesha in his

traditional posture, in natural

finish.

sculpture is then carved spontaneously without measurements. Crative forms have been

introduced by the design influence from the international community at Auroville in

Tamil Nadu.

KORA MAT WEAVING

In Tamil Nadu and Pondicherry, kora or sedge grass grows wild on

river banks, beside ponds and water channels. Four generations ago

weavers came from Sirkali, Thekkal and Chidambaram and settled in

Odiampet, Villanur. The Kumbakkam Lake provides the necessary

water for growing and processing the grass stalks. Harvested grass is

split into two manually or by a splitting machine and dried in the

Sun. Mostly women practice this craft. The process of weaving is

identical to Kora mat weaving in Pattamadai in Tamil Nadu. Only

the coarser varieties of mats are woven here. The skills of weaving

are elementary thus most mats are woven with simple stripes created

with dyed splits that are used in combination with natural kora grass.

1. Detail of a kora grass mat woven

with 305 count dyed splits.

2. The ribbed texture of a kora grass

mat.

Production Clusters

Pondicherry

district:

Villianur

Odiampet

Products

Table mats

Floor mats

Tools

Charkha - spinning

wheel

Chatti - mud pot

Knife

Loom

Parivattam - yarn

winder

Planks

Polishing stones

Loom

Paavu - warp

Aacha - reed

Kucchali - shuttle

Vilda kamba - healds

Anai kunal - lease

stick

Mukali - vertical post

SEASHELL CRAFT

Seashell craft is practiced on a small scale at

Karaikal. The raw material is specially

ordered from Andaman and Nicobar islands.

The shells are cleaned and cut according to

the product ideas and then carved delicately.

The products are mainly contemporary,

mostly used for personal adornment. Various

kinds of jewellery and accessories such as

bracelets, bangles, brooches, rings, earrings,

boxes and hairclips are made out of shell.

Production Clusters

Karaikal

Products

Vermillion container

Jewellery

Table top products

Tools

Chanakal - grinding

stone

Glue

Asphalt

Bench grinder -

electric brush cleaner

1. Seashell

2. A small container made out of seashel

and fitted with a lid and base made out

of sheet metal.

3. Hair Clips

4 Carved seashell

bangle that is finished

with diepressed metal

endings.

Districts - 14


Young coconut fronds are knotted on a rope to create festive installations at a shrine dedicated to Ayyankali at Paravur, Kollam.

CRAFTS -

KERALA

Bell metal utensils

Marapani - wood

carving

Palmyra basketry

Ramacham root

products

Horn carving

Vallam - boat making

Aranmula kannadi -

metal mirrors

Stone carving

Coconut based crafts

Coir work

Bamboo crafts

Rattan and cane

products

Natural fibre crafts

Laminated wood

work and inlay

Pooram crafts

Bronze casting

Kora mat weaving

Screw pine craft

Ship building

Kathakali and

Theyyam headgear

Nettur petti -

jewellery boxes

Symmetric wood

stringing

Lace making

Embroidery

Physical Features

Hills & Valleys

Midland plains

Coastal belt

Backwaters &

rivers:

Achenkovil,

Bharatpuzha, Periyar,

Pamba, Manimala,

Meeachil,

Moovattupuzha.

Sculpted to resemble the form of an elephant, a padi or stepped entrance to a shrine at the Ananthapura Temple, near Bekal. Erected

in the centre of a lake this temple is said to be the original abode of the Ananthapadmanabha, the presiding deity at the

Padmanabhaswami Temple, Thiruavanathapuram.

Biodiversity

Flora

Indian rosewood,

Malabar Kino, Teak,

Coconut, Rubber,

Shandalwood,

Mango, Bamboo,

Orchids, Rice,

Tapioca, Cashew,

Banana

Fauna:

Elephants, Wild boar,

Lion tailed monkey,

Lions, Tigers,

Leopards, Great

Indian Hornbills,

Brahminy kites, Fied

kingfishers.

In the backwater regions of Kerala, domstic properties connected by waterways; boats known as vallam are used to travel from one`s

home to the mainland.

Nestled between the Western Ghats and the

Arabian Sea is the state of Kerala. Aptly

known as `God`s Own Country`, it is a land

of coconut groves and lush vegetation, wide

beaches and labyrinthine backwater canals,

verant hills and rainforests.

The abundance of natural materials such as wood, fibre, coir, bamboo, metal

and stone has resulted in long established craft practices that, unlike the

highly decorative crafts of most of India, exhibit a simplicity and minimalism

of form. Primarily agro based economy, its tea, coffee, rubber and cadamom

plantations accorded it a crucial position on the spice route, thus introducing

to the region a melange of religions and cultural incluences. Due to the

history of avid trade, the major cities of Kerala are situated along the

coastlline. Kerala essentially comprised of three distinct political entities -

Malabar, the northeren kingdom of the Zamorins of Calicut, the kingdum of

the Kochi kings who

ruled from Cochin or Kochi, and the southern

kingdom of the Travancore dynasty who ruled

from Thiruvananthpuram, the present state

capital. The three regions share a common

architectural and craft vcabulary which is largely

defined b the availability of natural materials

and a predilection for pristine forms, which

although intricately detailed, are largely

governed by the principle of functionality rather

than purely by an aesthetic of the ornamental.

Inset : The painted masks of the Kathakali

dancers adhere to an elaborate symbolism where

the colours used are selected on the basis of the

nature of the character. Thus the faces of noble

male characters, such as the virtuous god king

Rama, are green while characters of high birth

that have an evil streak, such as the demon king

Ravana, are allotted a similar green make up

slashed with red marks on the cheeks; extremely

angry of excessively evil characters wear red

make up and a flowing red beard; woven and

ascetics have yellow faces.

Languages

Malayalam

English

Tamil

Hindi

Festivals

Vishu - New Year

Trikartika

Maha Shiva Ratri

Thiruvatira

Onam

Attire

Mundu - a wrapped

sarong worn by

women.

Mundu neriyath - two

piece women`s

garment wrapped

around like a sari

1. Due to the intense humidity and heat, Kerala did not have a tradition of using

furniture; mats woven from strips of screw pine were used as bedding in

households of all economic strata.

2. Seen at the fishing village of Pallikkara in Kasaragod, a temple priest, his

forehead adorned with sacred paste and his ears ornamented with the

traditional ear studs.

3. At the fishing village of Vanjippura, a fisherman wearing a hat made of

woven palm leaf.

4. Fine cotton handwoven saris are produced by skilled weavers in

Balaramapuram near Thiruvananthapuram. These are based on the mundu and

neriyath, (traditional two piece unstitched garment), that has a striking

combination of kasav (silk core wrapped with silver and gold plated thread)

with unbleached white cotton. The kasav sari is used during festival and

religious occasions.

5. This tharavadu, or upper caste Nair family home, at Kumbala near Kasaragod,

is constructed of locally quarried laterite; this porous material allows walls

made from it to `breathe` and is therefore highly suitable for construction in

the tropical heat of Kerala.

6. The exterior of a traditional Syrian Christian house, Puthengadi, Kottayam.

7. The temple of the Kochi roya family, situated at Tripunithura, houses their

chief deity Poornathrayeesa; especially notable are the intricately carved

wooded pavilions, the sanctum encased in repousse treated metal sheets and

the large stone dwarapalas or guardien deities.

Cuisine

Malabar biryani - rice

with spiced mutton

Puttu - rice flour and

coconut steamed in

bamboo

Thoren - mustard

flavoured vegetable

dish.

Avial - vegetable

gravy thickened with

grated coconut and

yogurt.

Pachadi - pumpking

cooked in a sauce of

coconut milk and

curd.

Paal payasam - milk

and sugared rice or

vermicelli.

Meen vevichathu -

fish in red chilly

sauce.

Landmarks

Padmanabhapuram

Palace

Aranmula

Kaladi

Mannarsala

Sabarimalai

Periyar Tiger reserve

Munnar

Napier Museum

Kuthiramalika Palace

Museum

Subclusters of

THIRUVANANTHAPURAM

Thiruvananthapuram

district:

Anavoor

Anayara

Attingal

Sree Kariyam

Chakai

Chalai

Neyyatinkara

Nediyamcode

Perumkadavila

Parassala

Kovalam

Varkala

Pallipuram

Vizhinjam

Kollam district:

Kollam

Eravipuram

Crafts of

THIRUVANANTHAPURAM

Bell metal casting

Wood carving

Palmyra basketry

Ramachan root products

Horn carving

RESOURCES


Bell metal

casting

Palmyra

craft

Horn

carving

Brass, Copper, Tin,

Zinc, Beeswax, Coal,

Coconut husk

Palm leaves, dyes

Buffalo, Bullock and

Bull horns

Thiruvananthapuram

Thiruvananthapuram

Thirivananthapuram &

Thrissur

A craftsperson demonstrating the process of weaving strips of

screw pine into mobiles.

A doorway of a house facing the market outside the

Padmanabhaswami Temple, Thiruvananthapuram; the

carved wooden gable of the doorway the paint work are

characteristic of the local architecture aesthetic.

Now the capital of Kerala,

Thiruvananthapuram, known as

Trivandrum earlier was the seat of the

former royal family of Tranvancore

from 1750 to 1956. The city derives its

name from the temple dedicated to

Anantha, the sacred thousand headed

serpant. The oldest part of the city had

developed around the temple.

As the gateway to the south and the producer of vast

quantities of timber, ivory, pepper, ginger, cinnamon and

other spices, this port city was an important trade centre

and consequently was privy to interactions with

mercantile communities from China, Arabia and later

with the Portuguese, Dutch, French and British colonial

traders as well. This region of lw lying paddy fields and

coconut palms is also home to a training centre for

kalaripayattu, the form of martial arts that originated in

Kerala in the 11th century. Kollam, situated 71 km from

Thiruvananthapuram, is a key participant in the state`s

trade and commerce due to its large cashew trading and

processing industry. Balaramapuram in

Thiruvananthapuram district has a large cluster of

handloom weavers, who produce pristing, fine cotton

textiles such as mundu and neriyath, the traditional two

piece unstitched garment worn by women of a

communities. The neighbouring district of Kollam has

weaving clusters that produce cotton textiles, furnishings

and torth, the simple, open weave, absorbant towel.

ACCESS

Thiruvananthapuram is a major junction on the southern

road and railway networks with connections to many

major cities in the country. The city also has a national and

international airport, effectively linking it by air to Kochi,

Chennai, Delhi, Goa and Mumbai, as well as other

countries , especially those in the Middle East.

Inset : Detail of wood carving inside the Anantha

Padmanabhaswamy Temple, built in the heart of

Thiruvananthapuram city. Every minute detail in this

temple built in stone is carefully designed and carved - the

beams and pillars, joints and brackets carved in wood have

received special attention, making it one of the finest

examples of religious architecture done on a grand scale in

Kerala.

Copper connecting pins are hammered

into the wax, these act as a support

between the core and the outer mould. An

outer clay mould is carefully executed and

all edges are sealed. The firing involves

two simultaneous activites - baking the

mould and melting metal in crucibles.

Metal is poured into conical openings

while air escapes through strategically

located vents, a process that may take up

to two days. The mould is cooled and then

broken to reveal the metal object.

Production Clusters

Thiruvananthapuram

district:

Thiruvananthapuram

Thrissur district:

Nadavaramba

Irinjalakuda

Kunnamkulam

Kadavallur

Ernakulam district:

Manjapara

Kannur district:

Payyanur

Kasaragod district:

Kasaragod

BELL METAL UTENSILS

The Moosaries, a caste of metal smiths believed to have migrated to Kerala from Tamil Nadu, specialize in

the making of cast bell metal utensils with thick cooking surfaces. The smaller of these, known as the urli

and the varpu, are approximately 1 to 2 feet in diameter and are used in most households in Kerala for

making delicacies such as payasam. The large charakku, usually 3 to 8 feet in diameter with a surface

thickness of as much as 20 mm, is used in temples, gurukuls and devaswoms for the preparation of large

quantities of food - a tradition that stems from the practice of feeding hundreds of Brahmins during temple

festivals and royal ceremonies. Following and invocation to Lord Ganapati and the ritual blessing of the

axle, the core is made using a variety of clays, each of which is selected for its plasticity, bonding properties,

strength or surface finish.A mixture of pure beeswax, tree resin and castor oil, prepared according to

traditional means, is pinched onto the core in rolls or beaten into sheet and applied. Gauges for resin

thickness are affixed to ensure an even rim and a constancy of body. A heater tool is used to remove the

access wax while the core is turned and surface motifs made of wax rolls that are carved out of wax plates

are attached. Wax runners, made broad at the top and narrow at the joint and distributed so as to ensure a

convenient and balanced inflow of metal are placed at intervals.

1. The maintenance of consistent

proportions and surface detailing

lends the disparately sized urli,

varpu and charakku a singular

visual identity. Shown here is a

charakku, large vessel from a

museum collection.

2. The linear edge of the charakku grip

is integrated with the curve of the

rim through the use of vegetal or

floral creepers symmetrically placed

on either side of the central ring.

3. The outer clay mould of a small

charakku, the conical wax runners

clearly visible.

4. The straight edges of the urli

facilitate easy maintenance; due to

the absence of handles and the

vessel`s small size, it is usually

lifted by the rim, either with a cloth

or with tongs.

Products

Urli - domestic vessel

Varpu - large

domestic vessel

Charakku - large

vessel used in

temples

Other household

utensils

Tools

Lathe

Axle

Bamboo supports

Bent metal and

bamboo rods

Wax rods

Copper pins

Clay caps

Crucilble

Stone kiln

Curved metal rods

Files

MARAPANI - WOOD CARVING

Production Clusters

Thiruvananthapuram

district:

Chakai

Muttathhara

Manachaud

Palkulangara

Poonthura

Kulathoor

Karamana

Kunnampura

Vazhutacaud

Vellandad

Products

Fluted coloumns

Wooden lintels

Window shutters

Brackets

Capitals

Statuary

Relief carved panels

Idols

Decorative artefacts

Tools

Kanup mattam - right

angle

Chinderam - planar

Choropanam & vill -

traditional bow and

drill structure

Kottudi - mallat

Uli - chisels:

Kanap uli - flat chisel

Churut uli - half

rounded chisel

Keech uli - V shaped

chisel

Mona uli - pointed

chisel

Aram - file

Kanup aram - flat file

Urund aram - half

round file

Kon aram - V shaped

file

Saw

The vernacular architecture of Kerala is characterized by

its incorporation of elaborately carved wooden elements

that are simultaneously functional and decorative. Fluted

columns topped by ornamental capitals, brackets

resembling stylized floral forms or composite animals,

arved lintels and beams, and lion headed joists are

features common to temples, mosques, palaces and old

family homes. The ceilings are generally divided into

panels, each bearing a relief carved motif of a lotus, deity

or dikpala, guardians of the cardinal directions. The

heavy rainfall, harsh sunlight and intense humidity of the

local climate have given rise to an architectural

vocabulary of tiled sloping roofs with decorated glarbles

that rise in two or more superrimposed tielrs to create

steep pyramidal profiles, latticed shutters and slatted

panels of te exterior porches in order to

1. The outer wooden structure, or malaika, of the

Taikottaram at the Padmanahapuram Palace; the

slats diffuse the intensity of he light and allow air

to flow into the inner spaces.

2. Detail of wooden Yali brackets in the Ambari

Mukhappu, Padmanabhapuram Palace.

3. Decorative wood carving is incorporated into this

entrance porch to the Navaratri Mandapam,

Padmanabhapuram Palace.

4. The latticed west wall of the queen`s dressing

room, Padmanabhapuram Palace.

5. A teak wood bench with curved headrests at the

porch of the Kuthiramalika Palace; common

features of the exterior halls in most traditional

upper caste homes, such casual yet austere seating

arrangements are usually intended for the use of the

male members of the family and their visitors.

ensure the drainage of rainwater and the passage of air through the

rooms as well as prevent heat from getting trapped. The interiors

of the koothambalam, the theatres located within precints of

temples and palaces, have latticed screen like walls on three sided

that grant ventilation and diffuse light; specially designed roofs

provide excellent acoustics. The fine carving may be seen in many

temples and churches of the region - the Mahadeva Temple near

Thiruvananthapuram feature and ornate ceiling with a central

image of Brahma seated on a lotus and numerous depictions of

warriors wielding swords. Similarly, intricate detailing is present

in the local churches where the altar, pulpit and the ceiling above

the chancel usually sport carved and glided vines, grapes and

wheat.

The ubiquitous Panayola, palmyra leaves, are used to create a

number of products ranging from the patta - the cup made by

folding a section of the ola, leaf that is used to drink padneer, the

fresh juice of the palmyra fruit - to hand held fans, winnows and

baskets. Constructed with vertical and diagonal plaiting or through

coiling, the baskets are traditionally made with

a square base and a circular rim. Often they are made

of two layers - the inner, woven with a coarse, natural

coloured ola while the outer, which is woven with

colourful finer strips. The mature leaf is used to make

crude baskets of little structural strength, used for

packaging fish, fruit and vegetables. Naar, inner

section, of the leaf stem, on the other hand, is used to

make storage and shopping baskets. Although

extremely strong, these baskets have little market

appeal due to their mottled colouring; consequently,

the naar is now dyed to give it a bright and lacquerlike

appearance.

1. Detail of a palm leaf graland similar in

technique to paper streamers.

2. Rectangular box with a lid woven with

multicoour dyed palmyra fibre.

3. A doubled handled, square basket.

4. A hand held palm leaf fan.

5. The semi woven base of a palm leaf product.

Production Clusters

Thiruvananthapuram

district

Anavoor

Manvil

Neyyatinkara

Nedumangad

Perumkadavila

Parassala

Sree Kariyam

Products

Traditional square

baskets

Shopping baskets

Storage baskets

Packaging, Trays

Hand fans, Garlands

Tools

Splicing machines

Scissors

Needle

Nail frames

RAMACHAM ROOT PRODUCTS

Ramacham (Vetiveria Zizaniodes), renowned for its perfume, cooling

and medicinal properties, is crafted into a number of products

specifically designed to counter the tropical heat. Hand held fans

made of this material produce wafts of cool perfume if peridiocally

sprinkled with water during their use; and mats made of ramacham

are used as blinds to block the harsh sunlight and keep the rooms

1. A ramacham hat edged with coloured fabric.

2. Footwear constructed ramacham and trimmed with coloured

fabric.

cool. During the summer evenings, dried ramacham

is usually spread out on the roofs of houses and

sprinkled with water in order to cool the rooms

below. Indigenous low costs coolers generate sprays

of moist perfumed air with the aid of a motor and

ramacham infused water. Ramacham infused water

is drunk due to the widely prevalent belief that it

serves to lower body temperature.

Production Clusters

Thiruvananthapuram

district

Palakkad district

Products

Ramacha vishari -

hand held fan

Thailam - aromatic

liquid

Blinds

Mats

Hats

Pen stands

Boxes

Chappal - slippers

Tools

Electric motor

Neeld

HORN CARVING

The craft of horn carving in Kerala has

roots in the tradition of ivory carving.

Although such exquisite examples of

ivory carving as the ivory throne of

Maharaja Swati Tirunal are still extant,

the craft itself ceased to be practiced after

the use of ivory was banned in India. The

craftsmen transferred their carving skills

to the horns of buffalo, bullock and bull.

Buffalo horn is commonly used due to its

large size and tapered base; bullock horns

are smaller and hence , useful for making

smaller objects. The horns of hte bull is

only occasionally used since it is hollow

and suitable only for carving the form of a

peacock with a sweeping tail. The process

begins with the upper layers of the horn

being stripped off with chisels; the desired

shape is marked with chalk, and the

extraneous surfaces are sawn or chiselled

onto the horn until its surface heats up doe to friction and the paste is absorbed

into the grainy structure of the horn and lends it a fine sheen. Textures are

created by applying a mixture of chalk and adhesive to etched patterns; the

polished areas gleam while the etched areas catch colour.

1. The hollow horn of the bull is used exclusively to form the peacock with

its extensive tail.

2. This figurine of a parent bird feeding its young is carved out of buffalo

horn.

3. A lobster carved out of animal horn; its spindly legs are individually

carved and fixed to the body.

Production Clusters

Thiruvananthapuram

district:

Thiruvananthapuram

Anayara

Thrissur district:

Avittathur

Products

Bird & animal figures

Peacocks, Fish

Trees, Vases

Cigarette cases

Tools

off. The horn may also be moulded to the

desired shape by softening it through

heating; it is then tempered with water

and polished. The horn is sandpapered

and rubbed with the spine of a soaked leaf

from the kadaplaava or small jackfruit tree

- this process induces a milky liquid to

form and settle on the surface of the horn.

A black, sooty paste - prepared by burning

a palm leaves or panayola and mixing the

residual ash with water - is rubbed

Hammers, Pliers,

Files

Mallet made from

tamarind wood

Konaran - etching

tool

Subclusters of

ERNAKULAM

Ernakulam district:

Cherai, Parur, Kochi

Angamally

Maradu

Alappuzha district:

Alappuzha, Chertala

Changannur

Pattanakkad

Kottayam district:

Kottayam, Vaikom

Palai

Thalayolaparambu

Idukki district:

Idukki

Pathanamthitta

district:

Aranmula

Thodupuzha

Crafts of

ERNAKULAM

Vallam - boat making

Aranmula kannadi -

metal mirrors

Stone carving

Coconut based crafts

Coir work

Bamboo work

Natural fibre craft

Laminated wood

work

ACCESS

RESOURCES


Coconut

based craft

Bamboo

work

Natural

fibre crafts

Laminated

wood

Coconut shell,

stem and husk

Bamboo

Bamboo reeds

Hemp, Sisal,

Banana stem,

Pineapple leaves,

screw pine, Kora

grass, Coconut

palm, Palmyra,

Rush grass

Rosewood,

Whitewood

Cherai in

Ernakulam,

Kanjirapally in

Kottayam,

Palappuram in

Palakkad, Tamil

Nadu

Forests of

Poyankuttu and

Lamalayar in

Ernakulam district

Ranji in

Pathanamthitta

district

Locally available

Ernakulam,

Maraud,

Kottayam,

Kasaragod

Kochi is well connnected by road and rail alike. it

also has a national and international airport that is

located at Nedumbassery, 32 km northeast of

Ernakulam city. Kochi Harbour`s periodical service

plies to the Lakshadweep island; boats are available

to all of the Kochi islands from the main ferry

station situated 1 km from the Ernakulam railway

station.

1. The first step of the construction of the

kettuvallam involves the tying of planks to

the eravupalaka, or central spine. Four to six

holes are drilled along the sides of each plank

leaving about one inch from the edges; the

corresponding holes are tied through and

tightened using nylon ropes.

2. A bronze cast lamp called kedavilakku, lamp

of eternal flame, inside Malankar Orthodox

Church in Chengannur, Alappuzha district.

3. A craftsman at Chertala cuts a woven coir

mat as per a hardboad pattern while

maintaining a marginal allowance; all weft

threads near the desired form are removed

and the edges are knotteed with a thin thread

in order to give the product a finish.

4. At a stone carving workshop in Chengannur,

a craftsman marks the desired details onto a

previously roughly blocked out granite form.

Kochi or Cochin in Ernakulam district, once constituted the domain of

the Kochi rulers. The metacluster comprises the districts of Ernakulam,

Idukki, Kottayam, Alappuzha and Pathanamthitta. Christened the `Queen

of the Arabian seas`, Kochi`s naturl harbour was a flourishing trade

centre on the spice route and was occupation by many colonial powers -

the Portuguese, the Dutch, the French and finally the British. The

bungalows and narrow streets of the Mattancherry area of Kochi display

and amalgamation of the architectural styles of thse countries; the hybrid

aesthetic serving as a testament to the legacy of thisintercultural

exchange.Clustered around the harbour, the town of Kochi has come to

be the most cosmopolitan of the cities of Kerala as well as the state`s

commercial capital. The backwaters extending to the south and the east

from the harbour are dotted with tiny islands formed by the alluvial

deposits of the rivers. Towards the south is the region known as Kuttanad

comprising the district of Alappuzha, also known as Alleppey, a land of

lush coconut trees. A network of waterways weave their way through this

region thus epitomizing rural Kerala. The land and water are inseperable

elements contributing towards and economy driven by coconut harvests,

rice crops and coir industries. The neightbouring district of Kottayam

isrich in cardamom, pepper, coffee and tea as well as vast paddy fields

and rubber plantations. Towards the east lie the vast stretches of the

forests of Idukki and Pathanamthitta and the pilgrim town of Sabarimalai.

VALLAM - BOAT MAKING

Before the introduction of motorable roads to the backwater regions of

Alappuzha, Kottayam and Pathanamihitta, vallam or wooden boats were

used for ransportation. Of these the most well known is probably the

kettuvallam - large open air structures propelled by means of long

bamboo punts - they were capable of carrying 7 to 9 lorry loads of

cargo. The construction process begins with the formation of the spine -

the eravupalaka, central plank, that runs through the entire length of the

vallam. Once the secondary planks are coated with neem oil, they are

heated on a fire fed with coconut husk, and bent to the curvature

required to join them to the body with a simple lip and groove joint and

then secure them with nylon rope. A team of two stars working on the

kettu or tying, one man inside the vallam and the other standing outside

- the first passes the rope

Preparations for the regatta at Kumarakom; seen here is the

chudanvallam or snake boat. Measuring 130-150 feet in length, these

boats are usually manned by 100 or more rowers who practice for

months to achieve the smooth coordination required for them to perform

effectively as a team.

over a bundle of coconut husk embedded in the

grooved joint and through one of the holes drilled

along the length of each plank; the second draws out

the rope and tightens it as the man inside hammers the

rope bundle into a condensed mass. The rope is then

inserted into the diagonally situated hole and pulled

out by the man seated inside; the process is repeated

until a criss cross pattern is achieved. The kombu and

thalamaram, or two mastheads, are made seperately

and attached to the main body. A paste of charcoal

powder, chanchalyam (arpus), lime powder and fish

oil is applied on the kettu to prevent water from

seeping in; it also serves to waterproof the wood and

thward termite infestation. The outside of the vallam is

coated with a mixture of cashew oil and coal pwoder

to give it its characteristic black colour.

1. A small taravallam,

used to ferry three to

four people at the

most, stands anchored

in the backwaters of

Mahamma,

Alappuzha; these

boats generally have

a U-shaped base to

enhance the vessel`s

stability. The boat

gets its name from the

process employed in

its construction - that

of hammering tara or

nails.

2. The coiled masthead

of a vallam moord at

the Alappuzha boat

jetty.

3. The roofing of the

kettuvallam is made

of mats of woven


tied onto vaulted


tied onto vaulted

bamboo frames such

as the one the

featured here.

Products

Kettuvallam - boats

constructed by tying

planks together.

Taravallam - boats

constructed by

nailing planks

together.

Chundanvallam -

snake boats

Houseboats

The body of the kettuvallam has be redesigned to

adapt it for use as a houseboat for tourists - the height

of the roof was increased to grant sufficient headroom,

windows and other openings were provided for

light, better ventilation and to allowthe occupier of the

houseboat an uninhibitd view of the passing scenery.

The interior space is generally divided with bamboo

screen to form bedrooms with a common toilet, a

living space, a kitchen and a deck balcony.

Production Clusters

Alappuzha district:

Alappuzha

Tattampally

Tools

Handsaw, Planer

Wooden mallet

Mattoru - rope

Uli - chisel

Thadichutiga - mallet

Thamar or birma -

hand drill

Kitti - stick used to

align and bend the

wooden planks.

Bamboo needle

Kuthira - long plank

Noolu - alignment

thread

Nilanthadi - wood or

stone base for

construction

Iron and copper nails

Kavar - wedge

Chelu kayaru - 2 play

coir ropes

Kettu kayaru - 4 play

coir ropes

ARANMULA KANNADI - METAL MIRROR

Production Clusters

Pathanamthitta

district:

Aranmula

Products

Traditional:

Cheppukannadi - box

mirror

Kunkumacheppurmirror

attached to a

vermillion container

Vaal kannadi - mirror

with a handle

Contemporary:

Various sized and

shaped mirrors,

usually with stands

Tools

Iron tongs, Files

Hammers, Chisels

Fine emery paper

At Aranmula, a township in the district of

Pathanamthitta, generations of a family of highly

specialized goldsmiths have been using the lost wax

process to cast metal kannadi, mirrors, of an alloy of

copper and tin. This technique was utilized to create

the vaalkannadi or hand held mirrors with cast bronze

frames that were utilized by royalty and in rituals

related to the temple. As opposed to the image

produced in common mercury coated glass mirrors,

the reflection formed in the Aranmula kannadi does

not undergo and refraction. Due to the arduous labour

required in the casting process, a craftsman may make

a maximum of 20 mirrors during a month. The high

costs involved in the craft process cannot be met by

large sections of contemporary market and

consequently, efforts are being made to reduce the

overall pricing of the product - these include the

substitution of the bronze frames with brass ones that

are outsourced rather than made by the mirror maker

himself. The form of the mirror too has been greatly

transformed; the sinous elegance of the vaalkannadi

has ben superceded by flamboyant forms with

pedestals and platforms to allow the mirror to stand

without manual support.

1. Two contemporary kanaddi from Aranmula; the traditional bronze cast

frame has been replcaed with brass frames with stands.

2. Cast metal mirror lined up for polishing.

3. A craftsman polishing the cast metal mirrors by rubbing them vigorously

against soft velvet fabric.

STONE CARVING

Production Clusters

Thrissur district:

Kurukanpara

Palakkad district:

Ottapalam

Ernakulam district:

Paruvur (near Alwaye)

Alappuzha district:

Chengannur

Thiruvananthapuram

district:

Thiruvananthapuram

The stone carving tradition of Kerala is given a unique local character

through its employment of the locally available granite and laterite

rocks believed to have originated in the neighbouring state of Tamil

Nadu. Granite is the widely favoured medium for all stone carved

products, and a specific variety known as krishashila is sourced from

Omalur in Pathanamthitta district and from Tirthala in the south

Malabar, and is reserved for the clulpting of temple idols. Laterite, the

red muddy stone that is abundantly available throughout Kerala, was

widely used to build both domestic structures and temples such as the

Mahadeva temple at Kazhakuttam and the

Vaddakkunathan Temple at Thrissur. Although

soft when quarried, the materials rapidly hardens

on coming into contact with the elements,

forming into a highly durable and strong

construction materials. Further, the stone is

somewhat popous, a phenomeneon that is said to

allow the rock to `breathe` in the humid tropical

heat. Despite its immense suitability to the

climate of Kerala, the use of laterite appears to be

suffering a decline due to the changing aesthatic

of the local populace, who prefer cement as a

building material.

Products

Temple idols

Fence stones

Tombstones

Multitiered lamps

Temple lamps

Naga stones

Stone grinders

Name plates

Tools

Hammer

Chisels

COCONUT BASED CRAFTS

Every part of the ubiquitous coconut tree is effectively utilized in this region -

the flesh of the coconut is eaten, its fibre spun into coir or burnt for fuel, the

shell with its natural concave shape converted into bowls and spoons, the stem

into tables, chairs, banisters, vases and insense stick holders, and the husk into

figurines of monkeys and Buddha heads. The recent emphsis on eco friendly

consumer goods has given an additional impetus to this traditional cottage

industry. One of the cheif beneficiaries of this phenomeneon has been the craft

of working with coconut shells; the traditional repertoire of coconut shell bowls

and ladles has not extended to include a variety of lidded containers , trays,

boxes, bowls, cups and cutlery. The process involved is relatively simple - the

outer surface of the hard coconut shell is smoothened with a saw like tool while

the inner is smoothened with the aid of small chisels; the resultant surface is

sandpapered. A circular base and a

handle are seperately made, either in shell or in

cast brass, and attached to the cup by fixing

screws. Koyilandi in the district of Kozhikode

is renowned for its brass-broidered coconut

shell hookah; these were presumably made for

the Arabs who had commercial trade links with

Malabar Coast during the rule of the Zamorins

of Kozhikode district. The trend continues till

today, with most of the coconut shell products

being produced for export.

1. Containers carved out of coconut shell;

the handles are either of cast brass or are

individually carved pieces of coconut

shell.

2. Bowls made of coconut shell are teamed

with spoons made by maximizing the

natural curvature of the material.

3. Ladles of various sizes made with

coconut shell.

4. Cutlery made with coconut stem.

Production Clusters

Alappuzha district:

Alappuzha

Kottayam district:

Vaikom

Irumbuzhikara

Ernakulam district:

Cherai

Kozhikode district:

Koyilandi

Kozhikode

Thiruvananthapuram

district:

Thiruvananthapuram

Attungal

Neyyattinkara

Products

Of coconut stem:

Turned tables and

chairs

Banisters

Vases

Incense stick stands

Paperweights

Of coconut husk:

Carved figurines

Lidded containers

with brass handles

Cups

Bowls

Ladles

Snuff boxes

Sugar basins

Powder boxes

Spoons

Trays with

compartments

Soap dishes

Hookah

Tools

Patiyaram - steel saw

Small chisels

Sandpaper

COIR WORK

Production Clusters

Alappuzha district:

Chertala

Products

Coir yarn

Mats:

Bevelled mats

Rope mats

Mottled mats

Inlaid mats

Fibre mats

Mattings

Rugs, Carpets

Tools

Mallet

Spinning wheels

Eco friendly chemical

dyes

Air compressor

Corridor mat press

Steel rods, Latex

Stencil, Weights

Smoking chamber

Hardboard moulds

Gluing machine

The process of creating coir mats begins with the retting of the

coconut husk in the lagoons for between six to ten months; the

husk thus softened is beaten with wooden mallets and later spun

into coir yarn on traditional spinning wheels known as ratt. The

coir is then woven into floor coverings either by hand or by

loom; patterns are achieved by inlaying coir dyed in eco friendly

pigments or through post weaving embellishment techniques

such as hand bevelling and stencilling. The product range

includes compressed fibre mats, mottled mats made of yarn and

handwoven coir rope mats as well as rugs and crush

The edges of the coir mats are hand knotted; the craftsmen

wears a self made rubber glove for protection and support

while pulling and pushing the thick needle through the tightly

woven coir mat.

1. Patterns are emphasized through hand bevelling

whereing the craftsmen manually trims the pile to define

raised forms.

2. proof pile carpets. In addition to being and eco friendly

material, coir is also exceedingly durable - mothproof

and resistant to fungi, flame-retardent, anti static - and

with regular maintenance, can be easily kept clean.

Kerala produces a variety of graded coir yarns which are

used for different purposes such as the stuffing of

couches and pillows, making cordage including large

sized cables, saddles, brushes, fishing nets, upholstery,

hats and finally, the manufacture of rubberized coil, a

blend of coir and latex, which is used to pad mattress

and cushioning.

3. A medium sized mat, woven using bleached and natural

coir.

4. A coir mat made by the knotted pile technique. During

the finishing stage, the surface of the mats are sheared

and then manually cut using clipping scissors.

BAMBOO CRAFTS

Production Clusters

Ernakulam district:

Angamally

Thiruvananthapuram

Dedunganda

Aryanad

Malapuram district:

Malapuram

Products

Bamboo reed mats

Fruit baskets

Storage and

Packaging containers

Table mats, Screens

Wall hangings

Table top products

Of all the handicrafts of Kerala, the widely prevalent

art of weaving reed baskets and mats is the simplest

in form and most adaptable to usage. The reed

weavers play a crucial role in agriculturalist villages

by crateing a wide range of items necessary for the

occupational requirements of the villagers; these

include mats for drying grain, winnowing fans for

seperating chaff, baskets for storing grain and for

drying foodgrain, pepper corns and coconut kernels.

The history of the bamboo reed industry of Kerala

may be traced to the 14th century when the Arab

traveller, Ibn Batuta,recorded the use of bamboo

mats as sails on the Chinese ships at Kozhikode.

Inset : Bamboo mats often serve as partitions and screens in small shops

and homes in rural Kerala.

1. A bamboo ladle

2. This large basket is used by vegetable vendors to carry their wares

to the local market.

3. A large storage basket with a lid.

NATURAL FIBRE CRAFTS

During the last three decades craftspersons in Kerala have developed an array of

products using natural fibres extracted from banana stems, pineapple leaves and sisal

leaves in addition to those from more traditional sources such as screw pines, kora grass,

coconut husks and palmyra leaves.The extraction of yarn begins with retting,

decortication and scotching - processes that are employed to seperate the fibres from the

shoots, leaves of roots of plants and trees. The process may be manual as in the

extraction of banana fibre or mechanical as in that of sisal fibre. Once extracted, the

fibre is

Production Clusters

Alappuzha district:

Chertala

Thiruvananthpuram

district:

Anavoor

Sree Kariyam

Neyyattinkara

Nediyamcode

Perumkadavila

Parassala

graded to ensure quality control and then usually carded

and plaited to create the final products. The fibres may be

dyed to generate specific visual impact; the current interest

in eco friendly products has created a potentially huge

export market for vegetable dyed natural fibre products.

Local demand for these products is generally restricted to

the season of the Sabarimalai pilgrimage and the many

temple and church festivals.

1. A kora grass bag.

2. A basket woven of banana stem.

3. Table mats made of naturally coloured banana husk.

Products

Rush mats

Table mats

Floor matting

Door mats

Window and wall

mats

Letter boxes

Bags

Baskets

Tools

Scissors

Needles

Nail frames

Frame looms

LAMINATED WOOD WORK AND INLAY

Production Clusters

Ernakulam district:

Maradu

Kottayam district

Thalayokaparambu

Pictorial representations created by inlaying cut pieces of various woods

into a base panel.

This craft technique involves the glueing o layers of wood together

so as to create specific forms and structures. The grains and colours

of different woods are creatively utilized to achieve patterns or

pictorial compositions. This process is often adopted when solid

planks and boards are either too expensive or unavailable. In

instances where glued constructions are turned into circular shapes to

produce articles like bowls, vases, and plates, the objects are finished

with a coat of shellac. During the last three decades, several

decorative forms of laminated constructions have been put into

practice; these include the traditional blocking technique, the

segmented ring method, the band saw method and the mitred

laminate design. Increased ornamentation is achieved through the

introduction of brass work on laminated wood. In the inlay

technique, the surface of the wood is prepared and a variety of

coloured materials are shaped and set into precisely contoured

matching cavities in order to create an illusion. The inset material

could be variously coloured woods, ivory that is now banned, plastic

or bone , each chosen with care to enhance the illustration.

Products

Kathakali masks

Candle stand

Peacock

Star wheel

Key stands

Wall hangings

Wall panels

Boxes

Tools

Hammers, Chisels

Saw

Mechanized lathes

Sandpaper, Brushes

3 A chequered

laminated wood vase.

4 A laminated wood

wall ornament imitating

the mask worn by

Kathakali dancers.

Crafts of

THRISSUR

Pooram crafts

Bronze casting

Wood carving

Bamboo crafts

Kora mat weaving

Screw pine craft

Subclusters of

THRISSUR

Thrissur district:

Thrissur

Irinjalakuda

Nadavaramba

Kinnamkulam

Kadavallur

Cherpu

Kodali

Vadakkancheri

Avittathur

Palakkad district:

Palakkad

Pttapalam

Chittur

Mannapra

Kannambra

Alathur

Tattamangalam

RESOURCES


Wood

carving

Screw

pine

craft

Bronze

casting

Teak, Mahagony,

Rosewood,

Whitewood, Jackfruit

wood, Sandalwood,

Brazilwood

Screw pine

Brass, Copper, Tin

Zinc

Orissa, Karnataka

Kerala

Nadavaramba in Thrissur

district

Thrissur district, Palakkad

district, Kannur district,

Thiruvananthapuram

Kotta, semi circular baskets, winnowing baskets and ladles

made of bamboo seen stacked at a shop front in Thrissur

district.

The ceremony conducted during the annual Thrissur Pooram

includes the procession of two sets of fifteed caprisoned

elephants, their attendants and musicians; shown here are the

elephants as they pay their respect to the deity of the

Vadakkumnathan Temple before the Pooram celebrations

begin.

The town of Thrissur or Trichur build around the

Vadakkunnathan Kshtram meaning temple, was planned in the

18th century by Raja Rama Varma, the then ruler of Kochi.

Before that time however, the region of Thrissur was an

established spiritual centre with many ancient temples. For

instance, the Vadakkunnathan Temple dates back to the 9th

century and that of Guruvayur to the 16th century; collectively

the temples of this region host a series of festivals marked by

the ceremonies congragation of deities from a number of the

local temples and processions of elephants bedecked in full

regalia, led by the panchavadyam, a five piece assemblage of

percussion and wind instruments.The town suffered political

upheavels for centuries, having been successfully ruled by the

Zamorins of Kozhikode, Tipu Sultan of Mysore, the Kochi

roya family as well as the Dutch and the British, cultural

influences evident in the many impressive churches and

mosques around the town. Thrissur is deemed as the cultural

capital of Kerala as it is the home of many prestigious cultural

institutions, most notable the Kerala Kala Mandalam that

offers intensive training in local dance forms such as

Mohiniattam, Kathakali and Koodiyattam.

ACCESS

The nearest airport is Kochi, 78 km away. Thrissur has a

railway station and bus service which connect to other towns

in the state.

1. A crafsperson trimming the screw pine leaf to create thin flat splices that may be

woven into mats after they are dried.

2. At a large bell metal casting workshop in Nadavaramba, each of the various stages

of the process is carried out by the particular craftsman specialized in it; the

craftsman featured here is removing excess wax from a wax coated mould that is

being lathe turned.

3. At the Thrissu Pooram, members of the procession stand at the temple gate with

kodam, ceremonial umbrellas, inspired by the masks used in the Theyyam

performances.

1. The tidambu, a shield

like object bearing the

image of the deity is held

by the priest seated on

the chief elephant. The

copper embellishments

made by the thattan or

goldsmiths are stitched

onto fabric stretched on

the main frame made by

a carpenter. Although the

deity represented here is

the mother goddess

known as Bagvati, Lord

Ganesh and Lord

Mahavishnu are equally

popular. At the foot of

the tidambu is an arched

form called the

prabhamandala in which

the idol of the temple

deity is affixed for the

duration of the

procession.

2. Alavattam, the circular

peacock feather fans

used during the Pooram

ceremony.

POORAM CRAFTS

The Thrissur Pooram is a day long

event held at the Vaddakunathan

Temple in either the month of

April or May, that culminates in a

procession of richly caparisoned

elephants. Essentially, the festival

is a contest between two groups

representing the chief temples of

the city, the Krishna Temple at

Thiruvambadi and the Devi

Temple at Paramekkavu, with the

deity of the host temple acting as

witness to the proceedings. Each

faction comprises fifteen

elephants, each decorated with

anklets and a nettipattam,

forehead ornament, and carrying

three men - holding the koda

(parasol), whisks made of yak

wool and the aalavattam or

peacock feather fans. The temple

faction with the most impressive

display wins the contest; each

temple therfore commissions their

festival paraphernalia from a

number of different craftsmen in

utmost secrecy. The number and

nature of the koda are determined

by the temple authority and the

generosity of patrons.

Traditionally the koda were made

of a variety of fabrics ornamented

with tassels of dangling pendant

like metal elements. Today the

repertoire of motifs is far more

daring with massive three

dimensional sculptures of

Theyyam masks, peacocks and

images of deities in lightweight

3 Of the three men perched atop

the elephants the first holds the

koda, the second the whisks of

yak wool and the third the

peacock feather fans; the latter

two perform in tandem with the

rhythm of the chenda or the large

drums, alternately holding their

respective ritual objects aloft.

materials or multi tiered koda fitted to the top of the

umbrella. The nettipattam is constructed of embossed

copper pieces that are stitched onto a blanket of the

desired shape and size. The edges of the nettipattam are

decorated with woolen tassels in white, green, yellow,

red, violet and occasionally also in rose and blue.

The traditional koda or umbrella embellished with lace,

embroidery and metal tassels.

4 The central elephant amongst the fifteen from each

temple carries the tidambu and strapped to it is the idol of

the temple it represents; the umbrella held is usually of a

different colour than those flanking it and more ornate in

order to assert the importance of the deity.

Production Clusters

Thrissur district:

Kunnamkulam

Thrissur

Products

Koda - decorative

parasols

Nettipattam -

elephant headdresses

Aalavattam - circular

peacock feather fans

Venchamaram -

flywhisks

Tadambu -

ceremonial shield

Tools

Needle, Frames

Scissors, Hammers

Chisels

5 Nettipattam, a ceremonial forehead ornament worn by elephants. The copper pieces stitched onto the nettipattam, follow a preordained limited design

vocabulary; each form has a specific name and position - the snake hood is called the nagapaddam, the crescent is called the chandrakala, the centrepiece

is called the kumbakinam, the large roundels placed at the top of the nettipattam are caled the cattakinnam and the row of roundels that follow it,

decreasing in size as the nettipattam tapers towards the bottom, are known as the edakinnam.

BRONZE CASTING

Production Clusters

Thrissur district:

Nadavaramba

Kunnamkulam

Kadavallur

Products

Ritual articles:

Kunnimangalam

traditional lamp

Teertavalli - lamp

with a yoni or vulva

like receptacle and a

spout

Annapakshi - named

after the motif of the

bird of abundance

Kavaravilakku - lamp

with three receptacles

Kurishivilakku - lamp

with stylized

Christian cross

(kurushi)

Nagaradhanu vilakku

- snake shaped lamp

Kuttavilakku - lamp

for temple procession

Tookavilakku -

hanging lamp

Koddivilakku - lamp

to light the temple

lamp

Deepasthabha - pillar

lamp

Tiripazhada kacheri -

lamp that has spouts

for wicks

Kadaplave - lamp

from derived from the

small jackfruit

Karpooratatta - vessel

used to burn camphor

Dhoopakal - vessel

for buring incense

Domestic utensils:

Appakava - vessel

used for cooking

unniappam

Kollabmi - spitton

Cooja - container

used to carry milk

and water

Monda - container

used to carry milk

and water

Kindi - vessel to pour

water during

Kerela boasts of an impressive achievement in the art of making a remarkable variety of

metal lamps which are characterized by a rare grace of form;

these are cast using the lost wax technique. The extensive typology of the lamps produced is due to their usage in both static

and portable contexts, in temple ceremonies, in the indigenous dance drama traditions and in homes. Those pertaining to the

temple are the archana deepa or votive lamp, the arati deepa or prayer lamp, both of which are used to illunimnate the inner

Inset : A platter on which the

various articles required for

ritual use are arranged; these

include a tiripazhada kacheri or

the small lamp with five spouts

for the wicks, a kavaravilakku

or lamp with three receptacles, a

kindi, and sundry vessels.

1. A hanging lamp with a

representations of

elephants paying homage

to the Goddess

Gajalakshmi.

2. The vilakku or ceremonial

lamp, usually of cast bell

metal is used in homes as

well as temples; they may

be lit before and image of

a deity as guests, or used

to signify the presence of

the fire god Agni.

3. A brass handpiece used

for arati, worship,

Ananthapadmanabha

Temple, Kumbala,

Kasaragod district

4. An appakava, the vessel

used for cooking a local

delicacy known as

unniappam.

5. Chilambu, the leg or arm

ornaments worn

Tools

Lathes, Chisels

Wooden stands

6 sanctum and the nandi deepa, the deepalaxmi shaped in

form of a graceful lady holding a lamp and the

deepastambha or pillar lamp that is used at the entrance of

the sancum . The lamps may also be classified according to

the motifs they bear; thus there exists the mitevilakku with

its distinct peacock pattern, the hamsavilakku resembling

the swan and the vimanavilakku shaped like a tower and

connected by a chain. The changalavattu or the peacock

lamp with the animal`s body serving as a reservoir for oil

and the tail as the handle, is now used for processions in

temples but was initially held before the old rulers and

aristocrats when they went out in procession.

7 by tehe vellichappad (priests in whom the spirit of the

deity is said to periodically enter) during the frenzied trance

they undergo when possessed. The chilambu are hollow cast

and contain small metal balls that create a rattling noise

when the ornament is shaken.

8 Kindi, a vessel with a spout thta is used to pour water

during ablutions or ceremonies.

ablutions or

ceremonies

Ceramic crucibles

Coke furnace

Polishing tools

WOOD CARVING

As in most of Kerala, the district of Thrissur too has a well

established tradition of wood carving. The prsence of many well

endowed temples and palaces in this region provided a further

impetus to the craft through their consistent patronage and

consequently there exists a number of structures with intricate wood

carving. Thrissur was also renowned for its ivory carving; with the

ban on ivory these craftsmen transferred their skills to the variety of

tropical wood available in the region - primarily white cedar, teak

and rosewood. The cheif products

made today are animal figurines, especially that of the

elephant, the beast that predominantly features in the

religious practices of the region. The sculptures range from

figures that are 10 inches tall to others that are lifesize. The

same animal is represented in a number of poses; the

realism of the carving, the detailing of the body and the

graceful contours, all revealing the proficiency of the

craftsmen. In addition to these products targeted largely at

the sizeable non-resident Malayali community, the

craftsmen also create elaborately carved doors, windows,

pillars as well as idols of deities.

associate with cremations and burials rites as the vehicle of

Shiva, the Lord of Destruction in Hindu mythology.

3 A frontal view of an elephant carved in teak wood with

attention to details such as the folds of the elephant`s hide

and its ivory tusks.

4 A woodcarver at work in his workshop in Cherpu

Production Clusters

Thrissur district:

Cherpu

Products

Elephant figures

Other animal forms:

Tigers, Camels, Deer,

Rhinoceros

Tools

Chisels

Hand saw

Mallets

1 Spice trays

2 This antique wooden box with a sliding lid was used to store

bhasmam, the sacred ash used in rituals. The representation of

Nandi, the divine bull, on the lid is presumably due to the creature`s

CANE AND BAMBOO CRAFT

The basketry of Kerala is largely made by the Christian

communities of Ernakulam and Thrissur. Traditionally,

however, it was the Parayas and Kaatakaras (literally, forest

people) of Anapandan, a hillside near Thrissur who

undertook the making of cane and bamboo baskets using

plain, twill and occasionally the hexagonal weave. The

products ranges from cane fishing baskets that are identical

in structure, form and function to the ones made in northeast

India to a variety of baskets that are usually daubed over or

smoked. Palmyra and arecanut spathes are also twisted to

create efficient containers. The thick bamboo locally known

as mula and the thinner bamboo called eeta are made into

rough bamboo mats used as wall partitions and softer grass

mats to sleep on. Kotta or rough work baskets with short

handles are often reinforced with coir; vatti or neatly woven

square baskets made with slim bamboo splits are used for

shopping, storage as well as a makeshift vessel; muram or

the winnowing basket is used to dry small amounts of

condiments and edible matter.

1. Detail of a table mat woven from coloured bamboo strips.

2. A lampshade constructed of slim bamboo slats.

3. Cane chair, Kodali.

4. A cane fishing basket, Meenkadavu, Thrissur.

Production Clusters

Kodali

Ernakulam district:

Angamally

Thiruvananthpuram

district

Nedunganda

Aryanad

Kasaragod district:

Nileswaram

Malapuram district:

Malapura

Products

Bamboo reed mats

Fruit baskets

Storage and

packaging containers

5. A wastepaper basket made of bamboo board and

ornamented with a screen printed pattern.

Table mats

Wall hangings

Table top products

KORA MAT WEAVING

Production Clusters

Palakkad district:

Chittur, Malampuzha

Thrissur district:

Kilimangalam

Products

Sleeping mats, prayer

mats, table mats

Panthi mats - floor

seating for meals

Bags, Runners

Tools

Knife, Machete

Wooden mallet

Floor loom

Thandu - bamboo

rollers

Pegs, Shuttle,

Scissors

Wooden tripod

Polishing stone

Long hooded needle

Sedge grass, known as kora, gorws in

profusion in Kerala`s marshy regions

and along its banks and rivers and is

collected by the Kurava, the

community who have traditionally

woven mats of this material on a low

beam floor loom in the ribbed plain

weave. These mats serve as floor

coverings, mattresses and prayer mats

and are made accordingly in a range

of sizes. For instance, long narrow

mats known as the panthi are used to

seat guests during meals on the floor.

The mats that are currently being

produced have begun to sport motifs

such as elehpants, palm trees, the Taj

Mahal, lamps and the lotus. The

weavers have also begun to create a

wider range of products that include

table mats, runners and bags of

various sizes.

Dyed black and natural coloured kora grass

mats with its edge finishing which

differentiates it from grass mats of Tamil

Nadu.

Mat woven with finely split kora grass,

Killimangalam, Thrissur district. The kora

grass has been tie dyed leaving the central

portion in which the pattern is picked up.

SCREW PINE CRAFT

Production Clusters

Thrissur district:

Lokamaneswaram

Malapuram district:

Malapuram

Products

Leaf fibre products:

Thazhapaya -

traditional mats

Methapaya - two

sided mats

Fishing nets

Cordage

Hut coverings

Bags

Root fibre products:

Coarse paintbrushes

Tools

Arivaltoti - scythes

Needles

Dyes:

Sappangam - made

from brazilwood

Kasavu - made from

leaves of the

ironwood tree

Chemical dyes

Screw pine, the plant that grows along the banks of the rivers ans

streams of the region, caters to one of the most important cottage

industies in the region. The fleshy green plant is peeled into thin

strips that are dried in the sun and then diagonally plaited to

create mats or thazhapaya. The quality of the paya is determined

by the size of the strips and the closeness of the weaves achieved.

The two ply screw pine mat is used for sleeping on; it has a

coarse base and a fine upper layer and is stitched at edge with a

dyed strip of screw pine. The finest mats are made of very thin

leaf splits, with about 22 splits per inch. The mettapaya, a recent

variation of the thazhapaya, is coloured red and is made of two

layers that are stitched together.

1. A coarse screw pine basket being used at a vegetable

vendor`s stall.

2. When the leaves have been cleaned and split but are still

green and moist they are wound into a tharamadi, or wheel,

in the direction opposite to that of the spine of the leaf. The

wheel is later opened and rewound in the opposite

direction; this procedure is followed to ensure that on

drying, the leaves are flat instead of curving in a specific

direction

3. A detail showing the texture of the traditional thazhapaya.

4. The craftsmen have extended their skills to the making

bags; these may be further embellished with carefully

detailed embroidery.

Crafts of KANNUR

Bronze casting

Ship building

Kathakali &

Theyyam headgear

Nettur petti -

jewellery boxes

Symmetric wood

stringing

RESOURCES


Nettur

petti

Wood

carving

Bronze

casting

Anjili, Jackfruit and

Rosewood, Velvet and

Brass

Kumizhu wood

Chakai,

Thiruvananthpuram

Kannur

Brass, Copper, Tin, Zinc Kannur

1 An essential element of the local material culture,

lamps play a crucil role in temple rituals; seen here is the

daily refilling of oil in the deepastambha or tiered pillar

lamp at Lokanarkavu, near Thalassery.

2 Craftsman construction small scale models of ships at

workshop in Beypore.

Subclusters of

KANNUR

Kannur district:

Kannur, Payyanur,

Thayineri, Korom,

Padoli, Nettur,

Kunhimangalam

Kasaragod district:

Kasaragod,

Trikkaripur,

Nileswaram

Kozhikode district:

Kozhikode,

Koyilandi,

Thuvakkodu,

Beypore

Wyanad district:

Wyanad,

Thrikkaipettah

Malapura district:

Malapura,

Pookottumpadam

3 A craftsman applying the

final details on a ritual

headdress.

4 A metal smith executes the

finishing of the traditional

lamp or vilakku at his

workshop in Payyanur.

The scenic coastal town of Kannur was an important maritime

trade centre in the 14th and 15th centuries. The presence of

European settlers is apparent in the misnomer of the region`s

name as Cannanore. It is also seen in the spattering of colonial

architecture - the 16th century Portuguese built St. Angelo Fort

in the port city of Kannur, the laterite fort built by the British

East India Company in the 17th and the 18th century French

enclave of Mahe. The busy commercial town of Kozhikode,

which used to be known as Calicut, was the capital of the

kingdom of the Zamorins; under them the town prospered as a

major centre in spices and textiles, and it was from Calicut that

the word `calico` originated as the term for white, unbleached

cotton. The Basel Mission Society, a group of Protestant

missionaries, who came in 1834, helped develop Kannur and

Kozhikode as centres of innovative handwoven furnishings.

Fabrics were exported under the name of Malabar Handlooms,

and later as Cannanore Handlooms until British renamed the

weaving centre in Kozhikode as Commonwealth trust. Today

the number of weavers has reduced and the organization is in

need of revitalization. The town`s numberous large sized

mosques, with elaborate wood carvings, reflect the Muslim

heritage of Malabar region. The nearby districts of Wyanad

contain virgin rainforests, mist clad mountain ranges and

plantations of cardamom, peper, coffee and rubber. They are

inhabited by large groups of indigenous communities such as

the cave dwelling Cholanaikens and the Paniyas as well as by a

settlement of Jains clustered around the Jain temples near

Kalpetta.

ACCESS

Kannur has rail and road connections with Mangalore and is

thus linked by the Konkan Railway to Mumbai. The nearest

airport is in Kozhikode. It has bus services to Tamil Nadu and

Karnataka.

Detail of a Dasavatara lamp depicting Vishnu as Anantha Shayanam, the form of the creator of the Hindu pantheon asleep on the snake Shesha on the bed

of the cosmic ocean.

BRONZE CASTING

Production Clusters

Kannur district:

Payyanur

Korom

Thayineri

Padoli

Kunhimangalam

Kasaragod district:

Kasaragod

Thiruvananthpuram

district:

Thiruvananthpuram

Thrissur district:

Ifinjalakuda

Vadakkancheri

Palakkad district:

Mannapra

Kannambra

Nenmara

Alathur

Angadipuram

The Moosaries, the community of

traditional metal workers of this region, are

adept at creating idols of various

Brahmanical deities using the lost wax

process. These are modelled on the human

body as per rules laid down in the

canonical text known as the Shipla Shastra

wherein strict iconographic rules and a

system of measurement based on the unit

as the tala, the distance between the

hairline and the end of the lower jaw, is

laid down. The process begins with the

preparation of a mixture of pure beeswax,

resin from a tree and groundnut oil. Using

a spatula, knife, and scraper, this subtance

is fashioned into the pattern; the head, body

and limbs are thus individually fashioned

and joined. Wax cross strappings and

runners are then affixed at appropriate

locations to strengthen the wax pattern as

well as to facilitate the flow of molten

metal into various parts. The surface of this

model is now coated with

layers of various clays to form a completed mould containing within it the original

wax pattern. This is heated in an open ground oven fuelled by cowdung cakes so

that the molten wax drains out through the runner. An alloy of copper, brass and

lead is made; the lead grants malleability thus facilitating the chiselling and

engraving of the icon while the brass is added to the copper to lower the melting

point of the alloy and to add and enduring lustre to the finished product. This

molten alloy is carefully poured into a previously heated mould; once cooled the

mould is broken and the details of the idol are engraved. The metal surface is

smoothed with fine grade emery paper and cleaned with a solution of tamarind and

soapnut; and finally, the piece is brushed with polishing sand and water.

1. An idol of Lord Kartikeya.

2. A bronze cast head of Varaha, the avatar of Vishnu in the form of a boar.

3. At a workshop in Payyanur, and idol of a Bhutathar made in a combination of

bronze and brass.

Products

Bronze idols

Tools

Chisels

Files

Coke furnace

Crucible

Clay / graphite

curcible

Cloth wound metal

ring

Iron rod and wire

reinforcements

SHIP BUILDING

The region`s continuous stretch of coastline and its history of

maritime trade and colonial conquest gave rise to a tradition of

building deep-bellied, strong ribbed ships that were spacious, fast

and economical for carrying cargo as well as sufficiently durable

to withstand the rough seas and collisions. Beypore and Chaliyam,

two natural ports in the district of Kozhikode, were developed by

Arab merchants as trade centres for the import and export of goods

like pepper, cardamom, coffee and coconut. Situated on the banks

of the Chaliyar, a river which originates in the Eastern Ghats in the

Tamil Nadu - Kerala border area and passes through forests to

reach the Arabian Sea, they were ideal locations for business

transactions between the Zamorin and the Arab as the river

enabled easy transportation of materials and the forests upstream

provided a ready souce of timber.

The

wooden logs to be sawn into planks for ship building purposes are

brought to the work site and placed on a platform made by wooden

logs. For operating the saw, one craftsman climbs up on the

platform while the other operates it from below. This is a highly

skilled job, as the craftsmen have to maintain a regular thickness

while cutting the planks. In order to form the ribs, the planks are

first made flat on two surfaces by sawing; the curve is marked by

chalk and the rib is cut according to the curve.

With time a range of ships were developed in various shapes,

styles and techniques in order to cater to an assortment of

functions - be it for travelling, for carrying cargo, and now for

floating restaurants as well. The timber used for planks of the

ship are branches of the modakku tree; although discarded by

furniture makers, this material is valued by the ship builders

for its exceptional strength. The construction process begins

with the joining of the stem posts to the front and rear of the

keel; eight pairs of the ribs are laid out at different intervals

on the keels and joined by planks at different heights to create

the basic form of the hull. The additional ribs and planks,

made of karimarathu and pilavu wood, are connected by thick

planks using dovetail joints; these support the structure and

the deck platform and also serve as a bracing.

1. Craftsmen at work at a ship repair yard at Beypore.

2. The hull of a ship under construction.

3. After the ship is complete and the shed is dismantled,

the entire inner side of the ship is washed and the dust

and wooden particles are removed. The outside body of

the ship is then washed with soap and water and special

attention is given to the removal of fungal deposits that

may have accumulated during the long course of the

construction. The ship is allowed to dry and varnish is

applied on the inside and the outside. The surface which

will be submered is coated with a paste of ghee,

clarified butter, lime and oil, this mixture is reapplied

after four years and later at intervals of six months.

Production Clusters

Kozhikode district:

Beypore

Products

Ships

Boats

Tools

Uli - chisels

Veeduli - large V

shaped chisel

Valam - mallat made

of mild steel

Chuttika - hammer

Drills

Files

Kappi - pulley made

from jackfruit wood

Mayyara, parumakkol

- marking tools

Kavipatram - bamboo

container for paint

Chiplithadi - planer

Mattam - right angle

Thothu, Muzhakolu -

measuring tools

Detail of large planks tied together using handmade coir ropes and

beaten coconut fibres.

KATHAKALI AND THEYYAM HEADGEAR

Production Clusters

Kannur district:

Payyanur

Products

Kathakali and

Theyyam headgear

Tools

Uli - chisels

Vallamitti - flat

chisels

Arani - files

Alavattu - marking

tool

Compass

Bow drill

THEYYAM : The folk dance of Malabar, Theyyam literally

means `the dance of gods`. Rooted in the indigenous animistic

religious beliefs, this performing art tradition relies on narratives

that are elaborated through a combination of singing, chanting

and dancing. Each character in the narrative is a representation of

a deity; the costume and appearance of the character follow

ritualistic prescriptions that have been followed for years. A

three dimensional sculpture in motion, the entire costume shows

the influence of the region`s sculptural art forms. Lightweight

materials such as the wood from the areca nut palm and bamboo

are used in the construction of the frame of the most significant

accessory, the mudi, headgear, as well as for the lower garments.

Coconut tree wood and areca nut palm wood are used to make

ornaments. Areca nut wood is also used for making marmula,

breastplates, for female performers and the masks generally worn

by those characters considered fierce.

KATHAKALI : Kathakali, the colourful dance drama of

Kerala traditionally represented local narratives of the

exploits of various deities and demons. The dance forms is

characterized by its use of stylized, exaggerated facial

expressions and body movements as well as the elaborate

costumes, ornaments and the carved wooden headgear known

as the kiritam. The entire ensemble is constructed at a

massive scale so as to suggest the supernatural nature of the

character. While the inner front portion of the kiritam is made

of cane in order to ensure a good fitting, the body of the

kiritam is carved from the durable kumizhu wood. As this

wood is hard and does not chip easily, it grants the headgear

longevity and the degree of detailing allows makes it ideal for

accessories. Both the kiritam and the assortment of wooden

ornaments worn by the performers are intricately carved and

embellished with pieces of glass, stones, gold and silver foils,

velvets, beads, paper and peacock featuer.

1. The Theyyam mudi, headgear, is heavily ornamented, but lighter in weight, as it is made from the wood

of areca nut palm and bamboo.

2. An elaborately painted kiritam.

3. Conical mudi with circular disk behind.

4. An unpainted and a finished mudi

5. Theyyam of a local hero.

6. Theyyam of a local hero Kathivannoor Veeran.

7. Theyyam of Bhagavathi, the mother goddess.

NETTUR PETTI - JEWELLERY BOXES

The Nettur Petti, the

jewellery caskets that were

traditionally used by

women of affluent

households to store their

jewellery, are named after

their place of origin -

Nettur, a village near

Kozhikode. They are

created using a

combination of wood

work, hand painting skills

and manually shaped and

chiselled brass joints,

screws and locks;

these products are the result of hours of strenous and

intense skilled labour. The boxes are first constructed

out of rosewood and a local wood known as anjili and

then painted. Each stage of this process is performed

by hand, including the making of the nails used to

fasten the wood pieces. After the box is varnished, the

decorative polished brass elements are affixed onto it.

Other than the velvet lined interior of the box and the

elaborate brass fixtures that impart a sense of luxury to

this already elaborately embellished product, the petti

has remained relatively true to its original form.

Brass work done on the Nettur petti is similar in vocabulary and

craftsmanship to the highly ornamental brass locks or the

chithrathazhu which may be seen on the main entrance doors of

many o the old houses of Kerala.

Inset, 1 2 : A few of the numberous variations of the Nettur petti,

the extend of detailing, the differences in the brass ornamentation,

the intricacy of the painting on the wooden surface and the form of

the petti contribute to the diversity of the craft product.

Production Clusters

Kannur district:

Nettur

Thiruvananthpuram

district:

Thiruvananthpuram

Chakai

Products

Nettur petti -

jewellery boxes

Chithrathazhu - large

brass locks

Tools

Hammers

Chisels

Brushes

SYMMETRIC WOOD STRINGING

Objects constructed by joining laminated pieces of wood are significant

craft industry in Koyilandi or Quilandi and the surrounding areas of the

Kozhikode district and are of recent origin.The basic forms are cut from

slabs of laminated rosewood, coconut stem and soft wood and then strung

together with the aid of a nylon thread to create

mats of various shapes and sizes. Due to the

technique of construction, the range of

patterns that may be created are restricted to

highly stylized flowers, oblongs and stripes.

Production Clusters

Kozikode district:

Koyilandi

Products

Table mats

Wall hangings

Coasters

Tools

Table saw machine

Nylon thread

1 A table mat constructed

by the technique of

symmetrical wood

stringing.

2 Two table mats; their

appearance is as much a

result of their highly

stylized floral forms of

the technique.

Districts - 27


Rice fields in Hospet in east Karnataka. The western coastal plain

is also intensively cultivated with rice, a major food crop.

1. Detail from a carved pillar of the Vitthala Temple at Hampi. Set amidst natural boulders, it is renowned for its exquisite architecture

and superbly sculpted granite that bespeaks the grandeur of the Vijayanagara empire that flourished between the 14th-16th

centuries.

2. The dome of Gol Gumbaz at Bijapur, 124 feet in diameter , is famed for its acoustical system.

3. Leader of a village in Sandur, in the traditional Lambani embroidered dress and ornaments. The two mirror work pieces on the chest

with coins attached are known as khaviya.

CRAFTS -

KARNATAKA

Metal casting

Stone carving

Wood carving

Wood and lac turner

Channapatna

Sandalwood carving

Soapstone carving

Mysore painting

Ganjifa cards

Sheet Metal emboss

Terracotta

Tibetan carpets

Rosewood inlay

Yakshagana costume

making

Bhoota figures

Bronze casting

Mooda - rice

packageing

Areca nut leaf craft

Terracotta and

pottery

Banjara embroidery

Sheet metal

embossing

Surpur painting

Bidri ware

Sheet metal work

Kasuti embroidery

Gold jewellery and

silver ware

Dhurrie weaving of

Navalgund

Toya of Kinhala

Physical Feature

Coastline

Western Ghats

Deccan Plateau

Major Rivers:

Tungahadra, Krishna,

Kaveri

Biodiversity

Forests

Flora :

Sandalwood,

Rosewood, Teak,

Coconut, Bamboo,

Areca or betel palm

Fauna:

Elaphant, Tiger,

Deer, Bison, Fox

Karnataka lies on the western

half of the Deccan Plateau

bounded by Andhra Pradesh in

the east, Maharashtra in the

north, and Tamil Nadu and

Kerala in the south, with a long

coastline to the west. The hills of

Western Ghats, rich in

biodiversity, seperate the narrow

coastal plains from the plateau.

The natural resources include

forest hardwoods such as teak,

rosewood and sandalwood, which

have supported a variety of crafts.

Bamboo was abundant in the region before it was depleted

by excessive industrial use. The region is well developed

with coffee and cardamom plantations, tea, timber, mineral

and hydro electricity. Sandalwood and gold are prized

resources. The Kaveri, a sacred river that originates in the

Western Ghats in Kodagu district, has supported irrigated

agriculture. The state has seen significant industrial

growth since Independence, particularly in the area of software

and IT industries centred around Bangalore. Karnataka`s history is

reflected in an array of monuments; the 6th to 8th century Hindu

temples at Badami and Aihole, the Deccan Sultanate`s medieval

citadels of Bidar, Bijapur and Gulbarga, the Vijayanagara ruler`s

capital at Hampi, Tipu Sultan`s 18th century frt at Srirangapattana,

and the ornate 20th century palace in Mysore, among many others.

Hence, Karnataka possesses a diverse cultural heritage. The folk

theatre has an ancient tradition, the two principal forms being

Yakshagana and shadow puppet theatre. The state is famous for its

craftsmanship in sandalwood carving and rosewood inlay. Its craft

repertoire is replete with many traces: royal patronage, Hindu and

Islamic influences, colonial impact, and contemporary fashions.

Silks, wooden toys, cotton weaving, leather puppets, bidri ware,

stone carving and lace making, among others make Karnataka a

state rich in craft.

Inset : Detail of stone carving in the Mysore Palace.

Languages

Kannada

Tulu

Coorgi

Konkani

Attire

Langa davani - half

sari, draped cloth

Sari - draped cloth

Dhoti - lower

garment

Kupya - black coat of

Kodavas

Cuisine

Bisibele baath - rice

and lentil preparation

Ragi mudde -

steamed millet balls

Upma - semolina

porridge

Mysorepak -

sweetdish

Landmarks

Gomateshwarea in

Shravanbelagola

Chamundi Hills

Srirangapattana

Hampi Fort

Amba Vilas Palace

Gol Gumbaz

Bandipur Wildlife

Sanctuary

Festivals

Dasara

Ugadi

Sankranti

Ganesha Chaturthi

Hampi Festival

Bengaluru Karaga

4 This carved granite statue of Gomateshwara and Shravanbelagola is one of the largest monoliths in the world. It

represents Bahubali, who according to Jain legends, was a prince who renounced everything and stood in penance to

achieve enlightenment.

5 Embossed silver Dhanalakshmi alongside the stone carving at the Chamundi Temple, Mysore.

6 Stone architecture of Badami.

7 Giant bamboo, Dendrocalamus giganteous, native to Karnataka, Nagaland and Myanmar is being cultivated in Moodbidri

in Dakshina Kannada, due to its depletion and use by the paper industry.

8 Small , thatched hut used as rain shelter by farmers outside Chamrajnagar, near Mysore.

9 People and goods are ferried across the River Kaveri in a bamboo coracle, at Srirangapattana.

Bamboo trays used by farmers to rear mulberry silk cocoons at Hanumanthnagar in Bangalore city. The cocoons are stifled in boiling water and a

continuous filament of silk is reeled. Karnataka produces 70% of the country`s mulberry silk production, providing employment to nearly 8 lakh families

making sericulture more profitable than other crops. The silk regions are Channapatna, Ramanagaram, Kanakapura and Magadi in Bangalore and Kollegal

in Mysore district.

Subclusters of

BANGALORE

Bangalore district:

Bangalore

Channapatna

Ramanagaram

Kolar district:

Kolar

Shivarapatna

Crafts of

BANGALORE

Metal casting

Stone carving

Wood carving


of Channapatna

A bamboo artisan

fabricating a bamboo

tray for cocoon

rearing,

Hanumanthnagar.

RESOURCES


Metal

casting

Stone

carving

Wood

carving

Wood and

lac turnery

A veena craftsman in his workshop.

Kanaswadi has several veena making

craftsmen.

Copper, Zinc, Lead, Silver

& Gold

Granite & Soapstone

Shivani wood

Rosewood, Teakwood

Hale wood, Lac, Wood

dust, Kewra leaf Screw

pine

Bangalore

Shivarapatna

Forests of northern

Karnataka

Mysore

Channapatna

Traditional form of wod turning on a small

hand operated lathe, Channapatna.

Bangalore evolved from a small village with a mud form to a

modest military and trading centre during the Muslim and

British occupation. It is now one of the leading cities in the

country because of industry, trade and commerce. The

building of Bangalore began in the 16th century when a

Vijayanagar emporer gifted one of his feudal chieftains,

Kempegowda, a large piece of land. Kempegowda used the

revenue from the land for the development of a town, and he

encouraged foreign merchants, artists, and artisans to settle

down in the town. Following Kempegowda`s rule, many

sovereigns and dynasties ruled Bangalore. Bangalore grew

and prospered under Hyder Ali, Tipu Sultan and the rulers of

the wodear dynasty of Mysore. Kempegowda`s son erected

four watchtowers to mark the boundaries of Bangalore. A

hundred years later the Vijayanagara empire fell , and in

1638 it was conquered by Muhammed Ali Shah, the

Bahmani Sultan of Bijapur.Much later under the British

influence, Bangalore bloomed with modern facilities like the

railway, telegraph, postal and police departments. In 1881,

the British returned the city to the Wodeyars. The Diwan of

Mysore like Sir Mirza Ismail, and Sir Vishveshwariah were

the pioneers who helped Bangalore attain its modern look.

Both the urban and rural regions are home to many

traditional crafts like metal casting, stone and wood carving.

Many crafts that flourished under royal patronage, like the

Channapatna ware are still practiced. The pottery town in

Venkatesapuram in Bangalore city is an interesting concept

that was introduced the British in 1933 to consolidate pottery

skills of the region in one craft pocket.

ACCESS

Bangalore is well connected by road and rail to other cities of

the country. It has an international and national airport

linking it to Mumbai, Delhi, Hyderabad and Chennai.

A stone carving craftman and his assistant in their studio.

Production Clusters

Bangalore city:

Okalipura

Magadi road

Kolar district:

Shivarapatna

Mysore district:

Mysore

Mandi Mohalla

Mandya district:

Nagamangala

Products

Idols

Figurines

METAL CASTING

The development of bronze casting in south India dates back to the

Satavahana period in the 3rd century AD. Metal casting began to flourish

when craftsmen from various towns migrated to Bangalore due to easy

availability of raw materials. The craftsmen in Olalipura were goldsmiths by

tradition who turned to metal casting, and have trained many outside the

family. They specialize in lost wax casting of metal idols in bronze and

pancha loha, an alloy of copper, zinc, lead, silver and gold - the usage of

which is prescribed by the Shilpa shastra and considered an auspicious

combination. Once the icon is cast either hollow or solid, the contour of the

fettled image is recaptured by chiselling. The metal craftsmen are referred to

as sthapatis and are well versed in the Shilpa shastra. Prominent temples in

the south such as the Krishna temples at Udipi, Karnataka and in Guruvayur,

Kerala and Meenakshi Temple, Madurai, Tamil Nadu are the main patrons.

1. Brass image of Vishwakarma, the architect of the universe.

The reddish tint is due to the high percentage of copper in

the alloy.

2. Bronze cast idol of dancing Ganesha.

3. Ganesha in bronze with an antique finish.

4. The arms and trunk are cast seperately and brazed together

during finishing for this cast figure of Ganesha, shown here

with the two parts of the mould on either side.

Tools

Blower

Box moulds

Tongs

Clay crucible

Chisels

Buffing machine

Emery paper

STONE CARVING

Shivarapatna is renowned for its stone sculptures and metal casting.

Deities and warriors of Chalukyan friezes are the main source of

inspiration for Shivarapatna sculptures. History has it that the shilpis,

sculptors, of Shivarapatna are descendents of the craftsmen who

constructed the temples of Belur, Halebid, Hampi and Hoskote. They

consider themselves to be descendets of Vishwakarma, the architect of the

universe, and largely belong to the Brahmin community. It is a hereditary

occupation passed on as an oral tradition in the form of shlokas or verses.

The stones used are granite, soapstone and sandstone. Three basic

categories of stones are identified as male, female and neuter gender,

determined by the sound quality of the stone which is indicative of its iron

content. Earlier, the sculptures were religious in nature such as idols and

columns for temples. However, today the sculptors were religious in

nature such as idols and columns for temples. However, today the

sculptors carve secular statues and portraits.

Production Clusters

Bangalore:

Devanahalli

Kolar district:

Shivarapatna

Udipi district:

Karkal, Naravi,

Alavengadi

Dakshina Kannada

district:

Mangalore

Products

Idols

Tools

Hammer

Chisels

Buffing stone

1. An elaborately carved image of Krishna that is 7 ft high is

reminiscent of the Hoysala style.

2. A finely carved image of Rama.

3. Stone carved idols to be installed in small shrines.

4. Scenes from the Ramayana, carved in relief on the inner wall

of the Venugopal Temple in Devanahalli in Bangalore.

WOOD CARVING

Production Clusters

Bangalore:

Ulsoor

Kengeri Satellite

town

Products

Wall panels depicting

mythological scens

Carved doors and

pillars

Bracket figures

Sculpted Idols

Tools

Flat chisels

Files

Sandpaper

The craftsmen in Ulsoor belong to a family of traditional

wood carvers who had migrated from Andhra Pradesh 30

years ago. The style of wooden sculpture adheres to a

distinctly Andhra identity and bracket figures of rearing

horsemen is a popular theme which is also crafted here. The

craftsmen have an eclectic style as they are skilled in

incorporating most regional styles.The process of wood

carving consists of the seasoned wood being cut to required

size and the figure then being drawn on the woodblock.

Rough cutting is done with flat chisels and fine carving with

carving tools. Filing and sandpapering is done to smoothen

the surface. Woods such as teak and neem are used. Products

such as raja-rani (king and queen) dolls made in red

sandalwood, are also carved here. Wall panels and deities are

carved in traditional styles catering to the demand of the

customers.

1. Detail of a carved Shiva panel.

2. Painted Ganesha panel carved in relief.

3. Carved panel depicting the Goddess Shakti, with a

teakwood finish.

4. Detail of a pillar derived from the lotus motif carved

and painted.

5. Horse with rider in the Andhra style, traditional carving

from Tirupati, Andhra Pradesh.

6. A Yali or Vyala, and imaginary, lion like monster

found in many south Indian temples.

7. A craftsman carving a wooden door frame.

WOOD AND LAC TURNERY OF CHANNAPATNA

Channapatna wood and lac turnery craft is said to be nearly two

centuries old. Channapatna carftsmen are referred to as acharya

and belong to the community of Chitragars. Traditionally they

made wooden masks, human and animal figures, and painted the

temples around Channapatna. The craft flourished due to roya

patronage. Gradually, from the ancient craft of turning wood by

hand, the artisans progressed to working on a simple hand lathe.

The advent of power lathes enabled greater output combined

with economy in the cost of production and human labour. For

colouring the wooden object with lac, a piece of solid lac is held

against the surface of the finished product, while the lathe is

turned at high speed. Due to the heat generated by friction, a

coating of the melted lac covers the outer surface of the object.

Screw pine leaf is used as the material for buffing. Most of the

items are made form hale wood (Wrightia tinctoria) which is a

closely grained, medium sized tree. It is off white in colour and

is moderately hard. It turns beautifully on the lathe and needs

very little surface sanding. Dolls and toys are in demand during

festivals like Deepavali and Dasara and the other products are

exported.

Production Clusters

Bangalore district:

Channapatna

Products

Toys, Rattles, Tops

Car seat rests

Toy cooking sets

Bangles and Stands

Puzzles, Games

Beads

Tools

Chisels

Saw

Lathe

Screw pine leaves

1. Craftsmen applying coloured lac on a turned toy.

2. Turned wooden and lac coated toy kitchen set : utensils, rolling pin and base, stove and a grain grinder.

3. A craftsman displays a new product such as the candle stand, developed for export by designers in collaboratoin with craftsmen.

4. Lathe turned lac products : button and napkin rings

5. Wooden toys

An upright coracle showing the bamboo construction and waterproofing on its base. A coracle is a tw layered bamboo structure covered with leather or

leaves to make it waterproof.

Subclusters of

MYSORE

Kodagu district:

Madikeri

Mysore district:

Mysore

Chamrajnagar

district:

Chamrajnagar

Mandya district:

Mandya

Nagamangala

Crafts of MYSORE

Sandalwood carving

Rosewood inlay

Soapstone carving

Mysore painting

Ganjifa cards

Metal casting

Sheet metal

embossing

Terracotta

Tibetan carpets

RESOURCES


Sandalwood

carving

Rosewood

carving

Soapstone

carving

Mysore

painting

Ganjifa cards

Sandalwood

Rosewood

Soapstone

Semi precious

stones

White lime

Cloth, Leather,

Palm leaf,

Sandalwood,

Paper

Government

timber depot

Karnataka &

Kerala

Heggada

Devarayana

Kote

Jaipur &

Bangalore

Locally

available

Locally

available

Metal casting Metal sheets Mysore,

Bangalore

Sheet Metal

embossing

Silver, Bronze,

Gold

Mandya,

Mysore,

Bangalore

Terracotta Clay River Laxman

Tibetan

carpets

Wool, Cotton

Mysore

Seen here as garlands made by women using thin

layers and sandalwood shavings. India has over 70

varieties of fragrant sandalwood and Karnataka

accounts for 70% of the country`s production of

sandalwood trees. Mysore produces sandalwood oil.

The inner wood is used for carving idols, and

powder made from its bark forms an important raw

material for incense sticks and cosmetic products.

Being a protected tree, its felling is regulated by the

government.

Mysore district is situated in the water shed of the River Kaveri surrounded

by hills from north to south. It is known as the `City of Palaces`. The

Wodeyars ruled from 1399 until Independence, except for the 38-year rule

of Hyder Ali and Tipu Sultan in the 18th century. It had witnessed the

reigns of the Chalukya, Cholas, Hoysala and Yadu dynasties who build

many temples. Under their patronage Mysore became the cultural capital of

the south. Till the emergence of Raja Wodeyar in 1578 AD, Mysore was a

small feudatory kingdom under the Vijayanagara empire. Raja Wodeyar

ascended the throne at Srirangapattana in 1610 AD, and inaugrated the

Dasara festivities which are still celebrated with great pomp. Mysore is a

city of palaces, gardens, tree lined avenues, sacred temples and cultural

institutions. The Krishnarajasagar Dam is an engineering marvel designed

by Sir M. Vishveshwaraiah. Mysore is a synonymous with sandalwood,

silks, incense and fine ivory inlay in rosewood. It is also the home of many

well regarding musicians and artists.Many crafts like traditional gesso

painting, ganjifa cards and sandalwood carving were patronized b the

Wodeyars. Kodagu or Coorg district in he Western ghats was an

independent state until it was incorporated into Karnataka in 1956. It

accounts for the majority of coffee exports from the state. Kodavas, the

people of Kodagu, are a distinct ethnic group who are proud of their marital

origins. One of the most important Jain sites is the colossal monolithic

statue of Gomateshwara, in Shravanabelagola which has been an inspiration

for stone carving. Nagamangala near Mandya is famous for metal casting.

ACCESS

Mysore is well connected by road and rail to all the major towns. The

nearest airport is in Bangalore 139 km.

1. Attaching the rungs ofr a ladder made of bamboo.

2. Craftsperson giving the final touches to the sandalwood figurines.

SANDALWOOD CARVING

Sandalwood carving is an ancient tradition and has been a part of

Indian culture and heritage and finds mention in the Ramayana.

The fragrant wood is used by Hindus and Buddhists in certain

rituals as incense. It is one of the scents besides rose oil that is

used in rituals in Islam. The hard yellow wood is used for

carving into combs, beads and religious artifacts. Sandalwood

(Santalum album), is a small evergreen tree native to regions in

Karnataka, Tamil Nadu and Kerala. The wood is used to carve

idols, and the roots are rich in oil which is used for medicinal

purposes. The most valuable part of the tree is the scented

heartwood. Sandalwood carving is distinct in comparison to

other woods as it is a softer aromatic wood that allows intricate

carving required for making idols. It is practiced by a

community of craftsmen called the Gudigars who specialize in

the art of carving sandalwood, ivory and stone. Having migrated

from Goa during the Portuguese invasion, the Gudigars settled in

Uttara Kannada (north) of Mysore regions. The types of carving

done on sandalwood are relief, chipping, incising and piercing.

The chisels used are different from those generally used for other

woods. The products carved consist of idols of gods and

goddesses and boxes with interlacing foliage and scroll like

patterns interspersed with animal or bird figurines that are

characteristic of Karnataka. The idols are carved in the round on

a pedestal or against a background. They are used in shrines at

home and worshipped.

1a, 1b

Sandalwood shavings made into garlands called mysoras used

for felicitating honoured guests.

2

Carved lid of a jewellery box.

3

Figure representing an ambari elephant carrying the howdah

with the main idol or king, carved from a single piece of

sandalwood.

4

Krishna enshrined with an intricately carved mantapa or shrine.

5a, 5b

Chisels and a mallet

6

Kadaro and keychulli, carving tools and punch.

Production Clusters

Mysore district:

Mysore

Shimoga district:

Sagar

Sorab

Uttara Kannada

district:

Karwar

Sirsi

Kumta

Udipi district:

Udipi

Products

Basingas - forehead

ornament

Sandalwood and pith

flower garlands

Incense sticks

Idols

Animal figurines

Mantapa - shrines

Doors carvings

Jewellery box

Table top products

Tools

Fret saw

Chana - chisels

Fine carving tools

Punches

Hammers

Hand bow

Hand drill

Divider

Scale

Hacksaw

Garsi - mortise gauge

ROSEWOOD INLAY

Production Clusters

Mysore district

Mysore

Shimoga district:

Sagar

Products

Inlay panels

Jewellery boxes

Furniture

Toys

Table top products

Animal figures

Indian rosewood (Dalbergia latifolia), is scattered in dry deciduous forests

throughout the India peninsula. The heartwood is dark and hard, and is used

in wood work such as inlay and carving. Mysore is well known for

decorating hardwoods with ivory or plastic in the inlay technique. In the 18th

century, the craft had received patronage from Tipu Sultan and the Wodeyar

rulers who had shifted their capital to Mysore. The art of inlay was given an

impetus by commissioning items such as musical instruments, doors and

furniture for the Mysore palace. Shapes cut in ivory, bone or plastic are inset

into recessed forms in rosewood and embedded with glue. According to the

catalogue of the Indian Art Exhibition held in Delhi in 1903, inlay work of

Mysore was most artistic and was peculiar because the ivory was

ornamented - a pattern scratched

on the ivory surface was smeared with black

lac and fused with heat. Due to the ban on

ivory, woods of different colours, and bone or

plastic are being used in inlay today. Portraits

and landscapes are the forte of experienced

craftsmen. Jewellery boxes decorated with

inlay are used as wedding gifts. Animal

figures carved in the round are also inlaid

with designs using bone or plastic. A large

number of the products are exported.

1. An elephant sculpted in the round with

only the eyes inlaid.

2. Inlay on a rosewood elephant carved in

the round.

Tools

Jewellery blade, Saws

Files, Hammer

Inlay Chisels

Steel Chisels

Sandpaper

Tables made in hardwoods such as rosewood and teak are inlaid with thin

strips of bone or plastic, Mysore.

Ganesha inlaid on a

rosewood panel.

SOAPSTONE CARVING

Production Clusters

Bangalore district:

Bangalore

Mysore district:

Mysore

Hassan district:

Srikandnagara

Shravanbelagola

Dharwad district:

Belagatti

Bhobala

Bellary district:

Yeraballi

Harpanahalli

Products

Rolling pin and base

Small containers

Jars

Frying pans

Paniarchetti - frying

pans

Idols

Mortar and pestle

Tools

Cotapli - hammer

Uli - Chisels

Matte - mallet

wrapped with cloth

Carving on soapstone has been practiced since antiquity.

An array of products such as jewellery, cooking utensils

and statues were carved, and are produced even to this

day. Soapstone is a very soft mineral consisting mostly of

lac. It feels soapy to touch, hence the name. The Hoysala

Temples at Belur and Halebid, the Jain site of

Shravanabelagola stand testimony to the tradition. In

Karnataka, a large number of craftsmen are employed in

soapstone carving and produce some very intricate work.

The process of carving is traditional, wherein the stone is

cut at the quarry by men and some of the basic shaping is

done at the quarry site. Women and children are a major

workforce and do the finer finishing and polishing. Over

the years, craftsmen have managed to develop a small

export market.

1a, 1b Images of Mahavira and Shiva

2 Products are carved and sandpapered for finish

3 Mortar and pestle to grind spices

4 Chisels and mallet used for soapstone carving.

5 Craftsman carving a Shiva lingam, and abstract form

which is symbolic of Lord Shiva.

MYSORE PAINTING

The fall of Vijayanagara empire in 1565 AD resulted in the loss of roya patronage for

traditional painters. However, Raja Wodeyar (1578 - 1617 AD) of Mysore helped

rehabilitate several families of painters of the Vijayanagara School in Srirangapattana.

Mysore and Tanjore traditional paintings are off shoots of the Vijayanagara school of

painting. Sritattvanidhi, and illustrated manuscript compiled during the time of Raja

Wodeyar, served as an instruction manual for painters. The painting technique includes

gesso or applying a mixure of plaster and glue on some parts in relief on which gold foil

is applied. Gold foil is used or depicting intricate details of jewellery, costumes and

architectural details that fraom the deity. The details of costumes and ornamentation

were in keeping with prevalent court styles. Mysore painting strikes a departure from

Tanjore or Thanjavur as it borrows from Kerala murals, linearity and the application of

watercolours. The gesso work in comparision to Tanjore school is low in relief. Painters

still use the traditional natural pigments. Episodes from the Ramanyana, Mahabharata,

Bhagavata Purana and Jain epics are popular themes.

Painting of Goddess Rajeshwari before the application of gold leaf.

Production Clusters

Mysore district:

Mysore

Bangalore district:

Bangalore

Rumkur district:

Tumkur

Products

Paintings

Tools

Squirrel hair brushes

Natural pigments

Detail of Shailaputri, one of the nine forms of Goddess Durga, riding a bull. The folds of

the garments and ornaments are made in relief with gesso and gold leaf pasted over it.

GANJIFA CARDS

Ganjifa cards enjoyed the roya patronage of the kings of Mysore - Tipu Sultan and

later the Hindu rulers of the Wodeyar lineage - as ganjifa was a favourite pastime

amongst royalty. The game dealt with high stakes, the word ganj is Persian meaning

treasury, wealth and money. Traditionally, the base of the cards was made of cloth,

leather, mica, palm leaf, sheet of sandalwood, birch leaf, ivory or paper. The colour

used were natural, extracted from plants and vegetables. Prominent colours included

rust, cream, yellow, black, red and green. Mythological motifs from the Ramayana

and Mahabharata and Dasavatara or reincarnation of Vishnu are popular ganjufa

themes. Most of the ganjifa cards were varnished and sizes varied from a diameter

of 5-7 cm. Efforts have been made to revive ganjufa cards. Training centres where

women learn the art of painting ganjufa, have also been set up by craftsmen.

Production Clusters

Mysore district

Mysore

Mandya district:

Srirangapattana

Bangalore district:

Bangalore

Products

Ganjifa cards in

different themes

Tools

Brushes

Pencils

Paper cutters

Scissors

1. Tortoise or kurma avatar ganjifa cards.

2. Ganjifa card with Mysore style of painting.

3. Unvarnished cards

4. Varnish being applied on the ganjifa card.

5. Brushes and pigments used in painting.

METAL CASTING

Production Clusters

Mandya district

Jagamangala

Mysore district:

Mysore

Products

Metal Idols

Tools

Hammer, Saw

Chisels, Files

Furnace

Engraving and

chasing tools

Hands, halo and feet, for the idol cast in the hollow method.

Historically, Mysore included the present district of Mandya

and areas around the Kaveri basin. It was ruled successively

by Gangas, Cholas, HOysalas, the Vijayanagara kings, and

the Wodeyars of Mysore, until the establishment of

democracy in India. An important town, even during the days

of the Hoysalas; Nagamangala, near Mandya, has always been

known for its metal work and skilled artisans. The

Saumyakeshava Temple here, probably originally built in the

12th century, is an important landmark. Solid or hollow metal

idols of gods and goddesses are cast by the lost wax process.

The intricate details are worked on later, after the casting. The

accessories are made of embossed silver, gold or bronze. It

being a hereditary profession, children learn the skills of the

craft from a very early age. The idols are made according to

the Shipla shastras, and many temples of South India re

regular patrons.

1. Chisels used on Bronze cast images

2. Bronze cast idol of Nandi the bull, vehicle of god

Shiva.

3. Hollow bronze cast heada of Lord Shiva, Nagamangala

SHEET METAL EMBOSSING

Production Clusters

Mysore district:

Mysore

Mandya district:

Nagamangala

Products

Idols

Accessories for

idols:

Gown

Kavacha - claddings

Jewellery

Pillars

Embossed figures of

gods and goddesses

Trophies

Tools

Hammer

Hacksaw blade

mery paper

Chisels

Punches

Round files

Flat files

Traditionally idols, pillars, doorways were adorned

with embossed silver, gold or bornze. The

prabhavally, backdrops or arches behind the idols in

temples are made of embossed sheet metal and so

are the accessories and embellishments. On special

occasions stone idols are partly or fully covered

with embossed metal in temples. Blocks are made

of forms on which the metal sheet is placed and

hammered. Details are added later by both

embossing and engraving. Silver and gold

1. Partially finished heads of a god embossed on

sheet metal, Nagamanagala

blocks are first made into sheets by rolling machines before embossing.

Bronze on the other hand is available in sheets. Mandi Mohalla in

Mysore city is the hub for artisans where many crafts are practiced.

Sheet metal embossing here has taken a contemporary form and is used

on trophies, and are panels of deities sometimes inlaid in wood. In

Nagamangala traditional products are produced for the temples and

idols. Earlier, blocks of metal were beaten and made into sheets by

hand.

TERRACOTTA

Madike Beedu village located near the River Laxman in

Kodagu has a large community of potters. Pottery has been

practiced here for centuries and has a good local market.

Men throw pots on the weel while women beat the clay into

shape. The prepared clay is shaped into a cup and beaten

into a curved shape. The base and rim are attached and

shaped. Once the pots are fired, they are soaked in water

mixed with mud to add natural colour. Sometimes the

potters practice reduction firing to give the pots an uneven

black colour. They also make small handmade terracotta

toys. Another major occupation in this region is the making

of bricks which are sold in the nearby towns.

Production Clusters

Kodagu district:

Mayamudi:

Madike Beedu

Products

Pots

Toys

Piggy banks

Cups

Horse figures

1. Craftsperson demonstrating on a fired pot. The

cylindrical form is made with coilig and later beaten

into shape using a wooden mallet outside and a stone

for support inside.

2. Pots are left to cool after firing before the application

of clay slip.

3. Fired pots for local use.

4. The black colour of the coin is due to reduction firing.

Diluted clay slip is applied after firing, on the

container.

Tools

Hallige - mallet

Kallu - supporting

stone

Potter`s wheel

Beater

TIBETAN CARPETS

Woollen carpets have been in Tibetan settlements

and colonies, since early sixtees when Tibetan

refugees from the northern parts of India were

settled in Bylakuppe in Mysore district. Agriculture

and handicrafts being important activities that gave

economic sustenance, carpet weaving centres were

setup in Tibetan settlements around Mysore, near

Medikeri and in Munddog near Hubli. The

technique used is distinguished by a continuous

system of knots, referred to as the Tibetan knot. A

rod is placed along the width and in front of the

warp.

Yarn is looped with a knitting needle around two warps and once around

the rod. When a row of loops is finished, the loops are cut and hand

brushed to form the pile, giving a plush and ridged surface to the carpet.

The carpets have motifs of the dragon, checkerboard designs, tiger , lotus,

Tibetan eight auspicious symbols andreligious motifs anf colours of the

Buddhist iconography. Carpets are made for Namdroling Monastery in

Kushalnagar. A large part of the production caters to the export and the

tourist market.

1. Vertical loom

Products

2. Tools and thread placed on a Tibetan

carpet with dragon motifs.

Floor carpets

3. Detail of the looped knot being made over Table covers

a metal rod.

Chair covers

Production Clusters

Mysore district:

Bylakuppe

Hunsur

Kidagu district:

Kushalnagar

Dharwad district:

Mundgod

Tools

Metal rod

Wooden sticks

Knitting needls

Scissors

Vertical loom

Subclusters of

MANGALORE

Dakshina Kannada

district:

Mangalore

Surathkal

Udipi district:

Udipi

Karkal

Kundapura

Shimoga district:

Shimoga

Bhadravati

Sagar

Hassan districtL

Hassan

Crafts of

MANGALORE

Stone carving

Rosewood carving

Bronze casting

Yakshagana costume

making

Bhoota figures

Terracotta

Mooda - rice

packaging

Areca palm leaf craft

RESOURCES


Stone carving

Rosewood

carving

Krishnashila - black granite

stone

Rosewood

Bronze casting Copper and Tin

Yakshagana

costume

making

Kinnal wood, Cotton, Velvet,

Wool and Silk cloth,

Lightwood, Ribbons,

Imitation gold leaf, Beads,

Peacock feathers

Bhoota figures Halsa - jack wood

Karkala

Government

timber depots

Udipi

Surathkal

Mangalore

Terracotta Clay Puttur

Mooda - rice

packaging

Areca palm

leaf craft

Rice straw

Areca palm leaf, Sheath

Dakshina

Kannada

district

Honkankere

Dakshina Kannada district, bounded by the Western Ghats to

the east and the Arabian Sea to the West, and encircled by

rivers, has enjoyed comparative isolation until recent years.

This has enabled the region to retain certain pre Hindu belief

systems over time. Coastal Karnataka is known for two great

art forms namely, a highly stylized variety of the ritual dance

of the spirit impersonator, bhoota worship and a fine tradition

of Yakshagana, a dance-drama creating the world of divine and

super human beings with all the paraphernalia of costumes,

make ups, music, dance and dialogue. This enduring cultural

practice has kept alive a variety of related art traditions.

Mangalore is a thriving port on the estuary of the Netravati and

Gurpur rivers. Its cultural background is attributed to the Nath

cult. The historical phases range from the rule of Rani

Abbakka of Ullal, the reign of Hyder Ali and Tipu Sultan, to

being a British colony, until it took active part in the trruggle

for India`s Independence. Alupas, Alukas and the Bangar kings

have a place of pride among the rulers of Mangalore. It has

been an import seaport since Hyder Ali`s time and is today

famous for coffee, cashew nut and pepper plantations. It is an

important link in the granite exports of south India. Largely

raw blocks are exported from here. Udipi is a pilgrim town that

has encouraged temple related crafts such as sandalwood,

stone carving and metal casting. Shimoga is a prolific in skills

of sandalwood and rosewood carving. Hassan district has a

large number of Jain temples and a 58 feet monolithic stone

statue of Gomateshwara, son of the first Jain tirthankara,

enlightened sage, in Shravanabelagola.

ACCESS

Mangalore has an airport and is well connected by road

and rail to other places in the state.

1. Traditional house in Udipi, with carved wooden pillars

and roof of Mangalore tiles. Terracotta tiles were

manufactured first in 1865, in a factory setup by the

Basel Mission Society in Mangalore. The region`s heavy

monsoons, availability of red cleyey soil inspired the

design of the `Mangalore tile` - an ubiquitous, affordable

and tropical building material.

2. Baskets made from the stem of a creeper (Calycopteris

floribunda), called kusubane bele by the Koraga tribal

community.

3. Traditional architecture of Udipi

4. Craftsmen in Kundapura embossing on a silver sheet.

5. Storage basket woven from strips of kusubane bele

creeper

STONE CARVING

Udipi district is an excellent source of granite in Karnataka. Karkala

town gedived its name from black granite stones, kari kallu in

Kannada, as the place is surrounded by rocky hillocks where it is found

in abundance. Granite is locally referred to as krishnashila, or black

stone. Products are of two varieties - idols and

architectural elements; the finish is a prominent

black finish. The idols are influenced by the

Hoysala style of sculpture, where the stone is

carved in high relief, surrounded by ostentatious

ornamentation. Craftsmen carve granite pillars and

naga stones which are placed in front of small

neighbourhood temples. Traditionally tulsi or basil

has been worshipped in homes and the ornamented

tulsi planters are made by assembling stone slabs.

Other stone related activites include granite stones

and architectural elements for construction of

houses. Craftsmen who work on idols and pieces

for temples are from the Acharya community. The

other craftsmen are equally skilled and come from

neighbouring states.

1. Various forms of Sesha naga or the divine

serpent carved out of stone.

2. Fluted pillars with relief carving.

3. stone carved tulsi planter in which the tulsi or

basil herb is planted and worshipped.

4. Tools used in stone carving

Production Clusters

Udipi district:

Karkal

Naravi

Alabengadi

Dakshina Kannada

district:

Mangalore

Kolar district:

Shivarapatna

Belgaum district:

Belgaum

Products

Idols

Pillars

Tulsi planters

Tools

Hammer

Chisels

Brushes

ROSEWOOD CARVING

Rosewood is found in the forests of

Karnataka, it is a heavy timber and hard in

nature. Used for furniture, cabinetry and

architectural woodwork, it is also used to

make pillars and doorways in the regions

of Uttara and Dakshina Kannada districts.

Among the carved objects is the devara

mantapa, a small shrine for idols; which is

placed in altars of most homes in the

region. The mantapa consists of a base on

which a rectangular or square box made of

rosewood plank is placed. Surmounted on

top is an elaborately carved dome

supported by turned pillars. From the roof

of the mantapa, hand lathe turned wooden

bells. These mantapas are importantgifts

during weddings. Rosewood carvers are

spread acorss Sagar town and are mainly

involved in making furniture such as

tables, chairs and sofa sets.

Inset : A rosewood mantapa or shrine for

use in homes, Belgaum.

Production Clusters

Shimoga district:

Sagar town

Mysore district:

Mysore

Products

Chairs

Tables

Dining sets

Cabinets

Pillars

Brackets

Doorways

Preetha - seat for idol

Devara mantapa -

shrine

Tools

Wood turning lathe

Sandimg machine

Cutting machine

Wood chisels

Saws

Hammer


Production Clusters

Dakshina Kannada

district:

Puttur

Shimoga district:

Puttur

Udipi district:

Udipi

In Puttur, a town near Mangalore, there is a community of

potters who make terracotta pots, water filteres and other

products. Besides products traditionally made for local usage,

they have ingeniously crafted water coolers and filters for water

storage. The products are made by using the technique of

throwing or moulding clay. The produce large pots decorated

Products

Lamps

Incense stands

Water pitchers

Water Coolers

Candle stands

Pots

Tools

Potter`s wheel

Bamboo knife

Wooden mallet

Stone

Sooji - needle

1 Incense burners in different colours and finishes, Udipi.

2 Potter in Bhadravati shaping the bottom of a pot by beating.

3 This oil lamp is composed of a fully enclosed sphere with two

openings - the spout on one side which receives the wick, and a

hole at the bottom, which connects to a vertical tube inside that

rises above the level of the spout. Oil is poured in through the

bottom hole till droplets emerge from the spout. Therefore, the

lamp is turned upside down so that the oil fills the lower

hemisphere just below the level of the spout and the tip of the

tube from the bottom hole, thus preventing any leakage. A

cotton wick is inserted from the spout and lit. The lamp is hung

from the top, Puttur.

4 Container

5 Water cooler with two concentric containers, one suspended

within the other with a few internal supports so that the cavity

around the inner container that has water, cools the water

within.

6 Four spouted water storage tank, Udipi.

7 Water pot with a plastic tap and a stand for support,

Bhadravati.

BHOOTA FIGURES

The bhoota cults are confined to the Dakshin Kannada region and

certain areas of Uttara Kannada districts. The bhootas are

considered as nature spirits much like the yakshas which are

believed to demand propitiation from local people in return for

protection of cattle and warding off disease. Worship is often not

conducted with an icon but through staged rituals.

The cult belongs to an ancient form of worship. The

sculptures are found in temples dedicated to Hindu gods.

However, they do not play any role in the ceremonies of the

cult. The type of wood used is the halsa or the untreated jack

wood, carved and painted. The bhoota sculptures were

installed into the floors of the shrine. The carving of bhoota

figures are the ones that are found in Nandikeshvara Temple

in Mekkekattu near Udipi.

A female figure astride a carved wooden boar, from a

museum collection.

Production Clusters

Dakshina Kannada

district:

Mangalore

Udipi district:

Udipi, Mekkekattu,

Kumdapura

Uttara Kannada

district

Products

Bhoota sculptures in

wood

Tools

Hammer, Chisels

Saws, Files

Three headed bhoota figure, from a museum collection.

Carved boar figures, from a museum collection.

YAKSHAGANA COSTUME MAKING

Yakshagana, the folk dance drama tradition of

Karnataka, originated in early 16th century.

Consisting of an all male cast and musicians, their

repertoire is inspired by the episodes from the

epics, especially Mahabharata. Characters wear

elaborate costumes and ornaments made of a

lightwood or kinnal covered with lac and imitation

gold leaf. Headdresses are of numerous types, the

size being relative and indicative of the importance

of the character.

They are covered with red and black cloth, ornamented with gold and silver

tinsel ribbons, lac and imitation gold leaf decorations, beads, peacock

feathers, and jewellery. Theatrical masks and jewellery are symbolic in

nature; the vieweres of Yakshagana tradition being familiar with the visual

codes and the distinctions they imply. The costumes are made in three basic

colours - red , green and yellow. The Yakshagana costumes like most other

in southern India developed around the temples. The use of various materials

requires craftsmen who are specialized in different crafts.

Headgears of different characters:

1. Demon

2. King

3. Hero

Production Clusters

Udipi district:

Udipi

Dakshina Kannada

district:

Surathkal

Products

Yakshagana

costume:

Tadpe kireeta -

headgear

Karnapatra - ear

ornament

Edipadaka - chest

guard

Bhuja keerti -

shoulder

Santa patti - waist

band

Dauba - waist band

Dhagala - garment

Weapons

Tools

Thread and Needle

Scissors

BRONZE CASTING

Production Clusters

Udipi district:

Udipi:

Katapadi

Kallapu

Products

Lamps

Bells

Kalasha - pot

Utensils

Bowls

Ginde - ewer

Idols

Aarti - ritual lamp

Bhoota:

Idols

Mask

Image

Tools

Blower

Box moulds

Tongs

Clay crucible

Furnace

Chisels

Buffing machine

Emery paper

Udipi has been known for its bronze and

bell metal casting since ancient times as it

has rich resources of copper and tin. The

idols are cast through the lost wax process.

The style and the features of the bronze

figures are rooted in a regional identity.

Bhoota figures are cast, such as the figures

of Mahishasura, the bull demon, and bhoota

attendant figures. The bhoota figures are in

the form of cast idols and metal masks. As

these figures are of Shaivite origin, they

feature iconographical details like the sun

and moon in relief. Gold tassels and beaded

rope work are apparent feature of detail and

are similar to other artifacts in the region

such as the embellishment done on

Yakshagana masks. Metal products include

the standing lamps and the ginde, ewer, bear

affinities to metal cast forms found in

Kerala. Ritual objects like the aarti of lamp

for worship, and south Indian bronzes such

as deities are cast in the Chola nd the

Hoysala style.

1 Ginde, a ritual vessel similar to those in

Kerala, cast in bell metal

2 A cast metal ( pancha dhatu) mask related

to the Bhoota, worship of spirits.

3 A cast metal standing oil lamp made from

pacha dhatu - an alloy of five metals:

copper, tin, silver, gold and iron.

4a, 4b Idols of Mahishasura, the bull demon

with headgear.

5 A cast metal image related to the Bhoota

worship in Udipi and Dakshina Kannada

districts. Spirits are classified as animistic or

representing Puranic gods, cultural heroes or

local characters.

The craftsmen in Katapadi are also involved in the kanchukelasa, bell

metal casting, in the festival months during march to May. Hindu gods

and goddesses especially Udipi, Krishna, lamps, kalashas or pots,

utensils, bowls and bells are cast in bronze. These are usually sold

locally during festivals. Bronze casting is a seasonal occupation for the

craftsmen whose main activity is agriculture.

ARECA PALM LEAF CRAFT

Areca nut, more commonly known as betel nut, is the seed of

the betel palm (Areca catechu), a species of palm which grows

throughout the Pacific, Asia and parts of east Africa. Betel or

paan chewing has been a part of the eating culture of India. The

nut is slivered or grated, often flavored with spices according to

local tradition, and in India it is usually wrapped in a betel leaf

which comes from the betel pepper plant (Piper betle), which is

not botanically related to th betel palm. Betel palm is grown in

the Western Ghats region of Karnataka. The dry layers of

sheath are harvested. These are wetted and press moulded to

make caps, plates and cups. The caps are used by the local

farming community. The plates and cups are used to serve food

as the leaf is biodegradable and is an alternative to paper or

plastic.

1. Woman wearing an areaa palm sheath cap.

2. Areca palm sheath cap worn by a farmer.

Caps made out of dry areca palm sheath.

Production Clusters

Dakshina Kannada

district:

Mangalore

Uttara Kannada

district:

Hasanagi:

Honkankere

Products

Caps

Plates

Cups

Tools

Press - to mould

MOODA - RICE PACKAGING

Paddy cultivation is one of the major occupations of Dakshina Kannada

district. Local ingenuity has led to and unusual packaging, called mooda,

for storage and transportation of paddy with only rice straw. The grain is

bundled within layers of twisted rice straw drawn to form ropes coiled in

such a way that the beginning and end of the rope are not visible. The

spherical container prevents attacks from rats due to the great thickness

of the straw wall and it is tamper proof siince

it can only be opened by cutting through the layers

with a sharp knife. Being spherical, it contains a

specific quantity using minimum external material

and can be easily rolled. It is an outstanding

example of using resources in a sustainable manner.

Such unselfconscious innovations, being a response

to local conditions, are rarely celebrated as craft

although having evolved it to a high degree of

function and performance. Similar solutions exist

for packaging rice in Orissa.

Production Clusters

Dakshina Kannada

district:

Mangalore

Udipi district:

Kundapura

Products

Mooda - rice

packaging

Tools

Koithi - sickle

Top and side views of the

mooda packaging for

paddy, that uses rice

straw to form a sealed

spherical container.

Eucalyptus leaves are

packaged in creeper

stems, woven in an open

hexagonal weave to form

a spherical packaging.

Banjara women at work at the Sandur Kushala Kala Kendra in Sandur

Subclusters of

BELLARY

Bellary district:

Bellary

Sandur

Hampi

Davangere district:

Davangere

Raichur district:

Raichur, Potnal

Koppal district:

Koppal

Chitradurga

district:

Chitradurga

Crafts of

BELLARY

Terracotta and

pottery

Banjara embroidery

Sheet metal

embossing

RESOURCES


Terracotta and

pottery

Banjara

embroidery

Clay

Òmand matthi`

for glaze, Soil

Fabric

Sandur

Kumaraswamy Hills

Hubli, Dharwad, Ilkal,

Guledgad

Potter at Kumbhar Galli giving shape to the surface of the pot.

Dancing figure, carved stone pillar of the Vitthala Temple,

Hampi.

Artisan stringing cla beads to make jewellery in Raichur. She is

wearing a traditional handwoven Ilkal sari.

Although Bellary is of medieval origin, the area has been

inhabited since about 3000 BC. Bellary is situated on the

eastern side of Karnataka. It is bounded by districts of

Raichur on the north, Dharwad on the west, Chitradurga and

Davangere in the South, and those of Anantpur and Kurnool

in Andhra Pradesh to the east. The important rivers are

Tungabhadra, Hageri and Chikkahagari. The region gained

significance during the Satavahana, Kadamba, Chalukyas of

Kalyani, Kalachuri, Sevuna and Hoysala periods. Hampi the

14th century capital city of the Vijayanagara reign

successfully united a region of many different languages and

established, and benefited from vigorous international trade.

At its peak, it also sponsored brilliant achievements in

literature and the arts. Culturally rich, Bellary is known for

temple related crafts such as stone carving and metal

embossing. Chitradurga has a formidable fort also called the

Fort of Seven Rounds (walls) that was built during the

Vijayanagara empire on a rocky terrain with bouders. The

weavers of Molakalumuru, a town in Chitradurga district,

known for producing silk saris, are facing competition from

the powerloom industry.

ACCESS

Bellary has an airport and railhead and is linked by road to

Chitradurga 130 km, Davangere 165 km, Koppal 75 km and

Bangalore 300 km. Raichur has a railhead and can be

reached by road to Kurnool 100 in Andhra Pradesh


Production Clusters

Bellary district:

Sandur

Raichur district:

Potnal

Products

Harvi - medium sized

pots

Padga - small pot

Kundli - flower pots

Wole - cooking stove

Hundi - saving box

Sandur has a large community of potters occupying the north

eastern limits of the town. They have the Medar community of

cane and bamboo workers as their neighbours. There are three

basic techniquest used by the Sandur potters for shaping the

clay into products such as throwing and beating. While all

wheel thrown pottery is exclusively handled by men, women

make their cooking stoves and other small containers. Women

also make small containers for keeping oil, small and large

plates. While all the cooking and water pots, stoves and plates

are fired only by a reduction firing which gives black ware,

flower pots are fired separately in the oxidation firing. In Potnal

near Manvi taluk in Raichur district, is a considerably

Stages in the preparation of terracotta beads. A bead fired

without coating; black colour through reduction firing; bead

coated with clay slip and fired.

big production for pottery where Dalit women are involved in

making terracotta jewellery, with innovative bead designs.

Beads and pendants are formed by hand, impressed with

designs, fired and strung into a necklace or earrlings.

Unstrung terracotta beads made in Bagalkot are similar to those

made in Potnal, Raichur.

Pots and stoves left to dry before firing, Sandur.

Jewellery, Beads

Wall hangings,

curtains

Tools

Throwing wheel

Shaping tools

BANJARA EMBROIDERY

The Banjara, also called Lambani

or Lambada, are a semi-nomadic

people who reside in south, west

and central India. In the Mughal

era, the community was engaged in

transporting provisions and trading

goods. Their habit of living in

isolated groups, away from others,

characteristic of their nomadic

days, still persists and they live in

the tanda, settlements, on the

fringes of towns.

The Banjara women still wear their traditional mode of

dress which is elaborately embroidered. Silver, brass,

gold, cowries, ivory, animal bone, mirrors and even

plastic are used in embellishing Banjara textiles and

garments. Cowries are very auspicious as they represent

Lakshmi, the goddess of prosperity. Farming is a

principal occupation, though some of them are also

engaged in mining and selling of handicrafts. The women

embroider their own clothes. Lambanis, besides

embroidering their daily apparel also embroider puches

and bags relating to rituals of marriage, childbirth and

festivities.

Inset : Gola and phullaliya used as a

support while carrying water

containers.

1. Detail of embroidery and

applique work on the chatiya,

headcover or veil.

2. Detail view of a kanchali or

blouse, with mirror work

embroidery.

3. Detail of chatiya or veil. The

geometric pattern, called char

mula or four corners, is done

in applique with mirror work

in the centre of each square.

Detail of the border of a phetia, skirt, made out of traditional

khan, blouse fabric on which triangles have been appliqued.

Production Clusters

Bellary district:

Sandur:

Honalli tanda

Raichur district:

Raichur:

Bettadur tanda

Tools

Needle and thread

Scissors

Products

Kanchali - blouse

Phetia - skirt

Chatiya - long head

cover

Pouches and bags

Cushion covers

Wall hangings

SHEET METAL EMBOSSING

The region around Chitradurga is famous for its temples and

forts. The ancestors of the craftsmen in Nayakarahatti village

enjoyed the royal patronage of the Nayakas. They have made

embossed icons of gods and goddesses in copper, brass, silver

and gold for generations. These metal claddings cover the

installed and processional images in the temple and were

considered as votive offerings, donated to the temples by

royal patrons and individuals. They consist of metal repousse

and chasing. The craftsmen also produce embossed

accessories for the main deity such as the prabhadevi, which

is the arch behind the deity with motifs like flowers, lions,

swans, conch shells and kirtimukha or lion heads. The craft is

still flourishing since the religious practices have remained

unchanged. The temples and matths or Hindu religious

establishments, are the main patrons.

Detail of an embossed brass plate depicting the peacock mount

of a goddess.

Production Clusters

Chitradurga

district:

Chitradurga

Mysore district:

Mysore

Mandya district:

Nagamangala

Products

Ritual objects

Kavacha - metal

claddings

Mudi - head

ornaments

Prabhavali - arch

Tools

Hammers, mallets

Chisels

Punches

Craftsman displaying and embossed brass prabhavali or arch,

head of lord Shiva

Painted

bullocks,

on the

occasion of

harvest

festival

Bells made

by metal

casting

craftsmen

in

Gulbarga.

Crafts of Bijapur

Surpur painting

Bidri ware

Sheet metal work

Banjara embroidery

Wood carving

Subclusters of

BIJAPUR

Bijapur district:

Bijapur

Bidar district:

Bidar

Gulbarga district:

Gulbarga

Bagalkot district:

Bagalkot

RESOURCES


Surpur painting Waterman paper England

Paints

Bidri ware Zine & Tin ally, Silver Bidar

Sheet metal work

Banjara

embroidery

Bidri matti (mud)

Copper, Brass, Gold,

Silver

Fabric

Jaipur & local

markets

Bidar fort

Locally available

Locally available

Wood carving Teak wood Dandeli, Hubli,

Kirwati

The

whispering

gallery

inside the

Gol

Gumbaz

has an

unusual

acousitc

system

which

produces

echoes.

Located in the northeastern part of Karnataka, Bijapur is close to

Belgaum and has many places of historical, cultural and

architectural interest. Bijapur used to be the home of the Bahmani

Sultans, the most illustrious of whom was Adil Shah. He undertook

to build his tomb - the Gol Gumbaz; its magnificent dome and

whispering galleries make this an architectural marvel amongst

other Deccan Sultanate architecture. Bidar and Gulbarga are cities

that were part of the kingdom of Bahmani dynasty, the Bidar Fort

was the stronghold of the Bahmani kings. Synonymous with Bidar

is the craft of bidri. The craft is known to have originated in 1600

when an artisan named Abdullah Bin Khaisad came from Persia at

the time the fort was being constructed. He used to inlay sipi,

shells on stone, gold and silver inlay on iron and inlay work on

cannons and swords. Even now, bidri craftsmen use the bidri mitti,

soil from the Bidar fort, to polish finished products. Emboidery

carried out by the Banjara women, and the Surpur style painting

which showcases the craftsmanship of the royal Vijayanagara

courts in the 16th century, are among the wide array of carfts that

belong to this region.

ACCESS

Bijapur has a railhead and roads that connect it to other parts of

Karnataka. The nearest airport is Bangalore 301 km. Chitradurga

128 km from Bellary is on the route of the National Highway 13.

Bidri craftsperson.

SURPUR PAINTING

In the 17th century, after the fall of the Vijayanagara kindom,

a group of painters migrated to Surpur where they

popularized traditional painting now known as the Surpur

style of painting. This style of painting can be considered an

off shoot of the Vijayanagara style and it shares similarities

with the more established Mysore and Thanjavur painting in

terms of gesso technique and the rendering of gold leaf with

embedded semi-precious stonse. The thematic content

adheres to mythology and Vedic themes such as the

ashtadikpalas or the guardians of eight directions. They were

also made to honour kings and noblemen and some even had

the actual photograph embellished in Surpur style.

Craftsmanship is intricate, and innovation and

experimentation is encouraged amongst the painters. Very

few of the older generation of craftsmen exist and efforts are

being made to revive this school of art.

Production Clusters

Gulbarga district:

Surpur

Gulbarga

Products

Surpur paintings

Tools

Seashell - for mixing

paints

Brushes

Aquiq - agate stone

Paints and brushes used in Surpur

painting.

1. Agni, Vedic god of Fire, mounted

on a ram and flanked by his

consorts Svaha and Svadha.

2. Detail of the ashtadikpala painting

showing the northwestern part

guarded by Vayu, the god of Wind.

3. Surpur painting depicting the

ashtadikpalas or the guardians of

eight directions.

BIDRI WARE

Bidri craaft has a common ancestry with an older art of

inlaying practiced in Arabian countries and Persia - of

inlaying gold and silver on steel or copper damascening.

The craft contains complicated sequences of metal inlay on

a zinc and tin alloy base. Bidri has its roots in the Persian

technique of inlaying gold and silver on steel or copper. It

travelled from Iran to Ajmer in Rajasthan in the 13th

century AD, and from there to Bijapur and flourished

during the reign of the Deccan Sultanate.

Inlay work done on a box.

Bidri ware gets its name from Bidar where it originated when

the fort was under construction. The making of a bidri product

involves four steps - melting the alloy, casting the article,

engraving and inlaying the design and finally, oxidizing. The

introduction of an alloy that never rusts or corrodes and the

smelting process of zinc were unique to India. The designs are

inlaid with metal wire or sheet metal and consist of designs

influenced by Persian motifs.

Bidri craftsman filing cast objects.

Bidri boxes and ashtray.

Production Clusters

Bidar district:

Bidar

Products

Hookah - water pipe

for smoking tobacco

Surahi - pitcher

Paandaan - box for

betel leaves

Zalabchi - washbasin

Bangles

Cufflinks, Buttons

Paperknife, Ashtrays

Masks, Idols

Boxes, Vases

Tools

Khalam - chisel

Buffing wheel.

SHEET METAL WORK

Production Clusters

Bijapur district:

Bijapur

Muddebihal

Chitradurga

district:

Chitradurga

Nayakarahatti

Udipi district:

Udipi

Kundapura

Products

Kalashas - metal pots

Rathas - chariots

Kavacha - metal

claddings

Tools

Punches, Dies

Chisels

Hammers

The craftsmen in Bijapur have migrated from Agarkhed

where the craft had originated two centuries ago. They

produce ornate metal kalashas, pots, chariots, umbrellas

and claddings for religious purposes. The designs are

carved in relief after filling it with lac or wax inside the

kalashas. In case of a metal sheet, it is placed on a bed of

lac and the design is incised, embossed and chased. The

motifs are of gods and goddesses such as Ashtalakshmi,

Veerbhadra, Ganesha and Dasavatara, with elaborate

ornamentation around the central motif. In Karnataka, sheet

metal claddings are of silver, bronze and gold mounted

with precious or semiprecious stones glass simulations of

ruby and emerald. These metal claddings are meant to

cover the installed and processional images in the temple.

They are made of various parts crafted seperately and

joined together. Metal claddings are called kavacha, and

were considered votive offerings donated to the temple by

royalty and individuals. Rath, silver chariots, are made for

the temple, smaller in size to their wooden counterparts, in

which the embossed silver sheets are overlaid on wood.

1. A symbolic votive offering,

made from pressed silver sheet

metal. It is made in parts and

joined together.

2. Embossed silver umbrellas that

are used over images of the deity

in the temple.

3. A deity adorned with sheet metal

headgear and kavacha, body

covering, that has details of

costume and jewellery forms

embossed and chased on its

surface. The cladding enhances

the image of the deity, Bijapur.

4. A backdrop for idols made from

a silver sheet with patterns

embossed and chased on its

surface using dyes, punches and

hammer, Bijapur.

5. An elaborate temple chariot

made in wood and overlaid with

embossed and chased silver

panels. The chariot is smaller

than the wooden chariot and is

drawn through the streets

carrying th image of the deity.

Koteshwar , Udipi district.

BANJARA EMBROIDERY AND QUILTS

The northern districts of

Karnataka abound in traditional

skills of embroidery and quilt

making that form a vivid

vernacular expression. Women of

the various communities make

khowdi, patch worked quilts,

with an abandon of colour and

composition. The Lingayat

women make the finest quilts.

Every quilt is unique although

they share a common structure -

three to six layers of reused

fabric, held together by running

stitches that traverse in concentric

rectangles or squares. The layers

are increased depending on the

thickness that is required. The

women of the Banjara or

Lambani community use their

traditional skills in embroidery as

a means of livelihood adapting

those to contemorary production,

however, keeping intact the

vocabulary of stitches and mirror

work. Traditionally women

gathered to sing and dance

around a chatta, mat, which is

made of four squares, joined

together. A square divided into

four corners is a common motif.

Inset : Embroidery skills adapted to make a drawstring.

Production Clusters

Districts:

Bijapur, Raichur,

Gulbarga, Bellary,

Bidar, Belgaum

Products

Khowdi - quilt

Cushion covers

Banjara

embroidery:

Puria - coin purses

Patiya - Neckbands

Kasse - leg bands

Pnanrchenchi -

pouches

Cushion covers

Accessories

Tools

Needle and thread

Patch worked and quilted cushion cover made in

Gulbarga.

1. Patchwork quilt made by the women of various communities in Gulbarga.

2. A traditional textile used to cover a pot during puja or worship. Banjara

embroidery uses herringbone stitch, buttonhole stitch, mirror work, applique

and patchwork.

WOOD CARVING

The craftsmen in Gulbarga are traditional wood carvers

and have migrated from Surpur where their ancestors

were based. They worked in the palaces of the Nayakas

who had brought together skilled craftsmen and thus

began a tradition of intricate and detailed carving.

Ornate wooden doors signified the house of a hindu, and

irrespective of financial status, every house had one.

Traditional sculptures such as deities and animal

figurines are also carved. The deity affixed in the central

medallion determines the subject matter on the entrance

doorway. The occupation is hereditary and the children

are given designs of smaller motifs to carve, and are

also taught to make their own tools. The carvings derive

inspiration from Hoysala,

1. Shesh naag, the five headed snake of Lord

Vishnu.

2. Carved kudre or horse made in Gulbarga.

3. Wooden links made from a single piece of wood.

Chalukya and Rastrakura styles. A recent innovation is he use of

metal images in the wood work especially for the main deity that is

cast by them. Teak and neem wood are used for carving.

Production Clusters

Gulbarga district:

Gulbarga

Products

Doors, Brackets

Animal figurines

Idols

Tools

Chisels, Drill

Hammer, Gouges

Crafts of

BELGAUM

Kasuti embroidery

Gold jewellery and

silver ware

Dhurrie weaving of

Navalgund

Subcuslters of

BELGAUM

Belgaum district:

Belgaum

Dharwad district:

Dharwad

Hubli

Navalgund

Uttara Kannada

district:

Karwar

Sirsi

RESOURCES


Kasuti embroidery

Gold jewellery and

silver ware

Dhurrie weaving of

Navalgund

Thread, Mirror,

Cloth

Gold & Silver

Gems

Cotton thread

Locally

available

Recycled

Jaipur

Locally

available

1. A goldsmit in Bagalkot.

2. Harmonium maker.

3. One of the many basket weavers making a

traditional storage and carrying bamboo basket,

Belgaum.

4. Kolhapuri artisan stitching the sole and the insole of

the footwear together.

Belgaum metacluster includes the district of Dharwad, Bagalkot,

and Karwar in Uttara Kannada, situated in the north western part

of Karnataka bordering Maharashtra and Goa. Belgaum is one of

the oldest towns in Karnataka. The ancient name of the town of

Belgaum was Venugrama meaning `bamboo village`. Belgaum

saw the reigns of all the major dynasties from the Chalukyan

period to the Maratha till the advent of the British rule. The old

town area with cotton and silk weavers is in contrast to the

modern, bustling, tree lined cantonment built by the British. In the

heart of the city are the fort and the other monuments that provide

a vocabulary of motifs to traditional crafts such as stone and wood

carving. Various non traditional skills have been introduced in the

region helping to rejuvenate lives of artisans.Among them are

Kolhapuri leather footwear, bangle making and toy making.

Bagalkot town is the headquarters of the newly formed district of

Bagalkot and is located on the banks of Ghataprabha River. Khan,

a special handwoven fabric, used for making sari blouses is woven

in this district. It also has a tradition of stone carving and metal

casting. Karwar, the district headquarters of Uttara Kannada and

port town, traces its history to the time of Arab traders. It has a

chain of five islands protecting it from storms. The region with its

waterfalls, hills and beaches inspired the great poet and playwright

Rabindranath Tagore to pen his first play. Gokarna, and ancient

centre of Shaivism, is situated near Karwar.

ACCESS

Belgaum, Dharwad and Karwar are well connected by rail and

road with other parts of the state. The nearest airport to other

clusters is situated in Belgaum.

GOLD JEWELLERY AND SILVER WARE

Ancient gold mines existed in Mysore, Hyderabad, Chota

Nagpur and Dharwad as well as other places in south India. The

kolar Gold Fields in Karnataka accounts for a major part of the

gold mined in the country. Gold jewellery in Karnataka has a

distinct south Indian identity inspired from the sculptured

ornaments of the Hoysala period. It is characterized by the

small gold forms made from thin sheet gold stamped in relief.

They are further decorated with granules and wirework.

Intrinsic to south Indian jewellery is the stringing of these tiny

pieces together with a central pendant. The pendant is circular,

oval or most often fan shaped, edged with tiny pearls.

Craftsmen are adept at making jewellery and ornamenal

products using techniques of repousse, chasing and

soldering.The daivajna Brahmin community, who migrated

from Goa, practices jewellery making in coastal Karnataka,

Earlier the crafting of jewellery involved a variety of specialists

- the designer, the goldsmith, the engraver, the enamellery, the

gem setter and the stringer. In recent times, the average

goldsmiths work independently. Soldered delicated creeper

patterns with beads of faceted gold are common designs seen on

chains and necklaces. Other designs include a combination of

ruby, pearls and semi precious stones set in gold. Silver

products range from keychains crafted in a combination of

filigree work, silver granumes and balls; ginde or ewers crafted

by casting the metal, embossing and chased silver caskets and

engraved plates.

1. Seen here is a goldsmith filing a caste gold earring which will be set with rubies,

Bagalkot.

2. Dhara mani, necklace worn as a sign of marriage by Saraswat Brahmin women.

Production Cluster

Uttara Kannada

district:

Karwar

Udipi district:

Udipi

Products

Gold:

Nose rings

Rings

Necklaces

Chains

Lockets

Lord Krishna idols

Silver:

Miniature chariots

Key chains

Ginde - ewer

Vermilion container

Pavi darni - rosewater

sprinkler

Tools

Hammers

Chisels, Plier

Bow drill, Cutters

Anvil, dies

3a, 3b A necklace (3a) and

detail of the beads (3b)

made with gold faceted

beads and coral. The

pendant cast in solid gold

is called kashitali. The

necklace is worn by

married women of the

Saraswat Brahmin

community in Karwar and

Mangalore.

4 Bangle in gold and ruby

setting was made by a

goldsmith about hundred

years ago.

5 Silver ginde or ewer,

Udipi

6 Ceremonial seat for an

idol made in Udipi.

7 Tools used for making

gold jewellery.

NAVALGUND DHURRIE

Production Cluster

Dharwad district:

Navalguud

Products

Jamkhans - dhurries

Tottale Jamkhan - for

cradles

Jainamaaz - prayer

dhurrie

Multiple arches -

dhurrie

Table mats

Guddar - floor

coverings

Tools

Tibni - wooden

pointed tool

Churra - knife

Rati - bamboo tool

Vertial loom

Panja - iron fork

The origin of he

Navalgund dhurrie can

be traced back to a

group of weavers who

migrated from Bijapur

to Navalgund during the

16th century. The

different types of

dhurries woven are the

Navalgund jamkhan

which is used as a floor

covering, and the

jainamaaz, prayer mats,

besides which they have

diversified into making

sofa and table mats.

Another group of weavers in Navalgund weave the guddar

on a ground loom, which is a floor covering with striped

patterns, used as a protective covering for grains. The

jamkhan or dhurrie is woven only by women of Muslim

Sheikh community. Weaving is done on a khaday magga,

vertical loom. Two weavers sit opposite to each other and

weave together the entire dhurrie by hand. As the woven

dhurrie is weft-faced, the warp is mostly of white cotton

yarn. The weft yarns are of bright colours of yellow, red,

blue, green. Famous among the motifs represented are the

choukhas of the dice game board, other patterns include

motifs of the mor, peacock; the chamor, peacock motif in

four corners, and geometric designs. THe jainamaaz prayer

mat has a single large arch in the centre that represents the

mihrab, the sacred arched niche. The arch is creatively

interpreted by weavers and is woven in the width instead of

the length. The Navalgund dhurrie is treated as a

memorable souvenir by the people of Navalgund and is

gifted to daughters when they get married.

Inset : Detail of the chouka or pagadi atte, dice game motif,

on a dhurrie.

Tottak jamkhan is 1.5 feet in width and

4 feet in length with a square in the

centre comprising geometric forms and

a border of serrated edges. This is

flanked by horizontal stripes on either

end.

Cotton dhurrie with a large field of horizontal stripes and

rhombus motif called badi ghari in the centre.

1. Detail of the mor or peacock motif.

2. Weaver beating down the weft yarn

which has been placed in the warp

shed of the vertical jamkhan loom in

Navalgund.

Tools : A panja, metal rod and tibri, a

pointed wooden tool, used in dhurrie

weaving.

An artisan embroidering on a silk sari.

KASUTI EMBROIDERY

Kasuti, believed to be derived

from the word kashidakari, the

generic name for embroidery,

merely refers to embroidery by

hand. It is a skill requiring

prolonged and rigorous training.

Kasuti embroidery is believed to

have originated from north

Karnataka which spread all over

the region. THere are literary

references which date back to

15th century.

Every woman was expected to adorn her sari and blouse

with kasuti embroidery. Kasuti developed mostly in

Lingayat community. Embroidery is seen as an essential

part of the sari, not as mere esbellishment. Kasuti

embroidery consists to four prominent stitches: gavanti,

double running stitch; muragi, zigzag running stitch;

neygi, darning stitch; and henthe, cross stitch. Menthe is

used to fill background areas of the design. It is derived

from the vernacular name for the fenugreek seed.

Traditional , this embroidery technique was used on

fabrics related to the rituals of marriage, childbirth and

festivities as well as daily wear for women and children,

and on household accessories. A Lingayat bride wears a

kasuti embroidered Ilkal sari woven with typical borders

and colour combinations in dark red, green and black. The

handwoven blouse with kasuti embroidery was considered

the most appropriate gift for an expectant mother. As the

Lingayat religion is deeply rooted in Shaivite philosophy,

prominent motifs such sa the liga, gopura (temple tower), ratha

(chariot), temple tank, lotus , animals , conch shell, border motif

representing a field of crop ready for harvest, are popular.

Inset : Detail of a kasuti motif of a linga, the symbol of Lord Shiva.

Production Clusters

Dharwad district:

Dharwad

Hubli

Narendra village

Kalghatgi taluka

Gadag district

Gadag

Bangalore district:

Bangalore

Products

Kulai or kunchi -

infant caps

Sari and blouse

pieces

Linen

Upholstery

Tools

Needle

Angushta - finger

ring

Scissors

Mesh fabric - used as

grid

1. Kasuti motifs

seen on the pallu

or cross border of

an Ilkal sari.

Shaivite

iconography is

noticeably

dominant in

kasuti motifs.

2. Kasuti motif in

double running

stitch.

3. Ratha, temple

chariot, a

traditional kasuti

motif.

4. Detail of a ratha,

chariot motif,

which symbolizes

a means of

communication

that elevates the

married couple to

the level of the

supreme

procreater Shiva.

CRAFTS - GOA

Kashta kari - wood

carving

Crochet lace

Menawati - candle

making

Otim kaam - brass

ware

Dhatu kaam - copper

ware

Terracotta

Maniche kaam -

bamboo craft

Boat making

Coconut based

craft:

Frond plaiting

Rope making

Saran - broom

making

Naalache kaam -

coconut shell craft

Fibre craft

shimpla hast kala -

seashell craft

Leather craft

Fishing traps

Languages

Konkani

Marathi

Portuguese

English

Hindi

Festivals

Christmas

Easter

Carnival

Diwali

Shigmo

The natural harbour at Goa made it a strategic location

and a base for a flourishing sea trade. Traditional skills

such as making fishing nets, ropes, mats, baskets,

boats, and roof and wall coverings from coconut fronds

evolved from the livelihood of the people and their

environment.

After the rule of Adil Shah of Bijapur, Goa finally passed into the hands of the

Portuguese in the 16th century who came to India following the spice route and

brought with them new religious ideas. They made it the capital of the eastern

empire. Goa remained an important Portuguese colony till 1961 leaving a

significant influence on the arts and crafts of the state. The Portuguese

introduced crafts like lace and crochet, candle making, wood and ivory carving

on the furniture and statuettes. After the integration of Goa into India as a union

territory and later an independent state in 1987, the 105 km coastline dotted

with innumerable palm fringed beaches attracted tourists. Crafts like seashell

work, embossed metal

work, terracotta evolved as a response to

tourism. Portrayed as easy going and relaxed,

the Goans are connoisseurs of food and

music taking pride in their folk dances and

annual festivals such as the Carnival (held

four days before Lent) and Shigmo ( a full

moon pre Vedic festival)

Inset : The cashew fruit is grown in

abundance in the region and exported.

1. Balcony of wrought iron, characteristic

of old Goan architecture, Braganza

house, Chandor.

2. The mausoleum of St. Francis Xavier

is a three tiered catafalque structure

designed by the florence sculptor

Giovanni Batista Foggini. The tomb is

constructed of rich marble and jasper

of variegated colours. On the topmost

tier of this structure, lies the silver

casket in which the relics of St. Francis

are deposited. This casket was

constructed by local Goan silversmith

under the supervision of European

Catholic Jesuits.

Attire

Skirts & Blouses

Vol - two piece

draped garment.

Sar - draped cloth

Cuisine

Rice

Fish Curry

Chourisso - Goan

sausages

Balchao - prawn

Vindalho - pork

Bebinca - dessert

Feni - cashew / date

palm alcoholic drink

Man walking down a street in Panaji at

siesta time.

Bamboo products in the market at

Mapusa.

Flea market at Anjuna beach, a popular

tourist place. Banjaras or gypsies, sell their

handcrafted wares at such markets.

Landmarks

The Basilca of Bom

Jesus

The Church of Our

Lady of Immaculate

Conception

Se Cathedral

St. Catherine Church

Mahalsa Temple

Mangueshi Temple

Sahyadri Range

Beaches:

Anjuna

Goa with its capital in Panaji, is divided into two districts

North and South. It has three geographical regions - a long

coastline with the Arabian Sea on the west; the river basin

and the plateaus in the centre and the mountainous region

of the Western Ghats, the Sahyadri Range in the east,

which is also a source of all its rivers. The foothills of

Sattari, Sanguem and Canacona talukas, administrative

blocks, are rich in forests with trees such as jambul (rose

apple), mango, dalchini (cinnamon) and local species of

bamboo. The coastal plains have trees such as coconut,

date palms, jackfruit, cashew, banana and pineapple, which

inspire lot of ingenuity like basketry, boat making and

dwelling.Fishing is important as both a local and export

industry and Goa produces more than one third of India`s

Iron ore. Its economic growth is driven by the mining and

services sector besides tourism. Tourism influences the

crafts of terracotta, seashell, natural fibres, painted wood,

lac ware and leather. Goa`s distinctive architecture derives

from the Portuguese aesthatics and culture that founds

roots in the local tradition of buildings and handcrafts. The

white washed churches, mansions, residential quarters of

Fontainhas and the historic chapels of Old Goa are a

repository of wood carving, furniture, corchet and lace

textiles, wrought iron work, and a vocabulary of

Portuguese architecture.

ACCESS

Office of the Customs and Central Excise, Panaji, The distinctive Goanese architecture

flourished between 1750-1950 AD. White being the colour of the church, the secular

buildings were distinguishable by the profuse use of colours - red, ochre, burnt clay and

indigo at first, and a variety of pastel shades as more colour dyes became available. Goan

architecture combines idioms of pre-portuguese era and Hindu ancestory into its colonial

appearance. The houses have verandahs with wrought iron railings and lace like cornices that

are painted white.

CRAFTS - GOA

Kashta kari - wood

carving

Crochet lace

Menawati - candle

making

Otim kaam - brass

ware

Boat making

Terracotta

Coconut based

crafts:

Frond plaiting

Rope making

Saran - broom

making

Naalache kaam -

coconut shell craft

Dhatu kaam - copper

ware

Shimpla hast kala -

seashell craft

Maniche kaam -

bamboo work

RESOURCES


Kashta kari

Painted

wood

Coconut

craft

Rosewood, Teakwood,

Jackfruit wood, Jungle

wood

Mango and amba wood

Coconut husks

Canacona and Sanguem

district

Local forests

Mapusa weekly market

Crochet Cotton yarn Mapusa weekly market

Terracotta Lal mati -red clay Bicholim

Otim kaam Old brass Mapusa

Maniche

kaam

Bamboo

Dhatu kaam Copper sheets

Shimpla

hast kala

Seashells

Leather craft Cured leather

Pernem, Bicholim,

Bardez, Tiswadi, Sattari

district

Hubli, Karnataka

Beaches of Goa

Mumbai, Belgaum,

Kolhapur

Fibre craft Kumiyo and Kevni fibre Quepem district

Goa is very well connected by road via national highways.

The railway station in Madgaon is an important rail

junction. Dabolim Airport is well connected by air to

Mumbai and other Indian cities.

Laterite

architecture,

Cathedral of Bom

Jesus.

Radiating lines on a wooden door at

the Cathedral of Bom Jesus. The

visual vocabulary derived from a

Portuguese legacy is seen in the

motif of the rising sun that repeats

itself in different forms across

different materials.

Subclusters of GOA

North Goa district:

The making of copper port in the final stage of

hammering, Mapusa.

Wooden chair being ornamented by

carving.

Woman plaiting coconut frounds,

Asagaon.

Asagaon

Bicholim

Calangute

Divar Island

Mandrem, Mapusa

Mulgaon, Mangueshi

Panaji, Pernem

Provorim

Sanquelim, Siolim

A craved wooden sofa

from a house in Old

Goa.

Production Clusters

South Goa district:

Canacona

Sanguem

Cuncolim

North Goa district:

Bicholim

A divan made of teak carved in the Portuguese style.

KASHTA KARI - WOOD CARVING

Wood carving was traditionally done by the Suthar and Badhai

communities for temple interiors, doors and exteriors, palanquins and

temple chariots. Teak was used for constructing buildings and making

furniture, doors and windows, and rosewood for decorative carving. With

the arrival of the Portuguese in India and the movement of artisans

between the two countries, Indo-Portuguese aesthetics flourished.

1. Wood carving in low relief at a cathedral, Old Goa.

2. Carved four poster bed, Chandor.

3. Cupboard detail of and embossed grape leaf, Panaji.

4. Carved chair at the Panjim Inn Hotel, Panaji.

5. Carved wooden cupboard and chair from the collection at the

Braganza House.

Products

Carved furniture

Mirror frames

Boxes

Photo frames

Bookshelves

Tools

Kutti - wooden beater

Hinni - chisels

Tutiyo - hammer

Chinney - right

angled chisel

Guno - right angle

sharpener

Garbin - marker

Kanas - file

Kathey - protractor

Kissore - planer

Karva - hacksaw

Mol - patterns

This was reflected in the inclusion of motifs such as the grape in the

repertoire of floral motifs like lotus, pipal leaf, palm leaf, surajmukhi or

sun faced panels. The Portuguese centres for carved furniture thrived in

Diu, Daman, Goa and Calicut or Kozhikode in Kerala. Most of the raw

materials for this craft are now procured from the densely forested area on

Canacona, the southernmost region of Goa and Sanguem, the easternmost

and the largest taluka (administrative block) in Goa. Once the wood is

seasoned, it is planed and cut into blocks as per the design.

The pattern is transferred to both sides of the block with the help of a

stencil and a chalk, and carved accordingly. The carving is done

entirely manually using chisels and hammers. The components (for

example, the legs, seat and back of the chair) are assembled with iron

or wooden nails. Finally it is polished, with or without colour, and

varnished. Rosewood and teak are used for making furniture, jackfruit

and jungle wood for cheaper products.

CROCHET AND LACE WORK

Needle work like crochet,

tatting and lace making were

introduced by the nuns of the

Santa Monica Church and

Convent in Old Goa in 1606.

Lace was used to make

liturgical vestments like

stoles, chasubles, albs and

edgings for everyday wear

and for ceremonial attire of

women.

Traditionally, a new bride would carry with her clothes and

pieces of fabric she made herself to demonstrate her skill in

needle work. Crochet is needle work done by interlockeing

looped stitch with a hooked needle with the motifs worked

either in rounds or in rows done with a single continuous

thread. International tourism has now created a market for

crochet and lace products and many market cooperative

societies and convents employ hundreds of women to make

intricate pieces for embroidery boutiques in Panaji. These are

also sold at popular tourist sites such as the Saturday night

market in Arpora and Wednesday flea market at Anjuna

beach. Floral and goemetric designs are popular with the

commercial and tourist markes.

Part of an old altar cloth with embroidery or net from a church in Old Goa.

Production Clusters

North Goa district:

Panaji

Mapusa

Asagaon

Mulgaon

South Goa district:

Sanguem

Inset : Three dimensional crocheted table mat.

1. Detail of a garment made of Lace, Panaji.

2. Table accessories made by tatting.

3. Oval table cloth with delicate lace work, Panaji.

Products

Cushion covers

Tablecloths

Coasters, Mats

Door hangings

Bed covers, Altar

cloths

Garments, Bikinis

Tools

Hooked needle

MENAWATI - CANDLE MAKING

Production Clusters

North Goa district:

Divar Island

Calangute

Products

Candles

Tools

Moulds

Menawati or candle making is traditionally an integral part of

spiritual Goa. Candles are used for festive and religious

occasios like the start of the Easter season, baptisms and

wedding as a symbol of the Christian virtue of self sacrifice -

they burn themselves to give out light to the world. They are

made by churches and local entrepreneurs by puring molten

wax (earlier beeswax found in forests) down a suspended wick

that hardens as it drips resulting in a long tapered conical shape.

Candles are also made with moulds. Chemical colours are

added to make them more attractive. Once formed, the candle is

scraped and polished with a soft cloth.

1. Moulds used for

making candles,

Old Goa.

2. Candles burning

at the church

altar, Old Goa.

OTIM KAAM - BRASS WARE

Brass ware products now available

in showrooms at Madgaon, Mapusa

and Panaji cater to both tourists and

local people. But, earlier, the

Kansara community made brass

lamps that were used for religious

ceremonies and festivals in temples.

The exceptionally tall brass lamp towers, along with a range of

large and small lamps became a distinguished feature of Goan

temples such as the famous Mangueshi and Mahalsa tempes. Brass

lamp making is prevalent all along the west coast in Kerala,

Karnataka and Goa. The two methods of brass ware craft are

governed by their end products - pressing from brass sheets is for

smaller ritual posts and parts such as handles while casting is for

lamps, ritual posts, candle stands, mortar and pestle. For csating,

the lamp to be created is made in wax hardened in mixing resins.

This model is used to make a master mould in aluminium which is

used to make the negative form into which the molten brass is

poured. The cast object is removed from the mould and cleaned.

The brass object is removed on a lathe and a buffing machine. The

various parts of the lamp are made seperately and then assembled.

The pieces are finished and engraved by hand.

Inset : A three tiered brass lamp used during worship at the

Mangueshi Temple.

Sevanazhi, a brass kitchen gadget : the screw press is used to make

vermicelli - like sevai, from dough that is squeezed through a die

with holes. The thread like vermicelli is collected in a plate kept

underneath.

Niranjan, used for rituals by priests in temples.

A decorative diya stand similar in vocabulary to

the catholic candle stand.

Production Clusters

North Goa district:

Mapusa

Sanquelim

Bicholim

Products

Niranjan - brass

lamps

Samala - large lamps

Kalash - ritual vessel

Tapli - small vessel

Kahlbatt - mortal and

pestle

Peep - small vessel

for water

Attar dandis -

perfume sprinkler

Tools

Moulds

Lathe Machine

Buffing machine

A candle stand

A multi tiered brass lamp about 3 feet tall. It is

used to light oil wicks placed in the grooves

around each tier. The lamp is lifted by both hands

and used during worship.

Container and spoon for holy

water given to devotees in

temples.

A brass lamp that is about 2

feet tall.

Detail of stitches after oiling, Madkai.

An unfinished boat in water.

BOAT MAKING

Production Clusters

South Goa district:

Colva

Palolem

North Goa district:

Madkai

Products

Odis - big boats

Poneyleys - canoes

The importance of Goa in sea trade made Goans skilled at

ship building and boat making. During the reign of Adil

Shah expertise from Egypt was sought for building ships.

Earlier, oak, pine and corkwood were used to make ships

while now the single tree trunk of a mature monoembryonic

mango tree is used for making a sturdy boat as this wood is

soft, light and good for carving. The trunk is first levelled

(the top is sliced) till the height of the boat is obtained. The

pith is scooped out from the trunk, and water is filled in the

cavity while the inside of the boat ar not carved so that the

wood stays soft. The oars are made from the sliced top. The

boat can be rowed with either one or two oars. Once the

boat is completely carved the surface is filled and

sanpapered till it becomes smooth. Then, cashew oil is applied on

the surface to waterproof it. The ideal porportions for a boat are :

girth of the tree, 7 hands; diameter 1.75 hands; and length, 17

hands, that is, from the tip of the fingers to the elbow. Boats are

now used for fishing and transportation of sand for constructin.

They are made in very few places like Madkai near Ponda. Big

boats are made on the beaches and coastal regions.

Tools

Kurad - big axe

Tasani - small axe

Vinney - chisel

Khalasani - curved

chisel

Hathodi - hammer

Sharpening stone

Odi, a big boat kept on

planks while under

construction. Semi

finished canoe,

Madkai. Canoe with

water filled in to soften

the wood, Madkai.

Detail of a boat under construction, Madkai.

TERRACOTTA

Production Clusters

North Goa district:

Bicholim

Calangute

Products

Cooking pots

Small lamps

Idols, Sculptures,

Planters, Vases

Masks

Pen stands

Paperweights

Candle stands

Plates

Tools

Thaparno - flattening

tool

Carving tools

The Northern district of Goa is famous for its clay pottery

traditionally done by the Kumbhar community for utilitarian

purposes of cooking and storing water. Due to international exposure

and tourism, some craftswomen have now ventured to make large

figurines and expressive masks for commercial purposes. These are

made by the method of sculpting clay and manipulating the material

and form by coiling, beading, pinching, slabbing and curving. If any

parts are to be added, a clay slip is used to join two pieces. For

producing larger quantities, slab casting is used where the clay is

pressed into pre prepared moulds made from a master pattern. The

terracotta objects are fired in a kiln and cooled for a day. Some

objects are also made from stoneware body which

1 A terracotta mask

is mould casted, biscuited

and glazed at much higher

temperatures. The third

method for making a

variety of objects such as

pots, bowls, plates and

vases is throwing. Red

clay is obtained from the

fields in Bicholim then

kept in water for two days

and sieved through a net

till a fine homogenous

mixture is obtained. It is

left to dry for 10 days till it

is ready for kneading. Clay

that has been well kneaded

is shaped by throwing. All

the terracotta products are

available in Mapusa`s

weekly market and in

emporia in Panaji and

Madgaon.

2 Candle stands are bought

as souvenirs by tourists,

Bicholim.

3 Clay sculptre of a

Kiln

woman that caters to a

modern clientele,

Calangute.

1. The broom at a preliminary stage of construction.

2. A partition made from coconut leaves, Calungate.

COCONUT BASED CRAFTS

Coconut tree plantation sustains the farmer by being a

uniquitous source for thatch, timber, roof, rope, shell and

fibre handicrafts. The tree yields a variety of products

from fuel to building material, food, liquor and oil.

Coir Dori - Rope Making

Ropes are made from the fibre that is obtained from the

husk of a coconut. The coconut is kept buried in slush

near the sea for a year to soften the fibre called coir; then

the husk is removed by hand and beaten till it becomes

fine, and is finally dried. The fibre is pulled out and

twisted to form a strand. This is then doubled and twisted

to form the rope. More fibres are twisted when required,

to make a continuous length.

Coconut Frond Plaiting

The fronds of the coconut leaves are plaited when green

and then dried for making utility items such as roof

thatch, cover to protect mud walls, rain shields, sandals,

bags and shutters for windows. These products provide a

soothing relief in the heat and humidity of the Konkan

coast. Interestingly, the Konkan Railway Corporation has

erected thatched shelters for the benefit of travellers at

most of the railway stations along the Konkan and

Malabar coasts.

Saran - Brooms

Brooms are made of both green and dry coconut leaves by first removing

the central thick vein of the coconut leaf. Then, the fronds are stripped

with a knife and cleaned till they are fine and smooth. Once all the veins

are stripped, the thick end of the tapering vein is taken as the top and the

fibres are braided (3-ply) in such a way that veins end up in a line,

connected to each other by the braided line on top. The rope is extended

beyond the last stick by twisting a length of coconut husk into it. The

sticks are then wound round to form the saran, with a conical cap of

braided husk. Brooms are also made from date palm leaves.

Naalache Kaam - Coconut Shell Craft

This craft was started around 20 years ago as a commercial venture to

produce a variety of decorative and functional objects like ladles, bowls,

pen stands, boxes, salt and pepper shakeers, clips, accessories like

brooches for the modern market. Very ripe coconut is then brushed. Once

the figure has been carved onto the shell with knives and chisels, the

trimmings and accessories are fixed onto it. The object is finished by

polishing and application of wax. When possible, a buffing machine is

used, which results in a smooth and shiny surface.

Production Clusters

Villages all over Goa

Products

Coconut leaf

plaiting:

Rooft thatch

Rain shield

Sandals, Bags

Window shutters

Dori - rope

Saran - brooms

Naalache kaam -

coconut shell craft:

Ladles, bowls

Pen stands, Boxes

Salt & pepper shakers

Clips

Accessories

Tools

Knives

Chisels

Different stages of making a broom,

Morjim.

The interconnected sticks result in strong brooms,

Morjim.

Coir fibre from coconut husk is twisted to make

ropes.

3 Liquor bottle with base made of

coconut shell. It has a sleeve made

by wrapping coir over the neck of

the bottle and a coir rope handle,

Betim.

4 Traditional coconut shell bowls.

5 Contemporary products like

incense stick holders made from

coconut shells, Panaji.

Coir ropes for sale at Mapusa market.

Texture detail of a hammered pot,Mapusa. Detail of the lid of a copper jewellery box shown below.

DHATU KAAM-COPPER WARE

Production Clusters

North Goa district:

Mapusa,Sanquelim

Products

Confro-pot for

steaming rice

dumplings

Storage pots

Jewellery box

Cooking vessels

Serving plates

Tumblers

Tools

Katar-scissors

Hathodi-hammers

Kanas-file

Chimti-tongs

Confro,a pot for steaming idlis,Mapusa.

THE KANSARA COMMUNITY has been

involved with copper ware since generations

and a range of copper cooking and storage

vessels formed an important part of the bride`s

trousseau.Even to this day people from all over

Goa come to the popular Mapusa weekly

Friday Market to shop and sell pots and

utensils.

.The products are also available in Panaji.Large vessels for heating

water,idli steamers,vessels for deep frying,and jewellery boxes are

made from copper sheets that are rolled,pressed and beaten while

plates and tumblers are made by the spinning method.copper sheets

are brought from Hubli in Karnataka.The sheet is cut into the required

dimensions for the base and sides.A mixture

of zinc and brass(khadas)applied to the edges is welded

to each other with tongs over a fire in a forging

machine.After the welding,the object is kept in water for

five minutes and allowed to cool.It is then taken out and

polished by rubbing a mixture of acid,sand and tamarind

on the surface with a clean cloth.Once the pot has been

polished,it is left to dry in the sund for some time.Finally

the pot is hammered to give it a shape.The uniform

beaten marks on the surface characterize these pots and

strengthen the material.

Traditional copper jewellery box,Mapusa.

The inside of the confro,Mapusa.

SHIMPLA HAST KALA-SEASHELL CRAFT

Production clusters

South Goa district:

Madgaon

North Goa district:

Panaji

Porvorim

Mandrem

Mangueshi

Products

Screens

Boxes

Mirror frames

Jewellery

THE LONG COASTLINE OF Goa with its

beautiful beaches provides seashells in

abundance.Goa has several varieties of seashells

obtained form Hemifusus,Littorina littorea,Dentalium,Tibia

curta,Turritella and Cypraea

arabica.Shells are combined with other materials

like brass,plastic ,wood and horn to make an

assortment of products for the home.These are sold

in handicrafts shops,state emporia and at beaches;in

their natural form or by sticking them onto the

surface of a clay or glass object for the

tourists.Their value is determined by their size and

shape.The shells that are made into artifacts are

first cleaned in water,soaked in a very weak

solution of

Salt and pepper shakers target the tourism industry.

hydrochloric acid and then dried in the sun.There are various stages that the

shells pass through-cutting,filling,carving,painting,polishing and

sticking.Drilling machines and cutting machines are used for the

purpose.The Portuguese had introduced the use of flat,translucent mother -of

-pearl shells in window shutters to diffuse daylight.They can be seen in old

churches and houses.

Old window detail with flat seashells.

Tools

Drillin machines

cutting machines

Jewellery box made of a combination of shell and

brass,Panaji.

MANICHE KAAM-BAMBOO CRAFT

A WIDE RANGE OF utilityd products like

baskets,winnowing trays and mats are made from bamboo

strips.Bamboo is locally available,sometimes grown by the

craftsmen themselves in

Pernem,Bicholim,Bardez,Tiswadi,and Sattari

district.Traditionally,the Mahars excelled in bamboo

products that were used by fishermen for functional

purposes.This work is still done by the same community and

there is a great demand for their products.These baskets are

available in the Mapusa Friday market and are ordered by

hotels andd restaurants.The bamboo is soaked for two or

three days in sea water for seasoning and dried in the

sun.when completely dry,it is segmented.The pith inside is

removed and used as fuel.The bamboo is then cut into

strips.These strips are further cut into splits that are used for

weaving the basket.Mostly,the outermost layer of the

bamboo or skin is removed completely.The baskets are made

only with the inner part.To colour the splits,chemical colours

are boiled in water,and the strips are left in this solution for

half an hour and dried.

1. Bamboo mats and partitions,Mapusa.

2. Baskets and attractively coloured ,hand fans for the

Mapusa market.

3. A traditional bamboo basket,Bicholim.

4. Basket making,weekly Friday market,Mapusa.

Production Clusters

South Goa district:

Madgaon

Cuncolim

North Goa district:

Porvorim

Pernem

Bicholim

Mangueshi

Products

Products

Shibe-colander

Soliye-large mats

Dali-ceremonial mats

Boxes,flower vases

Soop-winnowing tray

Kodo-chicken basket

Bhatache kodo-grain

baskets

Tools

Koyto-large knife

Suri-small blunt knife

FIBRE CRAFT

FIBRE CRAFT IS A seasonal activity carried out by the people in

their spare time in the late evenings for making ropes(for drawing

water from the wells and tethering animals)out of kumiyo and

kevni plant fibres.Ropes are made in the same way as those made

from coconut husk,by twisting two strands and doubling or

tripling the thin rope if a thicker rope is desired.The strong fibre

of kumiya has a golden hue and is smoother,the filaments

longer,softer and more lustrous than coconut husk.the fibre

extracted from kevni is brownish and ropes are not made for

commercial purposes.The Institute of Social services in Betim

trains craftswomen to work with

Sisal fibre,Betin

Production Clusters

South Goa district:

Quepem

Products

Bags

Ropes

Coasters

Tablemats

banana,coconut,sisal and pineapple fibre to make products like

bags,pouches,folders and coasters to be soldd through shops and emporia.The raw

material required for these(with the exception of coconut fibre)is scarce and

collected from the forests only between the months of October and January or

brought from other states.

Bags made of sisal fibres that are first plaited and later stitched to form a

surface.Sisal fibre is obtained from the leaf of agave,a succulent plant.

Sisal fibre has been dyed and plaited into narrow strips.These are made of looped

rows that are stitched together.

Tools

Knife,needle

Crafts of Dadra and

Nagar Haveli

Bamboo fish traps

Bamboo baskets

Terracotta and

Pottery

Fishing nets

Subcluster of Dadra

and Nagar Havelih

Vaghchhipa

Dudhni

Khanvel

Bedpa

A papier-mache mask

of a local

diety,Hadimba.

Districts - 1

Craftspersons (Not Available)

Teak trees and the Damanganga reservoirs.

Physical Features

Western Ghats

Major river:

Damanganga

Biodiversity

Flora:

Saag-teak

Biyo-bivlo-Indian

kino(Pterocarpus

marsuopium)

Vaas-bamboo

Nilgiri-eucalyptus

Kaju-cashewnut

Mahuddo-butter cup

(Madhuca indica)

Jambu-rose apple

Amla-gooseberry

Limdo-neem tree or

margosa tree

Amli-tamarind

Behedo-Black

myrobolan

(Terminalia bellerica)

Sheesham,Kher,

Saru,Bengali bawal

Fauna:

Tigers,Lions,Panthers,

Deer,Antelopes

Water Buffalo

THE UNION TERRITORY OF Dadar

and Nagar Haveli is a heavily forested

tribal belt,less than 500sq km,situated

between the foothills of the Western

Ghats and the Arabian Sea. It comprises

Dadra with three villages and Nagar

Haveli with 72 villages and the capital

Silvassa(derived from the Portuguese

word silva meaning woods.)

Nagar Haveli was ceded to the Portuguese in 1783 and two years

later,they acquired Dadra,which became a fiefdom of a kind till the

Portuguese rule finally ended on August 11,1961.A majority of the

population consists of the Warli,Dhodia and Kokna tribe with

smaller groups of Koli,Kathod. Nayaka and Dubla speaking a

variety of dialects.Farming on terraced land,an animal husbandry

are their chief occupations.Their songs and dances done to the

accompaniment of musical instrumentsd which are crafted

indigeniously,celebrat aspects of the cycles of life,seasons and

agriculture.Silvassa the headquarters of Dadra and Nagar Haveli,is

set in sylvan surroundings with forests that covers 40% of the

area.The region abounds in lakes,dams,waterfalls and streams and

the ecology of the Western Ghats has nurtured a rich flora and

fauna.The Church of Our Lady of Piety,one of the oldest churches

in India was built here in 1889.It is home to many tribal

communities who depend heavily on the forests for their

livelihood.Their close relation with nature has been disrupted by

the growth of medium and small-scale industries that have been

ushered in by tourism development and declaring the region as a

tax-free zone for industries.The tribal communities sense of

harmony and symbiotic relation with nature is expressed in the

indigenous materials such as bamboo,clay,wood and

stone,manifested in ritualistic and utilitarian crafts which have been

influenced by the rich texture of the local natural resource.

ACCESS

The union territory of Dadra and Nagar Haveli can be accessed by

road since it almost touches the Mumbai-Vadodara-Delhi National

Highway 8.The nearest railway station is in Vapi.Mumbai is the

nearest airport.

Craft

Terracotta and

Pottery

RESOURCES

Raw

Materials

clay

Sources

Vaghchhipa

Bamboo fish traps Bamboo Silvassa,Khanvel village

Fishing nets Nylon Silvassa,Dudhni village

Bamboo baskets Bamboo Silvassa , Vaghchhipa

village

Language

Gujarati

Bhildoli or Bhili

Hindi

English

Festivals

Dussehra

Diwali

Holi

Folk dances

Landmarks

Church of our Lady

of Piety

Bindrabin Temple

Tribal cultural

Museum

Golden bamboo,Khanvel.

River courses are dammed with bamboo mats and poles to

divert fish into nets or bamboo traps.Traditional structures

such as these are used in silvassa.

Fishing net being thrown by a fisherman.

3 Musical instruments are integral to tribal culture

and society.The Dhodia,Nayaka and Dubla

communities play a range of musical instruments at

weddings and during worship.

3a Tarpa,a wind instrument.

3b Ghanghri,a string instrument that is made with

gourds,is used by the Warli community as an

accompaniment during singing and story-telling

performance.

3c Tur(drum)made out of clay and leather;thali(brass

plate) and a striker are percussion instruments.

4 Fisherman at a dam made of branches.Beside him is

the bhot- a bamboo trap for fish.

5 Local women in their bright coloured attire.

6 Vir Dev,a memorial made out of sandstone,is

erected in honour of a dead warrior at Khanvel.The

memorial stone is 4 feet high and about 1-5feet wide.

7 Detail of carving on a tall wooden pole which is

placed on either side of the road at the entrance of

Khanvel village.The detail depicts symbols of the sun

and the moon,which are worshipped by warriors.

Stones ae worshipped by the Warli and kokna

community.Tribal societies are most oftend

animistic in their world view,which implies

that they believe that inanimate objects such as

wood and stone possess a soul and can exert

supernatural influence over people.

Ghanti,mill for grinding grains,is hand carved

from stone.

Attire

Warli men:

Loincloth

Small waistcloth

Turban

Warli women:

Lugden-knww-length

sari

Padar-upper cloth

Kokna men:

Knee-length dhoti

Waistcoat/Shirt

Turban

BAMBOO FISH TRAPS

Production clusters

Silvassa

Khanvel village

Products

Koyta-machete

Bamboo needle

Lakda-wooden piece

Tools

Bhot, Tonda, Sattafish

trap

THE TRIBALS MAKE three locally used bamboo fish traps

-bhot(cylindrical structure),tonda and satta(Conical

structures)that are economically viable with the easy

availability of bamboo in the surrounding forests.Khadan,a

kind of boulder dam,consisting of murul made of heavy

stones held within wooden stakes and bamboo lashings,is

intermittenly placed across the river.This raises the level of

the river and diverts the water through the bara,space

between the muruls where the fish traps are set.A cylindrical

container,bhot and the conical structure shiba,fit together to

form the complete trap.The finished trap is located at the tip

of the bara to receive the incoming fish in the water

flow.The fish get trapped while water flows out of the gaps

in the structure.A bamboo needle,kandi,is used to stitch the

structural elements of the trap.While nylon thread is

currently used,it was previously made from the fibre of a

local leaf.The construction is elegant and simple using local

materials with an understanding of the functional

requirements of fishing.The fish is stored in Kirkinda,a

basket for transporting it to the village.

1. View of the construction of the khadan and the bamboo

mat,fishing net and fish trap that are placed in the wter

catchment area below the dam.

2. Bhot,cylindrical fish trap;shiba,conical funnel-trap placed at

the mouth of the bhot and the mat.

3. Placing the bhot,shibha and the mat in the stream.

4. Kirkinda,a bamboo basket for keeping fish.

BAMBOO BASKETS

Production Clusters

Silvassa

Vaghchhipa village

Products

Karandia-chicken

basket

Nani topli-small

basket

Moti topli-big basket

Chhabdi-shallow dish

Tingadiu-hanging

basket

Agarbatti-sticks for

incense

Ice cream sticks

THE INHABITANTS STILL practice their age old tradition of making bamboo baskets for

storing grain,drying boiled padddy,transportation of gobar,cowdung,and as grain

measures,besides also serving as chicken coops,fish baskets and traps.Those intended for

storage,gobar transport and grain measures are plastered with a compound of clay and

cowdung to enhance their utility.The variety of bamboo used is green gaoghari vaas,which

is pliable and easy to form.The green outer layer of the bamboo is split into eight strips

which form the radial base.

Structure.The base armature is

placed on the floor one over the

other at equal distances in a circle

and tied with a thinner bamboo

split.After three rounds of alternate

stems the basde is ready then the

sides are woven using splits which

are narrower in width.This rim

construction of twod inches is

interlaced in a different weave.The

baskets are usually roughly hewn

and in a basic construction style

that is robust and functional since

the strips are not polished at the

point of making,however it gets

smooth during use and acquires

sheen.

A typical bamboo basket.

Tools

Difu-bamboo piece

Chara-knife

Paatalo-stool

1. The base of the chhadi is

made separately and inserted.

2. Woven baskets viewed from

the street.

3. A basket with a lid that is

used to keep the offering

made to Kansari

Devi,Goddess of grain.The

offering is preserved in the

basket for a year to ensure the

blessings of the goddess for

an entire agricultural cycle.

4. The basket contains stones

smeared with

sindoor,vermilion

powder,along with silver

plates embossed with icons of

gods and godesses and ricegrains,are

offered to Kansari

Devi,Goddess of grain who is

worshipped at the time of the

new crop.


THE FEW REMAINING potters in Vaghchhipa have been

practising for more than three generations since the time it was a

flourishing centre for pottery.Apart from the utilitarian products

and votive offering,the terracotta repertoire also consists of figures

of deities for ceremonial and auspicious occasions.The

ghumat,dome-shaped shrine with an opening to hold a lamp,is

offered to the departed person whose spirit is invited to reside in

it.A wheel-thrown water pot is transformed into a shrine by

Tools

Panko-stone

Tipni-beating tool

Bhatti-furnace

Tachka or Areetha -

polish

Fishing net,Cloth

string

Kaplu-metal piece

adding a border,horse figures and a form resembling the

auspicious offering of kalash,pot and betel leaves.The tradition

of offering a ghumat or dhabu,shrine,is also prevalent in Chota

Udaipur in Gujarat and Jhabua in Madhya Pradesh-with regional

variations in the size and design of the shrine.

Production Clusters

Silvassa

Vaghchhipa village

Products

Matka-kodiya-small

lamps

Nani gadvi-small pot

Loti-glass

Taadi nu ghadiyaliquor

container

Ghumat,Bonbhi

Baramdev-votive

offerings

Choras bedhu-water

container

Maatlu-containers

Taadi-pot

1. A part of the

process of

making a votive

offering out a

terracotta pot in

Dadra.

2. The artisan

makes scallops

by pinching the

wet clay,which

is added to the

por by scoring

and grooving its

surface.

3. Making a pattern

of small notches

with a scraping

tool on the pot.

4. A completed

ghumat,shrine.

FISHING NETS

THE MEN AND women of the Rahekar,Warli and Kokna fishing

communities have been residing in Dudhni Village for more than

three generations and making fishing nets that require minute

detailing.The women do the preparatory work that includes

making and mending nets.The knot forming sutar string is passed

through the crown of the pendant loop in the

Fishing net.

previous row and round its two ends.The handmade fishing net

have been replaced by synthetic factory-made ones.Even in

contemporary times,monetary exchange is limited,and the barter

system is the primary economic mode among the communities

where fish is exchanged for grains.

Detail of a handmade fishing net.

Production Clusters

Silvassa

Dudhni village

Products

Fishing nets

Tools

Bamboo stick

Crafts of Daman

and Diu

Daman:

Embroidery,Crochet

and lace work

Diu:

Tortoise shell carving

Physical Features

Daman

Arabian Sea

Diu:

Plains

Coastline

Coconut palm groves

Major rivers:

Daman:

Bhagwan River

Kalem River

Damanganga River

Diu:

Chassi River

Districts - 2

Craftspersons (Not available)

A salt pan in Diu,Alongwith fishing and tourism salt-making is one of the few industries in Diu.

Festivals

Daman:

Nariyal Purnima

Gangaji Fair

Portugese Folk Dance

Kathiawadi Garba

Diu:

Kajara Festival

Madhi Festival

Ghormata Festival

Vavta Festival

Languages

Gujarat

Portuguese

English

Diu town has the last remaining functional

church of St Paul`s,dedicated to our Lady of

Immaculate Conception.Completed in 1610,the

church has an excellent Baroque facade,adorned

with curiously treated volutes and a very fine

selection of wooden panelling and furniture

inside,including the left,is the shell-like motif of

the rising sun.

Daman and Diu is the second smallest union territory in

Indai.It comprises two parts: Daman,a small part in the

Gulf of Khambhat(earlier Cambay) and Diu,an island

joined to the Gujarat mainland by a creek.Daman, a

picturesque port town situated on the west coast of

India,an erstwhile Portuguesed enclave(earlier called

Damao).The district is divided into two by the

Damanganga River-the northern region Nani Daman

(little Daman) with hotels and bars,and the southern

Moti Daman (big Daman) with government buildings

and churches.Fishing is the primary livelihood of most

of the local people and making fishing nets caters to

it.Diu is a secluded tiny islet in the Arabian Sea,786 km

from Daman.Diu (from the Sanskrit word dweep)has a

coastal length of 21 km and is connected to the

mainland by two bridges,one near Tad village in

Gujarat.An important trading and naval outpost,it

remainded a colony of the Portugese till 1961.It is now

a popular tourist destination for its fascinating coastline

interspersedd with Portugese style architecture.The

earlier crafts were exquisite woven and dyed fabrics that

were exported but now the sole craft is jewellery made

from tortoise shell,horns of animals and ivory.Most

people are engaged in fishing and salt production as

these are exported.The fishermen go for deep-sea

fishing in fragile,primitive boats built of joint wooden

planks built mainly around Ghoghla.

Access

Diu is connected to Mumbai by air.The nearest railhead

is Delwada 8km,connected to Sasangir and

Junagadh.Una,10km away on mainland Gujarat,the

access point into Diu,is well connected by buses to most

of the major towns of Gujarat.Daman has no railhead

and airport of its own.The nearest railway station is

Vapi on the Western Railway,between Mumbai(168km)

and Surat;the nearest airport is Mumbai.

Biodiversity

Daman

Flora:

PAddy,Banana

Fauna:

Pomfret

Jhinga-prawns

Diu

flora:

Casuarina

Hokka-palm trees

Fauna:

Pomfret,Hilsa

Bombay Duck

Prawns,Shark

Eel,Dara

Landmarks

Daman:

Moti Daman Fort

Nani Daman Fort

Church of Our Lady

of The Sea

Devka Beach

Jampore Beach

Diu:

Diu Fort

St Paul`s Church

St Thomas Church

Panikitha Fortress

Nagao Beach

CROCHET AND LACE WORK

THE PORTUGUESE AND Christian women are renowed for their exquisite

crochet,cutwork,shadow work,and cross stitch,satin stitch and long stitch

embroidery.Itis mostly a domestic skill imparted by mothers to daughters and

compulsory in School for all girls.The entire community stitches their own

clothes.The traditional Christian wedding trousseau is usually stitched by the

mother and daughter a few months before the wedding.

The trousseau is worked in cream or beign colours usually on a soft cotton

fabric.Pastel shades and pink,blue,yellow,white,lemon,maroon,red,purple

colours;and motifs of tulips,floral designs,cherries,grapes,strawberries are

popular due to their symbolic representation of fortune and good luck.Many

women skilled in this craft also work commercially by taking orders from other

members of the community.

Production Clusters

Daman

Products

Wedding trousseau

Bed linen

Table linen

Covers

Doilies

Altar piece

Children`s garments

Tools

Crochet hook

Needles

Threads

Scissors

1. Crochet table mat,Nani Daman.

2. A crochet worked altar piece,Nani Daman.

3. Detail of an intricately made crochet mat.

TORTOISE SHELL AND IVORY CARVING

THE IVORY BANGLES WORN for

marriages by the Kohli and Kharwa

communities were made by the

traditional carvers of Brahma

Kshatriya community.They cleaned

the ivory block in hydrogen peroxide

to reduce yellowness and fixed it on

the sangheda(lathe)using chand ras

and cut it into hollow cylinders.

They were then cut into discs and made into bangles or rings and

mounted on the sigra for carving,colouring and polishing.Ivory,now

prohibited ,has been replaced by pipes of acrylic and plastic for

imitation ivory artifacts.The imitation ivory bangles are usually

coloured with red and green acrylic with floral and geometric patterns

with a glossy finish.In tortoise shell carving,one shell is divided into 13

pieces consisting of five back pieces,two shoulder pieces,two wing

plates and four main plates.They are cleaned,softened by steaming and

shaped manually into rings,earrings and bangles.To thicken the cleaned

shell,many layers are stuck together while steaming.The bangles are

finally polished and finished.

Production Clusters

Diu

Products

Bangles

Earrings

Rings

Hair Clips

Tools

Lathe

Chand raas-glue

Sigra-clamp

Polish

Carving Tools

Inset A snake-shaped finger ring made out of a tortoise shell.

1. The finished imitation ivory bangles,Diu.

2. View of the texture of a tortoise shell.

3. Earrings made out of tortoise shell and ivory

combinations,Diu.

4. Plastic and acrylic pipes used as a alternate material instead of

ivory which has now been banned,Diu.

Districts - 25


Landmarks

Gandhi Ashram

Adalaj stepwell

Lothal

Modhera Sun temple

Nal Sarovar Bird

Sanctuary

Gir Forest

Sarkhej Roza

Textile Market,Surat

Palitana temples

Watson Museum and

Library

Sidi Syed Jali

Calico Museum of

Textiles

Shreyas Folk

Museum

Languages

Gujarati

Kachchhi

Kathiawadi

Sindhi

1. The elaborately carved ceiling of the Sun Temple,Modhera.

2. An exquisitely lattice worked carved stone screen at the tomb of Mohammad Shah at Sarkhej.

3. The mundane activity of fetching water is given ceremonial meaning through the architecture of the

vav,stepwells,that dot the Gujarat landscape.At the Adalai vav,a rhythmic sequence of intricately carved

pavilions and open courts constructed over steps descends to the source of water.Wall niches incorporate

miniature pilasters,eavers and roof-like pediments as well as beautifully modelled figurines.

4. The landscape of Khambat is largely an expanse of salt flats.The saltpans create an unusual effect as they

glitter in the sunlight;the salt crystals reflect the harsh light of the sun,while at night the land is covered

in a strange blue haze.

5. A colourful bandhani textile draped on a tombstone.

Crafts-Gujarat

Clay relief work

Painted terracotta

Embroidery

Rogan painting

Bandhani-tie-resist

dyeing

Applique

Namda-felt making

Leather work

Wood lac furniture

Wood carving

Ajrakh printing

Silver work

Bell making

Bullock cart making

Wood and metal

embossing

Stone carving

Kite making

Block making

Mata ni pachediritual

cloth painting

Patola weaving

Mashru weaving

Ari embroidery

Bohra caps

Silver ornaments

Sankheda furniture

Pithora wall painting

Agate stone work

Bead work

Terracotta and

Pottery

Brass and copper

ware

Marquetry

Mask making

Patku weaving

Sujuni weaving

Vaaskaam-bamboo

crafts

Devru-embossed

metal ware

Rope making

Sheet metal work

Ashavali sari

weaving

Bow and arrow

making

Puppet making

Attire

Men:

Kediyu-gathered frock

Paijama-fitted pants

Women:

Chania choli-skirt and

blouse

Saripatola,gharcholu,panetar

Cuisine

Dhokla -steamed

lentil preparation

Aam ras-mango pulp

Thepla-svoury bread

Chhundo-grated

mango pickle

THE MODERN STATE OF Gujarat may be seen as an amalgam of

three regions-the industrial mainland of Gujarat,Kathiawad in the

Saurashtra peninsula,and the deserts and marshlands of

Kachchh.Kachchh is populated predominantly by nomadic and pastoral

communities whose material culture is supported by complex sartorial

codes and each community`s customs are related to rites of

passage,dowry and marriage.Though new materials and processes have

superseded the older ones,the indent has remained much the same,thus

preserving relatively unbroken craft traditions.The coastal region`s

history of maritime and seafaring trade has resulted in a legacy of boat

building skills at Mandvi and veraval.The proximity of ports,such as

those at Surat and Porbandar,facilitated exports fo patola,mochi

embroidery,mashru and block printed fabrics to the Far East and

Europe.Gujarat has beeb exposed to a succession of outside influences

through trade,conquest and immigration.Thes various interactions are

perhaps evidenced most clearly in the region`s culture and its

assimilation of elements of the cultures of the various communities who

arrived on its shores-the Arabs,Portugues ,Dutch,Mughals and

British,as well as the Parsis who arrived in Gujarat fleeing their native

Iran.

Gujarat`s rich architecture includes ancient

archaelogical sites as well as numerous superbly

executed Jain,Hindu and Islamic structures.The last are

particularly valuable as they are some of the chief

examples of the Indo-Islamic style that combines the

exuberance of the Hindu sculptural tradition with the

spatial conceptes and motifs of Islamic art.Simultaneous

to such religious edifices,Gujarat also possesses a

distinct vocabulary of vernacular architecture typified in

the carved wooden havelis,mansions,of the trading

communities and the stepwells scattered throughout the

region.

Festivals

Makar Sankranti

Muharram

Navratri

Dussehra

Sharad Purnima

ID

Fairs:

Dangs Durbar

Pavagadh Fair

Dwarka Fair

Somnath Fair

Tarnetar Fair

The charkha or the spinning

wheel and khadi or handspunhandwoven

textiles,have become

symbols of India`s freedom

struggle and the Gandhian

ideology of self-sufficiency and

the dignity of hand-work.

Physical Features

Gulf of Kachchh

Rann of Kachchh

Saurashtra Peninsula

Gulf of Khambhat

Hills

Alluvial plains

Major rivers:

Narmada,Sabarmati,

Tapi,Mahi

Biodiversity

Mangrove

Coral reef

Dang forests

Grasslands

Flora:

Neem,Cotton,Mango, Harda

(Myrobalam)

Fauna:

Asiatic lions,Sheep,

Peacocks,Parrots ,Camels,Horses

Crafts of

KACHCHH

Clay relief work

Painted terracotta

Kachchhi embroidery

Rogan painting

Applique

Namda-felt making

Leather work


Wood carving

Arakh printing

Silver work

Subclusters of

KACHCHH

Kachchh district:

Abdasa,Anjar

Bachau,Banni

Bhadarvi,Bhuj

Dhamadka,Dhorda

Dinara,Dumado

Gagodar Gorewali

Hodko,Khavdae

Lakhpat,Lodai village

Ludiya,MAndvi

Mundra,Maringna

Nakhatrana,Todia

Nirona village

Rapar,Zura village

RESOURCES


Clay relief

work

Painted

terracotta

Kachchhi

embroidery

Rogan

painting

Bandhani-tie-resistdyeing

Bandhanitie-resistdyeing

Applique

Namda-felt

making

Wood and

lac turnery

Ajrakh

printing

Chikni mitti or babro mitti -

mud

Mirrors

Geru-red clay

White clay

Black clay

Silk threads

Silk floss

Dyed cotton

Castor oil

Cotton cloth

Silk cloth

Woollen shawls

Coloured thread

Old pieces of cloth

Mirrors

Wool

Cotton

Wood-Babul , Khau(Wild

olive), Roido(Tecoma

undulata)

or Neem(Azadirachta

Indica)

Lac, Chemical colours

Wool(Block making)

Cotton cloth

Natural dyes

Kaalo Dungar

hills

Markets in

Bhuj/Khavda

Khavda,Bhuj

Bhuj

Markets in Bhuj

or Khavda

Ahmedabad

Surat

Bhuj

Old or unused

rags

Bhuj,Kapadvanj

Bhujodi,Lakhpat

Or Bikaner in

Rajasthan

Bhuj

Bhuj

Bhuj

Silver ware Silver Bhuj

Bell making

Iron,copper,Brass,Cotton

and wood

Ahmedabad

Ahmedabad

Bhuj

KACHCHH DERIVES ITS name from the Kachchho or

tortoise-like form of its seawater surrounded lands.The

landscape exhibits an unusual degree of eco-diversity due to its

inclusion of arable plains,grasslands,marshes,mangrove forests

and desertsd as well as the salts flats,coral reefs and creeks of

the Little Rann and the Gulf of Kachchh.This complex

geography is inhabited by several pastoral communities,many

of them semi-nomadic herders of camel and sheep,who

migrated from Sindh,Baluchistan and even as far as Afganistan

to this region nearly five centuries ago.The crafts of Kachchh

are deeply integrated into the lifestyle of the communities who

practice and utilize them;in addition to serving as a means of

earning and employment,they are also a creative expression of

each community`s distinct cultural life and identity.Many of

the utilitarian products are transformed into visual

identity.Many of the utilitarian products are transformed into

visual signifiers of caste,occupation,age,gender and marital

status through the incorporatin of motifs of specific

deitied ,shrines,festivals and animal or vegetal forms that are

exclusively associated with a particular group of peoples.

ACCESS

The airport at Bhuj has regular flights to Mumbai;the city is

also well connected by rail with Ahmedabad and Vadodara as

well as with Gandhidham,the station that links Kachchh with

the other districts of Gujarat.Every village is accessible by

road.

1. The interior wall of this hut at Ludhiva is ornamented

with a combination of clay reliefd with mirror inlay and

folk painting.

2. The Rabari motif known as bavaliyo is desired from the

jungle baval,a plant that grows profusely in the Kachchhi

region.The motif,created through the interlaced stitch is

usually used in repetitions of 3,4,8,12 and 16.

3. Once the paanu(punched upper) and the thaliya(base)are

fitted with the pointed end and working

downwards.Poplin in red,green and blue are cut into

strips and stuck on and then backed on a large red piece.

4. A Kachchhi lady repairing the cowdung plaster or lipan

on the exterior wall of her hut;this process is repeated

annually at the time of the festival of Diwali.

CLAY RELIEF WORK

BHUNGA,THE CIRCULAR

huts prevalent throughout

Kachchh,are made of clay

alone or bamboo chips

plastered with lipan,a mixture

of clay and dung,and have

wood based thatched roofs.

The lipan on the

walls,partitions,doorways,lintels,niche,and the floors of

the bhunga sport elaborate bas relief decorations that

consist of okli-textures created by the impressions of

fingers and palms-and sculptedd forms that are inlaid

with mirrors.These patterns are usually made by the

women of the house while the men perform the task of

diggingd the clay and carrying it from its source to the

worksite or storage hut.After the preparation of the

surface and of the lipan mixture ,bamboo sticks are

cut,bent and tied to create an infrastructure that once

plastered with a thick bonding mixture serves as a long

lasting foundation.Then strips and pinches of finer

tectured clay are sculpted into intricately detailed floral

and geometric shapes that may be inlaid with small

circles of mirror to create an overall effect similar to that

seen in the local embroideries.

Inset The clay relief is

moulded with the thumb

and index finger;the

sculpting process begins

at the centre of the pattern

and is usually marked

with a circular motif

ornamented with an

embedded mirror.

1. Detail of a clay

relief work studded

with mirrors.

2. A clay relief

worked window.

3. The sanjiro,clay

worked storage

units with doors,are

used to hold the

family valuables.

Production Clusters

Kachchh district:

Ludiya, Gorewali,

Banni, Baniari

Products

Kothola-large storage

granaries

Sanjiro-large store for

valuables and clothes

kothi-cylindrical grain

storage

Dhadablo-seat for

babies

Utroni-clay stand

Chula-portable hearth

Paniyara-clay

platforms

Pedlo-platforms on

which the storage bins

are placed

Decoration on :

Walls,Alcovers,Plinths

Shelves,Windows

Tools

Brushes made from

branches of the baval

tree

PAINTED TERRACOTTA

DESPITE POSSESSING A continuous visual identity that

may be traced to the pottery of the various sites of Indus

Valley Civilizatin in the region,the tradition of hand painted

terracotta is practiced today by only a few artisans in

Kachchh and Surendranagar.Locally available clay is

thrown on the wheel to create pots of various sizes and

shapes while an extensive array of toys are created from the

same material through the technique of hand moulding.The

ornamentation of these forms is then executed by the

womenfolk of the potter communities.A dark terracotta

coloured slip of watered down geru,red clay,is applied as a

base coat;bamboo stick brushes are then utilized to create

dramatic patterns in black and white clay based

colours.Althoughd the end product is deceptively simple,the

craft process requires extreme dexterity and skill as the

artisan is required to manipulate the pot with one hand

while painting it with the other.

The patterns are generally based on either geometric forms

or stylized motifs that represent

humans,birds,animals,plants and flowers.The shape of the

vessel and the design painted is determined by the

community for whom the pot is intended.

Production Cluster

Bhuj

Lodai village

Khavda

Products

Maatio-water pots

Gallo-money boxes

Pots

1. Painted water pot

from Hodko.

2. Painted terracotta

ware.

A craftswoman selling an assortment of terracotta products

in Bhuj.

A craftswoman in Bhuj paints the terracotta vessel with her

right hand while using her left hand to rotate the vessel.

KACHCHHI EMBROIDERY

Production Clusters

Kachchh district:

Bhuj

Sumrasar Sheikh

Banni Region:

Hodka

Dhroda,Gorewali

Ludiya,Khavda

Products

Kanjari-blouses

Choli-blouses

Buchki-pouches

Animal trappings

Toran-door hangings

Chakla-square cloths

Tools

Needles

Scissors

HISTORY RECOUNTS THE patronage received by the Mochi,the

community of Shoemakers,to undertake ari work on the royal textiles

and decorative objects of the courts of Kachchh and Kathiawad.The

fine,regular chain stitch ,the use of motifs of Mughal derivation and of

colour schemes that are typically graded from red to pink,indigo to blue

and dark green to parrot green distinguish these silk - on - silk

embroideries.Rural peoples throughout Kachchh interpret this

patronized style using their own traditional skills and materials.These

rural renditions have becomes styles in their own right,characterized by

varying degrees of stylizaion of conventional motifs,the additon have

become styles in their own right,characterized by varying degrees of

stylization of conventional motifs,the addition of contemporary

motifs,and the expansion of the stitch and colour repertoire.The variatin

in the permutation of materials,motifs and techniques employed differ

from community to community,thus creating a number of distinct and

coherent visual identities unique to each clan or community.Irrespective

of the embroidery`s provenance-be it

Rabari,Ahir,Bhanushali,Meghwal,Sodha Rajput,Mochi,Jat or Mutwathe

context remains much the same;stitched embellishment severs as a

tangible marker of dowry,rites of passage,group identity,martial

status,function(of the them itself) and also as

1 The kothlo or dowry bag made and used by the Memon Muslims of

northeast Kachchh and Sindh.Silk floss is used to embroider forms

delineated in the kharek or kacho,satin stitch;the outlines of the

rendered forms are created in double running stitch.The edges of the

bag are finished with tiny cowries,beads and tassels.

2 A detail of the jild,envelope bag,of the Meghwal community is

created by folding three edges of a square fabric;the sides are joined

with the khilani stitch i.r.,a combination of several chain stitches

flanked by blanket stitches.The ground is ornamented with kabira or

double running stitch,executed by counting the warp and the weft

threads of the cloth.

a testament to the skill of the makers.In addition to

performing such utilitarian functions,the

embroideries may also give evocative accounts of

aspects of the maker`s daily existence and the

cultural and economic interactions of his or her

communityd with other Kachchhi communities.For

instance,although the embroidered elements of the

dramatic daily attire of the Rabari,predominatly tiedyed

black wool,are recognizably ethnic,the

ground fabric illustrates the symbiotic relation

Rabaris maintain with artisans of other

communities.The woollen shawls are locally

woven by Marwada Meghwal Harijans,given to

khatri craftspeople for tie-dyeing and then

embroidered by the Rabari

themselves.Similarly,the embroidered kanjari of

the Meghwals is executed on mashru,vividly

coloured lustrous fabric(cotton and silk

blend),while that on the bags,pounches,skirts and

quilts is rendered on patchworked and appliqued

fabrics.The workmanship of the Muslim Jat

community is characterized by the dense coverage

of its embroidery executed on plain fabric while

that of the Mutwas,a Muslim community of cattle

grazers,uses intricate chain stitches,tiny mirrors

and geometric motifs.

3 A Rabari dowry bag form Anjar,denselyd

embroidered with open chain stitch,herringborne

stitch,mirror work and running stitch.The edges of

the bag are embellished with cloth tassels.

4 A kanjiri worn by Mutwa women;the embroidery

of this community is distinguished by the fineness

of work,use of small mirrors,floral motifs rendered

in pakko using double buttonhole stitch and

outlined with a fine white back stitch.

5 An ochad,or quilt covering,ornamented with Ahir

embroidery.

6 A detail of a Rabari kediyu worn by boys.The

delicated and linear embroidery is done with back

stitch and running stitch.

7 Shown here is the lower section of the embroidered,daily wear

kanchali or blouse of the Sodha Rajputs.The border is

embroidered with mirrors and bavaliyo or haramji,interlaced

stitch.The ground has floral and peacock motifs and mirror work.

8 A detail of a ghaghra,skirt,created for a bride from the

Bhanushali community of western Kachchh.The fabric woven

with handspun yarn has motifs outlined with chain stitch and

filled in with herringbone stitch.

9 A Rabari odhni,constructed of two narrow width woollen

fabrics joined with embroidery.

10 A kanjari with Dhebaria Rabari embroidery;different shapes

and sizes of mirrors are encased in buttonhole stitch.The ties at

the back are embellished with buttons,beads and tassels.

ROGAN PAINTING

ROGANI KAAM,NOW practiced in the village of Nirona by a

single family,is an unusal surface embellishment technique that

involves painting fabrics with a thick paste obtained from castor

oil.This paste is developed by purifying castor oil and mixing the

desired colour into it;the thick fumes that are a byproduct of this

process make rogani kaam harmful to the artisan`s

health.Following the preparation of the paste,a kalam or an iron

stick is used to draw the outlined of the desired form on a

fabric;the fabric thus painted upon is then pressed against another

fabric or a folded section of the same fabric in order to achieve a

mirror image of the initially drawn outline.Inexpensive substitutes

for embroidered textiles,the rogan

Production Clusters

Nirona

1. The outline of the desired pattern is

drawn on the base fabric with the

aid of a kalam.

2. After the completion of the

outline,another fabric is placed on

the previously patterned surface and

pressure is applied.When the

second fabric is removed,the mirror

image of the originally drawn

pattern is obtained.

3. A detail of an antique bed sheet

ornamented with a combination of

rogan work and Ahir embroidery.

4. A detail of a rogan textile showing

the characteristic sangara or fourleaf

pattern with the chakri or round

floral form in the centre.

Products

Ghaghara-skirt fabric

Ochad-covering

Masar-scarf

Toran-door hangings

Pillow covers

Wall hangings

Cushion covers

Bed cover,Bags

Tools

Chullah-furnace

Dandi-wooden stick

Kalam-iron stick

Handio-aluminium

pot

Dhakni-lid

Chipper-flat grinding

stone

Patthertoo-round

stone

Headpins

BANDHANI-TIE-RESIST-DYEING

Production Clusters

Bhuj

Mundra

Mandvi

Nakhatrana taluka:

Moti Virani

Abdasa Taluka:

Tera

Barad

Naliya

Anjar Taluka:

Anjar

Dhamadka

Bachau taluka:

Manfara

Choubar

Products

Odhani-veils

Abho-garments

Rumal-square cloths

Sari,Yardage

Stoles,Shawls

Salwar and kameeztunic

and loose pants

THE TERM BANDHANI refers to the techniques of creating

patterned textiles by resisting parts of a fabrics by knots on it

before it is dyed.This anicent craft is believed to have travelled

from Sindh to Gujarat via Rajasthan,and from Gujarat further

on to Madhya Pradesh and Tamil Nadu.The Kachchhi

bandhani,traditionally practiced by the khatri community,is

renowned for its extremely fine dots and sophisticated sense of

composition.The execution of a bandhani piece begins with

the demarcation of the border and then progresses to the

patterning of the central fiedld and the smaller filler motifs

that surround it .Although many different sizes of dots may be

employed in a single textile;the quality of the craftsmanship

can be judged by the contours or kaff of the dots formed,as

well as by the uniformity of their size and spacing.An

apprentice proceeds from learning how to tie the pabbad or

chakheri,large dots,to the tying of the naani bindis,or the finer

dots;irrespective of size,a square dot is considered preferable

to a roundd or irregularly shaped one.The tying is generally

undertaken by women while the dyeing is done by

men.Bandhani forms both everyday and ceremonial clothing

of a number of communities;the social,economic and cultural

connotations of a particular bandhini is determined by the base

fabric(gajji silk,fine cotton,muslin or wool),the design and its

associations with festivals and rites of passage such as

marriages and death.For instance,the red bridal

gharcholu odhni comprises bandhani on a gajji silk textile

with a gold border at one end,which was worn over the

panetar,a white sari with an orange-red border.Khatri brides

wear a black background with the central moon-shaped

medallion that gives the textile its name,chandrokhani;the

motif on this bridal textile is believed to create a visual

anology between the moon and the bride`s beauty.The

chandrakhani is worn along with the abho,a loose shirt-like

silk gown and a salwar with specially tie-dyed patterns

outlined with gold embroidery;this garment has now been

adapted to resemble the urban tunic and leg wear.Other

traditional bandhani include the bavanbagh(the52 gardens)

and the rasamandali(associated with Raas,the traditional

dance form of Gujarat),both of which have patterned red

backgrounds teames with contrasting borders,and the

intricate all-over pattern of the amba dal(mango branches)

with peacocks,elephants and women dancing with raised

hands.The Rabari women wear woollen bandhani odhni or

veils embellished with embroidery;they also create exquisite

bags,blouses,quilts and door hangings using old or damaged

pieces.Due to the skilled labour and time involved,bandhani

has always enjoyed an elevated status;consequently block

printed imitations were made for the use of communities

that could not afford bandhani

Tools

Stencils

Wooden blocks

Nakhani-pointed

rings

Dye vats

1 Cotton with zari checked gharcholu has been dyed in yellow and tied to have patterns

inside squares.Some squares have been spot dyed in green and tied to retain colour.The

sari will then be discharged to remove yellow and green from the untied areas and dyed in

a red.

2 A craftswoman smearing dye on specifically localized areas of the tied fabric;known as

tikadi,spot dyeing,this process facilitates the controlled application of a number of colours

in very small sections of fabric.

3 A bride from the Lohana community of traders wearing the mandatory gharcholu. 4 A

cotton bandhani textile traditionall worn by the Bhanushali community.

5 A silk khombi or veil with the circular motifs that are also used in the chandrokhani

design worn by the khatri women.

6 The pattern of this intricately patterned bandhani textilde indicates that it was made for

the Jain community.

7 The rare bandhani design made for the women of the Parsi community is distinguished

by its pink tinged dots and the use of badla,the technique of ornamenting textiles with

wound strips of metal.

APPLIQUE

Production Clusters

Bhuj

Khavda,Kuran

Hodka

Gandhi Nu Gaam

Sumrasar sheikh

Naktatrana Taluka:

Nani Aral

Jadai

Jurah

Tools

Scissors,Needle

Products

Quilts, Cushions,

Bags

Pouches, Bedspreads

Cushion cover

Wedding masks veil

Toran-door hangings

Bullock cart cover

Camel saddles

KATAB,THE KACHCHHI name for both direct and reverse

applique,traditionally involved the recycling of old pieces of cloth

through patchwork.Squares called chitkis,triangular pieces and

rectangular strips are sewn together in several compositions to construct

fabrics sufficiently large for use as quilts,canopies,hangings and long

decorative friezes.The quilts constituted an important dowry item

among the Meghwal,Mutwa,Sodhi Rajput,Halepotra,Jat and Rabri

communities;every bride was expected to have a minimum of three

applique pieces as part of her trousseau as a display of her ability to be a

good homemaker.While the applique serves to sufficiently

1 Patchworked and finely embroidered dhaki or quilts such as

this,constitute a crucial element of the dowry textiles of Mutwa

community.

2 A detail of a patchworked and appliqued Meghwal quilt;the tiny

stitches serve to restrict the movement of the cotton fibres stuffed

between the two layers of cotton cloth.

3 his detail of a Rabari kothla,bag,displays its intricately appliqued and

embroidered surface.Although the fine curvillinear forms may seem

embroidered at first glance,they are in fact created by stitching strips of

coloured fabric onto the base fabric of the bag.

4 Ochad,the covering draped over the pile of

quilts stacked on the manji,a rectangular stool,are made by the Sodha

Rajputs.The tree of life motif has triangles replacing leaves and

prominent branches.The sun,moon and swastika motifs,symbolize the

Rajput community.

strengthen the pieces of reused fabrics to withstand

further usage,the selective employment of patterned

textiles of Gujarat such as mashru,bandhani and ajrakh

in the applique manifests are pieced together and

overdyed to form the ground.Various flowers,animals

and birds are depicted with vitality,thus adding an

element of coloure to many a domestic structure of

Kachchh.Brightly coloured pieces of fabric are often

cut out of fresh bolts of cloth in order to produce quilts

for dowry and commercial use alike.

5 Meghwal quilt with katab-applique on the central

field and patchworked border.The dhaki is lined with a

single colour and quilted with running stitches.

6 Detail of the square motif done in katab,reverse

applique,and the kungri,row of triangles,that is

ingeniously made by snipping a ribbon of

fabric,folding and stitching.

7 Meghwal patchwork quilt-chitki ni dhaki.Several

coloured pieces are sewn together to make a large

pattern which is lined with a plain or printed and

overdyed fabric and the two layers are stitched through

with stitches.

8 The lower part of Rabari kothlo,dowry bag,done

with applique and embroidery.

9 Mutwa kothrie,patch worked and embroidered

dowry bag with colourful bead work edging made by

the girls.Their embroidery skills and the earning

potential of these skills are important considerations in

marriage negotiations.Their border is characterized by

the patchwork of seven sacred colours of the Muslim.

NAMDA-FELTED RUGS

THE PINJARA AND Mansuri

communities of eastern Kachchh create

felted namda,or floor coverings, as well

as daddi or horse and camel saddles for

the use of the Darbar communities of

Saurashtra.These products are created

through a unique variation of the

applique technique,

wherein unlike the conventional method of stitching various

coloured forms onto a basic fabric,the pattern of coloured wool

is laid first and the ground is fused on top,utilizing the natural

matting and compression properties of wool.The entire family is

involved in the different stages of production with the women

mainly under-taking tasks such as the preparation of different

forms of slivers by pressing,rolling and coiling the wool fibres

by hand;the fibres interlock loosely to create basic forms that

are later used in patterning the namda and daddi.The most

predominant forms thus made are the bel,the roving formed on a

inverted

terracotta pot by simultaneously rubbing and rolling open wool

fibres;the bidi or small beads of wool ,used with a sliver locally

known as challas;the gani,a pattern simulationg braiding and

the tikidi,a flat cake-like felt form.In addition to participating in

the labour intensive processes of felting,the men are also

involved in the addition of finishing details of the

products;dyed wool fibres are teased,aligned parallel and rolled

between the palms to form tubular rolls that are strung together

to create a variety of tassels,locally known as the kumda,the

golda and the tesam.

Inset A detail of a felt saddle;the tassel and the tricoloured felt

embellishments are sewn onto the surface.

1 A namda maker placing the coloured slivers of wool as per

the desired pattern;these slivers will then be felted with the base

fabric to create the patterned namda.

2 A craftsman undertaking the finishing of a felt saddle.The

triangular forms as the uppermost felt layer are createdby

resisting the edges of the upper layer during the felting process

with the aid of a cotton strip;the separate side layer thus formed

is slashed with a scissor and then further cut into small triangles

or tikdi.

3 Circular namda or floor coverings,Gagodar.

4 Produced at Gagodar,this felted floor covering utilizes both

dyed and undyed wool in the patterning.

Production Clusters

Kachchh district:

Todia

Gagodar

Mundra

Products

Rugs

Floor coverings

Horse and camel

saddles

Toran-door hangings

Caps

Tools

Wooden rods

Mats/jute cloth

Vessels for dyeing

fibres

Pinjara-bow-like tool

used for opening

wool fibres

Needle and thread

LEATHER WORK

THE MARWADI MEGHWALS,a community believed to

have migrated from the Marwar region of Rajasthan,are

famous for their leather work and unusually bold

patchwork.Adept at crafting leather work and wool

weaving,they live and work closely with the Maldhari Muslim

cattle herders from whom they obtain the hide of dead

animals.The men undertake the construction of leather

products while the women embellish these objecs with the

embroidery executed with multicoloured threads.In addition

to the footwear made of camel hide,the craftsmen also make

mirror frames and panels in goat hide;these are ornamented

with patterns created by backing a leather surface punched

with variously shaped hand-held punches against coloured

fabrics.The design vocabulary of the leather artisans and the

bas-relief forms they render,display a striking similarity with

other local craft techniques such as reversde applique and felt

making.

A beejano,hand fan from Hodko,ornamented with punch work

and tassels.

1. A contemporary embroidered mojari from Nirona village

2. Majori,such as this ari worked sample from Hodko,were

traditionally given as gifts to the bride.

Tools

Krapli-marking tools

Karpa-scrapers

Rampi-scraping

knives

Moti ari-large awls

Nani ari-small awls

Soi-needles

Cutters,Pliers

Dhoka-wood

Kalbut-lasts

Mogri-iron beetles

Hathodi-hammers

Kol-buffalo horns

Salari-stone slabs

Punches

A toran or door

hanging executed in

punched leather

backed with

mutlicoloured fabrics.

Production clusters

Kachchh district:

Bhirindiara,Dhordo

Kuran,Khavda

Hodko,Kunari

Dumado,Dinara

Gorewali

Products

Chadda-leathers

ropes

Paagrakha-footwear

Chappal-slippers

Mojari-shoes

Toran-decorative

door hangings

Hand fans

Horse saddles

Camel trappings:

Chalmadto-covering

for the seat

Thada-belt

Tung-necklace

Mirror

frames,Wallets

Folders,Bags,Pouches


Production Clusters

Kachchh district:

Nakhatrana

Nirona,Lakhpat

Bachau,Ludiya

Dhamadka,Rapar

Products

Kharni dasto-mortar

and pestle

Boxes,Cradles

Velan-rolling pins

Legs of tables and

cots

Windows,Pillars

Charpai-cots

Cabinets,Chests

Shelves,Toys

Boxes for spices/cash

Thread wrappers

Dandia-sticks used in

local dances

Churning rods

Spoons,Ladies

Tools

Kulhadi-axe

Neu-to clean wood

chisels

Sanghado-wooden

axle and lathe

Siriyf-iron bar

support

IN ADDITION TO carving wooden objects,the Wadha

Kohlis,a semi-nomadic community of lathe turners and

carpenters,the Neghwals and Maniars,also undertake wood

and lac turnery.The wood is turned and shaped on an

indigenous lathe made of two iron rods with chisels and

varying degrees of pressure aiding in the creatin of the

desired shape.After the object is thus formed,its surface is

smoothened on the lathe using a crumpled piece of coarse

cloth dipped in oil.A mixture of vegetable colours and lac is

then applied to the object.Although this genre of woodwork

is also practiced in Sindh using the identical materials and

technique ,there is a marked difference in the appearance of

the products from the two regions.Unlike the Hala work of

Sindh(the term is derived from the name of the principal

centre of this craft),that of Kachchh sports a unique pattern

of a marbled colours.

Turned wood vase;the body of the vase is striped with bands

of colour while the neck is ornamented with the leher

pattern achieved by manipulating the lac stick during the

turning process.

1. Lac treated turned wooden dandia sticks.

2. Velan,or rolling pins,are available in a number of

colours and designs.

3. A lac-coated turned wood container.

4. Heer parnau,embroidery thread wrappers

5. An array of ladles and spatulas; each is characterized

by the typically Kachchhi manner of combining raw

wood with coloured and lacquered surfaces.

WOOD CARVING

Production Clusters

Kachchh district:

Gandhi Nu Gaan

Hodko

Khavda

Products

Manji-carved stands

for quilts

Kath-cots

Pinkan-cradles

Sanjira-cupboards

Pattiyo ki patia-trunk

stands

Pankheda-camel

saddles

Danthari-rakes

Sentha-pitchforks

Ghanti-grinding mills

Manh mandhi-buttermillk

churners

Hand fans

Raal-book stand for

scriptures

Chairs,Frames

Legs for furniture

Wooden columns

Pillars,Brackets

THE FURNITURE ITEMS produced in northern

Kachchh are distinguished by their combination of

colourful lathe turned elements and shallow relief

carved patterns.The intricately carved backrests and

frames of the indigenous charpoys,cots,and low chairs

are teamed with multicoloured lathe turned legs.Carved

geometric and floral patterns are created through the use

of forms such as the quarter foil and six-petalled

flowers.The facets,trenches,and medallions are cut so

that the raised portions cast harmonious shadows on

their depressed symmetrical counterparts,thus creating

an interesting play of light and shade.

Tools

Gol katni-compass

Kuniya-right angles

Kuada-axes

Chisels:

Chorsi-flat chisels

Vinjano-chisels

Vinjani-small chisels

Hathoda-hammer

Ravath-files

Randoh-planers

Hansaro-saw bucks

Karvat-saws

Karvatar-frame saws

Kanus-files

Sanghado -hand

turned lathes.

The design repertoire of folk

painting,specifically the

conjoining of triangular forms

to create squares,has here

been extended to the painted

ornamentation of this door

panel at Ludiya.

A collage of different sizes,depths and styles of squares form this traditional pattern,usually seen on

wooden doors.

Turned wooden paayo,or charpoy,cot legs further ornamented with carved details.

Balconies,Ceilings

Pigeon -Houses

Play Carts

Spice containers

AJRAKH PRINTING

PRINTED ON BOTH sides in the dominant shades of indigo and

madder,and characterized by their use of mordanting and mutiple dyeing

techniques,the ajrakh textiles derive their name from the Arabic word

azrak,meaning blue.The richly printed surface of ajrakh fabrics is

achieved through a highly evolved process of

scouring,mordanting,printing,lime resist printing,multiple dyeing in

indigo and majistha(red)and washing.This elaborate procedure facilitated

selective dyeing with the aid of resists and an exploration of the potential

permutations created through the reaction of the mordants with natural

colours.Dyed and printed with vegetable and mineral colours,the

properties of the cloth exceed the merely aesthetic;the colours of the

ajrakh are believed to be such that they are cooling in the heat and

warming in the cold.considered an essential element of the Kachchhi

Muslim Maldhari community`s sartorial identity,ajrakh was traditional

worn as a lungi(the men`s lower garment),sofa(a head covering)or as

malir

(the skirt fabri)for women.While royal patronage

and good natural resources launched the craft of

ajrakh block printing at Dhamadka,it has been

sustained by a certain resilience on the part of the

Khatris,the artisans specializing in the creation of

these textiles.The craft has embraced new

materials and new opportunities at various

junctures of its history;the adoption of synthetic

dyes in the 1950s,the resurgence of vegetable

dyed fabrics in 1975 that caters to a largely

overseas market,and the introducton of spraying

as a means of applying colour evenly are but a

few instances of the same.

Production Clusters

Dhamadka

Ajrakhpur

Khavda

Products

Turbans

Shawls

Lungis-men`s sarong

Odhani-veil

Charpai cover

Curtains

Floor spreads

Bed covers

Detail of a rekh or outline block;the taveez motif

represented is commonly used on the borders of

the textiles produced.

Tools

Rekh-outline

Datlo-filler block

Kaat mavi-additional

filler block

Gadh-background

block

Patiyo and Mejprinting

tables.

Aadapatharo-cloth -

bed

Ghodi-sidetable for

colour tray

Chopta/Chotkoshallow

wooden tras

for the printing paste

Chappri-bamboo

lattice

Lad-jute/cotton cloth

Bhatti-furnace

Kun-earthe dyeing

vats

Charu-copper vessels

for dyes

Tapela-aluminium

pots for dyes

Maat-earthern vessels

Dhoko-wooden

battens

Brushes

1. An ajrakh cotton stole dyed in alizarin and

indigo.

2. Fabric left to dry on the sand after having

been indigo dyed and rigorously washed.

3. After the dye laden block is placed

correctly on the fabric,it is firmly pressed

down with the first to ensure that the patten

is fully transferred on to the fabric.

4, 5 Details of an indigo and majistha dyed

ajrakh textile.

6 The por or blocks employed;the one on

the right is the rekh or outline block while

the one on the left is the gad no daatla or

filler block.

SILVER WORK

Production cluster

Bhuj

Products

Attardani-perfume

sprinkles

Gulabdani-rose water

sprinklers

Flower vases

Jewellery boxes

Powder boxes

Ashtrays,Trays

Utensils,Plates

Betel nut boxes

Dry fruit containers

Lota-jugs

Glasses

Mouth teether

Ghughro-rattles

Shankh-feeders

Sinhasan-thrones

Parnu-cribs

Asan-seats

Kavacha-sheet metal

body covers

Tools

Hammer,Furnaces

Punches,Files

Pliers,Tweezers

THE JEWELLERY OF Kachchh and

Saurahtra,famed for its incorporation of

relief,filigree and enamel work,is

concentrated in the cities of

Rajkot,Jamnagar,Bhuj,Anjar and

Mandvi due to the presencde of many

members of the Lohar and Soni

community,

the traditional silver and goldsmiths.Custom dictates that silver

objects and gold jewellery are presented to a woman at the time of

marriage(aanu) and on the occasion of the birth of her children

(jeeyanu).Such gifts constituted an integral part of the streedhan,a

woman`s personal wealth given by her family,and was highly

valued.The aanu usually consists of betel nut boxes and dry-fruit

containers that are prominently displayed in the front rooms of the

houses and used as hospitality objects while

1. Repousse

worked silver

objects are

polished by

scrubbing them

with a brush

soaked in a

solution of

water,dariya ni

reti or sand from

the sea,and

areetha seeds.

2. A silver lota or

water container.

the jeeyanu is comprised of lota(jugs), glasses, trays,

mouth teether, ghughro(rattles)and shankh

(feeders).Silver is also crafted into furniture for the local

deities; for instance, sinhasan(thrones),parnu(cribs),asan

(seats)are made for the worship of the child god Krishna

in individual homes while repousse embellished silver

sheet metal body covers or kavacha are made for statues

of the Jain Tirthankara.

Inset A detail of the rim of a pierced and repousse

worked silver dish.

3 A thali or dining plate with the requiste accompanying

bowls.

4 The mukhwas no dabbo or container for mouth

fresheners such as cloves and cardamon.

5 A silver jug patterned with a floral trellis.

BELL MAKING

Production Clusters

Zura

Nirona

Products

Bells

ALTHOUGH THE TRADITION OF making copper-coated

bells originated in the Sindh region,the craft is today practiced

by the community of Muslim Lohars in the Nirona and Zura

villages of Banni.The entire family is involved in the craft

process with the male members performing the critical tasks of

shaping the bell and selling the sound with the aid of an

instrument known as

the ekalavai.The sound that emanates from each bell

essentially depends on three factors:the shape of the wooden

strip hanging with the bell;and the form and curvature of the

bottom rim of the bell.The bells may be made in 14 sizes that

vary in height from 2 cm to over 30 cm or as a combination of

bells in a jhumar,single frame;this range of products caters to

the indigenous pastoral communities of Kachchh.

Tools

Tarka-compas

Dholan/hathoduhammer

Pokkad-pliers

1. An engraved

copper bell from

Nirona village.

2. Bells of various

sizes from

Nirona village.

3. Bells displayed

outside a shop at

the market in

Bhuj.

RESOURCES


Bullock cart

making

Wood and metal

embossing

Stone carving

Baval wood

Metal-

Brass,Industrial

metal

Wood

Brass

Sandstone or

Dhrangadhra stone

Ahmedabad

North Gujarat

Palitana, Ahmedabad

Dhrangadhra, Shihor

Quarries in and

around Dhrangadhra

Subclusters of

RAJKOT

Rajkot district:

Rajkot

Junagadh district:

Mangrol

Bhavnagar district:

Palitana, Shihor,

Mahuva, Bhavnagar

Surendranagar

district;

Dhrangadhra,

Wadhwan, Halvad,

Surendranagar

Jamnagar district:

Jamnagar

Amreli district:

Amreli

Crafts of RAJKOT

Bullock cart making

Wool and metal

embossing

Stone carving

1. At a ship-making yard at Veraval,artisans affix the curved sal wood planks onto the

skeleton with the aid of khilla,large nails.This is not a permanent fixture for the

planks;wedges are used to tighten the gaps between the planks and the planks are

finally bolted onto the rakia,the main skeleton members.

2. A silversmith engraving the bhandaro,the trunk used in Jain temples for collecting

funds from devotees,is made of silver sheet metal,Palitana.

3. A craftsman executed the figurative narratives inset in the roundels of this pillar

from his perch atop it.

4. Bhedus,brass water pots made from flat sheet into forged components,are assembled

together by brazing.After polishing,the surface is given the characteristic beaten

texture.Brass utensils like pots,plate,bowl and dish are essential dowry given to the

bride.These products made in Surendranagar,are valued for their

craftsmanship,durability and utility.

5. Jotar,animal trappings are crafted from rope and colourful threads,made by

craftsmen in Mangrol,Junagadh district.Seen here is a bullock wearing jotar and

leather trapping.

6. With the growing market demand for bandhani textiles,the craftsmen have begun to

employ plastic stencils to trace the pattern onto the fabric.

RAJKOT metacluster comprising Surendranagar, Rajkot,

Bhavnagar, Amreli, Junagadh and Jamnagar districts,is

located in the Saurashtra peninsula.At the end of the 7th

century,Saurashtra was inhabited by settlements of the

Jethwa,Chaora,Wala,Ahir,Rabari,Mer,Bhil and Koli

tribes.During the colonial period,the area was divided into

14 states,most of which were ruled by members of the four

major Rajput clans-the Jhalas ruled over Jhalawad,the

Gohils over Gohilwad,the jadejas over Jamnagar and Kathis

over Kathiawad-while a few were ruled by Muslim

Nawabs.The eclectic melange of Saurasthra`s population

and their cultural practices is visible in the contemporary

material culture and in the diversity of the region`s sacred

architecture.Dwarka,dedicated to Lord Krishna,is a major

pilgrimage for the pastoral communities such as the Ahirs

and Bharwads who trace their lineage to the deity;Somnath

is dedicated to Shiva while Palitana is renowed for its

extraordinary cluster of 863 Jain Temples.Saurashtra`s

economic significance also owes and their contribution to

the nationwide trade in precious materials.Stone carvers

belonging to the tradition of temple architecture practice

their craft here.Porbandar and Dhrangadhra sandstone are

quarried from this region.Mochi embroidery,sophisticated

chain stitch work done on silk satin,reflected the tastes of

Kathi rulers.Embroidered and appliqued animal trappings

and canopies were made by the postaral communities.Brass

household utensiles are crafted in Shihor,Wadhwan,Rajkot

and Surendranagar.Jamnagar and Kachchh districts have

been prominent centres for traditional bandhani,tie-resistdyeing

practiced by Muslim Khatris,a traditional

communities of dyers and printers and Hindu

Kshatriya.Shipbuilding skills in wood are found in Veraval

owing to the coastline and Gujarat`s maritime trade and

wooden bullock carts are made in Mangrol,Junagadh

district.

ACCESS

Rajkot is a prominent junction on the Western Railway and

is well connected to all the Gujarat.Rajkot and Jamnagar

have airport linking Saurashtra with Mumbai and the rest of

the country.

BULLOCK CART MAKING

Production clusters

Junagadh district:

Mangol

Maktupur Darwaja

Products

Bullock carts

Tools

Saws

Hammers

Chisels

Planers

THE BULLOCK CART is a dynamic structure that require

advanced carpentry skills to assemble and maintain.Although

primarily used for agricultural purposeds and

transportation,bullock carts may also be ornamented to serve as

a vehicle during marriages.The decorative elements usually

consist of detailed brass work and cast joinery or forms carved

in relief on the wooden structure of the cart.Traditionally,the

craftsmen engaged in this craft executed both the wood and

metal work;a single craftsman thus undertakes the entire craft

process-the making of the frame,the kathodo or container,and

the wheel and the joining of these components.The laboriously

handcrafted metal joineries and decorative pieces seen in the

old carts have now been replaced by industrial metal products

that are both efficient and cheaper;intricately carved carts with

brass worked motifs resembling the brass ornamentation seen

ont the doors of the havelis of the region are now increasingly

becoming a rarity.

1. A detail of a cart

embellishment

with decorative

metal elements.

2. Elaborately

carved carts

such as this one

seen at

Porbander,are

now rare.

3. The rear of the

cart may be

opened thus

creating an

extension of the

cart`s space.

4. The carts of the

Mangrol area of

Jungadh are

distinguished by

their

employment of

both wood and

brass work.

WOOD WITH METAL EMBROSSING

Production Clusters

Bhavnagar district:

Palitana

Amreli town

Rajkot city

Products

Patara-storage chests

Miniature shrines

Patla or bajot-small

stools

Furniture,cases

Tools

Hammers,Saws

Pliers,Chisels, Files

THE TECHNIQUE OF applying metal

embossing on wooden objects has been

sustained and developed in Palitana and

Amreli essentially due to its role in the

embellishment of temples and in the creatin

of objects used in religious ceremonies.The

process begins with the crafting of each

section of the wooden object along with the

required joinery details.The rough design is

then drafted onto the metal sheet with

various etching tools and the patterns are

punched on using metal dies.The

embellished sheets are cut according to the

component on which they are to be

mounted and secured with the aid of

nails.Over a period of time,this ancestral

craft form has undergone a number of

changes;for instance,

the craftsmen originally

used to prepare the sheets

for embossing by beating

the metal while today

readymade metal sheets are

used.

1. A craftsman holds a

metal sheet firmly

between his toes

while punching a

pattern onto the

sheet`s surface as per

the guidelines

previously engraved.

2. The paatlo,the

platform used to roll

chapatis,flat-bread,on

was previously used

as a pedestal for local

deities.

3. The ghado or water

container is now

mostly used as a

show piece.

4. Dabbo,a

container,used to

store flour.

PATHAR KAAM/SAMPURA KAAM-STONE CARVING

DUE TO ITS links with the Bhakti Movement,the stone carving

practice of this region received an impetus that resulted in the

evolutin of a distinctive architectural vocabulary based on the

nagara style of north India.The stone masons working in

Saurashtra are either of the Sompura caste of artisans who were

traditionally involved with temple building,ro sculptors from

Orissa who have migrated to the region in search of

work.Although the majority of the commissions received by the

craftsmen are for pratima,idols,and the ornamentation of

temples,craftsmen have also begun to produce benches and statues

in gardens.The craft process begins with the making of a master

drawing by the master craftsmen;once this drawing is approved by

the client,it is transferred onto the stone and the form is blocked

out with the aid of chisels known as the gutahdi and the

paniyu.The details are then engraved with small slender chisels

such as the takno,aniyu and chainu.Finally,the product is polished

and then finished by the master craftsman himself.

1. After the form is conceptualized on paper,the drawing is transferred on stone

with the aid of carbon paper.

2. A stone carver in his studio,Surendranagar.

3. A contemporary fountain with an ornately carved pedestral.

4. A carved stone figurines of a mahout riding an elephant.

5. A contemporary fountains base,its form derived from an adaption of the lotus

motif.

6. A darbari or place guard carved in stone,on either sides of the city gate at

Dhrangadhra,Surendranagar distinct.

7. A carved jharoka or balcony of the Hawa Mahal at Wadhwan,which was left

incomplete.

8. Exquistely carved floral ornamentation on the pillared parapet of the Hawa

Mahal,Wadhwan;each element of the pillar`s form is articulated through patterns

of different stylized flowers.

Production Clusters

Surendranagar

district:

Halvad,Dhrangadhra,

Wadhwan

Bhavnagar district:

Palitana

Products

Idols

Garden objects

Statues

Figurines

Tools

Gutahdi or Paniyularge

chisels

Takno,Aniyu,chainufine

chisels

Hammers

Carbon paper

Subclusters of

AHMEDABAD

Ahmedabad district:

Ahmedabad

Viramgam

Gandhinagar

district:

Pethapur

Mahesana district:

Mahesana

Visnagar

Patan district:

Patan, Siddhpur,

Sami, Harij,

Radhanpur

Sabarkantha district:

Himmatnagar,

Shamlaji, Sanali,

Idar,Poshina

Banaskantha

district:

Ambaji

Danta

Palanpur

Crafts of

AHMEDABAD

Kite making

Block making

Mata ni pachediritual

cloth painting

Patola weaving

Mashru weaving

Ari embroidery

Bohra caps

RESOURCES


Kite

making

Block

making

Mata ne

pachediritual

cloth

painting

Patola

weaving

Mashru

weaving

Wood

carving

Tissue paper

Bamboo stick

Cotton sewing threads

Glass powder

Saag wood

Unbleached cloth(kora

madarpat)

Vegetable dyes

Blocks(teak wood)

silk

Rayon yarn

Silver silver

ornaments

Cotton yarn

Delhi and Kolkata

Pune and Hyderabad

Assam,Kolkata

Ahmedabad

Dariyapur,Ahmedabad

Ahmedabad

Valsad,Mills in

Ahmedabad

Ahmedabad

Pethapur

China,Korea and

Brazil

Surat

Surat,Ahmedabad

Woodsaag,sevan,Sheesham,Teak

Ahmedabad

Ahmedabad

Beaten metal utensils being sold at Manek chowk,old city of

Ahmedabad.

Wood carving

An elderly lady sitting on the doorstep of her home at the

Silver ornaments

Lambapada ne Pol;the stucco worked mural on her right is a

representation of the mohalla mata or `goddess of the colony`.

KHADI PRINTING

Khadi printing

Varaq,silver foil on khadi.

In Astodia,the old part of the city in which colonies of block

printers have lived and worked for decades,a craftsman block

prints yardage of bright orange fabric.

THE METACLUSTER COMPRISING the districts of

Ahmedabad, Gandhinagar, Mahesana, Patan, Banaskantha

and Sabarkantha,extend from the central to northern part of

Gujarat.Ahmedabad,the city named after Sultan Ahmed Shah

and situated on the banks of the River Sabarmati,was the state

capital until 1970.The city is in many respects a study in

contrasts and contradictions:the spectacualr architectural

heritage set within the old quarters of the city where even

today merchants and skilled craftspersons live in the quaint

houses with carved wooden entrances that are characteristic of

the pols,the quarters located in winding lanes and alleys

interspersed with chowks.On the other hand,the new city of

Ahmedabad is a bustling commerical and industrial area that

was once famous for its history of commerce in textiles and

textiles manufacturing and processing industries.Today,it is

renowned for its institutions of culture,heritage and education

such as the Calico Museum of Textiles,the Shreyas Folk

Museum and the Gandhi relevance to the city as Gandhi

launched his movement for truth and non-violence,the

satyagraha at Ahmedabad.The Gandhi Ashram`s handmade

paper-making unit and Khadi Prayog Samiti,an institution for

science and technology research;Self Employed Women`s

Association(SEWA),are few people-centred initiatives that

use craft as a resource repository of ornamentation in wood

carving-figurative,floral and geometrical motifs,in

relief,lattice and sculpted form.The exquiste wood carving

skills extend to the textile hand-block printing industry,which

has block carving in Pethapur and Ahmedabad,two traditional

textile exporting centres.Stone carving is widely practiced in

Ambaji,Patan,Mahesana,Himmatnagar,Ahmendabad and

Koteshwar.

ACCESS

Ahmedabad is well connected by air,rail and road to

Delhi,Mumbai and other major cities in western India.In

addition,it is now also accessible via the newly constructed

Golden Quadrilateral highway.

Unlike the wooden block which directly prints the positive

form of the motif in rogan,tinsel printing,the rogan or khadi

paste is applied through the punched out form of the motif,in

a brass stencil.The adhesive is then dusted with either

gold ,silver ,copper or flock(fibre dust)or varoq,gold or silver

foil.The origins of khadi printing are linked with the velvet

and silk textiles-standards flags canopies and tent panels used

by the courts of Rajasthan; and pichhwais ,religious

textiles,where this method was a faster and inexpensive way

to simulate gold brocade.Ahmedabad has only one family in

the Astodia area,practicing the languishing craft.

Flocking.

KITE MAKING

ON JANUARY 14 every

year,Ahmedabad celebrates the

festival of MAkar Sankranti

with impromptu kite contests

that commemorate the skills of

both making and flying

kites.On this day the skies over

the city are liberally dotted

with colourful soaring

forms;the kites are made in

several sizes to suit child and

adult,

Production Cluster

Ahmedabad city:

Jamalpur

Shahpur

Paldi

Products

Manja-kite thread

Firki-thread roll

Kites

amateur and professional alike and the decoration

ranges from the extremely plain to the highly

elaborate.In spite of this variety,all kites share the

same dominant structural design-the square body of

the kite has a vertical diagonal held by a straight

bamboo split while the horizontal diagonal holds the

arched bamboo split.Both splits are firmly anchored

to the paper square with small paper stickers;the

boundary string which holds the bamboo and the

paper strengthens the paper edge when it catches the

wind as the flier tugs at the string while

manoeuuvring the kite.Manja,the kite flying string,is

made of cotton thread that is covered by starch and

glass powder in order to grant the string strenght as

well as enable the kite flyer to successfully cut the

string of an opponent`s kite.Bamboo splits are

sourced from Assam and craftsmen travel all the

way from Uttar Pradesh and Bihar to Ahmedanad

for the kite making Season.

Tools

Katar-scissors

Inset The kite -littered interior of a shop at

Jamalpur.The patterns on the kites are achieved by

gluing variously coloured scraps of thin paper.

1. The application of a mixture of glass powder

and coloured starch on kite string stretched

across two poles;the craftsman spreads the

threads over his fingers to ensure that each

thread is evenly coated.

2. A young boy spooling the kite string.

3. Spools of kite strings stacked in readiness for

sale.

4. The chand-daar kite,literally the moon kite.

BLOCK MAKING

THE BLOCK PRINTERS of

the western region of India hold

the skills of the block carvers

of Pethapur in very high esteem

due to the latter`s expertise in

the making of colour

separations of the

design,registration

marks,intricate relief carving

and air vents at the back of the

block.The saag wood used for

the block is seasoned and

prepared;

a chalk like paste is applied to the upper surface and

allowed to dry.The pattern,whether based on geometric

forms or comprising of motifs derived from

leaves,flowers,fruits and figures of animals,gods and

goddessess is traced on

Inset A craftsman operating the fiddle drill.

to the wood .The negative space is then carved out with chisels

especially made by the craftsman for this purpose.The pattern is

then raised in deep relief by further scooping out the negative

areas with the aid of a manually operated hand drill.Teh

karigars were originally of the Suthar or carpenter caste and

they made furniture,doors,windows as well as blocks for

printing.In the early 19th century,the craft received a great

impetus due to Gujarat`s flourishing exports of the Saudagiri

textiles to Thailand;the still extant samples of these printed

fabrics are a testimony to the excellence of the state`s block

making tradition.Since then,the court of 300 karigars in

Pethapur has drastically reduced due to the advent of screenprinting.The

few craftsmen that still practice their hereditary

occupation mainly supply blocks to private designers and

organizatons in Ahmedabad,Mumbai ,Delhi and Kolkata.

1. A saudagiri block,a relic from the heyda of Gujarat`s

trade in block printed textiles with the Far East.

2. The negative area having previously been carved out,the

pattern is revealed on the block`s surface.

3. The negative areas of the pattern are usually deeply

recessed to ensure that the pattern to be printed is thrown

into high relief;the recessions are achieved by creating

deep perforation with the aid of a fiddle drill and then

removing the intermediate walls of the bored

sections.through careful chiselling.

Production Clusters

Gandhinagar

district:

Pethapur

Products

Printing blocks:

Gadh-background

block

Rekh-outline block

Datta-filler block

Tools

Prakar-compass

Hathodi-hammer

Guchyu-drawing

tools

Tichaniyu-impression

tools

Ghasaniyu-testing

tools

Thapadi-mallet

Carving chisels:

Kalami,Golputhiya

Gala kathavanu

Katni choras,Thaso

Sayadi-kamathi-drills

Kanas/Atedo-files

Bekhaniya-wooden

pins

MATA NI PACHEDI-RITUAL CLOTH PAINTING

Production Clusters

Ahmedabad city:

Vasna

Mirzapur

Products

Temple cloth

paintings

Rumal-handkerchiefs

Bed covers

Yardage

Tools

Wooden blocks

Twigs

ALTHOUGH THE TECHNIQUE of making the block printed and painted shrine cloths

known as the mata ni pachedi or the mata no chandarvo is now practiced only by a

handful of Vaghri families settled in Ahmedabad and in Kheda district,the craft was

previously prevalent in the region of Aghar and Dholka as well.In addition to catering

to the commissions received from a number of ethnic communities such as the

Bharwad,the Koli,the Rawal,the Vaghri,the Rabari and the Deviputar,the craftsmen also

practiced direct selling by visiting places such as

Dholka,Dhanduka,Barda,Limdi,Rajkot and Bhavnagar during Navratri.The pachedi

have a distinct visual identity that is developed through the used of strong bold forms

and re-enforced by

1 A contemporary mata ni pachedi.

1a A detail of the hand-painted pachedi depicting the Goddess as Mata

Vahanvati,riding a vahan,ship.The craftsman has elected to draw each pictorial element

rather than use the conventional block printing and has explored a new colour palette

derived from indigo, ferrous sulphate, turmeric and ponegranate powder, alizarin, iron

filings and the mordant alum.

the application of stark coloursblood

red,black and white.The

central feature of the shrine cloth is

invariably the commanding

presence of the mother goddess;the

goddess is believed to have a

hundred forms and is consequently

depicted in each of these along with

the appropriate iconographic details

and attributes.The pachedis are

essentially an expression of the

divine cosmic energy of the mother

goddess and the unified

manifestation of the creative and the

destructive principles in her

person.Pachedi is used as a canopy

that forms a shrine,or is spread over

altars or worn by the shaman while

worshipping or in a trance.

2 A printing block,the figure

represented is that of the purvaj or

ancestor.

3 Imprints of the various blocks

commonly featured in the pachedi:

a. Paniharin,women carrying pots of

water.

b. Fulwani malan,a gardener

holding flowers.

c. Mor or peacock.

d. Rann ki devi, the goddess of the

desert.

4 A craftsperson painting in the red

areas of the cloth as per the

previously block printed outlines.

5 Traditionally,the pictoral space of

the temple cloths are divided into

various registers,each of which is

defined with the aid of borders

patterned with the aid of borders

patterned withd geometric

motifs,floral forms and figurative

representations;Lord Krishna,the

paniharin(women bearing water

pots), the purvaj (ancestor) and mor

(peacock).

A detail from an antique handpainted

pachedi depicting

mota,the mother goddess in

different forms.The pachedi has

been painted with natural dyesblack

made from iron filings and

jaggery;madder red used with

alum mordant.

PATOLA WEAVING

Production Clusters

Patan district:

Patan

Products

Sari,Scarves

Border

Tools

Loom

Kamthi-bamboo

Poles

Tokaru-bamboo shed

pole

Vi-wooden sword or

beater

Katar-temple

Tor-Cloth beam

Nali-shuttle

Parita-yarn winder

Porcupine quills

Vessels for dyeing

PATOLA,THE TEXTILES woven of

selectively dyed warp and weft threads

are characterized by their distinctive

geometric,floral and figurative double

ikat patterns.Of these,the textiles with

geometric patterns and tiger and

elephant motifs constituted a significant

luxury good that was exported to

southeast Asia,especially Indonesia,in

the 17th and 18th centuries.The floral

and geometric patterns were worn

largely by the Bohra community while

a patola sari with figures of danceing

women,elephants or parrots is

traditionally presented to pregnant

women during the srimant,the ritual

held during the seventh month of

pregnancy.The silk warp and weft

threads of the patola are tied separately

with cotton thread and then dipped in

coloured so that only the open threads

may absorb the dye.The area that have

been coloured are then tied and the

threads are immersed in the second

colour,so that once again only the

untied areas may be coloured.The

process is repeated depending upon the

number of colours desired and after all

the colours appear on both sides of

warp and weft the cotton threads are

loosened.The process of colouring the

threads itself takes nearly 75 days,even

with three craftsmen participating in the

activity.The weaving requires two

craftsmen to work simultaneously on

the same loom.At the most,10 inches of

cloth can be woven in a day and it takes

about 25 days to complete the weaving

and finishing of a sari.

Inset Detail of the double ikat

charactteristics of the patola textiles.

1. A craftsman at Patan

painstakingly straightening the

threads of a patola textile while it

is still on the loom.

2. Dyed blue except for the areas

that have been tied,these threads

shall now be retied and dyed in

another colour.

3. The border of a silk patola sari.

4. The border of a silk patola sari

patterned with the peacock and

elephant motifs.

MASHRU WEAVING

Mashru fabrics are effectively teamed with embroidered cotton textiles to create the

festive apparel of the Rabaris of Kachchh.Seen on the left is a bridal ghagharo,or skirt.

Production Clusters

Patan district:Patan

Products

Stripes

Khajuria-chevron

Kankani-pattern of

dotted lines

Danedar-pattern with

floats of cotton weft

Khanjari-wavy lines

in ikat

Tools

Shaal-pit loom

Puchado -small

brushes

Shuttles,Yarn

winders

THE TERM MASHRU refers to a

mixed fabric that was woven with

a silk warp and cotton weft textile

and was used by Muslim men who

were prohibited by a hadith,rule,to

wear pure silk fabric.As the silk

yarns were on the outer side while

the cotton yarns were worn close

to the body,these textiles were

considered dervied `lawful and

permitted by sacred law` or

mashru;this Arabic word therefore

came to be the name of the

textile.The satin weave used in the

fabric`s construction gives it a

luxurious sheen,an appearance

further augmented in textiles with

multicoloured stripes of ikat or tieresist-dyed

yarns.In addition to

being exported as a conveted item

of men`s clothing in Turkey and

the Middle East,mashru was also

used by the Folk communities of

Kachchh to stitch garments for

their dowry.Due to a decline in the

export market,the silk was soon

replaced by a cheaper

substitute,rayon.Although once

woven in many areas of the Indian

subcontinent,the tradition of

weaving mashru today survives

only in Patan,north Gujarat and

Mandvi in Kachchh district,both

places in needed of revitalization.

ARI EMBROIDERY

Production Clusters

Ahmedabad district:

Ahmedabad city

Patan district:

Patan

Products

Chakla-wall pieces

Toran-door hangings

Chaupad-game

File covers,Letter

holders,Purses

Bedspreads

Cushion

Shoe uppers

Long skirts,Blouses

Tools

Ari-hook

Scissors

Inset An ari worked elephant form.

LARGELY PRACTICED IN

THE Banaskantha district,ari

or Mochi embroidery was

traditionally executed on

household objects such as the

toran and the chakla and on

the long skirts worn by the

women of the region.

Although today the embroidery is chiefly done on

textiles,the techniques`s origin lies in the Mochi

community`s tradition of embellishing leather

footwear with intricate patterns executed in chain

stitch.while male artisans undertake the stitching of

the objects,the women embroider them with a variety

of floral forms accompanied by animal and human

figures.The base cloth is first printed and the area to

be embroidered is put on a ring to ensure that it

remains taut while the embroidery is done.The thread

is held with a finger at the reverse of the fabric and

the ari,an awl-like needle with a sharp point,is held

on the top.The ari is pierced through the cloth and the

thread is brought to the upper side and used to secure

the previous stitch.This process is repeated until the

desired form is created on the surface of the fabric.

Detail of a silk embroidered skirt worn by the Bhanushali

community of Kachchh;the border has Mochi work executed with an

ari.Stylized floral forms,peacock,parrots and animal motifs

characterize Mochi embroidery.

Detail of an antique chokla,a square cloth used to cover valuable

gifts,or offerings,or used to decorate the walls;executed with an ari,is

an example of very fine Mochi work of Kachchh.Some of these were

made as gifts for the European visitos of the courts.The motifs of the

hound and the foliage resemble the hunting tapestries of England.Ari

embroidery done by professional craftsmen(such as the Mochi)had

made Gujarat an important centre for embroidery in the 19th century.

An antique chaupad,dice game,made from gajji

silk,with ari embroidery using floss silk

threads.Thesed were made for the JAin and Jadeja

Rajput communities in Kachchh.

BOHRA CAPS

Production Clusters

Ahmedabad district:

Ahmedabad

Patan district:

Radhanpur

Vadodara district:

Vadodara

Surat district:

Surat

Products

Bohra caps

Tools

Kanto-crochet hook

Aluminium vessels

Die

THE BOHRA CAP derives its name from its exclusive use by the men

of the Dawoodi Bohra community.Worn on various religious occasions

in combination with the male attire of the jabbho and ijar,this kasab(core

yarn warpped with gold strip),ornamented cap serves to create a distinct

sartorial code that identifies the Bohras amidst the larger Islamic

society.Using a crochet technique wherein the surface is constructed by

looping a single thread,these caps are made by the Bohra women of all

areas for the men of their family.Using an aluminium vessel as a base,the

crochet is begun at the centre and proceeds in a spiral

form from the core to the outer edge.Once the

initial six lines are crocheted,kasab may be

introduced.Although the basic stitch remains the

same,both geometric and floral patterns may be

created with the aid of readily available pattern

books.The speed and neatness of the

workmanship depends on the interest of the

women and their experience.

1. Most Bohra caps are made in a combination

of white cotton thread and kasab though the

ratio of these two materials is variable.

2. This cap with its peaked tip is made for the

use of the Sheikh,Bohri priest;this is the

only Bohra cap in which red,green and

black threads may also be used.

3. A craftsperson embellishing the rim of a

cap with kasab or goldd plaited cotton

thread.

4. While the caps are being made,the

crocheterd utilizers a metal bowl as a die to

ensure that a consistent shape is achieved.

5. Two caps,their patterns created through a

combination of stylized floral and

geometric forms.

WOOD CARVING

THE ANCESTRAL OCCUPATION OF THE

Hindu Suthar community,the craft of wood

carving is practiced in the districts of Patan and

Ahmedabad,although the legacy of exquisite

wood carving seen in the traditional

havelis,mansions,is evident in all the districts of

Gujarat.Patan district is renowned for the

intricately carved Bohra haveli or mansions at

Siddhpur;these structures are characterized by

their eclectic use of geometric or floral patterns

as well as motifs inspired by European and West

Asian decorative elements on the woodwork of

the balconies and ceilings.The wooden

architecture of Ahmedabad on the other

hand,acquires its distinctive aesthetic through

the use of

patterns borrowed from block printing and textile;the surface of the

house front is minutely carved in floral patterns that clearly evidence

their source of inspiration.With the changing social fabric of these

regions and drastic alteration in construction materials,wood carving

ceased to be employed as a means of enhancing the domestic architecture

of the resident communities.Consequently,the Suthars have diverted their

skills towards the ornamentation of

doors,windows,railings,pillars,staircases;traditional items like rath

(chariot),chabutara (pigeon house)and mininature temples for homes.

1. A carved staircase that leads

from a sidewing near the

entrance to the upper

storey,Bohra haveli,Siddhpur.

2. View of the upper story of a

Bohra house in Siddhpur in the

Indo-Islamic Gujarati tradition

of architecture.Bohra houses

are typically introverted

dwellings that have a

multifunctional core in the

form of a courtyard.Houses in

a Bohrwad are typically

grouped around a street that

forms a mohalla;several

mohallas form a Bohrwad-a

large Bohrwad is generally

interwoven with religion/social

edifices such as a madrasa

(mosque),a jamat khana

(community hall)and other

buildings for collective

functions.As seen here,the

facades of Bohra dwellings

sport elaborate ornamentation

as per regional norms in

contrast to most of the Muslim

world,as the Bohras attach a

lot of significance to display

and decoration as an

expression of their social

status and an extension of their

religious belief for cleanliness

and personalization through

intricate detailing and

decorative elements.

Production Clusters

Ahmedabad district:

Ahmedabad

Barejadi

Patan district:

Patan

Siddhpur

Products

Silver-coated wooden

objects

Doors,Windows.

Furniture,Cupboards,

Shelves

Sculpture,Idols,

Miniature temples,

Chariots

Tools

Katar-scissors

Katkhuna-right angle

Dismiss-screwdriver

Kanas-files

Vedhanu-carving

tools

Chopan-tool for

silver-coated objects

Khuniyu-drawing

tools

Chini-carving tools

Randho-planers

Chopaan-thick edge

tool

Nakhiyu-tool to carve

circular shapes

Pag-mallets

Gerilo-Guch-carving

tools

The domestic architecture of the old city

of Ahmedabad is characterized by the

profuse use of intricately detailed wood

carving

A bracket ornamented with the

intertwined forms of fantastic animals.

A carved wooden door created at Patan as

per a commission received from a Jain

temple.

SILVER ORNAMENTS

Production Clusters

Patan district

Kachchh district

Rajkot district

Jamnagar district

Products

Radhanpur:

Oasadai-necklaces

Wadhalo-heavy

necklaces

Chaudi-bangles

Kambi-anklets

Patan:

For men:

Kadu-bangles worn

by the Bharwads

Gokharu-earrings

Jhola-earring support

chain

Doyanu-earrings

worn by the Thakurs

Kinder-chains worn

by the Bharwads

Dodi-gold pendants

For women:

Mathadi-anklets

Langar patto-anklets

Paag na sakalaanklets

worn by the

Rabaris and the

Thakurs.

Kambiyo-anklet worn

by the Thakurs.

Thosiya/ookhaniyuearrings

Bajariyu-thick anklets

Aathado-simple

anklets

Kadalu-anklets worn

by the Vaghris and

Thakurs

Hansadi-rigid

necklaces

Jhumanu-coin

necklaces

IN THE PASTORAL communities

of rural Gujarat,silver jewellery is

worn by the men and women

alike;in combination with the

traditional costumes the jewellery

serves as a flamboyant display of

identity.

Jewellery also functions as a significant form of portable

wealth,a phenomenon obviated by the popularity of

solid,heavy items with littel or no carving.Vigorous

geometric forms and the use of spherical form-either as gola

(hollow balls) or goli(solid granules)-dominate the design

vocabulary of the indigenous ornaments that are crafted

through the techniques of metal

cutting,forming,stamping,repousse and granulation.The

silver working traditions of this region of Gujarat are

concentrated in Radhanpur and Patan,two centres with

individual styles catering to the jewellery requirements of

the Thakur, Rabari, Bharwad, Ahir, Kanbi, Totiya, Mutwa

and Patel communities.

Inset A large fitted arm ornament worn by women,Patan.

1. Such silver neck ornaments are made of a single

continuous wire spiral torque and are worn by the

Muslim Mutwa and Jat,and Hindu Meghwal and

Rabari women,Kachchh.

2. Silver anklets made in Bharthad,Jamnagar district.

3. Silver anklets known as the kambiyo.

4. Bracelet ornamented with bunched hollow balls,Patan.

5. A pair of anklets made from sheet metal which has

been formed by beating,Bharthad.

6. Seen here,the angular kambiyo,worn below close

fitting anklets.

7. The kadala or anklet made of solid silver and engraved

with minute patterns here worn by a Mutwa

woman.These anklets are also given by the groom`s

family at the time of engagement and

consequently,they are an important marker of status

within the Dhebaria Rabari community,Kachchh.

A doyanu,men`s earstud,wornd in the middle section of the

earlobe,Patan.

Large gold beads strung and mounted on a cord,Mangrol in

Junagadh district.

The rigid necklace or torque,the hansadi,is solid with a pattern

that has been punch stamped.

Tools

Bhatti-furnace

Hammer

Files

Pliers

Tongs

Cattle wearing basket-like muzzles crafted from bamboo splits.

THE METACLUSTER COMPRISING

Anand,Kheda,Vadodara,Panchmahal and Dahod districts,is

located in the eastern part of Gujarat.Vadodara,previously

known as Baroda,is situated on the banks of River

Vishwamitri.Once the capital of the erstwhile state of the

Gaekwad rulers;the city owes much of its splendour to

Sayajirao Gaekwad III(1875-1939), a former ruler who

strove to transform his principality into a progressive centre

of culture,education,industry,and commerce.The Laxmi

Vilas Palace still used as the royal residence,and the

buildings of the Maharaja Sayajirao University are prime

example of the Indo-Saracenic architectural style.The

Maharaja Fateh Singh Museum,set within the palace

grounds contains a rare collection of paintings by Raja Ravi

Varma while the Vadodara Museum and Picture Gallery

exhibits a diverse collection of Mughal

miniatures,European oil paintings,textiles,carved doors

from old havelis,mansions,royal artifacts and bronzes from

Akota,a centre of Jain culture in the 5th Century.The city is

today an importantdd hub for textile,chemical and oil

industries;Vadodara is also renowned for the contribution

made by the Faculty of Fine Arts at the Maharaja Sayajirao

University to the development of contemporary Indian

art.The famous Amul Dairy in Anand,a symbol of the

success of the cooperative movement in India,is located 38

km from Vadodara.Khambhat in Anant district has been an

ancient source of hardstones like agates and a centre for

bead making.Bhil,Rathwa,Nayak,Gamit and Tadwi tribes

live in Panchmahal and Vadodara districts.Bhasha,a nongovernment

organization has setup a tribal training institute

based on a conviction that tribal languages,oral literature,art

and their material culture need to be nurtured.

ACCESS

Vadodarar is 112 km fromm Ahmedabad and 420km from

Mumbai.It is an important station along the Western

Railway and on the Mumbai-Delhi and Mumbai-

Ahmedabad line.The airport at Baroda serves the districts

that are located in the corridor of Gujarat which are

adjacent to Maharashtra.

Craft

Sankheda furniturekharadi

kaam

RESOURCES

Raw Material Sources

Teakwood

Tin

Sankheda,Dangs

district

Silver ornaments Silver Ahmedabad,Ratlam

Bead work

Beads

Nylon threads

Woollen

threads

Chota Udaipur

At Dahod,a craftsperson twining the grip of a broom made from

bamboo

1. At Panchmahal,a tribal wearing a drapped turban,a cotton

wrap and a vest,the metal buttons of which are embellished

with tassels of tiny bells.

2. A craftsman weaving large grain storage baskets locally

known as pohra at Nadhelav,Panchmahal district.

3. A craftsman stocks garbho,mud pots,in his verandah at

home,where he works.

4. At Tejgadh,a potter inserts cylindrical legs into especially

gouged holes made in the wheel thrown body of an

unbaked votive horse that is made for tribals.

Crafts of

VADODARA

Sankheda furniture

Pithora painting

Silver ornaments

Agate stone work

Bead work

Terracotta and

pottery

Brass and copper

ware

Subclusters of

VADODARA

Vadodara district:

Vadodara

Sankheda,Ambala

Chota Udaipur

Bodeli,Tejgadh

Dabhoi,Kawanth

Naswadi,Panvad

Anand district:

Khambhat

Nadiad

Panchmahal

district:

Godhra

Nandhelav

Jambughoda

Halol

Dahol district:

Devgarh Baria

Dhanpur

Limkheda

Garbada

SANKHEDA FURNITURE

Production clusters

Vadodara district:

Sankheda

Products

Chairs

Dining Tables

Centre tables

Centre tables

Mirror frames

Swings

Corner tables

Bangle stands

Cupboard doors

Cradles

Rolling pins

Tools

Vidhnu-flat edged

tools

Lelo-flat edge with

semicircular section

Veraki-tool with a

pointed edge

PAnu-Screwdrivers

Pedhi-lathes

Ghodi-stands

SANKHEDA FURNITURE DERIVES its name from the monopoly on laccoated

turned woodd furniture enjoyed by the town of Sankheda and its

kharadi artisans.The craft process essentially involves five stages-the making

of individual teakwood elements on a pedhi or lathe,the painting of designs in

tin on these pieces,the application of a coat of lac,the polishing of the lac with

kevada leaf and groundnut oil,and finally the assembling of these sections into

a single furniture piece.The tin-painted patterns change colour once heated

and lined with lac.Due to the limitations imposed by the technique and

the materials used,the finished products have a fixed range of colours of

which the combination of brown and orange is perhaps the most

common.A unique process of tin metal placed within the folds of a leather

pouch,is pounded repeatedly till it produces a fine powder.This powder is

mixed in a solvent and applied on the wood with a brush.The tin paint

thus prepared does not get tarnished with age once it is covered with clear

lacquer that is applied on the lathe using lac sticks.

1. A craftsman at Sankheda demonstrates the process of applying tin

lacquer on the surface of wood.

2. A craftsman forming the turned wood elements that will eventually

be painted and then assembled to create a chair.

3. A peti(wooden chest)and an assortment of furniture legs painted

with silver paint and varinished so as to simulate the lacquered

finish of the traditional Sankheda furniture.

4. A pair of semi-finished chairs showing extensive embellishments

on round members that are typical of the Sankheda tradition.The

motifs are seamlessly mapped over the memnbers which requires

both skill and geometric precision.

5. A sofa leg;each individual element of the structure is treated and

finished and the parts are then joined together.

Detail of a painting depicting the myth of Pithora painted inside

the sacred enclose indicated by a border of triangles.the wedding

procession of the venerated god Pithoro and his bride Pithori are

seen riding on horses.

PITHORA PAINTING

AMONG THE RATHWA Bhils,a tribal community of Gujarat,it

is common practive to install a deity in the house in the form of

a ritual wall painting.These painted deities preside over all

auspicious celebrations in the family from their vantage point on

a sacred enclosure on the wall between the courtyard and the

kitchen.Although known as Pithora paintings after their primary

subject,Pithoro,the god of foodgrains;the paintings also depict

other local divinities such as the gods Gamdev and Khetarpal,as

well as the sun and moon.The family desirous of acquiring a

Pithora painting commission a group of male

Animals,birds,insects,a row of musicians,farmers,king riding

an elephant are part of the procession.Two vaghda,tigers,guard

the enclosure.The house of ammunition and a grain storage

symbolize royalty.

painters.The process of painting may start only when it is

commanded by the badva,oracle.The act of painting the wall is

a ritual comprising narration,singing and drumming,the period

when the painting is being executed,the painters are expected

to be served food by the unmarried girls and boys of the

family.Once the painting is completed,the badva identifies

each character,gives life and meaning to each member of the

painting,and connects the mythical past with

present.Finally,goats are sacrificed and the night ends with a

feast.

Production Clusters

Panchmahal district

Dahod district

Vadodara district

Products

Wall paintings

Tools

Cotton string

Bamboo sticks

Arrowheads

Wooden stencils

SILVER ORNAMENTS

Production clusters

Dahod district:

Dohad

Limkheda

Garbada

Dhanpur

Devgarh Baria

Vadodara district:

Bodeli

Panchmahal

district:

Godhra

Jambughoda

Halol

UNLIKE THE OTHER tribal jewellery traditions of India,that of Gujarat

closely resembles the local peasant jewellery.This phenomenon is perhaps

due to the proximity of tribal communities to residential areas or the

presence of common trade markets.The tribal jewellery comprises

chains,beads,amulet stamps or boxes and dozens of small clusters of bells

with thorny seeds,cereals,nuts,berries adn coins forming an important

element of the design repertoire.The heaviest jewellery item wornd is the

solid silver anklet,variously known as the kadla,bedi and damgi;made in

two parts these are held together by a pech or screw.A modified version of

the same,the toda or kalla is ornamented with punched patterns and has

heavily stylizedd makara or crocodile heads.The skirts worn by the men of

pastoral communities are ornamented with chain linked silver studs called

the hare,camp and ser while those worn by the Bhil,Rathea and other tribal

communities sport beaded tassels.The unique arm ornaments worn by the

women are conical in shape and made of sheet silver.Several bangles may

also be combined to create a two-part cuff bracelet of up to five inches with

a hinged joint.The ivory bracelets,known as the danti chudo or danti

buluyan,have grooved surfaces in which embossed strips of silver or gold

are inserted.After the

recent ban on ivory,these bangles have been substituted with

wood and plastic bangles.In Dahod,the Soni community creates

these silver ornaments.Silver is melted in the Bhatti and poured

into a cast to obtain a thick circular wire that is then hammered or

bent on a wooden rod into the desired shape.After this

process,known as the Ghadavanu,the ornament is polished by

washing it in a solution of soap nut powder.

Products

Balliya-bangle worn

by Bharwad women

Kamarpatto-waist

ornament worn by

Bharwad men

Hansadi-torque/rigid

necklace

Sankali-necklaces

Sankali nu paan-leafshaped

pendants

Chudo-cuff bracelet

Toda-anklets

Sath-buttons with

chains

Vedhana-ornaments

Hathful-hand

ornament

Tagali-thick solid

necklaces

Ghughriwala-todaanklets

with bell-like

bunches of silver

balls

Mathiya-bangles

1. The ghughriwala toda,the anklets embellished with belllike

silver balls.

2. A key ring.

3. The leaf-shaped pendant locally known as the sankali no

paan.

4. The kamarpatto or kandoro,the belt worn by men of the

Bharwad community.

5. Detail of the Kamarpatto,waist belt.

6. The Mathiya,bracelet worn by Bharwad men.

7. A detail of the fastening of the chudo worn by the Bhil

community.

8. The Rahasthani chudo commonly worn by Rabari women

in Gujarat.

Tools

Bhatti-furnaces

Hammers

Files

Pliers

Tongs

AGATE STONE WORK

Products

Mala-necklaces

Paperweights

Toys

Lampshades

Nameplate

Photoframes

Ritual objects

Imitation Jewellery

Idols

Sculptures

Statues

Displaying objects

THE SEMI-PRECIOUS AGATE stone is used in the construction of many

jewellery forms,most of which were previously created primarily for export

purposes as the jewellery tradition of India is largely based on gold and silver

work.Recently however,the changing lifestyle of India`s burgeoning urban

population has led to the creation of an indigenous market for agate stone

jewellery.The increasing popularity of agate for use as personal

ornamentation is also due to the belief in the stone`s healing properties and

its ability to rectif the imbalance of energies of a specfic place or person.The

town of Khambhat is the chief production centre for agate stone ware with

many of its resident artisans specializing in a specific stage of the craft

process such

as in stone cutting ,shaping,polishing,drilling

and the making of the final product.The

technique utilized varies as per the density of

each stone.Soft stones like crystal and rose

quartz,for example,require gentle handling

while carnelian needs to be heated and dried

because of its characteristics moistness.The

pale yellow stone is broken,shaped and put

into small terracotta pots topped with

matti.These pots are then put in the bhatti

along with the wood waste and burnt;as a

result of this heating process,the stone turns

red.

Production Clusters

Anand district:

Khambhat

Tools

Singodi-buffalo-horn

headed hammer

Drilling machine

1. Shaped and polished clear quartz

beads.

2. Rounded,convex rhomboidal

beads made from banded agate.

3. Polished (right)and unpolished

(left)cat`s eye stone;these stones

are extremely popular,especially

with Muslim tourists,suppossedly

due to their resemblance to a

moon in eclipse.Beads shaped

from stones with a natural eye

form are used as protective

amulets in West Asia.

4. The tasbih dana,or 100 bead

rosary of red agate is popular

among Muslim customers

because of its religious

significance.

5. Necklace made from agate stone

beads.The colour of the carnelian

(red agate)is proportionate to the

heat it is given,making it possible

to have a range of warm colours

from light orange to deep red.

6. Lathe turned and polished bowl

made from camelian (red-orange

agate)stone.

7. A semi-finished bowl made from

agate stone.

8. A finished bowl made from agate

stone.

BEAD WORK

COLOURFUL BEADED ORNAMENTS are widely

used by the tribal communities of this region.These

ornaments are the preferred means of personal

oranamentation as they serve as an inexpensive

alternative to silver while displaying a unique local

aethetic. Red, green, white, black, yellow and blue

beads,known as moti,are usually bought at Chota

Udaipur.The bead work,executed with nylon threads,is

usually undertaken by the tribal women in leisure

hours.Woollen threads are selected for use in the

remainder of the ornament due to their availibility in

wide range of colours.

Production Clusters

Vadodara district:

Tejgadh

Chota Udaipur

Products

Haar-necklaces

Payal-anklets

Butti-earrings

Keddchulo-waist

belts

Haath ni pattibracelets

Tools

1. Although practiced primarily in the tribal

region,bead work is also executed in other

regions of Gujarat such as in the district of

Mahesana where the typical products have

include beaded pot resets or indhoni.

2. Kedchula,a beaded tribal jewellery item used

either as a keychain or worn on the girdle.

3. A tribal necklace made of blue and white

beads,Tejgadh.

4. A beadedd Kathiawadi hand fan from the

Saurashta region.

Thread and needle


Production Clusters

Vadodara district:

Chota Udaipur

Tejgadh,Kawanth,

Naswadi,Panvad,

Devhaat,

Panchmahal

Banaskantha

district:

Poshina

Surat district:

Mandvi

Products

Votive offerings

Horses

Toys

Peni-small vessels

Peno-big vessels

Kalenu / thikaru-flat

pans

Bot-liquor containers

THE TRADITIONS OF the adivasi,tribal,peoples of

Gujarat,especially those of the Bhil,Gharasiya,Rathwa

and other communities,dictate the offering of votive

terracotta horses to their gods and goddesses at the

devsthan,or place of worship,during festival or

auspicious occassions.Each region of the state appears to

have a specific stylistic variation that characterizes it;it is

a traditional craft practiced over many generations by

four potter families who make horses in Tejgadh.Red and

black clays are used in proportion of 3:1.Usually the

woman of the family decorates the horse.The peak

season for selling is during Holi,Diwali,and the harvest

season in the chaitar and vaishakh months.Tribals use

terracotta vessels for cooking food and storing

liquor.These utensils are lined with lac from inside and

from outside,which forms a red and smooth thin

layer.This layer helps retain the moisture in the

food.These are hand-sculpted and fired.The votive horse

figure is made of wheel-thrown parts in the north and

central districts due to the good quality clay,while in the

south,the horse figure is hand-sculpted.Making of the

terracotta utensils, is a fulltime traditional profession but

the potters also do farming.Holi is the biggest festival for

the tribals.During this time the sales of the vessels and

containers is the highest.The products are mainly sold in

the weekly markets such as Chotta udaipur,Devhaat,and

Rangpur in Vadodara district.

1. At Poshina,a conglomeration of painted votive terracotta

horses stand in the shelther of a large tree near a small local

temple.

2. Large votive terracotta horses anointed with smears of

red;note the long necks and gouged patterns on the

body,Poshina.

3. Lac-coated vessel called peni used for cooking,Kanlava.

4. A ghodo,clay horse,that is made of wheel thrown

parts,Tejgadh.

Tools

Chaak-wooden

potters wheel

Chappu/churi-knives

Chappu/churi-knives

Sideview and frontview of the bot,containers used to

store liquor,Kanlava.

Simodiya,hand-sculpted and painted clay horse,Mandvi.

Production Clusters

Vadodara district:

Dabhoi

Kheda district:

Nadiad

Mahesana district:

Visnagar

Ahmedabad district:

Ahmedabad

BRASS AND COPPER WARE

IN ADDITION TO their daily use in traditional Indian

households,copper and brass vessels are also believed to

possess a symbolic and religious significance and consequently

are widely supplied to temples such as a Shamlalji,Ambaji and

Swaminarayan,to wedding halls in Baroda and Ahmedabad and

to individuals for use in religious ceremonies.The pots and

community vessels are created from sheet metal by a variety of

processes:beating,joining component parts,soldering,brazing

and riveting additional parts such as handles.The form of the

utensil is dictated by the craftsmen`s understanding of

shape,size,and the measurement of each part in relation to the

desired form of the finished product.Due to the tremendous

physical labour involved,only men are involved in the

process of forming the vessels;the women usually undertake the

polishing of the metal objects with ambali,tamarind.In north

Gujarat,the technique of crafting such community vessels is

practiced by the Kansaaras,a community who were originally

from mainland Gujarat.In the Saurashtra region the Maru

Kansaras,a community of immigrants from Marwad in

Rajasthan do the same.The word kansara is derived from the

Gujarati kansu,or bronze.Despite copper and brass having

superceded bronze,the craftsmen have retained their name.

1. A craftsman shapes and gives texture to a copper vessel

by beating it with a hammer in his workshop in Nadiad.

2. The brass container known as the dablo formed an

important part of the dowry given to a Kathi bride.It was

primarily used to store precious clothes,ornaments and

money.

3. The copper spittoon known as the palu is also used as a

portable basin for washing hand.

4. The yajna kunda,the copper vessel used in fire

sacrifices;the tantric star-shape forms the Basis of the Sri

Yantra and the magical diagram of that name.

5. The yajna kunda,the copper vessel used in fire

sacrifices;the tantric star-shape forms the basis of the Sri

Yantra and the magical diagram of that name.

6. The water pot popularly known as the loto is also called

the tumbadio,literally the gourd pot as this form was

earlier made from dried gourds.Today the tumbadio is

made of beaten copper sheets;the form is however

derived from the initial natural prototype.

7. The tambakundi,the copper bucket used to store bath

water.

8. The dowry vessel known as the karandio, and its detail

showing a cast bronze peacock poised above the latch

hook.

9. The copper water pot called the mana is used as a

musical instrument by the Mana Bhatts and the Gagaria

Bhatts,who accompany their rhythmic narrations of the

local folklore with a taal beaten on the body of the vessel.

10. The cooking pot known as the charu or deg.

Products

Household utensils;

Ghado,Bedu

Charudi,Ghodi-pots

Lota-tumblers

Badna-pots with

handles

Garba-lamp

containers

Garbi-pots

Community vessels

of copper:

Dhekchi-metal pots

Limbodi-cooking

vessel

Kadai-deep frying

pans

Bakadia-vessels used

for cooking

Parat/Katharot-plate

for mixing dough

Bhaat na tapelocolanders

Community vessels

of brass:

Tapela-large metal

saucepans

Pavali/kothi-water

containers

Tools

Hathodo-big

hammers

Hathodi-small

hammers

Khotri-beating

hammers

Marko-files

Parkar-compass

Chaini-cutters

Khadbhar-support

Mathonu-finishing

hammers

Kodhu-wooden piece

Katar-scissors

Sub clusters of

Surat

Surat district:

Mandvi

Surat

Valsad district:

Amba jungle

Dharampur

Virakshetra

Bharuch district:

Bharuch

Dang districr:

Ahwa,Dungarda

Ambapada,Waghai

Narmada district:

Jharnawadi

Hathakundi

Dediapada

Crafts of Surat

Marquetry

Mask making

Patku weaving

Sujuni weaving

Vaaskaam-bamboo

crafts

Devru-embossed

metal ware

Crafts

Marquetry

Patku

weaving

Sujuni

weaving

Devruembossed

metal

Vaaskaambamboo

crafts

RESOURCES

Raw

materials

Wood,

Acyrlic

mosaic

Cotton yarn

Cotton , Silk,

Golden

thread

Silver

Copper

Lac

Bamboo

Lilu vaasgreen

bamboo

Sources

Surat

Ahmedabad, Delhi

Surat

Mumbai

Surat

Dang forest

Forest in Waghai(under

government

regulations), Vasada,

Billimora

Dang forests (under

government

regulations)

At

Bharuch,a

sujuni

weaver

fills cotton

between

the two

layers of

the double

weave

fabric.

1. A kumbhar,pooter`s shop at Navapura in surat district.

2. Dhabu,dome-shaped terracotta votive object painted with oil paints,is made

by kumbhars for tribals in Mandvi,surat district.It is meant to house the

spirit of the dead who is symbolically invited to live inside the dome. The

votive object is constructed on a inverted pot and has an opening for

keeping a lighted lamp inside.

3. At a workshop in surat,a craftsman carves out a basic form prior to the

application of slices of veneer or mosaic on its surface.

The area near the village af Devlimadi is inhabited by the Gamit

tribe;the chief deity of this community,the crocodile god;offerings

of effigies made of unpolished and unpainted sheesham or teak

were traditionally offered at the realisation of a prayer or

maanta,a wish.Although this practice has recently ceased,the

tribals still gather once a year to venerate the crocodile deity.

SITUATED ON THE banks of the River Tapti,Surat was a major

port on the maritime seafaring route.The East India Company

established its first warehouses in the city in 1612.In addition to

Sir Thomas Rae`s landing at Surat on his mission as king James

Ambassador to the Court of the Emperor Jehangir,Surat also

played a significant purpose during the Mughal period by serving

as the main departure point for pilgrims sailing to

Mecca.Although once famed for its fine silks,exquiste brocades

and trade in spice,Surat lost its commerical prominence due to

political and climatic problems as well as the rapidly growing

importance of Mumbai.Today,Surat is a major industrial area

known primarily for its textile industry and diamond-cutting

centres.Surat contains numerous Hindu,Jain,Parsi and Islamic

sacred structures as well as some architectural remnants of its

cosmopolitan part-Surat castle,The English,Dutch and Armenian

cemeteries to name a few.An outbreak of plague in 1994

prompted the city`s regeneration,thus aiding in its revival as a

prosperous commerical centre.The metacluster comprises districts

of Narmada,Bharuch,Surat,Navsari,Valsad and Dangs located in

south Gujarat.Bharuch has marble resource and Surat,Valsad ana

Dangs have forests with teaks,haldu,sheesham,khair,katas and

manvel trees.Dangs,thickly forested area is inhabited by

Bhil,Kokna,Warli and Gamit tribes.chodhri and Dubla tribes

reside in surat and Valsad districts.These tribes offer terracotta

votives sculpted by kumbhars,potters,in a great variety of animal

figures and sizes.The offerings are made at sanctuaries or shrines

that are located beneath trees,on barren hills or on their summit.

ACCESS

The district occupies a pivotal position on the Ahmedabad-

Mumbai road corridor and is well connected by rail to

Ahmedabad,Vadodara and Mumbai.The nearest airports are at

Mumbai and Vadodara.

Production Clusters

Surat district

Surat

Products

Jewellery boxes

Photo frames

Display frames

Side tables

Details of a marquetry panel,surat.

A detail of the corner of a marquetry ornamented box from Surat.

Tools

Chisels

Cutters

Measuring scales

Right angles

wooden mallets

MARQUETRY

THIS TECHNIQUE CONSISTS OF creating a patchwork of thin slices of wood

called veneer and acrylic mosaic on wooden surfaces.The process involves three basic

activities-the making of the wooden object to be ornamented,the creation of the

composite sections from which the slices are obtained,and the application of these

slices to decorate the wooden surface.Having originated in Iran,the craft arrived in

Surat 150 years ago when the Parsi community migrated here.As a result,the

patterns display an Iranian

influence while the mosaic are

constructed using basic geometri

shapes such as the square,rectangle

and triangle.The craftsmen are

mostly carpenters,gifted with the

precision and patience required to

undertake this time-consuming

craft.

A jewellery box with various

compartments,the entire surface

embellishment is executed in the

marquetry technique.

A marquetry border teamed with a

carved sandalwood

panel.Originally,ivory and

rosewood were used for such work.

1 A crafted piece that will now be

sliced to obtain slim wafer-like

pieces that may be applied on the

wooden surface.

1a A slice of a marquetry piece

wherein individual triangular

pieces are stuck together to create a

single form.

MASK MAKING

CRAFTSMEN OF THE Warli tribe create wooden maskes that are worn by

performers representing the tribal deities during ritual dances and

festivals.Locally available soft woods such as pangaro or savar are used to

facilitate easy carving;thus although a mask may be made in four hours,the

unfinished soft woods used are prone to rapid decay and the masks must

therefore be replaced annually.The Kokana tribe however,is renowed for its

papier-mache masks that are made exclusively durig the fifteen days

preceeding the festival Bhavada,which falls on the akha trij after the day of

Holi.Considered to contain religious significance,these masks are not made

for sale but specifically commissioned by

group of villagers.In addition to the funds

collected by the villagers,the person who is

designated to carry the mask at the festival also

makes a monetary contribution to the

craftsman.The craftsman usually takes around

eight days to make four masks.

1. A wooden mask from Mandwa.

2. Detail of an unpainted mask.

3. A human figure executed in papiermache.

4. A papier-mache mask of the monkey god

Hanuman,made in Virakshetra.

5. A papier-mache mask of the elephant

god Ganesha.

Production Clusters

Valsad district;

Amba village

Products

Ritual masks

Tools

Axes

Knives

Bamboo sticks

Grinders

PATKU WEAVING

Production Clusters

Surat district:

Surat

Products

Cloths known locally

as salla/sadia and

kabra/tarap

Tools

Handloom/pit loom

Lakadia-shuttles

Falko-turnstile

Hatho-guiding comb

Dhingla/salia-bobbin

charkha-spinning

wheels

Tapela-dye vats

Tokru-large stick for

washing

Dandaku-sticks for

prodding the yarn

while dyeing

otha-measuring stick

THE HINDU KHATRI and muslim weaver communities of

surat create a simple weft ikat or tie-dyed and handwoven

cotton cloth known as patku. Approximately 260cm long and

78 cm wide,these traditional textiles are woven from pure

handspun cotton with a tie-resist-dyed weft.This cloth with its

boldly striped edges is worn as an unstitched,draped garment

by the women of the Chodhri tribe of mandvi,Vyala,Valod

and Bardoli during weddings and death rituals.The stripped

cloth is presented to the bride when she is brought to the

groom`s house;it may also be worn as turban,ambalu,or

simply thrown over the head as an odhan.The textile may also

be worn as a loin cloth while farming.Although sturdy

enough to last for around one or two years,the traditional

users of these textiles have evidenced a marked preference for

screen-printed ,mill made fabric.The decrease in demand in

combination with yarn shortage and high production expenses

is causing many weavers to give up this craft.Of the 30

families engaged in this craft at Mandvi,only seven still

actively practice patku weaving.

1. The dhoti worn

by tribal men.

2. An adivasi sari

called patku

worn by women

of the Bhil and

Dang tribes.

Due to changing tastes

and the availiability of

cheaper

alternatives,the tribals

have ceased wearing

the traditional patku.

Consequently,

craftswomen have

taken to weaving lace

as an alternative to

weaving patku.

SUJUNI WEAVING

Production Clusters

Bharuch district:

Bharuch

Products

Quilts

Blankets

SUJUNI ARE DOUBLE weave fabrics in which cotton

is filled in between the two layers during the weaving

process itself.The sujuni make effective and highly

duarable blankets,as the trapped cotton serves to retain

body heat while the technique of the filling does not

allow the cotton to be easily displaced. This traditional

craft may use various combinations of materials such as

cotton and rayon or cotton and wool,as well as golden

thread.Despite the multiple materials used,the basic pattern of

alternating rectangles remains constant.At present,there are

approximately 35 craftpersons in Bharuch who are engaged in this

craft.It takes three craftsmen to produce a single blanket in one day.

Tools

a Sheesham shuttle with a bobbin

b Detail of the loom pulleys.

Tools

Loom

Warp winding drums

Yarn winders

Bamboo sticks

Shuttles

1. Detail showing the

manner in which

the threads are tied

on the loom.

2. Detail of a finished

sujuni blankets

3. A craftsman

demonstrating the

procedure of

stuffing cotton in

between the

threads of two

layers.

VAASKAAM-BAMBOO CRAFTS

BASKET WEAVING IS practiced by all members of the

Kotwalia tribe during the period from May to August.The

community has an effective production systems,one of

dividing the various tasks involved in the craft process

amongst themselves,and the finished products are

periodically collected by traders.Although the basket known

as the topla is the chief product,the craftsmen make an

assortment of baskets,grain storage containers,fish traps and

winnows.These objects are all constructed in three basic

stages-the big bamboo is made into smaller components and

these are then patterned with the aid of a blue

lamp,assembled to form the desired object and finished.This

cluster is also engaged in the making of bamboo toys,an

activity that requires great skill,manual labour and time.The

toys are usually made in bulk , in anticipation of sales during

the summer,Christmas and Diwali.

Production Clusters

Dang district:

Ahwa,Ambapada,Waghal,Dungarda

Narmada district:

Jharnawadi

Hathakundi

Dahod district:

Jasavada,Nandhelav

Products

Animal figurines

Kandiyo-chicken

basket

Dalo-cattle grain

basket

Supadu-winnow

Supadi-small winnow

Topali-small baskets

Topala-big baskets

Chabadi-breadbasket

Palo-mats

Pankho-hand fan

Bagro-broom

Pohra-grain storage

basket

Lamps,trays

Whistles,Bangles

Clothes hangers

1. A hanging lamp made in Ambapada.

2. A wind chime from Ambapada.

3. At Dungarda,the small basket is used for storing fish or

tadpoles once they are caught.

4. A hand fan from Mulkapada.

5. The Supdu or winnowing tray.

6. The panjari or fish trap,Mulkapada.

7. A deer sculpted from the bamboo root,Ambapada.

Tools

Dhoriyu-knie for

scarping

Blue lamp

Chari-knives

Aari-hacksaws

Hathodi-hammers

Drills

Bhid

Pakad-pliers

Karadiyu-axes

Kanas-files

Ghodi-stands

Tipkiu-wood base

Vaasalo-axes

DEVRU-EMBOSSED METAL

CREATED BY ARTISANS WHO migrated from Maharashtra,devru are

small,embossed silver idols of gods and goddesses that are worshipped by

the adivasi or tribal communities of the surrounding villages and purchase

during the harvest season and auspicious occasions.Silver is rolled in

machines to form thin sheets that are then hammered onto caste called

farma.Hot

Virdev,the form of the equestrian soldier,is widely workshipped by the

tribals.

lacquer is filled in the embossed area and the reverse of the silver

idol is sealed with a copper plate.Finally,the silver and copper is

polished with ambali,tamarind;the entire process of making a single

devru takes approximately an hour and half.

At Dharampur,a devru in which the sun,the moon and a cow feature

as primary pictorial characters.

The thin silver foil at the left is pressed in farma or mould to obtain

the sculpted image.The foil treated thus is then filled with lac and

finally stuck onto a copper sheet which serves as the base of the

devru.

Production Clusters

Valsad district:

Dharampur

Products

Devru-embossed

silver ritual objects

Tools

Farma-dies

Hathodi-hammers

Pakkad-pliers

Katar-scissors

Districts - 30


Pandavleni caves near Nasik that

house Jain teerthankaras or saints

are over 2000 years old.

Kolhapur Mahalaxmi Temple dates back to the 7th century AD

and is one of the four shakti peethams,sites,where the goddesses

are once supposed to have emerged in Maharasthtra.

Detail of Paithani silk scarf,drawing inspiration from the Buddhist paintings at the Ajanta

caves.The murals were painted with colours derived from plants and minerals and were

painted in a unique combination-shades of ochre,green,brown,black and blue.

Crafts of

Maharashtra

Leather craft

Ganjifa craft

Wooden toys

Silver ware

Sitar-string

instrument

Terracotta and

pottery

Copper and brass

ware

Metal emboossing

Bidri ware

Metal dies/metal

casting

Dhurrie weaving

Sisal craft

Taal, Jhanj, Ghanta

Banjara embroidery

Wall painting

Bamboo craft

Jewellery stringing

Flower stringing

Landmarks

Ajanta and Ellora

Fort of Chhatrapati

Shivaji

Gateway of India

Vishramag Wada

Karle,Bhaja and

Bedsa caves

Lonar,Melghat tiger

reserve

Ghrishneshwar

Mandir,Verul

Parali Vaijnath

Kolhapur

Nasik

Shirdi-Saibaba

Physical Features

Western Ghats:

Sahyadri range

Satpuda hills

Konkan coast

Desh-Deccan plateau

Major Rivers:

Godavari, Krishna,

Koyana, Bhma, Tapti

Biodiversity

Flora:

Moist deciduous

forests,

Sal,Teak,Jamun,

Reed beds,Sisal,

Turmeric,

Cashew,

Lotus,Jasmine,

Coral tree

Fauna:

Tiger

Bison

Blackbuck

Sambar

Migratory ducks

Wagtails

Gray jungle fowls

Peacocks

Languages

Marathi

Konkani

Hindi

Attire

Women:

Nauvari-nine yard

sari or draped cloth

choli-blouse

Men:

Dhoti-drapped lower

garment

Kurta-tunic

Phetas,Topitraditional

headdress

Cuisine

Sabudana khichadisago

snacks

Puran poli-bread with

sweet filling

Alphanso mangoes

MAHARASHTRA,with its vibrant

capital Mumbai,is a highly industrialized

and prosperous state in India,where

history has interwoven itself in the fabric

of the lives and crafts of the people for

centuries.It comprises five distinct

subregions based on the topography-

Konkan, Vidarbha,Desh (Deccan

Plateau), Marathwada and Khandesh.

The central part of Maharashtra is Desh;Konkan is the narrow

coastal lowland lying between the Arabian Sea and the Sahyadri

Range famous for its Alphanso mangoes;Vidarbha has rich natural

resources in its cotton growing soil;Marathwada boasts of two

famous UNESCO world heritage sites in India-the Buddhist caves at

Ajanta and the rock-cut temples at Ellora.Khandesh,the region under

the Tapi River Valley,is famous for its alluvial

bottomlands that produce cotton,oilseeds,and

tobacco.These region have influenced various

indigenous crafts like fishing and boat making in coastal

areas,bamboo crafts or wooden toys in the forested hilly

regio of the sahyadris and the Satpudas.Mughal

patronage influenced the motifs and techniques of the

classical hinroo textiles,bidri ware and the pallav,crossborder

or endpiece,of the Paithani saris.Saint poets like

Sant Ramdas and Tukaram who propagared the highest

spiritual values along with great revolutionaries,in the

artistic,literary heritage of Maharashtra and taken it to

glorious heights.The Raja Dinkar Kelkar Museum at

Pune has preserved some of the most unique artefacts of

crafts and traditions that are integral to the daily

existence of the Maharshtrians like chitrakathi

paintings,which are visual depictings of stories narrated

by the story tellers.

Inset A detail of the stone carving at the Kalaram

Mandir,Nasik,built in the 16th century AD.

Festivals

Nag Panchami

Narali Pournima

Gokul Ashtami

Ganesh Chaturthi

Gudi Padva

Pola

Dussehra

Diwali

MakarSankranti

Holi

Id-ul-fitr

Pateli

Hannukah-jewish

festival

1. Hoarding artists,commissioned to make film posters are very skilled in the art of painting large-scale

reproductions.Hand-painted posters though,are now a dying tradition.Indian cinema has globalized and

embraced computer rendered film imagery,as a result of which many fine artists have turned to painting

political figures for campaigns.

2. Ganesh chaturthi,one of Maharashtra`s important religious festivals.

3. A fruit vendor in Pune selling oranges grown in Nagpur.She is wearing a traditional hand-woven sari and a

blouse called khan.

4. Garlands are always in demand in the Mumbai market.

5. Detail of a Paithani silk sari.Paithan,in Aurangabad district,is renowned for weaving silk saris with a large

cross border in gold thread,with floral motifs woven in a tapestry technique ,using numerous spools of yarn.

Top view of an antique granite flour mill from a museum collection.Grain fed through the central chute is ground

between the grinding wheel on top and the stationary stone below.Stone carvers in Kolhapur nd Buldana districts

make domestic,industrial and special purpose grinding stones.

Intricte carving at the Mahalaxmi temple in Kolhapur

Subclusters of

Kolhapur

Kolhapur district:

Kolhapur

Hupri

Kapashi

Sangli district:

Miraj

Jath

Kavathe Mahankal

Ratnagiri district:

Ratnagiri

Sindhudurg district:

Sawantwadi

kolgaon

Crafts of Kolhapur

Kolhapuri chappals

Ganjifas cards

Wooden toys

Silver ware

Sitar-string

instrument

RESOURCES


Kolhapuri

chappals

Silver

ornaments

Turned

wooden

trays

Ganjifa

cards

Buffalo, Calf, Bullock, Cow

(not widely used) and Goat

hide

Finished silver wires, springs,

Pearls, Strings, Wield(made of

silver, zinc and brass)

Mango wood

Lac

Charya-chi-patti-

Chara bark

Polish paper

Button lac

Paper

wood

Tamarind seed powder

Shadu soil

Lacquer

Paints

Gum Arabic

Touchwood finish

Turned wood toy being made on the lathe at Sawanthwadi.

Kolhapuri chappals on display to attract customers.

Chennai,Tamil

Nadu

Kolhapur

Sawanthwadi

Sawanthwadi

KOLHAPUR FORMS A part of southwestern Maharashtra

and is situated along the banks of the River

Panchaganga,east of the Sahyadri Mountain range.It was the

capital of the former princely state of Kolhapur that

extended from the Western Ghats to the Deccan plain,and

merged into India in 1947.It is one of Maharashtra`s most

important pilgrimage sites,associated from early times with

the worship of Shakti,Mother Goddess.Narsinh Wadi,Wadi

Ratnagiri,and Bahubali town are places of religious

importance.Other important places in the district known for

their specialization are lchalkaranji for hand and power

looms,Hupri for silver ornaments,and Kapashi fro leather

goods.It is also renowned for its unique craft traditions of

Kolhapuri chappals ,silver ornaments,ganjifa cards and

wooden trays crafted in the clusters of Kolhapur,Nasik and

Sawantwadi.Ratnagiri district is on the coast and

coconut,mango and areca nut are cultivated here.Muscial

instruments like sitar and tanpura are made in Miraj in

Sangil district.Maharashtra has resources of both stone and

skills of carving granite.Granite is quarried in

Kolhapur,Satara,Sangli,Sindhudurg and Ratnagiri

districts.Kolhapur has a tradition of carving architectural

elements in stone that are used locally.Thus memorial

stones,decorative masonary blocks,doorways,flour

mills ,and large grinding stones used in ayurvedic medicine

preparation,are more prevalent than idols.

ACCESS

Kolhapur,395 km from Mumbai and 225 km from Pune,has

a railhead and is linked with Mumbai and the other cities

and towns in the state.It is well linked by road since it is on

the National Highway route from Pune to Bangalore.It has

an airport at Ujjailwadi located 10 km from Kolhapur.

A craftsman of the Chitari community painting the ganjifa

cards.

1. Natural colour,square sole.

2. Tan colour,pointed sole,two supports

3. Red tasselled chappal.

Kapashi chappals

KOLHAPURI CHAPPAL-LEATHER FOOTWEAR

KOLHAPURI CHAPPAL MAKING is a major handicraft

industry the employs over 20,000 craftspersons in the

district.Kolhapur chappals are flat,intricately

patterned,handcrafted leather footwear traditionally made in

kolhapur by the Chamar community whose hereditary occupation

is tanning and leather work.Originally the footwear was made for

daily use by farmers and field workers but the simple ingenious

design has reached out to a wider spectrum of people all over the

world.The cords used to stitch the sandals are made of leather

and ,surprisingly,no nails are used in their making.Made of

buffalo hide,fine goat leather is used for the plaited strips that

decorate their upper portion.Dyed in natural tan,deep

maroon,mustard yellow and dark brown colours they are

decorated with leather braids and golden zari cords.Though

traditional designs have thong-like straps with a toe strap for

further strength,the craftsmen now produce simple variants of

these designs such as kachkadi,bakkalnali and pukari.Numerous

designs,along with the introduction of new colours,have evolved

over time to cater to contemporary demands.

4a, 4b Variations in design.

5 Contemporary variation in the same technique.

6 Pointed sole with punched patterns.

7 Natural colour,square-shaped sole and thonging on the foot

support with a red tassel.

8 Tools for slicing,cutting and sewing the leather.

9 Cobbler`s anvil.

Production Clusters

Kolhapur district:

Kolhapur

Kapashi

Rajgarh district:

Kurudwad

Sangli district:

Miraj

Jath

Kavathe Mahankal

Satara district:

Satara

Pune district:

Pune city

Mumbai district:

Mumbai city

Airoli

Products

Footwear

Purses,Bags,Wallets

Tools

Raapi-cutting tool

Compass

Saral aari-stitching

tool or awl

khurpa-scraping tool

Mothi aari-big awl

Saral vakde-piercing

tool

Scissors,Needles

Embossing nails

Awls,Punches

Pincers,Pliers

Brushes,Polish

Mallet,Dies

Stone base

Sewing machine

1,2,3,4a,4b The

Dasavatar on

ganjifa cards.

5 Detail of a

wooden-box for

storing playing

cards painted in the

ganjifa style.

GANJIFA CARDS

Production Clusters


Sawantwadi

Products

Playing cards

Dasavatar

Nine planets

Zodiac signs

Tarot cards

GANJIFA ARE CIRCULAR playing cards made from paper that is

covered with a mixture of tamarind seed powder and oil,painted and

coated with lac.Darbari cards have decorative borders and Bazaar

cards are without borders.It used to be a popular pastime at the

Indian courts.The classic Mughal ganjifa with its 96 cards and 8

suits penetrated into the social milieu of India and the Deccan that

later,with its themes and characters from Hindu mythology,gained

widespread acceptance.The most popular was the Dasavatar with ten

different circular pieces depicting the ten incarnations of

Vishnu.These form a set along with painted

cards of Vishnu`s weapons.Ganjifa cards were introduced

in Sawantwadi after its ruler,Khem Sawant Bhonsle

III,heard of it from scholars of the Telengana region.The

Chitari community in Sawantwadi,known for their skill in

lac ware and wood craft,learnt to make these cards.They

are no longer used to play games but used as gift items

and educational aids.

Tools

Naralachi-karwanticoconut

shell

Wooden plate

Lacquer

Babhicha-dink-gum

arabic

Painting brush

WOODEN TOYS

Production Cluster


Kolaon, Sawantwadi

Products

Toys

Cars

Horses

Bullock carts

Small utensils

Fruits

Tools

Powered Lathe

Marpa - File

Kotya - chisel

Jigsaw, Hammer

sander

Sandpaper

Inset Bullock cart.

SAWANTWADI is popularly

identified with lakda chi

khelni,wooden toys that are made

from the locally available mango

tree.Though the craft is

traditionally done by the Chitari or

Chitarikars,

other communities have also adopted this craft due to its

commerical success.The toys are made by several

techniques:wood and lac turnery,by assembling flat shaped

pieces and by sculpting solid wood.Seasoned mango wood is

turned into cylindrical shapes wih chisels and,its surface

finished.At least four to five toys are turned together on the

lathe at a time.Before removing the turned items,lac mixed

with colours is applied to the finished surface.These are

separated and the base of each item is finished with a

sander.Toys are also made by cutting different profiles with the

jigsaw,which are later assembled into a whole product.The

cutout pieces are finished on a sander,smoothened with

sandpaper,painted and assembled.

Fruit such as mango and vegetable items are sculpted and

painted.

Individual pieces with different profiles will be assembled to

make a bullock cart.

Painted ceremonial wooden

plateform.

Traditional cutter with a painted

platform.

Kitchen set:

miniature utensils,cooking implements and rolling pin are made by wood and

lac turnery.

CHANDI CHE KAAM-SILVER WARE

SILVER ARTIFACTS LIKE incense sticks and

lamps,an integral part of Maharashtra religious

ceremonies like Ganesh Chaturthi,Gudi Padva and

weddings,are now appreciated for their aesthetic

value too.

The religious beliefs associated with the crafts have preserved the

purity and evolved it into a flourishing trade.Untreated silver is

first melted,allowed to take the desired shape and size in

rectangular moulds,and intricate designs are created by using

embossing tools.

Parts of the products are made separately and then

soldered together.The final polishing-matt or gloss-is

done with a brush using soapnut powder

solution.Silversmiths at Hupri specializing in making

popular oxidized jewellery embellish it further with

meenakari and patterns based on the delicate shape of

the pipal tree,the champak,babul and aonla flowers and

the ambi(mango).Silver jewellery is an ancient craft of

Hupri and it is practiced by a large number of

craftspersons.

Inset A vermilion container.

1. Various sizes of incense stick holders for use in

rituals.

2. Different types of silver anklets decorated with

enamel work from Hupri,Kolhapur.

3. Various utensils for puja,worship,such as incense

stick holders,wick lamp, and karpur aarti or

camphor burners.

Production Clusters

Kolhapur district:

Hupri village

Kolhapur

Nasik district:

Nasik

Pune district:

Pune

Mumbai district:

Mumbai

Products

Silver anklets,

Necklace, Ring,

Bangle

Kamar patta-waist

band

Incense holder

Diya-lamp stand

Samal-wick lamp

stand

Tools

Bhatti-furnace

Chimta-tongs

Chisels,lathe machine

Airan-anvil

Hathoda-hammer

Kanas-file

Katr-scissors

Mus-crucibles

Pagha-matrix

Panha-wrench

Patola-moulds / dies

Sali-iron rod

Tad-iron Rectangular

pan

Opni-polishing tool

Veet-mud slate board

SITAR-STRING INSTRUMENT

THE WIDELY ACCLAIMED sitar is a string instrument

synonymous with Hindustani classical music.It is made with wood

(teak or mahogany),a gourd(usually a pumpkin),metal strings,and

bones.The wooden neck is nearly 35 inches long and 3.5inches

wide,terminating at one large resonating chamber made of

gourd.The body is decorated in ivory or plastic.Skilled artisans in

Miraj have been engaged in this craft since the last 150 years.It takes

six months to one year for making a sitar to its exacting standards of

high nodal quality.Each is crafted according to the musician`s

preference and is usually made in pairs,which look and sound

alike.The most critical part is the fixing of the strings;they are

stretched and fixed so that desired vibrations and resonance are

created.The sitars of Miraj are sold not only in India but also

exported to countries like England,France and Germany.

Beautifully crafted sitars are widely acclaimed for

their high tonal quality.

Production Clusters

Sangli district;

Miraj

Products

Sitar

Tools

Hatodi-hammer

Katkan-right angle

Karkatak-compass

Karwat-wood saw

Gol patali-round

chisel

Patali-chisel

Kanas-file

Hand drill

Chhani-punch

Map patti-scale

Roadside display of terracotta planters and plots in Aurangabad.

Crafts of Pune

Pottery

Copper and brass

ware

Metal embossing

Bidri ware

Metal dies

Dhurries weaving

Sisal craft

Taal,Jhanjh,Ghanta

Banjara embroidery

Subclusters of Pune

Pune district:Pune

Ahmednagar district:

Ahmednagar

Jalgaon district:

Jalgaon,Parola,Saygaon

Osmanabad district:

Osmanabad

Aurangabad district:

Aurangabad

Nanded district:

Nanded

Latur district:Latur

Sholapur district:

Sholapur

RESOURCES


Pottery Clay From nearby

River Sina

Bidri ware

Dhurrie

weaving

Metal dies

Zinc,Copper,Silver,

Yellow clay,Honey

wax,

Matti,Rangoli oil,

Resin,Castor oil,

Navsagar(copper

sulphate)

Cotton yarn

Bronze sheets, Silver

sheets, copper sheets

Wax,Clay

Aurangabad

Malegaon

Jalgaon

Locally

available

Sisal craft Sisal fibre Monday

market at

Ahmednagar

Musical

instruments

Banjara

embroidery

Zinc and old bronze

vessels

Copper,Yellow

clay,Tar

Khadi cloth, Beads,

Accessories

Pune

Miraj

Pune

A tandoor,oven being levelled.Potters in Ahmednagar and Aurangabad make large

clay ovens and planters for urban markets.

PUNE ENJOYED THE status of a prime city since the time of

Chhatrapati Shivaji,a fearless Maratha ruler who is worshipped

as a hero,when the Peshwas ,Maratha rulers,wove it into the

socio-political and cultural fabric of Maharashtra.Located close

to Mumbai,it maintains its distinct identity as the cultural

capital of Maharashtra for professional as well as amateur

theatre performances,classical music baithaks,sessions,and

series of talks on matters of societal concern.In this historic

city,250 year old wadas,ancestral homes are located along the

narrow winding lanes that stand as vestiges of an earlier

prosperity built by the wealthy sardars,nobles and senior

citizens.Today it is one of the leading metros in the

country.Pune has many renowed institutions of higher

education;the Raja Dinkar Kelkar Museum;monuments like the

shaniwarwada,Lalmahal,Samadhi ,memorial,of Sant

Dnyaneshwar at Alandi;and the forts at Singhad and Lohgad in

the surrounding villages.Nasik,north of Pune,is one of the

developing industrial cities and a pilgrim centre for

Hindus.Nasik has numerous forts,temples and the Kumbh

mela,a festival which is held on the bank of the River

Godavari.It is part of the green belt and is renowed for the yield

of grapes,strawberries and onions.Ahmednagar,located east of

Pune,has impressive Muslim architecture due to the Nizam

Shahi dynasty whose kings were great builders.Jalgaon district

is a cotton producing area because of the region`s rich volcanic

soil.

ACCESS

Pune is well connected to Mumbai by train,air and and express

highway.Aurangabad has an airport and a railhead connecting it

with Mumbai,and buses connecting a

Jalgaon ,Nanded,Sholapur and Ahmednagar.Jalgaon is an

important rail junction linked to Delhi,Mumbai ,Kolkata and

Chennai.

Bibi ka Maqbara,an imitation of the Taj Mahal at

Aurangabad.Aurangabad was named after the Mughal emperor

Aurangzeb,who has made it his headquarters in 1653.It is well

known for himroo,cotton and silk brocade weaving,and

Paithani ,the richly patterned silk and gold sari weaving.

Twashta Kansars,the coppersmith community of Maharashtra had migrated to Pune

anout 350 years ago.Besides vessels,they had crafted coins,cannons,weapons and

artifacts for the Peshwas rulers.Their craft has been important in Pune`s traditional

businesses.


CRAFTSMEN IN AURANGABAD and Ahmednagar

generally make clay objects for domestic and ritual use

during festivals like Makar Sankranti and Diwali.Children

are given toys like clay bulls as the symbolic representation

of Bail-pola,a harvest festival of Maharashtra in which

bullocks are bathed,colourfully decorated and led in

processions.The potters also make the tandoor,a traditional

earthen stove,now used for making roti ,flat-bread,in hotels

and restaurants.For making the tandoor,a flat base is first

prepared and then coiled layers are added for the necessary

elevation.Shaping and finishing it requires dexterity to give

the walls an even thickness before firing in the

aawa,kiln.Used rubber tyres are added along with sawdust

into the kiln and once the required temperature has been

reached,the kiln is covered with waste pieces of fired

articles and sand to trap the smoke for the black colour.

Production Clusters

Aurangabad

district:

Aurangabad

1. Diya,small shallow clay dishes,thrown on the wheel

are kept in the sun for drying before being

fired,Aurangabad.

2. Pottery is traditionally a craft practiced only by

men,Ahmednagar.

3. Foot scrubbers made in Terracotta.

4. Clay figurines from Nagpur.

5. Glazed diya,lamp stand made for Diwali

festival.Homes are cleaned to symbolically invite

Lakshmi,the goddess of wealth and she is

worshipped with the lighting of lamps.

6. Small terracotta containers called bodke used for

drinking tea.

Products

Math-biggest pot

Ghagar-small pot

Gadage-smaller pot

Bodke-smallest pot

Panti(diya)-lamp

Kindi-flowerpot

Ranjhan-big

container

Tandoor-earthern

oven

Chula-traditional

stove

Goulan-figurine

Ghoda-horse

Toys

Tools

Wheel

Phali-wooden beater

Gunda-metal block

Lakadi-stick

Aawa-kiln

TAMBAAT KAAM-COPPER AND BRASS WARE

Production Clusters

Nasik district:

Nasik city

Tambat Lane

Products

Bhande-glass

Bumb-water heater

Ghadaa-pot

Lota,Kalash or

Tambya-water

containers

Pali-spoon

Ritual utensils

Tamhan-puja plate

COPPER AND BRASS utensils are an essential part of both cermonial rituals and daily life

in Maharashtra.The most commonly used item is the lota,a vessel that is ideally suited for

the traditional way of drinking water-by pouring it into the mouth without the lips touching

the vessel.It is made by joining together the bowl-shaped base and the bell-shaped upper

part made from hammered sheets of copper.while crafting it,salt water is applied towards

the completion fo welding,just before it cools,to give it a red tinge.Different textures are

obtained by hammering the metal at different angles,creating a scuplted form.Using the

same construction principle,a variety of utensils are crafted.The craft is diminishing

because of changing life-styles and preference of other materials.

Tools

Aadi-shaping tool

Bhatti-furnace

Haath pankha-hand

fan

Kaatri-metal scissor

Khad-anvil

Polish hammer

Water container and

other utensils.

Pani tapavayacha bumb,a traditional water boiler;

Textures on a ghagar,a water container,created while beating

the metal sheets.

UTHAVACHE KAAM-METAL EMBOSSING

Production Clusters

Nasik district:

Nasik

Products

Temples

Displays

Attardani-perfumes

dispenser

Idols,Utensils

Gulabdani-rosewater

sprinkler

Tools

Ral path-pitch

Burner

Daad kaam-cha

Khilaa-chipping tool

Outline tool

Pulling tool

Embossing tool

Hammer

Polishing brush

Plier,Tong

Opni-burnishing tool

IT IS ESSENTIALLY a technique of applying motifs and raised shapes to sheet

metal like silver,gold,copper,brass,and aluminium.For this the ral path,pitch,is kept

in position,and resin of tar or brick powder applied and heated.The required sheet of

metal is placed on the liquefied tar,after the heated tar solidifies and cools.The

pencil sketch of a required design is done on the unfinished sheet.The etching tool is

used to create the outline on the surface of the sheet along the pencil drawing,while

the dulling tool presses down the portion that is not supposed to be highlighted.This

process is repeated till the sheet is embossed effectively.The embossed portion is

given shape by daad kaam-cha khilaa,chipping tool.Once the embossing is

complet,the pitch is reheated to remove the embossed sheet which is cleaned in

diluted sulphuric acid and brightened with soapnut solution.Finally,the sheet is

wiped,brushed and polished.The entire process is manual and the accuracy and

finish depends on the skill of the craftsman.

1. The gulabdani,rosewater or perfume sprinkler,can be opened to fill

rosewater.It is used during auspicious occassions and ceremonies.

2. An attardani,perfume dispenser with a chain attached to the applicator with

twisted wire handle made of silver.The container is die-pressed,beaten and

chased.The product shows intricate craftsmanship.

3. Detail of the Gulabdani,rose-shaped sprinkler.

4. A gulabdani,rosewater sprinkler which is about 50 years old,made from silver

sheet metal.It is made of jointed parts,each elaborately decorated by repousse

and chasing work.

BIDRI WARE

BIDRI IS A specialized and refined technique using

complicated sequences of inlay and enamelling found only

in India that follows in essence the techniques of the Persian

way of inlaying gold and silver on steel or copper.It involves

four distinct processes-casting,engraving,inlaying and

finishing.The principle of sandcasting is integral to the

manufacture of bidri ware. Once the object is made and

smoothened with sandpaper and blackened,a kalam is used

to chisel the required design,and then strands of silver wire

are hammered into these grooves.If the design is chiselled

into larger patterns,small pieces of silver and brass cut out

from sheets are pressed in. A black colour is given to the

surface and rendered permanent by rubbing it with a mixture

of earth and ammonium chloride after heating it

slightly.When burnished with oil,the inlay is revealed.Bidri

uses a rust-proof and non-corrosive metal alloy which is

believed to be an ingenious innovation introduced at Bidar.

This form of decoration is often worked on round containers

such as bowls,as well as caskets,jewellery boxes and other

small boxes and includes delightful combination of fine lattice

work interspected with floral clusters,leaves and flowers.There

are two principle techniques-tarkashi(inlay of wire) and

tehnishan(inlay of metal sheets).

1. Detail of a box with lotus motifs.

2. Detail showing bidri work on the lid of a box.

3. Shell and turtle-shaped containers.

4. Lid of a box.A wide range of boxes of different sizes and

shapes are made in bidri work.

5. Tools used to make silver wire.

Production Clusters

Aurangabad

district:

Aurangabad

Products

Box

Flower vase

Thukdani-spittoon

Hookah

Umarkhayamcontainer

Surahi-wine container

Keychain

Animal statues

Ashtray

Paper cutter

Tools

Moulding frames

Furnaces

Files

Takaychi kalam-long

sharp tool

Kornechi kalamengraving

tool

Hammer

METAL DIES AND METAL CASTING

METAL DIES THAT are used for casting objects in bulk

have the exact size and design of the articale to be cast.In

Jalgaon,the metal used for making dies is an alloy of bronze

and silver,which gives more plasticity.The dies here usually

have geometric patterns and the technique of sandcasting is

significant to production.They are now used for casting

jewellery,idols and brands logos for companies.This craft

that was hereditary to families who made dies for coins and

gold jewellery under royal patronage,is now dwindling.

1. A metal die for a figure of a local goddess.

2. Die with interesting animal motifs.

3. Die for an ornamental piece.

4. Dies with calligraphic and decorative motifs.

5. Die for an ornamental piece.

Production Cluster

Jalgaon district:

Parola

Products

Dies

Tools

Moosh-furnace

Ghatia-small hammer

Hathodi-big hammer

Sumbhra-nail to draw

Embossing tools:

Kalam,Nakhola,

Chhini,kirki,Gahra

neri,Gol dand,

surjmukhi

Patti ka kampascompass

Chhar-driller

DHURRIE WEAVING

Production Clusters

Jalgaon district:

Saygaon

Usmanabad district:

Usmanabad

sholapur district:

Sholapur

Nanded district:

Nanded

Latur district:

Latur

SATRANGI,SHATRANGJI,STRIPED flat weave dhurries

are woven of on frame looms in several districts of

Maharashta-which is one of the largest cotton-growing states

of the country.The weavers of the Maniyar community

weave three types of dhurries-plain flat weave

shatranji,jainamaaz,prayer mats,with single or multiple

prayer niches,and chindi or rag dhurries.They are woven in

sizes of 3X6 feet and 3.5X6 feet and a square aasan or

seat,2X2 feet chindi dhurries are being woven by displaced

mill workers from the Vidarbha region who have been

assisted and trained by NGO`s to produce these rugs.Cotton

dhurries are used as floor spreads to set or sleep on ,and as

prayer mats with the prayer niche placed in the direction of

Mecca.

Products

Dhurrie

Jhoria-large-sized

dhurrie

Jainamaaz-prayer rug

Detail of a chindi,rag dhurrie.Rags or strips torn from a variety of

waste fabrics are woven into a warp of cotton yarn.The chindi

dhurrie is softer than a shatranji and has a pronounced ribbed

texture.

Tools

Panja-metal fork

1. Detail of the border of a cotton dhurrie.

2. A striped dhurrie.

AMBADI -SISAL CRAFT

Production Clusters

Ahmednagar

district:

Ahmednagar

Products

Animal harnesses

Rope

Handbags

Table mats

Rugs

Magazines holder

Tea coaster

Doll

Curtain ring

Door mats

Tools

SISAL (AGAVE SISALANA)is a cactus whose fibre has

traditionally been used by local communities for making rope

for animal harnesses and drawing water from the well.The

succulent plant does not require much effort in cultivation and

is grown as barriers around borders of farms.Women artisans

were taught skills of plaiting sisal fibre and crafting simple

products,to help in their income generation.The fibre,after

being extracted from cactus leaves is cleaned,dyed,braided and

stitched together to produce a range of products that are strong

and water-resistant.In some products the braids are coiled and

stitched together and in others it is stitched from edge to

edge.Due to droughts declining the availability of the plant,the

craft is not economically sustainable.

1. A long braid is coiled in rows and held in place with

stitches.

2. A pencil pouch

3. Plaited elliptical sisal table mat.

4. Sisal tea coasters.

Brush with metal

bristles

Sewing needle

Measure scale

Scissor

TAAL, JHANJH, GHANTA-BRASS MUSICAL INSTRUMENTS

TAAL,JHANJH,AND ghant are metal instruments which

accompany songs,rituals and devotional renditions.Taal

and jhanjh are both circular paired brass percussion

instruments played by striking the two heads

together.Taal is a small-sized instrument in which the

pair is tied together with a string.The jhanjh is like a

cymbal and used during the community festivals

1. Taals

2. Pair of taals strung together for accompanying

bhajans,hymns.

like Ganesh Chaturthi,when processions of Lord Ganesha`s idols are taken out into the

streets,and also during weddings.They are now made by the sandcasting technique

though until some years back they were made by beating the metal into the required

shape.

Production Clusters

Ahmednagar

district:

Ahmednagar

Products

Taal-cymbals

Jhanjh-small cymbals

Ghanta-bell

Tools

Moosh-blast furnace

Khoda-big nail

Kanas-file

Pakad-plier

Hathoda-hammer

BANJARA EMBROIDERY

THE NOMADIC BANJARA community,who trave their origins

in Rajasthan,create beautiful embellishments on cloth.The Banjara

women,locally referred to as Lambani,make symmetrical

embroidery by lifting the warp thread of the fabric with a fine

needle and making triangles,diamonds and lozenges,parallel to the

weft thread,giving the effect of an extra weft weave.They

specialize in making borders of long skirts,that are part of their

traditional costume.The base cloth is usually handwoven madder

(red-coloured cloth),over which embroidery is done in

yellow,green,red ,off-white and black.Cowrie shells and tassels

are also use with the embroidery.Since this embroidery is

laborious and time-consuming it is usually done when the women

are free from their main occupation of harvesting sugarcane.

1. An embroidered belt with mirror work and tassels.

2. Ghalna,headgear,with a pot-ring and an embroidered panel

that hangs down.

3. Latani,a densely emnbroidered pouch with cowrie shells.

4. A densely embroidered colourful kanchali,blouse

Production Clusters

Pune district:

Pune

Products

Borders

Kanchali-blouse

Batwa-pouches

Toran-door hanging

Headgear

Darani-square spread

Latani-Square bag

Tools

Needles

Scissors

RESOURCES


Pottery Clay Mumbai

Bamboo work Bamboo Karjat in Raigad

district

Jewellery

stringing

Subclusters of

Mumbai

Mumbai city:

Mumbai, Dharavi,

Jhaveri Bazaar

Thane district:

Thane

Raigad district:

Kashele

Crafts of Mumbai

Warli painting

Terracotta and

pottery

Bamboo work

Jewellery stringing

Flower stringing

Silk, Rayon filaments,

Zari, Beads

Mumbai, Bangalore,

Surat

Indian cinema tosses

between the tradition

and modernity metanarrative

rooted in the

Indian cultural

diaspora.Apart from the

daunting overtones of

its mass popularity,it

holds a far reaching

economic sway by the

numerous employment

opportunities it

creates.Shown above,is

a digitally printed

reproduction of an

originally hand-painted

film poster of the 1957

landmark film`Mother

India`-about a decade

post independence.

1. Warli painting on cloth;on Diwali or the harvest festival,the tarpa,the Warli pipe is used to

call people of the warli tribe to dance in a circle.

2. Mumbai in the 1960s.A famous landmark of Mumbai is the stone Flora Fountain.The road

behind it is lined with buildings of Victorian architecture,built with pedestrain arcades that

are now crowded with hawkers.

3. The dabbawallahs wearing the traditional cap,deliver dabbas,lunch tiffins,in handcarts to

thousands of office goers in Mumbai.The Mumbai Tiffin Box suppliers Association has

devised an ingenious and efficient system for delivery hot home cooked meal to office

goers.

MUMBAI,THE CAPITAL city of

Maharashtra,formerly known as Bombay,is the

country`s busiest port and largest financial centre

with Bollywood-its colossal film

industry,numerous textile industries and

innumerable small and large businesses that have

been sustained over centuries by business

communities of India,dominated by the Parsi and

Gujarati communities.The harbour at Mumbai has

been instrumental in shaping the

historical,cultural,political and economic situation

of the state that made the British join the small

group of islands to serve their mercantile

interests.A city of contrasts,it is home to

Dharavi,the largest slum in Asia,even while

effectively remaining the commerical gateway

between India and the rest of the world-with the

country`s largest stock exchange and the Reserve

Bank of India.Sailing into Mumbai one sees its

first landmark,the Gateway of India,a massive

archway of yellow basalt,that has designs

resembling those of the 16th century Muslim

monuments in Gujarat.In south Mumbai there are

many buildings that were built during the British

rule in art deco

style with the imposing Prince of Wales Museum

now called Chhatrapati Shivaji Maharaj Vastu

Sangrahalaya,that displays and stores a great

collection of artefacts, manuscripts, textiles,

paintings.The city is home to traditional

craftspersons of ari an d zardozi embroidery,block

printing,patua kaam,edging and trims-skills

brought from the other states to Mumbai.

ACCESS

Mumbai has an international and a national

airport,and rail and road connections on other cities

and towns within the state.It is well linked to

air,rail,and road to Delhi, Kolkata, Bangalore,

Hyderabad, Chennai, Goa, Mangalore and

Thiruvananathapuram.

WARLI PAINTING

THE WARLI TRIBE,living in Thane district,are known for

the sacred pictographs they paint on the walls of their

modest huts during wedding rituals.Rice paste and straw

was smeared on the walls as base and motifs inspired from

their life,nature,epics,legends,local incidents and tales

painted on it with a brush made of twigs.Palaghata,the

goddesses of trees and plants symbolizing creative

energy,is the central theme of these paintings.The visual

energy of the Warli painting is attained through line

drawings or cultivating land,colour is not the main

criteria.Individual artists have received recognition the

world over,and in recent years the medium of these

paintings has transferred to paper,and cloth layered with

cowdung paste which produces the characteristic natural

and dull background with the motifs painted white.

Production Clusters

Thane district:

Thane

Dahanu:

Ganjad village

Products

Wall paintings

Paintings on the walls

for

festivals,exhibitions

Cloth paintings

A warli artist painting a commissioned work on cloth.

Tools

Bamboo brushes

Paints

1. Detail of the marriage painting depicting celebration.

2. Various farming activities of the Warlis painting on cloth.

3. Traditional paintings venerating forests with trees were made on the walls of the houses of the Warlis.

4. Detail of the marriage painting.Seen here is the choukat,sacred square,enclosing the marriage goddess who is often visualized as a tree,known as

Palaghata,meaning pot overflowing with planets.

TERRAC0TTA AND POTTERY

Production clusters

Mumbai district:

Mumbai city:

Dharavi

Products

Diyas-small lamps

Vases

Containers

Pots

Planters

Statues

Figurines

Coin Boxes

Maatia-traditional pot

used during Navratri

Water pots

Shallow dishes

Plates

Lamp containers

THE COMMUNITY OF potters who form a potter`s hamlet in Kumbharwala

sector of Dharavi in Mumbai fled drought and famine in Saurashtra and

Gujarat many decades ago.Dharavi,said to be Asia`s largest slum,produces

some beautiful pottery that are supplied by the potters to shops and outlets in

the city, or sold from their own tiny shops.The entire family of potters

contribute to making the goods ranging from the simple diyas,lamps,to huge

pots and earthenware articles on either wooden or electric wheels.For making

a water vessel,the potter either forms two or more sections for later assembly

or throws a small

1. Figure of a man from Kachchh.

2. A woman from a folk community in Kachchh portrayed in terracota.

3. A potter build`s part of the pot by throwing on a wheel and then extends

it by adding coils.The pot is given shape by tapping with a stone to

support it from inside and a flat wooden beater from outside.

thick pot of a shape that can be enlarged,when partly dry,by

tapping.While tapping, the potter holds one of the tappers to

the inside to brace the surface of the pot which rests in a clothcovered

bowl or broken pot base and the wooden bat is slapped

against the same place from outside.The inertia of the heavy

tapper prevents the blow from driving the wall of the pot in and

instead the pot is thinned and it is enlarged till it is ready for

the final firing.

Tools

Wheel

Stone dies

Stone tappers

Wooden battens

BAMBOO WORK

Production Clusters

Karjat Taluka:

Kashele

Thane district:

Thane

Products

Kanaga-large bin for

rice storage

Chaap-basket for

collecting leaves

Soop-winnowing fan

Tondia-Fish trap

Ghoghada-rain shield

BAMBOO WORKERS OF the Thakur community at Kashele make basketsoop,winnowing

fans,containers and ghodhada,rain shields,that are treated to

prevent attack from moths and to ensure durability making them popular with the

locals.The technique of basket weaving,locally known as vina,is similar to cloth

weaving and the finishing of the edges is called bandhaychh.A variety of

techniques are used to make shapes such as containers and trays.Thakur,Mahadev

Koli ,Kokna and Warli are some of the tribal communities residing in Raigad and

Thane districts.They are small and marginal farmers who are dependant on the

forests for their livelihood.Deforestation has deprived the local people of a

resource for timber,fuel wood,medicinal plants and fibre that are needed for their

livelihood.Non-Govenment and Government agencies have set up craft training

centres here to develop and market bamboo products,for generating income.

1. Tondia, a bamboo fish trap, commonly used by the local people.

2. A winnowing tray

3. A woman wearing ghoghada - a traditional rain shield.

Tools

Koita-knife

PATUA KAAM - JEWELLERY STRINGING WORK

ORNAMENTS AND JEWELLERY have been indispensable to

Indian costume since centuries.Gold and silver ornaments have

strings made from a certain variety of yarns,containing beads and

smaller metal units which are frequently separated from each other

by a yarn ball or metal beads.Beads and metal units are often strung

on cord or a supple braided wire.Yarn is manipulated by

twisting,braided,plaiting,wrapping,knotting,netting and by making

tassels.The craftsmen,who are called Patua,use very simple tools and

practice this craft from the jewellery bazaars.

A Traditional necklace and a mangalsutra,necklace

worn as a sign of marriage.

Production Cluster

Mumbai district:

Mumbai city:

Jhaveri Bazaar

Dharavi

Products

Pyjiama cords

Waist belts

Loops

Round yarn buttons

Animal ornaments

Knotted strings

Beads or metal units

Braid ornaments

Tassels

Pompoms

Tools

Metal ornament

Cleaner

Gold Plater

Natai-drum

Charkhi-wooden reel

Iron hook

Kaatar-scissor

Knife

Large needle

1. A bead worked jewellery piece.

2. Bangles embellished with patua beadwork.

3. Detail of tassels made by the Patua.

STRINGING OF FLOWERS

FLOWER STRINGING IS NOT

considered a craft although it

requires special dexterity to

wrap yarn around the delicate

stems of jasmine flowers in

rapid succession.It is a craft in

which fresh flowers,probably

the oldest materials used in

India,are modelled into various

accessories for personal

adornment and for appeasing the

gods.

Temple deities are garlanded everyday with fresh

flowers,while during weddings the bride and groom are

decked with garlands,symbolizing good luck.Flowers are

threaded on a cotton string with a needle or held by a

knot.Garlands can be of single kind of flowere,or a

combination of different kinds,usually of contrasting

colours,or different sizes.Flowers found in the immediate

environment,or a some cultivated for their beauty like

marigold ,champak,lotus,jasmine and rose are made into

garlands and wreaths since all flowers are not suited for

making into garlands.

Inset A necklace of tagar buds and yellow flowers.

1. Rose petals and tagar buds arranged as hair adornment.

2. A garland of rajnigandha,rose patels,marigold and marva

leaves.

3. A gajara,garland,of mogara flowers.

4. An anklet strung with tagar buds and yellow flowers.

5. Tagar buds strung in a circular form and worn around the

hair bun.

Production Clusters

Mumbai district:

Mumbai city

Products

Garlands

Ornaments

Gajra-hair adornment

Torans

Tools

Needle

Thread

CRAFTS -

MADHYA

PRADESH

Wood carving

Pithora Painting

Terracotta

Block printing of

Bagh

Tie-resist-dyeing

Leather Craft

Papier-mache

Bohra caps

Zardozi embroidery

Silver jewellery

Jute craft

Turned wood toys

Masks

Stone craft

Tribal painting

Bamboo craft

Bead work

Bell metal casting

Block printing

Carpet weaving

Chindi dhurrie-rag

rug

Dhurrie weaving

Iron Smelting

Lac Bangles


Plaster of Paris craft

Rag dolls

Wrought iron craft

Physical Features

Vindhya Mountains

Satpura Mountains

Indo-Gangetic Plain

Bundelkund Plateau

Hazaribagh Range

Major Rivers:

Narmada,Tapti,Shipra,

Chambal,Son,Betwa

Mahanadi,Indrawati

Biodiversity

Forests

Flora:

Teak, Sal, Bamboo

Fauna:

Swamp deer, Bison,

white tiger

Attire

Saluka-blouse

Dhoti-draped garment

Safa or Paga-turban

Bandi ro mirzai-white

or black jacket

Lhenga - choli - skirt

& blouse

Orni or Lugra-wrap

Kanchali, Kasan -

coloured bodice

Madhya Pradesh has a large tribal population.A

woman of the Bhil tribe,with tatoo marks wearing

silver anklets.

A Frieze depicting an orgiastic scene at the Lakshmana Temple,a

Vaishnava shrine built in the Nagara style.It is one of the 25 temples in the

famous Khajuraho Complex.

Cuisine

Wheat and meat

preparations

Fish and Rice

Bafla-wheat cakes

Laddoos-sweet

damplings

A monument exhibiting finely carved stone lattice

work.The 16th century tomb of Mohammed Ghaus,a

Mughal nobleman of Gwalior.

A house in Sheopur adorned with the auspicious swastika motifs done in the technique

of a mandana,ritual floor and wall painting.White chalk paintings are done on red mud

and cowdung mixture base.

HISTORICALLY,THE REGION

encompassing Malwa,now known

as the state of Madhya Pradesh,was

ruled by a succession of dynastiesthe

Sungas,Mauryas and

Paramaras-whose patronage has

resulted in an architectural heritage

that ranges from the great Buddhist

stupa of the 3 rd century at Sanchi,

to the romantic 15th century citadel in Mandu.From 1562,when

Akbar conquered this region,till the 18th century when control

passed to the Gond tribe,Malwa was part of the vast territories of

the Mughal empire.Malwa was administered by the Marathas until

1817 when it was ceded completely to the British.Due to its varied

history,Madhya Pradesh comprises a number of culturally distinct

zones-Bundelkund,a land of forts,palaces and monuments that was

the stronghold of the Bundela Rajputs;Malwa with its plethora of

ghats and pilgrimages situated along banks of the River Narmada

(mostly notably those at

1. Stone carving done on the facade of a house in Dhamkan

situated 20 km from Jora in Morena district.Stone carvers of

Dhamkan are known for making carved chatri,memorial

structures put up by local people to honour their ancestors.

2. Detail of a doorway with a stone carved panel depicting

monkeys on a creeper.Gwalior had a rich stone carving

tradition due to the Chandela and Bundela ruler who had built

forts,palaces and temples.

3. View of the Shiva Temple on the picturesque Narmada

Ghats.Maheshwar is famous for its 91 temples and ghats built

along the length of th river by Rani Ahilyabai Holkar.She also

established handloom weaving in Maheshwar.

Maheshwar that were built under the aegis of Rani

Ahilyabai Holkar);and the tribal belts of

Gondwana,Nimar,Bhagor,Tanwargarh and

Bandelkund.Although concentrated chiefly in the

above mentioned belts,the tribal communities are

prevalent throughout the state and contribute

significantly to the local material culture.Their

religious beliefs and conception of nature are evident

in the veneration and celebration of forests and

agriculture and in the artefacts they produce and

consume.Bamboo and pottery work,wooden

combs,metal casting,textiles,silver jewellery,body

ornaments,ritual painting and wall decoration-several

of these are executed by craftsmen both from within

and outside the tribal community.This phenomenon

indicates the manner in which crafts were sustained by

the economic and cultural interactions between the

diverse communities of the region and highlights the

pressing need to preserve these crucial linkages in an

environment where they are consistently ruptured by

changing socio-econimic contexts and outside

intervention.

Inset : Colourful wall painting done on a house in

Sheopur.

Languages

Bhil

Gondi

Malvi

Nimadi

Bundeli

Bagheli

Hindi

Marathi

Udru

Gujarati

Festivals

Bhagoria-spring

festival of Jhabua

Shivaratri of

Khajuraho, Bhojpur,

Pachmarhi and Ujjain

Ramnavami of

Chitrakoot and

Orchha

Khajuraho dance and

music festival

Pachmarhi festival

Landmarks

Gwalior Fort

Khajuraho Temples

Jahangiri Mahal

Bharat Bhavan

Museum of Man

Stupa of Sanchi

Mandu

Narmada

Ghats,Maheshwar

Tiger reserve of

Bandhavgarh and

Kanha

Craft of Jhabua

Pithora Painting

Terracotta and

pottery

Stone carving

Wood carving

Subclusters of

Jhabua

Jhabua district:

Jhabua

Bhabra

Alirajpur

Jobat

1. Most of the crafts are sold locally at the Sunday market in

Jhadua.

2. Ceremonial bamboo basket called bohni made in

Alirajpur.

RESOURCES

Craft Raw materials Sources

wood carving

Pithora

painting

Terracotta and

pottery

Sagon,Sagwan and

Sheesham

Pigment

Fabric colour

Red clay

Chilli power

Clay

Indore,Alirajpur and

local market

Homemade

Locally available

Farms in Alirajpur

A PREDOMINANTELY TRIBAL district,Jhabua,in the

south western part of Madhya Pradesh,is surrounded by the

Panchmahal and Vadodara districts of Gujarat,Banswada

district of Rajasthan,and Dhar and Ratlam districts of

Madhya Pradesh.It forms part of the cultural region of

Nimar where Bhil and Bhilala tribes had settled from

neighbouring Gujarat and Rajasthan.Though the River

Narmada forms the southern border of Jhabua,most part of it

is without any forest cover resulting in soil erosion and low

fertility of the soil and making it difficult for agriculture,the

main occupation of the people.Since a good harvest largely

depends on good seasonal rainfall,the tenacious and hardworking

inhabitants supplement their income by rearing

livestock,and selling forest produce like wood for fuel,tendu

leaves and mahua flowers.They also make attractive bamboo

products,bead jewellery and other crafts that belie their

hardships and difficulties and express the joyous and

celebratory aspect of their existence,like the excitingly

colourful festival Bhagoriya haat held during holi,the

festival of colours.Bhagoriya,a series of fairs,is socially

important for the Bhil and Bhilala because the unmarried

youth choose their partners during this fair.Several crafts

such as terracotta,silver jewellery and block printing are

done by craftspersons for tribal corporation has promoted

income generating crafts and imparted training in dhurrie

weaving,bead work,doll making and wood carving in Jobat

and Alirajpur.

ACCESS

Jhabua is well connected via road to important cities like

Ahmedabad to its west and Indore to its east which have

airports.It is also connected by road to Indore and other

towns in the state.

3 Craftsman working on the wheel to make a roof title,Alirajpur.

4 Votive terracotta horses offered to local deities.The body of the horse has an opening for

an oil lamp to be placed inside.

5 Jhabua tribal house with clay relief.

6 Carved and painted memorial stones called gatha are carved by craftsmen for

Bhils.Memorials are installed by the family of a person who has died at an early age,in the

belief that the departed person`s soul will find peace.

7 Wall painting done by Bhilala in Alirajpur in honour of

their deity Pithora.Eqestrain figures,a farmer with bullocks

and a plough,a couple churning butter,monkeys and

elephants are painted.Pithora ritual paintings are similar to

those done by Rathwa community in Chhota Udaipur in

Gujarat.

WOOD CARVING

VANI GADI,A multiplw piece miniature bullock cart,is a sterling

example from the array of wooden products made by the few

surviving wood carvers in and around Jhabua,who have always

made wooden posts or totenic figures in accordance with the beliefs

of their tribe.Figures of gods and goddesses were carved from a

single piece of wood.The bullock cart consists of several finely

carved small parts like the chakis,yoke,the wheels and twodimensional

bulls made in pieces and adhered,nailed or riveted

together.some craftsmen sculpt three-dimensional bullocks and few

parts of the cart are turned on the

lathe and assembled along

with carved elements.The

carved objects are mostly

reflective of the other crafts

of the region,depicting birds

and animal figures,though

now the motifs of the

Pithora painting are also

being replicated.These

handmade carts are made

from Sheesham wood

procurred from

haats,markets,shops or the

occasional exhibitions held

by the state and central

government.

1. Carved and painted

wood panel,Jabat.

2. Wooden carved

memorial by Korku

tribe,Betul.

3. Detail of two wooden

bulls,sculpted and

painted.

4. Carved wooden figure

from Jobat using the

wood grains as a

texture.


panel of animal

figures which

simulate the Pithora

paintings.


wood from Jobat.

7. Wood carved at work

in Kala Vikas Kendra

in Jobat.

Production clusters

Jhabua district:

Jobat

Products

Idols

Bullock cart replicas

Statues

Animal figures

Tools

Chisel

Mallet

Saw

Files

Hammer

PITHORA PAINTING

Production Clusters

Jhabua districts:

Alirajpur

Products

Paintings on wall and

canvas

Tools

Canvas

Brushes

Bamboo sticks

1. Horses are the most

important motifs of

the Pithora painting.

2. An example of a

typical Pithora

painting on the wall

of Adivasi

Hastshilp

Emporium,Jhabua.

PITHORA PAINTING,A unique style of figural wall

painting by the Bhil and Bhilala tribes of western

Madhya Pradesh and the Rathwas of eastern

Gujarat,depicts the significant events in their lives as

harvesting,fertility of land,festivals,childbirth,and

various mythological themes like the wedding of the

God Pithora and Goddess Pithori.The figures in

silhoutte are simply rendered,without any

ornamentation,in white by the Likhandra(the one

who writes),who is said to be gifted with special

talents and imagination.He is invited to paint the

Pihtora from dawn to dusk wiht brushes fashioned

out of the stems of the khakhra(Butea monosperma)

plant and natural colours like white made from the

lime,green from saguan leaf extract,black from

lampblack and red from sindoor,vermilion,with

oil,that is given to him in douna,small bowls,made of

khakhra leaves.The spot where he has to paint is

purified,lamps are lighted and prayers offered to the

gods and then he begins to paint all the figure and

motifs,without missing a single detail,in this sacred

enclosure.Some of the motifs sequentially painted in

the Pithora paintings are the kathiya ghoda(black

horse with rider),who informs everybody that

Pithora is being painted;followed by four white horses facing each

other;a two-headed mare of the god of rain clouds;animals;bowri

(the stepwell);panihari(women carrying pitchers);women churning

butter,trees,sun and moon and chinnala represents by a copulating

couple.

Pithora artistically represents the collective emotions of the

community.


Production Clusters

Jhabua district:

Alirajpur

Products

Votive objects

Roof tiles,Pots

Kuldi-pot for water

Chhalki-vessel for

making curd

Bhutia-for storing

toddy

Waarya-for tapping

make toddy tree

Faalna-for tapping

female toddy tree

Wahaadi-small ritual

vessel with a spout

JHABUA,FAMOUS FOR ITS white and ochre-coloured solid

or hollow terracotta horses,represents a distinct votive

tradition.Terracotta offerings to the protective deities are

made in the designated sacred spaces under trees during

important religious ocassions.Dhabas,dome-shaped minatures

shrines,are made and offered along with horse figure to their

deity Bapdeva.Alirajpur has about 40 families of potters

whose forefathers had migrated from Gujarat and

Rajasthan,Wheel-thrown

Animal figures of horses and dhaba,with relief work

decoration are offered at a shrine.These remains of terracotta

offerings have been made by people as a prayer and on

fulfilment of their wishes.

and hand - beaten pottery consisting of pots for storing

water,cooking,shallow and wide mouthed vessels for making

curd,pots for tapping,collecting and storing toddy are made,by

potters.Dilute red clay slip is applied on the pots before they

are fired.Votive animal figures and vessels painted with white

spots are made,which the tribals offer when their goats and

buffaloes give birth to young animals.Marketing of pots is

restricted to the local haats or markets in Alirajpur and nearby

villages.

Clay pots burnished and reduction fired are stacked on a

handcart to be taken to the market in Alirajpur.

Tools

Potter`s wheel

Wooden stick

Wire

Gatmaniya-engraving

tool

THE BUSTLING CITY OF Indore,in the extreme western

part of Madhya Pradesh,is situated on the banks of two small

rivulets,Saraswati and Khan.En route to northern India,the

Marathas in their battle against the Mughals,built many transit

camps in this are which attracted local Zamindars and

merchants who settled here with the hope of lucrative

trade,thus laying the foundation of an important commercial

centre in 1715.The popularity and economy of Indore also

spiralled due to its location on one of India`s oldest pilgrimage

routes-from Ujjain on Shipra River,to Omkareshwar on the

River Nirmada and onwards to Rameshwaram.It was planned

and built by Rani Ahilyabai of the Holkar dynasty,and named

in honour of the 18th century Indreshwar Temple.Indore

prospered under the Holkars in the 17th century and their

contribution to the city`s artistic and cultural arena is evident

from its splendid monuments like the Rajwada Palace in the

city`s main square and in craft traditions like the Maheshwari

saris that continue to flourish.Maheshwar,located 90 km

southwest of Indore,has river front temples and ghats that

were built by Rani Ahilyabai.Maheshwar became a centre for

the weaving of extremely fine checked or striped cloth when

Rani Ahilyabai invited weavers from neighbouring states to

weave saris and turban cloth in pastel shades to be given as

gifts during marriages and other auspicious occasions of the

court.When Rani Krishnabai Holkar of Mahidpur was

defeated by Sir John Malcolm in 1818,the Treaty of Mandsaur

saw the control of the city pass into the hands of the British

East India Company.Indore was the summer capital of former

Central India province between 1948-1956 and still remains a

prominent trade centre.

ACCESS

Indore is connected by air with Bhope,Mumbai,Delhi and

Gwalior and is on the western Railway line,connected with all

major cities in India.It is linked by good roads to all major

cities of Madhya Pradesh.

RESOURCES


Block printing

of Bagh

Tie-resistdyeing

Leather toys

Wooden blocks, Cotton

fabric, Dyes and Chemicals

Cotton fabric and chemical

dyes

Leather, Paper pulp,

Adhesive

Indore,Bagh

Indore

Indore,Dewas

1. Detail of a handwoven gossamer thin Maheshwari

sari,woven with very fine cotton and silk yarn.

2. A weaver weaving in a pit loom in Dhar.Narrow width

fabrics are woven on this type of simple looms.

3. Handloom weaving is a major source of livelihood for

Maheshwar.This simple device of four sticks taperings

upwards is used for winding fine yarn.

4. Block printer imprinting the design on the cloth in Bagh.

5. Bicycle wheels are recycled for winding yarn from hank

to bobbins which will be used by the Maheshwar

weavers for weaving saris.

Crafts of INDORE

Block printing of

Bagh

Tie-resist-dyeing

Leather craft

Subclusters of

INDORE

Dhar district:

Bagh

Dhar

Indore district:

Indore

BLOCK PRINTING OF BAGH

Production Clusters

Dhar district:

Bagh

Indore district:

Indore

Products

Traditional:

Odhani-veil

Ghaghra cloth

Contemporary:

Yardage

Dress material

Dupatta-stoles

Sarees

Bed covers

Table linen

Tools

Wooden blocks

Wooden tray for

colour

THE REGIONS IN Madhya Pradesh which are well known for block

printing were Bagh,Ujjain,Mandsaur,Indore,Gwalior and Ratlam.Block

printing in Bagh was closely linked with the garment traditions of the

Bhil and Bhilala tribes of Jhabua and Dhar.Sari lengths called

lugda,odhani or veil cloth,and men`s shoulder cloth were block printed

on fabrics of light to medium weight.The printers known as Khatris,who

trace their origin of Rajasthan,were Hindus who had converted to Islam

but retained the name Khatri.The block printers migrated to Bagh

because of the high copper content in the waters of the Bagh River that

increases the depthe of colour.Bagh prints are characterized by

geometrical patterns of floral motifs done on black,blue and red colour

grounds.Today,red obtained by using alizarin and black made by

fermenting iron fillings in jaggery are more prevalent.The lugda and

odhani designs have

1. Bed cover design developed and printed by a master craftsman of

Bagh.

2. The tendu plant motif adapted for urban markets is much smaller

than the traditional motifs which were larger.

3. An adaptation of the traditional nandana mango motif sari print.

4. Detail of a contemporary design of stripes based on the crossborder

of a traditional lugda,sari length.

5. The block print borders and the stone carvings of the Bagh Caves

share a common design based on the creeper or bel.

6. A wooden block with a floral buti from Bagh.Block printing gives

great flexibility for developing innumerable surface designs

through permutations and combinations of borders,buti(motif)and

jaal(floral net)blocks.

7. Printing the border on a processed cotton fabric.A number of

blocks are used and combined to form different surface designs.

large cross-borders printed with at least five to

seven different narrow bhel designs.Cloth to be

printed has to be softened in a mixture of caster

oil,alkali and goat dung.The fabric is treated with

myrobalam to make it receptive to the dye.The

mordant alum is mixed with glue and tamarind

seeds and printed on the cloth.This is followed by

printing black colour.The fabric is finally dipped in

alizarin to give it red colour.Dhawda flowers are

added to alizarin bath to increase the brillianchy of

the colour.Besides Bagh,resist printing,for skirt

fabric and sari lengths was done in Umedpura and

Jawad;Bhairongarh and Ujjain printed jajams for

floor coverings.The ties between the printer and

their patrons have diminished and only those

printers who are willing to explore and experiment

are able to continue their livelihood from the craft.

BANDHANI-TIE-RESIST-DYEING

TIE-RESIST-DYEING OF cotton cloth is practived in Malwa region due

to its trade in bandhani with Rajasthan and Gujarat.Tie-dyed odhani(veil)

and lugda(sari length)are worn during marriages and festivals of Diwali

and Holi.Three types of bandhani,were most prevaletn.Peeriya(same as

Piliyo in Rajasthan)was worn by young women after the birth of their

first child.Peeriya had a red ground with dots in yellow,white,green and

was worn by communities of Rajasthani origin.The suhag chunari also

has a red ground and motifs in white,yellow and green dots with green

dip-dyed edges,and is worn

by the bride and remains with her till her death.Renia

lugda,has a dark ground due to alizarin that was

overdyed with indigo,with large circular motifs.These

are worn by elderly women of Jat,Banjara and

Chamar communities.The bandhani practiced today

has a different sensibility than the traditional as the

inspiration has become eclectic,with larger bands of

colours,streaky and random effects like marbling.

1. Tie-dye technique involves binding tiny parts

of the fabric with yarn which resist it from

receiving the dye.

2. Pattern achieved on opening the ties.

Production Clusters

Indore district:

Indore

Gautampur

Products

Contemporary:

Sari

Dress material

Stoles

Tools

Thread

Pointed nail

LEATHER TOYS

LEATHER TOYS ARE made in Indore,

largely due to the well develeoped craft of

leather footwear in Indore,Dewas,Gwalior

and Bilaspur.The animal figures made out

of leather have gained recognition in the

international arena and younger craftsmen

are also flocking to be trained in this

craft.The basic skeleton of the toys is made

from glavanized iron or mild steel wire.

In the smaller toys,two wire frames are interlocked ,while in the

larger toys,(48 inches in height)they are welded in places.The

required amount of paper pulp made by adding water and glue to

crushed waste paper provides internal packaging to the toys and

brings about a realistic representation of the actual animal.This is

tightly wrapped with threads around the wire skeleton to give

mass to the body of the toys.Layee-the glue of crushed tamarind

added with water and copper sulphate-is applied on the toy as a

preserving agent.Goat leather from Chennai or Hyderabad is

usually used for crafting the toy,while

Three stages in the making of a sculpted leather horse figure,an

unfinished ,semi-finished and fully finished figure.

glass eyes are locally purchase.The teeth and sole s are made

with the desired colouring and wax polishing.

Inset A tiger sculpted in papier-mache with a core of metal

wire which has to be finished by covering it with leather.

A finished and polished leather horse,Indore.

Production Clusters

Indore district:

Indore city:

Khandwa Road

Products

Toys

Animal Figures

Tools

Knives

Awl

Edge shavers

Pliers

Butter knife

Fork

Stencils

Moulds

Scissors

Brush

Sandpaper

Various animal figures like horses,lions,tigers,leopards are

made in Indore.

Women have a separate space on the ghats for bathing,washing and drying their clothes.

Crafts of Ujjain

Papier-mache

Wood carving

Bohra caps

Subclusters of

Ujjain

Ujjain

Bhairongarh

RESOURCES

Craft Raw material Sources

Wood

carving

Papiermache

Bohra

caps

Wood-sheesham,teak,dhudia,sal and

kikar

Waste paper, Gum, Mitti (clay),

colours, Chalk powder, Jute, Fabric

for ornamentation

cottong yarn, Kasab(cotton

wrapped with gold strip)

Ujjain

Ujjain

Ujjain,Surat

UJJAIN,AN ANCIENT town encircled by

Indore,Dewas,Dhar,Shajapur and Ratlam districts,lies on the

banks of River Shipra.The history of the city can be traced

back from the Aryan settlements to the 6th century BC when it

was one of the important janapadas,division,to its being part of

the empires of Bindusara and Chandragupta II.The great poet

kalidasa lyrically descirbed Ujjain,the city has its basis

ascribed to the mythological legend of sagar manthan,the

churning of the primordial ocean by the gods to discover the

pot of nectar.After the nectar was discovered,the gods and the

demons fought each other to have the nectar first and attain

immortality and in the process,a drop of nectar spilled and is

said to have fallen on Ujjain,thus making the city sacred.With

the presence of one of the 12 jyotirlingas,symbolic

representations of Lord Shiva,of primary importance for

tantric practices and meditations,the festivals of Maha

Shivratri and Simhastha kumbh Mela are also celebrated here

with much ardour.The strength of the Bohra Muslim

community can be felt through the fervour in the economic

activity of the town.Most of the crafts of this area cater to

personal requirements of the people,either in functional or

ritualistic products.Bhairongarh was known for the tradition of

hand block printing from Rajasthan.The mainstay of their

livelihood was printing traditional cloth for folk and tribal

communities,which has been replacded by export and urban

markets,distancing them from their traditional patrons.

ACCESS

Ujjain is well connected by road and rail to Indore,Bhopal and

other cities in the state.The nearest airport is in Indore.

1. River Shipra is glimpsed on the way to Bhatri Wali Gufa in Ujjain.

2. A woman decorating the floor in Ujjain.The ground is prepared with gerui mitti

(red soil)for vibrancy and contrast to the patterns made by rolling and tapping a

perforated tube from which coloured powder flows to form symmetrical patterns.

3. Shopkeepers wearing the traditional Bohra cap.It has a religious significance,and is

worn during prayers,festivals and special occasions.It also forms part of the

traditional dress.

4. Caps are crocheted by Bohra women,Many women crochet the caps at home,for

their family memnbers.A metal vessel is used as a die for achieving the shape and

size,to fit the head.

Mazare Nazmi,the Bohra mosque in Ujjain.

Carved marble work done on Mazare Nazmi is symmetrical and floral.The mosque has

been carving and lattice work.

WOOD CARVING

A FEW FAMILIES in ujjain practice the art of wood

carving that tradiitonally belong to the Malwa region.The

craftsmen now largely make idols of gods and goddesses in

traditional costumes,especially for the tribals who offer

them in their rituals and auspicious ceremonies.Another

alluring and captivating form of wood carving is in the form

of small combs with geometric motifs made from sheesham

wood.Young tribal boys offer these combs as a symbol of

friendship to their loved ones.The craftsmen have now

diversified into carving wooden doors,panels and

decorative items catering to contemporary sensibilities to

sustain themselves,giving a fresh lease of life to the craft.

1. Craftsman uses his feet to hold the wood whiel

sculpting the object with his hands.

2. Sculptures nearing completion before the final

chiselling.

3. Sheesham combs made in Kangi Mohalla of Ujjain

are symbolic gifts.

4. Brightly painted figurine dressed in the local attire.

5. Semi-finished sculpture of Lord Krishna.

6. Carved and painted wooden dolls or votive figurines

resemble the Gangaur dolls that are offered to

Goddess Gangaur in Rajasthan,

Production clusters

Ujjain district:

Ujjain

Kangi Mohalla

Products

Idols

Statues

Combs

Doors

Window frames

Toys

Masks

Pipes

Tobacco cases

Tools

Hammer

Chisel

File

Handsaw

Drill

Screwdriver

PAPIER-MACHE

Production Clusters

Ujjain district:

Ujjain

Products

Human figures

Birds

Animals

Caricatures

Statues

Models of Temples

Mythological masks

Tools

Hammer,Roller

File, Knife, Brush

Stone slab, scissors

Moulds, Polish

Inset : Mask of a tiger.

PAPIER-MACHE ART has been

carried on for generations in many

villages of Madhya Pradesh in the

making of human and animal

figures,and masks.Using a simple and

inexpensive process,the skilled

craftsmen can make any product if a

design brief or a proper sketch is

provided to them.

Waste paper is soaked for about a fortnight and the mass

is hammered to which pulp and gum is mixed

thoroughly,which is then beaten and rolled into sheets

that are pressed on to the required mould many times and

then dried.The mould is separated after drying and object

is taken out and smothened with a file,polished,and

coloured.Finally a mixtured of clay is applied for further

smoottening.Animal and bird figures are usually made

with hand by the dexterous craftsmen without the

requirement of any moulds.The cost of matrial or

equipment is relatively low.

Vividly coloured masks of various mythological

characters are made at Ujjain.

Birds with accurate anatomical details are made and painted by

handd by the craftsmen at Ujjain.

BOHRA CAPS

Production clusters

Ujjain district:

Ujjain district:

Products

Topis-caps

Tools

Crocket hook

Stainless steel or

plastic dies

CROCHETED caps,locally known as taj,are part of the male

attire of paijama,kameez and saaya(long overcoat),of men

from the Bohra community of Shia Muslims.They are worn

when going to the mosque,praying,eating(compulsory for

younger boys),and attending any religious ceremony.

They differ in form and intricacy according to economic status,social and religious

hierarchy.The caps to be worn by the Sheikh (prosperousd gentleman of the religious

order),are pointed at the top,similar to the top of the domes of mosques,and have floral

motifs while the other caps have silver or gold crochet embellishment or are narrower

at the top and wide at the base with

a simpler textured surfacde.Usually

the caps worn by the majority of the

Bohra have three partschanda,deewar

and makki.The top

portion of the cap is called chanda

which is where the crocheting of the

cap starts.It then spirals to the

deewar,the height of the cap, a

portion perpendicular to the

chanda.Then the chanda is placed on

a die and the thread takes the shape

of the dies,giving it a required

height.The deewar can have many

types of ornamentation such as the

jaali,bharavdar work,buta or

bel,similar to the motifs on mosque

walls.The finishing line of the cap

called the makki,is a line of alternate

cords of black and zari.

Inset Cap crocheted with silver

threads with the die that was used

for achieving the shape.

1. Special pointed cap worn by

the Daì mutlaq,religious head

of the Bohras.

2. Cap for special occasions.

3. Crochet caps made with nylon

wire and silver zari.

4. The top of a Bohra cap.

5. A simple Bohra cap

ornamented with a border at

the rim and a radiating pattern

on the top.

Iron gate made by Bastar craftsmen that is displayed at the Indira Gandhi Museum of Man,Bhopal.

BHOPAL IS THE CAPITAL OF

Madhya Pradesh,preserves a

fantastic amalgamation of

history,scenic beauty and modern

town planning.It is believed to be

the ancient city Bhojpal,founded

in the 11th century by the king

Raja Bhoj.It is also said to have

been established by an Afghan

soldier Dost Mohammed(1707-

1740).Bhopal,in the thickly

forested and hilly part of the

state,has two man-made lakes in

its centre,which add to the

impressiveness of the city.

But,its true magnetism lies in the confluence of

Hindus,Buddhists Mughals,Afghans and the remarkable

Begums who ruled Bhopal from 1819-1926,who have left

behind legacies in the arts and crafts,like zardozi

embroidery.These throb with the dynamism of life and

continue to exist in their regal splendour.Bhopal has a

large cultural complex,Bharat Bhavan,which was primarily

set up to promote tribal art and craft,as well as

contemporary art.The Tribal Art Gallery showcases

metal,wood and terracotta crafts of Bastar and Madhya

Pradesh.Tribal artists were invited to work and exhibit at

the Bhavan.The Indira Gandhi Museum of Man has

examples of tribal houses from all over India which exhibit

their cultural artifacts.

Crafts of BHOPAL

Bamboo craft

Zardozi embroidery

Jute crafts

Chindi dhurrie

Turned wood toys

Wood carving

Subcluster of

BHOPAL

Bhopal district:

Bhopal

Budhni

RESOURCES

Craft Raw MAterials Sources

Zardozi

embroidery

Zari, Beads, Cloth,

Kerosene, zinc powder,

Silver powder

Chowk in

Bhopal`s

markets

Jute crafts Jute Bhopal, Kolkata

in West Bengal

ACCESS

Bhopal is well connected by air,rail and there are extensive

bus services to cities within the region and to other states.

1. Craftsperson doing zardozi embroidery on an

adda,frame,used for stretching fabric which is to be

embroidered.

2. Craftsman applying lac to a turned wooden section

on the lathe in Budhni,which has a cluster of wood

turning craftsmen.

Craftsperson turning wood on the lathe at Budhni.

ZARDOZI -GOLD EMBROIDERY

Production Clusters

Bhopal district:

Bhopal city:

Sudama Nagar

Gwalior district:

Gwalior

Indore district:

Indore.

ZARDOZI,gold wire and thread embroidery,flourished in Bhopal for around 300

years,though sadly today it is in a state of decline due to a drop in workmanship

and product range.Raw Materials include an assortment of beads,pipes,gold and

silver dabka(coiled purl),salma(coiled wire),kinnar(edging),sitara(sequins),badla or

tilla(golden or silver flattened wire),kasab(threadd),and silk thread.Skilled

carpenters make the adda(frame) used to set the cloth for embroidery to the

required tension in the fabric.Exquiste and intricate designs are traced using a

fugitive colour made from white or blue.Samples of stitches to be used are done on

the untraced part of the fabric before the final embroidery starts.

Some of the popular motifs included paan,a name derived from its

similarity to the paan leaf,flower,patti(leaf)and pachni(V-shaped motif

with zari filled on the inner side and glass on the outer).On the

completion of the whole embroidery,the fabric is reveresed and the

threads are fixed in place with diluted adhesive to give firmness to the

cloth.The embroidered cloth is finally finishedd where it is cut to the

shape of the desired product and lined with satin cloth,and

stitched.Shoemakers make jutties with the embroidered uppers,or a

zardozi scarf which is finished with an edging of tassels.

Products

Clothes, Purses, Bags

Batwa - purse

Footwear

Detail of an antique silk blouse embellished with zardozi work using gold sitara,sequins,metallic

beads and coiled gold wire,which has been stitched down with a cotton thread.

Detail of a border worked in Zardozi,using heavily

coiled gold wire,crimpled gold strip,metallic beads and

gold sequins that are stitched down with cotton thread on

a silk fabric

Tools

Tracing

paper,Needles

Adda-frame

Ari-hook, Scissorss

Fatila-tool for

wrapping wire

JUTE CRAFT

Production Clustes

Bhopal

Products

Wall hamgings

Hammocks

Planters

Screens

Bags

Tools

Scissors

Bamboo

JUTE CRAFTED PRODUCTS such as wall

hangings screens,table ware and dolls have

been introduced into the area by

developmental agencies with the aim of

providing economic independence to young

women and girls.

Relatively simple to teach,learn and make ,these products have successfully

created an aesthetic appeal that ensures adequate revenue generation.The jute is

first dyed with chemical dyes,and then constructed by interlacing and knotting

techniques using jute fibre and yarn.Dolls made of sisal fibres are constructed

by simple techniques.Moulds are used generally for bags or other accessories

which are formed by the macrame or knotting techniques.

Inset Shallow jute

baskets made at the

National Centre for

Jute

Diversification,Bhopal

1. TOp view of a

low stool.The

seat is made by

weaving jute

braids.

2. Containers

made from

reused newsprint.The

skills

required to

make jute

products have

been applied to

other natural

materials.

3. Wall hanging

made from jute

macrame.


IN BHOPAL, A small group of around hundred

craftspeople shape the wood in a variety of

configurations and combine these to make

interesting toys,containers,vases and

beads.wood turning involves the use of a lathe

on which a rapidly rotating piece of wood is

shaped with a chisel to create objects with

rotational symmetry such as cylinders,spheres

and cones.The lathe could be driven by electric

motors or in the traditional method be operated

manually by using a bowstring which is

operated by hand or by foot.Interesting patterns

are created

by the craftspeople by combing many colours when they coat the surface with pieces

of green,red,black,yellow ,and pink colours mixed with shellac.The utilization of the

leaves of the regional flora in making these toys is exceptional where flat ones are

polished with a blend of khajur(Phoenix sylvestris)leaf and oil,while others are made

to shrine with a combination of dried kevda leaf and oil.

1. Turned wood lac-coated toys such as a bird and a top are made in Seopurkalam.

2. A rattle similar to the damroo,Lord Shiva`s musical instrument,Seopurkalam.

3. Flower vase sculpted from a cylindricl piece of wood.

4. Detail of a walker,These walkers help children in learning to walk.

5. A child`s walker with two windmill-shaped moving parts

6. A Child`s walker with a helicopter blade-shaped moving part.

Production clusters

Bhopal district:

Budni Ghat

Products

Toys

Mortar and pestle

Rolling pins

Box

Shelves

Tools

Lathe machine

Sandpaper

Kulhadi-axe

Chisel and gouge

Mathni-polishing tool

Kambhat-wooden rod

Crafts of BETUL

Lost wax metal

casting

Jute work

Bamboo work

Subclusters of

BETUL

Betul district:

Betul

Amla

Chunahazuri

Phongaria

Barkhed

Tigaria

Kalmeshara

Sitakamath

Patakheda

Patakheda

RESOURCES


Dhokra-lost wax metal casting copper and tine Betul

BETUL,ONE OF the marginally located Southern districts

of Madhya Pradesh,lying almost wholly on the Satpura

Plateau forms the southermost part of the Bhopal

division.The district derives its name from the small town

of Betul Bazaar about 5 km south of Badnur,the district

headquarters.Mostly the Gond and Korku tribes,who had

rebelled against the British,inhabit this district.Banjaridal,a

village in Betul tehsil,district sub-division,is renowned for

the martyr Vishnu Singh Gond who rebelled against the

British.Monuments and relics of historical places such as

Khedla stand testimony to the 13th century Gond

dynasty.The twin villages of Karzili and Kanigiya have old

Hindu and Jain stone temples which were places of

considerable religious importance.The northern part of the

district has a touch of Bundelkhandi language and culture

while the southern belt of the district has overtones of

Marathi language and Maharastrain culture.

ACCESS

The airports nearest to Betul are in Bhopal and

Indore.Betual is connected by the National Highway to

Bhopal and has a railhead.

1. Clay moulds or bells are prepared to be cast by the lost wax casting method in Tigaria.

2. Dhokra craftsman`s house in Tigaria.

3. Making of wax threads at the Bell Metal Precision centre,Amla.

4. Women of the Basod tribe involved in bamboo basketry,Betul.

5. Craftsman applying wax threads to create patterns on the surface of the bell during the

lost was metal casting process in Tigaria.


THERE ARE TWO traditionals of metal craft in the

state:the bronzes made using the cire perdue(lost

wax) method.and the indigenous technique of

ironsmithy.The Bharew (meaning one who fills)of

Betul belong to the first category in which objects are

made by pouring or filling molten metal into the

mould.Apart from utensils,they traditionally make

harnesses for horses and ornaments for cattle, bells,

lamps, elephants, horses, idols of tribal deities and

bird figures.Agriculture is carried on to supplement

the meagre income for that this craft brings

in.Traditionally,this profession provided for the ritual

requirements of the tribal communities such as the

dagger worn by a groom during the marriage

ceremony,marriage rings and cymbals played by the

women during festivals and celebrations.An

important social ritual of gifting an ornamental oil

wick lamp to the bride by her family resulted

1. Molten metal being poured into a mould.

2. Figurines on a cot,Chetra.

3. Detail of a figurine,Chetra.

4. A container from Tikamgarh,located in the

northern region of the state.

5. A napkin holder,the result of an exercise in

contemporary product diversification.

6. Horse,Tigaria

7. Small musical instrument made from

bells,Tigaria.

8. Bells,Tigaria.

9. Tortoise-shapped candle stand,Betul.

10. Bowl with bull figurines as

handles .Tikamgarh.

in diverse forms of the morchimni(peacock-shaped)lamps.The demand

for these articles has diminished greatly as tribal markets today are filled

with alternative materials at cheaper rates and rituals have also undergone

changes rendering these objects a nominal value.

Productin Clusters

Chunhazuri

Phongaria

Barkhed

Tigaria

Kalmeshara

Sitakamath

Patakheda

Amla

Products

Traditional:

Marriged rings

Dagger

Cymbals

Morchimni-oil wick

lamp

Abhushanaccessories

Tribal deities

Harness for horses

Bells for cattle

Contemporary

Walking stick caps

Tribal figures

LAmps

Idols

Containers

Animal figurines

Miniature Tribal

weapons

Tools

File

Hammer

Furnace

Tongs,Chisel

Crafts of

GWALIOR

Stone carving

Subclusters of

GWALIOR

Gwalior district:

Gwalior

Morena district:

Morena

Dhamkan

Kumar Mohalla

Alapur

Sheopur district:

Sheopur

Bamnor village

RESOURCES


Stone carving Vindhyan sandstone Gwalior

Gwalior, a famous city, is also a heavily industrialized district

in Madhya Pradesh with cotton, yarn, paints, ceramics,

chemicals, and leather factories. The beautiful Gwalior Fort

and palaces have been the legacy of several dynasties who

ruled here since 8th century. Among them are the Maratha

Scindias who became the rulers of Gwalior in the 18th

century. Gwalior is surrounded by districts - Morena in the

north, Shivpuri in the south, district Bhind in the east and

Datia in the west. Gwalior is the confluence of two of the

richest cultures in India: Braj and Bundelkhand covering

Gwalior, Bhind, Morena, Sagar, Shivpuri, Guna, Sheopur and

adjoining areas. The older part of the city is covered with

grand sandstone mosques, beautiful palaces, rock temples and

statues of historical importance like the tomb of the legendary

musician Mian Tansen, one of the nine `gems` of Akbar`s

court. Madhya Pradesh has reserves of sandstone, marble,

granite and limestone which are quarried in the state. Gwalior

has stone carveres who sculpt idols and platforms for rolling

bread in sandstone and flat stones for grinding paste, in grey

granite. The stone carving legacy of the craftspersons who

were engaged in building the forts and palaces in Gwalior is

yet an untapped potential.

1. Facade of the Man Mandir palace inside the Gwalior Fort. Built in the late 15th

century by Raja Man Singh Tomar, it is a repository of carved architectural elements

and the use of coloured glazed tiles.

2. View of one of the inner courtyards of the Man Mandir palace in Gwalior. Seen here

are examples of excellent jaali, lattice work and inlay work using glazed and

coloured tiles.

3. Small terracotta figurines serve as votive offerings, made by potters in Gwalior.

ACCESS

Gwalior has an airport and a railhead connecting it to other

cities and town within and outside the state.

Jaali, stone carved lattice work at the 16th century tomb of Mohammed Ghaus in Gwalior.

The pattern is based on an Islamic geometric style derived from a regular tessalation of

triangles and hexagons.

Carved stone sculpture of Varaha, the boar, one of the incarnations of Lord Vishnu,

Gwalior.

STONE CARVING

Gwalior has an ancient tradition of stone carving that made

Ibn Batuta, the medival traveller to India, describe it as a

fine town of whilte hewn stone, no wood being used except

in doors. The Vindhyan sandstone found all around Gwalior

is one of the best qualities of fine and even grained

sandstone that has provided the strength to the fabulous and

impregnable forts, palaces and other great historical

monuments in the city that withstood invasions over

centuries. Hence, stone carving is a hereditary profession

practiced through generations that flourished under royal

patronage from the Scindia dynasty. With their skills

exemplified inthe exceptionally perfect stone lattices, the

craftspeople have reached the peak of their profession. The

lattices have geometric motifs inspired mostly from Islamic

patterns and carved from both sides of the lattice to make

them aesthetic and functional; to fufil the purposes of

ventilation, light access and visual screens. Stone sculptures

are also made which have the rough outline sketched on the

stone block with the required portion carved out and finally

polished by sandpaper, multani-mitti, oil and cloth.

Production Clusters

Morena district:

Jora tehsil:

Dhamkan

Gwalior district:

Gwalior

Products

Stone columns with

Krishna motif

Stone lattices

Stone carvings

Architectural fittings

Interior fittings

Tools

Hammer, Chisels,

files

Sandpaper

Grinder, Saw

1. Pillars with figural and floral motifs carved by craftsmen at

Dhamkan.

2. Carved stone jaali in silhouette in and Islamic monument in

Gwalior.

3. Stone carved panel on the 16th century monument of

Mohammed Ghaus Ka Makbara, Gwalior

4. Detail of the carved jaali, Mohammed Ghaus Ka Makbara,

Gwalior.

5. Floral motif, Mohammed Ghaus Ka Makbara, Gwalior.

6. A carved lion, inspired from the stone work at Khajuraho,

Gwalior

Subclusters of

MANDALA

Jabalpur district:

Jabalpur

Mandla district:

Mandla

Maharajpur

Dindori district:

Dindori, Rajinisarai

Jarasurang

Gram Padadia

Gramkureli

Patangarh

Crafts of MANDLA

Wood Carving

Terracotta and

pottery

Stone Carving

1. Bamboo forest

plantations of lathi

baans, have been a

major resource for

the Basod

community of

bamboo craftsmen in

eastern districts of

Madhya Pradesh.

2. Painting depicting

snakes and reptiles

made by a painter

from the Gond

community.

3. A tribal woman

carving a mask in

wood. Wood carving

is practiced in

Patangarh, Mandla

and Dindori.

4. Artisan of the Basod

community making a

functional screen

with bamboo frame

and fragrant roods of

khus, (Vetiveria

zizanioides) used as

room humidifiers in

summer.

RESOURCES


Wood

carving

Terracotta

and pottery

Tribal

painting

Stone

carving

Sagon(Teak),

Kamer (Jungle

wood), Tisa,

Mundi, Bija, Sarai

(Sal)

Sandy clay

Clay for chimney

Wall, canvas

Stone

Locally available

River bed

Uglie village in seoni

Mandla, Dindori

Quarries in Jabalpur,

Balaghat,

Chhindwara, Bijawar

and Sabalghat

A woman moulding clay in Maharajpur, Mandla

Jabalpur, Mandla, and Dindori districts are located in the

eastern part of Madhya Pradesh. Mandla lies in the

catchment area of River Narmada and its tributaries. It is east

of Jabalpur district, a part of the Satpura Hills, which

seperates the cotton growing of the south from the wheat

growing extension of the Malwa Plateau on the north. Gonds

and Baigas are the most significant tribes in the district

whose festivals are the most significant tribes in the district

whose festivals are associated with the agricultural cycle,

seasons and nature. Hareli is the festival of rain and the

goddess of crop, Kutki Dai, is worshipped on this occasion

to ensure better harvest. Dindori district lies on the border of

Chattisgarh state. It is 11,000 m above sea level and

surrounded by the Maikal range.The Gonds living amidst the

forests paint the walls of their houses with vivid paintings of

trees, animals and local deities. Lathi baans (Dendrocalamus

strictus) and katang (Babusa bambos) species of bamboo

grown in the eastern region, are used by the Basod

community to make baskets, mats and in house construction.

Jabalpur was the capital of a Gond kingdom in the 12th

century. It has a resource of limestone, marble, iron ore and

refractory clay. The river Narmada flows through the district

and at Bhedaghat, 23 km outside Jabalpur, are islands of

marble rocks emerging from the river that look spectacular

in the moonlight. Marble and varieties of softstone are

quarried in the region and stone carving skills are prolific in

Jabalpur and Bhedaghat.

ACCESS

Mandla region is well connected via road and rail to

important cities like Jabalpur, Bhopal and Nagpur in

Maharashtra. The nearest airport is in Jabalpur.

Potters have invested their lives in this craft at Mandla.

STONE CARVING

Stone carving is a very famous craft

of Jabalpur. Bhedaghat located about

22 km west of Jabalpur has 300-400

craftspersons who practice this craft.

The craftspersons are hereditary

carvers belonging to the Visvakarma

caste, some are Jharia and Adivasi

and some are Muslim who have learnt

the craft. Bhedaghat is famous for its

marble rocks which are limestone

cliffs rising 30 metres above the

Narmada waters. The waterfalls,

called Dhaundhar, attract tourists who

have encouraged the stone carving

craft of the region. A variety of

dolomite marble is quarried at

Jabalpur, Balaghat, Chindwara,

Bijawar and Sabalghat areas. The

objects made from stone carving are

of religious significance and are

votive by nature.In carving an image,

the stone carver sketches a rough

outline of the sculpture on the stone

block and chisels off the unwantd

parts. The products are finished using

sandpaper or polished with multani

mitti or clay, oil and cloth. White

soapstone, dolomite marble (hard

stone), black soapstone and green

soapstone are also quarried in the

region. Local carvers make a number

of small objects like animals, boxes

and trays from stone. Tikamgarh, in

the northern part of the state

bordering Uttar Pradesh, is a site for a

softstone locally called gorara, which

has gained importance because of its

semblence to marble. It is quarried in

nearby areas and sent to Gaya,

Varanash, Agra and Bhedaghat.

Production Clusters

Jabalpur district:

abalpur

Bhedaghat

Products

Masks

Furniture

Statues

Plate

Pelmet

Idols and religious

objects

Animal figures

Boxes

Trays

Tools

Hammer, Chisel

File, Handsaw

Drill, Screwdriver

Sandpaper, Punch

Point

Cloth

1. Soapstone carved elephants of

different sizes.

2. Figure carved in marble,

Bhedaghat.

3. Lathe turned and carved plate

made form gorara, pyrophyllite

stone, quarried and worked in

Tikamgarh where Khadi

Gamudyog has set up a cenre

and has imparted training to

artisans in the region.

4. Cigarette holders made in

marble.

5. Carved stone paperweights.

6. Small carved containers made

in marble, Bhedaghat.

WOOD CARVING

The tribal communities of Dindori district carve masks

and figurines from a variety of woods such as

sheesham, teak, dhudia, sal and kikar. The masks are

worn during a dance performed during the harvest

festival. The masks represent either gods or demons

and their symbolism is related to a Gond myh where

Lord Krishna was dancing with gopis, co-herdesses,

when some demons

tried to interrupt the dance by joining them. The gopis amused by

their disfugured faces continued to dance with them. Lord Krishna

recognized them and severed the heads of the demons. The gopis

realizing their mistakes, begged forgiveness and Lord Krishna

commanded them to wear masks of demons to remember the

event. The masks are made for their personal use and are sold to

local customers. Figurines and masks are also sought through

marketing organizations.

1. Carved figurines of a tribal

couple made by craftsmen at

Gramin Bhoomi Heen Rozgar

Avasan Yojna which is in

Mandla.

2. A tiger figure in paper mache

that imitates painted wood

carving.

3. Expressing craft figurines made

by craftsmen in Mandla.

4. Carved wood figurine from

Mandla.

Production Clusters

Mandla district:

Mandla

Dindori district:

Dindola, Patangarh

Products

Masks

Furniture

Statues

Plate

Pelmet

Tools

Hammer

Chisel

File

Saw

Sandpaper


Production Clusters

Maharajpur, Mandla

Products

Idols of gods

Idols of goddesses

Elephants

Horse

Masks

Tools

Thread

Stick to turn the

wheel

Carving tools

The tribes in this region make offerings of terracotta toys and

objects to the gods during festivals. The five communities of

potters in Mandla - Kongia, Birdia, Rewai, Malviya and

Sungare - make figures of god and goddesses, cows and

animal related to the festivals of this region. The terracotta

objects are made for the tribals by the potters. The products

are made by hand and with the potter`s wheel. Sandy clay,

brought from Uglie village in Seoni district that has finer

lustre and is easy to work with, is used for making products.

The other important terracotta products made in this region,

are the two types of chimneys - with a stand and without one.

Different parts of the chimney are moulded on the wheel,

joined together and decorative motifs added by hand. Black,

huge and lustrous earthen pots are also made from terracotta.

1. Rice grains are showered while praying to votive

figurines and objects.

2. A wheel thrown cylindrical form is being transformed

into a figure by hand rolling and pinching clay in

Maharajpur.

3. Earthern ware used for cooking lends a distinct flavour

to the food.

4. Hand formed figurine of a musician, Mandla

5. A terracotta scarecrow.

6. Face of a woman.

7. Black terracotta mask with holes slit in place of eyes,

nose and mouth.

8. Small sculptures are also made by the craftsmen.

9. Figural coin bank made of black clay.

GOND CHITRAKALA - TRIBAL PAINTING

Traditional paintings of the

Gond and the Pardhan tribes in

the Gondwana region are based

on local festival like Karwa

Chauth, Deepawali, Ashtami,

Nag Panchami and Sanjhi when

women paint the main doors and

walls of their houses using

home made natural colours.

Village deities such as Marahi Devi, Phulvari Devi, (Goddess

Kali), Sanphadki snake, Phulchukki chiriya (bird), Sarpoti tree

are the subjects of the paintings. The paintings are votive in

nature and celebrate the birth of Krishna, venerate trees, birds

and beasts, seek protection for the well being of the family and

ward off evil. Some of the painters were encouraged to paint

on paper. Paintings done on paper are sold in the state`s

handicrafts retail outlets. The predominant theme is vneration

of nature and the symbiotic relationship between birds and

snakes, peacocks, beasts and trees, which is painted vivdly.

Their paintings have received worldwide exposure and acclaim

and adorn the walls and ceiling of prominent institutions in

Bhopal. Each region of Madhya Pradesh has a distinctive form

of painting. In Bundelkhand, professional painters called

chiteras use the process called lipai to paint linear designs on a

mud plaster base with fingers. The women of the Rajwar

community are specialists in lipai, whereas tose from Pando

and Satnami communities make linear designs. The Malwa,

Mimar and Tanwarghar regions of Madhya Pradesh practice

mandana, auspicious wall and floor paintings that have

geometric diagrams, peacocks, cats, lions, diagrams of swastik

and chowk on a red mud and cowdung base that is painted with

white colour.

Inset : Painting on paper which depicts an

animla attacking birds and insects.

1. Detail of a painting with reptiles and

animals.

2. Detail of a painting with birds on a

tree, Patangarh.

3. Painting depicting snakes and birds.

4. The artist`s attempt at representing

biodiversity.

5. Painting depicting the symbolic

relationship shared between man and

nature, Mandla.

6. A painting showing a group of tribals

at work.

Flora and fauna, integral to the life of the

tribal community are painted in Patangarh.

Production Clusters

Dindori

Mandla district:

Patangarh Village

Productsion

Traditional Paintings

Tools

Paintbrush

Fabric paint

Canvas

Wall painting

Red clay and

cowdung.

CRAFTS -

CHHATTISGARH

Painted clay relief

Lost wax metal

casting

Bamboo basketry

Brass vessels

Bronze ware

Iron work

Terracotta

Pata weaving

Kosa silk weaving

Kumharpara in Bastar has a devgudi, village shrine, under the aadhan trees. Terracotta votive offerings of lamps and elephants

figure are made as prayers or as thanksgiving to gods for fulfilment of their wishes.

Districts - 16

Craftspersons (Included with Madhya Pradesh)

Landmarks

Hot water springs :

Tatapani, Rajpuri

Pawai waterfalls

1. Walls of houses are decorated during the harvest festival Chherta, Puhphutara in Sarguja district

2. Master craftsperson Sonabai`s house in Puhpuhtara. The walls are decorated with painted clay relief work and and installation

adeorns the verandah.

3. Sunday market in Kindagaon, Bastar district.

4. Tribal women adorned with flowers and traditional jewellery at the weekly haat, market, at Kondagaon, Bastar district.

Languages

Chhattisgarhi

Hindi

Halbi

Telugu

Bhatri

Festivals

Karma, Dussarah,

Holi

Urhul

Chherta

Attire

Pata sari and blouse

Cuisine

Shalpi - drine kamde

from fish tail palm

tree

Sabudana khichdi -

rice made of sago

(tapioca)

Sweets made of besan

(gram flour ) and

rawa

Chhattisgarh, a state shince 2000,

used to be the southern part of the

state of Madhya Pradesh. Rich in

natural resources and minerals,

with its large deposits of

limestone, coal, iron ore, and

dolomite, the state is being

encouraged towards

industrialization. Its forest cover

is being positioned to attract

tourism.

choose their life partners, get divorced or remarry. The

strong sense of and individual identity is reflected in the

simple and beautiful crafts - lost was casting, beaten

metal work, iron work, clay relief, terracotta and pata

weaving that serve both ritualistic and domestic

purposes. These crafts are trying to evolve with

changing times without losing their original beliefs,

meaning and essence.

Inset : Woman with tattoo marks on her face in a

weekly haat, market in Jadgalpur, Bastar district.

Biodiversity

Flora:

Teak, Sal, Bamboo,

Cotton, Beeswax

Fauna:

Elephant, Goat,

Monkey, Horse,

Parrot, Bison, Fish,

Tiger

Majority of the population are tribal from Bastar, Dantewarra,

Jaspur, Sarguja, and Kanker who have rebelled time and again

since 1774 against intrusion by outsiders, especially the British,

and participated in social reform by the Satnam sect (preachers

of a casteless order), Kabir panthis (followers of the 16th

century revolutionary poet, weaver and saint Kabir), and

movements by share croppers and agricultural labourers. These

occurances have played and intrinsic role in the lifestyle of the

tribals, women are free to

Luchki village situated amidst lush green paddy fields,

hills and solitude of the Ektal flatlands in the Rajgarh

district.

Physical Features

Dense forests

Dandakaranya

Plateau

Mountain ranges:

Raigarh Hills

Maikal Range

Satpur Range

Churi-Udaipur Range

Abujhmar Range

Major rivers:

Narmada, Mahanadi,

Sheonath

5 Weaver`s wife demonstrates the style of draping a cotton pata sari that is woven with big kumbh, temple motif, and Al dyed yarn, Tokapal in Bastar

district.

6 Artisan`s wife outside a vibrantly coloured puja, worship room, Tokapal

7 Memorial pillar for the dead in Jagdalpur, headquarters of Bastar district.

8 A tulsi planter is an integral part of every house, Bastar

9 Ritual lamps made by the dhokra craftsman in Ektal.

Hand operated lathe to which a metal pot is attached. The artisan turns the lathe and the other applies lac to the pot, Pusaur.

Subclusters of

SARGUJA AND

RAIGARH

Sarguja district:

Pahad Chidwa

Silma

Puhphutara

Luchiki / Kanthi

prakashpur

Ambikapur

Raigarh district:

Ektal

Jaspur

Kaserpara

Kharsiya

Kosumnara

Netnagar

Pusaur, Santpura

Raigarh, Tamnar

Raipur district:

Rajim, Navapara

Janjgir district:

Sakti, Champa

Bilaspur district:

Sarkanda

Magarpara

RESOURCES


Bamboo basketry Bamboo Forest

Metal casting Dhuvan - resin Sal tree

Painted clay relief Clay

Bronze ware

Old copper vessels Bastar

Brass vessels Old brass vessels Moradabad

Pata weaving Cotton yarn Orissa

River bank, Sarguja district

Crafts of SARGUJA

AND RAIGARH

Painted clay relief

Lost wax metal

casting

Bamboo basketry

Brass vessels

Bronze ware

Pata Weaving

1. Bamboo worker at

Luchki.

2. Artisan making a

clay mould a

casting a large

lamp in Ektal,

Raigarh district.

3. Painted clay relief

jaali, screen, made

by a well known

craftsperson of

Puhphutara.

Surguja, In the northern part of Chhattisgarh, is hilly

and covered with forests except for Mainpat and

Samripat regions which are on a plateau - pat being

the local word for plateau. The north and south of

Sarguja are thickly forested, abundant with teak and

sal trees. The rivers Kanhar, Moran, Rihand and

Mahan flow through it. The historical connection of

Sarguja has been attempted by naming many places

after Ram, Sita and Laxman from the epic Ramayana

and by the Pando and Korva tribes trying to claim

their descendence from the Pandava and the Kaurava

dynasties of the Mahabharata respectively. The crafts

of the regio are a spontaneous expression springing

from thei daily existence. The Rajwars celebrate

Chherta, the harvest festival, by painting their houses

with figurative clay relief, and making metal cast

objects that are integral to their rituals and

ceremonies. Raigarh, in the eastern border of

Chhattisgarh, has the rivers Mahanadi, Mand and

Kelonadi flowing through it. In the large forest area,

teak, sal, bija, saaja, bamboo, tendu leaves, grass,

hards, behara and amla are the main forest

produce.Though there are large coal reserves in

Kharsia, Dharam, Jaigarh and Gharghoda tehsils,

district sub-divisions, and quartzite, lime and dolomite

in Sarangarh; villagers still have to migrate to cities

for work once the harvesting of paddy and other crops

is over. The few families of the Pusaur panchayat,

village council, make vessels and containers of beaten

brass and bell metal and the Meher and Bholia

weavers, originally from Orissa, produce cotton

textiles on handlooms.

ACCESS

Sarguja and Raigarh are well connected by roads to

Raipur, the state capital, which also has an airport

connecting it to Delhi and Nagpur. Raipur also has a

railway station.

PAINTED CLAY RELIEF

The women of the Rajwar community in Sarguja district, the

farming community of Bihar, Chhattisgarh and Madhya

Pradesh, paints the walls, doorways and wall skirtings of their

houses and items of daily use like shelves with lipan done in

unfired clay and cowdung during Chherta, the post harvest

festival. These are painted white and illustrated in ochre,

blue, green,red and yellow colours. Motifs of gods, animals,

birds, trees, human and other three dimensional figures are

extensions of a tradition that search within the spaces of

imagination, and the personal life of the creator. These are

articulated on jhinjira (screens), patani (shelving system) and

dodki (storage bins) that are unique to every room of every

house. In their core is a lattice structure made of thin bamboo

strips, covered thinly with pooval (paddy hay), mixed with

grog and sandy clay that has been smoothened. The

geometric figures are made row upon row and the motifs are

sopntaneously created. The black colour is obtained from the

soot of oil lamps while the base white is got from choohi,

white clay. The process of creation includes repair and

restoration of the walls and structures in a cyclic manner,

every year ushering in a plethora of new motifs.

Production Clusters

Sarguja district:

Puhphutara

Sirkotanga

Products

Dodki - grain storage

bin

Patani - shelving

system

Dheta - niches

Jhinjira - screens

Wall murals

Doorways

Jars

Tools

Paintbrushes

1. Detail of an innovative screen and a

painted clay relief wall, Puhphutara in

Sarguja district.

2. Vividly coloured clay screen and relief

work on the walls, Puhphutara.

3. Unfired clay toy.

4. Painted clay relief of Lord Krishna and

Radha adorn the walls of a master

craftsperson`s home.

5. Unpainted animal figures for clay relief

work, Puhphutara.

6. Clay installation made by a craftsperson

in Sirkotanga, Sarguja district.

7. Deer worked in clay relief work,

Puhphutara.

8. Detail of a wall depicting clay figures of

musicians and a girl dancing around a

tree during the Karma festival.


Production Clusters

Raigarh district:

Ektal, Jaspur

Sarguja district:

Pahad Chidwa

Bastar district:

Bastar

Kondagaon town:

Bhelvapader

Products

Sarguja and

Raigarh districts:

Lamps, Containers

Figurines

Mahua tree sculpture

Toys

Bastar district:

Idols

Animal figures

Tools

Tongs

Hathodi - hammers

Cheeni - chisel head

Aari - rasps

Files

Plas - pliers

Mathni - flat wooden

piece

Chaar - hot iron rod

Dhokra, the tradition of making lost wax

cast ritualistic and utility objects is a finely

developed art of Chhattisgarh, with a large

concentration of craftspersons in Bastar

region. However this evolved art is practiced

in many places extending from Orissa to

West Bengal.

The process involves many stages: making of the core in fine sand and

clay; making an armature with wax threads and strips that depict the

image; encasing it with a clay mould with vents and inlet; pouring molten

brass and casting; removing the cast, finishing and polishing with

sandpaper. In Bastar, the Gharuas use wax for metal casting the idols,

which they install in the devgudi, village shrine, of a deity under the trees.

There are three variations of cast forms - two have only metal content and

these are usually flat motifs or thin walled hollw containers

1. A group of musicians from Bison Horn Maria tribe, Ektal

2. Ritualistic lamp gifted to a daughter by her father on her wedding,

Ektal.

3. Cast figurine of a goddess.

4. The mahua tree depicts people celebrating the Karma festival, Ektal.

Toys form another range of products that are made in Ektal. Toys are

generally small (not more than a few inches). Shown below is a bullock on

wheels, the wheels are attached separately with a metal wire.

or figurines without a clay core, while the third type

includes objects of larger volumes such as animals and

lamp stands, where a clay core is retained inside a thin

layer of metal as an economic measure. In some cases,

when the outer layer is a lattice , then this core is

mechanically removed in the finishing stage. Rice husk

is added to the core to reduce its weight. The decorative

parts of the object are separately added with wax filled

cavity. Alternately, the entire assembly is fired in an

open kiln and when the heated wax starts to evaporate,

the liquefied metal is poured in the central cavity.

Inset : A rare artifact from Pahad Chidwa - a lamp on a

tortoise`s back. Many such artifacts come from this little

known village, where one family has been producing

delightful work.

5 The cast products are cooled and the

shell is broken carefully to extract the

metal objects, which are cleaned with a

wire brush and further polished with

sandpaper. In Ektal in Raigarh district, the

Jhara artisans practice metal casting in

brass by mixing resin and beeswax in

different ratios. Traditionally, they make a

variety of lamps, idols of deities, human

figures, toys, figures of animals, kings and

gods, with decorative elements framing it.

In Sarguja, the Malar or blacksmit

community make two types of metal

images - solid and hollow; but instead of

wax, they use a resin called dhuvan, to

make the armature of the human figures

and idols.

6 The slender and elongated figure of the

musician is a distinctive feature of the

dhokra in Bastar.

7 A woman bedecked with jewellery

suggesting she is a bride of a royal lineage,

Kindagaon.

8 Mother and child figurine, Kondagaon,

Bastar district.

9 A traditional vessel for measuring rice

from Pahad Chidwa. Motifs such as

scorpions, concentric circles and

rhombuses adorn it.

10 A container that can be hung, made in

Pahad Chidwa, Sarguja district.

BAMBOO BASKETRY

Production Clusters

Sarguja district:

Kuchki /

Kanthiprakashpur

Raigarh district:

Kosumnara, Pusaur

Netnagar

Tamnar

Santpura

Kharsiya

Products

Sarguja district:

Suppa - winnowing

fans

Tukri, Supni, Jhanjri,

dowri - types of

baskets

Pathia - grain storage

basket

Garni - basket for

chicken

Kumni - fish trap

Raigarh district:

Storage baskets

Suppa

Tools

Tangia - the big axe

Ghoda - device for

making splits

Churi - small knife

Sickle

Luchki, renamed Kanthiprakashpur, is a small

village actively involved in bamboo baketry

especially during harvest season when the

otherwise expensive green bamboo is easily

available. During this time all forms of bamboo

- whole, slit, split and woven - can be seen

everywhere. For basketry, tangia, a big axe, is

used to split the bamboo into strips of two,

four, an six, further split vertically by the churi

and left in the sun to stiffen, rendering them

easy to work with. The wider strips forming the

centre of the basket have thinner strips woven

around it leading to a high degree of

refinement. A specially woven mat is fitted into

the baskets to stop seepage of grains since

these multi coloured baskets coated with clay

and cowdung are used to carry paddy and

grains. These locally used utility objects are

sold in the village haat.Netnagar, a small

village close to Ektal, about 13 km from

Raigarh town, has artisans who work with

bamboo and ar ecalled basod, who also use

green bamboo for their craft. The rimless

basket forms of Chhattisgarh all close inwards

but the closely packed woven suppa differ from

place to place in form and detail. The suppa is

first woven as a mat of the required size and

then cut at one end and folded in to cause the

flat surface to curve. Then clean strips of sal

wood are used to bind the outer edge of the rim

frame of the suppa which are sold in the

markets of Raigarh by merchants and not the

craftsman. Similar products are also made in

Kosumnara where unlike the Netnagar artisans

bamboo strips are used to bind their suppas.

Tools : The bill hook knife is tied to the bamboo pole and used for splitting bamboo, the axe is used for cutting.

1. Artisan making abasket in Netnagar, Raigarh district.

2. Containers made from plain and dyed bamboo splits. The container has a square base and circular rim, Kuchki / Kanthiprakashpur.

3. Shallow semi - spherical baskets woven with dyed bamboo splits. The baskets with a wide rim were made in Kosumnara.

4. Detail of a woven mat, Kosumnara.

5. Bamboo fish trap made from finely split bamboo, Sarguja.

6. Basket for keeping hens and fowls is made with wide bamboo splits woven in an open hexagonal woven structure.

7. Storage basket made in Netnagar with a rim that has splits made from the outer layer of green bamboo.

8. Detail of storage basket used by farmers to carry paddy from the fields made in Luchki / Kanthiprakashpur, has been coated with cowdung and clay which

covers up all the gaps.

BRASS VESSELS

Beaten brass ghagra of various shapes and sizes with a small mouth

and neck and a thick handle are made in Pusaur. Old brass vessels

are recycled for making these by melting and puring them into clay

dies in the ground. These form into thick solid discs that are beaten

to form shallow bowls of about 6 inches to 8 inches thickness. Five

such bowls are then set inside one other and the set is beaten to

form a vessel till the mouth opens out conically. Then the vessel is

placed on a flat topped iron bar, which has been fitted into the

ground, and

Tongs used during the tempering process.

hammered till the metal thins down. This part is formed

into the neck and the rim and folded to form a mouth that

opens out. Masala, a soldering medium, is then applied to

the edges of the two parts that are to be joined till the lines

and thickness merge to form a smooth, even surface,

Damar, tar, is applied on the surface of the vessels as

protection against reactions. Brass ware is sold in the local

village shop according to the orders placed by the traders

from Raigarh.

Ghagra and handia are part of the numerous vessels made

in Pusaur.

Production Clusters

Raigarh district:

Pusaur

Products

Ghagra - water pots

Tools

Hammer

Metal files

Hand-operated lathe

BRONZE WARE

Kasers are metalsmiths of Raigarh and Sarguja who make

water pots from brass and tableware from kansa (bell metal).

That characteristic ring of it makes kanse ideal for bells,

lamps and vessels and to avoid any wastage new ware is

made from melting old metal that are supplied by sahukar,

traders. The scrap metal is melted in a high fired ceramic

crucible for two and a half hours. The molten metal is poured

in a set of open clay moulds in the ground that are left to set

on cooling. Several layers of metal discs are beaten together

to form multiple bowls that are later separated into individual

units. This process continues till the final thickness of 3 mm

is achieved. Finally nausader, a mixture of ammonia crystal

and salt, is dissolved in water and applied on the bowls to

give a glossy finish.The

beauty of the hemispherical, flat based bowls with slanting sides

lies in the irregular circular patterns etched on the surface by

scrapers or a wire brush and buffing machines.

1. Bronze bowl and (1b) the raw material , Pusaur.

2. Beautifully etched bronze containers, Pusaur.

3. Various stages of the evolution of a bronze bowl, Pusaur.

The lower parts of the

beaten brass pots are

coated with lac by

turning them on a

lathe.

Production Clusters

Bilaspur district:

Magarpara

Sarkanda

Raigarh district:

Pusaur

Kaserpara

Kanjgir district:

Champa

Sakti

Raipur district:

Rajim

Navapara

Products

Thaali - plates

Kaase - bowls

Maali - small bowls

Tools

Hammer, Tongs

Metal files

Hand-pumped

bellows

A craftsman laying strips of wax along the curves of a clay model.

Subcluster of

BASTAR

Bastar

Kiri Cheppda

Kondagaon

Tokapal

Crafts of BASTAR

Iron craft

Terracotta and

pottery

Pata weaving

Lost wax metal

casting

Basketry

Packed terracotta pots

waiting to be

transported to the

weekly haat, market, by

carefully balancing

them on a bamboo stick.

RESOURCES


Terracotta and pottery Clay Local

Basketry Bamboo Forest

Pata weaving Handpun cotton Bastar

Al dye

Kotpad, Orissa

Pots are thrown on the wheel, then shaped by hand using a petna on the outside and

supported from the inside by a londhi. The potter begins with the base and rests the pot on

a cushion of damp cloth smeared with ash.

Bastar is a plateau, with forests covering more than three

fourths of the district, located in south Chhattisgarh. Its

district headquarter is Jagdalpur, where the king of the tribal

people resded in his palace. The forests of Bastar abound in

hard woods and bamboo. The River Indravati and its

tributaries flow through Bastar. It is a predominantly tribal

district with each tribal group following its distinct culture

and way of life. Gonds for the largest tribal group with sub

castes like Abujh Maria, Bison Horn Maria and Muria, while

some of the other tribes are Halba, Bhatra, Dhruva. Main

languages spoken are Hindi, Halbi, Telugu and Bhatri along

with various tribal dialects. Their religious beliefs are

expressed through devgudi, vilage shrines, where votive

terracotta offerings made to the deities are placed under trees

- and Danteshwarei, their chief deity.The Muria Gonds

practice a unique system of informal education through

ghotuls where unmarried boys and girls live, singing, dancing

and telling stories, guided by seniors. The oral tradition of

tribal epics of Bastar are called jagar, with its four component

performances - lachmi, teeja, aathe, bali jagar. The jagar

paintings done on mud walls are known are garh likhto. Their

crafts, dances and music are celebrations of those occasions

central to their simple existence. Karma dance is celebrated

when the kharif crop is harvested; saila is danced in the

month of Agran, while only women dance the suga. The

bamboo musical stick of Bastar is a unique instrument that

produces melodious sounds when it is swung to an fro in a

rhythmic movement. Agriculture, collecting minor forest

produce, fishing and hunting are their main sources of

income and sustenance.

ACCESS

Jagdalpur, the district headquarters of Bastar district is well

connected by roads to all important cities and towns of the

state. It is connected to the state capital, Raipur in the north

by the national highway 49 and the distance is approximately

300 km.

The threshold of a house near Kumharpara

Potter in Kumharpara, Bastar, does both wheel-thrown and hand-formed clay work.

IRON CRAFT

Located in the steel mining region, the Lohars of

Bastar have age old skills in metalsmithy, which

have menifest itself in the creation of wrought iron

human figures that have a simplicity of

expression. The various clans of Lohars - Sodi,

Netam, Poyam, Arkam, Marai, Nevra, Halami,

Baghel and Mandavi - living in Bastar forge their

own tools for creating masks for Maria dances,

lamps for the Marias and Murias, deepaks - large

lamp like installations made of small receptacles,

birds, animals and leaf like forms amongst a

variety of ritualistic and domestic objects. Being

metalsmiths, the dhunka sar has a place of honour

in the house as earlier, iron as extracted from ore

but now iron is bought

from the market and heat forged to

achieve the desigred shape. Tongs of

various sizes are used to bend the metal

to form the palms, fingers and feet of

the figurines. The eyes, nose, tattoo are

then chiselled and hammered out; and

clothes, jewellery and the decorative

elements are made separately and

attached with a final polish given with a

coat of oil. The forms of the hunters,

farmers, musicians, animals are all

generally made from a single piece of

iron, giving them a unique quality.

1. Seated figure made from a single

piece of iron, Kiri Chhepda.

2. Tribal mask, Kiri Chhepda,

Bastar district.

3. Elephant figure made from a

single piece of iron.

4. Bison Horn Maria tribal man and

woman figurines.

5. Lamp made of several parts.

6. Farming implements made by the

Lohars, irosmiths.

Production Clusters

Bastar district:

Kiri Chhepda

Kondagaon

Products

Lamps:

Dhiman, Ghud,

Laman, Supali,

Khut, Gadli, Viman

diyas

Wrist ornaments:

Kantha, Chitkuli,

Gurjari

Mask, figurines

Musicians

Animal figures

Sankaal - chain

Badgi - staff

Farming implements

Carpentry tools

Tools

Muthi - light hammer

Multha - heavy

hammer

Chimta - large

forceps

Sandsi - tongs

Chheni - chisel

Suma - piercing tool

Dhunka sar - furnace


Production Clusters

Kanker district:

Kanker

Dhaneshware

Dantewara district:

Kukanar

Bastar district:

Narayanpur

Kumharpara

Kondagaon

Nagarnar

Kakar

Mitipara

Deori

Products

Toys

Masks

Votive offerings

Figurines

Bastar district:

Bhanjana - toddy

utensil

Madki, Handis - to

store and boil water

Ghagri - water pot

Toksi, Kalanji -

cooking vessels

Gundi, Kundri -

bowls

The potters of Kumharpara, off the banks of River Narangi, practice the art

of beaten pot making, forming thick wheel thrown pots into various forms of

container suh as storage jars, cooking vessles and for making mahuwa,

fermented drink. It starts with a big thump fo clay centred on the wheel with

pots of 8 inches to 10 inches in size being thrown in succession. These are

then dried , beaten and formed, according to the purposes they are to serve.

The belly of the pot forms when the clay is beaten further and it thins and

opens outwards, the mouth is formed by shaping the clay inwards. Slippery

balck and red clay, brought from paddy fields and river banks, is boiled into

thick paanjan and applied on the surface of the unfired articles.

This gives an even and glossy finish on firing.

Hollow votive terracotta are made of many

cylinders and pots of various sizes and shapes that

are first thrown on the potter`s wheel to form the

limbs, body, neck and head. These are joined

together to get the final form. Miniature

agricultural implements made in clay are given as

votive offerings to the village deity on the festival.

1. Devgudi, terracotta votive offerings made to

god are placed inder a tree in Kumharpara,

Bastar.

2. A potter throws clay on the wheel. Each

handful of clay is formed into stout, thick

pots, which will be sun dried for a little

while and then beaten to form.

3. A heavily ornamented elephant figure made

as a votive offering by the potters of

Kumharpara.

4. An artisan making a small elephant figure in

clay. These figures are offered to devgudi , a

sacred place under a tree, as a prayer for

fulfillment of a wish.

5. A terracotta toy, a miniature of the pot made

for brewing mahuwa, local liquor, in

Chhattisgarh.

6. Figure of a tiger, made as a votive offering,

Nagarnar, Bastar district.

Tools

Petna - beater

Potters wheel

Londhi - support for

the beater

PATA WEAVING

Paneka, a non tribal weaving community, wave the pata, a

heavy, thick, unbleached, handspun cotton sari, white with a

striking red of maroon border on either ends, for daily and

ceremonial use by the Dhruva and Muria tribes. The Pankas and

Kabir panthis residing in Tokapal, Nagarnar in Chhattisgarh

who use the pit treadle loom made in beeja, sangi and kedu for

weaving, with probably a pre 16th century technique. The

designs of animals, pilpilli (butterflies), chidi (birds), gacho

(trees), hots , bows, arrows, pitchers, temples and lions are

woven in extra weft technique. The characteristic feature of

the sari is the interlocked kumbh motif (temple motif

borrowed from ritual paintings of Orissa) in the pallav, end

piece, that often merges with the broad bands of madder red

to create kena (pillar base like effect). The madder red used

in borders are processed from the Al trees of Orissa and

central India. Patas are short and narrow and draped in a

variety of styles by different tribes, the sundermani is worn

by women, oncha pata by men and the pheta or headwear by

men. The various types of pata like mangalgiri pata,

khandua, kobri pata are woven according to the purpose.

Production Clusters

Bastar district:

Tokapal

Nagarnar

Jagdalpur

Products

Sundermani pata -

sari

Oncha pata - men`s

shawl

Mae lugda tadap pata

- sari for bride`s

mother.

Oncha pichori -

men`s lower garment

Pata tuval - shoulder

cloth

Kosa woven pata -

silk cloth for the

pujari

Lagan sari - for bridal

ceremonies

Thekra pata - for

bridal functions

Sondi angochi - towel

for groom

Saas pata - sari for

bride`s elder sister

Bhor dhadi pata - a

sari with two end

pieces

Bagh chowda bandi

pata - Dhruva tribal

sari

1. A device made from bamboo or wood used to stretch the yarn wound in a continuous hank form. The weaver or his assistant wind this yarn out in

bobbins.

2. The weaver attaches one thread of the previous warp to one thread of the new warp with the help of ash. The new warp is placed on the side onf the

warping frame.

3. Detail of the kumbh motif in the border that is formed due to two shuttles bearing white and brown yarn which are interlocked at both edges of the

textiles.

4. Maria tuval or shoudler cloth, Jadgalpur, Bastar district.

5. Weaver of the Panka community on his pit treadle loom.

6. A married woman wearing a Kobari pata draped in a special way.

7. Detail of tangi, the axe motif.

8. Detail of chidi (bird) motif, handi (pot) motif,

9. Phool cheetah chowk motif symbolizing the bride grooms`s seat and is woven in the pata worn by the bride`s mother.

CRAFTS - ASSAM

Bamboo nesting

basket

Coiled cane work

Bamboo craft of

Assam

Brass ware

Cane furniture

Bell metal work

Eri Silk spinning

Muga textiles

Handloom weaving

Sheetlapati - reed mat

Flattened bamboo

mat

Terracotta

Gold jewellery

Districts - 23


Languages

Assamese

Bodo

Dimasa Cachari

Rabha

Karbi

Mishing

Miri

Bengali

Nepali

Festivals

Bihu - harvest festival

Vishwakarma Puja

Durga Puja

Christmas

Landmarks

Kamakhya Temple

Kazirange Reserve

Majuli Island

Sibsagar Lake

Badarpur Ghat

Weekly Markets

Sualkuchi

The northeast of India comprises of the

states of Assam, Arunachal Pradesh,

Nagaland, Manipur, Mizoram, Trpura

and Meghalaya. Assam is centrally

located in the northeast and is the

gateway to these states.

The rivers Brahmaputra and Barak demarcate the state into two valleys,

which are seperated by Mikir and North Cachar Hills. Majuli, the world`s

largest river island, is located in the Brahmaputra. The humid climate with

its rich biodiversity has given creative expression to their material culture.

The landscape is mostly agrarian, where skills of handloom weaving and

sericulture are abundant, making the Assamese villages self-sufficient in

food, clothing and shelter. The Vrindavani Vastra, a 15th century

Vaishnavite silk scroll with episodes from the life of Vishnu and his

avatars, is and outstanding example of their early weaving expertise.

Assam has two indigenous silks, muga and eri. The region has diverse

communities of tribes and ethnic groups, each having their individual

characteristics, lifestyles, raditions and languages that are

vividly expressed in Bihu, harvest festivals; architecture,

dress, music, dance and crafts. The coming of the Ahoms,

a Mongolian dynasty, across the eastern hills in mid 13th

century was a turning point in Assam`s history. The local

tribes mostlyyielded to the Ahoms while the Chutia and

Kachari kings held out in the east. The Ahoms called this

land Assam. Several tribes of Tebeto-Burmese origin

came into the region from China and Myanmar. The tribes

of the plains comprise Bodo, Mishing, Mech, Rabha,

Lalung and Karbi and Dimasa Cachari tribes of the hill

districts. The non tribal population is predominantly

Assamese and Bengali with a sizeable muslim population.

Assam`s crafts are a natural extension of the vegetation

and climate. Its large resource of oil and timber has been

industrially exploited and many cities have grown in the

process of modernization. Assam is also the access point

for the other six states.

Inset : Detail of a cotton gamocha, shoulder cloth, which

is prdominantly white with a border brocaded with red

cotton yarn. Seen here is a jhappi, bamboo rain shield

motif, symbolizing the harvest festival.

1. Boatmen live in very frugal shelters on the banks of Brahmaputra in Guwahati. The flooring is made of flattened bamboo, woven

bamboo strips used in the arched cover and oars are made of whole bamboo culms.

2. Guwahati on the banks of Brahmaputra, a gigantic river which cuts across Assam from east to west, covering 720 km.

3. Bamboo rafts being transported on the Barak River, Cachar district in southern Assam.

4. Dimasa Cachari man weaving a bamboo basket in North Cachar Hills district adjoining Nagaland.

5. Ruins of the medieval Kachari kingdom in Dimapur, bordering Assam plains.

Attire

Women:

Muga mekhla -

draped skirt & blouse

Pat chaadar -

mulberry silk wrap

Men:

Shirt & dhoti (lower

garment)

Gamocha - shoulder

cloth

Eri silk shawl

Physical Features

Brahmaputra Valley

Barak Valley

Mikir Hills

North Cachar Hills

Major rivers:

Brahmaputra

Barak

Dhansiri

Biodiversity

Forests:

Semi or evergreen

rain forests

Moist deciduous

monsoon forests

Swamps, Grasslands

Flora:

Teak, Bamboo, Cane,

Castor, Pine, Kesseru,

Som, Murtha

Fauna:

Elephnts, Rhinoceros

Gasain kapar, cloth for the gods. The Vaishnavites of Assam cover their religious scripture Bhagavata Purana with Gosain Kapor. The kapor is the weaver`s interpretation of

Vaishnavite iconography woven in the same structure as the cotton gamocha, shoulder cloth.

6 Bamboo bullock cart. Bamboo is extensively used to make a diverse range of products. It is a leitmotif of the norteastern region.

7 Weavers of the Bodo community buying eri silk yarn from spinners in Salakati, Kokrajhar district, where sericulture is widely practiced.

Subclusters of

NALBARI

Nalbari district:

Nalbari

Barpeta district:

Baniakuchi

Kokrajhar district:

Kokrajhar, Salakati

Kamrup district:

Guwahati, Hajo

Darrant district:

Mangaldoi

Crafts of NALBARI

Bamboo craft of

Assam

Bamboo nesting

baskets

Coiled cane work

Brass ware

Eri silk spinning

Craft

Bamboo craft of

Assam

Whole cane

containers

Raw

Materials

Bamboo

Jatti cane

RESOURCES

Sources

Nalbari, Kamrup district,

Barpeta district, Silchar district

Mangaldoi

Brass ware Brass sheet Guwahati

Inset : Craftsman scoring the surface of a brass sarai, brass tray, to

mark the pattern that has to be cut out. Hajo, Kamrup district.

Nalbari is bound in the

north by the foothills of

Bhutan, in the south by

Brahmaputra river,, the

districts of Darrang and

Kamrup in the east, and

Barpeta district in the

west.

Originating from the foothills of the Himalayan range, the

Brahmaputra and its tributaries - Nona, Buradia,

Pagaladia, Nora, Bonolia and Tihu - form the lifeline of

the region. There are widespread production clusters of

bamboo, cane, muga silk, cotton weaving and brass ware.

Trade and other activities in the region are all related to

agriculture. Darrang is a major tea producer. Guwahati is

increasingly getting modernized and serves as a nodal

collection centre for the cane and bamboo products of the

surrounding districts, linking the region with the rest of

India. Kokrajhar district likes in the western part of

Assam. The eri silk textiles of the Bodos are traditional to

the Bodo community in Kokrajhar, Barpeta and

Bongaigaon districts, the Assamese in Kamrup district and

the Mishing community in Dhemaji district. Eri is known

as ahimsa (non violent) silk, as the silkworms are allowed

to emerge out of the cocoons. Eri spinning and weaving is

being encouraged as an economically viable activity in

rural areas.

ACCESS

1. Rust coloured eri cocoons unique to Kokrajhar district.

2. Cane craftsman in Mangaldoi. Locally grown jatti cane is used to make containers for

export.

3. The white eri cocoons are processed to soften the gum and loosen the fibres. Water is

squeezed from the cocoons and the flattened forms are dried in Salakati, Kokrajhar

district.

Guwahati is well linked with Delhi, Kolkata, and with

connecting flights to other cities. Nalbari is linked by rail

and roadways to Guwahati. National Highway 37 links both

Nalbari and Mangaldoi with the other districts in Assam.

Kokrajhar is on the main railway routs which links

Guwahati with other states.

Large grain storage baskets sold in a weekly market in

Mangaldoi. These baskets are lined with cowdung and clay

mixture to store and protect grain.

Women transplanting rice seedlings in a field in Kamrup district. Agriculture is the

economic mainstay of the region.

An artisan carrying jhappi, bamboo rain shields, to the weekly market in Nalbari.

BAMBOO CRAFT OF ASSAM

Traditional bamboo baskets that evolved through centuries of cultural and functional

mediation are a response to a variety of local needs that were ingeniously satisfied by

the local craftsmen. These include basket forms that are used for a variety of

domestic, farming and fishing activities which are sold in the weekly markets in

villages, towns and cities all over Assam. Large trays made from woven mats,

structurally stabilized with stiff bamboo splits to form trays, are used for fishing and

winnowing, drying, sorting and threshing grains. The fish basket has a wide mouth

and narrow neck to prevent the fish from jumping out. Headgear and ceremonial rain

shields are a response to the inclement monsoon that brings pouring rain for several

months after summer. Rainfall is celebrated by the conversion of the everyday rain

shields into a votive offering. The decorative jhappi is an applique emblossomed rain

shield symbolizing the harvest festival.

Numerous other artefacts of farming

communities are made from bamboo that

include a bullock cart, grain storage bins,

low stools, and a distinctive construction

called the Assam type house found

everywhere. Assamese craftsmen use

simple tools such as a dao, bill hook

knife, and jigs to shape their products

although they are largely based on their

visual judgement. The only exception to

this rule is while making the jhappi,

when a bamboo mould is used.

Production Clusters

Nalbari district:

Nalbari

Barpeta district:

Barpeta

Kamrup district:

Guwahati

Cachar district:

Silchar

Dalla or tray with a closed weave used for domestic purpose. Assam has a range of

shallow and wide winnows due to a predominantly agrarian population.

1. A bamboo mould that is used for

shaping the peak of the jhappi,

palm leaf used for waterproofing

and a semi-finished jhappi.

2. Jhakoi, a fish trap with a basket for

keeping fish, from Nalbari. The

jhakoi is made by moulding a mat

woven with bamboo splits.

3. Tray with open weave made from

bamboo splits. It is used to catch

fish living in the roots of the water

hyacinth.

4. A basket for carrying agri-produce,

made in open hexagonal weave

construction, from Silchar.

5. Mudah, low stool, made in Silchar

has a fascinating structure made of

thin splits, tied together with cane

bindings to form a warped surface

that is load bearing. The seat uses

split cane weaving.

6. Basket for keeping fish. The basket

along with the large trays forms a

part of the fishing equipment and is

carried tied to the waist.

7. Dimasa Cachari basket for storing

valuable cloth. The double walled

construction has an inner layer

woven with coarser splits, and and

outer layer of smoother and finer

splits.

. The conical lid is sturdy and

hinged with braided bamboo

straps.

Products

Jhakoi, polo - fish

trap

Winnowing fans

Winnowing trays

Chalani - sieves

Jhappi - rain shields

Mudah - low stools

Hand fans

Cattle muzzles

Storage baskets

Carrying baskets

Pasi - shallow baskets

Bullock carts

Tools

Dao - bill hook knife

BAMBOO NESTING BASKETS

Production Clusters

Nalbari district:

Nalbari

Products

Duli - nesting baskets

Tools


Small knife

Delicately made, robust and rugged

baskets with square base and circular rim

are the hallmark of Assam and the

northeast. The concept of nesting baskets,

easy to transport and store when not in

use, was introduced to the craftsmen by

exporters. The duli is such a medium

sized storage basket, cylindrical in shape

and used for storing grain, made by

professional bamboo craftsmen who also

sell their ware in the weekly markets in

Nalbari. A set of nesting baskets can

have up to ten sizes which are contained

in the largest basket. The basket is woven

from bamboo splits. They have a specific

rim made with several pairs of thick

bamboo splits which sandwich the upper

edge of the basket, strengthening it. The

rim is made from the outer skin of

bamboo which is used as a decorative

element since it ages differently from the

rest of the basket. A functional attribute

of the closed weave construction and the

smoothened surface is that it does not gen

enmeshed with the contents. Nesting

makes it cost effective to transport

Assam`s bamboo products to reach

distant markets within and outside India.

Nesting storage baskets of Nalbari. A set of 10 baskets are made to nest inside each

other. Locally used for storing grains, nesting baskets have a good market outside

the state.

Duli, bamboo nesting baskets made in

Nalbari. The duli has a characteristic rim

where several thick bamboo splints are

layered over the woven surface to

reinforce the basket`s rim.

COILED CANE WORK

Production Clusters

Darrang district:

Mangaldoi

Products

Cylindrical containers

Planters

Bowls

Coasters

Coat hangers

Tools

Knife


Hammer

Containers made form coiled cane.

Cane craftsmen in Mangaldoi make a large variety

of flat, semi-spherical of cylindrical forms using

coiled cane construction. For this purpose, whole

cane lengths of the extremely soft jatti cane are

coiled in a tight spiral with each turn growing on

the previous row, the process similar to coiled

pottery and coiling in basketry. Two basic

construction methods are used: the nail jointed and

split cane binding. Bamboo nails shaped from a

thick split are driven into the whole cane element

through

Artisan treating a coiled container with smoke from

dry banana leaves that gives it a deep reddish -

brown colouring.

a hole pierced in it; these nails arranged in a staggered manner hold

consecutive rows of the coiled construction firmly together. In the

second method, split cane strands are wound around a pair of whole cane

rows formed by consecutive turns of the spiral. Whole cane containers

are extremely strong and durable. The craftsmen treat the cane products

with smoke to render them with a deep reddish-brown hue.

BRASS WARE

Sarai, a brass tray (sometimes made in bell metal) with a stem

and a domed lid is found in every Assamese household. It is

used during marriage ceremonies, given as a sign of

felicitation, used to hold ritual offerings or the holy book and

to greet guests with tambul, betelnut and leaves. There are

several types of sarai: plain, with embossing, ornate, and with

cutwork on the lid depicting the ten incarnations of Vishnu. A

sarai is made in several parts and assembled by brazing, and

shaped by forging or by pressing the sheet over a mould.

Bamboo charcoal is used to heat the sheet metal and the

various parts are smoothened by beating, assembled, brazed,

filed and polished on a lathe. Embossing and cutwork

follows. The sarai is sold not by weight but by the size of its

diameter and is also sold without the lid. Ornate sarai are more

expensive than plain ones. The brass craftsmen also make pots,

vessels and utensils but the market for sarai in Assam os more

extablished than any other brass item.

1. Brass vessels made from sheet metal that are beaten and

formed.

2. Brass sarai used during a marriage ceremony. Less

elaborate vessels are used to offer betelnut and leaves to

guests.

Production Clusters

Kamrup district:

Hajo

Barpeta district:

Baniakuchi

Products

Sarai - ceremonial

vessel

Water pots

Bowls

Dish with stand

Utensils

Tools

Hammer, File, Chisel

Pliers, Tongs

Koon - lathe

The sarai, a ceremonial

vessel, consists of a

dish with an ornate

cover. It is used to

keep religious

scriptures. Brass sheet

is beaten and formed,

engraved with cutout

figures of Lord Vishnu

depicted in ten

incarnations called

Dasavatar.

ERI SILK SPINNING

Weaving and sericulture is integral to the culture and economy

of Assam - muga, the golden silk and eri, ahimsa silk, being

regional specialities. The unique texture, thermal qualities of

the fibre, the design potential of spinning and its eco-friendly

process, make eri a significant fibre of the future. Eri silk is

produced by the silkworm Philosamia ricini which is reared

indoors, on the leaves of castor, kesseru, payam and tapioca.

The larva feeds voraciously and spins a cocoon around itself

during its metamorphosis, when the moth pierces the cocoon

and emerges out . The yarn obtained from these cut cocoons is

spun, unlike the reeled silk which is continuous, smooth and

lustrous. Eri is derived from erranda, the Assamese word

for castor. It is produced only in Assam, the east Khasi Hills and

parts of Arunachal Pradesh. Bodo women weave dokhana

(draped skirt), chaddar (upper cloth) and jhumra besides plain

shawls from eri silk. Endi (in Bodo) shawls are revered in Bihar

and Nepal, purchased as gifts to honour people, a man`s shawl

being wider than a woman`s. Philosomia ricini has several

ecoraces - the Kokrajhar variety produces rust coloured cocoons

while the remaining ecoraces produce white cocoons. The Bodos

and the Assamese handspin yarn on a drop spindle and single

spindle motorized machines. Handspinning has proved more

versatile for producing a wide range of yarns and is effective in

using waste. The weavers also buy cut muga cocoons from the

government seed farms and spin yarn from muga silk waste.

Inset : Rust coloured eri cocoons which have been pierced by the

moths while emerging out.

1 Detail of an antique eri chaadar, upper cloth, woven and used

by the women of the Tai Shyam community living in Sibsagar

district. Handspun eri was used in the warp and weft and the

pattern was brocaded with muga. The Tai Shyams migrated from

Thailand to Assam via South China about 150 years ago.

Production Clusters

Kokrajhar district:

Salakati

Bonorgaon

Tenhali

Kokrajhar

Kamrup district:

Rampur

Guwahati

Products

Yarns

Shawls for men /

women

Dokhana - draped

skirt

Chaadar - upper cloth

Jhumgra - patterned

narrow cloth

Tools

Takuri - drop spindle

Vessels for heating

Bamboo tray

2 Bodo woman

wearing an eri

dokhana, wrap, worn

with a blouse. A

narrow eri cloth called

jwumgra is draped

over her shoulder.

3 Silkworms reared

indoors, feed avidly on

castor leaves.

4 White eri cocoons

Subclusters of

SILCHAR

Cachar district:

Silchar

Katakhal

Dildubhi

Karimganj district:

Karimganj

Telekhalerpar

Badarpur

Shitapara

Crafts of SILCHAR

Sheetalpati - reed

mats

flattened bamboo mat

Cane furniture

Coiled cane craft

Craftsman using cane

splits to make a coiled

cane container,

Telekhalerpar.

Village courtyard used for agri processing activities in Telekhalerpar, which has a concentration of cane craftspersons.

RESOURCES


Flattened

bamboo mats

Mat weaving

Cane furniture Cane

Muli - Bamboo

(Melocanna

baccifera)

Murtha - reed

(Maranta dichotoma)

Manipur, Mizoram

Katakhal

North Cachar Hills,

Guwahati, Andemans

Silchar, situated on the left bank of the Barak River in the

Cachar district, is surrounded by the Barai Hills on the north

and the Mizo Hills to the south. The Barak valley comprises

the districts of Cachar, Karimganj, and Hailakandi, and

Silchar, headquarters of Cachar district, which links Mizoram

and Tripura with the rest of the country. Well endowed with

raw materials, widespread basketry skills in villages, and

entrepreneurs of Silchar, the Barak Valley is quintessentially

a cane, bamboo and sheetalpati craft cluster. Four local

species of cane are found in Karimganj. Telekhalerpar and

Shitapara villages in Karimganj district have a concentration

of coinled cane artisans, and Silchar and Malugram have

craftsmen working in cane furniture. Doodhpatil, Sildubhi

and Lilambazar produce a range of bamboo baskets, fish

traps, hats and fans. Katakhal and Nilambazar villages

produce reed mats and Badarpur Ghat in Hailakhandi district

is the bamboo splitting centre of southwest Assam,

specializing in the production of large house building mats.

Bengalis form a majority of the population which is largely

dependent on the numerous tea gardens. Durga Puja,

ritualistic prayers, performed before Diwali, and Id are

festivals celebrated along with the harvest festivals of Assam.

The interaction with Bangladesh and the cultural influences

of Sylhet (now in Bangladesh) is apparent in the crafts of this

region.

ACCESS

Silchar is linked by air with Guwahati and Kolkata. Buses

from Guwahati are the most popular mode of transport.

Silchar has rail links with Guwahati and Dharamanagar in

Tripura.

1. Bamboo poles for house constructed are transported

downstream to Badarpur Ghat. The rafts are guided by

boatmen who travel with it.

2. An ornate folding screen made of cane in Sildubhi.

3. Flattened bamboo stored in a yard at Badarpur,

Karimganj district.

4. Sheetalpati weaver in Katakhal.

SHEETALPATI - REED MAT

Sheetalpati are reed mats traditionally made at home by men and

women in a wide variety of patterns and sizes to supplement their

income from agriculture. They are pliable and easy to fold and store,

used as floor spreads for sleeping and eating meals on, and as prayer

mats in shrines. They are popular in summers as mattresses as they

are sheetal (sital) or cool to the touch. The stem of the murtha

(Maranta dichotoma),

a locally grown lemon coloured reed with waxy

leaves, is cut near the ground and skinned. The outer

layer is made into strips of about 3mm and wetted

before interlacing and plaiting them in an oblique

manner. To finish the mat, the cut ends are returned

into the weave diagonally. Motifs are woven by

changing the pattern of interlacement and introducing

dyed reed srips. The size of the strip and density of the

weave determine the pliabality of the mat. The mats

were originally made in Bangladesh and are now

being made in the villages by migrant families.

Clusters surrounding Katakhal also produce

sheetalpati. The community has set up a Patikor

society for marketing their products outside this

region.

Production Clusters

Cachar district:

Katakhal

Products

Mats

Prayer Mats

Square Mats

Tools

dao - bil hook knife

1. A craftsperson using a dao to cut the end of the

reed strips.

2. Detail of a craftsperson plaiting a mat.

3. Detali of the plaiting technique of a sheetalpati.

Strips made from the outer layer are smooth and

lustrous.

4. Mat made by plaiting technique. Dyed strips of

sheetalpati have been used to create figurative

motifs.

5. Detail showing how the mat is finished by the

ends which are returned into the weave and the

extra length of the ends are cut.

FLATTENED BAMBOO MAT

Badarpur ghat has been a long established bamboo

processing centre for the housing industry on the banks of

Katakhal River which is used to transport and season bamboo

poles. Muli bamboo, guided down the river in fan shaped

rafts by men travelling on them from Manipur hills and North

Cachar hills, is also sourced from Mizoram.

On arrival, the bamboo culm is split along the length, flattened

by hammering and split through its thickness to provide two

usable layers. The outer layer creates stronger mats for

constructing outside walls and the inner layer for internal

partitions. These splits woven into mats are used in house

construction for flooring, walls , partitions and roofing.

Bamboo splitting provides work to several hundred artisans

from surrounding villages by sale to markets in Kolkata,

Guwahati and Agartala

Production Clusters

Karimganj district:

Badarpur:

Badarpur Ghats

Products

Bamboo splits

Bamboo mats

Tools


Knife

Wooden mallets

1. Flattened

bamboo is being

internaced to

form a surface

that will be used

as pre fabricated

fenses, wall s

and roofs of

houses.

2. Fence of a house

in Tripura made

from flattened

bamboo boards.

CANE FURNITURE

Production Clusters

Cachar district:

Silchar

Kamrup district:

Guwahati

Sonitpur district:

Tezpur

Dibrugarh district:

Dibrugarh

Darrang district:

Mangaldoi

Products

Stool

Single seater sofa

Double seater sofa

Centre table

Side table

Chairs

Peocock chair

Screen

Room divider

Rack

Tools


Hacksaw

Kerosene blow lamps

Small knives

Metal pokers

Hammers

In Assam, furniture pieces like low stools, chairs,

tables, sofas and folding screens are made from whole

cane, bent to the required shape by heat and fixed in

position with metal nails. The nailed joints are tightly

bound with cane splits using techniques of heat

bending, nailing and binding with split cane. Poles

with a large diameter are used for making the

structural framework, while whole cane members of

small diameter are used to fill in the form with

decorative swirls and spirals, some times multiple

members are bound together to give strength. As the

cane is bent by applying heat, the darkened areas have

to be scraped off. While the mudah, low stool is

indigenous, the rest of the furniture is colonial in

origin since is manufacture was prominently

established during the arrival of the colonial

administrators and the tea garden owners in Assam.

Most of the administrators and the tea garden owners

in Assam. Most of the cane manufacturing units in

Cachar are owned by entrepreneurs who employ

craftsmen and semi-skilled artisans to produce

furniture items. Cane furniture is light and ideal for

outdoors and is widely popular across all the states of

India.

2 Cane chair without an armrest and based on the

principle of using multiple members to bring stability

and structural rigidity. Split cane is used to weave the

seat and backrest and split binding to strengthen

corners.

3 Mudah, stool made from whole cane.

4 Single seater sofa made from heat bent cane and

cane splits.

5 Cane chair, the seat is made by coiling cane of

smaller diameter which are nailed to a framework of

radiating members of cane.

Tool : Dao, knife used for splitting cane which is used

for weaving the backrest, or weaving a surface.

Single and double seater cane sofas which consist of and armature made

of whole cane bent to the required shape by heat and covered with a skin

of woven cane splits. Weaving of strips is labour inensive handwork that

adds value to the product.

COILED CANE CRAFT

Production Clusters

Karimganj district:

Telekhalerpar

Shitapara

Coiled basketry in ancient civilizations was closely related to

ceremonial rites and also valued for its beauty. In Assam, it is

not as prominent an expression as bamboo basketry. In

Arunachal Pradesh several hill tribes make sturdy hats and

head gear from coiled cane. At Telekhalerpar, the export of

circular, elliptical and rectangular coiled cane products has got

80 families in the village involved in making them and is a

valuable source of employment. Coiling involves binding cane

splits of the jati, sundi, jali and lailu varieties around

a whole cane core and stitching consecutive rows together. The

frequency of the stitching determines the rigidity of the basket.

Three dimensional forms are contoured with great precision and

experience as the craftsmen do not use jigs or moulds though

some furniture pieces are made with a structural frame. The

finished product is essentially coated with varnish or

polyurethane to prevent fungus.

Products

Storage container

Boxes

Coasters

Stool

Lamp stand

Lampshade

Tray

Shallow dish

Vase

Sofa

Tools


Kuchani - needle with

wooden handle

Metal wedge

1. Detail of a circular base being stitched on a coiled cane container.

2. Craftsmen in Telekhalerpar make coiled cane products introduced by the export market.

3. Lamps made for and export market.

4. Coiled cane container with a lid.

5. Flat and horizontal surfaces used as table mats are made by coiling in a circular, elliptical and rectangular spiral form.

6. Cane stools are dexterously made from a continuous coil.

Tools : a. A knife and awl like tool used for guiding the cane splits through the coils of cane.

b. A dao supported on a bamboo frame that is used for splitting cane.

CRAFTS -

ARUNACHAL

PRADESH

Bamboo and cane

bridges

Flattened bamboo

containers

Apa Tani bamboo

products

Cane haversacks

Coiled cane hats

Wood carving

Cane basketry

Loin loom weaving

Bamboo baskets

Mask making

Carpet weaving

Bead ornaments

Long houses built by the Nocte tribe in Wakka village in Tirap district.

Districts - 15


Landmarks

Tawang Monastery

Sela Pass

Itanagar Fort

Orchid Farm in Ziro

Ziro Museum

Suspension Bridge in

Along

Elephant Ride across

Lohit River.

Languages

Adi

Apa Tani

Monpa

Nishi

Sherdukpen

Singhpo

Tangsa

Assamese

Hindi

Attire

Endi silk robe

Galle - wrap, lower

garment

Mishmi jacket

Arunachal Pradesh adorns the eastern

wing of the great Himalayan range with

many rivers flowing through its valleys

to join Brahmaputra at Sadiya in

Assam where it takes a great sweep

westwards. The region has five river

valleys - Kameng, Subnsiri, Siang,

Lohit and Tirap and is covered by some

of the world`s richest biodiversity.

The inhabitants are cultural groups comprising the Adi, Nishi, Apa

Tani, the Lamaistic groups of the Monpa and Sherdukpen, tribes of

Upper Subansiri, Nocte, Wancho, Mishmi, Singpho and Khampti

who are mainly agriculturists, gatherers or hunters. Isolation of the

state due to its terrain and political protection has led to conservation

of the virgin rainforests and the strong social structure of its tribals.

The tribals practice their own animistic or polytheistic religion with

a multitude of gods and spirits, ritual tattooing, animal sacrifices and

fertility cults. Some tribes have been influenced by Buddhism and

some by Christianity. The myth of Aka creation highlights the

inextricable link of the abudantly found bamboo to the local way of

life

by explaining that all human beings descended from the

heavens on ladders, each race with a ladder of gold, silver,

iron or simply bamboo or grass, assigned to it according to

its status. This link is still evident from the cane and

bamboo suspension bridges built over torrential mountain

streams proving remarkable for their structure and strength.

A wide variety of baskets, pails rain shields, haversacks,

necklaces and tools have also been made with the versatile

bamboo.

Inset : An Apa Tani man wearing

a peacock cap made of cane split

that was dyed in vegetable dyes.

The waistband is not used

anymore.

1. A Wancho village headman

wearing a ceremonial hat

made from cane splits, dyed

in natural dyes and

decorated with boar tusks,

Tirap district.

2. An Adi Gallong master

craftsman and village elder

show the green bamboos

which are used for weaving

baskets.

3. A wood carver from

Wakka, Tirap district.

Festivals

Chalo - loku - harvest

festival

Losar - Buddhist

festival

Arpos - traditional

dance depicting war

victories

Yak dance

Cuisine

Apong - rice beer

Crafts of

BOMDILA

Bamboo suspension

bridge

Flattened bamboo

containers

Subclusters of

BOMDILA

West Kameng

district:

Bomdila

Lish Village

Dirang

1. A monpa artisan

weaving a tibetan type

pile carpet on a

vertical loom. The

weaver`s dress is made

from eri silk yarn dyed

in lac and motifs

woven in extra weft

technique.

2. The Monpa bamboo

suspension bridge is a

symbol of cooperative

effort. A group of

Monpas who have

come down to the river

to build the bridge,

share a meal which has

been carried in

bamboo and cane

containers.

Dirang is at an altitude of 5000 feet above sea level. The motorable road serves as a courtyard for cleaning grain from chaff.

RESOURCES


Bamboo

suspension bridge

Flattened bamboo

containers

Bamboo ropes, Local

bamboo found in high

altitude

She bamboo

Bomdila

Kameng

district

Bomdila, the mountainous headquarters of West

Kameng district, located 8500 feet above sea level is

covered with dense forests. On the road between

Bomdila and Tawang which is at a high altitude, is

the Dirang Valley with temperate forests and bamboo

and the breathtaking Sela Pass. Besides the Monpas

and Sherdukpen who are Buddhists, the Akas,

Khowas, Mihis, Khampas and Mempas reside in the

district, which has the largest monastery in India at

Tawang built by a Bhutanese lama. The various tribes

have developed their understanding of natural

materials to a fine art as in the eri silk clothes of the

Monpa women, dyed in deep red colour obtained

from lac, and animal resin. The Monpas, herders of

sheep and yak, make hats of felted yak hair, and paper

from the pulp of sukso or paper tree. They live in

stone houses with roofs of bamboo matting or straw,

and build bamboo suspension bridges, exemplifying

the community`s collective effort and engineering

skills. East Kameng has bamboo baskets and smoking

pipes, brass and bell metal work, dao, spear and

dagger making while West Kameng has flattened

bamboo products. Buddhist masks, metal utensils,

textiles and Tibetan carpets. The influence of Tibet

and Bhutan is evident in their textiles, loom, painting

and wood carving.

ACCESS

Bomdila has road connections with Tezpur in Assam.

Tezpur is connected by road and air to Guwahati and

connected to other major towns in Assam by the

National Highway. The nearest railway station is at

Rangapara.

Monpa hat: felted hat has long tentacles to keep rain

away from the face.

BAMBOO AND CANE BRIDGES

Monpas make a wide range of products - such as

suspension bridges from bamboo strands, baskets and

fences from splits, and containers from flattened

bamboo - that successfully utilizes the versatility of

the bamboo to its fullest. In Arunachal Pradesh,

suspension bridges built with bamboo and cane,

instead of steel cables and concrete, over torrential

mountain streams exemplify the faith of the people in

the strength and durability of the raw material. A

locally grown species of thin walled bamboo with a

small diameter is used for the bridges. These thin

bamboo stems are twisted to form thin ropes, multiple

strands of which form the cables for the bridge. The

Monpas undertake the construction of the bridge as a

united team effort - from collection of raw materials

to the final structure. The cane suspension bridge

built by the Seerdukpen tribe is a closed tubular

structure made from whole cane while the Monpa

bamboo bridge is an open channel with woven

bamboo mats for flooring and side panels. The Adi

tribes in Siang district are also known for

constructing long cane and bamboo suspension

bridges.

1. Detail of a cane bridge showing the structure of a long tube of

several cane hoops that are held between cane suspension

cables, with a walkway made of halved bamboo at the base of

the hoops.

2. Bamboo suspension bridge built over a torrential mountain

stream in Bomdila, West Kameng district. Monpas are the only

tribes that make suspension bridges from ropes made from

bamboo.

3. Cane suspension bridge built by Sherdukpen tribe in Bomdila,

West Kameng district.

Production Clusters

West Kameng

district:

Dirang

Bomdila

Products

Bamboo Bridges

Cane Bridges

Tools

Dao - broad bladed

knife

FLATTENED BAMBOO CONTAINERS

The Monpas make the bamzi, a flat cylindrical container with a lid,

using an unusual technique of flattening bamboo with heat. The

spiral rings on the container with a lid fit snugly, making it ideal for

storing butter and cheese. For making

Production Clusters

West Kameng

district:

Bomdila

Products

Bamzi - box with lid

Bhray - grain

measure

Lakhji - milk pail

Tools

Kampa - bamboo

clamp

Knife

this product, a year old she bamboo is used.

Here the outer nodal rings and skin are scraped

before it is slit along its length from one end.

The end is then heated, forced flat and held

within a bamboo clamp called kampa. The

clamp is continuously held in both hands,

pressed and rolled on the ground, wrapping the

flattened bamboo sheet around it through the

length of the culm. The process f ageing and

contact with oil gives the containers a rich

brown colour. Similar products made from

flattened bamboo are found in Nagaland,

Manipur and Arunachal Pradesh.

1. Bamzi maker using a bamboo clamp

during the process of flattening bamboo

by heat

2. Bamzi, a container for storing butter and

cheese made from flattened bamboo.

3. Flattened bamboo container for rice beer

made by Nocte tribe in eastern Arunachal

Pradesh.

Arunachal Pradesh is rich in biodiversity

Lower Subansiri district, named after Subansiri River, is

inhabited by the Apa Tani tribe of the Apa Tani Plateau that is

surrounded by hills. The Apa Tanis live in a well irrigated

valley. According th studies by historians and anthropologists,

Apa Tanis have been practicing sustainable cultivation of rice,

pine, bamboo, vegetables and fish, for over 3000 years. The

only tribe in the country to practice bamboo cultivation, they

skillfully make a range of bamboo baskets, hats, haversacks and

rain shields. The women are excellent weavers, and in the past,

the ysupplied other tribes with cloth dyed in black, blue and red,

which are obtained from plants. The Apa Tanis, living in an area

formed by seven villages, are often tall and easily distinguished

by a tattoo mark on their chin and wearing a tail like cane

accessory around their waist, the women wear nose ornaments

and are heavily tattooed. The Hill Miris have had close

economic relation with the Apa Tanis, whom they supply with

cotton and other goods in exchange for cloth and rice. The

Nishis live in villages in a large house, the most important unit,

which accomodates and entire joint family. They practice

excellent cane work and do a little weaving. Ziro is the

headquarters of Lower Subansiri district where the Tagin, Adi

Gallong and Sulung tribes also reside.

Crafts of ZIRO

Apa Tani bamboo

products

Bamboo baskets

Subclusters of ZIRO

Lower Subansiri

district:

Ziro

Craft

Bamboo baskets

Apa Tani bamboo

products

RESOURCES

Raw

Material

Bamboo

splits

Bamboo

Sources

Subansiri districts

Ziro in lower

Subansiri district

ACCESS

Ziro can be reached by road from Tezpur which is well

connected with Guwahati by air and road. It can also be reached

by road from the state capital Itanagar, which is also connected

by air and road with Guwahati.

Craftsman weaving a basket from fine bamboo splits.

Apa Tani village in Ziro, the headquarters of Lower Subansiri district.

APA TANI BAMBOO PRODUCTS

The Apa Tanis demonstrate ecological sustainability through

their cultivation models for bamboo, pine, rice, vegetables, and

their water management systems. The wide range of bamboo

baskets, made exclusively by men, has a distinctive form and

serves numerous functions of carrying, storing and serving.

Some baskets and hats are made from the split cane, while the

baskets used for carrying and storage are made from finely split

bamboo. Barju, the bamboo carrying basket, is further

reinforced at the rim, sides and base with cane splits. While

most carrying baskets are longer in proportion, with a greater

difference between the square base and the circular rim, the Apa

Tani basket is less conical than other forms. The technique of

flattening and heat distortion of bamboo is practiced by many

tribes in the northeast. The Apa Tani use it to make serving trays

of rice, and containers to store and carry beer and other

beverages.

Apa Tani women use baskets which are different in shape from the usual conical

baskets.

Production Clusters

Lower Subansiri

district:

Ziro

Products

Barju - carrying

baskets

Oniliya - yarn basket

Storage basket

Trays

Beer containers

Rain shields

1. An Apa Tani rice dish from the museum in Hopoli. Bamboo is flattened by heat,

cut , bent and stitched with cane splits to make a dish.

2. A container for rice beer made from whole bamboo culm. The natural thickness

at the node forms the base of the container.

3. Storage basket with lid, from the museum in Hopoli.

4. Storage basket from the museum in Hopoli. The baskets are woven with bamboo

splits and reinforced at the rim, sides and base with cane splits.

Tools

Dao - wide bladed

knife

An Adi bamboo and cane suspension bridge in Siang district.

Crafts of ALONG

Cane haversacks

Coiled cane hats

Subclusters of

ALONG

West Siang District:

Along

RESOURCES


Haversacks Cane splits Siang district

Coiled cane hats Cane - whole, split Siang district

Tabasara village inhabited by the Gallong tribe of West Siang district.

ALONG, the headquarters of West Siang district, is home to the Adi

tribe - the largest of the 16 major tribes of the state - and subgroups

Adi Gallong and Adi Minyong. Their houses are built on hilltops

along the edge of the slopes, selected according to the availability of

water and land for practicing shifting cultivation. The houses and

granaries are built on bamboo stilts. Wooden planks lashed together

with cane splits with a single pitched sloping roof cover the large

living room as well as the semi open verandah on all sides. The

fireplace occupies and important space above which is suspended a

hanging shelf for smoking raw meat and bamboo baskets. The Adis

build cane suspension bridges over the torrential Siang River and

have a distinctive repertoire of bamboo and cane haversacks, open

hexagonal weave baskets, dao cases, caps and whole bamboo

containers. The Minyong women weave beautiful cotton wraps on

body tension of loin looms, a common weaving equipment also used

by several tribes and communities in Indonesia, Myanmar, and

Philippines. The loom is simple, portable and made entirely from

locally available bamboo and wood. The importance of weaving in

their culture is reflected in the proportionately large vocabulary of

words that are related to weaving.

ACCESS

Along can be reached by road from Pasighat in East Siang district

which is connected by a ferry to Dibrugarh in Assam. Dibrugarh is

well connected by road, rail and air with Guwahati. Lilabari airport

on the north bank of Brahmaputra is the nearest airport.

A dao or knife case made from cane splits.

CANE HAVERSACKS

The Adi Gallong tribe makes an unusual backpack or

haversack of split cane worn only by men for carrying their

belongings on hunting expeditions or finding sites for jhum

cultivation outside their villages. They make two bags

called rathak and pathu. The rathak is shaped like a

rectangular pouch, open at the top where the cane splits are

woven into a mat that is folded and the sides joined with

split cane interlaced in a herringbone-twill structure. The

pathu, also made from split cane, is woven like a basket,

starting from the base, using a diagonal weave structure. It

is thicker and wider than the rathak with the base protected

from wear and tear by a wide band of cane loops bound by

splits. The back of the haversack has a double walled

structure, a layer of waterproof toka pata, palm leaves, or

even a rubber sheet sandwiched in between the outer wall

that has been made with an open hexagonal weave. Most

baskets have variations or wrapping and braiding in which

the edges and rims are finished. Besides the Adi Gallong,

the Apa Tani, Hill Miri and Tagin also make haversacks

from split cane.

Haversack made from fine cane splits by the Tagin tribe.

Haversacks made by Hill Miri craftsmen

Production Clusters

West Siang district:

Along

Products

Rathak - Gallong

haversack

Pathu - Gallong

haversack

Ronak - Tagin

haversack

Lera - Apa Tani

haversack

Nera - Hill Miri

haversack

Tools

Dao - wide bladed

knife

Front and back of an Adi cane haversack called pathu.

COILED CANE HATS

Protecting the head by wearing headgear has been an ancient custom

leading a distinctly identity to all the different tribes of Arunachal

Pradesh. They make a variety of headgear like the bolup, the hat used

by Adi Gallong, of coiled lengths of cane in semi-elliptical bowl with

a boat shaped rim. Flat splits of cane are wrapped around the core,

consisting of whole cane, in such a manner that it links one row with

the previously made row. The hat is so sturdy that it can withstand a

stroke of the dao. The Apa Tani has fit snugly like a skullcap where

the back

Gallong man wearing a coiled cane hat and carrying a dao case.

ends in an upturned tail like structure and is

decorated with a hornbill beak which is dyed red. It

is shaped by coiling, beginning from the top, and the

last coil is held in place by a neatly knotted stitch.

The tribes of Arunachal Pradesh and Nagaland have

a wide range of ceremonial headgear and body

adornments made in bamboo, cane and brass, and

decorated with horn, ivory and beads.

Production Clusters

West Siang district:

Along

Lower Subansiri

district:

Ziro

Products

Adi Gallong hat

Apa Tani and Nishi

hat

Idu Mishmi hat

Tools

Dao - wide bladed

knife

Needle

1. Bolup, an Adi Gallong hat.

2. Hat worn by the Adi Minyong.

3. Coiled cane hat worn by Idu Mishmi tribe.

4. Coiled caned hat exhibited at the Along Museum.

A long house of the chief of Wakka village near Khonsa, the headquarters of Tirap district.

Subclusters of

KHONSA

Tirap district:

Khonsa

Kheti village

Wakka village

Crafts of KHONSA

Wood carving

RESOURCES


Wood carving (Nocte) Wood

Wood carving

(Wancho)

Wood - koku, wild

walnut

Khonsa

Wakka

Lik-kha-pok, Wancho bead ornament, from the Khonsa

Museum.

Khonsa, situated at a height of 1000 m above sea level, is a

small hilly town originally populated by the Nocte tribe. They

live in houses made of bamboo and wood, with a widely

panelled floor of interlaced flattened bamboo. The morung or

communal dormitory, the centre of male social life, has unique

wood sculpted motifs in its interior and exterior. Wood carving

is associated with the depiction of victory over and enemy and

the iconography of man and tiger. The Noctes make a wide

range of bamboo and cane products, grass and bead necklaces,

besides wood carving. Practicing jhum, shifting cultivation and

plain cultivation, their festivals are related to the cylce of

seasons. Chalo-loku is the main harvest festival celebrated in

the month of April or May. Wakka is one of the subdivisions of

Tirap district and is mostly inhabited by the Wancho tribe. The

area is bounded by Tisa River in the east, Tuensang district of

Nagaland in the west, Patkai Hills in the south and Sibsagar

district of Assam in the North. Wanchos were supposed to hvae

inhabited the plains adjoining Assam, prior to the coming of

Ahoms into Assam during the 13th century. The wood carving

and bamboo work of the Wanchos are similar to the Konyak

Nagas who live in the region adjoining Arunachal Pradesh.

ACCESS

Bead earrings worn by Wanchos.

1. Notched wooden log ladder of a

Nocte chief`s house. Nocte and

Wancho are skilled in wood carving.

2. Wancho woman wearing bead

necklaces and earring, Wakka

village.

3. Craftsman carving a figurine at the

Crafts Centre in Khonsa.

Khonsa can be reached by road from Dibrugarh in Assam.

Dibrugarh is connected by road, rail and air with Guwahati.

Detail of an artisan carving a saau, figuring, from wood in

the Crafts Centre in Khonsa.

Nocte chief`s house made from bamboo.

WOOD CARVING

Wood carving or

muwang cha,

practiced by the

Nocte and

Wancho tribes

living in

Arunachal

Pradesh and in

adjoining

Nagaland, is

related to ancient

practices of the

fertility cult and

the institution of

morung, the

backelors`

dormitory.

Heads of human beings, tigers, elephants,

hornbills, pythons and bisons are carved in high

relief on the morung`s pillars and its exterior.

The iconography is of a headhunter with victim,

mutiple heads in a row, a man standing with a

dao, gun or spear; eyes shown as slits or beads,

and mouth as a groove. Carved wooden heads

are worn as pendants and used to decorate

baskets. Cha-sa or tha-sa, wood carving done

by men of the Wancho tribe is also done as

symbolic decorations of morungs and funerary

images erected for warriors and important

persons. They give more attention to the head

while carving a human figure, and the

figurines have tattoos marks and are shown as wearing clothes, ornaments

and having hair tufts. The pillars and horizontal beams of the morungs are

vividly carved with human figures, animals, birds and snakes. The hornbill

motif is carved only in the chief`s house. A log drum sometimes 30 feet long

is carved from a singly tree and is used during festivities. Wanchos carve

effigies of their dead from a single pieces of wood. These effigies are

dressed, tattooed and equipped with accessories such as a hat, a bag and a

dao, a wide bladed knife. The wood carvers` skills are respected in the

village.

Inset : Relief carving of a mithun on a pillar inside a Nocte morung.

Production Clusters

Tirap district:

Khonsa

Kheti village

Wakka village

Products

Pillars

Beams

Log drum

Facades

Effigies

Ladder

Tools

Dao-wide bladed

knife

Small knife

Chisel

Handsaw

Adze

Axe

Wancho carved seated

figuring displayed at

Khonsa Museum.

Wancho carved figurine displayed at Khonsa Museum.

Figurine of raajam, a

tiger. These carved

figures are used to

decorate Wancho

morungs.

Wak, the pig figurine, used to decorate in

Wancho morung in Khonsa.

1. Detail of a relief

carving of

headhunters

done on a pillar

inside a morung.

Wakka village.

2. Detail of Nocte

wood carving of

tiger figures.

3. Interior of a

Nocte morung,

dormitory in the

centre of the

room. To its

right is placed a

very long log

drum.

CRAFTS -

NAGALAND

Wood carving

Kophi - cane baskets

Loin loom weaving

Bamboo basketry

Cane furniture

Metal work

Pottery

Bead work

Brass figurines of a

woman and child, and

a warrior

Most Naga tribes practice jhum, slash and burn cultivation except Angami Nagas who cultivate in well maintained terraced rice fields.

Districts - 8


Attire

Chiecha - wrap skirt

Shawls - draped

textiles

Top / blouse / shirt

Cuisine

Bamboo shoots

Dried fish

Bee larvae

Zu - rice beer

Tathu - chutney

Festivals

Sekrenyi - Angami

festival

Feast of Merit

Christmas

Tribal dances that are

inspired by , and

correspond to animal

movements,

performed with

songs, accompanied

by accessories like

headgears and

weapons

Nagaland comprises of hilly terrain due to the branch of

the great Himalayan range that extends south from

Arunachal Pradesh, except for a small portion of plains

near and around Dimapur. In the south of Nagaland live

the Angami, Rengma, Phom and Mao Naga people, to the

east are Yimchunger, Chang and Khiamgan, and to the

north, the Konyak Nagas, who have a strikingly similarity

with the Wancho and Nocte tribes of southern Arunachal

Pradesh. Among these, the Angami are known for settled

and well tended terraced cultivation along steep hill

slopes and in the valleys, while the rest practice jhum,

shifting or slash and burn cultivation. The Ao are a major

tribe, who along with the Lotha and Sema occupy central

Nagaland. The eastern Nagas have their kin living in the

Chin Hills of Myanmar. The Naga tribes were

distinguished by their ceremonial costumes, jewellery and

beads, bulti coloured spears and daos. Dyed goat`s hari,

orchid stems, boar`s teeth, hornbill`s feathers and ivory

were used to make their accessories. These were worn by

a warrior only if he had earned them by proving his

valour. All the Naga tribes are particularly expressive

in their wood carvings and skilled in textiles, cane and bamboo basketry,

metal spears, bead jewellery and pottery. Cotton spinning, weaving cloth

on loin looms, and using natural dyes were regarded as essential skills for

women. Essentially hunter gatherers and cultivators, the Naga way of life

changed with the arrival of missionaries, and contact with colonial

administration. Many towns have developed their infrastructure but crafts

based industry still remains the mainstay of the rural economy besides

agriculture.

Inset : Detail of the decorative termination of a strengthening element

added to a Konyak grain carrying basket.

1. Ceremonial daos, broad bladed knives,

decorated with goat hair dyed in vegetable

dyes. These are made and used by the

Wancho who are expert wood carvers and

basket makers.

2. Naga women are skilled weavers and use the

loin loom or backstrap loom, a feature that

links them with east Asia. Seen here is an

Angami weaver working on her loin loom.

The fabric woven in full width, has densely

set yarns that give a ribbed texture and

prominent stripes.

3. A braided tubular Angami Naga leg band,

made with split cane.

Subclusters of

KOHIMA

Dimapur district:

Dimapur

Kohima district:

Kohima

Khonoma

RESOURCES


Kophi - cane

basket

Wood carving

Cane

Wood - gamari, khasu,

bonsurai

Dimapur

Dimapur,

Mon

Kohima, The state`s capital city has the second largest village

in Asial called Bara Basti. The village has a ceremonial and

imposing gateway - the traditional entrance to all Naga

villages. The Naga houses have upright crossed horns

crowning the gable, carved mithun, ox heads to indicate the

status of the owners, a huge basket granery in the verandah,

and a trough used to make rice beer. The Nagas carve objects

in teak, gaman khasu, and bonsurai wood, procured from

nearby forests. These objects are associated with religious

beliefs and practices, especially carvings of Mithun, hornbills

and human figures, on the morungs, dormitories, for the youth

that once functioned as centres of education, art and discipline.

The women weave shawls and wraps which have distinctive

colours and motifs due to their use in ceremonies.Khonoma

village, 20 km west of Kohima, known for its fighting prowess

in the past, now has beautiful terraced fields where over 20

types of paddy are grown at different elevations. Dimapur, the

gateway to all the hill districts, is a flourishing town and the

commercial centre of the state, where handicrafts are produced

by several entrepreneurs. It was the ancient capital of the

Kachari kingdom which existed before the Ahoms, a

Mongolian dynasty that came in the 13th century AD.

ACCESS

Dimapur, less than 3 hours drive by road from Kohima, is also

connected with Nagaland`s neighbouring states through a

National Highway. It is the main railhead and the only airport

in Nagaland.

Crafts of KOHIMA

Wood carving

Kophi - cane baskets

Loin loom weaving

1. Traditional Angami house in Bara Basti, Kohima with horn shaped gables. The walls

of the house are decorated with stylized mithun, ox, heads. The number of ox heads

are attributed to the person`s wealth, indicating the number of feasts given.

2. Cane furniture produced by an enterpreneur in Dimapur with craftsmen from

Nagaland and the neighbouring areas of Assam.

3. Master craftsman who makes kophi, the remarkable cane basket of Khonoma.

4. Craftsman in Kohima carving a wooden dish.

5. Large storage basket with a wooden lid. This basket displays a kind fo refined

craftsmanship that is associated with the Angami cane carrying basket called kophi.

Dao, broad bladed knives, carving tools and semi finished wooden

dishes.

Wooden container to store grain has been carved out of a single log of

wood.

WOOD CARVING

Most of the carved wood

objects of the Nagas are

made for functional and

ritualistic purposes, the

vocabulary of forms related

to the ritual world of the

Nagas. The ceremonial

wood carving is primarily

related to their fertility cult,

Feasts of Merit, and the

morung or bachelor`s

dormitory. Human figures,

tigers, elephants, hornbills,

pythons, and bison`s heads

are carved in high relief on

the morung pillars. Husking

troughs, grave effigies,

gates, log drums and gongs

and house posts are carved

on a grand scale. Carvings

are done on the great

wooden doors of the village,

on the front gable and the

walls of the houses of rich

men, indicative of the

number of feasts given by

the owner entitling him to

decorate on the front

Shallow food dish is carved

from a single piece of wood.

walls of his house with a life sized hornbill, elephant and tiger symbolizing valour, and the

mithun symbolizing wealth. Human figures, wit broad noses, with nostrils, representing a

warrior are also carved. Simple wooden utensils are traditionally made in Dimapur, Kohima

in the South and konyak Naga villages in the north. Unlike turned wood bowls, the carved

dishes feature and integrated handle, located near the rim, and three or four legged stand,

integrated with the base. There is no joinery in the construction and the items are carved

from a single piece of wood. Spoons of different sizes, shallow dishes nd bowls with stands

are also made.

Production Clusters

Dimapur

Kohima

Products

Food dishes

Spoons

Mugs

Tools

Dao - wide bladed

knife

Axe

Chisel

Products made by a

craftsman in Kohima

include a variety of

spoons, a shallow dish

and bowls carved from

single pieces of soft white

wood.

Gate with carvings of

stylized mithun and human

heads, a warrior in

ceremonial dress and a row

of female breasts, erected at

the village entrance. Wood

carvings of Angami Nagas

are used for making objects

for ritual and functional

purposes. The mithun head

is a symbolic of wealth and

status.

Nagas carry their dao in a wooden dao case that is attached to a woven waist belt and worn as an accessory. The dao is an indispensable tool in the

hills.

Konyak Naga carved wooden figurines depicted wearing bread neckaces.

KOPHI - CANE BASKETS

Production Clusters

Kohima district:

Khonoma

Products

Ceremonial kophi

Open weave kophi

Tools

Metal die

Dao - wide bladed

knife

Valued as a dowry basket, gifted by a man

to the woman he intends to marry, the

kophi is a cane carrying basket made by

the Angami Nagas of Khonoma village.

The preparation of the basket involves

collection of raw materials, making of

splints, colouring them (if required),

weaving of the baskets and finally

finishing. The basket has a square base

that flares out into a circular rim, and its

form is controlled by a bamboo mould

made only by the most skilled craftsmen.

The bamboo frame of the mould is

removed after completion of the cane

weaving. A die is used to get uniform cane

strips that are smoothened by ash and

cane shavings. An iteresting features is the use of bamboo node that is carved

into legs while the branches support the base and part of the culm supports the

sides. The head strap that supports the basket is a flat braided band made tubular

towards the corners. Since a well crafted basket is highly valued by the

customer, cane is preferred over bamboo due to its strength, durability and

expense that renders it exclusive. Cane splis are braided into belts, or interlaced

to make ceremonial products such as hats, arm bands, leg covers, dao sheaths

and baskets.

1. Semi finished Angami Naga kophi.

2. A metal plate is punched with holes

and fixed between two poles and

used as a die to get uniform cane

strips.

3. The kophi, cane basket, is made

using a bamboo mould.

4. A wooden base is fixed to a kophi

to strengthen and make it stable.

5. A bundle of legs which function as

strengthening elements. The leg

which is carved from the bamboo

culm, uses the natural joint between

the node and the branch. Various

components of the kophi are

prepared in advance and kept ready

like a mass production.

View showing the inner layer of a kophi.

Angami Nagas of Khonoma village make kophis, unique for its craftsmanship,

form and use of sophisticated quality control devices.

Tool : Jie, a wide bladed knife used for

making baskets. The top portion of the

handle is covered with cane splits.

LOIN LOOM WEAVING

The loin loom, common to hill tribes of the northeast,

also refered to as backstrap or body tension loom, is

one of the oldest devices for weaving cloth. The

weaver`s body is integral to the loom and weaving is

done without mechanical parts. The loom consists of

a continuous warp stretched between two parallel

bamboos, one end tied to a post or door and the other

end held by a strap worn around the weaver`s lower

back to regulate the tension with her body. The loin

loom is skillfully used by women to weave cloth; the

process entails two steps, winding a warp according

to the intended design, and weaving. Warps are made

on a warping frame using vertical lease sticks that

keep each thread in sequence. It is then transferred to

the weaver who seperates it into two layers with a

bamboo shed pole, leald stick, lease stick, and

wooden rods, each serving different functions. The

concept of the half healds,

1. An Angomi loin loom; cheipfu, the backstrap

made from bamboo splits; two wooden rods for

winding the woven cloth and with grooves for

securing the backstrap; dzukrie, shaped

wooden beater for frming a clear shed and

beating the weft;dzunyu, heald rod with the

string healds; a bamboo pole, and a smoothly

finished wooden rod for keeping threads in

even tension.

2. Detail of one part of an Ao Naga shawl being

woven. Seen here is a method of brocading

motifs with locally inserted white weft that is

woven in addition to the ground weave, refered

to as extra weft.

3. Detail of an Ao Naga skirt fabric woven with

acrylic yarn, which has replaced cotton.

4. The weaver regulates the tension by inclining

back and by pressing her feet against a stone

bock. The beater is standing upright to form a

clear shed.

5. An Ao Naga weaver bends forwrad to lift the

heald shaft in order to seperate the threads of

the warp for weaving. Seen in the foreground is

an acrylic warp and a serrated wooden device

to keep the dense warp threads in place.

string healds which guide every alternate thread of the warp,

is unique to loin looms; the half heald method requires only

one shed to be created and the other shed is formed

ingeniously due to gravity which lowers the raised thread.

Inexpensive and portable, the loin loom is a remarkable

device for constructing rugged fabric for daily and ceremonial

use, their connotation derived from rituals, beliefs and tribe

identity. Each Naga tribe has a colour and motif code which

forms its distinct identity. The cloth structure is warp

dominant, and has a ribbed texture and stripes in black and

red, or black lines on white dominate. Fabrics are woven in

two parts and later stitched in the middle. Weaving in

strenous and labour intensive as the loom has to be rebuilt

each time. Patterning is done in extra warp and extra weft

techniques.

Production Clusters

Dimapur district:

Dimapur

Kohima district:

Kohima

Peran:

Ntu village

Samgiram village

Products

Body cloth

Wrap skirts

Shawls

Tools

Dzudoba - loom

Chiepfu - back strap

Dzukrie - wooden

beater

Dzunyu - heddle stick

Dzupou - shed stick

Dzutse - lease stick

Tool used for winding yarn

from a hand form on to

bobbins, made from folding

bamboo splits. Attached

branches as tension members

support the hank in the form of

a spindle that rotates in a

housed stand also made of

bamboo.

CRAFTS -

MANIPUR

Bamboo basketry

Bell metal craft

Thongjao pattery

Kauna phak - reed

mats

Stone turned work

Moirangphi weaving

Loin loom weaving

Embroidery

Applique

Block printing

Wood carving

The lush and inviting

Manipuri landscape

fed by innumerable

rivers. Hills

surrounding the

Imphal valley are

home to the various

tribes of Manipur.

Landmarks

Khangkhui caves

Loktak Lake

War cemeteries

Keibul Lamjao -

floating national park

Orchid yard at

Khongampat

Govindajee Temple

Physical Features

Hills

Mountains

Imphal Valley

Rivers:

Barak, Imphal

Biodiversity

Forests

Wetlands

Flora:

Bamboo, Cane,

Kauna reed, Cotton,

Oak, Orchids, Siroi

lily

Fauna:

Sangai - brow antler

deer

Hornbill

Languages

Manipuri

Kuki

Mizo

Naga

Bishnupriya

Classical dance and music is an important part of Manipur`s

culture

A Manipuri dancer wearing an embroidered costume. The

distinctive sensitivity to texture can be seen here in the textiles

made for ritual, ceremonial and functional purposes.

Festivals

Lai Haraoba - festival

of gods (Meitei)

Kut - thanksgiving

festival (Kuki-Chin)

Chumpha - post

harvest festival

(Tangkhul Naga)

Gang-Ngai - festival

(Kabui Naga)

Dances:

Manipuri dance

Pung Cholam - dance

with Manipuri drum

Manipur, was on the ancient international

trade route between India and Myanmar.

Rich in forest resources it has the large

Imphal Valley in the centre with fertile

agricultural tracts, lakes, wetlands, barren

uplands and hillocks surrounded by

mountains.

Manipur is drained by several rivers running north to south wihch

serve and important waterway links with different parts of the

valley. The districts of Imphal, Thoubal, Bishnupur and Jiribam

are in the plains of the valley, surrounded by the hill districts of

Tamenglong, Ukhrul, Senapati and Chandel. The Meiteis live in

the valley, and the hills are inhabited by 29 tribes of whom the

major ethnic groups are formed by the Nagas, Kuki-Chin and

Mizos. The hill tribes converted to Christianity and the Meiteis

who adopted Hinduism practice Vaishnavism, the worship

of Lord Vishnu in his incarnation of Lord Vishnu. Their

devotion is expressed in the classical dance Ras Leela,

music, folk songs and dances, and the custom of tulsi plant

worship every morning. Meitei women are important

contributors with their skill in weaving, basketry, pottery,

agricultural work, and running a textile market called Ima

keithel, market run by women (ima, mother). The art of

wood carving, bamboo crafts and weaving traditions of the

Naga tribes are distinctive in form and reflect the

vocabulary of their ritual world. Natural materials like clay,

gourds and leaves have been celebrated in the design of

everyday objects, speak of their self-sufficiency. Bamboo is

integral to the culture of Manipur, finding mention in their

songs, myths, cuisine, sport, and used in their dwellings,

musical instruments, implements and domestic products.

Attire

Women:

Phanek - wrap skirt

Moirangphi chaadar -

veil cloth

Blouse

Cuising

Bora - fried snack

Steamed yam

Fermented bamboo

shoots

Utong-chak - rice

cooked in bamboo

Inset : Detail of an inephi, a translucent cotton shawl , with lotus

motif woven in a jamdani brocade technique. The inephi is worn

over a densely woven sarong or phanek cloth; the former woven on

a pedal loom and the latter woven on the loin loom, exhibit a wide

lattitude in the textures of cloth that is special th Manipur.

5, 6 Detail of the shattra, the ritual cloth installation. It comprises a

tall bamboo pole with three to nine circular rings of decreasing

sizes. Cloth with cutout forms is draped around each ring. The

shattra, is erected during important festivals, rituals, and ceremonies

of the Meitei community. Bamboo totem poles are also erected by

the Maring tribe.

7 A craftsperson making long, a basket constructed from a bamboo

mat, for catching fish. Fish baskets are made by professional

women artisans; Patsoi, outside Imphal.

8 Rice cultivation is done extensively in the valley. Bamboo

winnowing trays are used for drying paddy.

Detail of and enephi, transluscent cloth being woven on a frame handloom in Wangkhei, Imphal town. The patterning and texture of the figured muslin

requires high skills of weaving.

Subclusters of

IMPHAL

Imphal West

district:

Imphal

Patsoi

Thoubal district:

Thoubal

Thongjao

Andro

Kakching

Sugnu

Chandel district:

Tengnoupal

Palel

Bishnupur district:

Moirang

Crafts of IMPHAL

Traditional bamboo

products

Bell metal work

Thongjao pottery

Kauna phak - reed

mat

RESOURCES


Traditional bamboo

products

Bamboo

Imphal,

Tamenglong

Bell metal work Copper, Tin Silchar

Thongjao pottery

Kauna phak - reed

mat

A craftsman

making a

flattened

bamboo

container from

whole bamboo.

Heat flattened

bamboo is an

exotic process

used for making

a variety of

containers, trays

and boxes.

Red and Black

clay

Kauna reed

Thongjao

Imphal

Imphal is the state capital with vast stretches of rice fields,

bamboo clumps and clusters of houses in its valley and large

Loktak Lake outside Imphal town. The women of Andro,

Thoubal, Thongjao, Oinam, and the men of Nungbi in

Ukhrul district practice pottery using several celebrated

hand-modelling techniques for making ritualistic and

cooking vessles. Hand formed pottery is a deeply revered art

of Manipur and closely related to their religion. It is

distinctive in its form and the surface is engraved with

patterns, imparted by the use of flat wooden beaters.Women

carry out all the activities related to textiles such as weaving,

embroidery, applique and block printing - the latter are

closely linked with the Manipuri dance tradition. The craft

sensibility of the Manipuri`s is informed by martial arts,

classical dance, music, rituals and culture. The economic,

social and spiritual function of textiles is revealed in the

songs and movements in Lai Haraoba, a dance drama

depicting their cosmology, which includes the cultivation of

land and sowing of cotton seeds, plucking, ginning, carding ,

spinning and weaving and cutting of garments. Several crafts

are practiced in the valley professionally, of which the lost

wax casting in bell metal, kauna mat making and stone

turned work are important.

ACCESS

Imphal is connected with Delhi via Guwahati and with

Kolkata via Agartala and Silchar. Motorable roads connect

Imphal with Agartala, Aizwal, Dimapur, Guwahati, Kohima

and Dimapur. The nearest railhead is Dimapur that is 215 km

away.

Kauna phak, woven reed

mats are spongy, light and

have a unique texture. An

artisan weaving a mat in

Wangkhei area in Imphal.

Houses in Imphal Valley are built on a plinth on the ground

unlike the hill houses built on stilts.

TRADITIONAL BAMBOO PRODUCTS

The meiteis of Manipur have a large range of functional

and ceremonial products that are made by women all

over Imphal Valley. The ceremonial products include

baskets, trays and containers used as offerings and gift

enclosures for religious and wedding processions. These

are carried on the head according to strict local rites.

The phingaruk is a basket with a dome shaped lid

decorated with the addition f strips dyed in vegetable

dyes. Long is a fishing basket used in shallow water,

made by deforming a flat mat into a dome shaped

container with the help of two bamboo rings that

sandwich the rim. The Maring tribes who live in the

hills behind Imphal Valley make a low dining table is a

combination of bamboo splits, whole cane and split cane

binding. Its main feature is a platform of bamboo splits

tied into a lattice using split cane binding in an

interesting square knot, where each binding is identical.

The

Thumok - all purpose carrying basket made from

bamboo splits. Split cane is used in the rim and in the

binding detail on the corner for strengthening. Beside it

is the chengamuk, small bamboo basket for washing

rice. Whole bamboo of small diameter is shaved with a

knife to form a stake at one end. This stake is inserted

into the basket weave at one corner to form a let.

knot, while simple to make, does not unravel. The raised platform of

bamboo is supported by loops of cane moving along the periphery in a

cycloidal pattern. The cycloidal border is held in place between rings

of bamboo splits that form a border at the base and at the top. All the

splits are dyed in a plant dye made from shaikui, a tree bark and later

smoked, giving the product a deep brown colour.

Product Clusters

Imphal West

district:

Imphal

Patsoi

Thoubal district:

Kakching

Bishnupur district:

Moirang

Chadel district:

Palel

Sugnu

Products

Phingaruk, Thumok -

storage baskets

Long - fishing basket

Sahiruk - shallow

basket with legs

Pot rings

Leephang - Maring

dining tables

Tools

dao - bill hooked

knife

1. A meitei woman carrying items of offerings in a phingaruk to a ceremony.

2. The strengthening detail at the corners of a bamboo basket done in split cane in a distinctive feature of Manipuri baskets.

3. Maring elliptical dining table made from bamboo splits, whole cane and split cane.

4. Dining table called leephang made by the Maring tribe.

5. Phingaruk without the lid.

6. Phingaruk, a ceremonial Meitei bamboo storage basket. It consists of a container and lid and has a double walled construction.

7. Long, Meitei fish baskets made in Patsoi, Imphal Valley.

THONGJAO POTTERY

The terracotta pottery of

Thongjao, like pitchers,

cooking vessels, plates,

pot rings,lids, bowls and

pots, made mostly by

women is distinctive in

form, craftsmanship and

the creative use of

reduction firing,

rendering it a unique

colour.

The pottery is hand formed using slabbing and shaping

techniques done with a flat padding tool. Red and black

clay are mixed, kneaded, rolled into a wide slab, and made

into a cylindrical form and a circular slab forming the base

is joined to it. The neck and rim of the pot are shaped by

using the fingers and pressing with a wet cloth. A flat

wooden beater is used to pat from the outside while the

inner laer is supported with an oval shaped stone held

firmly in the other hand. The surface is then burnished with

a seed and the pots collectively baked in an open traditional

kiln.

Production Clusters

Imphal valley

Thoubal district:

Thongjao

Products

Storage pots

Cooking vessels

Ritual pots

Lamps

Lids

Pot rings

Storage Jars

Tools

Phuzei - wooden

beater

Oval shaped stone

Mortar - pestle

Kang - cactus seed

Inset : The surface of the pot has

a texture imparted by using a flat

wooden beater with patters

engraved on it. Only the neck of

this pot is burnished.

1. The Thongjao potters have

a unique method of placing

some pots inside another

pot at the time of firing. As

a result, some pots do not

receive air ad he lack of

oxygen makes the clay

black.

2. Terracotta pot from

Thongjao.

3. Hand formed terracotta pots

which have been burnished

and reduction fired.

4. A hand formed pot from

Ukhrul district, which is

used for cooking meat and

vegetables.

BELL METAL WORK

Production Clusters

Imphal West

district:

Heirangkhoithong

Aheibam Leikai

Products

Chaisel - bowl

Ayiesel - embossed

bowl

Tengot - serving bowl

Shentak - shenga -

ceremonial dish with

lid

Manidla - cymbals

Luknem shel - rice

measure

Korphu - cooking pot

Khujai - water pot

Plate

Shapa - stamp

Tools

Lathe, Hammer

Tongs, Files

Chisel

Vessles

Crucible

Wax

Clay

Lost wax casting of bell

metal done by the Meiteis

carries historical

significance borne by two

facts: name of the cluster

and the craftsmen`s surname

Aheibam are derived from

aheiba refering to moulding

or casting and leikei

meaning neighbourhood.

Meiteis make a wide range of bell metal vessels for ceremonial

and domestic uses of which the bowl chaisel and shentakshenga,

a dish with a lid for offering betelnut and leaves to God,

are distinctive in form. Clay models surounded by wax strands

which are further enclosed in clay are kept ready for casting.

They are filled with a molten alloy of copper and tin which

replace the cavity left by the melting of wax. The cast metal is

finished on a lathe and polished by hand. Then they are

decorated by the hand drill process for creating circular patterns,

or by engraving a series of lines on the lathe or by hammering

and embossing on the surface. Bell metal ware or senjeng has an

established market in Manipur.

Inset : Vessels and accessories for prayer rituals made in bell

metal.

1. Shentak - shenga, a ceremonial dish with a lid decorated

with leaf shaped motifs.

2. Chaisel, ritual bell metal bowl which expresses the

Manipuri snse of proportion and elegance in form.

3. Ayiesel, bell metal bowl embossed with punched

markings.

4. Bell metal craftsman working on a lathe in his workshop in

Heirangkhoithong Aheibam Leikai.

KAUNA PHAK - REED MATS

The stem of the kauna, a local reed growing in marshes and stagnant water, is

used to weave a uniquely textured mat with neatly detailed edges. The weaver

manually internaces the cut stem with each of the jute threads that are vertically

placed far apart in pairs. Due to the destance between the jute threads there is a

resultant stiffness and the bulk forms the reed stems into an interesting texture.

The extra lengths of the stem are intertwined at the edges to form the border that

runs all around the mat. Square cushions are made by weaving two mats

consecutively in the same warp and folding one mat over

1. Detail of a kauna phak being woven.

2. An artisn finishing the edges of a kauna cushion.

3. Fruit basket, a new product made with kauna grass developed by and

entrepreneur.

4. A long and rectangular mattress made from two layers of kauna phak which

are overlapped and finished by the technique of twining.

5. Kauna grass used in the basketry technique of weft twining.

6. The cushion is made of two consecutively woven mats which are folded

over to form two layers. These are joined at the edges by twining.

Traditional Manipuri cushion made from kauna grass.

7. the other to form a double layer that are later twined together. Kauna phak

or reed mats have been successfully exported indicating that a product of

high value can be made with the creative manipulation of inexpensive

material. Around 1000 craftspersons in Imphal Valley practice this craft;

they also make squiare, circular nd rectangular mats by this technique.

Production Clusters

Imphal East

district:

Kongba Nandeibam

Leikai

Imphal West district:

Kwakeithal Kangjeng

Leikai

Thoubal district:

Khangabok Mayai

Leikai

Bishnupur district

Terakhongsangbi

Products

Mat, Cushion

Rectangular mattress

Tools

Dao - bill hooked

knife

Wooden beater

Mizoram is a mountainous region with

numerous rivers and streams, tropical

climate in the lower latitudes which

nurture wild bamboo, and termperate

climate in the upper regions where

canes flourish.

The Mizos, literally meaning hill man or highlander, who inhabit this

state comprise five major tribes - Lushai, Ralte, Hmar, Paihte, Pawi.

They migrated from the Chin Hills in Myanmar and had an autocratic

political system based on numerous hereditary chieftanships. Previously,

believers of a good spirit called Pathian, the Mizos today are greatly

influenced by Christianity. Agriculture is the mainstay of the people,

who practice jhum, shifting or slash and burn cultivation, and most

festivals are closely linked with agriculture. The festivals offer the

occasion for performance of various dances, usually

performed in a group, which reflect the values of a

society that was once community based and

interdependent. Women wove puans, colourful

texties, for themselves on these festive occasions,

signifying that the weaving traditions performed an

important social function. Bamboo, cane and

gourds are organic materials that Mizos use

resourcefully to make a multitude of functional

objects such as bamboo houses, snares, musical

instruments, implements, toys, baskets, containers

and pipes. The zawlbuk or bachelor`s dormitory

was important in every Mizo ethic which stands

for selfless service to others, and its classless

society are two characteristics features of their

culture.

Inset : Detail of a Mizo cotton puan, skirt cloth

woven with a motif called kwappuizikzial, derived

from the tendril of a fem. Weaving skills are

highly appreciated and valued by the Mizo people.

3 The traditional Mizo tap or fireplace cum kitchen is built on a mud plinth. It is 2 metres wide. Three raised stones, 9 inches

high, form the hearth for cooking. Above it is the ranchung, a bamboo shelf for storing and preserving baskets and food.

4 The zawlbuk or bachelor`s dormitory is constructed on the largest open space in the centre of a village, usually close to the

village Chief`s house. Made entirely from bamboo, it is large enough to house all the young men and boys of the village.

5 Mizo weaver in a workshop in Aizwal. Hand weaving is an important source of income for women and weaving skills are

valued in Mizo society.

6 Mizo girls wearing the traditional puanchei and kawrchei for Cheraw, a popular dance done with bamboo staves. Their love

for dressing well has sustained puan weaving as a cottage industry in Aizwal and Thenzawl.

Attire

Women:

Puan - wrap skirt

Blouse

Puanchei - wrap for

special occasions.

Men :

Shawl , Cane cap

Cuisine

Boiled pork

Serep - dried meat

Bamboo shoots

Chaangban - rice

cake

Fermented soya bean

Bai - vegetable broth

Languages

Mizo

Festivals

Chapchar Khut -

spring festival

Mim Kut - maize

festival

Pawl Kut - harvest

festival

Christmas

Major Dances :

Cheraw - bamboo

dance

Sarlamkai - war

dance

Chawnglaizawn -

celebratory dance

Chheihlam -

vivacious evening

dance

Khullam - dance to

welcome visitors

Zangtalam - Paihte

(drummer`s) dance

Chai - festival dance

Tianglam - dance on

the music of Puma

Zai

Parlam - wave dance

Subclusters of

AIZWAL

Aizawl district:

Aizawl

Serchhip district:

Thenzawl

Crafts of AIZAWL

Bamboo basketry

Cane stools

Gourd craft

Mizo puan weaving

1. A craftsman

weaving a

bamboo basket

on his open

porch, the floor

is made of whole

bamboo.

2. Mizos made

containers from

gourds. A

craftsman

encasing a gourd

with dyed split

cane.

RESOURCES


Bamboo

basketry

Bamboo - Rawnal, Rawthing,

Phulrua

Aizawl

Street market in Aizawl. Besides meat, green leaft vegetables, bamboo shoots and a

variety of plants form the Mizo diet. Vegetables, flowers and fruits are cultivated around

Aizawl and sold in the town`s main market.

Aizawl, the centre of all political, cultural and commercial

activities of Mizoram, is situated on a ridge in the middle of

the state and overlooks the valleys of the Tlawng and Tuirial

rivers. To the south of Aizawl is Thenzawl, a picturesque

village located in a valley surrounded by lush green hills, that

serves as a well known weaving cluster with over 200

households engaged in weaving. Weaving is integral to Mizo

culture and though girls used to learn to weave from their

mothers, in the present newer generations, only few acquire

the skill. However, the penchant for dressing well, has helped

sustain handloom weaving skills. The main shopping centre

has traditional Mizo shawls and local handicrafts such as the

finely crafted Mizo caps for sale. Since bamboo covers a

majority of th vegetated area in Mizoram, cane and bamboo

basketry skills are abundant in the villages.Several Mizo

entrepreneurs have set up weaving workshops in the capital

and efforts are being made to introduce sericulture and

develop pineapple fibre. The tropical climate is conducive to

horticulture and the government has initiated programmes in

tissue culture, introducing the cultivation of avocado, flowers

for export and mushrooms. In the traditional Mozo house, the

top floor is in level with the motorable road and other floors

are below hugging the steep hill slopes. Mizos cultivate a

variety of vegetables and fruits on their land and in their

kitchen gardens and sell their produce in the local street

markets of Aizawl. The state has a very high literacy rate

which is engouraging to entrepreneurship and devleopment.

ACCESS

Aizawl has air connections with Guwahati, Silchar and

Kolkata which are connected to major cities in India. National

Highway 54 links it with the rest of the country via Silchar.

The nearest railhead is in Silchar, 180 km from Aizawl.

Guwahati, 397 km from Silchar, is the most convenient

railhead.

The loin loom is rarely seen to be used. Textiles produced for

sale are woven on treadle looms.

A paikawang, bamboo basket, full of locally grown cotton. Handspinning and weaving

were widely practiced by women earlier. Thenzawl and Aizawl have a concentration of

professional weavers.

BAMBOO BASKETRY

Bamboo that thrives in the

tropical evergreen forests

covering the Lushai Hills, is

used extensively in traditional

architecture, woven mats for

the wall panels, window

shutters, flooring and for the

structural posts. Mizos mostly

use the outer skin of a larger

species of bamboo in the

basketry made for storage,

carrying, winnowing; as hats

as small baskets for keeping

tobacco. The triangular

winnowing trays are made

with a mould. The paikawng, a

made to order carryig basket,

uses as open hexagonal weave

of interlaced thick rawnal,

rawthing or phulrua bamboo

splits that is vertically

elongated for carrying a

variety of products. The self

strengthened construction at

the rim of the basket has thick

splits that are subdivided,

twisted and braided into a

wide band which is flexible

yet strong. Therefore, while

the sides are rigid, the rim is

flexible, resulting in an

extremely strong and durable

structure allowing the women

to carry firewood and bamboo

water tubes.

Inset : Closed weave carrying basket called tlamem.

1. Traditional Mizo bamboo peaked hat. Skilled craftsmanship is

required to make the splits and get a shape that fits the head.

2. Lukhum, the traditional cap , is made in two layers and each layer

is made from strips woven in an open hexagonal weave. The outer

layer is woven using the inner layer as a mould and a layer as a

mould and al layer of dried palm leaves is kept between the two

layers. This is joined together at the top in a swirl. The two layers

are stitched around both the edges with a piping, to finish the rim.

Production Clusters

Aizawl district:

Aizawl

Products

Paikawang - carrying

basket

Emsin - decorative

paikawang

Paiem - closed weave

basket

Tiamen - variation of

paiem

Dawrawn - closed

weave basket

Tools


The paikawng is made and used by the Lushai tribe. It is used

by women to carry firewood, bamboo wter tubes and cotton

fibre.

Thul, a bamboo dowry basket for keeping clothes and

valuables.

A large closed weave bamboo basket used for carrying grain and field

produce.

CANE STOOL

The Mizo cane stool is representative of the simple traditional and

elegantly constructed Mizo furniture. It is a short cylinder made lf two

cane (phulrua) rings held apart by a series of vertical baboo (mitperh)

splinths, their ends shaped into tenons that are driven into holes

provided in both rings. The seat surface is made of raw hide stretched

tight over the upper ring and held in place by the bamboo verticals.

The cane rings are made by wrapping freshly harvested cane around

wooden posts of the required diameter, and cured in the Sun for

a few days after which it is removed and cut to form rings. The

most interesting feature of the Mizo stool is the ingenuity of the

craftsmen to use raw cane for its flexibility and solar energy to

bend it.

Production Clusters

Aizawl district:

Aizawl

Products

Stool

Tools


Metal rod

MIZO PUAN WEAVING

Production Clusters

Serchhip district:

Thenzawl

Aizawl district:

Aizawl

Products

Puans - wrap skirts

Tools

Frame loom, Loin

loom

Zo loom - multi

tradle loom

Warping drum

Yarn winders

Coated thread healds

Reeds

Shuttles

Pirns

Women are the sole weavers in Mizoram. Their craft shows

them as being a self reliant, sensitive and skilled. Since skills

of weaving reflected a woman`s capability for hard work and

enhanced her marriage prospects; weaving 15 to 30 puans for

her dowry was fundamental for a girl as some had to be gifted,

while others were essential to her trousseau. Puan, a draped

and uncut rectangular cotton cloth with well crafted edges and

prominent horizontal borders, was the main costume of Mizos

that men draped around the entire body till they adopted

wearing a shirt and trouser. The woman`s puan worn over a

blouse has undergone a chnage and is now worn as a wrap

skirt measuring 51 inches X 43 inches. Earlier woven on a loin

loom in two parts and later stitched together, today these are

woven on frame handlooms as single width fabrics.

Traditional puans and their variations are produced on frame

looms and zo (looms of Burmese origin) multi-treadle looms.

The weavers use the extra weft technique to produce patterns in

relief. Brightly coloured, handspun cotton puans have bold

stripes due to a warp faced plain weave structure. They are worn

during special occasions, marriages, and festivities and as daily

wear. Puans such as puanchei, puandum, ngothekher and

kwappuizikzial use colours and pattersn related to specific

contexts. Acrylic yarn has replaced cotton yarn due to the bright

hues available and its tensile strength. Thenzawl, a village

located south of Aizawl, with over 200 professional weavers is

well known for producing traditional puans of high quality and

craftsmanship. It has about 67 entrepreneurs who are also

weavers who emply other weavers.

3 Women wear puanchei and a stitched blouse kawrchei and the men wear striped puans for the Cheraw dance. Long pairs of

horizontal bamboo staves are tapped open and close according to rhythmic beats by men sitting on the ground , while girls dance

between the beats of the bamboos.

4 Puans worn for Chawnglaizawn, a dance done to honour brave hunters returning from the forests with their trophies. Shown here

is the ngothekher puan in black and white and the puanchei alongside.

5 Detail of a puanchei, chei being the Mizo word for decoration. Horizontal stripes with multi coloured wefts and motifs are woven

in extra weft technique. A black stripe is woven in a weft faced plain weave.

6 Mizo woman wearing a ngothekher, a white puan with black stripe and a wide border. Black dye is made easily from soot and

charcoal, and was used in most puans.

7 An artisan weaving on a newly constructed fram handloom in Thenzawl

GOURD CRAFT

The Mizos cultivated um, gourds, for food and making

storage containers to store liquids such as pig fat, oil,

nicotine water and water. Various sizes of gourds are used,

the smaller for storing animal fat and gigantic gourds for

tuithawl, water containers. The legendary gourd chhura

umpui with a capacity of storing over 25 litres of water,

was earlier converted into a container and encased in a

braid of cane splits. These are rapidly getting replaced by

glass and platic containers. Gourds are now cultivated

mainly for food and are sown in the months f April - May

after jhum, the slash and burn method of clearing the forests

for cultuivation. The ash deposited after burning the foliage

serves as fertiliser for the plants and they start budding in

September - October. The gourd hardens and darkens

through the months of November - December and is

harvested. Thin strips of cane are braided around the mouth

of body of the gourd to encase it. These gourds are hung

above the fireplace and they get smoked and turn darker.

Production Clusters

Aizawl district:

Aizawl

Products

Tuithawl - water

container

Tuibur um - nicotine

water container

Sa -um bur - animal

fat container

Tools


A woman carrying

three sizes of gourd

containers

Small gourd containers.

1. Thibur um, a container for nicotine water that measures 8 X

6 cm and is made from a small species of gourd.

2. Sahriak bur - seasoned gourd container for animal fat and

lard, 23 X 23 cm in size. It is hung over the fireplace to

allow the fat to melt before it is used for oiling the hair and

body. It the fat is allowed to ferment it is used as a

tastemaker in the preparation of bai, broth.

3. Sa-um bur, container with a wooden stopper. Two rings

made from twisted cane splits are held in place by a metal

wire that is looped through the rings.

4. Container for storing animal fat. The gourd container has a

wooden stooper and is encased in a metal wire frame.

CRAFTS -

TRIPURA

Bamboo baskets

Pressed clay work of

Melaghar

Cane furniture

Bamboo furniture of

Katlamara

Bamboo fences

Tripuri textiles

Bamboo root carving

Mat weaving

Makshi kantha -

embroidery

Jute work

Bamboo artisans in

Agartala making

bamboo splits using a

simple dao - bil hook

knife. The artists are

skilled in construction

and erecting a wide

range of bamboo fence

at site.

Districts - 4


Languages

Kokborak

Bengali

Manipuri

Attire:

Women :

Riah - breast cloth

Pasra - wrap skirt

Blouse

Cuisine

Shidol - dried fish

Shamukh - river snail

Thangjing - water

plant

Boiled pork

Historical evidence of Tripura first appears in the 14th

century Rajmala, the chronicle of the Manikya dynasty,

the ruling family of the state. Geographically a major part

of western Tripura is a continuation of the Ganga-

Brahmaputra plains adjoining Bangladesh with hills

located in the north, east and southern parts and the large

forest cover leading to the abundant growth of bamboo.

The majority population consists of Bengalis, coexisting

with the 19 different tribes of whom the main tribe is

Tripuri. The religious traditions and ethos of Hinduism,

Buddhism and Islam have distinctively converged,

eloquently expressed in objecets made out of locally

available materials like cane, bamboo, palm leaves, wood

and clay. The bamboo and cane handicrafts of Tripura are

acknowledged for their fineness in split, artistic weaving

and construction. Bamboo is a living

culture of Tripura, prominent in the construction of

houses and fences, mats baskets and agricultural

implements. Bamboo shoots are eaten, and the

remaining culm used as a container. In some tribes,

bamboo is linked with the entire journey of life when

the umbilical cord of the baby is cut with a knife

made of bamboo and when a person dies, the body is

laid to rest on a bamboo mat. The use of bamboo by

Riang and Jamatia tribes has all the features of hill

culture reflected in architecture, basketry, bows,

arrows and traps, agricultural containers and mats.

They believe in animism and live in the hills of

Tripura. Women in every village weave riahs (breast

clothes) and pasras (wrapped skirts) on loin looms or

body tension looms, using the supplementary warp

and weft techniques.

Inset : A detail of the sculpted and carved bamboo

root depicting the manner of carrying baskets in the

hills and the plains that characterize the norteast

region.

1. Bamboo rain shields are used by farmers in Tripura, Assam, Manipur, and Meghalaya.

2. A Riang woman wearing the traditional wrap skirt and blouse and silver jewellery. Riangs are skilled weavers and produce cloth for their own

requirements.

3. Agartala becomeslush green during monsoons. Bamboo fencing is used extensively to demarcate property.

4. A pipal tree with a offering of red cloth made to the Goddess Durga who personifies shakti or cosmic energy. Durga is worshipped in Bengal, Bihar,

Assam and Tripura, and her devotees are mostly women. Different trees and plants are associated with gods and goddesses and have spiritual significance.

5. Muli bamboo that grows in Tripura is extensively used in the construction of houses, fences, baskets and mats. It is characterized by long internodes

which is conducive for making bamboo splits.

Subclusters of

AGARTALA

West Tripura

district:

Agartala

Nalchar

Churilam

Melaghar

Katlamara

Crafts of

AGARTALA

Traditional bamboo

products

Bamboo crafts

Bamboo furniture of

Katlamara

Pressed clay work of

Melaghar

Bamboo fences

Tripuri textiles

1. Bambusa affinis,

a species of

bamboo

specially

cultivated in

Katlamara,

which is used in

sports such as

pole vaulting.

2. Craftsperson

carving bamboo

root. The outer

layer of the culm

is removed. The

inner portion of

the bamboo root

is softer than

wood for

carving. There

has been a spurt

in sculpting

narratives in

relief.

3. Craftsmen in

Nalchar making

bamboo splits

from a culm.

Nalchar has a

large population

of skilled

bamboo

craftspersons.

4. Bamboo fencing

around a private

residence in

RESOURCES


Traditional bamboo

products

Bamboo

West and North

Tripura districts

Bamboo crafts Bamboo West and North

Tripura districts

Bamboo furniture

Bamboo

(Bambusa affinis)

Katlamara

Pressed clay work Clay Melaghar

The Ujjayanta Palace and the Neermahal, water palace,

reminders of the Manikya dynasty credited with encouraging

art, craft and learning in Tripura are in Agartala, the capital of

Tripura. Since the northeast of India is amongst the wettest

regions in the world, receiving seasonal rain twice a year, the

environment at Agartala is lush green with bamboo, a giant

grass which grows rapidly during the monsoons. Agartala,

Nalchar and Churilam are bambo and cane clusters that

support and sustain thousands of craftspersons who depend on

basket making for their livelihood. The government has also

set up several training and marketing organizations and

common facility centres, providing infrastructure and

equipment for modernizing craft production for interiors and

export.The craftspersons, many of whom are women, practice

basketry and loom based splits that are made into hand fans or

sold to upmarket outlets as window blinds. Entrepreneurs in

Katlamara village have been cultivating a special species of

bamboo for fishing. Bamboo is extensively used by both the

plains and tribal communities in Tripura. A bamboo flute

called suma baanshi acompanies Tripuri folk songs.

Handloom weaving is widely practiced and fabrics are woven

for personal consumption on loin looms and pit looms. Private

entrepreneurs and government funded organizations emply

weavers who produce handwoven saris, yardage fabrics,

bamboo blinds and table mats commercially.

ACCESS

Motorable roads connect Agartala with Silchar - 288 km,

Guwahati - 599 km, Shillong - 499 km, Dharmanagar - 200

km. Agartala is linked by air to Kolkata and Guwahati.

Agartala.

1. Polo,fish trap,used in shallow

waters collected in fields and

ponds.Two layers of bamboo

strip:are secured at the neck that

fan outwardsd and are bound to

rings forming a lattice structure.

2. A bird cage made in

Katlamara,using the construction

of lattice binding.

3. Detail of a closed weave surface

done in oblique plaiting.

TRADITIONAL BAMBOO PRODUCTS

BAMBOO IS INEXTRICABLY linked with the culture,economy,climate

and environment of Tripura.A wide range of bamboo products like fish

traps,cattle muzzles,rain shields,sieves and basket for keeping fowl sustain

the domestic life of agrarian communities,and local conditions which

require fishing in shallow water collected in the rice fields.These are made

from local species of bamboos that grow in Tripura.Some products are

constructed by interlacing bamboo splits,while the jhakoi,d a fish trap,is

shaped from a mat that is first woven as a flat surface.Rain shields are

made by sandwiching

a layer of dried palm leaves,for

waterproofing,between two layers of bamboo

strips interlaced in an open hexagonal

weave.Tripura`s bamboo crafts,sold at local

weekly markets,ared dependent on the

systematic and skillful splitting of bamboo.A

large number of culturally distinctive baskets

and products made by the Riang and Jamatia hill

tribes are tall and conical unlike the shallow

baskets from the plains.Made from bamboo

splits in an open hexagonal and closed weave

depending on their function,they are used for

carrying and storing grains and other items.

Production clusters

West Tripura

district:

Nalchar

Churilam

Agartala

Majlishpur

Mohanpur

Jogendranagar

Sonamura

Melaghar

Teliamura

Khowai

Kalyanpur

4 A jamatia open carrying basket made entirely

of outer splits of bamboo.

5 A closed weave bamboo carrying basket used

for carrying grain by the Riang tribe.Sides of the

basket are strengthened by bamboo splits.The

change in weave from the base towards the top

gives the basket a wider mouth.

6 Mudah or stools in various stages of

production.The strips are made of bamboo and

the cane splits are used for binding.

7 Tukri,shallow storage baskets,sold at a weekly

market.

Products

Chalni-sieve

Kulha-winnowing fan

Tukri-small basket

Jhakoi-fish trap

Jhapi-rain shield

Open weave basket

Cattle muzzle

Storag baskets

Riang carrying basket

Jamatia basket

Tools

Chaku-knife

Haath dao-bill hook

knife

Takkal-broad-bladed

knife

BAMBOO CRAFTS

Production Clusters

West Tripura district:

Agartala

Nalchar

Churilam

Products

Window blinds

Room dividers

Folding screens

Figurines

Animal figures

Ornaments

Hand fans

Lamps

Mugs

Vase

Salt shakers

Tools

Dao-bill hook knife

Chisels

Files

Lathe

BAMBOO HANDICRAFTS OF Agartala are

intricate and self consciously decorated.A wide

range of screens,false ceilings,wall

panels,plaques and planters are made of

gossamer thin bamboo strips.Wall panels are

made out of solid but thinly split bamboo that is

pasted on plywood.Several containers are made

by turning bamboo on a hand

lathe.Traditionally,bamboo was used extensively

to construct houses,fences,gates,wall

panels;sieves,storage baskets and products for

agricultural use.Local entrepreneurs have been

practicing the art of fine bamboo handicrafts and

goods made from loom woven mats that are a

specialty of Agartala.

1. Turned and carved cylindrical containers

made from bamboo culm,a new product

introduced by the Agartal craftsmen.

2. Detail of poker work done on shaped

bamboo splits that have been strung to

make an umbrella which is held by a

figurine.

3. Hand fan made from bamboo mat.The mat

is woven in a warp of red dyed cotton yarn

and weflt of very finely split bamboo.Mats

are popularly used as window blinds and

table mats.

4. Detail of a bamboo mat woven with very

finely split bamboo that has been used as

the surface of a folding

screen.Craftspersons of Tripura are known

to make the finest bamboo splits which are

used as weft and woven into a cotton or

polyester warp.

5. Figure carved in bamboo root.

6. Carved figure in bamboo root that makes

creative use of the roots.

Tripura`s bamboo craft is pivoted on the techniques of bamboo splitting

done by hand with the help of a dao.Today,new machines are used for

splitting bamboo at the Common Facility Centres and training centres set up

by the government.The most recent product innovation is the carving of

bamboo roots.A number of craftsmen have taken up this work through the

offices of the State Handicrafts Developmen Corporation in Agartala.Many

new statues and composite sculpted narrative are depictedd in Bamboo root

carvings.

BAMBOO FURNITURE OF KATLAMARA

KATLAMARA WAS traditionally known for the production

of high quality poles for fishing,pole vaulting and boatig made

from a species of bamboo intensively cultivated in nearby

fields.This species of bamboo,Bamhusa affinis,is extremely

strong and solid and in recent years it has been used as a cane

substitute in the design and manufacture of bamboo

furniture.This innovation with the potential to transform the

economy of bamboo craftspersons has seen the making of

elegant products using simple carpentry tools.All joints in the

furniture are made by drilling,housing and pinning with

bamboo nails.The whole bamboo is used for the frames,and

the splits for weaving the seat and back.Contemporary

furniture such as benches,shelves and tables use whole

bamboo in a minimalistic way

1. A contemporary bench made from whole bamboo,Bambusa affinis.

2. Bamboo culm being heated and straightened.

3. Bambusa affinis,a species of bamboo cultivated as a plantation crop

for the first time by an enterpreneur in Katlamara for use in

handicrafts.

4. Contemporary furniturre design using Katlamara bamboo.The chair

is designed to be made with simple tools and uses the knockdown

construction.

Production Clusters

West Tripura

district:

Katlamara village

Products

Fishing pole

Chair

Table

Bed

Bench

Shelf

Window blinds

Room dividers

Folding Screens

Hangers

Lamps

Tools

Dao-bill hook knife

Saw,Hammer

chisel,File

PRESSED CLAY WORK OF MELAGHAR

PALAPADA VILLAGE HAS ABOUT fifty families making and

marketing dexterously fired and painted clay objects.The

craftsmen earlier mostly made wheel-based pots and pans but due

to the pressure of new materials replacing wheel thrown pots,the

craftsmen had to innovate and make alternative products for their

skills and livelihood.Now they continue to make idols,small items

of utility such as candle stands,dhoop (incense)stands,oil

lamps,flower vases,decorative wall titles and pressed functional

roofing tiles.Some of the finished products had a red colour

achieved by the application of katha over the terracotta object.

1. Die pressed figure of a horse from clay,fired and painted.

2. Clay figurines made from a mould by the slab casting

method.

3. Clay baked dies used in the preparation of a milk sweet

called sandesh.

4. A die pressed and fired clay mask of Goddess Durga.

Nowadays they also use oil paints to decorate the objects and statues

of gods and popular heroes that are a great attraction at local

melas,fairs.These statues are made using a process of press forming

inside moulds made of plaster-of-Paris that are used for making

products including dies and moulds of terracotta that are used to press

a local milk delicacy called sandesh.

Production Clusters

West Tripura

district:

Melaghar

Palpada village

Products

Statues

Lamps

Candle stands

Roof tiles

Dies for sweets

Tools

Potter`s wheel

Carving tools

Plaster-of-Paris

moulds.

BAMBOO FENCES

Production Clusters

West Tripura

district:

Agartala:

Shimna

Kamti gram

Asrai

Koryachral

Tamakdi

Mohanpur

Taranagar

Bahumiya

Products

Fences

Gateways

Window panels

Walls of Houses

Mats for Shelters

Tools

BAMBOO is used extensively in

villages of Tripura to build

shelters,fences,bridges,enclosures

for cattle,gates and building

components such as

walls,windows and furniture.The

expertise of making fences

known to people in the

villages,has become a secondary

occupation for artisans living

below poverty line.

About 1000 artisans from villages in and around Agartala have

been helped to form an organization.They gather at the local

bazaar in Agartala and disperse to various locations according

to their client`s needs.The mat surface of the fence is

interlaced from fine and coarse whole,halved or split

bamboo,and erected at site.Flattened bamboo culms are woven

to form more rigid and larger dimensioned walls.The density

of the weave is varied to suit the application.The only tool

used in the entire process is the dao,to split,dent,and skin

bamboo and also to compact the weave by beating the splits

closer to each other.The fence is further strengthened by

adding bamboo halves on both faces along the running length

of the fence,and after every seven feet vertical bamboo shafts

are added for rigidity.Posts are

added at intervals and fixed to the ground by simple

grouting.The fences function as partitions and enclosures

for domestic purposes;a densely woven fence protects and

givesd privacy.The height,density and weave used are

dependent on the location and purpose of the fence such

as a thin,rarefied fence used for a farm provides visual

boundary and keeps cattle away.

Inset : Mat panels that are reinforced with a matrix of

bamboo splits and finished with a sturfy rim are used as a

prefabricated shutter for a window opening.

Dao - Bill hook knife

Door panels

1. Flattened bamboo sheets are woven into large mats which are further strengthened by overlays of half round bamboo splits on either side to make

a complete wall module for a house or a shop.

2. Artisans weavng green flattened bamboo sheets to form a surface.The dao is used to pack the strips close together.

3. Fence for the house garden,using bamboo splits,interlaced in an open weave construction.Bamboo posts are used to support the woven length of

the fence at periodic intervals.

4. An open and airy field fence is made with vertical splits and spaced out horizontal runners usually in half splits;sandwiched on both sides of the

verticals.

5. Bamboo splits interlaced in a diagonal lattice structure,is strengthened by horizontal members and propped up as a field fence by evenly spaced

vertical posts.

6. Flattened bamboo fences are woven with alternate strips with the inner and outer layers facing in opposite becomes darker in colour.

TRIPURI TEXTILES

RIANG,JAMATIA,TRIPURIA,Chakma,Mogh are among the 19 tribes

who weave the traditional Tripuri costume of simple rectangular wraps

on the loin or body tension loom in its distinct set of motifs and

colours.The loom is light,mobile,ingeniously simple and inexpensive to

construct and made of locally available materials like bamboo and

wood.Well suited to tribal life and terrain,it is significant as a symbol of

the peoplesèfforts to remain self-sufficient.The fabrics woven on this

loom are narrow and warp dominant.The riah (breast cloth)is woven as

a single strip whose width depends on the age of the wearer while the

pasra(wrapped skirt) consists of two pieces that are joined to make the

required larger width.Other than daily

wear,some of these textiles also play a vital role

in the ceremonial and ritual life of tribal

societies and are greatly valued as heirloom

objects.Patterning,which is mostly

symmetrical,ranges from colourful stripes

running in the direction of the warp,to

figurative and geometric motifs woven in

supplementary weft that intersperse the

ground.Weaving is exclusively a woman`s

acticity and passed on from mother to

daughter,each family weaving to meet its own

needs.Traditionally woven using natural dyed

cotton,the more commercialized contemporary

pieces have almost entirely shifted to using

acrylic as a raw material,as it is cheaper and

requires less skill in weaving.

Production Clusters

West Tripura

district:

Agartala

Products

Pasra-warp skirt

fabrics

Riah-breast cloth

Tools

Loin loom

Back strap

Wooden beater

Bamboo rods

Yarn for string healds

1. A contemporary fabric based on a traditional pasra

of Tripura.

2. Single width fabric woven on a frame

handloom.The contemporary design is based on

the structure and design of traditional Tripuri

textiles which were woven on loin looms.

3. Contemporary design based on the traditional

Manipuri fabric called leisengphi which consists of

cotton silvers woven into a densely set warp

construction.Agartala has a small Manipuri

population.

4. Tripuri riah which has a perforated leno weave

pattern uncommon to loin loom fabrics since these

usually have a dense warp construction.

5. Riang riah,a narrow width fabric 19X130 cm long

that was woven on a loin loom.

6. Detail of a Tripuri riah,size19x152 cm,made from

hand-spun cottond dyed in red colour that was

extracted from madder plant.

7. The loin loom is made of a few bamboo and

wooden sticks and a continuous warp with strung

healds.It is portable and is easily set up indoors,in

verandahs or outdoors.

8. An uncut cloth woven on the loin loom,that is

worn as a draped garment by a married Riang

woman.Skirtd fabric with a single border is worn

only by married Riang women.

9. A Mogh woman wearing a pasra which has woven

on the loin loom in a single width of 44 inches.

An eri spinner

and weaver`s

house in

Mawlong

village.Rice

dried on

bamboo mat:the

courtyard;the

stones have

been broken for

use in house

construction,and

a bamboo fence

surrounds the

house.Most of

the women in

Mawlong

practice eri

culture and

spinning;men

do

agriculture,grow

lac hosts,and

produce

bamboo shooots

in brine

solution.

Crafts-

MEGHALAYA

Bambooo rain shields

Bamboo carrying

baskets

Garo bamboo houses

Cane work

Eri silk weaving

Pottery

Wood carving

Natural dyeing

NESTLED BETWEEN ASSAM in the north and Bangladesh in the

south,Meghalaya,one of the wettest places in the world,lies in a

serve earthquake prone belt.The amazingly beautiful land with its

gushing rivers,hilly terrain with pine trees,mountain

springs,lakes,luxuriant vegetation,orchids and abundant rainfall is

fertile for growing various fruits and betel nut immensely enjoyed

by the local population.The temperate forests of the state,which have

many endangered species are also home to sacred groves of the

tribal communities of the Khasi Hills.The three major tribes

inhabiting Meghalaya are the Khasis,Jaintias and the Garos who

follow a matrilineal

system unique to their tribes only.The Khasis and Jaintia

trace their origins to the Mongolian race and the Garos to

the Tibeto-Burmese race which share several

characteristics with the Bodos of Assam.The Garo women

weave a traditional wrap skirt cloth called

Dakmanda,similar to Bodo textiles.A rich variety of

bamboo thrives in the natural resources of the state that

has made a variety of cane and bamboo worked domestic

and agricultural products the predominant craft of the

state.Besides these,pottery,wood carving and

handspinning skills are also prevalent.

1. Hills around Shillong are densely

covered with forests.

2. A Khasi artisan weaves cotton cloth

on a narrow width loom with an

outstretced warp,using thread healds

and a bamboo reed suspended from

the roof,Mawlong,East Khasi Hills.

3. Weekly market between Shillong and

Jowai,where people congregate once a

week to buy and sell agricultural

produce,bamboo mats,baskets,rain

shields,rice,rice beer,and poultry.

4. A bys overloaded with baskets and

people going to a weekly market in

Cherrapunji.

Flora:

Sacred groves,

Bamboo,cane,pine,

Timber,Lac,Gum,

Citrus,Paddy,Orchid

Fauna;

Elephants,Tigers

Golden cats,Monkeys

Horn bills,Partridges

Teals,Snipes,quails

5 An Assam type construction made from wooden frames,filled with split bamboo infill panels that are plastered to form the

walls of the house,and galvanized tin roof overhangs to protect it from heavy rain.This form of local architecture,which is light

and stable,which makes it suitable for the earthquake prone region is unique to the northeast.

6 Cherrapunji receives the heaviest rainfall in the world.Seen here is rain water cascading down the hills in Cherrapunji.

7 Large open weave bamboo bins are used to ferment betelnuts.

8 Pigs are bought and sold at weekly markets in Shillong and Jowai.They are transported in bamboo baskets with open

hexagonal weave structure

Physical Features

Tura,Garo,Khasi

Hills

Shillong Plateau

Temperate Forests

Ta sek wari lake

Thadlaskein lake

Major rivers:

Simsang, Myntdu,

Barapani

Landmarks

Blue mountain

Sacred grove at

Mawphlang

Limestone carves

Nokrek Peak

Bhaitbari

ruinsMegaliths at

Nartiang

Languages

Khasi

Jaintia

Garo

Festivals

Wangala -Garo

harvest festival

Behdiengkhlamjaintia

festival

Shad Suk Mynsiem

festival at Smit

Christmas

Nongkrem dance

Do Dru-suà dance

Attire

Jainsem-khasi silk

wrap

Genkhasha-khasi

cotton wrap

Dakmanda-Garo

woman`s wrap

Daksari-Garo veil

Subclusters of Meghalaya

East Khasi Hills district:

Shillong,Cherrapunji,Mawsynram

Jaintia Hills district:

Jowai

West Garo Hills district:

Rongram,Tura

Crafts of Meghalaya

Bamboo rain shields

Bamboo carrying

baskets

Garo bamboo house

RESOURCES


Bamboo

rain shield

Bamboo

carrying

basket

Garo

bamboo

house

Shken reed

bamboo, shlew,

Palm leaf

Bamboo

Bamboo,Timber

Cherrapunji,

Khasi Hills

Khasi Hills

Garo Hills

1. Khasi artisan spinning eri silk in

Mawlong,Ri-bhoi district.Khasi woman

carries with her a spindle used for spinning

and betelnuts where ever she goes.Handspinning

is integral to her life.

2. Eri silk weavers in Mawlong.The rearing of

silk worms,hand-spinnig and weaving is

done by Khasi women in their homes.

3. A khasi artisan demonstrating how the

mould is made from a rain shield.Bamboo

rain shields are essential for agricultural

communities living in wet regions.

4. A khasi craftsperson drying silk yarn dyed

black with nuli plants and suhtung

paste,Mawlong village,Ri-bhoi district.

5. A Garo house built entirely from bamboo

and timber,on a hill slope.

MEGHALAYA IS ADMINISTRATED by three autonomous

district councils of Khasi Hills,Jaintia Hills,and Garo

Hills,the districts bearing the names of its respective

settlers.Khasis,the first settlers are believed to have come

from northern Myanmar,the Garos from Tibet,and Jaintia

from Tibet and China.Garo Hills are separated from the

Khasi Hills and Jaintia Hills in the south of the river

Brahmaputra,and have large untouched forest cover,heavy

rainfall and undulating hills.The Garos are self

sufficient;forests provided timber and bamboo for houses,

cotton is grown for weaving cloth;and a variety of products

are fashioned from bamboo.Bamboo basketry products are

sold at the weekly markets of Khasi and Jaintia Hills where

people congregate to buy and sell their agricultural

produce,poultry and pigs,bamboo baskets,mats ,rain

shields,rice beer,and bamboo shoots.Basketry is an important

craft of the khasi hills.In Mawlong,Ri-bhoi district,women

rear eri silkworms,spin and dye with natural dyes and

weave,while the men collect bamboo and store them for use

during monsoon.The crafts of the region are directly

influenced by the natural habitat and the people respond to

the seasonal changes by creating a variation in their

products,like the women weave bamboo rain shields and

baskets that are essential to daily life all through the long and

heavy monsoons.The social instittution of dormitories for

young men and boys is found in the Garo villages,where they

are housed separately from their parents,receiving training in

agriculture,festivals,sports and culture.

ACCESS

Shillong can be reached by road and through a helicopter

service from Guwahati in the plains of Assam,which has the

nearest railhead and airport.It is connected by road with

Cherrapunji and interior villages in Khasi Hills district.The

nearest airport to Tura,headquarters of West Garo Hills is in

Guwahati and the nearest railhead is at Guwahati in Assam.

BAMBOO RAIN SHIELDS

CHERRAPUNJI,WHICH lies in this region,receives

the world`s heaviest rainfall.Cultivators in the

neighbouring areas completely depends on the krup

or rain shield,that helps keep their hands free to work

on steep hill slopes,

which are characteristic to the region.The knup,shaped like an inverted teardrop when

worn,has the border end curving inwards while resting on the head.It is woven in a

hexagonal weave in two layers of locally available materials-shken,a reed bamboo;and

dry palm leaf called shlew.Two layers of palm leaves are held between the woven

layers for waterproofing and the shield is woven from strips of shken over a mould

made from bamboo splits.The outer layer is formed first in fairly large hexagons,the

splits are folded back at the edge and compacity woven a short distance into the other

elements.The inner layer is woven

more finely with dried palm leaves

tacked with bamboo pins into each

layer independently and

sandwiched,and the edges sewn

together with fine splits of

bamboo.Rain shields are made

professionally by women and sold

in weekly markets held in Khasi and

Jaintia hill districts and also sold in

Bara Bazaar in Shillong,the capital

of Meghalaya.

Inset The outer layer of a rain

shield,with the bamboo mould,palm

leaves and bamboo reed splits.

1. Rain shields are made with a

mould prepared from bamboo

splits.

2. Rain shields are essential

products in the region which

receives the heaviest rainfall

in the world.

Production Clusters

East Khasi Hills

district:

Cherrapunji

Products

Rain shields

Carrying baskets

Winnowing trays

Storage baskets

Tools

Dao-Wide-bladed

knife

Bamboo mould

BAMBOO CARRYING BASKET

THE COARSE CLOSED weaved Khasi

basket stands apart in a crowd of other

square based baskets of the northeast due

to its stark conical form with a large rim

and sides dropping off steeply to meet at a

point.Mainly used for shopping,it is

carried on the back with the help of a head

strap worn around the head.The strap is

broad braided band that is terminated at

both ends into a tubular cavity which

receives a twisted bamboo rope knotted at

one end to lock into this cavity.The base is

strengthened by four splints shaped like

long stakes to fit into the weave of

bamboo made from the node

thickness.The bamboo closed weave

carrying basket made by the Garos is

another sterling example of refined

craftsmanship.It is bigger in size

suggesting that they are able to carry

heavier loads of grain due to the hills

being less steep in their region.The base

has a double lining and the entire basket is

reinforced by broad and thick strips of

bamboo which run all along the sides of

the basket and the base.The rim detail also

gives it strength.

Production Clusters

East Khasi Hills

district:

Shillong

West Garo Hills

district:

Tura

Products

Khoh-khasi

carrying basket

Garo carrying basket

1. Closed weave carrying baskets

made by Khasi women,are sold in

the Bara Bazaa in Shillong.

2. Craftsman weaving a bamboo

basket in Mawlong in Ri-bhoi

district.

3. A Garo closed weave bamboo

basket used for carrying grain and

other shopping items

4. Miniature replicas of Khasi baskets

sold as souvenirs.

Nokpante,a dormitory for young men and boys,plays an important role in Garo culture,where these bachelors are given education in arts,cultivation and life

skills by their elders.

GARO BAMBOO HOUSE

Production Clusters

West Garo Hills

district:

Rongram region

Sadolpara village

Sasatgre village

Products

Nokachik-Garo house

Nokpante -

bachelor`s dormitory

Borang-watchtower

Jam nok-granary

Tools

Dao-bill hook knife

Saw

Hammer

Chisel

GARO HOUSES CALLED nokachik are long bamboo structures built

on wooden posts varyings from 10 to 45 metres in length and dd3 to 7

metres in width.Built in the dry season,locally grown bamboo and

cane,timber of rubber trees and dried palm leaves are used in their

construction.The house has several rooms,

arranged in a long row between the open porch at the

valley end and the balim,verandah,at ground level

where sometimes a cow is tied on one side.The living

room called dongrama has an ongare,fireplace,in the

centre that has a plinth and a smoking shelf above to

preserve baskets and food items.A toilet is attached to

the living room.Besides these,it has a

bedroom,kitchen,and aleng,porch,used for pounding

rice.Each man builds his own house,assisted by the

villages and women,the main construction work done

by youngsters under the supervi-sion of the elders to

ensure that the values and traditional knowledge is

passed on to them.The main feature of the houses is in

the extensive use of bamboo in the structure and

building of the internal dividers,a shelf and the

framework of matrix of bamboo poles for the

walls.The walls and floor of the house are made of

wide mats woven from flattened bamboo

boards,structurally stabilised to support the mats.The

chief`s house,bachelor`s dormitory,granary and a treetop

watchtower are other structures built by the Garo.

1. Back view of the nokpante,bachelor`s dormitory,showing a variety of ways in which bamboo is used in house construction.

2. Interior of a Garo house showing the third room which serves as the kitchen.

3. The plinth of the fireplace is constructed very carefully,as the entire house is made from inflammable materials.Above the fire is a shelf for storing

baskets,rice beer and items that need to be preserved.

4. View of the house interior showing flattened bamboo boards used for weaving wall panels,and whole bamboo lashed to the walls for strengthening

them.

Handmade in India

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?