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
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.
Floor loom Thandu - bamboo rollers Pegs, Shuttle, Scissors Wooden tripod
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.
Polishing stone Long hooded needle
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.
RESOURCES
Crafts of KANNUR Bronze casting
Craft
Raw Materials
Sources
Ship building
Nettur petti
Anjili, Jackfruit and Rosewood, Velvet and Brass
Chakai, Thiruvananthpuram
Wood carving
Kumizhu wood
Kannur
Bronze casting
Brass, Copper, Tin, Zinc Kannur
Kathakali & Theyyam headgear Nettur petti jewellery boxes Symmetric wood stringing 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 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.
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 The Moosaries, the community of traditional metal workers of this region, are Kannur district: adept at creating idols of various Brahmanical deities using the lost wax Payyanur process. These are modelled on the human Korom body as per rules laid down in the Thayineri canonical text known as the Shipla Shastra wherein strict iconographic rules and a Padoli system of measurement based on the unit Kunhimangalam as the tala, the distance between the hairline and the end of the lower jaw, is Kasaragod district: laid down. The process begins with the Kasaragod preparation of a mixture of pure beeswax, Thiruvananthpuram resin from a tree and groundnut oil. Using district: a spatula, knife, and scraper, this subtance Thiruvananthpuram is fashioned into the pattern; the head, body and limbs are thus individually fashioned Thrissur district: and joined. Wax cross strappings and Ifinjalakuda runners are then affixed at appropriate locations to strengthen the wax pattern as Vadakkancheri well as to facilitate the flow of molten Palakkad district: metal into various parts. The surface of this model is now coated with Mannapra Production Clusters
Kannambra Nenmara Alathur Angadipuram Products Bronze idols Tools Chisels Files Coke furnace Crucible Clay / graphite curcible Cloth wound metal ring Iron rod and wire reinforcements
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.
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.
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.
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.
Detail of large planks tied together using handmade coir ropes and beaten coconut fibres.
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
KATHAKALI AND THEYYAM HEADGEAR Production Clusters Kannur district: Payyanur Products Kathakali and Theyyam headgear Tools Uli - chisels Vallamitti - flat chisels Arani - files
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.
Alavattu - marking tool Compass Bow drill
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.
Production Clusters Kannur district: Nettur Thiruvananthpuram district: Thiruvananthpuram Chakai Products Nettur petti jewellery boxes 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.
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.
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 Districts - 27 Craftspersons - 2.88 Lakhs
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.
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.
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.
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 Inset : Detail of stone carving in the Mysore Palace. Western Ghats in Kodagu district, has supported irrigated agriculture. The state has seen significant industrial
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
RESOURCES Craft
Raw Materials
Metal casting
Copper, Zinc, Lead, Silver Bangalore & Gold
Stone carving
Granite & Soapstone
Shivarapatna
Wood carving
Shivani wood
Forests of northern Karnataka
Rosewood, Teakwood
Mysore
Hale wood, Lac, Wood dust, Kewra leaf Screw pine
Channapatna
Wood and lac turnery
Crafts of BANGALORE
Sources
Metal casting Stone carving Wood carving Wood and lac turnery of Channapatna
A bamboo artisan fabricating a bamboo tray for cocoon rearing, Hanumanthnagar. A veena craftsman in his workshop. Kanaswadi has several veena making craftsmen.
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 Tools METAL CASTING
Blower
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.
Box moulds Tongs Clay crucible Chisels Buffing machine 1. Brass image of Vishwakarma, the architect of the universe. Emery paper 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.
STONE CARVING
Production Clusters
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.
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. 2. 3. 4. 5.
Craftsmen applying coloured lac on a turned toy. Turned wooden and lac coated toy kitchen set : utensils, rolling pin and base, stove and a grain grinder. A craftsman displays a new product such as the candle stand, developed for export by designers in collaboratoin with craftsmen. Lathe turned lac products : button and napkin rings 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
RESOURCES Craft
Raw Materials
Sources
Sandalwood carving
Sandalwood
Government timber depot
Rosewood carving
Rosewood
Mysore
Karnataka & Kerala
Chamrajnagar district:
Soapstone carving
Soapstone
Heggada Devarayana Kote
Mysore painting
Semi precious stones
Jaipur & Bangalore
White lime
Locally available
Kodagu district: Madikeri Mysore district:
Chamrajnagar Mandya district: Mandya Nagamangala
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.
Locally available
Sandalwood carving
Ganjifa cards Cloth, Leather, Palm leaf, Sandalwood, Paper
Rosewood inlay
Metal casting Metal sheets
Mysore, Bangalore
Sheet Metal embossing
Silver, Bronze, Gold
Mandya, Mysore, Bangalore
Terracotta
Clay
ACCESS Mysore is well connected by road and rail to all the major towns. The River Laxman nearest airport is in Bangalore 139 km.
Tibetan carpets
Wool, Cotton
Mysore
Crafts of MYSORE
Soapstone carving Mysore painting Ganjifa cards Metal casting Sheet metal embossing Terracotta Tibetan carpets
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.
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
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
Furniture Toys Table top products Animal figures 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
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.
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
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.
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.
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.
Production Clusters
Painting of Goddess Rajeshwari before the application of gold leaf.
Tools
Mysore district: Mysore Bangalore district: Bangalore Rumkur district: Tumkur Products Paintings
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. 2. 3. 4. 5.
Tortoise or kurma avatar ganjifa cards. Ganjifa card with Mysore style of painting. Unvarnished cards Varnish being applied on the ganjifa card. Brushes and pigments used in painting.
METAL CASTING Production Clusters Mandya district Jagamangala Mysore district: Mysore Products Metal Idols Tools Hammer, Saw
Hands, halo and feet, for the idol cast in the hollow method.
Chisels, Files
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.
Furnace Engraving and chasing tools
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
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
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
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 Tools Hallige - mallet Kallu - supporting stone
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.
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 Floor carpets carpet with dragon motifs. 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
Craft
Dakshina Kannada district:
Stone carving Krishnashila - black granite stone
Karkala
Mangalore Surathkal
Rosewood carving
Government timber depots
Udipi district:
Bronze casting Copper and Tin
Udipi
Udipi
Yakshagana costume making
Surathkal
Karkal Kundapura
RESOURCES
Shimoga district:
Raw Materials
Rosewood
Kinnal wood, Cotton, Velvet, Wool and Silk cloth, Lightwood, Ribbons, Imitation gold leaf, Beads, Peacock feathers
Sources
Shimoga
Bhoota figures Halsa - jack wood
Mangalore
Bhadravati
Terracotta
Clay
Puttur
Sagar
Mooda - rice packaging
Rice straw
Dakshina Kannada district
Areca palm leaf craft
Areca palm leaf, Sheath
Honkankere
Hassan districtL Hassan Crafts of MANGALORE Stone carving Rosewood carving Bronze casting Yakshagana costume making
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.
Bhoota figures Terracotta Mooda - rice packaging Areca palm leaf craft
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.
Production Clusters Udipi district: Karkal Naravi Alabengadi Dakshina Kannada district: Mangalore Kolar district: Shivarapatna Belgaum district: Belgaum
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
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.
Production Clusters
Inset : A rosewood mantapa or shrine for use in homes, Belgaum.
Devara mantapa shrine
Shimoga district: Sagar town Mysore district: Mysore Products Chairs Tables Dining sets Cabinets Pillars Brackets Doorways Preetha - seat for idol
Tools Wood turning lathe Sandimg machine Cutting machine
Wood chisels Saws Hammer
TERRACOTTA AND POTTERY Production Clusters Dakshina Kannada district: Puttur Shimoga district:
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
Puttur Udipi district: Udipi Products Lamps Incense stands Water pitchers Water Coolers Candle stands Pots Tools Potter`s wheel Bamboo knife Wooden mallet Stone Sooji - needle
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 1 Incense burners in different colours and finishes, Udipi. within. 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 6 Four spouted water storage tank, Udipi. openings - the spout on one side which receives the wick, and a 7 Water pot with a plastic tap and a stand for support, hole at the bottom, which connects to a vertical tube inside that Bhadravati. 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.
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.
Production Clusters
A female figure astride a carved wooden boar, from a museum collection.
Uttara Kannada district
Dakshina Kannada district: Mangalore Udipi district: Udipi, Mekkekattu, Kumdapura
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.
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
Headgears of different characters: 1. Demon 2. King 3. Hero
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
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.
Mask Image Tools Blower Box moulds Tongs Clay crucible Furnace Chisels Buffing machine Emery paper
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 1. Woman wearing an areaa palm sheath cap. Areca nut, more commonly known as betel nut, is the seed of 2. Areca palm sheath cap worn by a farmer. 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 Caps made out of dry areca palm sheath. 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.
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
RESOURCES Craft
Raw Materials
Sources
Terracotta and pottery
Clay
Sandur
`Omand matthi` for glaze, Soil
Kumaraswamy Hills
Fabric
Hubli, Dharwad, Ilkal, Guledgad
Sandur Hampi Davangere district: Davangere Raichur district:
Banjara embroidery
Potter at Kumbhar Galli giving shape to the surface of the pot.
Raichur, Potnal Koppal district: Koppal Chitradurga district: Chitradurga Crafts of BELLARY
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
Terracotta and pottery Banjara embroidery Sheet metal embossing
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.
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.
TERRACOTTA AND POTTERY Production Clusters Bellary district: Sandur Raichur district: Potnal Products Harvi - medium sized pots
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.
Padga - small pot Kundli - flower pots Wole - cooking stove Hundi - saving box
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.
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:
Inset : Gola and phullaliya used as a support while carrying water containers.
Raichur: Bettadur tanda
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.
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.
Production Clusters Chitradurga district: Chitradurga Mysore district: Mysore Mandya district: Nagamangala Products Ritual objects Kavacha - metal claddings Mudi - head ornaments Detail of an embossed brass plate depicting the peacock mount of a goddess.
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
The whispering gallery inside the Gol Gumbaz has an unusual acousitc system which produces echoes.
Bijapur district: Bijapur Bidar district: Bidar Gulbarga district: Gulbarga Bagalkot district: Bagalkot RESOURCES Craft
Raw Materials
Sources
Surpur painting
Waterman paper
England
Paints
Jaipur & local markets
Zine & Tin ally, Silver
Bidar
Bidri matti (mud)
Bidar fort
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.
Sheet metal work Copper, Brass, Gold, Silver
Locally available
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.
Banjara embroidery
Fabric
Locally available
Bidri craftsperson.
Wood carving
Teak wood
Dandeli, Hubli, Kirwati
Bidri ware
SURPUR PAINTING
Production Clusters
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.
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
Production Clusters
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 Inlay work done on a box. during the reign of the Deccan Sultanate.
Bidar district:
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.
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 The craftsmen in Bijapur have migrated from Agarkhed where the craft had originated two centuries ago. They Bijapur district: produce ornate metal kalashas, pots, chariots, umbrellas and claddings for religious purposes. The designs are Bijapur carved in relief after filling it with lac or wax inside the Muddebihal kalashas. In case of a metal sheet, it is placed on a bed of Chitradurga lac and the design is incised, embossed and chased. The district: motifs are of gods and goddesses such as Ashtalakshmi, Veerbhadra, Ganesha and Dasavatara, with elaborate Chitradurga ornamentation around the central motif. In Karnataka, sheet Nayakarahatti metal claddings are of silver, bronze and gold mounted Udipi district: with precious or semiprecious stones glass simulations of ruby and emerald. These metal claddings are meant to Udipi cover the installed and processional images in the temple. Kundapura 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 Products royalty and individuals. Rath, silver chariots, are made for Kalashas - metal pots the temple, smaller in size to their wooden counterparts, in which the embossed silver sheets are overlaid on wood. Rathas - chariots Kavacha - metal claddings Tools Punches, Dies Chisels Hammers
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 Chalukya and Rastrakura styles. A recent innovation is he use of and have migrated from Surpur where their ancestors metal images in the wood work especially for the main deity that is were based. They worked in the palaces of the Nayakas cast by them. Teak and neem wood are used for carving. 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.
Production Clusters Gulbarga district: Gulbarga Products Doors, Brackets Animal figurines Idols Tools Chisels, Drill Hammer, Gouges
Crafts of BELGAUM
Craft
Raw Materials
Kasuti embroidery
Kasuti embroidery
Thread, Mirror, Locally Cloth available
Gold jewellery and silver ware
Gold & Silver
Recycled
Gems
Jaipur
Cotton thread
Locally available
Gold jewellery and silver ware Dhurrie weaving of Navalgund Subcuslters of BELGAUM
RESOURCES
Dhurrie weaving of Navalgund
Sources
Belgaum district: Belgaum Dharwad district: Dharwad Hubli Navalgund Uttara Kannada district: Karwar Sirsi
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.
Production Clusters Dharwad district: Dharwad
Inset : Detail of a kasuti motif of a linga, the symbol of Lord Shiva.
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
Man walking down a street in Panaji at siesta time.
Bamboo products in the market at Mapusa.
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.
Flea market at Anjuna beach, a popular tourist place. Banjaras or gypsies, sell their handcrafted wares at such markets.
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
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
RESOURCES Craft
Raw Materials
Sources
Kashta kari
Rosewood, Teakwood, Jackfruit wood, Jungle wood
Canacona and Sanguem district
Painted wood
Mango and amba wood
Local forests
Coconut husks
Mapusa weekly market
Boat making
Coconut craft
Terracotta
Crochet
Cotton yarn
Mapusa weekly market
Coconut based crafts:
Terracotta
Lal mati -red clay
Bicholim
Otim kaam
Old brass
Mapusa
Frond plaiting
Maniche kaam
Bamboo
Rope making Saran - broom making
Pernem, Bicholim, Bardez, Tiswadi, Sattari district
Dhatu kaam Copper sheets
Hubli, Karnataka
Naalache kaam coconut shell craft
Shimpla hast kala
Beaches of Goa
Dhatu kaam - copper ware
Leather craft Cured leather
Shimpla hast kala seashell craft
Fibre craft
Crochet lace Menawati - candle making Otim kaam - brass ware
Seashells
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.
Mumbai, Belgaum, Kolhapur
Kumiyo and Kevni fibre Quepem district
Maniche kaam bamboo work
Subclusters of GOA North Goa district: Asagaon Bicholim Calangute Divar Island Mandrem, Mapusa Mulgaon, Mangueshi Panaji, Pernem Provorim Sanquelim, Siolim
The making of copper port in the final stage of Wooden chair being ornamented by hammering, Mapusa. carving.
Woman plaiting coconut frounds, Asagaon.
A craved wooden sofa from a house in Old Goa. Production Clusters South Goa district: Canacona Sanguem Cuncolim North Goa district: Bicholim Products Carved furniture Mirror frames Boxes
A divan made of teak carved in the Portuguese style.
Photo frames
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.
Bookshelves 1. 2. 3. 4. 5.
Wood carving in low relief at a cathedral, Old Goa. Carved four poster bed, Chandor. Cupboard detail of and embossed grape leaf, Panaji. Carved chair at the Panjim Inn Hotel, Panaji. Carved wooden cupboard and chair from the collection at the Braganza House.
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.
1. Detail of a garment made of Lace, Panaji. 2. Table accessories made by tatting. 3. Oval table cloth with delicate lace work, Panaji.
Production Clusters North Goa district: Panaji Mapusa Asagaon Mulgaon South Goa district: Sanguem 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
1. Moulds used for making candles, Old Goa. 2. Candles burning at the church altar, Old Goa.
Inset : Three dimensional crocheted table mat.
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.
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 Niranjan, used for rituals by priests in temples. various parts of the lamp are made seperately and then assembled. The pieces are finished and engraved by hand.
Production Clusters North Goa district:
Inset : A three tiered brass lamp used during worship at the Mangueshi Temple.
Mapusa
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.
Bicholim
Sanquelim
Products Niranjan - brass lamps Samala - large lamps Kalash - ritual vessel Tapli - small vessel A decorative diya stand similar in vocabulary to the catholic candle stand.
Kahlbatt - mortal and pestle Peep - small vessel for water Attar dandis perfume sprinkler Tools Moulds Lathe Machine Buffing machine
A candle stand
Container and spoon for holy A multi tiered brass lamp about 3 feet tall. It is water given to devotees in used to light oil wicks placed in the grooves around each tier. The lamp is lifted by both hands temples. and used during worship. 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 Detail of a boat under construction, Madkai.
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.
TERRACOTTA Production Clusters North Goa district: Bicholim Calangute Products Cooking pots Small lamps Idols, Sculptures, Planters, Vases
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
Masks Pen stands Paperweights Candle stands Plates Tools Thaparno - flattening tool Carving tools
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
Production Clusters
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.
Villages all over Goa
Naalache Kaam - Coconut Shell Craft
Window shutters
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.
Products Coconut leaf plaiting: Rooft thatch Rain shield Sandals, Bags 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.
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 fibre from coconut husk is twisted to make ropes.
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
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.
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.
.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 Traditional copper jewellery box,Mapusa. 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
Serving plates Tumblers Confro,a pot for steaming idlis,Mapusa. Tools Katar-scissors Hathodi-hammers Kanas-file Chimti-tongs
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
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.
Jewellery Tools Drillin machines cutting machines
Jewellery box made of a combination of shell and
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.
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
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.
South Goa district: Quepem Products Bags Ropes Coasters Tablemats Tools Knife,needle
Sisal fibre has been dyed and plaited into narrow strips.These are made of looped rows that are stitched together.
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
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.
Fauna: Tigers,Lions,Panthers, Deer,Antelopes Water Buffalo
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.
RESOURCES Craft Terracotta and Pottery
Raw Materials
Sources
clay
Vaghchhipa
Language Gujarati Bhildoli or Bhili Hindi
Bamboo fish traps Bamboo
Silvassa,Khanvel village
Fishing nets
Nylon
Silvassa,Dudhni village
Bamboo baskets
Bamboo
Silvassa , Vaghchhipa village
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
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.
Ice cream sticks 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.
TERRACOTTA AND POTTERY 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
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
Tools
Nani gadvi-small pot
Panko-stone
Loti-glass
Tipni-beating tool
Taadi nu ghadiyaliquor container
Bhatti-furnace
Ghumat,Bonbhi
Tachka or Areetha polish
Baramdev-votive offerings
Fishing net,Cloth string
Choras bedhu-water container
Kaplu-metal piece
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
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.
Production Clusters Silvassa Dudhni village Products
Detail of a handmade fishing net.
Fishing nets
Fishing net. 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
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.
Biodiversity
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.
Nani Daman Fort
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 Church of Our Lady of The Sea Devka Beach Jampore Beach Diu: Diu Fort
Portuguese
St Paul`s Church
English
St Thomas Church 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.
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.
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
Districts - 25 Craftspersons - 3.32 Lakhs
Mata ni pachediritual cloth painting Patola weaving
Landmarks
Mashru weaving
Gandhi Ashram
Ari embroidery
Adalaj stepwell
Bohra caps
Lothal
Silver ornaments
Modhera Sun temple
Sankheda furniture
Nal Sarovar Bird Sanctuary
Pithora wall painting
Gir Forest
Bead work
Sarkhej Roza
Terracotta and Pottery
Agate stone work
Textile Market,Surat
Brass and copper ware
Palitana temples Watson Museum and Library
Marquetry
Sidi Syed Jali
Mask making
Calico Museum of Textiles
Patku weaving
Shreyas Folk Museum Languages Gujarati Kachchhi Kathiawadi Sindhi
Sujuni weaving 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.
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
RESOURCES Crafts
Raw Materials
Clay relief work
Chikni mitti or babro mitti - Kaalo Dungar mud hills
Kachchhi embroidery
Mirrors
Markets in Bhuj/Khavda
Painted terracotta
Geru-red clay White clay Black clay
Khavda,Bhuj
Kachchhi embroidery
Silk threads Silk floss Dyed cotton
Bhuj
Rogan painting
Castor oil
Markets in Bhuj or Khavda
Bandhanitie-resistdyeing
Cotton cloth
Ahmedabad
Silk cloth
Surat
Rogan painting Bandhani-tie-resistdyeing Applique Namda-felt making Leather work Wood and lac turnery Wood carving Arakh printing Silver work Subclusters of KACHCHH
Sources
Woollen shawls
Bhuj
Applique
Coloured thread Old pieces of cloth
Old or unused rags
Mirrors
Bhuj,Kapadvanj
Namda-felt making
Wool
Bhujodi,Lakhpat Or Bikaner in Rajasthan
Cotton
Bhuj
Wood and lac turnery
Wood-Babul , Khau(Wild olive), Roido(Tecoma undulata) or Neem(Azadirachta Indica) Lac, Chemical colours
Bhuj
Ajrakh printing
Wool(Block making)
Bhuj
Nirona village
Cotton cloth
Ahmedabad
Rapar,Zura village
Natural dyes
Ahmedabad
Silver
Bhuj
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
Silver ware
Bell making Iron,copper,Brass,Cotton and wood
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.
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
Production Clusters
Shelves,Windows
Kachchh district: Ludiya, Gorewali, Banni, Baniari 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. A craftswoman selling an assortment of terracotta products in Bhuj.
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 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 Products Ghaghara-skirt fabric Ochad-covering Masar-scarf Toran-door hangings 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.
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
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
Odhani-veils Abho-garments Rumal-square cloths Sari,Yardage Stoles,Shawls Salwar and kameeztunic and loose pants 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:
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
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.
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.
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.
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
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.
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
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.
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.
A toran or door hanging executed in punched leather backed with mutlicoloured fabrics. Production clusters Kachchh district: Bhirindiara,Dhordo Kuran,Khavda 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.
Hodko,Kunari Dumado,Dinara Gorewali Products
Tools
Chadda-leathers ropes
Krapli-marking tools
Paagrakha-footwear
Karpa-scrapers
Chappal-slippers
Rampi-scraping knives
Mojari-shoes
Moti ari-large awls
Toran-decorative door hangings
Nani ari-small awls
Hand fans
Soi-needles
Horse saddles
Cutters,Pliers
Camel trappings:
Dhoka-wood Kalbut-lasts
Chalmadto-covering for the seat
Mogri-iron beetles
Thada-belt
Hathodi-hammers
Tung-necklace
Kol-buffalo horns Salari-stone slabs
Mirror frames,Wallets
Punches
Folders,Bags,Pouches
WOOD AND LAC TURNERY Production Clusters Kachchh district: Nakhatrana Nirona,Lakhpat Bachau,Ludiya Dhamadka,Rapar Products Kharni dasto-mortar and pestle Boxes,Cradles Velan-rolling pins
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.
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
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
Kath-cots
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.
Pinkan-cradles
Tools
Sanjira-cupboards
Gol katni-compass
Pattiyo ki patia-trunk stands
Kuniya-right angles
Pankheda-camel saddles
Chisels:
Kachchh district: Gandhi Nu Gaan Hodko Khavda Products Manji-carved stands for quilts
Danthari-rakes Sentha-pitchforks Ghanti-grinding mills Manh mandhi-buttermillk churners
A collage of different sizes,depths and styles of squares form this traditional pattern,usually seen on wooden doors.
Kuada-axes Chorsi-flat chisels Vinjano-chisels Vinjani-small chisels Hathoda-hammer Ravath-files
Hand fans
Randoh-planers
Raal-book stand for scriptures
Hansaro-saw bucks
Chairs,Frames
Karvatar-frame saws
Legs for furniture
Kanus-files
Wooden columns
Sanghado -hand turned lathes.
Pillars,Brackets
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.
Karvat-saws 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 Tools
Detail of a rekh or outline block;the taveez motif represented is commonly used on the borders of the textiles produced.
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
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.
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
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
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.
Tools Hammer,Furnaces Punches,Files Pliers,Tweezers
BELL MAKING Production Clusters Zura Nirona Products Bells 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.
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.
RESOURCES Craft
Raw Materials
Sources
Subclusters of RAJKOT
Bullock cart making
Baval wood
Ahmedabad
Rajkot district: Rajkot
MetalBrass,Industrial metal
North Gujarat
Mangrol
Wood and metal Wood embossing
Palitana, Ahmedabad
Brass
Dhrangadhra, Shihor
Sandstone or Dhrangadhra stone
Quarries in and around Dhrangadhra
Stone carving
Junagadh district: 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.
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 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.
Subclusters of AHMEDABAD
RESOURCES Craft
Raw Materials
Sources
Kite making
Tissue paper
Delhi and Kolkata Pune and Hyderabad
Viramgam
Bamboo stick
Assam,Kolkata
Gandhinagar district:
Cotton sewing threads
Ahmedabad
Ahmedabad district: Ahmedabad
Pethapur Mahesana district: Mahesana Visnagar Patan district: Patan, Siddhpur, Sami, Harij, Radhanpur Sabarkantha district: Himmatnagar, Shamlaji, Sanali, Idar,Poshina Banaskantha district:
Glass powder
Dariyapur,Ahmedabad
Block making
Saag wood
Ahmedabad
Mata ne pachediritual cloth painting
Unbleached cloth(kora madarpat)
Valsad,Mills in Ahmedabad
Vegetable dyes
Ahmedabad
Blocks(teak wood)
Pethapur
Patola weaving
silk
China,Korea and Brazil
Mashru weaving
Rayon yarn
Surat
Cotton yarn
Surat,Ahmedabad
Wood carving
Ambaji Danta
WoodAhmedabad saag,sevan,Sheesham,Teak
Palanpur
Silver silver ornaments
Ahmedabad
Crafts of AHMEDABAD
Beaten metal utensils being sold at Manek chowk,old city of Ahmedabad.
Kite making Block making
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
Mata ni pachediritual cloth painting
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.
Patola weaving Mashru weaving Ari embroidery Bohra caps Wood carving Silver ornaments
An elderly lady sitting on the doorstep of her home at the 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.
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
Production Cluster 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,
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.
Ahmedabad city: Jamalpur Shahpur Paldi Products Manja-kite thread Firki-thread roll Kites 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
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 1 A contemporary mata ni pachedi. divine cosmic energy of the mother 1a A detail of the hand-painted pachedi depicting the Goddess as Mata goddess and the unified Vahanvati,riding a vahan,ship.The craftsman has elected to draw each pictorial element manifestation of the creative and the rather than use the conventional block printing and has explored a new colour palette destructive principles in her derived from indigo, ferrous sulphate, turmeric and ponegranate powder, alizarin, iron person.Pachedi is used as a canopy filings and the mordant alum. 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
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.
Scissors
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.
Inset An ari worked elephant form.
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 THE BOHRA CAP derives its name from its exclusive use by the men of the Dawoodi Bohra community.Worn on various religious occasions Ahmedabad district: 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 Ahmedabad sartorial code that identifies the Bohras amidst the larger Islamic Patan district: society.Using a crochet technique wherein the surface is constructed by Radhanpur 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 Vadodara district: crochet is begun at the centre and proceeds in a spiral Vadodara Production Clusters
Surat district: Surat Products Bohra caps Tools Kanto-crochet hook Aluminium vessels Die
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.
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.
Ahmedabad district: Ahmedabad Barejadi Patan district: Patan Siddhpur Products Silver-coated wooden objects Doors,Windows.
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. The domestic architecture of the old city of Ahmedabad is characterized by the profuse use of intricately detailed wood carving
Production Clusters
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
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.
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.
Thosiya/ookhaniyuearrings Bajariyu-thick anklets Aathado-simple anklets Kadalu-anklets worn by the Vaghris and Thakurs Hansadi-rigid necklaces Jhumanu-coin necklaces Tools Bhatti-furnace Hammer Files Pliers Tongs
Large gold beads strung and mounted on a cord,Mangrol in Junagadh district.
A doyanu,men`s earstud,wornd in the middle section of the earlobe,Patan.
The rigid necklace or torque,the hansadi,is solid with a pattern that has been punch stamped.
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 MumbaiAhmedabad line.The airport at Baroda serves the districts that are located in the corridor of Gujarat which are adjacent to Maharashtra.
RESOURCES
Crafts of VADODARA
Craft
Raw Material Sources
Sankheda furniturekharadi kaam
Teakwood Tin
Sankheda,Dangs district
Sankheda furniture
Silver ornaments
Silver
Ahmedabad,Ratlam
Silver ornaments
Bead work
Beads Chota Udaipur Nylon threads Woollen threads
Pithora painting 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
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.
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
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.
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
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.
Animals,birds,insects,a row of musicians,farmers,king riding Production Clusters an elephant are part of the procession.Two vaghda,tigers,guard Panchmahal district the enclosure.The house of ammunition and a grain storage symbolize royalty. Dahod district Vadodara district Products
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
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.
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 Tools Bhatti-furnaces Hammers Files Pliers Tongs
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.
AGATE STONE WORK Products Mala-necklaces Paperweights Toys Lampshades Nameplate Photoframes Ritual 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
Imitation Jewellery Idols
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.
Sculptures Statues Displaying objects 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
TERRACOTTA AND POTTERY 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 Products Household utensils; Ghado,Bedu Charudi,Ghodi-pots Lota-tumblers BRASS AND COPPER WARE
Badna-pots with handles
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
Garba-lamp containers Garbi-pots 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.
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
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.
RESOURCES Crafts
Raw materials
Sources Surat
Marquetry
Wood, Acyrlic mosaic
Patku weaving
Cotton yarn Ahmedabad, Delhi
Sujuni weaving
Cotton , Silk, Surat Golden thread
Devruembossed metal
Silver
Mumbai
Ahwa,Dungarda
Copper
Surat
Ambapada,Waghai
Lac
Dang forest
Bamboo
Forest in Waghai(under government regulations), Vasada, Billimora
Lilu vaasgreen bamboo
Dang forests (under government regulations)
Surat Valsad district: Amba jungle Dharampur Virakshetra Bharuch district: Bharuch Dang districr:
Narmada district: Jharnawadi Hathakundi Dediapada Crafts of Surat Marquetry Mask making Patku weaving Sujuni weaving Vaaskaam-bamboo crafts Devru-embossed metal ware
Vaaskaambamboo crafts
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.
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 AhmedabadMumbai 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 Tools Chisels Cutters Measuring scales Details of a marquetry panel,surat.
A detail of the corner of a marquetry ornamented box from Surat.
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.
Production Clusters Valsad district; Amba village Products Ritual 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.
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
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.
charkha-spinning wheels Tapela-dye vats
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.
Tokru-large stick for washing Dandaku-sticks for prodding the yarn while dyeing otha-measuring stick
SUJUNI WEAVING Production Clusters Bharuch district: Bharuch Products Quilts Blankets 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.
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.
VAASKAAM-BAMBOO CRAFTS
Production Clusters
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.
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 Tools Dhoriyu-knie for scarping Blue lamp Chari-knives Aari-hacksaws Hathodi-hammers Drills Bhid Pakad-pliers 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.
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
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.
Virdev,the form of the equestrian soldier,is widely workshipped by the tribals.
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.
At Dharampur,a devru in which the sun,the moon and a cow feature as primary pictorial characters.
Production Clusters Valsad district: Dharampur Products Devru-embossed silver ritual objects Tools Farma-dies Hathodi-hammers Pakkad-pliers Katar-scissors
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 Districts - 30 Craftspersons - 3.24 Lakhs
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.
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
Pandavleni caves near Nasik that house Jain teerthankaras or saints are over 2000 years old.
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.
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
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 The central part of Maharashtra is Desh;Konkan is the narrow Pune has preserved some of the most unique artefacts of coastal lowland lying between the Arabian Sea and the Sahyadri crafts and traditions that are integral to the daily Range famous for its Alphanso mangoes;Vidarbha has rich natural existence of the Maharshtrians like chitrakathi resources in its cotton growing soil;Marathwada boasts of two paintings,which are visual depictings of stories narrated famous UNESCO world heritage sites in India-the Buddhist caves at by the story tellers. Ajanta and the rock-cut temples at Ellora.Khandesh,the region under the Tapi River Valley,is famous for its alluvial Inset A detail of the stone carving at the Kalaram Mandir,Nasik,built in the 16th century AD. 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 topographyKonkan, Vidarbha,Desh (Deccan Plateau), Marathwada and Khandesh.
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.
Festivals Nag Panchami Narali Pournima Gokul Ashtami Ganesh Chaturthi Gudi Padva Pola Dussehra Diwali MakarSankranti Holi Id-ul-fitr Pateli Hannukah-jewish festival
Intricte carving at the Mahalaxmi temple in Kolhapur Subclusters of Kolhapur Kolhapur district: Kolhapur
RESOURCES Crafts
Raw Materials
Sources
Kolhapuri chappals
Buffalo, Calf, Bullock, Cow (not widely used) and Goat hide
Chennai,Tamil Nadu
Silver ornaments
Finished silver wires, springs, Kolhapur Pearls, Strings, Wield(made of silver, zinc and brass)
Turned wooden trays
Mango wood Lac Charya-chi-pattiChara bark Polish paper Button lac
Sawanthwadi
Ganjifa cards
Paper wood Tamarind seed powder Shadu soil Lacquer Paints Gum Arabic Touchwood finish
Sawanthwadi
Hupri Kapashi Sangli district: Miraj Jath Kavathe Mahankal Ratnagiri district: Ratnagiri Sindhudurg district: Sawantwadi kolgaon Crafts of Kolhapur Kolhapuri chappals Ganjifas cards Wooden toys
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
Silver ware
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.
Sitar-string instrument
A craftsman of the Chitari community painting the ganjifa cards. Turned wood toy being made on the lathe at Sawanthwadi. Kolhapuri chappals on display to attract customers.
1. Natural colour,square sole. 2. Tan colour,pointed sole,two supports 3. Red tasselled chappal.
Kapashi chappals
Production Clusters Kolhapur district: Kolhapur Kapashi Rajgarh district: Kurudwad Sangli district: Miraj Jath Kavathe Mahankal Satara district:
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.
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 Sindhudurg district: Sawantwadi Products Playing cards Dasavatar Nine planets
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.
Zodiac signs Tarot cards Tools Naralachi-karwanticoconut shell Wooden plate Lacquer Babhicha-dink-gum arabic Painting brush
WOODEN TOYS Production Cluster Sindhudurg district: Kolaon, Sawantwadi Products Toys Cars Horses Bullock carts Small utensils Fruits Tools Powered Lathe Marpa - File
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 Fruit such as mango and vegetable items are sculpted and sandpaper,painted and assembled. painted.
Kotya - chisel Jigsaw, Hammer sander
Inset Bullock cart.
Sandpaper
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.
Production Clusters Kolhapur district: Hupri village Kolhapur Nasik district: Nasik Pune district: Pune
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.
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.
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 Beautifully crafted sitars are widely acclaimed for their high tonal quality.
Chhani-punch Map patti-scale
Roadside display of terracotta planters and plots in Aurangabad. Crafts of Pune
RESOURCES
Pottery
Craft
Raw Materials
Sources
Copper and brass ware
Pottery
Clay
From nearby River Sina
Metal embossing
Bidri ware
Zinc,Copper,Silver, Yellow clay,Honey wax, Matti,Rangoli oil, Resin,Castor oil, Navsagar(copper sulphate)
Aurangabad
Dhurrie weaving
Cotton yarn
Malegaon
Metal dies
Bronze sheets, Silver sheets, copper sheets
Jalgaon
Subclusters of Pune Pune district:Pune
Wax,Clay
Locally available
Sisal fibre
Monday market at Ahmednagar
Bidri ware Metal dies Dhurries weaving Sisal craft Taal,Jhanjh,Ghanta Banjara embroidery
Ahmednagar district: Ahmednagar
Sisal craft
Jalgaon district: Jalgaon,Parola,Saygaon Osmanabad district:
Musical Zinc and old bronze instruments vessels
Osmanabad Aurangabad district: Aurangabad
Banjara embroidery
Pune
Copper,Yellow clay,Tar
Miraj
Khadi cloth, Beads, Accessories
Pune
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
Nanded district: Nanded Latur district:Latur Sholapur district: Sholapur A tandoor,oven being levelled.Potters in Ahmednagar and Aurangabad make large clay ovens and planters for urban markets.
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.
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.
TERRACOTTA AND POTTERY 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 Products Math-biggest pot Ghagar-small pot Gadage-smaller pot Bodke-smallest pot Panti(diya)-lamp Kindi-flowerpot Ranjhan-big container 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.
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 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.
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 Tools Aadi-shaping tool Bhatti-furnace Haath pankha-hand fan Kaatri-metal scissor Khad-anvil Polish hammer
Pani tapavayacha bumb,a traditional water boiler; Textures on a ghagar,a water container,created while beating the metal sheets.
Water container and other utensils.
UTHAVACHE KAAM-METAL EMBOSSING Production Clusters Nasik district: Nasik Products Temples Displays Attardani-perfumes dispenser Idols,Utensils
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.
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
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. small boxes and includes delightful combination of fine lattice This form of decoration is often worked on round containers work interspected with floral clusters,leaves and flowers.There such as bowls,as well as caskets,jewellery boxes and other are two principle techniques-tarkashi(inlay of wire) and tehnishan(inlay of metal sheets).
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
1. 2. 3. 4.
Detail of a box with lotus motifs. Detail showing bidri work on the lid of a box. Shell and turtle-shaped containers. 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.
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.
Production Cluster Jalgaon district: Parola Products Dies Tools Moosh-furnace Ghatia-small hammer Hathodi-big hammer Sumbhra-nail to draw 1. 2. 3. 4. 5.
A metal die for a figure of a local goddess. Die with interesting animal motifs. Die for an ornamental piece. Dies with calligraphic and decorative motifs. Die for an ornamental piece.
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:
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.
Latur Products Dhurrie 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.
Jhoria-large-sized dhurrie Jainamaaz-prayer rug Tools
1. Detail of the border of a cotton dhurrie. 2. A striped dhurrie.
Panja-metal fork
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 Brush with metal bristles Sewing needle Measure scale Scissor
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.
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
like Ganesh Chaturthi,when processions of Lord Ganesha`s idols are taken out into the Production Clusters streets,and also during weddings.They are now made by the sandcasting technique Ahmednagar though until some years back they were made by beating the metal into the required district: shape. Ahmednagar
1. Taals 2. Pair of taals strung together for accompanying bhajans,hymns.
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.
Production Clusters
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
Darani-square spread
Pune district: Pune Products Borders Kanchali-blouse Batwa-pouches Toran-door hanging Headgear Latani-Square bag Tools Needles Scissors
RESOURCES Craft
Raw Materials
Sources
Pottery
Clay
Mumbai
Bamboo work
Bamboo
Karjat in Raigad district
Jewellery stringing
Silk, Rayon filaments, Zari, Beads
Mumbai, Bangalore, Surat
Subclusters of Mumbai Mumbai city: Mumbai, Dharavi, Jhaveri Bazaar Thane district: Thane Raigad district:
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.
Kashele Crafts of Mumbai Warli painting Terracotta and pottery Bamboo work Jewellery stringing Flower stringing 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 Tools A warli artist painting a commissioned work on cloth.
1. 2. 3. 4.
Bamboo brushes Paints
Detail of the marriage painting depicting celebration. Various farming activities of the Warlis painting on cloth. Traditional paintings venerating forests with trees were made on the walls of the houses of the Warlis. 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
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
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.
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.
Statues Figurines Coin Boxes Maatia-traditional pot used during Navratri Water pots Shallow dishes Plates Lamp containers 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 Tools Koita-knife
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.
PATUA KAAM - JEWELLERY STRINGING WORK A Traditional necklace and a mangalsutra,necklace ORNAMENTS AND JEWELLERY have been indispensable to worn as a sign of marriage. 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.
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.
Production Clusters Mumbai district: Mumbai city Products Garlands Ornaments Gajra-hair adornment Torans Tools Needle Thread 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.
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 Wood and lac turnery 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 Cuisine Wheat and meat
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.
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
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.
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 Inset : Colourful wall painting done on a house in structures put up by local people to honour their ancestors. Sheopur. 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.
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
1. Most of the crafts are sold locally at the Sunday market in Jhadua. 2. Ceremonial bamboo basket called bohni made in Alirajpur.
Stone carving RESOURCES
Wood carving Craft
Raw materials
Sources
Subclusters of Jhabua
wood carving
Sagon,Sagwan and Sheesham
Indore,Alirajpur and local market
Jhabua district:
Pithora painting
Pigment
Homemade
Fabric colour Red clay Chilli power
Locally available
Jhabua Bhabra Alirajpur Jobat
Terracotta and Clay pottery
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. 5. Carved and painted panel of animal figures which simulate the Pithora paintings. 6. Carved and painted 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 PITHORA PAINTING,A unique style of figural wall painting by the Bhil and Bhilala tribes of western Jhabua districts: Madhya Pradesh and the Rathwas of eastern Gujarat,depicts the significant events in their lives as Alirajpur harvesting,fertility of land,festivals,childbirth,and various mythological themes like the wedding of the Products God Pithora and Goddess Pithori.The figures in Paintings on wall and silhoutte are simply rendered,without any canvas 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 Tools Pihtora from dawn to dusk wiht brushes fashioned Canvas out of the stems of the khakhra(Butea monosperma) plant and natural colours like white made from the Brushes lime,green from saguan leaf extract,black from Bamboo sticks lampblack and red from sindoor,vermilion,with oil,that is given to him in douna,small bowls,made of 1. Horses are the most khakhra leaves.The spot where he has to paint is important motifs of purified,lamps are lighted and prayers offered to the the Pithora painting. gods and then he begins to paint all the figure and 2. An example of a motifs,without missing a single detail,in this sacred typical Pithora enclosure.Some of the motifs sequentially painted in painting on the wall the Pithora paintings are the kathiya ghoda(black of Adivasi horse with rider),who informs everybody that Hastshilp Emporium,Jhabua. Production Clusters
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.
TERRACOTTA AND POTTERY Production Clusters Jhabua district: Alirajpur Products Votive objects Roof tiles,Pots
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
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.
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.
Clay pots burnished and reduction fired are stacked on a handcart to be taken to the market in Alirajpur.
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 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 Craft
Raw Materials
Crafts of INDORE Sources
Block printing of Bagh
Block printing Wooden blocks, Cotton of Bagh fabric, Dyes and Chemicals
Indore,Bagh
Tie-resistdyeing
Cotton fabric and chemical dyes
Indore
Leather craft
Leather toys
Leather, Paper pulp, Adhesive
Indore,Dewas
Subclusters of INDORE
Tie-resist-dyeing
Dhar district: 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.
Bagh Dhar Indore district: Indore
BLOCK PRINTING OF BAGH Production Clusters Dhar district: Bagh Indore district: Indore Products Traditional: Odhani-veil Ghaghra cloth
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
Contemporary: Yardage Dress material Dupatta-stoles Sarees Bed covers Table linen Tools Wooden blocks Wooden tray for colour
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.
glass eyes are locally purchase.The teeth and sole s are made with the desired colouring and wax polishing.
Production Clusters
Inset A tiger sculpted in papier-mache with a core of metal wire which has to be finished by covering it with leather.
Indore city:
Indore district: Khandwa Road
A finished and polished leather horse,Indore. Products Toys Animal Figures
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
Tools Knives Awl Edge shavers Pliers Butter knife Fork Stencils Moulds Scissors
Three stages in the making of a sculpted leather horse figure,an unfinished ,semi-finished and fully finished figure.
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
RESOURCES
Papier-mache
Craft
Wood carving
Wood Wood-sheesham,teak,dhudia,sal and Ujjain carving kikar
Bohra caps Subclusters of Ujjain Ujjain
Raw material
Sources
Papiermache
Ujjain Waste paper, Gum, Mitti (clay), colours, Chalk powder, Jute, Fabric for ornamentation
Bohra caps
cottong yarn, Kasab(cotton wrapped with gold strip)
Ujjain,Surat
Bhairongarh
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
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.
File, Knife, Brush Stone slab, scissors Moulds, Polish
Inset : Mask of a tiger. 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:
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.
Products Topis-caps Tools Crocket hook Stainless steel or plastic dies
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 Da`i 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(17071740).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
RESOURCES
Bamboo craft
Craft
Raw MAterials
Sources
Zardozi embroidery
Zardozi embroidery
Zari, Beads, Cloth, Kerosene, zinc powder, Silver powder
Chowk in Bhopal`s markets
Jute crafts
Jute
Bhopal, Kolkata in West Bengal
Jute crafts Chindi dhurrie Turned wood toys Wood carving Subcluster of BHOPAL Bhopal district: Bhopal Budhni
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:
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.
Indore. 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 Tools coiled gold wire,crimpled gold strip,metallic beads and gold sequins that are stitched down with cotton thread on Tracing paper,Needles a silk fabric Adda-frame Ari-hook, Scissorss Fatila-tool for wrapping wire
JUTE CRAFT Production Clustes Bhopal Products Wall hamgings
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.
Hammocks Planters Screens Bags Tools Scissors Bamboo
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.
WOOD AND LAC TURNERY 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. 2. 3. 4. 5. 6.
Turned wood lac-coated toys such as a bird and a top are made in Seopurkalam. A rattle similar to the damroo,Lord Shiva`s musical instrument,Seopurkalam. Flower vase sculpted from a cylindricl piece of wood. Detail of a walker,These walkers help children in learning to walk. A child`s walker with two windmill-shaped moving parts 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
RESOURCES Craft
Raw Materials
Sources
Dhokra-lost wax metal casting
copper and tine
Betul
Jute work Bamboo work Subclusters of BETUL Betul district: Betul Amla Chunahazuri Phongaria Barkhed
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
Tigaria Kalmeshara Sitakamath Patakheda Patakheda 1. 2. 3. 4. 5.
Clay moulds or bells are prepared to be cast by the lost wax casting method in Tigaria. Dhokra craftsman`s house in Tigaria. Making of wax threads at the Bell Metal Precision centre,Amla. Women of the Basod tribe involved in bamboo basketry,Betul. Craftsman applying wax threads to create patterns on the surface of the bell during the lost was metal casting process in Tigaria.
The airports nearest to Betul are in Bhopal and Indore.Betual is connected by the National Highway to Bhopal and has a railhead.
DHOKRA - LOST WAX METAL CASTING 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 in diverse forms of the morchimni(peacock-shaped)lamps.The demand important social ritual of gifting an ornamental oil for these articles has diminished greatly as tribal markets today are filled wick lamp to the bride by her family resulted with alternative materials at cheaper rates and rituals have also undergone changes rendering these objects a nominal value. 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.
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
RESOURCES Craft
Raw Materials
Sources
Stone carving
Stone carving
Vindhyan sandstone
Gwalior
Subclusters of GWALIOR Gwalior district: Gwalior Morena district: Morena Dhamkan Kumar Mohalla Alapur Sheopur district: Sheopur Bamnor village
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 ACCESS century by Raja Man Singh Tomar, it is a repository of carved architectural elements and the use of coloured glazed tiles. Gwalior has an airport and a railhead connecting it to other 2. View of one of the inner courtyards of the Man Mandir palace in Gwalior. Seen here cities and town within and outside the state. 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.
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
RESOURCES Craft
Raw Materials
Wood carving
Locally available Sagon(Teak), Kamer (Jungle wood), Tisa, Mundi, Bija, Sarai (Sal)
Mandla district: Mandla Maharajpur Dindori district:
Terracotta Sandy clay and pottery
Gram Padadia Gramkureli Patangarh
River bed
Clay for chimney
Uglie village in seoni
Tribal painting
Wall, canvas
Mandla, Dindori
Stone carving
Stone
Quarries in Jabalpur, Balaghat, Chhindwara, Bijawar and Sabalghat
Dindori, Rajinisarai Jarasurang
Sources
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 A woman moulding clay in Maharajpur, Mandla 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.
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
Production Clusters
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.
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
TERRACOTTA AND POTTERY 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 Inset : Painting on paper which depicts an Flora and fauna, integral to the life of the Traditional paintings of the animla attacking birds and insects. tribal community are painted in Patangarh. Gond and the Pardhan tribes in the Gondwana region are based 1. Detail of a painting with reptiles and on local festival like Karwa animals. Chauth, Deepawali, Ashtami, 2. Detail of a painting with birds on a Nag Panchami and Sanjhi when tree, Patangarh. women paint the main doors and 3. Painting depicting snakes and birds. walls of their houses using 4. The artist`s attempt at representing home made natural colours. biodiversity. Village deities such as Marahi Devi, Phulvari Devi, (Goddess 5. Painting depicting the symbolic Kali), Sanphadki snake, Phulchukki chiriya (bird), Sarpoti tree relationship shared between man and are the subjects of the paintings. The paintings are votive in nature, Mandla. nature and celebrate the birth of Krishna, venerate trees, birds 6. A painting showing a group of tribals and beasts, seek protection for the well being of the family and at work. 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.
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 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
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.
(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 Physical Features
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
Dense forests Dandakaranya Plateau Mountain ranges: Raigarh Hills Maikal Range Luchki village situated amidst lush green paddy fields, hills and solitude of the Ektal flatlands in the Rajgarh district.
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
RESOURCES Craft
Raw Materials
Sources
Bamboo basketry Bamboo
Forest
Metal casting
Sal tree
Dhuvan - resin
Painted clay relief Clay
River bank, Sarguja district
Bronze ware
Old copper vessels Bastar
Brass vessels
Old brass vessels
Moradabad
Pata weaving
Cotton yarn
Orissa
Ambikapur Raigarh district: Ektal Jaspur
Crafts of SARGUJA AND RAIGARH Painted clay relief
Kaserpara
Lost wax metal casting
Kharsiya
Bamboo basketry
Kosumnara
Brass vessels
Netnagar
Bronze ware
Pusaur, Santpura
Pata Weaving
Raigarh, Tamnar Raipur district: Rajim, Navapara Janjgir district: Sakti, Champa Bilaspur district: Sarkanda Magarpara
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.
DHOKRA - LOST WAX METAL CASTING
Production Clusters Raigarh district: Ektal, Jaspur Sarguja district: Pahad Chidwa
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.
Bastar district: Bastar Kondagaon town: Bhelvapader Products Sarguja and Raigarh districts: Lamps, Containers
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
Figurines Mahua tree sculpture Toys Bastar district: Idols Animal figures
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.
Tools Tongs Hathodi - hammers Cheeni - chisel head Aari - rasps Files Plas - pliers Mathni - flat wooden piece Chaar - hot iron rod
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
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 Tangia - the big axe Ghoda - device for making splits Churi - small knife Sickle
Tools : The bill hook knife is tied to the bamboo pole and used for splitting bamboo, the axe is used for cutting. 1. 2. 3. 4. 5. 6. 7. 8.
Artisan making abasket in Netnagar, Raigarh district. Containers made from plain and dyed bamboo splits. The container has a square base and circular rim, Kuchki / Kanthiprakashpur. Shallow semi - spherical baskets woven with dyed bamboo splits. The baskets with a wide rim were made in Kosumnara. Detail of a woven mat, Kosumnara. Bamboo fish trap made from finely split bamboo, Sarguja. Basket for keeping hens and fowls is made with wide bamboo splits woven in an open hexagonal woven structure. Storage basket made in Netnagar with a rim that has splits made from the outer layer of green bamboo. 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
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.
Production Clusters Raigarh district: Pusaur Products Ghagra - water pots Tools Hammer Metal files
Tongs used during the tempering process.
Ghagra and handia are part of the numerous vessels made in Pusaur.
Hand-operated lathe
BRONZE WARE Kasers are metalsmiths of Raigarh and Sarguja who make beauty of the hemispherical, flat based bowls with slanting sides water pots from brass and tableware from kansa (bell metal). lies in the irregular circular patterns etched on the surface by That characteristic ring of it makes kanse ideal for bells, scrapers or a wire brush and buffing machines. lamps and vessels and to avoid any wastage new ware is made from melting old metal that are supplied by sahukar, 1. Bronze bowl and (1b) the raw material , Pusaur. traders. The scrap metal is melted in a high fired ceramic 2. Beautifully etched bronze containers, Pusaur. crucible for two and a half hours. The molten metal is poured 3. Various stages of the evolution of a bronze bowl, Pusaur. 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
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
RESOURCES Craft
Raw Materials
Sources
Bastar
Terracotta and pottery
Clay
Local
Kiri Cheppda
Basketry
Bamboo
Forest
Kondagaon
Pata weaving
Handpun cotton
Bastar
Al dye
Kotpad, Orissa
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. 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
TERRACOTTA AND POTTERY 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 Tools Petna - beater Potters wheel Londhi - support for the beater
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.
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 Craftspersons - 1.01 Lakhs Languages Assamese Bodo Dimasa Cachari Rabha
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.
Karbi Mishing Miri Bengali Nepali Festivals Bihu - harvest festival Vishwakarma Puja Durga Puja Christmas
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.
Landmarks Kamakhya Temple Kazirange Reserve Majuli Island Sibsagar Lake Badarpur Ghat Weekly Markets Sualkuchi Attire Women: Muga mekhla draped skirt & blouse Pat chaadar mulberry silk wrap Men: Shirt & dhoti (lower garment) Gamocha - shoulder cloth Eri silk shawl
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.
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
RESOURCES Craft
Raw Materials
Sources
Bamboo craft of Bamboo Assam
Nalbari, Kamrup district, Barpeta district, Silchar district
Whole cane containers
Jatti cane
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.
Darrant district: Mangaldoi Crafts of NALBARI Bamboo craft of Assam Bamboo nesting baskets Coiled cane work Brass ware Eri silk spinning
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.
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.
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.
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 Products Jhakoi, polo - fish trap Winnowing fans Winnowing trays Chalani - sieves Jhappi - rain shields Mudah - low stools Hand fans Cattle muzzles Storage baskets
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.
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 Dao - bill hook knife 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 Nesting storage baskets of Nalbari. A set of 10 baskets are made to nest inside each rest of the basket. A functional attribute other. Locally used for storing grains, nesting baskets have a good market outside of the closed weave construction and the the state. 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.
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 Cane craftsmen in Mangaldoi make a large variety of flat, semi-spherical of cylindrical forms using Darrang district: coiled cane construction. For this purpose, whole cane lengths of the extremely soft jatti cane are Mangaldoi coiled in a tight spiral with each turn growing on the previous row, the process similar to coiled Products pottery and coiling in basketry. Two basic Cylindrical containers construction methods are used: the nail jointed and split cane binding. Bamboo nails shaped from a Planters thick split are driven into the whole cane element Bowls through Coasters Artisan treating a coiled container with smoke from Coat hangers dry banana leaves that gives it a deep reddish brown colouring. Tools Production Clusters
Knife Dao - bill hook knife Hammer Containers made form coiled cane.
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 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. 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
Production Clusters Kokrajhar district: Salakati Bonorgaon Tenhali Kokrajhar Kamrup district: Rampur Guwahati
Inset : Rust coloured eri cocoons which have been pierced by the Products moths while emerging out. Yarns 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.
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. Silchar, situated on the left bank of the Barak River in the RESOURCES Cachar district, is surrounded by the Barai Hills on the north Craft Raw Materials Sources and the Mizo Hills to the south. The Barak valley comprises the districts of Cachar, Karimganj, and Hailakandi, and Manipur, Mizoram Flattened Muli - Bamboo Silchar, headquarters of Cachar district, which links Mizoram bamboo mats (Melocanna and Tripura with the rest of the country. Well endowed with baccifera) raw materials, widespread basketry skills in villages, and Mat weaving Murtha - reed Katakhal entrepreneurs of Silchar, the Barak Valley is quintessentially (Maranta dichotoma) a cane, bamboo and sheetalpati craft cluster. Four local species of cane are found in Karimganj. Telekhalerpar and Cane furniture Cane North Cachar Hills, Shitapara villages in Karimganj district have a concentration Guwahati, Andemans 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 Dao - bill hook knife 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 Dao - bill hook knife 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 Products Storage container Boxes Coasters Stool Lamp stand Lampshade Tray Shallow dish 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.
Vase Sofa Tools Dao - bill hook knife Kuchani - needle with wooden handle Metal wedge
1. 2. 3. 4. 5. 6.
Detail of a circular base being stitched on a coiled cane container. Craftsmen in Telekhalerpar make coiled cane products introduced by the export market. Lamps made for and export market. Coiled cane container with a lid. Flat and horizontal surfaces used as table mats are made by coiling in a circular, elliptical and rectangular spiral form. 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 Craftspersons - 0.8 Lakhs 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 Festivals Chalo - loku - harvest festival Losar - Buddhist festival Arpos - traditional dance depicting war victories Yak dance Cuisine Apong - rice beer
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.
Dirang is at an altitude of 5000 feet above sea level. The motorable road serves as a courtyard for cleaning grain from chaff. Bomdila, the mountainous headquarters of West Crafts of RESOURCES Kameng district, located 8500 feet above sea level is BOMDILA Craft Raw Materials Sources covered with dense forests. On the road between Bamboo suspension Bomdila and Tawang which is at a high altitude, is Bomdila Bamboo Bamboo ropes, Local bridge the Dirang Valley with temperate forests and bamboo suspension bridge bamboo found in high and the breathtaking Sela Pass. Besides the Monpas Flattened bamboo altitude and Sherdukpen who are Buddhists, the Akas, containers Flattened bamboo She bamboo Kameng Khowas, Mihis, Khampas and Mempas reside in the containers district district, which has the largest monastery in India at Subclusters of Tawang built by a Bhutanese lama. The various tribes BOMDILA have developed their understanding of natural materials to a fine art as in the eri silk clothes of the West Kameng Monpa women, dyed in deep red colour obtained district: from lac, and animal resin. The Monpas, herders of Bomdila sheep and yak, make hats of felted yak hair, and paper Lish Village from the pulp of sukso or paper tree. They live in stone houses with roofs of bamboo matting or straw, Dirang and build bamboo suspension bridges, exemplifying the community`s collective effort and engineering 1. A monpa artisan skills. East Kameng has bamboo baskets and smoking weaving a tibetan type pipes, brass and bell metal work, dao, spear and pile carpet on a dagger making while West Kameng has flattened vertical loom. The bamboo products. Buddhist masks, metal utensils, weaver`s dress is made textiles and Tibetan carpets. The influence of Tibet from eri silk yarn dyed and Bhutan is evident in their textiles, loom, painting in lac and motifs and wood carving. woven in extra weft technique. ACCESS 2. The Monpa bamboo suspension bridge is a Bomdila has road connections with Tezpur in Assam. symbol of cooperative Tezpur is connected by road and air to Guwahati and effort. A group of connected to other major towns in Assam by the Monpas who have National Highway. The nearest railway station is at come down to the river Rangapara. to build the bridge, share a meal which has Monpa hat: felted hat has long tentacles to keep rain been carried in away from the face. bamboo and cane containers.
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.
Production Clusters West Kameng district: Dirang Bomdila Products Bamboo Bridges Cane Bridges Tools 1. Detail of a cane bridge showing the structure of a long tube of Dao - broad bladed knife 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.
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
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.
Bhray - grain measure Lakhji - milk pail Tools Kampa - bamboo clamp Knife
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.
Crafts of ZIRO
RESOURCES
Apa Tani bamboo products
Craft
Raw Material
Bamboo baskets
Bamboo baskets
Bamboo splits
Subansiri districts
Subclusters of ZIRO
Apa Tani bamboo products
Bamboo
Ziro in lower Subansiri district
Lower Subansiri district:
Sources
Ziro
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. 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. Production Clusters Apa Tani women use baskets which are different in shape from the usual conical baskets.
Lower Subansiri district: Ziro Products Barju - carrying baskets Oniliya - yarn basket Storage basket Trays Beer containers Rain shields Tools Dao - wide bladed knife
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.
An Adi bamboo and cane suspension bridge in Siang district. Crafts of ALONG
RESOURCES
Cane haversacks
Craft
Raw Materials
Sources
Coiled cane hats
Haversacks
Cane splits
Siang district
Coiled cane hats Cane - whole, split Siang district Subclusters of ALONG West Siang District: Along 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 Haversack made from fine cane splits by the Tagin tribe. 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.
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
Haversacks made by Hill Miri craftsmen
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
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
Gallong man wearing a coiled cane hat and carrying a dao case.
Adi Gallong hat Apa Tani and Nishi hat Idu Mishmi hat Tools Dao - wide bladed knife Needle
1. 2. 3. 4.
Bolup, an Adi Gallong hat. Hat worn by the Adi Minyong. Coiled cane hat worn by Idu Mishmi tribe. 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
Craft
Tirap district:
Wood carving (Nocte) Wood
Khonsa
Khonsa
Wood carving (Wancho)
Wakka
Kheti village
RESOURCES Raw Materials Wood - koku, wild walnut
Sources
Wakka village Crafts of KHONSA
Lik-kha-pok, Wancho bead ornament, from the Khonsa Museum.
Wood carving
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.
Production Clusters
Inset : Relief carving of a mithun on a pillar inside a Nocte morung.
Pillars
Khonsa Kheti village Wakka village Products 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.
Wak, the pig figurine, used to decorate in Wancho morung in Khonsa.
Tirap district:
Figurine of raajam, a tiger. These carved figures are used to decorate Wancho morungs. 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 Craftspersons - 0.86 Lakhs 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.
Attire Chiecha - wrap skirt Shawls - draped textiles Top / blouse / shirt Cuisine
Inset : Detail of the decorative termination of a strengthening element added to a Konyak grain carrying basket.
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
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.
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
Subclusters of KOHIMA
RESOURCES Craft
Raw Materials
Sources
Kophi - cane basket
Cane
Dimapur
Dimapur Kohima district:
Wood carving
Wood - gamari, khasu, bonsurai
Dimapur, Mon
Dimapur district:
Kohima Khonoma 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.
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.
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
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.
Shallow food dish is carved from a single piece of 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 View showing the inner layer of a kophi. using a bamboo mould. 4. A wooden base is fixed to a kophi Angami Nagas of Khonoma village make kophis, unique for its craftsmanship, to strengthen and make it stable. form and use of sophisticated quality control devices. 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.
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,
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
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.
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 Festivals Lai Haraoba - festival of gods (Meitei) Kut - thanksgiving festival (Kuki-Chin) Chumpha - post harvest festival (Tangkhul Naga)
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.
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. Imphal is the state capital with vast stretches of rice fields, Subclusters of RESOURCES bamboo clumps and clusters of houses in its valley and large IMPHAL Craft Raw Materials Sources Loktak Lake outside Imphal town. The women of Andro, Imphal West Thoubal, Thongjao, Oinam, and the men of Nungbi in Traditional bamboo Bamboo Imphal, district: Ukhrul district practice pottery using several celebrated products Tamenglong hand-modelling techniques for making ritualistic and Imphal Bell metal work Copper, Tin Silchar cooking vessles. Hand formed pottery is a deeply revered art Patsoi of Manipur and closely related to their religion. It is Thongjao pottery Red and Black Thongjao distinctive in its form and the surface is engraved with Thoubal district: clay patterns, imparted by the use of flat wooden beaters.Women Thoubal Kauna phak - reed Kauna reed Imphal carry out all the activities related to textiles such as weaving, mat Thongjao embroidery, applique and block printing - the latter are closely linked with the Manipuri dance tradition. The craft A craftsman Andro sensibility of the Manipuri`s is informed by martial arts, making a Kakching classical dance, music, rituals and culture. The economic, flattened social and spiritual function of textiles is revealed in the Sugnu bamboo songs and movements in Lai Haraoba, a dance drama container from Chandel district: depicting their cosmology, which includes the cultivation of whole bamboo. Tengnoupal land and sowing of cotton seeds, plucking, ginning, carding , Heat flattened spinning and weaving and cutting of garments. Several crafts bamboo is an Palel are practiced in the valley professionally, of which the lost exotic process Bishnupur district: wax casting in bell metal, kauna mat making and stone used for making turned work are important. Moirang a variety of containers, trays ACCESS and boxes. Crafts of IMPHAL Traditional bamboo products Bell metal work Thongjao pottery Kauna phak - reed mat Houses in Imphal Valley are built on a plinth on the ground unlike the hill houses built on stilts. Kauna phak, woven reed mats are spongy, light and have a unique texture. An artisan weaving a mat in Wangkhei area in Imphal.
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.
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
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
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. 1. 2. 3. 4. 5. 6. 7.
A meitei woman carrying items of offerings in a phingaruk to a ceremony. The strengthening detail at the corners of a bamboo basket done in split cane in a distinctive feature of Manipuri baskets. Maring elliptical dining table made from bamboo splits, whole cane and split cane. Dining table called leephang made by the Maring tribe. Phingaruk without the lid. Phingaruk, a ceremonial Meitei bamboo storage basket. It consists of a container and lid and has a double walled construction. Long, Meitei fish baskets made in Patsoi, Imphal Valley.
BELL METAL WORK
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 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
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.
Khujai - water pot 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.
Plate Shapa - stamp Tools Lathe, Hammer Tongs, Files Chisel Vessles Crucible Wax Clay
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.
Attire
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.
Bamboo shoots
Women: Puan - wrap skirt Blouse Puanchei - wrap for special occasions. Men : Shawl , Cane cap Cuisine Boiled pork Serep - dried meat Chaangban - rice cake Fermented soya bean Bai - vegetable broth
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.
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
RESOURCES Craft
Raw Materials
Sources
Bamboo basketry
Bamboo - Rawnal, Rawthing, Phulrua
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. 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 Dao - bill hook knife
The paikawng is made and used by the Lushai tribe. It is used by women to carry firewood, bamboo wter tubes and cotton A large closed weave bamboo basket used for carrying grain and field fibre. produce. Thul, a bamboo dowry basket for keeping clothes and valuables.
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 Dao - bill hook knife 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
Traditional puans and their variations are produced on frame Women are the sole weavers in Mizoram. Their craft shows them as being a self reliant, sensitive and skilled. Since skills looms and zo (looms of Burmese origin) multi-treadle looms. of weaving reflected a woman`s capability for hard work and The weavers use the extra weft technique to produce patterns in enhanced her marriage prospects; weaving 15 to 30 puans for relief. Brightly coloured, handspun cotton puans have bold her dowry was fundamental for a girl as some had to be gifted, stripes due to a warp faced plain weave structure. They are worn during special occasions, marriages, and festivities and as daily while others were essential to her trousseau. Puan, a draped and uncut rectangular cotton cloth with well crafted edges and wear. Puans such as puanchei, puandum, ngothekher and prominent horizontal borders, was the main costume of Mizos kwappuizikzial use colours and pattersn related to specific contexts. Acrylic yarn has replaced cotton yarn due to the bright that men draped around the entire body till they adopted hues available and its tensile strength. Thenzawl, a village wearing a shirt and trouser. The woman`s puan worn over a located south of Aizawl, with over 200 professional weavers is blouse has undergone a chnage and is now worn as a wrap skirt measuring 51 inches X 43 inches. Earlier woven on a loin well known for producing traditional puans of high quality and craftsmanship. It has about 67 entrepreneurs who are also loom in two parts and later stitched together, today these are weavers who emply other weavers. woven on frame handlooms as single width fabrics. 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 Dao - bill hook knife
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 Craftspersons - 1.75 Lakhs Languages Kokborak Bengali Manipuri Attire: Women : Riah - breast cloth Pasra - wrap skirt Blouse Cuisine Shidol - dried fish Shamukh - river snail Thangjing - water plant
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 GangaBrahmaputra 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.
Boiled pork
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
RESOURCES Craft
West Tripura district:
Traditional bamboo Bamboo products
West and North Tripura districts
Agartala
Bamboo crafts
Bamboo
West and North Tripura districts
Bamboo furniture
Bamboo Katlamara (Bambusa affinis)
Pressed clay work
Clay
Raw Materials
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
Sources
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
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
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 Products Chalni-sieve
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.
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 BAMBOO HANDICRAFTS OF Agartala are intricate and self consciously decorated.A wide Production Clusters range of screens,false ceilings,wall West Tripura district: panels,plaques and planters are made of gossamer thin bamboo strips.Wall panels are Agartala made out of solid but thinly split bamboo that is Nalchar pasted on plywood.Several containers are made by turning bamboo on a hand lathe.Traditionally,bamboo was used extensively Churilam to construct houses,fences,gates,wall Products panels;sieves,storage baskets and products for agricultural use.Local entrepreneurs have been Window blinds practicing the art of fine bamboo handicrafts and Room dividers goods made from loom woven mats that are a Folding screens specialty of Agartala. Figurines 1. Turned and carved cylindrical containers Animal figures made from bamboo culm,a new product Ornaments introduced by the Agartal craftsmen. 2. Detail of poker work done on shaped Hand fans bamboo splits that have been strung to Lamps make an umbrella which is held by a figurine. Mugs 3. Hand fan made from bamboo mat.The mat Vase 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 Salt shakers table mats. Tools 4. Detail of a bamboo mat woven with very Dao-bill hook knife finely split bamboo that has been used as the surface of a folding Chisels screen.Craftspersons of Tripura are known Files to make the finest bamboo splits which are Lathe 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
Production Clusters West Tripura district: Katlamara village Products Fishing pole Chair Table Bed 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.
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 peoples`efforts 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. CraftsMEGHALAYA Bambooo rain shields Bamboo carrying baskets Garo bamboo houses Cane work Eri silk weaving Pottery
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
Wood carving Natural dyeing 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.
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.
Flora: Sacred groves, Bamboo,cane,pine, Timber,Lac,Gum, Citrus,Paddy,Orchid Fauna; Elephants,Tigers Golden cats,Monkeys Horn bills,Partridges Teals,Snipes,quails Physical Features Tura,Garo,Khasi Hills Shillong Plateau Temperate Forests Ta sek wari lake Thadlaskein lake 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
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-su`a dance Attire Jainsem-khasi silk wrap Genkhasha-khasi cotton wrap Dakmanda-Garo woman`s wrap Daksari-Garo veil
Subclusters of Meghalaya
RESOURCES
East Khasi Hills district:
Craft
Shillong,Cherrapunji,Mawsynram
Bamboo Shken reed rain shield bamboo, shlew, Palm leaf
Cherrapunji, Khasi Hills
Bamboo carrying basket
Bamboo
Khasi Hills
Garo bamboo house
Bamboo,Timber
Garo Hills
Jaintia Hills district: Jowai West Garo Hills district: Rongram,Tura Crafts of Meghalaya Bamboo rain shields Bamboo carrying baskets Garo bamboo house
Raw Materials
Sources
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.
Production Clusters East Khasi Hills district: Cherrapunji Products Rain shields Carrying baskets Winnowing trays Storage baskets
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.
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. 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
Production Clusters East Khasi Hills district: Shillong West Garo Hills district: Tura Products Khoh-khasi carrying basket Garo carrying basket
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
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.
Saw Hammer Chisel 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.