Paintings have a unique quality in that they narrate stories that may be of a different period and of a different people, the spirit of the times presented as per the artist’s interpretation. Given the Indian subcontinent’s rich cultural history and the country’s diversity, it comes as no surprise that Indian art and paintings are some of the most evocative of their kind. Further, the vastness of the country makes variation of styles and stories across states imminent; these are dictated by people’s lived experiences, religion, and the tales they have heard. In this piece, we’ll touch upon certain Indian art paintings, specifically Pen Kalamkari, Gond, Cheriyal, Mithila art, Patachitra, Rogan art, and Sanjhi.
Pen Kalamkari | Andhra Pradesh
An intricate, complex painting style that uses earthy tones, Pen Kalamkari originated in modern-day Telangana and Andhra Pradesh. This artform was first used to depict scenes from the ancient and sacred texts of India. The devotional aspect has not changed much. However, it is becoming increasingly difficult to practise this art in its truest form due to decrease in natural resources. Dependence on vegetable dyes, weather conditions, and proximity to the river makes authentic Pen Kalamkari work rare. Washing the fabric in flowing water is an important stage in the craft. In fact, Kalamkari flourished in the region of Andhra Pradesh because of the availability of fresh, clean water from the Swarnamukhi river. A 23-step process, this artform is not limited to paintings and wall hangings. There is a big demand for Pen Kalamkari dupattas and Pen Kalamkari sarees as they exude elegance and self-assured grace. Today this art is practised mainly in Srikalahasti in Andhra Pradesh.
Mata-ni-Pachedi | Gujarat
Mata-ni-Pachedi, literally translating to "behind the Mother Goddess” has its origin in the nomadic Vaghari community of Gujarat. Banned from entering temples, the members of this community turned to art to create not just an image of their Goddess but, essentially, a place of worship. Armed with natural colours and bamboo pens, the Vagharis would lovingly and meticulously paint the stories of each of their deities, their faith evident in every stroke, their love apparent in every painting. These divine pieces, which took days to complete, were not used as decor but as shrines, with the members of the community offering their prayers to the beloved goddesses. The tradition of Mata-ni-Pachedi continues to this day, primarily due to the dedication and passion of the Vaghari community, and has become popular across India. The artform is also known as Kalamkari of Gujarat due to its similarity with Kalamkari of Andhra Pradesh.
Gond Art | Madhya Pradesh
Gond art is a tribal art form created and practised by the Gond tribe of Madhya Pradesh. ‘Gond’ comes from the Dravidian word ‘Kond’, which means the green mountain. The focus is on nature and her elements as the tribals hold all that is natural in high regard. They believe that spirits reside in all natural creations, from rocks to trees to water and so on. The artform, therefore, is a means to show respect to these sacred natural elements. Gond art is also a way for the tribals of the area to document their life, culture, and history. The colours used are made from natural elements, including plants, soil, charcoal etc. and the themes usually revolve around nature and tribal life, with instances of local deities and folktales. Much like its inspiration, nature, Gond paintings are colourful and unique in the approach to their subject matter, often blending the real with the abstract.
Cheriyal Scroll Paintings | Telangana
Practised solely by members of the Nakashi tribe in present-day Telangana, Cheriyal paintings use natural fabric and colours. The canvas material used is khadi, which is then treated with tamarind seed paste, rice starch, tree gum, and white mud. Cheriyal scroll paintings were initially used to educate those who could not read, and were a significant part of storytelling. Today, they are still utilised as a means of storytelling and have become a more tangible way for the Nakashis to preserve their heritage. Cheriyal paintings, vibrant and eye-catching, focus on a variety of themes, including mythology, social structure, nature, and legends of heroes. The last one varies from community to community. Cheriyal scroll paintings in Telangana have been traced back to as early as 1625.
Mithila Paintings | Bihar
Mithila paintings, also known as Madhubani paintings, are a form of Indian folk art paintings that originated in Mithila, Bihar. The artists, mostly women, use handmade paper and natural dyes for the base and hues respectively, while the mode of execution may take the form of fingers, pen nibs, twigs, or matchsticks. The subject matter is rooted in societal and cultural experiences, with love, fertility, and religion claiming the title of primary themes, and deities and their sacred texts topping the list of most used visual elements. In ancient India, this Indian folk art painting was used to decorate mud walls of houses and, in some parts of the state, it still is. This made these pieces temporary as they were removed the next day or in a few days to create something new. Today, Mithila painting is practised on cloth and other canvases. The artwork is detailed, in a narrative style, and uses geometric patterns for elements in the backdrop.
Patachitra Paintings | West Bengal
“Patta” or “Pata” means cloth in Sanskrit and “chitra” means picture. Vibrant and illustrative, Patachitra paintings have their origins in Odisha and West Bengal. Here, we will touch upon those that originated in the latter. Also known as patua scroll painting, Pattachitra in Bengal dates back to the 13th century. Themes tend to focus on myths, folklore, and social issues of the time. The artform uses only natural colours, mostly from minerals, vegetables, fruits, flowers, and soot. The paintings are often combined in order to create a long scroll, the width of which can be between 5 and 15 feet, with the length ranging from 3 ft to 15 ft. In terms of process, the paintings are done on handmade paper clubbed with recycled fabric. This fabric usually comes from sarees.The fabric and paper are fused with the help of maida and tamarind pulp to make the end result firm and stronger.
Rogan Art | Gujarat
Rogan art, a 400-year-old Kutch craft that is inspired by Persian art, almost went extinct in the 20th Century with only two families in India practising it. Today, it has resurfaced and is practised by only one community - the Khatris. This makes this Indian painting style all the more invaluable. Derived from the Persian word for oil, Rogan art involves boiling castor oil for hours until it becomes a viscous paste that is then mixed with colours. The coloured paste is stretched across the fabric and used as paint threads to create intricate motifs. The technique usually involves completing half the painting and then folding the canvas in half to transfer the mirror image to the blank half. Rogan art is usually practised on dark cloth since it makes the colours pop and helps the painting stand out.
Sanjhi Art | Uttar Pradesh
Sanjhi art, which originated in Mathura, birthplace of Krishna, is deceptively simple. Seen through the eyes of a layperson, all one might see are cuts in paper. What one might conveniently overlook is the precision, the subject, and the artist’s prowess. Less of an Indian painting and more of a type of Indian art, Sanjhi art is a delicate paper-cutting craft that focuses on devotion as the key theme, using instances from Krishna’s life as design elements. It demands the use of special scissors since the beauty of this artform relies on the skill of the artist to cut the paper in a way that it holds together, while allowing the design to show and encouraging a fascinating play of light. Speaking of light - sunlight, surprisingly, has a crucial role to play; working in sunlight results in a level of precision that is unattainable in artificial light. Hence, most of the work by artisans is done during daytime.
Indian paintings are, undoubtedly, an entity unto themselves, their interpretation changing as times pass, but the soul - the method and the hues - remain the same. Each hue used tells a different story, each smile a varied emotion, each painting, a different eternal narrative.
Explore the stories, crafts, and products of India’s many artisans on www.tvami.com.
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Our Sustainable Diwali Gift Collection
SAREES
What is Diwali without ethnic wear and what is more ethnic than the Indian saree? No matter where they come from, Indians of all ages and backgrounds don this magnificent garb at least once during the festive season. So, why not gift your loved ones a saree? While we have several handloom varieties on our platform, we’re focusing on three as part of our Diwali collection:
If you’re not sure whether your loved ones will like sarees as a diwali gift but still want them to try it, Ilkal sarees would be the perfect bet. A mix of simplicity and boldness, these sarees from Karnataka tend to have simple patterns with elaborate borders and pallus, ideal for both the wallflower and the star.
Pochampally Ikat, with its origins in Telangana, caters to a diverse audience. Made from silk, cotton, or a mix of both, and adorned with geometric patterns, the sarees range from deceptively simple to elegantly ornate.
For a muted and composed aura, make your way to our Phulia collection. Renowned for their comfort, these sarees from Phulia, West Bengal, are made of handloom cotton with generously spaced patterns and jacquard work.
PAINTINGS AND WALL HANGINGS
Want to gift something that people can showcase throughout the year? Wall hangings and painting will have your gift recipients - and their walls - covered.
Mata ni Pachedi paintings, literally translating to “behind the Mother Goddess”, are divine cloth shrines with detailed imagery of the Goddess, usually surrounded by nature and devotees. Hand-painted using natural dyes and a bamboo brush, these will add a touch of subtle sophistication wherever displayed.
For equally detailed work that focuses on nature and the divine, look no further than hand-painted Mithila paintings. Also painted using natural dyes, the colour approach ranges from the monochromatic to the extremely colourful, with each lovingly painted piece as meticulously detailed as the next.
Embrace vibrancy with Pattachitra paintings, which are hand-painted on long scrolls with natural colours, using ingredients like different kinds of flowers, henna leaf, neem leaf, haldi, beetroot and so on. The bel fruit’s gum is used as a fixer for every colour.
Madurkathi wall hangings of Goddess Durga bring with them earthy grace and would be an unexpected and thoughtful gift for the religious or spiritual. The Madurkathi technique has traditionally been used to weave mats, but local artisans have expanded their craft to include wall hangings in order to be more innovative.
Colourful and expressive Gond and Cheriyal paintings will transport the recipient of your diwali gift to another world - of mythical creatures and Indian rural life, respectively. This would be ideal for those who love a hint of tradition.
SHOWPIECES AND DECOR
Contrary to popular belief, showpieces and decor items can be the best diwali gifts for some people. Add character to someone’s home with thoughtful items, ranging from the colourful to the refined.
For an element of fun and quirk, explore our Etikoppaka and Kavad collections. Etikoppaka showpieces and toys are bright and colourful while the Kavad story boxes are full of fun tales, both ideal for the young ones at home.
For the slightly older members of the family, Dokra figurines of the Indian gods and goddesses might just win you some brownie points. If you’re looking for something more minimalistic, browse through our handcrafted Bidri diyas and marble inlay coasters or boxes - elegance meets decadence.
Looking for something unique to help light up your friend’s home? Sholapith flower streamers, which are made of plant stems, are a mix of tradition and modernity, and an impressive blend of innovation and sustainability. They also look like ivory when viewed from a distance.
To compliment radiance with a rustic feel, add a Terracotta lampshade to your cart. If you're looking for something more delicate, these intricately hand-carved tea-light holders will add an elegant yet rustic touch to any room. Made of Indian rosewood or sheesham, these aesthetic delights are crafted using engraving techniques dating back centuries, primarily used to create wooden blocks for printing.
However, if drama, explicit or subtle, is what you seek, explore the Pumpkin Craft or Leather Puppetry lampshades. The latter comes with images and stories of deities and the former is handcrafted by rural women artisans.
GIFT HOPE WHEN YOU GIFT LOCAL.
Whether it’s clothing, decor, or unique religious representations, our partner local artisans have made it all, with hand and heart. Consider supporting them this festive season by giving your loved ones a diwali gift handcrafted by some of our nation’s best creators.
All products included here are handmade, hand-painted, or handwoven by local artisans of India. This Diwali, share the light of good fortune with these local artisans, people who have been preserving our heritage with, quite literally, their own hands. If you want to explore the stories, crafts, or products of India’s many artisans, visit www.tvami.com
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“So, wait, is it Deepavali or Diwali?” One of our curious friends from the States gives us a quizzical look. I, the current author of this particular post, frown a little as I think. “Well”, I reply cautiously, “both are correct. Deepavali is the original Sanskrit term and is quite common in South India. Diwali, on the other hand, is derived from the term “deepavali”, and is more common in the northern part of the country.”
“Ah, so it’s either Deepavali or Diwali.” Our friend seems satisfied. However, their question sends me straight to the world’s favourite search engine. Why? Because I wasn’t exactly sure whether those two were, in fact, the only terms; and I was right to be uncertain. Not only did I uncover yet another term for the festival of light, I also learnt a lot more on how this festival, much like Vijaydashami, is celebrated in a variety of ways across India.
THE SIMILARITIES
Deepavali is celebrated for a period of 4 to 5 days throughout the subcontinent, with the third day being the most important one across regions. The darkest of all nights during this period, this is the day that people celebrate the vanquishing of evil and the victory of all that is good by lighting clay lamps or diyas. This is where the festival, “deepavali”, gets its name (deepavali means “row of lights” in Sanskrit). The fifth day, too, is similar for all parts of the nation, with it being marked as bhai dooj, bhai phonta, or bhai tika.
In terms of celebrations, people across regions gather with family to feast, laugh, and bond.
THE DIFFERENCES
South India
Most states in South India celebrate the defeat of Narakasura on deepavali. Naraka Chaturdasi is the main day of the festival in this part of India and precedes amavasai or amavasya. Celebrated in the Tamil month of aipasi, the dates coincide with the rest of the nation. Washing and cleaning of homes is part of the rituals and kolam designs often grace the entrances of homes. A day before Narak Chaturdashi, ovens are cleaned, smeared in lime, and adorned with religious symbols. Water is then filled and kept in the oven and this is used during the oil bath the next day. Sweets, feasts, and new clothes are indulged in only after the bath.
Oil baths are a common ritual across states. In Tamil Nadu, the celebrants bathe at or before dawn with oil that is infused with betel leaves, pepper etc. prior to consuming deepavali lehiyam, a tonic.
In Karnataka, oil baths are taken on the first day of the festival. This day is known as Ashwija Krishna Chaturdashi. The reason for the oil bath in this state is the popular belief that Lord Krishna took such a bath to remove the bloodstains after killing Narakasura. Bali Padyami is the other important day of this festival. It falls on the third day and coincides with Lakshmi puja. On this day, people narrate tales of King Bali and create forts made of cow dung.
In Andhra Pradesh, there is yet another tale - it is believed that Satyabhama, Lord Krishna’s consort (wife) is the one who defeated the demon and, as a result, homage is usually paid to her in the form of clay idols. Harikatha is also often staged across the state.
An intriguing part of the celebrations in the southern states is the observance of Thalai Deepavali. This is when newly married couples visit the bride’s parents at their home.
East India
The third day of Deepavali is celebrated as Kali Pujo here. The celebrations take place late at night and the Goddess’ victory over evil is captured in the numerous pandals that grace the streets of the eastern states. The Goddess is presented with hibiscus flowers, fish, and meat. In Bengal, homes are decorated with the feet of Goddess Lakshmi during Lakshmi Puja, which takes place 6 days after Durga Puja and coincides with Kali Puja. The Goddess’ feet are drawn with rice powder mixed with water and are usually tiny. Doors are often left open and lamps are lit because it is believed that Goddess Lakshmi does not enter a dark room. However, it is Kali Pujo rather than Lakshmi Pujo that holds more sway in Bengal during this time.
In Odisha and parts of rural Bengal, the third day is also the day people pay tribute to their ancestors, also known as pitripurush. It is believed that lighting diyas on long poles or sticks will help guide their spirits to heaven. The fifth day, which celebrates siblings and cousins, is known as bhai phonta.
North-East India
Here, the festival of lights is not referred to by either of its two popular names. Instead, it goes by Tihar. The most fascinating aspect of the rituals here is that the north-eastern states of India primarily celebrate nature and her creatures during at least three of these five days. Here we will only touch upon Sikkim for now.
On the first day, in Sikkim, people seek to appease crows, which are considered to be a symbol of sadness and sorrow. Known as “Kaag Tihar”, this day is celebrated by offering sweets to the crows in the hopes that this will protect people from death and grief.
The second day, “Kukkad Tihar” is set aside for the celebration of dogs, an integral animal in Hindu mythology as they are considered to be loyal companions. They are fed meat and fish, garlanded, and worshipped.
The third day, the most important day in several parts of India, is spent in the worship of the cow, which signifies prosperity and wealth, and in Laxmi puja. Referred to as “Gai Tihar”, it involves garlanding cows and feeding them grass. Panchdeep, sacred threads, tikas, and vegetables are also common during the worship process . “Deusi and Bhailo” folk songs are a magnificent accompaniment to the festivities and make for an engaging experience. The fourth and fifth day are similar to that of the rest of India - Govardhan puja and bhai tika.
North India
The victory of Rama over Raavan is widely celebrated as Diwali in North India. The third day, which is Diwali, marks the return of Rama after his victory. Since it was the darkest night, the subjects are said to have lit earthen lamps to illuminate his path as he re-entered Ayodhya with Sita and Lakshman. Homes were also lit in celebration.
Gambling on the night of Diwali is said to be auspicious and is practised in most northern states. Rangolis and diyas abound in most homes and Lakshmi Puja is performed at night for prosperity. In Varanasi, earthen lamps are set afloat on the River Ganga with priests chanting on the banks of the river.
West India
In West India, especially Gujarat, Dhanteras, the first day of Deepavali, is celebrated in a big way. In Gujarat, women apply kajal made from the flames of the diyas the day after Diwali. This is believed to attract good fortune. Gujaratis consider Diwali to be the start of a new year and create rangolis the day before to ring it in, in a big way. Like some parts of East India, Gujaratis also draw Goddess Lakshmi’s feet on the night of Diwali to welcome prosperity. New business deals and property transactions are usually carried out during this period, particularly on the third day.
In Maharashtra, the first day is celebrated as Vasubaras. This is before the first day of the usual Deepavali celebrations. On this day, Maharashtrians celebrate the love between mother and child by doing an aarti of a cow and her calf or calves. Dhanteras, which is the second day, is celebrated much like it is in Gujarat and other places in India. Naraka Chaturdashi, which is the third day for Maharashtrians and the second day for other regions, sees celebrants bathing in scented oil, much like their South Indian counterparts. This is followed by a temple visit and then a feast that consists of sweets and spicy edibles. This is known as Faral. The fourth day, the main day, is Lakshmi Puja, and the Goddess and the many forms of wealth are worshipped.
Across religions and borders
During my hours of searching, apart from the regional differences, I was also surprised to find that other religions celebrate Deepavali. Jains celebrate Deepavali as the day Lord Mahavira achieved nirvana; for Sikhs, it is the day Guru Hargobind was released from captivity. The festival also transcends borders - it is popular in Sri Lanka, Pakistan, Indonesia, Fiji, Thailand, Mauritius, Australia and Canada; and it is apparently one of the days when soldiers on both sides - India and Pakistan - lay down their arms and exchange sweets.
It is undeniable that India’s strength has always been somewhat dependent on the presence of diversity, be it in culture, tradition, religion, language, music, or cuisine. Deepavali, much like Dussehra or Vijay Dashami, brings to the fore that the nation has one beating heart, but countless joyous ways to show its love.
How do you celebrate deepavali? We would love to learn more about traditions, old and new, from people across the country.
Note: We have not covered all states and/or rituals due to lack of consistent information regarding their celebrations and because of the length of this post.
Explore the stories, crafts, and products of India’s many artisans on www.tvami.com.
]]>Diwali or Deepavali is one of the most popular festivals in India. Celebrated in a variety of ways across the subcontinent, the varying Diwali festivities have two things in common - the use of light and the change of home decor.
Diyas: Of love, art, and light
Bidri
Bidri diyas add more than a touch of elegance to the Diwali decor. Handcrafted by Ravi Kamble, a local artisan from Karnataka, these diyas are inlaid with pure silver motifs. The contrasting black - which is obtained from an alloy of zinc and copper - and silver blend makes these carriers of light the perfect choice for homes that desire a subtle, yet powerful ambience of opulence. The famous soil of Bidar is an indispensable component used in the crafting process.
Terracotta
Terracotta lamps are as historical as it can possibly get. The art of pottery dates back to the Indus civilisation and holds a significant place in Indian art history. Give your diwali celebrations a sustainable, earthy feel with these terracotta lamps, handcrafted by Ram Verma, a local artisan from Harohalli, Karnataka. Ram used to make these using clay from the Harohalli river bed. However, due to industry-caused pollution in the area, he had to get his clay from elsewhere. This was clay he did not know or understand, so many of his pieces would break due to overheating or other reasons. These ones that you receive at home are the beautiful, unique ones that tell a tangible story of resilience.
Sholapith
Sholapith flower streamers are the epitome of graceful modernity, sustainability, and quiet heritage. A prominent and eco-friendly artform from Bengal, Sholapith uses the dried, soft core of the Indian cork plant’s stem and sholapith items are considered to be auspicious, often used during religious ceremonies and the pujo season. When seen from a distance, intricately carved sholapith items look like ivory carvings.
Pumpkin Craft
Pumpkin Craft lamps are another unique way to celebrate Diwali. Carved out of dry pumpkins by rural women, these are completely sustainable and give an all-rustic feel with a hint of glamour.
Leather Puppetry
Leather Puppetry Lampshades are perfect for those who have taken a break from diyas, but still want to add a touch of mythological tradition and light to the celebrations.
Dokra
Make your way to intricately crafted Dokra tea-light holders to complement your diyas. Resplendent with an old-world charm, they are a classic blend of tradition and modern needs.
Wood-Carving
For those who prefer delicate motifs, these hand-carved tea-light holders will add an elegant yet rustic touch to any room. Made of Indian rosewood or sheesham, these blocks were originally used for block-printing.
Showpieces: Crafted to stand out
Dokra: The Centre of Attention
Dokra is an art form that has been around for more than 5000 years and involves the use of clay, wax, non-ferrous metal, charcoal, natural hues, and more. While the process is a quintessential aspect of the artform, the attention to detail is what makes each piece stand out. These divine Dokra figurines of Maa Durga and Goddess Laxmi, handcrafted by local West Bengal artisan Somnath Karmakar, are an apt example of India’s and the artform’s traditional glory. These showpieces are perfect for those who have faith and are not afraid to show it.
Nutangram dolls are a certified UNESCO heritage craft. Handcrafted by Toton Sutradhar, local Nutangram artisan, these owls are made of seasoned wood and are carved with clean lines. One may consider these as a representation of Goddess Lakshmi’s vahana, a symbol of intelligence, or just simple cute, poised owls.
Whether you’re going for an all-bright palette or looking to brighten a muted space, these vibrant Etikoppaka showpieces are a must-have. Handcrafted by local Andhra artisan Srisailapu Chinnayachari, these are sleek etikoppaka dolls made of light wood, with a lacquer finish.
Add character to your Diwali decor with these traditional Kavad story boxes. Each panel captures a chapter, each box a tale. Revisit well-known fables or let children explore them on their own. You may consider complementing the boxes with bright Kavad clocks.
Marble Inlay: A Royal Affair
Handcrafted by local Agra artisan Imran, the motifs on these marble inlay boxes and coasters are inspired by those at the Taj Mahal. Tasteful and ornate, these boxes bring with them grace and a sense of composed royalty.
Bidri showpieces, with their black-and-silver hues, make for a stunning addition to any living space. Made of zinc and copper alloy, and inlaid with silver, they are a decadent confluence of the past and present, the rural and the urban.
Wall decor: Painting a home’s persona
They say the walls have ears, but what they really have is a desire for personality.
Handcrafted by local East Indian artisan, Ananta Sarkar and carved from a single piece of dark wood, these masks up the style quotient while maintaining a powerful, sophisticated presence. The dark wood makes it compatible with minimalistic, quirky, and ornate decor. The light-toned bamboo versions would be suitable for spaces that have a minimalist or ornate setting. The Gambhira wall hanging of Maa Durga may be of particular interest to her devotees.
Colourful Cheriyal plates tell stories of rural India, while masks of gods and goddesses add a playful quirk to tradition, a perfect way to up the happiness quotient in any room.
Sombre tones and intricate details are the primary characteristics of these paintings. Choose from a variety of avatars of Goddess Lakshmi and Ganesha, or opt for the more casual Ganjifa playing cards. Whatever you select, be ready to add an old-world charm with these hand-painted wall-pieces, compatible with any style of decor.
Mata-ni-Pachedi and Pen Kalamkari Paintings: An Opulent Narrative
Embrace grandeur with detailed Mata ni Pachedi and Pen Kalamkari paintings. Mata ni Pachedi literally translates to “behind the mother goddess” and both artforms focus on the divine.
Rogan art brings home an exquisite handpainted blend of bright and sombre tones, the subject of the paintings mostly focused on the Tree of Life, from the simplest of expressions to the most complex of designs..
For a more unconventional look, adorn your space with nature-inspired Gond paintings. Handpainted on handmade paper by local artisan Durgesh Maravi, the black outlines give a sense of structure while the colours, bold and subdued, add vibrancy. Additionally, the approach to the subjects of each painting is undeniably creative. All three come together to evoke a sense of eccentricity.
Extra: To give your wall a modern, yet old-world persona, make your way to this earthy, sustainable Madurkathi wall hanging of Maa Durga.
Floor Coverings: Tread in style
Vibrant and bold, these cotton dhurries are primed to make a statement. Handwoven by Cheralu Akunuri, the vivid tones and geometric shapes add a sense of new-age youth, while the meticulous weaving hearkens to days long past.
Simplicity and grace make for a desirable yet rare combination, but these earthy, traditional Madurkathi mats are an incredible blend of the two. The earthy tones make these mats suitable for a casual gathering while the detailed designs ensure that they complement any opulent aesthetic.
Kalamkari Dhurries
Royalty, grace, and legacy. These are the terms one might associate with these detailed, handwoven Kalamkari Dhurries. Each dhurrie or dari is as different as the state it originates in, with the inspiration of the final design being derived from local colours and culture.
Gift your floor and your feet strong bursts of colour. Handwoven with river grass by weavers from Pattamadai, a special-grade town panchayat in Tirunelveli, Tamil Nadu, these mats are a symbol of resilience, positivity, and, of course, the Indian chattai culture.
Whether you decide to furnish your walls, ceiling, floor, or any other corner of the house, rest assured that your handcrafted piece will be one-of-a-kind.
All products included here are handmade or handpainted by local artisans of India. This Diwali, share the light of good fortune with these local artisans, people who have been preserving our heritage with, quite literally, their own hands. If you want to explore the stories, crafts, or products of India’s many artisans, visit www.tvami.com
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Iconic. There is, perhaps, no other word that captures the impact of the Indian saree. A single piece of handwoven cloth, 6 to 10 yards long, or more, has become a symbol of grace and composure around the world.
But what, exactly, makes our nation’s traditional sarees one-of-a-kind? The mark of the maker.
Traditional sarees have always been handwoven, which is apparent in each saree’s uniqueness in design, style, and weave. Handwoven Indian sarees are crafted using the handloom, ensuring that each saree is different from the next. Each artisan’s culture, imagination, and technique is unique to each saree woven. This is vastly different from massy machine-made sarees that are created using a powerloom and might superficially have the traditional saree look, but lack the detailing and the novelty that each handloom piece carries. So, apart from the obvious mass production of the latter, how can one differentiate between a traditional handwoven, handloom saree and a machine-made one?
Well, let’s look at the softer side.
Handloom sarees are softer since the wefts are woven slightly further apart. This also makes the saree more resilient. Powerloom sarees are stiff due to the tight weaving. Draping a saree helps in gauging its softness as the handloom ones drape better. Interestingly enough, handloom sarees are also more breathable than machine-made ones due to the loose weaving in handwoven traditional sarees.
It’s all in the texture.
However, while handloom sarees are soft, they also have a slightly characteristic uneven texture, with knots, thread pulls etc. near the border. In fact, most handloom sarees will leave extra threads hanging from the pallu. These might be cut, knotted, or used for tassels. This uneven weft weaving also adds a unique feature to handloom sarees - they wrinkle and crease less. Powerloom sarees have an even texture and therefore, do not provide the same benefits that handwoven sarees do.
Look at it in reverse.
Due to the method handloom weaving uses, the other side of a handwoven saree will mirror the design on the front. Powerloom sarees do not have this characteristic feature of traditional sarees.
Poking holes is good.
The handloom process requires that sarees be pinned to the loom, which results in somewhat equidistant pinholes in the final saree. These are usually seen at the bottom, top, or border edges of the saree. In powerloom sarees, there are no holes. Therefore, in order to distinguish between the two, one might want to glance at the edges, or bevar, of the saree.
The devil is in the details.
Handloom saree artisans take pride in their final piece. Each saree is a work of art, intricately designed and crafted by the artisan’s imagination and hands. The details present in a handloom saree outshine the designs of one created in powerloom. This is primarily because powerloom sarees thrive on single-pattern designs that are easy to make on machines, while handwoven sarees are painstakingly stitched by artisans, with no two designs being exactly the same.
All knotted up.
Handloom sarees tend to have knots only at the end of the border and are mostly imperceptible. However, due to the technique used to create powerloom sarees, the final piece may have stray pieces of thread or tiny balls of thread anywhere in the saree.
Lastly, weigh your options.
Handloom sarees are heavier and feel fuller. This is because the powerloom method thins the fabric, making the final piece lighter.
Alright, now that we know how to distinguish between a saree created using the traditional method and one created with a powerloom, get ready to take a sneak peek at some of the traditional sarees of India and what makes them different from each other. We’ll be covering styles like ikat, patola, phulia, ilkal, kantha, and more in our upcoming pieces.
If you want to explore the stories, crafts, or products of India’s many artisans, visit www.tvami.com
Information Source: Deccan Chronicle
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The perfect nose, the ideal smile, thin creases, a glorious vahana - if you have ever gone shopping for handmade idols of gods and goddesses, you’ll know that these are some of the things that puja lovers look for before they purchase their chosen piece. To the naked eye, many of the idols might look the same, but to a connoisseur of puja shopping, much like an artist, the differences are obvious.These idols are, of course, just one example of the many puja items on prominent display during the festive season of India, typically from September to early January.
Handicraft plays an integral role in India’s festivities during the puja season - from the one-of-a-kind idols to the pandals to the innovative use of natural elements for decorations or creation of memorabilia. While many art forms incorporate tributes to the divine during this period, India’s realm of traditional art is largely populated by craftforms that started as a means to pay tribute.
History of worship and handicraft
Mata-ni-Pachedi from West India was born out of faith and the desire to worship. The Vaghari community of Gujarat were banned from temples, so they decided to create their own shrines and thus arose Mata-ni-Pachedi, translating literally to “behind the mother Goddess”. This style is focused on painting the divine form on cloth with natural dyes and a bamboo pen, to pay homage to their goddesses.
Sholapith, too, has a devotional history, with the stem of the shola plant being a regular at religious ceremonies and handcrafted sholapith items, created with dried shola stems, being used as decor or crowns for the deities.
Gambhira, another artform from the eastern part of the country, is famous for its bamboo and wooden masks, the latter usually made from neem tree wood. These were, and still are, used in performances to invoke Lord Shiva.
Golu dolls, popular in South India during the days leading up to Dussehra, focus on representations of the Hindu deities and family life. They also show the deities indulging in activities such as Goddesses Saraswsati and Lakhmi sailing on a boat. The dolls are arranged at different levels, with people right at the bottom and the deities closer to the top. Golu dolls are handcrafted and painted by artisans.
Sanjhi, with its origins in the northern part of India, had its debut at temples dedicated to Lord Krishna, the delicate paper-stencilling art-form becoming a popular way to create rangolis for rituals and “paper paintings” of Radha-Krishna.
Needless to say, these folk arts have survived, but have they thrived?
Adapting to 2021
Today, with the popularity of eco-friendly pandals and a demand for sustainable goods, languishing artforms that were suffering during the pandemic are being revived, albeit slowly. Artisans have also adapted their crafts to meet the needs of modern demand, while still retaining the essence of their religious past.
Sholapith artisans have diversified from just creating decor for the gods to creating elegant light streamers, some with intricately made flowers, hair pins, and showpieces, which give the effect of being made from marble when looked at from a slight distance.
Sanjhi artisans have diversified their subjects to include wild animals, birds, and the Tree of Life, without straying too far from their roots. Gambhira as a craft has expanded to include a variety of wooden showpieces, from long boats to tribal masks, each item unlike any other in the world.
Golu dolls have had some competition from mass-produced dolls, but the massy dolls are no match for the detailing of each handcrafted Golu doll. In fact, many families treat them as heirlooms as each handcrafted doll has its own unique, detailed, characteristic features.
Mata-ni-Pachedi artisans are still focused on their subject but the cloth paintings make for graceful decor.
Another heartwarming observation is the change in consumer mindset. People are demanding handcrafted products, not just to support the local artisan, but because they know that handmade items cannot be mass-produced. Each version of the product is bound to be different, with its own little quirks, its identifying markers.
It is common for rural artisans to use natural elements when working on their crafts as they are limited to what is available around them. This comes as a big relief to eco-conscious consumers, young and old, and to those who view nature as divine.
Needless to say, with this move towards sustainability, the demand for uniqueness, and a growing desire to incorporate visual elements of India’s diverse culture into modern-day living, consumers and artisans are primed for an aesthetic celebration of Indian heritage.
What better way to indulge in the celebration than by supporting your local artisans, people who have been preserving our heritage with, quite literally, their own hands? If you want to explore the stories, crafts, or products of India’s many artisans, visit www.tvami.com
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There is a bond between brother and sister that is quite unlike any other. When we are younger, it may be filled with lots of mischief - fighting, forgiving, and fighting again. And as we grow up, it becomes about supporting each other through the downs and ups of life. The popular festivity of Rakshabandhan forges this bond even further. Rakshabandhan refers to a sacred bond of protection. On this occasion, a sentimental and sweet practice is followed – the sister applies a tilak on her brother’s forehead, ties a sacred thread called rakhi to her brother’s wrist, and performs a holy prayer for his well-being and long life. The brother, in return, offers rakhi gifts to his sister and promises to always look after her. In today’s day and age, a great way to make the occasion even more memorable is to pick the best of variety rakhi gifts online.
However, this festivity is not merely for biological brother and sister. It is also for those relationships cultivated outside of blood-relations that qualify with the same meaning, affection, and reasons to give rakhi gifts. It applies when a girl who thinks of a boy as her brother. It applies when the sacred thread is tied on the wrists of neighbours or close friends for a more connected community. It has also been said that a rakhi can be tied by a wife to her husband or by a disciple to his or her teacher. In a contemporary rendition, this festivity has also been used by environmentalists to save trees by tying a thread around it. Overall, Rakshabandhan – although a Hindu celebration, is about universal brotherhood and sisterhood, irrespective of caste or creed. Ultimately, it is about love and compassion which is often symbolized through personalised rakhi gifts for your brother or gifts for your sister on rakhi.
The universality of the festivity perhaps stems from its mythology. The folklore behind the origin of Raksha Bandhan has various accounts. As one story goes, there was once a fierce battle between Gods and demons. Lord Indra was having a tough resistance from the powerful demon King, Bali. Seeing this, Indra's wife Sachi went to Lord Vishnu who gave her a holy bracelet which she tied around the wrist of her husband, who ultimately defeated the demons. According to this legend, the threads were amulets which were used by women for prayers and were tied to their husband when they were leaving for a war. Based on an account of Mahabharat, the great Indian epic, Draupadi, wife of the Pandavas tore the corner of her sari to prevent Lord Krishna's wrist from bleeding. Thus, a bond, that of brother and sister developed between them, and he promised to protect her. It has also been told that the two sons of Lord Ganesha were sad that they had no sister. They asked for a sister from their father who finally obliged with the help of saint Narada. This is how Lord Ganesha created Santoshi Maa through the divine flames and the two sons of Lord Ganesha got their sister for the occasion of Raksha Bandhan.
When you understand the significance of these stories, doesn’t it make sense to have a special rakhi gift ready for your significant relationship? One that ties in with the tradition and culture of it all? If you need unique gifts for rakhi you can turn to Tvami. As an online platform that connects skilled artisans with urban consumers, showing your love for local arts and crafts can now be your way to not only protect your kin but also preserve heritage and talented artisans. Be it rakhi gifts for a brother, rakhi gifts for a sister, or rakhi gifts for married sisters, Tvami offers personalised options for all. Since all our rakhi gifts are individually crafted from the very hands of our artisans, it goes from their heart to yours and then on to whoever you are giving the gift to. This is another way to keep the sacred thread going.
To sum it up in a sentence, it is like the old Arab proverb goes - “If you have much, give of your wealth; If you have little, give of your heart.” This is your chance to do both with Tvami’s special rakshabandhan gifts – to give a rakhi gift that brings value not only for you but for the artisan too. It makes for a choice from the best for your best.
]]>An unsettling feeling of turbulence has blanketed the world for over a year. Silences have crept in. Being at the heart of the battle has left a deep mark on everybody. While we find ways to survive during these uncertain times, some of us have to do things out of the ordinary for everyone’s wellbeing. And sometimes, it can get exhausting to keep up in this disturbing environment. But some fight every day to keep the wheels of normalcy spinning, even when they feel down and low.
These are our real heroes!
Whether it is a call for duty or work that feeds the family, every person on the frontline needs immense applause and praise. If doctors are fighting on the front lines, police officers are holding the fort. If you consider the stories of many medical professionals and hospital personnel working round-the-clock, you will see their efforts to ensure your good health during this Covid-19 crisis.
Capturing the thought beautifully and artistically, the artisans of a village in Andhra Pradesh, called Etikoppaka, have created ‘Covid Heroes’ figurines representing our real heroes as a mark of respect and recognize their contribution to our welfare. Dedicating these Etikoppaka figurines to the real heroes, the artisans have shown various hues and shades of kindness and compassion in the light of negativity.
Kavad artisan, Dwarka Prasad creating educational handmade posters to educate the locals on social distancing and healthy habits.
Cheriyal Painting artisan, Rakesh’s
rendition of the educational posters to
help prevent the spread of COVID.
Artisans turn to mask-making to eke out a living
during COVID while also reiterating how the
traditional handicrafts have had utilitarian roots.
Then there is Dwarka Prasad - an artisan who has taken up the responsibility to educate the people in his village. If it is unsung heroes you want to read about, there’s him, driven by curiosity and a keen eye for craftsmanship, narrating stories through posters and with much enthusiasm.
Another light that’s shining bright, grabbing our attention, and capturing our hearts with his intricate artwork is Ratneshwar Jha. Given the rising demand for face masks, he seizes an opportunity to display his beautiful creativity with handmade cotton masks in Madhubani style. This Mithila artist brings art to life with sustainable and aesthetic pieces which can keep you safe.
In these strenuous times, being an artisan can get daunting. However, these artisans have applied their creativity and skills to the best of their abilities, shining through with flying colors, offering cultural nourishment while paying tribute to the ones keeping them safe. You can show your support for all the heroes, including those who share the same care and passion as them - the gifted artisans. You can purchase these Etikoppaka figurines and face masks with Mithila art, made by one hero for another.
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This particularly holds true when we first start working. Having the right stationery by our side makes us feel so much at home. Each of them have their own spot for quick access and any changes can perhaps cause unwanted upheavals while we work. Keeping the right stationery enables us to easily organise our day more efficiently, take notes when we are in hurry and keep a to-do list that we can tick off as we complete the tasks for the day. There is so much that we can do by just having a piece of paper or notebook, some pens and pencilsby our side. Which is why stationery is more than just a generic item – it is an indispensable tool that shapes the way we work.
Stationery is also a way to brighten up our desks. More often than not, the desks that are assigned to us are bereft of any ‘personality’. So, it is up to us to make the desk ‘ours’ and personalise it to suit our needs without investing much. Apart from the regular photos and desk calendar among others, bright and tastefully made stationery is one way to spruce up our workspaces. Having just few of our favourites on our desk, the workspace can be brightened up in a matter of seconds! With our essentials by our side, working will definitely become more productive and better. And what’s more, it can also boost our morale while we work as the colours entice us to move ahead. Who knew stationery can work as functional décor for our work spaces and even more so in these times of WFH!
And more often than not, many of the unique stationery that we use at work often end up being used by our children for their own note-taking as it looks ‘cool’ and ‘different’ to them. While we may get them their yearly stock of stationery, the ones we use for work invariably also end up being used by our dear children. So what better way to introduce them to the diversity of the Indian arts than through the uniquely designed stationery by artisans of tvami! Techniques that are common to art forms like Gond, Mithila and Cheriyal have been tailored to suit the style of various stationery products like notebooks, pencil stands, and pencil boxes. These unique and intricately made stationery are a sure way to make not just ourselves stand out but also the company we work with.
So go ahead, make work colorful. Indulge in stationary which has been crafted to matter!
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As someone truly said, times change but memories remain. I bundled up those memories and headed straight for the cafe. Held the glass of the mixed berry smoothie in my palms as if it would transfer the chill to cool my body. It didn’t take time before my eyes wandered off through the cafe’s big window. They were eager to study the people around, maybe to find a unique individual who would influence some character in one of my scripts.
Nothing much had changed till date, apart from the attires and hairstyles. Couples everywhere walking hand in hand without any worries in the world. Vendors trying to entice new customers by announcing their wares. Young girls struggling to walk in high heels on cobbled streets.
While observing the visible world through the window, my eyes rested on a stall where a struggling artist had displayed his stuff. It further wandered to a stall that displayed replicas of antiques, where a teenager bargained hard for a nautical compass made of brass. And furthermore, to the artist who writes names on tiny grains of rice.
There was something strange going on, which put the mind to work. If someone keenly observes, most people went head over heels for the abstract paintings of one flower gobbling another, an infant cuddled up in a farm, galloping horses with their hooves transformed into sea waves, an eye with multiple colour tones and so on and so forth.
But these patrons of paintings didn’t have even an ounce of emotion for the rice grain artist. Those who stopped at the rice grain artist didn’t even bother to look at the canvases. Some even expressed disgust and many didn’t bother to solve the puzzle on the canvases. Now, isn’t this world a crazy place? I think it is.
Chances are high that there might be many such who ignored all these artists and stepped into the antique shops or the art gallery nearby. Nonetheless, another set of patrons that might be admiring the artefacts in the city’s most famous museum. Yes, you got it right. The British era stone structure, the treasure trove of all the artefacts and antiques from different nations across the world. Frankly, it is fair enough.
It would be safe to conclude that different forms of art and craft are perceived by different people differently. Also, it can’t be denied that most art aficionados admire every form but the heart bonds only with the special one. Again, it also depends on the person’s traits and beliefs. The nature lovers would make sure that neither harmful chemicals nor paint were used. Some would even avoid metal, to safeguard their anti-mining values.
A historic mind is like a time machine that keeps revisiting the past. Unearths the secrets, analyses facts and dates. Forms a belief and dwells in it forever. These are the individuals who would go to any lengths to pick an object, of course of art, from their favourite subject.
Lastly, there are art typical art lovers who are thrilled only by a certain craft. Simply put, someone is fond of the intricate Kashmiri shawls, others by masks, many by the woodwork and the latest fade of upcycled metal art.
Imagine art in glass, wood, mud, fabrics, metal, plastic, fibers, stones, pebble, marble, paper, grains, pulses and all that I cannot recollect at this moment. Wow.
The world is a beautiful place, indeed. If one ignores the invasions and wars; and views the world through artistic eyes, there might be millions of art forms across the world. Every country with different art forms and within it each region with a distinct art. Come to think of it, there might be thousands of art forms in India alone, though the figure is underestimated. Because in a country like India with diverse cultures, multiple languages and uncountable dialects of them, even a given region might have dozens of different art forms. Don’t be surprised if most of them might be still unknown in this world.
Well, this solves the query. Every heart bond with a different form. Though one admires the woodwork, fabric paintings, masks and so on, the person's heart might bond with a particular form. And this reminds me, with what kind of art does my heart bond? Wait a minute, I am not yet aware of it? Am I a cyborg or a robot? Am I the same person who covered Indian museums and wrote scripts on thirteen of them? Even if it never materialised.
Here’s what I am going to do. I would visit all these artists spread across India to see, with which art my heart bonds. While I plan this vacation over a tropical, I would suggest you take some time off the digital world and follow your bliss.
Every year, people look at different ways that they can give. While for some it is donating to their favorite charity, for others it can be spending time with the less fortunate during the festive period. Whatever it may be, their act of giving can be an inspiration for others to give something — whether it’s time, talent or a simple act of kindness. Which is why many mark this festive season as the ‘season of giving’. While there are several ways to mark the ‘season of giving’, it is important to understand that the act of giving doesn’t necessarily mean that it is measured in only tangible items. For most, nothing is more priceless than giving a the much needed support and kindness to friend in need, a family member, the local animal and homeless shelter, or even to a local business.
We are capable of changing others’ lives, and there are several ways that we can use this season to make it happen. Not only would it brighten somebody’s day, it can also be a show of support from a well-wisher, especially if it is from someone that they care about. It can also be particularly beneficial for those who are struggling to get by this year, especially given how hard this year has been due to COVID-19. With many upheavals, there are many individuals and in particular small businesses that are getting affected. Many have lost jobs and businesses are either shutting down or witnessing a slow sale. This is particularly seen among those dealing with traditional handicrafts. Hence, it is important to show your support for their art and the effort that they put in to create them.
With Tvami, showing your support to the artisans becomes simpler. As an online platform that connects the artisans with urban consumers, showing your love for local arts and crafts has become easy. Given that the digital world is making its presence felt in every aspect of our world, connecting with the artisans directly to buy their products has never been easier. What’s more, it allows the artisans earn a higher margin of profits and enables them to further their artwork and efforts to safeguard them. For instance, on Tvami’s platform, the artisans earn 70-75% of the profit when their product is sold. As a result, your support by buying a product from them directly enables them to thrive and grow. As Mahatma Gandhi once said, “To give pleasure to a single heart by a single act is better than a thousand heads bowing in prayer.”
What better way to spend your money this festive season? Not only would it make gifting your loved one special and unique, you would also be giving an hand to one of the many Indian artisans to further their artwork. With many now being more vocal for local products, promoting the artisans’ work and supporting them has become more important especially now. As the Prime Minister asserted in his Independence Day speech, it is time to come together to encourage local businesses and products. This is perhaps one way of making this ‘season of giving’ special to you and your loved ones. Showing your support and love to the artisans in this difficult period can make this festive period memorable for them. Your show of love, a motto that Tvami follows, can make a big impact on the work done by the artisans. How so? Buying a product from them and spreading the word can enable them to earn a decent income and ensure that their skills are valued. What’s more, it allows them to reach a bigger market, earn more and create more unique products.
So, make this season of giving special. Whatever your definition of giving may be - whether it is through old-fashioned gift giving, or spreading kindness and showing selflessness - any time of the year can be meaningful and incredibly beautiful when the effort comes from you. As Eleanor Roosevelt, Former First Lady of the United States, once said, “Since you get more joy out of giving joy to others, you should put a good deal of thought into the happiness that you are able to give.”
]]>Pattamadai, the world-famous place for its silken mats woven from grass, is the neighbor village to Cheranmahadevi near the banks of river Tamaraparani, in Tamilnadu. Majorly, known for its cotton warps and korai wefts mats, this place is a treasure of art and culture.
The spectacular Korai Grass mats are said to have originated nearly 100 years ago in Pattamadai region by the Muslim community. According to rumored stories, the art of weaving mats was pioneered by Hassan Bawa Labbai. To his surprise, the soaked grass can be split into 120 counts, instead of the traditional thicker mats that were split to a 30 or 40 counts. This led to the invention of the thinner Pattamadai mat. The descendants of the artisans then carried the art form.
The process starts with the collection of korai grass. Korai is then soaked in the running water to rot them before they are taken up for the cleaning. After soaking, the central pith is scraped off, and the splitting of stems is done. The thinner the mat required, the more time artisans soak it. The strands are once again dried, and the mats are then woven by the women of the community and are finally dyed according to the patterns and designs. Traditional colors include “Indian” colors such as black, brown, red and green, which are obtained from sappan tree. This is a long and time-consuming process which takes nearly a month to complete. There are a wide variety of products obtained from this art-form, such as handbags, wall hangings, table mats, doormats and many more. Mostly womenfolk are into this craft business.
Traditionally, these mats are a token to make occasions memorable. The mats were woven for the bridegroom, with their names and wedding dates inscribed on them. The Pattamadai mats are now internationally famous for its eco-friendly nature and, are now mass-produced on the power looms to meet domestic and other utilitarian uses. The Indian GI authority has granted the status of Geographical Indication (GI) to the Pattamadai mats for its quality and reputation. To highlight the craftsmanship of these world-famous mats, they were gifted to Queen Victoria and Queen Elizabeth during the British Regime.
The Pattamadai mats have gone through a cycle of transition in the past few years, from being most popular to the most ignored and then back in trend. The increased demands in both national and international market have led to the introduction of synthetic dyes in this eco-friendly art-form, waning in the use of traditional methods. The Pattamadai mats also face stiff competition from the plastic mats. The mechanization and low cost of plastic mats have led to the depletion of the production of silk mats and have lost its foothold by time.
]]>Sholapur city is in the south-western region of Maharashtra and is 410 km away from Mumbai. Sholapur is the fifth largest agglomeration of Maharashtra. The hard work of people living here has transformed Sholapur from being merely a small town to a full-fledged commercial and tourist hub. Sholapur today is an active hub of traditional art and diverse culture and is especially known for its best-known creation- Sholapur Wall Hangings. Sholapur Wall hangings are a form of textile art, being in style from very long ago. Apart from being a fancy piece of art, wall hangings have narrated history and are an essential part of art and culture.
Wall hangings have always been an essential part of our home-decor since 300 BC. India is one of the vibrant centre’s for wall hangings. Tapestries have been used since the Hellenistic times. The handloom weaving is known to be commenced in the regime of the Peshwas.
With the migration of Padmashalis in Sholapur, the handloom industry prospered. The craftsmanship and diverse cultures of Sholapur have resulted in the best artwork.
The yarns used for wrap and weft are first collected from the Sholapur itself. The Hanks are then cleaned, wetted and bleached. After bleaching, the hanks are dyed with beautiful colors obtained from vegetable dyes and, are lastly weaved with wooden rods as support, according to the required patterns and designs. To make these more decorative, the wall hangings are adorned with bells, beads and mirrors.
The wall hangings are a result of sheer hard work and patience of the artisans. Made from warp and weft technique, they are ornamented in nature and involve cutwork, which makes them stand out from the rest of the handloom hangings. The wall hangings were initially started with the designs of deities, but later, artisans gave a contemporary touch to this traditional art form.
Established nearly 50 years ago, this handloom art-form is a not so old yet, culturally important. With time, significant changes have been observed in weaving methods and raw materials. The cotton threads are now replaced with wool wand silk threads due to their low cost and easy accessibility. The vegetable dyes are replaced with chemical colors.
The artisans have faced losses during the past few years due to the decline in the demands. Artisans, being not much interested in practicing this craft, are now looking for alternate options for their emoluments. The succeeding generations also do not seem to be much interested in handloom weaving, impacting the overall business of this craft.
]]>"In the deep jungles of Bengal, tucked miles away from the reach of human civilization, a coven of witches, in giant painted masks dance in frenzy around a big fire; some have swords in their hands, others have axes. In a corner bound and gagged is a pretty young lady–the offering to Satan.” depicts a Bengali novel from the 18th century. This accurately explains how masks have always been a part of our culture from a very long time. With the exact origin still unknown, these mysterious masks have a very vague history.
According to many rumors, witches started the practice of wearing masks. In an attempt to camouflage, witches built a majestic facial veil made of paper or wood, which would help them attract the innocent and also prevent them from being exposed. Other stories explaining the origin of masks suggest that masks started during the time of the great migration in Bengal delta. With migrations, came the diverse cultures which were Aryans. It is this amalgamation of Aryans and non-Aryans which led to the introduction of masks, which is still reflected in the Bengal’s long-running tradition in mask artistry. Though the history of its advent is still vague, its influence is still very much seen in Bengal and across India. Being religiously important, masks have firmly impacted our history and traditions.
Gambhira masks have always been a popular prop used in Gambhira dance forms to propitiate the deity to usher in the peace and drive out the evil forces. The masks used are crafted using neem and fig tree wood and sometimes by clay by the local Sutradhar community. With the facial features being completed first, masks are then colored with natural or chemical colors to add a catchy definition to them. With the three-dimensional crown being its specialty, masks are a wonderful symbol of Bengal’s craftsmanship and its diverse cultural beauty.
The Gambhira masks are of great religious importance owing to the belief in spells. They are also a deep-rooted symbol of negating geopolitical boundaries of the world. The mask has been a prop in various religious dance forms such as ‘Mukha Khel’ to appease the god. People would use mask as a revelation tool to make themselves formless, which would take them to the paths to the world of higher powers. Being used in various dance forms and religious functions doesn’t end their significance. They are used in regular life as well, such as wall hangings. The varied masks satisfy varied needs, which make them unique in their own sense.
Gambhira art-form, like many other art-forms is on the wane. With no appreciation, the production of Gambhira craft pieces has declined with time. With the declining interest of the modern generation, Gambhira isn’t a cultural festival anymore; it is merely a performance now. The modern songs have entered the popular dance form, diminishing its original identity. The Gambhira artisans have felt its effect the most, which made them, leave this heritage craftwork and find alternative ways of income.
]]>“The goal of life is rapture. Art is the way we experience it.”-Joseph Campbell.
Art and Craftwork have been a medium throughout the history to convey and communicate emotions. Art form being an integral part of culture has educated us with timeless traditions and history. The Leather Puppets have been a part of entertainment not only for the rustic people but also for the urbanites. The mythological stories and the traditions they display are a form of cultural expression.
In the darkness of night, a play of light on a translucent screen accompanied with poetry recitation brings out the unexpected alluring beauty of these puppets. Ranging from Ramayana leather puppets to lampshades and elephant puppets, all these are a part of cultural heritage accompanied by new and contemporary designs.
The Leather Puppetry is a traditional art of oral history recitation, which originated during 17th century in the village of Nimmmalakunta in Andhra Pradesh. It is widely known as Tolu Bommalu or Tolu Bommalatta in Telugu. Started with just a medium of entertainment for local people, this art-form later developed as a prominent shrine, used to convey epics from Hindu mythology and folklore. The shadow puppetry is still prevalent in Andhra Pradesh.
The puppets are made from the integument of Goats and Sheep. The untainted skin is soaked in pits of lime water for two weeks. After being drenched, the surface is then cleaned with a knife to get a smooth sheeny surface. Again, the skin is soaked in a solution of water and kadaka powder for ten days. The light-brown hide is then is decorated with beautiful paintings following by an outlined-border, which adds life to the characters. Lastly, the eyes of the puppets are painted to give them an exuberant look. Majorly, Vegetable dyes are used as colors, which make puppets bright and gleaming.
Vividly painted leather puppets used in puppet shows narrate a sequence of epics, educating people and making them aware of their traditions. Puppets shows are a part of cultural heritage and, are organized by merging many art forms such as painting, engraving, poetry, oral recitation, dance and music, acting and storytelling through puppets. When held in front of a light source, these puppets create dynamic-animated effects, which is a traditional way of narrating episodes of divinity from Hindu epics.
Being an interior decor with appealing shadow effects, the new age leather lampshades are a beautiful creation of this traditional art. This art is also used to make trendy jewelries.
The art of making puppetry dates back to centuries and is now being carried forward by descendants of artisans. The prevalence of this art is now dwindled due to the advent of various technological forms of entertainment. As urbanization took over, the art is on the wane. With fewer people interested in puppets, the artisans have creativity diversified this art form by giving it a modern touch. The art form is now used to make fashionable jewels, accessories and home decors.
]]>Bidri is a unique form of metal handicraft from Bidar and is also known as Bidriware. It is known to be developed during the 14th-century C.E. Bidri craft seems to have had its origins in Persia, but with the imperial support and the expertise of the craftsmen, its later development happened in Bidar (in Karnataka).
The initial artwork during the Bahmani kingdom was a combination of Turkey and Persia. But with later stages of development, a touch of local style was given to this art form to give rise to a unique Indian craft under the rule of Second Sultan Alauddin Bahmani. The art was then passed on by the creators to the next generation, and is still practiced by local Muslim and Lingayat sects, as a preserved heritage.
Craft is all about getting the right proportions. Similarly, Bidriware is crafted by an alloy of copper and zinc, in a fixed ratio of 1:16 by casting. A mould is first formed from the soil and the addition of castor oil and resin. The zinc is what gives the craft pieces a black color. In short, the process of creating Bidri artifacts includes the steps of casting, polishing, and engraving, inlaying and then giving a black color to the last craft piece. The black color is given using a solution of copper sulphate.
The soil is said to be magical in its own ways. The artisans believe that the continuous rain for years and no sunlight is what makes this soil special, and gives the soil great oxidizing properties. The artisans in fact taste the soil by their tongues before deciding on its suitability. The knowledge of testing is obtained through experience and is passed on from generation to generation.
It is unique in its own ways. The intricate inlay artwork and the metals used make this artwork as one of the most important handicraft exports. This craft is also a symbol of wealth across the world.
The list of products produced by this art has no end, starting with simple bangles, boxes and buttons to complex appealing figurines of idols, Muqabas and Surahi. Bidriware is also used in the making of hookahs, Ashtrays, paan-holders, vases, Zalabchi (Washbasin), bowls, earrings, trays, ornament boxes, and jewellery.
While Bidar in Karnataka and Hyderabad in Telangana are the most famously vibrant centers, this glorious art is not restricted to these places only. Some other known centers of this craft are Purnia in Bihar, Lucknow in Uttar Pradesh, Murshidabad in West Bengal and Aurangabad in Maharashtra.
This exquisite craft is exported from India has a large market with discerning art lovers across the world. The craft products are nowadays sold at retail outlets, at Government emporia and online by different e-commerce sites.
]]>Kavad is one such format of oral story-telling that was born in Rajasthan centuries ago. The concept began as a portable shrine, taking little wooden temples to people who could not travel. Decorated wooden panels unraveled fascinating tales from mythology and folklore.
Then the stories expanded from religious epics to moral stories to educate villagers on various moral values like harmony or educating the girl child. Some wealthy families even used kavads to document their family history to be passed down through generations.
Origin
Kavad is a nearly 500-year-old traditional craft from Rajasthan. Kavad means half a door or panel of a door. Each piece requires three people to make it come together; the carpenter or ‘Suthar’, ‘chitrakar’ or artist, and the narrator called the ‘bhat’.
The kavad is hand crafted by the carpenter and artist, while bhats do the narration of the story hidden in every piece of the art. Today, it is mostly sold as a decorative, heritage piece to patrons. The craft is still alive in the village Bassi, in Chittorgarh District of Rajasthan where a few bhats practice it in its traditional form.
What makes it special?
The storyteller travels with the story box. They begin by opening the small outer doors to reveal the story painted on the kavad. Every painted panel is like a chapter. The wooden panels are opened and closed in a sequence creating suspense for the next part of the story. The skills of carpentry, painting, and storytelling work together to create a spellbinding experience.
In olden times, the narration could go on for days, especially with the re-telling of epics.
Technique
Kavads are made from the wood of the mango or semla trees. The colours used are obtained from minerals, which are procured from the market. These are in the form of powder and mixed with a solution of tree resin to make an adhesive. Women in the house help in making these colours. From these mineral mixtures, a base colour is then painted upon the wooden structure.
Originally, kavads had red background but today artists use a variety of bright colours. The characters and setting are added in layers. Special attention is paid to the expressions. The final step is applying the black outline which adds dimension to the figures.
The future
There are mainly three communities associated with Kavads - Suthars (the kavad makers), Kavadiya Bhat (the storytellers) and Jajmaan (the patrons). Today in Bassi, only five to six families contribute to this languishing art form.
Kavads are losing their relevance due to the modern consumer’s manner of consuming stories. With books, television, smartphones – people are spoilt for choices. These pieces are now mostly sold as showpieces to tourists.
To preserve this art form, kavads are now used to teach alphabets to children. One of the popular pieces that resonates the importance of empowering the girl child is the ‘Meena ki kahani’. Meena is a girl who helps her mother at home. A schoolteacher one day meets her mother and tells her to send Meena to the local school. After high school, Meena gets the opportunity to go to London where she does a computer course and then returns to India to teach other girls.
Artisan’s plea
Dwarka Prasad worries about the craft’s languishing status. He says, “People now don’t have time for stories and thus Kavad is not appreciated by all. We appeal to customers to value the heritage of Kavad before it is too late.”
Artist Dwarka Prasad
The survival of the Kaavad tradition hinges not only on a set of economic relations and transactions but on the fact that the maker, teller, and patron are dependent on each other.
We must collectively explore how to repackage this heritage craft as a creative and interactive way to share stories that last.
]]>Sadly, this pandemic is pushing their resilience to its limits. With restricted movement of people and goods, shortage or absence of raw materials, excess stockpile – artisans across the country are suffering. Exhibitions organized by the government and privately have all been cancelled. These events are the biggest opportunities for artists and weavers to showcase their products so people can see and get a feel of what they’re buying. In fact, many artists rely only on exhibitions and do not even sell through e-commerce platforms.
With an overall economic slump and the perception that crafts are not an essential commodity, demand for handloom and handcrafted products has plummeted.
While the impact of the virus is universal, it has an even further crushing effect on these artisans. The Export Promotion Council for Handicrafts (EPCH) estimates that the handicraft sector could suffer a setback of ₹8000‐₹10,000 crores. In nearly all conversations with our artisans, they tell us about how this is the worst period they have endured. What is scarier is not knowing when it will all be over.
Tinat, a dhokra artist from Orissa laments, “Usually we go to the market and sell our wares but with this virus scare, we are stuck with stock and no income. The cyclone added to our problems as we do not have a pukka house. The only government support we receive is a few ration staples, but it isn’t enough.” This story echoes in all our conversations with artists, who desperately remind us to help them however we can. Some of them even contemplate leaving for cities to take up construction jobs.
Imagine an India without the dazzling colours of blue pottery and the intricate lines of Gond art? Imagine an India without these resplendent craft skills, some of which can only be inherited, not learnt?
Prime Minister Modi emphasized the need for a self-reliant India with the motto ‘Vocal for Local’. Here is an opportunity to fix the current problems imposed by the pandemic while taking the time to re-examine the craft industry. How can we use design intervention to help languishing crafts by retaining their traditional elements and building in functionality for the modern consumer? What can artists do with their spare time now to grow their skills? How can the virtual space provide an immersive craft experience that compensates for the revenue generated through handicraft exhibitions?
We are at a crucial juncture where our choices can be truly transformative for lakhs of artisans. They have already faced enough challenges due to lack of demand and organized infrastructure. Without our collective efforts and support, they will be forced to abandon their crafts to sustain livelihoods. We risk losing invaluable history and cultural practices.
Now, more than ever, we must choose to buy from small businesses that bring the makers to the forefront. It is imperative to evaluate how we consume and what are the mindful switches we can make. We must find all possible ways to incorporate crafts into our way of life; as things that merely add beauty to our homes, as clothes we wear that commit to comfort and sustainability, as items we use for practical purposes.
This re-thinking at a mass level is the only hope for our artisans.
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In the 1700s, the Industrial Revolution broke into the world, changing the way humans would continue to make their food, clothes, and everything else needed. Till then, most products were made individually, and a single unit could be attributed to the efforts of one person or a group of people.
Important inventions like the steam engine and electric motor were born. Ford perfected the assembly line method to manufacture automobiles and this would then be applied to other industries as well. Progress hurled itself at mankind. Thanks to mass production, human time was optimized. Wealth and economies grew but so did exploitation of labour. Human effort here was attributed as repetitive tasks that did not require much skill. Anyone could be replaced, and work would still go on without a difference in output in terms of quality.
The disconnection between makers and consumers
It has been centuries since then and here we are today – in a time when the evolution of consumer needs and desires has reached a state and the line between basic needs and a luxury is blurred. Technology grows exponentially, adding convenience to our daily lives. Every day we eat food grown in factories, shop for products made by conglomerates. Sure, there are labels to show us the ingredients and expiry dates but there is no escaping the fact that we have reached a state of utmost isolation from the real makers.
It is this disconnection that enables industries to thrive on mass production and promote inequity in social structures. Mass production entails a lot of wastage and exploitation. There is no going back to the days before the revolution, but we must work towards increasing the value of human labour. This can only be catalysed if consumers start buying more handmade products.
Buying handmade – more than just a purchase
When you buy handmade products directly from an artist or any other maker, you are contributing to a more sustainable world and it isn’t just the planet that benefits.
Anything made by a person contains an element of imagination and imperfection that makes what you own become one of a kind.
Here are a few of the benefits of buying handmade:
So, choose to buy consciously. Make little swaps in your daily lifestyle. Think about how things you use are made, the wastage involved, and how long they will last.
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Rogan art is a 300-year-old textile art form practised in the Nirona district of the Kutch region. It uses thick paint derived from castor seed oil. While most speculate on the craft’s origin from Persia, the common theory is that it was brought to India by the Khatris, a Muslim community who migrated from Pakistan.
After the Bhuj earthquake, a renewed infrastructure helped bring in more tourists and revive the art to a certain extent. Craft tourism has also played a role in harnessing development in Nirona where tourists from across India and the world flock to see the artists at work. It is no doubt a rare, painstaking, and delicate process with exquisite outcomes.
The paint is made by heating castor oil over fire for nearly 12 - 48 hours hours while stirring it continuously to ensure it does not get burnt. It is then cast into cold water to produce a residue called rogan (Persian term for ‘oil’). Rogan is then mixed with colour pigments to form a paste. which is then stretched out continuously to obtain a thin, threadlike consistency.
Gathering the paste, they use blunt needles to stretch it out into a thin, threadlike consistency. The artists deftly place the paint threads on fabric to form the pattern. Using their fingers, they adjust the paint delicately. Usually, they create one half of their imagined art piece and then fold the fabric carefully, so the damp paint transfers the mirror image and completes the masterpiece.
Creating rogan art requires precision when using the paint threads to create intricate motifs (floral, peacocks, local folk art, the tree of life). There is no tracing involved and every strand must be evenly stretched out before spreading it on the fabric. But above all, the most noteworthy aspect of the work is the physical endurance needed. To ensure the paint stays wet, the artists must work at room temperature always and cannot use fans, even at the peak of Indian summers. This affects their health and mental state.
In 2014, Prime Minister Narendra Modi gifted President Obama a few Rogan paintings and this has helped bring about attention and appreciation for the art.
Today, only one family – descendants of the Khatris - in the Nirona village practices this form and are involved in teaching it to other women in the community as a bid to preserve it. But the Khatri community is protective of their craft secrets and their motivation to teach women is more to do with coping with demand than to sustain the craft. With this delicate balance between knowledge and ensuring continuation,the future of rogan art remains as delicate as its technique.
History
Rogan art is an ancient textile art form that came into the Kutch region from Persia nearly 300 years ago. It uses thick paint made of castor seed oil. The process of extracting this paint base is a cumbersome process where the oil is boiled for days till it reaches enough viscosity to be stretched into thin threads. These paint threads are then used to create intricate motifs with the help of a metal rod. The design is done on one side and then transferred carefully to the other half to build symmetry.
Today it is practised only in the Nirona district. Rizwan is one of the few rogan artists from here. He is part of a ten-member team of trained artisans, along with his father and brother. He has been practising the craft since he completed tenth grade in school. The craft has been in his family for eight generations. They work an average of six hours a day.
Apart from the demands of the intricate work, the biggest challenge in rogan art is that artists must work in room temperature. Even in the peak summer, they cannot use a fan to cool themselves. This leads to severe dehydration. During monsoons they take a break as the dyeing process cannot take place in these weather conditions.
Castor is grown locally, and the oil is sourced from farmers thereby benefiting the farming industry as well. Earlier designs used to be rustic but over time the craft has evolved and become more stylized and finer. Rizwan’s best sellers are the framed wall hangings and dress materials. Motifs used are floral, peacocks, the tree of life. He also does customized paintings.
Rizwan enjoys drawing a lot and finds that to stimulate his imagination. “This craft is important to us and we will do whatever it takes to continue it. We are special because very few people know this work. “, he says with pride. He takes the time to train young people who are keen on learning.
His team is constantly thinking of how to innovate. Although there is little scope in changing the technique, they want to adapt to more daily-use fabrics like denim and dress materials. Their goal is to make rogan art accessible to a wider audience. Currently, they market through government organized exhibitions, Whatsapp and Instagram.
Rizwan is worried about the impact of Covid19 on their business. Completed orders are yet to be dispatched and some products are stuck with courier companies Bhuj. Each product is highly valuable and so the inventory must be tracked and managed carefully. The Gujarat hastha kala nigam has assured marketing assistance.
“The only good thing is we have used this lockdown to finish a lot of repair work in our house.”, he says.
The Khatris retain the same style on a variety of products to suit contemporary tastes. Apart from the basic framed paintings, they make bags, cushion covers, tablecloths, wall hangings, and pillow covers. Rizwan even does palazzos and skirts!
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