The Introduction of some of the Crafts are as...

Cane & Bamboo

Cane and Bamboo Craft - Grass has an image of purity in India. It is used for prayer for weaving mats for prayer ad for religions purposes. Willows, grass, reeds and palms lend themeselves to new forms in the hands of master craftsmen. The hardy bamboo and cane are no different. Belonging to the grass family, it has bent to the needs of man. Bamboo carved everyday items and cane furniture have come home from Manipur, Assam, Kerla and West Bengal.

The most delightful carving of bamboo comes from Manipur. The unusual basket from this place is a delightful piece of craft. It's body is square shaped crafted out of thin slit forms that are woven in checks and squares. The basket stands on legs and has a dome shaped lid.

The cane with its long stemmed nature is extraordinarily strong and very pliant. It is for this reason that furniture and decorative items made with it are hardy and take well to usage. The natural colour of the plant gives it an elegance that makes it growingly popular today.

Glass Weaving - Grass weaving is old as man kind. it is one of the simplest of man’s creations where woven grass moulds itself into some imaginative mat and basket. The best known places for grass weave are Assam and West Bengal. A plant that finds preference in this field is sitapatti or the cool leaf. This is a reed that grows abundantly on marshy lands of both these States.

The treatment of the grass is a laborious process. Once ready the reeds are woven into floor mats, wicker baskets and containers. The colours on the Stiapatti are tinted before the actual weaving begings, which gives the craft items some colour.

Screwpine Work - Another shrub that lends itself well to the preparation of floor cover is the screw pine leaf of Kerala. The leaves of the plant grow spirally and have a thorny edge which has to be removed after which it is slit and boiled and finally polished into fine skein. At times so fine is the work done with these slit fibbers that one may use them as soft dewan covers. Sails for ships were once made with these; So fine and strong was the fiber woven by the craftsmen of old.

Sikki Grass - A natural grass from Bihar that lends itself beautifully to articles of everyday use is sikki grass. This grass grows in abundance here and has a lovely golden hue. The grass has obviously ritualistic use, for once it comes out after the rains the craftspersons cut and store it for use.

With the help of the coiling technique, the grass is woven and sculptured into stylistic forms that denote the elephants, birds, riders and horse. The crafts items is dyed to give it colour while decorative tassels are used as embellishment. Even boxes and baskets for everyday use are prepared for the home. Interestingly, a bride includes articles prepared with this grass in her dowry as a sample of her skills in home craft.

Embroidery

Bead Work - Embroidery seems to be a way of life in Gujarat. It compliments the ornaments jallis of the main gate in homes of Gujarat. Toran as this craft is called is the sign of good omen hug over doorways . it is made up of thread led beads, that are decorated to form small flaps. Each flap holds delicate motif of flowers, geometric or composite animal forms. The method of craft entail working on a tribe ad system developed row by row. The motifs are planned beforehand with a variety of tiny colorful beads creating an attractive design.

The triangular flaps on an embroidery ling cloth are called pachitattis, besides these door decoration forms, square embroidery pieces made of beads are used to decorate furniture. Rectangular forms named chandrawas are prepared and hugh on walls. A combination of diamond shapes hugh on the wall are called bhitiyas.

The beauty of the craft lies in the motif. The animal forms used for decoration are stylized, which give the image a kind of movements. Loins, hoirses and dogs are drawn with threadled beads. But the most delightful image are those of the sun god on his chariot, a marriage procession, a cavalry or charioteers with trumpeters. This delicate Gujaratri tradition of embroidery is coming to the fair for the first time.

Crochet & Embroidery - The small Union Territory of Goa is famous for delicate crochet work and spider fine lace embroidery. This craft may not sound a traditional occupation, but the craft came into existence in and around Kerala with he arrival of the Portuguese in India. Since then, the craft has spread, and is a vocation for people of this region.

The fine craftsmanship in this tradition is displayed in attaching patches of needless work., woven flowers in lace and net patterns with gossamer fine thread. At times lace is embroidered onto curtains, bed spreads or dress material, showing off the magic of deft fingers.

Hand Embroidery - The craft first arrived into the country from Syria through trade and exchange. the present form of this needle-work however evolved under the tutelage of London Mission Societies in the first quarter of the 19th Century AD. With Shadow work, colourful flower patterns and cut out motifs, craftpsersons embroiders on linen and sarees.

Kantha Embroidery - Kantha embroidery is a fine needlework tradition of West Bengal. The word kantha denotes piled patch work. The embroidery is unique in the hand of every craft person for it highlights the personal symbols used to denote everyday objects. The flower, vegetation and local legends take unique shapes on long cloth lengths, table tops, even saree borders and pallu. Elephants, chariots, flowers and fish forms in unique dimensions delight with the simple stitch pattern. The kantha has moved from te hearth to the forefront of embroidery fabrics due to the dedication of crafts persons. In days of old, women of the home piled used and oold pieces of cloth, and with thread pulled out of old sarees and cloth pieces, they outlined motifs on the piled up cloth which was usually of 2 to 3 layers. Once the cloth pieces were tacked into place, the kantha craft is de designed entirely of tiny running stitch in different colours. Today the craftman has experimented with tussar saree and veils, bringing this simple craft up from the level of an ordinary chore for the women at home.

Phulkari - From the fertile plains of Punjab, come some of the finest embroidery traditions of the country. No wedding in rural Punjab is considered complete without the colourful phulkari veil for the bride. The beauty of the crafts lies in its simple daring stitch laboriously done from the reverse of the cloth. Drawn out threads are designed by counting warp threads. A single error can throw the entire surface of the cloth with intricate manipulations by the crafts person. The thread used for embroidery is silk and patterns are given formal names. The bagh phulkari is so refined, that one can barely spy the forms giving a rich floral effect. Stitches are iin green, golden yellow and white. The best of Phulkari work comes from Patiala, Jullundhar and even parts of Hisar, Karnal and Rohtak in Haryana. The quality of this tradition is judged from the reverse of the garment, which should be as smooth in texture as the front. The cloth used is usually brown, rust or indigo. But the embroiderer of today is experimenting with other motifs. Animal, bird, flower and medallion motifs are also being used for decoration.

Rabri Embroidery - The pastoral communities of Ahirs and Rabaris in Gujarat design very rich embroidery; the craft has been in theses ribes since generations and is passed on to daughters from their mothers. Whole communities embroider in traditional motifs that distinguish this particular genre of tribal embroidery. The Rabari bride must own three heavily worked clothes and a woolen tie- dyed shawl embroidered with borders and medallions in chain stitch, mirror and plastic buttons. Rabari motifs are flowers, medallions, geometric stylized horse and rider, peacock and scorpions, worked in the chain stitch, with round, petal shaped and triangular mirror pieces interspersed between them. The craft gains beauty from the combination of coloured threads, mirrors and embroidery that sets off a pattern. The craft is made more beautiful with the work being done on a dark back ground like night blue maroon or deep red. Theses colours reflect the glitter of mirror pieces.

Suzni Embroidery - Embroidery in India has a hoary past. We find the earliest mention of needless in very ancient books. Interestingly excavations of the period as far back as 2300-1500 B.C. showed the use of borne needless used for embroidery, and figures dressed in embroidered textiles was the sculpture of Buddhist stupas. And so, it was with the beginning of the simplest of stitch, embroiders of various regions began the ornamentation of cloth. One fine region where the very beauty of the natural landscape, the majesty of snow peaks, the presence of flowering shrubs and cypress tress finds a delightful reelection, is the Suzni embroidery of Kashmir. The suzni coming to the fair is a very simple form of stitch, which shows uniform threads form both sides. With this simple stitch the embroidery usually decorates shawls.

This form of embroidery is done both by men and women. The stitch defines the selected motifs that shows the local cypress, the chinar leaf and lotus in delicate patterns on Kani shawls.

Metalware

Bell Metal - Bell metal is one of the most attractive of bright metals, that delights one with its natural polish. It is the glint of a mellow gold and a soft surface. Though bell metal traditions are followed in a number of States, the most outstanding forms and practically the fancy of collectors, arrive from Kerala. The Kasargod. Interestingly, the craft emerged to the forefront, rising with the patronage it received from royal courts and temples, where huge cauldrons and open mouthed cooking vessels were crafted. It was this background, that gave the bell metal ware of Kerala a classical dignity. But where traditional and formal utensils were crafted, the bell metal caster delved in simpler and at times ornate designs. He prepared jewel boxes, jars, boxes an oil cans all of which had their particular embellishments. The craft item of greatest popularity was multi-tiered stand lamps. The lamps are even today used for ceremonial purpose. These are crested with peacock, eagle or swan forms. Ceiling lamps Hugh from metal chains and known as changalavatta or Greek lamps fascinate with their ornate qualityu. The crafts persons from here also crafts large shallow bowls in simpler but perfect hemispherical forms through the lost wax technique. Some of these bowls reach up to six feet in diameter and one formed part of utensils used for feudal distress and temple offerings.

Bidri - One form of craft that has found a new home in the exchange of cultures that India has seen, is Bidriware. Bidriware could well be called metal-artware because of its fine display of decorated technique. The craft came into the country around the 14th century A.D. with the caravans that included warriors and Bidri crafspersons. They introduced the fine mixture of metals that give us the basic metal used in this craft. Upon this alloy, artistic designed in pure silver are inlaid. The craftpersons of old settled in Bidar in Karnataka, which led to this craft being named Bidri ware.

The beauty of the crafts lies in the fact that each piece of Bidriware is cast separately. A mould of the craf is prepared with ordinary soil, making it malleable with castor oil and resin. Then the alloy made of zine and copper is melted and poured into it. Once formed, the cast piece is given its fine shape with the help of files and scrapers. The metal is then polished with a piece of copper sulphate. it is this that brings a black cover on the craft piece. the selected design is finally etched on the item with free hand. a sharp stylus is used for this. with a fine chisel, groves of the design are drawn out. it is in these fine groves that beaten silver threads are hammered. once complete the item is rigorously filed. smoothed, buffed and polishes.

Brass Ware - The brilliance of brass has always fascinated man. and once his need for tools and utilities were fulfilled, the turned to metal for decorated craft. they worked on two levels of craft work.:decorative craft nd the object of household use. the best known brassware in Gujarat comes from jamnagarm, wadhwan, visnagar and Sihor. The form of a lady with a lamp, known as deepa-lakshmi is a famous item. other forms are of brass lamps having multiple miniature bowls and handles in the shape of peacock, elephant, snakes, temple bells and drum. the craft is made delightful with a great variety of designs made on them.

Bronze Sculpture - Copper and bronze were perhaps the earliest of non ferrous metals that man shaped into tools and items of decoration. Bronze casting methods as given in matsyapurana show how old the tradition is. This can also be seen from the finding of Taxila. The earliest literary reference to the art of Bronze casting was found in the Tamil classic named Silappathikaram. One branch of this tradition that celebrates religious images flour shed to excellence as can be seen in the metal sculptures of South India. The icons are living images of and ancient cultural tradition that were cast as per instructions given in special scriptures named shilpa shastra. The artisans who practiced in this genre were known as sthapathis, literally meaning icon makes. The icons are still made in the old yet icons were made with an alloy of panchaloha comprising copper, brass, lead, sliver and glod. However, the prohibitive cost of gold and silver has today forced the craftsmen to use an alloy of copper, zine and lead.

The Sthapathis are today based in Madural, Karaikudi, Sriviliputtur, Chidambaram and Swamimalai where their forefathers saw the zenith of their skills under the patronage of the Chola and Palava rulers of the 13-14th century AD . today Swamimalai is the most renewed center for bronze icon craft. It was from here that the world famous Nataraja emerged. Shiva in numerous forms along with Paravathi forms images now reserved in museums, have deigned the cowherd shiva, the Kalayan Sundaram Shiva and Paravati for the connoisseurs of this craft.

Dhokra Casting - A fascinating crafts tradition that has flourished in the tribal belts of central and Eastern India., is Dhokra casting. the craft gets its name form the metal smiths who are called Dhokras. an interesting fact about this tradition is, that though it is centuries old, it is difficult to pin point the rise of the craft. Metal casting in tribal belts of the country has always been passed onion families by word of month. by nature, the crafts men of this genera were nomadic. they visit region after region, to craft items of everyday use and rituals, casting each item in the form and with motifs that are in Orissa. West Bengal, Bihar and Madhya Pradesh, is distinctive to every region.

The dhokra casting of Madhya Pradesh fascinate with its designing of local deletes animals forms and birds. A favorite theme in design is the Bastar ki Mata Dhanteshwari Devi, the enlarged form of which can be seen as the welcome Gate form in the fair grounds. Other favourite figure of craft is Rao Dev, a mythical rider who guards the village by night. Locals believe, that the lighting in the sky, is the crack of his whip. the form is popular, for farmers of this community offer sacrifices to this delete at the boundary of their corn fields. the dhokra casting of Madhya Pradesh is distinguished by the fine ornamentation done by the craftsmen. the fine and thin form, the rare fascination. other areas in Madhya Pradesh where the craft is practiced are Bundelkhand, Raigarh Jagdalpur and Alwaye.

Iron Craft - The use of iron in India has an ancient history. Our earliest literature- the Vedas, give instructions on tempering it to make steel. The iron in India has an ancient history . ur earliest literature- the Vedas give instructions on temperting it to make stell. The iron beams of the Konark Sun Temple and the itron Pillar at the Qutab Minar stand testimony to the durability of iron works in this country. The tradition continues in various parts of the country, the black smith of Chattisgarh in Madhya Pradesh consider themselves the descendants of Vishwakarma. But the black smiths of Bastar do not follow this teaching. They call themselves lohars . they work with iron, beating, heating and hammering it into a fascinating assortment of tools and implements for domestic use. But this lohar of Bastar is comfortable and infect equally excellent in producing attractive lamps with exquisite designs ornaments on them. These lamps are used in ritualistic prayer and at marriage ceremonies. The capacity to fashion objects out of metal-sheets hammered to the required shape and joined together by dovetailing and soldering demands the vision, conception and sensitivity pf a sculptor . one finds these in ample measure in the crafts from Bastar in Madhya Pradesh, where the craftman decorates his even human forms bells and metal tassels.

Metal Ware - The Tamtas or metal casters of the hilly regions of North West Uttar Pradesh have for centuries practiced metal craft. Hidden in their hilly homes, they have been making utensils of different kinds for domestic usage and ritualistic prayer. The continuous demand has erected the Tamtas art of utensils making and its ornaments. The beauty of the craft lies in the use of copper and brass to make a utensil. Locals call this blend of metals the Ganga-Jamuni style, in which the article is prepared with pieces of both copper and brass, at times touched off with the uise of German silver. A special item of this tradition is the water pitcher or Kalasi. This object is a valued gift in the region and usually exchanged on occasions like weddings. Other items made under this tradition are bowl, vases, trays and boxes.

Pottery

Black Pottery - Pottery is as man. Through the use of the word mati which in local dialect means both man and clay, the potter rises to the level of the creator. And indeed, the pliant nature of the clay makes man mould it to his own design. Pottery as craft goes back o the earliest of times, when man not only used to make utensils, but also used clay tablets for writing text and instructions . Though a number of States practice the tradition, Azamgarh in Uttar Pradesh has it own status. This town is renowned for its black pottery where terracotta marathons or jars, surahis or long-necked and spouted Vessels, lamps and containers for of, betel leaves and even ink are imparted with a lustrous black colour. The clay of the region is light-yellow and olive in colour and has a very fine texture which moulds very well to forms. once it is given shape and firing, the pottery is washed with a slip, powered mango bark and crude carbonate of soda. The surface is then burnished with mustard oil after which a sharp twig is used for decoration. It is then subjected to smoke firing which results in tis characteristic black shine. The grooves of the design are subsequently filled in by hand with ( a fine silvery powder that is a mixture of lead, zinc and mercury) which when washed with water and polished, radiates a silvery hue against the black background of the terracotta.

Khurja Pottery - Khurja in Uttar Pradesh is another centre famous for its pottery tradition. The potter of this crea has evolved a style of his own. He has given the craft patterns in relief with the use f thick slips. The tradition is relatively new in comparision with othert pottery trends, though pottery itself is as basic form and texture of the tradition., the potter maintains the basic form and texture of the article. There is fine harmonious blends of colours which makes the pottery pleasing to the eye. the craft fasinates not only because of the form but also he texture of the craft items.The potter of Khurja also excells with the delights use of warm autumnal colours like orange, brown and a speical light red. Floral designs in sky –blue are worked aginst a white bacjground. A specially of khurja is the pitcher-like form decoraed in relief bya thick slip. These water pots are noted for their uniforms green-blue glazes with plain surface, the base being prepared from red clay. Khurja pottery is famous all over the country and is now finding a ready market aboard.

Terracotta - Clay craft has been called lyrical handicraft. For, it lends itself beautifully to shape, sheen design and paint. And one such tradition that grew with patronage of arts was the terracotta crafts. This tradition in clay craft has its roots in the large Buddhist “Viharas” that came into existence during the Pale dynasty in Bihar and West Bengal. The clay of this region had a to find elsewhere. The clay of this region had a naturally malleably nature with a rust red quality that was hard to find elsewhere. The Buddhists in their simple recluse nature perpatuated the tradition by employing craftsman to decorate their dwelling. And with this, form the wall of the vihars terracotta traditions moved to the homes of artisans and potters. These craftsmen turned to design itemsof domestic animal forms, tiles and bricks.