Handmade in India by Mapin Publishing

Crafts Crafts of of India India

Handmade in India Editors: Editors: Aditi Aditi Ranjan Ranjan || M MP P Ranjan Ranjan

Crafts Crafts of of India India

Handmade in India The TheIndian Indianway wayof oflife lifeisisreplete repletewith withproducts productsmade madewith withthe thehelp helpof ofsimple, simple,indigenous indigenoustools tools by bycraftspeople craftspeoplewho whobelong belongwithin withinaastrong strongfabric fabricof oftradition, tradition,aesthetic aestheticand andartistry. artistry.The Therange range of ofIndian Indianhandicrafts handicraftsisisas asdiverse diverseas asthe thecountry’s country’scultural culturaldiversity. diversity. AAsource sourcebook bookof ofhandicrafts, handicrafts,Handmade Handmadein inIndia Indiaisisaaunique uniquecompendium compendiumof ofIndian Indiancrafts. crafts.ItItisis aaresource resourceof ofthe thecraft craftrepertoire repertoirethat thatrefl reflects ectsthe thediversity diversityof ofthe thecountry, country,its itscultural culturalmilieu milieuand and the therelationships relationshipsthat thatnurture nurturecreativity creativityand andingenuity. ingenuity.This Thisencyclopaedic encyclopaedicpublication publicationmaps maps the thecrafts craftsof ofthe thecountry, country,and andcaptures capturesthe thetraditions traditionsthat thathave haveenriched enrichedthe theday-to-day day-to-daylives livesof of Indian Indianpeople peoplewhile whilebeing beingaasource sourceof oflivelihood livelihoodfor forgenerations generationsof ofcraftspeople. craftspeople.Handmade Handmadein in India Indiaprobes probesinto intoall allaspects aspectsof ofhandicrafts—historical, handicrafts—historical,social socialand andcultural culturalinfl influences uenceson oncrafts, crafts, design designand andcraft craftprocesses, processes,traditional traditionaland andnew newmarkets, markets,products productsand andtools—unravelling tools—unravellingaa wealth wealthof ofknowledge. knowledge. Handmade Handmadein inIndia Indiaisisbased basedon onextensive extensivefifield eldwork workand andresearch, research,and andmaps mapsout outthe theregional regional craft craftclusters clustersidentifi identified edacross acrossthe thecountry countryon onthe thebasis basisof ofprevailing prevailingcraft-work craft-workpatterns. patterns.ItItisis closely closelywoven wovenwith withimages imagesto toreveal revealthe thearray arrayof ofcrafts craftsin inIndia. India.Some Someof ofthese theseare arerenowned, renowned, like likethe thepinjrakari pinjrakariand andkhatumband khatumbandwood woodwork workof ofKashmir, Kashmir,blue bluepottery potteryof ofJaipur, Jaipur,chikankari chikankari embroidery embroideryof ofLucknow, Lucknow,the thekannadi kannadior ormetal metalmirrors mirrorsfrom fromAranmula, Aranmula,chappals chappalsor orfootwear footwear from fromKolhapur, Kolhapur,and andthe thebamboo bamboocraft craftof ofAssam. Assam.Other, Other,lesser lesserknown, known,crafts craftslike likethe thepaabu paabuor or stitched stitchedboots bootsfrom fromLadakh, Ladakh,jadupatua jadupatuapaintings paintingsfrom fromJharkhand, Jharkhand,the themaking makingof ofKathakali Kathakaliand and Theyyam Theyyamheadgear, headgear,khadi khadior ortinsel tinselprinting printingin inAhmedabad Ahmedabadhave havealso alsobeen beendescribed describedin instriking striking detail. detail.The Theclose closestudy studyof ofvarious variouscrafts craftsmakes makesititpossible possibleto todiscern discernsubtle, subtle,sometimes sometimesunusual, unusual, differences differencesin inthe thesame samecraft craftpracticed practicedby bydistinct distinctregions regionsor orcommunities—like communities—liketie-resisttie-resistdyeing dyeingwhich whichisiscalled calledbandhani bandhaniin inGujarat Gujaratand andMadhya MadhyaPradesh, Pradesh,and andbandhej bandhejin inRajasthan. Rajasthan. The Thefifirst rstof ofits itskind kindever everattempted, attempted,this thispublication publicationwith withstunning stunningphotographs photographswill willbe beaa tremendous tremendousresource resourcefor forproduct productand andtextile textiledesigners, designers,artists, artists,architects, architects,interior interiordesigners, designers, collectors, collectors,development developmentprofessionals professionalsand andconnoisseurs connoisseursalike. alike.ItItwill willbe beof ofimmense immensevalue valuefor for facilitating facilitatingworldwide worldwideparticipation participationin inthe theplanning planningand anddevelopment developmentof ofthe thehandicraft handicraftsector sectorin in India. India.ItItwill willalso alsobe beaauseful usefulreference referencefor forlibraries librariesinterested interestedin inIndian Indiancrafts craftsand andculture, culture,and and organizations organizationsand andagencies agenciesthat thatwork workfor forand andwith withthe thecrafts craftssector sectorin inIndia. India.

With Withover over3500 3500colour colourphotographs photographsand and140 140maps maps

HAND MADE IN INDIA

Crafts of India

HANDMADE IN INDIA

EDITORS Aditi Ranjan, M P Ranjan NATIONAL INSTITUTE OF DESIGN (NID), AHMEDABAD Published by

Council of Handicraft Development Corporations (COHANDS), New Delhi Office of the Development Commissioner Handicrafts, Ministry of Textiles MAPIN PUBLISHING

Reprinted in 2014 First published in India in 2007 by: Council of Handicraft Development Corporations (COHANDS), New Delhi Printed and produced by: Mapin Publishing Pvt. Ltd 706 Kaivanna, Panchvati, Ellisbridge, Ahmedabad-380006 India T | 91-79-4022 8228 F | 91-79-4022 8201 E | mapin@mapinpub.com www.mapinpub.com Conceived, researched, edited and designed by: National Institute of Design (NID), Ahmedabad Text, photographs and graphics © 2007 National Institute of Design (NID), Ahmedabad and Development Commissioner (Handicrafts), New Delhi All rights reserved under international copyright conventions. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the Council of Handicraft Development Corporations (COHANDS), New Delhi. Project funded by Office of the Development Commissioner Handicrafts, Ministry of Textiles, Government of India Crafts of India Series ISBN: 978-81-88204-49-6 Handmade in India ISBN: 978-81-88204-57-1 LCCN: 2005929526

Editors: Aditi Ranjan, M P Ranjan Designers: Zenobia Zamindar, Girish Arora Printed in China by PWGS

Cover photo by Ramu Aravindan. An artisan finishing diyas, terracotta lamps, made for rural and urban markets for festivals, in Nawrangpur district, Orissa. Back cover photo by Deepak J Mathew. Carved and painted wooden toys of Kondapalli, depicting various craft processes, occupations and household activities. The toys resemble the 19th century Company paintings of vocations and craftspersons at work in India. Front flap photo by Sandeep Sangaru. Kashmiri craftsman refining a high value walnut wood carving in Srinagar. Back flap photo by Purvi Mehta. Detail of a dowry bag appliquéd and embroidered by a Rabari woman in Kachchh, Gujarat. Page 1: photo by Jogi Panghaal. Detail of a contemporary cotton kantha, quilted and embroidered textile made by craftspersons in West Bengal.

Statutory notes on Map of India on page 006: The external boundaries and coastlines of India agree with the Record/Master Copy certified by Survey of India.

© Government of India, Copyright 2006. The responsibility for the correctness of internal details rests with the publisher. The territorial waters of India extend into the sea to a distance of twelve nautical miles measured from the appropriate base line. The administrative headquarters of Chandigarh, Haryana and Punjab are at Chandigarh. The interstate boundaries between Arunachal Pradesh, Assam and Meghalaya shown on this map are as interpreted from the North-Eastern Areas (reorganisation) Act 1971, but have yet

Pages 2 & 3: photo by Farah Deba. Detail of the carved and painted wood work inside a prayer hall in Thiksey Monastery, Ladakh.

to be verified. The state boundaries between Uttaranchal and Uttar Pradesh, Bihar and Jharkhand and Chhattisgarh and Madhya Pradesh have not been verified by the Governments concerned.

Contents

492-3 494 504 514 520 526 532 540

ZONE 6 : NE/—NORTHEAST Assam Arunachal Pradesh Nagaland Manipur Mizoram Tripura Meghalaya

017 018

Map of India List of Crafts How to Use the Book Dedication Messages: Prime Minister Minister of Textiles Secretary (Textiles) Development Commissioner (Handicrafts) Foreword Preface Introduction

545 546 551

024-5 026 048 062 073 074 080 124

ZONE 1 : N/—NORTH Jammu and Kashmir Himachal Pradesh Punjab Chandigarh Haryana Rajasthan Delhi

556 558 561

Sponsors Technical Glossary Annotated Bibliography of Archival Documents Bibliography Acknowledgements Acknowledgements: Museums and Collections Credits Craft Categories Index of Places Index of Subjects

130-1 132 168

ZONE 2 : C/—CENTRE Uttar Pradesh Uttaranchal

178-9 180 194 204 236 240

ZONE 3 : E/—EAST Bihar Jharkhand Orissa Sikkim West Bengal

266-7 268 298 336 340 362

ZONE 4 : S/—SOUTH Andhra Pradesh Tamil Nadu Pondicherry Kerala Karnataka

390-1 392 402 406 408 442 458 480

ZONE 5 : W/—WEST Goa Dadra and Nagar Haveli Daman and Diu Gujarat Maharashtra Madhya Pradesh Chhattisgarh

006 007 010 012 013 014 015 016

562 564 567 572

Map of India

LADAKH

jammu and kashmir

KASHMIR

Places marked indicate areas of fieldwork. Statutory notes about this map required by the Survey of India appear on the copyright page.

Leh

Srinagar

JAMMU Jammu

CHAMBA Chamba Dharamsala

KULLU KANGRA Kullu

himachal h chal prade pradesh

AMRITSAR HOSHIARAmritsar PUR Jalandhar

Shimla

CHANDIGARH

punjab b

Pakistan

Patiala

uttaranc nchal nc

PATIALA

Tehri Garhwal Saharanpur

haryana

Jaisalmer

Nagaur

Pokharan

JODHPUR

Jodhpur

Barmer

Alwar

Pali

Agra

Dausa

AJMER

sii kk kkim

AGRA

Gwalior

bihar r

Kota

Mandvi

Mundra

Siddhpur

Idar Mahesana Gandhinagar Ahmedabad

Surendranagar

RAJKOT Porbandar Bhavnagar Sasan Gir Palitana

VADODARA Vadodara

JHABUA Jhabua

Bharuch

SURAT Diu Daman DAMAN AND DIU DADRA AND NAGAR HAVELI MUMBAI Thane Bandra Mumbai

Phulbani

Adilabad

WARANGAL

Jalgaon

Dantewara

Nizamabad

Mahabaleshwar Sholapur

Sangli

goa

Ettikopaka

HYDERABAD

PY-Yanam Vijayawada

BELGAUM

MACHILIPATNAM

andhra dhra hra a pradesh

Hospet

Chirala

Kurnool

Hampi

Bellary

CUDDAPAH

A rabian Sea

BELLARY

Anantapur

Nellore

Cuddapah

Udipi Sri Kalahasti CHITTOOR

MANGALORE Mangalore

BANGALORE

Laksh

adweep Islands (Ind ia)

006

Mysore

Kannur

MYSORE

SALEM

KANNUR Kozhikode

CHENNAI Chennai

Chittoor

Bangalore

Kasaragod

Arcot

Mahabalipuram KANCHIPURAM

CUDDALORE

Pondicherry

Salem

COIMBATORE Coimbatore Malapuram Palakkad Thrissur THRISSUR Ernakulam

tamil mil na nadu ad a

Kochi

eral a era

Parla Khemudi

Visakhapatnam

Hyderabad

Golconda

kar arnata ta a ka

Bhubaneshwar

VISAKHAPATNAM

Belgaum

Panaji

Koraput KORAPUT

Warangal

BIJAPUR

Kolhapur

Kotpad

BASTAR

Bidar Gulbarga

CUTTACK Cuttack

BHUBANPURI ESHWAR Puri Narayanpura GANJAM Kondagaon Bissumcuttack Nawrangpur Bomkai Bastar Rayagada

Chandrapur

PUNE

KOLHAPUR

oris s sa

Kanker

KOL K ATA

MAYURBHANJ

DHENKANAL Dhenkanal

Ranjim

Ellora

maharashtra

Ratnagiri

Navapara

Nagpur

Midnapur BANKURA

SAMBALPUR

Raipur

Gondia

Pune

Sambalpur

chhattisgarh

Ajanta Nasik

Baripada

Champa Raigarh

Betul BETUL

Bangl adesh

w est b engal jharkhand ark Kolkata

Mandla

Surat

Dumka

MURSHIDABAD Hazaribaug Shantiniketan RANCHI BIRBHUM Bankura Barddhaman Puruliya Bishnupur Ranchi Panchmura

SARGUJA AND RAIGARH

MANDLA

INDORE

Bagh

Alirajpur

Bhopal

Indore

megha alaya alay

DUMKA

BHOPAL

UJJAIN Ujjain

Bhagalpur

PATNA

madhya pradesh

gujarat

Jamnagar

Varanasi VARANASI

Khajuraho

BHAGALPUR

Patna

UDAIPUR

AHMEDABAD Bhuj Kandla

GORAKHPUR

Allahabad

Bh uta n

COOCH BEHAR Jalpaiguri

Madhubani MADHUBANI

ALLAHABAD

Udaipur

KACHCHH

DARJEELING Siliguri

Gorakhpur

uttar a pradesh

Gangtok

Kalimpong

LUCKNOW Lucknow

GWALIOR

Bundi

SIKKIM

Behraich

Bagru Jaipur Ajmer Sawai Tonk Madhopur

Pipad

N epa l BAREILLY

Aligarh ALIGARH

JAIPUR

Makrana

JAISALMER

Moradabad Bareilly

Jhunjhunu Shekhawati

rajasthan

Naini Tal

MORADABAD

HARYANA DELHI Rewari Gurgaon

Churu

Bikaner

ALMORA

SAHARANPUR

Hissar Panipat

BIKANER

Ch ina

DEHRADUN

Dehradun

AUROVILLE Thiruvarur TIRUCHIRAPPALLI

Madurai

MADURAI

Ramanathapuram ERNAKULAM THIRUVANANKANNIYAKUMARI THAPURAM Thirunelveli Pattamadai ThiruvananManapad thapuram Nagercoil

Machilipatnam

Bay of Bengal

List of Crafts

NORTH : N/ 1.0

JAMMU AND KASHMIR Kashmir Papier-mâché Kaleen – knotted carpets Kashidakari – Kashmiri embroidery Namda – felted rugs Gabba – embroidered rugs Walnut wood carving Pinjrakari and khatumband – wood work Wicker work Copper ware Jammu Ladakh Thangka painting Ritual cloth installations Khabdan – pile carpets Tsug-dul and tsug-gdan – woollen pile rugs Challi – woollen textiles Hand-spinning Paabu – stitched boots Thigma – tie-resist-dyeing Metal work Wood carving Painted wood Basketry

N/JK 026 N/JK 028 N/JK 029 N/JK 030 N/JK 032 N/JK 033 N/JK 033 N/JK 034

HIMACHAL PRADESH Chamba Lost wax metal casting Silver jewellery Chamba rumal Chamba painting Embroidery on leather Kangra Thangka painting Dras-drub-ma – appliqué thangka Metal work Wood work of Dharamsala Kullu Basketry Doll making Thattar ka kaam – sheet metal work Knitted socks Pula chappal – grass footwear Kullu shawls

N/HP 048 N/HP 050 N/HP 050 N/HP 051 N/HP 052 N/HP 053 N/HP 053 N/HP 054 N/HP 055 N/HP 055 N/HP 056 N/HP 057 N/HP 058 N/HP 059 N/HP 059 N/HP 060 N/HP 060 N/HP 061 N/HP 061 N/PB 062 N/PB 064 N/PB 064 N/PB 065 N/PB 066 N/PB 066 N/PB 067 N/PB 068 N/PB 068 N/PB 069

3.44 3.45

PUNJAB Amritsar Khunda – bamboo staves Galeecha – knotted carpets Hoshiarpur Carved and turned wood work Panja dhurrie Wood inlay of Hoshiarpur Wood and lac turnery Patiala Phulkari and bagh – embroidered textiles Nala – drawstrings Tilla jutti – traditional footwear

3.1

CHANDIGARH (Union territory)

N/CH 073

4.0

HARYANA Haryana Palm leaf work Sarkanda work Brass ware Jutti – leather footwear Surahi – pottery

N/HR 074 N/HR 076 N/HR 076 N/HR 077 N/HR 078 N/HR 078 N/HR 079

RAJASTHAN Jaipur Blue pottery of Jaipur Kundan jadai – gem setting Meenakari – enamel work Lac ware Razai – quilt making Bandhej and leheriya – tie-resist dyeing Block making Block printing of Bagru and Sanganer Mojari – leather footwear Handmade paper Felt products Bahi – clothbound books Sanjhi – paper stencils Terracotta of Sawai Madhopur Stone work Katputli – puppets Wood and lac turnery

N/RJ 080 N/RJ 082 N/RJ 083 N/RJ 084 N/RJ 084 N/RJ 085 N/RJ 085

1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 1.10 1.11 1.12 1.13

aru unachal prad pradesh Along

ZIRO

KHONSA

Ziro

BOMDILA Itanagar

Bomdila

GUWAHATI Guwahati Dispur

ALONG

Khonsa

assam

nagal alland Dimapur KOHIMA

MEGHALAYA Shillong Cherrapunji

SILCHAR

ma manipu ur u

Silchar

Imphal IMPHAL

AGARTALA Aizawl Agartala AIZAWL Melaghar Thenzawl

tripura pur pur

mizor mizo mizoram

1.14 1.15 1.16 1.17 1.18 1.19 1.20 1.21 2.0 2.22 2.23 2.24 2.25 2.26 2.27 2.28 2.29 2.30

Moirang

5.68 5.69

Myanmar

2.31 2.32 2.33 2.34 2.35 2.36 3.0 3.37 3.38 3.39 3.40 3.41 3.42 3.43

N/JK 035 N/JK 035 N/JK 036 N/JK 037 N/JK 038 N/JK 039 N/JK 040 N/JK 041 N/JK 042 N/JK 043 N/JK 043 N/JK 044 N/JK 044 N/JK 045 N/JK 046 N/JK 047 N/JK 047

5.70 5.71 5.72 5.73 5.74 5.75 5.76 5.77 5.78 5.79 5.80 5.81 5.82 5.83 5.84 5.85 5.86 5.87 5.88 5.89 5.90 5.91 5.92 5.93 5.94 5.95 5.96 5.97 5.98 5.99 5.100 5.101 5.102 5.103 5.104 5.105 5.106 5.107 6.0 6.108 6.109 6.110 6.111 6.112 6.113 6.114 6.115

7.116 7.117 7.118 7.119

4.46 4.47 4.48 4.49 4.50 5.0 Anda

5.51 5.52 5.53 5.54 5.55 5.56

man and Nicobar Islan

ds (In

dia )

5.57 5.58 5.59 5.60 5.61 5.62 5.63 5.64 5.65 5.66 5.67

N/RJ 086 N/RJ 088 N/RJ 089 N/RJ 090 N/RJ 091 N/RJ 091 N/RJ 091 N/RJ 092 N/RJ 092 N/RJ 093 N/RJ 094 N/RJ 094

DELHI Delhi Naqqashi – engraving Zardozi – gold embroidery Terracotta ware Papier-mâché Wood inlay Carved wooden furniture Chik making Sandalwood carving

N/DL 124 N/DL 125 N/DL 126 N/DL 126 N/DL 127 N/DL 127 N/DL 128 N/DL 128 N/DL 129 N/DL 129

CENTRE : C/ 7.0

N/PB 070 N/PB 072 N/PB 072

Gota work N/RJ 095 Tarkashi – metal inlay in wood N/RJ 095 Ajmer N/RJ 096 Phad painting N/RJ 097 Miniature painting on wood N/RJ 097 Leather work N/RJ 098 Marble carving N/RJ 098 Bikaner N/RJ 099 Usta kaam – gesso painting N/RJ 100 Gangaur idol making N/RJ 101 Meghwal embroidery N/RJ 101 Bhitti chitra – wall painting N/RJ 102 Miniature painting N/RJ 102 Sandalwood carving N/RJ 103 Silver ware N/RJ 103 N/RJ 104 Meenakari and kundan jewellery Jodhpur N/RJ 105 Mojari – leather footwear N/RJ 106 Wood work N/RJ 107 Dabu – mud resist printing N/RJ 108 Bandhej – tie-resist-dyeing N/RJ 109 Seep ka kaam – mother-of-pearl work N/RJ 110 Bone work N/RJ 110 Musical instruments N/RJ 111 Wrought iron work N/RJ 111 Pattu weaving N/RJ 112 Panja dhurrie weaving N/RJ 112 Maati ro kaam – terracotta and pottery N/RJ 113 Paatra kaam – utensil making N/RJ 113 Jaisalmer N/RJ 114 Camel trappings N/RJ 115 Terracotta of Pokharan N/RJ 116 Stone carving N/RJ 116 Udaipur N/RJ 117 Pichhwai – painted temple hangings N/RJ 118 Kavad – mobile shrines N/RJ 118 Terracotta of Molela N/RJ 119 Damascening N/RJ 120 Metal engraving N/RJ 120 Koftgiri – weaponry N/RJ 120 Thewa – gold leaf work N/RJ 121 Silver jewellery N/RJ 121 Meenakari – enamel work N/RJ 122 Dabu printing of Akola N/RJ 122 Leheriya – tie-resist-dyeing N/RJ 123

7.120 7.121 7.122 7.123 7.124 7.125 7.126 7.127 7.128 7.129 7.130 7.131 7.132 7.133 7.134 7.135 7.136 7.137 7.138 7.139 7.140 7.141

UTTAR PRADESH Saharanpur Wood carving Tarkashi – metal inlay in wood Ebony wood carving Moradabad Brass ware of Moradabad Bareilly Bamboo flutes Cane furniture Aligarh Pottery of Khurja and Chinhat Agra Pacchikari – stone inlay of Agra Marble carving Soft stone carving Knotted carpets Glass work Sanjhi – paper stencils Lucknow Chikankari – embroidery of Lucknow Kamdani and fardi ka kaam – metal work embroidery Silver work Zardozi – gold embroidery Varaq ka kaam – gold and silver foil work Sheet metal work Terracotta and pottery Quitabat – calligraphy Bone carving Clay toys Basketry Tharu appliqué Appliqué

C/UP 132 C/UP 134 C/UP 135 C/UP 136 C/UP 136 C/UP 137 C/UP 138 C/UP 139 C/UP 140 C/UP 140 C/UP 141 C/UP 142 C/UP 143 C/UP 144 C/UP 145 C/UP 145 C/UP 146 C/UP 147 C/UP 147 C/UP 148 C/UP 149 C/UP 150 C/UP 150 C/UP 151 C/UP 151 C/UP 152 C/UP 152 C/UP 153 C/UP 153 C/UP 154 C/UP 154 C/UP 155 C/UP 155

007

List of Crafts 7.142 7.143 7.144 7.145 7.146 7.147 7.148 7.149 7.150 7.151 7.152 7.153 7.154 8.0 8.155 8.156 8.157 8.158 8.159 8.160 8.161 8.162

Gorakhpur Black pottery of Nizamabad Terracotta and pottery Varanasi Wood and lac turnery Repoussé Wood carving Carpets and dhurries Meenakari – enamel work Block printing Zardozi – gold embroidery Allahabad Moonj basketry Papier-mâché Shazar stone jewellery Date palm craft

C/UP 156 C/UP 157 C/UP 157 C/UP 158 C/UP 159 C/UP 159 C/UP 160 C/UP 161 C/UP 162 C/UP 163 C/UP 163 C/UP 164 C/UP 165 C/UP 166 C/UP 167 C/UP 167

UTTARANCHAL Almora Aipan – ritual floor painting Ringaal basketry Nettle fibre craft Likhai – wood carving Copper ware Dehradun Rambaans – natural fibre craft Lantana furniture Tibetan carpets

C/UT 168 C/UT 170 C/UT 171 C/UT 172 C/UT 173 C/UT 173 C/UT 174 C/UT 175 C/UT 176 C/UT 176 C/UT 177

EAST : E/ 9.0 9.163 9.164 9.165 9.166 9.167 9.168 9.169 9.170 9.171 9.172 9.173 10.0 10.174 10.175 10.176 10.177 10.178 10.179 10.180

BIHAR Madhubani Terracotta Madhubani painting Sujuni embroidery Sikki craft Papier-mâché Lac bangles Patna Stone carving Wooden toys Khatwa – appliqué Bhagalpur Tribal jewellery Jute work

E/BR 180 E/BR 182 E/BR 183 E/BR 184 E/BR 186 E/BR 187 E/BR 188 E/BR 188 E/BR 189 E/BR 190 E/BR 190 E/BR 191 E/BR 192 E/BR 193 E/BR 193

JHARKHAND Ranchi Bamboo work Dhokra – lost wax metal casting Musical instruments Tribal jewellery Wall painting of Hazaribagh Dumka Jadupatua painting Black terracotta

E/JH 194 E/JH 196 E/JH 197 E/JH 198 E/JH 199 E/JH 200 E/JH 201 E/JH 202 E/JH 203 E/JH 203

ORISSA Ganjam Ganjappa cards Flexible fish – brass and wood Brass and bell metal ware Cowdung toys Coconut shell carving Betel nut carving Bhubaneshwar Talapatra khodai – palm leaf engraving Pathar kama – stone work Papier-mâché Puri Patachitra – painting Pipili appliqué Shola pith craft Seashell craft Coir craft Wood carving Dhenkanal Dhokra – lost wax metal casting Brass and bell metal ware Brass ornaments Straw craft Bamboo craft Sambalpur Bandha – yarn tie-resist-dyeing Kumbhar kama – terracotta and pottery

E/OR 204 E/OR 206 E/OR 207 E/OR 208 E/OR 208 E/OR 209 E/OR 209 E/OR 209 E/OR 210

11.203 11.204 11.205 11.206 11.207 11.208 11.209 11.210 11.211 11.212 11.213 11.214 11.215 11.216 11.217

11.181 11.182 11.183 11.184 11.185 11.186 11.187 11.188 11.189 11.190 11.191 11.192 11.193 11.194 11.195 11.196 11.197 11.198 11.199 11.200 11.201 11.202

008

E/OR 210 E/OR 211 E/OR 211 E/OR 212 E/OR 213 E/OR 214 E/OR 214 E/OR 215 E/OR 215 E/OR 216 E/OR 217 E/OR 218 E/OR 220 E/OR 220 E/OR 221 E/OR 221 E/OR 222 E/OR 223 E/OR 224

E/OR 225 E/OR 226 E/OR 226 E/OR 227 E/OR 227 E/OR 228 E/OR 228 E/OR 229 E/OR 230 E/OR 230 E/OR 231 E/OR 231 E/OR 232 E/OR 232 E/OR 233 E/OR 233 E/OR 234 E/OR 235

12.0 SIKKIM 12.218 Ku – Buddhist figurines 12.219 Choktse – tables

E/SK 236 E/SK 238 E/SK 239

13.0

E/WB 240 E/WB 242 E/WB 243 E/WB 243 E/WB 244 E/WB 244 E/WB 245 E/WB 246 E/WB 246 E/WB 247 E/WB 248 E/WB 248 E/WB 249 E/WB 250 E/WB 251 E/WB 252 E/WB 253 E/WB 253 E/WB 254 E/WB 255 E/WB 255 E/WB 256 E/WB 256 E/WB 257 E/WB 258 E/WB 259 E/WB 259 E/WB 260 E/WB 260 E/WB 261 E/WB 261 E/WB 262 E/WB 263 E/WB 263 E/WB 264 E/WB 265

13.220 13.221 13.222 13.223 13.224 13.225 13.226 13.227 13.228 13.229 13.230 13.231 13.232 13.233 13.234 13.235 13.236 13.237 13.238 13.239 13.240 13.241 13.242 13.243 13.244 13.245 13.246 13.247 13.248

11.0

Cuttack Chandi tarkashi – silver filigree Stone carving Sikki craft Katki chappal – leather footwear Brass and bell metal ware Katho kama – wood carving Koraput Kotpad sari Dongaria scarf – kapra gonda Dhokra – lost wax metal casting Tribal ornaments Bamboo craft Paddy and root craft Lac products Terracotta and pottery Mayurbhanj Dhokra – lost wax metal casting

WEST BENGAL Darjeeling Wood carving Beaten silver engraving Hill painting Carpet weaving Konglan – stitched boots Terracotta Cane furniture Cooch Behar Sheetalpati – reed mats Gambhira masks Murshidabad Shola pith craft Metal ware Birbhum Leather craft Terracotta jewellery Kantha – patched cloth embroidery Wooden toys Sherpai – measuring bowls Dhokra – lost wax metal casting Clay work of Krishnanagar Bankura Terracotta of Bankura Patachitra – scroll painting Ganjifa cards Conch shell carving Coconut shell carving Wood carving Stone carving Maslond – grass mats Chhau mask Lac-coated toys Kolkata Beaten silver work

SOUTH : S/ 14.0 14.249 14.250 14.251 14.252 14.253 14.254 14.255 14.256 14.257 14.258 14.259 14.260 14.261 14.262 14.263 14.264 14.265 14.266 14.267 14.268

ANDHRA PRADESH Hyderabad Bidri ware Paagdu bandhu – yarn tie-resistdyeing Banjara embroidery Lac bangles Warangal Dhurrie weaving Painted scrolls of Cheriyal Nirmal painting Lace making Silver filigree Dhokra – lost wax metal casting Sheet metal work Visakhapatnam Wood and lac turnery of Etikoppaka Veena – string instrument Jute craft Metal work Machilipatnam Block printing Telia rumal – yarn-resist-dyed textile Knotted carpets Leather puppets Wooden toys of Kondapalli

S/AP 268 S/AP 270 S/AP 271

14.269 Crochet work Cuddapah 14.270 Stone carving 14.271 Wooden cutlery of Udayagiri 14.272 Raja-rani dolls 14.273 Palm leaf work Chittoor 14.274 Kalamkari – dye painted textiles 14.275 Bronze casting 14.276 Terracotta 14.277 Wood carving 15.0 15.278 15.279 15.280 15.281 15.282 15.283 15.284 15.285 15.286 15.287 15.288 15.289 15.290 15.291 15.292 15.293 15.294 15.295 15.296 15.297 15.298 15.299 15.300 15.301 15.302 15.303 15.304 15.305 15.306 15.307 15.308 15.309 15.310 15.311 15.312 15.313 15.314 15.315 15.316 15.317 15.318 15.319 15.320 15.321

S/AP 272 S/AP 273 S/AP 273 S/AP 274 S/AP 275 S/AP 276 S/AP 277 S/AP 278 S/AP 278 S/AP 279 S/AP 279 S/AP 280 S/AP 281 S/AP 281 S/AP 282 S/AP 282 S/AP 283 S/AP 284 S/AP 286 S/AP 287 S/AP 288 S/AP 289

16.0 16.322 16.323 16.324 16.325 17.0 17.326 17.327 17.328 17.329 17.330 17.331 17.332 17.333 17.334 17.335 17.336

S/AP 289 S/AP 290 S/AP 291 S/AP 292 S/AP 292 S/AP 293 S/AP 294 S/AP 295 S/AP 296 S/AP 296 S/AP 297

TAMILNADU S/TN 298 Kanniyakumari S/TN 300 Palm leaf work S/TN 301 Kora mat weaving S/TN 302 Seashell craft S/TN 303 Bobbin lace S/TN 303 Kavasam – sheet metal cladding S/TN 304 Stone carving S/TN 304 Stucco work S/TN 305 Cuddalore S/TN 306 Wood carving S/TN 307 Silk garland making S/TN 307 Auroville S/TN 308 Handmade paper products S/TN 309 Pottery S/TN 310 Crochet and bead work S/TN 310 Stone carving S/TN 311 Leather work S/TN 311 Kanchipuram S/TN 312 Stone carving S/TN 313 Wood carving S/TN 314 Chennai S/TN 315 Wood carving S/TN 316 Palm leaf work S/TN 316 Thanjavur glass painting S/TN 317 Doll making S/TN 317 Tiruchirappalli S/TN 318 Bronze casting S/TN 319 Vilakku – brass lamps S/TN 320 Brass repoussé S/TN 320 Bell metal ware S/TN 321 Thanjavur kalamkari – dye painted textiles S/TN 321 Pallagai padam – Thanjavur painting S/TN 322 Veena – string instrument S/TN 323 Nadaswaram – wind instrument S/TN 323 Root carving S/TN 324 Pith work S/TN 324 Cut glass work S/TN 324 Madurai S/TN 325 Terracotta and pottery S/TN 326 Wood carving S/TN 327 Appliqué S/TN 328 Sungadi – tie-resist-dyeing S/TN 328 Muthangi – pearl-studded attire S/TN 329 Brass ware S/TN 329 Salem S/TN 330 Wood carving S/TN 331 Soapstone utensils S/TN 331 Bhavani dhurries S/TN 332 Woollen druggets S/TN 332 Rayon dhurrie S/TN 333 Bamboo flute S/TN 333 Coimbatore S/TN 334 Toda embroidery S/TN 335 PONDICHERRY (Union territory) Pondicherry Terracotta and pottery Soapstone sculpture Kora mat weaving Seashell craft

S/PY 336 S/PY 337 S/PY 338 S/PY 338 S/PY 339 S/PY 339

KERALA Thiruvananthapuram Bell metal utensils Marapani – wood carving Palmyra basketry Ramacham root products Horn carving Ernakulam Vallam – boat making Aranmula kannadi – metal mirror Stone carving Coconut based crafts Coir work Bamboo crafts

S/KE 340 S/KE 342 S/KE 343 S/KE 344 S/KE 345 S/KE 345 S/KE 345 S/KE 346 S/KE 347 S/KE 348 S/KE 348 S/KE 349 S/KE 350 S/KE 350

17.337 Natural fibre crafts 17.338 Laminated wood work and inlay Thrissur 17.339 Pooram crafts 17.340 Bronze casting 17.341 Wood carving 17.342 Cane and bamboo craft 17.343 Kora mat weaving 17.344 Screw pine craft Kannur 17.345 Bronze casting 17.346 Ship building 17.347 Kathakali and Theyyam headgear 17.348 Nettur petti – jewellery boxes 17.349 Symmetric wood stringing

S/KE 351 S/KE 351 S/KE 352 S/KE 353 S/KE 354 S/KE 355 S/KE 355 S/KE 356 S/KE 356 S/KE 357 S/KE 358 S/KE 359 S/KE 360 S/KE 361 S/KE 361

18.0

S/KA 362 S/KA 364 S/KA 365 S/KA 365 S/KA 366

18.350 18.351 18.352 18.353 18.354 18.355 18.356 18.357 18.358 18.359 18.360 18.361 18.362 18.363 18.364 18.365 18.366 18.367 18.368 18.369 18.370 18.371 18.372 18.373 18.374 18.375 18.376 18.377 18.378 18.379 18.380 18.381

KARNATAKA Bangalore Metal casting Stone carving Wood carving Wood and lac turnery of Channapatna Mysore Sandalwood carving Rosewood inlay Soapstone carving Mysore painting Ganjifa cards Metal casting Sheet metal embossing Terracotta Tibetan carpets Mangalore Stone carving Rosewood carving Terracotta and pottery Bhoota figures Yakshagana costume making Bronze casting Areca palm leaf craft Mooda – rice packaging Bellary Terracotta and pottery Banjara embroidery Sheet metal embossing Bijapur Surpur painting Bidri ware Sheet metal work Banjara embroidery and quilts Wood carving Belgaum Gold jewellery and silver ware Navalgund dhurrie Kasuti embroidery

S/KA 367 S/KA 368 S/KA 369 S/KA 370 S/KA 370 S/KA 371 S/KA 371 S/KA 372 S/KA 372 S/KA 373 S/KA 373 S/KA 374 S/KA 375 S/KA 375 S/KA 376 S/KA 377 S/KA 377 S/KA 378 S/KA 379 S/KA 379 S/KA 380 S/KA 380 S/KA 381 S/KA 381 S/KA 382 S/KA 383 S/KA 383 S/KA 384 S/KA 385 S/KA 385 S/KA 386 S/KA 387 S/KA 388 S/KA 389

WEST : W/ 19.0 19.382 19.383 19.384 19.385 19.386 19.387 19.388 19.389 19.390 19.391 19.392 20.0

GOA Goa Kashta kari – wood carving Crochet and lace work Menawati – candle making Otim kaam – brass ware Boat making Terracotta Coconut based crafts Dhaatu kaam – copper ware Shimpla hast kala – seashell craft Maniche kaam – bamboo craft Fibre craft

W/GA 392 W/GA 394 W/GA 395 W/GA 396 W/GA 396 W/GA 397 W/GA 398 W/GA 398 W/GA 399 W/GA 400 W/GA 400 W/GA 401 W/GA 401

DADRA AND NAGAR HAVELI (Union territory) Bamboo fish traps Bamboo baskets Terracotta and pottery Fishing nets

W/DNH 402

22.401 22.402 22.403 22.404 22.405 22.406 22.407 22.408 22.409 22.410 22.411 22.412 22.413 22.414 22.415 22.416 22.417 22.418 22.419 22.420 22.421 22.422 22.423 22.424 22.425 22.426 22.427 22.428 22.429 22.430 22.431 22.432 22.433 22.434 22.435 22.436

23.437 23.438 23.439 23.440 23.441 23.442 23.443 23.444 23.445 23.446 23.447 23.448 23.449 23.450 23.451 23.452 23.453 23.454 23.455 24.0 24.456 24.457 24.458 24.459 24.460 24.461

21.0 DAMAN AND DIU (Union territory) 21.397 Crochet and lace work 21.398 Tortosie shell and ivory carving

W/DD 406 W/DD 407 W/DD 407

24.462 24.463 24.464

22.0

W/GJ 408 W/GJ 410 W/GJ 411 W/GJ 411

24.465 24.466 24.467

GUJARAT Kachchh 22.399 Clay relief work 22.400 Painted terracotta

W/GJ 412 W/GJ 413 W/GJ 414 W/GJ 416 W/GJ 417 W/GJ 417 W/GJ 418 W/GJ 418 W/GJ 419 W/GJ 420 W/GJ 420 W/GJ 421 W/GJ 422 W/GJ 422 W/GJ 423 W/GJ 424 W/GJ 425 W/GJ 425 W/GJ 426 W/GJ 427 W/GJ 427 W/GJ 428 W/GJ 428 W/GJ 429 W/GJ 430 W/GJ 431 W/GJ 432 W/GJ 433 W/GJ 434 W/GJ 435 W/GJ 435 W/GJ 436 W/GJ 437 W/GJ 438 W/GJ 439 W/GJ 439 W/GJ 440 W/GJ 440 W/GJ 441 W/GJ 441

Betul 24.468 Dhokra – lost wax metal casting Gwalior 24.469 Stone carving Mandla 24.470 Stone carving 24.471 Wood carving 24.472 Terracotta and pottery 24.473 Gond chitrakala – tribal painting

W/MP 472 W/MP 473 W/MP 474 W/MP 475 W/MP 476 W/MP 477 W/MP 477 W/MP 478 W/MP 479

25.0

W/CT 480 W/CT 482 W/CT 483 W/CT 484 W/CT 486 W/CT 487 W/CT 487 W/CT 488 W/CT 489 W/CT 490 W/CT 491

25.474 25.475 25.476 25.477 25.478 25.479 25.480 25.481

MAHARASHTRA W/MH 442 Kolhapur W/MH 444 Kolhapuri chappal – leather footwear W/MH 445 Ganjifa cards W/MH 446 Wooden toys W/MH 446 Chandi che kaam – silver ware W/MH 447 Sitar – string instrument W/MH 447 Pune W/MH 448 Terracotta and pottery W/MH 449 Tambaat kaam – copper and brass ware W/MH 450 Uthavache kaam – metal embossing W/MH 450 Bidri ware W/MH 451 Metal dies and metal casting W/MH 451 Dhurrie weaving W/MH 452 Ambadi – sisal craft W/MH 452 Taal, jhanjh, ghanta – brass musical instruments W/MH 453 Banjara embroidery W/MH 453 Mumbai W/MH 454 Warli painting W/MH 455 Terracotta and pottery W/MH 456 Bamboo work W/MH 456 Patua kaam – jewellery stringing work W/MH 457 Stringing of flowers W/MH 457 MADHYA PRADESH Jhabua Wood carving Pithora painting Terracotta and pottery Indore Block printing of Bagh Bandhani – tie-resist-dyeing Leather toys Ujjain Wood carving Papier-mâché Bohra caps Bhopal Zardozi – gold embroidery Jute craft Wood and lac turnery

W/MP 458 W/MP 460 W/MP 461 W/MP 462 W/MP 462 W/MP 463 W/MP 464 W/MP 465 W/MP 465 W/MP 466 W/MP 467 W/MP 468 W/MP 468 W/MP 469 W/MP 470 W/MP 470 W/MP 471

CHHATTISGARH Sarguja and Raigarh Painted clay relief Dhokra – lost wax metal casting Bamboo basketry Brass vessels Bronze ware Bastar Iron craft Terracotta and pottery Pata weaving

NORTHEAST : NE/ 26.0 26.482 26.483 26.484 26.485 26.486 26.487 26.488 26.489 26.490 27.0 27.491 27.492 27.493

23.0

W/DNH 404 W/DNH 404 W/DNH 405 W/DNH 405

20.393 20.394 20.395 20.396

Kachchhi embroidery Rogan painting Bandhani – tie-resist-dyeing Appliqué Namda – felted rugs Leather work Wood and lac turnery Wood carving Ajrakh printing Silver work Bell making Rajkot Bullock cart making Wood with metal embossing Pathar kaam/Sompura kaam – stone carving Ahmedabad Kite making Block making Mata ni pachedi – ritual cloth painting Patola weaving Mashru weaving Ari embroidery Bohra caps Wood carving Silver ornaments Vadodara Sankheda furniture Pithora painting Silver ornaments Agate stone work Bead work Terracotta and pottery Brass and copper ware Surat Marquetry Mask making Patku weaving Sujuni weaving Vaaskaam – bamboo crafts Devru – embossed metal

27.494 27.495 27.496

ASSAM Nalbari Bamboo craft of Assam Bamboo nesting baskets Coiled cane work Brass ware Eri silk spinning Silchar Sheetalpati – reed mat Flattened bamboo mat Cane furniture Coiled cane craft

NE/AS 494 NE/AS 496 NE/AS 497 NE/AS 498 NE/AS 498 NE/AS 499 NE/AS 499 NE/AS 500 NE/AS 501 NE/AS 501 NE/AS 502 NE/AS 503

ARUNACHAL PRADESH Bomdila Bamboo and cane bridges Flattened bamboo containers Ziro Apa Tani bamboo products Along Cane haversacks Coiled cane hats Khonsa Wood carving

NE/AR 504 NE/AR 506 NE/AR 507 NE/AR 507 NE/AR 508 NE/AR 509 NE/AR 510 NE/AR 511 NE/AR 511 NE/AR 512 NE/AR 513

28.0

NAGALAND Kohima 28.497 Wood carving 28.498 Kophi – cane baskets 28.499 Loin loom weaving

NE/NL 514 NE/NL 516 NE/NL 517 NE/NL 518 NE/NL 519

29.0

MANIPUR Imphal Traditional bamboo products Thongjao pottery Bell metal work Kauna phak – reed mats

NE/MN 520 NE/MN 522 NE/MN 523 NE/MN 524 NE/MN 524 NE/MN 525

MIZORAM Aizawl Bamboo baskery Cane stool Mizo puan weaving Gourd craft

NE/MZ 526 NE/MZ 528 NE/MZ 529 NE/MZ 529 NE/MZ 530 NE/MZ 531

TRIPURA Agartala Traditional bamboo products Bamboo crafts Bamboo furniture of Katlamara Pressed clay work of Melaghar Bamboo fences Tripuri textiles

NE/TR 532 NE/TR 534 NE/TR 535 NE/TR 536 NE/TR 537 NE/TR 537 NE/TR 538 NE/TR 539

29.500 29.501 29.502 29.503 30.0 30.504 30.505 30.506 30.507 31.0 31.508 31.509 31.510 31.511 31.512 31.513 32.0

MEGHALAYA Meghalaya 32.514 Bamboo rain shields 32.515 Bamboo carrying baskets 32.516 Garo bamboo house

NE/ML 540 NE/ML 542 NE/ML 543 NE/ML 543 NE/ML 544

009

How to Use the Book This volume of Handmade in India is encyclopaedic in nature and the mass of information has been organized in a manner that shows, at a glance, the relationships between the different categories of information. This regional mapping of the crafts presents information by dividing the country in three levels— zone, state, metacluster. Zones The division of India into six geographical parts follows the administrative zones adopted by the Office of the Development Commissioner of Handicrafts [DC (H)], India to reach development initiatives of the Government of India to the far-flung clusters in each zone or region. Therefore, in the book, India is divided into six zones: North, Centre, East, South, West and Northeast. These six zones are separated in the book by section dividers, each with a map of the zone and a list of states and metacluster regions in that zone. A section is assigned to each zone. Pages are allocated to each state within a zone, according to the volume of information. Each state section in turn is subdivided into metacluster sections. Each metacluster region includes the particular production clusters located therein. The organization of the texts, image and navigational keywords used for the state pages, metacluster pages and craft pages is described further. State The organization of the various elements on the ‘state spread’ follows a common system across the book. Each state and union territory of India is introduced to the reader through a brief profile of the state, its geography, natural resources and socio-cultural setting. All these factors

have a bearing on the craft traditions of each region. Also located on this page is a map of the state showing the names of the metaclusters identified and included, along with names of the major cities or towns. Images distributed over the double page spread contain evocative expressions of typical landscapes, flora and fauna and people of the region. These pictures are supported by individual captions that describe some significant aspects of the state. The margins include a list of keywords contained under the following major headings—Crafts, Landmarks, Physical Features (major rivers and geographic identifiers), Biodiversity, Languages, Attire, Festivals and Cuisine. The page number of each state page can be found in the Table of Contents at the front of the book. Metaclusters The states are divided into‘metaclusters,’ a grouping which is created for the purpose of this publication to give a quick reference to the crafts of each state. A metacluster is a geographical unit of smaller clusters in which field research was conducted. They comprise one or more districts and follow district boundaries. The bases for demarcating metaclusters were either geographical or in some cases even cultural proximity of districts. Some metaclusters have emerged from the concentration of crafts in a region. The metaclusters are identified in all cases by a district name. For instance, Metacluster Jammu takes its name from Jammu district. Following are exceptions to metacluster names—Metacluster Kashmir lies in Srinagar district; likewise, Metacluster Bhubaneshwar lies in Khurda district; Metacluster Machilipatnam is in Krishna district and Metacluster Mangalore is

in Dakshina Kannada district. States of Chandigarh, Haryana, Goa, Delhi, Sikkim and Meghalaya have metaclusters by the same name as the state, as the size of the states and scale of craft activity allows for such rationalization. Union territories of Pondicherry, Daman and Diu, and Dadra and Nagar Haveli also have metaclusters by the same name as the states. The symbol indicates a metacluster region. Metaclusters occur sequentially within a state. The single page layout used for each metacluster has images that provide an exemplary view of the metacluster and include local craftsmen in typical settings as seen in each region. The image captions provide additional information while the main body of text gives an overview of the significant features and the cultural history of each metacluster. This page also carries lists of keywords in the margins or in tables, which include the following: List of Subclusters covered in the study (which are marked on the Map), and a list of crafts that appear in the pages that immediately follow. Further, a table of resources lists Crafts, Raw materials and significant Sources in an easy to review matrix. Basic access information is included at the end of the main text to facilitate travel to the region.

that help identify the particular craft expression with reference to its context in the particular metacluster where it is found. The same craft practiced elsewhere would have some different features. The pictures show selected objects that are typical of the craft described. There is a list of keywords under the following headings: names of production clusters of the craft, names of typical products made and names of tools and devices used in the craft. Keywords provided in the margin are followed throughout the book. They are also elaborated in Crafts Resource Directory of the series Handmade in India and organized as a master index with relevant information. End matter and appendices This section contains a technical glossary and bibliographic information, including an annotated bibliography of the unpublished craft documentation collection of the National Institute of Design, which is housed in the Knowledge Management Centre of the institute. The book has a comprehensive index to facilitate readers to locate infromation. An extensive list of people and institutions that have been acknowledged for their contribution to this volume has also been included.

Crafts The ‘crafts pages’ lie between metacluster pages. Individual crafts are displayed in accordance with their relevance and impact on the region’s economy, tradition and historicity. Each craft is titled wherever possible with the vernacular name of the craft. There is a description of the craft with definitions, context of making and using, and a summary of unique features

ZONES / STATES Table of Zones and States:

SAMPLE Zone 3: E/—EAST Showing the states that comprise it.

Zone 1: N/—NORTH Jammu and Kashmir, Himachal Pradesh, Haryana, Chandigarh, Punjab, Rajasthan and Delhi.

MAYURBHANJ – District of Mayurbhanj

N/ Sikkim

Zone 2: C/—CENTRE Uttar Pradesh and Uttaranchal. C/

Zone 3: E/—EAST Bihar, Jharkhand, Orissa, Sikkim and West Bengal.

The States comprising a Zone are divided into regions known as ‘Metaclusters’. Metaclusters comprise one or more districts and follow district boundaries.

MAYURBHANJ

Bihar

Mayurbhanj district

NE/ Bargarh Sambalpur district district

E 3/ W/

SAMBALPUR Sonepur district

West bengal Jharkhand

Zone 4: S/—SOUTH Andhra Pradesh, Tamil Nadu, Pondicherry, Kerala and Karnataka.

Orissa S/

Phulbani district

Zone 5: W/—WEST Goa, Daman and Diu, Dadra and Nagar Haveli, Maharashtra, Gujarat, Madhya Pradesh and Chhattisgarh.

Nawrangpur district

Rayagada district

KORAPUT

Zone 6: NE/—NORTHEAST Assam, Arunachal Pradesh, Nagaland, Manipur, Mizoram, Tripura and Meghalaya.

010

KORAPUT: Districts of Nawrangpur, Kalahandi, Koraput, Rayagada and Phulbani.

Koraput district

DHENKANAL Dhenkanal district Jajpur district CUTTACK Cuttack district Khurda district

Ganjam district GANJAM

BHUBANESHWAR PURI Puri district

Exception— BHUBANESHWAR

Gajapati district

(in Khurda district), takes its name from the city of Bhubaneshwar, which is the state capital.

SAMPLE S T A T E S P R E A D

State Colour

NB: Vernacular Terms Not all vernacular terms are explained in this volume. But will be elucidated in the â&#x20AC;&#x2DC;Vernacular Glossaryâ&#x20AC;&#x2122; in Crafts Resource Directory.

State Name

Craft List of the state in the state colour.

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SAMPLE CR AFT PAGE

Metacluster Locator Map shows the location of the metacluster within the state.

Keywords contained under the headings: â&#x20AC;&#x201D;Subclusters of the metacluster. â&#x20AC;&#x201D;Crafts included in the metacluster.

METACLUSTER Cluster Cluster & District Cluster, District & State Capital District Boundary International Boundary

2* Map Legend appears alongwith the Scale at which the map appears. All maps have been verified and approved by the Survey of India. Only the maps on the State spread indicate a Scale; the maps on the Metacluster pages are not accorded a scale, as each region is enlarged in proportion to the space required to show all the craft clusters present.

SAMPLE M E TA C LU STER PA G E

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Keywords contained under the headings: Production Clusters, Products and Tools. NB: Production Clusters only indicate the craft villages, towns or cities actually visited by the research teams.

Tool Box, with icon appears on most craft pages, as per the field research generated. Where possible, tools have been identified and named.

011

The pot is a god. The winnowing fan is a god. The stone in the street is a god. The comb is a god. The bowstring is also a god. The bushel is a god and the spouted cup is a god. Basavanna (1106 -1167 A.D.)

Messages

Prime Minister

The handicrafts of India represent our rich cultural tradition. They embody our heritage of creativity, aesthetics and craftsmanship. At a more substantial level, the handicraft tradition has sustained generations of people in our country. As a highly decentralized activity, the handicrafts industry is a shining example of using local resources and local initiatives. Through the ages, our handicrafts have fascinated the world. The beauty of these products and the skill and ingenuity they represent have few parallels anywhere in the world. They have set a benchmark of quality and excellence that is quintessentially Indian. The skills of our craftsmen reflected in our handicrafts became living symbols of our self-reliance and thereby inspired our freedom fighters to demand self rule. Since Independence, the Government of India has made a concerted effort to sustain the craft sector. In the process, a credible infrastructure of support has been put in place to augment the ability of craftspersons and to face growing challenges confronted by them. In the present era, it is essential for this industry to meet the challenges of globalization through innovation and upgradation of skills. The Government will continue to play a supportive role in this effort. I also wish to commend this effort to systematically document our handicraft heritage. This handbook adds to the corpus of literature that deals with the viability and sustainability of the crafts sector in a world that remains in quest of unique offerings such as are produced by traditional craftspersons. I extend greetings to all those associated with this publication and wish it all success.

Manmohan Singh New Delhi August 31, 2005

013

Minister of Textiles

This documentation of Indiaâ&#x20AC;&#x2122;s handicraft tradition and resource maps is a vehicle for bringing the world to craftsmenâ&#x20AC;&#x2122;s doorsteps in an age of rapid communication and global change. Numerous well-wishers and business partners from all over the world seek Indian craftsmen and their craftsmanship. The Ministry of Textiles and the Government of India are committed to provide the necessary support and encouragement that is needed to develop the handicraft sector of our country, since it is the source of high quality livelihoods for many of our people, particularly in the remote regions of our country. Today the rural and urban crafts continue to make a hefty contribution to the economy of the country as they did in the past. In many cases this has been a hidden contribution since these did not necessarily get reflected in the visible part of our economy. For centuries, the rural artisans have been providing for the needs of local farmers and other rural inhabitants in the form of locally made products and services. The village melas or fairs and the weekly bazaars are full of locally produced crafts that are now admired across the world. With the advent of machine produced goods, many of our traditional artisans have had to face intense competition from a growing industrial sector. However, the inventiveness of the Indian craftsman and the various efforts at development that has been invested over the years in human resource development and in product innovation and promotion, has strengthened their ability to face this competition with a great degree of success. Our crafts infrastructure and the market network that has been built with the active participation of the government, local bodies, NGOs and a vast network of our trade and service providers has helped the Indian crafts sector reinvent itself to face the world of tomorrow. This publication is one more effort in the direction towards our craftsmen achieving selfreliance and confidence to showcase their skills in order to attract users and craft lovers from all over the world to a new partnership that will take Indian crafts to the rest of the world.

Shri Shankersinh Vaghela Minister of Textiles Government of India

014

Secretary (Textiles)

The Development Commissioner of Handicrafts has taken on a timely initiative to map and make available fairly comprehensive information about the vast range of handicrafts that provide livelihood and creative satisfaction to thousands of craftsmen in our country. The handicrafts traditions that have been continued undisturbed over the centuries have to face the realities of rapid change brought about by the inexorable forces of communication and globalization. Today they face many discontinuities and from the traditional role of providing all the artifacts of village life. Many crafts have over the years transformed themselves to becoming high citadels of skill through the active patronage of the state, local culture and religion. Hand skills and the handmade object have always had a special place in the minds of the initiated but many more have been drawn away by the glamour and glitter of industrially produced goods in a rapidly changing world order. Crafts are the lifeblood of a vibrant country. In our context this is the link that holds together the creative fabric of India. That the handicrafts are a viable means of production in India is not in doubt but the global change needs to be responded in kind, through the production of knowledge which can both preserve what is of value and make it available to the world at large. Our craftspeople who are being celebrated in the pages of this book, in three volumes, need this support to make their skills and knowledge accessible to the creative and sensitive consumers in search of the sublime and the spirit that is India. It is in these crafts and in the artifacts of our culture that the spirit of India resides. These volumes will preserve their knowledge for posterity and make available new avenues of access to the world of creative producers who can beat a path to the doorsteps of these craftsmen who hold the refined skills and knowledge of millennia. As people living in India, we have all been exposed to our crafts heritage from our childhood and in all regions of India the young have had these unique experiences and encounters with the local crafts that ingrained in them the material and spiritual sensibilities of the region and its culture. The traditional crafts manifest themselves in the temple architecture of the region as well as in the ubiquitous household products crafted with ingenuity from local materials and skills. Today, when we live and work in our metros, all of us in India, know that we have lost something dear, but it is the presence of some finely crafted objects in our ritual and festive occasions that bring back these valuable qualities to mind very sharply and in a clearly delineated fashion. From being mere curios on our shelves, the handicrafts of India must reinvent themselves to be the cherished objects that are in harmony with the needs and aspirations of future citizens of the world. It is only then that we can be sure of the renewal of interest and a sustainable future for the livelihoods and prosperity of the multi-million strong craftsmen community in India.

Shri R Poornalingam Secretary (Textiles) 015

Development Commissioner (Handicrafts)

The Office of the Development Commissioner (Handicrafts) was set up for the socio-economic upliftment of handicrafts artisans and for the promotion and development of the handicraft sector within the country. This office has been striving to achieve qualitative improvement in production, increase in productivity of artisans for the augmentation of their income both at the individual and group level, creation of more employment opportunities to achieve a higher standard of living for craftpersons, and for the higher export of handicrafts from the country including preservation of our rich cultural and craft heritage. The growth of the sector is being facilitated in a balanced manner to help six million craftpersons located in over 530 regional clusters identified in this publication. Our staff and officers at headquarters and field offices across the country are committed to provide various services for the development and growth of this sector in an efficient and transparent manner to achieve the goals. As is evident, the sector is multi-polar, with an enormous amount of diversity in cultural manifestation, traditions, raw materials, techniques and applications that represent various regions and districts of India. The complexity of managing the sector and providing services at the doorsteps of craftpersons requires in-depth knowledge and a deep insight of their traditions, needs and aspirations. Due to the well distributed infrastructure of Regional Offices, Design and Technical Development Centres, Marketing and Service Extension Centres, this office has been able to provide support to craftpersons. A national network of trainers, master craftpersons and Shilp Gurus, are our important partners in carrying forward the craft traditions and its values to a much larger base of performing artisans. I am sure that this documentation of the Indian craft heritage with geo-specific locations, materials and processes will be a tool for creating awareness about the craft traditions of India, all over the world. This book will not only facilitate importers and exporters of handicrafts to identify craft concentration areas for sourcing their requirements but will also help scholars in carrying out research in the area of their interest. It will further be of help to artisans seeking to protect their craft traditions and designs under GIA or IPR Acts and help policy makers in designing appropriate strategies for the development of this sector. The National Institute of Design (NID) team, which worked systematically with dedication and zeal, deserves full credit and appreciation for bringing out this landmark publication. I hope this publication will not only be interesting to the reader but will also be able to generate awareness amongst them, which will take Indian handicrafts to a new height in the global arena.

Sanjay Agarwal, IAS Development Commissioner (Handicrafts) & Ex-Officio Joint Secretary 016

Foreword

The Office of the Development Commissioner (Handicrafts), Ministry of Textiles, Government of India was established with the mandate of serving and strengthening one of the most significant segments of the non-agricultural sector of the Indian economyâ&#x20AC;&#x201D;the handicraft sectorâ&#x20AC;&#x201D;focusing on employment generation and providing sustainable livelihood. Handicraft or craft as is commonly understood is primarily an occupational art, which requires some skills and creativity to think, imagine, and visualize in order to produce an artistic and cultural object. These cultural and ethnographic objects represent traditional art and craft and local technologies practiced by the indigenes of a locality portraying their cultural values. The objects or the process involving their manufacturing is a knowledgerepository and representative of the era and period during which they were originally created or used as cultural elements and as a means of augmenting socio-economic returns for improving their standards of living. Globalization, open markets and changing economic borders and barriers have significantly altered the perspective and vision with which handicrafts is viewed today. Traditional know-how has regained its significance as a base for knowledge which can be utilized for the welfare of all. In this era of knowledge and debate on ownership and protection of intellectual property rights gaining momentum, it has become imperative to mine, assimilate, document the vast knowledge, collected and collated by the Department over the years and present it in a manner where it would become useful for further research, point of reference for trade, knowledge base for designers and a database for policy makers. This document is also meant to pave the way for legislative or legal framework in providing the rural, semi-urban communities, their due share of economic returns and recognition by way of different mechanisms available currently or will become available in the near future, where the intellectual property is collectively shared by the indigenes who have practiced and proliferated the knowledge over centuries.

Tinoo Joshi Development Commissioner (Handicrafts) Government of India

Preface

Traditional crafts are innovations of yesterday. Crafts define not only the cultural moorings but also the search for economic sustenance. The craftsmen derive their inspiration, innate wisdom and skills not from books but from nature and their surroundings. Crafts reflect the immense creativity of ordinary people and their quest for self-expression and fulfillment. Just as human evolution, crafts also evolve over time by mixing and churning influences and events. A country’s creative history is decipherable from the metal, pottery, textiles, and scores of other crafts, which were prevalent in its different regions. India is seen by the discerning not just as a country but as one that produced a rich civilization. Despite the ruptures of history, invasions and foreign occupation, Indian crafts continued to lead the way in many respects. The innovativeness and creative expressions in textiles, stones and jewellery have captured the imagination of the world. The vicissitudes of history and the tides of time have not robbed the enchanting diversity, rich landscape and beauty of Indian crafts. The aesthetics of India, reflected through the crafts and its forms, shapes and its colour palette are almost like the cuisines of India reflecting the great diversity and tastes. The multitude of hues and forms seen in the shandys and the melas of India tell the stories of hundreds of crafts that belong to a vast country with 18 major and 1600 minor languages and dialects, 6 major religions, 6 major ethnic groups, 52 major tribes, 6400 castes and subcastes, 29 major festivals and over 1 billion people, 50 per cent of them in rural areas, spread over coast lines, valleys, hills, mountains, deserts, backwaters, forests and even inhospitable terrain. It is not easy to grasp the breadth and depth of Indian craft. There are more than 23 million craftsmen engaged in different craft sectors and it is estimated that there are over 360 craft clusters in India. ‘Living’ culture and ‘evolving’ crafts are required to preserve both culture and crafts. The laudable endeavour by the Development Commissioner (Handicrafts) to present, in a directory, authentic information and visual images of handicrafts from every nook and corner of India is a herculean endeavour. The National Institute of Design has been studying and sustaining craft related design interventions for over four decades as part of its education, outreach and services. This is perhaps the reason that the Development Commissioner (Handicrafts) decided to engage NID in preparing this magnum opus on the world of handicrafts. NID’s mandate for searching indigenous solutions and an Indian idiom in design have often led to linking yesterday’s innovations with today’s. Thus for NID, this task, though arduous, has also been very edifying and fulfilling. The team at NID, consisting of many field researchers, editors, designers, and copy writers, have all passed through moments of despair and delight. After toiling hard and struggling with resources and time over nearly three years, the dedicated team led by Mrs Aditi Ranjan our senior faculty member has succeeded in celebrating crafts in a publication which has both the magic of hands and creative spirit of the unsung heroes of crafts. As Aldous Huxley said, “Culture is like the sum of special knowledge that accumulates in any large united family and is a common property of all its members.” We can replace the word ‘culture’ in this case with ‘craft’ and in the context of the book, it would be just right. Handmade in India represents the sum of the special knowledge from India’s united family and it captures vividly the intellectual property which has created wealth for generations and which will continue creating it and multiplying it in the times to come. Many of the crafts clusters have the potential of linking the product range from a geographical indication and branding perspective under the WTO regime. In the emerging arena of world competition led by the frameworks of WTO, this book will be a repository of heritage and inspiration for all those seeking wealth, from India as well as from all parts of the world. In a globalizing and increasingly digital world, which is searching for emotional and cultural connections, crafts can bring forth harmony. In the emerging knowledge economy, crafts and folklore will form the foundations for the nation’s wealth, especially in countries like India, which has a magnificent heritage and a glorious future. I am truly delighted to present this book to the readers on behalf of the National Institute of Design, to provide inspiration and sustenance to the generations ahead.

Dr. Darlie O. Koshy Executive Director, NID Ahmedabad

017

Introduction Handmade in India is a tribute to the Indian craftsperson. His or her uncanny understanding of materials is combined with mastery of the tools, techniques and processes that have evolved over the centuries through social and cultural interactions. Today this craft continuum constitutes an enormous resource that can be harnessed for the future development of our society. This volume provides a geographic organization of craft distribution across the length and breadth of the country and shows how craft permeates even the remotest corner of India. In this introduction we have tried to summarize the enormity of craft variety and the significant role that it plays in the day-to-day lives of both rural and urban people. The panorama of Indian crafts is a patchwork quilt of many hues and shades of meaning, reflective of interactions with social, economic, cultural and religious forces. And the craft world is full of contrasts, a universe of utility products and sacred objects, articles for ritual use and ephemeral festival crafts, representing many levels of refinement—from the simplest to the most technically advanced. Likewise there are many perceptions of the term ‘craftsman,’ ranging from a manual labourer to a worker of high artistic excellence. Craft, then, is situated in a complex milieu, a dense matrix of many strands and elements. To understand this, our study undertook many months of fieldwork and research. Throughout, our research was guided by the conviction that the context informs the structure, language and form of crafts. The aim of this three-volume publication is to showcase the creative potential of Indian craftspersons and make available a directory of resources—skills, materials, capabilities and products. The products embody the craftsperson’s understanding that is structural, conceptual and aesthetic, just as craft is also an interrelation between function, form, material, process and meaning. The directory unveils the product not only as an end but also as a seed for new possibilities and directions, a creative potential and palette of resources. The crafts of India are at the threshold of massive change and it is hoped that this publication will help capture the many facets of the current scenario and promote a better understanding of the milieu, issues and resources that it offers for designers and layman alike to influence economic change at the grassroots level. The range and diversity of Indian crafts is staggering. To understand this diversity one would need to look at numerous dimensions that include all the historical processes that shaped the transformations of our society over time. Social and cultural diversity has multiplied particular forms of artefacts, each shaped by a multitude of forces leading to the vast canvas of variety that can be witnessed today. Modernity tends to have universal forms that homogenize cultures across continents that are seen as an outcome of communication and globalization. On the other hand, the prolific variety was a result of each regional or sub-regional group asserting its own identity in the objects and cultural expressions. Therefore the vast array of artefacts, implements, built environments, ornaments, clothing, headgear and personal body decorations all showed the deep need for holding on to their unique identity as distinct from that of their neighbours. India is a land of immense variety, a land of vast biodiversity and climatic zones from the sea-level coastal settlements to the extreme habitats built on top of lofty snow-covered mountains. Similarly regions of very heavy rainfall and abundant vegetation are contrasted with dry deserts, each with appropriately evolved housing and other built forms that find a resonance with the particular climatic zone in which it has evolved. Much can be learnt from the manner in which local communities have invented solutions to tackle the diversity of climates. These solutions are both a creative response for survival and celebration alike—the bamboo rainshields of Assam, Tripura and Meghalaya are worn by farmers as headgear while the palm leaf sunshades of Andhra Pradesh are carried as umbrellas by shepherds or used as shelters in open-air weekly markets. The jhappi, bamboo rainshield of Assam, is decorated with red appliquéd forms and transformed into a votive offering that symbolizes a good harvest. These creative community responses represent the triumph of the human spirit over the forces of nature. Community responses mark many craft developments, initiated when sensitive craftsmen

Votive terracotta, Nawrangpur, Orissa.

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Wrought iron figure, Udaipur, Rajasthan.

Tribal clay figure, Nonihat, Jharkhand.

Hand formed and painted cowdung toy, Parla Khemundi, Orissa.

Painted clay and Carved and painted cowdung female figure, puppet, Puhphutara, Chhattisgarh. Jaipur, Rajasthan.

Realistic clay figure, village woman, Krishnanagar, West Bengal.

Carved wooden chariot decoration, Papanasam,Tamil Nadu.

and their clientele interact in the bazaars and at points of exchange. These interactions have a collective impact on the form of the craft offering that no single craftsman could have produced, a perfect fit with the environment and with the social mores that the community aspires to. The climate helps determine the nature of material availability, in some places in abundance and in others as an extremely scarce commodity, which in turn influences the value attributed to that material in the given context. We see examples of non-precious materials treated like royalty in zones of scarcity, sometimes preserved for many generations to mature before it is put to use. On the other hand the response to abundance could be seen in the free abandon with which materials are crafted into objects of function or celebration. Stories unfold in material with the skillful wielding of tools and application of intellect and the product is a mirror of the society that produces it. It is uncanny how we can see traces and signs of culture frozen in stone or clay and metal and wood, all of which echo the roots of a particular cultural system that produces or uses the craft object. The belief systems that determine that form could be from the religious source or from some body of ancient folk wisdom. Thus, the huge terracotta Ayyanar horses stand as watchful village guardians in Tamil Nadu and are revered by the community at large. The temple, the mosque, the church and the tribal gods have all contributed to the shaping of artifacts of worship and the votive offerings that are part of the rites of passage in so many communities in India. Birth and death, marriage and adolescence are all occasions for community joy or sorrow, and these create the context for the release of creative energies and the demand for the highest degree of skill that the craftsperson can bring to the occasion. There is a variety of expressions: some are elaborated with decorative motifs and surface ornamentation and in some others a pristine sense of peace with the material and sublime proportion that evokes soft feelings even when the object is made of metal, like in the massive cast charakku, vessel, from Kerala. As a secular nation India has been liberal in the interpretation of religion and this has in turn created a multitude of expressions that respond to the philosophy of the particular religion that is represented and served by the crafts. The simplicity of the Jain turned wood paatra, utensils, and the elaborate and ornate meenakari, enamelled metal ware container, from the Islamic north stand in stark contrast, each reflecting the ethos of the community and the purpose that it servesâ&#x20AC;&#x201D; one to collect alms and the other to offer gifts to a guest of honour. In the hills of Nagaland the baskets, headgear and other accessories of the wearer tell us about his or her world view and the community to which they belong, and these objects are signs of their identity, carried with a pride of belonging that unfolds a universe of meaning to the initiated. Tattoos on the body and forehead markings too are signs of belonging that speak volumes about the aspirations and status of the wearer. India has been at the crossroads of civilization for over 5,000 years and in some parts of the country time has stood still while in others it has churned at an incredible pace of change while absorbing threads of other cultures and imbibing the essence of these. The various waves of interactions from the Northwest and the subtle trade interactions with the South and the East have brought in new ideas and practices, skills and applications. Within the country too block printers have migrated in search of water sources suitable for their craft, or people have fled from their settlements in the face of many pressures, manmade or natural. These internal migrations and trade transactions took skills from one location and planted them in new and alien settings, assuming subtle new hues of the chosen location, creating another variation. The bandhani textiles of Gujarat find new expression in the sungadi of faraway Madurai, to single out just one of the many threads that stand out in this long list of transformations. The arrival of the Mughals brought in the fine Iranian artistry in metal, silk and carpet weaving. The coming of the British and the Portuguese in South India introduced the carved wooden traditions of the West and these are integrated in the churches and houses of the coastal settlements. In addition, the hot humid climate called for a sensible design of shaded

Replicas of Chola bronzes, lost wax casting, Swamimalai, Tamil Nadu.

Bronze idol of Shiva, lost wax casting, Swamimalai, Tamil Nadu.

Dhokra cast, brass tribal figure, Jigidih, Orissa.

Wrought iron Bison Horn Maria figures, Kondagaon, Chhattisgarh.

Wrought iron and brass tribal figure, Kondagaon, Chhattisgarh.

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verandahs and the response was the unique form of settlement types found in Goa, Pondicherry, coastal Kerala and Tamil Nadu. The craft landscape is made up of numerous types of applications: from the vernacular objects of daily use that are rough-hewn from local materials to the celebrated objects of symbolic value that are used on special occasions and for religious functions. In some cases the same object may be used in different settings but in each case the value assigned to the object is substantially different. The lota, or brass container for liquids, is one such multi-purpose and multivalent object that can be at home in the kitchen, the bathroom and the prayer room and in each case be held in a different spiritual or physical plane, each reflecting the state of the object in the particular context. Objects are thus imbued with value and spirit, which are respected by all users in that society. New categories have emerged that respond to trade and professional needs of the craftsmen and now designers have joined hands to create new objects for new markets that provide economic value to the community of makers and satisfaction to a whole new community of users, some in distant lands. The commercial and the spiritual are both crafted with great pride and care by sensitive hands that use centuries of tradition to inform current practice.

Terracotta vessel, patachitra painted, Parla Khemundi, Orissa.

The forms and treatment of objects of everyday use differ widely from objects of celebration or worship. While the one is almost devoid of any ornamentation, it should not be seen as less cared for or less venerated. The observation of the process of making and of its use in the household setting as well as closer examination of the object will reveal the subtle lines that have been left to stand as testimony of the process or the marks of the tool, none of which may be considered functionally necessary. The sanabul from Manipur and the terracotta pots from many parts of India deliberately bear the mark of the hands and tools as signs of process. These marks have subtle meaning: as a means of expression, as an interplay of structure with form, and material with process, and of the culture with the process of signification. The gradient of elaboration is incremental: from the plain and honest craftsmanship to many degrees of elaboration of both form and surface decoration that attempts to elevate the object from mere functionality to a higher status. The range and manner of using materials reflect the enormous ingenuity of the local mind in discovering appropriate applications. Some are processed through many iterations while others are used raw, in response to an immediate need. Bamboo culm cut off with a sharp blade is an instant container to store water or cook rice, and banana leaf plates are cut, trimmed or stitched to form disposable biodegradable containers. The same bamboo may be processed through many stages of splitting and weaving to produce a dowry gift fit for a queen in Nagaland and the leaf too may be processed into a durable fibre that is crafted into bags or pouches for storing valuables. Thus the materials and techniques respond to a variety of needs, some immediate and of less value while some may be of great value involving either elaborate processing or the spiritual upliftment through the production of myths and votive meaning in response to particular contexts. The range of materials is matched by a bewildering array of fine tools, many fashioned with great care and knowledge by the craftspersons themselves, imbibed through many years of evolutionary community learning called traditional wisdom. Tools and processes are diverse to include earth, water, fire and air, elements that transform materials in many ways, each extracted from a pool of knowledge that is fast disappearing with the so-called advance of modernity. Traditional wisdom needs preservation and needs to be nurtured and used to unfold new values in a contemporary setting. Each culture has much to offer and India is full of such precious nuggets of traditional wisdom that can be applied to local uses or even global exchange. Indian handicrafts are a storehouse of classical motifs and patterns that have evolved over centuries, many of which have been passed on from trading cultures over eons of interaction. The motifs and patterns once absorbed by a culture get disseminated across a variety of media, from stone to wood, to metal to cloth; from weaving to print and from painting to inlay; each technique bringing to the pattern its unique signature, an amalgam of material and tool limitation. The floral motifs and the creeper, the bel, can find as many expressions as there are materials and contexts to be served as witnessed in the huge variety in the expression of popular motifs such as the keri or aam, the stylized mango, depending

Hand formed terracotta, Thongjao, Manipur.

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Thrown and painted ceremonial terracotta, Darbhanga, Bihar.

Brass sheet formed pot used by ascetics, Ahmedabad, Gujarat.

Heat flattened bamboo cheese container, Bomdila, Arunachal Pradesh.

Turned wood bowls for Jain monks, Pipad, Rajasthan.

on the language that it is being expressed in. The human form too has been depicted in great variety. The upright man or woman has been represented in a host of actions. The rough and ready whittled shapes of the Naga warrior contrast strongly with the elegant statuettes of the Chola bronzes while the wrought iron tribesman from Chhattisgarh differs from the expressive occupational toys from Kondapalli in Andhra Pradesh. Moreover, when a human form enters the sanctum of the temple it takes on a whole new sacred meaning and significance. Several crafts are a form of pure service and the craftsman plays the role of facilitator of some critical function of form giving or repair. The mochi or cobbler and the potter, the tile maker and the carpenter fall into the category of those who work to serve the community with their skills and knowledge. In the age of mass consumption, it may be a good idea to bring back some of the values of this service to ensure that our products are recycled and repaired rather than used and thrown away long before their active life is over. Craft and the use of craftsmanship could bring in new values for a sustainable future and a new attitude towards the proper use and abuse of materials in the coming years. Craft objects come in a vast array of product categories, each in tune with its purpose. The selection of wood for the keel of a boat or for the main post of a small local dwelling would show a deep understanding of material properties and the shapes that are found in nature, the wood being appropriately bent or with that presence of a branch fork to support the beams in each case of application. The products would range from the production of miniature animals and dolls for play to animal harnesses and objects for functional use in daily life. Yet other categories are the gifts for numerous occasions such as festivals and marriages as well as religious offerings at the temple or for honouring a leader in the community or to celebrate the arrival of a child. These objects carry signs of their purpose and are specially treated for the particular occasion. Containers, baskets, tools, implements, domestic products and objects of agricultural use represent great concern for efficiency and convenience while objects of celebration have a vast repertoire of decorative processes to make the offering visibly valuable. Just as there are categories of objects, we find categories of craftspersons and many levels of craftsmanship. In the Northeast where local materials are transformed on a daily basis in the service of day-to-day life, bamboo is fashioned into a variety of baskets and objects. Most of the population is familiar with the craft process and the people exhibit a very high degree of creativity in their ability to transform materials. This is not to say that professional craftspersons do not exist in these regions. They do and they are involved in the making of many specialized products that are traded through the local bazaars. Other members of the craft economy of village and urban India include the small and large entrepreneurs. They keep the wheels of trade in continuous motion and the more ambitious ones, such as the exporters, help build bridges between distant lands and cultures. From time immemorial these itinerant traders have given an extended life to Indian handicrafts by making them available in distant lands through establishing active trade routes. Traditional and modern settings exist for showcasing the craft heritage across India. The bazaar is the closest to the maker while new forms of exhibitions and trade fairs promoted by the government and non-governmental bodies represent the new formats for contemporary action. Religious festivals and regional events or seasonal festivities encourage trade in handcrafted objects from far and near. The annual Jagannath festival in Puri, Orissa, sees a plethora of stone and wood carvings, cloth paintings and appliquĂŠ work for pilgrims to the temple; and the enormous cattle fair at Pushkar, Rajasthan, floods the township with local crafts. This is now becoming a valuable source of heritage tourism.

Dowry basket, palm leaf and painted strips, Ramanathapuram, Tamil Nadu.

The craft heritage continues to evolve in modern times and the objects too are finding new and contemporary expression while the old and the traditional is still valued for the refinement that they represent. That the crafts understand and respond to the variety demanded by its clientele can be seen in the profusion of jewellery, clothing, footwear and hand held accessories that are used as part of our daily costume. The great variety and styles of surface and structural treatment

Moulded and painted papier-mĂ˘chĂŠ, Srinagar, Jammu & Kashmir.

Turned and polished agate bowl, Khambhat, Gujarat.

Moonj grass basket for storing valuables, coiling technique, Allahabad, Uttar Pradesh.

Bamboo basketry, Garo hills, Meghalaya.

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show a creative ability of the craftsman to respond to a human need for identity and differentiation. The Kolhapuri chappal, leather footwear, is one such product that comes to mind where with just one material, leather, a great many structural and formal variations are achieved by the use of simple and complex methods of assembly, all satisfying an appreciative but demanding user. Each region responds with its own offering of variety within a functional category as seen in the diversity of baskets from bamboo in the northeast of India and in the vast range of palm leaf constructions from coastal Tamil Nadu and Orissa. Even today there are places in India where almost everyone is still a craftsperson, able to transform material to fashion expressions of creativity. Tamil women use the art of kolam as a daily ritual of Silver with bronze, embossed and cleaning and decorating the entrance to their home while in much of rural India the houses are surfaced engraved sheet formed box, regularly with a coat of wet mud and cowdung that leaves gentle marks of the hand as it sweeps the surface. Kalimpong, West Bengal. Wall paintings and decorations are an everyday art in many parts of the country and each uses fascinating local variants to tell stories or to capture symbols of fertility and good will. The Warli and Madhubani painting are two prominent examples of everyday art that is part of the living culture of the land. India is still creative in its villages, with the young exposed to the art of making and transforming materials and spaces by the act of creation on a daily basis. The living crafts in the rural hinterlands have been contributing enormously. Unfortunately our formal education systems lack the richness of craft experiences with the emphasis on textual and numerical education systems. It is here that crafts hold real promise for the rediscovery of the therapeutic qualities of craftsmanship that can be appreciated and adopted by the entire population. Craftsmanship brings with it an understanding of quality and refinement, and the sensitivity that is gained through this work culture will help introduce our youth to a whole philosophy of values that crafts embody. We will need to transcend the caste barriers that have brought artificial divisions between thinking, writing and doing. Therefore crafts in education will introduce a new dimension. We hope that this book and its companion volumes will help sensitize and shape the character of our youth, through an immersion in the act of craftsmanship. Crafts are an effective vehicle for self-development and for sustainable employment generation for much of our population living in difficult economic conditions. In the search for development strategies of our rural and urban centres through employment, the government has used crafts with great effect over the past 50 years. The setting up of the Handloom and Handicrafts Boards and the establishment of the Office of the Development Commissioner of Handicrafts has created the avenue through which the support of the government intention can reach all corners of the country in an effective manner. The support in training and in providing seed capital to help establish numerous local entrepreneurs in the crafts sector has been a full time task, which has met with great success. The thriving export climate for handcrafted goods from India is a confirmation of the success of these initiatives. Government policies over the years have helped support a vibrant local and export industry, an enormous employment base. The scope for entrepreneurship and wealth generation across 516 production clusters are graphically mapped in

Brass cooking utensil, sheet formed with cast handles, Dhenkanal, Orissa.

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Brass, heat forged serving vessel, Jhajpur, Orissa.

Bell metal casting, ritual vessel, Imphal, Manipur.

Dhokra, lost wax casting, grain measure, Ranchi, Jharkhand.

Bell metal casting, ritual vessel, Jhajpur, Orissa.

Bell metal cast charakku, large cooking vessel, Thiruvananthapuram, Kerala.

this volume. Each metacluster has local issues that are addressed by the state in which they are located and each has produced their champions either as local NGO’s (non-governmental organizations) or state-supported systems that are easy to access. Many local bodies and cooperatives are supported by the policy regime and a network of agencies is strengthening this through support schemes that reach those who need it most. Numerous promotional schemes and policy initiatives have been taken by the agencies of the Government of India and of the various state governments. Over the years, these have had a salutary impact on the performance of the crafts sector as a whole and in many remote and inaccessible places these have been the only form of sustained support. The national and regional programmes of recognition of excellence have identified a very large number of craftspersons and craft promotion agencies that have demonstrated high levels of quality and service. The national Master Craftsman award is coveted by many craftspersons and those recognized by the award join the roster of celebrated individuals who act as role models for the community and foster the pursuit of excellence. Recently the government has instituted the Shilp Guru awards, which are given to master teachers who are empowered and encouraged to pass on their skills and knowledge to other young and potential candidates from their field of work. Such initiatives create new ways for the dissemination of craft knowledge accessible traditionally only to family members. Many craftspersons are professionals and belong to traditions that had the advantage of early market orientation. In their work is visible a classical order and expression that has been cultivated and well-honed. Equally important is the spontaneous and exuberant expression of the ‘amateur’ craftsperson whose clay and papier-mâché toys are a delight. Their entry into the market is a new experience that can give them cultural empowerment. Throughout our history, crafts were customized to the needs of the local and distant client. There was a close interaction between the maker, the object and the client or user. Difficult and inhospitable terrains taught the craftsperson to be resourceful, respect scarcity and the resulting economy of material and form rely on ingenuity. Local materials were celebrated. Trade routes and cultural exchanges added new layers to this understanding and sensibility. Transmission of skills from father to son and mother to daughter were apprenticeship based. As rites of passage their fulfillment was synonymous with learning ‘life skills.’ In the changing contexts of a global market-driven economy and ideology, traditional crafts offer sustainable practices that need to be revisited and imbibed. Craft development needs a paradigm shift from promoting the karigar, traditional craftsperson, to karigari, quality of craftsmanship, since whoever imbibes this quality becomes the craftsperson in perpetuity.

Aditi Ranjan & M P Ranjan Editors Ahmedabad

Copper spitoon, sheet formed and embossed, Ahmedabad,, Gujarat.

Copper container, cast, embossed, chased and pierced work, Srinagar, Jammu and Kashmir. Brass sheet formed water pot, Dhenkanal, Orissa.

Bidri wash basin, copper and zinc alloy with silver inlay, Hyderabad, Andhra Pradesh.

B ll metal t l casting, ti Bell serving vessel, Patrapur, Orissa.

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india/

north LADAKH KASHMIR

JAMMU AND KASHMIR

Srinagar

JAMMU

CHAMBA KANGRA

AMRITSAR

HIMACHAL AL PR PRADESH

HOSHIARPUR

Shimla

Chandigarh

PUNJAB

PATIALA

HARYANA HARYANA DELHI BIKANER

JAISALMER

Jaipur

R A J A S T H A N JODHPUR

JAIPUR AJMER

UDAIPUR

KULLU

03 .1

JAMMU AND KASHMIR

HIMACHAL PRADESH

PUNJAB

CHANDIGARH

HARYANA

RAJASTHAN

DELHI

MC KASHMIR

MC CHAMBA

M C AMR I TSA R

MC H A R YA N A

MC JA IPUR

MC DE LHI

(N/JK 028)

(N/HP 050)

(N/PB 064)

(N/HR 076)

(N/RJ 082)

(N/DL 124)

MC JAMMU

MC KANGRA

M C HOSH I A R PU R

(N/JK 037)

(N/HP 054)

(N/PB 066)

MC LADAKH

MC KULLU

M C PAT I A L A

(N/JK 038)

(N/HP 058)

(N/PB 069)

(N/CH 073)

MC A JME R (N/RJ 096)

MC B I KANE R (N/RJ 099)

MC JODHPUR (N/RJ 105)

MC JA ISALME R (N/RJ 114)

MC U DAIPUR (N/RJ 117)

JAMMU AND KASHMIR

CRAFTS ~ JAMMU AND KASHMIR Papier-mâché Kaleen – knotted carpets Kashidakari – Kashmiri

embroidery Namda – felted rugs Gabba – embroidered

rugs Kani shawls

Woollen textiles Walnut wood carving Pinjrakari – latticed

wood work Khatumband –

wood work Wicker work Reed mats Copper ware Gi lg i

Glazed pottery Basohli painting

Dogri embroidery

Districts – 14 Craftspersons – 5.17 Lakhs

The snow-capped mountains of Kargil, Ladakh.

Metal casting Sheet metal work

China

Chikri wood work Nubra Valley

Pak ist an

Shy ok

Ritual cloth installations Khabdan – pile carpets Tsug-dul – woollen pile

blankets

Baramula Srinagar

Block printing Thangka paintings

LADAKH

KASHMIR Jh el um

Embroidered footwear

Wanla

Dal Lake

METACLUSTER

Leh

Chilling

Hemis Upshi

Anantnag

du In

Cluster Cluster & District Cluster, District & State Capital District Boundary International Boundary

Sabu Choglamasar Pangong Tso Chushot s

Tsug-gdan – woollen

pile rugs Challi – handwoven

textiles Hand-spinning

Ch en

Thigma – tie-resist-

dyeing

Scale 1: 5,577,000 | 1 in. = 88.02 mi.

JAMMU Jammu

Tso Moriri

Paabu – stitched boots

Metal work Samba

Hima cha l Pra des h

Jewellery Wood carving Painted wood

A pashmina goat.

1 2

1 Connected by seven bridges, the old quarter of Srinagar city sprawls along the banks of the River Jhelum. 2 A man wearing a pheran, the loose overcoat, commonly worn by Kashmiri men and women alike. 3 A mihrab, the arched doorway, of a house in Jammu. 4 The papier-mâché panelled entrance to Srinagar’s Shah Hamadan Mosque. 4

Chipkiang baskets

Musical instruments Mask making

Physical Features Mountain ranges: Trans-Himalayas, Karakoram, Ladakh, Zanskar, Pir Panjal, Shivalik

Major rivers: Jhelum, Chenab, Gilgit, Tawi, Indus, Shyok, Zanskar

Major lakes: Wular, Dal, Tso Moriri, Pangong Tso

Biodiversity Flora: Walnut, Poplar, Chinar, Deodar, Willow reed, Pamposh, Iris, Almond, Tulip, Chipkiang grass

Fauna: Sheep, Goat, Yak, Ibex

N/JK 026

The state of Jammu and Kashmir consists of three geographical zones— Jammu, a land encompassing plains, mountains and foothills; Kashmir, a mosaic of forests, orchards, rice fields, lakes and waterways; and the high altitude desert of Ladakh, its harsh austerity punctuated by green riversides and cloudless blue skies. Each of these regions possesses a distinct culture that is reflective of its climatic conditions as well as its particular history. Jammu, once the kingdom of the Dogra rulers, is a largely Hindu region renowned for its numerous shrines and courtly miniature paintings. Kashmir’s motley artistic and literary traditions are the legacy of political domination by rulers of various religious predilections— the Mauryans, Kushanas, Karakotas, Tibetans, Persians, Mughals, Sikhs and finally, the Dogra rulers of Jammu—and interaction with the trading communities who passed through it. Kashmir has been a historical centre for the scholarship and teaching of Buddhism, Vedic culture, Sanskrit, Shaivism,

Islam, Sufism and Sikhism. It has also been the focus of varied art patronage and consequently it has amalgamated Turkish, Persian and Mughal influences to create its own art idiom. Due to its scarcity of resources and the presence of nomadic communities, Ladakh has evolved craft practices that are informed both by the formative influences of Central Asian, Chinese and Tibetan cultures as well as by the climatic conditions in which it is situated. Simultaneously, Ladakh also contains another cultural matrix fostered by its predominantly Buddhist population and the patronage by its ancient monasteries. The art forms that belong to this realm are thus closely related to the spatial and ritualistic requirements of the religion. Inset Found in Buddhist temples and homes, the mandala, sacred circle, symbolizes the spiritual embodiment of the Buddha and diagrammatically represents the calling in and realization of the spiritual force within the contemplator.

Landmarks Dal Lake Vaishno Devi Shalimar Garden Shah Hamadan Mosque Leh Palace Hemis Monastery Alchi Monastery Hot springs – Panamik Mubarak Mandi Palace – Dogra Art Museum

Attire Pheran – loose overgarment Goncha – overcoat Stutung – sleeveless

coat Bokh – sheepskin wrap Skerekh – belt Gonad – hat Perakh – female ceremonial headgear

For monks: Shamtam – lower garment Zangos – shawl

Cuisine Girdas – wheat bread Wazwan – mutton

dishes Yakhni – meat dish Gostabah – meatballs Tsampa – barley flour Chang – fermented barley drink Khamiri roti – yeast

bread Gurgur chai – salt tea Kahwa – tea 5

5 The village of Hemis, home to the largest monastery in Ladakh. 6 A fresco at the Hemis Monastery depicting a guardian deity. The panelled wood work above the fresco is painted to simulate the pleated ritual cloth installations used in the monasteries. 7 A painted wooden mask, worn by monks during monastic ceremonial dances. 8 A Drok-pa woman wearing the typical headdress adorned with flowers. This small agricultural community of Ladakh is believed to be of Indo-Aryan origin and practices a form of Buddhism that is akin to Bon-chos, the animistic pre-Buddhist religion of Ladakh.

9 Votive offerings inscribed with prayers, locally known as mani, jewel stones. 10 This 8 m (26 feet) high statue of Maitreya Buddha or the future Buddha, carved into the hillside at Karchay Kharvill, is one of the four similar sculptures in the Kargil region.

Languages Kashmiri Dogri Kishtwari

Gujari Punjabi Ladakhi Urdu

Festivals Shushur Sankrant Losar – Ladakhi New Year Hemis Festival Ladakh Festival, Leh and Kargil Lohri Bahu Mela Mansar Food and Craft Mela Milad-ul-Nabi, Srinagar

N/JK 027

KASHMIR Crafts of KASHMIR Papier-mâché Kaleen – knotted carpets Kashidakari – Kashmiri

embroidery Namda – felted rugs Gabba – embroidered

rugs Walnut wood carving Jh el um

Pinjrakari – latticed Baramula Srinagar

Dal Lake

wood work Khatumband –

wood work Anantnag

Wicker work Copper ware Poplar trees on the outskirts of Srinagar.

Subclusters of Cluster & District Cluster, District & State Capital District Boundary International Boundary

N e s tl e d a m i d the high mountains of the Shivalik and Pir Panjal ranges lies the verdant valley of Kashmir. In the 3rd century BC, the Mauryan emperor Ashoka sent Buddhist missionaries to the region and it is they who established Srinagar (literally ‘The Happy City of Beauty and Knowledge’), the current capital of the state. The Karakota dynasty consolidated their power in the region during the 7th century, thus bringing Kashmir under Hindu dominion. Kashmir’s location on the Silk Route of Central Asia ensured a steady stream of artistic and cultural interaction with various trading communities—Persian, Chinese and Mediterranean—who passed through it. This influx of stylistic influences is apparent in the syncretism of Kashmiri art; it derives from sources as varied as the serenity of the Gandhara An ari embroiderer at work; the reed mat, sculptures and the stylization of the Persian court. The Persian hookah and kangri, influence was further highlighted during the rule of Zain-ul(a wicker container Abadin, a local prince who was forced into exile in Persia by for smouldering Timur in 1398. The prince returned to his homeland in 1423 coals) near him, are accompanied by various skilled craftsmen who introduced and ubiquitious elements of the local material developed the crafts we associate today with Kashmir. culture. The foreign craft traditions fused together with the indigenous craft practices and forged an artistic vocabulary reflective of the environment they were produced in. For example, the chinar (oriental plane), sarav (cypress), dachh (vine), sosan (iris), pamposh (lotus), sumbul (hyacinth), yambarzal (narcissus) and the dainposh (pomegranate) motifs recur throughout the range of crafts, thus lending a uniquely Kashmiri character to the 1 A namda craftsman products they adorn. Under the Mughal emperor Jehangir, the beating wool fibres crafts of Kashmir, especially that of carpet weaving, received with a wicker punja. generous patronage. The Mughal influence may also be seen in 2 A naqqash at a the gardens of Srinagar, their summer capital, and in the carpapier-mâché workshop in Srinagar, pets which reflect the geometrical layout of these ‘Gardens of painting a moulded Paradise’ that are based on the Persian Chahar Bagh design.

KASHMIR Srinagar district Anantnag district Baramula district

R E S O U R C E S Craft

Raw Materials

Sources

Carpet weaving

Silk, Wool

Karnataka, Kashmir

Namda

Wool fibres, Cotton fibres

Srinagar

Gabba

Woollen blankets

Srinagar

Kashidakari: Ari

Pashmina and raffal shawls

Srinagar, Leh

Kashidakari: Sozni

Gold or silver zari – tilla, Silk thread

Surat

Copper repoussé work

Copper sheets

Srinagar

Khatumband and pinjrakari

Wood – deodar, pine

Kashmir Valley

Walnut wood carving

Wood – dun or akhrot

Kashmir Valley

Wicker work

Willow

Kashmir Valley

Papier-mâché

Paper pulp

Kashmir Valley

form. 3 A craftsman at one of several wood carving workshops in Fateh Kadal, Srinagar. 1

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ACCESS Srinagar is connected by road, rail and air with the states of Punjab, Delhi, Himachal Pradesh and Maharashtra. 3

N O R T H / JAMMU & KASHMIR / Kashmir

Papier-mâché The craft, known by the French term papier-mâché (literally paper pulp), is locally known as kar-e-kalamdani, pen case work, after its traditional Iranian name. Papier-mâché was practiced as a form of decoration executed on the wooden panels of walls and wooden furniture and was eventually adapted to paper moulds as well. Trays, small boxes and book covers were made for royal patrons and members of their courts. The two major processes involved in the craft are sakthsazi (mould making) and naqqashi (painting). The naqqash renders the surface in intricate floral patterns or highly stylized scenes of hunts and battles. In the case of floral motifs, the painting may be executed entirely in gold or silver. The local term for gold or silver work is son tehreer. The motifs are derived from the profusion of local flora; some of the frequently used images are the bumtchuthposh (apple blossoms), dainposh (pomegranate), kongposh (saffron flowers) and yambarzal (narcissus).

Production Clusters Badgam district Anantnag district Kupwara district Baramula district: Delina Wagoora Pulwama district: Gangoo Suttusoo Srinagar district: Srinagar city: Arwat Sufa Kadal Lal Chowk Doni Pora Shamaswari Syed Pora

Products Boxes, Toys Jewellery box

Inset A papier-mâché container painted in a multi-hued floral pattern.

Lamps, Pen cases

1 The papier-mâché ornamented ceiling of the Madina Sahab Mosque. 2 Detail of an intricately painted floral pattern. 3 A papier-mâché box, the detail revealing its highly ornamental surface. 4 Painted papier-mâché furniture. 5, 6 A folding screen, and a detail; the composition revealing the similarity to the medallion with chothai pattern seen in the kaleen, carpet. 7 Detail showing the gold painted surface known as son tehreer.

Powder containers

Wall decoration Mirror cases Christmas decorations Flower vases, Kettles Trays and plates Samovar – fluted kettle

Tools File, Rasp, Hacksaw Sandpaper Burnishing stone

Paintbrushes

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Kaleen—knotted carpets Production Clusters Baramula district Anantnag district Badgam district Kupwara district Pulwama district Doda district Udhampur district Kathua district Poonch district Srinagar district: Srinagar city: Sehyar, Umar Colony, Nowab Bazaar, Anchar, Nava Kadal, Rainawari, Fateh Kadal, Dal Areas

Products Silk carpets Woollen carpets

Tools Kaleen vaan – vertical

loom Khur – sickle-shaped

blade

The K alee n are intricately hand-knotted silk or woollen carpets woven on a vertical loom through a process of wrapping a supplementary weft around successive warps, creating a heavy durable fabric with a soft pile surface of short lengths of fine wool or silk. Although the craft’s origin may be traced to the rule of the emperor Zain-ulAbadin and is derived from the Persian carpet tradition, it has acquired a distinctly local character through the incorporation of motifs inspired by the indigenous flora and fauna and the use of dyed yarns to create a unique colouristic range. The carpets also reflect the Mughal patronage they received. The patterns depicting fantastic animal forms and the pictorial carpets with elaborate hunting scenes are from the period of Akbar’s rule while the carpets with patterns of scrolling vines and highly naturalistic plant and animal forms are the bequest of Jehangir’ss an patronage. Even at that early stage, some specifically Indian m motifs were added to the craftsmen’s vocabulary; among them nt the gaja-simha image or the half lion-elephant, the elephant combat, grape clusters and segmented blossoms.

Panja – beater Dukari – scissors

A carpet with a central medallion surrounded by a matan, field, in turn enclosed by several borders.

Structure of a carpet: Matan Chand Islim Hashish Jhara Kangar Chothai Sadilat Dush Dashi

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A variation of the medallion carpet with quarterr medallions known as chothai at the corners.

Over time, a greater degree of stylization set in, as complicated lattice systems were introduced as matrices for floral motifs and the millefleur pattern with its profusion of tiny blossoms was created. Other patterns which were inspired by the Persian Chahar Bagh, Garden of Paradise, layout and the medallion form were fashioned and these latter types have now come to be identified as the quintessentially Kashmiri patterns. Carpet weaving skills (including that of reading the talim—the pattern chart that plots the number of knots to be woven in the same colour) were transmitted through the ustaad-shagird, masterapprentice system. As the apprenticeship traditionally began at the age of six, this practice is now largely discontinued due to the ban on child labour. Inset Detail of the sixteen-pointed star form of the medallion. A medallion carpet with chothai and elliptical forms known as chand in the central field.

N O R T H / JAMMU & KASHMIR / Kashmir

2 3

1 A carpet with the Persian Qum pattern, which is inspired by the concept of the Garden of Paradise. In Kashmir, carpet designs are identified by the names of carpet weaving centres in Iran such as Qum, Hamadan, Tabriz and Kashan.

2 A Hamadan style variation of the Garden carpet with Kashmiri trees instead of Persian flora. 3 The mihrab, arch motif indicates that this floral carpet is either a prayer rug or that it is a derivative of the quanat, the screens of Mughal emperorsâ&#x20AC;&#x2122; tents.

Stylized variations of Kashmiri trees and flowers that find expression in kaleen, as well as in other crafts of Kashmir.

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Kashidakari—Kashmiri embroidery Production Clusters Ari work

Districts: Srinagar Kathua Rajouri Poonch Udhampur Sozni

Districts: Srinagar Baramula Anantnag Badgam Pulwama Kupwara Kathua Rajouri Poonch

Ari an d Crewel work Ari embroidery is widely practiced throughout India with different stylistic variations that serve to distinguish the workmanship of one region from that of another. Irrespective of whether it be the ari work of the cobblers of Kachchh in Gujarat or the textile embroiderers of Tamil Nadu, the thread is passed through the ari, hooked needle, and is always held under the fabric to be embroidered and the hook is used to pull a series of loops, each emerging from within the previous, to the surface of the fabric. There are two versions of this technique; the first is used to embroider on thin fabrics such as silk and fine cotton cloth, used as stoles and shawls or made into pheran, which is a loose over-garment, kurta and capes. Crewel work, although similar, uses a thicker ari and is normally done on unbleached fabric; its stitches are bolder and it is used for embellishing yardages used as upholstery and drapery. In both cases, the patterns are usually linear abstractions of the local flora, with the outlines worked first and the forms filled in later. The production is largely commercial and the embroiderers are usually men from the Sunni Muslim community.

Crewel work

Districts: Srinagar Anantnag Badgam Pulwama Kupwara Udhampur Poonch Rajouri Tilla work

Sozni Sozni is a form of extremely fine and delicate needlework done primarily on shawls—mainly pashmina and high quality raffal. Designs are created as close as possible against the ground, and individual threads of the warp are taken up in the stitching and reinforced with smaller stitches. The stitch employed is not unlike stem stitch, and only the outline of the design is embroidered. Only a single strand is used and consequently, in skillfully executed sozni, the motif appears on both sides of the shawl. Each side displays a different colourway in an embroidered imitation of the woven kani shawls.

Srinagar district Rezkar

Srinagar district

Tools Ari – hooked needle

Products The chinar leaf.

Ari work

Stoles A craftsman demonstrating the use of the ari on a furnishing fabric.

Shawls Pheran Kurta

Capes Crewel work Upholstery Drapery Wall hangings Floor coverings Rezkar

Shawls Garments Table covers Bedspreads Household linen Capes Sozni

Shawls Garments Tilla and dori work Pheran Sari

Shawls

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Detail of a pashmina shawl embroidered in sozni, so as to simulate the woven jamawar patterns.

Detail of a woollen shawl embroidered using the rezkar technique.

Detail of tilla work.

Ti lla a n d dori work Th ese embroidery te chniques are executed with gold or silver zari (tilla) or silk (dori) thread, and are used to embellish pherans, saris and shawls. The decorative wire remains only on the surface while an additional thin cotton thread of yellow or white is stitched on top of it, thereby securing it by couching. Of the needlework in silver and metallic thread there are two variations—moraskar (knot stitch), zalakadosi (chain stitch executed in silver or metallic thread)—which are used on the borders of shawls and choga, royal gown, to create a raised or braided effect. The most commonly used motifs are the pamposh (lotus), chinar, badam (almond); dacch gurn (grape leaf) and duin (the flower of the chinar tree). Rezkar This is a form of needle embroidery similar in technique to sozni; the difference lies in its longer stitches and in that these are not reinforced with additional stitches. Three or four strands of staple yarn are employed and the fabric used for this ranges from raffal to cotton cloth. Rezkar is done on products such as shawls, garments, table covers, and household linen.

Detail of an ari worked fabric.

N O R T H / JAMMU & KASHMIR / Kashmir

Namda—felted rugs Namda are felted rugs that are made by enmeshing wool fibres with water, soap and pressure and then embroidering the resultant fabric. These are extensively used in Kashmiri households as an effective and inexpensive floor covering and mattress. In Srinagar, cotton is also mixed with the woollen fibres to create a fabric that is usually white in colour and may be easily embroidered with ari in floral patterns or in compositions containing stylized animal

figures. A worker assisted by three persons can produce two namda a day. Namda are being produced in large numbers in the valley for sale in international and national urban markets, and thus significantly contributing to the kashida embroidery industry.

Production Clusters Kupwara district: Kupwara Srinagar district: Srinagar city: Zahid Pora

Inset The chinar, a motif that features in many local crafts, seen here embroidered on a namda.

Umar Colony Sehyar, Nowab Bazaar Chhargari Mohalla Jamalatta Kanimazar Dhakabab Sahib Mehraj Gunj Akalmir Sukali Pora Gojwara Rang Masjid Doom Pora Khanwari Mal Pora

Stylized animal figures on a namda.

Wanta Pora Dekhdarhar Kokerbagh Channa Dora

Products Floor coverings

Tools Carding device Wagoo – reed mat

An ari embroidered contemporary namda.

Punja – flattening

Detail of floral pattern on a namda.

device Chhath – curved stick Ari – hooked needle

Gabba—embroidered rugs

A detail of an embroidered gabba, its composition and surface reminiscent of that of papier-mâché objects.

Ga bba are recycled old woollen blankets or lois that are washed, milled and dyed in various colours. These pieces are then stitched together and backed with waste cotton cloth. 1 Detail of an ari worked The gabba is then either appliquéd or embroidered with crewel bird and its colourful work. In the appliquéd type, pieces of dyed blankets are joined plumage. 2 Detail of a gabba, together and interspersed with vividly coloured embroidery in its surface entirely geometric and floral patterns. Although the common layout is covered in crewel work. a central medallion placed in a rectangular field which has borProduction Clusters ders, gabba are made in a variety of shapes and sizes. It is used Anantnag district: extensively in Kashmiri households as an effective and inexpenAnantnag town sive floor covering and is also used as a mattress in colder areas Srinagar district of the state. Today, a chainstitch rug resembling the gabba has become more prevalent and cushion covers and furnishing fabric Products have also been added to the product range. Carpet weavers Floor coverings from Srinagar were invited to Punjab to prepare shamianas (canopies), quanat (tent hangings) and gabba for state use, thus Tools Ari – hooked needle giving the craft further impetus. 1

Scissors, Dyeing vat

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Walnut wood carving W a l n u t w o o d c a r v i n g is an ornamental craft process that is virtually unique to Kashmir due to the concentration of walnut trees (Junglas regia), locally known as dun or akhrot, in this region. The naqqash, master carver, first etches the basic pattern on to the wood and then removes the unwanted areas with the help of chisels and a wooden mallet so that the design emerges from the lustrous walnut wood as an embossed surface. There are several varieties of carving technique that are utilized—deep carving that is two inches or so deep and is usually used for dragon and flower motifs; shallow carving, half inches deep and done all over flat surfaces; open or lattice work, usually depicting the chinar motif; and the semi-carving technique which renders a thin panel along the rim of the surface which is ornamented

Production Clusters Srinagar district: Fateh Kadal Channa Mohalla Urdu Bazaar Rajouri district Badgam district: Shanker Pora Kupwara district: Trehgam Tanghdar Jammu district: Kanachak Kathua district: Mirth Bernali

Products

by a central motif alone. The advantage of this technique is that it allows the grain of the wood to be displayed to maximum advantage while exhibiting the carver’s skill. The craft was initially restricted to the creation of elaborate palaces and houses. Written records tell of Zain-ul-Abadin’s great razdani, palace, and its elaborate wood carvings. To this date, several fine examples of intricately carved buildings, shrines and mausoleums survive in Kashmir—the shrines of Noor-ud-dinWali at Charar-e-Sharif, the Naqshband mosque and the shrine of Nund Rishi are just a few of them. Contemporary products, however, include ladles, boxes, bowls, trays, sandals and spinning wheels. Hand run lathes have been utilized to speed up the production process. Inset A serving dish in the form of a chinar leaf.

Ladles Pharav – sandals Yander – spinning

wheel Boxes Salad & nut bowls Photo frames Trays Lamps Coffee tables Mirror frames Furniture

Tools Hammer

Chisels, Gouges Wooden mallet Emery paper Saw

1 A panel ornamented with a repetitive floral motif. 2 Detail of the lid of a chest, patterned with the various floral motifs typical of Kashmir. 3 Detail of floral pattern carved on a wooden panel. 4 Detail of an elaborately carved jungle scene. 5 A rendering of the dachh gurn, grape vine motif. 6, 7, 8 Dishes for serving dry fruits, their forms inspired by the Kashmiri flora. 9 A box lid on which is juxtaposed foliage carved in both high and bas relief. 10 Lid of a small box carved in relief. 11 A three-legged ornamental container.

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N O R T H / JAMMU & KASHMIR / Kashmir

Pinjrakari and khatumbandâ&#x20AC;&#x201D;wood work Pi n jrakari is an intricate form of lattice or trellis work done in light wood that is used on windows, doors, ventilators, railings or ornamental partitions and screens. In its original form, glues and nails were not used in this technique; the precision of the joinery alone held it together. The pinjra frames are pasted with handmade paper, thus effectively cutting out chilly winds and yet allowing a sufficient amount of light to pass through. Khatumband uses thin geometric sheets of deodar wood which are cut and fitted into a double-grooved batten. Expansive ceilings are constructed by repeating the same pattern, the whole structure fitting together without the use of a single nail. The khatumband technique was widely used in the construction of Kashmirâ&#x20AC;&#x2122;s doongas (floating houses) and the shikaras (boats for door-to-door selling and transport). The other products made with this technique include boxes, bowls, screens, panels, bedsteads, cupboards, and cabinets. 1 3

1 Pinjrakari or lattice work used in the railing of a museum in Srinagar. 2 Detail of a pinjrakari screen. Pinjrakari is locally known as zali-pinjrakari or achhi dar. 3 Various kinds of wood work form the architectural elements of a house boat. Khatumband displays skills of excellent joinery and precise patterned ceiling panels.

Production Clusters Anantnag district Badgam district Baramula district Srinagar district: Srinagar city: Chattabal Kupwara town: Shah Mohalla Rajouri district: Rajouri town: Thana Mandi

Products Pinjrakari: Windows, Doors Ventilators, Railings Ornamental partitions Screens Khatumband: Shikara, Doonga

Screens, Panels Boxes, Bowls Bedsteads, Cupboards Cabinets

Wicker work Straw, grass and twigs are used to make domestic products and containers for storing and transporting agricultural produce. One of the main products is the kangri, the wicker basket used to carry clay pots containing smouldering coals, usually slipped under the pheran worn by men and women. The willow is boiled till the outer skin comes off and the inner layer is exposed. It is then cleaned and cut into strips of about five mm width. Then it is woven into a basket. The willow may be dyed blue, red or green and various geometric patterns are created by multi-directional weaves in the upper half of the kangri. These are further embellished with shiny coloured foil, mirrors and metal pieces. Shaksaz is the local term for the basket-maker. The kangri of Shaksaz Mohalla in Charar-e-Sharif

are used on ritual occasions observed by the Kashmiri pundit community, especially during the Shushur Sankrant. Shushur means frost and on this day the new bride of each family is gifted an ornamental kangri containing some money. There is also a practice among Hindu families to give their priests a kangri to pay homage to their ancestors. A wicker tray.

Production Clusters Anantnag district: Anantnag town: Doru Dyalgam Qoimoh Badgam district: Charar-e-Sharif Srinagar district: Srinagar city: Hazratbal Mosque Harvan Shalabug Sowra

Products Baskets Boxes Lampshades Curtain rings

Inset A kangri is indispensible during the long winter months and rainy summer evenings.

Trays Cycle baskets

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Copper ware Production Clusters Baramula district Srinagar district: Srinagar city: Nowab Bazaar Zena Kadal Fateh Kadal Rainawari Jama Masjid Bohri Kadal S.R. Ganj Nalamar

Products Bowls Cups Dishes

The traditional copper ware of Kashmir is created by three processes of shaping, decoration (naqqashi), and tinning (kalai). The surface is usually highly ornamented with a profusion of stylized floral and leaf forms, religious symbols (such as the mihrab or prayer arch), geometric and calligraphic patterns, as well as elaborate hunting scenes. The patterns are formed on the metal sheet using a combination of techniques including repoussé, piercing and chasing. The raised patterns may be further highlighted by oxidizing the depressed surface. The indigenous product range consists of luxurious household items such as surahi (wine jugs), rosewater sprinklers, incense burners, hookah bases, samovars (kettles), decorative plaques and large trays with stands which perform the role of mobile tables. A number of products are utilized in Islamic rituals— ewers and basins are used for ablutions and henna holders are used at pre-wedding ceremonies. Copper vessels also form a crucial component of the Kashmiri bride’s trousseau.

Jugs

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

Ewers Cauldrons Saucepans

A samovar, tea kettle in sheet metal with a handle and spout made by casting.

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

Cutlery Lamps Lanterns Candelabra Candle stands

Tools Dakur – hammers Yandravaw – anvil Mekh – stakes Punches, Chisels Tracers

An ornamental container created using a combination of repoussé, piercing and chasing.

Repoussé, chasing and pierced work are used in combination on this object.

Plaque ornamented with calligraphic and foliage forms executed in repoussé and chased metal. A box with the chinar motif.

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Chenab

Kishtwar

JAMMU

Doda

Udhampur

Ramnagar

Cluster District Boundary

Jammu

Cluster & District

Samba Basohli

Kathua

Crafts of JAMMU Basohli painting Metal casting Sheet metal work Chikri wood work Zari embroidered footwear

Block printing Leather craft Chain stitch embroidery Bamboo work Gabba making

Subclusters of JAMMU Samba Poonch Kathua

Situated on the banks of River Tawi and framed against the picturesque backdrop of the majestic Trikuta Ranges lies Jammu, the ‘winter capital’ of the state of Jammu and Kashmir. The region is believed to have acquired its name from its 9th century founder, Raja Jambu Lochan. The present city of Jammu, however, was established under the Dogra rulers who gained control over the region in 1730 AD and made Jammu their capital. Under their patronage, the city became an important centre of art and culture spawning the famous Pahari miniature painting style and its lyrical depictions of the Gita Govinda, the Ramayana, the Rasamanjari, the Ragamala, the Bhagvata Purana and the tale of Nala-Damayanti. The Sikhs took over from the Rajputs, following which, in 1832, Gulab Singh merged Jammu with Kashmir to form the present state. Its history has created an ethnic mélange: apart from the Dogras who are of Aryan lineage and occupy the plains, Jammu is also inhabited by nomadic mountain-dwelling tribes such as the Gujjars, Bakerwals and Gaddis, as well as communities of Punjabi descent such as the Khatris and Mahajans, and the Muslim Rajput sects known as the Chibbalis and the Sudans. Jammu, known as the City of Temples, is home to a large number of temples and shrines and is an important base camp en route to the holy shrine of Vaishno Devi. The impact of the presence of these religious sites on the folklore and art forms of the region is clearly visible in Jammu’s musical traditions, raas dances, paintings of mystics and devotional folklore. ACCESS Connected by rail and road to all parts of the country. Jammu is linked by air to Srinagar (293 km/180 miles), Delhi (586 km/360 miles), Chandigarh (363 km/226 miles) and Amritsar (243 km/151 miles).

Rajouri Doda Bani Udhampur 1

1 Raga-ragini, a miniature depicting the musical ragas in anthropomorphic form. 2 An embroiderer at work in a Jammu workshop. 3 Women embroidering garment necklines. 4 Shells used as containers for paints made with natural minerals. 5 A painting depicting a Sufi saint. 6 A painting of the Basohli School.

5 6

2 3

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LADAKH Sh yo k

Nubra Valley

du s

Wanla

Leh

Chilling

Sabu Pangong Choglamasar Tso Chushot

Hemis Upshi

Cluster District Boundary

Ts o

Mo r

iri

Cluster & District

Prayer flags and a view of the landscape in Leh.

Crafts of

R E S O U R C E S Craft

Raw Materials

Sources

Tsug-dul and tsug-gdan

Sheep wool, Yak wool, Goat hair, Acrylic yarn

Changtang Valley

Challi

Yak hair, Goat hair

Changtang Valley

Hand-spinning

Pashmina wool, Sheep wool

Upshi

Paabu

Leather, Wool, Cloth, Felt

Leh, Choglamasar, Nubra

blankets

Basketry

Willow, Chipkiang grass

Chushot, Wanla

pile rugs

Khabdan

Mill spun woollen yarn

Ludhiana, Punjab

Challi – handwoven textiles

Wood carving

Wood (malchang and salchang)

Wanla

Hand-spinning

Metal ware

Brass and copper sheets, Copper

Srinagar, Jammu, Delhi

dyeing

Ritual cloth installations

Silk, Brocades, Cotton fabric

Benaras, Srinagar

Thangka paintings

Cloth, Pigment colours

Leh

Wood carving

Painted wood

Wood (malchang)

Chushot, Choglamasar

Painted wood

Thigma

Woollen fabric, Dyes

Leh

Chipkiang baskets

LADAKH Thangka paintings

Ritual cloth installations Khabdan – pile carpets Tsug-dul – woollen pile Tsug-gdan – woollen

Thigma – tie-resistPaabu – stitched boots

Metal work

Subclusters of LADAKH Leh district: Leh Choglamasar Chushot Kharnaling

Situated within the folds of the Karakoram mountain ranges lies the arid, extremely cold Trans-Himalayan desert of Ladakh. Enclosed within this stark landscape are the three valleys of Leh, Zanskar and Nubra that are formed by the rivers Indus and Zanskar. The climate and seasonal cycles determine much of the activities of the population; summers are monopolised by agricultural work and shearing, autumn for harvesting and preparing for the long winters in which Ladakhis are confined indoors and practice their crafts. From the 17th century upto 1949 Ladakh was the hub of a bustling caravan trade between Punjab and Central Asia, and between Kashmir and Tibet. During the summers, pack animals laden with Varanasi brocades, Chinese silk, pearls, spices, Indian tea, wool, salt, indigo, opium, carpets and gold traversed through the Nubra Valley, and in winters they crossed the upper valley of the Shyok River. The objects of trade, the trading communities and their cultures have all left an indelible impact on the local crafts and culture. Furthermore, successive waves of immigration, especially that of the Tibetans in the 6th and 7th centuries and of people of Islamic origin during the 14th century have created a multi-faith social matrix. Here, Tibetan Buddhism amalgamated elements of the indigenous animistic religion to form an esoteric form of Mahayana Buddhism with five sects, each of which is based on the teachings of different monks or saints.

Thiksey Sabu Chilling Bheema Wanla Upshi Inset A detail of the perak, an elaborate turquoise-studded headdress of Ladakhi women. Evocative of lizard scales, fins and serpent hoods, the perak symbolizes the local belief that women are from the underworld of Lhu, which is inhabited by snakes, lizards and fish— underground divinities credited with the powers of fertility. 1 An artisan affixing embossed strips of metal on the surface of a prayer wheel. 2 A sculptor and thangka painter, working in his studio near Leh. 3 Painting of the duk, the dragon motif, on wood at Leh.

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ACCESS The road connecting Leh to Manali and Srinagar remains open from April to October while buses operate from June to October. Only buses ply to the villages. Taxis are the only means of transport inside the town of Leh. Flights to Jammu and Delhi are available from Leh.

N O R T H / JAMMU & KASHMIR / Ladakh

A chorten at Thiksey.

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

Thangka painting

2 3

Thangka are painted scrolls depicting Buddhist deities and their cosmic realities. Although they are installed in domestic spaces as a talisman against all evils, thangka are intended as navigational aids for the spirit, guiding the viewer in his quest for spiritual realization. It is in their capacity to render the invisible visible through iconographic representation that serve as installations in monasteries and prayer halls or as displays during religious festivals at monasteries. Due to the potency that the paintings are believed to possess, the painter is required to undergo rigorous spiritual and artistic training and in many cases is a monastic initiate. The proportions and iconographic details of the deities follow canonical prescriptions and the artistic genius of the individual is considered subordinate to the religious responsibility of the painter. Thangka are not signed by the artist but are given to a lama who blesses them with sacred syllables. The finished painting is then taken to only the male tailors of the community who mount the work on a frame of heavy gyasser, silk brocade panels. They back the painting with plain cloth and secure the scroll at the top and the bottom to wooden rods, with brass or silver knobs at each end. 1 A craftsman stitching a thangka at the Handicraft Centre in Leh. 2 Detail of a thangka painting at the Handicraft Centre. 3 A thangka depicting the golden Prajnaparamita or Yum Chenmo who embodies Supreme Wisdom. She is identified by the book placed on the lotus near her head. 4 A Green Tara thangka which shows 21 different manifestations of the goddess Tara. Depicted at the top of the thangka is Buddha Amitabha who denotes Boundless Light. 4

Production Clusters Leh district: Leh town: Central Institute of Buddhist Studies Handicraft Centre Choglamasar town: Tibetan Refugee Centre

Products Paintings

Tools Wooden frame Paintbrushes Stone Scissors Brass or silver knobs

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Ritual cloth installations Production Clusters Ladakh Alchi Leh Hemis

Products Dhukh – canopy Kaphen – pillar

hanging Shambhu – pleated

door hanging Lungsta – prayer flag Chubar – cylindrical

hanging

Prayer flags, known locally as tarchok, form a ubiquitous part of the Ladakhi landscape. Usually square or rectangular pieces of cloth, they are believed to spread the prayers that are printed on them as they flutter in the wind. They are also said to attract good luck and ward off diseases, the evil eye, demons and evil spirits. They are also displays of one's gratitude at a fulfilled wish or an unexpected beneficial occurrence. The flags are invariably one of the five basic colours—white, red, green, yellow and blue—and are representative of the five elements (earth, air, water, fire and ether), the five senses (sight, smell, touch, taste, hearing), and the five wisdoms (the wisdom of the universal law, the wisdom of the mirror, the wisdom of equality, the wisdom of distinction and discernment, and the wisdom of accomplishing works). The three most prominent hangings seen in the interiors of the monasteries are the chubar, galtszan and phen. The phen is made of a solid shape from which four or more narrow ribbon-like panels of silk are suspended. The galtszen is a cylindrical hanging ornamented by valences and alternating plain panels. The chubar, also a cylindrical hanging, is made of narrow overlapping vertical panels, usually of brocade.

1 At this bridge across a river at Leh, prayer flags have been tied to thank the gods for ensuring the devotees’ safe passage. 2 Prayer flags imprinted with icons of money, prosperity and good luck at Kharnaling, Ladakh. 3 At the entrance to the prayer hall at the Hemis monastery; a shambhu, a pleated panel used over the doors and windows of monasteries, placed above the door. 4 The lungsta or wind horse, the prayer flag that symbolizes will power and luck. 5 A canopy usually hung over the cardinal deity. 6 A pleated canopy covers the coral and turquoise-studded prayer wheel at the Thiksey Monastery. 7 A door curtain at the Shankar Monastery in Leh. Door panels are usually made of plain cloth appliquéd with inexpensive red, blue or green fabric in geometric forms. 8 A phen displayed against a wooden pole in a prayer hall at Hemis. 9 A contemporary chubar. Traditionally, the panels were constructed as pockets for containing sandalwood thus allowing the fragrance to waft through the halls with the movement of the chubar.

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N O R T H / JAMMU & KASHMIR / Ladakh

Khabdan—pile carpets Khabdan are pile carpets of 48 knots per square inch that are made on a large vertical loom using the technique of looping woollen yarn around an iron rod. The loops are cut with a sharp knife and the rod is removed to achieve the pile surface. Although of Tibetan origin, the khabdan of Ladakh incorporated stylistic influences into its design vocabulary from China and Mongolia with whom the region has shared a long trade and political history, at least from the 10th century

onwards. Some of the motifs that may be accorded to these influences are the duk (dragon), rgya-nag Icags-ri (inspired by the Great Wall of China), snow-lion and the yungdrung (interlocking swastika border). Khabdan are widely used as carpets in the living rooms and prayer rooms of Ladakhi households and in monasteries. The khabdan made for the lama feature religious motifs such as the swastika at the centre and are usually made in orange and red.

Production Clusters Leh town: Handicraft Centre Choglamasar town: Tibetan Refugee Centre

Products Carpets Saddle rugs

Tools Thisha – vertical frame

loom Dhunki – hammer Chamba – scissors Tee – knife used to cut knots Chakda – rod for

making loops Panja – beating device Tee

A square khabdan with the khorlo, medallion, motif.

A khabdan with the kau, tortoise pendant, worn by Ladakhis and the rgya-nag Icags-ri as the border.

A saddle rug ornamented with the snow-lion motif.

Detail of an intricately patterned khabdan.

Panja

A khabdan with a centrally placed swastika, intended for use by monks.

A saddle rug with an interlocking swastika border and the belak, frog step motif.

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Tsug-dul and tsug-gdan—woollen pile rugs Production Clusters Changtang Valley Kharnaling (near Leh)

Products Tsug-dul – pile

blanket Tsug-gdan – pile rug

Tools Thak – loom Tak – wooden beater Neyn – thread heald

Tsug-dul and tsug-gdan are woollen pile rugs made of narrow woven strips that are sewn together. The strips are individually woven on sked-thags, back strap looms using a technique called the loop-pile structure; the pile is then cut to give it a shaggy edge. The tsug-dul, usually made of six strips, is used as a blanket while the tsug-gdan that is made of three strips is spread along the walls of the rooms and kitchens of Ladakhi houses and is also used as additional floor coverings during ceremonies and feasts. Both types of rugs are made of natural wool—chiefly sheep wool but also yak wool and goat hair—accented

with coloured acryllic (as in the tsug-dul) or motifs (as in the tsug-gdan). The colours selected greatly resemble those seen in the painted wood work and ritual installations seen at the monasteries. The tsug-dul is composed of a border around a field. At the centre may be flower-like medallions called mentokh. Some fields have a chequered pattern called cholo. The borders of interlocking forms are said to have been derived from the rgya-nag Icags-ri, the Great Wall of China. Inset Detail of a tsug-gdan.

Neynyuk – heald rod Urlu – shed stick Puri – pirn Shill – lease rod Czsikpa – two wooden

pieces to hold cloth Chetakh – back strap

1 Detail showing the pile surface of a tsug-dul. 2 The reverse of a tsug-dul, the weaving technique and sewn joints of the narrow widths clearly visible. 3 A tsug-dul made from white sheep wool and dyed acrylic, Kharnaling. 4 A tsug-gdan in natural colour wool and yak hair, with a mentokh motif in the centre. 5 Wrapping the weft of a tsug-dul on a metal rod from between the raised warp ends The shed stick is called tak and also works as a beater. 6 A tsug-gdan with medallions and an interlocking border. 7 A weaver's house in Kharnaling, the tsugdul forming the primary seating.

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N O R T H / JAMMU & KASHMIR / Ladakh

Challi—woollen textiles Ch a l l i i s a coarse woollen cloth woven in strips by men on a fixed heddle ground loom. Khullu, (yak hair) and raal (goat hair) are used and it is their respective natural colouration (deep brown, white, light brown) that creates the striped pattern in the warp characteristic of the challi. The fabric is always woven in one material that is used as the weft while the other is selectively used in the warp to create the pattern. Strips having the same repeat pattern are joined to make saddlebags, nugal or changdur (grain carriers), phatsa (storage bags), taltan (rugs)

and blankets that are placed as a secondary layer over the tsug-dul in winters. By varying the number of strips attached, the striped patterns are altered by every weaver to create a specific combination that would act as his ‘brand,’ thus ensuring that the owner of the saddlebag could be identified by the particular variation of stripes on it. This practice originates from earlier times when journeys for trade were made on pack animals and bags could be easily mixed up during stoppages. There are three kinds of saddlebags: small bags for sheep and goats, and larger bags to be loaded on horses and yaks. Inset A saddlebag used for carrying grain on horseback.

Spindle with a stone whorl for twisting yarn

Twisted yarn

Production Clusters Ladakh Leh district: Changtang Valley

Products Blankets, Rugs Storage bags Saddle bags

Tools Ground loom Shuttle, Spindle Needle, Scissors

1 Detail of challi made of yak hair. The weave used is known as the dog-teeth design. 2 The reverse of a challi, the strip woven sections stitched together. 3 A large storage bag woven by women who use fine sheep wool and dyed yarns in their weaving.

Hand-spinning Hand-spinning is practiced extensively in every Ladakhi household by both the men and the women. The women use the phang—a spindle usually made of willow that is supported by a bowl made from apricot kernel—to spin soft yarn such as pashmina and sheep wool. The drop spindle used by the men is known as haa and is used for spinning coarser goat hair called raal. The type of spindle used by men allows them to spin while they walk; the phang, on the other hand, requires a surface to rest on and consequently while the men may be seen spinning while going about their daily chores, spinning for the women appears to be more of a congregational activity performed amidst much chatter. The extremely soft pashmina wool is obtained from the inner coat of the Changra goats found predominantly in the Changtang region and is a highly valued commodity sold to the Kashmiri shawl industry. Recent promotion of pashmina by the governement includes the establishment of a Changra goat-rearing farm at Upshi near Leh; a department supporting pashmina weaving by women at the Ladakh Environmental Health Organisation at Chushot and the setting up of facilities for dehairing, spinning and weaving at the Handicrafts Centre at Leh.

Production Clusters Leh district: Changtang Valley Leh town

Products Pile rugs Garments Footwear Yarn Shawls Blankets Saddlebag Slings Rugs Tents

Tools 1

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Inset A detail showing the phang being supported against an apricot bowl. 1 The haa, a spindle used by men to spin coarse goat hair. 2 An old woman at Kharnaling g. spinning wool with the phang.

Phang – spindle used

by women Haa – spindle used

by men Hand cards Tal – special comb

3 A braided sling made of yak hair and sheep wool, an object made by most Ladakhi men.

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Paabu—stitched boots Production Clusters Leh district: Nubra Valley Choglamasar Changtang Valley

Products Paabu Kir-paabu Thigma-paabu

Boots worn by monks during ritual dances

Tools Needle

Paabu are the colourful knee-length boots commonly worn in Ladakh. Made from wool, cloth and felt using a combination of techniques—stitching, coiling, appliqué and braiding—these sturdy boots are constructed in three parts; the sole, the shoe uppers and the knee cover. Felted woollen cloth with appliquéd patterns in different colours is attached to the rim of the shoe to give it its height. The paabu are extremely warm and are especially suitable for Ladakh’s high altitude climate and low temperatures as they protect the wearer against frostbite. The nomads of the Changtang Valley make paabu that incorporate strips of leather and nambu, handwoven woollen cloth, in their construction. These boots are flat-toed and are decorated with embroidery at the joineries. The kir-paabu made in the Nubra region are another variation; they use handspun goat hair and sheep wool and are usually round-toed and worn by the men. Another type which is pointed at the toe is worn by the women and is known as thigma-paabu after the thigma (tie-resist-dyed wool) fabric used in its construction.

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

These square-toed paabu constructed of wool or cotton yarns and decorated with brocade pieces are worn by the monks during sacred dances. A slip-on paabu, its design incorporating a strip of tie-resistdyed fabric.

Paabu from Changtang made of leather and woven strips joined together with embroidery.

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

Thigma—tie-resist-dyeing Production Clusters Sabu Nubra Valley

Products Skerekh – belt Nambus – panels for

garments Narrow belt

Tools Thread Cord

Thigma, the local term for resist-dyeing on woollen cloth, is a derivative of the word thitoo, dot. Practiced largely in the Nubra Valley, this technique involves pinching parts of the cloth and tightly binding them with thread. The cloth is then dyed in natural colours made of apple bark and onion peels (for light browns), soot (for light grey), a root known as chutza (for yellow) and a root called chzot (for pink). The cloth is washed and rinsed in water. When the ties are finally removed, they reveal a pattern created by the folds of the cloth. Usually only narrow strips of woollen fabric are tie-resist-dyed. Strips two inches wide are used in the thigma-paabu (boots with a tie-resist-dyed panel); the skerekh, belt requires strips that are three inches wide while nambu panels (used in costumes) are still wider. 1

1 Detail of a garment composed of tie-dyed woollen strips. 2 A woollen belt or skerekh, tie-dyed in synthetic dyes. 3 Detail of tie-dyed thitoo, dot and tassels.

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Metal work

Cop pe r a nd br ass are used extensively in Ladakh to make a variety of objects such as prayer-wheels, religous artifacts, musical instruments, teapots, chang pots, lamps, whisk handles, spoons, bowls and butter lamps used in Buddhist rituals. The objects are formed by beating metal into the desired shape and engraving decorative patterns onto the surface or creating patterns through repoussé work. The objects may be further embellished with silver. The motifs commonly created include two dragons facing each other, floral patterns similar to those seen on Ladakhi caps and brocaded cloth, the interlocking pattern known as the rgya-nag Icags-ri that is used in carpet borders and on the edges of socks; and the yumdumlagyut which is present in prayer room decorations. Due to the growing sales of utensils and objects from Delhi the demand for these handcrafted products in Ladakh, has plummeted, thus threatening the craft with rapid extinction. 1 A brass doorknob with intertwined dragons from the Hemis Monastery. The handle is made of braided strips of coloured cloth. 2 The traditional latch seen in most monasteries on all doors. 3 Prayer wheels; hollow drums made of metal sheets on which sacred mantras are made in repoussé. 4 Detail of a dragon motif created in repoussé work. 5 A tubular scroll container, its entire surface worked in repoussé.

6 Large metal vessels commonly used in traditional Ladakhi households, seen here stacked on a kitchen shelf. 7 An artisan holding out a semi-finished chang pot. 8 Various tools used in metal work.

Production Clusters Leh district: Chilling

Products Prayer wheels Butter lamps Utensils Containers Musical instruments Tea pots Chang pots

Lamps Handles of whisks Spoons Bowls Agricultural implements Locks

Tools Tongs

Hammers Pliers Scissors Fine chisels Needles

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Wood carving Production Clusters Leh district: Wanla Choglamasar

Products Choktse – folding

tables

Elaborately carved wooden features as doors, lintels, windows, beams, furniture and plaques in homes and monasteries are an essential element of the Ladakhi built environment. The distinctive feature of the wood work is the prominence accorded to the forms carved in relief. Pear, walnut, teak and malchang woods are used as they facilitate easy carving and well finished surfaces. Most households can afford only a few

Fehpur – wooden pot

Gurgur – tea mixing

pot Larger tables Cupboards Ritual bowls Cup with lids Printing blocks

Tools Zogham – tool box Kopsack – sandpaper Jandar – sharpening

tool Chisels Saw Measuring tape Gouges

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1 Finely carved traditional wooden beams and joints. 2 One of the mythical evil spirits on a carved plaque. 3 The snow-lion carved in low relief on a wood panel intended for a monastery. 4 The entrance to the prayer hall of the Thiksey Monastery. 5 An unfinished panel, at a workshop in Wanla, demonstrating the stages of carving. The tools laid out above the panel have been designed by the craftsmen.

plaques or furniture pieces; the primary patrons of the craft are the monasteries which commission large architectural members. Most of the carved forms have religious symbolism. Commonly used motifs include the dragon, the mythical Garuda, the lotus, the snow-lion, the eight auspicious symbols of the Buddha, lotus, clouds, mountain and the interlocking swastika border.

N O R T H / JAMMU & KASHMIR / Ladakh

Painted wood In the dry, desolate and monochromatic landscape of Ladakh, the colourful clothes, dwelling and possessions of the inhabitants are perhaps the only visual relief. The painted wood work contributes significantly to the escape from a severe environment. A variety of objects such as ritual artifacts, musical instruments, furniture as well as structural elements of the local houses and monasteries are embellished with this. Only eight or so colours are used and these are mixed together in a variety of permutations and combinations to create a rich palette that contains 48 colours. There is a specific code which governs the selection of colours for a particular context. For instance, clouds are always

painted blue, but the outline of the cloud will be a tint closer to the white while the inner most part of the cloud is a shade nearer to the black. The methods of painting different items vary. For example, wooden tables are painted in layers thus allowing a number of colour tones to be simultaneously visible.

Production Clusters Leh

Products Choktse â&#x20AC;&#x201C; folding

tables Window frames

Inset The endless knot, one of the eight auspicious symbols painted on a cupboard. 1 An elaborately painted screen at the monastery at Thiksey. 2 The painted walls and lintels of the courtyard at the Lamayuru monastery.

Furniture panels Architectural panels Giant drums Prayer wheels

Tools Paintbrushes

Basketry Chipkiang is a local grass that grows all over Ladakh, especially in areas along the River Indus where the soil is especially fertile. Chipkiang is crafted into backpack-like baskets and matting for use in homes by villagers during breaks from their daily chores and the hectic farming season. The baskets are made into two basic sizes; the smaller one is used for carrying vegetables while the larger one known as tsepo is used for carrying heavier and larger loads. The basket has two components: the basic skeleton of the basket formed by two sturdy branches of salchang, willow, bent at right angles, and the body of the basket that is made from grass stalks, and is woven in

the weft twining technique. The grass is softened by soaking it in water for two weeks. A set of stems of equal thickness are then selected. Two of these pairs are placed at right angles and a pair of grass stalks is twined around them in a circular fashion. This circular base is placed inside the hollow willow structure and a pair of stalks is twined around the vertical stalks of the circular form as well as the willow branches. The rim of the basket is finished by braiding the loose ends of the grass at the open end of the basket. The basket is allowed to dry in the sun for about a month as the grass remains wet.

Production Clusters Ladakh: Kargil Bod Kharbu Lamayuru Saspol Nimmo Chushot

Products Tsepo â&#x20AC;&#x201C; backpack

baskets The tsepo with its characteristic square rim and curved base.

The construction of a tsepoâ&#x20AC;&#x201D;grass stalks being twined around the salchang frame.

A local woman carrying a chipkiang basket.

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HIMACHAL PRADESH

CRAFTS ~ HIMACHAL PRADESH Lost wax metal casting Silver jewellery Chamba painting Embroidery on leather Chamba rumal – embroidery Thangka painting Thangka appliqué

Metal work Wood work of Dharamsala Basketry Doll making Sheet metal craft Kullu shawls Pula chappal – grass

footwear Knitted socks Horsehair bangles Pottery

Districts – 12 Craftspersons – 0.58 Lakhs Languages Jangram Kinnauri Pahari Shumcho Mandiali Kulavi Kehluri Hinduri Chambeali Sirmauri Miahasvi Pangwali Kanashi Bauria

Festivals Kullu Dussehra Lavi Fair (Rampur) Shivratri (Mandi) Manimahesh Yatra (Bharmour) Minjar (Chamba)

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

The state’s terrain rises from the foothills of the Shivaliks bordering the plains of Punjab and extends westward to the alpine zone of the Zanskar Range adjoining Ladakh and Tibet. Amid these mountainous vistas is the historic town of Chamba, the lush meadows of the Kullu Valley, the undulating expanses of tea gardens and apple orchards of the Kangra Valley and the green pastures of Kinnaur in the east. Unlike the verdant landscapes of these valleys, the districts of Lahaul and Spiti are barren lands of rocky crags dependent upon glacial melts for their water supply. The Pahari, hill state, is inhabited primarily by an agrarian community where many derive their income from sheep, goats and cattle and 90% of the population lives in small slate roofed two-storey houses perched over terraced fields and mountain slopes in self contained villages and small towns. The ethos of this hilly region, intrinsically defined by its geographic and climatic conditions, is perhaps

best encapsulated in its name—Himachal, literally the ‘Snowy Mountain.’ While most of the local people are Hindus, the state is also inhabited by a sizeable number of Buddhists (especially in Dharamsala, Lahaul and Spiti) and various pastoral communities like the Gaddis who rear sheep and goat, the Gujjars who rear buffalo, and the Kinnauris—all of whom live in various parts of Himachal Pradesh and have distinct cultural identities. This eclectic social structure is reflective of the province’s close ties with cultures outside its domain—with that of Ladakh and Tibet on one hand and the plains on the other. Furthermore, many areas of Himachal Pradesh were used as ‘hill stations’ or summer retreats by the British during the colonial period; a legacy visible in Shimla and Mussoorie (Uttaranchal) where numerous colonial buildings are still extant. The Viceregal Lodge at Shimla is an English Renaissance style building constructed in 1888 as the summer residence for the viceroys of India and the Gothic style Christ Church is renown for the fresco around its chancel window which was painted by Lockwood Kipling, Rudyard Kipling’s father. Inset A rock shrine at the Norbulingka Institute in Dharamsala.

Renuka Fair (Nahan) Gaddi Fair 1

Landmarks Norbulingka Institute Museum of Kangra Art Kunal Pathri Kangra Fort Jwalamukhi Temple Akhand Chandi Palace

1 A detail of the carved wooden ceiling of the Chamunda Devi Temple, dedicated to the wrathful form of the goddess Durga. 2 The shikhara, curved stone tower above the inner sanctum, is given a peculiar local accent at the Lakshmi Narayan Temple Complex through the use of wooden umbrella-like chhatri that function as snow-shields.

Rang Mahal Lakshmi Narayan Temple Chamunda Temple Bhuri Singh Museum Viceregal Lodge Christ Church Bhimakali Temple Chail Palace Tabo Monastery

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Opposite page, below Much of the local economy centres around sheep—the cold climate necessitates the use of woollen garments, and the cottage industries of spinning and weaving have been harnessed by a rapidly expanding woollen handloom industry, which also caters to urban and export markets.

Attire Topa – peaked hat Chola – woollen kneelength coat Cholu – woollen gown Dora – sheep wool belt Pattu – woollen wrap

Kullu shawl Angarakha – double-

breasted woollen coat Joji – cap with tail Thepang – woollen cap

Cuisine Nasasta – sweetmeat Indra – preparation of urad dal, split black

lentils Poldu – lentil cutlets Cha – salted tea 3

Physical Features CHAMBA

Mountain ranges: Shivaliks Middle Himalayas Zanskar

Ch en a b

Rivers: Beas, Satluj, Spiti, Baspa, Chenab, Ravi

Chamba Ravi

Bharmour

Dharamsala Bea

Kangra

Pong Reservoir

Manali Palampur

KULLU Kullu

KANGRA l Uh

C hi na ( Ti b e t )

Bhuntar

ar ag dS vin Go

Beas

Kinnaur district

Banjar

Satl uj

Shimla

Biodiversity

Punjab Utta r a n c ha l

METACLUSTER Cluster

Flora: Deodar, Kail, Pipal, Pine, Sheesham, Birch,

Bamboo, Walnut, Acacia, Wild black mulberry

Cluster & District Cluster, District & State Capital District Boundary

Fauna: Sheep, Angora rabbit, Goat (Pashmina)

International Boundary Scale 1: 2,133,000 | 1 in. = 33.66 mi.

3 A Kullu woman wearing the traditional handwoven woollen wrap known as the pattu. 4 Three Kullu women make their way to one of Himachal Pradesh’s numerous religious fairs. 5 A bride from Kinnaur laden with a profusion of the customary silver ornaments. 6 Cobs of corn, the staple crop of Himachal Pradesh, seen drying on the rooftops of houses in Kullu. 7 The houses in the Kullu region are usually slate roofed structures built of clay bricks or stone and embellished with carved wood elements. Most buildings are two-storey; the ground floor is used for the cattle or for storing logs of wood and the upper floor is used as the living area. 8 An elderly man wearing a Kullu topi, a snug woollen cap with an upturned flap.

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CHAMBA

Chen ab

Chamba Bharmour vi Ra

METACLUSTER Cluster

Cluster

Cluster & District

Crafts of

R E S O U R C E S Craft

Raw Materials

Sources

Lost wax casting

Lost wax metal casting

Silver, Brass

Chamba

Silver jewellery

Silver

Chamba

Chamba painting

Handmade paper, Pigment colours

Sanganer, Rajasthan

Embroidery on leather

Leather, Felt, Zari, Thread

Jalandhar, Punjab, Maharashtra, Kolkata

Chamba rumal

Mulmul, Fine khaddar, Silk threads

Chamba, Bharmour

CHAMBA

Embroidery on leather Chamba rumal

Subclusters of CHAMBA Chamba district: Chamba Bharmour

Situated on a mountain ledge overlooking the River Ravi, the town of Chamba was established in the 10th century when Raja Sahil Varman relocated his capital from the neighbouring Bharmour region, now the homeland of the semi-nomadic sheep herding Gaddis. The city is believed to have been named after the king’s favourite daughter, Champavati, who legend says, sacrificed herself to provide water for the parched city. To this day, women and children sing her praises in the town’s temples on the occasion of the annual Sui festival. The ornate carving of the Lakshmi Narayan Temple Complex, the Chamunda Temple and the Madho Rai Temple provide ample testament to the consistent art patronage provided by Raja Sahil Varman and his successors. The hill state was ruled by a single dynasty in a continuous series of accessions and consequently, it enjoyed a remarkably stable political environment in which the arts could be actively cultivated by the rulers. In the mid-18th century, a number of artists fleeing religious persecution were given refuge in the Pahari states; notable among the courts in which these artists found avid patrons was that of Raja Umed Singh of Chamba. ACCESS Chamba is connected with Pathankot (80 km/50 miles), which is connected with Jammu, Delhi, Kolkata and Mumbai. It may be accessed by road via Shimla, Delhi, Manali, Dharamsala and Jammu. Gaggal airport, ten km from Kangra town, on the Pathankot-Manali highway, operates flights to Delhi, Shimla and Chandigarh.

1 An intricately carved stone idol depicted in the tribhanga mudra posture at the Shiv Shakti Mata Temple. Tribhanga, thrice-bent, Krishna’s pose in which he is bent three times—at the waist, neck and head, with one leg crossed over the other, while playing the flute. 2 A brass idol of a deity from Chamba, her ornamental regalia, crown and umbrella made in sheet metal. 2

3 A local craftsman sculpts a beeswax model in preparation for the later bronze casting through the lost wax process. 4 A silversmith creates ring-like forms while directing the flame by blowing through a hollow metal tube with curved edges. 4

Lost wax metal casting The tradition of lost wax bronze casting is believed to have been brought to Chamba Chamba by immigrant Kashmiri artisans Products who found patronage at the courts of the Mohra – votive masks Pahari kings; the antique metal statuettes Idols enshrined at a number of temples in the Figurines region (among them the Lakshmi Narayan Bells Temple, the temple of Bansi Gopal and the Hari Rai Temple in Chamba) suggests Tools that these craftsmen specialized in Soldering iron making idols. Over time, the Kashmiri Sandpaper idiom, which these craftsmen were trained in, was infused Buffing machines with some local stylistic elements and a number of metal ware products catering to the religious, ritual and domestic Inset Cast bells needs of the populace were introduced in the Pahari states. suspended from low beams at the Chamunda The idols in this fusion style generally stand in tribhanga mudra Devi Temple. and wear three-pronged crowns, and heavy ornaments and a Production Clusters

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Production Clusters Chamba district: Maila village Sultanpur Chamba town: Chaugan Bazaar Mandi town: Moti Bazaar

Kangra town Kullu Kinnaur Shimla district: Rohru town: Sunarion ka gaon

Products Necklaces: Dodmala – beaded necklace 1

Champakali Chandanhaar

Silver jewellery Pahari women are usually bedecked with an assortment of heavy silver ornaments made of sheet metal and wire manipulations. The choice of the adornment and the attire together indicate the wearer’s occupation, marital status and community of origin. In addition to displaying a specific sociocultural position, jewellery is also an economic investment for many rural women. The head, ears and forehead are the primary focus of jewellery; thus leading to the creation of a plethora of regional variations. The chiri tikka, sirka chamkuli, daman or daoni tilak and chak are flat pieces of silver (either enamelled or embedded with pearls) that are worn suspended on the crown, secured with chains that hang along the hairline on both sides. The nose ornaments nath or balu and the septum ornaments bulak or kundu that are worn exclusively by married women are usually highly intricate. Neck ornaments range from the torque—like sira or hansli to the small pendants or the toke. There also exist many distinct bead necklaces—kamrakhi mala, dodmala, jau mala, dar mala—where numerous chains made of beads of various shapes and forms are linked together by silver plaques. Of these, the chandan haar or chandrasani haar, constructed of five or seven rows of facetted gold beads, is perhaps the most popular.

Sabi – lockets inset with a painted miniature icon

Chandrahaar – neck-

1 The chandrahaar, an elaborate necklace of several large and small die-stamped pendants linked together by odd-numbered chains. The central pendant is enamelled in blue and green, the colours favoured in the Kangra Valley, augmented with numerous goli, silver open beads or peepal patta, leaf form. 2 A champakali necklace with magnolia-bud-like pieces; the forms of Pahari jewellery are usually derived from natural forms such as seeds, flowers and leaves, peacock, snakes, peepal leaves and the crescent moon. 3 Tassels are used extensively as an ornamental element in the jutti and beshtar that are worn in the hair. 4 Silver amulets are considered to have the power to ward off evil spirits and are worn by men, women and children; shown here is the centrepiece of an amulet with hanging silver tassels called surghundi or sumbala. 5 Laung, a gold nose-ring, fitted with a coloured stone and ornamented with encrusted metal from the Lower Himalayas where, unlike the villages of the interiors in which silver ornaments are more common, there is a marked preference for gold. 6 Two klenti, the tools used to measure the diameter of rings.

lace of silver coins with an enamelled pendant Gal pattu – choker Jaumala – silver beaded necklace

Tools Sansi – tweezer

Coral necklace

Katira – pliers

Earrings:

Jamoor – cutter

Karanphool

Klenti – ring die

Jhumku

Hathoda – hammer

Nose-rings: Laung – large stud

Blow pipe

Balu – large nose-ring Bulak – circular

nose-ring Bangles: Kangnu – bangles

with elephant-head knob endings Silver bracelets Bajuband – arm

bands Paijeb – anklets Kamarbandh – waist

bands

cummerbund; the torna (background) is embellished in the Pahari style as are the goddesses with long tapering eyes draped in sari, the chou (pleats) of which are executed with great care. The metal used is usually an alloy of brass with 65% copper and 35% zinc. Silver is also included in the casting in a proportion of 10 gm of silver to 1 gm of copper; it is also occasionally used to inlay a figurine’s eyes.

1 A mohra made in the Pahari style. 2 A brass mohra, mask of a deity, made in the Kashmiri style. 3 Bronze idol of a local goddess.

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Chamba rumal Although practiced throughout the region that comprises erstwhile princely hill states, the craft has come to be associated specifically with Chamba owing to the patronage afforded it by rulers of the area as well as to the quality of the local craftsmanship. Traditionally, the Chamba rumals were silk embroidered square pieces of handspun and handwoven unbleached mulmul, fine cloth that were used to cover dishes of food, gifts to significant persons and offerings to a deity, or exchanged between the families of the bride and the groom as a token of goodwill. The embroidery was done in a double satin stitch technique known as dorukha, which ensured an exact replication of image on the reverse of the fabric. Although practiced by women from all strata of Pahari society, the embroidery style developed by the women of the upper classes and the royalty has now come to be exclusively related to the craft. Both the folk and the court styles usually rendered the popular themes of the Raaslila, Raasmandal (depiction of dance in relation to Krishna and devotees), Ashtanayika (a depiction of various types of heroines in their distinctive moods and environments), hunts and chaupad, dice game; the styles and colour schemes, however, were vastly different. The folk style made generous use of brilliant colours including pink, lemon yellow, purple and green while the court form evolved a more sophisticated colour palette that consisted of pale shades of ochre, dark green and blue. The court style reflects the popular pastimes of Pahari men and women from royal and noble families through the addition of details such as the smoking of the hookah, women shown talking to parrots, playing with a ball or dice or listening to music. It also derived its compositions, border motifs and floral ornamentation from the wall paintings of the Rang Mahal of Chamba and the Pahari miniature tradition. Often, trained miniature painters from the courts were called in to draw the compositions onto the fabric and to provide colour schemes. It is due to this close relationship with the painting tradition that the Chamba rumals have been called ‘paintings in embroidery.’ In recent years, artisans have been encouraged to reproduce earlier masterpieces in order to sustain the craft. Simultaneously, efforts have also been made to diversify the craft products to include a wider range of items such as caps, hand fans, blouses and bedspreads.

In the depiction of the Raaslila, Krishna multiplies himself in order to dance with four of his devotees, the gopis, while Vishnu witnesses the scene from his seat on a lotus.

Radha and Krishna are seated in the upper floor of the pavilion; the musicians, ladies-inwaiting and strolling peacocks in the garden reflect what was the lifestyle of the court.

Production Clusters Chamba district: Chamba town

Products Rumal – square cloth Pankhi – handfans

Blouses Bedspreads Wall hangings Dice boards Cushion covers Caps

Tools Dyed untwisted silk thread Needle Marking chalk

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1 The deity Lakshmi Narayan sits in the central quadrangle of a game of chaupad as three male figures sit in the four corners of the composition with sets of dice laid out before them. The dense stitching is believed to be based on the bagh embroideries of Punjab. 2 Godhuli, literally the ‘hour of cowdust,’ depicts Krishna and his cowherd friends bringing the cows back at dusk. 1

Chamba painting A particular style of miniature painting was initiated in the 17th to the 19th centuries in the Himalayan hill states and eventually this regional idiom came to be known as the Pahari kalam, i.e. the paintings from the Pahari or hilly regions. Although it originated as a folk art form in Basohli, the tasvir, paintings, were gradually refined, as the style spread to other neighbouring regions and began to receive court patronage. This development was given a discernible impetus when many artists affiliated to the Mughal court gradually migrated to the kingdoms of Nurpur, Chamba, Basohli, Guler, Kangra, Mandi, Kullu and Bilaspur seeking sympathetic patronage after the fall of Delhi in 1739 to the Persian ruler Nadir Shah and the collapse of the Imperial Power. Chatrere, the painters, used mineral or stone colours and painted on absorbent handmade paper; on completion, the paintings were burnished by rubbing the back of the painting with an agate stone. While the Basohli style was characterized by a flat use of bold, intense colour and the detailing of the crowns and jewels with cut beetle wings, the later styles (most notably Guler, Chamba and Kangra) may be distinguished by their elegant rhythmic figures, idealized female form and subtle handling of colour. The main themes that found pictorial representation in the Pahari kalam were epics like Ramayana, Mahabharata, Bhagvata Purana, episodes from the lives of Radha and Krishna inspired by Jayadeva’s Gita Govinda and the tale of Nala-Damayanti. Although all of these paintings have religious and spiritual undertones, the compositions also represented the mundane, everyday activities and emotions of

the protagonists of these narratives, often using elements of the Pahari landscape as metaphors. For instance, a bereft Krishna pining for Radha would be depicted seated under a weeping willow, the stoop of its branches corresponding with his bowed head, as a dove circles the dark skies looking for its mate. Often, the narratives are contextualized within the environment of the hills; the fortifications and city structure of the Pahari kingdoms and the local landscape and flora—especially huge leafy trees, pointed cypresses, gently flowing rivers and dark lightning pierced clouds—form the backdrop for many an episode.

Production Clusters Chamba district: Chamba town

Products Paintings

Tools Conch shells Brushes Burnishing stones

1 An episode from the Gita Govinda depicting Krishna and Radha’s tryst in the forest; the lush idyllic landscape of the region acting as a backdrop for the romantic scene. 2 A depiction of Goddess Saraswati. 3 An incomplete rendering of the episode of Krishna lifting Mount Govardhana; the faces and ornaments are painted last.

Embroidery on leather According to a local myth, leather shoes were introduced to the grass-shoe-wearing Chamba Valley by a Kangra princess who married into the royal family of Chamba and brought along a cobbler family as part of her dowry. Even to this day, families of cobblers make this now famous chappal, slippers, of embroidered leather. The chappal is constructed with sheep or goat leather or calfskin, by the male members of this A detail of tilla and resham embroidered felt (panna).

An upper embroidered with an ari, hooked needle.

community while the women embroider elaborate felt uppers that are mounted on the leather chappal. A form of chain stitch embroidery done with a hooked needle, known as the Chamba kadhai, is utilized to create stylized lantana flowers and leaves; these are usually embroidered in resham, silk threads, while russi-tilla, synthetic zari threads, are utilized to further accentuate the resham embroidered forms. The colour palette generally consists of shades of pink, deep green, red, sky blue and yellow, executed on a background of black or maroon.

Production Clusters Chamba district: Chamba town

Products Chappal – slippers

Belts

Tools Various hammers Scissors, Pliers Jumoor – to remove

nails Screwdriver Gulsome – punch Sil – stone Jugar – stitching tool Suthraar – cobbler’s

awl Kwai – cobbler’s anvil

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KANGRA Dharamsala

Palampur

Kangra

Be as Pong Reservior

l Uh

Pu n j ab Beas

Cluster Cluster & District

Crafts of

Raw Materials

Sources

Thangka painting

Silk fabric Paints

Delhi

Thangka appliqué

Silk fabric, Threads, Horsehair

Delhi

Tibetan carpet

Woollen yarn Cotton yarn

Ludhiana

Silver jewellery

Sheet metal work

Copper sheets

Kangra

Wood carving

Metal casting

Brass

Kangra

Wood work of Dharamsala

Wood – khair, chilpine and other soft woods

Pathankot, Punjab

KANGRA Thangka painting Thangka appliqué

Carpet weaving Lost wax metal casting Sheet metal work

Situated at the confluence of the Banganga and Manjhi streams with the magnificent Dhauladhar Range as its backdrop is Kangra—a valley of lush green terraced fields, majestic deodar trees, tea gardens, pine forests, apple orchards and ancient Hindu temples. The town of Kangra, earlier known as Nagarkot, was once the capital of this valley region. In 1620, Kangra and its fort were captured by the Mughal Emperor Jehangir who built a secondary fort and named it Nurpur after his wife Noorjahan. Even after it became a Mughal province, Kangra continued to enjoy its previous feudal splendour and during the 18th century, the unstinted patronage of the ruler Raja Sansar Chand Katoch which led to a flourishing miniature painting tradition. In addition to the extremely idealized female form and the lyrical lines of the drawing, the Kangra paintings are also characterized by their romantic themes, most notably that of the Gita Govinda and its depictions of the romance of Radha and Krishna. These paintings, set in the idyllic Kangra landscape, are said to have been specially commissioned by the king in order to express his devotion for the Gaddi maiden he had fallen in love with. The once formidable Kangra Fort is now a picturesque ruin but within the fort’s compound are two wellknown temples, dedicated to the local goddesses, Ambika Devi and Lakshmi Narayan. Southwest of Kangra lies the Jwalamukhi Temple, an important pilgrimage site, and towards the east are the tea gardens of Palampur and the fortress of SujanpurTira, once the favoured residence of Raja Sansar Chand and the venue of some exquisite wall paintings that are still extant. Dharamsala, a hill station established by the British in the mid-19th century is today the district headquarters and home of the Dalai Lama and the Tibetan Government-in-Exile. Its monasteries, craft centres and performing arts school ensure the continuation of Tibet’s distinctive culture and religion.

R E S O U R C E S Craft

Subclusters of KANGRA Kangra district: Kangra Dharamsala Palampur 1 Lush tea gardens at Palampur. 2 A thangka painter in Dharamsala; the adjustable frame allows the painter to bring the canvas close to paint details. 3 A carpet weaver in Mcleod Gunj, Dharamsala. 4 A Tibetan sacred symbol printed on a door hanging. 5 A master idol maker at his workbench in Dharamsala.

2 3

ACCESS Gaggal airport is 13 km (8 miles) from Kangra and 50 km (31 miles) from Palampur. The nearest broad gauge railhead is Pathankot (90 km/56 miles) and a narrow gauge railway line running between Pathankot and Jogindernagar passes through Kangra and Palampur. Almost every part of the state is linked by roads. Dharamsala is well connected via road to the nearest rail head, Pathankot (Punjab). 5

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N O R T H / HIMACHAL PRADESH / Kangra

Thangka painting Thangka are paintings on cloth that depict the sku rten, the bodily forms of enlightened beings, or the diagrammatic mandala, the ‘sacred circle,’ symbolizing the spiritual embodiment of the Buddha and the stages of spiritual realization. The figurative paintings either place the deities within a narrative by depicting episodes from their lives (for instance, portraying the twelve great deeds of the Sakyamuni Buddha or events from the past lives of the Buddha as described in the Jataka tales) or by portraying aspects of the Buddha’s nature as a sentient being. For example, the deity Awalokiteshwara is the embodiment of wisdom and compassion. In the latter type, the selection of a particular deity for portrayal is usually linked with the effects desired by the person commissioning the thangka. Thus, thangka of the goddess Tara are in demand for her ability to remove obstacles and grant protection while thangka of Amitayus are commissioned by those hoping he will bestow them with long life. Hung in monasteries, shops and homes, thangka may be commissioned to bring well-being and health, to ward off the evil eye, to ensure a happy rebirth or for use as a meditational aid; their widespread presence makes them a significant element of the Buddhist visual culture. The paintings are usually executed on coarse cotton cloth using mineral colours; silk is reserved for the painting of important subjects. The painters receive training at the monasteries and are expected to follow strict dictums regarding the rendering and proportion of the forms, the geometry of the composition and the colour schemes. Inset A detail of a purnakalash, the pot symbolizing fertility and prosperity.

Production Clusters Kangra district: Dharamsala Kinnaur district Lahaul and Spiti district

Products Thangka paintings

Tools Rkyang shing –

wooden frame Brushes Bamboo splints

A thangka depicting the goddess known as ‘White Tara’ who is believed to remove obstacles and grant protection to the devotees.

Dras-drub-ma—appliqué thangka Production Clusters Kangra district: Dharamsala 1

A variation of the painted thangka, dras-drub-ma, the appliqué thangka is a scroll-like installation on which Buddhist imagery is constructed by stitching coloured pieces of fabric onto a base cloth. Various sections of the image are produced separately, then dovetailed and fastened onto a background material to form the whole figure. The fabric pieces may be placed side by side or overlapped to lend the representation a greater degree of dimension. Tshen-drubma, embroidery, is also often used to embellish or detail the image and in some cases the thangka may even be completely worked with stitches. The direction of sewing, the ply of the silk thread, the tension or lack of a stitch, and the capacity of the embroidery to form patterns are all used to create visual interest and variety. Both, the fabric preparation and the thread work, are done exclusively by men and the artists undergo a period of apprenticeship under a master before they are allowed to practice independently. 1 Individual parts such as flowers, leaves, flames or hands are outlined with a piping that is couched down onto the shaped parts. The piping is made by winding silk yarn around a horsehair or cord. This traditional process is time consuming, as every piping is made according to the proposed thangka. The parts

Products Thangka

Cushion covers Bed covers Curtains Tents

Tools Carbon paper Tracing paper Adhesive, Scissors Needles, Pins 3

thus outlined are appliquéd with the same silk thread that is used for the piping. 2 A detail of an appliqué thangka representing a Buddhist deity. 3 Pieces of brocade are stitched together to create large hangings that are installed in the monasteries. 2

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Metal work

Production Clusters Kangra district: Dharamsala

Products Idols Relief panels Ritual objects Bells Utensils

Tools Chisels

At th e Norbulingka Institute, set up in Dharamsala for the preservation of Tibet’s cultural traditions, a centre has been established to provide training in the art of both sheet metal and metal casting; it is the combined use of these techniques that distinguishes Tibetan metal work. The training received by the craftsmen includes the development and refinement of drawing skills and a knowledge of the proportion system and measurements laid down in canonical texts. The skills of the craftsmen are usually directed towards making statues and relief panels that serve the ritual and spiritual requirements of the monastery. A punch is used to create the relief of the desired image in repoussé on bronze sheets while the chasing technique is utilized to form the details. The punches used to sculpt the metal sheets are custom made by beating hot metal iron rods into any desired shape. The embossed sheets are cleaned and polished and are usually used as ornamental bases around the statue’s framework. Occasionally, the sheets are formed into containers or ritual implements. Statues and ritual artefacts are mostly made in bronze through the lost wax process. 2

Files Punches 1b

Hammer

A range of statues are made to cater to a variety of requirements—large statues are made for the monasteries while smaller statues are made for sale to individuals. The large statues are made as individual cast parts that are eventually joined by soldering or brazing. The statue is finished through the mercury gilding process, usually executed under the supervision of a master craftsman. The occasional addition of inlaid precious stones to the bronze statue is motivated by the belief that the statue’s spiritual presence is increased by the value of the material used.

1a, 1b The representation of the deities are expected to follow the sacred proportions prescribed in the canonical text known as the Tengyur. 2 During the consecration ceremony, the master craftsman ritually brings the image to life by painting the eyes and lips. 3 Details of the deity’s ornamentation such as the necklace and armlets are engraved in sheet metal and soldered onto the cast statue.

4 A craftsman drawing the outline of an image. 5 The individual parts of a figurine cast separately in the lost wax process. 6 After the form has been created through repoussé, the details of the form are engraved or chased on the frontal side of the metal sheet.

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Wood work of Dharamsala References to the Tibetan art of wood carving date back to the construction of the Tsulhakhang Temple at Lhasa in the 7th century AD. The site is recorded to have contained elaborately carved narrations of the story of the Boddhisattvas as well as intricately detailed wooden tea bowls, carved windows, shrines and thrones. The wood that are usually used are the khair, chilpine and other softwoods; the selection of the wood to be used is based on its plasticity, ease in carving and durability.

Production Clusters Kangra district: Dharamsala

Products Architectural elements Cupboards Statues Altars Picture frames Boxes Musical instruments

Tools Bah â&#x20AC;&#x201C; bamboo fret saw

Wooden mallet Jamdar â&#x20AC;&#x201C; sharpening

stone Chisels Gouges Metal pointer Calipers Template Files Sandpaper 2

A traditional bamboo fret saw known as the bah is used to remove wood along the drawn pattern to facilitate the second stage of the carving process which is the creation of an intricate fretwork. The carving tools are made by the local blacksmith or by the students themselves. The finer details are later carved out using fine chisels and the object is then finished through painting, lacquering or varnishing. The paint work is sometimes undertaken by the artists from the thangka studios thus granting the carved work the distinct colour scheme and style of the thangka painters.

1 The carved and painted entrance to the Norbulingka Institute. 2 Carved wooden stands used to hold wind instruments at a monastery. 3 Craftsman carving the leg of a table. 4 Carved fretwork panel depicting a deity seated on a flower amidst a flowing trellis. 5 Another intricately carved fretwork panel containing the symbol known as the dharmachakra or the sacred wheel.

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chen a

KULLU

Manali

Kullu l Uh

C hi na ( Ti b e t )

Bhuntar

Beas

Banjar

Kinnaur District Satlu j

Shimla

Utta r a n c ha l

Cluster Cluster & District Cluster, District & State Capital

Crafts

R E S O U R C E S Craft

Raw Materials

Sources

Sheet metal work

Brass, Silver

Punjab

Basketry

Kullu shawl

Pashmina wool

Ladakh

Doll making

Byangi wool

Kinnaur

Sheet metal work

Imboo wool

Kullu

Kullu shawl weaving

Desi wool

Kullu

Hand-knitting

Merino wool

Ludhiana

Pula chappal

Pula grass, Dyed yarns

Kullu

Hand-knitting

Desi wool

Kullu

Dyed wool

Ludhiana

KULLU

Pula chappal

Subclusters of KULLU Kullu district: Kullu Manali Banjar Bhuntar Shimla district

The Kullu Valley situated in central Himachal Pradesh and watered by the River Beas, has long been a site of human inhabitation. Ancient Sanskrit texts refer to the valley by the title ‘Kulanthapith’ or the end of the habitable world—an apt description when one considers that beyond the lush fields and apple orchards of Kullu lie the barren lands of rocky massifs and hanging glaciers that comprise the district of Lahaul and Spiti, the two lands separated by the Pir Panjal Range. Kullu is locally known as the ‘Valley of the Gods’—its alpine landscape is the gathering place for 360 deities from different temples in the Pahari region, who congregate here during the nine days of the annual Dussehra festivities. The processions at the festival are led by the richly adorned images of Ram and Sita from the local Raghunath temple. ACCESS 10 km (6 miles) from Kullu is the airport at Bhuntar from where taxis and buses are readily available. By road, Kullu is at a distance of 240 km (149 miles) from Shimla. 1 A loom in a village house; a common sight in the Kullu region where weaving is a widespread cottage industry. 2 A village blacksmith embossing brass sheets to create mohras. 3 Carpet weaver in Kullu town. 4 Pula grass is spun into rope, used to weave the pula chappal.

2 3

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N O R T H / HIMACHAL PRADESH / Kullu

Basketry Production Clusters Kangra district: Palampur Kullu district Chamba district

Products Kullu district: Dhalara – large bamboo container Supu – winnowing

instrument Changer – large

circular bamboo tray Chabdi – storage

basket Chamba district: 1

Throughout the state of Himachal Pradesh, one may see women carrying elaborately woven baskets laden with apples or tea leaves on their backs. Baskets of various sizes are also used to store grains as well as cloth. These baskets are made of bamboo; locally grown grasses such as the nargal (a thin grass), toong (a thick grass found in the higher reaches of the mountains that is used for reinforcement), chupod (a soft grass), phhagad (a hard grass); banana fibres or palm leaves, and are usually purely functional. The techniques utilized in the construction of the basket vary according to the type of basket to be woven but are usually combinations of coiling, interlacing and plaiting. Although coloured decorative elements are occasionally added to the woven basket, the patterns achieved through weaving are essentially structural in nature. The baskets are made by professional weavers as well as by the women of Pahari households during the winter months and they are sold at the local fairs and weekly markets, the market at the Kullu Dussehra festival and during the marriage season.

Kilta – basket Pinjara – cage Chhatroru – umbrella Binnas – cushion Chattai – mat

Winnowing fan, Tray 3

Palampur: Kamothu – small

basket 4

Krida – big basket Soop – winnowing basket Kandi – tiny basket

1 Two varieties of grass used in the local basketry, the thick toong and the thin nargal. 2 Load-bearing baskets from Kullu made from local wood-stemmed grasses, toong and nargal. 3 A bamboo storage basket. 4 The kamothu, a small basket that is made in Kullu.

Mandri – grass mat

Tools Chaku – knives of

various sizes Dhrah – splicing tool

A large chaku, knife.

Doll making A doll centre at Shimla is renowned for its production of a variety of traditionally attired dolls depicting different Pahari communities. First, a metal wire skeleton is prepared; this is then stuffed with locally procured grass to create the doll’s body. Care is taken to ensure that the grass used is somewhat damp so that when it dries, it will retain the shape of the armature. The grass body is then clothed in miniature garments of blended fabric, and a papier-mâché face and a wooden base are affixed onto the doll.

The Kullu doll’s attire comprises of a pattu, mid-calf length chequered dress, worn like a short sari over a pair of pyjamas. She wears a head-scarf called dhatu and carries a cane basket called keelta as a reference to the tea plantations of the district.

Production Clusters Shimla town

Products Kinnaur & Kullu dolls Kangra dolls Kothgarh dolls

The Pangi or wedding dolls are known as the gaddan, groom, and gaddi, bride. The bride may be recognized by the flowing veil and joiji, the small cap, perched jauntily on her head.

Pangi dolls Spiti & Rohru dolls

Tools Casts Screwdriver Wooden platform Rolling pin Pins Needle Threads

The Kothgarh doll is dressed in rejta, a long flowing skirt gathered at the waist, a blouse with a cut sleeves jacket and a sash of folded cloth at the waist. Like the ‘Kullu doll’, she wears dhatu on the head and carries a keelta and beru, lamb.

The most famous of the dolls is the one representing the traditional attire of the inhabitants of the Lahaul and Spiti district. She is dressed in a red mid-calf length full sleeved jacket made of expensive Indian velvet, decorated with thin white lace on the edges. A pair of pyjamas is worn underneath the jacket and the outfit is complete with a Kullu cap.

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Thattar ka kaam–sheet metal work The sheet metal work practiced in Kullu caters largely to the ceremonial requirements of the region’s temples. The chief products are mohras, the sheet metal masks depicting the various divinities worshipped locally; chattries, the umbrellas used to shield the deities when they are taken out of the temple premises in festive processions. In addition to this prolific temple patronage, the craft also receives an impetus during the nine days of the Dussehra festival when a temporary market is set up and smaller sheet metal objects such as the brass and silver utensils used in domestic rituals and a number of musical instruments are purchased by the devotees. This assorted range of objects is created from metal sheets on which the form is first transferred and then die-pressed or only beaten. Once the desired shape is achieved, the object is heated in a coal-fired kiln to soften it and grant it lustre. The figurative details are carved on and the artefact is polished with lemon leaves.

Production Clusters Kullu district: Banjar tehsil Kullu town: Sarwari Bazaar Chamba town: Charpat Mohalla Hatnala Mohalla Kashmiri Mohalla Kangra district: Palampur Geea village Baijanath tehsil Kangra town: Mandir Gali Kinnaur district: Pooh tehsil Spillow village Karaum village Sonam village

Products Karnal – wind instrument Narsingha – S-shaped

trumpet Chattri – umbrella for

the gods Dhol – barrel-shaped drum

An image of a deity with two mohras, surmounted by a chhatri and bedecked with jewellery and its festive paraphernalia.

Nagara – kettle drum Chadi – ritual object Mohra – mask

A chhatri for the processional palanquins on which the gods are borne during the Dussehra festival.

Tools Dhum hathauda –

hammer Chisels Files Punches Chimtas – tong

An embossed plaque depicting a local myth.

A mohra of a local deity.

Knitted socks Long hand-knitted socks made with natural sheep wool contrasted with patterns in bright acrylic yarns or black and white are made by women in villages throughout the districts of Kullu and Lahaul and Spiti. Hand-knitting is a technique of fabric construction in which interlinked loops are made from a continuous yarn. Although only two needles are usually utilized for knitting, these tubular socks are knitted with four needles. The prevalence of these socks in this region is largely due to the high altitude climate, the availability of local wool and the low budgets required for the purchase of the basic tools and materials—knitting needles and wool. The coloured stripes and geometric patterns used to enhance the natural shade of the wool resemble the border decorations of the Kullu shawls and caps. 1 A detail of the patterning of a knitted sock. 2 Hand-knitted socks in natural sheep wool with bold patterns in acrylic yarn. 1

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s 2 t

Production Clusters

Products

Kullu district

Socks

Lahaul and Spiti district

Tools Knitting needles

N O R T H / HIMACHAL PRADESH / Kullu

Pula chappal—grass footwear Leather shoes made of cowhide were considered inappropriate for treading on the soil of Himachal Pradesh, regarded as the land of the gods and consequently the sacred grass of shale (cannabis or bhang) were used to make the traditional footwear of the Paharis, the pula chappal. These lightweight shoes and slippers are worn during religious ceremonies, within temple precincts and to walk on snow. Dried strips of cannabis grass or buckwheat stem are converted into a rope-like form and then strengthened by a process of twisting and stretching it. Five loops in increasing or decreasing size in relation to the toes are made from the prepared rope. Each rope is then tightened around the junction point of a T-shaped tool that is rotated at great speed while holding the base of its khaitadu, stem. The body of the chappal is made by intertwining very fine threads of grass spun on a takli, spindle. In some instances, a decorative shoe upper is created with blanket stitch and contrasting colours of wool. A simple system of hand measures is used to make different sizes. Today, although the craft is chiefly practiced in Chad (a village near Banjar), the market for the pula chappal has spread to Rajasthan, Gujarat and Madhya Pradesh.

Production Clusters Kullu district: Banjar Chad village

Products Chappal – footwear

Tools Takli – drop spindle Khaitadu – a T-shaped

spindle

Inset A craftsperson finishing a chappal. 1 A slip-on variation of the traditional pula chappal; the sole is constructed using the weft twining technique. 2 A pair of chappal with coloured yarns stitched onto a pula grass sole.

Kullu shawls The high altitude climate of Himachal Pradesh, wool from locally reared sheep and goat, and the ease of procuring high quality pashmina wool from Tibet have made weaving and spinning important domestic industries, which have now found larger commercial markets outside the state. In the Kullu region, the textiles woven for local consumption use pashmina and three types of indigenous wool—byangi (from the Kinnaur region), imboo (soft wool produced from the first shearing of the lamb) and deshkar (a coarse wool made at Kullu). Merino wool is used for making commercially produced shawls and is imported from the plains, mainly from Ludhiana in Punjab. The chief products are the famous Kullu shawls—the twill-woven body in the grey, off-white, fawn or brown shades of natural wool and the tapestry woven borders in multicoloured geometrical forms. These shawls are used as draped garments; those worn 1

by the women are called pattu and those used by the men are called chandru. Although now associated exclusively with Kullu, the technique of combining a twill-weave base with a border of tapestry woven vegetable dyed wool originated in Kinnaur. With the migration of the Bhushahra community of Kinnaur to the Kullu Valley, this technique of shawl weaving and the Tibetan inspired geometric motifs of the Kinnauri shawls’ borders were brought to Kullu. The Kinnaur style has largely replaced the chequered shawls that were previously made in Kullu while the pattus worn daily still have a chequered body of black and white and a single border; those worn on festive occasions have plain bodies embellished with woven motifs that run along their length and three borders. Today, the vegetable dyed yarns have been replaced with chemically dyed acrylic yarns in bright shades of red, yellow, orange, pink, blue and green. 2

Production Clusters Kullu district: Manali Bhuntar Nagrota Baghwan Aut Kotsanor Kullu town: Bashing village Dobhi village Mohal village Mandi: Panarsa Nagwain Bilaspur district: Panthera Chamba town: Dogra Bazaar Kinnaur Kangra Shimla

Products Pattu – wrap Dhoru – blanket

1 A Kullu woman dressed in a pattu, the traditional wrapped lower garment worn in the region. 2 A detail of a Kullu shawl’s border, the swastika and other geometric forms woven in the weft-faced tapestry.

Shawls Mufflers Loi – blanket

Caps

Tools Frame treadle loom Shuttle Charkha – spinning

wheel Needle

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PUNJAB

Biodiversity Flora: Sheesham

Mulberry Eucalyptus Sarkanda

Cotton Fauna: Camel Buffaloes Cows

Physical Features Major mountains: Kandi or Shivalik foothills Satluj – Ghaggar plain Semi-arid south-west Major rivers: Ravi Beas Satluj Ghaggar

Districts – 17 Craftspersons – 0.61 Lakhs

The Green Revolution transformed the dusty arid plains of Punjab into a ‘bread basket,’ producing more than half the country’s requirement of wheat, rice and millet.

The land of five rivers, Punjab, was an arid plain, CRAFTS ~ PUNJAB covered with thorny trees and Phulkari and bagh – wild grasses, transformed into embroidered textiles fields of wheat, paddy and millet Panja dhurrie by enterprise and a network of Nala making canals laid by the British and Tilla jutti – embroidered footwear the Green Revolution of the 1960s. A scorching loo, hot breeze, Sarkanda work blows in the summers and tredr, frost, covers the ground in winters. Traditionally Punjab consisted of three culturally and Galeecha – knotted carpets physically distinct zones—the hardworking but impoverished Wood carving Malwa region, the comparatively rich and urban Majha region Wood inlay of Hoshiand the Doaba region, inhabited largely by the occupational arpur class, the carpenters, tanners, weavers and metal workers. The Wood & lac turnery crafts of the region are more utilitarian than ornamental. Every Embroidered woollen village has a cobbler, weaver, carpenter and a dyer to cater to shawls its needs; in homes, locally available materials such as wheat Brass & zardozi badges stalks, sarkanda, mulberry branches, palm leaf and grasses

are crafted into ropes, baskets, winnows, children’s rattles and hand fans. Textile related skills are prerequisites for women; a girl marries and enters her new home fully equipped with bedding, clothes, utensils and furniture, much of it embroidered, crocheted, knitted, sewn and woven by her. They also serve as means of integrating the community—the women of the village form gatherings known as trinjan where they spin, embroider and knit as they exchange news, sing and share their skills with others. The exceptions to this utile material culture are the phulkari and bagh embroidered textiles and cotton dhurries, which are associated with rites of passage, of birth, marriage and death. Woven silks, carpets, Chamba rumals, shawl weaving crafts, metal weaponry, gold thread embroidery and jewellery depict the cultural richness of the Sikh courts, especially during Maharaja Ranjit Singh’s reign in the 19th century. Inset A woman using a butter churner. Milk products are indispensable in the Punjabi diet.

Mukaish work

Dyeing Khunda – bamboo

staves Cut glass work Basketry Rope making Pottery Sports goods

Landmarks Qila Mubarak Aam Khas Bagh & Rauza Sharif Anandpur Sahib Jagatjit Palace Kapurthala Mosque Golden Temple Jallianwala Bagh Sanjha Chulha Sanghol Sarai Nurmahal Nakodar Tombs Bhathinda Fort Bhakra Nangal Dam

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The Golden Temple The spiritual centre of the Sikhs, the Harmandar Sahib, popularly known as the Golden Temple, was built by Guru Ram Das in 1601 on a site donated by the Mughal emperor Akbar. The architectural style of the monument, a superb synthesis of Islamic and Hindu styles, echoes the syncretic tradition of the Sikh faith.

Detail of the tombs at Nakodar: Purnakalash motif The tombs at Nakodar near Jalandhar display a PunjabiMughal style characterized by the use of stylized geometric patterns and coloured tiles set against a brick surface. This tomb is particularly notable because of its use of the purnakalash motif, flowering pot—an ancient symbol of fertility and prosperity frequently seen at temples and stupas throughout India.

Ja mmu And Ka s hmir

METACLUSTER Hima cha l P r a des h

Cluster Cluster & District Cluster, District & State Capital District Boundary International Boundary

Beas

Gurdaspur

Scale 1: 3,978,000 | 1 in. = 62.93 mi.

Batala

AMRITSAR

HOSHIARPUR

Pak is ta n

Hoshiarpur

Amritsar

Tarn Taran

Jalandhar

Satluj

Nakodar Satluj

Ferozepur

ch ran Abahar B

a Can la

PATIALA

t Ko

Farmers exchanging news by the roadside. Bathinda

Sangrur c n a Br

Gh ag g

Abohar

Bh a kra Ca n

h nc Bra

Fazilka

Gh a g g

iala Pat

Malerkotla

Muktsar

Ch a n di g a rh Bhathinda

Punjab is the largest producer of wheat, which is planted in November and harvested in May.

al Patiala

ati rasw Sa

R ajast h an

Festivals

Ha ry a na

Baisakhi Diwali Guru Parab Hola Mohalla Lohri Maghi Mela Teej

Ghaggh ar

Attire Patiala salwaar – baggy gathered pants Paranda – hair tassels Phulkari – wraps Tilla jutti –

embroidered footwear 1

Tahmat – wrap around

Pag – turban Loi – handwoven shawl

1 Truck drivers pause for lunch at a roadside dhaba, stop-over restaurant. 2 Festivities at the Hola Mohalla include spectacular displays of fencing and tent pegging, as the people show off their legendary martial and equestrian skills. 3 A Gujjar family; nomadic cattle herders, they are followers of Islam and are easily identifiable by their distinct clothing and jewellery.

Phulkari pakhi, hand fan, with a lac-coated wooden handle. 3

4 Women making roti at the langar at Harmandar Sahib; every Sikh is expected to volunteer at the communal kitchen and all visitors, regardless of their caste and creed, may partake the hot food prepared there. 5 An array of parandas, tasselled braids, displayed at a stall at the Parandiyanwala Bazaar near Harmandar Sahib, Amritsar. 4

Kara – iron bangles Kirpan – swords

Languages Punjabi Hindustani Scripts: Gurmukhi

Cuisine Lassi – buttermilk Sarson da saag –

mustard leaf dish Moolie di roti – radish

stuffed bread Makki di roti – corn

bread Missi roti – gram bread Ma di daal – lentil

preparation Pinni, Dodha –

sweetmeat Kanji – cooler Rawa di kheer – sweet Shalgam-gobi achar – turnip & cauliflower

pickle

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AMRITSAR Ra

Gurdaspur

Batala

Amritsar Be

Tarn Taran

Cluster Cluster & District District Boundary

Left Detail of embroidered shawl.

Crafts of AMRITSAR Khunda – bamboo

staves

R E S O U R C E S Craft

Raw Materials

Sources

Galeecha – knotted carpets

Wool

New Zealand

White cotton yarn

Galeecha – knotted

Subclusters of AMRITSAR Amritsar district: Gurdaspur district: Batala Tarn Taran

Raja Sansi Mandi, Amritsar

carpets

Amritsar

International Boundary

A farmer’s wife spinning cotton on a charkha, spinning wheel. The homespun yarn will eventually be woven into niwar (strips), khes (bed cover) and dhurrie (floor covering).

The cit y of Amritsar is named after the Amrit Sarovar or ‘Pool of Nectar,’ the sacred pool surrounding the Harmandar Sahib. The boundaries of this metacluster approximate those of the alluvial plain traditionally known as Majha. Majha is the region between rivers Beas and Satluj and includes cities of Amritsar, Gurdaspur, Faridkot and Ferozepur. Strategically located on the Silk Route, Amritsar traded silks, shawls and copper ware from Kashmir in return for raw silk, gold, carpets and horses from Afghanistan and Central Asia; the region’s wealth is reflected in its carved havelis, expensive bagh textiles, delicately embroidered shawls, zardozi, ivory carving and inlay, lac decorated bedposts and elegant palm leaf fans. Shawl and carpet weaving were actively promoted by Maharaja Ranjit Singh, the last ruler of Punjab, who set up karkhanas, workshops, in Amritsar under the supervision of Kashmiri weavers. The old city consists of a number of katras (zones) and mandis (markets) where a variety of businesses are still conducted; for instance, the silversmiths live in the Sarafan Bazaar while repoussé worked metal objects, engraved brass doors, kalash (vessel) and chattar (umbrella) for temples are sold in the Kesarian Bazaar. Batala, an important subcluster was founded around 1465 AD by a person from the Bhatti Rajput community from Kapurthala on a piece of land granted by the then Governor of Lahore. A centre of learning during Mughal rule, the town is known for its fine cotton cloth and sansi, a combination of silk and cotton. Due to the migration of large numbers of ironsmiths from Sialkot in Pakistan to this region, the town has achieved much fame for its cast swords. ACCESS Amritsar is connected by daily flights, rail and road with the rest of the country. Batala is situated on the Amritsar-Pathankot highway.

The small scale glass cutting industry operating in Amritsar was started by two German experts in the early 70s.

Khunda–bamboo staves Khunda or iron-tipped bamboo staves are carried by Punjabi farmers, the nomadic cattle herding Gujjars, and the Nihang warriors alike and are used both as a weapon of self defence and as a walking stick. In addition, the khunda are also used as accessories by Bhangra dancers. The staves are made from whole bamboo poles that are cut to size in such a manner that the curved root of the bamboo is kept intact. The pole is then tinted a reddish brown colour and Production Clusters ornamented with poker work, brass strips Batala town and brass nails, or kokas. The bottom Products portion is sharpened to a tip and wrapped Khunda – staves in iron sheet. Folk dance accessories

Tools Hathoda – hammer Koka – brass nails

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1 At Loha Mandi, Batala, a craftsman ornaments the khunda with brass strips that are nailed with koka, brass nails. 2 An elderly Sikh carrying a khunda.

An artisan. The embroidered shawls of this region are delicately worked along the borders and selvedge simulating the shawls of Kashmir.

N O R T H / PUNJAB / Amritsar

Galeecha—knotted carpets In the early 19th century, when Maharaja Ranjit Singh brought Kashmir under his rule, many Kashmiri carpet and shawl weavers migrated to Amritsar, an upcoming industrial town. This concentration of skilled craftsmen combined with the availability of fine quality wool from the neighbouring hill states ensured the creation of exceptionally fine hand-knotted woollen carpets. In this technique, woollen yarn is knotted (using the Persian knot) around the individual threads of the cotton warp. Of the patterns produced in the villages near Amritsar, the Bokhara and —geometrical patterns in black and cream woven on a deep red, ivory or green ground—are the main. The weavers use a colour coded pattern drawn on a graph, while weaving new designs, depending on their memory to replicate a design already woven. Today there are no makers left in

A contemporary woollen carpet.

Amritsar; the companies commissioning the carpets provide their own graphs. Following the large scale display of Indian handicrafts at the Great Exhibition of 1851 held in London, English carpet companies were set up in Amritsar, producing an economic boom that lasted until the end of the colonial rule. Today, the craft is in decline with limited production catering to exporters based in Delhi and to the Punjab Crafts Emporium; the business is handled by middlemen and the weavers’ earnings are meagre. Attempts have been made to expand the local craftsmen’s vocabulary; carpets targeted for export to the Middle East feature the (prayer arch) motif while others attempt to draw from the local (embroidered textiles) forms.

Production Clusters Amritsar district: Konke village Tapiyala village Chugawan village Lopoke village Raja Sansi Kot Khalsa

Products Pile carpets

Tools Khaddi – vertical loom Kangi – beater

Inset Detail of a geometrical pattern on a carpet. A detail of the traditional hatchli design, orignially from Turkmenistan, but referred to as Bokhara carpet. The principal motif is the intersection of two channels in the centre, which divides the field into four parts, with a row of three arches at the top.

Churri – knife Kainchi – scissor Naksha – design graph

1 Detail of a gul, octagon motif originating in Turkmenistan and Uzbekistan. 2 A craftsman weaving a galeecha at a workshop in Amritsar.

Kainchi

Churra

Panja

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HOSHIARPUR

Hoshiarpur

Jalandhar

Cluster Cluster & District District Boundary

Nakodar

Satluj

International Boundary

The Doaba region is located in the delta of the Beas and Satluj rivers and fronted by the wooded kandi area of Shivalik’s foothills. This region includes cities of Jalandhar, Hoshiarpur and Nawa Shahr. It has long had a concentration of artisan communities—especially wood workers, shoe makers and tanners. Plastic inlay in wood, lac turnery and wooden musical instruments have continued to be important local crafts, largely due to the solar wood seasoning plant that has been established in Hoshiarpur town. Jalandhar, the capital of Punjab until Chandigarh was built in 1953, has one of the oldest army cantonments in India. The town of Kartarpur has a number of cottage industries—carpet weaving, woven textiles, ban rope making, some excellent carpentry and shoe making. Due to the latter, the town has a large number of tanning units and an important hide mandi as well. Nakodar, an important sarai, camping place, during the rule of the Mughals and now famous for the manufacture of dhurries, possesses a Khadi Mandal (developmental organization) that weaves dhurries and throws. ACCESS

Subclusters of HOSHIARPUR Hoshiarpur district: Hoshiarpur Jalandhar district:

R E S O U R C E S Craft

Raw Materials

Sources

Carved and turned wood work

Wood – sheesham, deodar

Local markets

Wood inlay

Wood – sheesham, mango, tun, kaal; Acrylic, Camel bone, Shell

Hoshiarpur

Wood and lac turnery

Wood – sheesham, mango, tun, kaal; Lac sticks

Hoshiarpur

Panja dhurrie

Dyed cotton yarn

Hoshiarpur

Jalandhar Nakodar

Crafts of HOSHIARPUR Carved and turned wood work

Jalandhar is 146 km (91 miles) from Chandigarh on the DelhiAmritsar highway and Hoshiarpur is accessible from Chandigarh (89 km/55 miles) via Ropar. Both places are also connected by rail.

Wood inlay of Hoshiarpur Wood and lac turnery Panja dhurrie

At Mehtapur in Jalandhar, weavers sit on a plank placed across the horizontal loom as they weave a panja dhurrie.

Carved and turned wood work Production Clusters Hoshiarpur district: Hoshiarpur Jalandhar district: Jalandhar Batala district: Batala Quadian Amritsar district: Amritsar

Seasoned sheesham and deodar wood, procured from the local mandi, market, are carved into a wide range of utilitarian objects, including furniture and kitchen implements. The motifs used are leaves and flowers, usually roses and sunflowers; birds and animals forms are made only on demand. Flora and fauna alike are depicted in a stylized manner that is believed to be derived from the Mughal idiom. This provenance is explained by the craft’s original form as heavily carved doors

Khadavan or wooden slippers worn by some devotees.

Products Hoshiarpur Chairs, Peg tables Jalandhar Singhardaani –

containers Peedi – low stools

Batala Khadavan – wooden

slippers

Tools

Butter churners

Chorsi – chisel

Velan – rolling pins

Sutna – file

Wooden handles for

Pathri – tool sharpener

tava – gridles

Saws

Chairs, Tables

Clippers

Beds

Planers

Screens

Drills

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Details of carved door panels at the Katra Sher Singh, Amritsar.

and pinjara (framed lattice worked window), of the Amritsari haveli (mansion) and kothi (house). The large number of Sikh carpenters in Amritsar has been considerably added to by many karigars, artisans, from the Saharanpur area of Uttar Pradesh who have migrated to Punjab and now make up as much as 40% of the work force. A young craftsman carves a window panel for a gurdwara in Quadian, Batala, using the previously transferred stencil of the desired pattern as a guideline.

N O R T H / PUNJAB / Hoshiarpur

Panja dhurrie Panja dhurries are intricately connected with the Punjabi concept of dowry that includes items of bedding. When the bride arrives at her in-laws’ house she brings with her an impressive collection of eleven auspicious beddings, all embroidered and woven by her. In the case of rich families, home-grown yarn would be given to the village weaver, the julaha, who dyed and wove it into dhurrie and khes (coverlets) for them. The bedding consists of a dhurrie, a tallai (thin padded mattress), an embroidered chatai (mat), embroidered quilt covers and hand-worked khes. As indicators of the bride’s family’s status and her skill, the dhurrie laid under the padded mattress are intricately worked with exuberant spreads of plump purple brinjal in an orange field, a bed of massive red flowers, wished for possessions—a car, jewellery, a chubby baby—or on an auspicious note, the mother goddess, Sanjhi Devi. Bridal dhurries continue to be woven, especially in the cotton-growing Malwa region and villages around Jalandhar. 1

Dhurries were also woven for the gurdwara; usually by a group of women. The dhurries are made on simple horizontal looms in a weft-faced plain weave which gives it a sturdy, flat appearance. The multiple forms and colours of the patterns are created through the use of independent wefts, beaten into place with a panja, metal beater. Although the craft was practiced in most rural areas of Punjab, it became a domestic industry on a commercial scale after immigrant weavers from Sialkot, Pakistan, arrived at Nakodar, Noormahal and the villages around. In Nakodar two types of cotton dhurries are woven—bed dhurries are woven on a pit loom in multicoloured stripes, and the floor dhurries, woven mostly in two contrasting colours on an adda, floor loom. The motifs used in both, however, derive from the folk vocabulary of birds, beasts, plants and the embroidered phulkari textiles.

Production Clusters

Inset A detail of the mor or peacock motif.

Moga district

Jalandhar district: Nakodar Mehtpur Aulka Bathan Mehma Ungi Chak Bendal Noor Mahal Sidma Hoshiarpur district: Hoshiarpur Ropar district: Losari Jhandia Khurd Anandpur Sahib Bhathinda district Batala district

1, 2 Dhurrie patterns tend to be either geometrical or figurative. While the latter may employ a number of colours, the geometrical patterns are usually executed in two contrasting colours. 3 A dhurrie patterned with small stylized motifs of cauliflower and brinjal. 4 The pattern of this traditional dhurrie is based on the popular motif of the parrot or tota. 5 The bridal dhurries draw on a large repertoire of indigenous motifs that are based on the local flora and fauna.

Ludhiana district Amritsar district: Tarn Taran

Products Bed dhurrie Floor dhurrie

Tools Adda – floor loom

Pit loom Kainchi – scissors Hatthi/panja –

beater/comb Churri – knife Sua – needle

Sizing brush

5 (a to d) a

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Wood inlay of Hoshiarpur Production Clusters Hoshiarpur district: Hoshiarpur city: Dabbi Bazaar Bassi Ghulam Hussain Boothgarh Adamwal Thatlan Mian di Chhowni Brijwara Pur Heeran Ram Colony Camp Piplanwala Singriwala Maduli Brahmana Dhakowal

The district of Hoshiarpur produces dark sheesham furniture with painstakingly detailed dense foliage patterns that are both engraved and inlaid with acrylic, camel bone and shell. The motifs are either of Persian origin or adaptations of the exquisite wood carving in the havelis, mansions, of Hoshiarpur. The foliage patterns, usually cypress trees, that appear in most of the inlay work are now being supplemented with figures and landscapes, the details of which are etched and coloured with natural ink. When the craft came up in this region, the wood workers inlaid their wares with ivory remnants bought from the ivory carvers of Amritsar. Amritsar still has a small cluster

of bone carvers and inlay craftsmen who are known for their chessboard patterned tabletops. Acrylic has become the primary material used in the inlay after the worldwide ban on ivory was introduced in 1989.

Acrylic having replaced ivory as the medium of inlay work, the craftsmen have taken to creating large products such as this folding screen.

Jalandhar district: Maderan Adampur

Detail of an inlaid table.

Amritsar district: Amritsar

Products Hoshiarpur Chairs, Peg tables, Sideboards, Screens, Doors Jewellery boxes Tool handles Stationery Amritsar Chessboard tables

Tools Chorsi – chisel Sutna – file Pathri – tool sharpener

Saw, Clippers, Planer, Drill A craftsman gouging out the areas of the wooden surface that are to be inlaid with acrylic.

Detail of a jewellery box, its surface ornamented through the technique of metal inlay on wood.

A peg table ornamented with the chessboard pattern.

Wood and lac turnery Production Clusters Hoshiarpur Jalandhar

Products Hoshiarpur: Chairs Jalandhar: Singhardaani –

containers Peedi – low stools

Tools Lathe, Chisels

Among the wood working community of Hoshiarpur are the kharadi, lathe turners, who make turned wooden furniture, ornamented with motifs etched on a lac coating. Furniture elements are turned on power lathes and the rotating pieces are coated with multiple layers of lac, usually applied in three layers—white, black and red, in that order. Yellow is occasionally added as well; purple, the once characteristic colour of lac-coated ware from Hoshiarpur, is seldom used now. After the lac is applied, a sharp metal stylus is used to etch motifs, thus revealing the underlying colours. Contemporary designs appear in white on a reddish-brown base, apparently imitating the plastic inlay work practiced in Hoshiarpur. Decorative detail of the chair.

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The layered lac-coating done in Jalandhar uses different colours from those of Hoshiarpur and the surface is engraved using needles so that the design shows up in a variety of colours. Inset A detail of an etching displaying the white coat which is revealed when the upper brown one is scratched off. A lac-coated and etched chair in an unusual yellow colour.

PATIALA Ghagg

Bhathinda

Malerkotla Pa t

c an Br

ran ch na

Patiala

ag g

Sangrur

ia la B

Bh akr aC a

a Can tla

Ghagg har

Ha ry a na

ati rasw Sa

Cluster Cluster & District District Boundary

Detail of a bagh, an embroidered wrap that accompanied women in daily life and at ceremonial occasions. Phulkari and bagh of Punjab are significant as women’s art done for their own use.

To th e s o uth of the River Satluj lies Malwa, the vast arid region which comprised three important principalities—Patiala, Faridkot and Malerkotla—of which Patiala rose to be the most influential. Before the Sirhind Canal was built this land consisted of vast stretches of tibbas, sand hills, with isolated cultivated sections that were rain fed. The chief crop is cotton; consequently Fazilka, Malout and Bathinda are big cotton mandis, markets. With the increased prosperity of Patiala, whole bazaars sprang up where craftsmen made and sold jewellery, zardozi (gold embroidery) fancy drawstrings, gold-embroidered footwear, dyed turbans and dupattas (stoles). Goods from surrounding areas were brought to the mandi town of Malout for sale. Poets, miniature painters and classical musicians settled in the city, developing in the process a Patiala gharana, school, of Hindustani music. The art of miniature paintings too received patronage, producing an impressive number of illustrated manuscripts of classical texts. Malerkotla, the only Muslim-Pathan principality in Punjab, possesses expert zardozi embroiderers and metal workers.

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

ACCESS Patiala is linked by road and air to Chandigarh. All the other clusters in the region are well connected by road and rail to both Chandigarh and Patiala.

A jutti shop in Muktsar, Bhatinda, one of the key sites where this form of embroidered footwear is produced.

Subclusters of PATIALA Patiala district:

R E S O U R C E S Craft

Raw Materials

Sources

Phulkari and bagh

Handspun cotton fabric, Silk, Rayon threads

Ambala, Hyderabad

Nala

Silk, Rayon, Cotton threads

Patiala

Tilla jutti

Buffalo hide, Cowhide

Jalandhar, Kanpur, Chennai

Zari

Surat, Malout

Patiala Sangrur district: Sangrur Malerkotla

Crafts of PATIALA Phulkari and bagh Nala – drawstrings Tilla jutti –

embroidered footwear

A craftsperson casting a brass badge at Malerkotla.

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Phulkari and bagh—embroidered textiles Production Clusters Amritsar district Jalandhar district Ferozepur district Bhathinda district Moga district Patiala district: Patiala town Tipari village

Products Chaddar – wrap Dupattas – veil

Garments Cushion covers Bed covers Types of phulkari: Sainchi phulkari Darshan dwar Sheeshedar Suber phulkari Tilpatra phulkari Satranga phulkari Nila phulkari

Types of bagh:

Th ro u gho ut the Punjab, in the Hindu, Muslim and Sikh communities alike, women embroider odhni (veils) or chaddar (wraps) ornamented with phulkari, literally ‘flower work’ and bagh, garden, a variation where the embroidery completely covers the support material. The fabric used is usually khaddar, a heavy cotton that is locally woven in widths of 45 to 60 cm (18 to 24 inches) joined either before or after the embroidery to form the desired size. The support fabric is most often an auspicious dark red, or more rarely, an indigo blue or a white reserved for elderly women, on which the embroidery is executed in untwisted floss silk called pat, sourced from Kashmir, Afghanistan and Bengal and dyed yellow, orange, burgundy, bright pink, purple, blue and green in Amritsar and Jammu. Darning stitch is used to embroider from the reverse side of the fabric, with the longer float on the face, thus allowing large surfaces to be densely embroidered with economy. Aside from their everyday use as veils, the phulkari is integrated into the lives of the women

Bawan bagh Vari da bagh Surajmukhi Chand bagh Sheesha bagh Ghunghat bagh

Tools

Chope

Wooden blocks

Metal needle Scissors

A detail of the front of a bagh textile showing the meticulously counted thread embroidery.

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

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and is an indispensable element in ceremonies, especially those concerning birth, death and marriage. When a girl child is born, the women of the family organize a great feast, marking the beginning of the task of the child’s grandmother in creating the future bride’s trousseau. The most significant items of the trousseau are the chope, a reversible phulkari worked in double running stitch and wrapped around the bride after the ritual bath two days before the wedding, and the suber phulkari, composed of five eight-petalled lotuses, worn by the bride when she walks around the sacred fire during the wedding ceremony. A phulkari is also worn 11 days after the birth of a son, when the mother goes out for the first time after delivery, and when visiting a temple during religious festivals to request prosperity and happiness for loved ones. Likewise during funerals, it is customary to set the body on a phulkari or cover it; a woman, however, will not receive this privilege unless she is a widow. Inset A detail of a motif from a chope.

A chand bagh, from a private collection. It derives its name from the dominant motif of large diamonds done with horiontal and vertical darning stitches over counted threads of the base cloth. The subtle change in the directions of the stitch, its gloss and the colour are suggestive of highly stylized chands, moons. Unfinished corners or discordant colours signify a nazar buti meant to protect the wearer from the evil eye.

N O R T H / PUNJAB / Patiala

The darshan dwar, a red cloth embroidered with architectural motifs representing doors arranged on either side of a central band decorated with human figures, animals, flowers and plants, is often offered to the temple so that the devotee’s wishes may be granted. The number of doors depicted may vary; nine doors signify the nine orifices of the body while the tenth is ‘left open’ to allow the spirit to enter.

Sainchi phulkari done in Haryana and Punjab is characterized by its use of figurative motifs representing the themes of marriage and rites of passage. Shown here, is an old phulkari from a private collection. The chope, invariably embroidered in yellow pat, untwisted floss silk, on red khaddar, handspun and handwoven cloth is an integral element in the pre-marriage rituals performed at the bride’s home.

N/PB 071

“As an encyclopaedia of

Indian crafts, Handmade in India is pioneering and comprehensive. Nothing of this kind has ever been published before.” —Jyotindra Jain in Biblio: A Review of Books

ADITI ADITIRANJAN RANJANis isaaweaver, weaver,textile textiledesigner designerand anddesign designteacher. teacher.She She has hasconducted conductedresearch researchon onthe thetextile textiletraditions traditionsof ofIndia Indiaand anddesigned designed collections collectionsfor for the the handloom handloom sector sector in in the the country. country. Her Her educational educational innovations innovationsinclude includethe theuse useof ofculture cultureas asaadesign designresource. resource.Born Born in in1952, 1952,she shehas hasbeen beeninvolved involvedwith withtextile textiledesign designeducation educationat atthe the National NationalInstitute Instituteof ofDesign Designsince since1972. 1972.

Handmade in India Crafts of India

Edited by Aditi Ranjan and M P Ranjan 576 pages, 3500 photographs and 140 maps 9.5 x 13.5” (240 x 340 mm), hc ISBN: 978-81-88204-57-1 (Mapin) ISBN: 978-1-890206-85-7 (Grantha) ₹4500 | $75 | £49 2008, reprinted 2014 & 2015 World rights

other titles of interest

Raja Ravi Varma Painter of Colonial India Rupika Chawla Themes, Histories, Interpretations

Indian Painting Essays in Honour of B. N. Goswamy Edited by Mahesh Sharma and Padma Kaimal

Unveiling India The Early Lensmen (1850–1910) Rahaab Allana and Davy Depelchin

MAPIN PUBLISHING www.mapinpub.com

Printed in Singapore

CRAFTS

M M PP RANJAN RANJAN is isan an industrial industrialdesigner designer and and design design teacher teacher at atthe the National National Institute Instituteof ofDesign. Design.His Hisinterests interestsinclude includedesign designtheory, theory, basic basicdesign design and andthe thesystems systemslevel levelfunction functionof ofdesign designin inmanaging managingeconomic economicchange. change. His Hisongoing ongoingwork workin inbamboo bamboohas hashelped helped open open up up an an entire entire sector sector for for bamboo bamboo industry industryin in India. India. Born Born in in 1950, 1950, he he has hasbeen been with with NID NID since since 1976 1976and andhas haspublished publishedextensively extensivelyon ondesign designeducation, education,craft craftand and information informationtechnology. technology.

“This is a magnificent work, a fabulous reference book, a virtual encyclopaedia of Indian handicrafts... As an encyclopaedia of Indian crafts, Handmade in India is pioneering and comprehensive. Nothing of this kind has ever been published before.” —Jyotindra Jain, Biblio “If you’ve become smitten with Indian handicrafts— clothing, toys, carpets, pottery, etc—this hefty encyclopedia will be your Rosetta stone for additional craft appreciation and collecting. Organized by region, and packed with hundreds of small but legible color photographs, no better guide exists in revealing the astonishing diversity of Indian craftwork.” —The Christian Science Monitor

“... takes on the monumental task of examining the eye-popping variety of handicrafts made across India’s vast landscape... The thousands of objects pictured here, and accompanied by detailed notes, include terra-cotta jewelry, leather puppets, wood carvings, bamboo baskets and silver ornaments. ... visually stunning display.” —The Wall Street Journal “An important book... craft values are important for a sustainable future... an astounding 516 types of specific regional crafts are covered... All readers will be impressed.” —Library Journal