Isha Craft, a labor of love, is an offshoot of the project Action for Rural Rejuvenation. Its focus is on providing an expression to the natural creative instincts of rural people and restoring traditional means of earning a living.
Started three years ago with a team of just two workers, Isha Craft has grown into a strong team of fifty highly skilled men and women from the villages surrounding Isha Yoga Center in Coimbatore, India, all producing eco-friendly quality craft products. The untapped, inherent creative manual art skills of these rural artisans have been skillfully mobilized by the Isha design team to create contemporary home decor, utility and fashion products.
Made from locally sourced, natural materials, the product range includes eco-friendly decorative baskets, all-purpose trays, lamps, mats and fashionable cotton and jute handbags. Each of these products confirms how natural, bio-degradable materials can be skillfully converted into attractive design products with a trendy ethnical appeal. Unique stone sculptures, urlis and metal crafts out of scrap are top picks for interior designers and home makers alike..
While Isha Craft primarily promotes its products via Isha Yoga programs conducted at Isha Yoga Center, Coimbatore and other centers across the world, more recently, it has held exhibitions showcasing its products in major Indian metros. These have received wonderful reviews from both, professional designers and consumers, with the Isha Crafts stall winning the Best Stall Prize at the 2006 famed Society Interiors Arts and Crafts Exhibition in Chennai, India.
To meet the growing demand for its eco-friendly products, Isha Craft now plans to expand its production by further training rural people in over 2000 villages in Tamil Nadu, India where Isha Foundation is already active, through its social outreach program - Action for Rural Rejuvenation.
This creative initiative brings the beauty of craft to our lives, and the hope of renewal to rural people. The proceeds from Isha Craft are channeled to the welfare of rural communities. Specifically, they fund the operational costs of the Mobile Health Clinics in rural areas of south India.
Sunday, January 20, 2008
Sunday, January 13, 2008
The Decorative Arts and Crafts
But in the realm of the decorative arts and crafts, India's legacy had few challengers. The Mughals were especially great patrons of the decorative arts, and although initially it appears they may have favored imports from Persia and China, Indian manufactures rapidly perfected and enhanced imported styles and techniques. Indian textiles had always been known for their rich colors and variety of design, and Indian steel products commanded worldwide respect. But very rapidly India also emerged as a preeminent center for a variety of fine arts and crafts, excelling in the manufacture of all manner of objects sought by the royalty including luxuriant carpets, decorated metal-ware, fine jewelry, glass and jade-ware. Although initially, the impetus for some of these crafts may have come from China, Central Asia or Persia - by the late 16th-17th century, rulers in both China and Persia coveted luxury-ware from India, and sought to imitate the perfection of Mughal manufactures in their own ateliers.
But the Mughals were not alone in their encouragement of fine arts and crafts. The Rajput courts were more than equal to the Mughals, and far more amenable to the employment of traditional and folk elements in their furniture, jewelry and other decorative crafts. They also displayed a greater fondness for bold and saturated colors whereas the Mughals (like Shahjahan) showed a distinct preference for formal graces. When the Mughal empire collapsed, it was the Rajput courts that became the models for the regional Sikh kingdoms, the hill kingdoms, the kingdoms of Bundelkhand and Benares, and also the Nawabs of Bengal and Awadh to an extent. The Deccan courts also played a significant part in encouraging the decorative arts and crafts, and they too exerted a strong influence on the courts in Cuttack, as on Lucknow.
But the Mughals were not alone in their encouragement of fine arts and crafts. The Rajput courts were more than equal to the Mughals, and far more amenable to the employment of traditional and folk elements in their furniture, jewelry and other decorative crafts. They also displayed a greater fondness for bold and saturated colors whereas the Mughals (like Shahjahan) showed a distinct preference for formal graces. When the Mughal empire collapsed, it was the Rajput courts that became the models for the regional Sikh kingdoms, the hill kingdoms, the kingdoms of Bundelkhand and Benares, and also the Nawabs of Bengal and Awadh to an extent. The Deccan courts also played a significant part in encouraging the decorative arts and crafts, and they too exerted a strong influence on the courts in Cuttack, as on Lucknow.
Thursday, January 3, 2008
Zardozi in India
Zardozi embroidery is beautiful metal embroidery, which once used to embellish the attire of the Kings and the royals in India. It was also used to adorn walls of the royal tents, scabbards, wall hangings and the paraphernalia of regal elephants and horses. Zardozi embroidery work involves making elaborate designs, using gold and silver threads. Further adding to the magnificence of the work are the studded pearls and precious stones.
Zardosi embroidery has been in existence in India from the time of the Rig Veda. There are numerous instances mentioning the use of zari embroidery as ornamentation on the attire of gods. Initially, the embroidery was done with pure silver wires and real gold leaves. However, today, craftsmen make use of a combination of copper wire, with a golden or silver polish, and a silk thread. This is because there is hardly any availability of gold/silver on such a large scale as before.
Main Center of Zardozi Embroidery in India
Zardosi embroidery work is mainly a specialty of Lucknow, Bhopal, Hyderabad, Delhi, Agra, Kashmir, Mumbai, Ajmer and Chennai.
History of Zardozi Embroidery in India
The word 'Zardozi' is made up of two Persian terms, Zar meaning gold and Dozi meaning embroidery. A Persian embroidery form, Zardosi attained its summit in the 17th century, under the patronage of Mughal Emperor Akbar. Under the rule of Aurangzeb, the royal patronage stopped and this led to the decline of the craft. Since the cost was high and raw materials quite rare, craftsmen could not carry on with the embroidery on their own.
Many craftsmen left Delhi and went to the courts of Rajasthan and Punjab in search of work. With the 18th and 19th century bringing industrialization, the craft suffered another setback. It was only after receiving independence in the year 1947 that the Indian government undertook steps to promote Zari embroidery.
Method of Zardozi Embroidery
The process of doing Zardozi embroidery starts with the craftsmen sitting cross-legged around the Addaa, the wooden framework, with their tools. The tools include curved hooks, needles, salmaa pieces (gold wires), sitaaras (metal stars), round-sequins, glass & plastic beads, dabkaa (thread) and kasab (thread). The second step in the process is to trace out the design on the cloth, if possible fabrics like silk, satin, velvet, etc. The fabric is then stretched over the wooden frame and the embroidery work begins. Needle is used to pull out each zardozi element and then, it is integrated into the basic design by pushing the needle into the fabric.
Zardosi embroidery has been in existence in India from the time of the Rig Veda. There are numerous instances mentioning the use of zari embroidery as ornamentation on the attire of gods. Initially, the embroidery was done with pure silver wires and real gold leaves. However, today, craftsmen make use of a combination of copper wire, with a golden or silver polish, and a silk thread. This is because there is hardly any availability of gold/silver on such a large scale as before.
Main Center of Zardozi Embroidery in India
Zardosi embroidery work is mainly a specialty of Lucknow, Bhopal, Hyderabad, Delhi, Agra, Kashmir, Mumbai, Ajmer and Chennai.
History of Zardozi Embroidery in India
The word 'Zardozi' is made up of two Persian terms, Zar meaning gold and Dozi meaning embroidery. A Persian embroidery form, Zardosi attained its summit in the 17th century, under the patronage of Mughal Emperor Akbar. Under the rule of Aurangzeb, the royal patronage stopped and this led to the decline of the craft. Since the cost was high and raw materials quite rare, craftsmen could not carry on with the embroidery on their own.
Many craftsmen left Delhi and went to the courts of Rajasthan and Punjab in search of work. With the 18th and 19th century bringing industrialization, the craft suffered another setback. It was only after receiving independence in the year 1947 that the Indian government undertook steps to promote Zari embroidery.
Method of Zardozi Embroidery
The process of doing Zardozi embroidery starts with the craftsmen sitting cross-legged around the Addaa, the wooden framework, with their tools. The tools include curved hooks, needles, salmaa pieces (gold wires), sitaaras (metal stars), round-sequins, glass & plastic beads, dabkaa (thread) and kasab (thread). The second step in the process is to trace out the design on the cloth, if possible fabrics like silk, satin, velvet, etc. The fabric is then stretched over the wooden frame and the embroidery work begins. Needle is used to pull out each zardozi element and then, it is integrated into the basic design by pushing the needle into the fabric.
Kanjeevaram Saree
Kanjeevaram silk saree is a magnificent creation of the craftsmen living in a small town, Kanchi (Kanchipuram), situated near the Bangalore city of South India. The saree has been named after the town in which it is produced. The silk used in the creation of Kanjivaram saree is extremely fine as well as durable and is one of the most popular forms of silk in the state of Tamil Nadu. The bold and bright color of the sari is very much preferred by the South Indian women, whose trousseau remains incomplete without this amazing outfit.
Kanjivaram sarees of India make use of a combination of numerous colored threads. Adding to the attraction of the saris is the exquisite and elaborate zari (a form of embroidery) work. The motifs used in an Indian Kanchipuram sari are heavily based on the Pallava temples, palaces and paintings. However, these days one can see scenes from great epics, Ramayana and Mahabharata, along with the Bhagwad Gita being used as motifs. Tribal designs as well as contemporary patterns are also seen.
The sheer magnitude of textures, colors and designs of Kanjivaram silk saris of India is incredible. Simple saris can be prepared in about 10 to 12 days. However, decorative ones require up to 20 days of workmanship. Kanjeevarams are expensive and can cost anywhere between Rs. 2000 to Rs. 50,000. The cost of the saree depends upon the amount of zari intertwined with the silk. The more the zari work, the more expensive the sari will be.
Making of a Kanjeevaram Silk Saree
The procedure of making an Indian Kanchipuram sari commences with the task of preparing the thread, which is used at the weaver's loom. This involves, first, twisting the thread and then, dying and drying it in the sun. The border, the body and the pallu of the sari are created separately by the weaver. Then, he interlocks them together in an extremely tight joint.
Kanjivaram sarees of India make use of a combination of numerous colored threads. Adding to the attraction of the saris is the exquisite and elaborate zari (a form of embroidery) work. The motifs used in an Indian Kanchipuram sari are heavily based on the Pallava temples, palaces and paintings. However, these days one can see scenes from great epics, Ramayana and Mahabharata, along with the Bhagwad Gita being used as motifs. Tribal designs as well as contemporary patterns are also seen.
The sheer magnitude of textures, colors and designs of Kanjivaram silk saris of India is incredible. Simple saris can be prepared in about 10 to 12 days. However, decorative ones require up to 20 days of workmanship. Kanjeevarams are expensive and can cost anywhere between Rs. 2000 to Rs. 50,000. The cost of the saree depends upon the amount of zari intertwined with the silk. The more the zari work, the more expensive the sari will be.
Making of a Kanjeevaram Silk Saree
The procedure of making an Indian Kanchipuram sari commences with the task of preparing the thread, which is used at the weaver's loom. This involves, first, twisting the thread and then, dying and drying it in the sun. The border, the body and the pallu of the sari are created separately by the weaver. Then, he interlocks them together in an extremely tight joint.
Chikankari
Chikankari is a very delicate and intricate shadow work type of embroidery. Initially, the embroidery was done using white yarn, on colorless muslins known as tanzeb. However, today, georgette, chiffon, cotton and other fine fabrics are also being used. From being an embellishment used primarily for decorating clothes, Chikankari embroidery work of India has now spread to cushion covers, pillow covers, table linen and so on.
There are different explanations behind the evolution of the term Chikankari. As per one version, the word Chikankari has been derived from a Persian word Chakin or Chakeen, which means creating delicate patterns on a fabric. According to others, it may be a distorted version of Chikeen or Siquin, a coin valuing Rs 4 for which the work was sold. Yet another explanation ascribes the term to the East Bengal language, in which Chikan meant fine.
History of Chikankari
We find references to Indian Chikan work as early as the 3rd century BC. Megasthenes, a Greek traveler, has mentioned the use of flowered muslins by Indians. There are different versions as to the origin of Chikankari embroidery work in India. It is said that a traveler, who was passing through a village in Lucknow, stopped and requested a poor peasant for water. Delighted at the hospitality of the peasant, the traveler taught him the art of Chikankari, which would ensure that he would never remain hungry in life. Lucknow city is the most renowned place for Chikankari work. Another explanation credits Noorjahan, the queen of Emperor Jahangir, with the introduction of the Chikankari embroidery work in India.
Method of Chikankari Embroidery Work
The stitches used in Chikan Kari work of Lucknow are basically of three categories, namely
* Flat Stitches (Subtle stitches that remain close to the fabric)
* Embossed Stitches (they give a grainy appearance)
* Jali Work (Created by thread tension, it gives a delicate net effect)
Indian Chikan work basically consists of a number of processes, namely cutting, stitching, printing, embroidery, washing and finishing. Cutting and stitching are done by the same person. Then, printing is undertaken with wooden blocks dipped in dye. After this, embroidery is done, usually by women. The last step in the Chikankari embroidery work is washing and finishing, which may take from 10 to 12 days and involves bleaching, acid treatment, stiffening and ironing. The most common motif used in Chikan Kari work of Lucknow is that of creepers. Floral motifs, which are used either throughout the garment or in corners, include jasmine, rose, flowering stems, lotus, etc.
There are different explanations behind the evolution of the term Chikankari. As per one version, the word Chikankari has been derived from a Persian word Chakin or Chakeen, which means creating delicate patterns on a fabric. According to others, it may be a distorted version of Chikeen or Siquin, a coin valuing Rs 4 for which the work was sold. Yet another explanation ascribes the term to the East Bengal language, in which Chikan meant fine.
History of Chikankari
We find references to Indian Chikan work as early as the 3rd century BC. Megasthenes, a Greek traveler, has mentioned the use of flowered muslins by Indians. There are different versions as to the origin of Chikankari embroidery work in India. It is said that a traveler, who was passing through a village in Lucknow, stopped and requested a poor peasant for water. Delighted at the hospitality of the peasant, the traveler taught him the art of Chikankari, which would ensure that he would never remain hungry in life. Lucknow city is the most renowned place for Chikankari work. Another explanation credits Noorjahan, the queen of Emperor Jahangir, with the introduction of the Chikankari embroidery work in India.
Method of Chikankari Embroidery Work
The stitches used in Chikan Kari work of Lucknow are basically of three categories, namely
* Flat Stitches (Subtle stitches that remain close to the fabric)
* Embossed Stitches (they give a grainy appearance)
* Jali Work (Created by thread tension, it gives a delicate net effect)
Indian Chikan work basically consists of a number of processes, namely cutting, stitching, printing, embroidery, washing and finishing. Cutting and stitching are done by the same person. Then, printing is undertaken with wooden blocks dipped in dye. After this, embroidery is done, usually by women. The last step in the Chikankari embroidery work is washing and finishing, which may take from 10 to 12 days and involves bleaching, acid treatment, stiffening and ironing. The most common motif used in Chikan Kari work of Lucknow is that of creepers. Floral motifs, which are used either throughout the garment or in corners, include jasmine, rose, flowering stems, lotus, etc.
Cane Furniture of India
Cane furniture of India combines simplicity and comfort, with high aesthetic appeal. Since cane, or bamboo, is of a strong, yet bendable nature, it becomes ideal for making furniture. The origin of the Indian Cane furniture can be traced back to as early as the 2nd century AD. Today, bamboo is used in almost every type of furniture, like chairs, tables, sofas, stools, shoe racks, bookshelves, cabinets, beds, couches, recliners, etc. Indian Bamboo furniture is available in different price ranges, suiting almost every budget.
The flexibility, strength, abundance, firmness and quick maturity of bamboo have made it very popular choice for making furniture. Wicker furniture of India is now being substituted for wooden ones and its attractiveness is increasing at a fast pace. From offices to homes to restaurants to shops, it is being used in each and every place. Cane furniture of India, though natural in its appearance, lends a very modern and trendy look to the entire décor. The durability, low weight, easy maintenance and environmental-friendliness of the furniture further add to its charm.
However, there are a number of drawbacks of the Indian Cane furniture. Firstly, it cannot be used along with wooden furniture. Secondly, one cannot leave it outside in rainy season.
Making Cane Furniture
The first step in the process of making Indian Bamboo furniture is heating of the bamboo/cane. Thereafter, it is molded into various shapes by hand, thus making the component parts. These components are attached together, using glue or screws, to create the frame. Then, the joints are wrapped with binding. Dying of the furniture follows soon after. Finally, a coat of lacquer is applied to it. Wicker furniture of India is also treated against parasites.
The flexibility, strength, abundance, firmness and quick maturity of bamboo have made it very popular choice for making furniture. Wicker furniture of India is now being substituted for wooden ones and its attractiveness is increasing at a fast pace. From offices to homes to restaurants to shops, it is being used in each and every place. Cane furniture of India, though natural in its appearance, lends a very modern and trendy look to the entire décor. The durability, low weight, easy maintenance and environmental-friendliness of the furniture further add to its charm.
However, there are a number of drawbacks of the Indian Cane furniture. Firstly, it cannot be used along with wooden furniture. Secondly, one cannot leave it outside in rainy season.
Making Cane Furniture
The first step in the process of making Indian Bamboo furniture is heating of the bamboo/cane. Thereafter, it is molded into various shapes by hand, thus making the component parts. These components are attached together, using glue or screws, to create the frame. Then, the joints are wrapped with binding. Dying of the furniture follows soon after. Finally, a coat of lacquer is applied to it. Wicker furniture of India is also treated against parasites.
Banarasi Saree
An Indian woman, clad in a Banarasi silk saree, complete with her solah sringar (16 makeup items), is the dream girl of every Indian man. There is hardly any woman in India whose wardrobe does not include Banarsi sarees. Even the trousseau of a bride is incomplete without this much-coveted possession. Benarasi Sari offers such grace to a woman that can hardly be matched by any other dress. However, behind all this grace is a weaver, whose skill and genius goes into the making of such a splendid outfit. Usually, it takes around 15 days to one month to complete a Banarasi saree. Still, the time may vary depending upon the complexity of designs and patterns of the sari.
The Mughal era was the time when the fame and recognition of Banarsi silk sarees of India reached its pinnacle. Even the motifs underwent a change and the saree saw new designs, resulting from the combination of Indian and Persian patterns. Today, Indian craftsman are exporting Banarsi sarees, the specialty of Benaras/Varanasi, to the remotest corners of the world. Numerous weavers, in and around the city of Benaras, are engaged in this ever-expanding industry. The silk used in the making of Indian Benarasi silk sarees is being sourced from the southern parts of the country, mainly Bangalore.
Types of Banarsi Sarees
There are following four basic varieties of Banarasi silk saree:
* Pure Silk Saree (Katan)
* Organza Saree (Kora), with Zari And Silk
* Georgette Saree
* Shattir Saree
Making of a Banarasi Silk Saree
An ideal Banarasi Sari comprises of somewhere around 5600 thread wires, all of them 45-inch wide. The base of the sari is woven on the power loom. In case of weaving the warp, the craftsmen make the base, which is around 24 to 26 m long. One of the most important aspects of weaving Banarsi silk sarees of India is the teamwork involved. Typically, three weavers are involved in the creation of the saree. One of them weaves the saree, while the second one is engaged at the revolving ring, where bundles are created.
At the time of bundling a new process of designing the motifs begins. For creating design boards, the first thing that is done by an artist comprises of sketching the design on a graph paper, along with color concepts. Before selecting the final design, punch cards are created. A single design of an Indian Benarasi saree requires hundreds of perforated cards for the implementation of the idea. Different threads and colors are used on the loom to knit the prepared perforated cards. The knit perforated cards are then paddled in a systematic manner. This is done to ensure that the main weaving picks up the right colors and pattern.
The Mughal era was the time when the fame and recognition of Banarsi silk sarees of India reached its pinnacle. Even the motifs underwent a change and the saree saw new designs, resulting from the combination of Indian and Persian patterns. Today, Indian craftsman are exporting Banarsi sarees, the specialty of Benaras/Varanasi, to the remotest corners of the world. Numerous weavers, in and around the city of Benaras, are engaged in this ever-expanding industry. The silk used in the making of Indian Benarasi silk sarees is being sourced from the southern parts of the country, mainly Bangalore.
Types of Banarsi Sarees
There are following four basic varieties of Banarasi silk saree:
* Pure Silk Saree (Katan)
* Organza Saree (Kora), with Zari And Silk
* Georgette Saree
* Shattir Saree
Making of a Banarasi Silk Saree
An ideal Banarasi Sari comprises of somewhere around 5600 thread wires, all of them 45-inch wide. The base of the sari is woven on the power loom. In case of weaving the warp, the craftsmen make the base, which is around 24 to 26 m long. One of the most important aspects of weaving Banarsi silk sarees of India is the teamwork involved. Typically, three weavers are involved in the creation of the saree. One of them weaves the saree, while the second one is engaged at the revolving ring, where bundles are created.
At the time of bundling a new process of designing the motifs begins. For creating design boards, the first thing that is done by an artist comprises of sketching the design on a graph paper, along with color concepts. Before selecting the final design, punch cards are created. A single design of an Indian Benarasi saree requires hundreds of perforated cards for the implementation of the idea. Different threads and colors are used on the loom to knit the prepared perforated cards. The knit perforated cards are then paddled in a systematic manner. This is done to ensure that the main weaving picks up the right colors and pattern.
Metal Work in India
The art of metal work is known to Indians for almost 5000 years from now. The beautiful image of the dancing girl from Mohanjodaro bears testimony o this fact. This indicates the high level of workmanship attained by ancient craftsmen. Traditionally, Indian craftsmen have been using different metals like iron, copper, silver and alloys like bronze, bell metal, white metal etc to produce items such as pots, pans, utensils, photo frames, sculptures of deities, mythological figures and animals.
The iron pillar at Mehrauli (Delhi), belonging to the Mauryan is a fine example of Indian craftsmen's excellence. During the Chola period also the art of metalworking reached great heights. The Chola craftsmen were past masters at making bronze sculptures. Sculptures are usually made with the lost wax technique. In this process a wax model of the sculpture or any item is created. This model is then covered with clay and holes are made into the clay. Finally molten metal is poured through the hole at the top, causing the wax to melt. The cavity created within is automatically replaced by the hot metal. The metal is allowed to cool and the final product is freed from clay and polished.
In the field of metal work a variety of styles are seen in different parts of India. In the Ladakh area of Kashmir traditional vessels are made out of iron and brass. Many richly engraved traditional household items like bowls, samovars, plates and trays are also made in Kashmir. In "Naqasi", elaborate floral and calligraphic designs are imprinted on copper and silver items. These items are then oxidized, which makes the design to stand out from the background.
Moradabad in Uttar Pradesh is renowned for its brass items. A wide range of household items like pots, trays, bowls and ornamental pieces are made here and are decorated with intricate etching. Benaras is well known for cast sculptures of deities and household utensils.
Rajasthan too is known for its rich tradition of metal work. Here, Jaipur is the main center for brass engraving and lacquering. The main items that are produced here are photo frames, bowls, plates, boxes etc. Jaipur is also known for its bronze sculptures. At Alwar the art of Koftagari or damascening work is practiced. In many other states also the art of metal work flourishes. They are Madhya Pradesh, Andhra Pradesh, Orissa and Tamil Nadu.
The iron pillar at Mehrauli (Delhi), belonging to the Mauryan is a fine example of Indian craftsmen's excellence. During the Chola period also the art of metalworking reached great heights. The Chola craftsmen were past masters at making bronze sculptures. Sculptures are usually made with the lost wax technique. In this process a wax model of the sculpture or any item is created. This model is then covered with clay and holes are made into the clay. Finally molten metal is poured through the hole at the top, causing the wax to melt. The cavity created within is automatically replaced by the hot metal. The metal is allowed to cool and the final product is freed from clay and polished.
In the field of metal work a variety of styles are seen in different parts of India. In the Ladakh area of Kashmir traditional vessels are made out of iron and brass. Many richly engraved traditional household items like bowls, samovars, plates and trays are also made in Kashmir. In "Naqasi", elaborate floral and calligraphic designs are imprinted on copper and silver items. These items are then oxidized, which makes the design to stand out from the background.
Moradabad in Uttar Pradesh is renowned for its brass items. A wide range of household items like pots, trays, bowls and ornamental pieces are made here and are decorated with intricate etching. Benaras is well known for cast sculptures of deities and household utensils.
Rajasthan too is known for its rich tradition of metal work. Here, Jaipur is the main center for brass engraving and lacquering. The main items that are produced here are photo frames, bowls, plates, boxes etc. Jaipur is also known for its bronze sculptures. At Alwar the art of Koftagari or damascening work is practiced. In many other states also the art of metal work flourishes. They are Madhya Pradesh, Andhra Pradesh, Orissa and Tamil Nadu.
Leather Crafts in India
In India the tradition of leather craft goes back to the Indus valley civilization. There have been several references in ancient texts about the use of animal skin. The age old tradition of leather craft in India is proved by ancient sages and ascetics, who used to sit on deerskin for meditation and other such works. In the past, leather was not only used in making clothes and footwear but also in making caps, bags, saddles, armor etc. India is famous world wide for its leather products. In the rural areas of India, hide from cattle and camel is locally cured and after tanning, it is used to make different items. Different regions of India have different leather products to offer:
The modern day leather craft in India has become a big industry and caters not only to local needs but also the off shore market. Utilitarian items like shoes, jackets, lampshades, pouches, bags, belts, wallets, stuffed toys etc made from leather are exported from India in large quantity. Different regions in India are famous for their unique style and pattern of leather products. Rajasthan is known for its decorated leather items. Bikaner and Jaisalmer produce decorative saddles. Bikaner is also known for Kopi, a unique leather bottle made from camel hide. In Rajasthan, beautiful lamp and lampshades are made from leather.
West Bengal is well known for its decorated leather products. These products are generally decorated with traditional designs and geometric patterns. Kashmir is also known for its ornamental leather products. Madhya Pradesh is popular for its embroidered red leather items. Gwalior, Indore, Bilaspur and Dewas are known for shoes, jutties, bags and mushks. In the state of Karnataka you will find leather products painted with epic and mythological pictures. These products are done in gold and silver. In some states like Andhra Pradesh, toys and puppets are made of leather.
The modern day leather craft in India has become a big industry and caters not only to local needs but also the off shore market. Utilitarian items like shoes, jackets, lampshades, pouches, bags, belts, wallets, stuffed toys etc made from leather are exported from India in large quantity. Different regions in India are famous for their unique style and pattern of leather products. Rajasthan is known for its decorated leather items. Bikaner and Jaisalmer produce decorative saddles. Bikaner is also known for Kopi, a unique leather bottle made from camel hide. In Rajasthan, beautiful lamp and lampshades are made from leather.
West Bengal is well known for its decorated leather products. These products are generally decorated with traditional designs and geometric patterns. Kashmir is also known for its ornamental leather products. Madhya Pradesh is popular for its embroidered red leather items. Gwalior, Indore, Bilaspur and Dewas are known for shoes, jutties, bags and mushks. In the state of Karnataka you will find leather products painted with epic and mythological pictures. These products are done in gold and silver. In some states like Andhra Pradesh, toys and puppets are made of leather.
Indian Textiles
The textile tradition of India is varied and rich. India has an old tradition of textiles and is traced back to the Indus valley civilization. The people Indus valley civilization used homespun cotton for weaving their garments. Indian textiles had great market in a number of countries. India enjoyed a flourishing trade with the outside world on account of its textile products. There was a great demand for Indian textile products in the Roman Empire. Indian silk was popular in Rome in the early centuries of the Christian era. Cotton products, originating from India have been found many Middle East countries. Cotton textiles were also exported to China during the heydays of the silk route.
As far as literary information about Indian textiles is concerned, the Rig Veda refers to weaving in ancient period. Ramayana and Mahabharata also speak of a variety of fabrics of those times. The Ramayana refers to the rich stuff worn by the aristocracy on one hand and the simple clothes worn by the commoners. Murals and sculptures, belonging to ancient period also bear testimony to the great tradition of textiles in India. The past traditions of the textile and handlooms can still be seen amongst the motifs, patterns, designs, and the old techniques of weaving, still used by the Indian weavers.
Silk fabrics from south India were exported to Indonesia during the 13th century. India also exported printed cotton fabrics to European countries and the Far East before the coming of the Europeans to India. Indian textiles were so popular that most of the European trade companies began to trade in cotton and other textile materials. The British East India Company also traded in Indian cotton and silk fabrics, which included the famous Dacca muslins. Muslins from Bengal, Bihar and Orissa were also popular abroad.
As far as literary information about Indian textiles is concerned, the Rig Veda refers to weaving in ancient period. Ramayana and Mahabharata also speak of a variety of fabrics of those times. The Ramayana refers to the rich stuff worn by the aristocracy on one hand and the simple clothes worn by the commoners. Murals and sculptures, belonging to ancient period also bear testimony to the great tradition of textiles in India. The past traditions of the textile and handlooms can still be seen amongst the motifs, patterns, designs, and the old techniques of weaving, still used by the Indian weavers.
Silk fabrics from south India were exported to Indonesia during the 13th century. India also exported printed cotton fabrics to European countries and the Far East before the coming of the Europeans to India. Indian textiles were so popular that most of the European trade companies began to trade in cotton and other textile materials. The British East India Company also traded in Indian cotton and silk fabrics, which included the famous Dacca muslins. Muslins from Bengal, Bihar and Orissa were also popular abroad.
Indian Pottery
Like all other handicrafts and crafts, the tradition of pottery making in India is very old. The ancient pottery of a country speaks volumes about its civilization. Pottery is one of those important mediums through which men have expressed their emotions. For thousands of years pottery art has been one of the most beautiful forms of expression. A piece of pottery has a visual message in its shape and color.
Pottery is the most sensual of all arts. In India, we have had a great tradition of pottery making. In fact, being an agricultural country, pots for storage of water and grains were in demand. The real beginning of Indian pottery began with the Indus Valley Civilization and the art of shaping and baking clay articles as pottery, earthenware and porcelain has continued through the ages. While pottery and earthenware are definitely utilitarian and often decorative, porcelain and studio pottery belong to the sphere of art.
There is proof of pottery making, both handmade and wheel-made, from all over India. In the Harappaan civilization potter's place was quite an important one in society. The craft was well advanced. Rectangular oven for firing the product were in use. Seals and grain and water containers were made that were put to use effectively. The potter occupies a unique position in the craft traditions of India. India is home to more than a million potters. The potters are wonderful masters of their trade.
Pottery is the most sensual of all arts. In India, we have had a great tradition of pottery making. In fact, being an agricultural country, pots for storage of water and grains were in demand. The real beginning of Indian pottery began with the Indus Valley Civilization and the art of shaping and baking clay articles as pottery, earthenware and porcelain has continued through the ages. While pottery and earthenware are definitely utilitarian and often decorative, porcelain and studio pottery belong to the sphere of art.
There is proof of pottery making, both handmade and wheel-made, from all over India. In the Harappaan civilization potter's place was quite an important one in society. The craft was well advanced. Rectangular oven for firing the product were in use. Seals and grain and water containers were made that were put to use effectively. The potter occupies a unique position in the craft traditions of India. India is home to more than a million potters. The potters are wonderful masters of their trade.
Indian Glassware
Like most of the craft traditions, glass making in India is very old. We find its reference in the great epic of India, the Mahabharata. The art of glassware got great impetus during the medieval period. Mughal rulers provided patronage to the craft of glass making. The credit of introducing the art of glass engraving in India goes to the Mughals. The Mughal craftsmen excelled in making delicate foliated designs on glass objects. The present day glass making industry in India revolves around making items like bottles, bangles, beads, window pens etc.
Glass bangles are an integral part of the traditional Indian jewelry. Glass bangles of diverse colors are very popular among the womenfolk of India. Women, particularly the newly wed, wear colorful glass bangles. Glass bangles continue to be in fashion, with innumerable colors and patterns, among the women folk of India. Ferozabad, in the state of Uttar Pradesh, is well known for production of glass bangles and utilitarian glassware. Here, there are some families having centuries old tradition of glassware manufacturing. Glass beads of India are famous world over. Benaras is the main center for the production of glass beads while Purdilpur is famous for its black glass beads.
There is a great rage for fancy glass products and decorative pieces like ornate glass chandeliers and lighting pieces, glass sculptures and engraved crockery, particularly among the urban elites. Glass painting and stained glasswork is hugely popular these days and is gaining the status of a unique urban craft. The contemporary Indian glass industry manufactures a wide range of products like crockery, bottles, stylish beads, paper weights, glass pens etc. The craftsmen of glass ware industry are continuously endeavoring to assimilate contemporary ideas in their work.
Glass bangles are an integral part of the traditional Indian jewelry. Glass bangles of diverse colors are very popular among the womenfolk of India. Women, particularly the newly wed, wear colorful glass bangles. Glass bangles continue to be in fashion, with innumerable colors and patterns, among the women folk of India. Ferozabad, in the state of Uttar Pradesh, is well known for production of glass bangles and utilitarian glassware. Here, there are some families having centuries old tradition of glassware manufacturing. Glass beads of India are famous world over. Benaras is the main center for the production of glass beads while Purdilpur is famous for its black glass beads.
There is a great rage for fancy glass products and decorative pieces like ornate glass chandeliers and lighting pieces, glass sculptures and engraved crockery, particularly among the urban elites. Glass painting and stained glasswork is hugely popular these days and is gaining the status of a unique urban craft. The contemporary Indian glass industry manufactures a wide range of products like crockery, bottles, stylish beads, paper weights, glass pens etc. The craftsmen of glass ware industry are continuously endeavoring to assimilate contemporary ideas in their work.
Gems & Jewelry Craft in India
In ancient times people made jewelry out of natural materials like seeds, feathers, leaves, berries, fruits, flowers, animal bones, claws and teeth. A glimpse of this tradition can still be seen in the tribal societies. In India the ornaments are made practically for every part of the body. The early people made jewelry not only for humans but also for the gods and decorating animals like elephants and horses, on special occasions.
The fact that Jewelry tradition in India is thousands years old is proved by the description of Shakuntala's jewelry by the great poet Kalidasa. It is interesting to note that both men and women of ancient times wore jewelry made of gold, silver, copper, ivory and precious and semi-precious stones. We find the description of jewelry in the great epics, the Ramayana and the Mahabharata and also in the code of Manu that defines various duties of the goldsmith. As a result of this old tradition India has been a leading exporter of gemstones and manufactured jewelry.
In India the ornaments are made virtually for every part of the body. The craft of jewelry was enjoyed royal patronage since ancient times. The rajas and maharajas rivaled each other to possess the most exquisite and the most magnificent pieces of jewelry. Jewelry in India fulfils many purposes and wearing it has several connotations. At the most obvious level, it is a form of adornment satisfying one's natural desire to beautify oneself. Nevertheless, jewelry also serves as an identity marker, as security, and as symbol of social contracts. For Hindus, jewelry is associated with many of their religious ceremonies.
Different regions of India have their own jewelry making styles that are unique to them. In states like Orissa and Andhra Pradesh fine filigree work is done in silver. Jaipur is famous for the art of enameling or meenakari. Nagercoil is renowned for its temple jewelry whereas kundan is a trade mark of Delhi. A wide variety of silver beads are found all over India, especially in Rajasthan, Gujarat, Madhya Pradesh and Himachal Pradesh.
In filigree work, patterns of leaves, flowers, butterflies, birds and geometrical shapes are made with silver wires of different thickness. Meenakari and kundan styles of jewelry making are greatly influenced by the Mughals and are generally used in combination to make jewelry that can be worn on both sides such as chokers and necklaces. The temple jewelry of Nagercoil consists of conventional gold ornaments studded with red and green semi-precious stones. These were used as offerings to the Gods and hence the name- temple jewelry.
The fact that Jewelry tradition in India is thousands years old is proved by the description of Shakuntala's jewelry by the great poet Kalidasa. It is interesting to note that both men and women of ancient times wore jewelry made of gold, silver, copper, ivory and precious and semi-precious stones. We find the description of jewelry in the great epics, the Ramayana and the Mahabharata and also in the code of Manu that defines various duties of the goldsmith. As a result of this old tradition India has been a leading exporter of gemstones and manufactured jewelry.
In India the ornaments are made virtually for every part of the body. The craft of jewelry was enjoyed royal patronage since ancient times. The rajas and maharajas rivaled each other to possess the most exquisite and the most magnificent pieces of jewelry. Jewelry in India fulfils many purposes and wearing it has several connotations. At the most obvious level, it is a form of adornment satisfying one's natural desire to beautify oneself. Nevertheless, jewelry also serves as an identity marker, as security, and as symbol of social contracts. For Hindus, jewelry is associated with many of their religious ceremonies.
Different regions of India have their own jewelry making styles that are unique to them. In states like Orissa and Andhra Pradesh fine filigree work is done in silver. Jaipur is famous for the art of enameling or meenakari. Nagercoil is renowned for its temple jewelry whereas kundan is a trade mark of Delhi. A wide variety of silver beads are found all over India, especially in Rajasthan, Gujarat, Madhya Pradesh and Himachal Pradesh.
In filigree work, patterns of leaves, flowers, butterflies, birds and geometrical shapes are made with silver wires of different thickness. Meenakari and kundan styles of jewelry making are greatly influenced by the Mughals and are generally used in combination to make jewelry that can be worn on both sides such as chokers and necklaces. The temple jewelry of Nagercoil consists of conventional gold ornaments studded with red and green semi-precious stones. These were used as offerings to the Gods and hence the name- temple jewelry.
Indian Carpets
Carpets are an integral part of Indian craft traditions. The tradition of carpet weaving in India is centuries old. Carpets are generally made from wool and silk. On the other hand floorings like mats and durries are made up of a variety of material, ranging from wool, cotton, jute, coir, bamboo and grass. The origin of carpet weaving traditions in India goes to the medieval period. The Mughals borrowed the Persian technique of carpet weaving. Mughal carpets were as elaborate as their miniature paintings and illustrated court life, animals and floral motifs.
Akbar is said to have laid the foundation of carpet weaving tradition in India by bringing some carpet weavers from Persia. Soon carpet weavings centers were established at Agra, Delhi and Lahore. Mughal carpets were brightly colored and it is amazing to note that some of the hand knotted silk carpets had as many as 4224 knots per square inch. The present carpet weaving tradition in India is largely influenced by the carpet tradition of the Mughals.
The modern Indian carpet and flooring traditions are largely a continuation of and they have beautifully molded themselves to suit the needs and aspirations of the modern times. The credit of popularizing Indian carpets in foreign markets goes to the artistic abilities and skill of the Indian carpet weavers. In India, different states have their own carpet weaving traditions.
The modern carpet weaving industry in India is largely spread over eastern UP, in Bhadohi- Mirzapur belt. This belt is said to be the leading woolen carpet-producing center in the country. Tufted woolen carpets are gaining popularity these days. Gabbe woolen carpets, chain stitch rugs and carpets, and namdas are also made in India. The state of Kashmir is home to the finest silk carpets in India.
Akbar is said to have laid the foundation of carpet weaving tradition in India by bringing some carpet weavers from Persia. Soon carpet weavings centers were established at Agra, Delhi and Lahore. Mughal carpets were brightly colored and it is amazing to note that some of the hand knotted silk carpets had as many as 4224 knots per square inch. The present carpet weaving tradition in India is largely influenced by the carpet tradition of the Mughals.
The modern Indian carpet and flooring traditions are largely a continuation of and they have beautifully molded themselves to suit the needs and aspirations of the modern times. The credit of popularizing Indian carpets in foreign markets goes to the artistic abilities and skill of the Indian carpet weavers. In India, different states have their own carpet weaving traditions.
The modern carpet weaving industry in India is largely spread over eastern UP, in Bhadohi- Mirzapur belt. This belt is said to be the leading woolen carpet-producing center in the country. Tufted woolen carpets are gaining popularity these days. Gabbe woolen carpets, chain stitch rugs and carpets, and namdas are also made in India. The state of Kashmir is home to the finest silk carpets in India.
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