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.
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