Varities of Handicrafts
1. Earthenware
7. Ivory
9. Horn, Shoal Pith etc
10. Leather works
11. Glass work
12. Papier mache
13. Folk Paintings
14. Shopping in
PART II
1. Indian Classical Dances
2. Indian folk dances
3. Indian Music
Earthenware in
The Jaipur blue pottery is equally famous, but is quite unique, for the base is prepared out of the material from which the slip is made and no clay is used. It is perhaps the only pottery produced without the use of clay, a couple of factors rather simplify the procedure. One, all the materials that go into the composition quartz, raw glaze, sodium sulphate, fuller’s earth locally known as multani clay. All require the same temperature, and the pottery needs to be fired only once unlike other pottery. The other is that the slip does not develop any cracks. It is also more impervious and therefore more hygienic for daily use. Only the neck and the lip are shaped on the wheel. For the decorative work also the pot is rotated, and the ornamentation done with brush made of squirrel’s hair. Some of the pottery is semi-transparent and mostly decorated with arabesque patterns, interspersed with animal and bird motifs.
Rajasthan pottery has certain distinct characteristics, the mouths of water pots are small, and probably to prevent spilling when water is being carried, a natural precaution where water is so precious. Their shoulders are painted in black and white patterns. Alwar is noted for its paper thin, almost sheer body pottery, known as kagzi(paper) pottery.
In Uttar Pradesh, Khurja has evolved a style of its own by raising the pattern with the use of thick slips into a light relief. It also works out its own shades in warm autumnal colours like orange, brown, and a special light red. Floral design in sky-blue are worked against a white background. A speciality of Khurja is a type of pitcher like a pilgrim’s bottle, decorated in relief by thick slip.
Kangra in Himachal Pradesh is rich in clay wares all through he valley. They are mostly back or dark red but in wide range, all for domestic use, traditional in form and most attractive. This place is more famous for Gidya (a jug for milk or ghee) Patri (a bowl for curd or butter, narele ( the tobacco smoking pot.
The South has several centers of noted glazes pottery.
2. WOOD CARVING
The tradition of wood carving is an old in
Monuments like Ashoka’s palace at Patilputra and the magnificent temples at Bodh
Himachal Pradesh is the land of forest, has a fine tradition in temple wood carving and luckily some of the ancient wooden temples still survive in places like Chatrahi and Brahmour, though a shadow of the old glory still show the height of imaginative power attained in temple carving, with their minute chiseling and skillful sculptural decorations. A rare sight is the cluster of temples with flat roofs and rising sikharas, the intricate etchings on the pillars and doors with flavour of the Basholi style, showing great ingenuity. The wooden vessels are still in use – the village Koona near Brahmour is noted for them. Chamba specializes in large wooden boxes for grain storage shaped in geometrical or animal.
Madura is famed for its rosewood carvings. The style is marked by its bold forms, the details being minutely and painstakingly worked out. The tables are most outstanding, the top covered with floral motifs or lovely panels with epic scenes.
Decorated woodwork -INLAY
Hosiarpur in
Lacquer ware
3. STONEWORK/CARVING
Such as:
1. Sandstone –
2. Marble- Jaipur,
3. Glass mosaic – Alwar,
4. Chalkstone- Orissa
5. Soapstone- West
6. Granite stone- Tamilnadu, Karnataka
Himachal Pradesh can boast of a rich heritage in stone carving equal to that of any other in
kerla is rich in granite, which is largely used in image making field, which Changanur is an important center. Sculpture belonging to the historic period dates back to the early part of this century, which contain some extraordinarydancing figures. The Shri.
4. TEXTILES
The infinite variety of textile fabrics
Cottons
Cotton fabrics may be said to be the pearl of Indian weaving. This fabric where given fancy name likes, Evening dew, Sherbati. Cotton is woven universally all over India . Superfine yarn is still spun and superfine khadi cloth is produced in places like Madhubani in North Bihar and Ponduru in Andhra Pradesh.
In Tamil Nadu and Andhra Pradesh where expensive cotton saris and produced, even the simplest has a dignity lent by very broad borders on either side, or a single decorative touch of a heavily patterned pallu. ( the sari end which falls over the shoulder at the back) Their distinguishing mark is what is known as korvai, the solid border where the weft threads do not enter into the borders. For saris single border, two shuttles are needed, for double border there shuttles. The country jacquard is used for designs on the borders. There is the severe plain white sari or dhoti with the gold band for the border, which is typical style of Kerla and the saris, are known as karalkuda. Similar styles in colour are also produced in Coimbatore , Madurai in Tamil Nadu, Chanderi in Madhya Pradesh Venkatagiri in Andhra pradesh, which is fabulous look with its sheer body and gold design like dots, coins, leaves, parrots or simple geometrical patterns on the body.
Manipur has an aura of religion and romance around cotton weaving. Manipur have their own special legends and belief around which their weaving tradition evolves, and their designs are based on religion, ceremonies and special functions and dances. Best popular are akoibi and ninghou phee, patterned on the different designs of a snake which has a legend behind it. These designs are mostly used in the phanek, the women’s lungi. The morang phee is the real manipuri sari distinguished by its temple border and connected with the tragic love tale of Khamba-Thoibi.
The Maheswari saris in Madhya Pradesh are mostly in cotton. The body is plain or has strips or checks, which have several variations. The plain ones are known as chandrakaka, the moon and stares design has lengthwise stripes of two shades and the pattern is arranged with four stripes of one shade alternated by one strip of another stripe. The pallu is also distinctive, with five stripes tree coloured and two white alternating, running along with the width and in each of the white, four line of the same colour are inserted.
From Hubli Dharwar in Karnataka state to Bijapur, cotton saris are made in dark earthy colours, which mark them out, as also their heavy maroon red or chocolate borders with coulured or white lines or strips at the edges in the rudrakasha pattern. There is another style of sari called Irkalis, which is rich in their colouring like the special pomegranate red, brilliant peacock blue, parrot green. These saris also made in Narayanpet in Andhra Pradesh.
Silk
Silk not only has a very ancient tradition, it enjoys also a significant status because of its use at rituals. This may perhaps partly account for the concentrated development of silk weaving at popular places of worship like Varanasi and Kanchipuram.
Wool
Batik : The surface of a finely woven fabric has melted bees’ wax and paraffin applied with a brush as a resist to block the parts that are not to be dyed or meant to be in light shades. After which it is immersed in a cold dye bath, which colours the background. Then the other parts are dyed, part-by-part, shutting off the ones not to be covered. Finally the entire fabric is cleared of wax with boiling water and soap. As the fabric is handled in the process the wax coating breaks up into a kind of irregular network of thin hair like cracks through which the dye finds its way and created involuntarily a design of its own which gives the fabric a fresh added quality and enhances its attractiveness.
Bandhani : Bandhani, as the craft of tie and dye is called is both a complicated and sophisticated method of decorating cloth by just manipulating the dyes. Though the basic process is the same, not only each region but also even a village has its own special designs and colour schemes. Badhani is an ancient art practiced in great many places in
The entire process is one of tying, colouring and discharging of the colour and again repeating it starting with tying. Tying of the border is a special process known as sevo bandhavo. In this the border is tied according to the desired pattern by passing the thread from one end to the other in loose stitch so as to bring the entire portion together by pulling the thread from one end. The traditional colours are usually red, green, yellow, blue and black with a vide range of combinations possible with these hues.
Embroidery
Kasida is the general terms for embroidery. The designs are made in bold colourful strokes with a dark outline. Suzni employs only such stitches as will show uniformity on both sides of the material and is used in superior object like shawls. Kasidakari is very famous in
Metal –wire Embroidery
The Important centers of carpet weaving in
The metal ware in
Tamil Nadu is one of the famous bronze producing regions, Stylistically the images made conform to periods like Pallava, Chola, Pandyan and Nayaka. The artisans are known as stapathis, literally icon makers. They consider themselves rather special as Brahma originally created the vishwakarma community, to fulfill human needs. In gratitude, the artisan made an image of his benefactor to worship him. So he beamed stapathi and therefore regards himself on a more elevated level.
Stapathis work in several places: Madura, Kraikudi, Sriviliputtur in Ramanathapuram district, Swamimalai in Thanjavur, chidambaram in north Arcot and several other places. Of these Swamimimalai is best known as it is almost wholly engaged in image making, in stone and bronze both.
The stapathis specialize in a number of dancing figures in many of the recognized dance poses. The murli pose, where a dancer is shown on an oval pedestal the head slanting to the right, with the hip twisted to the right while the body stays perpendicular, and the hands are shown playing on a flute.
Kerala is also noted for its statuary, chief centers being Tiruvantipuram, Payyanur in Cannanore district, Angadipuram in Palghat district. The Kerala temples are standing monuments to the excellence of the craftsmanship. Some fine work in images is also to be seen in quaint rafter shoes peculiar to Kerala, which consists of a bronze image used as an ornamental cover fitted to the outer end of a rafter for protection from fire.
Durga is the favourite image in
Lamps, no other country has such imagery and symbolism built around lamps as
Uttar Prudish is the largest brass and copper making region in
Beautiful metal ware articles are made in several parts of
ART METAL WARE
The attractive contrasts in colour and texture of metals has been the basis for the evolution of many decorative techniques such as inlay, overlay, appliqué fusing of various colours, etc.
The work done in Jaipur,
Repousse (embossing) work, which is one of the specialties of
Chasing is the art of engraving of a design on the surface of the metal with blunt chisel. In the chasing process the chisel under the light blows of a hammer only leaves an imprint on the surface of the metal. Decoration is done by punching engraving, etching, etc.
Bidri is also type of damascening. The original home of bidri ware is Bidar in Karnataka state, but many craftsmen from Bidar are however carrying on the craft in
There is tarkashi, inlay of wire; tainishan, inlay of sheet; zarnishan, low relief; zarbuland, high relief and aftabi cut-out designs on overlaid metal sheet, More than one style may be used in the same article.
Hukka bases of various shapes are also pride of
Rajasthan has outstanding work in silver. Several of the items made in other regions are also made here like spice boxes, rose water sprinklers known as gulabposh, caskets. Hukkas, all of which are ornamented with spirited figures of birds and animals and elaborate ones of dance posed, hunting scenes in the midst of foliage. Some object like eating plates, tumblers, water pots are left plain to show to perfection the chaste elegance of their lines. There are silver furniture pieces, especially legs for beds and dewans, swings with silver chains whose links are sculptured pieces or dainty birds. A beautiful item is the brazier, embossed or pierced with fine chiseled shapes.
Tarbha in Bolangir district of Orissa is noted for its very lovely silver ware. A perfectly shaped and heavily decorated plate for offering betel leaves and nuts has its inner space divided into several parallel running circular rings, each carved out most artistically. While the outer rings contains shapes of flowerbeds, creeper, fruits, butterfly sucking honey from flowers.
Chandanban serves both as a jug and a sprinkler. It is in two parts, its long neck screwed on to the mouth of the jug, and at the lip of the beck is a perforated snout for sprinkling. Sandalwood paste mixed with rose water is kept in the jug, which, can be rubbed on the skin to cool and kept it free from irritation. When the stem is screwed on it serves as a sprinkler. The perfume container is even more sophisticated. In the center of a highly ornamented plate is the beautifully carved image of a peacock with all the grandeur of its feathers, and a small hole on its back with a fancy cover for it.
Jewellery in
Indian jewellery may be roughly divided into two kinds the heavy solid silver ornaments worn in the rural area by all classes of people; and delicate highly sophisticated pieces that adorn the urban women.
Folk jewellery indicates the earliest shapes and is often of the first ornaments people adorned themselves with such as seeds and shells, leaves and flowers, berries and nuts. For instance a bracelet may be made of jasmine buds of silver or brass, strung together; or a necklace or champak buds called champakali, a girdle like kardani worn at the waist in full floral designs.
Himachal Prudish an ornament called chak is worn on the head. It is hemispherical boss with raised work all over in floral patterns carved out in horizontal circles, encases in lines of dots and dashes, the center made convex to form a star. There are half a dozen varieties of chak. Cudamani, a gorgeous head ornament in the shap of a full blown lotus worn at the parting of the hair, also has many variations.
The Laddak women wear a head jewel, called perk, reaching right down to the ankles at the back, closely studded with coral and other stones, the largest ones being at the top. Also worn are box-like oblong pendants and flat triangular leaflets suspended by chains.
Rajasthan famous for all types if jewellery, is especially rich in silver ornaments. Amongst its hair adirnmentsis morpatta, a chaplet if peacock feathers. It is essential item and consists of a coloured gem set flat in a beautifully ornamental circular medal, with granular or repousse work. Bindi is also very important item in Rajasthan and
In earrings there is far greater variety, There is the common jhumka or karanphul as the old name used to be, literally flower of the ear. The upper part that covers the lobe is a chased cone plaque or enameled or set with stone, which in the hill areas is almost always a turquoise. Its outer edge resembles a stare or an appliquéd with a wire ring with impression of round knobs, from which is suspended a bell with a number of small balls.
The Himalayan region also has its own special ear ornaments. There is a large gold one with two round pearls with a conical turquoise suspended in the center, some of the stone being encrusted with fine trellis work of gold grains and few drops hung from it. Close to the pearls, a little portion of the ring is covered with a thin coiled wire. This ornament is called bragar and is also worn by men, particularly the bridegroom.
There is a variety in the nose ornaments too, but not very large. Bulak is the most prevalent throughout the country. In the South, where whole design are worked out in diamonds or rubies or mixed colour stones. The nath or nathani is popular over a large part of the country. It has large range of variety. From the thin twisted wire with tinklers in the shape of lauang (clove) to the majestic crescent-shaped jewel set delicately with tiny pearls and stones and one big pearl, which is the pride of the Maharashtrian women.
The foot ornament consists of two types: the toe rings and the anklets. The toe ring known as angustha is not always round at the edges but takes the shape of several straight lines joined together in a circle to form the ring and the edge take hexagonal or octagonal shapes. The toe rings are modeled in the shape of a fish, scorpion, flower or just circles of granules on the surface.
Orissa, which is another region famed for silver ornaments, specializes in anklets. Painri or rua painri and paijan are most universal. Madhya Prudish has a very attractive anklet of clove-shaped beads all cast in one piece called lauang kasauthi. From the
The belts are usually stiff broad bands or flattened twisted metal, in silver or gold, encrusted with gems, and embossed with exquisite designs. There us a belt in
Neck jewellery constitutes an important item; Kinnaur has a neckware called trimani, with three hollow gold beads, whose surface is appliquéd with grain work in artistic designs. Some time corals are also added. All these loose hanging beads chains are called hars or malas all over the country. The dodmala of the hill region is made of big hollow beads with two betel-leaf shape plaques at the two ends. A sting if beads called kanthi. Necklace called ashtmangalka mala with its eight auspicious symbols of tiny fruit and flower motifs; jeevan mala and kasumali are studded with tiny granules of fold, mohan malahas the gadroon melon seed shaped gold beads. Chandrahar (moon garland) is a necklace of number of chain, from five to eleven, made of several star shaped units with a flat round surface in the center. Amongst the sophisticated neck ornaments of Tamil Nadu, a striking one addigai, s made of number of uncut stones mostly rubies, sometimes diamonds or emeralds with deep close setting. The mangamala a long necklace made of number of uncut rubies shaped and set in the form of little mangoes is resplendent piece. All of them have a central hanging pendant, called padakam, and made of various shapes. Tanmani and chandrahar of
The wearing of ornaments on the forearm follows a special pattern. The smallest bangle to fit the wrist is the kada. Two end of the kada usually carved in to fish or elephant or crocodile or parrot design. The bangles are generally thinner and lighter, generally sandwiched between two heavy ones like kada and chuda. The last item towards the elbow is the patli, a flat bangle with a suggestion of delicate granular design. There is a very beautiful bangle covered with little mounds of gold wire done in a kind of filigree, usually worn next to the flat patli.
In Himachal Prudish the silver kangan is thinner and plainer in the middle but widen towards the two ends, which are engraved unto heads of crocodiles, tigers, elephants and so on like the kadas.
While Jaipur is the most famous for chaste enamellings,
Filigree is another attractive type of work used in jewellery making. Among the important centers are Cuttak in Orissa and KarimNagar in Andhra Prudish.
Lac Ornaments
The lac is used in the form of sticks in two ways. One as raw material for turning out various articles largely ornaments like bracelets, beads and little trinkets; other is for colouring objects. The bangle called ruli made from lac dust, the waste left over, has a flat surface, and has the largest demand. Lac work is done in a number of places like Burdwan division, part of Chota Nagpur, and Purulia in Manbhum district. There is big market near Char Minar,
Dohad in the Panch mahals district of Gujarat is an important center for lac bangles. In
Ivory is a dental substance, placed by chemists between bone and horn. In
In
Kerla has a tradition of a beautiful form of painting on ivory. The area to be painted on is perfectly smoothened by sandpaper, and the outline of the proposed picture is sketched on it in pencil. This is then pierced by needle, and water colour is applied on the surface with a pointed brush, so that the colour penetrates the little holes. The Tiruvantipuram museum has a painting of Umamaheshwar seated on a bull with minor figures around which is a perfect example of this exquisite art.
Rajasthan, particularly Jaipur, has been famed for its ivory. It manufactures a surprising number of diverse objects. As a precious and rare material it was patronised by the royalty and the nobility and the craftsmen naturally sought to turn out all types of beautiful articles like gorgeous handles for weapons like swords, daggers, howdahs for riding on the elephant, palanquins, thrones, couches, divans, large sized flaps made of thin strands cut out of large pieces to get the proper length, which is quite remarkable feat. Now the usual items are salvers, tumblers, jewellery, hukka bases and some fancy decorative pieces- toys carved in the shape of animals, birds, fishes, A unique item here is bartana shaped like a paper knife to pass between the forehead and the turban to each tension. The most superb however, are the fan with handles of charming figures and the mat wrought by weaving very fine strands and delicately chiseled flowers for décor.
Mahuva, in
Amristar in
Ivory is also used in architectural decoration. The wooden doors of the old
Most baffling is the miniature carving like a baby
Coiled basketry is obviously the earliest form of production, and in fact has an affinity with weaving.
In
There are large varieties of baskets, all functional with special form and design fir each purpose. Korahi for instance use for washing rice and fish, rearing silk worms, winnowing grain and fishing. Jaki is a species of wicker work shovel, which can either be dragged along or placed on the water bed to catch small fish. Japis is the type of basket use by the tea garden worker. Nalbari and villages around are famous or basket making.
Apart from making baskets cane and bamboo are also turned into furniture items. Comparatively a more modern innovation. Tripura state is famous for its bamboo work. Its specialty is screens made from split bamboo so finely worked that they acquire an ivory look. These are delicately ornamented with coloured bamboo chips appliqué.
The best known places for basketry and mats in
Satalpati, which means cool spread, is the most appropriate title for this lovely mat so expressive of its quality, made from green can slips. As it is, use to sleep on, for cool in summer night.
Orissa has some out standing items, like articles made from golden grass. It is stem of the khuskhus plant, which is shinning golden colour. Very delicate looking boxes of various sizes are also made from it is sets, one inside the other.
The willow baskets of
Manipur has very unusual type of baskets. They are all purpose ones.
Mat weaving is an important traditional handicraft of
Cane sticks when twisted together can be used as a cables or cordage in country crafts. The most useful and elegant items made out of cane are furniture pieces. After drying, the rods are cleaned and heated over a fire to make them pliable. While cane rods go to make legs and supports, for actual interlacing cane splints are used. Cane furniture is durable as also decorative. Low seats called mooras are made of bamboo and can, the top being woven in artistic designs. They are a major item of export and made all over the country.
Tapper mats are made on large scale in Palaman district in
Coir mats and other useful and decorative article are made in kerla. Coir is extract from coconut’s outer cover.
Though the main items remain the same, variations can be observed in the designs. Orissa for instance makes stylized birds and animals, which seem so alive: cranes for instance, look as though if they opened their beaks, they could twitter. The tiger seems just about to jump on you. In Orissa little touches of silver filigree are added to the horn article to give it an unusual look, also to items like bangles perfume jars.
In Savantwadi, Sindhudurga district in
The bison’s horn is in good demand because of its big size. From this are made lotuses, caskets for keeping small images, little lamps, cups tiny trays, and traditional decorative items.
Shola is herbaceous plant growing wild in marshy waterlogged areas.
Tiruchirapalli in Tamil Nadu is famous for structural in pith. The craftsmen here make remarkable models of temple including the local Rock temple, one of the sights of the town, and different famous monuments of
The sandalwood belt, which stretches from Shimoga district to the edge of the
SHELL
The tortoise shell at the moment has a very limited use; Vishakhapatanam in Andhra Pradesh is a prominent center where the tortoise shell is freely used for making trinket boxes. But it is used along with ivory. The design consists of fine geometrical patterns or epic figures, or animals fringed by floral edging. The supply of tortoise shell is limited because of government banned.
The coconut shell, which enclosed the kernel and a very beautiful and hardy object, seems to have simply offered itself to man to make what he could of it. Originally it must have been used as a cup. For very soon a variety of coconut articles began to be made, like bowls, vases, rose water sprinklers, teapots and so on. Gradually hookah was evolved out of it for which foreign market was found. Then followed the lamp stand encased in brass. The smaller articles are made in Tirumantipuram, Neyyatinkara, Attingal in Kerla and Goa But the larger items are produced in Kozikode district in Kerla ,
Conch in
A particulars type of thickish shoes, called mojdia are made in Rajasthan. Sewn out of locally cured leather, they are usually ornamented with silk or metal embroidery or beads or designs done in appliqué with thin leather pieces of different colours. They are very popular with the common people. In Jaipur this has been refined to an art and the most fancy and sophisticated footwear is turned out.
Leather work of
Leather garments, though not new, have of late come into vogue –
Leather’s richly ornamented water and oil bottle as well as hukka bowls once made by first moistening leather then stretching it over a clay mould. The bottles were then painted and decorated. They were smoked to harden them and then polished until they shone.
In Hoshiarpur in
In bookbinding leather work reached high quality. Alwar in Rajasthan once attained great fame in this art. Here designs were painted on the leather, having been first outlined with a brass block. The covers had pretty borders either in various shades or a golden coloured base.
Fascinating articles are made out of crocodile and snake skin such as wallets, pouches, powder cases, handbags, especially a wide range in belts.
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Archaeological discoveries in
Glass is one of the most beautiful materials contrived by man. It did not take the Moghals long to sense appreciatively the decorative properties of glass, since it has the quality of opalescence and glitter of a myriad diamond when cut. When you hold up a glass it can take a fanciful form and shimmer with scintillating colours. Thus glass articles like bowls, tumblers and above all bottles for precious stuff like Indian scents (attars), the highly concentrated essence of Indian perfume become popular.
Engraving on glass also reached heights.
The engraving of the Moghal period naturally reflect the delicate foliated decorations of the period. Glass is said to have been exported to
Ferozabad, in Uttar Prudish only, is a glass town, where the entire community seems involved in making glassware. Originally only bangles were made, but now all manner of sophisticated glassware, including tasteful tableware, is produced.
Glass objects are now decorated in the tikuli technique. Traditional pictures like those modes on the walls of houses, highly decorative and attractive, are made on glass with gold or silver pieces to fill up the entire picture. A number of utility articles are made in this style such as wall decoration, boxes, trays, table tops, mats etc. This is highly specialized work involving several skilled processes. This work is fond in
The south, particularly the Tanjore area in Tamil Nadu, Karnataka,
The Shish (merrier) Mehal at many places are famous. The Shish Mehal at Ambar fort in Jaipur is very notable. Shish Mahel in
Papier Mache is locally known as kari kamandari. In the Moghal times its silken surface was found as an ideal ground for miniature painting, as also for preparing important sate documents. Papier Mache in
The ground may be in colour or gold or tin foil; it is burnished with a piece of agate after drying, then lightly rubbed first with a little amber varnish, then fine verdigris powder to lend a subtle greenish tint to the metallic background, or with a lac preparation where a red tint is needed. On coloured grounds black, blue, rose, green violet, brown, almond and dark olive are generally used.
The drying off has to be natural, and only then is the design drawn and painted in water colour. The final varnishing is done with very pure and transparent glaze of copal dissolved in turpentine.
A large variety of utility articles become fabulous looking art pieces after passing through the hands of the ingenious Kashmiri craftsmen. Some items like bowls and vases are brass lined to widen the scope of their utility. There is Persian designs as also the decorations: flowers and birds of all varieties including the heart shaped Kashmiri chinar leaf, the iris, rose, tulip, hyacinth etc. In special orders gold and silver leaves are also used on large articles; figure like house boat, inseparable from a
The Yarkand design is the most elaborate, built up in spirals with gold rosettes radiating from various centes. It is further embellished by laying white flowers over gold scroll work, making of it really rich ensembles.
Rock paintings in caves are the earliest specimens we have of folk-art as conventionally understood.
Floor painting
The Chola rulers in the south made extensive kilam, floor designs. These decorations done only by women are amongst the most expressive of folk-arts. They are known by different name in different part of country, alpana in Bengal and Assam, aripana in Bihar, mandna in Rajasthan, rangoli in Gujarat and Maharashtra, choekurana in Uttar Prudish except the kumaon region and kolam in the south. Decorating the floor is still a daily routine, where its observance is accepted as good omen, the entrance to the house are appropriately decorated, the patterns being changed day to day. Beauty being equated with godliness. It was also symbol of good omen and had therefore to be associated with every phase of life.
While simple designs can make do for ordinary days, large sized elaborate ones are prepared on all ceremonial occasions. Rice paste, wheat flour, earth and vegetable dyes are used for colours, normally had itself serves, the tips, fist, palm are brought into play.
The designs are symbolic and basically common to the whole country, like geometrical patterns, with lines, dots, squares, circles, triangles; then the swastik, lotus, trident fish, conch shell, footprint, supposed to be of Goddess Lakshmi, creepers, leaves, trees, flowers, animals and anthropomorphic figures. These motifs however get modified to fit in with the local images and rhythms. One important point is that entire graph must be an unbroken line, no gaps to be left anywhere in the line for an evil spirit to enter.
The chowki (seat) of Lakshmi, goddess of wealth and good fortune, is made at Diwali. It consists of two interlaced triangles signifying also the deity of learing, the Goddess Saraswati. Encircling this is a twenty four petal lotus flower border, the outer circle being decorated with Lakshmi’s foot prints.
Some of the best known decorations are found in Madhubani, a
Rajasthan has very decorative motifs in dark shades like blue, black chocolate, green on a bright crimson red ground. Single or interwoven squares are for ceremonies while circles and polygons are for festivals.
The alpanas if Bengal and Assam are highly decorative and complicated pattern mainly in flowing lines, floral, winding spirals, zigzag lines or crinklet leaves, the symbol of unfolding, discs, wavy lines in circles. Etc., and filled with coloured powder or colour rice and bits of leaves and different kind of flowers. The back ground is black or yellow or red.
The Madhya Prudish mandana is equally rich. There is special one made at the entrance to the house, on a new moon night.
The kolam of the south is different. The drawings are essentially sketches, only the outline done in dots with lines drawn across them in chalk powder on a wet ground, or with the paste of rice on a dry surface on special occasions. All the Indian zodiacal signs are in use especially moon and sun and stares.
Floor painting in Andhra are known as muggulu. Each day of the week has a set symbol and the design in built around it: shivpith for Monday. Kalipith for Tuesday, Swastik for Wednesday and so on.
WALL PAINTING
Painting on the wall is a communal act done by all the women of a family or group. These patterns are carefully preserved and care is taken to see each successding generation continue it.
Folk painting in
In eastern Uttar Prudish,
In the Kumaon, the usual wall pictures are known as bar –boond (dash and dot). The pattern is done by first putting down a number of dots to males the outline of the design, and then joining them together by lines in different colours. The number of dots used knows each pattern. Kali, Lakshmi and Saraswati are painted as embodiments of the three powers, while Ganesha is there as the remover if obstacles, as also Sun, giver of light and the sixteen matrikas depicted through conical shapes.
The wall painting of Himachal Pradesh are in a class by themselves, though done in the same style of mud plaster and cow dung as relief’s on the wall. The floral, animal, bird and human forms are painted.
In
Other type of folk painting
Patachitra:
The Patachitra, as the folk painting of Orissa is called, has a history of great antiquity. The best work is found in and around Puri, especially in the
Pottery painting
A very common article on which folk painting is done is pottery. As pottery developed ritualistic associations, the designs, whether geometrical or anthropomorphic, painted or incised, began to take on symbolic meaning and magical purposes. Therefore, sometimes when a village woman decorates a clay wear, she is serving some ritual besides beautifying the article. For an important occasion, there will be sumptuous elephants surrounded by mangal ghats (sacred vessels), gaily painting with trees, creepers, leaves, flowers animal etc. Kangra pottery with a black or red base may have single design in geometrical patterns. Brushes with a mixture of clay and powder do painting from stone rich in iron oxide, or by incising and cutting a pattern on the raw pottery using comb-like and knife-like tools.
Ganjifa painting
A rather unique item in painting is the pack of playing cards known as Ganjifa. They are round in shape, richly decorated and shaped. The method of making them is intriguing. Pieces of thin cloth are pasted in three layers with a gum from tamarind seeds, and then coated with liquid chalk to give it a white surface. The pieces are then trimmed into a round shape, polished with stone and painted. The backs are coated with lacquer to thicken and stiffen them and make them less susceptible to dust. They are now rarely made.
Orissa was once noted for this work, which calls for infinite patience, particularly the painting that has to be treated like a classic miniature work.
There are various sets in these cards. One is the dashavatar set which shows in the main the ten manifestation of lord Vishnu. Then each avatar is shown in ten different phases. Thus this set has around 120 cards. In the hukmi set which means bidding, mythological scenes and figures are also drawn. The lines are fine and chaste and the colours very pleasing.
The pictorial stylization on the ganjifa differs from region to region as it generally takes on elements from local folk paintings. Sawantwadi in Sidhudurga district in
Silk | |
Cotton | |
Papier Mache | |
Carpet | |
Pottery & Stone craft | Rajasthan, |
Metal Work | |
Jewellery | Rajasthan, |
Woodcraft | |
Ikat & Patola | Orissa, |
Shawls & Scarves | |
Phulkari | |
Marble | |
Textile | Udaipir, |
Paintings | |
Miniature painting | |
Chiken work | |
Leather Goods | Chennai, Kolkata, |
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1. Indian Classical Dances
2. Indian Folk Dances
3. Indian Music
Introduction
There is sculptural evidence from all parts of
According the Hindu mythology lord Shiva is treated as the source of cosmic harmony and rhythm.
There are different steps in dance. There are 108 karanas associated with dance. Bhart Natyam, Kathak, Kathakai, Odissi, Kuchipudi, Manipuri, Mohini attam etc, are some important classical dance performance in
BHARATHA NATYAM
This is one of the oldest and most popular forms of dance in
This is an ancient dance art practiced in south
The dance commences with nritta or pure dance by giving stress to timing and rhythm, Tigram, Chatsura, Khands, Misrm and Sankirna or the Jatis, Every one of themcenters around its beat. The player of mridanga maintains the dances and that. The dance is executed in three different speeds. They are slow(vilamba), medium(Madhya) and quick(drut).
The Bharatha Natyam is having different stages of execution.
Alarippu:
It is the beginning and the ‘opening of the bud into blossom”. It will commence not with actual music but the singer will recite the rhythmic syllabus. By mridanga, the times will be measured. It is rather an introduction of the next stage of the dance called Jastisvam.
Jatisvarm:
It is the contribution of time measures(jati) and musical notation(svaram). Ragas and svaras will have their own role in it. Excellent and beautiful movements of the neck , arms, gestures, feet etc., will be carried out in a captivating manner. The stepping and movements will be quite absorbing.
Sabdam:
This is the third stage. This is the pure dance movement. It will have a lot of emotional acting. It will be an explanation of a song or sahiyta. Acting, facial expression will find its place. The Bhava, Raga and Tala will be introduced at this stage. This is also an introduction of the stage Varnam.
Varnam:
It means colour, it offers form and shape. It is the most complete art. It contains ‘elaborate dance conception technical brilliance, richness of melody and artificial interpretation” It is composed of emotional acting. It is an emotional interpretation of a song. Natya, Nritta and Nrtya will be executed in full form.
Padam:
Here the song (Pallavi) will be repeated. The padams will be sung in different forms with the use of the Ragas such as Bhairavi, kalyani etc.
Tillana:
It is the final stage of the dance performance. Unique postures, intricate rhythms and unison between technique and emotional acting will be executed.
The above mentioned six stages are employed conventionally in Bharathanatyam. The performance end with a sort of benedictions in the form of recitation if a short sloka.
KATHAK
This is another classical dance performance popular in
With the advent of the Mughals, Kathak was introduced in the King’s durbar, thus moving this art from devotion to entertainment. The dance has two main techniques, the Nritya (pure dance) and the Abhinaya(expression). The typical kathak costume resembles Mughal miniature painting and is performed by both men and women.
The feet steps in kathak are not assigned as that of the Bharat Natyam. The swift feet rhythms being done for the most part on the flat of foot and toes with very many turns(chakkar) on the toes and flat of foot. The dancer interprets the emotion in his/her own way. The kirtanas, pada, Bhajan, jatis, love lyrics, thumari, dadra, and ghajal are also employed. The music is soft and plain.
KATHAKALI
It is classical dance drama from Kerla. It really means a story play. This performance takes place only during night after dinner. The scenes from the Indian epics Ramayana and Mahabharatha are taken as the main theme. It is a devotional and sacred art. Mostly men are taken part in kathakali performance. Only young handsome men take up Femine characters. Songs used are in the form of carnatic music. The drums occupy a unique place in this performance, Chenda is the drum used and that is also called tadayam. They dance according to talams. The chief singer is the actual conductor of the show.
The costumes and make up occupy a unique place in kathakaki. His patience is more important for having that make up and maintaining it for hours together. The make is done according to the theme of the performance. They use rice powder mixed with lime and paints. The lips are painted in red. Women character and sages are depicted by yellowish pink. The demos costumes are white and female demons use black colour.
KUCHIPUDI
Kuchipudi developed in the state of Andhra Prudish in southern
Kuchipudi performance is dance dramas, commonly referred as Ata Bhagavatham. The technique of Kuchipudi makes use of fast movements. Stylished mime, using hand gestures and subtle facial expression, is combined with more realistic acting. Themes are mostly derived from the scriptures and mythological stories and the portrayal of this dance form. A unique feature of Kuchipudi is the Tarangam, in which the performer dances on the edges of a bras plate, executing complicated rhythmic patterns on the ground, while sometimes also balancing a pot of water on his/her head. Kuchipudi is accompanied by Carnatic music. A typical orchestra for Kuchipudi recital includes the mridangam, flute and violin.
MANIPURI
Manipur also is known for its classical dance. It is called Maninpuri Nadana. Imphal, the capital of Manipur is the chief center of this kind of dance. The Manipuri dance centers on legendary and mythical themes. This dance form the land of the gem, associated with Siva and Parvathi, Lai Haroba is one of the famous dance drama of the Manipur. There is another legendary dance in the name Leisem jagoi, Chappa, Konglel and Mairang dances are other popular forms.
The Manipuri dances are known for their beauty and rich content. They are known for their religious sentiments. They are performed with specific rules and strait disciplines. At the time of social ceremonies and religious festivals they are executed. It offers importance to gesture, abhinaya and expression. It stresses the harmonious blending of Bhava, raga, Tala and Natya. Laithak Leika Jagoi, Govendasangeetha, leelaviasa, Sri Krishna sangeethsmgtraha, Sangeeta Domodhar etc. also are the works on dance.
In Manipuri Rasakas or Group dances are also important. Tal Rasaka, Danda Rasaka, Mandala rasaka are important. In the fist one the dances form the circle and clap their hands, in the second one the performers use short sticks and in the third one also they perform the dance in a circle.
Six types of Raj Lilas are performed on special occasions. The Maha Raj is a base on a story from Bhagavat purana and it is executed on the full moon day in the month of Karthik. It is having the theme of
ODISSI
Odissi is a traditional dance of the state of Orissa. Originally, this form of dance was performed in temples as a religious offering by the Maharis/Devdasis or temple dancers. The dance tries to capture human emotions of love and passion while keeping the performance soft and lyrical, Odissi is based on the popular devotion to Lord Krishna and verses of the Danskrit play Geet Govind. Which are used to depict love and devotion to god. The dancers wear colourful costumes and traditional silver jewellery. Odissi dance performances involve a balance between pure dance and expressional dance with a combination of dancing.
MOHINIATTAM
This is semi-classical dance from Kerala. It is essential a solo dance, performed only by women. In fact, the word Mohini means maidens who steal the heart of the onlooker.
Mohiniattam performances depict love and devotion to God. The hero of most performance is Lord Vishnu or Lord Krishna. The movements are graceful and costume chiefly consists of a white sari and blouse. The vocal music for Mohiniattam is classical Carnatic.
Introduction
One of the ways to experience the diversity of
The Indian folk dance can be described as simple, but behind its simplicity lies both profundity of conception and a directness of expression that are of great artistic value. In folk dances, the effect of the overwhelming buoyancy of the spirit and the eloquent effortless ease with which the dance is expressed is what stands out.
Almost every village has its own folk dances performed on every possible occasion such as the birth of child to celebrate the arrival of seasons, weddings and festivals. On most occasions, the dancers sing while being accompanied by artists on instruments. Each forms if dance has a specific costume. Most form of these costumes is flamboyant with elaborate jewellery. All night dance dramas are popular throughout
REGION :
Dumbal
The Dumbal is a dance performed by men on the Wattal tribe of
Rouf
The Rouf’s is a dance, which is performed, to mystical poetry during spring time in
Lama Dances
Lama Dances are festival mask of the monasteries of
Pangi Dances
These dances in the state of Himachal Prudish usually begin with a single file entry of men and women separately. The two rows then form half concentric circles and move clockwise. The two rows forming one large circle and moving clockwise and the women moving anti-clockwise then follow this. The initial holding of hands become a pattern with interlocking arms at the waist level, forming attractive designs.
Losar Shona Chuksam
This dance of the Kinnaur district in Himachal Prudish is a functional dance with passages on mime and other sequences, which are purely abstract. Slow movements with soft knee dips are the key characteristics of this dance. The dance is held during the months of April-May in which the dancers recreate movements of sowing and reaping ogle(barley) and phaphar ( a local grain).
Bhangra
Bhangra is the most important dance of
Raslila
In Uttar Prudish particularly in
Raas
The dance is performed during the Dusehra festival in the Kulu district of Himachal Prudish, bases on human love stories unlike the traditional Raas, the dances is characterized by chain formations and concentric circles,
Gidda
This is a dance carried out by the women of
Dhamyal / Duph
The leading dance of Haryana. Dhamyal is also known as Duph. The duph is a circular drum, playing nimbly by the men dancer; men can perform the dance alone or along with women. The dancer is continuously required to play on the large duph.
Lahoor
The Lahoor is a dance performed by women in Haryana. It is mainly performed during spring time, after the work in the filed is over. The dance is often accompanied by witty questions and retorts rendered in a sing-song manner.
Dhurang
This dance from Uttar Prudish is connected with the death ceremony. Its objective is to liberate the soul of the dead from evil spirits. Dancers in the Dhurang hold swords and dance in a circle. The movements are virile and reminiscent of the hunting dances of the Nagas on he eastern borders of
A dance performed by women to receive the bridegroom’s party on the occasion of a marriage. The dancers are veiled and have flaming brass pots on their head. They squat, recline and jump dexterously with these pots in their heads. The dance ends when the flames of the pots die out. This dance is from the state of Rajasthan.
Tera Tali
This dance from Rajasthan is performed by two or three women, their faces covered with a veil. They have a naked sword between their teeth and balance decorated pots on their heads. The women produce a variety of sounds with the manjira (small cymbals) in their hands as they shift or slide on the ground.
REGION :
Naga Dance
Each tribe of the naga has its distinct style of performing this dance. The naga lives in Manipur, Tripura, Nagaland, Mizpram, Arunachal Prudish, Meghalaya and
Hazagiri
This is a dance by the Riangs of Tripura, held to invoke the blessings if the Goddess Hazagiri, for a good harvest. Goddess Hazagiri is form of Lakshmi. The ceremonies begin with the worship of nine gods and culminate in the worship of the Goddess Hazagiri. The dance begins with women dancing slowly with pots on their heads, joined lated by men. This dance concludes on an ecstatic note in a fast tempo.
Bamboo Dance
The most colourful and distinctive dance of the people of Mizoram is called the Cheraw, Long bamboo staves are used for this dance, which is why it is called Bamboo dance. This dance that requires skill and alert mind.
Nongkrem
The Nongkrem dance of Meghalaya is performed in autumn at Smit, the cultural center of the Khasi Hills. It is performed to commemorate the evolution of the Khasi tribe.
Bihu
Bihu is the most popular folk dance of
Thang-ta
The kings of Manipur used to encourage the martial arts, through which evolved a variety of combat exercise which later evolved into dances. One of the most thrilling of the dances is the Thang-ta, performed by young men with sword and shields. The drum is the chief musical accompaniment in this dance.
Munda
The traditional dance of
Brita
One of the most important folk dances of
Hurka Baul
The Hurka Baul from west
Ghanta Patua
For the month of Chaitra, the village streets in Orissa reverberate with the sound of Ghanta (brass gong) the Ghanta is played by Ghanta Patuas in accompaniment to their dance on stilts. The dance is closely associated with the worship of mother goddess who has numerous names including Sarals, Mangala, Bhagvati, Chandi.
One of the Ghanta patuas dresses him as a female with black cloth tied on the head. He places the Ghata decorated with flowers and coloured threads on his head and then performs with the Ghata on his head. He also displays a variety of Yogi postures.
REGION :
Bhagoriya
This dance is performed by the Bhils, men and women wearing colourful costumes during Holi perform a large tribe in Madhya Prudish It. This is a lyrical dance and is an occasion when young men and women get to find their partner.
Garba
Garba the leading dance of women in
Dandiya
This is the counter part of Garba. The dancer use sticks at the end of which tiny bells are tied. The movement is manipulated in circles and sticks beaten in standing, sitting or lying down postures.
Koli Dance
The fisher community of
Dindi
In the state of
Mando
Mando is a semi urban folk form, evolved by the Goan aristocracy. It begins on a slow and sad note but ends with a faster but called Dulpod. Latter day composition covers a variety of themes and moods distinct from the traditional composition. Some of the other folk dances of
REGION :
Dollu Kunitha
The Dollu Kunitha is a popular drum dance of Karnataka. Men carry large drums that are decorated with coloured cloth slung from their necks. They beat the drums as they dance with nimble movements of the feet and legs. The dance is at times accompanied by songs which are either religious or praise victory.
Karagam
It is most common from of folk dance in Tamil Nadu, dedicated to Mariamman, the Goddess of health and rain. The Karagam dance is essentially performed by men balancing pots filled with uncooked rice, surrounded by a tall conical bamboo frame covered with flowers. The musical accompaniment comprises a drum and a long pipe.
Kummi
The women folk of Tamil Nadu have three closely related dances, which are seen at their best during festivities. The simplest of these is the Kummi, in which the dancers gather in a circle and clap their hands as they dance. An extension to this dance is the Kolattam, where instead of clapping, the participants hold small wooden sticks in their hands and strike them in rhythm as they dance.
Kolam
The Kolam consists of a huge headgear with many projections with a mask for the face and a chest peace to cover the breast and abdomen of the performer. The dancers wearing kolams perform, as singers recite poems accompanied by nthe wild and loud rhythm of the instrumentalists.
Sari
This is the folk dance of the Kerala. Thisis carried out at times of harvests in the rural areas. Young women and girls by wearing white colour dress carry out this dance in squares and lines. This dance accompanied by madala drum and cymbals.
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Indian Music assists ‘the fusion between the spirit within us and life outside.” Indian Music us essentially impersonal. It reflects an emotion or wisdom of any single individual. Narada, the saga and the spiritual son of Brahma is treated as the first Musician. Vishnu is accepted as the originator of sovereign song, Narada was also responsible for creating the vina, the oldest stringed instrument of
The Indian music has its own contact with Gandharava veda, Aama veda too is associated with music. Panini has mentioned about musical systems of the fifth century B.C. Sama veda contains details about musical instruments. The Natyasastra of Bharatha also refers to music.
Indian musical system is based on the ragas and that is a significant aspect of Indian music. Raga means colouring in a psychological sense or emotion. It indicates mood. Music induces and awakens the deep feeling in the human beings. They are capable of introducing changes in nature. It comprises of a specific number of notes falling in line with particular scales. Every raga symbolizes some emotion. It creates an awaking when it is sung in an appropriate form. So it is revealed that every raga is having a particular quality.
The Indians are of the opinion that music induces the elements by their vibrations. They give special importance to the singing of a particular raga at a particular time. The singing of songs in Sri Raga during evening hours will bring peace and solace by avoiding tension. For curing heart and liver diseases the singing of raga Bhairavi is recommended. For achieving the meditative mood after mid night the Raga Darbari has to be sung. Further specification of for singing raga is also ascertained in the following way.
Ragas | Timing |
Jaunpuri, Todi, Dhavavi Sudha Sarangi | Morning |
Multhani, Polu, Dhinpalas, Mand, Patdeep | Afternoon |
Shyan, Kalyan, Hamsadvani, Sankar | Evening |
Durgha, Kanhara, Darbari, Kamod | Night |
The Ragas comprise of tones of svaras. Each and every raga has its own individual melodic pattern. Every raga possesses an inner emotional character, Bhava. They have their own meaning. The swaras or tones are the substance of the raga, the composition of swaras in an order of succession is its structure, and the
There are seven main swaras or tones or notes
Sa | Shadjamam | The cry of the peacock |
Re | Rishabam | The sound made by the cow while calling the calf |
Ga | Gandahara | The bleat of a goat |
Ma | Madhayama | The cry of the heron |
Pa | Panchama | The cry of the Indian Nightingale |
Dha | Dhaivata | The neighing of the horse |
Ni | Nishadha | The trumping of the elephant |
Every raga is distinguished by varieties of sentiments called Rasa. Srinagara(love), Hasya(happiness), Karuna(tendrness),
Vira(heroism), Raudhra(angeri). Bhayankara(terror), Vighasta(disgust) and Asudha(surprise) are the important rasa. Ragini is the feminine form of Raga.
The Gharana is an important aspect both in instrumental and vocal music of
popular musician of that age. Khayal is the supreme stage of musical art and the Khayal means the imagination. Amir Khusro was a patron of this kind of music.
Indian classical music can be classified into two broad traditions, North Indian and South Indian. The North Indian tradition is known as Hindustani sangeet, the different forms of Hindustani music is Dhrupad, Dhamar, Khayal, Tappa and Thumari. The South Indian tradition of music is called Carnatic sangeet. Both traditions are fundamentally similar but differ in nomenclature and the way of performed.
Carantic Music
Carnatic music is considered one of the oldest forms of music in the world. Imbued with emotion and the spirit improvisation. The Sapta Talas is the basis for rhythm in Csrnatic music. The seven core talas are Dhruva, Matya, Rupaka, Jhamps, Triputa, Ata and Eka talams. Using these sapta talas, all of the hundred and fifty Carnatic talams can be derived.
A typical Carnatic classical vocal performancebegain with a Varnam, a composition with three parts; pallavi, anupallavi and chittaswaram, followed with one or two short songs to build up a tempo. This is then followed by an alaap.the singer sings without words, concentrating on the notes of the raga, improving within its structures.
Hindustani Music
Dhurapad is an ancient style of Hindustani vocal music. It pre-dates other forms of vocal music like Khayal, Dadra and Thumari by a number of centuries. In the dhrupad performance, the singer is accompanied by a tanpura and pakhawaj. The performance begins with a long, complex alaap and the treatment of the compositions is different from Khayal. It focused more on the nuances of the raga and the text and less in technical feats.
Khayal is the most popular type of classical vocal performance today. The singer begins with a short alaap in which the characteristics of the raga are developed. No words are sung, but the singer concentrates on the notes of the raga while improving with in the structure. Each phrase that, the singer sings may be repeated by the accompanist. When the raga has been properly introduced. The first composition bandhish (bada khayal) begains. The tabla enters in a very slow tempo. One cycle of the tal may take a minute or more.
Thumari is a lighter classical vocal style that developed around the middle if the nineteenth century from a style called Lachari. Dadra, Hori, chaiti, kajri and Jhoola are some of its prominent forms, which are heard separately in a performance.