Crafts – Page 2 – Global InCH- International Journal of Intangible Cultural Heritage

Durries - made from cotton warp and jute, coir, wool, and occasionally, unrefined silk weft - are flat and pile-less floor coverings common in Indian homes. They are also used on the Indian newar charpoy/ traditional bamboo frame bed. Different parts of the country have localized durrie traditions; the particular combination of weaving technique, weft material, pattern stylisation, and motifs and colours used in different areas creates several interesting kinds ofdurries. The Panja durries are one among a multitude of styles; they are defined essentially by the use of the panja in weaving them, and known for fairly bold colors and patterns. The dhurries are made on simple horizontal looms in a weft-faced plain weave which gives it a sturdy, flat appearance. The multiple forms and colors of the patterns are created through the use of independent wefts, beaten into place with a panja, metal beater The weaving of durries in the Punjab is linked with the tradition of a household craft (like phulkari weaving) for personal use in the home, to be given as gifts, and as part of wedding trousseaus. Dhurries were also woven for the gurudwara/Sikh temples by groups of women. The Bridal dhurries drew on a large repertoire of indigenous motifs that continue to be based on the local flora and fauna. Now Panja durrie weaving is rarely practiced at home, transformed after the Partition of India immigrant weavers from Sailkot, Pakistan, arrived at Nakodar, Noor Mahal and the villages around it to settle down and start work for sale and export. In Nakodar two types of cotton dhurries are woven-bed dhurries are woven on a pit loom in multi colored stripes, and the floor dhurries, woven mostly in two contrasting colors on an adda, floor loom. Dhurrie patterns tend to be either geometrical or figurative. While the latter may employ a number of colours, the geometrical patterns are usually executed in two contrasting colours. The motifs used in both, however, derive from the folk vocabulary of birds, beasts, plants and the embroidered phulkari textiles. Several important centres of durrie making in pre-Independence Punjab are now in Pakistan; however, in present-day Punjab, the areas around Moga, Batal, Ludhiana, Hoshiarpur, Faridkot and Bhatinda are also fairly prolific and well-known. In Jalandhar District the areas of Nakodar, Mehtpur, Aulka, Bathanmehma, Ungi, Chak Bendal, Noor Mahal, and Sidma; in Ropar District the villages and towns of Losari, Jhandia Khurd, and Anandpur Sahib and Tarn Taran in Amritsar District The volume of production has changed substantially, and though women are still involved in weaving these durries, the production for sale and export is usually organised by men, with craftsmen hiring and training weavers in workshops. Indeed, Panja durrie-making, like several other crafts that began as household or folk crafts has become a profession and livelihood for many As for the history of the craft in India, theories vary, with some interpretations indicating an indigenous origin for durrie weaving and use in India and dating it to the early centuries A.D. Others stress a Persian origin - the word durrie being read as a form of doru, a floor covering in Persian. According to the historical opinion of George Watt and Percy Brown, it seems as if durries made of cotton warp and weft had an indigenous origin; however new techniques, materials and designs are believed to have been introduced into the indigenous durrie-making tradition with the coming of Turkish and Mughal influences into India.

Papier- Mache in Jammu and Kashmir is locally known as kar-e-kalamdani, meaning pen case work taking from its Iranian name. In the earlier days the craft was practiced on wooden panels of walls and wooden furniture. Later on it was adapted to paper-moulds as well. Products like boxes, toys, jewellery box, lamps, pen cases, wall decoration, powder containers, mirror cases, Christmas decorations, flowers vases, kettles, trays and plates and samovar- fluted kettle. The tools used by the craftsmen are file, rasp, hacksaw, sandpaper, burnishing stone, paintbrushes..

Pakistan produces a wide variety of products crafted from paper and papier mache.

KITE MAKING Kite-flying is a popular pastime in Pakistan, especially in the Punjab. Come basant, the spring festival and the sky in dotted with kites in different shapes and colours. The demand is large enough to ensure steady returns to the kite-makers who occupy a notable place among craftsmen using thin coloured paper as the raw material. PAPER CUTTING/UKAIR SAZI Ukair Sazi or the art of paper cutting is basically an art associated with the ornamentation of leather and skin products. Floral and geometric patterns are cut out on paper which are then pasted on to leather crafts to be worked upon with "tilla" or silken thread, thus submerging the pattern. Hence the cut paper design can only be used once. The art of Ukair Sazi originated in the Multan area and remains localized to a great extent. Today, Ukair Sazi is also used in the art of calligraphy. The skill of the kite-maker lies in so placing the supporting bamboo strips that the kite will rise with the slightest breeze. Red, black and white remain the favourite colours with kite-makers. Of late kite-flying at night has again become very popular. Powerful electric torches are used to light up the sky but the paper candle-lamp, qindeel, which is tied to the string a few yards below the kite, has survived. Using thin coloured paper as the raw material the kites crafted include the common kites or guddis small kites with tails, kankawwas, which have small cones at the base, and takkals, in the shape of a half-circle supporting a bigger half-circle. PAPER FLOWER MAKING Paper-flower making is an old tradition in Pakistan. Although there is now strong competition from plastic and glass the paper flowers hold their own. The favourite flower, both with the customer and the artisan is the rose. in all its hues, set off with the matching green leaves. PAPER SCULPTURES A small group of artisans concentrate on paper sculptures. These are mainly of birds and complex horses. These paper horses stand on slightly inclined legs of reed or bamboo sticks, with a straight back and an overstretched neck titled upwards and coloured red and black. PAPIER-MACHE This craft has recently reappeared and quite appropriately the agents of its revival are the same that had made it one of the most important crafts in the subcontinent three hundred year ago - Kashmiri craftsmen. No visitor to the Lahore Museum can fail to note the superb craftsmanship of papier-mache dishes, jewellery and powder boxes, and qalamdans /pen cases made in the Mughal period. The finely painted floral patterns on these smoothly shaped objects speak volumes of the craftsmen's skill and sense of colour. During the period of colonial rule this craft suffered grievously and the break in tradition affected quality for quite a long period. However, some years ago the craft found a new generation of diligent practitioners who can now match the ingenuity of their ancestors. Their common products are dishes, bowls, vases, powder boxes, cigarette cases, jewellery boxes, pen-trays etc. The patterns and motifs elaborately painted on these objects are mostly floral but also include human figures, birds, orchards of fruit-laden trees and legends. Golden yellow ground is still preferred but there is an increasing use of green, blue and red.

In Bhutan, paper-making was traditionally practised as a domestic activity. Paper was made entirely by hand from the bark of the Daphne plant and gum from a creeper root. Often the Daphne bark was mixed together with other barks and roots to yield different varieties of paper. What made the Daphne paper special was its luminosity and texture and the quality of its being termite and insect repellent - it was thus particularly valued for writing religious scriptures and historical records. The National Museum, Paro has a collection of rare manuscripts written on Daphne paper. The National Library contains about 6,100 Tibetan and Bhutanese books, both manuscripts and xylographs and a collection of 9,000 printing boards.

ORIGINS & TRADITIONS The handmade paper industry in Bhutan stems from an age-old handicraft tradition whose history can be traced back to the eighth century. The technique of hand paper making, seems to have originally come from China, via Tibet, over the ancient trade routes, to its neighbouring countries, Nepal and Bhutan. Even today, these Himalayan countries continue to share a common method and tradition of making and using handmade paper from the Daphne plant. Most historical writing in Bhutan has been religious. A religious book is considered sacred because it represents the speech of Buddha. Beautifully written manuscripts on separate sheets of centuries old Daphne handmade paper are still extant in a surprisingly well-preserved state. It is possible to see some of these books, printing boards and paper at the National Library in Thimphu. PRACTITIONERS & LOCATIONS Paper was first made in northern, central and eastern Bhutan where the Daphne bush is found in abundance. Although paper-making was practised as a domestic activity in the past, it has now undergone rapid modernisation and taken on the form of a commercial industry. This has eliminated hard laborious work to some extent; more notably, however, it has changed the scale of operation. In Thimpu, large units with equipment imported from Japan are producing and exporting fine qualities of paper and paper products all over the world. Dagna, south of Thimpu, is known for its thick handmade paper, made from the pulp of the Daphne tree. Thimpu, Tashigang, Punakha, Bumthang and Mongyr districts, and Gedu, all produce paper. RAW MATERIALS The dense mountainous regions are the natural habitat of the high altitude plant Daphne, belonging to the plant family Thymelaeacae. In the Himalayan regions, the Daphne comprises 70 species and grows in altitudes ranging from 1,500 feet to 10,000 feet above sea level. The Daphne - a small shrub with fragrant white flowers that cover the slopes around the prayer flags - has a pervasive scent. The bush is mainly found among the conifers or deciduous trees. When harvested, 5-6 foot tall plants are cut down to a size of about six to eight inches, leaving the main root intact, so that new main shoots can grow and mature for another harvest. In about approximately four to eight years the plant regenerates itself and can be cut again for use. The paper from the Daphne is usually natural toned, dark woodish and highly durable, capable of lasting over 2,000 years. Ivory coloured paper is made from the strong inner bark, which is stripped, cleaned and then processed. The Daphne plant has tremendous tensile strength and, like elastic, can be coiled, twisted and turned without breaking. The Edgeworthia papyrifera sieh belonging to the Thymelaeacae - the same plant family as the Daphne - is found at the height of 1,000-2,000 feet and also popularly used in the production of paper. The paper from Edgeworthia is light in colour, softer and less glossy in appearance. It has less strength and durability as compared to Daphne paper. Some climber plant barks and roots and other ingredients are added for colour, while flowers and petals, leaves, ferns, fern moose, wood moose, banana plants, beetle-nut and maize leaves are added for making floral ornamental decorating papers. Gum is obtained from a creeper root. PROCESS & TECHNIQUE The Daphne is harvested during the summer months (March to October), for in winter the skin and bark are stuck together and have to be separated. The inner bark is stripped from the Daphne plant, and dried immediately. This debarking generally takes place in March-April. Local manufacturers of paper buy the Daphne or other bark in a dried form, from contractors. The plants grow wild in various parts of the country, namely the Gedu ranges between Thimpu and Punakha, Trashigang, Mongyr, and Bumthang providing raw materials to the paper units of the area. The bark is cleaned and cut into small pieces and boiled in water for a couple of hours. Wood ash is added to the water to speed the cooking process without altering the paper tone. This makes the fibre softer and more pliable and therefore easier to reduce to pulp. No chemicals are added - the whole process is natural. These days wood ash is being replaced with caustic soda to further speed up the whole process. This reduces the quantity of wood ash required and at the same time speeds the breakdown of the fibre. Boiling and breaking down the fibre involves a long cooking process. The cooked fibre is now sorted out and put under water - to clean and for the remaining impurities to drain away. The boiled fibre is pounded by hand or machines (beaters) into pulp. Water is added as and when required to further loosen and break up the fibres into a finer pulp. If the paper has to be coloured then natural dyes - brown from the walnut bark, orange from the madder etc. (Refer section on natural dyes under textiles) - are previously prepared and added to the pulp while it is being beaten. The pulp is pounded thoroughly, in wooden troughs, to make it soft and homogeneous in nature. Water is added in sufficient quantities to ensure that the mixture is of the required consistency. Any dirt or foreign body in the pulp is removed, after which it is ready for paper-making.

In Bhutan two methods are used for obtaining the finished sheets - tsharsho and resho.

The method widely used throughout the Himalayas produces paper called resho, or 'cotton paper'. The process begins with the pouring and sieving of the pulp onto a cotton screen; it is then spread uniformly over the cotton surface while floating in water. This manoeuvre requires dexterity and practice. The screen and the pulp are then left to dry, which takes half a day, before the sheet of paper can be taken off. If the weather is wet and cold the drying is done by lighting wood-fires and placing the frames around these. After removing the mould from the water, it is held aloft for a few minutes to drain out the excess water. It is then placed tilted on the ground and allowed to dry in the sun or near a fire. Once dry, the sheet of paper is peeled off the cloth and the mould can be reused. The paper sheet is now ready.
The other method of making paper is only used in Bhutan and produces a kind of paper called tsasho, or 'bamboo paper'. A screen made from slim bamboo mat/sticks is lowered into the vat of pulp; the wooden frame and bamboo mesh are vigorously moved, the paper-maker then lifts it out and spreads the pulp over the surface of the screen while it is out of the water. The screen is subsequently turned over, and the sheet that has formed on it drops off and is put on a growing pile of freshly made paper. The mesh, pressed and left to drain the remaining water, leaves a bamboo imprint on the sheet. At the end of the day, a stone is placed on the pile to help the water drain out of it during the night. The next day, the sheets are peeled off one by one and stuck to earthen walls of a hut, built for this purpose. By the end of the day the sheets are dry and fall off the wall. Today, dryers are being used to dry the sheets and speed up the process.

Resho paper is quite thin as compared to the tsharsho and also costs less. Both tsharsho and resho papers were used traditionally for writing holy scripts, legal acts and letters and both are of high quality and last for many centuries. PRODUCTS Daphne paper is impervious to insects, durable, glossy, smooth and soft and easy to recycle. The paper in its un-dyed, natural ivory appearance has a silken texture that is most appealing. The sheets of paper are now being turned into more contemporary products such as greeting cards, stationery sets, notebooks, photo albums, gift wrapping paper, files and folders, bags, envelopes, photo frames, postcards and other stationery items, as well as bags, lamp shades and calendars. SOME PAPER UNITS IN THIMPU

Jungshi Paper Manufacturing Company P Box No 506, Thimpu Bhutan Tel: 975 - 2 - 323431, 321442® E-mail: [email protected] Mangala Handmade Paper House Opposite the river, (Above Jungshi Paper Manufacturing Company) Thimpu, Bhutan

STEP-BY-STEP PROCESS

India's paper tradition has an antiquity of nearly a thousand years. Even though, it is presently caught in a struggle between the changing past and an unknown future, India still has the largest population of hand paper makers in the world.Traditionally, several paper mill establishments cropped up in parts of the country to help benefit from the rich forest resources of the region.

Today, paper and its products have grown and developed multi-fold due to several design and technique manipulations from folding, cutting, dyeing, recycling, layering and quilling.

Today, paper and its products have grown and developed multi-fold due to several design and technique manipulations from folding, cutting, dyeing, recycling, layering and quilling.

The art of paper cut designs has been a popular form of decoration on religious occasions, weddings and other social ceremonies. Before the use of paper became common, leaves and grass were used. With the introduction of paper, the craft came to be known as Kagojer jhalot. The professional craftsmen who are skilled in this art are known as Kagoji or Jhaloti. Occasionally, non-professionals or amateurs also work at this art, inspired by religious or social obligations. When they decorate tazias for Muharram or a kirtan stage at the Ras Lila festival of the Manipuris or at a wedding ceremony, both professional artisans and amateurs compete with each other.

TECHNIQUE AND PROCESS Paper cutting lends itself to intricate designs and patterns in the hands of a skilled craftsman. Two methods are used for cutting paper; in one, the paper is folded according to a given design and cut either with a pair of scissors or a chisel. In the second method the design is drawn on the top piece of paper; a stack of paper is kept on a wooden board. The outline is cut with a hammer and nail. The tools are straightforward consisting of a wooden board, 3 pairs of different sized scissors (large, small and curved), a flat chisel, a stencil cutter, two small knives, a pencil and a wooden stick. Stones are used as paper weights. The design motifs used in paper cut decorations represent vines and leaves, fruits, flowers, trees, birds, fishes, shells, and geometric patterns. Familiar objects such as ladder, umbrella, basket, lock plough and boat also appear. Gods and goddesses, men and women are depicted in paper cuts for religious ceremonies. The Muharram tazias are made from coloured paper, at the kirtan festival a scene from Gour Nitai is illustrated; angels are represented at wedding ceremonies. A filigree effect is created with skilful chiselling. Paper is also used to make paper flowers or children's toys. The technique of cutting filigree designs is also used on tin, plastic, fabric or canvas.

Patang is the local word for a kite. The largest hub of kite production is Gujarat. Vadodara, Surat and Ahmedabad are the majr cities which are known for their kite markets. Although in India kite flying is indulged mostly on special occasions such as 'Makar Sakranti', kite markets in Gujarat are always on boom. Kites for Uttarayan are made from a special lightweight paper which ads velocity to the flight of the kite. The kite festival in Gujarat is an amazing spectacle. People from all over the globe come to enjoy the sight of the vibrant colours and patterns on these kites flowing in the air. The craft production of the kites dates back to the historic reign of the Mughal empire. The first centers of production were set up in Ahemadabad. The community of people who indulged in this craft was called Patangbaaz. The initial shape of the kite was that of a prism and has slightly evolved since then. Earlier candle or qandeel were also used to add to the velocity and glory of the flying kite. Today one can see kites of various types depending on the purpose. They are commonly engineered in quadrangular shape for better mobility and control to the kite flyers. [gallery ids="176414,176415,176416,176417,176418,176419"]

The making and flying of kites is an ancient tradition followed in Nepal. Though kite flying - like elsewhere in the East - is a popular pastime in Nepal, the locally crafted kites made of Daphne bark (lokta) paper are facing stiff competition from the imported variety. Though kites are flown throughout the year, they are linked with some ritual and auspicious occasions during the festival of Indra Jatra. This festival is structured around agricultural cycles, with God Indra being venerated as the harbinger of the rains. The kites act as the farmer's emissaries and are flown during the jatra as an for of appeal to Lord Indra to bring forth the rains for a bountiful harvest. The kites, it is believed, reach Lord Indra, who then heeds the message(s). Kite-flying competitions start in the autumn in Nepal - the gentle breeze of this season is perfect for kite-flying. Many participate in this sport and there is a brisk sale of kites at this time.

PROCESS & TECHNIQUE Nepali kites are simple and elegant in design; they are usually constructed in a square format with paper and bamboo strips. The kite consists of semi-circular and straight bamboo strips that are pasted on to white (or coloured) lokta bark paper with home-made rice glue. The straight bamboo strips are fixed in the diagonal position and meet the semi-circular strip at the centre. This cross spar provides stability to the kite and it allows the wind to bow the kite back and create a curved shape. These flat kites are constructed in a manner that when the wind puts pressure on the face of the kite the bow flexes back in a curve. This makes the kite stable and allows it to fly well in the direction in which it is pointing. In flat kites the tail also adds stability by keeping the kite pointing into the wind by adding drag or resistance to the rear. Kites with tails can often fly in very strong winds. Tiny holes are pierced through the paper in the kite, along the diagonally fixed strip and thread lines are inserted and tied. Both the ends of the thread are joined to the long thread line, which is wound around a wooden dumb-bell shaped device (lattain). The lattain is made in different sizes; in the large size several meters of thread can be wound around it. The lattain is held along its handles, which protrude on either side and are held firmly by both the hands - the kite flying is controlled either by releasing the thread or by winding it up. Nepali kites are very light and fragile and therefore need to be handled very carefully not only in damp or cold conditions but also when using or storing them.

This craft developed due to the initiative shown by the Rural Development and Cottage Industries Department in training young people and providing them with employment opportunities. Many products were made with paper pulp using papier mache as moulds. Japanese specialists imparted training to the Sinhalese youth in doll-making at the cottage-craft level; doll-making is a developed family craft in Japan. In the Japanese method, students were trained to acquire a high degree of competence in separate skills in batches: the finished product involved assembling heads, bodies, and limbs. Each individual received special training to acquire expertise in making different parts of the doll. Further training and expertise were provided by the Department of Small Industries and Laksala, the marketing wing of the department. Training was given using the presses and moulds originally given by the Japanese for face-moulding.

Two techniques are adopted in making dolls. The first method involves the use of paper pulp and cloth. Waste paper is soaked in water for about three weeks until it is reduced to a fine pulp. A paste is prepared from this pulp to which whiting and wheat flour are added. A skeleton of wire is prepared which is covered with cloth in the shape of the required figure; a sufficiently thick coat of paste is applied, in order to build up the figure. For the face a separate mould is made using the same paste; this is then fixed to the body. The doll is dressed with the appropriate clothes. This method is originally from India and has been adopted by a few for doll-making in Sri Lanka. The other technique is Japanese in origin. In this, the front and the back of the required figure are cut from a piece of cloth. The edges are stitched together to form a sack-shape, which is then filled with cotton waste. Two lengths of stiff wire are inserted into the stuffing to make the form stiff and to allow it to stand upright. The face is sourced from the face-making unit of the Sri Lanka Handicrafts Board and is then fixed to the body. The figure is dressed in appropriate garments, the cloth for which is obtained from the open market. The costume in which the figure is dressed determines the type of doll that has been made. Some of the commonly made dolls are traditionally Sinhalese: the nilame or Kandyan aristocrat and the manike or Kandyan lady are common. The Kandyan dancer, the Low Country bride, the tea-plucker, and the devil dancer are also made. Sometimes, figures like those of dancers and elephants are made in two separate parts: the top part is fixed on a balancing device which allows for the free movement of the doll. CRAFT LOCATIONS

Batticaloa district (eastern coast of the country): Doll-making is a highly popular craft practised in the village of Kallady.
Galle district (southern part of the country): Paper-craft is found in the village of Habakkala.
Gampaha district (next to Colombo): Paper-crafts are found in the villages of Giriulla, Kelaniya, Tulhiriya, and Ganemulla.
Jaffna district (northern-most part of the island-country): Paper crafts are widely practised in Jaffna town.
Kalutara district (south-western coast): Paper-crafts are found in the villages of Kalutara and Tantirimulla; doll-making is practised in the villages of Tantirimulla, Palatota, Kuda Waskaduwa, and in Kalutara town.
Kandy district (central part of the country): The paper-pulp craft is practised in the village of Ambulpure.
Kegalle district (situated on the route between Colombo and Kandy): Paper-pulp crafts are found in the villages of Ragalkanda, Galahitiya and Godawela.
Kurunegala district: Doll-making is found in the villages of Narammala and Yayamulla.
Nuwara Eliya district (adjoining Kandy district): The paper-pulp craft is practised in the villages of Pundaluoya, Ramboda, Maskeliya, Rikiligaskada, Kumbaloluwa, Ginigathena, Nuwara Eliya town, and Hatton-Dikoya.
Ratanapura district: The paper-doll craft is found in the village of Muwagama. Colombo district: Paper-crafts are found in the villages of Rajagiriya, Moratuwa, Angoda, Colombo town, Boralesgamuwa, Dehiwala, and Maharagama.
Trincomalee district: Doll-making is practised in Trincomale town.

CONCLUSION Sri Lanka Handicrafts Board is in charge of the management of Laksala, which runs a lot of pulp-centres some of which make Japanese style cloth dolls with moulded faces presenting typical urban and village characteristics of Sri Lanka. Other products include animals, birds like cranes, Kandyan dancing figures, as also Low-country or southern mask dancer-figures. These figures are made in such a way as to suggest the movements appropriate to dancing. There is a lot of market-potential in the crafts of doll-making and pulpware. Some of the aspects that could be looked into are to increase production, diversify products, and improve the quality.

Figures and statues in a variety of shapes and sizes are made using papier mache and plaster of Paris. Plaster of Paris or paper solution is poured into rubber moulds; it sets in an hour and can then be separated from the mould. The figure is then finished with paints. Status of gods and goddesses, birds, animals, toys, and other decorative items are crafted. The craft is concentrated in Banaskantha district, Ahmedabad, Rajkot, and Junagadh. [gallery ids="176426,176427"]