Textiles Weaving of Meghalaya,
Meghalaya is the home of three ancient hill tribes --- the khasis, garos, and jaintias. The hajong tribe is a relatively smaller tribe of the state. The women do weaving in their spare time and use back-strap or loin-looms, the only exception being the garos who also use frame-looms. The garos were probably a part of the Bodos who once occupied Assam and the Bodo influence can be seen in garo textiles. It could be this that is responsible for the use of the frame-loom among the weavers of this tribe. The Khasi woman wears a dress called jainsem, which flows to the ankles. The upper part of the dress is a blouse. Over these, are tied both ends of a check cotton cloth on one shoulder. On formal occasions, a long piece of Assam muga silk called 'ka jainsem dhara' is worn, which hangs loose below the knees after being knotted or pinned at the shoulders. The jaintia maiden's dress is largely similar to that of khasi women. The garos also grow a variety of short staple cotton that is used to make the traditional fabric worn by the people of this region. The textiles of this region carry symmetrical designs and are often woven in different parts by different pairs of hands. The various parts are then sewn together to create a single sarong. The garo women wear a blouse, a raw cotton dakmanda, which resembles a lungi and the daksari which is wrapped like the mekhla, as worn by Assamese women. The garos also weave bedcovers, bedsheets, and table cloths. Endi silk-weaving, famous for its texture and durability, is carried out by the local women. The production of jainsen with local mulberry silk has also been introduced recently.
Meghalaya is the home of three ancient hill tribes --- the khasis, garos, and jaintias. The hajong tribe is a relatively smaller tribe of the state. The women do weaving in their spare time and use back-strap or loin-looms, the only exception being the garos who also use frame-looms. The garos were probably a part of the Bodos who once occupied Assam and the Bodo influence can be seen in garo textiles. It could be this that is responsible for the use of the frame-loom among the weavers of this tribe. The Khasi woman wears a dress called jainsem, which flows to the ankles. The upper part of the dress is a blouse. Over these, are tied both ends of a check cotton cloth on one shoulder. On formal occasions, a long piece of Assam muga silk called 'ka jainsem dhara' is worn, which hangs loose below the knees after being knotted or pinned at the shoulders. The jaintia maiden's dress is largely similar to that of khasi women. The garos also grow a variety of short staple cotton that is used to make the traditional fabric worn by the people of this region. The textiles of this region carry symmetrical designs and are often woven in different parts by different pairs of hands. The various parts are then sewn together to create a single sarong. The garo women wear a blouse, a raw cotton dakmanda, which resembles a lungi and the daksari which is wrapped like the mekhla, as worn by Assamese women. The garos also weave bedcovers, bedsheets, and table cloths. Endi silk-weaving, famous for its texture and durability, is carried out by the local women. The production of jainsen with local mulberry silk has also been introduced recently.
Thangka Painting of Kangra, Himachal Pradesh,
An important aspect of Buddhism, hung in monasteries, workplaces and homes,Thangka paintings are commsioned by the owners for various reasons from bringing blessings, well-being and health to warding off the evil eye, and as use as a meditation aid. The artists are trained in the monasteries in the iconometry and iconography of the art including the colour scheme. The paintings are executed on either cotton or silk cloth using mineral colours and then mounted on elaborate silk brocade scrolls. The artists use a wooden frame to stretch the fabric before painting.
An important aspect of Buddhism, hung in monasteries, workplaces and homes,Thangka paintings are commsioned by the owners for various reasons from bringing blessings, well-being and health to warding off the evil eye, and as use as a meditation aid. The artists are trained in the monasteries in the iconometry and iconography of the art including the colour scheme. The paintings are executed on either cotton or silk cloth using mineral colours and then mounted on elaborate silk brocade scrolls. The artists use a wooden frame to stretch the fabric before painting.
Thangka Painting of Ladakh,
The tools required for this craft are wooden frame, paintbrushes, stone, scissors and brass or silver knobs.
The tools required for this craft are wooden frame, paintbrushes, stone, scissors and brass or silver knobs.
Thangka Paintings of Jammu and Kashmir,
Thangka, in Tibetan, is literally a 'flat painting' on a scroll or wall. What is commonly understood as a thangka is a painted, embroidered, or woven banner hung in a monastery or at the family altar and carried by lamas in ceremonial processions. Characteristic of creative expression in Tibetan Buddhism, they are done in multiple colours or, sometimes, in golden outline on a dark background. The iconometry used conforms generally to that prescribed around the mid-15th century by the great art theoretician Manthangpa. Thangkas are usually painted on sized cotton or linen (rarely on silk), with water-soluble natural dyes, tempered with a herb and glue solution. The technique is similar to tempera painting (which uses pigments mixed with size, casein, or egg, instead of oil) and its recorded use goes back at least to the 3rd century. The most common shape is the upright rectangle (square for a mandala). In the last stage of a painting, the eyes of the deities are painted as part of an elaborate 'eye opening' consecration ritual, after which it is mounted on silk, often woven with dragon, snake, or lotus motifs symbolising the sphere of cosmic waters. A protective fine silk curtain is added finally. Depicting appropriate themes, thangkas are objects of religious devotion, aids to meditation and contemplative invocation, and sources of miraculous power. They are also, occasionally, commissioned to commemorate events or for certain purposes such as propitiation or expiation, or to offer to a monastery. Common subjects include scenes from the Tibetan tradition which has 500 lives of the Buddha, depictions of reincarnations (the serene white Tara as the Chinese queen of the 7th century ruler Songsten Gampo, and the fierce green Tara as his Nepali one), deities admitted to the Buddhist fold (Mitra becoming Maitreya, Indra becoming Vajrapani), and gods of protection, often in union with their consorts. In addition to the basic Vajrayana deities of Indian origin, there are more than 500 deities of Tibetan conception. Biographical paintings of the historical Buddha, the two supreme goddesses Prajnaparamita and Tara, a pantheon of bodhisattvas (enlightened beings who renounce Buddhahood in compassion for living creatures who require help --- the bodhisattva Avalokiteshwara or Chenrezi is the patron saint of Tibet), other divinities including bird and animal ones, Tibetan and Indian saints, Tibetan kings, mandalas or spheres of divine residence of various deities, and epic heroes are also featured, as are the representations of flowers, medicinal herbs, and other worldly subjects. The tradition of thangka art was introduced into Tibet from eastern India in the 7th century and, influenced by Central Asian, Kashmiri, Nepali, and Chinese contributions, evolved, by about A.D. 1430, into a distinctive style of celestial motifs and exuberant colours. The painted images are essentially embodiments of ideas and not an idealisation of facts. They are to a viewer what diagrams are to a mathematician. Artists translated mystical visions of monks into pictorial forms within a code. The posture of the body and the number and positioning of its parts, along with the implements, the vehicle, the seat, and the colours, were documented in detail, as were descriptions of the mandalas. A growing interest in thangkas outside of the Tibetan community is beginning to move them out of their tradition religious and cultural context and, while themes and iconometry still conform to classical tradition, colours are being adapted to suit varied tastes.
Thangka, in Tibetan, is literally a 'flat painting' on a scroll or wall. What is commonly understood as a thangka is a painted, embroidered, or woven banner hung in a monastery or at the family altar and carried by lamas in ceremonial processions. Characteristic of creative expression in Tibetan Buddhism, they are done in multiple colours or, sometimes, in golden outline on a dark background. The iconometry used conforms generally to that prescribed around the mid-15th century by the great art theoretician Manthangpa. Thangkas are usually painted on sized cotton or linen (rarely on silk), with water-soluble natural dyes, tempered with a herb and glue solution. The technique is similar to tempera painting (which uses pigments mixed with size, casein, or egg, instead of oil) and its recorded use goes back at least to the 3rd century. The most common shape is the upright rectangle (square for a mandala). In the last stage of a painting, the eyes of the deities are painted as part of an elaborate 'eye opening' consecration ritual, after which it is mounted on silk, often woven with dragon, snake, or lotus motifs symbolising the sphere of cosmic waters. A protective fine silk curtain is added finally. Depicting appropriate themes, thangkas are objects of religious devotion, aids to meditation and contemplative invocation, and sources of miraculous power. They are also, occasionally, commissioned to commemorate events or for certain purposes such as propitiation or expiation, or to offer to a monastery. Common subjects include scenes from the Tibetan tradition which has 500 lives of the Buddha, depictions of reincarnations (the serene white Tara as the Chinese queen of the 7th century ruler Songsten Gampo, and the fierce green Tara as his Nepali one), deities admitted to the Buddhist fold (Mitra becoming Maitreya, Indra becoming Vajrapani), and gods of protection, often in union with their consorts. In addition to the basic Vajrayana deities of Indian origin, there are more than 500 deities of Tibetan conception. Biographical paintings of the historical Buddha, the two supreme goddesses Prajnaparamita and Tara, a pantheon of bodhisattvas (enlightened beings who renounce Buddhahood in compassion for living creatures who require help --- the bodhisattva Avalokiteshwara or Chenrezi is the patron saint of Tibet), other divinities including bird and animal ones, Tibetan and Indian saints, Tibetan kings, mandalas or spheres of divine residence of various deities, and epic heroes are also featured, as are the representations of flowers, medicinal herbs, and other worldly subjects. The tradition of thangka art was introduced into Tibet from eastern India in the 7th century and, influenced by Central Asian, Kashmiri, Nepali, and Chinese contributions, evolved, by about A.D. 1430, into a distinctive style of celestial motifs and exuberant colours. The painted images are essentially embodiments of ideas and not an idealisation of facts. They are to a viewer what diagrams are to a mathematician. Artists translated mystical visions of monks into pictorial forms within a code. The posture of the body and the number and positioning of its parts, along with the implements, the vehicle, the seat, and the colours, were documented in detail, as were descriptions of the mandalas. A growing interest in thangkas outside of the Tibetan community is beginning to move them out of their tradition religious and cultural context and, while themes and iconometry still conform to classical tradition, colours are being adapted to suit varied tastes.
Thangka Paintings of Sikkim,
Thangka, in Tibetan, is literally a 'flat painting' on a scroll or wall. What is commonly understood as a thangka is a painted, embroidered, or woven banner hung in a monastery or at the family altar and carried by lamas in ceremonial processions. Characteristic of creative expression in Tibetan Buddhism, they are done in multiple colours or, sometimes, in golden outline on a dark background. The iconometry used conforms generally to that prescribed around the mid-15th century by the great art theoretician Manthangpa. Thangkas are usually painted on sized cotton or linen (rarely on silk), with water-soluble natural dyes, tempered with a herb and glue solution. The technique is similar to tempera painting (which uses pigments mixed with size, casein, or egg, instead of oil) and its recorded use goes back at least to the 3rd century. The most common shape is the upright rectangle (square for a mandala). In the last stage of a painting, the eyes of the deities are painted as part of an elaborate 'eye opening' consecration ritual, after which it is mounted on silk, often woven with dragon, snake, or lotus motifs symbolising the sphere of cosmic waters. A protective fine silk curtain is added finally. Depicting appropriate themes, thangkas are objects of religious devotion, aids to meditation and contemplative invocation, and sources of miraculous power. They are also, occasionally, commissioned to commemorate events or for certain purposes such as propitiation or expiation, or to offer to a monastery. Common subjects include scenes from the Tibetan tradition which has 500 lives of the Buddha, depictions of reincarnations (the serene white Tara as the Chinese queen of the 7th century ruler Songsten Gampo, and the fierce green Tara as his Nepali one), deities admitted to the Buddhist fold (Mitra becoming Maitreya, Indra becoming Vajrapani), and gods of protection, often in union with their consorts. In addition to the basic Vajrayana deities of Indian origin, there are more than 500 deities of Tibetan conception. Biographical paintings of the historical Buddha, the two supreme goddesses Prajnaparamita and Tara, a pantheon of bodhisattvas (enlightened beings who renounce Buddhahood in compassion for living creatures who require help --- the bodhisattva Avalokiteshwara or Chenrezi is the patron saint of Tibet), other divinities including bird and animal ones, Tibetan and Indian saints, Tibetan kings, mandalas or spheres of divine residence of various deities, and epic heroes are also featured, as are the representations of flowers, medicinal herbs, and other worldly subjects. The tradition of thangka art was introduced into Tibet from eastern India in the 7th century and, influenced by Central Asian, Kashmiri, Nepali, and Chinese contributions, evolved, by about A.D. 1430, into a distinctive style of celestial motifs and exuberant colours. The painted images are essentially embodiments of ideas and not an idealisation of facts. They are to a viewer what diagrams are to a mathematician. Artists translated mystical visions of monks into pictorial forms within a code. The posture of the body and the number and positioning of its parts, along with the implements, the vehicle, the seat, and the colours, were documented in detail, as were descriptions of the mandalas. A growing interest in thangkas outside of the Tibetan community is beginning to move them out of their tradition religious and cultural context and, while themes and iconometry still conform to classical tradition, colours are being adapted to suit varied tastes.
Thangka, in Tibetan, is literally a 'flat painting' on a scroll or wall. What is commonly understood as a thangka is a painted, embroidered, or woven banner hung in a monastery or at the family altar and carried by lamas in ceremonial processions. Characteristic of creative expression in Tibetan Buddhism, they are done in multiple colours or, sometimes, in golden outline on a dark background. The iconometry used conforms generally to that prescribed around the mid-15th century by the great art theoretician Manthangpa. Thangkas are usually painted on sized cotton or linen (rarely on silk), with water-soluble natural dyes, tempered with a herb and glue solution. The technique is similar to tempera painting (which uses pigments mixed with size, casein, or egg, instead of oil) and its recorded use goes back at least to the 3rd century. The most common shape is the upright rectangle (square for a mandala). In the last stage of a painting, the eyes of the deities are painted as part of an elaborate 'eye opening' consecration ritual, after which it is mounted on silk, often woven with dragon, snake, or lotus motifs symbolising the sphere of cosmic waters. A protective fine silk curtain is added finally. Depicting appropriate themes, thangkas are objects of religious devotion, aids to meditation and contemplative invocation, and sources of miraculous power. They are also, occasionally, commissioned to commemorate events or for certain purposes such as propitiation or expiation, or to offer to a monastery. Common subjects include scenes from the Tibetan tradition which has 500 lives of the Buddha, depictions of reincarnations (the serene white Tara as the Chinese queen of the 7th century ruler Songsten Gampo, and the fierce green Tara as his Nepali one), deities admitted to the Buddhist fold (Mitra becoming Maitreya, Indra becoming Vajrapani), and gods of protection, often in union with their consorts. In addition to the basic Vajrayana deities of Indian origin, there are more than 500 deities of Tibetan conception. Biographical paintings of the historical Buddha, the two supreme goddesses Prajnaparamita and Tara, a pantheon of bodhisattvas (enlightened beings who renounce Buddhahood in compassion for living creatures who require help --- the bodhisattva Avalokiteshwara or Chenrezi is the patron saint of Tibet), other divinities including bird and animal ones, Tibetan and Indian saints, Tibetan kings, mandalas or spheres of divine residence of various deities, and epic heroes are also featured, as are the representations of flowers, medicinal herbs, and other worldly subjects. The tradition of thangka art was introduced into Tibet from eastern India in the 7th century and, influenced by Central Asian, Kashmiri, Nepali, and Chinese contributions, evolved, by about A.D. 1430, into a distinctive style of celestial motifs and exuberant colours. The painted images are essentially embodiments of ideas and not an idealisation of facts. They are to a viewer what diagrams are to a mathematician. Artists translated mystical visions of monks into pictorial forms within a code. The posture of the body and the number and positioning of its parts, along with the implements, the vehicle, the seat, and the colours, were documented in detail, as were descriptions of the mandalas. A growing interest in thangkas outside of the Tibetan community is beginning to move them out of their tradition religious and cultural context and, while themes and iconometry still conform to classical tradition, colours are being adapted to suit varied tastes.
Thangka/Scroll Paintings of Odisha,
Thangka, in Tibetan, is literally a 'flat painting' on a scroll or wall. What is commonly understood as a thangka is a painted, embroidered, or woven banner hung in a monastery or at the family altar and carried by lamas in ceremonial processions. Characteristic of creative expression in Tibetan Buddhism, they are done in multiple colours or, sometimes, in golden outline on a dark background. The iconometry used conforms generally to that prescribed around the mid-15th century by the great art theoretician Manthangpa. Thangkas are usually painted on sized cotton or linen (rarely on silk), with water-soluble natural dyes, tempered with a herb and glue solution. The technique is similar to tempera painting (which uses pigments mixed with size, casein, or egg, instead of oil) and its recorded use goes back at least to the 3rd century. The most common shape is the upright rectangle (square for a mandala). In the last stage of a painting, the eyes of the deities are painted as part of an elaborate 'eye opening' consecration ritual, after which it is mounted on silk, often woven with dragon, snake, or lotus motifs symbolising the sphere of cosmic waters. A protective fine silk curtain is added finally. Depicting appropriate themes, thangkas are objects of religious devotion, aids to meditation and contemplative invocation, and sources of miraculous power. They are also, occasionally, commissioned to commemorate events or for certain purposes such as propitiation or expiation, or to offer to a monastery. Common subjects include scenes from the Tibetan tradition which has 500 lives of the Buddha, depictions of reincarnations (the serene white Tara as the Chinese queen of the 7th century ruler Songsten Gampo, and the fierce green Tara as his Nepali one), deities admitted to the Buddhist fold (Mitra becoming Maitreya, Indra becoming Vajrapani), and gods of protection, often in union with their consorts. In addition to the basic Vajrayana deities of Indian origin, there are more than 500 deities of Tibetan conception. Biographical paintings of the historical Buddha, the two supreme goddesses Prajnaparamita and Tara, a pantheon of bodhisattvas (enlightened beings who renounce Buddhahood in compassion for living creatures who require help --- the bodhisattva Avalokiteshwara or Chenrezi is the patron saint of Tibet), other divinities including bird and animal ones, Tibetan and Indian saints, Tibetan kings, mandalas or spheres of divine residence of various deities, and epic heroes are also featured, as are the representations of flowers, medicinal herbs, and other worldly subjects. The tradition of thangka art was introduced into Tibet from eastern India in the 7th century and, influenced by Central Asian, Kashmiri, Nepali, and Chinese contributions, evolved, by about A.D. 1430, into a distinctive style of celestial motifs and exuberant colours. The painted images are essentially embodiments of ideas and not an idealisation of facts. They are to a viewer what diagrams are to a mathematician. Artists translated mystical visions of monks into pictorial forms within a code. The posture of the body and the number and positioning of its parts, along with the implements, the vehicle, the seat, and the colours, were documented in detail, as were descriptions of the mandalas. A growing interest in thangkas outside of the Tibetan community is beginning to move them out of their tradition religious and cultural context and, while themes and iconometry still conform to classical tradition, colours are being adapted to suit varied tastes.
Thangka, in Tibetan, is literally a 'flat painting' on a scroll or wall. What is commonly understood as a thangka is a painted, embroidered, or woven banner hung in a monastery or at the family altar and carried by lamas in ceremonial processions. Characteristic of creative expression in Tibetan Buddhism, they are done in multiple colours or, sometimes, in golden outline on a dark background. The iconometry used conforms generally to that prescribed around the mid-15th century by the great art theoretician Manthangpa. Thangkas are usually painted on sized cotton or linen (rarely on silk), with water-soluble natural dyes, tempered with a herb and glue solution. The technique is similar to tempera painting (which uses pigments mixed with size, casein, or egg, instead of oil) and its recorded use goes back at least to the 3rd century. The most common shape is the upright rectangle (square for a mandala). In the last stage of a painting, the eyes of the deities are painted as part of an elaborate 'eye opening' consecration ritual, after which it is mounted on silk, often woven with dragon, snake, or lotus motifs symbolising the sphere of cosmic waters. A protective fine silk curtain is added finally. Depicting appropriate themes, thangkas are objects of religious devotion, aids to meditation and contemplative invocation, and sources of miraculous power. They are also, occasionally, commissioned to commemorate events or for certain purposes such as propitiation or expiation, or to offer to a monastery. Common subjects include scenes from the Tibetan tradition which has 500 lives of the Buddha, depictions of reincarnations (the serene white Tara as the Chinese queen of the 7th century ruler Songsten Gampo, and the fierce green Tara as his Nepali one), deities admitted to the Buddhist fold (Mitra becoming Maitreya, Indra becoming Vajrapani), and gods of protection, often in union with their consorts. In addition to the basic Vajrayana deities of Indian origin, there are more than 500 deities of Tibetan conception. Biographical paintings of the historical Buddha, the two supreme goddesses Prajnaparamita and Tara, a pantheon of bodhisattvas (enlightened beings who renounce Buddhahood in compassion for living creatures who require help --- the bodhisattva Avalokiteshwara or Chenrezi is the patron saint of Tibet), other divinities including bird and animal ones, Tibetan and Indian saints, Tibetan kings, mandalas or spheres of divine residence of various deities, and epic heroes are also featured, as are the representations of flowers, medicinal herbs, and other worldly subjects. The tradition of thangka art was introduced into Tibet from eastern India in the 7th century and, influenced by Central Asian, Kashmiri, Nepali, and Chinese contributions, evolved, by about A.D. 1430, into a distinctive style of celestial motifs and exuberant colours. The painted images are essentially embodiments of ideas and not an idealisation of facts. They are to a viewer what diagrams are to a mathematician. Artists translated mystical visions of monks into pictorial forms within a code. The posture of the body and the number and positioning of its parts, along with the implements, the vehicle, the seat, and the colours, were documented in detail, as were descriptions of the mandalas. A growing interest in thangkas outside of the Tibetan community is beginning to move them out of their tradition religious and cultural context and, while themes and iconometry still conform to classical tradition, colours are being adapted to suit varied tastes.
Thangka/Scroll Paintings of West Bengal,
Thangka, in Tibetan, is literally a 'flat painting' on a scroll or wall. What is commonly understood as a thangka is a painted, embroidered, or woven banner hung in a monastery or at the family altar and carried by lamas in ceremonial processions. Characteristic of creative expression in Tibetan Buddhism, they are done in multiple colours or, sometimes, in golden outline on a dark background. The iconometry used conforms generally to that prescribed around the mid-15th century by the great art theoretician Manthangpa. Thangkas are usually painted on sized cotton or linen (rarely on silk), with water-soluble natural dyes, tempered with a herb and glue solution. The technique is similar to tempera painting (which uses pigments mixed with size, casein, or egg, instead of oil) and its recorded use goes back at least to the 3rd century. The most common shape is the upright rectangle (square for a mandala). In the last stage of a painting, the eyes of the deities are painted as part of an elaborate 'eye opening' consecration ritual, after which it is mounted on silk, often woven with dragon, snake, or lotus motifs symbolising the sphere of cosmic waters. A protective fine silk curtain is added finally. Depicting appropriate themes, thangkas are objects of religious devotion, aids to meditation and contemplative invocation, and sources of miraculous power. They are also, occasionally, commissioned to commemorate events or for certain purposes such as propitiation or expiation, or to offer to a monastery. Common subjects include scenes from the Tibetan tradition which has 500 lives of the Buddha, depictions of reincarnations (the serene white Tara as the Chinese queen of the 7th century ruler Songsten Gampo, and the fierce green Tara as his Nepali one), deities admitted to the Buddhist fold (Mitra becoming Maitreya, Indra becoming Vajrapani), and gods of protection, often in union with their consorts. In addition to the basic Vajrayana deities of Indian origin, there are more than 500 deities of Tibetan conception. Biographical paintings of the historical Buddha, the two supreme goddesses Prajnaparamita and Tara, a pantheon of bodhisattvas (enlightened beings who renounce Buddhahood in compassion for living creatures who require help --- the bodhisattva Avalokiteshwara or Chenrezi is the patron saint of Tibet), other divinities including bird and animal ones, Tibetan and Indian saints, Tibetan kings, mandalas or spheres of divine residence of various deities, and epic heroes are also featured, as are the representations of flowers, medicinal herbs, and other worldly subjects. The tradition of thangka art was introduced into Tibet from eastern India in the 7th century and, influenced by Central Asian, Kashmiri, Nepali, and Chinese contributions, evolved, by about A.D. 1430, into a distinctive style of celestial motifs and exuberant colours. The painted images are essentially embodiments of ideas and not an idealisation of facts. They are to a viewer what diagrams are to a mathematician. Artists translated mystical visions of monks into pictorial forms within a code. The posture of the body and the number and positioning of its parts, along with the implements, the vehicle, the seat, and the colours, were documented in detail, as were descriptions of the mandalas. A growing interest in thangkas outside of the Tibetan community is beginning to move them out of their tradition religious and cultural context and, while themes and iconometry still conform to classical tradition, colours are being adapted to suit varied tastes.
Thangka, in Tibetan, is literally a 'flat painting' on a scroll or wall. What is commonly understood as a thangka is a painted, embroidered, or woven banner hung in a monastery or at the family altar and carried by lamas in ceremonial processions. Characteristic of creative expression in Tibetan Buddhism, they are done in multiple colours or, sometimes, in golden outline on a dark background. The iconometry used conforms generally to that prescribed around the mid-15th century by the great art theoretician Manthangpa. Thangkas are usually painted on sized cotton or linen (rarely on silk), with water-soluble natural dyes, tempered with a herb and glue solution. The technique is similar to tempera painting (which uses pigments mixed with size, casein, or egg, instead of oil) and its recorded use goes back at least to the 3rd century. The most common shape is the upright rectangle (square for a mandala). In the last stage of a painting, the eyes of the deities are painted as part of an elaborate 'eye opening' consecration ritual, after which it is mounted on silk, often woven with dragon, snake, or lotus motifs symbolising the sphere of cosmic waters. A protective fine silk curtain is added finally. Depicting appropriate themes, thangkas are objects of religious devotion, aids to meditation and contemplative invocation, and sources of miraculous power. They are also, occasionally, commissioned to commemorate events or for certain purposes such as propitiation or expiation, or to offer to a monastery. Common subjects include scenes from the Tibetan tradition which has 500 lives of the Buddha, depictions of reincarnations (the serene white Tara as the Chinese queen of the 7th century ruler Songsten Gampo, and the fierce green Tara as his Nepali one), deities admitted to the Buddhist fold (Mitra becoming Maitreya, Indra becoming Vajrapani), and gods of protection, often in union with their consorts. In addition to the basic Vajrayana deities of Indian origin, there are more than 500 deities of Tibetan conception. Biographical paintings of the historical Buddha, the two supreme goddesses Prajnaparamita and Tara, a pantheon of bodhisattvas (enlightened beings who renounce Buddhahood in compassion for living creatures who require help --- the bodhisattva Avalokiteshwara or Chenrezi is the patron saint of Tibet), other divinities including bird and animal ones, Tibetan and Indian saints, Tibetan kings, mandalas or spheres of divine residence of various deities, and epic heroes are also featured, as are the representations of flowers, medicinal herbs, and other worldly subjects. The tradition of thangka art was introduced into Tibet from eastern India in the 7th century and, influenced by Central Asian, Kashmiri, Nepali, and Chinese contributions, evolved, by about A.D. 1430, into a distinctive style of celestial motifs and exuberant colours. The painted images are essentially embodiments of ideas and not an idealisation of facts. They are to a viewer what diagrams are to a mathematician. Artists translated mystical visions of monks into pictorial forms within a code. The posture of the body and the number and positioning of its parts, along with the implements, the vehicle, the seat, and the colours, were documented in detail, as were descriptions of the mandalas. A growing interest in thangkas outside of the Tibetan community is beginning to move them out of their tradition religious and cultural context and, while themes and iconometry still conform to classical tradition, colours are being adapted to suit varied tastes.
Thanjavur Doll of Tamil Nadu,
The globally acclaimed Tanjore Dolls (toys) are made with plaster of Paris, wood pulp and, of course, clay, obtained from the banks of the Cauvery river. These toys are the Indian version of the bobble headed dolls, which are mounted in such a way that their bodies and heads shake when they are moved. The dolls come in pairs like Raja and Rani, and attract the attention of children because of their unique nature. The plaster of Paris and paper (wood) pulp are immersed in water to the ratio of 1:3, along with tuber flour (sago) and then mixed into a dough which has the consistency of “poori” flour. The mixture is put into the die meant for producing patterns. The die-cast figurines are then left to dry in the shade for half an hour. Thereafter, they are affixed with papers and again dried for one and a half hours. The two parts of the dolls are then joined together and dried once more. After that the dolls are coated with flour to fill any gaps Clay is then added on the bottom. After they are dried, the dolls are painted.
The globally acclaimed Tanjore Dolls (toys) are made with plaster of Paris, wood pulp and, of course, clay, obtained from the banks of the Cauvery river. These toys are the Indian version of the bobble headed dolls, which are mounted in such a way that their bodies and heads shake when they are moved. The dolls come in pairs like Raja and Rani, and attract the attention of children because of their unique nature. The plaster of Paris and paper (wood) pulp are immersed in water to the ratio of 1:3, along with tuber flour (sago) and then mixed into a dough which has the consistency of “poori” flour. The mixture is put into the die meant for producing patterns. The die-cast figurines are then left to dry in the shade for half an hour. Thereafter, they are affixed with papers and again dried for one and a half hours. The two parts of the dolls are then joined together and dried once more. After that the dolls are coated with flour to fill any gaps Clay is then added on the bottom. After they are dried, the dolls are painted.
Thanjavur Veenai/Tanjor Veena of Tamil Nadu,
Thanjavur district lies on the southeast coast of Tamil Nadu. Local artisans, living in around the town of Thanjavur, are involved in the carving of veenas, a very delicate, painstaking and time-consuming task involving superior craftsmanship. The Thanjavur Veenai is about 4ftin length. It has a large, round body with a thick, wide neck, the end of which is carved like the head of a dragon. A small resonator is attached to the underside of the neck. The veena has 24 fixed metal frets (“mettu”), embedded with hardened beeswax, mixed with charcoal powder. The Thanjavur Veena has seven strings, four are playing strings and three are drone strings (“thalam”). It has no sympathetic strings. Melody is produced on the four metal strings that run above the frets. These are stretched over a wide bridge that sits on the body of the veena. Three other strings run alongside the neck of the instrument. These are used for maintaining time and for playing the drone.
Thanjavur district lies on the southeast coast of Tamil Nadu. Local artisans, living in around the town of Thanjavur, are involved in the carving of veenas, a very delicate, painstaking and time-consuming task involving superior craftsmanship. The Thanjavur Veenai is about 4ftin length. It has a large, round body with a thick, wide neck, the end of which is carved like the head of a dragon. A small resonator is attached to the underside of the neck. The veena has 24 fixed metal frets (“mettu”), embedded with hardened beeswax, mixed with charcoal powder. The Thanjavur Veena has seven strings, four are playing strings and three are drone strings (“thalam”). It has no sympathetic strings. Melody is produced on the four metal strings that run above the frets. These are stretched over a wide bridge that sits on the body of the veena. Three other strings run alongside the neck of the instrument. These are used for maintaining time and for playing the drone.
Thanjavur/Tanjore Metal Plates of Pondicherry,
Legend has it that Raja Serfoji II (1797-1832), the Maratha ruler of Thanjavur (or Tanjore), asked artisans in his court to create an object that would reflect the glory of his kingdom.This resulted in the creation of the Tanjore metal plate. Three metals --- silver, brass, and copper -- are encrusted on to each other to create this unusual object. The effect of silver in high relief on the reddish copper ground is unusual and striking. Artisans belonging to the Vishwakarma community follow this hereditary profession in Thanjavur (Tamil Nadu). This unusual encrusting of metal on metal has as its base a plate of brass which is prepared by a heavy-metal worker; the relief on copper is prepared by a jeweller and the encrusting is done by a stone-setter with silver. Some artisans, however, work on all the three processes themselves. The tools required to practise this craft include hammers, pincers, mould, punches and chisels, grinding stones, and a forge. Most of the tools are made by the artisans themselves. In the first stage the base is cut to the size of plate which is planned. The average thickness of the brass plate may vary from 10-24 gauge(s); this is cut to the required circular size and polished on its front side. It is fixed firmly to an asphalt bed with a wooden base. The bed is then heated with a blow pipe and levelled and the basic design die is prepared. The silver and copper sheets are then cut to the size required and heated slightly to make them malleable before they are impressed on to the die. The impression thus achieved on the metal has to be finished by etching and refining the embossing with the aid of chisels and punches. The next stage is that of encrusting and superimposing the metal sheet(s), which is then followed by the final polishing. To encrust the metals the hollow depressions at the back of the relief sheet are filled in with locally prepared wax made of brick powder, gingili oil, and frankincense. The relief sheet is then placed on the base plate and it is riveted on by punching along the grooves. Traditional Tanjore art plates have, on the central circular metallic disc, a representation of deities like Nataraja, Saraswati, Ashta Lakshmi, and Ganapaty. The designs around the central main motif can be from the pantheon of Hindu deities or floral designs. Intricate designs detail the plate and add to the ornamentation.The planning of the design involves the selection and putting together of the designs and motifs from a stock of standard patterns and designs available in design plates or moulds. A new design requires a new plate or mould to be prepared. Besides plates, other products --- including includes bowls, boxes, napkin ranges, key chains, and paper weights --- are made using the same technique. Logos and emblems of corporate houses and organisations have also been embossed.
Legend has it that Raja Serfoji II (1797-1832), the Maratha ruler of Thanjavur (or Tanjore), asked artisans in his court to create an object that would reflect the glory of his kingdom.This resulted in the creation of the Tanjore metal plate. Three metals --- silver, brass, and copper -- are encrusted on to each other to create this unusual object. The effect of silver in high relief on the reddish copper ground is unusual and striking. Artisans belonging to the Vishwakarma community follow this hereditary profession in Thanjavur (Tamil Nadu). This unusual encrusting of metal on metal has as its base a plate of brass which is prepared by a heavy-metal worker; the relief on copper is prepared by a jeweller and the encrusting is done by a stone-setter with silver. Some artisans, however, work on all the three processes themselves. The tools required to practise this craft include hammers, pincers, mould, punches and chisels, grinding stones, and a forge. Most of the tools are made by the artisans themselves. In the first stage the base is cut to the size of plate which is planned. The average thickness of the brass plate may vary from 10-24 gauge(s); this is cut to the required circular size and polished on its front side. It is fixed firmly to an asphalt bed with a wooden base. The bed is then heated with a blow pipe and levelled and the basic design die is prepared. The silver and copper sheets are then cut to the size required and heated slightly to make them malleable before they are impressed on to the die. The impression thus achieved on the metal has to be finished by etching and refining the embossing with the aid of chisels and punches. The next stage is that of encrusting and superimposing the metal sheet(s), which is then followed by the final polishing. To encrust the metals the hollow depressions at the back of the relief sheet are filled in with locally prepared wax made of brick powder, gingili oil, and frankincense. The relief sheet is then placed on the base plate and it is riveted on by punching along the grooves. Traditional Tanjore art plates have, on the central circular metallic disc, a representation of deities like Nataraja, Saraswati, Ashta Lakshmi, and Ganapaty. The designs around the central main motif can be from the pantheon of Hindu deities or floral designs. Intricate designs detail the plate and add to the ornamentation.The planning of the design involves the selection and putting together of the designs and motifs from a stock of standard patterns and designs available in design plates or moulds. A new design requires a new plate or mould to be prepared. Besides plates, other products --- including includes bowls, boxes, napkin ranges, key chains, and paper weights --- are made using the same technique. Logos and emblems of corporate houses and organisations have also been embossed.
Thanjavur/Tanjore Metal Plates of Tamil Nadu,
Legend has it that Raja Serfoji II (1797-1832), the Maratha ruler of Thanjavur (or Tanjore), asked artisans in his court to create an object that would reflect the glory of his kingdom.This resulted in the creation of the Tanjore metal plate. Three metals --- silver, brass, and copper -- are encrusted on to each other to create this unusual object. The effect of silver in high relief on the reddish copper ground is unusual and striking. Artisans belonging to the Vishwakarma community follow this hereditary profession in Thanjavur (Tamil Nadu). This unusual encrusting of metal on metal has as its base a plate of brass which is prepared by a heavy-metal worker; the relief on copper is prepared by a jeweller and the encrusting is done by a stone-setter with silver. Some artisans, however, work on all the three processes themselves. The tools required to practise this craft include hammers, pincers, mould, punches and chisels, grinding stones, and a forge. Most of the tools are made by the artisans themselves. In the first stage the base is cut to the size of plate which is planned. The average thickness of the brass plate may vary from 10-24 gauge(s); this is cut to the required circular size and polished on its front side. It is fixed firmly to an asphalt bed with a wooden base. The bed is then heated with a blow pipe and levelled and the basic design die is prepared. The silver and copper sheets are then cut to the size required and heated slightly to make them malleable before they are impressed on to the die. The impression thus achieved on the metal has to be finished by etching and refining the embossing with the aid of chisels and punches. The next stage is that of encrusting and superimposing the metal sheet(s), which is then followed by the final polishing. To encrust the metals the hollow depressions at the back of the relief sheet are filled in with locally prepared wax made of brick powder, gingili oil, and frankincense. The relief sheet is then placed on the base plate and it is riveted on by punching along the grooves. Traditional Tanjore art plates have, on the central circular metallic disc, a representation of deities like Nataraja, Saraswati, Ashta Lakshmi, and Ganapaty. The designs around the central main motif can be from the pantheon of Hindu deities or floral designs. Intricate designs detail the plate and add to the ornamentation.The planning of the design involves the selection and putting together of the designs and motifs from a stock of standard patterns and designs available in design plates or moulds. A new design requires a new plate or mould to be prepared. Besides plates, other products --- including includes bowls, boxes, napkin ranges, key chains, and paper weights --- are made using the same technique. Logos and emblems of corporate houses and organisations have also been embossed.
Legend has it that Raja Serfoji II (1797-1832), the Maratha ruler of Thanjavur (or Tanjore), asked artisans in his court to create an object that would reflect the glory of his kingdom.This resulted in the creation of the Tanjore metal plate. Three metals --- silver, brass, and copper -- are encrusted on to each other to create this unusual object. The effect of silver in high relief on the reddish copper ground is unusual and striking. Artisans belonging to the Vishwakarma community follow this hereditary profession in Thanjavur (Tamil Nadu). This unusual encrusting of metal on metal has as its base a plate of brass which is prepared by a heavy-metal worker; the relief on copper is prepared by a jeweller and the encrusting is done by a stone-setter with silver. Some artisans, however, work on all the three processes themselves. The tools required to practise this craft include hammers, pincers, mould, punches and chisels, grinding stones, and a forge. Most of the tools are made by the artisans themselves. In the first stage the base is cut to the size of plate which is planned. The average thickness of the brass plate may vary from 10-24 gauge(s); this is cut to the required circular size and polished on its front side. It is fixed firmly to an asphalt bed with a wooden base. The bed is then heated with a blow pipe and levelled and the basic design die is prepared. The silver and copper sheets are then cut to the size required and heated slightly to make them malleable before they are impressed on to the die. The impression thus achieved on the metal has to be finished by etching and refining the embossing with the aid of chisels and punches. The next stage is that of encrusting and superimposing the metal sheet(s), which is then followed by the final polishing. To encrust the metals the hollow depressions at the back of the relief sheet are filled in with locally prepared wax made of brick powder, gingili oil, and frankincense. The relief sheet is then placed on the base plate and it is riveted on by punching along the grooves. Traditional Tanjore art plates have, on the central circular metallic disc, a representation of deities like Nataraja, Saraswati, Ashta Lakshmi, and Ganapaty. The designs around the central main motif can be from the pantheon of Hindu deities or floral designs. Intricate designs detail the plate and add to the ornamentation.The planning of the design involves the selection and putting together of the designs and motifs from a stock of standard patterns and designs available in design plates or moulds. A new design requires a new plate or mould to be prepared. Besides plates, other products --- including includes bowls, boxes, napkin ranges, key chains, and paper weights --- are made using the same technique. Logos and emblems of corporate houses and organisations have also been embossed.
Thanjavur/Tanjore Sacred Iconic Paintings of Tamil Nadu,
Tanjore or Thanjavur paintings take their name from their place of origin in Tamil Nadu. These paintings of Hindu deities with ornamentation in gold were traditionally used in worship. This iconic style has been practised for over 400 years. The most typical of these paintings use the gilded and/ or gemset technique(s), and are highly stylised and conventional. These paintings are usually large in size and framed, as they are meant to be hung on the wall. The composition is static and the main deity centrally placed, though some narrative and illustrative subjects are also painted. The deity is placed within a formal space, be it an arch, borders, pillars or other forms of enclosures. The deity is represented in a symbolic stance and may be surrounded by other votaries or devotees. The colours used are generally strong and vivid: deep green, blues, and reds are used in the background while figures are mainly depicted in white, yellow, green, and blue. The colours are applied in a flat brush stroke with variations, the final effect being derived from the use of gold and the setting of the gems. This embellishment gives the paintings an ornamental and rich look. The term Tanjore painting row refers to a certain style that reached its peak in Thanjavur during Maratha domination in the 17th century. However, this style was also practised in Mysore and Andhra Pradesh contemporaneously. The Maratha rulers were orthodox Hindus and this style of painting and decorating images with jewels and precious stones also encouraged jewellers and goldsmiths. In the earlier examples of this art the gold gliding was restricted to the embellishment of the shrine or the deity and occupied only a small portion of the picture area. These paintings with their gilded and jewelled effects were used in worship or hung in puja (worship) rooms; the appearance in a darkened room lit by a diya (lamp) was that of a glowing presence. The painters of Thanjavur art were and are kshatriyas by caste and carry the name of Raja or Raju. The painters of these icons were guided primarily by their need to fulfil the needs of the community or patron and to work within inherited conventions. Originality was not emphasised upon. An offshoot of the Thanjavur painting was the Tirupati school of painting where the painting was enclosed in a highly embellished and painted wooden enclosure, meant to stand vertically. The structure had folding doors on which relief figures of Vishnu --- with smaller renderings of Rama and Krishna --- were portrayed, thus creating a portable shrine, which could be transported from one place to another. The base of each Thanjavur painting was constructed layer upon layer. These paintings are generally rendered on wooden panels with a single sheet of wood from the jackfruit tree being preferred. A sheet of cardboard is pasted on to the wooden panels with a glue made of tamarind paste. Over the cardboard, one or more layers of unbleached cloth are pasted down carefully, ensuring that there are no wrinkles. The cloth is then coated with a combination of gum aratic, French chalk powder, and copper sulphate. After several coats are applied the surface is smoothened by rubbing with a smooth stone or shell. Once this base is prepared the artist is ready to start painting. The first stage is to outline the subject matter and to work out the place where the gold gilding and the gems are to be placed. The area which is to carry gems is coated with a sticky paste called sukkan, made of unboiled finely ground limestone, and mixed with glue. The gems or cut glass as the case may be are then embedded. A further application of sukkan raises the area around the gems so that they are held firmly. Decorations and mouldings to create a raised relief are also created before the actual painting begins. The gold areas are of two kinds --- flat and embossed. Traditionally the gold work comprises two distinct varieties. The finer work entails the application of pure gold into very fine sheets, which are pasted on with gum and then rubbed with a smooth stone. The other variety is the embossed style where when the surface of the painting is raised in certain areas and gold-coloured paper is applied on it. This gilding can include the pasting of gems or coloured cut glass. The paper used is handmade rice paper coated with silver leaf. This paper is exposed to saffron smoke, which gives it a golden hue. This gilt paper is less expensive, and is used commonly. Traditionally all the colours are prepared by the painter. Colours of mineral origin are powdered in a mortar and mixed in water to obtain the paste required for painting. The use of plant-based colours supplemented the mineral colours used. Brushes made of squirrel hair are used for delicate work. The religious deities portrayed in Thanjavur paintings are mainly Vaishnavite ones. The incarnations of Vishnu, Rama, and Krishna are the most common. The range of themes is vast, though the characterisation is almost always iconic. The Nataraja is also common. The composition is always figurative with the background being very limited as the main image and the companies cover the surface. The figures are always robust and the dress courtly. The jewellery is elaborate and detailed carefully. In the early part of 19th century, British influence led to the introduction of portraiture to the repertoire of the artist and paintings of royalty and saints were also executed. This style of painting had declined owing to the time-consuming nature of the crafting and the prohibitive cost. It has, however, become popular again. Thanjavur paintings now hang in offices and homes, although their original religious purpose has been replaced by an ornamental one.
Tanjore or Thanjavur paintings take their name from their place of origin in Tamil Nadu. These paintings of Hindu deities with ornamentation in gold were traditionally used in worship. This iconic style has been practised for over 400 years. The most typical of these paintings use the gilded and/ or gemset technique(s), and are highly stylised and conventional. These paintings are usually large in size and framed, as they are meant to be hung on the wall. The composition is static and the main deity centrally placed, though some narrative and illustrative subjects are also painted. The deity is placed within a formal space, be it an arch, borders, pillars or other forms of enclosures. The deity is represented in a symbolic stance and may be surrounded by other votaries or devotees. The colours used are generally strong and vivid: deep green, blues, and reds are used in the background while figures are mainly depicted in white, yellow, green, and blue. The colours are applied in a flat brush stroke with variations, the final effect being derived from the use of gold and the setting of the gems. This embellishment gives the paintings an ornamental and rich look. The term Tanjore painting row refers to a certain style that reached its peak in Thanjavur during Maratha domination in the 17th century. However, this style was also practised in Mysore and Andhra Pradesh contemporaneously. The Maratha rulers were orthodox Hindus and this style of painting and decorating images with jewels and precious stones also encouraged jewellers and goldsmiths. In the earlier examples of this art the gold gliding was restricted to the embellishment of the shrine or the deity and occupied only a small portion of the picture area. These paintings with their gilded and jewelled effects were used in worship or hung in puja (worship) rooms; the appearance in a darkened room lit by a diya (lamp) was that of a glowing presence. The painters of Thanjavur art were and are kshatriyas by caste and carry the name of Raja or Raju. The painters of these icons were guided primarily by their need to fulfil the needs of the community or patron and to work within inherited conventions. Originality was not emphasised upon. An offshoot of the Thanjavur painting was the Tirupati school of painting where the painting was enclosed in a highly embellished and painted wooden enclosure, meant to stand vertically. The structure had folding doors on which relief figures of Vishnu --- with smaller renderings of Rama and Krishna --- were portrayed, thus creating a portable shrine, which could be transported from one place to another. The base of each Thanjavur painting was constructed layer upon layer. These paintings are generally rendered on wooden panels with a single sheet of wood from the jackfruit tree being preferred. A sheet of cardboard is pasted on to the wooden panels with a glue made of tamarind paste. Over the cardboard, one or more layers of unbleached cloth are pasted down carefully, ensuring that there are no wrinkles. The cloth is then coated with a combination of gum aratic, French chalk powder, and copper sulphate. After several coats are applied the surface is smoothened by rubbing with a smooth stone or shell. Once this base is prepared the artist is ready to start painting. The first stage is to outline the subject matter and to work out the place where the gold gilding and the gems are to be placed. The area which is to carry gems is coated with a sticky paste called sukkan, made of unboiled finely ground limestone, and mixed with glue. The gems or cut glass as the case may be are then embedded. A further application of sukkan raises the area around the gems so that they are held firmly. Decorations and mouldings to create a raised relief are also created before the actual painting begins. The gold areas are of two kinds --- flat and embossed. Traditionally the gold work comprises two distinct varieties. The finer work entails the application of pure gold into very fine sheets, which are pasted on with gum and then rubbed with a smooth stone. The other variety is the embossed style where when the surface of the painting is raised in certain areas and gold-coloured paper is applied on it. This gilding can include the pasting of gems or coloured cut glass. The paper used is handmade rice paper coated with silver leaf. This paper is exposed to saffron smoke, which gives it a golden hue. This gilt paper is less expensive, and is used commonly. Traditionally all the colours are prepared by the painter. Colours of mineral origin are powdered in a mortar and mixed in water to obtain the paste required for painting. The use of plant-based colours supplemented the mineral colours used. Brushes made of squirrel hair are used for delicate work. The religious deities portrayed in Thanjavur paintings are mainly Vaishnavite ones. The incarnations of Vishnu, Rama, and Krishna are the most common. The range of themes is vast, though the characterisation is almost always iconic. The Nataraja is also common. The composition is always figurative with the background being very limited as the main image and the companies cover the surface. The figures are always robust and the dress courtly. The jewellery is elaborate and detailed carefully. In the early part of 19th century, British influence led to the introduction of portraiture to the repertoire of the artist and paintings of royalty and saints were also executed. This style of painting had declined owing to the time-consuming nature of the crafting and the prohibitive cost. It has, however, become popular again. Thanjavur paintings now hang in offices and homes, although their original religious purpose has been replaced by an ornamental one.
Tharu Sikki – Golden Grass Products,
The intricately patterned, coiled grass tharu baskets are made of sikki, the 'golden grass' found growing in the wet and marshy area. Traditionally - and till today - sikki grass products are made by the women of the Maithil household especially brides-to-be and are taken to their husbands' home(s) after marriage as part of their dowry. Made in a wide variety of shapes( elephants, leaves, fish, and religious icons). these are used to carry sweets and fruit to festival gatherings, to bring gifts to a bride, and to provide storage. Some are decorated at the rim with a net-like border incorporating jingling shells and seeds. The baskets are made in the coiling method. The designs, which are stitched over the basic shape with dyed grass, include diamonds, triangles, flowers, fish, bird, and elephant motifs. They also make strong reed baskets with bold geometrical designs that are used for carrying purchases from the bazaar or for storage in the household.
The intricately patterned, coiled grass tharu baskets are made of sikki, the 'golden grass' found growing in the wet and marshy area. Traditionally - and till today - sikki grass products are made by the women of the Maithil household especially brides-to-be and are taken to their husbands' home(s) after marriage as part of their dowry. Made in a wide variety of shapes( elephants, leaves, fish, and religious icons). these are used to carry sweets and fruit to festival gatherings, to bring gifts to a bride, and to provide storage. Some are decorated at the rim with a net-like border incorporating jingling shells and seeds. The baskets are made in the coiling method. The designs, which are stitched over the basic shape with dyed grass, include diamonds, triangles, flowers, fish, bird, and elephant motifs. They also make strong reed baskets with bold geometrical designs that are used for carrying purchases from the bazaar or for storage in the household.
PROCESS & TECHNIQUE
To make the sikki grass usable, it is first cut from near its base and then dried. The upper portion of the flowering stem is then discarded. The remaining portion is finely sliced and shaved and used for making the products. Sikki is sold by the traders at the weekly haath (market) or by itinerant door-to-door sellers.
The sikki, which is characterised by its wonderful golden hue, is also coloured into myriad shades to make the products more attractive. The deities that are fashioned from the sikki are depicted with their own special colours in two-dimensional images. The colours most popular are purple, deep blue, bright yellow, magenta pink, green, and red, all combined with the natural golden to make the final product a riot of colours. The women craft the products throughout the year according to their needs.
The technique used for making products from sikki is the ancient and time honoured coiling method. Interestingly the actual form is shaped with khar (Saccharum spontaneum), which is much cheaper and more abundantly available. This provides the basic shape and gives additional strength to the product. The khar is completely coiled over and covered with sikki; it is not visible through the encasing. The only tool used by the women is a 6-inch long needle-shaped iron object, with a rounded head, made of lac, which is used to grip the needle while coiling the grass. The object being made is held firmly while the right hand is completely free to wield the needle. No threads or cords or any other materials are used. The sikki is wet lightly to make it more pliable as it is coiled around the khar. The colouring is achieved by boiling the sikki in dyes.
PRODUCT RANGE
The products made from sikki are utilitarian as well as ornamental, and often have religious significance. The women make containers to store grain, rice, and lentils; boxes to keep their clothes and jewellery; baskets to store sweets; and containers to store masalas (spices). Mobiles and toys are made for the children, while the women make bangles for themselves. Coasters, hand-held fans, and bowls and boxes of all types and sizes, mobiles, and three-dimensional figures are made for urban markets, while figures of deities are crafted for religious festivals. Each item is not only colourful but also individual. Colours are used in dramatic contrast and each product reflects the creative impulse of its maker. Two-dimensional images of birds and animals, trees, and figures are also beautifully crafted.
Thawa Art Work /Gold Work on Glass of Rajasthan,
The history of Thewa goes back some300 to 500 years. Thewa art was invented by Nathuni Sonewalla during the reign of Maharawat Samant Singh of Pratapgarh in the year 1767. Nathuni Sonewalla was forefather of the Rajsoni family, who continue to practice this art. Thewa art is considered to be a fine art as it was patronized by royalty. It is made by artisans who are by profession jewellers, and some of the items they produce are pieces of jewellery such as the “tika” (a traditional ornament worn by Rajasthani women on the forehead), necklaces, pendants, earrings, bracelets, tiepins, cufflinks and buttons. Utilitarian articles like combs, make-up boxes, mirror frames, photo frames and plates are also made using the Thewa art. The latest addition is the use of precious and semi-precious stones, which enhances the beauty of Thewa jewellery.
The history of Thewa goes back some300 to 500 years. Thewa art was invented by Nathuni Sonewalla during the reign of Maharawat Samant Singh of Pratapgarh in the year 1767. Nathuni Sonewalla was forefather of the Rajsoni family, who continue to practice this art. Thewa art is considered to be a fine art as it was patronized by royalty. It is made by artisans who are by profession jewellers, and some of the items they produce are pieces of jewellery such as the “tika” (a traditional ornament worn by Rajasthani women on the forehead), necklaces, pendants, earrings, bracelets, tiepins, cufflinks and buttons. Utilitarian articles like combs, make-up boxes, mirror frames, photo frames and plates are also made using the Thewa art. The latest addition is the use of precious and semi-precious stones, which enhances the beauty of Thewa jewellery.
The Patasi Sari of Lalitpur,
The black sari or patasi is the distinctive dress of the jyapunis, the women agriculturalists of Lalitpur in the Kathmandu Valley. The women are instantly recognisable by this distinctive black sari with a broad red border. Village-dwelling women in Nepal retain a very traditional repertoire of colours and patterns in their clothing. Choice here is dictated not by changing fashions or taste - as it is in more urban contexts - but by a traditional community-based aesthetic. It is not uncommon to visit a village in Nepal where all the women are dressed in similar clothes, or to go to a fair and with ease distinguish the different communities. Traditionally made of homespun and hand-woven cotton cloth this dress identifies the wearer's community; through subtle colour differences it also distinguishes the inhabitants of one village from another.
The black sari or patasi is the distinctive dress of the jyapunis, the women agriculturalists of Lalitpur in the Kathmandu Valley. The women are instantly recognisable by this distinctive black sari with a broad red border. Village-dwelling women in Nepal retain a very traditional repertoire of colours and patterns in their clothing. Choice here is dictated not by changing fashions or taste - as it is in more urban contexts - but by a traditional community-based aesthetic. It is not uncommon to visit a village in Nepal where all the women are dressed in similar clothes, or to go to a fair and with ease distinguish the different communities. Traditionally made of homespun and hand-woven cotton cloth this dress identifies the wearer's community; through subtle colour differences it also distinguishes the inhabitants of one village from another.
THE SARI: A DESCRIPTION
The most dramatic sari is about 700 X 75 cm in size, with a strikingly colourful border (kinara), which can vary in width between 3 cm to 10 cm. The kinara, though predominantly red with an orange stripe, can also be yellow, and sometimes green, with strips or other patterns incorporated in various ways. Through these variations the women seek to emphasise their uniqueness and individuality while still retaining their community identity.
The patasi is draped around the body is an unusual manner - it is pleated both in front and at the back thereby allowing easy movement of the legs while doing the heavy work in the field and house. The patasi is also worn much higher than the conventional sari, thus allowing for ease of movement and avoiding excessive wear and tear of the fabric while at work.
PRACTITIONERS & LOCATION
The cloth is woven by men and women belonging to the jyapu agricultural community of Lalitpur in the Kathmandu Valley. They work on traditional hand-operated looms in their leisure hours. The art of dyeing the threads to the dark black colour is the speciality of the ranjitkars, a special caste of dyers.
PROCESS & TECHNIQUE
Traditionally, the white cotton yarn was pre-dyed blue with the washi colour and bought readymade in the market; it was dyed black either at home or with the aid of the ranjitkar. When dyed by the farmer, the black dye was obtained by boiling the bark of the kafal tree with water in a phosi (copper) vessel. The boiled bark yielded a deep black dye extract. After being immersed completely in the black dye bath, the blue coloured threads are taken out, squeezed, and pounded with wooden hammers to ensure that the dye is completely absorbed by the yarn. This process is repeated three to four times, until the threads become completely black. The blackened threads are then squeezed and left to dry. When dry the process of weaving the sari starts.
New black-dye methods that are replacing traditional methods include the use of potash in combination with papado (a vegetable root) and copper sulphate that is used as a mordant. This technique uses white yarn that is locally purchased and not the traditional washi dyed yarn.
The Weaving and Dress of the Rabari of Kutch, Gujarat,
Amongst the Rabaris, men and women have a very different style of traditional wear. The subgroups of Rabaris are distinguished with subtle differences in their traditional attire, weaving and embroidery. Usually, Rabari women can be seen wearing a three-part ensemble consisting of a tubular woollen skirt or a pachhedo along with a backless blouse called kapadun. The men mostly wear a white cotton dhoti. Both the sexes wear jewellery made from silver metals and other ornaments which are mostly crafted by people from their own community.
Amongst the Rabaris, men and women have a very different style of traditional wear. The subgroups of Rabaris are distinguished with subtle differences in their traditional attire, weaving and embroidery. Usually, Rabari women can be seen wearing a three-part ensemble consisting of a tubular woollen skirt or a pachhedo along with a backless blouse called kapadun. The men mostly wear a white cotton dhoti. Both the sexes wear jewellery made from silver metals and other ornaments which are mostly crafted by people from their own community.