Theki, Wooden Vessels of Garjia Village, Uttrakhand,
The Chunere tribe of Uttarakhand work on the gharats, the traditional watermills, on a small patch of land in the middle of the river Kosi flowing through Garjia village, crafting wooden utensils called Theki. The water diverted from the river through a stone embankment extends towards the watermill through a wooden chute. A wedge inserted to the end of the chute directs the water to the turbine runner producing energy, enabling it to move. It is here that the master craftsman of the Chunere tribe carves and shapes the moving log with his instruments, the helpers do the finishing. This watermill is a centuries old part of hill culture, serving local needs, mainly for grinding maize, wheat and rice. Here the Chunere tribal's craft utility items for the villagers. Every year in December, a handful of craftsmen arrive from Bageshwar, a holy town in the Kumaon Himalayas, and live and work by the river till March. The only community to get a permit to cut trees in the forest, they procure sandhan wood to make vessels used by the locals as the wood has medicinal qualities. Locally known as Theki and weighing two-three kgs each, they craft pots for pickles, for storing milk products including curd as it doesn't sour in these pots, flower vases and local musical instruments like the Hurka. The items are sold in the nearby villages of Tehri, Uttarkashi, Almora, Nainital and Pithoragarh. As their agricultural yield is not enough to sustain them for the entire year the Chunere group live and work, away from their families for these months to make ends meet by crafting and selling these wooden vessels. They take loans to pay the forest department for cutting trees and buying rations.
The Chunere tribe of Uttarakhand work on the gharats, the traditional watermills, on a small patch of land in the middle of the river Kosi flowing through Garjia village, crafting wooden utensils called Theki. The water diverted from the river through a stone embankment extends towards the watermill through a wooden chute. A wedge inserted to the end of the chute directs the water to the turbine runner producing energy, enabling it to move. It is here that the master craftsman of the Chunere tribe carves and shapes the moving log with his instruments, the helpers do the finishing. This watermill is a centuries old part of hill culture, serving local needs, mainly for grinding maize, wheat and rice. Here the Chunere tribal's craft utility items for the villagers. Every year in December, a handful of craftsmen arrive from Bageshwar, a holy town in the Kumaon Himalayas, and live and work by the river till March. The only community to get a permit to cut trees in the forest, they procure sandhan wood to make vessels used by the locals as the wood has medicinal qualities. Locally known as Theki and weighing two-three kgs each, they craft pots for pickles, for storing milk products including curd as it doesn't sour in these pots, flower vases and local musical instruments like the Hurka. The items are sold in the nearby villages of Tehri, Uttarkashi, Almora, Nainital and Pithoragarh. As their agricultural yield is not enough to sustain them for the entire year the Chunere group live and work, away from their families for these months to make ends meet by crafting and selling these wooden vessels. They take loans to pay the forest department for cutting trees and buying rations.
Thewa/Gold Filigree on Glass of Madhya Pradesh,
Thewa is a jewelry craft practiced by a handful of artisans who specialise in the art of fusing filigreed gold sheets onto glass. The craft of thewa is practised by these hereditary artisans in the small fortified town of Pratapgarh in district Chittorgarh of south Rajasthan and Rampura in Madhya Pradesh. This unique craft uses plaques of glass as its base material. Till today the tradition of using red, green or blue glass continues. The technique of thewa has been used to create marvellous ornaments, plates, trays and jewelry, as well as small objects for daily use.
Thewa is a jewelry craft practiced by a handful of artisans who specialise in the art of fusing filigreed gold sheets onto glass. The craft of thewa is practised by these hereditary artisans in the small fortified town of Pratapgarh in district Chittorgarh of south Rajasthan and Rampura in Madhya Pradesh. This unique craft uses plaques of glass as its base material. Till today the tradition of using red, green or blue glass continues. The technique of thewa has been used to create marvellous ornaments, plates, trays and jewelry, as well as small objects for daily use.
CRAFT TRADITION
The art of thewa can be traced back 400 years when the erstwhile rulers of the area gave a land grant to the families of the artisans practising this craft in Pratapgarh. The artisans - who are all Hindu - belong to the Soni caste. Unconfirmed sources also claim that the technique actually originated in Bengal. As it did not do well there, thus the Bengali artisans moved westwards in search of patronage and finally settled in Rajasthan where they taught the Soni family the thewa technique. Women do not practise this craft; daughters are not taught, as it is feared that they may take the family secrets to the home of their in-laws. T.N. Mukherji in his book Art Manufacturers of India compiled for the Glasgow International Exhibition in 1888 mentions the technique of thewa as a kind of imitation enamel that was very effective in appearance. Even back then it is mentioned that the technique used was a family secret.
During the post-independence period the craft still enjoyed encouragement and patronage from the Government. In 1965, thewa was acknowledged as a unique craft when Ramprasad Ji Rajsoni won a National Award. Later, the brothers of Ramprasad Ji, Bemiram Ji Rajsoni and Shankarlal Ji Rajsoni were also given the National Awards. Most recently in 1977 Jagdish Ji Rajsoni was also conferred with the same award. Other members of the family have been given state awards.
CRAFTMEN WORK ENVIRONMENT
Work Place: Indoors
The workroom is sufficiently lit with incoming sunlight. As the work is done mostly during the day, work hours are from a few hours after sunrise till sun set.
Craftsmen work sitting on the floor on mats. His work table is sufficiently low enough (1' in height) to be comfortable. Worktable dimensions in terms of the available surface area are approximate 1.5'x2.0'. The surface is with a slight slant towards the craftsman.
Another closed wooden box of similar dimensions is kept near to the work table which stores the tools, implements and certain raw materials. When the craftsman works, he prefers his tools to be placed within easy reach.
About 1.5m. away from the work table the furnace unit is set up in a corner with its relevant tools kept near it.
Craftsmen work sitting on the floor on mats. His work table is sufficiently low enough (1' in height) to be comfortable. Worktable dimensions in terms of the available surface area are approximate 1.5'x2.0'. The surface is with a slight slant towards the craftsman.
Another closed wooden box of similar dimensions is kept near to the work table which stores the tools, implements and certain raw materials. When the craftsman works, he prefers his tools to be placed within easy reach.
About 1.5m. away from the work table the furnace unit is set up in a corner with its relevant tools kept near it.
RAW MATERIALS
PRIMARY RAW MATERIAL (raw materials used/ incorporated in the final product)
- Gold
- Silver
- Glass
- Solder
- Iron wire
- Beads (plastic)
- String (nylon) embellishing raw material.
- Copper sheet
- Geru
- Coal
- Chapdi
- Dhool (dust)
- Oil(cooking)
- Mica
- Sulpuric acid
- Reetha (araknut)
- Cells
TOOLS
There are a lot of tools used at different stages of the making process and related processes (preparatory and post production)
1. Aron: It is the anvil used to beat gold/silver there are two qualities of aron available and both are used. In the good quality aron, the smoothness of the aron is really good and it is more elastic. Hence the iron hammer strikes the aron without deforming it. It is called Pucca by the craftsman and is used for beating gold. In the bad quality aron, the surface is dented caused due to the low elasticity of the iron. This is also polished by the craftsman and is used for not so delicate or intricate work beating silver. These arons are fixed on a wooden block.
2. Hammer: There are two types of hammer, wooden and iron, used for different purposes. The wooden hammer is used in the making of the gold sheet, to hammer the leather.
3. Draw plate: This is used to draw the metal wire to reduce the thickness of the wire and also to make to wire cross section round.
4. Wire drawing pliers: The wire drawing pliers are pliers with which one can pull at the wire through the wire drawing plate.
5. Wire cutter: The wire cutter is used to cut the wire.
6. Sheet cutter: The sheet cutter is used to cut the metal sheet into strips.
7. T-Anvil: The T-anvil is fixed on to a wooden block for stability. The anvil is used for hammering joint points.
8. Tweezers: Two types of tweezers are used. The first type of tweeter is the bigger tweezers with a pointed tip. It is called the diamond tweezers and is used to do more delicate of the works.
9. Asbestos sheet: An asbestos sheet is used to hold the metal and the soldering work is carried out on it. It is used as it is a bad conductor of heat and one can hold the sheet in one's hand and work.
10. Spirit lamp: The spirit lamp is used to provide flame for various processes at different stages like, soldering and melting of gold and silver.
11. Blow pipe: There are two types of blow pipes - one big and one small. The big blow pipe is used for the furnace and the small blow pipe is used to direct the flame from the spirit lamp.
12. Chimtas (Tongs): There are small (1cm) iron begs used to hold the gold sheet together while soldering. These are made at home, by the craftsman himself.
13. Wooden block: A flat wooden black about 8" long and about 5" wide, about2" high is used to pour the Ral and it then becomes a permanent tool for fixing the gold sheet and working on it.
14. Iron sheet: Any scrap iron sheet is taken to hold the work piece while it is put in the furnace.
15. Special decorative tools: These tools are used to make the main design on the gold foil. The tools can be classified according to the different processes and uses. All these tools are made by the craftsman himself. The tools are fashioned from cycle spokes or umbrella spokes. These spokes are shaped with the help of files and grinding stone.
- Dotting tools: There are dotting tools of different sizes of two types one type is just a pointed dot and the other is a circle with a dot inside. These tools are used for making eyes, borders, flowers etc.
- Double lining tool: This tool is used to line the borders. Double line is made at the border to put decorative elements between the two lines. This is purely aesthetic and could have some immense of religion.
- Border pattern tools: These tools are specially fashioned for making repetitive patterns as border.
- 1st step drawing tool - Kandarna: these tools are not really fine tipped as compared to the other tools. These tools are used to outline the figures on gold. These tools are flat tipped (3mm.) and are used continuously i.e. the tools are not lifted much to create continuous lines.
- 2nd step drawing tools - Chirna: These tools are used to decorate the outlined figures and to give them details. A lot of combinations of tools are used to achieve the best results. These tools include a tool which I the same shape as Kandarna but the width is 1.5mm.
- 3rd step drawing tools - Jali tools: These tools are used to cut the Jali in the gold design. These tools are of different cross-sections. There is a tool like a scooper, one sharp tool to cut sections and take material out.
PROCES OF MAKING THE VADA
Vada is the rectangular cross-section silver wire fame for the gold sheet.
The milled silver wire is first drawn through the drawplate between two rectangular cross-sections.
The wire is bent on the anvil at a point and then manually guided around pre-fabricated geometrical shapes made of thick copper sheets (these shapes are made a little smaller than the frame of the Ghar as these wires frames are supposed to fit in it).
The wire is measured a bit shorter than the perimeters. This is done to adjust the expansion of silver while soldering and beating.
Before the soldering, the wire frame is cut length wise both ends and fit alternatively to solder to a level. This is then soldered and beaten.
PROCESS OF MAKING THE GHAR
Ghar is the silver box that encases the glass with the gold Jali work on it the master o the Ghar is fabricated from copper sheet strips. They form the walls of the case which is then pocked with Ral to make it solid.
A machine milled silver ribbon is cut to the required size. It is then measured around the master. The length is kept slightly smaller then the master perimeter as to adjust the expansion of silver while soldering and beating the ends are cut width-wise and inter-locked.
The base of the Ghar is cut a little bigger then the master base. This is done as the walls are soldered to the base from the inside. The excess is then filled off.
PROCESS OF RAL PREPARTION
Ral is a mixture of three things. It is used for fixing the work piece (i.e.Vada and gold piece.) The process takes 1 hour. And the Ral lasts for 2-3 decades.
Chapdi, oil and terracotta dust are taken in a ratio of 2:1:2, Oil is taken in a vessel and heated. When it becomes hot, Chapdi and oil become viscous, terracotta dust is mixed slowly while stirring the mixture simultaneously. Dust is added for binding and consistency. The consistency is checked at intervals. (a little Ral is taken out and cooled and pressed with a finger nail to check its hardness.) When the Ral is semi-solid, the heat is taken away and the Ral is poured onto a wooden block. The block now is ready to use. Some Ral is also kept separately.
PROCESS OF MAKING THE PRODUCTS
The process followed in thewa work is detailed and intricate. The gold sheet is cut in the desired shape. A previously made Vada is then placed on a mica sheet with the gold touching the mica. These 3 layers of mica, gold and silver Vada are then held together with iron Chimtas to help solder.
The soldered pieces are placed on the outside of the Vada on the gold sheet. The whole arrangement is heated with the flame from the blow pipe to melt and solder. Care is taken so that the previous solder doesn't get undone. For this Geru is applied on it.
The soldered piece is removed and dipped in diluted sulphuric acid for sometime. Then, the mica sheet is peeled off using the Chimtas. To remove any crimps on the gold sheet it is placed face down on a hard surface and the Vada is lightly hammered.
Pieces of the solidified Ral are placed within the Vada on the gold sheet. This is then heated for the Ral to melt. The melting of the Ral is done by placing the filled wire and gold sheet on a flat iron sheet and placing a mica sheet over the Vada and gold sheet. This is placed in the furnace. The furnace is made of iron sheets. Coal is used as a fuel and pieces of burning coal are held over the job with tongs and provide heat from above. A blow pipe is sometimes used for direct heating. The softened Ral is spread all over by pressing it. It is lightly hammered to pack tightly within the Vada and gold sheet. Thus, the gold sheet acquires a suitable base on which it can be worked upon. The Ral is then suddenly cooled by dipping in water to set it. The extra gold is clipped-off form the sides of the Vada. The outer edges of the Vada are then rubbed on a grinding stone. The wooden block with the Ral is heated to melt the Ral so that it can be spread and flattened. The A wet piece of thick paper put on it cool and is left thus. Now the decoration of the gold sheet starts. The first stage, Kardarna, is when just an outline of the motif is etched on the gold sheet. The second stage involves detailing i.e. eyes, ornaments etc. This is called Cheerna. The third stage is when the Jali is cut. This is a delicate process and the waste is collected in a small piece of paper. The waste is in the form of gold sheet plus Ral which is later melted. The gold melts and the Ral burns out. After cutting the Jali, the block is heated so that the Ral melts a little and when it is melting, the Jali is lifted slowly with a tweezers. After this the glass is etched with the same metal as in gold in negative i.e. the portion which is left in gold is etched out in glass. Then a solution is applied to the gold Jali and the Jali is placed on the gold etched glass and the glass is heated. This fixes the gold on glass.
ELECTORPLATING OF THE GHAR
The Ghar is gold plated casing. Gold potash, water and gold power are taken and electric current is passed fro the gold to silver Ghar. The gold is kept as negative terminal and the silver Ghar is kept as positive terminal.
FIXING OF THE GLASS IN THE VADA
(With gold Jali work)
TWO METHODS PRACTISED
- Traditional method (Craftsman from Pratapgarh)
- Contemporary Method (Craftsman from M.P.)
Traditional method: A glass piece is cut with a diamond cutter to a suitable shape and size to be placed inside the Vada. This arrangement is covered on the side of the gold work with a mica sheet (the mica acts as a non stick surface). A heavy steel stab is placed over the mica sheet. This whole structure is placed again upon a similar sheet slab in the furnace. Due to heat and pressure of the steel block it is probable that the gold is fused with the glass. It happens in a manner in which the gold and the base glass acquire a common surface with no two distinguishable levels.
The work is taken out of the furnace after the glass is seen to turn red hot for a few seconds. It then left for cooling. Contemporary method: The glass piece to be used is first etched with the design with the help of a diamond cutter. This design is transferred on the gold sheet; by holding the etched side of the glass in a non-oxidizing (yellow) flame, it is covered with a layer of carbon (soot). The etched surface is then pressed on the gold sheet to get a print on it with help of this reference a duplicate of the design is on the gold sheet which gives the Jali work in gold. FIXING OF THE JALI WORK ON ETCHED GLASS The etched surface of the glass is coated with a solution which possibly acts as a adhesive when heated. The gold work with the Vada is placed on the etching and fit slowly. This arrangement is placed in the furnace. After the gold fuses with the glass it is removed from the furnace and left to cool. The gold fixes with a level below the surface of the base glass and the etched edge of the glass can be easily felt with ones fingers. FIXING OF THE GLASS IN GHAR After the gold plated Ghar is ready, the base is fitted with iron wires (stuck with adhesives; synthetic) to give the glass support inside the Vada the glass with gold is then placed and the Vada top is rested on the glass. In case the piece has to be stung holes are drilled in the sides of the Vada for the string to pass through. Only gold sheets of the highest purity are used, for this lends itself to the thewa technique. The artisans treat all gold to remove impurities before rolling out and cutting the sheets, usually of 40 gauge thickness. 'As the work requires intricate detailing and skilful fusion of the gold into the glass base the wastage is high', says Ganpat Soni, a National Award winner and master in the technique of thewa. 'Overheating can break the glass or melt the gold. Alternatively, if not treated properly the gold filigree does not fuse well and soon comes off.' Talking about the initial struggles Soni says: 'It is only after years of intensive experimentation and many failures that the technique can be perfected.' Soni now guarantees 98 per cent quality. The artisans at Rampura have been using Belgian glass, from old windowpanes of houses and buildings, as the base for thewa articles; however, this source has now been exhausted and finding glass with the right colours is becoming increasingly difficult. As a result, thewa pieces can now be found in a new range of colours and materials: lemons, whites, blacks -some original, some obtained by using plastics. Artisans are also experimenting with other metals, including silver.
DESIGNS AND PRODUCTS
The motifs often depict details from Hindu mythology or Mughal courtly scenes and include floral patterns, historical scenes, the Krishna Leela, elephants, deer, lions and other animals, winged fairies, scenes from the battlefield, portraits of rulers, and the like. Products made by the artisans include jewelry and ornament pieces, boxes, plates, photo frames, belts, perfume bottles and vases. Unlike other gold jewelry the price of a thewa piece lies not in the intrinsic value of gold but the skill required to fashion an article. Unfortunately customers paying Rs 500 for a pair of earrings often question the price as well as the purity of the gold used.
Some of the finest examples of the thewa art can be seen in museums in India and abroad. Presently, in India, the craft is witnessing a revival with thewa jewelry pieces being made available in urban markets. With only a small handful of hereditary artisans practising it, this beautiful craft form needs this very welcome limelight.
MARKET
Nature of Selling: It is only direct selling. They sell their products from home to;
- Tourists (Indian as well as foreign)
- Private dealers (not local)
- Government officials (for sale in government emporiums)
- The local Market.
The craftsmen are also called for exhibitions in different cities where they sell their products.
Thigma of Ladakh,
This process involves resist-dyeing on woollen cloth. Chief centers for practicing this craft are the Nubra valley and Sabu. Products like panels for garments called Nambus, belts called skerekh and narrow belts are created under thigma. The tools used for practicing this craft are thread and cord.
This process involves resist-dyeing on woollen cloth. Chief centers for practicing this craft are the Nubra valley and Sabu. Products like panels for garments called Nambus, belts called skerekh and narrow belts are created under thigma. The tools used for practicing this craft are thread and cord.
Thoranams/Appliqué Embroidery of Pondicherry,
Very few craftsmen are practicing this craft today in Madurai, Tamil Nadu. Practitioners belong to Pilamar caste and are a close-knit community. The main product of the decorated temple chariot is the ther seelai. Appliqué hangings are found on temple chariots and were used mainly as thoranams/lintel pieces during festival processions. When they are tubular in shape they are thombais and they look like colourful pillars as they hang down the sides of the chariot. They are mainly made of cotton or felt in rich, bright red, yellow, white, black and cobalt-blue The sacred images used in these hangings are of Gods and Godesses like Durga, Ganesh, Kartikeya and Shiva.
Very few craftsmen are practicing this craft today in Madurai, Tamil Nadu. Practitioners belong to Pilamar caste and are a close-knit community. The main product of the decorated temple chariot is the ther seelai. Appliqué hangings are found on temple chariots and were used mainly as thoranams/lintel pieces during festival processions. When they are tubular in shape they are thombais and they look like colourful pillars as they hang down the sides of the chariot. They are mainly made of cotton or felt in rich, bright red, yellow, white, black and cobalt-blue The sacred images used in these hangings are of Gods and Godesses like Durga, Ganesh, Kartikeya and Shiva.
Thoranams/Appliqué Embroidery of Tamil Nadu,
Very few craftsmen are practicing this craft today in Madurai, Tamil Nadu. Practitioners belong to Pilamar caste and are a close-knit community. The main product of the decorated temple chariot is the ther seelai. Appliqué hangings are found on temple chariots and were used mainly as thoranams/lintel pieces during festival processions. When they are tubular in shape they are thombais and they look like colourful pillars as they hang down the sides of the chariot. They are mainly made of cotton or felt in rich, bright red, yellow, white, black and cobalt-blue The sacred images used in these hangings are of Gods and Godesses like Durga, Ganesh, Kartikeya and Shiva.
Very few craftsmen are practicing this craft today in Madurai, Tamil Nadu. Practitioners belong to Pilamar caste and are a close-knit community. The main product of the decorated temple chariot is the ther seelai. Appliqué hangings are found on temple chariots and were used mainly as thoranams/lintel pieces during festival processions. When they are tubular in shape they are thombais and they look like colourful pillars as they hang down the sides of the chariot. They are mainly made of cotton or felt in rich, bright red, yellow, white, black and cobalt-blue The sacred images used in these hangings are of Gods and Godesses like Durga, Ganesh, Kartikeya and Shiva.
Thread Craft of Odisha,
This is done on coloured paper which is used as the base. The figure is traced out with small iron nails fixed on the board with coloured paper. The thread is fixed on the nails and the entire figure is completed with this thread work. The themes for the craft are religious with deities like Lord Jagannath and other designs like lotus, peacock, and the like
This is done on coloured paper which is used as the base. The figure is traced out with small iron nails fixed on the board with coloured paper. The thread is fixed on the nails and the entire figure is completed with this thread work. The themes for the craft are religious with deities like Lord Jagannath and other designs like lotus, peacock, and the like
Thulma Blanket from Uttarakhand,
This woolen blanket is traditionally worn by the Shauka women. It is however much lighter and the fabric is brushed from inside which gives a fuller texture to keep the wearer warm in old regions. Thulma is woven either on a pit loom or the frame loom. It is woven in long strips that are cut and stitched together. the edges are finished with a blanket stitch. the colors- off white and grey are of the undyed wool sheared from the local sheep.
This woolen blanket is traditionally worn by the Shauka women. It is however much lighter and the fabric is brushed from inside which gives a fuller texture to keep the wearer warm in old regions. Thulma is woven either on a pit loom or the frame loom. It is woven in long strips that are cut and stitched together. the edges are finished with a blanket stitch. the colors- off white and grey are of the undyed wool sheared from the local sheep.
Tibetan Sandcasting of Uttarakhand,
Lingstang in Manduwala, 30 km from Dehradun, is a settlement of Tibetan people living in exile. In 1959, the Chinese overran Tibet and began to serve the cultural and religious persecution of the people,. causing an exodus of the Tibetans with their spiritual guide, JHios holiness, the Dalai Lama. In Dehradun, the statues and implements are sand cast. The foundries are in Lingstang and Dharampura, Designs of ritual implementations such as the Drilbu and Dorje are ancient and have specifications that can not be changed as they are used for prayer.
Lingstang in Manduwala, 30 km from Dehradun, is a settlement of Tibetan people living in exile. In 1959, the Chinese overran Tibet and began to serve the cultural and religious persecution of the people,. causing an exodus of the Tibetans with their spiritual guide, JHios holiness, the Dalai Lama. In Dehradun, the statues and implements are sand cast. The foundries are in Lingstang and Dharampura, Designs of ritual implementations such as the Drilbu and Dorje are ancient and have specifications that can not be changed as they are used for prayer.
Tie and Dye – Chungadi / Sungudi Weaving of Tamil Nadu,
The tie-and-dye technique practised at Rajasthan is both similar and different to the technique practised in Gujarat. At both centres it is the fabric that is tied and dyed to the design's chosen pattern. A large number of colours are used because once the base colour is tied in, a lot of colours can be applied on to the fabric at different stages and then tied and removed progressively. The motifs that are used are flowers, leaves, creepers, animals, birds, and human figures in dance poses; geometrical patterns are also common. The designs are given names like mountain design, kite design, and dol design. The dyeing is done in matching or contrasting colours. Dots are used to make up the designs. Do-rookha dyeing or different colours on either side is also practised by the craftsmen here. The lehariya technique has long lines or bands in various colours found all over the body of the sari or cloth. The lehariya cloths have their own names depending on the designs: pancharangi (five-coloured) and satrangi (seven-coloured) are common. Bandhanis are linked to various seasons, festivals and rituals for which there are specific designs and colours.
The tie-and-dye technique practised at Rajasthan is both similar and different to the technique practised in Gujarat. At both centres it is the fabric that is tied and dyed to the design's chosen pattern. A large number of colours are used because once the base colour is tied in, a lot of colours can be applied on to the fabric at different stages and then tied and removed progressively. The motifs that are used are flowers, leaves, creepers, animals, birds, and human figures in dance poses; geometrical patterns are also common. The designs are given names like mountain design, kite design, and dol design. The dyeing is done in matching or contrasting colours. Dots are used to make up the designs. Do-rookha dyeing or different colours on either side is also practised by the craftsmen here. The lehariya technique has long lines or bands in various colours found all over the body of the sari or cloth. The lehariya cloths have their own names depending on the designs: pancharangi (five-coloured) and satrangi (seven-coloured) are common. Bandhanis are linked to various seasons, festivals and rituals for which there are specific designs and colours.
Tie and Dye/Bandhej on Wool of Gujarat,
Woollen shawls are also dyed according to local traditions. The designs preferred include geometrical borders, large sunburst-like dots, and motifs like the scorpion and peacock. Traditionally, unmarried girls wore black shawls with orange dots; married women wear red and black. This craft is now being practised by very few artisans.
Woollen shawls are also dyed according to local traditions. The designs preferred include geometrical borders, large sunburst-like dots, and motifs like the scorpion and peacock. Traditionally, unmarried girls wore black shawls with orange dots; married women wear red and black. This craft is now being practised by very few artisans.
Tie and Dye/Bandhini of Madhya Pradesh,
The Bandhani found here is unusual and very attractive. The main centres are Tarapur and Umedpura; Bhairongarh is a smaller centre. The Gambhiri river which flows in this region has its banks full of drying bandhani fabrics. The popular motifs include the dana pattern that is formed by chains of grain on the body of the fabric with elaborate designs on the borders and pallu. The gaps between the bands of dotted lines are filled with motifs and the borders have zig-zagging lines on them. The designs on the body of the chunris can be squares dots, clusters of dots, flowers, and birds. The colour combinations of the saris or chunris are mainly indigo-blue and red. The bandhani owes its attractive appearance to contrasting bright colours, lines, and trace-figures. A woman's upper garment made in the bandani style called pillya. This is a speciality of Jawad. The background colours are mainly red and the motifs are leaves, flowers, dolls, and elephants. In Jawad, hair strings or parandas in the bandhani style are also crafted from cotton yarn in several colours.
The Bandhani found here is unusual and very attractive. The main centres are Tarapur and Umedpura; Bhairongarh is a smaller centre. The Gambhiri river which flows in this region has its banks full of drying bandhani fabrics. The popular motifs include the dana pattern that is formed by chains of grain on the body of the fabric with elaborate designs on the borders and pallu. The gaps between the bands of dotted lines are filled with motifs and the borders have zig-zagging lines on them. The designs on the body of the chunris can be squares dots, clusters of dots, flowers, and birds. The colour combinations of the saris or chunris are mainly indigo-blue and red. The bandhani owes its attractive appearance to contrasting bright colours, lines, and trace-figures. A woman's upper garment made in the bandani style called pillya. This is a speciality of Jawad. The background colours are mainly red and the motifs are leaves, flowers, dolls, and elephants. In Jawad, hair strings or parandas in the bandhani style are also crafted from cotton yarn in several colours.
Tie and Dye/Chungadi of Tamil Nadu,
Tie and dye work is done in Madurai in the southern part of Tamil Nadu, by migrants from Saurashtra, Gujarat who have long since settled here. Backgrounds are typically in the dark colours preferred in the south like red, black, blue and purple and the tie and dye pattern is found all over the body of the saris. This style of tie and dye is locally called Chungidi. The specialty here is the kolam or rangoli patterns. The kolams are all geometric in nature and the borders of the sari are in contrasting colours.
Tie and dye work is done in Madurai in the southern part of Tamil Nadu, by migrants from Saurashtra, Gujarat who have long since settled here. Backgrounds are typically in the dark colours preferred in the south like red, black, blue and purple and the tie and dye pattern is found all over the body of the saris. This style of tie and dye is locally called Chungidi. The specialty here is the kolam or rangoli patterns. The kolams are all geometric in nature and the borders of the sari are in contrasting colours.
Tie and Dye/Patola Silks of Gujarat, Patola Silks of Gujarat
The traditional patola is a double-ikat silk, with intricate five-colour designs resist dyed into both warp and weft threads before weaving. In the patola both warp and weft is resist dyed in a manner that, when woven, the elements of patterns on warp and weft mesh completely and perfectly. A slight 'run-on' in texture - a flame effect - is often there, though in a pure patola this 'run-on' should be almost imperceptible.
The traditional patola is a double-ikat silk, with intricate five-colour designs resist dyed into both warp and weft threads before weaving. In the patola both warp and weft is resist dyed in a manner that, when woven, the elements of patterns on warp and weft mesh completely and perfectly. A slight 'run-on' in texture - a flame effect - is often there, though in a pure patola this 'run-on' should be almost imperceptible.
The term 'patola' possibly derives 'from the Sanskrit pattakula meaning a silk fabric'. The patola is considered an extremely auspicious sari. Traditionally the wedding sari of the women of Kathiawar, the patola is regionally concentrated in western India, in the state of Gujarat, where it is traced back to the thirteenth century. 'The patola is worn by Brides from rich Bhatia and Brahmin families of Gujarat and by expectant mothers during the simanta ceremony, marking the seventh month of pregnancy. Scraps of the patola are preserved and revered by poorer families as having sacred properties.'
Earlier the patola was woven in Ahmedabad, Surat, Cambay and Patan in Gujarat; Jalna in Maharashtra; and Burhanpur in Madhya Pradesh. It was also a highly esteemed fabric in South East Asia - in Bali and the Malay Archipelago - where it was used in court, ceremonial, and ritual occasions. Now the traditional patola is made only in Patan by a few Salvi families, the traditional weavers of the patola.
The 'distinctive, repetitive, often geometric designs [of the patola] fall into three types':
- Purely geometric forms (e.g.: the navratana bhat or nine-jewel design)
- Floral & vegetal patterns (e.g.: the pan bhat or pan-leaf design/ chabbdi Bhat or flower-basket design)
- Designs depicting forms (nari or woman/ kunjar or elephant/ popat or parrot)
The colours are of the earth, of stones. The modern patola often has the designs are created in the weft threads only. This is less labour intensive and hence less expensive.
Tikuli Art of Bihar,
Tikuli or Bindi made up of gold and silver foils on solid glass was once a flourishing trade during medieval;l times and Patna, Bihar being the Centre. Due t gradual loss of royal patronage this art almost became extinct. Tikuli Art owes its revival to the famous painter Upendra Maharathi. Originated more than 800 years ago in the Patna District of Bihar. The word 'Tikuli' is derived from the word 'Tikli' which is a dot like embellishment with glass base and gold foils in a variety of designs used by most of married women for adorning their forehead. The making of Tikuli Involves melting of glass, blowing into a thin sheet and making and adding traced pattern in natural colors. Afterwards it is embellished with gold foils and jewels. In the olden times, Tikulis were mainly used by queen and aristocrat women. Beautiful hand crafted Tikulis were revered as proud possessions of the women. Now a days, the art of Tikuli making has been fused with Madhubani Paintings to make decorative wall plates, coasters, table mats, wall hanging, trays, pen stands and other utility items. This has increased the facets of this art and the scope of creativity for the artists. the fusion has not only created a new charm to the art but has also imparted an economic value to the produce.
Tikuli or Bindi made up of gold and silver foils on solid glass was once a flourishing trade during medieval;l times and Patna, Bihar being the Centre. Due t gradual loss of royal patronage this art almost became extinct. Tikuli Art owes its revival to the famous painter Upendra Maharathi. Originated more than 800 years ago in the Patna District of Bihar. The word 'Tikuli' is derived from the word 'Tikli' which is a dot like embellishment with glass base and gold foils in a variety of designs used by most of married women for adorning their forehead. The making of Tikuli Involves melting of glass, blowing into a thin sheet and making and adding traced pattern in natural colors. Afterwards it is embellished with gold foils and jewels. In the olden times, Tikulis were mainly used by queen and aristocrat women. Beautiful hand crafted Tikulis were revered as proud possessions of the women. Now a days, the art of Tikuli making has been fused with Madhubani Paintings to make decorative wall plates, coasters, table mats, wall hanging, trays, pen stands and other utility items. This has increased the facets of this art and the scope of creativity for the artists. the fusion has not only created a new charm to the art but has also imparted an economic value to the produce.
Tilla and Dori Work of Kashmir,
Tilla refers to gold or silver zari and dori refers to silk thread in the Tilla and Dori embroidery of Kashmir. Textiles like pherans, saris and shawls are produced using this technique.
Tilla refers to gold or silver zari and dori refers to silk thread in the Tilla and Dori embroidery of Kashmir. Textiles like pherans, saris and shawls are produced using this technique.
Tirupati Dolls of Andhra Pradesh,
In Chittoor district of Andhra Pradesh, the red sandal wood (red sanders or raktachandan), so called due to its rust-red tint, is used to carve dolls. This wood is hard and elastic, and resists white ants and fire. The dolls made here have a natural finish and are notable for their powerful modelling and simplicity of form. The toys consist mainly of reproductions of religious figures in the traditional classical style seen in sculptures and are perfectly replicated in small sizes. Some folk figures are also made in pairs, with close attention being given to clothing and ornament. Each pair has a special name. The dancing figures which are highly ornamented and beautifully chiselled have a remarkable dignity about them. Possessing sharp features, these dolls are unique in style.
In Chittoor district of Andhra Pradesh, the red sandal wood (red sanders or raktachandan), so called due to its rust-red tint, is used to carve dolls. This wood is hard and elastic, and resists white ants and fire. The dolls made here have a natural finish and are notable for their powerful modelling and simplicity of form. The toys consist mainly of reproductions of religious figures in the traditional classical style seen in sculptures and are perfectly replicated in small sizes. Some folk figures are also made in pairs, with close attention being given to clothing and ornament. Each pair has a special name. The dancing figures which are highly ornamented and beautifully chiselled have a remarkable dignity about them. Possessing sharp features, these dolls are unique in style.
Toda Tribal Embroidery of Nilgiri, Tamil Nadu,
The Toda women in the Nilgiri hills of Tamil Nadu have their own distinctive style of embroidery called pugur, which means flower. The embroidery is done on the shawls conventionally worn by men. The shawl, called poothkuli, has red and black bands that end at intervals of six inches. The look is embossed and the embroidery is done between the gaps in red and black. The most important motif is that of the buffalo horn as the Todas venerate the buffalo, other important motifs include the little box called mettvi kanpugur and the design named after the ancient priest of the Todas called Izhadvinpuguti. There are other motifs named after wild flowers; and a quaint motif named after a girl who slipped and fell off the precipice. This dramatic style of embroidery, done exclusively by Toda women, uses red and black threads on a white background. The work is so fine that it is often mistaken as a weave at the first glance. Girls learn this art from their mothers at a very young age. It is an intricate form of needlework embroidered on a shawl in continuous bands of lengthwise strips, rather than across the width, and is called Pootkhull(zh)y. Toda embroidery is reversible, so the shawl can be used on both sides. The Todas consider the “rough” obverse side, with its generous looping of threads, as the right or display side, and not the far neater, reverse side. The base fabric is a rough off-white cotton cloth woven specially for the Todas by weavers who known as Kolas (another tribe living in the Nilgiris). These weavers used to barter cloth for buffaloes, bulls or calves. Now, they sell them for cash. The design patterns of the Toda embroidery are mostly symbolic, ranging from floral motifs to animal and human figures. It is done in the counted thread technique, following the right angles of the warp and weft threads of the coarsely woven material. The necessary stitches are executed according to the required pattern. This gives the impression of a woven rather than embroidered pattern.
The Toda women in the Nilgiri hills of Tamil Nadu have their own distinctive style of embroidery called pugur, which means flower. The embroidery is done on the shawls conventionally worn by men. The shawl, called poothkuli, has red and black bands that end at intervals of six inches. The look is embossed and the embroidery is done between the gaps in red and black. The most important motif is that of the buffalo horn as the Todas venerate the buffalo, other important motifs include the little box called mettvi kanpugur and the design named after the ancient priest of the Todas called Izhadvinpuguti. There are other motifs named after wild flowers; and a quaint motif named after a girl who slipped and fell off the precipice. This dramatic style of embroidery, done exclusively by Toda women, uses red and black threads on a white background. The work is so fine that it is often mistaken as a weave at the first glance. Girls learn this art from their mothers at a very young age. It is an intricate form of needlework embroidered on a shawl in continuous bands of lengthwise strips, rather than across the width, and is called Pootkhull(zh)y. Toda embroidery is reversible, so the shawl can be used on both sides. The Todas consider the “rough” obverse side, with its generous looping of threads, as the right or display side, and not the far neater, reverse side. The base fabric is a rough off-white cotton cloth woven specially for the Todas by weavers who known as Kolas (another tribe living in the Nilgiris). These weavers used to barter cloth for buffaloes, bulls or calves. Now, they sell them for cash. The design patterns of the Toda embroidery are mostly symbolic, ranging from floral motifs to animal and human figures. It is done in the counted thread technique, following the right angles of the warp and weft threads of the coarsely woven material. The necessary stitches are executed according to the required pattern. This gives the impression of a woven rather than embroidered pattern.
Tolpava Koothu /Shadow Puppets in Leather of Kerala,
The shadow play or puppet show with leather figures is an art form of great antiquity. References to it are found as early as the 12th century. Shadow play flourished in different parts of India and the figures of the various characters of the play were designed in leather, with the play being performed by projecting the shadows of these puppets on to a cloth screen. In Kerala, Tolpava Koothu (tol means leather, pava means puppet, and koothu means play) originated in the Palaghat district where it is still performed in the temples of Bhadrakali as part of the ritualistic worship of the goddess. Odisha too has a tradition of leather puppets and of puppet shows known as Ravanchaya While in Karnataka the puppeteers are well versed in music and in the themes of the great epics. Andhra Pradesh has several families of traditional puppeteers called tolubommalata. The techniques used to produce the puppets is complex. Goat or sheep leather is used and skin is first stretched taut and is nailed at the corners to keep it in position. It is then smeared and rubbed with ash, and exposed to the sun till it is dry. The puppet figure is then drawn on the leather and cut out with a fine chisel. Ornaments and clothing are drawn by drilling different kinds of holes in the skin for which special pointed chisels are used. Colour plays an important and ritual part in the making of these puppets. The colours used to tint and paint the leather are obtained from vegetable and mineral sources. These colours retain their lustre and brightness for a long time. To prevent the puppets from bending a thin strip of smoothened bamboo is fastened vertically along the middle on either side. The arms of the puppet are provided with movable joints. There are puppets for birds, animals, and trees and even for the sea. Puppets of deer and snakes are provided with joints that enable them to bend and move their bodies. In order to find new markets the makers of the leather puppets have used the same techniques to make lampshades in different shapes and sizes. These create striking illumination on being lighted
The shadow play or puppet show with leather figures is an art form of great antiquity. References to it are found as early as the 12th century. Shadow play flourished in different parts of India and the figures of the various characters of the play were designed in leather, with the play being performed by projecting the shadows of these puppets on to a cloth screen. In Kerala, Tolpava Koothu (tol means leather, pava means puppet, and koothu means play) originated in the Palaghat district where it is still performed in the temples of Bhadrakali as part of the ritualistic worship of the goddess. Odisha too has a tradition of leather puppets and of puppet shows known as Ravanchaya While in Karnataka the puppeteers are well versed in music and in the themes of the great epics. Andhra Pradesh has several families of traditional puppeteers called tolubommalata. The techniques used to produce the puppets is complex. Goat or sheep leather is used and skin is first stretched taut and is nailed at the corners to keep it in position. It is then smeared and rubbed with ash, and exposed to the sun till it is dry. The puppet figure is then drawn on the leather and cut out with a fine chisel. Ornaments and clothing are drawn by drilling different kinds of holes in the skin for which special pointed chisels are used. Colour plays an important and ritual part in the making of these puppets. The colours used to tint and paint the leather are obtained from vegetable and mineral sources. These colours retain their lustre and brightness for a long time. To prevent the puppets from bending a thin strip of smoothened bamboo is fastened vertically along the middle on either side. The arms of the puppet are provided with movable joints. There are puppets for birds, animals, and trees and even for the sea. Puppets of deer and snakes are provided with joints that enable them to bend and move their bodies. In order to find new markets the makers of the leather puppets have used the same techniques to make lampshades in different shapes and sizes. These create striking illumination on being lighted
Tortoise and Turtle Shell Craft,
HISTORY & TRADITION
The artisans of Galle are experts in converting the scaly turtle shells into craft items of high artistic and commercial value. Curved combs -traditionally worn by elderly Sinhalese women as a symbol of social and economic standing in society - were one of the most popular items made from this shell. In contemporary times, as the privileged aristocracy of Sri Lanka has all but disappeared, this curved comb has become an antique item.
GROWTH
The growth and evolution of the turtle-shell craft in Sri Lanka is linked quite substantially with the development of the tourism industry. The products being made include a wide range spanning combs, brooches, bracelets, ear-rings, necklaces, hair brushes, mirrors, tobacco boxes, cigarette cases, spectacle frames, jewellery boxes, handbags, and trays. Most of these are made by the local artisans for tourists.
MATERIALS USED, TOOLS & TECHNIQUES OF PRODUCTION
The raw material used for tortoise-shell work is the thin outer crustacean covering which is the carapace of the hawksbill turtle, the Chelonia Imbricata. This shell has 13 imbricated horny plates, out of which 12 are used in shell craft. The outer shell is extracted from the carapace by the application of heat. The plates that are taken out are irregular in form and keeled or curved.
The process of curing and cleaning the turtle shell is detailed and time-consuming, and requires a great deal of skill and expertise. The shells are boiled in water for about two hours to soften them. When they are sufficiently pliable, they are flattened with the application of pressure. Turtle shell is more brittle and harder than horn and so care is required in moulding these shells into the different forms of the articles to be made. The plates obtained from the shell have limited dimensions - the largest being about 8"x13" - making it becomes essential to join two or more pieces to obtain the required size. The shells are cut to shape - either in the form of a bangle, powder box or brooch - and the cut pieces are fastened together with the help of the heated prongs of a large steel pincer which acts as a press.
Wooden moulds are used sometimes to obtain the required shape. Before fastening the pieces together the surfaces are carefully cleaned and rasped. The heat treatment softens and liquefies a superficial film of the horny material and, with the application of pressure, the surfaces are joined together perfectly. The prongs are heated to a fairly high temperature over a charcoal fire; the temperature of the tongs has to be maintained carefully as the heat-pasting of the shell pieces has to be accurate. Excess heat also tends to darken and obscure the material. This heat treatment is repeated whenever adjustments or alterations are required.
When smaller objects are made the plates are sawn or cut with great precision with a hack-saw, care being taken to prevent any waste because of the high value of the shell. Then, the necessary inlay work in gold or silver is delicately executed. Some of the motifs or designs found in turtle-shell products are figures of animals, sigiri maidens (depictions from the Sigiriya cave-paintings), Kandyan dancers, and zodiac signs. Womenfolk help out in the tasks of scraping, smoothening and polishing. After the products have been detailed as desired/ required, these articles are polished by using the spathe of the breadfruit tree (Artocarpus Nobilis). The coarse outer skin of the spathe helps bring out the brightness and transparent quality of the article. Some powdered chalk is also applied when the article is being polished. The final appearance of the product is a fine honey-grained colour, glowing and transclucent.
CONTEMPORARY PERSPECTIVE & ALTERNATIVES
This craft is indigenous and very sustainable at the village-level: in all stages of the craft, the materials used are traditional ones that seem to have been used since the craft began. The tools and equipment that are made for it by the blacksmiths suit local requirements. However, the raw material for the craft has become increasingly scarce. The prices of these shells have risen steeply and the craft in general has been affected adversely; however, the limited availability has encouraged some traditional artisans to restrict themselves to creating only exquisite specimens of the craft.
The once flourishing craft does not seem to have too much of a future; it is only the tourist interest in the products that is keeping the remaining few artisans enthused. Some other materials are acting as substitutes for these craftsmen to carry on with their craft. Buffallo horn and bull horn items are now acquiring popularity among buyers.