HANDMADE IN INDIA BOOK PDF

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PDF | On Jan 1, , Maureen Liebl and others published Handmade in India: traditional craft Handmade in India: traditional craft skills in a changing world Book. Full-text available. Oct Fred Omukubi Otswong'o. uniquely Indian, negotiating the space of fashion and design aesthetic in a contemporary .. 'NorthEasting the Mainstream', book readings by authors from. Start by marking “Handmade in India: A Geographic Encyclopedia of India Handicrafts” as Want to Read: Handmade in India examines all aspects of Indian handicrafts—historical, social, and cultural influences on crafts, design and craft processes, traditional and new markets.


Handmade In India Book Pdf

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Crafts of India. HANDMADE IN INDIA. Published by. Council of . and book covers were made for royal patrons and members of their courts. The two major. Handmade PDF English - Ebook download as PDF File .pdf), Text File .txt) or Map of India List of Crafts How to Use the Book Preface Introduction. Handmade in India: An encyclopedia of the handicrafts of India For this to happen there are several steps involved and the book will be the first in offering insights and .. Bamboo & Cane Crafts of Northeast India pdf 35 mb.

For this to happen there are several steps involved and the book will be the first in offering insights and data on this vast resource as well as be a vehicle that can provide a platform and a structure to enhance this knowledge using the new digital networks and tools of access and interaction that it provides provided the required investments are made in infrastructure and training to realize the inherent potential.

It is our intention that the information as well as the framework of situated keywords provided in this book will help all concerned with the promotion, development and use of the crafts of India would be empowered to build a sustainable network of live information.

This we believe will help our craftsmen re-connect with world markets, just as they had been doing for centuries in their own village and in their trade route networks of the past, and now the world can be their new village economy, if they are enabled and empowered to change to meet these new circumstances with access to information that is both live and relevant. In this introductory note we have tried to summarize the enormity of craft variety and the significant role that it plays in the day-to-day lives of both rural and urban people.

These linked posts below cover several frequently asked questions about this massive work that has gone on for many years at NID and now we are in a position to make it available to a wider audience for the benefit of informed decisions relating to the development initiatives associated with these crafts in India.

That it is a living resource as well as a resource for the future is something that we would strongly advocate and call for sustained investments from both government and industry to ensure its continuity towards a the realization of its future potential as a driver for the creative economy for the estimated six million crafts persons who have kept this knowledge alive through their actions and traditional methods of transmission which we are today trying to capture in an explicit format between the covers of a book.

We have had thinkers from the past comparing the crafts of India with the oceans of the world, vast and impossible to put into a bottle of any kind. We are very aware that it is only the whole earth and its gravity that can act as an adequate container for the oceans and water bodies of our planets ecology. Our vast and varied crafts traditions and practices can be compared to this vast ocean and it is only the tips of this enormous ice-berg that are visible in the book and we hope that the web and the digital networks that built in the subsequently phases can support and can play the role of making the rest of the hidden volume visible and accessible in the days ahead.

Our attempt has been to provide a framework on which this can be built in the days ahead. It is a pleasure to hold the advance copy in hand and see the realization of a dream and the fructification of the efforts of several generations of NID designers as well as a large team of contributors who have made this book possible, thank you all. The tsug-dul. Tsug-Dul and Tsug-Gdan and woollen pile rugs made of narrow woven strips that are sewn together. A tsug-dul made from white sheep wool and dyed acrylic.

The strips are individually woven on sked-thags. A detail showing the the men may be seen spinning while going about phang being supported their daily chores. Product Clusters Leh district: A braided sling made of yak hair and sheep wool. There are three kinds of saddlebags. The extremely soft pashmina 1. Production Clusters Ladakh Leh district: Changtang Valley Products Blankets. The haa. The drop spindle used by the men is known as haa and is used for spinning coarser goat hair called raal.

Scissors 1. The weave used is known as the dog-teeth design. The reverse of a challi. By varying the number of strips attached. The women use the phang. A large storage bag woven by women who use fine sheep wool and dyed yarns in their weaving. The type of spindle used by men allows them to spin while they walk. This practice originates from earlier times when journeys for trade were made on pack animals and bags could be easily mixed up during stoppages.

Strips having the same repeat pattern are joined to make saddlebags. Spindle Needle. The fabric is always woven in one material that is used as the weft while the other is selectively used in the warp to create the pattern. A saddlebag used for carrying grain on horseback. An old woman at Kashmiri shawl includes the extablishment of a Khamaling spinning Changra goat-rearing farm at Upshi near Leh. Detail of challi made of yak hair. When the ties are finally removed. The cloth is washed and rinsed in water.

These boots are flat-toed and are decorated with embroidery at the joineries. A slip-on paabu. Detail of tie dyed thitoo. Practiced larged in the Nubra Valley.

Detail of braiding on the top edge of the shoe upper. A woollen belt or skerekh. Made from wool. Strips two inches wide are used in the thigma-paabu boots with a tie-resistdyed panel.

Usually only narrow strips of woollen fabric are tie-resist-dyed. Paabu from Changtang made of leather and woven strips joined together with embroidery. Detail of a garment composed of tiedyed woollen strips. The cloth is then dyed in natural colours made of apple bark and onion peels for light browns. Another type which is pointed at the toe is worn by the women and is known as thigma-paabu after the thigma tie-resist-dyed wool fabric used in its construction.

The nomads of the Changtang Valley make paabu that incorporate strips of leather and nambu. Felted woollen cloth with appliqued patterns in different colours is attached to the rim of the shoe to give it its height.

These square toed paabu constructed of wool or cotton yarns and decorated with brocade pieces are worn by the monks during sacred dances. The kir-paabu made in the Nubra region are another variation.

Prayer wheels. The motifs commonly created include two dragons facing each other. A tubular scroll container. Various tools used in metal work.

The objects may be further embellished with silver. Large metal vessels commonly used in traditional Ladakhi households. A brass doorknob with intertwined dragons from the Hemis Monastery. Due to the growing sales of utensils and objects from Delhi the demand for these handcrafted products in Ladakh.

An artisan holding out a semifinished chang pot. The traditional latch seen in most monasteries on all doors. The handle is made of braided strips of coloured cloth. The objects are formed by beating metal into the desired shape and engraving decorative patterns onto the surface or creating patterns through repusse work. Detail of a dragon motif created in repousse work. Most of the carved forms have religious symbolism. The distinctive feature of the wood work is the prominence accorded to the forms carved in relief.

The entrance to the prayer hall of the Thiksey Monastery. The snow lion carved in a low relief on a wood panel intended for a monastery. Finely carved traditional wooden beams and joints. Commonly used motifs include the dragon. Most households can afford only a few 1.

The tools laid out above the panel have been designed by the craftsmen. One of the mythical evil spirits on a carved plaque. Wanla Choglamasar Products Choktse. Only eight or so colours are used and these are mixed together in a variety of permutations and combinations to create a rich palette that contains 48 colours. An elaborately painted screen at the monastery at Thiksey.

The painted wood work contributes significantly to the escape from a severe environment. There is a specific code which governs the selection of colours for a particular context. The grass is softened by soaking it in water for two weeks. The painted walls and lintels of the courtyard at the Lamayuru monastery.

Production Clusters Leh Products Choktse. The basket has two components: Chipkiang is crafted into backpack like baskets and matting for use in homes by villagers during breaks from their daily chores and the hectic farming season. The basket is allowed to dry in the sun for about a month as the grass remains wet. Two of these pairs are placed at right angles and a pair of grass stalks is twined around the veritcal stalks of the circular form as well as the willow branches.

The rim of the basket is finished by braiding the loose ends of the grass at the open end of the basket. The methods of painting different items vary. The endless knot. The baskets are made into two basic sizes. Product Clusters Ladakh: A set of stems of equal thickness are then selected.

For instance. Unlike the verdant landscapes of these valleys. Amit these mountains vistas is the historic town oc Chamba. The Viceregal Lodge at Shimla is an English Renaissance style building constructed in as the summer residence for the viceroys of India and the Gothic style Christ Church is renown for the fresco around its chancel window which was painted by Lockwood Kipling.

The shikara. The ethos of this hilly region. The Pahari.

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Lahaul and Spiti and various pastoral communities like the Gaddis who rear sheep and goat. While most of the local people are Hindus.

A rock shrine at the Norbulingka Institute in Dharamsala. Opposite page. A detail of the carved wooden ceiling of the Chamunda Devi Temple. Attire Topa. Most buildings are two-storey. Shimla and Chandigarh. Kolkata and Mumbai. It may be accessed by road via Shimla. Gaggal airport.

Dharamsala and Jammu. Silk threads Sources Chamba Chamba Sanganer. To this day. Pigment colours Leather. The hill state was rulded by a single dynasty in continuous series of accessions and consequently. Bharmour Situated on a mountain ledge overlooking the River Ravi. Thread Mulmul.

Rajasthan Jalandhar. The ornament carving of the Laxhmi Narayan Temple Complex. Brass Silver Handmade paper. In the mid 18th century. Kolkata Chamba. Fine khaddar.

There also exist many distinct bead necklaces-kamrakhi mala. In adddition to displaying a specific sociocultural positiond. Silver is also included in the casting in a proportion of 10gm of silver to 1 gm of copper. Of these. Two klenti. The chandrahaar.

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The nose ornaments nath or balu and the septum ornaments bulak or kundu that are worn exclusively by married women are usually highly intricate.

Karanphool Jhumku Nose-rings: Laung-large stud Balu-large nose ring Bulak-circular nosering Bangles: Kangnu-bangles with elephant-head knob endings Silver bracelets Bajuband-arm bands Paijeb. Tassels are used extensively as an ornamental element in the jutti and beshtar that are worn in the hair.

Choker Jaumala. The central pendant is enamelled in blue and green. Tools Sansi. A champakali necklace with magnolia-budlike pieces: Rohru town: Sunarion ka gaon Products Necklaces: Neck ornaments range from the torque. The head. Silver amulets are considered to have the power to ward off evil spirits and are worn by men.

The chiri tikka. Although practiced by women from all strata of Pahari society. Krishna multiplies himself in order to dance with four use of brilliant colours including pink.

The deity Lakshmi Narayan sits in the central quadrangle of a game of chaupad as three male figures sit in the four corners of the composition with sets of dice laid out before them. Ashtanayika a depiction of various types of heroines in their distinctive moods and environments. Chamba town Products Rumal-square cloth Pankhi. The embroidery was done in a double satin stitch technique known as dorukha.

Both the folk and the court styles usually rendered the popular themes of the Raaslila. Production Clusters Chamba district.

The folk style made generous In the depiction of the Raaslila. It also derived its compositions. Raasmandal depiction of dance in relation to krishna and devotees. Radha and Krishna are seated in the upper floor of the pavilion.

The court style reflects the popular pastimes of Pahari men and women from royal and noble families through the addition of details such as the smoking of the hookah. In recent years.

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The dense stitching is believed to be based on the bagh embroideries of Punjab. Althought all of these paintings have religious and spiritual undertones. Chamba and kangra may be distinguished by their elegant rhythmic figures.

Bhagvata Purana. A form of chain stitch embroidery done with a hooked needle. While the Basohli style was characterized by a flat use of bold. Although it originated as a folk art form in Basohli. An upper embroidered with an ari. Kullu and Bilaspur seeking sympathetic patronage after the fall of Delhi in to the Persian ruler Nadir Shah and the collapse of the Imperial Power.

The main themes that found pictorial representation in the Pahari kalam were epics like Ramayana. Even to this day. Pliers Jumoor-to remove mails Screwdriver Gulsome-punch Sil-stone. A depiction fo Goddess Saraswati. Production Clusters Chamba district: An incomplete rendering of the episode of Krishna Govardhana.

The colour palette generally consists of shades of pink. This development was given a discernible impetus when many artists affiliated to the Mughal court gradually migrated to the kingdoms of Nurpur.

The Chappal is constructed with sheep or goat leather or calfskin. Chamba Town Products Chappal. Dharamsala is well connected via road to the nearest rail head. Kangra and its fort were captured of the Mughal Emperor Jehangir who built a secondary fort and named it Nurpur after his wife Noorjahan. A thangka painter is Dharamsala. Southwest of Kangra lies the jwalamukhi Temple. Wven after it became a Mughal province. Kangra continued to enjoy its previous feudal splendour and during the 18th century.

Punjab 1. The town of Kangra. Thangka Applique Horsehair Woollen yarn. Its monasteries. These paintings. A Tibetan sacred symbol printed on a door hanging. Ambika Devi and Lakshmi Narayan. In addition to the extremely idealized femal form and the lyrical lines of the drawing. A master idol maker at his workbench in Dharamsala. In Lush tea gardens at Palampur. The nearest broad gauge railhead is Pathankot 90km and a narrow gauge railway line running between Pathankot and jogindernagar is linkded by roads.

A carpet weaver in Mcleod Gunj. Pathankot Punjab. The Fabric pieces may be placed side by side or overlapped to lend the representation a greater degree of dimension. Scissors Needles. The create alarge parts thus outlined are appliqued with the same silk thread that is used for the piping. The paintings are usually executed on coarse cotton cloth using mineral colours. Production Clusters Kangra district: In the latter type.

The piping is representing a made by winding silk yarn around a horse Buddhist hair or cord. The painters receive training at the monasteries and are expected to follow strict dictums regarding the rendering and proportion of the forms. This traditional thus outlined deity. Inset A detail of a purnakalash. Various sections of the image are produced separately.

The direction of sewing. Hung in monasteries. The figurative paintings either place the deities within a narrative by depicting episodes from their lives for instance. This traditional process is time stitched consuming. A punch is used to create the rlief of the desired image in repousse on bronze sheets while the chasing technique is utilized to form the details.

The training received by the craftsmen includes the development and refinement of drawing skills and a knowledge of the proportion system and measurements laid down in canonical texts. The punches used to sculpt the metal sheets are custom made by beating hot metal iron rods into any desired shape. Statues and ritual artefacts are mostly made in bronze through the lost wax process. The skills of the craftsmen are usually directed towards making statues and relief panels tha t serve the ritual and spiritual requirements of the monastery.

The large statues are made as individual cast parts that are eventually joined by soldering or brazing. Dharamsala Products Idols Relief panels Ritual objects Bells Utensils Tools Chisels Files Punches Hammer A range of statues are made to cater to a variety of requirementslarge statues are made for the monasteries while smaller statues are made for sale to individuals.

The statue is fininshed through the mercury gilding process. Carved wooden stands used to hold wind instruments at a monastery. Carved fretwork panel depicting a deity seated on a flower amidst a flowing trellis 5.

Another intricately carved fretwork panel containing the symbol known as the dharmachakra or the sacred wheel.

The wood that are usually used are the khari. The site is recorded to have contained elaborately carved narrations of the story of the Boddhisattvas as well as intricately detailed wooden tea bowls. The finer details are later carves out using fine chisels and the object is then finished through painting. The carved and painted entrance to the Norbulingka Institute.

A traditional bamboo fret saw known as the bah is used to remove wood along the drawn pattern to facilitate the second stage of the carving process which is the creation of an intricate fretwork. Craftsman carving the leg of a table.

The Carving tools are made by the local blacksmith or by the students themselves. The paint work is sometimes undertaken by the artists from the thangka studios thus granting the carved work the distinct colour scheme and style of the thangka painters.

Kullu Imboo wool. Byangi wool. Desi wool. Craft Sheet Brass. Shawl Merino wool Pula Pula grass. Kullu is at a distance of km from Shimla. A Village blacksmith embossing brass sheets to create mohras. The processions at the festival are led by the richly adorned images of Ram and Sita from the local Raghunath temple. Silver metal work Pashmina wool. By road. Pula Grass is spun into rope.

A loom in a village house. Carpet weaver in kullu town. She is dressed in a red mid-calf length full sleeved jacket made of expensive Indian velvet. The kamothu. A bamboo storage basket 4. Tray Palampur: Kamothu-small basket krida-big basket Soop. The techniques utilized in the d construction of the basket vary according to the type of basket to be woven but are usually combinations of coiling.

The Pangi or wedding dolls are known as the gaddan. She wears a head-scarf called dhatu and carries a cane basket called keelta as a reference to the tea plantations of the district. The bride may be recognized by the flowing veil and joiji. The Kullu dolls attire comprises of a pattu.

Two varieties of grass used in the local basketry. The baskets are made by professional weavers as well as by the women of Pahari households during the winter months and they are sold at the local fairs and weekly markets.

These baskets are made of bamboo. A large chaku. Palampur Kullu district Chamba district Products Kullu district: Dhalara-large bamboo container Supu-winnowing instrument Changer. Although coloured decorative elements are occasionally added to the woven basket. Load-bearing baskets from KUllu made from local wood-stemmed grasses. Baskets of various sizes are also used to store grains as well as cloth. The grass body is then clothed in miniature garments of blended fabric.

Care is taken to ensure that the grass used is somewhat damp so that when it dries. Hand-knitting is a technique of fabric construction in which interlinked loops are made from a continuous yarn. The prevalence of these socks in this region is largely due to the high altitude climate. Although only two needles are usually utilized for knitting. A chhatri for the processinal palanquins on which the gods are borne during the Dussehra An image of a deity with two mohras.

The figurative details are carved on and the artefact is polished with lemon leaves. In addition to thids prolific temple patronage. A detail of the patterning of a knitted Kullu district sock. The chief products are mohras. A mohra of a local deity. An embossed plaque depicting a local myth.

S-shaped Trumpet Chattri. KNITTED socks made with natural sheep wool contrasted with patterns in bright acrylic yarns or black and white are made by women in villages throughout the districts of kullu and Lahaul and Spiti. The coloured stripes and geometric patterns used to enhance the natural shade of the wool resemble the border decorations of the Kullu shawl and caps.

This assorted range of objects is created from metal sheets on which the form is first transferred and then die-pressed or only beaten. Hand-knitted socks in natural sheep Lahaul and Spiti. Banjar tehsil Kullu town: Sarwari Bazaar Chamba town: Palampur Geea village Baijanath Tehsil Kangra town: Mandir Gali Kinnaur district: Once the desired shape is achieved.

A simple system of hand measures is used to make different sizes. These lightweight shoes and slippers are worn during religious ceremonies. Five loops in increasing or decreasing size a relation to the toes are made from the prepared rope.

Production Clusters Kullu district: Panarsa Nagwain Bilaspur District: Panthera Chamba Town: In some instances. These shawls are used as draped garments. The Kinnaur style has largely replaced the chequered shawls that were previously made in Kullu while the pattus worn daily still have a chequered body of black and white and a single border. Gujarat and Madhya Pradesh. With the migration of the Bhushahra community of Kinnaur to the Kullu valley. Each rope is then tightened around the junction point of a T-shaped tool that is rotated at great speed while holding the base of its Khaitadu.

A slip-on variation of the traditional pula chappal. The body of the chappal is made by inter-twining very fine threads of grass spun on a takli.

The chief products are the famous kullu shawls-the twill-woven body in the grey. Dried trips of cannabis grass or buckwheat stem are converted into rope-like form and then strengthened by a process of twisting and stretching it. Merino wool is used for making commercially produced shawls and is imported from the plains. Although now associated exclusively with Kullu.

The exceptions to this utile material culture are the phulkari and bagh embroidered textiles and cotton dhurries. Woven silks.

Every village has a cobbler. Milk products are indispensable in the Punjabi diet. Ghaggar plains Semi-arid south -west Major rivers: Ravi Beas Satluj Ghaggar Districts. Traditionally Punjab consisted of three culturally and physically distinct zones-the hardworking but impoverished Malwa region. Chamba rumala. They also serve as means of integrating the community-the women of the village form gatherings known as trinjan where they spin.

The Architectural style of the monument. This tomb is particularly notable because of its use of the Purnakalash motif. Every crafts of the region are more utilitarian than ornamental. Textile related skills are prerequisites for women. Inset A woman using a butter churner. Biodiversity Flora: Kandi or Shivalik Foothills Satluj. The crafts of the region are more utilitarian than ornamental. Detail of the tombs at Nakodar: Purnakalash motif The tombs at Nakodar near Jalandhar display a Punjabi-Mughal style characterized by the use of stylized geometric patterns and coloured tiles set against a brick surface.

A scorching loo. Handwoven shawl their caste and creed. Buttermilk Sarson da saagmustard leaf dish Moolie di roti. Punjabi Hindustani Scripts: Gurumukhi Cuisine Lassi. Phulkari pakhi. Punjab is the largest producer of wheat. Kara-iron bangles 5 An array of parandas. Strategically located on the Silk Route. Faridkot and Ferozepur. An elderly Sikh carrying a khunda.

At Loha Mandi. The old city consists of a number of katras zones and mandis markets where a variety of businesses are still conducted. The embroidered shawls of this region are delicately worked along the borders and selvedge simulating the shawls of Kashmir.

The bottom portion is sharpened to a tip and wrapped in iron sheet. The Staves are made from whole bamboo poles that are cut to size in such a manner that the curved root of the bamboo is kept intact. The homespun yarn will eventually be woven into niwar strips. Shawl and carpet weaving were actively promoted by Maharaja Ranjit Singh. Majha is the regin between rivers Beas and Satluj and includes cities of Amritsar.

The pole is then tinted a reddish brown colour and ornamented with poker work. The small scale glass cutting industry operating in Amritsar was started by two German experts in the early 70s. Amritsar traded Silks. The boundaries of this metacluster approximate those of the alluvial plain traditionally known as Majha.

Handmade in India: A Geographic Encyclopedia of India Handicrafts

Batala is situated on the Amritsar-Pathankot Highway. Due to the migration of large numbers of ironsmiths from Sialkot in Pakistan to this region. Amritsar Gurdaspur District: A Centre of learning during Mughal rule.

An artisan. Of the patterns produced in the villages near Amritsar. Today there are no naksha makers left in Amritsar.

Production Clusters Amritsar district: This concentrated of skilled craftsmen combined with the availability of fine quality wool from the neighbouring hill states ensuredd the creation of exceptionally fine handknotted woollen carpets. The principal motif is the intersection of two channels in the centre. A Craftsman weaving a galeecha at a workshop in Amritsar. English carpet companies were set up in Amritsar.

The weavers use a colour coded naksha. In this technique. Inset Detail of a geometrical pattern on a carpet A detail of the traditional hatchli design. Following the large scale display of Indian handicrafts at the Great Exhibition of held in LOndon. Peg Tables Jalandhar Singhardaanicontainers Peedi. The motifs used are leaves and flowers. The large number of Sikh carpenters in Amritsar has been considerably added to by many karigars. Deodar Wood-sheesham. Due to the latter.

Flora and fauna alike are depicted in a stylized manner that is believed to be derived from the Mughal idiom. This region includes cities of Jalandhar. Both places are connected by train as well.

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Hoshiarpur Jalandhar district: Jalandhar Batala district: Batala Quadian Amritsar district: Amritsar Products Hoshiarpur Chairs. It has long had a concentration of artisan communities-especially wood workers. Jalandhar the capital of Punjab until Chandigarh was built in Plastic inlay in wood. Wood Inlay Acrylic. Shell Wood-Sheesham. Hoshiarpur and Nawa Shahr. Wood And lac turnery mango. The town of Kartarpur has a number of cottage industries-carpet weaving.

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The bedding consists of a dhurrie. While the latter may employ a number of colours. Although the craft was practiced in most rural areas of Punjab. Production Clusters Jalandhar District: Hoshiarpur Ropar District: The dhurries are made on simple horizontal looms in a weft-faced plain weave which gives it a sturdy.

The motifs used in both.

In Nakodar two types of cotton dhurries are woven-bed dhurries are woven on a pit loom in multicoloured stripes. Sanjhi Devi. The multiple forms and colours of the patterns are created through the use of independent wefts.

Bridal dhurries continue to be woven. Dhurries were also woven for the gurudwara. Noormahal and the villages around. Inset A detail of the mor or peacock motif. In the case of rich families. After the lac is applied. The layered laccoating done in jalandhar uses different colours from those of Hoshiarpur and the surface is engraved using needles so that the design shows up in a variety of colours.

Chisels Among the wood working community oF Hoshiarpur are the kharadi. Acrylic has become the primary material used in the inlay after the worldwide ban on ivory was introduced in A lac-coated and. Peg Tables. Detail of an inlaid table A craftsman gouging out the areas of the wooden surface that are to be inlaid with acrylic.

The foliage patterns. When the craft came up in this region. Yellow is occasionally added as well. Hoshiarpur city: Maderan Adampur Amritsar district: Furniture elements are turned on power lathes and the rotating pieces are coatedd with multiple layers of lac.

Comtemporary designs appear in white on a reddishbrown base. Inset A detail of an etching displaying the white coat which revealed when the upper brown one is scratched off. Detail of a jewellery box. The motifs are either of Persian origin or adaptions of the exquiste wood carving in the havelis.

Chairs Jalandhar: Singhardaanicontainers Peedi. A peg table ornamented with Chess pattern. The art of miniature paintingds too received patronage. The Chief crop is cotton. Beforedddddd the Sirhind Canal was built this land consisted of vadst stretches of tibbas. Malout and Bhathinda are big cotton mandis.

All the other clusters in the region are well connected by road and rail to both Chandigarh and Patiala. Goods from surrounding areas were brought to the mandi town of Malout for sale.

A Jutti shop in Muktsar. Cotton threads Buffalo Hide. Patiala Sangrur district: Faridkot and Malerkotla. Rayon threads Silk. Hyderabad Patiala Jalandhar. Detail of a bagh. With the increased prosperity of Patiala. Patiala is linked by road and air to chandigarh. Like wise during funerals. Tools Metal needle Scissors Wooden blocks A detail of the front of a bagh textile showing A chand bagh. Muslim and Sikh communities alike. The most significant items of the trousseau are the chope.

The suppport fabric is most often an auspicious dark red. It derives the meticulously counted thread embroidery. Unfinished corners or discordant colours signify a nazar buti meant to protect the wearer from the evil eye.

When a girl child is born. The fabric used us usually khaddar. Aside from their everyday use as veils. This is embroidered on the reverse side using the darning stitch.

Afganistan and Bengal and dyed yellow. Darning stitch is used to embroider from the reverse side of the fabric. A phulkari is also worn 11 days after the birth of a son. Reverse of a bagh textile. Inset A Detail of a motif from a chope. The subtle change in the directions of the stitch.

The darshan dwar. Shown here. Sainchi phulkari done in Haryana and Punjab is characterized by its use of figurative motifs representing the themes of marriage and rites of passage.

The number of doors depictedd may vary. The chope. Patiala town. Goniana Road Malot town: Guru Ravi Das Nagar Bhathinda district: Bhathinda town: Sirki Bazaar. In Fazilka. These nala are made using the sprang technique where a net-like structure is formed by twisting and twining the wrap elements. This is characteristic of the Patiala jutti. The khussa jutti has an upturned toe resembling a proudly curling moustache. In Patiala. Court road. Malot Raod.

Malerkotla Ferozepur district: Ferozepur town: Khai Road. Mochi Bazaar Ghantaghar chowk. They are elastic across their width and the net-like surface is patterned with motifs. Ram Bagh Road Faridkot district: The density of embroidery varies from region to region within Malwa. Jutti making is a family occupation. Twists made at the top automatically form at the bottom till the rows meet. Inset Detail of the framework on which nala are made.

Muktsar town: Hall Raod. Indra Market Abohar town: Thakur Abadi. Gali Bazaar Park. Before the advent of machine made nala. No nails are used in the construction of these jutti and no distinction is made between the left and right foot. The tasseled A Detail of the net-like surface of the nala. The Muslim embroiderers of Malerkotla are renowned for their fine. Ralia Hata. Patiala Sangrur district.

Decorative nala for sale. The ends are knotted into a round or square harad black myrobalam. It Chandigarh Pahadh. To the north is the beautiful Sukhna Lake which is now the venue for international water sport tournaments. Khes and dhurrie weavers as well as dyers who produce veils and turbans. Details of a cotton panja dhurrie. The city is divided into self-sufficient sectors. French and Indian architects and planners to design the city in the s.

Within the city there is a colony of Kumhars. Being a new city devoid of a traditon of crafts. A view of Chandigarh. The villages surrounding this modern city-kishangarh. Hallo Majra and Dadu dMajra-still have a community of potters. The French architect Le Corbusier led a team of American. Sarkanda or moonj grass which is used in making a range of products. Attire Ghaghramt skirt Dhunkaniyaembroidered veil Kalakandembroidered black veil Odhni-veil Cuisine Bajra khichri-porridge Raabri-fermented whey Dalia-wheat porridge Bura-clarified butter Green Melon Chutney A Jat woman attired in a kameez shirt worn over a daman skirt.

A woman dressed in the ghaghra a pleated skirt worn with a kurti halfsleeves top and an odhni veil. The Kikar tree. Its tannin rich bark is used by local tanners to dye hide and the twigs of the tree are used for datum.At this bridge across a river at Leh. Silver is also included in the casting in a proportion of 10gm of silver to 1 gm of copper. The foreign craft traditions fused together with the indigenous craft practices and forged an artistic vocabulary reflective of the environment they were produced in.

The number of doors depictedd may vary. And seeing the joy in the faces, like looking at a new born baby. Friut tray Boiya for storing rotis.

ALENA from Milwaukee
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