Unveiling The Lost Artistry Of Extinct Handmade Crafts Of India

Each thread, each brushstroke, each chisel mark tells a tale of skill, tradition, and untold beauty. Join us on a captivating journey as we resurrect these forgotten masterpieces, breathing life into the them and rediscovering the unique cultural symphony that once echoed through the artistic alleys of India. Welcome to "Unveiling the Lost Artistry of Extinct Handmade Crafts of India," a voyage into the enchanting realm of forgotten brilliance and timeless allure.

But are we too late to save these are forms?

Here’s a list of 10 dying Unique art form of INDIA.

  BIDRIWARE:

Bidriware is a metal handicraft from the city of Bidar in Karnataka. It was developed in the 14th century C.E. during the rule of the Bahmani Sultans.The term “Bidriware" originates from the township of Bidar, which is still the chief center of production. The metal used is white brass that is blackened and inlaid with silver. This native art form has obtained Geographical Indications (GI) registry on 03/01/2006.

Origins: Origins end 17th century, Bidriware hookah base at Louvre. The origin of Bidriware is usually attributed to the Bahamani sultans who ruled Bidar in the 14th–15th centuries. Bidriware techniques and style are influenced by Persian art. It was first brought to India by noted Sufi Khwaja Moinuddin Hasan Chisti in the form of utensils. The art form developed in the kingdom that was a mix of Turkish, Persian and Arabic influences which were intermingled with the local styles and thus a unique style of its own was born. Abdullah bin Kaiser, a craftsman from Iran was invited by the Sultan Ahmed Shah Bahmani to work on decorating the royal palaces and courts. According to some accounts, Kaiser worked with local craftsmen and the partnership resulted in bidriware under the rule of Ahmed Shah and his son Second Alauddin Bahmani. Along with local artisans, the art spread far and wide and was handed over to generations as time passed.

Process of making Bidriware: Bidriware is made from cast white brass (copper-zinc ratio of 1:16). First, a mould is formed from soil made malleable by the addition of castor oil and resin. The molten metal is then poured into it to obtain a cast piece which is later smoothened by filing. The casting is now coated with a strong solution of copper sulphate to obtain a temporary black coating over which designs are etched freehand with the help of a metal stylus.

Techniques and designs: There are several techniques employed in making of bidriware, tarkashi (Inlay of sheets), tainishan (inlay of sheets), zarnishan (low relief), Zarbuland (high relief), aftabi (cut out design in overlaid material sheet). It is not compulsory to use a single technique for an object, generally two or more techniques are combined. Most common combination is tarkashi and tainishan, seldom combinations of zarnishan or tainishan and tarkashi or aftabi are also used in different compositions. Majorly silver inlay is used as it provides better contrast with black metal, in few cases copper or precious metal as gold is also used.

KASUTI

Kasuti (Kannada: ಕಸೂತಿ) is a traditional form of folk embroidery practised in the state of Karnataka, India.[1] Kasuti work which is very intricate sometimes involves putting up to 5,000 stitches by hand and is traditionally made on dresswear like Ilkal sarees, Ravike/Kuppasa(Khana) and Angi. The Karnataka Handicrafts Development Corporation (KHDC) holds a geographical indications (GI) protection for Kasuti embroidery which provides intellectual property rights on Kasuti to KHDC

HISTORY: The history of Kasuti dates back to the Chalukya period.[2] The name Kasuti is derived from the words Kai (meaning hand) and Suti/suttu (meaning wrap/weave), 

indicating an activity that is done using cotton and hands. The women courtiers in the Mysore Kingdom in the 17th century were expected to be adept in 64 arts, with Kasuti being one of them. The Kasuti embroidery features folk designs influenced

by rangoli patterns of Karnataka. In Karnataka Sarees embroidered with Kasuti were expected to be a part of the 

bridal trousseau of which one saree made of black silk with Kasuti embroidery called Chandrakali saree was of premier importance.

Kasuti work involves embroidering very intricate patterns like gopura, chariot, palanquin, lamps and conch shells. Locally available materials are used for Kasuti. The work is laborious and involves counting of each thread on the cloth. The patterns are stitched without using knots to ensure that both sides of the cloth look alike. Different varieties of stitches are employed to obtain the desired pattern. Four types of the stitches employed are Gavanthi, Murgi, Negi and Menthi. Gavanthi is a double running stitch used for marking vertical, horizontal and diagonal lines, Murgi is a zig-zag stitch, Negi is a running stitch and Menthi is a cross stitch resembling fenugreek seeds.

TODA EMBROIDERY: 

The Toda Embroidery, also locally known as "pukhoor", is an

 art work among the Toda pastoral people of Nilgiris, in Tamil Nadu, made exclusively by their women.[1] The embroidery, which has a fine finish, appears like a woven cloth[2] but is made with use of red and black threads with a white cotton cloth background. Both sides of the embroidered fabric are usable and the Toda people are proud of this heritage. Both men and women adorn themselves with the embroidered cloaks and shawls.

Location

This art heritage is practiced by the Toda tribals based in the Nilgiris (literally meaning 'neelam', the "Blue Hills") located in an elevation range of 900 to 2,636 metres (2,953 to 8,648 ft)

History

The Todas (also known by names such as Tudas, Tudavans, and Todar) who make this embroidery live as one small community, population of 1,600 spread over 69 settlements, and about 400 of them are stated to be engaged in the embroidery work) in the Nilgiri Hills in the higher elevations of the Niligiri plateau, in Tamil Nadu. Apart from their vocation as herdsmen of buffaloes and cultivation in the grass lands, they are also involved in the tradition of making many handicrafts items which includes traditional black and red embroidery practiced by the women of the community; the embroidery is usually made on their cloaks called "pootkhul(zh)y" which is draped by both their men and women.

The local terms used to describe the embroidery work are 'kuty' or 'awtty' meaning "stitching" and 'kutyvoy' meaning the embroidered piece. The materials used in this work are roughly woven white cloth, woolen black and red threads with use occasionally of blue threads and manufactured needles. The designs developed relate to nature and the daily cycle of life.

MADHUBANI ART

(also Mithila art) is a style of painting practiced in the Mithila region of India and Nepal. It is named after the Madhubani district of Bihar, India, which is where it originated. Artists create these paintings using a variety of mediums, including their own fingers, or twigs, brushes, nib-pens, and matchsticks. The paint is created using natural dyes and pigments. The paintings are characterised by their eye-catching geometrical patterns. There is ritual content for particular occasions, such as birth or marriage, and festivals, such as Holi, Surya Shasti, Kali Puja, Upanayana, and Durga Puja.

Origin and tradition

According to legend, Madhubani paintings were first created at Mithila, the birthplace of Hindu goddess Sita. When Sita and her husband Prince Rama were to be married, King Janak, father to Sita, asked for paintings to capture moments of the marriage. Madhubani painting (or Mithila painting) was traditionally created by the women of various communities in the Mithila region of the Indian subcontinents. It originated from Madhubani district of the Mithila region of Bihar. Madhubani is also a major export center of these paintings.[1] This painting as a form of wall art was practiced widely throughout the region; the more recent development of painting on paper and canvas mainly originated among the villages around Madhubani, and it is these latter developments that led to the term "Madhubani art" being used alongside "Mithila Painting."

Symbols

Mithila paintings mostly depict people and their association with nature and scenes and deities from the ancient epics. Natural objects like the sun, the moon, and religious plants like tulsi are also widely painted, along with scenes from the royal court and social events like weddings. In this paintings generally, no space is left empty; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs.Traditionally, painting was one of the skills that was passed down from generation to generation in the families of the Mithila Region, mainly by women .It is still practiced and kept alive in institutions spread across the Mithila region. Kalakriti in Darbhanga, Vaidehi in Benipatti in Madhubani district and Gram Vikas Parishad in Ranti are some of the major centres of Madhubani painting which have kept this ancient art form alive.

StylesMithila Painting mural at Patna JunctionMithila Painting mural at Patna JunctionMithila art has five distinctive.

Styles:

Bharni, Katchni, Tantrik, Godna, Kohbar, In the 1960s, Bharni and Tantrik styles of Madhubani art were predominantly created by Brahmin women in India and Nepal, focusing on religious themes and depictions of gods and goddesses. Artists from other castes incorporated elements from their daily lives, local legends like the story of Raja Shailesh, and various symbols into their paintings. In contemporary times, Madhubani art has evolved into a global art form, transcending caste distinctions. Artists now freely work across all five styles, and Mithila art has gained international recognition.

MOLELA TEROCOTTA CRAFT

The Aravali hills in the Indian state of Rajasthan have been a witness to many civilizations that rose and fell with the times. The village of Molela is in the Rajsmand district of Rajasthan near the temple town of Nathdwara. Surrounded by the mighty Aravallis, Molela village is a part of the historical ‘Haldi Ghati’ area where a battle was fought between the armies of Maharana Pratap, the Rana of Mewar and Mughal Emperor Akbar in 1576. Molela seems like an ordinary Indian village, at first glance. But a closer examination reveals that the very tapestry of its life is woven with the rich craft traditions of India.

This humble village is home to the fine pottery tradition of Molela Terracotta Craft. Located on the banks of river Banas, Molela village boasts of this specialized terracotta craft tradition that dates back more than 800 years.

There is an interesting story behind the genesis of this unique sustainable craft of India. Legend has it that God Dharamraja appeared in the dream of a blind potter who was poor and finding it difficult to make both ends meet. The Lord then gave him a blessing that if he created idols from a certain kind of clay, his eyesight would be cured and all his financial troubles will be gone. The next morning, his sight got restored as he created the lord’s idol to fulfill his promise.

Molela terracotta plaques are made as a flat surface, which distinguishes these from the usual idols made in different parts of India. The plaques are made of Molela clay which is supple and sticky, and is dug from the banks of river Banas and from a village lake.

The process of making Molela Terracotta Plaques is quite complex and involves a great deal of physical labour in which the whole family is involved.

The Molela Terracotta Plaques mostly feature idols of local Gods. In fact, these plaques are traditionally purchased by various tribals who travel from as far as Madhya Pradesh to buy these. This is an auspicious ritual to appease the Gods and prevent misfortune.

Nowadays, keeping in mind the contemporary buyer, the traditional potters are innovating their designs. Plaques depicting various scenes from a village life and wedding processions are also being sold.

We at Prosperity bring to you an exquisitely handcrafted collection of Molela Terracotta panels. Each panel is a labour of love and tells some story of the local folklore and myths of the Molela region.

As an urban buyer, these earthy craft products can add an ethnic feel to your space. These panels could be framed r studded directly on the wall.

SANKHEDA FURNITURE

Sankheda furniture is colourful teak wood furniture of Gujarat, India, treated with lacquer and painted in traditional bright shades of maroon and gold. It is made in Sankheda village and hence its name. The village is located about 45 kilometres (28 mi) from Vadodara.

In recent years, colour innovation has been adopted with black, blue, green, ivory, copper, silver and burgundy shades. The product is not only widely marketed in India but is exported to many countries including Europe and West Asia. Now with the adoption of chemical pigments, instead of the traditional organic dyes and pulp of kewda leaves (fragrant screw pine) as a colouring base, the palette has many colours to offer for painting the furniture. However, the "tinfoil patterns with transparent lacquer coating" is the basic traditional method which is continued, with polishing done with agate.

The product is protected under the Geographical Indications of Goods (Registration & Protection) Act (GI Act) 1999 of the Government of India. It was registered by the Controller General of Patents Designs and Trademarks on 5 July 2007 under the title "Sankheda Furniture" and listed at GI Application number 100 under Class 20 on 5 July 2007 as a handicraft item.

History

Sankheda furniture corner table. According to historical records this type of furniture was reported in the 17th century by George Rocques, a French writer and James Forbes, a British civil servant. At that time teak wood used to make this furniture was transported from Valsad and painted with indigenous colours. The product was then exported from Surat and Khambhat ports. A local legend narrated to the origin of this craft form is that a spiritually oriented person, to avoid Mughal invaders, came to Sankheda and stayed in a hut with a wood cutter who looked after him. After staying with him for a long period he suddenly disappeared. However, the night he vanished from the village, the wood cutter saw him in his dream and the sagely person blessed him with skills of craftsmanship in carpentry. The wood cutter then became a carpenter and started carving furniture using lacquer coating. To promote this craftsmanship, a training institute has been established in Ahmedabad. 

     Products

 Apart from traditional furniture in a wide range of three piece           settees, headboards, beds, garden swings, dressing tables, rocking chairs, tables, screens, divan, etc.,  other handicraft innovations introduced in this format are wall-hangings, pedestal lamps, flower vases and pen stands, toys, kitchen ware and support for hammocks. Though the design appears fragile, the furniture is durable and lasts for a long period. It is a custom among the Gujarati community to gift this traditional furniture as an auspicious gift during marriage.

CONCLUSION

In the pursuit of unraveling the hidden chapters of our cultural tapestry, our exploration into "Unveiling the Lost Artistry of Extinct Handmade Crafts" has been a journey of rediscovery, nostalgia, and an earnest plea for preservation. Each of these once-thriving crafts, now lost to the winds of time, holds within its folds the whispers of a bygone era—the mastery of skilled hands, the tales of cultural evolution, and the essence of communities that once reveled in the creation of extraordinary beauty.

As we close this chapter, the echoes of these crafts linger, urging us to reflect on the fragility of artistic heritage and the importance of safeguarding the intangible threads that connect us to our roots. The onus is on us, custodians of culture, to champion the cause of revival, to breathe life into forgotten traditions, and to ensure that the legacy of these extinct handmade crafts endures for generations yet to come.