Chiseling Their Livelihood- Wood Carving | Raw Revivals

Residing in all parts of the nation, wood carving is a craft which is like a plant with flowers of various kinds. Each state has its own version of it and yet maintains its individual identity. This  intricate art is acquired in the skills of people practising it with one common aspect which is determination and hard work.

The art of making patterns and motifs is since the Mughal period. Intricate chests and furniture wooden pieces were made for the royals. Since then, it serves luxury both in India and overseas. This renowned technique has made its own niche in the industry and is conclusive of major part of the furniture industry. While sheesham is the most widely used type of wood, mango, teak, rosewood, ebony, sandalwood, walnut and deodar are also used. Intricately carved wooden pillars and doorways can be found in temples and palaces across the country. With royal patronage being replaced by market dynamics, wood carving is now mostly found in functional articles like furniture, bowls, boxes, lamp stands, etc.

Completely hand done, this technique requires a lot of patience to chisel out the motif from the wooden block and make the aesthetics coincide with luxury. Designs are first made on paper, and transferred onto the wood using ink. These are then carved using a variety of chisels. The article is finished by buffing in order to bring out the shine of the wood. This is usually done with the help of a lathe mechanism.

Its roots reaching out to various parts of the country which include:

Rajasthan: Bassi – carved figures, wooden shrines; Pipar, Bhari Sajanpur – bowls

Jammu & Kashmir: carved walnut wood utility and decorative items – bowls, trays, jewellery boxes, screens, tables, cupboards

Uttar Pradesh: Sahranpur – screens, folding tables, trays, bowls, boxes; Pilkhuwa, Farukkabad – printing blocks

Intricate jaalis and motifs, derived from the influences of the ancient architecture, is one major context of export from the country. Many international brands have their wood carving units in India. It is one craft which is contributing to the Indian economy and creating an impact.

Peeli Dori attempts to give this flourishing craft a contemporary face to get it in tune with today’s lifestyle.

 

Credits: Niharika Choudhary

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Chhapaai | Raw Revivals

Hand block printing in India is at its excellence and proves out to be the best exporters in the world. The practice dates back to the ancient times and was cherish by both the royal and the local people.  The craft is practised in various parts of the country, varying in some form or another.

A simple technique of printing on fabric using wood carved or metal blocks was traditionally done on just cotton fabric. Now with modern requirements it has shifted to other fabrics like silk and tussar. It require precise skill practise to place every motif in the required area. The artisans of the craft are experts in analysing how much colour content they need on the block for it to be printed with fine quality.

This is one more craft which is very sustainable for the urban environment. The process does not require any toxic materials. The colours used are vegetable dyes which make the fabric more exclusive and skin friendly. Very intricate patterns can be printed using this method and there is no colour limitation as such. This technique has proved itself to be one of the most efficient one other than screen printing.

Some very prominent hand block printing varitions from the different corners of the country are discussed below.

Hand block printing of Gujarat- Ajrakh

The Ajrak resist-printing technique is found in Anjar and Dhamadka in Kutch. The painted Ajrak cloth has colours – blue, red, black and white, in several patterns. The printed red and block odhnis of Anjar carry motifs similar to those found on old pottery and stone carvings

Bagru Hand block printing- Dabu

The block print in Bagru is done mainly in beige, red and black. Shades of blue with much use of indigo blue dyeing processes is a characteristic of this centre. Bagru is also famous for its mud resist process Dabu and direct printing. The motifs are simple and include floral and linear patterns

Sanganeri prints- Hand block printing in Sanganer, Rajasthan

Sanganer, near Jaipur, is famous for its fine hand block printing in subdued colors. Hand block printing was patronised by the royal family. Sceen printing is also largely done here. Saganer has become a export hub for hand block print export. The Sanganeri Print is visible from small flower motifs like stylised sunflowers, narcissuses, roses, and other flowers of luxuriant foliage like daturas, rudrakshas, and arkas

Aloka printing- Javad, Madhya Pradesh

Javad prints in Indigo and Alizarine are mostly used. In the wax resist process done here the wax is applied using he block which is carved upto 10 cm in depth which can carry enough wax solution for no of imprints. Amba Butti aor the mango motif is fmous here. A very fine print known as Akola print where metal blocks designed with nails are used. is also prtaised in the area near javad. Akola is also famous for its discharge printing as well.

Double side printing- Balotra, Rajasthan

The traditional block-printing running in parallel lines technique of Ajrakh has attained a peak of excellence at Balotra. Although a desert climate but good water is one of the main reasons which imparts good colors which is so important for hand-block printing. The speciality of the block printing of Balotra is that it is done on both sides of the cloth. This is very diffult technique because there should not be any imbalance in the design-transfer from the block to the cloth. The reverse side hand block printing is done simultenously even when the other side of the design print is wet. The hand-block printed fabric from Balotra is therefore very exclusive and relatively expensive.

 Hand block printing Nagur

The main tribal group here and at Kishangarh are the Banjaras. Costumes are printed here along with jajams and spreads. The spreads are usually in red and yellow, with the design motifs being scorpions, centipedes or chaupars. Red and yellow are also used for jajams. The prints on these include the chowki, singhara or mirchi (chilli) designs with motifs of creepers, kanwal or ladders along the borders.

Reja cloth is used for making floor spreads or padharnas. The motifs used are those of the elephant, cheeta, chaupar and soldiers, among others. Mill-made long cloth or pharad is also used along with fine cloth like cambric. Printing is also done on muslins and silks. Good printing is not obtained on fine cloth and is also visible on the reverse side. However intricate designs can be printed only on fine cloth, and not on coarse fabric. In traditional printing, animal motifs are not printed on cloth meant for costumes. Chemical colours and new printing methods and techniques are found in the hand-printing craft in modern times.

 

The variations in the same technique, evolves out to be more interesting as we get in the depth of the process. The printing sector is huge and a lot of brands are using it as their major source of fabric. It is very well appreciated by the consumers who are aware of Indian culture and also the difference hand done exclusivity.

Peeli Dori’s attempt to help the craft flourish as one of the most beautiful flowers in the garden of Indian crafts is on its way.

 

Adda | Raw Revivals

Aroma of Indian culture is fantasizing the world globally. It has a charm which nothing can efface. From wood carving to fine brass inlay and ranging up to intricate weaving handlooms, India is opulent in hand skills. Celebrated hand woven fabrics and weaving techniques from India are peculiar to every culture and state. It varies with diversity of cultural norms according to the different states.  Hand woven brocade to rugs, this technique was practised for the royals since the ancient times. Being an activity of tradition, the skills are passed on from one generation to another. The process continues leading the craft techniques to reach the contemporary scenario.

Industrialization has dominated these techniques to an extent where they are not visible and known to the masses in its most authentic form. Running after sustainable practises and means to save the ecosystem, the generation has left behind the knowledge and values of these practises. One such craft practise, apt to the concept of sustainability in terms of product design and construction, comes our way, while exploring through some of the hidden skills in India.

In the of the state Haryana, a village Sanghoi, establishes itself with an art of rug weaving as their local skill. Located near Karnal, this village has its women practising the craft since generations and use these finely woven rugs to decorate their houses, as wall hangings and seat covers.

The rugs are woven on a handloom called ‘Adda’ in their local language. The yarn that they use to weave is made up of recycled fabric. Picking up different colours and assorting them to create a colourful design and pattern while weaving rugs, is their art and fine skill. Fabric re-use is taken too another level with this craft and is up cycled to create an amazing piece to add to the Décor of any place. Going well with the looks of rustic style interiors and eclectic style interiors, the rug has warmth in its designs and each yarn is precisely woven to create neat patterns adding to the look of the environment. The local patterns being used for the rugs are colourful stripes, since they are less time consuming to weave and require no technical details.

Each rug takes 2 to 3 days for one woman to weave. It is an extensive process requiring immense patience and hard work. The loom is a humble structure made of an iron frame and cotton warp with the yarn being weaved into it as weft. The yarn is made using strips of old fabric.

This practise is sustainable in every aspect without compromising on aesthetics. Durability of the rug is high and therefore makes it a very efficient technique. Unknown to the masses, this craft has a great relevance in the urban society.

Peeli Dori featured this craft to revive it and make the society more sensitive about these products. The revival can save it from extinction and make a community proud of the skills that they have.

 

 

 

Taj Mahal: The White Romance

An ever-lasting romance of a love not ended as yet, the Taj reveals its subtleties to its beholder.

Defined beauty and epitome of elegance, Taj Mahal is one precise detail on the Indian land. Land of India is full of cultural heritage and this white piece of architectural art is narrating a story set in Indian origin. Since the very ancient times, India follows and believes in the art of capturing stories in products and materials to give them life. Since we believe that a man may die but art never dies. It stays immortal. Taj Mahal was built to keep a love story alive. Its intricacy adds to the value signifying human dedication and therefore makes it one of the wonders. Above all, the colour white is signifies love, peace and calmness.

White marble, inlayed with fine coloured motifs and decorated all over, it was built as an expression of love by the Mughal emperor. This was Shah Jahan’s way of showing love toward his wife, Mutmtaj  Mahal.

DESIGN AND CONSTRUCTION OF THE TAJ MAHAL

Named the Taj Mahal in honor of Mumtaz Mahal, the mausoleum was constructed of white marble inlaid with semi-precious stones (including jade, crystal, lapis lazuli, amethyst and turquoise) forming intricate designs in a technique known as pietra dura. Its central dome reached a height of 240 feet (73 meters) and was surrounded by four smaller domes; four slender towers, or minarets, stood at the corners. In accordance with Islamic tradition, verses from the Quran were inscribed in calligraphy on the arched entrances to the mausoleum, in addition to numerous other sections of the complex. Inside the mausoleum, an octagonal marble chamber adorned with carvings and semi-precious stones housed the cenotaph, or false tomb, of Mumtaz Mahal. The real sarcophagus containing her actual remains lay below, at garden level.

The rest of the Taj Mahal complex included a main gateway of red sandstone and a square garden divided into quarters by long pools of water, as well as a red sandstone mosque and an identical building called a jawab (or “mirror”) directly across from the mosque. Traditional Mughal building practice would allow no future alterations to be made to the complex. As the story goes, Shah Jahan intended to build a second grand mausoleum across the Yamuna River from the Taj Mahal, where his own remains would be buried when he died; the two structures were to have been connected by a bridge. In fact, Aurangzeb (Shah Jahan’s third son with Mumtaz Mahal) deposed his ailing father in 1658 and took power himself. Shah Jahan lived out the last years of his life under house arrest in a tower of the Red Fort at Agra, with a view of the majestic resting place he had constructed for his wife; when he died in 1666, he was buried next to her.

THE COLOUR ‘WHITE’

White is a colour of luxury, clearly depicted in this palace. It is the only colour which is friendly to every emotion, feel and aura. It can enhance as well demarcate itself from the rest. Such magic this colour adds and that is the only reason for this wonder of the world to be the one of the best heritage sites of the world.

Taj Mahal means “Crown Palace” and is in fact the most well preserved tomb in the world. The English poet, Sir Edwin Arnold has described the Taj as “Not a piece of architecture, as other buildings are, but the proud passions of an emperor’s love wrought in living stones.”

It is a romance celebrated in marble and glorified with precious and semi-precious stones and that’s the way to appreciate it!.

Taj Mahal stands on the bank of River Yamuna, which otherwise serves as a wide moat defending the Great Red Fort of Agra, the center of the Mughal emperors until they moved their capital to Delhi in 1637. It was built by the fifth Mughal emperor, Shah Jahan in 1631 in memory of his third but the most favourite wife, in fact a soul-mate Mumtaz Mahal, a Muslim Persian princess. She died while accompanying her husband in Burhanpur in a campaign to crush a rebellion after giving birth to their 13th child. The death so crushed the emperor that all his hair and beard were said to have grown snow white in a few months.

When Mumtaz Mahal was still alive, she extracted four promises from the emperor: first, that he build the Taj; second, that he should marry again; third, that he be kind to their children; and fourth, that he visit the tomb on her death anniversary. However, due to ill health and being under house arrest by his own son and successor to the throne, Aurangzeb, barred him from continue to keep the last promise.

The Taj rises on a high red sandstone base topped by a huge white marble terrace on which rests the famous dome flanked by four tapering minarets. Within the dome lies the jewel-inlaid cenotaph of the queen. So exquisite is the workmanship that the Taj has been described as “having been designed by giants and finished by jewellers”. The only asymmetrical object in the Taj is the casket of the emperor which was built beside the queen’s as an afterthought.

Legend has it that during his eight years long ailment and imprisonment, Shah Jahan used to intensly view the Taj lying on the bed through a diamond fixed in the wall in front at a particular angle. WOW!

As a tribute to a woman of exotic beauty and as a monument of a love story, which is keeping us engrossed even when we are reading through these pages here, truely an ever-lasting romance of a love not ended as yet, the Taj reveals its subtleties to its beholder!

The rectangular base of Taj is in itself symbolic of the different sides from which to view a beautiful woman. The main gate is like a veil to a woman’s face which should be lifted delicately, gently and without haste on the wedding night. In Indian tradition the veil is lifted gently to reveal the beauty of the bride. As one stands inside the main gate of Taj, his eyes are directed to an arch which frames the Taj.

The dome is made of white marble, but the tomb is set against the plain across the river and it is this background that works its magic of colours that, through their reflection, change the view of the Taj. The colours change at different hours of the day and during different seasons.

The Taj sparkles like a jewel in moonlight when the semi-precious stones inlaid into the white marble on the main mausoleum catch and reflect back its glow with a better gleam. The Taj is pinkish in the morning, milky white in the evening and golden when the moon shines. These changes, they say, depict the different moods of a beauty of any kind.

Different people have different views of the Taj but it would be enough to say that the Taj has a life of its own that leaps out of marble. A masterpiece of the art and science of architecture, a representative of an era called The Mughal Period surpassing any authority to add or de-add anything in any sense in or out of the Taj!

The Taj Mahal stands tall with grace is not just a parable epitome of emotional & eternal love between a man and a woman but for other reasons too.

Emperor Shah Jahan, who commissioned the construction of ‘The Taj’, desired to create it also as a symbol of solemnity, harmony, purity and spirituality as well.
The Taj is not merely a monument of grace and dignity alone. It is, in fact, a message to all mankind that “Pure love is the soul of life”.

 

Potter’s Colony | Raw Revivals

The art of survival is a story that never ends.

– Christian Bale

 

Uttam Nagar, a heavily populated area in west Delhi, was the next destination Peeli Dori had on its cluster list. It is one such corner of self-sustained lifestyle in Delhi,  where you name it and it is there, ranging from fruit sellers to footwear, apparel and even furniture. Take the right turn on the roads of Uttam Nagar and you get what you need. One such road lead to the potter’s colony, popularly known as the “kumhar colony”.

Kumhaar is a community of potters who are practising the art of pottery from the very ancient times. This skill is passed on from generation to generation in these families and both women and men of the family are involved. It takes fine precision to practise this craft and form art out of clay.

The Kumhaar’s colony was a separate world altogether, consisting of around 2000 homes that were into clay pottery. Each household had a different ambiance. As we entered the colony and noticed adjacent houses, our senses were captured with the sight of huge pottery products display at the entrance of each house. It was a sight one cannot forget.

A middle aged man, working effortlessly on his potter’s wheel, was busy shaping an irregular dump of clay into a beautiful vase. As we walked beside him, he welcomed us with polite gestures and asked us about our whereabouts. Upon introducing ourselves we told him about the market that he has for his products and how people with modern lifestyles are still touched with the idea of hand crafted pots and vessels. Beyond his realisation, these facts bought a proud smile on his face. Throughout this conversation, one thing that he did not leave was his potter’s wheel. Nothing could have distracted him from his work and his compassion for it.

They faced the similar challenges as every other craft cluster and were not able to sustain a rhyming lifestyle of healthy and wealthy. They still had the charm to make every bit of it survive, considering it a gift from their ancestors.

Peeli Dori attempts to bring forward these local communities with beautiful crafting skills, on a platform wherein they can be linked with the right market and achieve identification in the urban world for what they do. Recognition is what we seek for them, since we understand the value it has for our society and how much we love having and incorporating their products in our modern lifestyle.

Let us help them continue their beautiful story of throwing on a potter’s wheel.

 

CLUSTER- Potter’s colony

LOCATION- Uttam Nagar, New Delhi

SKILL- Clay pottery

CATEGORIES- Pots, stools, vases, show pieces, lamps, wall hangings

PROBLEM- Repetition of designs, unable to reach right market, unable to recognize the value of their skills

MATERIAL- Clay

 

The Bamboo and its knife – Raw Revivals

With all due respect to the beauty of art and aesthetics, a craftsman, when portrays his skills, all garnished up with colour, he tries to convey a message.

A message that speaks of his community, his passed on skills and a story engraved in the lines of his hands. His calibre is portrayed in the finesse of his product.

He is a craftsman, a human of potential.

 

Yet, another corner of the same city, New Delhi, Peeli Dori curated an artisan handcrafting bamboo lifestyle products. He is one that can give life to a bamboo stick with just his skills and knowledge.

On a sunny day with hopes of collaboration and studying one efficient skill practice in India, the bamboo craft, Peeli Dori decided to spread out its reach. It’s astonishing as well as exciting that so many stories are available in just one city. Imagine about the entire country!

The man sat with his co-artisans, busy filing a bamboo stick with his sharp knife. As we approached him, intense in his looks and very generous in his gestures, he welcomed us by offering his bamboo stools to sit. We made ourselves comfortable with him, taking help of some start-up conversations about him and his work. We asked him a couple of questions like, since when and how many in number, he crafted products using bamboo. He was dark and polite in appearance. All his answers came to us with a pleasant smile. He was Suresh, a bamboo craftsman.

ABOUT HIS WORK

Suresh had a hold on his knife, a precise one. His capability and practice to transform a piece of bamboo into a fine usable product was commendable. Product categories that he addressed to with his knowledge were, kid’s furniture, tables, chairs, side stools, laundry bags, general storage, trinket boxes etc. There was a wide range of products, but the only missing aspect was management of his time and the revenue. Suresh spent half of his day crafting a product that he sold in just 50 INR. He had beautiful products but it was difficult to spot him, since his shop was in the corner of a lane.

He used bamboo sticks and finely woven fibres of bamboo with colour accents of different threads. His knife did it all for him, rest was up to tying, nailing and pasting. From scratch to the finishing, he knew what all will go in to complete a product. His material, bamboo is the most sustainable need of the hour. It’s a quick growing resource and does not utilise a lot of water. Bamboo at the same time is easy on the pockets and one can craft various products out of it. We need people like Suresh to take bamboo craft to a next level and make it available for the masses.

SOME MASTERPIECES

Suresh had a little space to him and it was where he displayed his work for sale as well as managed to have his workshop. Some of his well-crafted products that fascinated us were the kid’s table, the stool we were offered to sit on and some storage bowls. Many more can take their place in the list. He had a fine way of combining colour with neutral bamboo shades.

 

INABILITY TO UNDERSTAND THE POTENTIAL MARKET

Suresh had all the talent one requires to achieve excellence in his work, but still he cannot manage a well sustainable lifestyle for himself, he cannot grow his business. The only reason we could see is that he cannot reached the market, a potential one I would say. He had no idea to what extent people needed his skills out there in the urban world, to sustain their lifestyle and have a healthy environment.

 

CRAFT/TECHNIQUES- Bamboo craft

LOCATION- New Delhi

MATERIAL- Bamboo

PROBLEM- unidentified market and inability to reach them

POTENTIAL/ADVANTAGE- Sustainable product, need of the hour.