DronaCrafts

Lucknow, in Uttar Pradesh, was and is the centre of chikan embroidery, renowned for its timeless grace and its gossamer delicacy, a skill more than 200 years old --- exploited, commercialis but not dead. In fact, the craft is alive and struggling to regain some of its former beauty and elegance. Chikan embroidery is done on fine cotton fabric. The garments are first stitched and then embroidered, whereas skirts, saris, and table linen are first embroidered and then finished. A study of the origin of chikan reveals that this form of embroidery had come to India from Persia with Noor Jehan, the queen of the Mughal Emperor Jehangir. The word chikan is a derivative from the Persian word 'chikaan' meaning drapery. Some, however, insist that the craft migrated from Bengal. What we know is that chikankari came to Oudh when Mughal power declined in Bengal and the artisans moved to the Oudh durbars, seeking employment and patronage.
The craft flourished under the benign nawabi influence. The ladies of the harem vied with each other in making white embroidered caps for the nawabs in order to be noticed and favoured. Earlier garments were so fragile that they had to be discarded after a few washes --this explains why early samples of chikan garments are not available. With the British influence, designs became more formal and items other than ethnic apparel began to be created. This brought a formalisation of designs to a large extent, which resulted in an export market. These items found a place in the prestigious homes in Europe and England, specimens of which are still available. The bel or creeper was the most commonly used design";" individual motifs or butis of animals and flowers were also made. Fish (mahi) was a very common motif in Lucknow and used widely because it was the emblem of the Court of Oudh.

The design to be embroidered is printed on the fabric with wooden blocks, using fugitive colours, which are commonly made by mixing a glue and indigo with water. For extra fine designs, brass-blocks are sometimes used.

In chikan, the needle is held in the right hand while inserting it into the fabric, the left hand supports and controls the thread so that the stitches take the right shape. In traditional chikan no frames were used (though they are used now)";" the portion of the cloth to be embroidered is placed over the index finger of the left hand, supported by the rest of the fingers, leaving the thumb free. The needle is pulled away from the embroiderer who starts from the nearest end and finished at the farthest end.

There is a discipline and method in the application of the stitches. The darn stitch is worked on rough cotton fabric to fill angular designs and to cover the surface of the fabric, while satin stitching is done exclusively on delicate fabrics like silk, muslin, or linen. In chikan some stitches are worked from the wrong side of the fabric, while others are worked from the right side. It is however unique in its discipline in as much as stitches designated for a particular purpose are used only for that purpose --- they are not replaced by other stiches. For example, the chain stitch (zanjeera) will only be used for the final outline of a leaf, petal, or stem.

Different specialists work with different types of stitches. For example, open work or jaali is not done by embroiderers who do the filling work - each worker completes his/her bit and the fabric is then sent to the next embroiderer. The wages for each job are fixed separately.

Chikan embroidery has a repertoire of about 40 stitches of which about 30 are still being used. These can be broadly divided into 3 heads - flat stitches, raised and embossed stitches, and the open trellis-like jaali work. Some of these have equivalents in other embroideries, the rest are manipulations that make them distinctive and unique. They cover almost all the embroidery stitches of the country and have interesting and descriptive names.

The main flat stitches with their traditional names are:

Taipchi: Running stitch worked on the right side of the fabric. It is occasionally done within parallel rows to fill petals and leaves in a motif, called ghaspatti. Sometimes taipchi is used to make the bel buti all over the fabric. This is the simplest chikan stitch and often serves as a basis for further embellishment. It resembles jamdani and is considered the cheapest and the quickest stitch.

Pechni: Taipchi is sometime used as a base for working other variations and pechni is one of them. Here the taipchi is covered by entwining the thread over it in a regular manner to provide the effect of something like a lever spring and is always done on the right side on the cloth.

Pashni: Taipchi is worked to outline a motif and then covered with minute vertical satin stitches over about two threads and is used for fine finish on the inside of badla.

Bakhia: It is the most common stitch and is often referred to as shadow work. It is of two types:

(a) Ulta Bakhia: The floats lie on the reverse of the fabric underneath the motif. The transparent muslin becomes opaque and provides a beautiful effect of light and shade.

(b) Sidhi Bakhia: Satin stitch with criss-crossing of individual threads. The floats of thread lie on the surface of the fabric. This is used to fill the forms and there is no light or shade effect.

Khatao, khatava or katava is cutwork or appliqu? - more a technique than a stitch.

Gitti: A combination of buttonhole and long satin stitch, usually used to make a wheel-like motif .

Jangira: Chain stitch usually used as outlines in combination with a line of pechni or thick taipchi.

The bolder or knottier stitches include the following:

Murri: A very minute satin stitch in which a knot is formed over already outlined taipchi stitches.

Phanda: It is a smaller shortened form of murri. The knots are spherical and very small, not pear shaped as in murri. This is a difficult stitch and requires very good craftsmanship.

Jaalis: The jaalis or trellises that are created in chikankari are a unique speciality of this craft. The holes are made by manipulation of the needle without cutting or drawing of thread. The threads of the fabric are teased apart to make neat regular holes or jaalis. In other centres where jaalis are done, the threads have to be drawn out. In chikankari, this is not the case. Names of jaali techniques suggest the place where they originated from --- Madrasi jaali or Bengali jaali ---- or possibly the place of demand for that particular jaali. The basic manner in which jaalis are created is by pushing aside wrap and weft threads in a fashion that minute openings are made in the cloth. Shape of openings and the stitches used distinguish one jaali from another.

The source of most of the design motifs in chikankari is Mughal. Noor Jehan's personal preferences and desire to replicate the Turkish architectural open-work designs is said to have that led to the introduction of jaalis in chikan embroidery. The designs in chikan are graded and used according to the stitches employed - murri ka buta and tepchi ka jaal --- though terms like hathi (elephant) and kairi (mango) are also used to signify the shape of the motif. It is however the stitch employed that is the established nomenclature.

The production process of a chikan garment, assuming it is a kurta, goes through several processes. In each process a different person is involved. The final responsibility is, however, that of the person ordering the manufacture, who is also usually the seller. Chikan work involves several stages. The fabric is cut by the tailor into the required garment shape, after which the basic pre-embroidery stitching is done so that the correct shape is available to the block-printer to plan the placement of the design. The design is printed on the semi-stitched garment with fugitive colours, and the embroidery of the garment is then begun. After completion, the article is checked carefully since most defects can be detected at first glance. However, the finer flaws surface only after washing. The washing is done in a bhatti, after which the garment is then starched and ironed. The whole cycle can take from one to six months. Originally, chikan embroidery was done with white thread on soft, white cotton fabric like muslin or cambric. It was sometimes done on net to produce a kind of lace. Today chikan work is not only done with coloured threads but on all kinds of fabrics like silk, crepe, organdie chiffon, and tassar.

Block printing is believed to have originated in China towards early 3rd century. Records of its presence in Egypt and some Asian countries were also found around the 4th century, from where it spread to Europe and other places. Apart from wood, blocks were made of metals and porcelain also. But wooden block remains the most sought after apart from metal ones which has gained popularity in recent times. In hand block printing, the design is first drawn on wood using a sharp needle and then the desired design is carved using the chisel, hammer, file, nails etc.
 The printing involves laying the cloth/fabric, which is to be printed, on flat tables and impressions are made using the beautifully carved blocks. In case of direct printing, the block is dipped in the colored dye and impressions are made. In case of resist dyeing, impression of an impermeable material (clay, resin, wax etc) is made on the fabric which is then dyed in the desired shade. The block image remains un printed and reappears in reverse. Traditionally natural and vegetable sources were used for dyes. But with the advent of synthetic dyes, things have changed, not necessarily for good. The ease of usage and the availability of synthetic dyes have replaced the vegetable dye in many cases.

The sari or saree is as old as the Indian civilization. Cotton weaving was known to the inhabitants of the Indus Valley civilization some 5000 years ago. There is mention of sari in the Vedas and Mahabharat establishing the origin and age of sari.It is an unsewn cloth draped around the female body and is 4 to 9 metre in length. Though sari is worn by women in various style, the most common being wrapping one end around the waist and the other end covering the upper body leaving the midriff. Men also wear cloth similar to sari and is known as ‘dhoti’ or ‘lungi’.
 Sari in primarily worn only in the Indian sub-continent. The different colours and designs are symbolic and vary from region to region. The colours also vary according to the occasion on which the same is worn. The saris were initially weaved out of cotton and silk yarn only but the Europeans introduced synthetic polyester and nylon, weaved on power looms and were cheap. The handmade saris are made out of cotton and silk and blends. Metallic threads, also of gold and silver are also used to form intricate designs.

Kalamkari hand-painting on fabric is a technique used to embellish temple cloth and hangings. Painted hangings are used for religious instruction, in temples, and for draping behind the idol in temple cars during processions.

The process followed here is even more painstaking than the kalamkari done at Masulipatnam as the entire design is drawn bv hand using a kalam or pen made from wood (tamarind twigs charred to charcoal sticks) and fibre. All the processes are nearly the same as at Masulipatnam except for the absence of blocks. This craft grew mainly around places of pilgrimage and one of the leading centre is Sri Kalahasti in Andhra Pradesh.
The temple hangings and tapestries from Kalahasti are famous worldwide. Madder and indigo processes are used here and alum is the mordant used to fix the colours. Vegetable dyes in deep rich shades red and blue are used, while green is obtained as a combination of yellow and blue. The washing of the cloth to remove starch and the washing between dyeing and bleaching is done from flowing water in a stream or river. The lines of the design are drawn with a mixture of iron-filings and molasses. The colour schemes used are traditional ones, with women figures in yellow, gods in blue, and demons in red and green. The background colours are usually red with motifs of lotus and other flowers. The aesthetic quality of fine kalamkaris derives from the superb conceptual and technical skill involved in the work.

Religious themes dominate, with temples, epics, and mythological figures being depicted frequently. The stories illustrated on these panels are from Puranic legends and from the Ramayana and the Mahabharata. Paintings are usually done in cloth panels which narrate entire stories, with the smaller ones depicting important religious events like Sita's marriage. As all the panels are done by hand, and each one is unique";" no two panels will look the same. A panel may include a story-theme written in verse under it to explain it.

Embroidery from the Saurashtra and Kutch regions in Gujarat is not only famous but also versatile. There are plenty of stitches used to beautify the product. Abhala is the embroidery where small round pieces of mirrors are fixed on to the fabric using buttonhole stitching";" the embroidery is done in a herringbone stitch using silken thread. Rust, light green, indigo, blue, deep red, pink, and purple are the colours used. skirts, kurtis(ladies shirt) and richly embroidered blouses are the other famous items by the craftspersons.
Kathi is the oldest embroidery which is known for its romantic motifs. Geometrical motifs are fabricated with multicolored fabric pieces leading to patch work effect. Varieties of items are prepared. Heer is an embossed stitch having shades of off-white, yellow, madder red, black, indigo, ivory, and green. Small mirror pieces are used to add more beauty to the embroidery.

Ari embroidery with silk threads using a hook is a popular craft of Kutch. The motifs found commonly are, dancing peacocks, human figures in dancing poses. A Bandhani pattern complimented with beautiful and delicate bead work is an art to be praised. The various communities in Gujarat --- rabaris , , ahirs, , jats, bharwads bharwads and harijans have their own styles of embroidery. Cotton and quality silks are used by jats and mutuwas to decorate women's outfits. The embroidery of the Rabari community is usually done on a maroon background with the enclosed motifs.

Karimnagar in Andhra Pradesh has highly skilled artists practicing the delicate craftsmanship of filigree. Spoons, buttons cigarette cases, boxes, ashtrays, buttons pill boxes, jewelry, paandans and perfume containers. Designs of Peacock, parrots and fish are depicted in the perfume containers. The artisans display mastery is twisting the delicate silver wire into delicate loops knitted in a zigzag pattern resulting in an intricate lace like appearance.
This is an ancient art of metal work practiced in the traditional way. Silver filigree has Cuttack as a centre. The Silver filigree craft is locally known as Tarkashi in Orissa. . The artifacts are made of alloy which contains over 90% of silver and to compete with the changing times new methods are being used..The artists have maintained the craft by keeping themselves updated with the market requirement . Platinum polish is also used and it leaves glare on the item.

The silver is extracted through a series of consecutive smaller holes to produce fine strings of silver threads. The string is the specialty in the filigree jewelry.. Traditional items include figures of animals, birds and flowers. Konark Chakra and temple are the favorite mementos while a still depicting the chariot of Arjuna driven by Lord Krishna is quite popular. Brooches, ladies bags, pendants, earrings and hairpins and other utility items like the trays, plates, cups, candle stands bowls, ash-trays, , incense containers, animals, birds, flowers, peacock and many more.

The finest patterns of terracotta panels can be found in Bengal towns of Murshidabad, Birbhaum, Jessore, Hooghly and Digha. The theme is generally folk and the patterns are fairly highlighted with traditional skill and explicit artwork.

The clay used is generally a blend of two to three clays found in river beds, pits and ditches. More often than not the fuel used is one of the local resources available in the form of twigs, dry leaves or firewood. The kilns where the clay pots are baked are operated at temperatures between 700 ? 800 degrees celcius.

The womenfolk in the khumbkar families are the potters who work on the wheels making the round necks and the upper halves of the pots. They also make solid clay toys and dolls which are cast in burnt clay moulds. Large figurines of gods and goddesses are also made in clay and generate a lot of income for these families.

Terracotta, which is found mainly in rural parts of West Bengal, has found inroads into mainstream lifestyle with many household using the suraii, a clay pitcher used to keep water cool. Most rural households use terracotta feeding bins for cattle, tea mugs, clay pots for cooking rice, plates, tumblers, yoghurt pots. Most of the items though are of the use and throw variety.

The various customs and traditions attached to the festival of Lohri signifies the harvesting of the Rabi crops. The people of Northern India, especially Punjab and Haryana celebrate Lohri, to mark the end of winter. Harvested fields and front yards are litup with flames of bonfires, around which people gather to meet friends and relatives and sing folk songs. For Punjabis,

In the morning, children go from door to door singing songs in praise of Dulha Bhatti, a Punjabi version of Robin Hood who robbed from the rich and helped the poor. These visitors are usually given money as they knock on their neighbor’s doors. In the evening, people gather around bonfires, throw sweets, puffed rice, and popcorn into the flames, sing popular folk songs and exchange greetings.

The Bonfire Customs & Tradition
In the evening, with the setting of the sun, huge bonfires are lit in the harvested fields and in the front yards of houses and people gather around the rising flames, circle around (parikrama) the bonfire and throw puffed rice, popcorn and other munchies into the fire, shouting "Aadar aye dilather jaye" (May honor come and poverty vanish!), and sing popular folk songs. This is a sort of prayer to Agni, the fire god, to bless the land with abundance and prosperity.

After the parikrama, people meet friends and relatives, exchange greetings and gifts, and distribute prasad (offerings made to god). The prasad comprises five main items: til, gajak, jaggery, peanuts, and popcorn. Winter savories are served around the bonfire with the traditional dinner of makki-ki-roti (multi-millet hand-rolled bread) and sarson-ka-saag (cooked mustard herbs).

On the Lohri day everyone gets into their best clothes and is festive. Gifts of sweets are exchanged. The courtyard and rooms of the house are swept and sprinkled with water. As the sun sets, all people dress up in their best and gather around the bonfire. Newly wed ones wear jewelery. The new-born are given little combs to hold. The a burning fagot is brought from the hearth and sets the Lohri bonfire alight. As the flames leap up, the girls throw sesame seed in them and bow. Someone sings:


“Let purity come, dirt depart
Dirt be uprooted and its roots Cast in the fire.”
People throw sticks of sugarcane into the fire and an aroma of burning sugar spreads in the atmosphere. Girls light fireworks and sparklers. The fire's glow lights faces with a golden hue. People sing and dance till the early hours of the morning, and little children sleep in their mother's laps.

When people throw sesame seeds in the fire they ask for sons. The saying is: As many as the elder brother's wife throws, so many sons the younger brother's wife will bear. That is why in homes where there is a new-born son or a newly wed man, Lohri is celebrated with even greater enthusiasm, and sweets made of molasses and sesame seed are sent to relatives and friends. Since the Punjabi word for sesame seed is til and for molasses rorhi the festival is also called Tilori.

Lohri is also an occasion when parents give presents to their newly married daughters. "For peasants, Lohri marks the beginning of a new financial year because on this day they settle the division of the products of the land between themselves and the tillers.
this is more than just a festival; it is also an example of their love for celebrations. Lohri celebrates fertility and the joy of life. People gather around bonfires, throw sweets, puffed rice and popcorn into the flames, sing popular and folksongs and exchange greetings.

Coconut Shell, Fibre & Stem Craft
Coconut trees grow all over Kerala, and the coconut is a fruit which is used in its entirety. From the coconut shell products like bowls, vases, tea pots and hookas are crafted. Lamp stands encased in brass and smaller coconut shell articles are also made in Trivandrum, Attingal and Neyyatinkara, while larger items are made in Quilandy in Kozhikode district in north Kerala. Often hookas and large vases are also made by combining coconut shells with brass bindings. Coconut fibre is cleaned, smoothened and made into various dolls and toys with beads and coloured threads to it go give it a decorative appearance.
The process followed by the artisan to make a cup, for instance, is to rub the outer surface of the shell with steel wool and then smoothen the inner part with a chisel. A circular base and handle made with shell are attached to the cup with screws. The first coat of polish is boot polish, after which a final coat of French polish is give

Coconut Shell

This is a versatile craft and the articles made out of coconut shells range from table lamps and finger bowls to boxes and even jewellery. Basketry and mat-weaving are traditional crafts of the Nicorbarese and are usually done by the women in their leisure time. Mats are made from coconut stems and pandanus leaves and are used for sitting, sleeping, and making the walls of huts. Very often light and dark leaves are interwoven to create intricate patterns. The mats are soft, light, and cool, and have a glossy surface.

Bone and Shell

Marine mollusks(animals) strip off their calcareous casing from time to time. These are sea shells which are painted, etched, carved, cut and sculpted to form various utility and decorative handicraft items. Some of the shells used are puka, nautilus, mother of pearl(mop), blacklip, brownlip, hammer, troca, paua etc. Sea shells have been used by mankind since the stone age. They not only adorned their jewelry but also their boats and other belongings. Soon shells became an important part of their life. Some tribes even used shells as money. Among the Greeks and Romans, shells were a symbol of prosperity. Collecting and decorating with shells became a hobby for the aristocrats. Shells are used to make decorative tiles & floorings, walls, pots, picture frame & mirrors, jewelry boxes, lamp shades, ash trays, incense stick and candle stand and jewelry.

Tortoise Shell Craft
The main centre for the tortoise shell crafting is in Andhra Pradesh district of Vishakapatnam where chiefly trinket boxes are made in combination with bone. The shell surface of the box is covered with intricate designs of bone fretwork so that the orange glow of the shell can be seen through this perforated lacy pattern. The designs include fine geometrical patterns, epic figures and animals fringed by floral motifs.
A combination of horns, bone and tortoise shells are also combined to make products at Vishakapatnam and Secunderabad. Bone is also combined with sandalwood, ebony and tortoise shells to create intricate patterns of fretwork that are mounted or inlaid to make ornate octagonal jewel boxes with the bone net cover.

Shell Craft of Andaman & Nicobar
The large and beautiful shells found in abundance in the Andaman and Nicobar Islands. are cleaned and polished before being used to make ashtrays, small boxes, bangles, table lamps, and jewellery. An interesting and beautiful resource is the tortoise shell which is often inlaid with silver, and used to make jewellery and decorative artefacts such as rings and crosses to be worn around the neck. Shell, because of its light colour and luminous properties, is also being used for inlay work.
Bone has been used by human beings from the very beginning. Probably the bones left after decay of the animals was discovered by man. He might have used it as a weapon for hunting and defending himself. Subsequently it was put to various uses by carvers when not only utility but decorative objects of art were made. Captive jewelry, beads, combs etc are made from bones.

The subtropical region of Asia, specially India, Bangladesh and China is most popular for Jute. Jute craft is most popular in this region and is derived from the fibre of a reed like plant. The warm humid climate of West Bengal with plenty of rainfall is best suited for this plant. The plant grows to a height of 3-4 meters and takes upto six months to mature. Jute is the second most popular natural plant fibre and is available in abundance.
Once the plant is ready for harvesting, it is cut very close to the ground and left in the ground for a day or two when the leaves fall off. The cut plant is then absorbed and dipped in water to separate the fibre from the plant. This process is known as retting. The, thus separated Jute is dried and given various forms. The fiber is knit into threads. Sometimes the threads are weaved to make rags and cloths. The cleaned fibre, the threads and the rags all are used to make beautiful craft products like the bags, rags, carpets, hangings, footwear, coasters, jewelry, show pieces, etc. Some very fine quality jute is also used to make furnishing material and dresses.

Products Available : Jute Jewelry( Jute Earings, Jute Necklaces, Jute Pendants), Jute Wine Bags, Jute Carry Bags, Jute Coasters

Clay figures are made all over Tamil Nadu and Pondicherry. Traditionally each village is guarded at its entrance by an enormous terracotta horse, which is the horse of Ayyanaar, a religious figure, the gramdevta of the village and its protector against all evils. Aiyyanar has an enormous moustache, big teeth and wide open eyes that keep constant vigil. Ayyanaar stands at the entrance surrounded by his horses and commanders or veerans.

Ayyanaar figures, which include the horses in the army, range in height from less than a metre to over 6 metres. They are some of the largest terracotta figures to be sculpted and are painstakingly made by mixing the moist clay with straw and sand for a proper consistency. For the horse, four clay cylinders are rolled out with a piece of wood, for the legs, after which the body is built up gradually. The accessories, such as bells, mirrors, grotesque faces (kirthimukha) and crocodiles (makaras), are made separately as is the head. The parts are joined together on the auspicious tenth day, when the figure of Ayyanaar seated on the horse is given its features. This is then baked in a rustic kiln of straw and verati or dried cow-dung which is then covered with mud. Parts of the larger figures have to be fired separately, joined together and fired again. The faces are sometimes painted red to denote anger and the neck blue to denote calm. The rest of the body and decorations are also painted in bright colours.

The oldest Ayyanaars and horses are found in Salem district. Salem and Pudukottai districts make the most large terracotta horses";" the smaller figures, human, divine and animal, are made all over the state. Given the time taken by the firing process, moulds are becoming popular to hasten the process. Ayyanaar figures are found in the village sanctuaries of Chettampatti and Nallur (Tiruchirapalli district), Tirripuyanam (Madurai district), and Vadugapalayam (Coimbatore district).

Most of the other village deities are also made of terracotta. The temples found in the village are usually for the mother goddess or ammankovil along with a temple to the deity Ganesha or Pillaiyaar.

Another important terracotta shrine is the naaga or serpent shrine, situated under a pipal tree near an anthill. It is made of clay with an intertwined body and is worshipped for its power of protection and rejuvenation. On Vinayaka Chathurthi clay Ganeshas are made and sold everywhere. These range in height from a few centimetres to a metre and they are glazed, painted, baked or often unbaked. The models are immersed in wells after the festival, and the unbaked form is preferred as it crumbles easily.

Other products crafted include water drawing and storing pots and cooking vessels. During the harvest festival of Pongal old pots in the house are replaced by new cooking pots, vessels for storing grain and a new container for the auspicious tulasi/holy basil plant. The pots symbolise continuity of life, creation, destruction and rebirth.

In Tamil Nadu, potters are known as kuyavar, kulalaar or velar and they trace their origin to Vishwakarma, the divine craftsman himself.

Some of them are in filigreed, fretted marble or sandstone. Some of the popular places of stone carvings are Meenakshi and Rameshwaram Temple of Tamil Nadu, Tirupati and Gundala Mallikarjuna Swami Temple of Andhra Pradesh and Cave and Vithala Temple of Karnataka. Bidri is a particular metal handicraft done in Andhra Pradesh. A particular type of mud from Bidar is used in oxidizing and therefore it is called Bidri. Bidri artwork designs have comprised different patterns over the centuries including stars. Plants, Animals, Flowers and other patterns that are typically contained within cautiously arranged balanced geometric fields.
Pottery is another form of craft, which is more or less practiced in all south Indian states. Pottery from Karukurichi in Tirunelveli district is noted for its attractive shapes and technical superiority. The base colors for the pottery of Tamil Nadu are red, black and grey colour. A glossier finish is given after a coating of red ochre. Khanapur in Belgaum district of Karnataka is famous for making large sized containers and jars because of the availability of a local clay.

Embroidery is also very much a part of the South Indians. In Tanjore in Tamil Nadu a different style of applique work is done for decoration on temple hangings. Andhra Pradesh is famous for bead embroidery, which is done on fine fabrics to adorn them. It is usually done on sarees and blouse pieces. Jangaon is famous for this type of work. White and colored beads are used on dark and bright bases. Karnataka is famous for kasuti embroidery. It is done with two types of stitches and the embroidery has a soft feminine angle.

Stone Carving

Winding through the cobble-stoned lanes of Bidar, 75 miles north-west of Hyderabad, one is impressed by the wealth of traditional and colorful artifacts that festoon the once rich township of Bahmani and Baridi dynasties. Amidst the embers of this famous historic settlement flourishes the conspicuously striking handicraft of Bidriware, splendid in beauty and design and scintillating in exquisite craftsmanship.


Another popular tale recounts that one of the Hindu kings of Bidar innovated the crafts of bidriware, using the articles thus decorated to hold flowers and other offerings in honor of his household Gods. Later, under the patronage of the Mughals, indigenous manufacturers were extended both co-operation and encouragement and in course of time, bidriwork reached its zenith in perfection, design and finesse.

The traditional art of damascening in silver or Koftgari work, as Bidri is popularly known, entails encrusting one field.

metal into another in the form of a wire. It is akin to the ancient art of inlaying gold and silver in copper and steel, which was practiced in Persia and Arabia at one time. It is believed that the know-how was brought to India from these countries but took an altogether different form, which became the specialty of Bidar from where it derives its name.

Process of making Bidriware
The origin of the technical aspect of bidriware is not definitely known. It appears that like other Persian articles of metal, this particular type of work was probably developed by experimenting with various alloys to guarantee brilliance by contrast. The resultant ingredient was an alloy of zinc and copper combined with other non-ferrous metals.

The new alloy, thus produced, is brittle but does not rust or corrode and has the additional advantage of allowing a better polish. Each bidri utensil has to pass through a long complicated process of casting, polishing, engraving, inlaying and blackening of the alloy before the final product is ready for the market.
Casting
The casting is done in moulds of red clay, a mixture of wax and resin covering the mould with a coating of red clay superimposed on it. This whole process is supported by stops, which may not be necessary in case of smaller articles. The product is then roughly polished on a lathe.


Making a Design
The design is first drawn freehand and later engraved with a sharp chisel in varying depths. Silver wire or pieces of the sheets are then embedded on the chased patterns by hammering. The highly intricate designs are however introduced at the time of the crafting itself.

A combination of chemicals varying from common salt, saltpeter, copper sulphate and salammonac when applied to the surface of the vessel transforms the color of the metal to jet-black. The final polishing with sandpaper, charcoal and coconut sets the shimmering silver in sharp relief to its satiny black background.

Bidri work boasts of versatility, design originality and fine craftsmanship. Gold inlay work is now rare but was at one time as popular as silver. At present, only silver is used to make the craft more vibrant.

Variations in Bidri Work
Slight variations in Bidri craftsmanship are the Taikashi or the brass metal wire inlay work, the Taihnishan and the Zamisshan in which the design is deeply cut and the Zar Buland which resembles the encrusted ware of Tanjore, where white designs are cut on the red and yellow ground of copper or brass vessels.

Another type of ornamentation is the Aftabi and Mumabatkari in which the patterns are wrought at slightly raised levels over the surface of the vessel, to look overlaid. Often, more than one style is used on the same article though a combination of Taikashi and Taihnishan is more common.

Mainpuri in Uttar Pradesh was once the stronghold of Taikashi decorations, where it was commonly engraved on wooden footwear. Nowadays, Taikashi work is more appreciated as part of furniture ornamentation especially in places like Jaipur and Delhi.
The Craft Practiced in other Places
The craft of Bidri is practiced in other places also like Purnia in Bihar, Lucknow in Uttar Pradesh and Murshidabad in West Bengal. The designs are mostly conventional ranging from creepers, flowers and sometimes human figures.

In the crowded marketplace of Murshidabad, one can see stalls filled with elegant flower vases, tumblers, plates, trays, cups, saucers in vivid bidri designs typical of the polished ware of Bidar.

In Bellori, a village four miles from the civil station of Purnia, one finds the local craftsmen, the Kansaris, busily engaged in molding and turning bidri vessels. The work of engraving and polishing is undertaken by the skilled sonar (goldsmith). Here, a popular variant of bidri is the gharki, in which the patterns are plain and inferior both in beauty and adroitness.

The local customs are so deeply entrenched in the minds of people that bidri art has never really been allowed to die. To cite an instance, at the time of the marriage of a girl, it is a custom in Hyderabad to present a complete set of bidri utensils to the bridegroom.

A modification of bidriwork can be seen in Lucknow's Zar Buland, where the ornamental designs are raised above the surface. Sometimes, gilt silver is used to cover the patterns. Large, delicate designs in silver in the form of flowers, leaves and even fish are encrusted all over the base metal.

Fish Emblem
The fish emblem can be traced back to the kings of Oudh, who delighted in parading their 'dignity of fish', Mahi Muratib, in the vanguard of all state processions.

The fish motto later became a noble design in art and architecture and bidri manufacturers adopted it as a natural culmination of bidri craft.

Traditionally, the nobles used hookah of various sizes and diverse shapes and designs varying from that of a ball, bell, cone, coconut or fruits like mangoes. The aftaba or the water jugs, and the sailabchi or the washbasins were at one time very popular both in the ladies' and the gentlemen's living room. Womenfolk from noble families particularly favored, dibyas,(cosmetic boxes), pandaans, and elaichi-daans, boxes for offering paan and supari, in quaint rectangular, oval, round, square, fish or leaf shapes. In households, weights known as the mir-e-farsh were used to keep the bed-sheets unruffled. These were often in enchanting aftabi workmanship with exotic lotus designs on them.

The Medieval Times
It is believed that the earliest craftsmen turning out bidriware probably migrated from Iran and were patronized by the Deccan rulers from the 15th century onwards. The bidri technique was usually handed down from generation to generation, and in the course of time local Muslims and Hindus of the Lingayat sect took to the trade.

Highly conventionalized patterns such as the Asharfi-ki-booti, stars, vine creepers and stylized poppy plants with flowers, the Persian Rose and bowls with passages from the Quran in Arabic script were in vogue.

Bidriware Today
The Salarjung Museum in Hyderabad has in its collection a beautiful farshi hookah designed in the Zar Buland technique with numerous lion's heads. Circular flowers with five petals in between decorative creepers are a mixture of Persian and European influence. Some of the other antique pieces are on display at the National Museum New Delhi, Hyderabad Museum and the Prince of Wales Museum, Mumbai.

With the passage of time, bidri articles changed their shapes and decorative motifs. Cigar boxes, cigarette cases, ashtrays, cuff links, matchbox covers, fruit bowls and other necessities of daily use began to find favor with the purchaser. A careful combination of old Persian motifs together with designs adopted from the Bidar Fort, Ajanta frescoes and Persian florals, typify modern day bidriware.

Bidri is yet another proof of the sea like character of Indian art and craft to absorb and assimilate the latest in craftsmanship in keeping pace with the developments in this extraordinary