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Sample Pages From Handmade in India PDF
Sample Pages From Handmade in India PDF
HANDMADE IN INDIA
EDITORS
Aditi Ranjan, M P Ranjan
NATIONAL INSTITUTE OF DESIGN (NID), AHMEDABAD
Published by
Cluster, District
Upshi barley drink
& State Capital Hand-spinning Khamiri roti – yeast
District Boundary Ch
International Boundary en Thigma – tie-resist- bread
dyeing
ab
Crafts of
KASHMIR
Papier-mâché
Kaleen – knotted carpets
Kashidakari – Kashmiri
embroidery
Namda – felted rugs
Gabba – embroidered
rugs
Walnut wood carving
Jh
el
um Pinjrakari – latticed
Baramula wood work
Dal Lake 3
Srinagar Khatumband –
wood work
Wicker work
Anantnag
Copper ware
Subclusters of Poplar trees on the
N e s tl e d a m i d the high mountains of the Shivalik and Pir 1 2
outskirts of Srinagar.
Cluster & District
KASHMIR Panjal ranges lies the verdant valley of Kashmir. In the 3rd century Papier-mâché
Cluster, District Srinagar district BC, the Mauryan emperor Ashoka sent Buddhist missionaries
& State Capital
District Boundary Anantnag district to the region and it is they who established Srinagar (literally the craft, known by the French term Production Clusters
International Boundary Baramula district ‘The Happy City of Beauty and Knowledge’), the current capital papier-mâché (literally paper pulp), is Badgam district
of the state. The Karakota dynasty consolidated their power in locally known as kar-e-kalamdani, pen Anantnag district
the region during the 7th century, thus bringing Kashmir under case work, after its traditional Iranian Kupwara district
Hindu dominion. Kashmir’s location on the Silk Route of Central name. Papier-mâché was practiced as Baramula district:
Asia ensured a steady stream of artistic and cultural interac- a form of decoration executed on the Delina
tion with various trading communities—Persian, Chinese and wooden panels of walls and wooden Wagoora
Mediterranean—who passed through it. This influx of stylistic furniture and was eventually adapted to Pulwama district:
influences is apparent in the syncretism of Kashmiri art; it paper moulds as well. Trays, small boxes Gangoo
Suttusoo
An ari embroiderer derives from sources as varied as the serenity of the Gandhara and book covers were made for royal patrons and members
at work; the reed mat, sculptures and the stylization of the Persian court. The Persian of their courts. The two major processes involved in the craft are Srinagar district:
hookah and kangri, Srinagar city:
influence was further highlighted during the rule of Zain-ul- sakthsazi (mould making) and naqqashi (painting). The naqqash
(a wicker container Arwat
Abadin, a local prince who was forced into exile in Persia by renders the surface in intricate floral patterns or highly stylized
for smouldering Sufa Kadal
coals) near him, are
Timur in 1398. The prince returned to his homeland in 1423 scenes of hunts and battles. In the case of floral motifs, the
Lal Chowk
ubiquitious elements accompanied by various skilled craftsmen who introduced and painting may be executed entirely in gold or silver. The local term Doni Pora
of the local material developed the crafts we associate today with Kashmir. for gold or silver work is son tehreer. The motifs are derived from Shamaswari
culture. The foreign craft traditions fused together with the indigenous the profusion of local flora; some of the frequently used images Syed Pora
craft practices and forged an artistic vocabulary reflective of the are the bumtchuthposh (apple blossoms), dainposh (pomegra-
R E S O U R C E S Products
environment they were produced in. For example, the chinar nate), kongposh (saffron flowers) and yambarzal (narcissus).
Craft Raw Materials Sources Boxes, Toys
(oriental plane), sarav (cypress), dachh (vine), sosan (iris),
Carpet weaving Silk, Wool Karnataka, Kashmir Jewellery box
pamposh (lotus), sumbul (hyacinth), yambarzal (narcissus) and
Namda Wool fibres, Cotton Srinagar Inset A papier-mâché container painted in a Lamps, Pen cases
fibres the dainposh (pomegranate) motifs recur throughout the range
multi-hued floral pattern. Wall decoration
Gabba Woollen blankets Srinagar of crafts, thus lending a uniquely Kashmiri character to the
1 A namda craftsman products they adorn. Under the Mughal emperor Jehangir, the 4 1 The papier-mâché ornamented ceiling of Powder containers
Kashidakari: Ari Pashmina and raffal Srinagar, Leh
beating wool fibres the Madina Sahab Mosque. Mirror cases
shawls crafts of Kashmir, especially that of carpet weaving, received
with a wicker punja. 2 Detail of an intricately painted floral pattern.
Kashidakari: Sozni Gold or silver zari – Surat 2 A naqqash at a generous patronage. The Mughal influence may also be seen in 3 A papier-mâché box, the detail revealing its
Christmas decorations
tilla, Silk thread the gardens of Srinagar, their summer capital, and in the car- 5 Flower vases, Kettles
papier-mâché highly ornamental surface.
Copper repoussé work Copper sheets Srinagar workshop in Srinagar, pets which reflect the geometrical layout of these ‘Gardens of 4 Painted papier-mâché furniture. Trays and plates
Khatumband and Wood – deodar, pine Kashmir Valley painting a moulded Paradise’ that are based on the Persian Chahar Bagh design. 5, 6 A folding screen, and a detail; the composi- Samovar – fluted kettle
pinjrakari form. tion revealing the similarity to the medallion
3 A craftsman at one of with chothai pattern seen in the kaleen, carpet. Tools
Walnut wood carving Wood – dun or akhrot Kashmir Valley ACCESS
several wood carving 7 Detail showing the gold painted surface File, Rasp, Hacksaw
Wicker work Willow Kashmir Valley Srinagar is connected by road, rail and air with the states of Punjab,
workshops in Fateh known as son tehreer. Sandpaper
Papier-mâché Paper pulp Kashmir Valley Kadal, Srinagar. Delhi, Himachal Pradesh and Maharashtra.
Burnishing stone
7 Paintbrushes
1 2 3 6