Indian Handicraft Person

The panoramic view of Indian crafts is a patchwork quilt of many hues and shades of meaning, reflecting interactions with social, economic, cultural and religious forces. The world of crafts is full of contrasts, a universe of utilitarian products and sacred objects, articles for ritual use and ephemeral crafts for festivals, representing many levels of refinement, from the simplest to the most technically advanced. Likewise, there are many perceptions of the term ‘craftsman’, ranging from a manual worker to a worker of great artistic excellence. The craft, then, is situated in a complex medium, a dense matrix of many threads and elements.

The stories are developed in material with the skillful handling of tools and the application of the intellect and the product is a mirror of the society that produces it. It is strange how we can see traces and signs of culture frozen in stone, clay, metal and wood, all of which echo the roots of a particular cultural system that produces or uses the craft object. The belief systems that determine that form could come from the religious source or from some body of ancient lore.

As someone said, a craft is a true reflection of creativity, proximity to nature, mastery of thought patterns, clarity of the correct mixture to turn a piece of wood or a piece of brass or anything else in a masterpiece.

Hence, the huge terracotta Ayyanar horses stand as vigilant guardians of the village in Tamil Nadu. The temple, the mosque, the church, and the tribal gods have all helped shape the worship artifacts and votive offerings that form part of the initiation rites in many Indian communities. Birth and death, marriage and adolescence are occasions for the joy or sorrow of the community, and create the context for the release of creative energies and the demand for the highest degree of skill that the craftsman can bring to the occasion. .

There are a variety of expressions: some are crafted with decorative motifs and surface ornamentation, others a pristine sense of peace with the material and a sublime proportion that evokes soft feelings even when the object is metal, as in solid charakku casting. Kerala ship. The simplicity of the Jain turned wood paatra, the utensils, and the elaborate and ornate meenakari, the enameled metal tableware of the Islamic north, contrast sharply, each reflecting the spirit of the community and the purpose it serves. In the hills of Nagaland, the wearer’s shoes, headwear and other accessories tell us about their worldview and identity.

India has been at the crossroads of civilization for more than 5,000 years. The various waves of interactions from the Northwest and the subtle business interactions from the South and East have brought new ideas and practices, skills and applications. Internal migrations and business transactions took skills from one place and planted them in new and strange environments. For example, the bandhani textiles of Gujarat find a new expression in the sungadi of distant Madurai. The arrival of the Mughals brought Iranian fine art in metal, silk and carpet weaving. The arrival of the British and the Portuguese in South India introduced the woodcarving traditions of the West. Furthermore, the hot and humid climate required judicious design of shaded terraces of Pondicherry, the Kerala coast and Tamil Nadu.

Indian handicrafts are a repository of classical motifs and patterns that have evolved over the centuries, many of which have been passed down through trade cultures over eons of interaction. Motifs and patterns once absorbed by a culture are spread through a variety of media, from stone to wood, from metal to fabric; from weaving to printing and from painting to inlay; each technique gives the pattern its unique signature, an amalgamation of limited materials and tools. The floral motifs and the vine, the bel, can find as many expressions as materials and contexts, as can the keri or the aam, the stylized mango.

The human form has also been represented in great variety. The rough, carved forms of the Naga warrior contrast sharply with the elegant statuettes of the Chola bronzes, while the wrought-iron tribesman from Chhattisgarh differs from the expressive occupational toys of Kondapalli in Andhra Pradesh.

Many crafts are a form of pure service and the craftsman plays the role of facilitator of some critical function of shaping or repairing. The mochi or cobbler and the potter, the weaver and the carpenter fall into the category of those who work to serve the community with their skills and knowledge. In the age of mass consumption, it may be a good idea to bring back some of the value of this service to ensure that our products are recycled and repaired rather than used and thrown away long before their active life is over. Craftsmanship and the use of crafts could bring new values ​​for a sustainable future and a new attitude towards the good use and abuse of materials in the years to come.

There are traditional and modern stages to showcase craft heritage all over India. The bazaar is the closest thing to the maker while the new forms of exhibition and fairs promoted by governmental and non-governmental organizations represent the new formats for contemporary action. The artisan heritage continues to evolve into modern times and objects are also finding new and contemporary expression, while the old and the traditional are still valued for the refinement they represent. That craftsmanship understands and responds to the variety that its clientele demands is manifested in the profusion of jewelry, clothing, footwear and hand accessories that are used as part of our daily wardrobe. Kolhapuri chappal, leather footwear, is one such product that comes to mind. Warli and Madhubani painting are two outstanding examples of everyday art that is part of the living culture of the land.

In the changing context of a global market-driven economy and ideology, traditional crafts offer sustainable practices that need to be revisited and assimilated. Craft development needs a paradigm shift from promoting karigar, traditional craftsman, to karigiri, quality of craftsmanship, since whoever absorbs this quality becomes a craftsman in perpetuity.