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Maharashtra
Introduction Maharashtra, situated in the western part of India, is the third largest state of India. It is bordered by the states of Gujarat, Madhya Pradesh, Chhattisgarh, Andhra Pradesh, Karnataka, Goa and the union territory of Dadra and Nagar Haveli. Divided into thirty five districts, it has cities such as Mumbai, Pune, Aurangabad, Kolhapur, Solapur, Nagpur, Thane, Jalgaon and Amravati which have a distinct place on the map of the world. The state which is home to one of the largest film industries of the world i.e. Bollywood, also boasts of being the largest contributor in India's national industrial output Ichalkaranji It is also know as Manchester of Maharashtra. One of Ichalkaranji is situated on the banks of river Panchaganga. Its is one of the leading textile industrial sector of Maharashtra. The city, one of the fasted growing cities in Maharashtra, has good facilities for education in arts, commerce, science, engineering and Textile. Its rarely populated and polluted. Its infrastructure is also growing fast.

The scource of income of people staying is "khat-khat" of powerloom or the working of the powerloom Navvari Saree Instead of the usual five-and-a-half meters, the sari in this version measures eight meters or 9 yards. The term "Nav" meaning nine and "vaar" meaning yard. The sari is draped like a dhoti. Even today u can see maharashtrian woman wearing it, it can be seen in Indian Fish Market and Vegetable Market. Panthani Saree It has a Very rich History. It can take very long time for the Saree to get ready. Its one of the reason for its high price. Status symbol They are classified on the basics of Motifs, Color and weaving. 2|Page

The motifs are of lotus flower, Hans, Ashraffi, Asawalli (flowering vines), Bangadi Mor (peacock), Tota-Maina (male & female parrot), Humarparinda (peasant bird), Amar Vell and Narali. Narayan Peth Saree

Narayan Peth saree is very much popular in and around Sholapur district of Maharashtra. It is the favorite for the women of this district. It is a traditionally Maharashtrian saree that weaves mainly in this district only. Narayan Peth saree is made of silk fabric. It is designed with the contrasting zari border, which is generally with rudraksha motifs.

Gujrat

Material pure silk natural dyes E.g Haldi, Madar roots, Manjistha, Ratanjyot, Mehndi, Katha, Kesudo, Pomegranate skin, Onion skin, Marigold flower etc. Method Process of making silk pure. Process of making warp and weft. Process of making design. Transferred and knotting on warp and weft. Processing dyeing. Process of weaving. Processing of adjusting each threads of warp and weft. Process of finishing the fabrics

Design element 3|Page

Patola are based on traditional motifs called Bhat. Design include mainly of plant, zoomorphic and geometrical motif. Flowers, animals, birds and human figures form the basic designs. E.g. Chhabdi bhat, Fulvali bhat, Paan bhat, Akhrot bhat, Nari kunjar, Wagh bar hathi bhat, Vohra cheer bhat. products The patola was traditionally woven in a saree. Include table cloth, border, scarves, handkerchiefs and kurta.

Orissa
Tie and dye of yarn is called as IKAT. When both warp and weft are tied and dyed it is called DOUBLE IKAT. When only warp or weft is tied and dyed it is called SINGLE IKAT. Ikat textiles Orissa is the ninth largest state by area and the eleventh largest by population. Oriya is the official and most widely spoken language. Orissa is also known as Odisha. Orissa is a beautiful state, well irrigated by rivers. The women of Orissa dress in saris of blue, red and magenta and other deep colours, with ikat (known as bandha in orissa). Ikat or bandha of Orissa has gloriously woven, blurred, and gem-colored motifs in silk and cotton. The motifs in this craft include animals and birds. As the design-type is single ikat, the designs on the material are blurred; however, this trace-design has a beauty all its own. While Sambalpur is famous for its double-ikat textiles, Sonepur is known for its gold embroidered ones. The textile that is traditionally the pride of this area is the saktapar sari, with its double ikat check board pattern and brocaded border of rudraksha beads Handlooms of Orissa Handlooms of orissa are mainly available in cotton and silk though the colours, patterns and methods of weaving differ for two textured materials. Orissas cotton handlooms and textiles come in patterns of the famous ikat style of weaving. Bomkai Orissas Bomkai theard work features ornate borders and heavily embroidered drapes with touches of ikat work. Bomkai fabrics are must buy in your tour to Orissa. The double-sided ikat designs, woven in colored, silver and gold threads, common in Sambalpur textiles and handlooms, and the gold embroidered fabrics from Sonepur are other popular buys on your tour to Orissa.

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Produced in a small town called Bomkai in Orissa, these sarees also have touches of ikat work, like the Sambalpuri sarees.

Fabric in Bomkai Saree Both cotton and silk fabric is used in making Bomkai sarees. For regular wear, cotton bomkai is favored. A Bomkai Cotton Saree is also an excellent choice for any religious function. Bomkai Silk Sarees are generally worn in formal and semi formal occasions. Design and Colors There are Bomkai sarees with elegant designs, enchanting colors for the exclusive women. Some Bomkai saree have small fishes woven onto the border. Fish symbolizes prosperity and good health. Bomkai sarees feature threadwork ornament borders and pallu. East Indian ladies love to wear Bomkai sarees for their traditional tribal look, as well as their understated and elegant color pallette. A combination of ikat and Bomkai is very unique. Pattachitra Pattachitra refers to the folk painting of the state of Orissa, in the eastern region of India. The painting is done on cloth which the artists prepare themselves by coating it with a mixture of chalk and and gum made from tamarind seeds to give the surface a kind of a leathery finish on which the artists paint with earth and stone colors. 'Patta' in Sanskrit means 'Vastra' or 'clothings'. Some think it to be paintings done on 'Pata' or wood. Nevertheless, these paintings are also done on 'Pata' or wooden covers of palm-leaf manuscripts. The tradition of Pattachitra is closely linked with the worship of Lord Jagannath and claims a distinct place of its own because of its exquisite workmanship. Apart from the fragmentary evidence of paintings on the caves of Khandagiri and Udayagiri and Sitabhinji murals of the Sixth century A.D., the earliest indigenous paintings from Orissa are the Pattachitra done by the Chitrakars (the painters are called Chitrakars). They do not belong to any particular place but the district of Puri has the highest concentration of Chitrakars. The theme of Orissan painting centres round the Vaishnava cult. And for these, Jagannath, the main manifestation of Vishnu in the great temple of Puri in Orissa, is the major source of inspiration. The subject matter of Patta Chitra is mostly mythological, religious stories and folk lore. Themes are chiefly on Lord Jagannath and Radha-Krishna, though we also find a few Ramayana and Mahabharata themes in them. The individual paintings of gods and goddesses, different "Vesas" of Jagannath, Balabhadra and Subhadra, temple activities, the ten incarnations of Vishnu basing on the 'Gita Govinda' of Jayadev, Kama Kujara Naba Gunjara are also painted. High praise is given by art critics to Patta Chitra for their strange and fantastic pictorial conceptions, the pictorial and idiosyncratic conventions, the strange and summary system of line formulation and the deliberately wayward colour schemes." The process of preparing the canvas (Pata) is onerous, usually taking at least five days. It involves the preparation of a tamarind seed paste, which is mixed with water in an earthen pot and subjected to further treatment. It is known as the 'Niryas Kalpa'. The chitrakar then selects two pieces of cloth of equal size and sticks them together with this paste. Clay powder is then added to the mixture and two or three coatings of this mixture are applied on to the prepared canvas on both the surfaces. When the canvas is dry, it is polished, a process that takes several hours. Once it is dry, the paintings ('chitrakarita') begin. 5|Page

Patachitras are typically painted in a regular series of steps. First, a border is drawn around the pata. Then the outlines of the figures are drawn in white pigment. Next the background between the border and the figure or figures is painted in a solid color, and the parts of the figures are painted in solid colors, using different colors for different areas, all done in bold rather than fine brushwork. Then, increasingly fine decorations are added to the picture. The painting is finished with a protective coating. The current practice is to apply a thick coat of lacquer with a cloth. After the lacquer dries, the Patachitra is trimmed down to the decorative border. The average painting is completed in a week. But there are intricate ones that take as long as a month.

Andhra pradesh Andhra Pradesh is the 4th largest state in India by area and population. Two major rivers, the Godavari and the Krishna run across the state. Andhra Pradesh offers a rich variety of handmade textiles Chirala is well known for its textiles. A large quantity of oil is used in preparing yarn for weaving. Once the fabric is ready it is wrapped with wax and clay before being dyed in selected colors. In Chirala, telia rumals were dyed with traditional alizarine dyes, which left an oily smell from which their name derives Pochampalli is large village about fifty-five kilometers from Hyderabad, the historic capital of Andhra Pradesh. Weaving was originally dedicated to the production of plain dhotis and saris, with simple patterned borders. The weaving of telia rumals was then introduced, most probably from Chirala, and techniques of ikat, once learned, were then applied to the weaving of saris and dupattas. Pochampally is famous on account of its exquisitely designed silk & cotton sarees. The designs are uncomplicated geometrical patterns based on lkat process of weaving. The Pochampalli textiles are made using the tie and dye method of yarn. Different coloured yarns are woven into geometrical designs. Dress materials, sarees and home-furnishings are also made in these designs. Pochampalli sarees and dress materials are available in both cotton and silk. Kalamkari Kalamkari is derived from the words, kalam which means pen and kari which means work. In kalamkari work on fabric is done by using a pen. The coromandal coast of India, was historically the source of some of the most beautifully coloured and delicately worked cotton fabrics produced and exported by India. The small temple town of Sri Kalahasti in the extreme southeast corner of Andhra Pradesh became an important center for kalamkari in 19th century. The kalamkari workers of kalahasti worked under local temples, which demanded all the different Gods and Goddesses and accompanying figures. Certainly there is a religious colour code for the decoration of kalamkari clothesall Gods are blue, female character golden yellow, bad characters and demons are red. Introduction Kalamkari falls in the category of one of the oldest art forms of south India. A place called kalahasti in the state of Andhra Pradesh witnessed the birth of this visually stimulating art. kalamkari was born more than 3000 years ago. Sri kalahasti is located in the vicinity of the holy city of Tirupathi. Literally, the word traces its origin from the to words-kalam(pen) and kari(to work). In other words kalamkari means "pen work". Located in the vicinity of temple, this art form was patronized by the temples. These 6|Page

paintings were made on cloth depicting murals. Their theme was provided by the Hindu mythology. The temple walls are ornate with kalamkari wall hangings depicting stories from the Hindu Puranas and epics. They were so visually articulate that they even served the purpose of helping learned men in narrating stories. The distinctive feature of these paintings is that the artists made large murals which were filled in with a lot of detailed fine work. Themes Initially, the themes were based on religion. But these were not duly appreciated by art connoisseurs especially those who resided abroad. Traditional artists then started including contemporary themes like trees, birds and animals. One immensely popular piece is the "tree of life." Evidence also suggests that kalamkari artists also created murals based on Christian themes. Process involved The base of Kalmkari is formed by cotton cloth. A lot of attention is paid to fineness which makes the process of making kalamkari very laborious. How the cloth is prepared? Clean flowing river water is used for washing the cloth and removing the starch. The cloth is then dried. tannin containing pod of young unripe myrobalan fruits are soaked in water for a few hours to be made into a paste. The paste is then dissolved in cow's milk which is kept in a vessel. The cloth is soaked in it and dried. This procedure makes the colour of the cloth to turn into pale yellow. Sketching First the artist decides what is to be drawn on the cloth. Then he makes a sketch with the help of burnt tamarind tree twigs. The next step involves the preparation of an iron solution. This is prepared by keeping some some rusted iron pieces in a solution of water and cooking jaggry and palm jaggery which is kept in an earthen pot for 15 days. This solution though clear takes a black colour on coming into contact with the myrobalan treated cloth. The drawing tool is a bamboo stick sharpened at one end with a knife. A thread is wound round this stick. The thread absorbs the ink and lets it penetrate down while drawing on the cloth. The line drawing is very immaculately done, replete with all the key and sub elements of the work. Coloring On the completion of the line drawing,colours are added. Generally, red(maroon), yellow and blue are used. For obtaining red(maroon) color Red(maroon)colour is obtained by painting an alum solution which is then dried for a day. this is done in the areas forming the background. Any excess mordant is washed away in flowing river water. Another laborious process of this art form is the boiling of cloth with a mixture of madder and "saveli koddi"the saveli koddi (in the stick form)and madder is dried and then turned into a powder. Only those areas which had been earlier treated with alum allow red colour to penetrate. Despite all the precautions, colour might smudge to other areas. To remedy this, the cloth is soaked overnight in a vessel containing cow dung dissolved in water. It is then cleansed in flowing water and dried. at frequent intervals water is sprinkled. At the end of this procedure the cloth is again dipped in cow's milk and dried.

For obtaining yellow color Myrobalan flower is dried, powdered and dissolved in clean drinking water. Its then boiled and 7|Page

continuously stirred which makes the solution turn yellow. After the application of yellow colour, the cloth is dried, cleansed in flowing river water and once again dried. Natural vegetable dyes are used to make the rest of the colours, for example-katha for body colour (ie brown); seveli is used for rose; indigo for blue; yellow and blue are used to get the green colour. At the end of colour application the cloth is again washed with river water and dried. Finally, the prepared pieces of kalamkari are stretched and framed. They are then ready to aesthetically beautify the interiors with their resplendent and vibrant colours replete with intricacy. As an art form, kalamkari is traditionally practised as a profession by many families. it involves the entire family in the various stages of preparation. The head of the family also happens to be the master craftsmen under whose guidance the painting is executed. The importance of kalamkari is highlighted by the fact that it is an extremely environment friendly traditional art form requiring natural products as the basic drawing material. In the present day when the dangers of global warming and acid rain are confronting mankind, an even greater need is being felt to promote such an art form.

Rajasthan
Introduction Millions years ago,the land that is now called Rajasthan. Ley under a vast oceav. It was named Tethys in Greek mythology after their Greek sea deity,wife of Oceanus. The turbulent tides were,over the millenia,scultped into undulating sand dunes ripped with the memory of waves that had once buried them. Rajastan become part of the arid belt that girglrs the world in sand, connected northwards to the Takla Maan and Gabi deserts, through the Arab lands and the Sahara, linked with the Arizona desert in north America, to traverse the Pacific into Australia. This region was known as the Mastya Janapada and among the oldest in the recorded history of Rajastan. A Rajastan peasant uses a pot mede of zine to fill the Mashaks. Hand Block Printing Resist/Dabu Printing of Kala Dera

The Resist Process called Dabu is used here involves using wax or gum clay mixed with resin. With the help of brush or block or by hand this is applied to the portions of the cloth. The color is then applied to it. The wax is then washed off in hot or flowing water and the applied colour moves into this area to give a diffused effect. Now Block printing is done on the portion of the cloth where the original colour is retained. The fabric is highlighted by printing Specific outlines and patterns against the contrast colour. Ajrak

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In Rajasthan, there are sandy stretches of desert where a unique method of cloth-dyeing prevails. The technique is called Ajrakh and the print is in dark shades of blue and red with geometrical patterns on both sides of the fabric. The technique is a complicated one and the steps include preparatory washing, application of mordant, resist printing, de-gumming, and dyeing. The resist substances used are gach (a mud resist) and kariyana, which is a mixture of the gum of the babul tree and chuna or lime. The lime provides a smooth texture and prevents the resist from cracking. Balotra

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. Bagru

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. Barmer

Barmer, is famous for it hand block print. The prints are inspired from the Sind region. Various items that are made in Barmer are turbans, sarees and traditonally worn lungis, Head gear and shoulder cloth made are worn by Sindhi Muslims. The designs in Barmer are bold, the popular one being the chirkala booti which is a flaming red chilli having a blue-black outline surrounded by flower-laden trees. Jaipur

Most of the Block Printing is done in Sanganer and bagru. Kalamkari Prints and floral motifs with pastel colors are done on the fabric. In kalamkari print normally four to five colors are used. Jaipur not being the biggest centre for hand block print is a trading centre for the craft and you can find local shops in Bapu Bazar Nehru bazar and Johari Bazar all selling various hand block printed items. Jahota

Villages of Jahota in Jaipur are famous for the jahota hand block printing. It is believed that Maharaja Jai Singh and his wife uplifted this art amongst the local artists. The Artists first carve the design on the wooden blocks with their fine tolls. Later using the natural and chemical dyes they print the motif on the fabric. In this fashion savvy world the artists have started designing to the demands of buyers and natural dyes have also been replaced by chemical dyes. Jahota is famous for its chilani print, tradtionally worn by brides in certain communities Kalamkari

Kalamkari refers to a method of painting natural dyes onto cotton or silk fabric with a bamboo pen or kalam. The namekalamkari translates as pen (kalam) work (kari) in Hindi/Urdu, and was most likely derived from trade relationships between Persian and Indian merchants as early as the 10th century CE. European merchants also had names for this type of fabric decoration: the Portugese called 9|Page

it pintado, the Dutch used the name sitz, and the British preferred chintz. The name kalamkari is used prominently today, and is synonymous with both painted and hand blockprinted textiles that incorporate natural vegetable/organically-derived dye stuffs. While there are many forms of kalamkari throughout India and the world, the focus of this site is on extant kalamkari practice in Sri Kalahasti, Andhra Pradesh, in South India. Jaisalmer In the border town of Jaisalmer a kind of resist printing requiring very low temperatures is done. This can thus be processed only during the night and in winter. The resist used is wax, and the blocks have special raised surfaces so that the deep grooves are dipped well into wax. The wax is then washed off in hot or flowing water and the applied diffuses into the area. The main colour used is dark red, from which varying tones are obtained. A local ritual sari called the jarribhat is printed here. This has an unusual design made up of squares with the back-ground colours being black, red, and pink Jodhpur Odhnis / chunris from Jodhpur are highly prized though they are made all over the state now. The technique followed involves the use of wooden blocks with nails projecting from them. These nails are pressed on to the folded cloth. The required pattern is thus formed. The raised points of the cloth are tied tightly with strings coated with resist-paste and then dyed. This odhni is associated with many rituals and festivals in folk songs and lyrics. The patterns are mainly geometrical, and dots, squares, and circles, coloured in brilliant greens, reds, yellows, blues are used. The motifs include birds, flowers, and leaves, as well as depictions of women performing the garba dance. The chunri design is also found in Bhilwara and Ahar where the basic colours used are maroon and black. Small bird and flower motifs in pink, green, and yellow are found here. Nowadays synthetic dyes are being used more frequently than vegetable dyes Nagaur 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. Sanganer 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. Jewellery 10 | P a g e

Rajasthan is famous especially for silver ornaments. Each part of Rajasthan is known for its own distinct style of silver jewellery. The craftsmen of Jaipur, known for their high quality enamel work, use enamel colours such as red, blue, white, black, green, yellow and golden which are derived from minerals. Creatively crafted pieces of jewellery use combinations of enamelling and kundan work which are unique to Rajasthan. Kundan is the art of setting stones in jewellery. The cavity in which the stones are to be embedded are filled with gold of high purity. Uncut stones are then usually set skillfully in kundan style and are noted for its purity of colour and the evenness with which it is applied. The motifs, usually figures of birds, animals, landscapes, flowers and esoteric symbols are cut skillfully. Pratapgarh in Rajasthan has a type of quasi-enamelling called tewa, which is extremely fine gold work done on a base of green enamel. Lac Jewellery Lac jewellery set with glass chatons is a popular item in Rajasthan and Jaipur city is the big centre for it. Bangles are considered very auspicious in the Hindu religion and Lac bangles are worn on all auspicious occasions in Rajasthan. Lac bangles are made in many shades and are plain or studded with glass pieces, semi precious and precious stones are also ornamented. The plain bangles have wavy or zigzag designs. Saree Kota Doria Saris

Kota, a small district situated in southeast of Rajasthan is very famous for its delicate kota doria saris, These dorias are fine woven fabrics containing a special type of check pattern in the weave itself, locally called khat. These saris are very delicate, lightweight and porous and this makes them favorable towards surface ornamentation techniques like batik tie-and-dye, chiknar work, hand-block printing, embroidery and appliqu work. Tie & Die/Lehriya/Bandhini

Tie and die is a multi colored craft of Rajasthan. A large number of colours are used because once the base colour is tied in, a lot of colours can be applied on to the fabric at different stages and then tied and detached gradually. The motifs that are used are birds, leaves, animals, creepers, and human figures in dance poses. Designs are known by their names such as mountain design, dol design and kite design. Dots are used to make up the designs. A different colour on either side is also practiced by the craftsmen. Lehariya has long lines in a variety of colours found all over the body of the sari or dress material. Turbans are also a good outcome. The lehariya cloths have their own names depending on the designs. Bandhanis are related to festivals, seasons and rituals for which there are particular patterns and colours Embroidery Leather Embroidery

There are several communities involved in making products from leather, with each dealing with a separate process. The people who flay the animals are distinct from the tanners who use a process locally known as rangna. The makers of saddle products are jingarhs and the makers of musical instruments are debgars. Another leather product is the knucklepad on which miniature landscapes and festive scenes are embroidered like in Rajput paintings. The details of the embroidery are carefully worked out, especially 11 | P a g e

of group compositions, and the scenes depicted include human figures, along with floral and bird designs. Leather bookbinding in Alwar is of extremely good quality. Designs are painted on the leather after they are outlined with a brass block. The covers have borders either in various shades or on a gold coloured base. Pattu Embroidery

Jaisalmar is very famous for all its craftsmanship. Woolen pattu of this place are unique in design and quality. These days the traditional designs have been made contemporary with the increase in todays demand. Along with this, the famous embroidery mirror work is also very beautiful and adds to the beauty of pattu work. Pretty articles of pattu work are available from costumes, home furnishings, jackets, caps and commercial items Zari, Zardozi, Tinsel Embroidery :

Embroidery done with metallic threads is called kalabattu and forms the zari. Zari thread is used widely in weaving but more selectively in embroidery. For intricate patterns gijai or a thin, stiff wire is used; sitara, a small star- shaped metal piece is used for floral designs. This type of embroidery is called salma-sitara. Zardozi : This is a heavy and more elaborate embroidery work which uses varieties of gold threads, spangles, beads, seed pearls, wire, and gota. It is used to embellish wedding outfits, heavy coats, cushions, curtains, canopies, animal trappings, bags, purses, belts, and shoes. Kamdani : This is a lighter needlework which is done on lighter material like scarves, veils, and caps. Ordinary thread is used and the wire is pressed down with the stitching producing a satin-stitch effect. The effect produced is glittering and is called hazara butti (thousand lights). Mina Work: This is thus called owing to its resemblance with enamel work. The embroidery is done in gold. Kataoki Bel: This is a border pattern made of stiff canvas and the whole surface is filled with sequin edging. A variation of this border technique is lace made on net and filled with zari stitches and spangles. Makaish: This is one of the oldest styles and is done with silver wire or badla. The wire itself serves as a needle, piercing the material to complete the stitches. A variety of designs are produced in this manner. Tilla or Marori Work: This is the kind of embroidery where gold thread is stitched on to the surface with a needle. Gota Work: The woven gold border is cut into various shapes to create a variety of textures in the patterns. In Jaipur the border of the material or sari is cut into shapes of birds, animals, and human figures, attached to the cloth, and covered with wires of silver and gold; it is surrounded by coloured silks. The work resembles enamelling. Kinari Work: A small variation is kinari work where the embellishments are done only at the edges in the form of tassels. This is done mainly by men and women of the Muslim community.

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 Assam
Assam is the gateway to the north-east, a state known for its breath taking scenic beauty, rarest flora and fauna, lofty green hills, vast rolling plain, mighty waterways and a land of fairs and festivals. Known in the ancient lore as the kingdom of Pragjyotisha and Kamrupa, the capital having been Pragjyotishpura situated in or near Guwahati. It originally included in addition to modern Assam, parts of modern Bengal and modern Bangladesh. The name Assam is of recent origin. It came into use after the conquest of Assam by the Ahoms. It is also known that Assam is derived from the word Asama meaning uneven. Assam is almost separated from central India by Bangladesh. Nagaland, Manipur and Myanmar bound it in the east, west by West Bengal, north by Bhutan and Arunachal Pradesh and south by Meghalaya, Bangladesh, Tripura and Mizoram. It is dominated by the mighty Brahmaputra, one of the great rivers of the world (length: 2900 kms), which not only has a fertile alluvial plain for growing rice, but also is famous for tea. Earthquakes are common. Textiles of Assam Muga silk Eri silk Paat or mulberry silk Vaishnavite silk Muga silk Muga Silk is the most prestigious silk of Assam. This unique silk is mostly found in Assam only. The reason is - Muga Silk Worms cannot survive in any climate other than that of Assam or North East. The scientific name of Muga Silk Worm is Anthera Assama. Assamese people are very very proud of this silk. The colour of this silk is Golden, that gives it the unique identity. Assam is the largest producer of this Golden Silk in the World. Muga Silk Worms are rared in almost all districts of Brahmaputra valley. According to Assam Government records, about 2625 hectares of land are utilised for production of Muga Silk, in Assam. About 30,000 Assamese households are related with Muga Silk production. There are 15 Muga Silk Reeling units in Assam. Sericulture department of Assam Agricultural University, Jorhat is doing various research and extension activities for development of Muga Silk Industry. Central Silk Board, India is also engaged in the development of Muga Silk. ERI SILK Eri Silk Worm rearing is a tradition of Assam from time immemorial. Eri silk worms feeds on castor leaves and the cocoon cant be reeled. So it needs spinning! The rearing, spinning and weaving of Eri Silk is carried out in almost all the districts of Assam. The total area under the cultivation of food plants of Eri Silk Worm is the state counts for about 2993 hectares. At present, the state has 21 Eri Silk Spinning training centres. There is also a Sup Silk Mill in Assam, located at Jagiroad. About 1.28 lakh families of Assam are engaged in the rearing and production of Muga Silk. Paat or Mulberry Silk 13 | P a g e

Paat or Mulberry Silk also occupies an important place in Assams Sericulture. About, 40,000 families of the state are engaged in the production of Mulberry Silk. The total are under the cultivation of food plants for the mulberry silkworms is about 2300 hectares. In Assam, the Mulberry Silk Worm culture is practised on a large scale in the districts of Upper Assam. Lakhimpur, Sibsagar, Dibrugarh and Jorhat districts are the important producers of Mulberry Silk. In order to produce more and more mulberry silkworm seeds, the State Sericulture Department has also organised a systematic Seed Organisation Programme. A Cold Storage plant has also been set up in the Kamrup District of Assam for the preservation of Mulberry Silk Worm Seeds. Although, silk is produced in almost every district of Assam, Sualkuchi is the main silk weaving centre of Assam. Situated in the kamrup district, Sualkuchi is also called as the Manchester of the East. Weavers in Sualkuchi produces amazing fabrics of Muga Silk as well as Mulberry Silk. Recently Government of Assam has also introduced the Oak Tassar in Assam. Hill areas of Assam are suitable for cultivation of Oak Tassar, as Oak trees grows in abundance there. In the two hill districts of Assam - Karbi Anglong and North Cachar, five Tassar Centres have been set up for the production of seeds and rearing of Oak Tassar. Vaishnavite silk Although Assam is well known as a major area of silk production, complex weaving techniques and dense figural decoration are not features usually associated with the region. Tribal groups incorporate some simple extra weft geometric designs into silk cloths, but most of the silk textiles produced there have traditionally been plain, undeyed length. A complicated Lampa technique is carried out in Assam with the range of cloth discussed here. The textiles of this group vary considerably in quality, but are all characterized by designs depicting scenes from the life of Krishna. Several of the pieces also show scenes from the Ramayana, which of course concerns another incarnation of Vishnu- Rama and some include depictions of other avatars, such as Matsya the fish, Kurma the tortoise and Narsimha the man-lion. In several of the more complex pieces Garuda Vishnus man-bird vehicle, is also shown. Almost all the pieces have woven inscriptions in Assamese which though not read yet in their entirety, seem to be mostly simple labels to the scenes or characters depicted: Rama avatar or Bali Sugriva. Other pieces especially those with black ground favour larger blocks of text, which may be quotations from the Bahagavat Purana, with which these cloths are closely linked. This vastra was to perform unusual role in Vaishnavite worship. The drawing of the figures is fine and well conceived with an interesting variation of scale between rows. The only poorly woven section are the inscriptions which are barely decipherable as the names of the figures are in some cases reversed. Costumes The need for costumes originated with mankinds need for coverage and protection from the elements of nature. Later, it became a means of adornment to help enhance beauty and reflect social factors such as religious symbols, personal identity and status. At that time, Costumes, differed between regions. Some typical costumes in Assam include the mekhla chadar, riha and gamochas.

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The mekhla is a womens skirt, usually plain but sometimes strewn with small motifs called buta. Chadar and riha are apparel for covering the upper part of a woman's body, and is usually decorated with sprays of flowers and elephant motifs interspersed with leaves and sprigs, and numerous combinations of geometrical patterns. The chadar is draped over the shoulder, providing the pallu, and the riha is wrapped below the chadar, around the waist. The masali is a kind of handkerchief used by women. The men wear dhotis, usually of silk. The chalang is a scarf that had wide usage among officers and other respected professionals in ancient Assam. Sula, a kind of shirt similar to the angarakha, is a traditional upper garment worn by Assamese men. Gamocha is a traditional piece of woven cloth that has multiple uses. Made of cotton or silk, it is used as a towel, and every house possesses these. Typically in red and white, the gamochahas a plain field with a narrow or wide border on both or either of the sides. Gamochas are adorned with a wide range of motifs, both floral and geometrical The word Assam is appropriately derived from the Sanskrit word asom, meaning peerless. This beautiful state is known for its natural beauty, cultural richness and diversity. An astonishing variety of flora and fauna, several meandering rivers and streams, and a luxuriant cover of foliage lend it a freshness and vibrancy. The majestic Brahmputra River that flows through the state is, quite naturally, its most striking feature. The first Assamese king, Sukha-Pha, who defeated the Nagas and other local chieftains to enter Assam after crossing the PatKai range in the 13th century, is also credited with introducing silk in the state. Silk rearing began in upper Assam during his reign and was chiefly intended for the use of the royal family. Assam's great gift is muga silk. Not only is it sensuous and beautiful, it is also strong and durable. Assam's golden silk is obtained from the caterpillar, Antheraea. The climatic conditions are favorable for rearing this semi-domesticated worm and its food plant. Widely distributed and cultured in the Brahmaputra valley, the silk worm is multivoltine and non-hibernating. As many as 26,797 families, are known to be associated with the culture of muga silk in the state. The people The ethnic origin of the Assamese varies from Mongoloid tribes to those of directly Indian stock. The earliest inhabitants of Assam were probably of Austric stock. They are termed as protoAustroloid, because they are said to have migrated from the Australian and some other islands of the Pacific Ocean to the Asiatic mainland. The Khasis and Jaintias appear to be descendents of the protoAustroloids of ancient Assam. After the Austrics, the Mongoloids had entered into Assam. Among the Mongoloids, the Bodo tribe appeared and established over the valley of Brahmaputra early. The Kacharis also known as the Bodos were once very powerful people. At a time, they are known to have ruled over the whole of Assam. The other branches of this tribe are- Kacharis, Meches, Garos, Abors, Miris, Mishmis, Rabha, Tipra, Akas, Daflas, Nagas, Kukis, Mikirs and Mizos. Sericulture Assams handloom industry is basically silk oriented. The salubrious climate of Assam is suitable for sericigenous flora and fauna. Four varieties of silk worms and their host-plants, mulberry, Eri, Muga and Oak Tassar are popular and important for economic and commercial purposes. Sericulture is an important cottage industry of Assam. Eri and Muga have been producing silk 15 | P a g e

traditionally since long back. Muga is the pride of the Assamese ladies. Oak tassar was introduced in Assam only in 1972. Nearly 90% of the silk produced is from the mulberry sector only. The cultivation of the host plant, i.e. som and soalu, requires an ordinary method of cultivation.

Strains of silk worms, developed at the Central Silkworm Feed Station at Sibsagar, provide large quantities of moth eggs. The eggs are kept in cold storage until they are hatched. To avoid any danger of epidemic diseases, only pedigreed strains of silkworms propagated from cultures determined to be disease-free are used. Rearing of silkworms is a laborious process. An important aspect of sericulture is that it requires great skill and patience. Muga reared in the open air, needs to be protected from birds and bats. The female moth lays eggs on the kharika, and when these are newly hatched, the kharika, along with the worms, are hung upon specially selected twigs of young plants. The tiny worms immediately crawl up the leaves to start feeding. The worms feed even more voraciously. At night, they climb down the trunk of the tree, which makes the task of collecting them relatively simple. To spin cocoons, they are put on bundles of dry leafy twigs called tali and taken indoors. The treatment and disposal of cocoons involves unwinding cocoons to make raw silk. The pupae are killed inside the cocoons before they emerge as adults. This is done either by expensing them to the sun or by heating them in a special drying chamber. The cocoons are sorted out for reeling. Before reeling, the muga cocoons are cooked in an alkaline solution of soda ash for an hour. This helps to soften the natural gum, serecin, which holds the filaments together. The true end of the filament is found and a number of cocoons are transferred to the reeling basin containing tepid water. Two methods of reeling are prevalent - the traditional, which involves two persons, and a recent one that employs a fast. operating machine with the operator using both hands for reeling. Half of the silk in each cocoon is considered reliable and the remainder, used as silk waste, noil, is transformed into spun silk. After the reeling, the muga threads are dried in the shade for three-four days, following which then they are wound into skeins on a sereki. The sizing of the skeins involves the application of a mixture of powdered rice and water. Handlooms Assam is the home of several types of silks, the most prominent and prestigious being muga, the golden silk exclusive only to this state. Muga apart, there is paat, as also eri, the latter being used in manufacture of warm clothes for winter. Of a naturally rich golden color, muga is the finest of India's wild silks. It is produced only in Assam. Weaving Weaving in Assam is so replete with artistic sensibility and so intimately linked to folk life that Gandhiji, during his famous tour to promote khadi and swadeshi, was so moved that he remarked: "Assamese women weave fairy tales in their clothes!" According to tradition, the skill to weave was the primary qualification of a young girl for her eligibility for marriage. This perhaps explains why Assam has the largest concentration of Handlooms and weavers in India. One of the worlds finest artistic traditions finds expression in their exquisitely woven Eri, Muga and Pat fabrics.

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 The traditional handloom silks still dominate the world markets. They score over factory-made silks in the richness of their textures and designs, in their individuality, character and classic beauty. No two hand-woven silks are exactly alike. Personality of the weaver, her hereditary skill, her innate senses of color and balance, all help to create a unique product. The loom is a prized possession in every Assamese home. Weaving has been a way of life in the state since times immemorial. The oldest and largest industry in Assam is its handloom industry, known equally for its pristine simplicity and unequalled charm. For the people of Assam, weaving is not just a commercial venture but also a symbol of love and affection. The techniques of weaving are handed down over generations, allusions to that are available in Assamese literature and scriptures. Though essentially female craft, in villages such as Sualkuchi, both men and women practice weaving. Sualkuchi is a large centre for the production of muga cloth. The silk products of this area have acquired an international reputation. Weaving has become such a way of life that should a girl choose not to learn the craft, it is considered no less than a scandal. When a girl weaves a floral design on the bihuan, a gift given to her beloved on the occasion of the Bihu festival, she puts all her heart into it. No wonder the design on the bihuan is no less than a spiritual creation. Motifs The designs and motifs of Assamese fabrics are inspired from nature, and from familiar objects that surround them. Though the traditional motifs from the past are strictly geometrical, over time some lyrical and flowing designs have also developed. Diamonds in different characters form an interesting part of Assamese design. The influence of architecture is also evident. The figurative and non-figurative stone carvings from the Madan Kamdev temple are incorporated in the woven patterns. Animals, birds, plants and flowers etc. form important textile motifs. Juhi is a prominent floral motif depicted with six or seven small petals. An interesting tree motif is widely used as a side motif. Animal and bird motifs include figures of peacocks, parrots, pigeons, lions, horses and elephants. Assamese ornaments such as the thoria, karanasingu, or jonberi inspire some unique motifs. External influences on woven patterns brought about a remarkable change in the weaving industry of Assam. For example, the use of zari as an extra weft was introduced during the reign of Rudra Singh. Most designs on muga are derived from common flowers. Plants and creepers such as die Fern and banana are stylized into geometrical or lyrical patterns. Some other typical motifs include a horseman with a fan, dragon, a diya stand, and a fan. The flying lion is considered an auspicious symbol, while the Kimkhab is a traditional motif woven in zari on muga. The Kimkhab motif has a great historical and cultural importance. A New Beginning Assams handloom industry is paving the way towards progress and development, though its attempt to commercialize has moved at a slow pace. There is the need to ameliorate the working conditions of the weavers, and the following efforts could go a long way in developing the Assamese textile industry.

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A regular supply of muga and other raw materials should be ensured.

The throw shuttle loom needs to be improved and upgraded. Production of extensive designs and technical support should be provided to sustain loin looms. Efforts need to be made to extract the unique selling proposition of muga. The tapping of the export potential of muga silk along with improvements in productivity remains a prime concern. The weavers earn low incomes. Their fiscal condition could be improved by tying their efforts with those of the garment industry. Marketing is one of the weakest links in the handloom industry of the state. Production in the handloom sector should be linked with adequate understanding of the markets, to avoid the accumulation of stock. The marketing organization of the state needs to be made aware of developing consumer tastes and preferences. Special exhibition cum sales could be organized for quick disposal of accumulated handloom products. Research projects should be initiated for analyzing specific problems related to spinning, dyeing, and weaving. The introduction of advanced techniques such as computer aided designing would help the designer in developing new motifs. Special emphasis has to be provided for the development of handlooms in view of its employment potential, low capital investment, availability of skilled workers, and eco-friendly operations. Production Technique There are various stages that go in the production of cane products, beginning with the collection of raw material from the forests. To obtain a smooth surface, the upper layer of raw cane is scraped off. The long cane sticks are cut into smaller pieces that are followed by splitting the cane to obtain thin strips. Cane can be further split, making it as thin as required. The split cane is now bent using a blowlamp that may cause some burns on the surface; these are removed by rubbing with sandpaper. Following this, the cane can be woven based on the design of the articles being fashioned from it. After the finishing touches have been provided, the products may be dabbed with a coat of varnish before being dispatched to the market. The Cane and Bamboo Development Institute is experimenting with the processes for coloring cane using natural vegetable dyes. This has resulted in the development of such colors as pale brown, black and khaki. A wide range of cane furniture and accompanying articles such as flower vases, fans, boxes and trays are produced from cane. The finest of the products is the sitalpati, a smooth, soft mat that has the additional advantage of remaining cool to the touch, made in the Katakhal area of Cachar district. In Assam, people use such palls as mattresses during the summer months. Different Tribes i. ii. iii. Bodo Dimasa Kachchari Mech Kachchari 18 | P a g e

iv. v.

Aitunia Thai Phakes

Bodo

The culture of Assam is incomplete without the description of the weaving culture among the Bodos. The dress of the Bodo is similar to those worn by the rural Assamese folks. The women wear Mekhela, Chaddar and Riha while the men use dhoti and Chaddars. In winter, they wear thickly woven endi Chaddars. However, the design of their Mekhela is simpler than those of Assamese non-tribals. Dimasa Kachchari

The tradition of rearing silk cocoon, reeling and spinning into yarn and finally weaving into fabrics was a flourishing industry among the people of this tribe. The fabric produced by them was superior to any other Endi, produced fabric woven elsewhere in the country. The dress reflects the culture of the people. This is true in case of the Dimasas too. A Dimasa man wears a Risha similar to Dhoti but deep green in color. He uses a chaddar called Rimsao beautifully designed to cover upper half of his body. Cotton or endi turban is the common headdress. A dimasa woman puts on a skirt known as Rigu similar to Assamese Mekhela or Meithei fanek. Either it is made of cotton or silk, may be white or coloured to cover her body below the waist. For covering the upper part of her body, she uses a chaddar very artistically designed known as Rijamphai. Another chaddar also very beautifully designed know as Rikhaosa used during dances or ceremonial occasions. Mech Kachchari

Mech people are simple. Their dresses are simple as well. They use hand spun and hand woven simple dress. Men wear dhoti, turban and endi shawl or chaddar. Women use a dress similar to Assamese Mekhela Chaddar but simpler than their Assamese counter parts. They also use simple ornaments. Their dresses even during dances are also simple. Mech Kacharias are famous for rearing silk worm particularly endi or eri and the feed plant that is wild castor or Ratanjyot or era are grown as their hedge plant. While they earn by selling cocoons or converting into cloth for their own need, the worm are used as their food. They spin cocoons to get yarns and then weave yarn to get cloth. Method of spinning is however, primitive so also weaving. The loom they use is known as Kanti loo that is made of bamboo. This loom is no doubt more productive than lion loom used by the Nagas or Kukies but certainly not as productive as fly shuttle loom. However, the spinning tradition is less among the Mech people. Aitunia

They weave cloth with the help of either traditional kanti loom or throw shuttle loom. They get cotton mill yarn from the market while they get endi silk yarn from neighboring karbi people. It is 19 | P a g e

believed weaving was absent in original Aitunia tradition but they learnt the art from the tradition of Assam. They weave traditional dresses for special or festive occasions. However, the male members have given up the practice of wearing the traditional dresses. Thai Phakes

The dress of the people of this tribe includes articles of personal clothing used mainly for the purpose of covering. The Phakes wear two kinds of dress namely general dress for every day use and special dress for particular occasions. Very few ornaments are used. The dress of the elderly male is generally house woven checkered lungi (Fatong) of green and black color lined with red, yellow or white yarn, one genji, one shirt (Sho) of mill made cloth purchased from the market and a white turban (Fa Ho Ho).

Arts and Craft Banana Fibre craft Cane and Bamboo Clay and Terracotta Indian Cork/Kuhila Koth Laisingphee Jute Craft Japi Hat Banana Fibre craft The trunk of the Banana tree when treated properly gives this fine natural fibre. This craft of Banana fibre is slowly gaining in popularity and is predominantly found in the southern district of Kanyakumari. Natural fibres like sisal, aloe, pineapple and screw pine and also weaved along with this banana fibre.Nowadays wall hangings and mats of different shapes and sizes are also made out of this fibre apart from the traditional table mats and bags. Traditionally the Pattu sari was also made of Banana fibre but it has become obsolete now. Cane and Bamboo Cane and bamboo are the two most commonly-used materials in daily life in Assam. Products ranging from household implements to construction of dwelling houses to weaving accessories to musical instruments are made in bamboo. No mechanical devices are used in the craft, which is mainly a household industry. Besides basket-weaving, bamboo is used chiefly in the construction of houses and fencing. The craft traditionally provides part-time employment to cultivators in the lean season, although, increasingly, full-time artisans engaged in commercial activity can be found now. Clay and Terracotta Assam has two different communities hira and the kumar in the clay and terracotta craft. Both have two different methods of working. The hiras follow the compression method and prepare the household articles and this craft is carried out by the women of hiras. . The kumars follow the wheel method and produce beautiful pottery articles which are first made on the wheel, dried and cooked in the bhattis or the ovens. The most commonly used pottery products include plates, earthen lamps, clay dolls, chains, diyas, pitchers, cups, incense sticks holders and many more items. 20 | P a g e

 Wooden carving From the remotest ages the decoration of wood has been a foremost art. The tendency of human nature has always been to ornament every article in use. The North American Indian carves his wooden fish-hook or his pipe stem just as the Polynesian works patterns on his paddle. The native of Guyana decorates his cavassa grater with a well-conceived scheme of incised scrolls, while the native of Loango Bay distorts his spoon with a design of perhaps figures standing up in full relief carrying a hammock. Figure-work seems to have been universal. To carve a figure in wood may be not only more difficult but also less satisfactory than sculpting with marble, owing to the tendency of wood to crack, to be damaged by insects, or to suffer from changes in the atmosphere. The texture of the material, too, often proves challenging to the expression of features, especially in the classic type of youthful face. On the other hand, magnificent examples exist of the more rugged features of age: the beetling brows, the furrows and lines neutralizing the defects of the grain of the wood. In ancient work the surface may not have been of such consequence, for figures as a rule being painted for protection and especially color. Jute Craft 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. Japi Hat Japi is the traditional bamboo sun shade used to protect oneself from the strong sun rays. Japis are well decorated with a dazzling red background. Artist design many motifs and the common ones are the butterfly in different sizes and crescent moon. Japis are also ornamented with artificial jewels.

Jammu & kashmir

Introduction Area : 2,22,236 sq km

Capital : Srinagar Districts : 14 Languages: Urdu , Kashmiri, Dogri, Paharim, Balti, Ladakhi, Punjabi , Gujari and Dadri 21 | P a g e

 Literacy Rate : 26.17% as per previous census Kashmir The state of Jammu and Kashmir is blessed with serene beauty and its unique art and craft. As you step down to this valley you will notice different kinds of crafts one of which is textiles which is most prominent. Embroidery work on the shawls and the cloths of Kashmiri people are very mesmerizing. The other crafts prevailing in Kashmir are the magic in wood works, steel wares, Papiermache and weaving kani shawls etc. People of Jammu and Kashmir are simple and naturally creative art learners. Since their childhood they develop their skill under the guidance of their parents and become proficient in their traditional craft of the state. Pheran is the traditional/rural dress of Kashmir. Traditional Men, Women and kids all wear this dress in Kashmir. Womens slip on the pherans over the traditional salwar kameez and cover their heads with a scarf. Men used to put pheran over the pathani suit or the pajama. Embroidered and woven shawls of Kashmir are remarkable pieces and known for its intricacy and designs all over the world. Textile of jammu & kashmir Masnads and jamas are block printed floor coverings and considered very comfortable. The designs are attractive floral and geometrical patterns. Another popular craft is the Calico prints from Samba. Shawl Weaving of Jammu & Kashmir The Kashmiri shawl is the most cherished acquisition of a lady and is believed to be indigenous to Kashmir. By way of technique, it can be categorised into two main types --- the loom-woven kani shawl and the needle embroidered sozini shawl. These shawls are much in demand during winter owing to their warmth, colour(s), texture(s), design(s) and softness. Kashmiri artisans depict the natural bounty of the valley on the shawl through embroidered floral motifs. The raw materials mainly used are raffal and pashmina fabrics. Kani shawl The kani shawl is a length of intricately woven material used as a wrap around the body. It is widely known as a jamawar. Kings and courtiers are supposed to have bought this by the yard (war) and wore it as a gown or robe (jama ). Such a shawl is in a class by itself, and possesses an extremely fine texture. Kani is the little wooden stick used as a spoon to weave this wonder, known colloquially as a kani shawl. Sometimes as many as 50 kanis are used with different coloured threads for single weft reflecting the intricacy of design. The fine texture and the complex designs mean that artisans can seldom weave more than an inch a day. Kanihama, a village in the western part of Kashmir, has a monopoly over the weave and the trade in kani shawls. Pashmina shawl The pashmina is made from the wool obtained from the pashmina goat, known locally as Lena Rama, and found mostly found in the Changthang area of Ladakh. Pashmina wool is available in a colours like white, brown, gray, and black. The average height of a pashmina goat ranges from 18-224 inches and it yields 250- 300 grams of pashmina per season, comprising 60 per cent fibre and 40 per cent hair. Pashminas are famous for their lustre, texture, softness, and warmth. The colours are richly blended in beautiful varied patterns. Embroidery 22 | P a g e

Kashmir is known internationally for its style of embroidery which is found on garments like the phiran, tapestry, curtains, shawls and household linen. The craftsmen draw inspiration from the landscape and the embroidery is renowned for its beauty and richness. The main patterns in this region are chinar leaves, cypress cones, the lotus and almonds. Kashida, the local lingo for the embroidery, in a number of stitch styles, of which, the sujni stitch is used when uniformity is desired on both sides, like in choice shawls. Zalakdosi, the chain stitch done with a hook is found on chogas (cloaks) and rugs with long and flowing designs. A buttonhole stitch for thick fillings is Vata-chikan. Amli embroidery in multicoloured threads is found in kani shawls while Do-rookha is a double-sided stitch used to create similar patterns on either side but with different colour combinations. Gold or silver embroidery is done around the necks of the gown or phirans while chain and cross-filling stitches are used to do crewel work on namda or carpets. Gabba is another type of floor covering made out of old blankets with a combination of appliqu work and chain stitches. Patterns on gabbas and namdhas are in floral and geometrical designs. Shawls and furnishing fabrics are also embroidered while the famous Pashmina shawls are embroidered with fine silk thread . Art & crafts Carpets A Carpet is a life long investment-it may well be the single most expensive purchase during your trip to Kashmir. Kashmiri carpets are world renowned for two things- they are hand made and they are always knotted, never tufted. Stretched tightly on a frame is the warp of Carpet. The weft threads are passed through, the talim or design and color specifications are then worked out on this: a strand of yarn is looped through the warp & weft, knotted and then cut. The yarn used normally is silk, wool or silk and wool. Woolen carpets always have a cotton base (Warp & Weft), Carpet weaving in Kashmir was not originally indigenous but is thought to have come in by way of Persia. Till today most designs are distinctly Persian with local; variations. One example, however, of a typical Kashmiri design is the tree of life. Persian design not withstanding, any carpet woven in Kashmir is referred to as Kashmiri. The color-way of Carpet, and its details differentiate it from any other carpet. And while on the subject of colors, it should be kept in mind that although the colors of Kashmiri carpets are more subtle and muted than elsewhere in the country, only chemical dyes are used-vegetable dyes have not been available now for hundred years.

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The knotting of the carpet is the most important aspect, determining its durability and value, in addition to its design. Basically, the more knots per square inch, the greater its value and durability. Also there are single and double knotted carpets. You can quiet easily identify one from the other on the reverse of the carpet. The effect that it has on the pile, too, is important- a double knotted carpet has a pile that bends when you brush it one way with your hand, and stands upright when it is brushed in other direction. A Single knotted carpet is fluffier and more resistant to touch. Silver and copperware Both plain and engraved work is executed to cater to the differing tastes of buyers, which include many American tourists. The range of silverware is indeed wide: silver tea-sets, flower vases, toilet sets, scent chests, ornamental picture-frames, cigarette-cases, tumblers, etc. Among the flora and fauna, leaves of the chinar and the lotus furnish the popular patterns. Designs of the lilac, a popular flower of the Valley, are also wrought in silver. The Kashmiri artisan also produces excellent products of copper-ware consisting mostly of cooking pots and samovars (tea-kettle of Russian origin) and sundry articles for the household or the mantelpiece. There is a good demand for lovely copper trays inlet into tables of carved walnut-wood, the carpenter working in co-operation with the deft coppersmith. Enameled silver work is also pretty Papier-mch craft Papier-mch craft, peculiar to Kashmir, was also introduced into the Valley by the great monarch, Sultan Zain-ul-Abidin, who has been aptly called the Akbar of Kashmir. The products, beautifully painted over with ornamental patterns, comprise picture-frames, pen-cases, screens (which can view with the Chinese counterparts), tables, tea-pots, writing sets, candle-sticks, handkerchief and tie boxes, vases, stamp boxes and other utility goods whose need is now fairly widespread. Green fields sloping towards the snow-capped mountains, sparkling streams running over rounded rocks, shikaras and lotuses blooming on the lakes, are the favourite papier-mch patterns. The craftsmen have introduced brass and metal-lining for the new style of papier-mch goods which makes them more durable and useful. Wood-carving Wood craft in Kashmir flourished from the 11th century onwards when the people were allowed to freely procure wood from the forests. A grand wooden palace with an overhanging balcony was built by Emperor Badshah Zain-ul-Abadin of Kashmir which set the trend for the present style of houses found in Kashmir today. Fine lattice work called acche-dar and azli-pinjra encloses the balconies and windows to give privacy. Fine lattice work screens owing their origin to the lattice work done originally in the windows of old houses are also famous in this region. The craft of wood-carving in walnut wood is famous all over Kashmir with the Chinar leaf design being the most famous pattern amongst local and tourists. The main attractions include folding tables, flower pots, centre tables, dining table sets and tea-mixing barrels. The products are generally left with natural finish and sometimes the motif itself is raised to make it more attractive. Deodar is a variety of pine favoured by wood-carvers as it repels insects naturally and has a beautiful grain and natural colour. Walnut wood is known as dun in Kashmir and has a light-brown grainy texture and is good for delicate chiselling. European traders encouraged walnut carving, helping it become a highly ornamental art with animal and bird motifs decorating the tops of jewellery boxes, large tables, trays, picture frames, cabinets, vases, lamps, screens, writing desks and finely carved bowls. Chikri (buxux semperuiens), a type of wood which is smooth and ivory-coloured grows in Rajouri district, is 24 | P a g e

used to make combs, spoons and sandals with a hand driven lathe. Wood lacquering is a very popular craft at Anantnag in Kashmir. Lac is a kind of resin which is coloured and used to emboss motifs or highlight carved patterns onto wood.

Kerala
Introduction Kerala occupies a long (550 km), is a narrow strip, extremely fertile and is almost impossibly green throughout. The slender green silver land that clings to the southwestern flank of the Indian peninsula, as it lies between the high western ghats in the east and the vast Arabian sea in the west. Kerala is famously known as Gods own country because of its scenic beauty. This small, emerald crescent of land contains jungles, beaches mountains, lakes and some of the most romantic natural resources in the world. The people of Kerala are warm and friendly. Keralities have a strong culture and are fiercely proud of their state. Some of their art forms (eg Kathakali and Theyyam) are unique. Handlooms of kerala Kerala handloom industry carries a vital role in states ecomy asa well as in the field of employment. A very large number of loom are located in rural areas. The rhythm of handloom can be heared in almost every village in kerala. There are men and womwn weavers for whom weaving is a way of life. In early days majority of handloom weavers followed the hereditary line . The main communities engaged in weaving are saliyas and devangas. With the available information it is clear that the that the saliyas and devangas migrated from the near by princely states. Balaramapuram, in Thiruvanathapuram district is the most historically important place for handloom fabrics. Textiles of kerala The rich hued textiles of Kerala scores brownie points. The southern states have a rich legacy of traditional textiles. They are the irrefutable textiles maharajas of the country, churning out enviably stunning silks and cottons that are lapped up by people all across the continent. The textile industry generates huge revenues for Kerala. The kalarakudi saris can be distinguished from mundu veshti. While the Kalarakudi saris are white cotton muslins with intricate zari embellishing the borders, the mundu veshti saris weavers used simple colored threads to adorn the pallus. Besides weaving saris, Kerala also produces premium quality lace and embroidered goods. Munduvesti Mundu is a traditional Kerala dress, which is worn on festivals, for marriage and to temples. It is made from an off-white , unbleached fabric with an elegant gold border. Men should try wearing the mundu and women the mundu- veshti or the Kasavu Neriyadu. The deceptively simple tuck is really worth a try. It surprises all those who cannot imagine a dress without belt, buckle or button. Enjoy the freedom, comfort and aesthetics of this simple attire. Mohiniyattam

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It is the typical dance form of Kerala, that exudes enchantment, grace and passion. Mohiniyattam is a fusion of Bharatanatyam and Kathakali, and dynamism and vigour of Kathakali. The performances are done only by women. In Mohiniyattam , the lasya element of dancing is predominant, and the mood created is Sringaram (erotic) Mohiniyattam literally means the Dance of the Temptress. Kathakali Kathakali is a dance form in which actors do not speak but enact dialogues, sung by singers in the background. The emphasis is on facial expressions. Mudras or hand signs too have significance. Kathakali actors excel in the presentation of the most beautiful and most violent scenes with equal skill. The whole face of the artist is painted and it appears as though he is wearing a mask. Performed in front of lighted oil lamps in traditional theatres this sophisticated art form takes you to the hoary past of the epics. Handicrafts of kerala The handicrafts of kerala are the flag bearers of their inimitable and glorious cultural heritage. It also reflects a society that is deeply religious. This is evident in the hundreds and thousands of lord krishna, Goddess Saraswati, Goddess Lakshmi, Lord Ganesh and the enigmatic Nataraj in all his dacing frenzy- idols carved in rose wood and sandal wood. Kathakali , the colourful dance drama comprising histrionics, dancing, singing, dating back to the Seventeeth century also finds representation in full-size moulds. The models of the famous snake- boat races of kerala, steeped in mythological folklores, are also coveted souvenirs.

Wood carving Collect only images.

Madhya Pradesh
Madhya Pradesh is a cluster of innumerable districts and varied topographic and climatic conditions. Famous for its wonderful art, craft, music and dance. Has a good number of important mines. Homeland of many tribal races. Textiles of Madhya-Pradesh Rich heritage of India. Textiles of Madhya Pradesh have been influenced by the bordering States of Orissa, Gujarat, Maharashtra, Rajasthan and Uttar Pradesh. At the same time they have developed there own distinctive style and individuality.

Hand Block-Printing

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The important crafts of Madhya Pradesh. The popular colours used in this process are vegetable and natural dyes like Indigo, turmeric roots, pomegranate skin, lac and iron. These natural colours do not fade easily. The Malwa and Nimar regions are renowned for their hand block-printed cotton textiles. Bherongarh near Ujjain, has large printer communities who specialise in lugda, jajams, oudhnis and quilts. Jawad specialises in Nandana prints which consist of traditional motifs in fast colours. In Tarapur and Umedhpur, indigo is still used in printing. The printers of Bagh as well as Kukshi and Manawar use vegetable and natural dyes, specially extracted from roots of "Aal" or madder. The blocks are made of intricately stylized motifs, which have evolved over hundred of years. The other important printing centres in the State are Ujjain, Indore and Mandsaur. The Process of Hand Block Printing

Block printing has become popular because the simple process can create such sensational prints in rich and vibrant colors. Originally natural dyes were used but today they have been replaced by chemical and artificial colors. The main colors used are red, the color of love, yellow the color of spring, blue as in Krishna, and saffron of the yogi. The main tools of the printer are wooden blocks in different shapes and sizes called bunta. Blocks are made of seasoned teak wood by trained craftsmen. The underside of the block has the design etched on it. Each block has a wooden handle and two to three cylindrical holes drilled into the block for free air passage and also to allow release of excess printing paste. The new blocks are soaked in oil for 10-15 days to soften the grains in the timber. Wooden trolleys with racks have castor wheels fastened to their legs to facilitate free movement. The printer drags it along as he works. On the upper most shelf trays of dye are placed. On the lower shelves printing blocks are kept ready. The fabric to be printed is washed free of starch and soft bleached if the natural grey of the fabric is not desired. If dyeing is required as in the case of saris, where borders, or the body is tied and dyed, it is done before printing. The fabric is stretched over the printing table and fastened with small pins (in the case of saris the pallu is printed first then the border). The printing starts form left to right. The color is evened out in the tray with a wedge of wood and the block dipped into the outline color (usually black or a dark color). When the block is applied to the fabric, it is slammed hard with the fist on the back of the handle so that a good impression may register. A point on the block serves as a guide for the repeat impression, so that the whole effect is continuous and not disjoined. The outline printer is usually an expert because he is the one who leads the process. If it is a multiple color design the second printer dips his block in color again using the point or guide for a perfect registration to fill in the color. The third color if existent follows likewise. Skill is necessary for good printing since the colors need to dovetail into the design to make it a composite whole. A single

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color design can be executed faster, a double color takes more time and multiple color design would mean additional labor and more color consumption. Different dyes are used for silk and cotton. Rapid fast dyes, indigo sol and pigment dyes are cotton dyes. Printing with rapid dyes is a little more complicated as the dyes once mixed for printing have to be used the same day. Standard colors are black, red, orange, brown and mustard. Color variation is little difficult and while printing it is not possible to gauge the quality or depth of color. It is only after the fabric is processed with an acid wash that the final color is established. Beautiful greens and pinks are possible with indigo sol colors but pigment colors are widely popular today because the process is simple, the mixed colors can be stored for a period of time, subtle nuances of colors are possible, and new shades evolve with the mixing of two or three colors. Also the colors are visible as one prints and do not change after processing. Colors can be tested before printing by merely applying it onto the fabric. The pigment color is made up of tiny particles, which do not dissolve entirely and hence are deposited on the cloth surface while rapid dyes and indigo sols penetrate the cloth. Pigment colors are mixed with kerosene and a binder. The consistency should be just right, for if it is too thick it gives a raised effect on the material, which spoils the design. Small plastic buckets with lids are ideal for storing the mixed colors over a few days. Cotton saris after pigment printing are dried out in the sun. This is part of the fixing process. They are rolled in wads of newspapers to prevent the dye form adhering to other layers and steamed in boilers constructed for the purpose. Silks are also steamed this way after printing. After steaming, the material is washed thoroughly in large quantities of water and dried in the sun, after which it is finished by ironing out single layers, which fix the color permanently. Hand Block Printing of Bagh, Madhya Pradesh Bagh, which lends its name to the Bagh prints is a small tribal town in Dhar district of Madhya Pradesh. The khatri community, who comprise the 'chhipas' or printers came here about 400 years ago from Larkana is Sind which is famous for its Ajrak prints. Bagh's proximity to the river was an important reason for its choice as flowing river water is vital to the process of printing. The design repertoire of Bagh prints covers geometrical and floral compositions and the blocks used for stamping are intricately and deeply carved by block-makers in Pethapur in Gujarat. Bagh layouts are dramatic in the use of black and red alternately on a white background. The black colour is prepared with ferrous sulphate mixed with tamarind seed powder and glue which is cooked in water and stored for use. Each sari takes a minimum of three weeks to complete after the design is printed. During his period it is washed at last three times and sent to the bhatti or oven at least twice. Two persons stand knee deep in water to wash the fabric so that superfluous colour is removed. The fabric / sari is boiled in a cauldron of water on a bhatti with regulated heat for the colour to emerge. This is extremely painstaking. The fabric used originally was cotton, though now saw tassar, crepe, and silk are being used with excellent results. Every process used is manual and though the techniques and designs are age-old they have a contemporary appeal. Tie and Dye The art of tying and dyeing fabric is known as Bandhani or Bandhej in Madhya Pradesh. 28 | P a g e

In this process, parts of the fabric are tied with thread or twined into minute knots and then dipped in dye. Mandsaur produces excellent bandhanis.

Weaving Madhya Pradesh is famous for its delicate weaves in CHANDERI and MAHESHWARI sarees. In Chanderi, traditional craftspersons used silk as warp and fine cotton as weft. The Chanderi cotton sarees are ideal summer wear. The sarees generally have a rich gold border and two gold bands on the pallav. The more expensive sarees have gold checks with lotus roundels all over which are known as butis. The Maheshwari saree, mostly in cotton and silk, is characterised by its simplicity. The body is either chequered, plain or has stripes, combined with complementary colours. It has a variety of leaves and flowers on the border, in karnphool pattern, which is quite popular. The pallav of Maheshwari saree is also distinctive with five stripes, three coloured and two white alternating. Chanderi sarees are the famous sarees produced in a small town called Chanderi in Madhya Pradesh. Chanderi sarees are very light and ideal for Indian summers. Its beauty lies in its simplicity, airy feel, narrow borders and decently designed anchals with buttis. The Chanderi sarees give a sophisticated look to whoever who wears it.

Types of Chanderi Sari Narrow border: These are the plain sarees having a very narrow border of complementary-warp zari and an endpiece containing a few narrow zari bands, or one single, wider band. Broader border: These are the sarees with broader borders woven in supplementary warp zari with coloured supplementary-warp silk embellishments, woven into small repeat floral or geometrical designs. The endpiece consisted of the border elements repeated twice as two parallel bands, often with narrow woven lines and many buti woven between them. Wide border: The third type called do-chashmee (two streams) is no longer made but had wide borders with brightly coloured supplementary- warp silk in a satin weave upon which were supplementary bands of white geometric patterns. In some sarees the borders were reversible. Fabric in Chanderi Sarees The Chanderi sari is woven in cotton as well as silk. Chanderi silk from India is the result of traditional methods of hand-weaving that have been developed over the centuries, and passed down through generations. Chanderi silk is considered the fabric of choice for sarees produced for royalty, due to its light-weight quality and intricate designs.

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Colours and Design These sarees are a rare fusion of soft & contrasting colors. The plain cotton ones are with borders and have stripes and floral patterns. There are also ones which have butis on the body of the saree as well. Silk sarees are woven with zari borders and have zari and thread work all through the length of sari, giving it an elegant and dazzling look. Chanderi sari is known for soft colors and the harmonious balance between the border and the body of the saree. These sarees are also known for their contrasting colors and the depiction of animal and human figures on them and patterns taken from the Chanderi temples.

The beautiful Maheshwari sarees are among the most popular sarees produced in India. These sarees are in demand not only in India, but also in international markets. This article aims at studying the origin of the Maheshwari saree, the motifs and colors used and the other special features of the saree. History of the Maheshwari saree These sarees are largely produced in the town of Maheshwar in Madhya Pradesh. The origin of the Maheshwari sarees dates back to the 18th century, when the state of Indore in Madhya Pradesh was ruled by Queen Ahilyabai Holkar. According to legends, Queen Ahilyabai ordered craftsmen from Surat and Malwa to design special 9yard sarees to be gifted to royal guests and relatives. The sarees that were produced by these craftsmen became popular as Maheshwari sarees. It is believed that Queen Ahilyabai herself created the design of the first saree. These sarees were originally worn by the ladies of royal status, but nowadays, they are available in both national and international markets. Designs The designs in the Maheshwari sarees were inspired by the detailing on the walls of the Fort of Maheshwar. The popular designs used in these sarees, which were inspired from the designs on the fort walls are the Chatai pattern that is the Mat pattern, the Chameli ka phool pattern that is the Chameli flower pattern, the Eent pattern that is the Brick pattern as well as the Heera pattern that is the Diamond pattern. These designs are found on Maheshwari sarees even today. Material used Originally, the Maheshwari saree was made of pure silk. Then in course of time, these sarees began to be made in pure cotton and with a mixture of silk and cotton (silk yarn in the warp and cotton in the weft). Nowadays, wool is also being used in the production of Maheshwari sarees. These sarees are extremely light in weight and present a sharp contrast to the Kanchipuram sarees of South India. Colors Maheshwari sarees were initially made only in dark shades like red, maroon, black, purple and green. Today, these sarees are also being made in lighter shades and gold and silver threads are being made use of. In local dialect, the most popular colors used in Maheshwari sarees are Angoori (grape green), Dalimbi (deep pink), Gul Bakshi (magenta), Jaamla (purple), Tapkeer (deep brown),

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Aamrak (golden), Rani (deep pink), Dhaani (green) and Kaashi (light purple). Usually, vegetable dyes are used in the preparation of these sarees. Varieties These sarees usually have a plain body or have stripes or checks of different varieties. Some of these varieties are highly popular and are known by different names. The Chandrakala and the Baingani Chandrakala are examples of plain Maheshwari sarees, while the Chandratara, the Beli and the Parbi are examples of striped and checked ones. Tussar Silk Tussar silk produced in Madhya Pradesh, is known by its Sanskrit name 'kosa'. Rajgarh and Champa are important centres for tussar silk sarees and fabrics. Brocade work is done with Zari to give them an ornate look.

The pallavs and borders of the sarees are woven with thread, coloured in the Ikat style to give it a designer touch. The Kostha weavers of Chhattisgarh make sarees called 'Mailooga' and 'Gamchha'. These sarees have simple designs and are worn by the Gond, Baiga and Kanwar tribals.

For the Muria, Maria, Dhruva and Gadba tribals, the local weavers weave special dresses for folk dance performances namely Dhruva-Bandhipata and Tual. Special weaving is done using coloured threads (red and brown) of the Aal (madder) tree roots. Carpet Weaving Carpet weaving has became popular in Gwalior.

The fine quality of weaving in imaginative designs has earned Gwaliors carpet industry an excellent reputation. Today, more than a thousand looms are in operation in and around the city. Arts and Crafts of Madhya-Pradesh Wood Carving Wood carving is one of the main industry of the tribes of Madhya Pradesh.

Tobacco containers with tortoise and the sun-moon motifs and designs, Combs depicted with animal motifs, intensely carved wooden spears and utensils, carved boxes, panels, furniture and funerary pillars carved with figures are some of the products. Brass work Brass work occupies an important place in the craftsmanship of the Bastar tribes. For preparing these figures they follow the ancient cire-perdue process.

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The products include, animal and human figures, deities etc..

Tamil Nadu
Introduction Tamil Nadu is the eleventh largest state in India.

The bordering states are Kerala to the west, Karnataka to the northwest and Andhra Pradesh to the north. To the east are the Bay of Bengal and the union territory of Puducherry. The region has been the home of the Tamil civilization since at least 1500 BC . Its classical language Tamil has been in use in inscriptions and literature for 2500 years.

Its heritage and culture had paid a lot of significance in the dressing of the people here. A lot of influence on the textiles is created due to believe n day to day working. Kanjeevaram sari Kanjeevaram silk sari is a magnificent creation of the craftsmen living in a small town, Kanchi (Kanchipuram), situated near the Chennai city of South India. The saree has been named after the town in which it is produced. The silk used in the creation of Kanjivaram saree is extremely fine as well as durable and is one of the most popular forms of silk in the state of Tamil Nadu. The bold and bright colours brilliant reds, saffron, orange, emerald, henna green, maroon, peacock blue and ochre with bright contrasting borders are used. The sheer magnitude of textures, colors and designs of Kanjivaram silk saris of India is incredible. Simple saris can be prepared in about 10 to 12 days. However, decorative ones require up to 20 days of workmanship. Kanjeevarams are expensive and can cost anywhere between Rs. 2000 to Rs. 50,000. The cost of the saree depends upon the amount of zari intertwined with the silk. The more the zari work, the more expensive the sari will be. Applique and patch work The word Appliqu is a French term and is a technique where in several pieces of coloured fabrics is superimposed in patches to give a decorative effect. During festival processions these are usually found on the temple chariots for covering the horizontal beams Usually these are made of cotton and depict images of Durga, Shiva, Ganesha and Kartikeya in bright vibrant shades of red, white, black, blue and yellow. Toda Tribal Embroidery

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 The Nilgiri hills of Tamil Nadu, inhabited by the Todu community, have developed their own distinctive style of embroidery called pugur, which means flower. The embroidery is done on the shawls by the women folk. The shawl, called poothkuli, has red and black bands that end at intervals of six inches that gives an embossed while the embroidery is done between the gaps in red and black The most important motif is that of the buffalo horn as the Todas worship the buffalo.

Tanjore paintings These paintings are painted on wood, glass, mica, ivory and on walls, are defined by the use of thin sheet of gold along with primary colours Jewels, drapery and architectural elements like finely executed pillars, rich canopies, garlands of ropes and chandeliers are slightly raised by the use of special plaster, covered with pure gold leaf and embedded with semi-precious stone of different colours. Tanjore metal plates The creation of the Tanjore metal plate is credited to Raja Serfoji II (1797-1832), the Maratha ruler of Thanjavur (or Tanjore), This metal plate has as its base a plate of brass prepared by a heavymetal worker; the relief on copper is worked upon by a jeweller while the encrusting is done by a stonesetter with silver Tanjore metal ware The famous brass and copper metal ware has a rich and ancient tradition in Tamil Nadu. The deepam or lamp is regarded as a symbol of Agni, which is auspicious and is the best known of the State's metal ware. The popular Thanjavur plates feature designs of deities, birds, flowers, and geometric patterns beaten out from the back of copper and silver sheets and subsequently encrusted on a brass tray, kudam or panchpaathra. Metal toys include models of horses, cows or elephants are made chiefly of brass Temple chariots The finest wooden carving is in the temples of Tamil Nadu and the piece-de-resistance is the processional chariots for the deities; these include numerous mounts/ vahanas and small pillared shrines/ rathams for the deities. The temple car carries the uthsavam or festival deity on the highest platform, crowned with jewels and garlanded with flowers. The fully decorated temple car is pulled with thick ropes by devotees through the streets of the village or town during a special festival, once a year. Pottery 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. The oldest Ayyanaars and horses are found in Salem district. Salem and Pudukottai districts make the most large terracotta horses 33 | P a g e

Jewellery The traditional bridal jewellery, set with stones and known as thalaisaamaan, is worn on the head and hair by devadaasis/temple dancers who were considered wedded to the deity and as such came to be called temple jewellery Older women in rural areas wear heavy gold ornamented ear jewellery called paambadam made of six earrings Huge, heavy and intricately carved ornaments by tribes in Tamil Nadu like the Todas, Badagas, and Kotas of the Nilgiri district are made mainly in silver. Toda jewel pieces are made of bent wires and shells. Wood carvings The famed temple chariots of Tamil Nadu are made of wood and are full of detailed and skilful carvings. These panels are called kavadi and afre carried on the shoulders of a person to fulfil the vow to Lord Murugan or Karthikeya Lathe-turned and lacquered toys in bright colours and at affordable prices are popular all over the state. Carved wooden toys, dolls and elephants exhibiting the skills of the artisan are also made. Pavada dhavani The basic and the most traditional women dress of Tamil nadu is the 'Pavada Davani' famous by the name of half saree. It is a three piece clothing which includes a long lower garment resembling a petticoat or a long skirt; a choli blouse; and a long 'dupatta' like strip of cloth which is about as long as a half saree. the saree have varied motifs on it, ranging from figures to temples, along the border.

Bihar
Introduction Bihar is one of Indias richest states in the perspective of its culture and history, even as economically it is one of the poorest states in India. Bihar has a lot of thins to be associated with. Mahatama Gandhi Started his Satyagraha movement from this land when he took a stand against the British on Indigo farming. Bihar gave the nation the first president of Indian Republic. Dr Rajendra Prasad. We owe the Ashok Chakra on the Indian national flag and lion head that serves as Indias National to this land. Bihar has always been a great learning centre. It housed the Nalanda and the Vaishali Universities. Even now students of Bihar top in every kind of competitive exams and therefore own a large share of the intelligentsia. In the field of art Bihar is the land of Madhubani paintings and scores of local handicrafts very unique to Bihar. It is the land where the sturdiest and fiest of silk is manufactured. Muzaffarpur is famous for its luscious Lichis. 34 | P a g e

Textiles of Bihar Bihar is the largest producer of tassar silk in India. There are three varieties of silk produced and woven in the state: tassar, mulberry and eri silk. Bhagalpur is the paradise for tassar weaving. The shades produced are cream, light brown, beige, grey, camel colour, coffee, and gold tones. Handspun yarn is woven into high quality khadi cloth with the blend of synthetic yarn. Sursand in north Bihar has artists working with mica and using bright colours and the motifs include dots and stars. The chunris(long scarfs or the dupattas worn with suits) of Bihar have motifs like, parrots, peacocks elephants, mangoes,conches, and fish, as well as large panels with customary motifs of deities. Embroidery of Bihar Embroidery in Bihar is passed from mother to her daughter as a craft. Kasida embroidery with geometrical patterns of Bihar resembles to the kasuti embroidery of Mysore and is found in many different styles. Zari (metallic thread ) embroidery is done in both silver and gold metallic threads having the motifs of birds, leaf and many other . sujni is a unique craft which is done from the old worn saris. The saris are stitched jointly with white thread and then quilted. The middle part of the quilt is generally stitched together with coloured threads to create lively patterns.Taganua, is the embroidery which is done with the counting of threads. Khatwa, the appliqu patchwork of Bihar, is found on tents and apart from the personal garments. In the Mithila region, young girls embroider coverlets, and children's garments (in red, blue, and black, on bleached hand-woven cloth) mainly with folk or religious motifs along with stripes, lines and animal motifs. Mirror work is done on many fabrics and these mirrors are supported with the chain stich using the cotton, silk and synthetic threads. Jewellery Tribals wear a variety of jewellery made from natural resources and also from bell-metal and brass, especially anklets and bracelets. Subtle ear rings worked in filigree with various motifs are made and worn by the Santhal women. Even in twenty first century tribals use wild grass to make ornaments such as necklaces. Mainly the tribal jewellery has motifs of berries, leaves and flowers. Women also wear a kardhani, for the waist and chudha(bangles) for the wrists. Tikuli is attractive work on superior glass finished with wafer-thin tabaque (gold or silver leaves) and worn by women on their foreheads. The silver jewellery copies the kundan work and the lynching jhumkis(long or hanging ear rings) are fragile in look. Sujni Kantha Embroidery of Bihar Sujni kanthas craft was originally practised only by Rajput women and the articles made were used for home or personal usage. Patches of different coloured cloth used to be sewn together and then covered in designs to make a small quilt for newly-born babies. Beautiful embroidery of gods and goddesses was also done and hung on walls. Jewellery of Bihar & Jharkhand Tribals wear a variety of jewellery made from natural resources and also from bell-metal and brass, especially anklets and bracelets. Subtle ear rings worked in filigree with various motifs are made and worn by the Santhal women. Even in twenty first century tribals use wild grass to make ornaments such as necklaces. Mainly the tribal jewellery has motifs of berries, leaves and flowers. Women also wear a 35 | P a g e

kardhani, for the waist and chudha(bangles) for the wrists. Tikuli is attractive work on superior glass finished with wafer-thin tabaque (gold or silver leaves) and worn by women on their foreheads. The silver jewellery copies the kundan work and the lynching jhumkis(long or hanging ear rings) are fragile in look. Terracotta Jewellery Lean type of porous clay sourced from the beds of tanks is used for jewelry. The clay is then dried in the sun, crushed and finally put in tubs of water. Once stirred well, it is filtered through sieve. The clay thus sieved is filtered and allowed to settle. The excess water from the tubs is decanted and the clay is dried and cut into shapes and sizes as desired. The whole process is hand made and once the articles are made they are coloured into beautiful shades of the ornaments. Mithila Folk Painting of Madhubani, Bihar Madhuban, in the Himalayan foothills of Mithila, is the home of the Madhubani paintings. Traditionally, on festive and religious occasions, and during social celebrations, the women of Mithila decorated their homes and courtyards with images that were vibrant, colourful, and deeply religious. The subjects of these paintings were gods and goddesses, mythology and nature. The women use rich earthy colours --- reds, yellows, indigoes, and blues --- in their lyrical paintings of gods and goddesses like Rama-Sita, Krishna-Radha, and Shiva-Gauri. These were intended for shrines and in the khovar, the innermost chamber of the house where the bride and bridegroom began their married lives. The women used basic materials like gum, thread, and matchsticks or fine bamboo slivers wrapped in cotton to execute these wonderfully eloquent paintings. The women passed on this traditional art form to their daughters over generations and this art is still alive and thriving. During a severe drought in the 1960s in the normally fertile region of Mithila, the people of Mithila were forced to look at something other than agriculture as a source of income. They got the women of Mithila to execute their art on paper and cloth, and today Madhubani is one of the most popular works of folk art all over the world. The themes and techniques used for the painting are still the same. The canvas has changed from walls and floors to cloth and paper and papier mache. Munj Grass Craft of Bihar Munj is a wildly grown pale colored grass. Crafts men involved in this craft design multipurpose articles like baskets for storing clothes, dry food items, chapattis etc. The articles made are durable and last long because of toughness of the munj grass. Today the crafts men design fancy baskets keeping the taste of buyers in mind. Applique & Patch Work of Bihar In Bihar the craft of Appliqu is known as Katwa and is famous for making decorative tents and canopies used on religious and ceremonial occasions. Items like beach and garden umbrellas, lamp shades and wall hangings are also madeby contemporary artisans. The motifs include the Persian tress, human figure, birds, animals and flowers. Circular cut-work motifs are used as central motif in the center while the corners have quarter-circular motifs. Usually, the men cut the patterns while the women do the stitching. Bright colours like red, orange, yellow or green are more common. Sikki/Golden Grass Craft

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Sikki, the golden grass of Bihar, is found growing in the wet and marshy area of Madhubani district. Traditionally --- and till today --- sikki grass products are made by the women of the household especially brides-to-be and are taken to their husband(s) home(s) after marriage as part of their dowry. To make the sikki grass usable it is first cut from near its base and then dried. The upper portion of the flowering stem is then discarded. The remaining portion is finely sliced and shaved and used for making the products. Sikki is sold by the traders at the weekly hat (market) or by itinerant door-to-door sellers. The rate varies, but interestingly, sikki is not sold by weight, but measured by the fistful. Papier Mache of Bihar & Jharkhand Paper mache is an age old craft of India and every state has its own specialty. Patna, Murhu, Hazaribagh , Madhubani and Saraikella are the craft practicing centres in Bihar and Jharkhand. Craft persons make traditional masks of paper mache which are used in the chhau dance. Animal and bird figures are the other paper mache products made here. Wooden Lacquer ware of Bihar Lacquer ware craft of Bihar is unique and has ritualistic connotations. Bihar produces raw and shell lac in huge quantities. Kusum is one of the varities considered excellent for making legs of beds, boxes, bangles and stools and laquer is done over these items to decorate. Laheris is a community which makes special oval shaped containers called sindurdans. There is a tradition of gifting red colour round nose ring box having engraved symbols of fruitfulness and longevity. Wooden products are worked on a lathe and very attractive motifs are engraved. Red and black are the main colours used. Clay & Terracotta of Bihar & Jharkhand The potters community known as Kumhars is generally found in large settlements of Jharkhand. There are wide varieties of items made for household use to decorative items. A large size pot is very famous which comes in use for making mahua liquor(it is a locally made liquor) as well the local beer made out of rice. Deogarh has attractive black gleaming pottery. Roof tiles, ceremonial water jars, earthen cups , long necked vases, and pots are the other useful items. During the season of festivals the craftspersons make brightly colored terracotta animals, figurines and clay shrines.At Nunihat large numbr of women design terracotta jewellery.The tradition of clay and terracotta in Bihar dates back to the Mauryan period.Some of the traditions are still followed in this craft and each village, district, and region has its own style of pottery. The making of toys and images has close relation with seasonal festivals and other religious ceremonies. Clay elephants are very famous and are kept on the roof tops as it signifies marriage. Some of the clay toys are particularly made for children and the artists make them without giving any sharp curves or waves. Elephants, reptiles, horses are amongst the favorite items. Madhubani painting Madhubani art native to the region of Mithilanchal is a creative folk painting done traditionally by the women. The paintings show symbolic motifs, the religious Gods and Goddesses such as Durga, Radha and Krishna, Shiva and Parvati. Women do the paintings in natural colors on walls, depicting animals such as elephants, fishes, parrots, the sun and moon and giant flowers. The colors range from vibrant red, yellow and green to ochre, brown and black. The pigments are taken from spices, minerals, charcoal, vegetable matter, flowers and plants depicting special events and aspects of everyday life. These paintings in both black and white and strong primary colors are now professionally produced on paper, canvas and textiles for international and national exhibitions etc. Tassar silk sari 37 | P a g e

Most of Indians tassar silk cones from Bihar. Tassar silk is produces in the hills of the southern and eastern district of Hazari Bagh, munger, Santhal Parganas, Ranchi, siahbhum . Palamu, Begusarai. The east Bihar town of bhagalpur is famous for its tassar silk mills, and although nobody knows when this industry began, it was thriving when he first European merchants arried in the sixteenth century. They were al tassar-cotton mixes, usually with a tasar warp and mixed tasar-cotton weft. And four types were exports out of state. The fifth type, kharisaris, consist of more cotton than tasar and was used by local people, being about half the price of the lowest-prived export fabric. Traditionally tasar cultivated and collection was conducted by various tribal groups, but it is now a significant cottageindustry for many non-tribal rural villagers and membars of weavers cooperatives.

Uttar Pradesh
History of Uttar Pradesh Uttar Pradesh is the fifth largest state of India and its capital is Lucknow. UP has the largest urban population and area in India while Taj Mahal , one of the Seven Wonders of the World is found in the state. UP shares a border with Nepal. UP is very well known for its textile art in India. Brocade of Varanasi, Banarasi saree of Banaras and Jamdani of Tanda (Fyzabad district) and Banaras are woven textile and chikankari of Lucknow is famous embroidery of UP. It also has vast variety of handicraft such as,cutwork, hand block printing, lace & crochet embroidery, juth work, zari zardozi embroidery ,metal ware, woodwork, ceramics, stonework, dolls, leather products, ivory articles, articles made of horns, bone, cane and bamboo, perfume, and musical instrument. These cottage crafts are spread all over the state but the more important centers are located at Varanasi, Aamgarh, Maunath Bhanjan, Ghazipur, Meerut, Muradabad, and Agra. Chikan The chikan work of Lucknow is perhaps one of the most popular embroidery works in India. this 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. It is originally embroidery in white thread upon fine white cloth. 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. The craft of chikankari uses a variety of stitches from simple running stitch, back, satin, herringbone and button hole stitch, to transform the plain fabric into a piece of art. Chikan embroidery designing is a very laborious and time consuming task. The basic stitches are six in number and all except one are common to other forms of embroidery. 38 | P a g e

Tepchi is a long running, Bakhiya, double back , Hool is a fine detached eyelet stitch, Zanzeera is a small chain stitch , Rahet is a stem stitch worked , Jali stitch

Fabric In addition to the white base fabric, colored fabrics and threads are also used. chikankari is also done on mulls, muslins, voiles, organzas and polyester. Some more include: chiffon, viscose, georgette, polyester georgette, cotton crepe and net. The designs change every other month, as per the market trends, with colors that perfectly match with the season. Process Chikankari is delicate and artfully done hand embroidery on a variety of textile fabric like muslin, silk, chiffon, organza, net etc. The design to be embroidered is printed on the fabric with wooden blocks, using fugitive colors, which are commonly made by mixing a glue and indigo with water. For extra fine designs, brass-blocks are sometimes used. Brocade Varanasi, a famous center for silk weaving is popular for its brocade or kinkab (weaving in gold & silver), with a wide variety of its various techniques and styles. The word brocade is derived from the latin word BROCHUS denoting to transfix. The Brocade or Kimkwab meaning fabric of dreams is the weaving of pure silk and gold strands to create a lush fabric. The specialty of Varanasi region in India is the heavy gold brocade, which has an extra weft of rich gold thread running across the warp threads. The brocades are distinguished by poetic names like chand tara (moon & star), dhupchaon (sunshine & shade), mazchar (ripples of silver), morgala (peacocks neck), bulbul chasm (nightingales eyes). The most common motifs include scroll patterns and butidars designs. The other designs are Jewelry designs, birds, animals, flowers, creepers, paisley motifs. Hindu religious and Mughal motifs also influenced the brocade designs. When a Gold embellishment is done on a silver background it is called ganga-jamuna in the local language. The color used in brocade were surkh red, sulanisurkha scarlet, gulabi pink. Were common and were easily available.

Process The designs are first drawn on paper. The person who draws this is called naqshaband. The main weaver is assisted by a helper. This design is then woven on a small wooden frame to form a grid of warp and weft. The requisite number of warp threads and the extra weft threads are woven on the loom. The famous tissue sari of Varanasi is unbelievably delicate, combining the use of gold and silver metallic threads. 39 | P a g e

The finest Banaras muslins are called Kasivastras. Tanda fabrics are exceptionally frail and only white yarn is used for the weaving. The threads used for decoration are not cut at the edges, but are left hanging in the spool and then introduced into the figured pick. The most appropriate time for making yarns was early morning as the air then carried the highest moisture. For making yarns weavers needed taku, a bamboo basket, a shell and a stone cup. They used popcorn, rice or barley for starch. Before making jamdani designs they used to dye their yarn and starch it. For dye they used flowers and leaves of creepers. For quality jamdani they used yarn of 200 to 250 counts!! For making jamdani two weavers sit side by side at a loom to work on the delicate designs. Jamdani designs are made while the fabric is still on the loom. Coarse yarns are used for designs to make the motifs rise above the fabric. Originally, the motifs used to be made on gray fabric. Later on fabrics of other colors were also used. The expert weavers do not need to draw the design on paper. They do it from their memory. Banarasi Saree

Woven out of fine silk and bearing elaborate golden embroidery either along the border or all over, the famous Varanasi sari made in the holy city of Banaras in Uttar Pradesh state since the ancient times is ranked among the finest traditional sarees of India. These saris are quite heavy due to its rich embroidery and are donned by Indian women only during special occasions like wedding, parties and festivities. The tradition of making Varanasi or Banarasi sarees in Varanasi or Banaras is very ancient. But it has continued to be passed down from one generation to another and continues to flourish. Created in eye-catching shades and pattern, the Banarasi sarees of India are so famous today that they are exported all over the world. They usually fall into four categories pure silk (katan), organza (kora) with zari and silk, georgette and shattir. Weaved on the power loom, normally three people are required to make one Varanasi sari. Each Banarasi silk sari can take 15 days to six months to complete depending upon the intricacy of the designs. If the designs were too elaborate, manufacturers then even took a years time to make create a single saree. Banarasi sarees earlier used to bear designs made out of original gold and silver threads and thus, used to cost several lakhs of rupees. Cut Work Textiles

The cut work of Banaras is a cotton inlay in cotton developed for furnishings, especially drapes, where it helps cut down the glare of the mid-ay sun. Extremely popular with the urban consumer, the design repertoire covers geometric, floral, and paisley patterns.

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The technique is suitable to light and transparent fabrics and the motifs are formed with extra weft threads which hang loosely at the back. After weaving these threads are cut away.

Hand Block Printing Uttar Pradesh is an important centre for hand-block printing with the classical butis, paisley designs, and the tree of life as the main traditional motifs used in a range of shapes and in bold, medium, and fine patterns. It has floral designs and bouquets in panels in crimson, rose, matte brown, soft yellow, blue, and green set against arches shaped like mihrabs, along with symmetrical trees and jali designs bordered with calligraphy and inlay design. A lot of paisley motifs can be seen in the hand block printed fabrics of Lucknow, while the chikan embroidery motifs are more popular in other printing centres of Uttar Pradesh. Tanda in Uttar Pradesh is famous for its detailed printing. The main colours used are red and a dark blue blended with red against an indigo background. Zari, Zardozi Embroidery Embroidery done with metallic threads is called kalabattu and forms the zari. The main zari production centers are Surat in Gujarat and Varanasi in Uttar Pradesh. Here the metal ingots are melted into metal bars called pasa from which lengths are got by beating it after treatment. This is then pulled through perforated steel plates to make it into wires, followed by the tarkashi process to make it thin with rubber and diamond dies The last stage is called badla where the wire is flattened and twisted with silk or cotton thread to become kasab or kalabattu. Kasab can stand for real silver / gold, as well as for plated silver/gold or for an imitation in which a copper base is given a coat of silver or golden color to make the product less expensive. Zari thread is used widely in weaving but more selectively in embroidery. For intricate patterns gijai or a thin, stiff wire is used; sitara, a small star-shaped metal piece is used for floral designs. This type of embroidery is called salma-sitara. The thicker kalabattu is a braided gold thread used for borders while the thinner variety is used at the end of the drawstring of purses or batwas The dull zari thread is called kora and the more shiny one is called chikna. The equipment that is used for embroidery is a rectangular wooden-frame called karchob and a wooden leg called thapa used for sewing laces. Zardozi: This is a heavy and more elaborate embroidery work which uses varieties of gold threads, spangles, beads, seed pearls, wire, and gota. It is used to embellish wedding outfits, heavy coats, cushions, curtains, canopies, animal trappings, bags, purses, belts, and shoes. 41 | P a g e

The material on which this kind of embroidery is done is usually heavy silk, velvet and satin. The kinds of stitches found are salma-sitara, gijai, badla, katori, and seed pearls, among others. The main centers are in Delhi, Jaipur, Banaras, Agra, and Surat. Art and craft

Uttar Pradesh is the land of art and artisans. The state boasts off some of the most popular centers of art tradition in India. Varanasi or Banaras - Zari works. Banaras - Banarasi Sarees Lucknow-Chikankari Moradabad, the city of Brass -brassware Agra - marble artifacts Firozabad - glassware Bhadohi near Benaras - silk carpets Farrukhabad - Hand Printed items woodwork, ceramics, stonework, dolls, leather products, ivory articles,articles made of horns, bone, cane and bamboo, perfume, and musical instrument.

West Bengal
History The Arthashastra has mentioned that Silk weaving in Bengal has existed from the ancient times. The cultivation of mulberry silk and its weaving is carried out in the plains of West Bengal. Silks of Bengal were much acclaimed the world over, since ancient times Places Shantipur, Dhaniakhal, Begampur, and Farasdanga are the main cotton weaving centres which are involved in the weaving of fine-textured saris and dhotis. There is a rich tradition of weaving handloom cotton textiles among the tribal and semi-tribal people n the districts of West Dinajpur, Jalpaiguri, Maldah, and Cooch Behar in North Bengal Calcutta and Srirampur in the Hooghly district are the main textile hand-printing centres in West Bengal Community 42 | P a g e

 There is a rich tradition of weaving handloom cotton textiles among the tribal and semi-tribal people in the districts of West Dinajpur, Jalpaiguri, Maldah, and Cooch Behar in North Bengal . Rajbanshis (royal families) weave saris with very attractive designs of checks and stripes on simple pit-looms.

Printed textiles of west bengal Murshidabad silks are further popular for hand-printed designs and other materials which are also printed with wooden blocks Bandhanas The term bandhana originally reffered exclusively to silk handkerchief piece goods,tie-dyed or printed- also called choppered as it was called at kasimbazar,near mushirabad in bengal for export to london under the auspices of the english east india company. Woven textiles

Tant sarees Tant sarees are made in shantipur area and are named after the village shantipur in nadia district of west bengal.These saris have a powder fine texture & exude a sophistication of temperament & are therefore an enemy of modesty. Jamdani Jamdani is a type of woven figured muslin sari using a bamboo splinter like a needle.

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Jamdanis have a fragile tapestry & usually woven in soft shade of fine grey cotton, decorated either in bluish grey design or creamy white with gold or silver threads & its border comprising flowers set in spray butidars run diagonally in a criss cross jal scattered at even distance in the surface Toredar Two weavers work on a single handloom where the design on paper is kept underneath the warp, which is used as a guidew in placing the cut threads acc to the designthe over the warp. They are then interlaced into the warp with fine bamboo sticks in zigzag manner to form the motif by hand using individual spools of thread Weft thread follows; this process is repeated before the shuttle carrying the weft is thrown across again. Traditional motifs include chameli jasmine and gainda buti-marigold. The most attractive design feature of the jamdani sari is the corner with paisley motif.

Tangil sarees The Tangail woven today originated from these Daccai Muslims. Bengali cotton saris are mostly classified into three major divisions: Ordinary striped or checked Tangail they are the cheapest Butidar Tangil copy of the Jamdani with angular designs Bordered Tangil Naksha Tangail made on the Jacquard looms. Earlier silk was used for the reshmi borders but these days silk has been replaced to rayon Butidars are mostly woven on light cream background and bright & soft colours are used for butties. The simple striped or checked saris have no decorative designs, sometimes high light with gold and silver threads.

Baluchari Baluchar silk was woven into saris in which the ground scheme of decoration is a very wide pallu with a panel of mango or paisley motifs at the centre surrounded by smaller rectangles depicting different scenes. The sari borders were narrow with floral and foliage motifs and the fall of the sari was covered with small paisley and other floral designs in undemonstrated but bright colour schemes. Another familiar motif for the body of the sari was diagonal butis. The unique feature of Baluchar saris was the combination of animal and bird motifs incorporated in floral and paisley decorations while other motifs included hunters on horses, elephants, and scenes from the nawab's court. The silk yarn used for Baluchar saris was not twisted and so had a soft and heavy texture Types of kantha embroidery 44 | P a g e

 Lep Kantha Bayton Kantha Ooar kantha Durfani Kantha Arshilata Kantha Rumal Kantha Handicrafts of West Bengal Masks The use of masks have come down from the primitive ages. The masks generally made here are of mythological character and the material used is paper mache painted in bright colours. They are used for rituals and folk festivals and as decorative items for homes Terracotta This is one of the most ancient forms of art in Bengal and the association with religion has given it a different dimension. The traditional potters or "Khumbhakars" have been producing domestic and decorative items by moulding dry and burnt clay over the ages. Dhokra Along with many other states, Bengal shares the folk art of Dhokrainitially practiced by a nomadic clan. The technique of Dhokra is "Cire Perdue" or lost wax process in which metal, mainly brass, scrap is used. Traditional folk motifs and techniques have been maintained. Rag dolls This craft root from a Japanese influence, but has lately gained immense popularity in Bengal. Made with small cloth, cotton & wool, these are used by children and for decorative purposes Sholapith Bengal is famous for it's sholapith items for marriages & festivals and serve as decoration items for wall hangings etc. Cane & bamboo Originating in ancient Bengal, These items find a bigger market in cities rather than villages in modern times. the material is mainly used to make furniture and other decorative itmes. Wood carvings Wood is widely used for making toys and decorative panels. Kalighat dolls & Natungram wood carvings are worth mentioning. Image made in wood relate back to traditional icons, deities some of them stylised to a modern look. New materials and innovative techniques are being used by the artisans to produce useful and aesthetic products. Folk motifs and ingredients are being effectively used for a greater market. 45 | P a g e

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