"Stale artifacts of the past' are always 'active components of the present movement' when they are experienced in the present." ~ Walter Darby Bannard
We all have that one memory of walking through a handicraft mela and watching people bargain. Once the purchase is done, those art pieces merely became a showpiece that adorns our shelves.
Growing up, it never clicked in our mind that these craftsmen are not just selling their art for earning a meager livelihood but are the real saviors who have taken the onus of keeping the dying art forms alive.
Originating in the beautiful land of festivals, "Naga handicrafts" are pure examples of simple beauty. Nagaland is blessed with an abundance of cane and bamboo and the most skilled set of wood carvers, Konyaks. The handicrafts represent the ritualistic and aesthetic values of the community. However, this indigenous art form that provides livelihood to thousands of people is suffering silent death due to the lack of capital and market linkages. The constant lockdowns and restrictions have greatly impacted this community and the marketing of their art form.
With its origin in Iran, and 300 years long history on Indian lands, "Roghan paintings" are one of the oldest textile arts known to us.
The intricate details and intended motifs encapsulated in the magnificence of these paintings are made using castor oil and mineral colors with the help of fingers.
The infelicitous part is that this culturally rich and exquisite art is hardly alive. The lack of modern technology and machinery makes this art extremely time taking and expensive, thus leading to its death. The credit for carrying the last remains of the legacy of Roghan Paintings goes to the Khatri family of Nironha village of Bhuj who is the only one left keeping the Roghan art alive. Their sheer devotion was recently celebrated by our president with a national award.
From the tinkling symphonies of alluring "Jhumkas" to the skillful embroideries adorning the vibrance of "Rani Haar" and the concocted ornamentation on ceramic crockeries, housing the homely fragrance of Indian spices, "Meenakari" art forms are an awe-inspiring sight. Meenakari originated in Persia and was brought to India by the Mughals. "Meenakars" from all over the world found solace in the ancient city of Jaipur and thus, Jaipur became the center of Meenakari in India. Gulab Meenakari is practiced in Varanasi and other parts of India. Kashmir was once a renowned center of the great Meenakari art but the constant terror attacks and lack of support from the government are leading to its gradual extinction.
Receiving its name from the nomadic tribe, 'dhokra damar', "Dhokra art" utilizes the 4000 years old 'lost waxing technique' to obtain unique metal cast designs. One can easily find the impact of flora, fauna, mythology, and nature on the minute details of these designs. 'Dancing girl from Mohenjodaro' is one of the finest examples of 250 years old legacy of Dhokra art. Today Dhokra art is practiced in the state of Chattisgarh, Jharkhand, and West Bengal. Dhokra artisans have sought the support of the Indian government from time to time. The lack of tourism during COVID was a major hit to their livelihood. Improper pricing, unavailability of electricity, and lack of market linkages are forcing the artisans to give up on traditional art.
Ascending from the Nilgiri Hills of Tamil Nadu, encapsulating the true essence of craftsmanship is the "Toda embroidery". The finely finished needlework is formed of red and black threads on a background of white cotton fabric, giving the impression that it is woven. The Toda people are proud of their ancestry and use both sides of the embroidered fabric. The most intriguing fact is that native Toda women, who lack modern numerical literacy, expertly embroider geometrically precise patterns without the aid of scales or other tools. Toda embroidery pattern books don't exist. The designs showcase the imagination of the Toda women, who imagine a pattern in their heads before transferring it to a piece of cloth. The Nilgiris' colorful flora and fauna, daily activities, legendary tales, and natural surroundings serve as the main sources of inspiration. The reverse side of the stitching is stunning and shows no traces of hanging threads or knots, which is another characteristic that sets it apart from modern embroidery. Naturally, that takes a lot of time and effort, but the final result's beauty more than makes up for it. Unfortunately, Toda embroideries are currently going through an identity crisis as the beliefs and ideals that have both limited and supported them are disintegrating. Other than that, duplicates of Toda embroideries are available in the market. These duplicates threaten the livelihood of 300 Toda women.
The Geographical Indications of Goods Protection Act of 1999 of the Government of India lists this handicraft product as a geographically marked product and protects it.
Exhibiting the exquisite history of ancient Anga Mahajanapada, "Manjushas" are astoundingly beautiful art forms. They are eight-pillared temple-shaped boxes, constructed with paper, jute, and bamboo. Featuring paintings of Hindu deities and other figures, these containers are used during the Indian festival of Bishahari puja, which honors the Snake God and is observed in Bhagalpur and the adjacent areas. Manjusha is believed to be the only art form that displays a sequential storyline. It is based on the folk story of Bihula-Bishari. Manjusha art forms are not given the same importance when compared to the Madhubani paintings of Mithila, Zadopetiya of the Santhal Parganas, and other folk arts of Bihar. It strives to receive encouragement and support from the government. To make both ends meet, these Manjusha artists have switched over to other professions.
India is a country of rich cultural heritage with indigenous art forms in almost every region. Art is a first-hand witness to our rich historical backgrounds and our widespread culture. The extinction of these art forms will not only lead to large-scale unemployment of the local artisans but also cause the eradication of our ancient culture. Next time you visit an exquisite exhibition and find yourself admiring the beauty of a resplendent handicraft or awe-inspiring painting, take a moment and breathe in the fragrance of devotion that our Indian craftsmen have imparted in the making of these masterpieces.
- SRISHTI CHOUDHARY