Know Your Handicrafts – Dhurries

 

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Hand Woven Dhurrie

 

Place of Origin: Many parts of India. Earliest recorded hist0ry- 5th Century

Genre: Handloom, Material – Cotton and wool.

Technique:

A Dhurrie is a flat woven pile-less cotton or woolen area rug made in a variety of designs and colours.  Dhurries are made manually by skilled artisans on a traditional horizontal loom or vertical loom. They are woven by interlacing the vertical threads- the warp with the horizontal threads – the weft. Dhurries in India are produced in a wide range of complex geometrical, floral, figurative patterns as well as traditional designs, ethnic motifs combined with contemporary tastes and colours. Traditionally , vegetable dyes -which use indigo, harad, mangeetha, pomegranate peel are used to dye the Dhurrie.

 Typical Features

Dhurries are always weft-faced, which means that the warps are never visible except at the fringes because they are completely covered by the wefts.

Though usually made of cotton, sometimes other fibres such as wool, jute, coir, wool, camel hair, silk, sisal, plant-fibre and recycled fabrics are also used.

The design, size and structure of the dhurries varies according to use-bedside durries, prayer dhurries, room dhurries, festival or palace dhurries. Dhurries are typically in eye-catching shades , often with contrasting borders.They can have figurative elements such as mosque, minarets, Hindu shrines, oil lamps or non figurative geometric, floral or even tribal motifs and patterns.

Geographical Spread:

Dhurries are made in these places :

Warangal, Telengana;

Madhya Pradesh

Himachal Pradesh,

Punjab, the areas around Ludhiana, Faridkot and Bhatinda

Rajasthan at Salawas

Uttar Pradesh –in Khairabad

Karnataka- Navalgund taluk

 

For the Trivia Buff:

 

Historical Record of the Dhurrie-

Aurel Stein, on one of his expeditions across Central Asia, China and India, attributed several fragments unearthed at the Niya site in Turkestan to be flat weaves from India, dating them at 200-400 AD.  Evidence of the Dhurri tradition exists in manuscripts, paintings and fragments from the Mughal period and after.

The Difference between Carpet and Dhurrie

A dhurri is a flat, woven, light rug, usually reversible, whereas a carpet is usually heavier, with one display side. A dhurri is lighter because

it is mainly made of cotton, while a carpet uses wool and is thicker as well.

The process of dhurri making is different from that of carpet making. Normally, the main tool in dhurri making is a vertical frame composed of two horizontal beams on which the warp is fitted, unlike the big looms carpet making involves.

A curious fact :

Panja weaving is mostly used for making durries. The craft gets its name from a metallic claw-like tool called panja in the local dialect, used to beat and set the treads in the warp.

 

Sources :

Paramparik Karigar Archives

https://www.hepcindia.com/durries/

https://en.wikipedia.org/wiki/Dhurrie

http://www.craftmark.org/sites/default/files/P002%20Panja%20Weaving.pdf

 

 

 

 

 

 

 

 

 

 

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Know Your Handicrafts : Phad Painting

 

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PHAD PAINTING

Place of Origin: RAJASTHAN, 14th century

Genre: Painting, Vegetable Dye on Cloth

Technique:

Usually done on khadi /canvas / cotton cloth. The material is first stiffened with starch made of boiled flour and glue and then tempered with a special stone device called ‘mohra’  to smoothen the surface. The artist makes his own pigments using locally available plants and minerals, mixing them with glue and water. Once the outline is drawn in light yellow or black, the artist applies the traditional colours – red, white, green, blue, orange and brown.

The Joshi families of Bhilwara, Shahapura are known as the traditional artists of this folk art form

Typical features :

The entire canvas is covered with images. The pictorial space is usually flat, without perspective. The  artists use scales when drawing the figures to indicate their relative social status or importance within the story. The figures are painted in profile. These paintings have a strong narrative element; they traditionally tell the stories of local Pabuji, Devnarayan, Krishna, Ramdal (Ramayana) and Ramdevji. Of these, the most legendary and popular is that of Pabuji, who is considered a demi god in Marwar even today. A common icon found in these paintings is that of Pabuji astride the Kesar Kalimi, a beautiful black mare. The complex nature of the stories represented in the paintings is perhaps the reason for the large width of the traditional Phads.

For the Trivia Buff:

This art form could have got its name from the word, ‘Phad’ , which means folds in a Rajasthani dialect

Historically, these paintings were used as narrative aids by wandering story tellers, the Bhopas. The Bhopas perform all the year round, except in rainy season when the deities are supposed to be in slumber. The musical instruments the Bhopas used were the Ravanahatha.

Another type of phad, that has now been abandoned was that of the Goddess Kali. Painted for a particular caste of the untouchable Bhopa, it was distinctively different from the rest, as it was done in the batik style, using wax.

 

Sources :

Paramparik Karigar Archives

http://www.indian-art.net/indian-art/phad-paintings-rajasthan-india.html

http://phadchitra.com/about%20phad.htm

 

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Our August Exhibition – an account

Culture is the identity of a people, traditional arts and crafts its manifestation. Those arts and crafts are our heritage. We display them, wear them and through it, express ourselves. We are often searching for them to fulfil this desire for self-expression. For those on such a search for traditional handicrafts, there was no better place than the Paramparik Karigar Exhibition at the WTC, on from 19th to 21st of august. More than a 100 craftsmen under one roof. Pashminas from Kashmir to Kanjeevarams from Kanchi. Tribal Weaves from Assam to Lehariyas from Rajasthan. Panted leather lampshades, metal figurines, woodcarvings, papier-mache sculptures –all these and much more. There was something for every palette and every budget.

Some moments from the event

 

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Looking to complete a wedding trousseau? How about a vibrant Paithani or a classically elegant Kota Doria? Looking for an heirloom piece, something you want to leave behind for the grandkids? You could consider the intricately woven double-sided Patolas from Gujarat. Looking for the more casual everyday wear? Chanderi, Maheshwari, Tussor, Uppada- a day could be spent making up your mind. They make lovely gifting choices too. Are you a pure cotton-lover? Ikkat from Orissa, Ikkat from Seemandhra and Telengana, Kanchi cottons from Tamil Nadu, Khadi saris from Kutch and Maheshwar, to name a few Handlooms- a peek 20160821_164914-220160821_17353520160821_164508

You are not looking for textiles but scouting for Handicrafts? There are enough choices there too. Want to acquire a masterpiece for your wall? How about a Phad paining, or a Miniature? By award-winning master craftsmen, no less. Working with a smaller budget? Kalamkari, Pipli patchwork tapestry, Patua art – take your pick.

From our handicrafts section 20160821_16521420160821_16513920160821_165228

Housewarming? How about some brass tableware? Or black metal figures or frames? Or brass statuettes? Searching for low-end gifts? Leather puppets? Nakash painted plates? Hand made paper? These are but just a few that were on offer.   You are looking not for handlooms or handicrafts but just something special to set off your outfit? You would be spoilt for choice; for Kolapuris, Jootis, mirror-work bags, stoles, scarves, dupattas, jewellery were all showcased here.

Not here to shop but just a lover of traditional crafts? Simply walk through the exhibition, talk to the craftsmen and your soul would be satisfied.

For that is what Paramparik Karigar is truly about. To be a place to nurture the crafts, provide a safe place for the next-generation craftsmen to learn and practice the craft, to eliminate the burden of the middlemen, to provide platform for the native crafts and to seek out and showcase lesser known but deserving traditional craft processes. Paramparik Karigar (not to be confused with PARAMPARIK) distinguishes itself from other similar organisation by being an association formed and run by the craftsmen themselves. A Paramparik Karigar exhibition is not a just a shopping experience, it’s an expression of philosophy, an ethos, a way of live. We welcome you to come and embrace it

 

Follow us on facebook. To subscribe to our mailing list to get information on our future exhibition and workshops or to get in touch with us, go here.

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Selected to be put up at residence of Prime minister Shri Narendra Modi

A black and white Phad painting, made by Paramparik Karigar craft member Kalyan Joshi from Bhilwara has been selected to be put up at the Prime minister Shri Narendra Modi’s residence at 7, Racecourse Road.

Kalyan Joshi from Bhilwara has been selected to be put up at the Prime minister Shri Narendra Modi's residence

 

Kalyan Joshi from Bhilwara has been selected to be put up at the Prime minister Shri Narendra Modi's residence

 

Kalyan Joshi from Bhilwara has been selected to be put up at the Prime minister Shri Narendra Modi's residence

 

Let’s Connect: Paramparik Karigar on Facebook - Website

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There’s renewed interest in handlooms

Download to read the latest update across our Bulletin page: There’s renewed interest in handlooms: Click here to download the PDF and read

Few other latest updates:

 

To know about our upcoming exhibitions, workshops, events, media updates feel free to reach us here: 

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Paramparik Karigar exhibition in Mumbai on August 19,20,21,22, at WTC

Paramparik Karigar exhibition in Mumbai on August 19,20,21,22, at WTC

Tribal Weave by Kapilo Mohonto  at Paramparik Karigar exhibition August 19,20,21,22, at WTC

Tribale Weave by Kapilo Mohonto e at Paramparik Karigar exhibition August 19,20,21,22, at WTC

Tribal Weave by Kapilo Mohonto  at Paramparik Karigar exhibition August 19,20,21,22, at WTC

Sanganeri prints by Dhanopia at the Paramparik Karigar exhibition at WTC on 19,20,21,22 August.

Sanganeri prints by Dhanopia at the Paramparik Karigar exhibition at WTC on 19,20,21,22 August.

Sanganeri prints by Dhanopia at the Paramparik Karigar exhibition at WTC on 19,20,21,22 August.

Maheshwari Saree by Akhil Ansari & Ganesh Bicchawe  at Paramparik Karigar exhibition August 19,20,21,22, at WTC

Maheshwari Saree by Akhil Ansari & Ganesh Bicchawe  at Paramparik Karigar exhibition August 19,20,21,22, at WTC

Maheshwari Saree by Akhil Ansari & Ganesh Bicchawe at Paramparik Karigar exhibition August 19,20,21,22, at WTC

Kantha Saree and Yardage by Alima & Takdira at Paramparik Karigar exhibition August 19,20,21,22, at WTC

Kantha Saree and Yardage by Alima & Takdira at Paramparik Karigar exhibition August 19,20,21,22, at WTC

Kantha Saree and Yardage by Alima & Takdira at Paramparik Karigar exhibition August 19,20,21,22, at WTC

Diaphanous Muslin Jamdani Saree by Jyotish Debnath at Paramparik Karigar exhibition August 19,20,21,22, at WTC.

Diaphanous Muslin Jamdani Saree by Jyotish Debnath at Paramparik Karigar exhibition August 19,20,21,22, at WTC.

Diaphanous Muslin Jamdani Saree by Jyotish Debnath at Paramparik Karigar exhibition August 19,20,21,22, at WTC.

Ashavali Saree for the first time at the Paramparik Karigar exhibition August 19,20,21,22, at WTC

Ashavali Saree for the first time at the Paramparik Karigar exhibition August 19,20,21,22, at WTC

Ashavali Saree for the first time at the Paramparik Karigar exhibition August 19,20,21,22, at WTC

 

LATEST NEWS and Event Updates:

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Invitation Card – August 2016 Mumbai Exhibition from Paramparik Karigar

 

Invitation Card - August 2016 Mumbai Exhibition from Paramparik Karigar

Exhibition and Sale: Traditional arts, crafts and textile exhibition in Mumbai (click on image below to enlarge)

Exhibition and Sale:  Traditional arts, crafts and textile exhibition in Mumbai

Exhibition and Sale:
Traditional arts, crafts and textile exhibition in Mumbai

 

WEBSITE link: http://paramparikkarigar.ngo/exhibitions.html

Join us on Facebook – Paramparik Karigar

Related post:

Art & Craft Workshops from Paramparik Karigar

 

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Posted in Art & Craft, Art Craft Workshops, Indian Artisans, Indian Artist, Indian Master craftsmen, Indian traditional handicrafts, Master Craftsmen, Mumbai event, Mumbai Exhibition, Mumbai Workshops, Paramparik, paramparik karigar, Textile Exhibition, Workshops | Tagged , , , , , , , , , , | Leave a comment

Art & Craft Workshops from Paramparik Karigar

Art & Craft Workshops from Paramparik Karigar

Paramparik Karigar Workshop

Paramparik Karigar Workshop

Check out our forthcoming Art & Craft Workshops for an exciting, inspiring & interesting way to spend your day!

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Finding My Way

Read Finding My Way—explore the world through the eyes of Venkat Raman Singh Shyam Gond artist Madhya Pradesh

 

Click on the link above to know more about this book.

 

http://paramparikkarigar.ngo/exhibitions.html

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Interview with Gurrupa Chetty and Niranjan Chetty on Kalamkari an art form from Andhra Pradesh

Interview with Gurrupa Chetty and Niranjan Chetty on Kalamkari an art form from Andhra Pradesh

On Kalamkari: In Conversation with Jonnalagadda Gurappa Chetty
We had the opportunity to speak to Jonnalagadda Gurappa Chetty who is a renowned kalamkari artist based in Srikalahasti, Andhra Pradesh. He provides insight into the history and current practice of kalamkari in India.
- Srikalahasti, June 2015

Gurappa begins by telling us that he learnt the craft of kalamkari from his father. He also acknowledges that this craft was developed with the help of Kamaladevi Chattopadhyay— she was a true pioneer and through her efforts, many of India’s crafts were revived and reinvigorated. Many of our music academies, craft centres and craft councils today were initially set up by her. Gurappa informs us that craft-making in our country was generally community specific and knowledge was passed on from one generation to the next. No institutions or colleges for teaching crafts were deemed necessary. For example, he explains that a potter was helped by his entire family—the children would help in carrying pots and everyone including the wife would help in making the pots. The Government’s system of craft education is different from this and the All India Handicrafts Board started the first training centre for kalamkari.Gurappa, who was a trained school teacher, was amongst the first few trainees there.

Gurappa further goes on to explain that while the craft is known as kalamkari today, this was not its original name (it was called ‘vrathapani’). The textile craft at Machilipatnam, in Bandar, is also called kalamkari but there they carve designs on blocks of wood and the cloth is printed. In Telugu this is called ‘ardhakam’, which means printing. So he feels that, considering the technical differences, one cannot refer to both the crafts as kalamkari!

Earlier, craft was patronized by the royal families and the temples of a region. This was how crafts were able to develop at the time. For various reasons, the crafts declined until they were revived with the help of Ms. Chattopadhyay. Today, the artists continue to depict epics such as the Ramayana, Mahabharatam, and tales from the Bhagavatam etc. In Srikalahasti there is the Dharmaraja temple and also another one dedicated to Shiva. Similarly, Gurappa says that there are around 220 other temples in his district. Craftspersons have traditionally been making panels with the Mahabharatam story for these temples.

Gurappa explains that there is also science involved in the craft. The artists draw with ink which has been prepared with molasses, rusted iron filings and water. The cloth for kalamkari is prepared with ‘kadka’, a combination of myrobalan and milk, and only cloth soaked with this liquid will produce the black colour as the tannin content reacts with the iron acetate. If you apply the ink on ordinary cloth, it won’t produce black.

In rendering the figures, certain conventions are followed. For example, (reciting from the Telugu Bhagavatam by Potana), ‘Krishna nallani vaadu padmanayanambulavaadu, kriparasambupai jalledu vaadu, mauliparisarpita pinchamu vaadu, navvu ra jilledu momu’: Krishna will be rendered in blue. Saraswati will be white, ‘as jasmine, the moon or snow’ (from the Saraswati stotram, ‘Ya kundendu tushara hara dhavala’).

Giving the example of Alimedu, where the stone-carving style is different from that in his area but the figures and themes remain the same, Gurappa says the most important element is the story. In other painting styles also there is a similar commonality of themes rendered in different styles. In Gujarat they make a type of hanging called ‘mata-ni-pachedi’, where they paint figures of Goddess Durga. Similarly, in Orissa, there are the ‘patachitra’ paintings which depict themes like the Krishna Leela.

As kalamkari was a hereditary craft tradition, Gurappa says that he learnt from his father who in turn had learnt from his own father. It was the same in the case of his son J. Niranjan, who is also a renowned kalamkari artist. Niranjan began designing kalamkaris from the time he was a young child. When he was in the fourth standard, he drew a ‘tree of life.’ Gurappa still has that piece with him. In the beginning though, Gurappa says that his son was interested in pursuing medicine until one of the family’s well-wishers asked him, ‘How many doctors in your country and how many engineers in your country?’ and then asked him to compare that to the number of artists who made kalamkari. At that time there were only 50. This conversation made Niranjan realise that instead of choosing a profession already being practised by thousands of people he could be part of something unique.

Gurappa received a National Award from the Government in 1976. At that time they were to start a training programme. One gentlemen called Alu agreed to be a part of this but stated that he would only like to train women because he felt men were only interested in writing, preparing bundles and carrying them! Gurappa agreed to this condition and they started the first training programme for women. Today, many women are learning this craft and Gurappa feels that its popularity can be attributed to the fact that these women can work from home.

Gurappa has travelled extensively. He has also seen his grandfather’s work which is now in England. Similarly he has also been to Sydney. Recently, he was in Ottawa where also he saw a kalamkari. The craft, according to Gurappa, is now world famous! He summarizes our discussion by explaining that kalamkari or vrathapani is the name of their style and in essence it is a craft that involves writing with a brush. The figures that they render follow well-established canons— Rama will have a bow and arrow, Krishna will have a flute, Ravana will be ten-headed, Hanuman will be holding a gada (mace)…

Please see here the link to the interview with Shri Gurappa Chetty on Sahapedia
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