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

 

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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

 

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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

 

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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

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Art & Craft Workshops from Paramparik Karigar

 

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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.

 

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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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Upcoming Workshop – Innovation Festival – Art and Crafts Workshop

Upcoming Workshop –  Innovation Festival – Art and Crafts Workshop

Paramparik Karigar Art craft Workshop Mumbai

Paramparik Karigar Art meets Science Mumbai

Paramparik Karigar Art craft Workshop Mumbai

Paramparik Karigar Art craft Workshop Mumbai

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Photographs of December 2015 Master Craftsmen exhibition

Photographs of December 2015 Master Craftsmen exhibition

Bronze 1 Bronze Display 1 Gadawakam 1 Gadwakam 2 Gadwakam Gond 1 Gond 2 Gond Hall Display 1 Hall Display IMG-20151210-WA0012 Kalamkari 1 Kalamkari Mata-ni-pachedi 1 Mata-ni-pachedi Miniature 1 Miniature Mithila Pattachitra 1 Pattachitra Patua 1 Patua Phad 1 Phad Pichwai 1 Pichwai Pottery 1 Pottery 3 Pottery

 

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