Gaatha

Paan, neta, jalebi, uparwaala and lathi…. A popular Sunday times article defines these amongst others, as those torchbearers of Indianness, that should last even if doomsday may swallow every other living identity of our dear country. Amongst these, the lathi is perhaps the most significant witness of changing times. In a time where it is more widely recognized due to the notorious idiosyncrasy of the lathi charge, this wooden staff definitely possessed a more distinguished virtue in the bygone days. Obvious that is from the fact that native Indian proverbs still mention the heroic qualities of the lathi through phrases like “andhe ki laath, jiski laathi uski bhains, saap bhi mar jaaye aur laathi bhi na toote” and others.

From the Neanderthal man who used the stick for hunting and way finding to today’s young village lads who flaunt their stick as an emblem of their newfound masculinity, the lathi hasn’t really changed much. This 6 feet long multipurpose, lean and mean wooden staff has always been used for acts of defense and comes handy for everyday utility as well. The easy availability of material for the tool and the very idea of a stick in the hand, which equips man with an invisible power and fearlessness, ensure that the popularity of the lathi remains unparalleled and timeless.

The lathi as a weapon is as old as a man’s need to survive harsh uncertainties. The earliest dwellers of the civilization have used the stick to walk and navigate across difficult terrains, to control and protect domestic animals, to defend themselves against thieves and other herdsmen, or carry parcels made of cloth containing food and other necessities, tied around their stick while away from home. From the village head or Sarpanch to the rented villains hired by rich Zamindars to oppress poor farmers, the lathi has been a favorite accessory for all …. a noble companion for the good, bad and the ugly.

The tribal people were however the first to innovate in decoration of the everyday lathi, using various burnt patterns and symbols, characteristic to their tribes. Stick-fights which involve lathis have been a popular sport in many parts of East and South India. Even today the lathi is a key prop for various native martial art forms and traditional dances.

The craft of making and adorning the wooden stick evolved in Nawakheda (Ujjain), Shahjahanpur in Madhya Pradesh. Here people have been making the ‘lath’ for centuries now. The art of ornamentation of these wooden sticks is fairly recent though. According to veteran craftsman Shri Rampuri, today approximately 20-25 families pursue this craft to the extent of occupational practice. It is interesting to observe that these craftsmen do not sell as much from their village, as they do from the animal fairs such as ‘Pushkar mela’, ‘Chaitra mela (Barmer)’ etc. They generally establish a temporary settlement in these fairs and move into these with the rest of their family. Furthermore, all the raw materials required for the craft are acquired from the surrounding villages/town of the fair.

The raw materials required for this craft are Bamboo sticks (ingenious to Uttar Pradesh and Chandrapur in Maharashtra), metal wires and other accessories for ornamentation (usually bought in from Delhi and Jaipur). The rough and naturally curved bamboo sticks are heated and pressure bent in the direction opposing their natural curvature, this way they lose moisture and straighten over their length. By filing these sticks, their surface undulations and nodes are shaved off.

In order to make theses sticks moisture proof and increase their overall strength, groundnut oil is rubbed along the entire surface in the presence of heat. This process also reduces the susceptibility of the treated bamboo to insect infestation. The native craftsmen interestingly lend color to these bamboo sticks by polishing them either with a mixture of burnt ash and groundnut oil (for a homogeneous burnt brown color) or a mixture of groundnut oil and edible yellow color (which imparts a clear and even yellow tone).

Once dry, the sticks are ready for ornamentation. This part of the procedure has children and women folk as active participants. Colored radium strips and metal bands are assembled on the wooden staff in the desired arrangement and board pins are hammered into them in such a way they are only halfway through into the wood.

This tact serves the dual purpose of holding the arrangement in place while giving ample pivoting space for the bunch of 3-4 soft metal wires that create a decorative mesh, meandering along the entire length of the wooden staff and getting locked around the stems of these board pins at regular intervals. To witness the craftsmen engage in the aforementioned procedure is indeed a visual delight because the wooden staff held between their feet, rotates as it would on a lathe machine, and the hands gracefully indulge in timed adornment with the metal wires.

Even though majority of the used raw materials are sharp and rough, it is fascinating to touch and caress the smooth surface of the end product, which discloses the keen labor that goes into giving the wooden staff a flawless finish. The aesthetics of the wooden staff are further enhanced using metal bells and musical trinkets. By addition of loops to ends of these sticks and producing varieties of the shorter brethren of the lathi, the craft has only pleased the masses more than ever. Designs carried out to beautify the wooden sticks have hardly lost any original chutzpah and remain very similar in intent and execution to their original prototypes.

The craftsmen use principles of division of labor and ensure that the major chunk of the work is done in lots as it probably would on a production line. A single visit to their temporary yet robust bamboo stalls would leave one positively amused at the sight of the multitude of certificates displayed from the various fairs that the artisans have participated in.

Call it the most ancient weapon of the world which is used even today as a crowd control device, or call it a mere stick with an inflated ego, there is more to the lathi than what meets the eyes. And in this wooden baton lie thousands of our ancestral tales wrapped like a soul that only grows…but not old.

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He sculpted a pigeon out of marble that was mistaken for real by a flock of flying birds, who halted to gather around their stationary avian pal. The creature chiseled out of stone even fooled a hungry cat that pounced on it only to break it. Skill personified in the hands of Maliramji ustad who set the benchmark for sculpture making with his exemplary competence at the art. Today every sculptor in Jaipur’s ‘Khazanchion ki Gali’ wishes to imbibe an ounce of that competence as he chisels the stone into an awe inspiring three-dimensional wonder. The entire lane is dotted with shops and workshops of marble sculptors who carve bodies of gods and goddesses out of marble and granite.

About 250-300 years ago, Sawai Jai Singh II summoned these sculptors to Jaipur for their skill, as he shifted the operating capital of his empire from Amer to Jaipur. At that time sculpture making was seen as a forte of the Bhramins, who were believed to be descendents of Atri Rishi. They were specifically commissioned because of the religious significance of the sculptures of deities. But today, an overwhelming 4 to 5 thousand people from across the boundaries of cast and creed are pursuing this ingenious art here.

In the words of Kanhaiya lalji Atri, who has inherited the legacy of this skill for generations, the profession that was initially limited to just one lane, has now spilled over surrounding lanes which are locally recognized as ‘bhindon ka raasta’, ‘kalaamji ka raasta’ and ‘hijaron ka raasta’. And to add variety to their work, in the present times, apart from marble carving/sculpting for temples, even politicians and other native popular figures are modeled in stone.

The limiting scapes of the current urban scenario within the city restrict the spread of this ever-flourishing industry. Therefore, even though ‘Khazanchion ki gali’ is the main seat of activity for the art, some recently established setups on the outskirts of the city also assist these artisans. Especially mentionable in this context are those who supply the boulders or the roughly carved figures. Only final finishing, buffing and painting are carried out within the workshops in these lanes.

Marble is the last word in stone. Its sheer opulence draped in flawless white can sting the sight and at the same time soothe it. Through centuries, Rajasthan has emerged as the magical fountain from which marble eternally springs out. The historical accomplishments of this stone range from the unmistakable wonder of the world - The Taj Mahal in Agra to the much acclaimed carving of the Sun God in the Dungarpur area.

The marble that is used for the art of sculpting is mined from quarries situated within a 100 to 150km radius around Jaipur and is acquired in the form of big boulders. The quality of the marble is defined by its whiteness and density. The less porous marble is more superior in quality and hence more expensive. Makrana marble, black marble and granite are the preferred choices for sculpting.

The two-dimensional drawings of the imagined sculpture are first sketched on a boulder, roughly the size of the sculpture, with some margin for wastage. The sketch is translated on stone using a scale, compass and pencil. Artists inheriting generations of practice and command over their dexterous hands can directly start sculpting idols of Shiva, Radha-Krishna, Hanuman, Ganesh or any other deity, without the need of any guiding tools. With the process of Hammering and chiseling around the sketch, the extra material is done away with.

To reinforce the finer features like facial expressions, folds of the skin or fabric etc, a sketch is drawn again on the stone. Eventually, the image is chiseled to perfection three-dimensionally. In years following 1980, eroding hand machines have been employed to ease the labor of chasing, filing and finishing. A mixture of powdered red stone  (geru) and water is then applied on the marble sculpture, essentially to demarcate the regions on which finishing is pending from the rest of the stone canvas.

Finally the most intricate features like the pattern on the fabric, the design of the ornaments, are engraved into the stone. The sculpture is roughly polished using a long stick made of porous sandstone (batti). This erases the redness caused by geru and indicates the finishing of the area. The eventual finishing and polishing is done using buffing machines.

In close vicinity of this lane, are the painter’s houses, where all the sculptures are finely colored using a combination of acrylic colors and oil paints. Painters like Rajesh Sharma point out that as against real gold and silver cladding during the times of Maharajas, the sculptures are now covered with thinner foils of the metal, used to highlight areas with ornamentation

Even as the bazaar continues to dwell in the narrow lanes of the heart of the city, a considerable number of workshops have been moved to the outer parts. This is a result of a government initiative to check on the noise pollution (caused by the hammering, machinery used to drill and chisel the boulders) and dust levels that harm human health. Marble otherwise is quite an eco friendly material. With the transportation becoming an easier facility, the demand for these marble splendors has only increased.

For those who engage in this art, believe their labor of love materializes in the sculpted idol that deceives and bewilders the on lookers. Covered in the hazy white dust, their appearance is as genuine in existence as is that of their creations. The artists, who share a major part of their day with these marble deities, appear to be in a constant non-verbal conversation with their stone mates.

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It’s a familiar sight. Hues of the melting twilight blend into the silhouettes of curious listeners who have assembled around a balladeer under an anonymous tree in Rajasthan. A peculiar ritual of the Bhopas who have settled here requires the balladeer to narrate a story to all of village folk because a family’s wishes have finally been fulfilled. The story isn’t any ordinary story. It is narrated frame by frame from the Phad paintings that illustrate the glory of Pabuji, a hero of the local tribe. Once these paintings are unfurled, the Bhopa storyteller gracefully steers his narrative through this 9m long scroll dawned in red and blue colors against a backdrop of soulful music spilling out of a folk instrument called Ravanhatta. Maybe somewhere we are lead to believe that the pied–piper man must have had similar inspiration as these native storytellers with the Ravanhatta, because the essence of hypnotizing with words and casting a spell with music is a treasured part of human fantasy. Only, the former tried it on rats first

Image: Marg-Publication, Insight into the narrative tradition in Indian Art

The origin of the Ravanhatta may be traced back to the Hela civilization that existed in Sri Lanka during the reign of demon king Raavana. Myth has it that Raavan was an ardent devotee of Hindu God Lord Shiva and rendered divine music to please the lord using the Ravanhatta or Raavanstorm.

But why would a Sri Lankan instrument become such a revered object amongst masses in the states of Rajasthan, Madyha Pradesh and Gujarat? A certain story from the Ramayana suggests that during a war between Sri Ram and Raavan, Hanuman had incidentally picked up the Ravanhatta from Lanka and brought it to North India. Another folk belief prevalent amongst the localities in the Mandsaur district in Madhya Pradesh is that Raavan’s wife Mandodari was their daughter and hence Raavan is regarded as their son-in-law. The Ravanhatta played by the thori or Nayak Bhopas of Rajasthan is infact believed to be one of the most ancient stringed instruments, which became a precursor to the present day violins.

It is fascinating to know that people pursuing this craft are not only skilled artisans but also double up as proficient musicians. Materials required to make this instrument are the locally available bamboo shoots, wood, coconut shell and metal pipes. These materials are the preferred choice to create the 80-90cms long bent central stem of the instrument. This long stem is punctured with holes at regular intervals on one end, in order to affix the knobs, which are used to fine tune the music being rendered by the strings attached to them. On the other end of the stem, a bowl made out of coconut shell (even metal and clay at times) with its mouth covered in goat hide is affixed. The two fundamental sets of strings that are eventually caressed in the creation of music are that of metal wire and horse hair.

These hair obtained from the tail of the horse can sum up to be the most exclusive ingredient for the creation of this instrument as besides being really strong, they lend a unique unparalleled quality of the music. Interestingly, the hair are coated with a powder cake (Bejara) to reduce the friction that might occur when they are rubbed against each other in the process of weaving tunes. Variation in sound texture may be achieved by modifying the tension in horse hair as the fingers move over them. The instrument may further be accessorized by attaching colorful pouches, beads, tassels, musical adornments (ghunghroo) according to the sensibility and convenience of the designer.

The story tellers do not follow a specific set of rules. They devise the synchronies of music and narration as and when they practice. But the craft seeks as much sensitivity of sound as it seeks dexterity of the fingers.

“With the age old traditional ceremonies losing their identity, the ritual of story telling on auspicious occasions is fading away. These days we are left with the option of performing at tourist spots and fairs” says Shor Ji Bhai Bhopa as he recalls that scores like “kesariya balam padhaaro more des…” and other popular songs strike greater familiar chords with the local village folk and tourists alike. Today as this art is quietly losing its sheen, Shorji Bhai is left as one of the handful of storytellers who continue to balladeer with the Ravanhatta at local fairs like the Pushkar mela.

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Music, they say, is the silence between two notes. The silence becomes even more omnipresent as it makes rare appearances between the constant sounds of metal being beaten in the ‘Thatheron ki gali’. This street in Jaipur is a home to utensil makers, locally known as the ‘Thatherey’ and is as old as the city itself.

In 1727, Jaipur was established as a new capital by Sawai Jai Singh II (1700-1743) and artisans, craftsmen & merchants were invited to institute centers of trade in Jaipur. As a result, the ‘Thatherey’ who had all along lived with the Maharajas in Amer Fort, came down to settle in Jaipur. Of the 200 families that had inhabited these hallowed streets back then, only 80 remain today. But unlike other artisans who were beckoned for their knowledge of craft, the ‘Thatherey’ artisans were summoned because they were absolutely necessary for their supply of utilitarian objects in the newly springing city.

Metal vessels became a ubiquitous household necessity in the primordial times as elements of storing water and other edible fluids, for kneading the flour dough and other common chores. The belief that is concurred upon even in these days of steel and aluminum is that food and beverages stored in copper and brass utensils were rendered preserved, whilst the mineral content of the utensil lent health benefits to the consumers.

Premchandji, a veteran craftsman from the street recalls that the bygone era had artisans make water vessels - lotas, large serving plates - paraat, paani ka ghada, mandir ka kalash. He continues to narrate that huge silver water vessels were created for kings travelling away to foreign lands. One such vessel is housed in Jaipur’s city palace today.

Square or circular pieces are cut out of the flat metal sheets – Brass (70% Cu + 30% Zn) and Copper. The gauge of these sheets is determined by the vessel they are intended for.

These disks are beaten up using a ‘Khachara’ or a mallet with varying weights and a wooden support. The wooden support of this tool is of indispensable importance as it equips the artisan with greater control for making dents, unlike a less preferred metal stem that might completely butcher the metal. The metal is beaten till it naturally bends along a concave or convex curve as required. Another important tool that assists this process is the ‘Bangad’ or a solid metal ring anchored in sand. This becomes the seat for the metal as it undergoes controlled bending. A sold iron rod bent at the tip, called ‘Megh khushiya’ further contribute to the process of handling the utensil while it is being textured.

The desired utensil is always designed as a combination of parts which are welded into a unanimous whole. In former days blacksmiths used a joinery technique which involves creation of a subtle ridge which camouflages the welding on further beating and finishing. According to this procedure, the pieces of metal were placed in a furnace made of mud (bhatti) and heated to high temperatures. The metal thus acquired would be more malleable and merge into one another to form a single mass as against the gas welding used in the present times.

Eventually, the obtained products are given an acid wash until they appear to shine like gold. These containers retain the impression of the hammer strokes that mold them, which in turn accentuate their forms and textures. Over a period of time the craftsmen have designed variously shaped hammers that render different patterns on the body of the metal vessel. As a matter of fact, the local craftsmen believe these multiple miniature dents make the sheet metal stronger and prevent further surface manipulation.

Today the craftsmen are mostly approached for creation of Singhasans (royal seats) for idols, Chatris (umbrellas) and bells for temples. While light weight and low cost steel and aluminum utensils have largely replaced brass from the modern day kitchen, there still exists a group of dedicated admirers who appreciate them for their aesthetic quality and health benefits.

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On a casual stroll along the meandering markets of the Pushkar fair, as spectacles of mystery unfold and as strong local flavors swell within the atmosphere of the fair, it is hard to miss the visual delight oozing out of curious little wooden combs, even as you get lost in the euphoria of the festivities around. Natively called Kangsi, the craft of making wooden combs is a few hundred-year-old tradition, that is practiced only by a minority today. The array of wooden combs decorated with intriguing carving, jail work, inlay and gold & silver ornamentation is indeed a treat to the curious eyes. But for Chotamal Banjara it is a way of life. A conversation with the craftsman amidst the pandemonium of the fair gives riveting insights about the history and idea of the wooden comb.

The hair has always been an innate asset for human kind through ages. As texts in Kalidasa suggest, men have traditionally maintained longer tresses which they tied using a hair band. The women on the other hand had their long oiled, perfumed and braided hair, decked up with flowers, pearls and gems. Bathed in the fragrance of sandal and aguru, hair were knit into one mass and place on the crown of the head.

The most primitive folk of the Banjara and Gawariya communities of Rajasthan were commissioned for trade of coconut and dates with buyers based in Jaipur. According to a popular fable, the head of the community martyred to the cause of saving the modesty of the womenfolk of his tribe from the invading Mughals during a ceratin local war. In absence of their chieftain the entire community broke down into smaller groups that eventually drifted away and found their own vocation. Today, two of these groups, originally from the same family pursue the art of wooden-comb making. One of the two is based in Delhi and crafts combs out of animal bones of buffalos and camels, and the other is that of Chotamal Banjara that crafts combs out of wood. The family spends about four months in their own village creating combs and trading them with the localites. The remaining eight months are spent touring cities of Rathlam, Ujjain, Devaas, Bhilwara in search of patrons.

In ancient India, women applied a mixture of Multani mitti (Fuller’s Earth) and Kali Mitti on their hair for nurturing their mane. A wooden comb was always used to massage the hair along with sesame seed oil. This combination, the localites believed could initiate hair growth. Grooming with the wooden comb is also believed to ease labor pains amongst pregnant women. Another enthralling native narrative suggests that women who carried cakes of dry cow dung on their heads over long distances were often troubled by problems of ticks and lice in the hair. The fine bristles of the comb were vital in driving them away.

The wood that is utilized to craft these combs is obtained from trees such as shesham, babool, kadama, ker and ber, which are also reputed for their health benefits. These combs are crafted using tools that the craftsmen make by themselves. On ensuring that their thumbs are protected and fingers are oiled, the craftsmen use small hacksaws and finer chisels to carve the various fine and coarse teeth. The combs are then finished using files which are essentially choir attached on a wooden base. Eventually, to suit the ergonomics of the human hand, curves are further introduced in the body of the comb. An umpteen number of color variations are available in these wooden combs with finishes ranging from that of exquisite rosewood to normal wood.

It is interesting to observe that these combs have bristles on the either side of the stem. The thin bristles on one side are used to comb the hair of the head and the thick bristles on the other side are used to comb the beard. This makes the wooden comb an indispensable accessory amongst the local tribe, which mainly includes the Sikh and the Rajput folk from the surrounding areas.

The obsession with grooming of hair isn’t a mere thing of the past. Even to this day, one of the first gifts for a newborn includes hairbrushes with silk soft bristles. The hairbrushes have transcended from the idea of being a common object of utilitarian virtue to a thoughtful gift for young brides, from a husband to a wife amongst others. But combs aren’t merely the sweet ambassadors from the alluring lands of vanity. There is infarct something sensual, appeal­ing and comforting about having your hair brushed and yet, there’s a sweet innocence to it.

Experience they say is the comb that nature gives to men when they start balding. But when the comb is a wooden one, it truly is an experience in itself. The craft of Kangsi or comb making is indeed facing new questions on survival in the changing contexts, which are marred by fast moving plastic lookalikes. But it can never go unacknowledged for being such a sheer revelation of Indian craft.

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His mind was limitless but his hands were not, so he lay his hands upon the back of a beast!… for it would be a continuation of his limited body in the times to come….As time passed and awareness of creatures around him heightened, man recognized ways to tame animals to assist him with his daily chores including his desire to traverse distances. Taking dauntless leaps across hurdles of terrain and mind, men and horses  made legends together. And when heroes made history draped in classic costumes that get etched in memory, how could their extensions be left behind?

Enough evidence exists to suggest that horse riding was prevalent as early as 4000BC. Recent excavations indicate presence of numerous horse bones of both domesticated and war combat types in the late and early Harrapan period (dated before the Aryan invasion).

To most a horse isn’t a mere pet, it’s an experience. A favorite amongst the warrior class, its owners took extra care that their privileged vehicle of gallantry remains well tamed and thoroughly accessorized, thus developing the craft of creating leather pieces to adorn its body. These pieces weren’t employed to merely decorate the horse, but helped the master to control the movement and speed of the creature. The natural softness of leather gave it an edge as a wearable accessory over its metal counterparts because it was durable and at the same time interacted smoothly with the mammal’s skin without bruising it.

As observed in the eras gone by, Delhi, Rajasthan and surrounding areas were seats of power for the Mughals and the Rajputs. The defense forces of these kingdoms were rich in war horses besides using horses for chariot racing, traveling and other interests. Who can possibly forget the spirited ‘Chetak’ who sacrificed his life for Rana Pratap in the Battle of Haldighati (1576), immortalizing the mettle of the horse heart.

The family of  Bhavar lal ji , an artisan from Nimbi khurd village in Nagore distirict (Rajasthan) has been customarily engaged in this craft for about 300 years now. He belongs to the Regar cast which worships Guru Ravidas as the house deity. As put in the craftsman’s words, the days of royal splendor saw leather accessories embellished in gold, silver and precious stones. Mr Nagadi further elaborates that according to a popular fable Guru Ravidas divided everything he earned into three parts, of which one was devoted to religious pursuits, the second for purchase of leather and the third was utilized for personal needs. He continues to inspire the craftsmen even to this day with his ideals of unrelenting hard work and patience.

The most essential material required for this craft is naturally tanned leather acquired from the hide of dead cattle such as cow, buffalo and ox. Leather that has been soaked in water for about 3 to 4 days is consequently coated with a paste made of wheat flour and finely powdered pearl millet. This facilitates the process of hair removal. The animal skin so obtained after 4 months of treatment, is further polished and introduced into a tank containing water and dissolved barks of the plum tree (Ziziphus mauritiana).The processed hide is then rubbed with oil and sun dried. Eventually, this hide comes to be recognized as ‘desi chamda’ or native leather which is about  5-10mm thick. This process of leather making from its beginning takes about six months to finish.

Using tools that cobblers do, the raw leather is then cut and converted into utilitarian objects that enhance the appearance of the horse. The various pieces of material are stitched with leather strings and not nailed as stitches ensure increased strength. The mechanism of joining leather pieces is indeed an indigenous one as these special knots and stitches ensure that the assembly does not give away against the strength of the beast.

To further beautify and make it stand out on the body, the accessory is dyed or colored, brass hooks are affixed into the leather and with intricate needlework, it may be finely embroidered.

The variety of objects custom designed for the horse could very well amuse the over-indulgent pets of this day. The craft includes design of the Tobra (the eating sack in which fodder for the horse is arranged), Pichadi (an ornament for the legs which prevents them from running away ), Lagaam (leather reins used to bridle the horse), Tung (the tread cover used by the rider to rest his feet ), Chabuk ( leather whips used to control the movement and speed of the horse during the travel) and the saddle.

While most of the men in Mr. Nagadi’s village are farmers, his family continues to be the dark horse who devotes time and skill in keeping this historic and ingenious craft alive. However, today’s time sees decreasing number of people who domesticate horses owing to the readily available mechanical means of transport and increasing accessories casted in plastic, which offer cheaper and attractive alternatives, compelling the new generation to head city-wards in search of other means of livelihood.

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If Kashmir is fondly regarded as the paradise on earth then Srinagar has to be the ultimate abode for all things angelic. One of its heavenly offerings is the Shikhara or the wooden house boat used for ferrying visitors across the lakes and rivers. As an ever dynamic cultural identity of Kashmir, the shikhara is as popular among tourists who come for sightseeing as it is for local vending of fruits, vegetable and flowers, for fishing and for harvest­ing aquatic vegetation.

Kashmir as it appears from the ancient Hindu texts, was a lake until sage Kashyapa drained it and land surfaced. And perhaps it is hence known as Kashmir or desiccated land (in Sanskrit “ka” stands for water and “shimeera” means to desiccate). This holy matrimony of land and water becomes further apparent as one surveys the 12^th century literature of Rajatranjini authored by Kalhana. According to these scripts the great sage Kashyapa (grandson of Brahma) pierced fissures in the hills of varaha-mula (popularly known as Baramulla) to allow all the water to bleed away. He thus rendered the land habitable for the Brahmans who settled here to become the greatest scholars, poets and creators of masterpieces in Sanskrit Literature.

Another interesting piece of history establishes the alliance between the Shikhara and India’s colonial past where English settlers who could not buy themselves land in the valley, had boats like these named after them, which becomes evident as one comes across boats named “H.B Duke Wells”, “Silver Street” and others even today.

Shikhara is small paddled taxi boat often about 15 feet long and made of wood obtained from deodar trees, growing in the vicinity of the Dal Lake. With a colorful canopy and a spade shape bottom it is no ordinary boat. In its relentless pursuit of being a lifeline for everyday chores, the Shikhara has almost left the trail of a legend by stirring the souls of numerous poets through history who fell for its awe-inspiring gait.

The ingenious craft relies on deodar wood, which inherently does not decompose in water and remains sturdy throughout. The unprocessed logs of wood are reduced to slippers of a varying 25 feet to 41 feet length and further divided into three parts. The pointed front end known as the zero point is followed by the central section made of 8 planks of wood and the boat eventually ends in a flat rear segment. Two planks of wood lend to each of the side elevations and account for a vertical height of 1.5 feet. The rear and the forward end are maintained by rectangular logs of wood, which guarantee that the framework remains in shape. Its conspicuous spade shaped base is unlike another water vehicle.

A longitudinal cut section of the boat reveals the presence of 5 beams or karis which are positioned equidistant from each other except the central ones. The beams at the extremities are 3”x5”while those towards the center are 5”x3”.

In order to avoid leakages through the structure, the nails and iron clamps used for joinery are flushed and fixed into the wood diagonally (i.e. never at right angles) and only when they are red hot, to ensure stronger bonding. As a matter of fact these custom made rust-proof nails are made longer than the ones generally used and care is taken to keep them hidden in the visual aesthetics of the boat. Cocking, where intermittent gaps and creeks in the wooden body are sealed using a paste (made of wool given away by poplar trees and indigenous weeds) further assures that water is kept at bay.

As the skeleton of the boat stands prepared, seating arrangements are organized in the central segment of the boat by positioning cushions and related upholstery over the built-in storage space underneath. The spatial quality is further enhanced by exquisite use of a canopy supported on four pillars. The centre and the ends are equipped with iron anchor rings and wooden pegs, which are used to fasten the shikara on the banks of the lake.

The shikaras are eventually painted in bright colors ensuring the palette captures the essence of the valley. When on sail they constantly remind one of a brush carrying shades of eternal spring even as the canvas embraces the hues of the changing seasons. Boats may further be polished, engraved, embellished and furnished with pieces of walnut furniture.

An impressive banquet of carpentry like this one may be prepared over 10 to 12 days. The boats are often navigated by two boat men draped in fhran (the tradi­tional wear) and they carry kangris or portable heaters on the boat. A shikara can seat about 6 people and has heavily cushioned seats and back rests that take inspiration from the Mughal style of luxury.

While casually meandering over waters of the Jhelum, the Skikhara unconsciously casts a spell as it converses with the caresses of the Kashmiri breeze. One journey on this modest piece of boat architecture embodied with opulent yet homely accommodation makes an interesting ride over the waters less travelled, hidden in the laps of mountains and the bosoms of the valleys. Besides, it is a sheer indulgence for the shopaholics who discover the rich art of this paradise while actually voyaging on one.

Documentation by~
Angad Chauhan

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Assam has a rich tradition of the theatrical arts. The tradition of the temple dancers in Assam goes back to the 9th century AD, when Shaiva and Vaishnava temples of Assam would reverberate with dance and music. Characters like Bhrama, Yama, Putna, Mura, Narkasura, Jambuvan painted into masks would come alive and start projecting various sentiments and emotions. Ramayana, a popular fable from Hindu mythology however, was translated into a series of plays by Mahapurusha Shankardeva of Assam in 15^th-16^th century, which came to be known as ‘Ankia nat’. ‘Bhavona’, the theatrical presentation of these stories revolving around Assamese tribal myths and folktales are staged for public entertainment and knowledge by people disguised in masks as gods, goddesses and demons.

‘Bhavona’ derived from the Sanskrit word ‘Bhavna’ meaning ‘emotions’ is also known as Jatra in some regions of Assam, Bengal and Orissa eg. Arjunabhanjan yatra, Janma yatra, Boka yatra. These plays are also said to have their songs rooted in the dramas of the vedic times which is in the form of hymns in dialogue.

Bordhuvan village in the Nangaon district of Assam is the birthplace of the craft of mask making, popularly known as ‘Mukha’. Here masks are elevated beyond our everyday gag-cosmetic-masquerade deal to a level of spirituality and worship. The craftsmen locally addressed as ‘khonikors’(the story tellers) are mostly farmers who pursue this art for the labor of love and not for commercial satisfaction. Considering the religious significance of these masks, the craftsmen observe certain rules to ensure that the sanctity of performing the art is not an ounce meeker than the sanctity of performing a prayer. Hence, the artists never let their feet touch the masks. They start the day’s work only after  bathing and are obliged to start on an empty stomach .They ensure that the main ingredients - cowdung and aatha (natural gum) are mixed in coconut sap.

The traditional Assamese masks are made from a variety of materials, ranging from terracotta and bamboo to wood, pith and metals. The main raw materials used in the craft are naturally available and free of cost. Besides cowdung, cloth, mud, jute, coconut sap and aatha (natural gum) are essential constituent of the craft.

Two centimeter wide strips of two-year-old bamboo shoots with ample flexibility are cut using a big knife called “Daau” and woven into a hexagonal pattern known as the Vishwakarma mur (one of the most stable locking systems). Vishvakarma being the presiding deity of all craftsmen and architects of the world. Through continuous bending and twisting, a three dimensional skeleton or ‘hoja’ is acquired. Once the edges are trimmed, soft coconut sap is lined around it to make the mask wearable. Small pieces of cotton cloth dipped in a mixture of cowdung and aatha are placed on the skeleton to give that base layer on which facial features may be etched out. Post drying, holes are created for breathing and primary attributes of the eyes, nose, eyebrows and lips are inscribed with hands using the cowdung mixture.

Following this, the masks are detailed (using ‘kaamkathi’ or knives made of bamboo) with keen accuracy as they now start accommodating the expressions and traits of the particular character. A new thin coating of cowdung soaked fabric is again applied to prevent the features from falling off. The kuhila (pith) is a soft natural thermacol like local material, which lends shapes for the ears and the teeth. The adhesive rich mixture of cowdung and aatha is employed again to fix the ears to the face. Ultimately the supple deities in disguise are baked or sundried depending on the state of urgency. Natural colorants or even synthetic paints can be coated preceded by a coat of primer. The masks are creatively clad in ornaments such as earrings (crafted out of bent bamboo strips) and mukuts (crowns).

Organic colors that are used here are Khorimati (white), hengul (red), charcoal (black) and haital (yellow). The craft is a seasonal one and is usually started in winter (early November) in the hallowed premises of Vaishnav monasteries. A three day long ordeal, which requires immense precision and awareness of the material at hand, creates a single mask.

A fact worth acknowledging is that in the shadow of mukhas, smaller and finer crafts such as pith mask making have originated. Pith is exquisitely used in ‘latootkari’, which involves construction of blooming forms out of the soft material that pith is. Besides these, the pith is also used to create play ornaments. The hexagonal bamboo weaves inspire a great deal of local furniture and sculptures too.

The beauty of folk theater is its adoption of wide range of theatrical techniques to entertain the people. Mimicry, tableaux, processions, acrobatics, magic shows, enactment of short and long skits, in short every conceivable entertainment factor is weaved imaginatively into the rich fabric of their performing art. And the craft that is all about recreating its identities is fighting for its own today, leaving it entirely up to us, whether we want to hold the mirror that reflects the folk culture of our society or break it.

Craft Documentation by~
Akash More, Nayan Shrimali

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Meet Mr. Sudhamay Das. When this 55 year old gentleman retired from his government job, little did he realize that within him lived a passionate doll maker. In his 10’ x 11’ workshop, a man infuses life into clay, a man sows seeds of expression into little loams of earth and a man, gives his creative indulgence, a professional virtue. While these dolls aren’t blessed with the gift of gab, yet they almost strike a conversation with their distinguished verve in expression.

The craft of doll making is practiced by many ‘anonymous genius’ in Krishnanagar (Nadia district), West Bengal. Genius, because the ability to infuse details like delicacy of expression in miniature modeling isn’t mere creative flair. Anonymous because well…we hadn’t heard of it until this post came along!

A skill that has almost 250 years of inspiring history to it, Krishnanagar dolls have come a long way as an art that carries the wisdom of generations with it and yet represents a unique breakaway from the traditional form.

Craftsmen practicing this craft belong to the community called ‘Kumbhakaras’ (kumbha – earthen pot, akar – to form) constituting potters and clay modelers. What started as an art practiced by a couple of families has now become a community exercise with over 300 people, including women and children involved in the craft today.

Maharaja Krishna Chandra (1710–1783), a patron of arts, supported the production of clay dolls. As a pioneer who started Kali pooja, Jagadhatri pooja for the first time in Bengal, he encouraged the local artisans and brought in more potters from Dhaka & Natore districts of Bengal to the Ghurni- a neighbourhood of Krishnanagar. Hence, started the Bengali tradition of clay image making, which is indeed a celebrated feature of the culture to this day.

The dolls as they appear are crafted out of clay that is locally available off the banks of the river Jalangi. The strength of clay may be increased with the addition of admixtures like cotton, rice husk, saw dust, loam or sandy soil. Individual components of the model are crafted out of clay and assembled on the metal wire framework, which supports the clay and can be bent to form desired postures. As modeling and detailing are accomplished with hand, final finishes are applied.

Some locally crafted tools made of bamboo and kamni wood are used in this process are, Chirage (a flat and pointed tool used for fine detailing in clay), Basua (a blunt tip tool used to create folds of simulated clay clothing). Besides these, knives of different sizes are used for scraping and brushes of varying sizes made of horse/goat/hag hair are utilized based on requirements. Consequently the model may be placed under the sun for drying, followed by firing.

Eventually, it may be subjected to the penultimate life-giving step i.e coloring. With colors ranging from powdered pigments, dyes, water colors to poster colors, priceless expressions are earnestly painted on the teeny anatomies of the dolls. Powder color is mixed with water and adhesives. These adhesives are at times a local preparation made using fried tamarind seeds which on prolonged soaking, drying, peeling, grinding and boiling yield a sticky viscous liquid with a strong adhesive property. The luster found in these colors may be attributed to corn flour. A coat of varnish supplements the shine. Generally green, red, blue and yellow colors are the preferred flavors of clay besides its original color. The colored dolls are then sun dried. And ultimately the dolls may be further varnished (if required) and clothed. Designed for dolls is a miniature wardrobe, which carries fabric garments for the minuscule clay populace.

Only 10 in every 100 craftsmen today believe they are doing well at doll making as a profession.  the poor knowledge amongst the artisans about sales and marketing, the market is defiantly not as commercially viable as it can be. Besides, the craftsmen as a usual trend today find it more fulfilling to move to bigger cities like Calcutta where occasions (seasonal and otherwise) give their skill the raison d’être to persist. Nevertheless, doll making is passion personified and an admirable piece of indigenous art, which will find an increased number of takers as public awareness increases.

Craft Documentation by~
M. S. Swarup & Sujay Das

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