The process of bronze casting is, in itself, a very spiritual experience. A Sthapathi is expected to be well-versed in the Neetisaram, Amaram, Shilpasaaram, and the Dhyan shlokas. He recites these shlokas and lets the aura of God guide him and help conceive the deity’s form in his mind.
This verse rang true when they came across a piece of land near Jaipur, soil-rich with the waters from river Sanjaria. They rejoiced and settled down with newfound hopes in the place that would come to be known as Bagru.
The village is said to have been chosen by the king Sveta Chalapati Rangarao for making of this instrument for the quality of sound the craftsmen here could achieve was to be found nowhere else. Veena, the soul of Carnatic music finds place in the hands
It is a six inch round everyday breakfast bread. A small ball of dough is spread across a stone platform with the palm dipped in milk. Texturing it with the impression of the fingers, the naan-wai pulls the stretchy dough off the stone and slaps it on the warm oven wall gently. It come out with golden on the upper side and white on the lower and is usually had with butter or jam along with nun-chai.
Etikoppaka excelled in making playing tops and Baranis (wooden boxes) to contain various items to be offered to Gods since historic times.
Pilkuwa motifs are inspired from existing vocabulary of motifs like Mughal Butta, Soorajmukhi Jaal, Tree of Life, elephants, peacocks, been documented by Sardar Hussain.
Gaatha brings to you, traditional handicrafts and the culture behind them, directly from the very home of the Indian artisan.