अभिनन्दन from Gaatha

Gaatha project was originally conjured only for researching and documenting the rapid erosion of Indian craft clusters and heritage. However, we soon learnt from the artisans themselves that need was not to do research alone, but to restore ‘pride and serious commercial opportunity’ in their ecosystem. Today Gaatha thus aims to bring the lost respect and wealth back to these beautiful and aesthetically rich Indian handicraft clusters. These researches are important because just like Industrial goods sell on ‘features’, crafts sell on the processes / stories / heritage that go into making them.

We should give crafts a fair chance, someone is right now merrily making something for us, singing a folk song, in a humble house, deep inside India.

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14Oct

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Gaatha brings to you, traditional handicrafts and the culture behind them, directly from the very home of the Indian artisan.
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gaatha.handicrafts

Shop | Handmade treasures from the heart of India
Discover | Woven narratives through craft documentation

I am one of the most celebrated grains in the worl I am one of the most celebrated grains in the world, though I do not know exactly where I was born. In ancient Sanskrit, I was known as “व्रीहि” (vrihi), one of the earliest Vedic words used for rice. The word is extremely old and may reflect deep South Asian linguistic roots. Some scholars also connect me with the Tamil word “arisi”, meaning husked rice. As people travelled and trade expanded westward, my name began to change. In early Iranian languages new variations appeared. Later in Persian I was called brizi, and in the Pashto language I became known as vrize. With every region I passed through, my name slowly transformed. My journey reached the Greek world during the campaigns of Alexander the Great in the 4th century BCE. The philosopher Theophrastus wrote me as oryza. From there the word entered the Latin world, where it was also known as oryza. Even my scientific name today, Oryza sativa, carries that ancient Greek connection. As I travelled further into Europe, my name kept changing. In Italy I became riso, in France I was called riz, and eventually in England I came to be known as rice. Like the grain itself, my name travelled across empires, trade routes, and cultures, carrying centuries of history within a single simple word.🍚 ~ #rice #etymology #gaathahandicrafts #storytelling #indianculture
The most common thing we hear during Holi is, “Bur The most common thing we hear during Holi is, “Bura na mano, Holi hai.” But have you ever wondered why we even have to say that? Is it because we throw water on someone without asking? Or because of the harsh chemical colours that are so difficult to remove later? Sometimes we need strong soaps and even scrubbers to clean them off. In earlier days, people used only natural colours. Red sandalwood powder, marigold flowers, tesu flowers, dried beetroot, amla and many more. These colours carried a natural fragrance and were actually good for the skin. So perhaps “bura na mano, Holi hai” is a much newer idea. The main colours people used were: Red – from red sandalwood powder, pomegranate, or madder tree Yellow – from turmeric or marigold flowers Orange – from tesu flowers Green – from henna, dried gulmohur leaves, or spinach Blue – from indigo leaves or jacaranda flowers Brown – from katha or dried tea leaves Black – from dried amla What a healthy and beautiful Holi it must have been. Happy Holi 🌸 #holi #naturalcolors #ecofriendly #gaathahandicrafts
Before it reaches your wall, it begins on the floo Before it reaches your wall, it begins on the floor of an artisan’s home. Cloth is prepared by hand. Natural pigments are mixed from scratch. A fine brush lays down lines that cannot be erased. Days pass in silence and focus. Pattachitra is not produced. It is practiced. Which is why no two pieces are ever identical, and why each one exists in limited numbers. If this story belongs in your space, don’t wait too long. 🦚 Available now on shop.gaatha.com #gaathahandicrafts #pattachitra #handicraft #wallart #painting
Before it reaches your wall, it begins on the floo Before it reaches your wall, it begins on the floor of an artisan’s home. Cloth is prepared by hand. Natural pigments are mixed from scratch. A fine brush lays down lines that cannot be erased. Days pass in silence and focus. Pattachitra is not produced. It is practiced. Which is why no two pieces are ever identical, and why each one exists in limited numbers. If this story belongs in your space, don’t wait too long. 🦚 Available now on shop.gaatha.com #gaathahandicrafts #pattachitra #handicraft #wallart #painting
These paintings🖌️are not just art, they are a livi These paintings🖌️are not just art, they are a living language: reminders of festivals like Goncha, Bastar Dussehra, and Hareli; of evenings filled with dance and laughter; of rituals that bind the tribe together through joy and sorrow alike. 🌺
When the design became the identity. In Bengal, pe When the design became the identity. In Bengal, people developed a functional vernacular architecture, especially the curved, sloping thatched roof adapted to the monsoon climate. Designed to withstand heavy rain and humid winds, it was both practical and aesthetically pleasing. So distinctive was this form that other parts of India began referring to it as the Bangla style roof. During the Mughal and Rajput periods, this design was also incorporated into imperial architecture, transforming a regional solution into a celebrated architectural feature. When the British East India Company established itself in Bengal in the 17th century, they encountered single storey dwellings with deep verandahs built in this regional style. Hearing them described as bangla, meaning “Bengal style house,” they borrowed the word, dropped the implied noun, and anglicized it to bungalo, and eventually bungalow. Over the 18th and 19th centuries, the term shifted in meaning from “a house built in the Bengal manner” in colonial India to a broader architectural term in Britain and later the United States. There, it came to denote a detached, usually single storey house, regardless of geographic origin. In this way, a regional stylistic identity evolved into a global housing typology. #storytelling #bungalow #gaathahandicrafts #etymology #bangla
What they paint, we can barely see at first glance What they paint, we can barely see at first glance. Yet each miniature painting from Udaipur depicts a story within a beautifully controlled frame. Fine patterns, graceful figures, and subtle shading create a sense of movement within stillness. They never grow old or lose their charm. Give them a prestigious space in your home, and let timeless artistry speak softly through detail. #miniaturepainting #indianaesthetics #gaatha #artlover #traditionalpainting
The craft of Gulabi Meenakari, practised in the na The craft of Gulabi Meenakari, practised in the narrow lanes of Varanasi, is renowned for its intricate detailing and regal aesthetic. The meenakari tradition of this region is specifically known as Gulabi Meenakari, named after the predominant pink hue, “gulabi,” that defines its distinctive character. The craft involves creating surface ornamentation using vitreous glass enamels applied onto silver metal. Characterised by delicate pink strokes on a white enamel base and often embellished with precious stones, Gulabi Meenakari stands as an epitome of elegance and refined beauty. Historically, Meenakari was executed primarily on the reverse side of jewellery, while the front was set with precious gemstones. The back of each piece was intricately decorated with handmade enamel work to enhance and balance the overall aesthetic. For instance, the inner surfaces of bangles (kada) and the reverse sides of necklaces were beautifully adorned with meenakari, ensuring that even the hidden parts of the ornament reflected craftsmanship and artistic excellence. Read more ~ https://gaatha.org/Craft-of-India/meenakari-craft-varansai/ #varanasi #meenakari #gulabimeenakari #gaatha #indianjewellery
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